1 q@c Note: -*-texinfo-*-
3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
14 <!--- @@WEB-TITLE@@=Notation manual --->
20 * Easier music entry::
27 * Fingering instructions::
36 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
48 This chapter describes all the different types of notation supported
49 by LilyPond. It is intended as a reference for users that are already
50 somewhat familiar with using LilyPond.
56 * Chromatic alterations::
64 * Easy Notation note heads ::
72 A note is printed by specifying its pitch and then its duration:
73 @footnote{Notes constitute the most basic elements of LilyPond input,
74 but they do not form valid input on their own without a @code{\score}
75 block. However, for the sake of brevity and simplicity we will
76 generally omit @code{\score} blocks and @code{\paper} declarations in
79 @lilypond[fragment,verbatim]
88 @cindex Note specification
90 @cindex entering notes
92 The most common syntax for pitch entry is used in @code{\chords} and
93 @code{\notes} mode. In Note and Chord mode, pitches may be designated
94 by names. The notes are specified by the letters @code{a} through
95 @code{g}, while the octave is formed with notes ranging from @code{c}
96 to @code{b}. The pitch @code{c} is an octave below middle C and the
97 letters span the octave above that C:
99 @lilypond[fragment,verbatim]
101 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
104 @cindex note names, Dutch
106 A sharp is formed by adding @code{-is} to the end of a pitch name and
107 a flat is formed by adding @code{-es}. Double sharps and double flats
108 are obtained by adding @code{-isis} or @code{-eses}. These
109 names are the Dutch note names. In Dutch, @code{aes} is contracted to
110 @code{as} in Dutch, but both forms are accepted. Similarly, both
111 @code{es} and @code{ees} are accepted.
113 There are predefined sets of note names for various other languages.
114 To use them, include the language specific init file. For
115 example: @code{\include "english.ly"}. The available language files
116 and the note names they define are:
121 Note Names sharp flat
122 nederlands.ly c d e f g a bes b -is -es
123 english.ly c d e f g a bf b -s/-sharp -f/-flat
124 deutsch.ly c d e f g a b h -is -es
125 norsk.ly c d e f g a b h -iss/-is -ess/-es
126 svenska.ly c d e f g a b h -iss -ess
127 italiano.ly do re mi fa sol la sib si -d -b
128 catalan.ly do re mi fa sol la sib si -d/-s -b
129 espanol.ly do re mi fa sol la sib si -s -b
138 The optional octave specification takes the form of a series of
139 single quote (`@code{'}') characters or a series of comma
140 (`@code{,}') characters. Each @code{'} raises the pitch by one
141 octave; each @code{,} lowers the pitch by an octave:
143 @lilypond[fragment,verbatim,center]
144 c' c'' es' g' as' gisis' ais'
148 There is also a verbose syntax for pitch specification:
151 @cindex @code{\pitch}
153 \pitch @var{scmpitch}
157 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
161 Notes can be hidden and unhidden with the following commands:
163 @cindex @code{\hideNotes}
165 @cindex @code{\unHideNotes}
172 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
174 @node Chromatic alterations
175 @subsection Chromatic alterations
177 Normally accidentals are printed automatically, but you may also
178 print them manually. A reminder accidental
179 @cindex reminder accidental
181 can be forced by adding an exclamation mark @code{!}
182 after the pitch. A cautionary accidental
183 @cindex cautionary accidental
184 @cindex parenthesized accidental
185 (an accidental within parentheses) can be obtained by adding the
186 question mark `@code{?}' after the pitch:
188 @lilypond[fragment,verbatim]
189 cis' cis' cis'! cis'?
193 The automatic production of accidentals can be tuned in many
194 ways. For more information, refer to @ref{Accidentals}.
199 A chord is formed by a enclosing a set of pitches in @code{<<} and
200 @code{>>}. A chord may be followed by a duration, and a set of
201 articulations, just like simple notes.
211 Rests are entered like notes, with the note name @code{r}:
213 @lilypond[singleline,verbatim]
217 Whole bar rests, centered in middle of the bar,
218 must be done with multi measure rests. They are discussed in
219 @ref{Multi measure rests}.
222 A rest's vertical position may be explicitly specified by entering a
223 note with the @code{\rest} keyword appended. This makes manual
224 formatting in polyphonic music easier. Rest collision testing will
225 leave these rests alone:
227 @lilypond[singleline,verbatim]
233 @internalsref{RestEvent}, and @internalsref{Rest}.
240 @cindex Invisible rest
243 An invisible rest (also called a `skip') can be entered like a note
244 with note name `@code{s}' or with @code{\skip @var{duration}}:
246 @lilypond[singleline,verbatim]
250 The @code{s} syntax is only available in Note mode and Chord mode. In
251 other situations, you should use the @code{\skip} command:
253 @lilypond[singleline,verbatim]
256 { \time 4/8 \skip 2 \time 4/4 }
257 \notes\relative c'' { a2 a1 }
262 The skip command is merely an empty musical placeholder. It does not
263 produce any output, not even transparent output.
267 @internalsref{SkipEvent}.
272 @subsection Durations
276 @cindex @code{\duration}
279 In Note, Chord, and Lyrics mode, durations are designated by numbers
280 and dots: durations are entered as their reciprocal values. For example,
281 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
282 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
283 longer than a whole you must use variables:
285 @c FIXME: what is an identifier? I do not think it's been introduced yet.
286 @c and if it has, I obviously skipped that part. - Graham
290 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
292 r1 r2 r4 r8 r16 r32 r64 r64
297 \notes \relative c'' {
299 a1 a2 a4 a8 a16 a32 a64 a64
301 r1 r2 r4 r8 r16 r32 r64 r64
306 \remove "Clef_engraver"
307 \remove "Staff_symbol_engraver"
308 \remove "Time_signature_engraver"
309 \consists "Pitch_squash_engraver"
316 If the duration is omitted then it is set to the previously entered
317 duration. The default for the first note is a quarter note. The duration
318 can be followed by dots (`@code{.}') in order to obtain dotted note
322 @lilypond[fragment,verbatim,center]
323 a' b' c''8 b' a'4 a'4. b'4.. c'8.
328 You can alter the length of duration by a fraction @var{N/M}
329 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
330 will not affect the appearance of the notes or rests produced.
331 In the following example, the first three notes take up exactly two
333 @lilypond[fragment,relative 2,verbatim]
335 a4*2/3 gis4*2/3 a4*2/3
339 Durations can also be produced using the verbose syntax
340 @code{\duration @var{Scheme object}}:
341 @lilypond[verbatim,fragment]
342 c'\duration #(ly:make-duration 4 1)
349 Dots are normally moved up to avoid staff lines, except in polyphonic
350 situations. The following commands may be used to force a particular
353 @cindex @code{\dotsUp}
355 @cindex @code{\dotsDown}
357 @cindex @code{\dotsBoth}
362 @internalsref{Dots}, and @internalsref{DotColumn}.
366 In dense chords, dots can overlap.
371 Whenever a note is found, a
372 @internalsref{Stem} object is created automatically. For whole notes
373 and rests, stem objects are also created, but in those cases, the stem
378 @cindex @code{\stemUp}
380 @cindex @code{\stemDown}
382 @cindex @code{\stemBoth}
393 A tie connects two adjacent note heads of the same pitch. The tie in
394 effect extends the length of a note. Ties should not be confused with
395 slurs, which indicate articulation, or phrasing slurs, which indicate
396 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
398 @lilypond[fragment,verbatim,center]
399 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
402 When a tie is applied to a chord, all note heads whose pitches match
403 are connected. When no note heads match, no ties will be created.
405 In its meaning a tie is just a way of extending a note duration, similar
406 to the augmentation dot; in the following example there are two ways of
407 notating exactly the same concept:
409 @lilypond[fragment, singleline,quote]
410 \time 3/4 c'2. c'2 ~ c'4
412 If you need to tie a lot of notes over bars, it may be easier to use automatic
413 note splitting (See @ref{Automatic note splitting}).
418 @cindex @code{\tieUp}
420 @cindex @code{\tieDown}
422 @cindex @code{\tieBoth}
424 @cindex @code{\tieDotted}
426 @cindex @code{\tieSolid}
431 @internalsref{TieEvent}, @internalsref{NewTieEvent},
432 @internalsref{Tie}, and @ref{Automatic note splitting}.
435 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
439 Tieing only a subset of the note heads of a pair of chords is not
440 supported in a simple way. It can be achieved by moving the
441 tie-engraver into the @internalsref{Thread} context and turning on and
442 off ties per @internalsref{Thread}.
444 Switching staves when a tie is active, will not produce a slanted tie.
446 Formatting of ties is a difficult subject. The results are often not
456 @cindex @code{\times}
458 Tuplets are made out of a music expression by multiplying all durations
461 @cindex @code{\times}
463 \times @var{fraction} @var{musicexpr}
466 The duration of @var{musicexpr} will be multiplied by the fraction.
467 In the sheet music, the fraction's denominator will be printed over
468 the notes, optionally with a bracket. The most common tuplet is the
469 triplet in which 3 notes have the length of 2, so the notes are 2/3
470 of their written length:
472 @lilypond[fragment,verbatim,center]
473 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
476 The property @code{tupletSpannerDuration} specifies how long each
477 bracket should last. With this, you can make lots of tuplets while
478 typing @code{\times} only once, saving lots of typing. In the next
479 example, there are two triplets shown, while @code{\times} was only
482 @lilypond[fragment, relative, singleline, verbatim]
483 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
484 \times 2/3 { c'8 c c c c c }
487 The format of the number is determined by the property
488 @code{tupletNumberFormatFunction}. The default prints only the
489 denominator, but if it is set to the Scheme function
490 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
494 @cindex @code{tupletNumberFormatFunction}
495 @cindex tuplet formatting
500 @cindex @code{\tupletUp}
502 @cindex @code{\tupletDown}
504 @cindex @code{\tupletBoth}
509 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
513 Nested tuplets are not formatted automatically. In this case, outer
514 tuplet brackets should be moved manually.
516 @node Easy Notation note heads
517 @subsection Easy Notation note heads
519 @cindex easy notation
522 The `easyplay' note head includes a note name inside the head. It is
523 used in music aimed at beginners.
525 @lilypond[singleline,verbatim,26pt]
527 \notes { c'2 e'4 f' | g'1 }
528 \paper { \translator { \EasyNotation } }
532 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
533 You probably will want to print it with magnification or a
534 large font size to make it more readable. To print with
535 magnification, you must create a DVI file (with @file{ly2dvi}) and
536 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
537 See the @code{dvips} documentation for more details. To print with a
538 larger font, see @ref{Font Size}.
544 If you view the result with Xdvi, then staff lines will show through
545 the letters. Printing the PostScript file obtained with ly2dvi does
546 produce the correct result.
549 @node Easier music entry
550 @section Easier music entry
553 When entering music it is easy to introduce errors. This section deals
554 with tricks and features of the input language that help when entering
555 music, and find and correct mistakes. Some features of the input
556 language ease entering music, but also have other applications. They
557 are not described in this section.
559 It is also possible to use external programs, for example GUI
560 interfaces, or MIDI transcription programs, to enter or edit
561 music. Refer to the website for more information. Finally, there are
562 tools make debugging easier, by linking the input file and the output
563 shown on screen. See @ref{Point and click} for more information.
569 * Skipping corrected music::
570 * Automatic note splitting ::
576 @node Relative octaves
577 @subsection Relative octaves
579 @cindex relative octave specification
581 Octaves are specified by adding @code{'} and @code{,} to pitch names.
582 When you copy existing music, it is easy to accidentally put a pitch
583 in the wrong octave and hard to find such an error. The relative
584 octave mode prevents these errors: a single error puts the rest of the
585 piece off by one octave:
587 @cindex @code{\relative}
589 \relative @var{startpitch} @var{musicexpr}
592 The octave of notes that appear in @var{musicexpr} are calculated as
593 follows: If no octave changing marks are used, the basic interval
594 between this and the last note is always taken to be a fourth or less
595 (; this distance is determined without regarding alterations: a
596 @code{fisis} following a @code{ceses} will be put above the
599 The octave changing marks @code{'} and @code{,} can be added to raise
600 or lower the pitch by an extra octave. Upon entering relative mode,
601 an absolute starting pitch must be specified that will act as the
602 predecessor of the first note of @var{musicexpr}.
604 Here is the relative mode shown in action:
605 @lilypond[fragment,singleline,verbatim,center]
611 Octave changing marks are used for intervals greater than a fourth:
612 @lilypond[fragment,verbatim,center]
617 If the preceding item is a chord, the first note of the chord is used
618 to determine the first note of the next chord:
620 @lilypond[fragment,verbatim,center]
627 @cindex @code{\notes}
629 The pitch after the @code{\relative} contains a note name. To parse
630 the pitch as a note name, you have to be in note mode, so there must
631 be a surrounding @code{\notes} keyword (which is not
634 The relative conversion will not affect @code{\transpose},
635 @code{\chords} or @code{\relative} sections in its argument. If you
636 want to use relative within transposed music, you must place an
637 additional @code{\relative} inside the @code{\transpose}.
641 @subsection Bar check
645 @cindex @code{barCheckSynchronize}
648 Bar checks help detect errors in the durations. A bar check is
649 entered using the bar symbol, `@code{|}'. Whenever it is encountered
650 during interpretation, it should fall on a measure boundary. If it
651 does not, a warning is printed. Depending on the value of
652 @code{barCheckSynchronize}, the beginning of the measure will be
655 In the next example, the second bar check will signal an error:
657 \time 3/4 c2 e4 | g2 |
662 @cindex skipTypesetting
664 Failed bar checks are caused by entering incorrect
665 durations. Incorrect durations often completely garble up the score,
666 especially if it is polyphonic, so you should start correcting the
667 score by scanning for failed bar checks and incorrect durations. To
668 speed up this process, you can use @code{skipTypesetting}, described
671 @node Skipping corrected music
672 @subsection Skipping corrected music
674 The property @code{Score.skipTypesetting} can be used to switch on and
675 off typesetting completely during the interpretation phase. When
676 typesetting is switched off, the music is processed much more quickly.
677 This can be used to skip over the parts of a score that have already
678 been checked for errors:
680 @lilypond[fragment,singleline,verbatim]
682 \property Score.skipTypesetting = ##t
684 \property Score.skipTypesetting = ##f
688 @node Automatic note splitting
689 @subsection Automatic note splitting
691 Long notes can be converted automatically to tied notes. This is done
692 by replacing the @internalsref{Note_heads_engraver} by the
693 @internalsref{Completion_heads_engraver}:
696 \paper @{ \translator @{
698 \remove "Note_heads_engraver"
699 \consists "Completion_heads_engraver"
703 which will make long notes tied in the following example:
706 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
713 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
715 \paper { \translator {
717 \remove "Note_heads_engraver"
718 \consists "Completion_heads_engraver"
723 This engraver splits all running notes at the bar line, and inserts
724 ties. One of its uses is to debug complex scores: if the measures are
725 not entirely filled, then the ties exactly show how much each measure
730 Not all durations (especially those containing tuplets) can be
731 represented exactly; the engraver will not insert tuplets.
737 @section Staff notation
739 This section describes music notation that occurs on staff level,
740 such as keys, clefs and time signatures.
742 @cindex Staff notation
756 @subsection Staff symbol
758 @cindex adjusting staff symbol
759 @cindex StaffSymbol, using \property
760 @cindex staff lines, setting number of
762 Notes, dynamic signs, etc. are grouped
763 with a set of horizontal lines, into a staff (plural `staves'). In our
764 system, these lines are drawn using a separate layout object called
767 This object is created whenever a @internalsref{Staff} context is
768 created. The appearance of the staff symbol cannot be changed by
769 using @code{\override} or @code{\set}. At the moment that
770 @code{\property Staff} is interpreted, a @internalsref{Staff} context
771 is made, and the @internalsref{StaffSymbol} is created before any
772 @code{\override} is effective. Properties can be changed in a
773 @code{\translator} definition, or by using @code{\outputproperty}.
777 If a staff is ended halfway a piece, the staff symbol may not end
778 exactly on the barline.
782 @subsection Key signature
783 @cindex Key signature
787 The key signature indicates the scale in which a piece is played. It
788 is denoted by a set of alterations (flats or sharps) at the start of
793 Setting or changing the key signature is done with the @code{\key}
796 @code{\key} @var{pitch} @var{type}
799 @cindex @code{\minor}
800 @cindex @code{\major}
801 @cindex @code{\minor}
802 @cindex @code{\ionian}
803 @cindex @code{\locrian}
804 @cindex @code{\aeolian}
805 @cindex @code{\mixolydian}
806 @cindex @code{\lydian}
807 @cindex @code{\phrygian}
808 @cindex @code{\dorian}
810 Here, @var{type} should be @code{\major} or @code{\minor} to get
811 @var{pitch}-major or @var{pitch}-minor, respectively.
812 The standard mode names @code{\ionian},
813 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
814 @code{\phrygian}, and @code{\dorian} are also defined.
816 This command sets the context property
817 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
818 can be specified by setting this property directly.
822 The ordering of a key cancellation is wrong when it is combined with
823 repeat bar lines. The cancellation is also printed after a line break.
827 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
829 @cindex @code{keySignature}
836 The clef indicates which lines of the staff correspond to which
841 The clef can be set or changed with the @code{\clef} command:
842 @lilypond[fragment,verbatim]
843 \key f\major c''2 \clef alto g'2
846 Supported clef-names include:
847 @c Moved standard clefs to the top /MB
849 @item treble, violin, G, G2
858 G clef on 1st line, so-called French violin clef
873 By adding @code{_8} or @code{^8} to the clef name, the clef is
874 transposed one octave down or up, respectively. Argument @var{clefname}
875 must be enclosed in quotes when it contains underscores or digits. For
881 This command is equivalent to setting @code{clefGlyph},
882 @code{clefPosition} (which controls the Y position of the clef),
883 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
884 when any of these properties are changed.
888 The object for this symbol is @internalsref{Clef}.
892 @node Ottava brackets
893 @subsection Ottava brackets
895 ``Ottava'' brackets introduce an extra transposition of an octave for
896 the staff. They are created by invoking the function
897 @code{set-octavation}:
903 @lilypond[verbatim,fragment]
912 Internally the @code{set-octavation} function sets the properties
913 @code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
917 @internalsref{OttavaBracket}.
921 @code{set-octavation} will get confused when clef changes happen
922 during an octavation bracket.
925 @subsection Time signature
926 @cindex Time signature
930 Time signature indicates the metrum of a piece: a regular pattern of
931 strong and weak beats. It is denoted by a fraction at the start of the
936 The time signature is set or changed by the @code{\time}
938 @lilypond[fragment,verbatim]
939 \time 2/4 c'2 \time 3/4 c'2.
942 The symbol that is printed can be customized with the @code{style}
943 property. Setting it to @code{#'()} uses fraction style for 4/4 and
944 2/2 time. There are many more options for its layout. See
945 @inputfileref{input/test,time.ly} for more examples.
948 This command sets the property @code{timeSignatureFraction},
949 @code{beatLength} and @code{measureLength} in the @code{Timing}
950 context, which is normally aliased to @internalsref{Score}. The
951 property @code{measureLength} determines where bar lines should be
952 inserted, and how automatic beams should be generated. Changing the
953 value of @code{timeSignatureFraction} also causes the symbol to be
956 More options are available through the Scheme function
957 @code{set-time-signature}. In combination with the
958 @internalsref{Measure_grouping_engraver}, it will create
959 @internalsref{MeasureGrouping} signs. Such signs ease reading
960 rhythmically complex modern music. In the following example, the 9/8
961 measure is subdivided in 2, 2, 2 and 3. This is passed to
962 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
965 \score { \notes \relative c'' {
966 #(set-time-signature 9 8 '(2 2 2 3))
967 g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
968 #(set-time-signature 5 8 '(3 2))
973 \translator { \StaffContext
974 \consists "Measure_grouping_engraver"
980 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
985 Automatic beaming does not use measure grouping specified with
986 @code{set-time-signature}.
988 @node Partial measures
989 @subsection Partial measures
992 @cindex partial measure
993 @cindex measure, partial
994 @cindex shorten measures
995 @cindex @code{\partial}
997 Partial measures, for example in upsteps, are entered using the
998 @code{\partial} command:
999 @lilypond[fragment,verbatim]
1000 \partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
1003 The syntax for this command is
1005 \partial @var{duration}
1007 This is internally translated into
1009 \property Timing.measurePosition = -@var{length of duration}
1012 The property @code{measurePosition} contains a rational number
1013 indicating how much of the measure has passed at this point.
1015 @node Unmetered music
1016 @subsection Unmetered music
1018 Bar lines and bar numbers are calculated automatically. For unmetered
1019 music (e.g. cadenzas), this is not desirable. By setting
1020 @code{Score.timing} to false, this automatic timing can be switched
1026 @cindex @code{\cadenzaOn}
1028 @cindex @code{\cadenzaOff}
1032 @subsection Bar lines
1036 @cindex measure lines
1040 Bar lines delimit measures, but are also used to indicate repeats.
1041 Normally, they are inserted automatically. Line breaks may only
1047 of barlines can be forced with the @code{\bar} command:
1048 @lilypond[relative=1,fragment,verbatim]
1052 The following bar types are available:
1053 @lilypond[fragment, relative, singleline, verbatim]
1065 In scores with many staves, a @code{\bar} command in one staff is
1066 automatically applied to all staffs. The resulting bar lines are
1067 connected between different staves of a @internalsref{StaffGroup}:
1069 @lilypond[fragment, verbatim]
1070 < \context StaffGroup <
1071 \context Staff = up { e'4 d'
1074 \context Staff = down { \clef bass c4 g e g } >
1075 \context Staff = pedal { \clef bass c2 c2 } >
1079 The command @code{\bar @var{bartype}} is a short cut for doing
1080 @code{\property Score.whichBar = @var{bartype}} Whenever
1081 @code{whichBar} is set to a string, a bar line of that type is
1082 created. At the start of a measure it is set to
1083 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1084 to override default measure bars.
1086 Property @code{whichBar} can also be set directly, using @code{\property}
1087 or @code{\bar}. These settings take precedence over the automatic
1088 @code{whichBar} settings.
1091 @cindex repeatCommands
1092 @cindex defaultBarType
1094 You are encouraged to use @code{\repeat} for repetitions. See
1104 The bar line objects that are created at @internalsref{Staff} level
1105 are called @internalsref{BarLine}, the bar lines that span staffs are
1106 @internalsref{SpanBar}s.
