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
15 * Easier music entry::
22 * Fingering instructions::
31 * Contemporary notation::
37 @c FIXME: Note entry vs Music entry at top level menu is confusing.
43 This chapter describes all the different types of notation supported
44 by LilyPond. It is intended as a reference for users that are already
45 somewhat familiar with using LilyPond.
51 * Chromatic alterations::
59 * Easy Notation note heads ::
67 A note is printed by specifying its pitch and then its duration:
68 @footnote{Notes constitute the most basic elements of LilyPond input,
69 but they do not form valid input on their own without a @code{\score}
70 block. However, for the sake of brevity and simplicity we will
71 generally omit @code{\score} blocks and @code{\paper} declarations in
74 @lilypond[fragment,verbatim]
83 @cindex Note specification
85 @cindex entering notes
87 The most common syntax for pitch entry is used in @code{\chords} and
88 @code{\notes} mode. In Note and Chord mode, pitches may be designated
89 by names. The notes are specified by the letters @code{a} through
90 @code{g}, while the octave is formed with notes ranging from @code{c}
91 to @code{b}. The pitch @code{c} is an octave below middle C and the
92 letters span the octave above that C:
94 @lilypond[fragment,verbatim]
96 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
99 @cindex note names, Dutch
101 A sharp is formed by adding @code{-is} to the end of a pitch name and
102 a flat is formed by adding @code{-es}. Double sharps and double flats
103 are obtained by adding @code{-isis} or @code{-eses}. These
104 names are the Dutch note names. In Dutch, @code{aes} is contracted to
105 @code{as} in Dutch, but both forms are accepted. Similarly, both
106 @code{es} and @code{ees} are accepted.
108 There are predefined sets of note names for various other languages.
109 To use them, include the language specific init file. For
110 example: @code{\include "english.ly"}. The available language files
111 and the note names they define are:
116 Note Names sharp flat
117 nederlands.ly c d e f g a bes b -is -es
118 english.ly c d e f g a bf b -s/-sharp -f/-flat
119 deutsch.ly c d e f g a b h -is -es
120 norsk.ly c d e f g a b h -iss/-is -ess/-es
121 svenska.ly c d e f g a b h -iss -ess
122 italiano.ly do re mi fa sol la sib si -d -b
123 catalan.ly do re mi fa sol la sib si -d/-s -b
124 espanol.ly do re mi fa sol la sib si -s -b
133 The optional octave specification takes the form of a series of
134 single quote (`@code{'}') characters or a series of comma
135 (`@code{,}') characters. Each @code{'} raises the pitch by one
136 octave; each @code{,} lowers the pitch by an octave:
138 @lilypond[fragment,verbatim,center]
139 c' c'' es' g' as' gisis' ais'
143 There is also a verbose syntax for pitch specification:
146 @cindex @code{\pitch}
148 \pitch @var{scmpitch}
152 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
156 Notes can be hidden and unhidden with the following commands:
158 @cindex @code{\hideNotes}
160 @cindex @code{\unHideNotes}
167 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
169 @node Chromatic alterations
170 @subsection Chromatic alterations
172 Normally accidentals are printed automatically, but you may also
173 print them manually. A reminder accidental
174 @cindex reminder accidental
176 can be forced by adding an exclamation mark @code{!}
177 after the pitch. A cautionary accidental
178 @cindex cautionary accidental
179 @cindex parenthesized accidental
180 (an accidental within parentheses) can be obtained by adding the
181 question mark `@code{?}' after the pitch:
183 @lilypond[fragment,verbatim]
184 cis' cis' cis'! cis'?
188 The automatic production of accidentals can be tuned in many
189 ways. For more information, refer to @ref{Accidentals}.
194 A chord is formed by a enclosing a set of pitches in @code{<<} and
195 @code{>>}. A chord may be followed by a duration, and a set of
196 articulations, just like simple notes.
206 Rests are entered like notes, with the note name @code{r}:
208 @lilypond[singleline,verbatim]
212 Whole bar rests, centered in middle of the bar,
213 must be done with multi measure rests. They are discussed in
214 @ref{Multi measure rests}.
217 A rest's vertical position may be explicitly specified by entering a
218 note with the @code{\rest} keyword appended. This makes manual
219 formatting in polyphonic music easier. Rest collision testing will
220 leave these rests alone:
222 @lilypond[singleline,verbatim]
228 @internalsref{RestEvent}, and @internalsref{Rest}.
235 @cindex Invisible rest
238 An invisible rest (also called a `skip') can be entered like a note
239 with note name `@code{s}' or with @code{\skip @var{duration}}:
241 @lilypond[singleline,verbatim]
245 The @code{s} syntax is only available in Note mode and Chord mode. In
246 other situations, you should use the @code{\skip} command:
248 @lilypond[singleline,verbatim]
251 { \time 4/8 \skip 2 \time 4/4 }
252 \notes\relative c'' { a2 a1 }
257 The skip command is merely an empty musical placeholder. It does not
258 produce any output, not even transparent output.
262 @internalsref{SkipEvent}.
267 @subsection Durations
271 @cindex @code{\duration}
274 In Note, Chord, and Lyrics mode, durations are designated by numbers
275 and dots: durations are entered as their reciprocal values. For example,
276 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
277 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
278 longer than a whole you must use variables:
280 @c FIXME: what is an identifier? I do not think it's been introduced yet.
281 @c and if it has, I obviously skipped that part. - Graham
285 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
287 r1 r2 r4 r8 r16 r32 r64 r64
292 \notes \relative c'' {
294 a1 a2 a4 a8 a16 a32 a64 a64
296 r1 r2 r4 r8 r16 r32 r64 r64
301 \remove "Clef_engraver"
302 \remove "Staff_symbol_engraver"
303 \remove "Time_signature_engraver"
304 \consists "Pitch_squash_engraver"
311 If the duration is omitted then it is set to the previously entered
312 duration. The default for the first note is a quarter note. The duration
313 can be followed by dots (`@code{.}') in order to obtain dotted note
317 @lilypond[fragment,verbatim,center]
318 a' b' c''8 b' a'4 a'4. b'4.. c'8.
323 You can alter the length of duration by a fraction @var{N/M}
324 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
325 will not affect the appearance of the notes or rests produced.
326 In the following example, the first three notes take up exactly two
328 @lilypond[fragment,relative 2,verbatim]
330 a4*2/3 gis4*2/3 a4*2/3
334 Durations can also be produced using the verbose syntax
335 @code{\duration @var{Scheme object}}:
336 @lilypond[verbatim,fragment]
337 c'\duration #(ly:make-duration 4 1)
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 @internalsref{Dots}, and @internalsref{DotColumn}.
361 In dense chords, dots can overlap.
366 Whenever a note is found, a
367 @internalsref{Stem} object is created automatically. For whole notes
368 and rests, stem objects are also created, but in those cases, the stem
373 @cindex @code{\stemUp}
375 @cindex @code{\stemDown}
377 @cindex @code{\stemBoth}
388 A tie connects two adjacent note heads of the same pitch. The tie in
389 effect extends the length of a note. Ties should not be confused with
390 slurs, which indicate articulation, or phrasing slurs, which indicate
391 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
393 @lilypond[fragment,verbatim,center]
394 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
397 When a tie is applied to a chord, all note heads whose pitches match
398 are connected. When no note heads match, no ties will be created.
400 In its meaning a tie is just a way of extending a note duration, similar
401 to the augmentation dot; in the following example there are two ways of
402 notating exactly the same concept:
404 @lilypond[fragment, singleline,quote]
405 \time 3/4 c'2. c'2 ~ c'4
407 If you need to tie a lot of notes over bars, it may be easier to use automatic
408 note splitting (See @ref{Automatic note splitting}).
413 @cindex @code{\tieUp}
415 @cindex @code{\tieDown}
417 @cindex @code{\tieBoth}
419 @cindex @code{\tieDotted}
421 @cindex @code{\tieSolid}
426 @internalsref{TieEvent}, @internalsref{NewTieEvent},
427 @internalsref{Tie}, and @ref{Automatic note splitting}.
430 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
434 Tieing only a subset of the note heads of a pair of chords is not
435 supported in a simple way. It can be achieved by moving the
436 tie-engraver into the @internalsref{Thread} context and turning on and
437 off ties per @internalsref{Thread}.
439 Switching staves when a tie is active, will not produce a slanted tie.
441 Formatting of ties is a difficult subject. The results are often not
451 @cindex @code{\times}
453 Tuplets are made out of a music expression by multiplying all durations
456 @cindex @code{\times}
458 \times @var{fraction} @var{musicexpr}
461 The duration of @var{musicexpr} will be multiplied by the fraction.
462 In the sheet music, the fraction's denominator will be printed over
463 the notes, optionally with a bracket. The most common tuplet is the
464 triplet in which 3 notes have the length of 2, so the notes are 2/3
465 of their written length:
467 @lilypond[fragment,verbatim,center]
468 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
471 The property @code{tupletSpannerDuration} specifies how long each
472 bracket should last. With this, you can make lots of tuplets while
473 typing @code{\times} only once, saving lots of typing. In the next
474 example, there are two triplets shown, while @code{\times} was only
477 @lilypond[fragment, relative, singleline, verbatim]
478 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
479 \times 2/3 { c'8 c c c c c }
482 The format of the number is determined by the property
483 @code{tupletNumberFormatFunction}. The default prints only the
484 denominator, but if it is set to the Scheme function
485 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
489 @cindex @code{tupletNumberFormatFunction}
490 @cindex tuplet formatting
495 @cindex @code{\tupletUp}
497 @cindex @code{\tupletDown}
499 @cindex @code{\tupletBoth}
504 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
508 Nested tuplets are not formatted automatically. In this case, outer
509 tuplet brackets should be moved manually.