1113 The easiest way to enter fragments with more than one voice on a staff
1114 is to split chords using the separator @code{\\}. You can use it for
1115 small, short-lived voices or for single chords:
1117 @lilypond[verbatim,fragment]
1118 \context Voice = VA \relative c'' {
1119 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d >
1123 The separator causes @internalsref{Voice} contexts to be
1125 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1126 contexts, vertical direction of slurs, stems, etc. is set
1129 This can also be done by instantiating @internalsref{Voice} contexts
1130 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1131 a stem directions and horizontal shift for each part:
1134 @lilypond[singleline, verbatim]
1136 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1137 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1138 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1141 Normally, note heads with a different number of dots are not merged, but
1142 when the object property @code{merge-differently-dotted} is set in
1143 the @internalsref{NoteCollision} object, they are merged:
1144 @lilypond[verbatim,fragment,singleline]
1145 \relative c'' \context Voice < {
1147 \property Staff.NoteCollision \override
1148 #'merge-differently-dotted = ##t
1150 } \\ { g8.-[ f16-] g8.-[ f16-] }
1154 Similarly, you can merge half note heads with eighth notes, by setting
1155 @code{merge-differently-headed}:
1156 @lilypond[fragment, relative=2,verbatim]
1159 \property Staff.NoteCollision
1160 \override #'merge-differently-headed = ##t
1161 c8 c4. } \\ { c2 c2 } >
1164 LilyPond also vertically shifts rests that are opposite of a stem:
1167 @lilypond[singleline,fragment,verbatim]
1168 \context Voice < c''4 \\ r4 >
1176 @cindex @code{\oneVoice}
1178 @cindex @code{\voiceOne}
1180 @cindex @code{\voiceTwo}
1182 @cindex @code{\voiceThree}
1184 @cindex @code{\voiceFour}
1187 The following commands specify in what chords of the current voice
1188 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1189 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1192 @cindex @code{\shiftOn}
1194 @cindex @code{\shiftOnn}
1196 @cindex @code{\shiftOnnn}
1198 @cindex @code{\shiftOff}
1205 The objects responsible for resolving collisions are
1206 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1207 also example files @inputfileref{input/regression,collision-dots.ly},
1208 @inputfileref{input/regression,collision-head-chords.ly},
1209 @inputfileref{input/regression,collision-heads.ly},
1210 @inputfileref{input/regression,collision-mesh.ly}, and
1211 @inputfileref{input/regression,collisions.ly}.
1216 Resolving collisions is a intricate subject, and only a few situations
1217 are handled. When LilyPond cannot cope, the @code{force-hshift}
1218 property of the @internalsref{NoteColumn} object and pitched rests can
1219 be used to override typesetting decisions.
1221 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1222 note, and a downstem half note, the 8th note gets the wrong offset.
1227 Beams are used to group short notes into chunks that are aligned with
1228 the metrum. They are inserted automatically in most cases:
1230 @lilypond[fragment,verbatim, relative=2]
1231 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1234 When these automatic decisions are not good enough, beaming can be
1235 entered explicitly. It is also possible to define beaming patterns
1236 that differ from the defaults.
1240 @internalsref{Beam}.
1243 @cindex Automatic beams
1244 @subsection Manual beams
1245 @cindex beams, manual
1249 In some cases it may be necessary to override the automatic beaming
1250 algorithm. For example, the auto beamer will not put beams over rests
1251 or bar lines. Such beams are specified by manually: the begin and end
1252 point are marked with @code{[} and @code{]}:
1254 @lilypond[fragment,relative,verbatim]
1256 r4 r8-[ g' a r8-] r8 g-[ | a-] r8
1260 @cindex @code{stemLeftBeamCount}
1262 Normally, beaming patterns within a beam are determined automatically.
1263 When this mechanism fouls up, the properties
1264 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1265 be used to control the beam subdivision on a stem. If either property
1266 is set, its value will be used only once, and then it is erased.
1268 @lilypond[fragment,relative,verbatim]
1271 f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
1274 @cindex @code{stemRightBeamCount}
1277 The property @code{subdivideBeams} can be set in order to subdivide
1278 all 16th or shorter beams at beat positions, as defined by the
1279 @code{beatLength} property . This accomplishes the same effect as
1280 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1281 but it take less typing:
1284 @lilypond[relative=1,verbatim,noindent]
1285 c16-[ c c c c c c c-]
1286 \property Voice.subdivideBeams = ##t
1287 c16-[ c c c c c c c-]
1288 \property Score.beatLength = #(ly:make-moment 1 8)
1289 c16-[ c c c c c c c-]
1291 @cindex subdivideBeams
1293 Kneed beams are inserted automatically, when a large gap is detected
1294 between the note heads. This behavior can be tuned through the object
1295 property @code{auto-knee-gap}.
1297 @cindex beams, kneed
1299 @cindex auto-knee-gap
1307 Automatically kneed beams cannot be used together with Hara Kiri
1312 * Setting automatic beam behavior ::
1316 @no de Beam typography
1317 @sub section Beam typography
1319 One of the strong points of LilyPond is how beams are formatted. Beams
1320 are quantized, meaning that the left and right endpoints beams start
1321 exactly on staff lines. Without quantization, small wedges of white
1322 space appear between the beam and staff line, and this looks untidy.
1324 Beams are also slope-damped: melodies that go up or down should also
1325 have beams that go up or down, but the slope of the beams should be
1326 less than the slope of the notes themselves.
1328 Some beams should be horizontal. These are so-called concave beams.
1330 [TODO: some pictures.]
1334 @node Setting automatic beam behavior
1335 @subsection Setting automatic beam behavior
1337 @cindex @code{autoBeamSettings}
1338 @cindex @code{(end * * * *)}
1339 @cindex @code{(begin * * * *)}
1340 @cindex automatic beams, tuning
1341 @cindex tuning automatic beaming
1343 @c [TODO: use \applycontext]
1345 In normal time signatures, automatic beams can start on any note but can
1346 only end in a few positions within the measure: beams can end on a beat,
1347 or at durations specified by the properties in
1348 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1349 are defined in @file{scm/auto-beam.scm}.
1351 The value of @code{autoBeamSettings} is changed using
1352 @code{\override} and restored with @code{\revert}:
1354 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1355 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1357 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1358 whether the rule applies to begin or end-points. The quantity
1359 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1360 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1361 signature (wildcards, `@code{* *}' may be entered to designate all time
1364 For example, if automatic beams should end on every quarter note, use
1367 \property Voice.autoBeamSettings \override
1368 #'(end * * * *) = #(ly:make-moment 1 4)
1370 Since the duration of a quarter note is 1/4 of a whole note, it is
1371 entered as @code{(ly:make-moment 1 4)}.
1373 The same syntax can be used to specify beam starting points. In this
1374 example, automatic beams can only end on a dotted quarter note:
1376 \property Voice.autoBeamSettings \override
1377 #'(end * * * *) = #(ly:make-moment 3 8)
1379 In 4/4 time signature, this means that automatic beams could end only on
1380 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1381 3/8 has passed within the measure).
1383 Rules can also be restricted to specific time signatures. A rule that
1384 should only be applied in @var{N}/@var{M} time signature is formed by
1385 replacing the second asterisks by @var{N} and @var{M}. For example, a
1386 rule for 6/8 time exclusively looks like
1388 \property Voice.autoBeamSettings \override
1389 #'(begin * * 6 8) = ...
1392 If a rule should be to applied only to certain types of beams, use the
1393 first pair of asterisks. Beams are classified according to the
1394 shortest note they contain. For a beam ending rule that only applies
1395 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1398 If a score ends while an automatic beam has not been ended and is still
1399 accepting notes, this last beam will not be typeset at all.
1401 @cindex automatic beam generation
1403 @cindex @code{Voice.autoBeaming}
1406 For melodies that have lyrics, you may want to switch off
1407 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1412 @cindex @code{\autoBeamOff}
1413 @code{\autoBeamOff},
1414 @cindex @code{\autoBeamOn}
1420 It is not possible to specify beaming parameters for beams with mixed
1421 durations, that differ from the beaming parameters of all separate
1422 durations, i.e. you will have to specify manual beams to get:
1424 @lilypond[singleline,fragment,relative,noverbatim,quote]
1425 \property Voice.autoBeamSettings
1426 \override #'(end * * * *) = #(ly:make-moment 3 8)
1427 \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
1429 It is not possible to specify beaming parameters that act differently in
1430 different parts of a measure. This means that it is not possible to use
1431 automatic beaming in irregular meters such as @code{5/8}.
1434 @section Accidentals
1437 This section describes how to change the way that accidentals are
1438 inserted automatically before the running notes.
1442 * Using the predefined accidental variables::
1443 * Customized accidental rules::
1446 @node Using the predefined accidental variables
1447 @subsection Using the predefined accidental variables
1449 The constructs for describing the accidental typesetting rules are
1450 quite hairy, so non-experts should stick to the variables
1451 defined in @file{ly/property-init.ly}.
1452 @cindex @file{property-init.ly}
1454 The variables set properties in the ``@code{Current}'' context (see
1455 @ref{Context properties}). This means that the variables should
1456 normally be added right after the creation of the context in which the
1457 accidental typesetting described by the variable is to take
1458 effect. For example, if you want to use piano-accidentals in a piano
1459 staff then issue @code{\pianoAccidentals} first thing after the
1460 creation of the piano staff:
1463 \notes \relative c'' <
1464 \context Staff = sa @{ cis4 d e2 @}
1465 \context GrandStaff <
1467 \context Staff = sb @{ cis4 d e2 @}
1468 \context Staff = sc @{ es2 c @}
1470 \context Staff = sd @{ es2 c @}
1474 @lilypond[singleline]
1476 \notes \relative c'' <
1477 \context Staff = sa { cis4 d e2 }
1478 \context GrandStaff <
1480 \context Staff = sb { cis4 d e2 }
1481 \context Staff = sc { es2 c }
1483 \context Staff = sd { es2 c }
1488 minimumVerticalExtent = #'(-4.0 . 4.0)
1496 @item \defaultAccidentals
1497 @cindex @code{\defaultAccidentals}
1498 This is the default typesetting behaviour. It should correspond
1499 to 18th century common practice: Accidentals are
1500 remembered to the end of the measure in which they occur and
1501 only on their own octave.
1503 @item \voiceAccidentals
1504 @cindex @code{\voiceAccidentals}
1506 The normal behaviour is to
1507 remember the accidentals on Staff-level. This variable, however,
1508 typesets accidentals individually for each voice. Apart from that the
1509 rule is similar to @code{\defaultAccidentals}.
1511 This leads to some weird and often unwanted results
1512 because accidentals from one voice do not get cancelled in other
1514 @lilypond[singleline,relative,fragment,verbatim,quote]
1522 Hence you should only use @code{\voiceAccidentals} if the voices
1523 are to be read solely by individual musicians. If the staff is to be
1524 used by one musician (e.g. a conductor) then you use
1525 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1528 @item \modernAccidentals
1529 @cindex @code{\modernAccidentals}
1530 This rule corresponds to the common practice in the 20th
1532 The rule is more complex than @code{\defaultAccidentals}.
1533 You get all the same accidentals, but temporary
1534 accidentals also get cancelled in other octaves. Furthermore,
1535 in the same octave, they also get cancelled in the following measure:
1536 @lilypond[singleline,fragment,verbatim]
1538 cis' c'' cis'2 | c'' c'
1541 @item \modernCautionaries
1542 @cindex @code{\modernCautionaries}
1543 This rule is similar to @code{\modernAccidentals}, but the
1544 ``extra'' accidentals (the ones not typeset by
1545 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1546 They are printed in reduced size or with parentheses:
1547 @lilypond[singleline,fragment,verbatim]
1549 cis' c'' cis'2 | c'' c'
1552 @cindex @code{\modernVoiceAccidentals}
1553 @item \modernVoiceAccidentals
1554 is used for multivoice accidentals to be read both by musicians
1555 playing one voice and musicians playing all voices. Accidentals are
1556 typeset for each voice, but they @emph{are} cancelled across voices in
1557 the same @internalsref{Staff}.
1559 @cindex @code{\modernVoiceCautionaries}
1560 @item \modernVoiceCautionaries
1561 is the same as @code{\modernVoiceAccidentals}, but with the extra
1562 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1563 as cautionaries. Even though all accidentals typeset by
1564 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1565 some of them are typeset as cautionaries.
1567 @item \pianoAccidentals
1568 @cindex @code{\pianoAccidentals}
1569 20th century practice for piano notation. Very similar to
1570 @code{\modernAccidentals} but accidentals also get cancelled
1571 across the staves in the same @internalsref{GrandStaff} or
1572 @internalsref{PianoStaff}.
1574 @item \pianoCautionaries
1575 @cindex @code{\pianoCautionaries}
1576 As @code{\pianoAccidentals} but with the extra accidentals
1577 typeset as cautionaries.
1580 @cindex @code{\noResetKey}
1581 Same as @code{\defaultAccidentals} but with accidentals lasting
1582 ``forever'' and not only until the next measure:
1583 @lilypond[singleline,fragment,verbatim,relative]
1588 @item \forgetAccidentals
1589 @cindex @code{\forgetAccidentals}
1590 This is sort of the opposite of @code{\noResetKey}: Accidentals
1591 are not remembered at all---and hence all accidentals are
1592 typeset relative to the key signature, regardless of what was
1593 before in the music:
1594 @lilypond[singleline,fragment,verbatim,relative]
1596 \key d\major c4 c cis cis d d dis dis
1600 @node Customized accidental rules
1601 @subsection Customized accidental rules
1603 This section must be considered gurus-only, and hence it must be
1604 sufficient with a short description of the system and a reference to
1605 the internal documentation.
1607 The algorithm tries several different rules, and uses the rule
1608 that gives the highest number of accidentals. Each rule consists of
1611 In which context is the rule applied. For example, if
1612 @var{context} is @internalsref{Score} then all staves share
1613 accidentals, and if @var{context} is @internalsref{Staff} then all
1614 voices in the same staff share accidentals, but staves do not.
1616 Whether the accidental changes all octaves or only the current
1619 Over how many barlines the accidental lasts.
1620 If @var{lazyness} is @code{-1} then the accidental is forget
1621 immediately, and if @var{lazyness} is @code{#t} then the accidental
1624 @c [TODO: should use +infinity for this case?]
1630 @cindex @code{\defaultAccidentals}
1631 @code{\defaultAccidentals},
1632 @cindex @code{\voiceAccidentals}
1633 @code{\voiceAccidentals},
1634 @cindex @code{\modernAccidentals}
1635 @code{\modernAccidentals},
1636 @cindex @code{\modernCautionaries}
1637 @code{\modernCautionaries},
1638 @cindex @code{\modernVoiceAccidentals}
1639 @code{\modernVoiceAccidentals},
1640 @cindex @code{\modernVoiceCautionaries}
1641 @code{\modernVoiceCautionaries},
1642 @cindex @code{\pianoAccidentals}
1643 @code{\pianoAccidentals},
1644 @cindex @code{\pianoCautionaries}
1645 @code{\pianoCautionaries},
1646 @cindex @code{\noResetKey}
1648 @cindex @code{\forgetAccidentals}
1649 @code{\forgetAccidentals}.
1653 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1654 @internalsref{AccidentalPlacement}.
1659 Currently the simultaneous notes are considered to be entered in
1660 sequential mode. This means that in a chord the accidentals are
1661 typeset as if the notes in the chord happened once at a time - in the
1662 order in which they appear in the input file.
1664 This is only a problem when there are simultaneous notes whose
1665 accidentals depend on each other. The problem only occurs when using
1666 non-default accidentals. In the default scheme, accidentals only
1667 depend on other accidentals with the same pitch on the same staff, so
1668 no conflicts possible.
1670 This example shows two examples of the same music giving different
1671 accidentals depending on the order in which the notes occur in the
1674 @lilypond[singleline,fragment,verbatim]
1675 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1676 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1677 | <<cis' c''>> r | <<c'' cis'>> r |
1680 This problem can be solved by manually inserting @code{!} and @code{?}
1681 for the problematic notes.
1683 @node Expressive marks
1684 @section Expressive marks
1692 * Analysis brackets::
1699 A slur indicates that notes are to be played bound or @emph{legato}.
1703 They are entered using parentheses:
1704 @lilypond[fragment,verbatim,center]
1705 f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-)
1706 <<c' e'>>2-( <<b d'>>2-)
1710 @c TODO: should explain that ^( and _( set directions
1711 @c should set attachments with ^ and _ ?
1713 Slurs avoid crossing stems, and are generally attached to note heads.
1714 However, in some situations with beams, slurs may be attached to stem
1715 ends. If you want to override this layout you can do this through the
1716 object property @code{attachment} of @internalsref{Slur} in
1717 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1718 the attachment type of the left and right end points:
1720 @lilypond[fragment,relative,verbatim]
1722 \property Voice.Stem \set #'length = #5.5
1724 \property Voice.Slur \set #'attachment = #'(stem . stem)
1728 If a slur would strike through a stem or beam, the slur will be moved
1729 away upward or downward. If this happens, attaching the slur to the
1730 stems might look better:
1732 @lilypond[fragment,relative,verbatim]
1735 \property Voice.Slur \set #'attachment = #'(stem . stem)
1742 @cindex @code{\slurUp}
1744 @cindex @code{\slurDown}
1746 @cindex @code{\slurBoth}
1748 @cindex @code{\slurDotted}
1750 @cindex @code{\slurSolid}
1755 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1760 Producing nice slurs is a difficult problem, and LilyPond currently
1761 uses a simple, empiric method to produce slurs. In some cases, its
1765 @cindex Adjusting slurs
1767 @node Phrasing slurs
1768 @subsection Phrasing slurs
1770 @cindex phrasing slurs
1771 @cindex phrasing marks
1773 A phrasing slur (or phrasing mark) connects chords and is used to
1774 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1777 @lilypond[fragment,verbatim,center,relative]
1778 \time 6/4 c'-\( d-( e-) f-( e-) d-\)
1781 Typographically, the phrasing slur behaves almost exactly like a
1782 normal slur. However, they are treated as different objects. A
1783 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1784 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1785 @code{\phrasingSlurBoth}.
1787 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1788 will only affect normal slurs and not phrasing slurs.
1792 @cindex @code{\phrasingSlurUp}
1793 @code{\phrasingSlurUp},
1794 @cindex @code{\phrasingSlurDown}
1795 @code{\phrasingSlurDown},
1796 @cindex @code{\phrasingSlurBoth}
1797 @code{\phrasingSlurBoth},
1801 See also @internalsref{PhrasingSlur}, and
1802 @internalsref{PhrasingSlurEvent}.
1806 Phrasing slurs have the same limitations in their formatting as normal
1807 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1810 @subsection Breath marks
1812 Breath marks are entered using @code{\breathe}:
1815 @lilypond[fragment,relative,verbatim]
1819 The glyph of the breath mark can be tweaked by overriding the
1820 @code{text} property of the @code{BreathingSign} layout object with the name of
1821 any glyph of @ref{The Feta font}. For example,
1822 @lilypond[fragment,verbatim,relative]
1824 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1831 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1832 @inputfileref{input/regression,breathing-sign.ly}.
1835 @node Metronome marks
1836 @subsection Metronome marks
1839 @cindex beats per minute
1840 @cindex metronome marking
1842 Metronome settings can be entered as follows:
1844 \tempo @var{duration} = @var{perminute}
1847 In the MIDI output, they are interpreted as a tempo change, and in the
1848 paper output, a metronome marking is printed:
1849 @cindex @code{\tempo}
1850 @lilypond[fragment,verbatim]
1856 @internalsref{TempoEvent}.
1861 @subsection Text spanners
1862 @cindex Text spanners
1864 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1865 are written as texts, and extended over many measures with dotted
1866 lines. You can create such texts using text spanners: attach
1867 @code{\startTextSpan} and @code{\stopTextSpan} to the
1868 start and ending note of the spanner.
1870 The string to be printed, as well as the style, is set through object
1873 @lilypond[fragment,relative,verbatim]
1875 \property Voice.TextSpanner \set #'direction = #-1
1876 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1877 c2-\startTextSpan b c-\stopTextSpan a }
1883 @internalsref{TextSpanEvent},
1884 @internalsref{TextSpanner}, and
1885 @inputfileref{input/regression,text-spanner.ly}.
1888 @node Analysis brackets
1889 @subsection Analysis brackets
1891 @cindex phrasing brackets
1892 @cindex musicological analysis
1893 @cindex note grouping bracket
1895 Brackets are used in musical analysis to indicate structure in musical
1896 pieces. LilyPond supports a simple form of nested horizontal brackets.
1897 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1898 @internalsref{Staff} context. A bracket is started with
1899 @code{\startGroup} and closed with @code{\stopGroup}:
1901 @lilypond[singleline,verbatim]
1902 \score { \notes \relative c'' {
1903 c4-\startGroup-\startGroup
1906 c4-\stopGroup-\stopGroup
1908 \paper { \translator {
1909 \StaffContext \consists "Horizontal_bracket_engraver"
1915 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
1916 @inputfileref{input/regression,note-group-bracket.ly}.
1920 @section Articulations
1921 @cindex Articulations
1923 @cindex articulations
1927 A variety of symbols can appear above and below notes to indicate
1928 different characteristics of the performance. They are added to a note
1929 by adding a dash and the character signifying the
1930 articulation. They are demonstrated here:
1932 @lilypondfile[notexidoc]{script-abbreviations.ly}
1934 The script is automatically placed, but if you need to force
1935 directions, you can use @code{_} to force them down, or @code{^} to
1937 @lilypond[fragment, verbatim]
1944 Other symbols can be added using the syntax
1945 @var{note}@code{-\}@var{name}, e.g. @code{c4-\fermata}. Again, they
1946 can be forced up or down using @code{^} and @code{_}:
1950 @cindex staccatissimo
1959 @cindex organ pedal marks
1968 @cindex prallmordent
1972 @cindex thumb marking
1977 @lilypondfile[notexidoc]{script-chart.ly}
1982 @cindex @code{\scriptUp}
1984 @cindex @code{\scriptDown}
1986 @cindex @code{\scriptBoth}
1991 @internalsref{ScriptEvent}, and @internalsref{Script}.
1995 All of these note ornaments appear in the printed output but have no
1996 effect on the MIDI rendering of the music.