511 @node Easy Notation note heads
512 @subsection Easy Notation note heads
514 @cindex easy notation
517 The `easy play' note head includes a note name inside the head. It is
518 used in music aimed at beginners:
520 @lilypond[singleline,verbatim,26pt]
522 \notes { c'2 e'4 f' | g'1 }
523 \paper { \translator { \EasyNotation } }
527 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
528 You probably will want to print it with magnification or a
529 large font size to make it more readable. To print with
530 magnification, you must create a DVI file (with @file{lilypond}) and
531 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
532 See the @code{dvips} documentation for more details. To print with a
533 larger font, see @ref{Font Size}.
539 If you view the result with Xdvi, then staff lines will show through
540 the letters. Printing the PostScript file obtained does produce the
544 @node Easier music entry
545 @section Easier music entry
548 When entering music it is easy to introduce errors. This section deals
549 with tricks and features of the input language that help when entering
550 music, and find and correct mistakes. Some features of the input
551 language ease entering music, but also have other applications. They
552 are not described in this section.
554 It is also possible to use external programs, for example GUI
555 interfaces, or MIDI transcription programs, to enter or edit
556 music. Refer to the website for more information. Finally, there are
557 tools make debugging easier, by linking the input file and the output
558 shown on screen. See @ref{Point and click} for more information.
565 * Skipping corrected music::
566 * Automatic note splitting ::
572 @node Relative octaves
573 @subsection Relative octaves
575 @cindex relative octave specification
577 Octaves are specified by adding @code{'} and @code{,} to pitch names.
578 When you copy existing music, it is easy to accidentally put a pitch
579 in the wrong octave and hard to find such an error. The relative
580 octave mode prevents these errors: a single error puts the rest of the
581 piece off by one octave:
583 @cindex @code{\relative}
585 \relative @var{startpitch} @var{musicexpr}
588 The octave of notes that appear in @var{musicexpr} are calculated as
589 follows: If no octave changing marks are used, the basic interval
590 between this and the last note is always taken to be a fourth or less
591 (; this distance is determined without regarding alterations: a
592 @code{fisis} following a @code{ceses} will be put above the
595 The octave changing marks @code{'} and @code{,} can be added to raise
596 or lower the pitch by an extra octave. Upon entering relative mode,
597 an absolute starting pitch must be specified that will act as the
598 predecessor of the first note of @var{musicexpr}.
600 Here is the relative mode shown in action:
601 @lilypond[fragment,singleline,verbatim,center]
607 Octave changing marks are used for intervals greater than a fourth:
608 @lilypond[fragment,verbatim,center]
613 If the preceding item is a chord, the first note of the chord is used
614 to determine the first note of the next chord:
616 @lilypond[fragment,verbatim,center]
623 @cindex @code{\notes}
625 The pitch after the @code{\relative} contains a note name. To parse
626 the pitch as a note name, you have to be in note mode, so there must
627 be a surrounding @code{\notes} keyword (which is not
630 The relative conversion will not affect @code{\transpose},
631 @code{\chords} or @code{\relative} sections in its argument. If you
632 want to use relative within transposed music, you must place an
633 additional @code{\relative} inside the @code{\transpose}.
636 @subsection Octave check
639 Octave checks make octave errors easier to correct.
645 This checks that @var{pitch} (without octave) yields @var{pitch} (with
646 octave) in \relative mode. If not, a warning is printed, and the
647 octave is corrected, for example, the first check is passed
648 successfully. The second check fails with an error message. The
649 octave is adjusted so the following notes are in the correct octave
660 The octave of a note following an octave check is determined with
661 respect to the note preceding it. In the next fragment, the last note
662 is a @code{a'}, above central C. Hence, the @code{\octave} check may
663 be deleted without changing the meaning of the piece.
665 @lilypond[verbatim,fragment]
676 @subsection Bar check
680 @cindex @code{barCheckSynchronize}
683 Bar checks help detect errors in the durations. A bar check is
684 entered using the bar symbol, `@code{|}'. Whenever it is encountered
685 during interpretation, it should fall on a measure boundary. If it
686 does not, a warning is printed. Depending on the value of
687 @code{barCheckSynchronize}, the beginning of the measure will be
690 In the next example, the second bar check will signal an error:
692 \time 3/4 c2 e4 | g2 |
697 @cindex skipTypesetting
699 Failed bar checks are caused by entering incorrect
700 durations. Incorrect durations often completely garble up the score,
701 especially if it is polyphonic, so you should start correcting the
702 score by scanning for failed bar checks and incorrect durations. To
703 speed up this process, you can use @code{skipTypesetting}, described
706 @node Skipping corrected music
707 @subsection Skipping corrected music
709 The property @code{Score.skipTypesetting} can be used to switch on and
710 off typesetting completely during the interpretation phase. When
711 typesetting is switched off, the music is processed much more quickly.
712 This can be used to skip over the parts of a score that have already
713 been checked for errors:
715 @lilypond[fragment,singleline,verbatim]
717 \property Score.skipTypesetting = ##t
719 \property Score.skipTypesetting = ##f
723 @node Automatic note splitting
724 @subsection Automatic note splitting
726 Long notes can be converted automatically to tied notes. This is done
727 by replacing the @internalsref{Note_heads_engraver} by the
728 @internalsref{Completion_heads_engraver}:
731 \paper @{ \translator @{
733 \remove "Note_heads_engraver"
734 \consists "Completion_heads_engraver"
738 which will make long notes tied in the following example:
741 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
748 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
750 \paper { \translator {
752 \remove "Note_heads_engraver"
753 \consists "Completion_heads_engraver"
758 This engraver splits all running notes at the bar line, and inserts
759 ties. One of its uses is to debug complex scores: if the measures are
760 not entirely filled, then the ties exactly show how much each measure
765 Not all durations (especially those containing tuplets) can be
766 represented exactly; the engraver will not insert tuplets.
772 @section Staff notation
774 This section describes music notation that occurs on staff level,
775 such as keys, clefs and time signatures.
777 @cindex Staff notation
791 @subsection Staff symbol
793 @cindex adjusting staff symbol
794 @cindex StaffSymbol, using \property
796 Notes, dynamic signs, etc. are grouped
797 with a set of horizontal lines, into a staff (plural `staves'). In our
798 system, these lines are drawn using a separate layout object called
802 @cindex staff lines, setting number of
803 @cindex staff lines, setting thickness of
804 @cindex thickness of staff lines, setting
805 @cindex number of staff lines, setting
807 This object is created whenever a @internalsref{Staff} context is
808 created. The appearance of the staff symbol cannot be changed by
809 using @code{\override} or @code{\set}. At the moment that
810 @code{\property Staff} is interpreted, a @internalsref{Staff} context
811 is made, and the @internalsref{StaffSymbol} is created before any
812 @code{\override} is effective. Properties can be changed in a
813 @code{\translator} definition, or by using @code{\outputproperty}.
817 If a staff is ended halfway a piece, the staff symbol may not end
818 exactly on the barline.
822 @subsection Key signature
823 @cindex Key signature
827 The key signature indicates the scale in which a piece is played. It
828 is denoted by a set of alterations (flats or sharps) at the start of
833 Setting or changing the key signature is done with the @code{\key}
836 @code{\key} @var{pitch} @var{type}
839 @cindex @code{\minor}
840 @cindex @code{\major}
841 @cindex @code{\minor}
842 @cindex @code{\ionian}
843 @cindex @code{\locrian}
844 @cindex @code{\aeolian}
845 @cindex @code{\mixolydian}
846 @cindex @code{\lydian}
847 @cindex @code{\phrygian}
848 @cindex @code{\dorian}
850 Here, @var{type} should be @code{\major} or @code{\minor} to get
851 @var{pitch}-major or @var{pitch}-minor, respectively.
852 The standard mode names @code{\ionian},
853 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
854 @code{\phrygian}, and @code{\dorian} are also defined.
856 This command sets the context property
857 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
858 can be specified by setting this property directly.
862 The ordering of a key cancellation is wrong when it is combined with
863 repeat bar lines. The cancellation is also printed after a line break.
867 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
869 @cindex @code{keySignature}
876 The clef indicates which lines of the staff correspond to which
881 The clef can be set or changed with the @code{\clef} command:
882 @lilypond[fragment,verbatim]
883 \key f\major c''2 \clef alto g'2
886 Supported clef-names include:
887 @c Moved standard clefs to the top /MB
891 @item treble, violin, G, G2
904 G clef on 1st line, so-called French violin clef
909 @cindex mezzosoprano clef
912 @cindex baritone clef
915 @cindex varbaritone clef
924 By adding @code{_8} or @code{^8} to the clef name, the clef is
925 transposed one octave down or up, respectively. Argument @var{clefname}
926 must be enclosed in quotes when it contains underscores or digits. For
930 @cindex choral tenor clef
931 @lilypond[verbatim,fragment,relative]
935 This command is equivalent to setting @code{clefGlyph},
936 @code{clefPosition} (which controls the Y position of the clef),
937 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
938 when any of these properties are changed.
942 The object for this symbol is @internalsref{Clef}.
946 @node Ottava brackets
947 @subsection Ottava brackets
949 ``Ottava'' brackets introduce an extra transposition of an octave for
950 the staff. They are created by invoking the function
951 @code{set-octavation}:
957 @lilypond[verbatim,fragment]
966 Internally the @code{set-octavation} function sets the properties
967 @code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
971 @internalsref{OttavaSpanner}.
975 @code{set-octavation} will get confused when clef changes happen
976 during an octavation bracket.
979 @subsection Time signature
980 @cindex Time signature
984 Time signature indicates the metrum of a piece: a regular pattern of
985 strong and weak beats. It is denoted by a fraction at the start of the
990 The time signature is set or changed by the @code{\time}
992 @lilypond[fragment,verbatim]
993 \time 2/4 c'2 \time 3/4 c'2.
996 The symbol that is printed can be customized with the @code{style}
997 property. Setting it to @code{#'()} uses fraction style for 4/4 and
998 2/2 time. There are many more options for its layout. See
999 @inputfileref{input/test,time.ly} for more examples.
1002 This command sets the property @code{timeSignatureFraction},
1003 @code{beatLength} and @code{measureLength} in the @code{Timing}
1004 context, which is normally aliased to @internalsref{Score}. The
1005 property @code{measureLength} determines where bar lines should be
1006 inserted, and how automatic beams should be generated. Changing the
1007 value of @code{timeSignatureFraction} also causes the symbol to be
1010 More options are available through the Scheme function
1011 @code{set-time-signature}. In combination with the
1012 @internalsref{Measure_grouping_engraver}, it will create
1013 @internalsref{MeasureGrouping} signs. Such signs ease reading
1014 rhythmically complex modern music. In the following example, the 9/8
1015 measure is subdivided in 2, 2, 2 and 3. This is passed to
1016 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1019 \score { \notes \relative c'' {
1020 #(set-time-signature 9 8 '(2 2 2 3))
1021 g8[ g] d[ d] g[ g] a8[( bes g]) |
1022 #(set-time-signature 5 8 '(3 2))
1027 \translator { \StaffContext
1028 \consists "Measure_grouping_engraver"
1034 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1039 Automatic beaming does not use measure grouping specified with
1040 @code{set-time-signature}.
1042 @node Partial measures
1043 @subsection Partial measures
1046 @cindex partial measure
1047 @cindex measure, partial
1048 @cindex shorten measures
1049 @cindex @code{\partial}
1051 Partial measures, for example in upsteps, are entered using the
1052 @code{\partial} command:
1053 @lilypond[fragment,verbatim]
1054 \partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
1057 The syntax for this command is
1059 \partial @var{duration}
1061 This is internally translated into
1063 \property Timing.measurePosition = -@var{length of duration}
1066 The property @code{measurePosition} contains a rational number
1067 indicating how much of the measure has passed at this point.
1069 @node Unmetered music
1070 @subsection Unmetered music
1072 Bar lines and bar numbers are calculated automatically. For unmetered
1073 music (e.g. cadenzas), this is not desirable. By setting
1074 @code{Score.timing} to false, this automatic timing can be switched
1080 @cindex @code{\cadenzaOn}
1082 @cindex @code{\cadenzaOff}
1086 @subsection Bar lines
1090 @cindex measure lines
1094 Bar lines delimit measures, but are also used to indicate repeats.
1095 Normally, they are inserted automatically. Line breaks may only
1101 of barlines can be forced with the @code{\bar} command:
1102 @lilypond[relative=1,fragment,verbatim]
1106 The following bar types are available:
1107 @lilypond[fragment, relative, singleline, verbatim]
1119 In scores with many staves, a @code{\bar} command in one staff is
1120 automatically applied to all staves. The resulting bar lines are
1121 connected between different staves of a @internalsref{StaffGroup}:
1123 @lilypond[fragment, verbatim]
1124 < \context StaffGroup <
1128 \new Staff { \clef bass c4 g e g } >
1129 \new Staff { \clef bass c2 c2 } >
1133 The command @code{\bar @var{bartype}} is a short cut for doing
1134 @code{\property Score.whichBar = @var{bartype}} Whenever
1135 @code{whichBar} is set to a string, a bar line of that type is
1136 created. At the start of a measure it is set to
1137 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1138 to override default measure bars.
1140 Property @code{whichBar} can also be set directly, using @code{\property}
1141 or @code{\bar}. These settings take precedence over the automatic
1142 @code{whichBar} settings.
1145 @cindex repeatCommands
1146 @cindex defaultBarType
1148 You are encouraged to use @code{\repeat} for repetitions. See
1158 The bar line objects that are created at @internalsref{Staff} level
1159 are called @internalsref{BarLine}, the bar lines that span staves are
1160 @internalsref{SpanBar}s.
1162 @cindex bar lines at start of system
1163 @cindex start of system
1165 The barlines at the start of each system are
1166 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1167 @internalsref{SystemStartBracket}. They are spanner objects and
1168 typically must be tuned from a @code{\translator} block.
1175 The easiest way to enter fragments with more than one voice on a staff
1176 is to split chords using the separator @code{\\}. You can use it for
1177 small, short-lived voices or for single chords:
1179 @lilypond[verbatim,fragment]
1180 \context Staff \relative c'' {
1181 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d >
1185 The separator causes @internalsref{Voice} contexts to be
1187 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1188 contexts, vertical direction of slurs, stems, etc. is set
1191 This can also be done by instantiating @internalsref{Voice} contexts
1192 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1193 a stem directions and horizontal shift for each part:
1196 @lilypond[singleline, verbatim]
1198 \context Staff < \new Voice { \voiceOne cis2 b }
1199 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1200 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >
1203 Normally, note heads with a different number of dots are not merged, but
1204 when the object property @code{merge-differently-dotted} is set in
1205 the @internalsref{NoteCollision} object, they are merged:
1206 @lilypond[verbatim,fragment,singleline]
1207 \relative c'' \context Voice < {
1209 \property Staff.NoteCollision \override
1210 #'merge-differently-dotted = ##t
1212 } \\ { g8.[ f16] g8.[ f16] }
1216 Similarly, you can merge half note heads with eighth notes, by setting
1217 @code{merge-differently-headed}:
1218 @lilypond[fragment, relative=2,verbatim]
1221 \property Staff.NoteCollision
1222 \override #'merge-differently-headed = ##t
1223 c8 c4. } \\ { c2 c2 } >
1226 LilyPond also vertically shifts rests that are opposite of a stem:
1229 @lilypond[singleline,fragment,verbatim]
1230 \context Voice < c''4 \\ r4 >
1238 @cindex @code{\oneVoice}
1240 @cindex @code{\voiceOne}
1242 @cindex @code{\voiceTwo}
1244 @cindex @code{\voiceThree}
1246 @cindex @code{\voiceFour}
1249 The following commands specify in what chords of the current voice
1250 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1251 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1254 @cindex @code{\shiftOn}
1256 @cindex @code{\shiftOnn}
1258 @cindex @code{\shiftOnnn}
1260 @cindex @code{\shiftOff}
1267 The objects responsible for resolving collisions are
1268 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1269 also example files @inputfileref{input/regression,collision-dots.ly},
1270 @inputfileref{input/regression,collision-head-chords.ly},
1271 @inputfileref{input/regression,collision-heads.ly},
1272 @inputfileref{input/regression,collision-mesh.ly}, and
1273 @inputfileref{input/regression,collisions.ly}.
1278 Resolving collisions is a intricate subject, and only a few situations
1279 are handled. When LilyPond cannot cope, the @code{force-hshift}
1280 property of the @internalsref{NoteColumn} object and pitched rests can
1281 be used to override typesetting decisions.
1283 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1284 note, and a downstem half note, the 8th note gets the wrong offset.
1289 Beams are used to group short notes into chunks that are aligned with
1290 the metrum. They are inserted automatically in most cases:
1292 @lilypond[fragment,verbatim, relative=2]
1293 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1296 When these automatic decisions are not good enough, beaming can be
1297 entered explicitly. It is also possible to define beaming patterns
1298 that differ from the defaults.
1302 @internalsref{Beam}.
1305 @cindex Automatic beams
1306 @subsection Manual beams
1307 @cindex beams, manual
1311 In some cases it may be necessary to override the automatic beaming
1312 algorithm. For example, the auto beamer will not put beams over rests
1313 or bar lines. Such beams are specified by manually: the begin and end
1314 point are marked with @code{[} and @code{]}:
1316 @lilypond[fragment,relative,verbatim]
1318 r4 r8[ g' a r8] r8 g[ | a] r8
1322 @cindex @code{stemLeftBeamCount}
1324 Normally, beaming patterns within a beam are determined automatically.
1325 When this mechanism fouls up, the properties
1326 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1327 be used to control the beam subdivision on a stem. If either property
1328 is set, its value will be used only once, and then it is erased.
1330 @lilypond[fragment,relative,verbatim]
1333 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1336 @cindex @code{stemRightBeamCount}
1339 The property @code{subdivideBeams} can be set in order to subdivide
1340 all 16th or shorter beams at beat positions, as defined by the
1341 @code{beatLength} property . This accomplishes the same effect as
1342 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1343 but it take less typing:
1346 @lilypond[relative=1,verbatim,noindent]
1348 \property Voice.subdivideBeams = ##t
1350 \property Score.beatLength = #(ly:make-moment 1 8)
1353 @cindex subdivideBeams
1355 Kneed beams are inserted automatically, when a large gap is detected
1356 between the note heads. This behavior can be tuned through the object
1357 property @code{auto-knee-gap}.
1359 Normally, line breaks are forbidden when beams cross bar lines. This
1360 behavior can be changed by setting @code{allowBeamBreak}.