1999 @node Fingering instructions
2000 @section Fingering instructions
2004 Fingering instructions can be entered using
2006 @var{note}-@var{digit}
2008 For finger changes, use markup texts:
2010 @lilypond[verbatim, singleline, fragment]
2011 c'4-1 c'4-2 c'4-3 c'4-4
2012 c'^\markup { \fontsize #-3 \number "2-3" }
2015 @cindex finger change
2020 You can use the thumb-script to indicate that a note should be
2021 played with your thumb (used in cello music):
2023 @lilypond[verbatim, singleline, fragmnt]
2024 <<a' a''-3>>8-(_\thumb-[ <<b' b''-3>>-)_\thumb
2025 <<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
2028 Fingerings for chords can also be added to individual notes
2029 of the chord by adding them after the pitches:
2030 @lilypond[verbatim,singleline,fragment,relative=1]
2031 << c-1 e-2 g-3 b-5 >> 4
2034 Setting @code{fingerHorizontalDirection} will put the fingerings next
2037 @lilypond[verbatim,singleline,fragment,relative=1]
2038 \property Voice.fingerHorizontalDirection = #LEFT
2039 << c-1 es-2 g-4 bes-5 >> 4
2040 \property Voice.fingerHorizontalDirection = #RIGHT
2041 << c-1 es-2 g-4 bes-5 >> 4
2046 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2057 @subsection Text scripts
2058 @cindex Text scripts
2060 It is possible to place arbitrary strings of text or markup text (see
2061 @ref{Text markup}) above or below notes by using a string:
2062 @code{c^"text"}. By default, these indications do not influence the
2063 note spacing, but by using the command @code{\fatText}, the widths
2064 will be taken into account:
2066 @lilypond[fragment,singleline,verbatim] \relative c' {
2067 c4^"longtext" \fatText c4_"longlongtext" c4 }
2070 It is possible to use @TeX{} commands in the strings, but this should
2071 be avoided because the exact dimensions of the string can then no
2077 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2083 @subsection Grace notes
2085 @cindex @code{\grace}
2089 Grace notes are ornaments that are written out:
2091 @lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
2095 In normal notation, grace notes take up no logical
2096 time in a measure. Such an idea is practical for normal notation, but
2097 is not strict enough to put it into a program. The model that LilyPond
2098 uses for grace notes internally is that all timing is done in two
2101 Every point in musical time consists of two rational numbers: one
2102 denotes the logical time, one denotes the grace timing. The above
2103 example is shown here with timing tuples:
2106 \score { \notes \relative c''{
2107 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
2108 c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
2110 \paper { linewidth = 12.\cm }
2115 The placement of grace notes is synchronized between different staves.
2116 In the following example, there are two sixteenth graces notes for
2117 every eighth grace note:
2119 @lilypond[relative=2,verbatim,fragment]
2120 < \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
2121 \context Staff = SB { c'4 \grace { g8-[ b-] } c4 } >
2125 Unbeamed eighth notes and shorter by default have a slash through the
2126 stem. This can be controlled with object property @code{stroke-style} of
2127 @internalsref{Stem}. For proper matching of override and reverts of
2128 such properties, it is necessary to use a Scheme function.
2130 The following fragment overrides the default formatting Grace style stems:
2132 #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
2135 The @code{\override} is carefully matched with a @code{\revert}:
2140 @lilypond[fragment,verbatim]
2141 \relative c'' \context Voice {
2142 \grace c8 c4 \grace { c16-[ c16-] } c4
2144 \property Voice.Stem \override #'stroke-style = #'()
2146 \property Voice.Stem \revert #'stroke-style
2151 If you want to end a note with a grace note, then the standard trick
2152 is to put the grace notes before a phantom ``space note'', e.g.
2153 @lilypond[fragment,verbatim, relative=2]
2156 { s2 \grace { c16-[ d-] } } >
2162 By adjusting the duration of the skip note (here it is a half-note),
2163 the space between the main-note and the grace is adjusted.
2165 A @code{\grace} section has some default values, and LilyPond will
2166 use those default values unless you specify otherwise inside the
2167 @code{\grace} section. For example, if you specify \slurUp
2168 @emph{before} your @code{\grace} section, a slur which starts inside
2169 the @code{\grace} will not be forced up, even if the slur ends outside
2170 of the @code{\grace}. Note the difference between the first and
2171 second bars in this example:
2173 @lilypond[fragment,verbatim]
2174 \relative c'' \context Voice {
2192 @internalsref{GraceMusic}.
2196 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2198 A score that starts with an @code{\grace} section needs an explicit
2199 @code{\context Voice} declaration, otherwise the main note and grace
2200 note end up on different staffs.
2202 Grace note synchronization can also lead to surprises. Staff notation,
2203 such as key signatures, barlines, etc. are also synchronized. Take
2204 care when you mix staves with grace notes and staves without, for example,
2206 @lilypond[relative=2,verbatim,fragment]
2207 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2208 \context Staff = SB { c4 \bar "|:" d4 } >
2211 Grace sections should only be used within sequential music
2212 expressions. Nesting or juxtaposing grace sections is not supported,
2213 and might produce crashes or other errors.
2215 Overriding settings for grace music globally cannot be done in a
2216 modular way. A kludge (@code{add-to-grace-init}) is defined in
2217 @file{ly/grace-init.ly}.
2221 @subsection Glissando
2224 @cindex @code{\glissando}
2226 A glissando is a smooth change in pitch. It is denoted by a line or a
2227 wavy line between two notes.
2231 A glissando line can be requested by attaching a @code{\glissando} to
2234 @lilypond[fragment,relative,verbatim]
2240 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2245 Additional texts (such as @emph{gliss.}) is not supported.
2249 @subsection Dynamics
2262 @cindex @code{\ffff}
2272 Absolute dynamic marks are specified using an variable after a
2273 note: @code{c4-\ff}. The available dynamic marks are @code{\ppp},
2274 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2275 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2276 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2278 @lilypond[verbatim,singleline,fragment,relative]
2279 c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
2285 @cindex @code{\decr}
2286 @cindex @code{\rced}
2293 A crescendo mark is started with @code{\<} and terminated with
2294 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2295 with @code{\!}. Because these marks are bound to notes, if you must
2296 use spacer notes if multiple marks during one note are needed:
2298 @lilypond[fragment,verbatim,center,quote]
2299 c''-\< c''-\! d''-\decr e''-\rced
2300 < f''1 { s4 s4-\< s4-\! \> s4-\! } >
2302 This may give rise to very short hairpins. Use @code{minimum-length}
2303 in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for
2307 \property Staff.Hairpin \override #'minimum-length = #5
2310 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2311 is an example how to do it:
2313 @lilypond[fragment,relative=2,verbatim]
2314 c4 \cresc c4 c c c \endcresc c4
2320 You can also supply your own texts:
2321 @lilypond[fragment,relative,verbatim]
2323 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2324 \property Voice.crescendoSpanner = #'dashed-line
2334 @cindex @code{\dynamicUp}
2336 @cindex @code{\dynamicDown}
2337 @code{\dynamicDown},
2338 @cindex @code{\dynamicBoth}
2339 @code{\dynamicBoth}.
2341 @cindex direction, of dynamics
2345 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2346 @internalsref{AbsoluteDynamicEvent}.
2348 Dynamics are objects of @internalsref{DynamicText} and
2349 @internalsref{Hairpin}. Vertical positioning of these symbols is
2350 handled by the @internalsref{DynamicLineSpanner} object.
2352 If you want to adjust padding or vertical direction of the dynamics, you
2353 must set properties for the @internalsref{DynamicLineSpanner} object.
2361 @cindex @code{\repeat}
2364 Repetition is a central concept in music, and multiple notations exist
2365 for repetitions. In LilyPond, most of these notations can be captured
2366 in a uniform syntax. One of the advantages is, all these repetitions
2367 can be rendered in MIDI accurately.
2369 The following types of repetition are supported:
2373 Repeated music is fully written (played) out. Useful for MIDI
2374 output, and entering repetitive music.
2377 This is the normal notation: Repeats are not written out, but
2378 alternative endings (voltas) are printed, left to right.
2382 Alternative endings are written stacked. This has limited use but may be
2383 used to typeset two lines of lyrics in songs with repeats, see
2384 @inputfileref{input,star-spangled-banner.ly}.
2391 Make beat or measure repeats. These look like percent signs.
2397 * Repeats and MIDI::
2398 * Manual repeat commands::
2400 * Tremolo subdivisions::
2405 @subsection Repeat syntax
2409 LilyPond has one syntactic construct for specifying different types of
2410 repeats. The syntax is
2413 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2416 If you have alternative endings, you may add
2417 @cindex @code{\alternative}
2419 \alternative @code{@{} @var{alternative1}
2421 @var{alternative3} @dots{} @code{@}}
2423 where each @var{alternative} is a music expression. If you do not
2424 give enough alternatives for all of the repeats, then the first
2425 alternative is assumed to be played more than once.
2427 Normal notation repeats are used like this:
2428 @lilypond[fragment,verbatim]
2430 \repeat volta 2 { c'4 d' e' f' }
2431 \repeat volta 2 { f' e' d' c' }
2434 With alternative endings:
2435 @lilypond[fragment,verbatim]
2437 \repeat volta 2 {c'4 d' e' f'}
2438 \alternative { {d'2 d'} {f' f} }
2442 @lilypond[fragment,verbatim]
2446 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2447 \alternative { { g4 g g } { a | a a a a | b2. } }
2454 If you do a nested repeat like
2463 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2464 belongs. This ambiguity is resolved by always having the
2465 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2466 it is advisable to use braces in such situations.
2469 @node Repeats and MIDI
2470 @subsection Repeats and MIDI
2472 @cindex expanding repeats
2474 For instructions on how to unfold repeats for MIDI output, see the
2475 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2480 Timing information is not remembered at the start of an alternative,
2481 so after a repeat timing information must be reset by hand, for
2482 example by setting @code{Score.measurePosition} or entering
2483 @code{\partial}. Similarly, slurs or ties are also not repeated.
2486 @node Manual repeat commands
2487 @subsection Manual repeat commands
2489 @cindex @code{repeatCommands}
2491 The property @code{repeatCommands} can be used to control the layout of
2492 repeats. Its value is a Scheme list of repeat commands, where each repeat
2496 @item the symbol @code{start-repeat},
2497 which prints a @code{|:} bar line,
2498 @item the symbol @code{end-repeat},
2499 which prints a @code{:|} bar line,
2500 @item the list @code{(volta @var{text})},
2501 which prints a volta bracket saying @var{text}: The text can be specified as
2502 a text string or as a markup text, see @ref{Text markup}. Do not
2503 forget to change the font, as the default number font does not contain
2504 alphabetic characters. Or,
2505 @item the list @code{(volta #f)}, which
2506 stops a running volta bracket:
2509 @lilypond[verbatim, fragment]
2511 \property Score.repeatCommands = #'((volta "93") end-repeat)
2513 \property Score.repeatCommands = #'((volta #f))
2520 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2521 @internalsref{VoltaRepeatedMusic},
2522 @internalsref{UnfoldedRepeatedMusic}, and
2523 @internalsref{FoldedRepeatedMusic}.
2525 @node Tremolo repeats
2526 @subsection Tremolo repeats
2527 @cindex tremolo beams
2529 To place tremolo marks between notes, use @code{\repeat} with tremolo
2531 @lilypond[verbatim,center,singleline]
2533 \context Voice \notes\relative c' {
2534 \repeat "tremolo" 8 { c16 d16 }
2535 \repeat "tremolo" 4 { c16 d16 }
2536 \repeat "tremolo" 2 { c16 d16 }
2537 \repeat "tremolo" 4 c16
2544 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2545 are @internalsref{StemTremolo}s. The music expression is
2546 @internalsref{TremoloEvent}.
2551 The single stem tremolo must be entered without @code{@{} and
2554 @node Tremolo subdivisions
2555 @subsection Tremolo subdivisions
2556 @cindex tremolo marks
2557 @cindex @code{tremoloFlags}
2559 Tremolo marks can be printed on a single note by adding
2560 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2561 A @var{length} value of 8 gives one line across the note stem. If the
2562 length is omitted, then then the last value (stored in
2563 @code{Voice.tremoloFlags}) is used:
2565 @lilypond[verbatim,fragment,center]
2566 c'2:8 c':32 | c': c': |
2569 @c [TODO : stok is te kort bij 32en]
2573 Tremolos in this style do not carry over into the MIDI output.
2576 @node Measure repeats
2577 @subsection Measure repeats
2579 @cindex percent repeats
2580 @cindex measure repeats
2582 In the @code{percent} style, a note pattern can be repeated. It is
2583 printed once, and then the pattern is replaced with a special sign.
2584 Patterns of a one and two measures are replaced by percent-like signs,
2585 patterns that divide the measure length are replaced by slashes:
2587 @lilypond[verbatim,singleline]
2588 \context Voice { \repeat "percent" 4 { c'4 }
2589 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2595 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2596 @internalsref{PercentRepeatedMusic}, and
2597 @internalsref{DoublePercentRepeat}.
2601 @node Rhythmic music
2602 @section Rhythmic music
2604 Sometimes you might want to show only the rhythm of a melody. This
2605 can be done with the rhythmic staff. All pitches of notes on such a
2606 staff are squashed, and the staff itself has a single line:
2608 @lilypond[fragment,relative,verbatim]
2609 \context RhythmicStaff {
2611 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2616 * Percussion staves::
2617 * Percussion MIDI output::
2620 @node Percussion staves
2621 @subsection Percussion staves
2625 A percussion part for more than one instrument typically uses a
2626 multiline staff where each position in the staff refers to one piece
2631 Percussion staves are typeset with help of a set of Scheme
2632 functions. The system is based on the general MIDI drum-pitches.
2633 Include @file{drumpitch-init.ly} to use drum pitches. This file
2634 defines the pitches from the Scheme variable @code{drum-pitch-names},
2635 the definition of which can be read in @file{scm/drums.scm}. Each
2636 piece of percussion has a full name and an abbreviated name, and either
2637 the full name or the abbreviation may be used in input files.
2639 To typeset the music on a staff apply the function @code{drums->paper}
2640 to the percussion music. This function takes a list of percussion
2641 instrument names, notehead scripts and staff positions (that is:
2642 pitches relative to the C-clef) and transforms the input
2643 music by moving the pitch, changing the notehead and (optionally)
2646 @lilypond[singleline,verbatim,quote]
2647 \include "drumpitch-init.ly"
2648 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2649 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2651 \apply #(drums->paper 'drums) \context Staff <
2653 \context Voice = up { \voiceOne \up }
2654 \context Voice = down { \voiceTwo \down }
2659 In the above example the music was transformed using the list @code{'drums}.
2660 Currently the following lists are defined in @file{scm/drums.scm}:
2663 to typeset a typical drum kit on a five-line staff:
2666 \include "drumpitch-init.ly"
2667 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2668 bd sn ss tomh tommh tomml toml tomfh tomfl }
2669 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2670 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2673 \apply #(drums->paper 'drums) \context Staff <
2677 \context Lyrics \nam
2680 linewidth = 100.0\mm
2683 \remove Bar_engraver
2684 \remove Time_signature_engraver
2685 minimumVerticalExtent = #'(-4.0 . 5.0)
2689 \remove Stem_engraver
2695 The drum scheme supports six different toms. When there fewer toms, simply
2696 select the toms that produce the desired result, i.e. to get toms on
2697 the three middle lines you use @code{tommh}, @code{tomml} and
2700 Because general MIDI does not contain rimshots the sidestick is used
2701 for this purpose instead.
2703 to typeset timbales on a two line staff:
2705 @lilypond[singleline]
2706 \include "drumpitch-init.ly"
2707 nam = \lyrics { timh ssh timl ssl cb }
2708 mus = \notes { timh ssh timl ssl cb s16 }
2711 \apply #(drums->paper 'timbales) \context Staff <
2715 \context Lyrics \nam
2720 \remove Bar_engraver
2721 \remove Time_signature_engraver
2722 StaffSymbol \override #'line-count = #2
2723 StaffSymbol \override #'staff-space = #2
2724 minimumVerticalExtent = #'(-3.0 . 4.0)
2728 \remove Stem_engraver
2735 to typeset congas on a two line staff:
2737 @lilypond[singleline]
2738 \include "drumpitch-init.ly"
2739 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2740 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2743 \apply #(drums->paper 'congas) \context Staff <
2747 \context Lyrics \nam
2752 \remove Bar_engraver
2753 \remove Time_signature_engraver
2754 StaffSymbol \override #'line-count = #2
2755 StaffSymbol \override #'staff-space = #2
2756 minimumVerticalExtent = #'(-3.0 . 4.0)
2760 \remove Stem_engraver
2766 to typeset bongos on a two line staff:
2768 @lilypond[singleline]
2769 \include "drumpitch-init.ly"
2770 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2771 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2774 \apply #(drums->paper 'bongos) \context Staff <
2778 \context Lyrics \nam
2783 \remove Bar_engraver
2784 \remove Time_signature_engraver
2785 StaffSymbol \override #'line-count = #2
2786 StaffSymbol \override #'staff-space = #2
2787 minimumVerticalExtent = #'(-3.0 . 4.0)
2791 \remove Stem_engraver
2797 to typeset all kinds of simple percussion on one line staves:
2798 @lilypond[singleline]
2799 \include "drumpitch-init.ly"
2800 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2801 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2804 \apply #(drums->paper 'percussion) \context Staff <
2808 \context Lyrics \nam
2813 \remove Bar_engraver
2814 \remove Time_signature_engraver
2815 StaffSymbol \override #'line-count = #1
2816 minimumVerticalExtent = #'(-2.0 . 3.0)
2820 \remove Stem_engraver
2827 If you do not like any of the predefined lists you can define your own
2828 list at the top of your file:
2830 @lilypond[singleline, verbatim]
2831 #(set-drum-kit 'mydrums `(
2832 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2833 (snare default #f ,(ly:make-pitch 0 1 0))
2834 (hihat cross #f ,(ly:make-pitch 0 5 0))
2835 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2836 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2838 \include "drumpitch-init.ly"
2839 up = \notes { hh8 hh hh hh hhp4 hhp }
2840 down = \notes { bd4 sn bd toml8 toml }
2842 \apply #(drums->paper 'mydrums) \context Staff <
2844 \context Voice = up { \voiceOne \up }
2845 \context Voice = down { \voiceTwo \down }
2850 To use a modified existing list, one can prepend modifications to the
2854 #(set-drum-kit 'mydrums (append `(
2855 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2856 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2857 ) (get-drum-kit 'drums)))
2860 You can easily combine percussion notation with pitched notation.
2861 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2862 names, so you will have to reinclude @file{nederlands.ly} after the
2863 drum-pattern-definitions to enter normal notes:
2865 @lilypond[singleline,verbatim]
2866 \include "drumpitch-init.ly"
2867 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2868 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2869 \include "nederlands.ly"
2870 bass = \notes \transpose c c,, { a4. e8 r e g e }
2873 \apply #(drums->paper 'drums) \context Staff = drums <
2875 \context Voice = up { \voiceOne \up }
2876 \context Voice = down { \voiceTwo \down }
2878 \context Staff = bass { \clef "F_8" \bass }
2883 @node Percussion MIDI output
2884 @subsection Percussion MIDI output
2886 In order to produce correct MIDI output you need to produce two score
2887 blocks---one for the paper and one for the MIDI output. To use the
2888 percussion channel you set the property @code{instrument} to
2889 @code{'drums}. Because the drum-pitches themselves are similar to the
2890 general MIDI pitches all you have to do is to insert the voices with
2891 none of the scheme functions to get the correct MIDI output:
2895 \apply #(drums->paper 'mydrums) \context Staff <
2904 \property Staff.instrument = #'drums
2913 This scheme is a temporary implementation.
2917 @section Piano music
2919 Piano staves are two normal staves coupled with a brace. The staves
2920 are largely independent, but sometimes voices can cross between the
2921 two staves. The same notation is also used for harps and other key
2922 instruments. The @internalsref{PianoStaff} is especially built to
2923 handle this cross-staffing behavior. In this section we discuss the
2924 @internalsref{PianoStaff} and some other pianistic peculiarities.
2928 * Automatic staff changes::
2929 * Manual staff switches::
2932 * Staff switch lines::
2937 There is no support for putting chords across staves. You can get
2938 this result by increasing the length of the stem in the lower stave so
2939 it reaches the stem in the upper stave, or vice versa. An example is
2940 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
2942 Dynamics are not centered, but kludges do exist. See
2943 @inputfileref{input/templates,piano-dynamics.ly}.
2945 @cindex cross staff stem
2946 @cindex stem, cross staff
2949 @c fixme: should have hyperlinks as well.
2955 @node Automatic staff changes
2956 @subsection Automatic staff changes
2957 @cindex Automatic staff changes
2959 Voices can switch automatically between the top and the bottom
2960 staff. The syntax for this is
2962 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2964 The autochanger switches on basis of pitch (central C is the turning
2965 point), and it looks ahead skipping over rests to switch in
2966 advance. Here is a practical example:
2968 @lilypond[verbatim,singleline,quote]
2969 \score { \notes \context PianoStaff <
2970 \context Staff = "up" {
2971 \autochange Staff \context Voice = VA < \relative c' {
2972 g4 a b c d r4 a g } > }
2973 \context Staff = "down" {
2980 In this example, spacer rests are used to prevent the bottom staff from
2981 terminating too soon.
2986 @internalsref{AutoChangeMusic}.
2990 The staff switches often do not end up in optimal places. For high
2991 quality output staff switches should be specified manually.
2995 @node Manual staff switches
2996 @subsection Manual staff switches
2998 @cindex manual staff switches
2999 @cindex staff switch, manual
3001 Voices can be switched between staves manually, using the following command:
3003 \translator Staff = @var{staffname} @var{music}
3007 The string @var{staffname} is the name of the staff. It switches the
3008 current voice from its current staff to the Staff called
3009 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3017 Pianos have pedals that alter the way sound are produced. Generally, a
3018 piano has three pedals, sustain, una corda, and sostenuto.
3022 Piano pedal instruction can be expressed by attaching
3023 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3024 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3027 @lilypond[fragment,verbatim]
3028 c'4-\sustainDown c'4-\sustainUp
3031 What is printed can be modified by setting @code{pedal@var{X}Strings},
3032 where @var{X} is one of the pedal types: @code{Sustain},
3033 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3034 documentation of @internalsref{SustainPedal} for more information.