1362 @cindex @code{allowBeamBreak}
1363 @cindex beams and line breaks
1365 @cindex beams, kneed
1367 @cindex auto-knee-gap
1373 @cindex Frenched staves
1375 Automatically kneed beams cannot be used together with hidden staves.
1380 * Setting automatic beam behavior ::
1384 @no de Beam typography
1385 @sub section Beam typography
1387 One of the strong points of LilyPond is how beams are formatted. Beams
1388 are quantized, meaning that the left and right endpoints beams start
1389 exactly on staff lines. Without quantization, small wedges of white
1390 space appear between the beam and staff line, and this looks untidy.
1392 Beams are also slope-damped: melodies that go up or down should also
1393 have beams that go up or down, but the slope of the beams should be
1394 less than the slope of the notes themselves.
1396 Some beams should be horizontal. These are so-called concave beams.
1398 [TODO: some pictures.]
1402 @node Setting automatic beam behavior
1403 @subsection Setting automatic beam behavior
1405 @cindex @code{autoBeamSettings}
1406 @cindex @code{(end * * * *)}
1407 @cindex @code{(begin * * * *)}
1408 @cindex automatic beams, tuning
1409 @cindex tuning automatic beaming
1411 @c [TODO: use \applycontext]
1413 In normal time signatures, automatic beams can start on any note but can
1414 only end in a few positions within the measure: beams can end on a beat,
1415 or at durations specified by the properties in
1416 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1417 are defined in @file{scm/auto-beam.scm}.
1419 The value of @code{autoBeamSettings} is changed using
1420 @code{\override} and restored with @code{\revert}:
1422 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1423 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1425 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1426 whether the rule applies to begin or end-points. The quantity
1427 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1428 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1429 signature (wildcards, `@code{* *}' may be entered to designate all time
1432 For example, if automatic beams should end on every quarter note, use
1435 \property Voice.autoBeamSettings \override
1436 #'(end * * * *) = #(ly:make-moment 1 4)
1438 Since the duration of a quarter note is 1/4 of a whole note, it is
1439 entered as @code{(ly:make-moment 1 4)}.
1441 The same syntax can be used to specify beam starting points. In this
1442 example, automatic beams can only end on a dotted quarter note:
1444 \property Voice.autoBeamSettings \override
1445 #'(end * * * *) = #(ly:make-moment 3 8)
1447 In 4/4 time signature, this means that automatic beams could end only on
1448 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1449 3/8 has passed within the measure).
1451 Rules can also be restricted to specific time signatures. A rule that
1452 should only be applied in @var{N}/@var{M} time signature is formed by
1453 replacing the second asterisks by @var{N} and @var{M}. For example, a
1454 rule for 6/8 time exclusively looks like
1456 \property Voice.autoBeamSettings \override
1457 #'(begin * * 6 8) = ...
1460 If a rule should be to applied only to certain types of beams, use the
1461 first pair of asterisks. Beams are classified according to the
1462 shortest note they contain. For a beam ending rule that only applies
1463 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1466 If a score ends while an automatic beam has not been ended and is still
1467 accepting notes, this last beam will not be typeset at all.
1469 @cindex automatic beam generation
1471 @cindex @code{Voice.autoBeaming}
1474 For melodies that have lyrics, you may want to switch off
1475 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1480 @cindex @code{\autoBeamOff}
1481 @code{\autoBeamOff},
1482 @cindex @code{\autoBeamOn}
1488 The rules for ending a beam depend on the shortest note in a beam.
1489 So, while it is possible to have different ending rules for eight
1490 beams and sixteenth beams, a beam that contains both eight and
1491 sixteenth notes will use the rules for the sixteenth beam.
1493 In the example below, the autobeamer makes eight beams and sixteenth
1494 end at 3 eights; the third beam can only be corrected by specifying
1497 @lilypond[singleline,fragment,relative,noverbatim,quote]
1498 \property Voice.autoBeamSettings
1499 \override #'(end * * * *) = #(ly:make-moment 3 8)
1500 % rather show case where it goes wrong
1501 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1502 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1504 It is not possible to specify beaming parameters that act differently in
1505 different parts of a measure. This means that it is not possible to use
1506 automatic beaming in irregular meters such as @code{5/8}.
1509 @section Accidentals
1512 This section describes how to change the way that accidentals are
1513 inserted automatically before the running notes.
1517 * Using the predefined accidental variables::
1518 * Customized accidental rules::
1521 @node Using the predefined accidental variables
1522 @subsection Using the predefined accidental variables
1524 The constructs for describing the accidental typesetting rules are
1525 quite hairy, so non-experts should stick to the variables
1526 defined in @file{ly/property-init.ly}.
1527 @cindex @file{property-init.ly}
1529 The variables set properties in the ``@code{Current}'' context (see
1530 @ref{Context properties}). This means that the variables should
1531 normally be added right after the creation of the context in which the
1532 accidental typesetting described by the variable is to take
1533 effect. For example, if you want to use piano-accidentals in a piano
1534 staff then issue @code{\pianoAccidentals} first thing after the
1535 creation of the piano staff:
1538 \notes \relative c'' <
1539 \new Staff @{ cis4 d e2 @}
1540 \context GrandStaff <
1542 \new Staff @{ cis4 d e2 @}
1543 \new Staff @{ es2 c @}
1545 \new Staff @{ es2 c @}
1549 @lilypond[singleline]
1551 \notes \relative c'' <
1552 \new Staff { cis4 d e2 }
1553 \context GrandStaff <
1555 \new Staff { cis4 d e2 }
1556 \new Staff { es2 c }
1558 \new Staff { es2 c }
1563 minimumVerticalExtent = #'(-4.0 . 4.0)
1571 @item \defaultAccidentals
1572 @cindex @code{\defaultAccidentals}
1573 This is the default typesetting behaviour. It should correspond
1574 to 18th century common practice: Accidentals are
1575 remembered to the end of the measure in which they occur and
1576 only on their own octave.
1578 @item \voiceAccidentals
1579 @cindex @code{\voiceAccidentals}
1581 The normal behaviour is to
1582 remember the accidentals on Staff-level. This variable, however,
1583 typesets accidentals individually for each voice. Apart from that the
1584 rule is similar to @code{\defaultAccidentals}.
1586 This leads to some weird and often unwanted results
1587 because accidentals from one voice do not get cancelled in other
1589 @lilypond[singleline,relative,fragment,verbatim,quote]
1597 Hence you should only use @code{\voiceAccidentals} if the voices
1598 are to be read solely by individual musicians. If the staff is to be
1599 used by one musician (e.g. a conductor) then you use
1600 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1603 @item \modernAccidentals
1604 @cindex @code{\modernAccidentals}
1605 This rule corresponds to the common practice in the 20th
1607 The rule is more complex than @code{\defaultAccidentals}.
1608 You get all the same accidentals, but temporary
1609 accidentals also get cancelled in other octaves. Furthermore,
1610 in the same octave, they also get cancelled in the following measure:
1611 @lilypond[singleline,fragment,verbatim]
1613 cis' c'' cis'2 | c'' c'
1616 @item \modernCautionaries
1617 @cindex @code{\modernCautionaries}
1618 This rule is similar to @code{\modernAccidentals}, but the
1619 ``extra'' accidentals (the ones not typeset by
1620 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1621 They are printed in reduced size or with parentheses:
1622 @lilypond[singleline,fragment,verbatim]
1624 cis' c'' cis'2 | c'' c'
1627 @cindex @code{\modernVoiceAccidentals}
1628 @item \modernVoiceAccidentals
1629 is used for multivoice accidentals to be read both by musicians
1630 playing one voice and musicians playing all voices. Accidentals are
1631 typeset for each voice, but they @emph{are} cancelled across voices in
1632 the same @internalsref{Staff}.
1634 @cindex @code{\modernVoiceCautionaries}
1635 @item \modernVoiceCautionaries
1636 is the same as @code{\modernVoiceAccidentals}, but with the extra
1637 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1638 as cautionaries. Even though all accidentals typeset by
1639 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1640 some of them are typeset as cautionaries.
1642 @item \pianoAccidentals
1643 @cindex @code{\pianoAccidentals}
1644 20th century practice for piano notation. Very similar to
1645 @code{\modernAccidentals} but accidentals also get cancelled
1646 across the staves in the same @internalsref{GrandStaff} or
1647 @internalsref{PianoStaff}.
1649 @item \pianoCautionaries
1650 @cindex @code{\pianoCautionaries}
1651 As @code{\pianoAccidentals} but with the extra accidentals
1652 typeset as cautionaries.
1655 @cindex @code{\noResetKey}
1656 Same as @code{\defaultAccidentals} but with accidentals lasting
1657 ``forever'' and not only until the next measure:
1658 @lilypond[singleline,fragment,verbatim,relative]
1663 @item \forgetAccidentals
1664 @cindex @code{\forgetAccidentals}
1665 This is sort of the opposite of @code{\noResetKey}: Accidentals
1666 are not remembered at all---and hence all accidentals are
1667 typeset relative to the key signature, regardless of what was
1668 before in the music:
1669 @lilypond[singleline,fragment,verbatim,relative]
1671 \key d\major c4 c cis cis d d dis dis
1675 @node Customized accidental rules
1676 @subsection Customized accidental rules
1678 This section must be considered gurus-only, and hence it must be
1679 sufficient with a short description of the system and a reference to
1680 the internal documentation.
1682 The algorithm tries several different rules, and uses the rule
1683 that gives the highest number of accidentals. Each rule consists of
1686 In which context is the rule applied. For example, if
1687 @var{context} is @internalsref{Score} then all staves share
1688 accidentals, and if @var{context} is @internalsref{Staff} then all
1689 voices in the same staff share accidentals, but staves do not.
1691 Whether the accidental changes all octaves or only the current
1694 Over how many barlines the accidental lasts.
1695 If @var{lazyness} is @code{-1} then the accidental is forget
1696 immediately, and if @var{lazyness} is @code{#t} then the accidental
1699 @c [TODO: should use +infinity for this case?]
1705 @cindex @code{\defaultAccidentals}
1706 @code{\defaultAccidentals},
1707 @cindex @code{\voiceAccidentals}
1708 @code{\voiceAccidentals},
1709 @cindex @code{\modernAccidentals}
1710 @code{\modernAccidentals},
1711 @cindex @code{\modernCautionaries}
1712 @code{\modernCautionaries},
1713 @cindex @code{\modernVoiceAccidentals}
1714 @code{\modernVoiceAccidentals},
1715 @cindex @code{\modernVoiceCautionaries}
1716 @code{\modernVoiceCautionaries},
1717 @cindex @code{\pianoAccidentals}
1718 @code{\pianoAccidentals},
1719 @cindex @code{\pianoCautionaries}
1720 @code{\pianoCautionaries},
1721 @cindex @code{\noResetKey}
1723 @cindex @code{\forgetAccidentals}
1724 @code{\forgetAccidentals}.
1728 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1729 @internalsref{AccidentalPlacement}.
1734 Currently the simultaneous notes are considered to be entered in
1735 sequential mode. This means that in a chord the accidentals are
1736 typeset as if the notes in the chord happened once at a time - in the
1737 order in which they appear in the input file.
1739 This is only a problem when there are simultaneous notes whose
1740 accidentals depend on each other. The problem only occurs when using
1741 non-default accidentals. In the default scheme, accidentals only
1742 depend on other accidentals with the same pitch on the same staff, so
1743 no conflicts possible.
1745 This example shows two examples of the same music giving different
1746 accidentals depending on the order in which the notes occur in the
1749 @lilypond[singleline,fragment,verbatim]
1750 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1751 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1752 | <<cis' c''>> r | <<c'' cis'>> r |
1755 This problem can be solved by manually inserting @code{!} and @code{?}
1756 for the problematic notes.
1758 @node Expressive marks
1759 @section Expressive marks
1767 * Analysis brackets::
1774 A slur indicates that notes are to be played bound or @emph{legato}.
1778 They are entered using parentheses:
1779 @lilypond[fragment,verbatim,center]
1780 f'( g')( a') a'8[ b'(] a'4 g'2 f'4)
1781 <<c' e'>>2( <<b d'>>2)
1785 @c TODO: should explain that ^( and _( set directions
1786 @c should set attachments with ^ and _ ?
1788 Slurs avoid crossing stems, and are generally attached to note heads.
1789 However, in some situations with beams, slurs may be attached to stem
1790 ends. If you want to override this layout you can do this through the
1791 object property @code{attachment} of @internalsref{Slur} in
1792 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1793 the attachment type of the left and right end points:
1795 @lilypond[fragment,relative,verbatim]
1797 \property Voice.Stem \set #'length = #5.5
1799 \property Voice.Slur \set #'attachment = #'(stem . stem)
1803 If a slur would strike through a stem or beam, the slur will be moved
1804 away upward or downward. If this happens, attaching the slur to the
1805 stems might look better:
1807 @lilypond[fragment,relative,verbatim]
1810 \property Voice.Slur \set #'attachment = #'(stem . stem)
1817 @cindex @code{\slurUp}
1819 @cindex @code{\slurDown}
1821 @cindex @code{\slurBoth}
1823 @cindex @code{\slurDotted}
1825 @cindex @code{\slurSolid}
1830 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1835 Producing nice slurs is a difficult problem, and LilyPond currently
1836 uses a simple, empiric method to produce slurs. In some cases, its
1840 @cindex Adjusting slurs
1842 @node Phrasing slurs
1843 @subsection Phrasing slurs
1845 @cindex phrasing slurs
1846 @cindex phrasing marks
1848 A phrasing slur (or phrasing mark) connects chords and is used to
1849 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1852 @lilypond[fragment,verbatim,center,relative]
1853 \time 6/4 c'\( d( e) f( e) d\)
1856 Typographically, the phrasing slur behaves almost exactly like a
1857 normal slur. However, they are treated as different objects. A
1858 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1859 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1860 @code{\phrasingSlurBoth}.
1862 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1863 will only affect normal slurs and not phrasing slurs.
1867 @cindex @code{\phrasingSlurUp}
1868 @code{\phrasingSlurUp},
1869 @cindex @code{\phrasingSlurDown}
1870 @code{\phrasingSlurDown},
1871 @cindex @code{\phrasingSlurBoth}
1872 @code{\phrasingSlurBoth},
1876 See also @internalsref{PhrasingSlur}, and
1877 @internalsref{PhrasingSlurEvent}.
1881 Phrasing slurs have the same limitations in their formatting as normal
1882 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1885 @subsection Breath marks
1887 Breath marks are entered using @code{\breathe}:
1890 @lilypond[fragment,relative,verbatim]
1894 The glyph of the breath mark can be tweaked by overriding the
1895 @code{text} property of the @code{BreathingSign} layout object with the name of
1896 any glyph of @ref{The Feta font}. For example,
1897 @lilypond[fragment,verbatim,relative]
1899 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1906 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1907 @inputfileref{input/regression,breathing-sign.ly}.
1910 @node Metronome marks
1911 @subsection Metronome marks
1914 @cindex beats per minute
1915 @cindex metronome marking
1917 Metronome settings can be entered as follows:
1919 \tempo @var{duration} = @var{perminute}
1922 In the MIDI output, they are interpreted as a tempo change, and in the
1923 paper output, a metronome marking is printed:
1924 @cindex @code{\tempo}
1925 @lilypond[fragment,verbatim]
1931 @internalsref{MetronomeChangeEvent}.
1936 @subsection Text spanners
1937 @cindex Text spanners
1939 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1940 are written as texts, and extended over many measures with dotted
1941 lines. You can create such texts using text spanners: attach
1942 @code{\startTextSpan} and @code{\stopTextSpan} to the
1943 start and ending note of the spanner.
1945 The string to be printed, as well as the style, is set through object
1948 @lilypond[fragment,relative,verbatim]
1950 \property Voice.TextSpanner \set #'direction = #-1
1951 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1952 c2\startTextSpan b c\stopTextSpan a }
1958 @internalsref{TextSpanEvent},
1959 @internalsref{TextSpanner}, and
1960 @inputfileref{input/regression,text-spanner.ly}.
1963 @node Analysis brackets
1964 @subsection Analysis brackets
1966 @cindex phrasing brackets
1967 @cindex musicological analysis
1968 @cindex note grouping bracket
1970 Brackets are used in musical analysis to indicate structure in musical
1971 pieces. LilyPond supports a simple form of nested horizontal brackets.
1972 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1973 @internalsref{Staff} context. A bracket is started with
1974 @code{\startGroup} and closed with @code{\stopGroup}:
1976 @lilypond[singleline,verbatim]
1977 \score { \notes \relative c'' {
1978 c4\startGroup\startGroup
1981 c4\stopGroup\stopGroup
1983 \paper { \translator {
1984 \StaffContext \consists "Horizontal_bracket_engraver"
1990 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
1991 @inputfileref{input/regression,note-group-bracket.ly}.
1995 @section Articulations
1996 @cindex Articulations
1998 @cindex articulations
2002 A variety of symbols can appear above and below notes to indicate
2003 different characteristics of the performance. They are added to a note
2004 by adding a dash and the character signifying the
2005 articulation. They are demonstrated here:
2007 @lilypondfile[notexidoc]{script-abbreviations.ly}
2009 The meanings of these shorthands can be changed: see
2010 @file{ly/script-init.ly} for examples.
2013 The script is automatically placed, but if you need to force
2014 directions, you can use @code{_} to force them down, or @code{^} to
2016 @lilypond[fragment, verbatim]
2020 Other symbols can be added using the syntax
2021 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2022 can be forced up or down using @code{^} and @code{_},
2025 @lilypond[verbatim,fragment,relative 2]
2026 c\fermata c^\fermata c_\fermata
2033 @cindex staccatissimo
2042 @cindex organ pedal marks
2051 @cindex prallmordent
2055 @cindex thumb marking
2060 @lilypondfile[notexidoc]{script-chart.ly}
2065 @cindex @code{\scriptUp}
2067 @cindex @code{\scriptDown}
2069 @cindex @code{\scriptBoth}
2074 @internalsref{ScriptEvent}, and @internalsref{Script}.
2078 All of these note ornaments appear in the printed output but have no
2079 effect on the MIDI rendering of the music.