3036 Pedals can also be indicated by a sequence of brackets, by setting the
3037 @code{pedalSustainStyle} property to @code{bracket} objects:
3039 @lilypond[fragment,verbatim]
3040 \property Staff.pedalSustainStyle = #'bracket
3041 c''4-\sustainDown d''4 e''4
3042 a'4-\sustainUp-\sustainDown
3043 f'4 g'4 a'4-\sustainUp
3046 A third style of pedal notation is a mixture of text and brackets,
3047 obtained by setting @code{pedal-type} to @code{mixed}:
3049 @lilypond[fragment,verbatim]
3050 \property Staff.pedalSustainStyle = #'mixed
3051 c''4-\sustainDown d''4 e''4
3052 c'4-\sustainUp-\sustainDown
3053 f'4 g'4 a'4-\sustainUp
3056 The default `*Ped' style for sustain and damper pedals corresponds to
3057 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3058 for a sostenuto pedal:
3060 @lilypond[fragment,verbatim]
3061 c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
3064 For fine-tuning of the appearance of a pedal bracket, the properties
3065 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3066 @code{PianoPedalBracket} objects (, see the detailed documentation of
3067 @internalsref{PianoPedalBracket},) can be modified. For example, the bracket
3068 may be extended to the end of the note head:
3070 @lilypond[fragment,verbatim]
3071 \property Staff.PianoPedalBracket \override
3072 #'shorten-pair = #'(0 . -1.0)
3073 c''4-\sostenutoDown d''4 e''4 c'4
3074 f'4 g'4 a'4-\sostenutoUp
3078 @subsection Arpeggio
3081 @cindex broken arpeggio
3082 @cindex @code{\arpeggio}
3084 You can specify an arpeggio sign on a chord by attaching an
3085 @code{\arpeggio} to a chord:
3088 @lilypond[fragment,relative,verbatim]
3089 <<c e g c>>-\arpeggio
3092 When an arpeggio crosses staves, you attach an arpeggio to the chords
3093 in both staves, and set
3094 @internalsref{PianoStaff}.@code{connectArpeggios}:
3096 @lilypond[fragment,relative,verbatim]
3097 \context PianoStaff <
3098 \property PianoStaff.connectArpeggios = ##t
3099 \context Voice = one { <<c' e g c>>-\arpeggio }
3100 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
3104 The direction of the arpeggio is sometimes denoted by adding an
3105 arrowhead to the wiggly line. This can be typeset by setting
3106 @code{arpeggio-direction}:
3108 @lilypond[fragment,relative,verbatim]
3110 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3111 <<c e g c>>-\arpeggio
3112 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3113 <<c e g c>>-\arpeggio
3117 A square bracket on the left indicates that the player should not
3118 arpeggiate the chord. To draw these brackets, set the
3119 @code{molecule-callback} property of @code{Arpeggio} or
3120 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3121 @code{\arpeggio} statements within the chords as before:
3123 @lilypond[fragment,relative,verbatim]
3124 \property PianoStaff.Arpeggio \override
3125 #'molecule-callback = \arpeggioBracket
3126 <<c' e g c>>-\arpeggio
3131 @cindex @code{\arpeggioBracket}
3132 @code{\arpeggioBracket},
3133 @cindex @code{\arpeggio}
3138 @internalsref{ArpeggioEvent} expression lead to
3139 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3140 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3144 It is not possible to mix connected arpeggios and unconnected
3145 arpeggios in one @internalsref{PianoStaff} at the same time.
3147 @node Staff switch lines
3148 @subsection Staff switch lines
3151 @cindex follow voice
3152 @cindex staff switching
3155 @cindex @code{followVoice}
3157 Whenever a voice switches to another staff a line connecting the notes
3158 can be printed automatically. This is enabled if the property
3159 @code{PianoStaff.followVoice} is set to true:
3161 @lilypond[fragment,relative,verbatim]
3162 \context PianoStaff <
3163 \property PianoStaff.followVoice = ##t
3164 \context Staff \context Voice {
3166 \translator Staff=two
3169 \context Staff=two { \clef bass \skip 1*2 }
3173 The associated object is @internalsref{VoiceFollower}.
3177 @cindex @code{\showStaffSwitch}
3178 @code{\showStaffSwitch},
3179 @cindex @code{\hideStaffSwitch}
3180 @code{\hideStaffSwitch}.
3184 @section Vocal music
3186 This section discusses how to enter and print lyrics.
3190 * The Lyrics context::
3195 @node Entering lyrics
3196 @subsection Entering lyrics
3200 @cindex @code{\lyrics}
3203 Lyrics are entered in a special input mode. This mode is is introduced
3204 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3205 punctuation and accents without any hassle. Syllables are entered like
3206 notes, but with pitches replaced by text. For example,
3208 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3211 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3212 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3213 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3214 any 8-bit character with ASCII code over 127, or a two-character
3215 combination of a backslash followed by one of @code{`}, @code{'},
3216 @code{"}, or @code{^}.
3218 Subsequent characters of a word can be any character that is not a digit
3219 and not white space. One important consequence of this is that a word
3220 can end with @code{@}}. The following example is usually a bug. The
3221 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3223 \lyrics @{ twinkle@}
3226 @cindex @code{\property}, in @code{\lyrics}
3227 Similarly, a period following a alphabetic sequence, is included in the
3228 resulting string. As a consequence, spaces must be inserted around
3229 @code{\property} commands:
3231 \property Lyrics . LyricText \set #'font-shape = #'italic
3235 @cindex spaces, in lyrics
3236 @cindex quotes, in lyrics
3238 Any @code{_} character which appears in an unquoted word is converted
3239 to a space. This provides a mechanism for introducing spaces into words
3240 without using quotes. Quoted words can also be used in Lyrics mode to
3241 specify words that cannot be written with the above rules:
3244 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3248 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3253 These will be attached to the end of the first syllable.
3255 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3256 as a separate word between syllables. The hyphen will have variable
3257 length depending on the space between the syllables and it will be
3258 centered between the syllables.
3263 When a lyric is sung over many notes (this is called a melisma), this is
3264 indicated with a horizontal line centered between a syllable and the
3265 next one. Such a line is called an extender line, and it is entered as
3270 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3271 @internalsref{ExtenderEvent}.
3275 The definition of lyrics mode is too complex.
3277 @node The Lyrics context
3278 @subsection The Lyrics context
3280 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3282 \context Lyrics \lyrics @dots{}
3285 @cindex automatic syllable durations
3286 @cindex @code{\addlyrics}
3287 @cindex lyrics and melodies
3289 This will place the lyrics according to the durations that were
3290 entered. The lyrics can also be aligned under a given melody
3291 automatically. In this case, it is no longer necessary to enter the
3292 correct duration for each syllable. This is achieved by combining the
3293 melody and the lyrics with the @code{\addlyrics} expression:
3297 \context Lyrics @dots{}
3300 @cindex staff order, with @code{\addlyrics}
3302 Normally, this will put the lyrics below the staff. For different or
3303 more complex orderings, the best way is to setup the hierarchy of
3304 staffs and lyrics first, e.g.
3306 \context ChoirStaff \notes <
3307 \context Lyrics = LA @{ s1 @}
3308 \context Staff = SA @{ s1 @}
3309 \context Lyrics = LB @{ s1 @}
3310 \context Staff = SB @{ s1 @}
3313 and then combine the appropriate melodies and lyric lines:
3316 \context Staff = SA @emph{the music}
3317 \context Lyrics = LA @emph{the lyrics}
3320 putting both together, you would get
3322 \context ChoirStaff \notes <
3323 \context Lyrics = LA @dots{}
3324 \context Staff = SB @dots{}
3330 @cindex choral score
3332 A complete example of a SATB score setup is in the file
3333 @inputfileref{input/template,satb}.
3337 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3338 @inputfileref{input/template,satb}.
3342 @code{\addlyrics} is not automatic enough: melismata are not detected
3343 automatically, and melismata are not stopped when they hit a rest. A
3344 melisma on the last note in a melody is not printed.
3348 @subsection More stanzas
3351 @cindex phrasing, in lyrics
3353 When multiple stanzas are printed underneath each other, the vertical
3354 groups of syllables should be aligned around punctuation. This can be
3355 done automatically when corresponding lyric lines and melodies are
3358 To this end, give the @internalsref{Voice} context an identity:
3360 \context Voice = duet @{
3365 Then set the @internalsref{LyricsVoice} contexts to names starting with
3366 that identity followed by a dash. In the preceding example, the
3367 @internalsref{Voice} identity is @code{duet}, so the identities of the
3368 @internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}:
3370 \context LyricsVoice = "duet-1" @{
3371 Hi, my name is bert. @}
3372 \context LyricsVoice = "duet-2" @{
3373 Ooooo, ch\'e -- ri, je t'aime. @}
3375 The convention for naming @internalsref{LyricsVoice} and
3376 @internalsref{Voice} must also be used to get melismata correct in
3377 conjunction with rests.
3379 The complete example is shown here:
3380 @lilypond[singleline,verbatim]
3383 \notes \relative c'' \context Voice = duet { \time 3/4
3385 \lyrics \context Lyrics <
3386 \context LyricsVoice = "duet-1" {
3387 \property LyricsVoice . stanza = "Bert"
3388 Hi, my name is bert. }
3389 \context LyricsVoice = "duet-2" {
3390 \property LyricsVoice . stanza = "Ernie"
3391 Ooooo, ch\'e -- ri, je t'aime. }
3396 Stanza numbers, or the names of the singers can be added by setting
3397 @code{LyricsVoice.Stanza} (for the first system) and
3398 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3399 surrounded with spaces in @code{\lyrics} mode:
3402 \property LyricsVoice . stanza = "Bert"
3404 \property LyricsVoice . stanza = "Ernie"
3407 To make empty spaces in lyrics, use @code{\skip}.
3415 Input for lyrics introduces a syntactical ambiguity:
3422 is interpreted as assigning a string identifier @code{\foo} such that
3423 it contains @code{"bar"}. However, it could also be interpreted as
3424 making or a music identifier @code{\foo} containing the syllable
3425 `bar'. The force the latter interpretation, use
3435 The term @emph{ambitus} denotes a range of pitches for a given voice in
3436 a part of music. It also may denote the pitch range that a musical
3437 instrument is capable of playing. Most musical instruments have their
3438 ambitus standardized (or at least there is agreement upon the minimal
3439 ambitus of a particular type of instrument), such that a composer or
3440 arranger of a piece of music can easily meet the ambitus constraints of
3441 the targeted instrument. However, the ambitus of the human voice
3442 depends on individual physiological state, including education and
3443 training of the voice. Therefore, a singer potentially has to check for
3444 each piece of music if the ambitus of that piece meets his individual
3445 capabilities. This is why the ambitus of a piece may be of particular
3446 value to vocal performers.
3448 The ambitus is typically notated on a per-voice basis at the very
3449 beginning of a piece, e.g. nearby the initial clef or time signature of
3450 each staff. The range is graphically specified by two noteheads, that
3451 represent the minimum and maximum pitch. Some publishers use a textual
3452 notation: they put the range in words in front of the corresponding
3453 staff. LilyPond currently only supports the graphical ambitus notation.
3455 To apply, add the @internalsref{Ambitus_engraver} to the
3456 @internalsref{Voice} context, i.e.
3459 \paper @{ \translator @{
3461 \consists Ambitus_engraver
3467 @lilypond[singleline]
3468 upper = \notes \relative c {
3471 as'' c e2 bes f cis d4 e f2 g
3473 lower = \notes \relative c {
3476 e'4 b g a c es fis a cis b a g f e d2
3479 \context ChoirStaff {
3481 \context Staff = one { \upper }
3482 \context Staff = three { \lower }
3488 \consists Ambitus_engraver
3497 @internalsref{Ambitus}, and @inputfileref{input/regression,ambitus.ly}.
3502 Tablature notation is used for notating music for plucked string
3503 instruments. It notates pitches not by using note heads, but by
3504 indicating on which string and fret a note must be played. LilyPond
3505 offers limited support for tablature.
3508 * Tablatures basic::
3509 * Non-guitar tablatures::
3512 @node Tablatures basic
3513 @subsection Tablatures basic
3514 @cindex Tablatures basic
3516 The string number associated to a note is given as a backslash
3517 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3518 string. By default, string 1 is the highest one, and the tuning
3519 defaults to the standard guitar tuning (with 6 strings). The notes
3520 are printed as tablature, by using @internalsref{TabStaff} and
3521 @internalsref{TabVoice} contexts:
3523 @lilypond[fragment,verbatim]
3524 \notes \context TabStaff {
3530 When no string is specified, the first string that does not give a
3531 fret number less than @code{minimumFret} is selected. The default
3532 value for @code{minimumFret} is 0:
3536 e8 fis gis a b cis' dis' e'
3537 \property TabStaff.minimumFret = #8
3538 e8 fis gis a b cis' dis' e'
3543 e8 fis gis a b cis' dis' e'
3544 \property TabStaff.minimumFret = #8
3545 e8 fis gis a b cis' dis' e'
3548 \context StaffGroup <
3549 \context Staff { \clef "G_8" \frag }
3550 \context TabStaff { \frag }
3557 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3558 @internalsref{StringNumberEvent}.
3562 Chords are not handled in a special way, and hence the automatic
3563 string selector may easily select the same string to two notes in a
3567 @node Non-guitar tablatures
3568 @subsection Non-guitar tablatures
3569 @cindex Non-guitar tablatures
3571 You can change the number of strings, by setting the number of lines
3572 in the @internalsref{TabStaff} (the @code{line-count} property of
3573 @internalsref{TabStaff} can only be changed using
3574 @code{\outputproperty}, for more information, see @ref{Tuning
3577 You can change the tuning of the strings. A string tuning is given as
3578 a Scheme list with one integer number for each string, the number
3579 being the pitch (measured in semitones relative to central C) of an
3580 open string. The numbers specified for @code{stringTuning} are the
3581 numbers of semitones to subtract or add, starting the specified pitch
3582 by default middle C, in string order. Thus, the notes are e, a, d, and
3585 @lilypond[fragment,verbatim]
3588 \outputproperty #(make-type-checker 'staff-symbol-interface)
3590 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3593 a,4 c' a e' e c' a e'
3598 It is possible to change the Scheme function to format the tablature
3599 note text. The default is @code{fret-number-tablature-format}, which
3600 uses the fret number. For instruments that do not use this notation,
3601 you can create a special tablature formatting function. This function
3602 takes three argument: string number, string tuning and note pitch.
3606 Most of the guitar special effects such as bend have not been
3612 @section Chord names
3615 LilyPond has support for both printing chord names. Chords may be
3616 entered in musical chord notation, i.e. @code{<< .. >>}, but they can
3617 also be entered by name. Internally, the chords are represented as a
3618 set of pitches, so they can be transposed:
3621 @lilypond[verbatim,singleline]
3622 twoWays = \notes \transpose c c' {
3632 < \context ChordNames \twoWays
3633 \context Voice \twoWays > }
3636 This example also shows that the chord printing routines do not try to
3637 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3643 * Printing chord names::
3648 @subsection Chords mode
3651 Chord mode is a mode where you can input sets of pitches using common
3652 names. It is introduced by the keyword @code{\chords}.
3653 In chords mode, a chord is entered by the root, which is entered
3654 like a common pitch:
3655 @lilypond[fragment,verbatim,quote, relative=1]
3656 \chords { es4. d8 c2 }
3661 Other chords may be entered by suffixing a colon, and introducing a
3662 modifier, and optionally, a number:
3664 @lilypond[fragment,verbatim,quote]
3665 \chords { e1:m e1:7 e1:m7 }
3667 The first number following the root is taken to be the `type' of the
3668 chord, thirds are added to the root until it reaches the specified
3670 @lilypond[fragment,verbatim]
3671 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3674 @cindex root of chord
3675 @cindex additions, in chords
3676 @cindex removals, in chords
3678 More complex chords may also be constructed adding separate steps
3679 to a chord. Additions are added after the number following
3680 the colon, and are separated by dots:
3682 @lilypond[verbatim,fragment,quote]
3683 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3685 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3687 @lilypond[verbatim,fragment,quote]
3688 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3690 Removals are specified similarly, and are introduced by a caret. They
3691 must come after the additions:
3692 @lilypond[verbatim,fragment]
3693 \chords { c^3 c:7^5 c:9^3.5 }
3696 Modifiers can be used to change pitches. The following modifiers are
3700 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3702 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3705 is the augmented chord. This modifier raises the 5th step.
3707 is the major 7th chord. This modifier raises the 7th step if present.
3709 is the suspended 4th or 2nd. This modifier removes the 3rd
3710 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3713 Modifiers can be mixed with additions:
3714 @lilypond[verbatim,fragment]
3715 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3718 @cindex modifiers, in chords.
3725 Since an unaltered 11 does not sound good when combined with an
3726 unaltered 13, the 11 is removed in this case (, unless it is added
3728 @lilypond[fragment,verbatim]
3729 \chords { c:13 c:13.11 c:m13 }
3734 An inversion (putting one pitch of the chord on the bottom), as well
3735 as bass notes, can be specified by appending
3736 @code{/}@var{pitch} to the chord:
3737 @lilypond[fragment,verbatim,center]
3738 \chords { c1 c/g c/f }
3742 A bass note can be added instead of transposed out of the chord,
3743 by using @code{/+}@var{pitch}.
3745 @lilypond[fragment,verbatim,center]
3746 \chords { c1 c/+g c/+f }
3749 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3750 of the commands continue to work, for example, @code{r} and
3751 @code{\skip} can be used to insert rests and spaces, and
3752 @code{\property} may be used to change various settings.
3758 Each step can only be present in a chord once. The following
3759 simply produces the augmented chord, since @code{5+} is interpreted
3762 @lilypond[verbatim,fragment]
3763 \chords { c:5.5-.5+ }
3767 @node Printing chord names
3768 @subsection Printing chord names
3770 @cindex printing chord names
3774 For displaying printed chord names, use the @internalsref{ChordNames} context.
3775 The chords may be entered either using the notation
3776 described above, or directly using @code{<<} and @code{>>}:
3778 @lilypond[verbatim,singleline]
3780 \chords {a1 b c} <<d' f' a'>> <<e' g' b'>>
3784 \context ChordNames \scheme
3785 \context Staff \scheme
3790 You can make the chord changes stand out by setting
3791 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3792 display chord names when there is a change in the chords scheme and at
3793 the start of a new line:
3795 @lilypond[verbatim, linewidth=9cm]
3797 c1:m c:m \break c:m c:m d
3801 \context ChordNames {
3802 \property ChordNames.chordChanges = ##t
3804 \context Staff \transpose c c' \scheme
3809 The default chord name layout is a system for Jazz music, proposed by
3810 Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
3811 following properties:
3814 @cindex chordNameExceptions
3815 @item chordNameExceptions
3816 This is a list that contains the chords that have special formatting.
3818 @inputfileref{input/regression,chord-name-exceptions.ly}.
3819 @cindex exceptions, chord names.
3822 @cindex majorSevenSymbol
3823 @item majorSevenSymbol
3824 This property contains the markup object used for the 7th step, when
3825 it is major. Predefined options are @code{whiteTriangleMarkup} and
3826 @code{blackTriangleMarkup}. See
3827 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3829 @cindex chordNameSeparator
3830 @item chordNameSeparator
3831 Different parts of a chord name are normally separated by a
3832 slash. By setting @code{chordNameSeparator}, you can specify other
3834 @lilypond[fragment,verbatim]
3835 \context ChordNames \chords {
3837 \property ChordNames.chordNameSeparator
3838 = \markup { \typewriter "|" }
3842 @cindex chordRootNamer
3843 @item chordRootNamer
3844 The root of a chord is usually printed as a letter with an optional
3845 alteration. The transformation from pitch to letter is done by this
3846 function. Special note names (for example, the German ``H'' for a
3847 B-chord) can be produced by storing a new function in this property.
3849 @cindex chordNoteNamer
3850 @item chordNoteNamer
3851 The default is to print single pitch, e.g. the bass note, using the
3852 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3853 to a specialized function to change this behavior. For example, the
3854 base can be printed in lower case.
3859 There are also two other chord name schemes implemented: an alternate
3860 Jazz chord notation, and a systematic scheme called Banter chords. The
3861 alternate jazz notation is also shown on the chart in @ref{Chord name
3862 chart}. Turning on these styles is described in the input file
3863 @inputfileref{input/test/,chord-names-jazz.ly}.
3867 @cindex chords, jazz
3872 @cindex @code{\germanChords}
3873 @code{\germanChords},
3874 @cindex @code{\semiGermanChords}
3875 @code{\semiGermanChords}.
3882 @inputfileref{input/regression,chord-name-major7.ly},
3883 @inputfileref{input/regression,chord-name-exceptions.ly},
3884 @inputfileref{input/test,chord-names-jazz.ly},
3885 @inputfileref{input/test,chord-names-german.ly},
3886 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3891 Chord names are determined solely from the list of pitches. Chord
3892 inversions are not identified, and neither are added bass notes. This
3893 may result in strange chord names when chords are entered with the
3894 @code{<< .. >>} syntax.
3899 @node Orchestral music
3900 @section Orchestral music
3902 @cindex Writing parts
3904 Orchestral music involves some special notation, both in the full
3905 score and the individual parts. This section explains how to tackle
3906 some common problems in orchestral music.
3911 * Multiple staff contexts::
3914 * Instrument names::
3916 * Multi measure rests::
3917 * Automatic part combining::
3919 * Sound output for transposing instruments::
3922 @node Multiple staff contexts
3923 @subsection Multiple staff contexts
3925 Polyphonic scores consist of many staffs. These staffs can be
3926 constructed in three different ways:
3928 @item The group is started with a brace at the left. This is done with the
3929 @internalsref{GrandStaff} context.
3930 @item The group is started with a bracket. This is done with the
3931 @internalsref{StaffGroup} context
3932 @item The group is started with a vertical line. This is the default
3936 @cindex Staff, multiple
3937 @cindex bracket, vertical
3938 @cindex brace, vertical
3945 @node Rehearsal marks
3946 @subsection Rehearsal marks
3947 @cindex Rehearsal marks
3949 @cindex @code{\mark}
3951 To print a rehearsal mark, use the @code{\mark} command:
3952 @lilypond[fragment,verbatim]
3962 The mark is incremented automatically if you use @code{\mark
3963 \default}. The value to use is stored in the property
3964 @code{rehearsalMark} is used and automatically incremented.
3966 The @code{\mark} command can also be used to put signs like coda,
3967 segno and fermatas on a barline. Use @code{\markup} to
3968 to access the appropriate symbol:
3970 @lilypond[fragment,verbatim,relative=1]
3971 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
3975 In this case, during line breaks,
3976 marks must also be printed at the end of the line, and not at the
3977 beginning. Use the following to force that behavior:
3979 \property Score.RehearsalMark \override
3980 #'break-visibility = #begin-of-line-invisible
3983 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
3989 @cindex barlines, putting symbols on
3993 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
3994 @inputfileref{input/test,boxed-molecule.ly}.