2082 @node Fingering instructions
2083 @section Fingering instructions
2087 Fingering instructions can be entered using
2089 @var{note}-@var{digit}
2091 For finger changes, use markup texts:
2093 @lilypond[verbatim, singleline, fragment]
2094 c'4-1 c'4-2 c'4-3 c'4-4
2095 c'^\markup { \fontsize #-3 \number "2-3" }
2098 @cindex finger change
2103 You can use the thumb-script to indicate that a note should be
2104 played with your thumb (used in cello music):
2106 @lilypond[verbatim, singleline, fragment]
2107 <<a' a''-3>>8(_\thumb[ <<b' b''-3>>)_\thumb
2108 <<c'' c'''-3>>(_\thumb <<d'' d'''-3>>)_\thumb]
2111 Fingerings for chords can also be added to individual notes
2112 of the chord by adding them after the pitches:
2113 @lilypond[verbatim,singleline,fragment,relative=1]
2114 << c-1 e-2 g-3 b-5 >> 4
2117 Setting @code{fingerHorizontalDirection} will put the fingerings next
2120 @lilypond[verbatim,singleline,fragment,relative=1]
2121 \property Voice.fingerHorizontalDirection = #LEFT
2122 << c-1 es-2 g-4 bes-5 >> 4
2123 \property Voice.fingerHorizontalDirection = #RIGHT
2124 << c-1 es-2 g-4 bes-5 >> 4
2129 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2140 @subsection Text scripts
2141 @cindex Text scripts
2143 It is possible to place arbitrary strings of text or markup text (see
2144 @ref{Text markup}) above or below notes by using a string:
2145 @code{c^"text"}. By default, these indications do not influence the
2146 note spacing, but by using the command @code{\fatText}, the widths
2147 will be taken into account:
2149 @lilypond[fragment,singleline,verbatim] \relative c' {
2150 c4^"longtext" \fatText c4_"longlongtext" c4 }
2153 It is possible to use @TeX{} commands in the strings, but this should
2154 be avoided because the exact dimensions of the string can then no
2160 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2166 @subsection Grace notes
2169 @c should have blurb about accaciatura / appogiatura
2171 @cindex @code{\grace}
2175 Grace notes are ornaments that are written out. The most common ones
2176 are acciaccatura, which should be played as very short. It is denoted
2177 by a slurred small note with a slashed stem. The appoggiatura is a
2178 grace note that takes a fixed fraction of the main note, is and
2179 denoted as a slurred note in small print without a slash.
2180 They are entered with the commands @code{\acciaccatura} and
2181 @code{\appoggiatura}, as demonstrated in the following example:
2184 @cindex appoggiatura
2185 @cindex acciaccatura
2187 @lilypond[relative=2,verbatim,fragment]
2188 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2189 \acciaccatura { g16 f } e4
2192 Both are special forms of the @code{\grace} command. By prefixing this
2193 keyword to a music expression, a new one is formed, which will be
2194 printed in a smaller font and takes up no logical time in a measure.
2195 @lilypond[relative=2,verbatim,fragment]
2196 c4 \grace c16 c4 \grace {
2199 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2200 @code{\grace} command does not start a slur.
2202 Internally, timing for grace notes is done using a second, `grace'
2203 time. Every point in time consists of two rational numbers: one
2204 denotes the logical time, one denotes the grace timing. The above
2205 example is shown here with timing tuples:
2207 @lilypond[singleline]
2210 c4 \grace c16 c4 \grace {
2213 \new Lyrics \lyrics {
2216 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2217 \markup { (\fraction 1 4 , 0 ) } 4
2219 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2220 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2222 \markup { ( \fraction 2 4 , 0 ) }
2227 The placement of grace notes is synchronized between different staves.
2228 In the following example, there are two sixteenth graces notes for
2229 every eighth grace note:
2231 @lilypond[relative=2,verbatim,fragment]
2232 < \new Staff { e4 \grace { c16[ d e f] } e4 }
2233 \new Staff { c'4 \grace { g8[ b] } c4 } >
2238 If you want to end a note with a grace note, then the standard trick
2239 is to put the grace notes before a phantom ``space note'', e.g.
2240 @lilypond[fragment,verbatim, relative=2]
2243 { s2 \grace { c16[ d] } } >
2249 By adjusting the duration of the skip note (here it is a half-note),
2250 the space between the main-note and the grace is adjusted.
2253 A @code{\grace} section will introduce special typesetting settings,
2254 for example, to produce smaller type, and set directions. Hence, when
2255 introducing layout tweaks, they should be inside the grace section,
2257 @lilypond[fragment,verbatim,relative 2]
2260 \property Voice.Stem \override #'direction = #-1
2262 \property Voice.Stem \revert #'direction
2267 The overrides should also be reverted inside the grace section.
2269 If the layout of grace sections must be changed throughout the music,
2270 then this can be accomplished through the function
2271 @code{add-grace-property}. The following example
2272 undefines the Stem direction grace section, so stems do not always
2277 #(add-grace-property "Voice" Stem direction '())
2283 Another option is to change the variables @code{startGraceMusic},
2284 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2285 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2286 @code{stopAppoggiaturaMstuic}. More information is in the file
2287 @file{ly/grace-init.ly}
2292 @internalsref{GraceMusic}.
2296 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2298 A score that starts with an @code{\grace} section needs an explicit
2299 @code{\context Voice} declaration, otherwise the main note and grace
2300 note end up on different staves.
2302 Grace note synchronization can also lead to surprises. Staff notation,
2303 such as key signatures, barlines, etc. are also synchronized. Take
2304 care when you mix staves with grace notes and staves without, for example,
2306 @lilypond[relative=2,verbatim,fragment]
2307 < \new Staff { e4 \bar "|:" \grace c16 d4 }
2308 \new Staff { c4 \bar "|:" d4 } >
2311 Grace sections should only be used within sequential music
2312 expressions. Nesting or juxtaposing grace sections is not supported,
2313 and might produce crashes or other errors.
2315 Overriding settings cannot be done in separate styles for appoggiatura
2320 @subsection Glissando
2323 @cindex @code{\glissando}
2325 A glissando is a smooth change in pitch. It is denoted by a line or a
2326 wavy line between two notes.
2330 A glissando line can be requested by attaching a @code{\glissando} to
2333 @lilypond[fragment,relative,verbatim]
2339 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2344 Additional texts (such as @emph{gliss.}) is not supported.
2348 @subsection Dynamics
2361 @cindex @code{\ffff}
2371 Absolute dynamic marks are specified using an variable after a
2372 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2373 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2374 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2375 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2377 @lilypond[verbatim,singleline,fragment,relative]
2378 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2384 @cindex @code{\decr}
2385 @cindex @code{\rced}
2392 A crescendo mark is started with @code{\<} and terminated with
2393 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2394 with @code{\!}. Because these marks are bound to notes, if you must
2395 use spacer notes if multiple marks during one note are needed:
2397 @lilypond[fragment,verbatim,center,quote]
2398 c''\< c''\! d''\decr e''\rced
2399 < f''1 { s4 s4\< s4\! \> s4\! } >
2401 This may give rise to very short hairpins. Use @code{minimum-length}
2402 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2406 \property Staff.Hairpin \override #'minimum-length = #5
2409 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2410 is an example how to do it:
2412 @lilypond[fragment,relative=2,verbatim]
2413 c4 \cresc c4 c c c \endcresc c4
2419 You can also supply your own texts:
2420 @lilypond[fragment,relative,verbatim]
2422 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2423 \property Voice.crescendoSpanner = #'dashed-line
2433 @cindex @code{\dynamicUp}
2435 @cindex @code{\dynamicDown}
2436 @code{\dynamicDown},
2437 @cindex @code{\dynamicBoth}
2438 @code{\dynamicBoth}.
2440 @cindex direction, of dynamics
2444 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2445 @internalsref{AbsoluteDynamicEvent}.
2447 Dynamics are objects of @internalsref{DynamicText} and
2448 @internalsref{Hairpin}. Vertical positioning of these symbols is
2449 handled by the @internalsref{DynamicLineSpanner} object.
2451 If you want to adjust padding or vertical direction of the dynamics, you
2452 must set properties for the @internalsref{DynamicLineSpanner} object.
2460 @cindex @code{\repeat}
2463 Repetition is a central concept in music, and multiple notations exist
2464 for repetitions. In LilyPond, most of these notations can be captured
2465 in a uniform syntax. One of the advantages is, all these repetitions
2466 can be rendered in MIDI accurately.
2468 The following types of repetition are supported:
2472 Repeated music is fully written (played) out. Useful for MIDI
2473 output, and entering repetitive music.
2476 This is the normal notation: Repeats are not written out, but
2477 alternative endings (voltas) are printed, left to right.
2481 Alternative endings are written stacked. This has limited use but may be
2482 used to typeset two lines of lyrics in songs with repeats, see
2483 @inputfileref{input,star-spangled-banner.ly}.
2490 Make beat or measure repeats. These look like percent signs.
2496 * Repeats and MIDI::
2497 * Manual repeat commands::
2499 * Tremolo subdivisions::
2504 @subsection Repeat syntax
2508 LilyPond has one syntactic construct for specifying different types of
2509 repeats. The syntax is
2512 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2515 If you have alternative endings, you may add
2516 @cindex @code{\alternative}
2518 \alternative @code{@{} @var{alternative1}
2520 @var{alternative3} @dots{} @code{@}}
2522 where each @var{alternative} is a music expression. If you do not
2523 give enough alternatives for all of the repeats, then the first
2524 alternative is assumed to be played more than once.
2526 Normal notation repeats are used like this:
2527 @lilypond[fragment,verbatim]
2529 \repeat volta 2 { c'4 d' e' f' }
2530 \repeat volta 2 { f' e' d' c' }
2533 With alternative endings:
2534 @lilypond[fragment,verbatim]
2536 \repeat volta 2 {c'4 d' e' f'}
2537 \alternative { {d'2 d'} {f' f} }
2541 @lilypond[fragment,verbatim]
2545 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2546 \alternative { { g4 g g } { a | a a a a | b2. } }
2553 If you do a nested repeat like
2562 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2563 belongs. This ambiguity is resolved by always having the
2564 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2565 it is advisable to use braces in such situations.
2568 @node Repeats and MIDI
2569 @subsection Repeats and MIDI
2571 @cindex expanding repeats
2573 For instructions on how to unfold repeats for MIDI output, see the
2574 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2579 Timing information is not remembered at the start of an alternative,
2580 so after a repeat timing information must be reset by hand, for
2581 example by setting @code{Score.measurePosition} or entering
2582 @code{\partial}. Similarly, slurs or ties are also not repeated.
2585 @node Manual repeat commands
2586 @subsection Manual repeat commands
2588 @cindex @code{repeatCommands}
2590 The property @code{repeatCommands} can be used to control the layout of
2591 repeats. Its value is a Scheme list of repeat commands, where each repeat
2595 @item the symbol @code{start-repeat},
2596 which prints a @code{|:} bar line,
2597 @item the symbol @code{end-repeat},
2598 which prints a @code{:|} bar line,
2599 @item the list @code{(volta @var{text})},
2600 which prints a volta bracket saying @var{text}: The text can be specified as
2601 a text string or as a markup text, see @ref{Text markup}. Do not
2602 forget to change the font, as the default number font does not contain
2603 alphabetic characters. Or,
2604 @item the list @code{(volta #f)}, which
2605 stops a running volta bracket:
2608 @lilypond[verbatim, fragment]
2610 \property Score.repeatCommands = #'((volta "93") end-repeat)
2612 \property Score.repeatCommands = #'((volta #f))
2619 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2620 @internalsref{VoltaRepeatedMusic},
2621 @internalsref{UnfoldedRepeatedMusic}, and
2622 @internalsref{FoldedRepeatedMusic}.
2624 @node Tremolo repeats
2625 @subsection Tremolo repeats
2626 @cindex tremolo beams
2628 To place tremolo marks between notes, use @code{\repeat} with tremolo
2630 @lilypond[verbatim,center,singleline]
2632 \context Voice \notes\relative c' {
2633 \repeat "tremolo" 8 { c16 d16 }
2634 \repeat "tremolo" 4 { c16 d16 }
2635 \repeat "tremolo" 2 { c16 d16 }
2636 \repeat "tremolo" 4 c16
2643 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2644 are @internalsref{StemTremolo}s. The music expression is
2645 @internalsref{TremoloEvent}.
2650 The single stem tremolo must be entered without @code{@{} and
2653 @node Tremolo subdivisions
2654 @subsection Tremolo subdivisions
2655 @cindex tremolo marks
2656 @cindex @code{tremoloFlags}
2658 Tremolo marks can be printed on a single note by adding
2659 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2660 A @var{length} value of 8 gives one line across the note stem. If the
2661 length is omitted, then then the last value (stored in
2662 @code{Voice.tremoloFlags}) is used:
2664 @lilypond[verbatim,fragment,center]
2665 c'2:8 c':32 | c': c': |
2668 @c [TODO : stok is te kort bij 32en]
2672 Tremolos in this style do not carry over into the MIDI output.
2675 @node Measure repeats
2676 @subsection Measure repeats
2678 @cindex percent repeats
2679 @cindex measure repeats
2681 In the @code{percent} style, a note pattern can be repeated. It is
2682 printed once, and then the pattern is replaced with a special sign.
2683 Patterns of a one and two measures are replaced by percent-like signs,
2684 patterns that divide the measure length are replaced by slashes:
2686 @lilypond[verbatim,singleline]
2687 \context Voice { \repeat "percent" 4 { c'4 }
2688 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2694 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2695 @internalsref{PercentRepeatedMusic}, and
2696 @internalsref{DoublePercentRepeat}.
2700 @node Rhythmic music
2701 @section Rhythmic music
2703 Sometimes you might want to show only the rhythm of a melody. This
2704 can be done with the rhythmic staff. All pitches of notes on such a
2705 staff are squashed, and the staff itself has a single line:
2707 @lilypond[fragment,relative,verbatim]
2708 \context RhythmicStaff {
2710 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2715 * Percussion staves::
2716 * Percussion MIDI output::
2719 @node Percussion staves
2720 @subsection Percussion staves
2724 A percussion part for more than one instrument typically uses a
2725 multiline staff where each position in the staff refers to one piece
2730 Percussion staves are typeset with help of a set of Scheme
2731 functions. The system is based on the general MIDI drum-pitches.
2732 Include @file{drumpitch-init.ly} to use drum pitches. This file
2733 defines the pitches from the Scheme variable @code{drum-pitch-names},
2734 the definition of which can be read in @file{scm/drums.scm}. Each
2735 piece of percussion has a full name and an abbreviated name, and either
2736 the full name or the abbreviation may be used in input files.
2738 To typeset the music on a staff apply the function @code{drums->paper}
2739 to the percussion music. This function takes a list of percussion
2740 instrument names, notehead scripts and staff positions (that is:
2741 pitches relative to the C-clef) and transforms the input
2742 music by moving the pitch, changing the notehead and (optionally)
2745 @lilypond[singleline,verbatim,quote]
2746 \include "drumpitch-init.ly"
2747 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2748 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2750 \apply #(drums->paper 'drums) \context Staff <
2752 \new Voice { \voiceOne \up }
2753 \new Voice { \voiceTwo \down }
2758 In the above example the music was transformed using the list @code{'drums}.
2759 Currently the following lists are defined in @file{scm/drums.scm}:
2762 to typeset a typical drum kit on a five-line staff:
2765 \include "drumpitch-init.ly"
2766 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2767 bd sn ss tomh tommh tomml toml tomfh tomfl }
2768 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2769 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2772 \apply #(drums->paper 'drums) \context Staff <
2776 \context Lyrics \nam
2779 linewidth = 100.0\mm
2782 \remove Bar_engraver
2783 \remove Time_signature_engraver
2784 minimumVerticalExtent = #'(-4.0 . 5.0)
2788 \remove Stem_engraver
2794 The drum scheme supports six different toms. When there fewer toms, simply
2795 select the toms that produce the desired result, i.e. to get toms on
2796 the three middle lines you use @code{tommh}, @code{tomml} and
2799 Because general MIDI does not contain rimshots the sidestick is used
2800 for this purpose instead.
2802 to typeset timbales on a two line staff:
2804 @lilypond[singleline]
2805 \include "drumpitch-init.ly"
2806 nam = \lyrics { timh ssh timl ssl cb }
2807 mus = \notes { timh ssh timl ssl cb s16 }
2810 \apply #(drums->paper 'timbales) \context Staff <
2814 \context Lyrics \nam
2819 \remove Bar_engraver
2820 \remove Time_signature_engraver
2821 StaffSymbol \override #'line-count = #2
2822 StaffSymbol \override #'staff-space = #2
2823 minimumVerticalExtent = #'(-3.0 . 4.0)
2827 \remove Stem_engraver
2834 to typeset congas on a two line staff:
2836 @lilypond[singleline]
2837 \include "drumpitch-init.ly"
2838 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2839 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2842 \apply #(drums->paper 'congas) \context Staff <
2846 \context Lyrics \nam
2851 \remove Bar_engraver
2852 \remove Time_signature_engraver
2853 StaffSymbol \override #'line-count = #2
2854 StaffSymbol \override #'staff-space = #2
2855 minimumVerticalExtent = #'(-3.0 . 4.0)
2859 \remove Stem_engraver
2865 to typeset bongos on a two line staff:
2867 @lilypond[singleline]
2868 \include "drumpitch-init.ly"
2869 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2870 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2873 \apply #(drums->paper 'bongos) \context Staff <
2877 \context Lyrics \nam
2882 \remove Bar_engraver
2883 \remove Time_signature_engraver
2884 StaffSymbol \override #'line-count = #2
2885 StaffSymbol \override #'staff-space = #2
2886 minimumVerticalExtent = #'(-3.0 . 4.0)
2890 \remove Stem_engraver
2896 to typeset all kinds of simple percussion on one line staves:
2897 @lilypond[singleline]
2898 \include "drumpitch-init.ly"
2899 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2900 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2903 \apply #(drums->paper 'percussion) \context Staff <
2907 \context Lyrics \nam
2912 \remove Bar_engraver
2913 \remove Time_signature_engraver
2914 StaffSymbol \override #'line-count = #1
2915 minimumVerticalExtent = #'(-2.0 . 3.0)
2919 \remove Stem_engraver
2926 If you do not like any of the predefined lists you can define your own
2927 list at the top of your file:
2929 @lilypond[singleline, verbatim]
2930 #(set-drum-kit 'mydrums `(
2931 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2932 (snare default #f ,(ly:make-pitch 0 1 0))
2933 (hihat cross #f ,(ly:make-pitch 0 5 0))
2934 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2935 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2937 \include "drumpitch-init.ly"
2938 up = \notes { hh8 hh hh hh hhp4 hhp }
2939 down = \notes { bd4 sn bd toml8 toml }
2941 \apply #(drums->paper 'mydrums) \context Staff <
2943 \new Voice { \voiceOne \up }
2944 \new Voice { \voiceTwo \down }
2949 To use a modified existing list, one can prepend modifications to the
2953 #(set-drum-kit 'mydrums (append `(
2954 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2955 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2956 ) (get-drum-kit 'drums)))
2959 You can easily combine percussion notation with pitched notation.
2960 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2961 names, so you will have to reinclude @file{nederlands.ly} after the
2962 drum-pattern-definitions to enter normal notes:
2964 @lilypond[singleline,verbatim]
2965 \include "drumpitch-init.ly"
2966 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2967 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2968 \include "nederlands.ly"
2969 bass = \notes \transpose c c,, { a4. e8 r e g e }
2972 \apply #(drums->paper 'drums) \new Staff <
2974 \new Voice { \voiceOne \up }
2975 \new Voice { \voiceTwo \down }
2977 \new Staff { \clef "F_8" \bass }
2982 @node Percussion MIDI output
2983 @subsection Percussion MIDI output
2985 In order to produce correct MIDI output you need to produce two score
2986 blocks---one for the paper and one for the MIDI output. To use the
2987 percussion channel you set the property @code{instrument} to
2988 @code{'drums}. Because the drum-pitches themselves are similar to the
2989 general MIDI pitches all you have to do is to insert the voices with
2990 none of the scheme functions to get the correct MIDI output:
2994 \apply #(drums->paper 'mydrums) \context Staff <
3003 \property Staff.instrument = #'drums
3012 This scheme is a temporary implementation.
3016 @section Piano music
3018 Piano staves are two normal staves coupled with a brace. The staves
3019 are largely independent, but sometimes voices can cross between the
3020 two staves. The same notation is also used for harps and other key
3021 instruments. The @internalsref{PianoStaff} is especially built to
3022 handle this cross-staffing behavior. In this section we discuss the
3023 @internalsref{PianoStaff} and some other pianistic peculiarities.