3998 @subsection Bar numbers
4002 @cindex measure numbers
4003 @cindex currentBarNumber
4005 Bar numbers are printed by default at the start of the line. The
4006 number itself is stored in the
4007 @code{currentBarNumber} property,
4008 which is normally updated automatically for every measure.
4010 Bar numbers can be typeset at regular intervals instead of at the
4011 beginning of each line. This is illustrated in the following example,
4012 whose source is available as
4013 @inputfileref{input/test,bar-number-regular-interval.ly}:
4015 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4020 @internalsref{BarNumber},
4021 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4022 @inputfileref{input/test,bar-number-regular-interval.ly}.
4026 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4027 there is one at the top. To solve this, the
4028 @internalsref{padding} property of @internalsref{BarNumber} can be
4029 used to position the number correctly.
4031 @node Instrument names
4032 @subsection Instrument names
4034 In an orchestral score, instrument names are printed left side of the
4037 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4038 and @internalsref{Staff}.@code{instr}. This will print a string before
4039 the start of the staff. For the first start, @code{instrument} is
4040 used, for the next ones @code{instr} is used:
4042 @lilypond[verbatim,singleline]
4043 \property Staff.instrument = "ploink " { c''4 }
4046 You can also use markup texts to construct more complicated instrument
4049 @lilypond[fragment,verbatim,singleline]
4050 \notes \context Staff = treble {
4051 \property Staff.instrument = \markup {
4052 \column << "Clarinetti"
4054 \smaller \musicglyph #"accidentals--1"
4065 @internalsref{InstrumentName}.
4069 When you put a name on a grand staff or piano staff the width of the
4070 brace is not taken into account. You must add extra spaces to the end of
4071 the name to avoid a collision.
4074 @subsection Transpose
4076 @cindex transposition of pitches
4077 @cindex @code{\transpose}
4079 A music expression can be transposed with @code{\transpose}. The syntax
4082 \transpose @var{from} @var{to} @var{musicexpr}
4085 This means that @var{musicexpr} is transposed by the interval
4086 between @var{from} and @var{to}.
4088 @code{\transpose} distinguishes between enharmonic pitches: both
4089 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4090 half a tone. The first version will print sharps and the second
4091 version will print flats:
4093 @lilypond[singleline, verbatim]
4094 mus =\notes { \key d \major cis d fis g }
4095 \score { \notes \context Staff {
4098 \transpose c g' \mus
4099 \transpose c f' \mus
4105 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4109 If you want to use both @code{\transpose} and @code{\relative}, then
4110 you must put @code{\transpose} outside of @code{\relative}, since
4111 @code{\relative} will have no effect music that appears inside a
4117 @node Multi measure rests
4118 @subsection Multi measure rests
4119 @cindex multi measure rests
4120 @cindex Rests, multi measure
4124 Multi measure rests are entered using `@code{R}'. It is specifically
4125 meant for full bar rests and for entering parts: the rest can expand to
4126 fill a score with rests, or it can be printed as a single multimeasure
4127 rest. This expansion is controlled by the property
4128 @code{Score.skipBars}. If this is set to true, Lily will not expand
4129 empty measures, and the appropriate number is added automatically:
4131 @lilypond[fragment,verbatim]
4132 \time 4/4 r1 | R1 | R1*2
4133 \property Score.skipBars = ##t R1*17 R1*4
4136 The @code{1} in @code{R1} is similar to the duration notation used for
4137 notes. Hence, for time signatures other than 4/4, you must enter other
4138 durations. This can be done with augmentation dots or fractions:
4140 @lilypond[fragment,verbatim]
4141 \property Score.skipBars = ##t
4149 An @code{R} spanning a single measure is printed as either a whole rest
4150 or a breve, centered in the measure regardless of the time signature.
4152 @cindex text on multi-measure rest
4153 @cindex script on multi-measure rest
4154 @cindex fermata on multi-measure rest
4156 Texts can be added to multi-measure rests by using the
4157 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4158 replaced. If you need both texts and the number, you must add the
4159 number by hand. A variable (@code{\fermataMarkup}) is provided for
4163 @lilypond[verbatim,fragment]
4165 R2._\markup { "Ad lib" }
4170 @cindex whole rests for a full measure
4174 @internalsref{MultiMeasureRestEvent},
4175 @internalsref{MultiMeasureTextEvent},
4176 @internalsref{MultiMeasureRestMusicGroup}, and
4177 @internalsref{MultiMeasureRest}.
4179 The layout object @internalsref{MultiMeasureRestNumber} is for the
4180 default number, and @internalsref{MultiMeasureRestText} for user
4185 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4186 over multi-measure rests.
4188 @cindex condensing rests
4190 There is no way to automatically condense multiple rests into a single
4191 multimeasure rest. Multi measure rests do not take part in rest
4194 Be careful when entering multimeasure rests followed by whole notes,
4198 will enter two notes lasting four measures each. When @code{skipBars}
4199 is set, then the result will look OK, but the bar numbering will be
4202 @node Automatic part combining
4203 @subsection Automatic part combining
4204 @cindex automatic part combining
4205 @cindex part combiner
4208 Automatic part combining is used to merge two parts of music onto a
4209 staff. It is aimed at typesetting orchestral scores. When the two
4210 parts are identical for a period of time, only one is shown. In
4211 places where the two parts differ, they are typeset as separate
4212 voices, and stem directions are set automatically. Also, solo and
4213 @emph{a due} parts are identified and can be marked.
4217 The syntax for part combining is
4220 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4222 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4223 combined into one context of type @var{context}. The music expressions
4224 must be interpreted by contexts whose names should start with @code{one}
4227 The following example demonstrates the basic functionality of the part
4228 combiner: putting parts on one staff, and setting stem directions and
4231 @lilypond[verbatim,singleline,fragment]
4233 \context Voice=one \partcombine Voice
4234 \context Thread=one \relative c'' {
4237 \context Thread=two \relative c'' {
4243 The first @code{g} appears only once, although it was
4244 specified twice (once in each part). Stem, slur and tie directions are
4245 set automatically, depending whether there is a solo or unisono. The
4246 first part (with context called @code{one}) always gets up stems, and
4247 `solo', while the second (called @code{two}) always gets down stems and
4250 If you just want the merging parts, and not the textual markings, you
4251 may set the property @var{soloADue} to false:
4253 @lilypond[verbatim,singleline,fragment]
4255 \property Staff.soloADue = ##f
4256 \context Voice=one \partcombine Voice
4257 \context Thread=one \relative c'' {
4260 \context Thread=two \relative c'' {
4268 @internalsref{PartCombineMusic},
4269 @internalsref{Thread_devnull_engraver}, and
4270 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4274 The syntax for naming contexts in inconsistent with the syntax for
4277 In @code{soloADue} mode, when the two voices play the same notes on and
4278 off, the part combiner may typeset @code{a2} more than once in a
4281 @lilypond[fragment,singleline]
4283 \context Voice=one \partcombine Voice
4284 \context Thread=one \relative c'' {
4287 \context Thread=two \relative c'' {
4293 The part combiner is slated to be rewritten [TODO: explain why].
4295 @cindex @code{Thread_devnull_engraver}
4296 @cindex @code{Voice_engraver}
4297 @cindex @code{A2_engraver}
4299 @node Frenched scores
4300 @subsection Frenched scores
4302 In orchestral scores, staff lines that only have rests are usually
4303 removed. This saves some space. This style is called `French Score'.
4304 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4305 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4306 switched on by default. When these line of these contexts turn out
4307 empty after the line-breaking process, they are removed.
4310 For normal staffs, a specialized @internalsref{Staff} context is
4311 available, which does the same: staffs containing nothing (or only
4312 multi measure rests) are removed. The context definition is stored in
4313 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4314 in this example disappears in the second line:
4319 \notes \relative c' <
4320 \context Staff = SA { e4 f g a \break c1 }
4321 \context Staff = SB { c4 d e f \break R1 }
4325 \translator { \RemoveEmptyStaffContext }
4331 @node Sound output for transposing instruments
4332 @subsection Sound output for transposing instruments
4334 When you want to make a MIDI file from a score containing transposed
4335 and untransposed instruments, you have to instruct LilyPond the pitch
4336 offset (in semitones) for the transposed instruments. This is done
4337 using the @code{transposing} property. It does not affect printed
4340 @cindex @code{transposing}
4343 \property Staff.instrument = #"Cl. in B-flat"
4344 \property Staff.transposing = #-2
4348 @node Ancient notation
4349 @section Ancient notation
4351 @cindex Vaticana, Editio
4352 @cindex Medicaea, Editio
4357 @c [TODO: write introduction on ancient notation]
4360 * Ancient note heads::
4369 @node Ancient note heads
4370 @subsection Ancient note heads
4372 To get a longa note head, you have to use mensural note heads. This
4373 is accomplished by setting the @code{style} property of the
4374 NoteHead object to @code{mensural}. There is also a note head style
4375 @code{baroque} which gives mensural note heads for @code{\longa} and
4376 @code{\breve} but standard note heads for shorter notes:
4378 @lilypond[fragment,singleline,verbatim]
4379 \property Voice.NoteHead \set #'style = #'mensural
4384 @subsection Ancient clefs
4386 LilyPond supports a variety of clefs, many of them ancient.
4388 For modern clefs, see section @ref{Clef}. For the percussion clef, see
4389 section @ref{Percussion staves}. For the @code{TAB} clef, see section
4392 The following table shows all ancient clefs that are supported via the
4393 @code{\clef} command. Some of the clefs use the same glyph, but
4394 differ only with respect to the line they are printed on. In such
4395 cases, a trailing number in the name is used to enumerate these clefs.
4396 Still, you can manually force a clef glyph to be typeset on an
4397 arbitrary line, as described in section @ref{Clef}. The note printed
4398 to the right side of each clef in the example column denotes the
4399 @code{c'} with respect to that clef.
4401 @multitable @columnfractions .3 .3 .3 .1
4405 @b{Description} @tab
4406 @b{Supported Clefs} @tab
4410 @code{clefs-neo_mensural_c} @tab
4411 modern style mensural C clef @tab
4412 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4413 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4414 @lilypond[relative 0, notime]
4415 \property Staff.TimeSignature \set #'transparent = ##t
4416 \clef "neo_mensural_c2" c
4420 @code{clefs-petrucci_c1}
4421 @code{clefs-petrucci_c2}
4422 @code{clefs-petrucci_c3}
4423 @code{clefs-petrucci_c4}
4424 @code{clefs-petrucci_c5}
4427 petrucci style mensural C clefs, for use on different stafflines
4428 (the examples shows the 2nd staffline C clef).
4438 @lilypond[relative 0, notime]
4439 \property Staff.TimeSignature \set #'transparent = ##t
4440 \clef "petrucci_c2" c
4444 @code{clefs-petrucci_f} @tab
4445 petrucci style mensural F clef @tab
4446 @code{petrucci_f} @tab
4447 @lilypond[relative 0, notime]
4448 \property Staff.TimeSignature \set #'transparent = ##t
4449 \clef "petrucci_f" c
4453 @code{clefs-petrucci_g} @tab
4454 petrucci style mensural G clef @tab
4455 @code{petrucci_g} @tab
4456 @lilypond[relative 0, notime]
4457 \property Staff.TimeSignature \set #'transparent = ##t
4458 \clef "petrucci_g" c
4462 @code{clefs-mensural_c'} @tab
4463 historic style mensural C clef @tab
4464 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4465 @code{mensural_c4} @tab
4466 @lilypond[relative 0, notime]
4467 \property Staff.TimeSignature \set #'transparent = ##t
4468 \clef "mensural_c2" c
4472 @code{clefs-mensural_f} @tab
4473 historic style mensural F clef @tab
4474 @code{mensural_f} @tab
4475 @lilypond[relative 0, notime]
4476 \property Staff.TimeSignature \set #'transparent = ##t
4477 \clef "mensural_f" c
4481 @code{clefs-mensural_g} @tab
4482 historic style mensural G clef @tab
4483 @code{mensural_g} @tab
4484 @lilypond[relative 0, notime]
4485 \property Staff.TimeSignature \set #'transparent = ##t
4486 \clef "mensural_g" c
4490 @code{clefs-vaticana_do} @tab
4491 Editio Vaticana style do clef @tab
4492 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4493 @lilypond[relative 0, notime]
4495 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4496 \property Staff.TimeSignature \set #'transparent = ##t
4497 \clef "vaticana_do2" c
4501 @code{clefs-vaticana_fa} @tab
4502 Editio Vaticana style fa clef @tab
4503 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4504 @lilypond[relative 0, notime]
4506 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4507 \property Staff.TimeSignature \set #'transparent = ##t
4508 \clef "vaticana_fa2" c
4512 @code{clefs-medicaea_do} @tab
4513 Editio Medicaea style do clef @tab
4514 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4515 @lilypond[relative 0, notime]
4517 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4518 \property Staff.TimeSignature \set #'transparent = ##t
4519 \clef "medicaea_do2" c
4523 @code{clefs-medicaea_fa} @tab
4524 Editio Medicaea style fa clef @tab
4525 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4526 @lilypond[relative 0, notime]
4528 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4529 \property Staff.TimeSignature \set #'transparent = ##t
4530 \clef "medicaea_fa2" c
4534 @code{clefs-hufnagel_do} @tab
4535 historic style hufnagel do clef @tab
4536 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4537 @lilypond[relative 0, notime]
4539 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4540 \property Staff.TimeSignature \set #'transparent = ##t
4541 \clef "hufnagel_do2" c
4545 @code{clefs-hufnagel_fa} @tab
4546 historic style hufnagel fa clef @tab
4547 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4548 @lilypond[relative 0, notime]
4550 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4551 \property Staff.TimeSignature \set #'transparent = ##t
4552 \clef "hufnagel_fa2" c
4556 @code{clefs-hufnagel_do_fa} @tab
4557 historic style hufnagel combined do/fa clef @tab
4558 @code{hufnagel_do_fa} @tab
4559 @lilypond[relative 0, notime]
4560 \property Staff.TimeSignature \set #'transparent = ##t
4561 \clef "hufnagel_do_fa" c
4566 @c --- This should go somewhere else: ---
4567 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4570 @c @code{percussion}
4572 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4574 @c @item modern style tab clef (glyph: @code{clefs-tab})
4579 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4581 @emph{Modern style} means ``as is typeset in contemporary editions of
4582 transcribed mensural music''.
4584 @emph{Petrucci style} means ``inspired by printings published by the
4585 famous engraver Petrucci (1466-1539)''.
4587 @emph{Historic style} means ``as was typeset or written in historic
4588 editions (other than those of Petrucci)''.
4590 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4592 Petrucci used C clefs with differently balanced left-side vertical
4593 beams, depending on which staffline it is printed.
4597 @subsection Custodes
4602 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4603 symbol that appears at the end of a staff. It anticipates the pitch
4604 of the first note(s) of the following line and thus helps the player
4605 or singer to manage line breaks during performance, thus enhancing
4606 readability of a score.
4608 Custodes were frequently used in music notation until the 17th
4609 century. Nowadays, they have survived only in a few particular forms
4610 of musical notation such as contemporary editions of Gregorian chant
4611 like the @emph{editio vaticana}. There are different custos glyphs
4612 used in different flavours of notational style.
4614 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
4615 @internalsref{Staff} context when declaring the @code{\paper} block,
4616 as shown in the following example:
4622 \consists Custos_engraver
4623 Custos \override #'style = #'mensural
4628 The result looks like this:
4634 \property Staff.Custos \set #'style = #'mensural
4641 \consists Custos_engraver
4648 The custos glyph is selected by the @code{style} property. The styles
4649 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
4650 @code{mensural}. They are demonstrated in the following fragment:
4660 { " " \musicglyph #"custodes-vaticana-u0" }
4664 { " " \musicglyph #"custodes-medicaea-u0" }
4668 { " " \musicglyph #"custodes-hufnagel-u0" }
4672 { " " \musicglyph #"custodes-mensural-u0" }
4681 \remove "Bar_number_engraver"
4685 \remove "Clef_engraver"
4686 \remove "Key_engraver"
4687 \remove "Time_signature_engraver"
4688 \remove "Staff_symbol_engraver"
4689 minimumVerticalExtent = ##f
4695 If the boolean property @code{adjust-if-on-staffline} is set to
4696 @code{#t} (which it is by default), lily typesets slightly different
4697 variants of the custos glyph, depending on whether the custos, is
4698 typeset on or between stafflines. The glyph will
4699 optically fit well into the staff, with the appendage on the right of
4700 the custos always ending at the same vertical position between two
4701 stafflines regardless of the pitch. If you set
4702 @code{adjust-if-on-staffline} to @code{#f}, then
4703 a compromise between both forms is used.
4705 Just like stems can be attached to noteheads in two directions
4706 @emph{up} and @emph{down}, each custos glyph is available with its
4707 appendage pointing either up or down. If the pitch of a custos is
4708 above a selectable position, the appendage will point downwards; if
4709 the pitch is below this position, the appendage will point upwards.
4710 Use property @code{neutral-position} to select this position. By
4711 default, it is set to @code{0}, such that the neutral position is the
4712 center of the staff. Use property @code{neutral-direction} to control
4713 what happens if a custos is typeset on the neutral position itself.
4714 By default, this property is set to @code{-1}, such that the appendage
4715 will point downwards. If set to @code{1}, the appendage will point
4716 upwards. Other values such as @code{0} are reserved for future
4717 extensions and should not be used.
4722 @internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
4723 @inputfileref{input/regression,custos.ly}.
4727 @subsection Divisiones
4733 A @emph{divisio} (plural: @emph{divisiones}; latin word for
4734 `division') is a staff context symbol that is used to structure
4735 Gregorian music into phrases and sections. The musical meaning of
4736 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
4737 can be characterized as short, medium and long pause, somewhat like
4738 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
4739 a chant, but is also frequently used within a single
4740 antiphonal/responsorial chant to mark the end of each section.
4744 To use divisiones, include the file @code{gregorian-init.ly}. It
4745 contains definitions that you can apply by just inserting
4746 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
4747 and @code{\finalis} at proper places in the input. Some editions use
4748 @emph{virgula} or @emph{caesura} instead of divisio minima.
4749 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
4753 @lilypondfile[notexidoc]{divisiones.ly}
4757 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
4758 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
4761 @subsection Ligatures
4765 @c TODO: Should double check if I recalled things correctly when I wrote
4766 @c down the following paragraph by heart.
4768 In musical terminology, a ligature is a coherent graphical symbol that
4769 represents at least two different notes. Ligatures originally appeared
4770 in the manuscripts of Gregorian chant notation roughly since the 9th
4771 century as an allusion to the accent symbols of greek lyric poetry to
4772 denote ascending or descending sequences of notes. Both, the shape and
4773 the exact meaning of ligatures changed tremendously during the following
4774 centuries: In early notation, ligatures were used for monophonic tunes
4775 (Gregorian chant) and very soon denoted also the way of performance in
4776 the sense of articulation. With upcoming multiphony, the need for a
4777 metric system arised, since multiple voices of a piece have to be
4778 synchronized some way. New notation systems were invented that used
4779 the manifold shapes of ligatures to now denote rhythmical patterns
4780 (e.g. black mensural notation, mannered notation, ars nova). With the
4781 invention of the metric system of the white mensural notation, the need
4782 for ligatures to denote such patterns disappeared. Nevertheless,
4783 ligatures were still in use in the mensural system for a couple of
4784 decades until they finally disappeared during the late 16th / early 17th
4785 century. Still, ligatures have survived in contemporary editions of
4786 Gregorian chant such as the Editio Vaticana from 1905/08.
4790 Syntactically, ligatures are simply enclosed by @code{\[} and
4791 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
4792 additional input syntax specific for this particular type of ligature.
4793 By default, the @internalsref{LigatureBracket} engraver just puts a
4794 square bracket above the ligature:
4796 @lilypond[singleline,verbatim]
4798 \notes \transpose c c' {
4806 To select a specific style of ligatures, a proper ligature engraver
4807 has to be added to the @internalsref{Voice} context, as explained in
4808 the following subsections. Currently, only white mensural ligatures
4809 are supported with certain limitations. Support for Editio Vaticana
4810 will be added in the future.
4813 * White mensural ligatures::
4814 * Gregorian square neumes ligatures::
4817 @node White mensural ligatures
4818 @subsubsection White mensural ligatures
4820 @cindex Mensural ligatures
4821 @cindex White mensural ligatures
4823 There is limited support for white mensural ligatures. The
4824 implementation is still experimental; it currently may output strange
4825 warnings or even crash in some cases or produce weird results on more
4826 complex ligatures. To engrave white mensural ligatures, in the paper
4827 block the @internalsref{Mensural_ligature_engraver} has to be put into
4828 the @internalsref{Voice} context, and remove the
4829 @internalsref{Ligature_bracket_engraver}:
4835 \remove Ligature_bracket_engraver
4836 \consists Mensural_ligature_engraver
4841 There is no additional input language to describe the shape of a
4842 white mensural ligature. The shape is rather determined solely from
4843 the pitch and duration of the enclosed notes. While this approach may
4844 take a new user a while to get accustomed, it has the great advantage
4845 that the full musical information of the ligature is known internally.
4846 This is not only required for correct MIDI output, but also allows for
4847 automatic transcription of the ligatures.
4852 \property Score.timing = ##f
4853 \property Score.defaultBarType = "empty"
4854 \property Voice.NoteHead \set #'style = #'neo_mensural
4855 \property Staff.TimeSignature \set #'style = #'neo_mensural
4857 \[ g\longa c\breve a\breve f\breve d'\longa \]
4859 \[ e1 f1 a\breve g\longa \]
4861 @lilypond[singleline]
4863 \notes \transpose c c' {
4864 \property Score.timing = ##f
4865 \property Score.defaultBarType = "empty"
4866 \property Voice.NoteHead \set #'style = #'neo_mensural
4867 \property Staff.TimeSignature \set #'style = #'neo_mensural
4869 \[ g\longa c\breve a\breve f\breve d'\longa \]
4871 \[ e1 f1 a\breve g\longa \]
4876 \remove Ligature_bracket_engraver
4877 \consists Mensural_ligature_engraver
4883 Without replacing @internalsref{Ligature_bracket_engraver} with
4884 @internalsref{Mensural_ligature_engraver}, the same music transcribes
4887 @lilypond[singleline]
4889 \notes \transpose c c' {
4890 \property Score.timing = ##f
4891 \property Score.defaultBarType = "empty"
4892 \property Voice.NoteHead \set #'style = #'neo_mensural
4893 \property Staff.TimeSignature \set #'style = #'neo_mensural
4895 \[ g\longa c\breve a\breve f\breve d'\longa \]
4897 \[ e1 f1 a\breve g\longa \]
4902 @node Gregorian square neumes ligatures
4903 @subsubsection Gregorian square neumes ligatures
4905 @cindex Square neumes ligatures
4906 @cindex Gregorian square neumes ligatures
4908 Gregorian square neumes notation (following the style of the Editio
4909 Vaticana) is under heavy development, but not yet really usable for
4910 production purposes. Core ligatures can already be typeset, but
4911 essential issues for serious typesetting are still under development,
4912 such as (among others) horizontal alignment of multiple ligatures,
4913 lyrics alignment and proper accidentals handling. Still, this section
4914 gives a sneak preview of what Gregorian chant may look like once it
4917 The following table contains the extended neumes table of the 2nd
4918 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
4919 1983 by the monks of Solesmes.
4921 @multitable @columnfractions .4 .2 .2 .2
4924 @b{Neuma aut@*Neumarum Elementa} @tab
4925 @b{Figurae@*Rectae} @tab
4926 @b{Figurae@*Liquescentes Auctae} @tab
4927 @b{Figurae@*Liquescentes Deminutae}
4929 @c TODO: \paper block is identical in all of the below examples.
4930 @c Therefore, it should somehow be included rather than duplicated all
4933 @c why not make identifiers in ly/engraver-init.ly? --hwn
4935 @c Because it's just used to typeset plain notes without
4936 @c a staff for demonstration purposes rather than something
4937 @c special of Gregorian chant notation. --jr
4942 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
4943 \include "gregorian-init.ly"
4945 \notes \transpose c c' {
4948 \noBreak s^\markup {"a"} \noBreak
4950 % Punctum Inclinatum
4952 \noBreak s^\markup {"b"}
4958 \remove "Bar_number_engraver"
4962 \remove "Clef_engraver"
4963 \remove "Key_engraver"
4964 StaffSymbol \set #'transparent = ##t
4965 \remove "Time_signature_engraver"
4966 \remove "Bar_engraver"
4967 minimumVerticalExtent = ##f
4971 \remove Ligature_bracket_engraver
4972 \consists Vaticana_ligature_engraver
4973 NoteHead \set #'style = #'vaticana_punctum
4974 Stem \set #'transparent = ##t
4980 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
4981 \include "gregorian-init.ly"
4983 \notes \transpose c c' {
4984 % Punctum Auctum Ascendens
4985 \[ \auctum \ascendens b \]
4986 \noBreak s^\markup {"c"} \noBreak
4988 % Punctum Auctum Descendens
4989 \[ \auctum \descendens b \]
4990 \noBreak s^\markup {"d"} \noBreak
4992 % Punctum Inclinatum Auctum
4993 \[ \inclinatum \auctum b \]
4994 \noBreak s^\markup {"e"}
5000 \remove "Bar_number_engraver"
5004 \remove "Clef_engraver"
5005 \remove "Key_engraver"
5006 StaffSymbol \set #'transparent = ##t
5007 \remove "Time_signature_engraver"
5008 \remove "Bar_engraver"
5009 minimumVerticalExtent = ##f
5013 \remove Ligature_bracket_engraver
5014 \consists Vaticana_ligature_engraver
5015 NoteHead \set #'style = #'vaticana_punctum
5016 Stem \set #'transparent = ##t
5022 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5023 \include "gregorian-init.ly"
5025 \notes \transpose c c' {
5026 % Punctum Inclinatum Parvum
5027 \[ \inclinatum \deminutum b \]
5028 \noBreak s^\markup {"f"}
5034 \remove "Bar_number_engraver"
5038 \remove "Clef_engraver"
5039 \remove "Key_engraver"
5040 StaffSymbol \set #'transparent = ##t
5041 \remove "Time_signature_engraver"
5042 \remove "Bar_engraver"
5043 minimumVerticalExtent = ##f
5047 \remove Ligature_bracket_engraver
5048 \consists Vaticana_ligature_engraver
5049 NoteHead \set #'style = #'vaticana_punctum
5050 Stem \set #'transparent = ##t
5059 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5060 \include "gregorian-init.ly"
5062 \notes \transpose c c' {
5065 \noBreak s^\markup {"g"}
5071 \remove "Bar_number_engraver"
5075 \remove "Clef_engraver"
5076 \remove "Key_engraver"
5077 StaffSymbol \set #'transparent = ##t
5078 \remove "Time_signature_engraver"
5079 \remove "Bar_engraver"
5080 minimumVerticalExtent = ##f
5084 \remove Ligature_bracket_engraver
5085 \consists Vaticana_ligature_engraver
5086 NoteHead \set #'style = #'vaticana_punctum
5087 Stem \set #'transparent = ##t
5096 @code{3. Apostropha vel Stropha}
5098 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5099 \include "gregorian-init.ly"
5101 \notes \transpose c c' {
5104 \noBreak s^\markup {"h"}
5110 \remove "Bar_number_engraver"
5114 \remove "Clef_engraver"
5115 \remove "Key_engraver"
5116 StaffSymbol \set #'transparent = ##t
5117 \remove "Time_signature_engraver"
5118 \remove "Bar_engraver"
5119 minimumVerticalExtent = ##f
5123 \remove Ligature_bracket_engraver
5124 \consists Vaticana_ligature_engraver
5125 NoteHead \set #'style = #'vaticana_punctum
5126 Stem \set #'transparent = ##t
5132 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5133 \include "gregorian-init.ly"
5135 \notes \transpose c c' {
5137 \[ \stropha \auctum b \]
5138 \noBreak s^\markup {"i"}
5144 \remove "Bar_number_engraver"
5148 \remove "Clef_engraver"
5149 \remove "Key_engraver"
5150 StaffSymbol \set #'transparent = ##t
5151 \remove "Time_signature_engraver"
5152 \remove "Bar_engraver"
5153 minimumVerticalExtent = ##f
5157 \remove Ligature_bracket_engraver
5158 \consists Vaticana_ligature_engraver
5159 NoteHead \set #'style = #'vaticana_punctum
5160 Stem \set #'transparent = ##t
5170 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5171 \include "gregorian-init.ly"
5173 \notes \transpose c c' {
5176 \noBreak s^\markup {"j"}
5182 \remove "Bar_number_engraver"
5186 \remove "Clef_engraver"
5187 \remove "Key_engraver"
5188 StaffSymbol \set #'transparent = ##t
5189 \remove "Time_signature_engraver"
5190 \remove "Bar_engraver"
5191 minimumVerticalExtent = ##f
5195 \remove Ligature_bracket_engraver
5196 \consists Vaticana_ligature_engraver
5197 NoteHead \set #'style = #'vaticana_punctum
5198 Stem \set #'transparent = ##t
5207 @code{5. Clivis vel Flexa}
5209 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5210 \include "gregorian-init.ly"
5212 \notes \transpose c c' {
5221 \remove "Bar_number_engraver"
5225 \remove "Clef_engraver"
5226 \remove "Key_engraver"
5227 StaffSymbol \set #'transparent = ##t
5228 \remove "Time_signature_engraver"
5229 \remove "Bar_engraver"
5230 minimumVerticalExtent = ##f
5234 \remove Ligature_bracket_engraver
5235 \consists Vaticana_ligature_engraver
5236 NoteHead \set #'style = #'vaticana_punctum
5237 Stem \set #'transparent = ##t
5243 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5244 \include "gregorian-init.ly"
5246 \notes \transpose c c' {
5247 % Clivis Aucta Descendens
5248 \[ b \flexa \auctum \descendens g \]
5249 \noBreak s^\markup {"l"} \noBreak
5251 % Clivis Aucta Ascendens
5252 \[ b \flexa \auctum \ascendens g \]
5253 \noBreak s^\markup {"m"}
5259 \remove "Bar_number_engraver"
5263 \remove "Clef_engraver"
5264 \remove "Key_engraver"
5265 StaffSymbol \set #'transparent = ##t
5266 \remove "Time_signature_engraver"
5267 \remove "Bar_engraver"
5268 minimumVerticalExtent = ##f
5272 \remove Ligature_bracket_engraver
5273 \consists Vaticana_ligature_engraver
5274 NoteHead \set #'style = #'vaticana_punctum
5275 Stem \set #'transparent = ##t
5281 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5282 \include "gregorian-init.ly"
5284 \notes \transpose c c' {
5286 \[ b \flexa \deminutum g \]
5293 \remove "Bar_number_engraver"
5297 \remove "Clef_engraver"
5298 \remove "Key_engraver"
5299 StaffSymbol \set #'transparent = ##t
5300 \remove "Time_signature_engraver"
5301 \remove "Bar_engraver"
5302 minimumVerticalExtent = ##f
5306 \remove Ligature_bracket_engraver
5307 \consists Vaticana_ligature_engraver
5308 NoteHead \set #'style = #'vaticana_punctum
5309 Stem \set #'transparent = ##t
5316 @code{6. Podatus vel Pes}
5318 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5319 \include "gregorian-init.ly"
5321 \notes \transpose c c' {
5330 \remove "Bar_number_engraver"
5334 \remove "Clef_engraver"
5335 \remove "Key_engraver"
5336 StaffSymbol \set #'transparent = ##t
5337 \remove "Time_signature_engraver"
5338 \remove "Bar_engraver"
5339 minimumVerticalExtent = ##f
5343 \remove Ligature_bracket_engraver
5344 \consists Vaticana_ligature_engraver
5345 NoteHead \set #'style = #'vaticana_punctum
5346 Stem \set #'transparent = ##t
5352 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5353 \include "gregorian-init.ly"
5355 \notes \transpose c c' {
5356 % Pes Auctus Descendens
5357 \[ g \pes \auctum \descendens b \]
5358 \noBreak s^\markup {"p"} \noBreak
5360 % Pes Auctus Ascendens
5361 \[ g \pes \auctum \ascendens b \]
5362 \noBreak s^\markup {"q"}
5368 \remove "Bar_number_engraver"
5372 \remove "Clef_engraver"
5373 \remove "Key_engraver"
5374 StaffSymbol \set #'transparent = ##t
5375 \remove "Time_signature_engraver"
5376 \remove "Bar_engraver"
5377 minimumVerticalExtent = ##f
5381 \remove Ligature_bracket_engraver
5382 \consists Vaticana_ligature_engraver
5383 NoteHead \set #'style = #'vaticana_punctum
5384 Stem \set #'transparent = ##t
5390 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5391 \include "gregorian-init.ly"
5393 \notes \transpose c c' {
5395 \[ g \pes \deminutum b \]
5402 \remove "Bar_number_engraver"
5406 \remove "Clef_engraver"
5407 \remove "Key_engraver"
5408 StaffSymbol \set #'transparent = ##t
5409 \remove "Time_signature_engraver"
5410 \remove "Bar_engraver"
5411 minimumVerticalExtent = ##f
5415 \remove Ligature_bracket_engraver
5416 \consists Vaticana_ligature_engraver
5417 NoteHead \set #'style = #'vaticana_punctum
5418 Stem \set #'transparent = ##t
5425 @code{7. Pes Quassus}
5427 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5428 \include "gregorian-init.ly"
5430 \notes \transpose c c' {
5432 \[ \oriscus g \pes \virga b \]
5439 \remove "Bar_number_engraver"
5443 \remove "Clef_engraver"
5444 \remove "Key_engraver"
5445 StaffSymbol \set #'transparent = ##t
5446 \remove "Time_signature_engraver"
5447 \remove "Bar_engraver"
5448 minimumVerticalExtent = ##f
5452 \remove Ligature_bracket_engraver
5453 \consists Vaticana_ligature_engraver
5454 NoteHead \set #'style = #'vaticana_punctum
5455 Stem \set #'transparent = ##t
5461 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5462 \include "gregorian-init.ly"
5464 \notes \transpose c c' {
5465 % Pes Quassus Auctus Descendens
5466 \[ \oriscus g \pes \auctum \descendens b \]
5473 \remove "Bar_number_engraver"
5477 \remove "Clef_engraver"
5478 \remove "Key_engraver"
5479 StaffSymbol \set #'transparent = ##t
5480 \remove "Time_signature_engraver"
5481 \remove "Bar_engraver"
5482 minimumVerticalExtent = ##f
5486 \remove Ligature_bracket_engraver
5487 \consists Vaticana_ligature_engraver
5488 NoteHead \set #'style = #'vaticana_punctum
5489 Stem \set #'transparent = ##t
5497 @code{8. Quilisma Pes}
5499 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5500 \include "gregorian-init.ly"
5502 \notes \transpose c c' {
5504 \[ \quilisma g \pes b \]
5511 \remove "Bar_number_engraver"
5515 \remove "Clef_engraver"
5516 \remove "Key_engraver"
5517 StaffSymbol \set #'transparent = ##t
5518 \remove "Time_signature_engraver"
5519 \remove "Bar_engraver"
5520 minimumVerticalExtent = ##f
5524 \remove Ligature_bracket_engraver
5525 \consists Vaticana_ligature_engraver
5526 NoteHead \set #'style = #'vaticana_punctum
5527 Stem \set #'transparent = ##t
5533 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5534 \include "gregorian-init.ly"
5536 \notes \transpose c c' {
5537 % Quilisma Pes Auctus Descendens
5538 \[ \quilisma g \pes \auctum \descendens b \]
5545 \remove "Bar_number_engraver"
5549 \remove "Clef_engraver"
5550 \remove "Key_engraver"
5551 StaffSymbol \set #'transparent = ##t
5552 \remove "Time_signature_engraver"
5553 \remove "Bar_engraver"
5554 minimumVerticalExtent = ##f
5558 \remove Ligature_bracket_engraver
5559 \consists Vaticana_ligature_engraver
5560 NoteHead \set #'style = #'vaticana_punctum
5561 Stem \set #'transparent = ##t
5569 @code{9. Podatus Initio Debilis}
5571 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5572 \include "gregorian-init.ly"
5574 \notes \transpose c c' {
5575 % Pes Initio Debilis
5576 \[ \deminutum g \pes b \]
5583 \remove "Bar_number_engraver"
5587 \remove "Clef_engraver"
5588 \remove "Key_engraver"
5589 StaffSymbol \set #'transparent = ##t
5590 \remove "Time_signature_engraver"
5591 \remove "Bar_engraver"
5592 minimumVerticalExtent = ##f
5596 \remove Ligature_bracket_engraver
5597 \consists Vaticana_ligature_engraver
5598 NoteHead \set #'style = #'vaticana_punctum
5599 Stem \set #'transparent = ##t
5605 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5606 \include "gregorian-init.ly"
5608 \notes \transpose c c' {
5609 % Pes Auctus Descendens Initio Debilis
5610 \[ \deminutum g \pes \auctum \descendens b \]
5617 \remove "Bar_number_engraver"
5621 \remove "Clef_engraver"
5622 \remove "Key_engraver"
5623 StaffSymbol \set #'transparent = ##t
5624 \remove "Time_signature_engraver"
5625 \remove "Bar_engraver"
5626 minimumVerticalExtent = ##f
5630 \remove Ligature_bracket_engraver
5631 \consists Vaticana_ligature_engraver
5632 NoteHead \set #'style = #'vaticana_punctum
5633 Stem \set #'transparent = ##t
5643 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5644 \include "gregorian-init.ly"
5646 \notes \transpose c c' {
5648 \[ a \pes b \flexa g \]
5655 \remove "Bar_number_engraver"
5659 \remove "Clef_engraver"
5660 \remove "Key_engraver"
5661 StaffSymbol \set #'transparent = ##t
5662 \remove "Time_signature_engraver"
5663 \remove "Bar_engraver"
5664 minimumVerticalExtent = ##f
5668 \remove Ligature_bracket_engraver
5669 \consists Vaticana_ligature_engraver
5670 NoteHead \set #'style = #'vaticana_punctum
5671 Stem \set #'transparent = ##t
5677 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5678 \include "gregorian-init.ly"
5680 \notes \transpose c c' {
5681 % Torculus Auctus Descendens
5682 \[ a \pes b \flexa \auctum \descendens g \]
5689 \remove "Bar_number_engraver"
5693 \remove "Clef_engraver"
5694 \remove "Key_engraver"
5695 StaffSymbol \set #'transparent = ##t
5696 \remove "Time_signature_engraver"
5697 \remove "Bar_engraver"
5698 minimumVerticalExtent = ##f
5702 \remove Ligature_bracket_engraver
5703 \consists Vaticana_ligature_engraver
5704 NoteHead \set #'style = #'vaticana_punctum
5705 Stem \set #'transparent = ##t
5711 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5712 \include "gregorian-init.ly"
5714 \notes \transpose c c' {
5715 % Torculus Deminutus
5716 \[ a \pes b \flexa \deminutum g \]
5723 \remove "Bar_number_engraver"
5727 \remove "Clef_engraver"
5728 \remove "Key_engraver"
5729 StaffSymbol \set #'transparent = ##t
5730 \remove "Time_signature_engraver"
5731 \remove "Bar_engraver"
5732 minimumVerticalExtent = ##f
5736 \remove Ligature_bracket_engraver
5737 \consists Vaticana_ligature_engraver
5738 NoteHead \set #'style = #'vaticana_punctum
5739 Stem \set #'transparent = ##t
5746 @code{11. Torculus Initio Debilis}
5748 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5749 \include "gregorian-init.ly"
5751 \notes \transpose c c' {
5752 % Torculus Initio Debilis
5753 \[ \deminutum a \pes b \flexa g \]
5760 \remove "Bar_number_engraver"
5764 \remove "Clef_engraver"
5765 \remove "Key_engraver"
5766 StaffSymbol \set #'transparent = ##t
5767 \remove "Time_signature_engraver"
5768 \remove "Bar_engraver"
5769 minimumVerticalExtent = ##f
5773 \remove Ligature_bracket_engraver
5774 \consists Vaticana_ligature_engraver
5775 NoteHead \set #'style = #'vaticana_punctum
5776 Stem \set #'transparent = ##t
5782 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5783 \include "gregorian-init.ly"
5785 \notes \transpose c c' {
5786 % Torculus Auctus Descendens Initio Debilis
5787 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
5794 \remove "Bar_number_engraver"
5798 \remove "Clef_engraver"
5799 \remove "Key_engraver"
5800 StaffSymbol \set #'transparent = ##t
5801 \remove "Time_signature_engraver"
5802 \remove "Bar_engraver"
5803 minimumVerticalExtent = ##f
5807 \remove Ligature_bracket_engraver
5808 \consists Vaticana_ligature_engraver
5809 NoteHead \set #'style = #'vaticana_punctum
5810 Stem \set #'transparent = ##t
5816 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5817 \include "gregorian-init.ly"
5819 \notes \transpose c c' {
5820 % Torculus Deminutus Initio Debilis
5821 \[ \deminutum a \pes b \flexa \deminutum g \]
5828 \remove "Bar_number_engraver"
5832 \remove "Clef_engraver"
5833 \remove "Key_engraver"
5834 StaffSymbol \set #'transparent = ##t
5835 \remove "Time_signature_engraver"
5836 \remove "Bar_engraver"
5837 minimumVerticalExtent = ##f
5841 \remove Ligature_bracket_engraver
5842 \consists Vaticana_ligature_engraver
5843 NoteHead \set #'style = #'vaticana_punctum
5844 Stem \set #'transparent = ##t
5851 @code{12. Porrectus}
5853 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5854 \include "gregorian-init.ly"
5856 \notes \transpose c c' {
5858 \[ a \flexa g \pes b \]
5865 \remove "Bar_number_engraver"
5869 \remove "Clef_engraver"
5870 \remove "Key_engraver"
5871 StaffSymbol \set #'transparent = ##t
5872 \remove "Time_signature_engraver"
5873 \remove "Bar_engraver"
5874 minimumVerticalExtent = ##f
5878 \remove Ligature_bracket_engraver
5879 \consists Vaticana_ligature_engraver
5880 NoteHead \set #'style = #'vaticana_punctum
5881 Stem \set #'transparent = ##t
5887 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5888 \include "gregorian-init.ly"
5890 \notes \transpose c c' {
5891 % Porrectus Auctus Descendens
5892 \[ a \flexa g \pes \auctum \descendens b \]
5899 \remove "Bar_number_engraver"
5903 \remove "Clef_engraver"
5904 \remove "Key_engraver"
5905 StaffSymbol \set #'transparent = ##t
5906 \remove "Time_signature_engraver"
5907 \remove "Bar_engraver"
5908 minimumVerticalExtent = ##f
5912 \remove Ligature_bracket_engraver
5913 \consists Vaticana_ligature_engraver
5914 NoteHead \set #'style = #'vaticana_punctum
5915 Stem \set #'transparent = ##t
5921 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5922 \include "gregorian-init.ly"
5924 \notes \transpose c c' {
5925 % Porrectus Deminutus
5926 \[ a \flexa g \pes \deminutum b \]
5933 \remove "Bar_number_engraver"
5937 \remove "Clef_engraver"
5938 \remove "Key_engraver"
5939 StaffSymbol \set #'transparent = ##t
5940 \remove "Time_signature_engraver"
5941 \remove "Bar_engraver"
5942 minimumVerticalExtent = ##f
5946 \remove Ligature_bracket_engraver
5947 \consists Vaticana_ligature_engraver
5948 NoteHead \set #'style = #'vaticana_punctum
5949 Stem \set #'transparent = ##t
5958 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5959 \include "gregorian-init.ly"
5961 \notes \transpose c c' {
5963 \[ \virga b \inclinatum a \inclinatum g \]
5970 \remove "Bar_number_engraver"
5974 \remove "Clef_engraver"
5975 \remove "Key_engraver"
5976 StaffSymbol \set #'transparent = ##t
5977 \remove "Time_signature_engraver"
5978 \remove "Bar_engraver"
5979 minimumVerticalExtent = ##f
5983 \remove Ligature_bracket_engraver
5984 \consists Vaticana_ligature_engraver
5985 NoteHead \set #'style = #'vaticana_punctum
5986 Stem \set #'transparent = ##t
5992 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5993 \include "gregorian-init.ly"
5995 \notes \transpose c c' {
5997 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6004 \remove "Bar_number_engraver"
6008 \remove "Clef_engraver"
6009 \remove "Key_engraver"
6010 StaffSymbol \set #'transparent = ##t
6011 \remove "Time_signature_engraver"
6012 \remove "Bar_engraver"
6013 minimumVerticalExtent = ##f
6017 \remove Ligature_bracket_engraver
6018 \consists Vaticana_ligature_engraver
6019 NoteHead \set #'style = #'vaticana_punctum
6020 Stem \set #'transparent = ##t
6026 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6027 \include "gregorian-init.ly"
6029 \notes \transpose c c' {
6030 % Climacus Deminutus
6031 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6038 \remove "Bar_number_engraver"
6042 \remove "Clef_engraver"
6043 \remove "Key_engraver"
6044 StaffSymbol \set #'transparent = ##t
6045 \remove "Time_signature_engraver"
6046 \remove "Bar_engraver"
6047 minimumVerticalExtent = ##f
6051 \remove Ligature_bracket_engraver
6052 \consists Vaticana_ligature_engraver
6053 NoteHead \set #'style = #'vaticana_punctum
6054 Stem \set #'transparent = ##t
6061 @code{14. Scandicus}
6063 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6064 \include "gregorian-init.ly"
6066 \notes \transpose c c' {
6068 \[ g \pes a \virga b \]
6075 \remove "Bar_number_engraver"
6079 \remove "Clef_engraver"
6080 \remove "Key_engraver"
6081 StaffSymbol \set #'transparent = ##t
6082 \remove "Time_signature_engraver"
6083 \remove "Bar_engraver"
6084 minimumVerticalExtent = ##f
6088 \remove Ligature_bracket_engraver
6089 \consists Vaticana_ligature_engraver
6090 NoteHead \set #'style = #'vaticana_punctum
6091 Stem \set #'transparent = ##t
6097 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6098 \include "gregorian-init.ly"
6100 \notes \transpose c c' {
6101 % Scandicus Auctus Descendens
6102 \[ g \pes a \pes \auctum \descendens b \]
6109 \remove "Bar_number_engraver"
6113 \remove "Clef_engraver"
6114 \remove "Key_engraver"
6115 StaffSymbol \set #'transparent = ##t
6116 \remove "Time_signature_engraver"
6117 \remove "Bar_engraver"
6118 minimumVerticalExtent = ##f
6122 \remove Ligature_bracket_engraver
6123 \consists Vaticana_ligature_engraver
6124 NoteHead \set #'style = #'vaticana_punctum
6125 Stem \set #'transparent = ##t
6131 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6132 \include "gregorian-init.ly"
6134 \notes \transpose c c' {
6135 % Scandicus Deminutus
6136 \[ g \pes a \pes \deminutum b \]
6143 \remove "Bar_number_engraver"
6147 \remove "Clef_engraver"
6148 \remove "Key_engraver"
6149 StaffSymbol \set #'transparent = ##t
6150 \remove "Time_signature_engraver"
6151 \remove "Bar_engraver"
6152 minimumVerticalExtent = ##f
6156 \remove Ligature_bracket_engraver
6157 \consists Vaticana_ligature_engraver
6158 NoteHead \set #'style = #'vaticana_punctum
6159 Stem \set #'transparent = ##t
6168 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6169 \include "gregorian-init.ly"
6171 \notes \transpose c c' {
6173 \[ g \oriscus a \pes \virga b \]
6180 \remove "Bar_number_engraver"
6184 \remove "Clef_engraver"
6185 \remove "Key_engraver"
6186 StaffSymbol \set #'transparent = ##t
6187 \remove "Time_signature_engraver"
6188 \remove "Bar_engraver"
6189 minimumVerticalExtent = ##f
6193 \remove Ligature_bracket_engraver
6194 \consists Vaticana_ligature_engraver
6195 NoteHead \set #'style = #'vaticana_punctum
6196 Stem \set #'transparent = ##t
6202 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6203 \include "gregorian-init.ly"
6205 \notes \transpose c c' {
6206 % Salicus Auctus Descendens
6207 \[ g \oriscus a \pes \auctum \descendens b \]
6214 \remove "Bar_number_engraver"
6218 \remove "Clef_engraver"
6219 \remove "Key_engraver"
6220 StaffSymbol \set #'transparent = ##t
6221 \remove "Time_signature_engraver"
6222 \remove "Bar_engraver"
6223 minimumVerticalExtent = ##f
6227 \remove Ligature_bracket_engraver
6228 \consists Vaticana_ligature_engraver
6229 NoteHead \set #'style = #'vaticana_punctum
6230 Stem \set #'transparent = ##t
6240 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6241 \include "gregorian-init.ly"
6243 \notes \transpose c c' {
6245 \[ \stropha b \stropha b \stropha a \]
6252 \remove "Bar_number_engraver"
6256 \remove "Clef_engraver"
6257 \remove "Key_engraver"
6258 StaffSymbol \set #'transparent = ##t
6259 \remove "Time_signature_engraver"
6260 \remove "Bar_engraver"
6261 minimumVerticalExtent = ##f
6265 \remove Ligature_bracket_engraver
6266 \consists Vaticana_ligature_engraver
6267 NoteHead \set #'style = #'vaticana_punctum
6268 Stem \set #'transparent = ##t
6279 Unlike most other neumes notation systems, the input language for
6280 neumes does not necessarily reflect directly the typographical
6281 appearance, but is designed to solely focuse on musical meaning. For
6282 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6283 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6284 a torculus with a curved flexa shape and only a single Punctum head.
6285 There is no command to explicitly typeset the curved flexa shape; the
6286 decision of when to typeset a curved flexa shape is purely taken from
6287 the musical input. The idea of this approach is to separate the
6288 musical aspects of the input from the notation style of the output.
6289 This way, the same input can be reused to typeset the same music in a
6290 different style of Gregorian chant notation such as Hufnagel (also
6291 known as German gothic neumes) or Medicaea (kind of a very simple
6292 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6293 engraver and Medicaea ligature engraver will have been implemented, it
6294 will be as simple as replacing the ligature engraver in the
6295 @internalsref{Voice} context to get the desired notation style from
6298 The following table shows the code fragments that produce the
6299 ligatures in the above neumes table. The letter in the first column
6300 in each line of the below table indicates to which ligature in the
6301 above table it refers. The second column gives the name of the
6302 ligature. The third column shows the code fragment that produces this
6303 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6305 @multitable @columnfractions .1 .4 .5
6319 Punctum Inclinatum @tab
6320 @code{\[ \inclinatum b \]}
6324 Punctum Auctum Ascendens @tab
6325 @code{\[ \auctum \ascendens b \]}
6329 Punctum Auctum Descendens @tab
6330 @code{\[ \auctum \descendens b \]}
6334 Punctum Inclinatum Auctum @tab
6335 @code{\[ \inclinatum \auctum b \]}
6339 Punctum Inclinatum Parvum @tab
6340 @code{\[ \inclinatum \deminutum b \]}
6345 @code{\[ \virga b \]}
6350 @code{\[ \stropha b \]}
6355 @code{\[ \stropha \auctum b \]}
6360 @code{\[ \oriscus b \]}
6364 Clivis vel Flexa @tab
6365 @code{\[ b \flexa g \]}
6369 Clivis Aucta Descendens @tab
6370 @code{\[ b \flexa \auctum \descendens g \]}
6374 Clivis Aucta Ascendens @tab
6375 @code{\[ b \flexa \auctum \ascendens g \]}
6380 @code{\[ b \flexa \deminutum g \]}
6384 Podatus vel Pes @tab
6385 @code{\[ g \pes b \]}
6389 Pes Auctus Descendens @tab
6390 @code{\[ g \pes \auctum \descendens b \]}
6394 Pes Auctus Ascendens @tab
6395 @code{\[ g \pes \auctum \ascendens b \]}
6400 @code{\[ g \pes \deminutum b \]}
6405 @code{\[ \oriscus g \pes \virga b \]}
6409 Pes Quassus Auctus Descendens @tab
6410 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6415 @code{\[ \quilisma g \pes b \]}
6419 Quilisma Pes Auctus Descendens @tab
6420 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6424 Pes Initio Debilis @tab
6425 @code{\[ \deminutum g \pes b \]}
6429 Pes Auctus Descendens Initio Debilis @tab
6430 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6435 @code{\[ a \pes b \flexa g \]}
6439 Torculus Auctus Descendens @tab
6440 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6444 Torculus Deminutus @tab
6445 @code{\[ a \pes b \flexa \deminutum g \]}
6449 Torculus Initio Debilis @tab
6450 @code{\[ \deminutum a \pes b \flexa g \]}
6454 Torculus Auctus Descendens Initio Debilis @tab
6455 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6459 Torculus Deminutus Initio Debilis @tab
6460 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6465 @code{\[ a \flexa g \pes b \]}
6469 Porrectus Auctus Descendens @tab
6470 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6474 Porrectus Deminutus @tab
6475 @code{\[ a \flexa g \pes \deminutum b \]}
6480 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6484 Climacus Auctus @tab
6485 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6489 Climacus Deminutus @tab
6490 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6495 @code{\[ g \pes a \virga b \]}
6499 Scandicus Auctus Descendens @tab
6500 @code{\[ g \pes a \pes \auctum \descendens b \]}
6504 Scandicus Deminutus @tab
6505 @code{\[ g \pes a \pes \deminutum b \]}
6510 @code{\[ g \oriscus a \pes \virga b \]}
6514 Salicus Auctus Descendens @tab
6515 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6520 @code{\[ \stropha b \stropha b \stropha a \]}
6526 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
6527 Semivocalis head; this looks awful.
6529 Trigonus: apply equal spacing, regardless of pitch.
6532 @subsection Figured bass
6534 @cindex Basso continuo
6536 @c TODO: musicological blurb about FB
6540 LilyPond has limited support for figured bass:
6542 @lilypond[verbatim,fragment]
6544 \context Voice \notes { \clef bass dis4 c d ais}
6545 \context FiguredBass
6547 < 6 >4 < 7 >8 < 6+ [_!] >
6553 The support for figured bass consists of two parts: there is an input
6554 mode, introduced by @code{\figures}, where you can enter bass figures
6555 as numbers, and there is a context called @internalsref{FiguredBass} that
6556 takes care of making @internalsref{BassFigure} objects.
6558 In figures input mode, a group of bass figures is delimited by
6559 @code{<} and @code{>}. The duration is entered after the @code{>}:
6564 \context FiguredBass
6568 Accidentals are added when you append @code{-}, @code{!} and @code{+}
6575 \context FiguredBass
6576 \figures { <4- 6+ 7!> }
6579 Spaces or dashes may be inserted by using @code{_}. Brackets are
6580 introduced with @code{[} and @code{]}:
6586 \context FiguredBass
6587 \figures { < [4 6] 8 [_! 12]> }
6590 Although the support for figured bass may superficially resemble chord
6591 support, it works much simpler. The @code{\figures} mode simply
6592 stores the numbers , and @internalsref{FiguredBass} context prints
6593 them as entered. There is no conversion to pitches, and no
6594 realizations of the bass are played in the MIDI file.
6596 Internally, the code produces markup texts. You can use any of the
6597 markup text properties to override formatting. For example, the
6598 vertical spacing of the figures may be set with @code{baseline-skip}.
6602 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
6603 and @internalsref{FiguredBass} context.
6607 Slash notation for alterations is not supported.
6610 @node Contemporary notation
6611 @section Contemporary notation
6613 In the 20th century, composers have greatly expanded the musical
6614 vocabulary. With this expansion, many innovations in musical notation
6615 have been tried. For a comprehensive overview, refer to @cite{Stone
6616 1980} (see @ref{Literature}). In general, the use of new, innovative
6617 notation makes a piece harder to understand and perform and its use
6618 should therefore be avoided if possible. For this reason, support for
6619 contemporary notation in LilyPond is limited.
6628 @subsection Clusters
6632 In musical terminology, a @emph{cluster} denotes a range of
6633 simultaneously sounding pitches that may change over time. The set of
6634 available pitches to apply usually depends on the accoustic source.
6635 Thus, in piano music, a cluster typically consists of a continous range
6636 of the semitones as provided by the piano's fixed set of a chromatic
6637 scale. In choral music, each singer of the choir typically may sing an
6638 arbitrary pitch within the cluster's range that is not bound to any
6639 diatonic, chromatic or other scale. In electronic music, a cluster
6640 (theoretically) may even cover a continuous range of pitches, thus
6641 resulting in coloured noise, such as pink noise.
6643 Clusters can be denoted in the context of ordinary staff notation by
6644 engraving simple geometrical shapes that replace ordinary notation of
6645 notes. Ordinary notes as musical events specify starting time and
6646 duration of pitches; however, the duration of a note is expressed by the
6647 shape of the note head rather than by the horizontal graphical extent of
6648 the note symbol. In contrast, the shape of a cluster geometrically
6649 describes the development of a range of pitches (vertical extent) over
6650 time (horizontal extent). Still, the geometrical shape of a cluster
6651 covers the area in wich any single pitch contained in the cluster would
6652 be notated as an ordinary note. From this point of view, it is
6653 reasonable to specify a cluster as the envelope of a set of notes.
6657 A cluster is engraved as the envelope of a set of
6658 cluster-notes. Cluster notes are created by applying the function
6659 @code{notes-to-clusters} to a sequence of chords, e.g.
6661 @lilypond[relative 1,verbatim]
6662 \apply #notes-to-clusters { <<c e >> <<b f'>> }
6665 The following example (from
6666 @inputfileref{input/regression,cluster.ly}) shows what the result
6669 @lilypondfile[notexidoc]{cluster.ly}
6671 By default, @internalsref{Cluster_engraver} is in the
6672 @internalsref{Voice} context. This allows putting ordinary notes and
6673 clusters together in the same staff, even simultaneously. In such a
6674 case no attempt is made to automatically avoid collisions between
6675 ordinary notes and clusters.
6679 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
6680 @inputfileref{input/regression,cluster.ly},
6681 @internalsref{Cluster_engraver}, and @internalsref{ClusterNoteEvent}.
6685 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
6686 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
6691 @subsection Fermatas
6697 Contemporary music notation frequently uses special fermata symbols to
6698 indicate fermatas of differing lengths.
6702 The following are supported
6704 @lilypond[singleline]
6706 < \addlyrics \notes {
6726 \context Lyrics \lyrics {
6727 "shortfermata" "fermata" "longfermata" "verylongfermata"
6732 See @ref{Articulations} for general instructions how to apply scripts
6733 such as fermatas to a @code{\notes@{@}} block.
6736 @section Tuning output
6738 There are situations where default layout decisions are not
6739 sufficient. In this section we discuss ways to override these
6742 Formatting is internally done by manipulating so called objects
6743 (graphic objects). Each object carries with it a set of properties
6744 (object or layout properties) specific to that object. For example, a
6745 stem object has properties that specify its direction, length and
6748 The most direct way of tuning the output is by altering the values of
6749 these properties. There are two ways of doing that: first, you can
6750 temporarily change the definition of one type of object, thus
6751 affecting a whole set of objects. Second, you can select one specific
6752 object, and set a layout property in that object.
6754 Do not confuse layout properties with translation
6755 properties. Translation properties always use a mixed caps style
6756 naming, and are manipulated using @code{\property}:
6758 \property Context.propertyName = @var{value}
6760 Layout properties are use Scheme style variable naming, i.e. lower
6761 case words separated with dashes. They are symbols, and should always
6762 be quoted using @code{#'}. For example, this could be an imaginary
6763 layout property name:
6765 #'layout-property-name
6770 * Constructing a tweak::
6779 @node Tuning objects
6780 @subsection Tuning objects
6782 @cindex object description
6784 The definition of an object is a list of default object
6785 properties. For example, the definition of the Stem object (available
6786 in @file{scm/define-grobs.scm}), includes the following definitions
6787 for @internalsref{Stem}:
6791 (beamed-lengths . (0.0 2.5 2.0 1.5))
6792 (Y-extent-callback . ,Stem::height)
6797 Adding variables on top of this existing definition overrides the
6798 system default, and alters the resulting appearance of the layout
6804 Changing a variable for only one object is commonly achieved with
6808 \once \property @var{context}.@var{objectname}
6809 \override @var{symbol} = @var{value}
6811 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
6812 and @var{objectname} is a string and @var{value} is a Scheme expression.
6813 This command applies a setting only during one moment in the score.
6815 In the following example, only one @internalsref{Stem} object is
6816 changed from its original setting:
6818 @lilypond[verbatim, fragment, relative=1]
6820 \once \property Voice.Stem \set #'thickness = #4
6824 @cindex @code{\once}
6826 For changing more objects, the same command, without @code{\once} can
6829 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
6831 This command adds @code{@var{symbol} = @var{value}} to the definition
6832 of @var{objectname} in the context @var{context}, and this definition
6833 stays in place until it is removed.
6835 An existing definition may be removed by the following command:
6838 \property @var{context}.@var{objectname} \revert @var{symbol}
6841 All @code{\override} and @code{\revert} commands should be balanced.
6842 The @code{\set} shorthand performs a revert followed by an override,
6843 and is often more convenient to use
6846 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
6850 @lilypond[verbatim,quote]
6851 c'4 \property Voice.Stem \override #'thickness = #4.0
6853 c'4 \property Voice.Stem \revert #'thickness
6857 The following example gives exactly the same result as the previous
6858 one (assuming the system default for stem thickness is 1.3):
6860 @lilypond[verbatim,quote]
6861 c'4 \property Voice.Stem \set #'thickness = #4.0
6863 c'4 \property Voice.Stem \set #'thickness = #1.3
6867 Reverting a setting which was not set in the first place has no
6868 effect. However, if the setting was set as a system default, this may
6869 remove the default value, and this may give surprising results,
6870 including crashes. In other words, @code{\override} and
6871 @code{\revert} must be carefully balanced. The following are examples
6872 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
6876 a clumsy but correct form:
6878 \override \revert \override \revert \override \revert
6882 shorter version of the same:
6884 \override \set \set \revert
6888 a short form, using only @code{\set}. This requires you to know the
6891 \set \set \set \set @var{to default value}
6895 if there is no default (i.e. by default, the object property is unset),
6898 \set \set \set \revert
6902 For the digirati, the object description is an Scheme association
6903 list. Since a Scheme list is a singly linked list, we can treat it as
6904 a stack, and @code{\override} and @code{\revert} are push and pop
6905 operations. The association list is stored in a normal context
6908 \property Voice.NoteHead = #'()
6910 will effectively erase @internalsref{NoteHead}s from the current
6911 @internalsref{Voice}. However, this mechanism is not guaranteed to
6912 work, and may cause crashes or other anomalous behavior.
6916 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
6917 @internalsref{PropertySet}, @internalsref{backend properties}, and
6918 @internalsref{All layout objects}.
6923 The backend is not very strict in type-checking object properties.
6924 Cyclic references in @var{value} cause hangs and/or crashes.
6925 Similarly, reverting properties that are system defaults may also lead
6928 @node Constructing a tweak
6929 @subsection Constructing a tweak
6932 @cindex internal documentation
6933 @cindex finding graphical objects
6934 @cindex graphical object descriptions
6936 @cindex @code{\override}
6938 @cindex internal documentation
6942 Three pieces of information are required to use @code{\override} and
6943 @code{\set}: the name of the layout object, the context and the name
6944 of the property. We demonstrate how to glean this information from
6945 the notation manual and the generated documentation.
6947 The generated documentation is a set of HTML pages which should be
6948 included if you installed a binary distribution, typically in
6949 @file{/usr/share/doc/lilypond}. They are also available on the web:
6950 go to the @uref{http://lilypond.org,LilyPond website}, click
6951 ``Documentation'', and then ``Program reference'' on the side bar. It
6952 is advisable to bookmark either the local HTML files if possible. They
6953 will load faster than the ones on the web. If you use the version
6954 from the web, you must check whether the documentation matches the
6955 program version: the documentation is generated from the definitions
6956 that the program uses, and therefore it is strongly tied to the
6960 @c [TODO: revise for new site.]
6962 Suppose we want to move the fingering indication in the fragment below:
6964 @lilypond[relative=2,verbatim]
6970 If you visit the documentation of @code{Fingering} (in @ref{Fingering
6971 instructions}), you will notice that there is written:
6976 @internalsref{FingerEvent} and @internalsref{Fingering}.
6980 In other words, the fingerings once entered, are internally stored as
6981 @code{FingerEvent} music objects. When printed, a @code{Fingering}
6982 layout object is created for every @code{FingerEvent}.
6984 The Fingering object has a number of different functions, and each of
6985 those is captured in an interface, when we look up
6986 @internalsref{Fingering} in the generated documentation.
6990 The @code{Fingering} object has a fixed size
6991 (@internalsref{item-interface}), the symbol is a piece of text
6992 (@internalsref{text-interface}), whose font can be set
6993 (@internalsref{font-interface}). It is centered horizontally
6994 (@internalsref{self-alignment-interface}), it is placed next to other
6995 objects (@internalsref{side-position-interface}) vertically, and its
6996 placement is coordinated with other scripts
6997 (@internalsref{text-script-interface}). It also has the standard
6998 @internalsref{grob-interface} (grob stands for Graphical object)
7000 @cindex graphical object
7001 @cindex layout object
7002 @cindex object, layout
7003 with all the variables that come with
7004 it. Finally, it denotes a fingering instruction, so it has
7005 @internalsref{finger-interface}.
7007 For the vertical placement, we have to look under
7008 @code{side-position-interface}:
7010 @code{side-position-interface}
7012 Position a victim object (this one) next to other objects (the
7013 support). In this case, the direction signifies where to put the
7014 victim object relative to the support (left or right, up or down?)
7016 below this description, the variable @code{padding} is described as
7020 (dimension, in staff space)
7022 add this much extra space between objects that are next to each
7023 other. Default value: @code{0.6}
7027 By increasing the value of @code{padding}, we can move away the
7028 fingering. The following command inserts 3 staff spaces of white
7029 between the note and the fingering:
7031 \once \property Voice.Fingering \set #'padding = #3
7034 Inserting this command before the Fingering object is created,
7035 i.e. before @code{c2}, yields the following result:
7037 @lilypond[relative=2,fragment,verbatim]
7038 \once \property Voice.Fingering
7045 The context name @code{Voice} in the example above can be determined
7046 as follows. In the documentation for @internalsref{Fingering}, it says
7048 Fingering grobs are created by: @internalsref{Fingering_engraver}
7051 Clicking @code{Fingering_engraver} shows the documentation of
7052 the module responsible for interpreting the fingering instructions and
7053 translating them to a @code{Fingering} object. Such a module is called
7054 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7057 Fingering_engraver is part of contexts: Voice
7059 so tuning the settings for Fingering should be done with
7061 \property Voice.Fingering \set @dots{}
7064 Of course, the tweak may also done in a larger context than
7065 @code{Voice}, for example, @internalsref{Staff} or
7066 @internalsref{Score}.
7068 The internals document also contains alphabetical lists of
7069 @internalsref{All contexts}, @internalsref{All layout objects} and
7070 @internalsref{All music types}, so you can also find which objects to
7071 tweak by browsing the internals document.
7075 @subsection Applyoutput
7077 The most versatile way of tuning an object is @code{\applyoutput}. Its
7080 \applyoutput @var{proc}
7084 where @var{proc} is a Scheme function, taking four arguments.
7086 When interpreted, the function @var{proc} is called for every layout object found
7087 in the context, with the following arguments:
7089 @item the layout object itself,
7090 @item the context where the layout object was created, and
7091 @item the context where @code{\applyoutput} is processed.
7094 In addition, the cause of the layout object, i.e. the music
7095 expression or object that was responsible for creating it, is in the
7096 object property @code{cause}. For example, for a note head, this is a
7097 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7098 this is a @internalsref{NoteHead} object.
7101 @node Outputproperty
7102 @subsection Outputproperty
7104 @cindex @code{\outputproperty}
7106 Another way of tuning objects is the more arcane @code{\outputproperty}
7107 feature. The syntax is as follows:
7109 \outputproperty @var{predicate} @var{symbol} = @var{value}
7111 Here @code{predicate} is a Scheme function taking an object argument, and
7112 returning a boolean. This statement is processed by the
7113 @code{Output_property_engraver}. It instructs the engraver to feed all
7114 objects that it sees to @var{predicate}. Whenever the predicate returns
7115 true, the object property @var{symbol} will be set to @var{value}.
7117 You will need to combine this statement with @code{\context} to select
7118 the appropriate context to apply this to.
7119 @inputfileref{input/regression,output-property.ly} shows an example of
7120 the use of @code{\outputproperty}.
7124 This command is slated for removal. Please use the
7125 @code{\applyoutput} command, see @ref{Applyoutput}.
7128 @node Font selection
7129 @subsection Font selection
7131 The most common thing to change about the appearance of fonts is their
7132 size. The font size of any context can be easily changed by setting
7133 the @code{fontSize} property for that context. Its value is an
7134 integer: negative numbers make the font smaller, positive numbers
7135 larger. An example is given below:
7137 @lilypond[fragment,relative=1,verbatim,quote]
7138 c4 c4 \property Voice.fontSize = #-1
7141 This command will set @code{font-relative-size} (see below), and does
7142 not change the size of variable symbols, such as beams or slurs.
7145 One of the uses of @code{fontSize} is to get smaller symbol for cue
7146 notes. An elaborate example of those is in
7147 @inputfileref{input/test,cue-notes.ly}.
7149 @cindex magnification
7151 The size of the font may be scaled with the object property
7152 @code{font-magnification}. For example, @code{2.0} blows up all
7153 letters by a factor 2 in both directions.
7162 The font used for printing a object can be selected by setting
7163 @code{font-name}, e.g.
7165 \property Staff.TimeSignature
7166 \set #'font-name = #"cmr17"
7170 Any font can be used, as long as it is available to @TeX{}. Possible
7171 fonts include foreign fonts or fonts that do not belong to the
7172 Computer Modern font family.
7174 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7175 can also be adjusted with a more fine-grained mechanism. By setting
7176 the object properties described below, you can select a different font;
7177 all three mechanisms work for every object that supports
7178 @code{font-interface}:
7182 is a symbol indicating the general class of the typeface. Supported are
7183 @code{roman} (Computer Modern), @code{braces} (for piano staff
7184 braces), @code{music} (the standard music font, including ancient
7185 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7188 is a symbol indicating the shape of the font, there are typically several
7189 font shapes available for each font family. Choices are @code{italic},
7190 @code{caps} and @code{upright}.
7193 is a symbol indicating the series of the font. There are typically several
7194 font series for each font family and shape. Choices are @code{medium}
7197 @item font-relative-size
7198 is a number indicating the size relative the standard size. For example,
7199 with 20pt staff height, relative size -1 corresponds to 16pt staff
7200 height, and relative size +1 corresponds to 23 pt staff height.
7202 There are small differences in design between fonts designed for
7203 different sizes, hence @code{font-relative-size} is preferred over
7204 @code{font-magnification} for changing font sizes.
7207 @item font-design-size
7208 is a number indicating the design size of the font.
7210 This is a feature of the Computer Modern Font: each point size has a
7211 slightly different design. Smaller design sizes are relatively wider,
7212 which enhances readability.
7215 For any of these properties, the value @code{*} (i.e. the symbol
7216 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7217 to override default setting, which are always present. For example:
7219 \property Lyrics . LyricText \override #'font-series = #'bold
7220 \property Lyrics . LyricText \override #'font-family = #'typewriter
7221 \property Lyrics . LyricText \override #'font-shape = #'*
7224 @cindex @code{font-style}
7228 The following commands set @code{fontSize} for the current voice.
7230 @cindex @code{\tiny}
7232 @cindex @code{\small}
7234 @cindex @code{\normalsize}
7239 Relative size is not linked to any real size.
7241 There is no style sheet provided for other fonts besides the @TeX{}
7242 family, and the style sheet cannot be modified easily.
7244 @cindex font selection
7245 @cindex font magnification
7246 @cindex @code{font-interface}
7250 @subsection Text markup
7255 @cindex typeset text
7257 LilyPond has an internal mechanism to typeset texts. You can access it
7258 with the keyword @code{\markup}. Within markup mode, you can enter texts
7259 similar to lyrics: simply enter them, surrounded by spaces:
7262 @lilypond[verbatim,fragment,relative=1]
7263 c1^\markup { hello }
7264 c1_\markup { hi there }
7265 c1^\markup { hi \bold there, is \italic anyone home? }
7268 @cindex font switching
7270 The markup in the example demonstrates font switching commands. The
7271 command @code{\bold} and @code{\italic} only apply to the first
7272 following word; enclose a set of texts with braces to apply a command
7275 \markup @{ \bold @{ hi there @} @}
7279 For clarity, you can also do this for single arguments, e.g.
7281 \markup @{ is \italic @{ anyone @} home @}
7284 @cindex font size, texts
7286 The following size commands set absolute sizes:
7288 @cindex @code{\teeny}
7289 @cindex @code{\tiny}
7290 @cindex @code{\small}
7291 @cindex @code{\large}
7292 @cindex @code{\huge}
7302 You can also make letter larger or smaller relative to their neighbors,
7303 with the commands @code{\larger} and @code{\smaller}.
7307 @cindex font style, for texts
7308 @cindex @code{\bold}
7309 @cindex @code{\dynamic}
7310 @cindex @code{\number}
7311 @cindex @code{\italic}
7313 The following font change commands are defined:
7316 changes to the font used in dynamic signs. This font does not
7317 contain all characters of the alphabet, so when producing ``piu f'',
7318 the ``piu'' should be done in a different font.
7322 changes to the font used in time signatures. It only contains
7323 numbers and a few punctuation marks.
7325 changes @code{font-shape} to @code{italic}.
7327 changes @code{font-series} to @code{bold}.
7330 @cindex raising text
7331 @cindex lowering text
7333 @cindex translating text
7336 @cindex @code{\super}
7338 Raising and lowering texts can be done with @code{\super} and
7341 @lilypond[verbatim,fragment,relative=1]
7342 c1^\markup { E "=" mc \super "2" }
7345 @cindex @code{\raise}
7347 If you want to give an explicit amount for lowering or raising, use
7348 @code{\raise}. This command takes a Scheme valued first argument, and
7349 a markup object as second argument:
7351 @lilypond[verbatim,fragment,relative=1,quote]
7352 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7354 The argument to @code{\raise} is the vertical displacement amount,
7355 measured in (global) staff spaces.
7357 Other commands taking single arguments include
7360 @item \bracket, \hbracket
7361 Bracket the argument markup with normal and horizontal brackets
7365 @cindex @code{\musicglyph}
7366 This is converted to a musical symbol, e.g. @code{\musicglyph
7367 #"accidentals-0"} will select the natural sign from the music font.
7368 See @ref{The Feta font} for a complete listing of the possible glyphs.
7370 This produces a single character, e.g. @code{\char #65} produces the
7373 @item \note @var{log} @var{dots} @var{dir}
7374 @cindex @code{\note}
7376 This produces a note with a stem pointing in @var{dir} direction, with
7377 duration log @var{log} and @var{dots} augmentation dots. The duration
7378 log is the negative 2-logarithm of the duration denominator. For
7379 example, a quarter note has log 2, an eighth note 3 and a breve has
7382 @item \hspace #@var{amount}
7383 @cindex @code{\hspace}
7384 This produces a invisible object taking horizontal space.
7386 \markup @{ A \hspace #2.0 B @}
7388 will put extra space between A and B, on top of the space that is
7389 normally inserted before elements on a line.
7391 @item \fontsize #@var{size}
7392 @cindex @code{\fontsize}
7393 This sets the relative font size, eg.
7395 A \fontsize #2 @{ B C @} D
7399 This will enlarge the B and the C by two steps.
7400 @item \translate #(cons @var{x} @var{y})
7402 This translates an object. Its first argument is a cons of numbers
7404 A \translate #(cons 2 -3) @{ B C @} D
7406 This moves `B C' 2 spaces to the right, and 3 down.
7408 @item \magnify #@var{mag}
7409 @cindex @code{\magnify}
7410 This sets the font magnification for the its argument. In the following
7411 example, the middle A will be 10% larger:
7413 A \magnify #1.1 @{ A @} A
7417 @item \override #(@var{key} . @var{value})
7418 @cindex @code{\override}
7419 This overrides a formatting property for its argument. The argument
7420 should be a key/value pair, e.g.
7422 m \override #'(font-family . math) m m
7426 In markup mode you can compose expressions, similar to mathematical
7427 expressions, XML documents and music expressions. The braces group
7428 notes into horizontal lines. Other types of lists also exist: you can
7429 stack expressions grouped with @code{<<}, and @code{>>} vertically with
7430 the command @code{\column}. Similarly, @code{\center} aligns texts by
7433 @lilypond[verbatim,fragment,relative=1]
7434 c1^\markup { \column << a bbbb c >> }
7435 c1^\markup { \center << a bbbb c >> }
7436 c1^\markup { \line << a b c >> }
7439 The markup mechanism is extensible. Refer to
7440 @file{scm/new-markup.scm} for more information on extending the markup
7447 @internalsref{Markup functions}, and @file{scm/new-markup.scm}.
7454 Text layout is ultimately done by @TeX{}, which does kerning of
7455 letters. LilyPond does not account for kerning, so texts will be
7456 spaced slightly too wide.
7458 Syntax errors for markup mode are confusing.
7462 @section Global layout
7464 The global layout determined by three factors: the page layout, the
7465 line breaks and the spacing. These all influence each other. The
7466 choice of spacing determines how densely each system of music is set,
7467 which influences where line breaks breaks are chosen, and thus
7468 ultimately how many pages a piece of music takes. In this section, the
7469 algorithm for spacing music is explained, and how spacing can be
7472 Globally spoken, this procedure happens in three steps: first,
7473 flexible distances (``springs'') are chosen, based on durations. All
7474 possible line breaking combination are tried, and the one with the
7475 best results---a layout that has uniform density and requires as
7476 little stretching or cramping as possible---is chosen. When the score
7477 is processed by @TeX{}, each page is filled with systems, and page breaks
7478 are chosen whenever the page gets full.
7483 * Vertical spacing::
7484 * Horizontal spacing::
7491 @node Vertical spacing
7492 @subsection Vertical spacing
7494 @cindex vertical spacing
7495 @cindex distance between staves
7496 @cindex staff distance
7497 @cindex between staves, distance
7498 @cindex staffs per page
7501 The height of each system is determined automatically by LilyPond, to
7502 keep systems from bumping into each other, some minimum distances are
7503 set. By changing these, you can put staves closer together, and thus
7504 put more systems onto one page.
7506 Normally staves are stacked vertically. To make
7507 staves maintain a distance, their vertical size is padded. This is
7508 done with the property @code{minimumVerticalExtent}. It takes a pair
7509 of numbers, so if you want to make it smaller from its, then you could
7512 \property Staff.minimumVerticalExtent = #'(-4 . 4)
7514 This sets the vertical size of the current staff to 4 staff-space on
7515 either side of the center staff line. The argument of
7516 @code{minimumVerticalExtent} is interpreted as an interval, where the
7517 center line is the 0, so the first number is generally negative. The
7518 staff can be made larger at the bottom by setting it to @code{(-6
7521 The piano staves are handled a little differently: to make cross-staff
7522 beaming work correctly, it is necessary that the distance between staves
7523 is fixed beforehand. This is also done with a
7524 @internalsref{VerticalAlignment} object, created in
7525 @internalsref{PianoStaff}. In this object the distance between the
7526 staves is fixed by setting @code{forced-distance}. If you want to
7527 override this, use a @code{\translator} block as follows:
7531 VerticalAlignment \override #'forced-distance = #9
7534 This would bring the staves together at a distance of 9 staff spaces,
7535 measured from the center line of each staff.
7539 Vertical alignment of staves is handled by the
7540 @internalsref{VerticalAlignment} object.
7544 @node Horizontal spacing
7545 @subsection Horizontal Spacing
7547 The spacing engine translates differences in durations into
7548 stretchable distances (``springs'') of differing lengths. Longer
7549 durations get more space, shorter durations get less. The shortest
7550 durations get a fixed amount of space (which is controlled by
7551 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
7552 /The longer the duration, the more space it gets: doubling a
7553 duration adds a fixed amount (this amount is controlled by
7554 @code{spacing-increment}) of space to the note.
7556 For example, the following piece contains lots of half, quarter and
7557 8th notes, the eighth note is followed by 1 note head width (NHW).
7558 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
7559 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
7563 Normally, @code{shortest-duration-space} is set to 1.2, which is the
7564 width of a note head, and @code{shortest-duration-space} is set to
7565 2.0, meaning that the shortest note gets 2 NHW (2 times
7566 @code{shortest-duration-space}) of space. For normal notes, this space
7567 is always counted from the left edge of the symbol, so the shortest
7568 notes are generally followed by one NHW of space.
7570 If one would follow the above procedure exactly, then adding a single
7571 32th note to a score that uses 8th and 16th notes, would widen up the
7572 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
7573 thus adding 2 noteheads of space to every note. To prevent this, the
7574 shortest duration for spacing is not the shortest note in the score,
7575 but the most commonly found shortest note. Notes that are even
7576 shorter this are followed by a space that is proportonial to their
7577 duration relative to the common shortest note. So if we were to add
7578 only a few 16th notes to the example above, they would be followed by
7581 @lilypond[fragment, verbatim, relative=2]
7582 c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
7585 The most common shortest duration is determined as follows: in every
7586 measure, the shortest duration is determined. The most common short
7587 duration, is taken as the basis for the spacing, with the stipulation
7588 that this shortest duration should always be equal to or shorter than
7589 1/8th note. The shortest duration is printed when you run lilypond
7590 with @code{--verbose}. These durations may also be customized. If you
7591 set the @code{common-shortest-duration} in
7592 @internalsref{SpacingSpanner}, then this sets the base duration for
7593 spacing. The maximum duration for this base (normally 1/8th), is set
7594 through @code{base-shortest-duration}.
7596 @cindex @code{common-shortest-duration}
7597 @cindex @code{base-shortest-duration}
7598 @cindex @code{stem-spacing-correction}
7599 @cindex @code{spacing}
7601 In the introduction it was explained that stem directions influence
7602 spacing. This is controlled with @code{stem-spacing-correction}
7603 property in @internalsref{NoteSpacing}, which are generated for every
7604 @internalsref{Voice} context. The @code{StaffSpacing} object
7605 (generated at @internalsref{Staff} context) contains the same property
7606 for controlling the stem/barline spacing. The following example
7607 shows these corrections, once with default settings, and once with
7608 exaggerated corrections:
7614 \property Staff.NoteSpacing \override #'stem-spacing-correction
7616 \property Staff.StaffSpacing \override #'stem-spacing-correction
7621 \paper { raggedright = ##t } }
7624 @cindex SpacingSpanner, overriding properties
7626 Properties of the @internalsref{SpacingSpanner} must be overridden
7627 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
7628 created before any @code{\property} statements are interpreted.
7630 \paper @{ \translator @{
7632 SpacingSpanner \override #'spacing-increment = #3.0
7639 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
7640 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
7641 @internalsref{SeparatingGroupSpanner}.
7645 Spacing is determined on a score wide basis. If you have a score that
7646 changes its character (measured in durations) halfway during the
7647 score, the part containing the longer durations will be spaced too
7650 There is no convenient mechanism to manually override spacing.
7655 @subsection Font size
7656 @cindex font size, setting
7657 @cindex staff size, setting
7658 @cindex @code{paper} file
7660 The Feta font provides musical symbols at seven different sizes.
7661 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
7662 26 point. The point size of a font is the height of the corresponding
7663 staff (excluding line thicknesses).
7665 Definitions for these sizes are the files @file{paperSZ.ly}, where
7666 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
7667 of these files, the variables @code{paperEleven},
7668 @code{paperThirteen}, @code{paperSixteen},
7669 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
7670 are defined respectively. The default @code{\paper} block is also
7671 set. These files should be imported at toplevel, i.e.
7673 \include "paper26.ly"
7677 The default font size settings for each staff heights are generated
7678 from the 20pt style sheet. For more details, see the file
7679 @file{scm/font.scm}.
7683 @subsection Line breaking
7686 @cindex breaking lines
7688 Line breaks are normally computed automatically. They are chosen such
7689 that lines look neither cramped nor loose, and that consecutive lines
7690 have similar density.
7692 Occasionally you might want to override the automatic breaks; you can
7693 do this by specifying @code{\break}. This will force a line break at
7694 this point. Line breaks can only occur at places where there are bar
7695 lines. If you want to have a line break where there is no bar line,
7696 you can force an invisible bar line by entering @code{\bar
7697 ""}. Similarly, @code{\noBreak} forbids a line break at a
7701 @cindex regular line breaks
7702 @cindex four bar music.
7704 For linebreaks at regular intervals use @code{\break} separated by
7705 skips and repeated with @code{\repeat}:
7707 < \repeat unfold 7 @{ s1 * 4 \break @}
7708 @emph{the real music}
7713 This makes the following 28 measures (assuming 4/4 time) be broken every
7718 @internalsref{BreakEvent}.
7722 @subsection Page layout
7725 @cindex breaking pages
7727 @cindex @code{indent}
7728 @cindex @code{linewidth}
7730 The most basic settings influencing the spacing are @code{indent} and
7731 @code{linewidth}. They are set in the @code{\paper} block. They
7732 control the indentation of the first line of music, and the lengths of
7735 If @code{raggedright} is set to true in the @code{\paper}
7736 block, then the lines are justified at their natural length. This
7737 useful for short fragments, and for checking how tight the natural
7741 @cindex vertical spacing
7743 The page layout process happens outside the LilyPond formatting
7744 engine: variables controlling page layout are passed to the output,
7745 and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
7746 to the following variables in the @code{\paper} block. The variable
7747 @code{textheight} sets the total height of the music on each page.
7748 The spacing between systems is controlled with @code{interscoreline},
7749 its default is 16pt. The distance between the score lines will
7750 stretch in order to fill the full page @code{interscorelinefill} is
7751 set to a positive number. In that case @code{interscoreline}
7752 specifies the minimum spacing.
7754 @cindex @code{textheight}
7755 @cindex @code{interscoreline}
7756 @cindex @code{interscorelinefill}
7758 If the variable @code{lastpagefill} is defined,
7759 @c fixme: this should only be done if lastpagefill == #t
7760 systems are evenly distributed vertically on the last page. This
7761 might produce ugly results in case there are not enough systems on the
7762 last page. The @command{lilypond-book} command ignores
7763 @code{lastpagefill}. See @ref{lilypond-book manual} for more
7766 @cindex @code{lastpagefill}
7768 Page breaks are normally computed by @TeX{}, so they are not under
7769 direct control of LilyPond. However, you can insert a commands into
7770 the @file{.tex} output to instruct @TeX{} where to break pages. This
7771 is done by setting the @code{between-systems-strings} on the
7772 @internalsref{NonMusicalPaperColumn} where the system is broken.
7773 An example is shown in @inputfileref{input/regression,between-systems.ly}.
7774 The predefined command @code{\newpage} also does this.
7778 @cindex @code{papersize}
7780 To change the paper size, you must first set the @code{papersize} paper
7781 variable variable as in the example below. Set it to
7782 the strings @code{a4}, @code{letter}, or @code{legal}. After this
7783 specification, you must set the font as described above. If you want
7784 the default font, then use the 20 point font.
7787 \paper@{ papersize = "a4" @}
7788 \include "paper16.ly"
7791 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
7792 will set the paper variables @code{hsize} and @code{vsize} (used by
7793 @code{lilypond} and @code{ly2dvi}).
7798 @cindex @code{\newpage}
7804 @ref{Invoking ly2dvi},
7805 @inputfileref{input/regression,between-systems.ly}, and
7806 @internalsref{NonMusicalPaperColumn}.
7810 LilyPond has no concept of page layout, which makes it difficult to
7811 reliably choose page breaks in longer pieces.
7820 Entered music can also be converted to MIDI output. The performance
7821 is good enough for proof-hearing the music for errors.
7823 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7824 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7825 marks translate to a fixed fraction of the available MIDI volume
7826 range, crescendi and decrescendi make the volume vary linearly between
7827 their two extremities. The fractions can be adjusted by
7828 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7829 For each type of MIDI instrument, a volume range can be defined. This
7830 gives a basic equalizer control, which can enhance the quality of
7831 the MIDI output remarkably. The equalizer can be controlled by
7832 setting @code{instrumentEqualizer}.
7836 Many musically interesting effects, such as swing, articulation,
7837 slurring, etc., are not translated to MIDI.
7842 * MIDI instrument names::
7847 @subsection MIDI block
7851 The MIDI block is analogous to the paper block, but it is somewhat
7852 simpler. The @code{\midi} block can contain:
7856 @item a @code{\tempo} definition, and
7857 @item context definitions.
7860 Assignments in the @code{\midi} block are not allowed.
7864 @cindex context definition
7866 Context definitions follow precisely the same syntax as within the
7867 \paper block. Translation modules for sound are called performers.
7868 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7871 @node MIDI instrument names
7872 @subsection MIDI instrument names
7874 @cindex instrument names
7875 @cindex @code{Staff.midiInstrument}
7876 @cindex @code{Staff.instrument}
7878 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7879 property or, if that property is not set, the @code{Staff.instrument}
7880 property. The instrument name should be chosen from the list in
7881 @ref{MIDI instruments}.
7885 If the selected string does not exactly match, then LilyPond uses the
7886 default (Grand Piano). It is not possible to select an instrument by