3027 * Automatic staff changes::
3028 * Manual staff switches::
3031 * Staff switch lines::
3036 There is no support for putting chords across staves. You can get
3037 this result by increasing the length of the stem in the lower stave so
3038 it reaches the stem in the upper stave, or vice versa. An example is
3039 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3041 Dynamics are not centered, but kludges do exist. See
3042 @inputfileref{input/template,piano-dynamics.ly}.
3044 @cindex cross staff stem
3045 @cindex stem, cross staff
3048 @c fixme: should have hyperlinks as well.
3054 @node Automatic staff changes
3055 @subsection Automatic staff changes
3056 @cindex Automatic staff changes
3058 Voices can switch automatically between the top and the bottom
3059 staff. The syntax for this is
3061 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3063 The two staffs of the piano staff must be named @code{up} and
3066 The autochanger switches on basis of pitch (central C is the turning
3067 point), and it looks ahead skipping over rests to switch in
3068 advance. Here is a practical example:
3070 @lilypond[verbatim,singleline,quote]
3071 \score { \notes \context PianoStaff <
3072 \context Staff = "up" {
3073 \autochange Staff \context Voice = VA < \relative c' {
3074 g4 a b c d r4 a g } > }
3075 \context Staff = "down" {
3082 In this example, spacer rests are used to prevent the bottom staff from
3083 terminating too soon.
3088 @internalsref{AutoChangeMusic}.
3092 The staff switches often do not end up in optimal places. For high
3093 quality output staff switches should be specified manually.
3097 @node Manual staff switches
3098 @subsection Manual staff switches
3100 @cindex manual staff switches
3101 @cindex staff switch, manual
3103 Voices can be switched between staves manually, using the following command:
3105 \translator Staff = @var{staffname} @var{music}
3109 The string @var{staffname} is the name of the staff. It switches the
3110 current voice from its current staff to the Staff called
3111 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3119 Pianos have pedals that alter the way sound are produced. Generally, a
3120 piano has three pedals, sustain, una corda, and sostenuto.
3124 Piano pedal instruction can be expressed by attaching
3125 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3126 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3129 @lilypond[fragment,verbatim]
3130 c'4\sustainDown c'4\sustainUp
3133 What is printed can be modified by setting @code{pedal@var{X}Strings},
3134 where @var{X} is one of the pedal types: @code{Sustain},
3135 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3136 documentation of @internalsref{SustainPedal} for more information.
3138 Pedals can also be indicated by a sequence of brackets, by setting the
3139 @code{pedalSustainStyle} property to @code{bracket} objects:
3141 @lilypond[fragment,verbatim]
3142 \property Staff.pedalSustainStyle = #'bracket
3143 c''4\sustainDown d''4 e''4
3144 a'4\sustainUp\sustainDown
3145 f'4 g'4 a'4\sustainUp
3148 A third style of pedal notation is a mixture of text and brackets,
3149 obtained by setting @code{pedal-type} to @code{mixed}:
3151 @lilypond[fragment,verbatim]
3152 \property Staff.pedalSustainStyle = #'mixed
3153 c''4\sustainDown d''4 e''4
3154 c'4\sustainUp\sustainDown
3155 f'4 g'4 a'4\sustainUp
3158 The default `*Ped' style for sustain and damper pedals corresponds to
3159 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3160 for a sostenuto pedal:
3162 @lilypond[fragment,verbatim]
3163 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3166 For fine-tuning of the appearance of a pedal bracket, the properties
3167 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3168 @code{PianoPedalBracket} objects (, see the detailed documentation of
3169 @internalsref{PianoPedalBracket},) can be modified. For example, the bracket
3170 may be extended to the end of the note head:
3172 @lilypond[fragment,verbatim]
3173 \property Staff.PianoPedalBracket \override
3174 #'shorten-pair = #'(0 . -1.0)
3175 c''4\sostenutoDown d''4 e''4 c'4
3176 f'4 g'4 a'4\sostenutoUp
3180 @subsection Arpeggio
3183 @cindex broken arpeggio
3184 @cindex @code{\arpeggio}
3186 You can specify an arpeggio sign on a chord by attaching an
3187 @code{\arpeggio} to a chord:
3190 @lilypond[fragment,relative,verbatim]
3191 <<c e g c>>\arpeggio
3194 When an arpeggio crosses staves, you attach an arpeggio to the chords
3195 in both staves, and set
3196 @internalsref{PianoStaff}.@code{connectArpeggios}:
3198 @lilypond[fragment,relative,verbatim]
3199 \context PianoStaff <
3200 \property PianoStaff.connectArpeggios = ##t
3201 \new Staff { <<c' e g c>>\arpeggio }
3202 \new Staff { \clef bass <<c,, e g>>\arpeggio }
3206 The direction of the arpeggio is sometimes denoted by adding an
3207 arrowhead to the wiggly line. This can be typeset by setting
3208 @code{arpeggio-direction}:
3210 @lilypond[fragment,relative,verbatim]
3212 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3213 <<c e g c>>\arpeggio
3214 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3215 <<c e g c>>\arpeggio
3219 A square bracket on the left indicates that the player should not
3220 arpeggiate the chord. To draw these brackets, set the
3221 @code{molecule-callback} property of @code{Arpeggio} or
3222 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3223 @code{\arpeggio} statements within the chords as before:
3225 @lilypond[fragment,relative,verbatim]
3226 \property PianoStaff.Arpeggio \override
3227 #'molecule-callback = \arpeggioBracket
3228 <<c' e g c>>\arpeggio
3233 @cindex @code{\arpeggioBracket}
3234 @code{\arpeggioBracket},
3235 @cindex @code{\arpeggio}
3240 @internalsref{ArpeggioEvent} expression lead to
3241 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3242 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3246 It is not possible to mix connected arpeggios and unconnected
3247 arpeggios in one @internalsref{PianoStaff} at the same time.
3249 @node Staff switch lines
3250 @subsection Staff switch lines
3253 @cindex follow voice
3254 @cindex staff switching
3257 @cindex @code{followVoice}
3259 Whenever a voice switches to another staff a line connecting the notes
3260 can be printed automatically. This is enabled if the property
3261 @code{PianoStaff.followVoice} is set to true:
3263 @lilypond[fragment,relative,verbatim]
3264 \context PianoStaff <
3265 \property PianoStaff.followVoice = ##t
3266 \context Staff \context Voice {
3268 \translator Staff=two
3271 \context Staff=two { \clef bass \skip 1*2 }
3275 The associated object is @internalsref{VoiceFollower}.
3279 @cindex @code{\showStaffSwitch}
3280 @code{\showStaffSwitch},
3281 @cindex @code{\hideStaffSwitch}
3282 @code{\hideStaffSwitch}.
3286 @section Vocal music
3288 This section discusses how to enter and print lyrics.
3292 * The Lyrics context::
3297 @node Entering lyrics
3298 @subsection Entering lyrics
3302 @cindex @code{\lyrics}
3305 Lyrics are entered in a special input mode. This mode is is introduced
3306 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3307 punctuation and accents without any hassle. Syllables are entered like
3308 notes, but with pitches replaced by text. For example,
3310 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3313 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3314 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3315 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3316 any 8-bit character with ASCII code over 127, or a two-character
3317 combination of a backslash followed by one of @code{`}, @code{'},
3318 @code{"}, or @code{^}.
3320 Subsequent characters of a word can be any character that is not a digit
3321 and not white space. One important consequence of this is that a word
3322 can end with @code{@}}. The following example is usually a bug. The
3323 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3325 \lyrics @{ twinkle@}
3328 @cindex @code{\property}, in @code{\lyrics}
3329 Similarly, a period following a alphabetic sequence, is included in the
3330 resulting string. As a consequence, spaces must be inserted around
3331 @code{\property} commands:
3333 \property Lyrics . LyricText \set #'font-shape = #'italic
3337 @cindex spaces, in lyrics
3338 @cindex quotes, in lyrics
3340 Any @code{_} character which appears in an unquoted word is converted
3341 to a space. This provides a mechanism for introducing spaces into words
3342 without using quotes. Quoted words can also be used in Lyrics mode to
3343 specify words that cannot be written with the above rules:
3346 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3350 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3355 These will be attached to the end of the first syllable.
3357 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3358 as a separate word between syllables. The hyphen will have variable
3359 length depending on the space between the syllables and it will be
3360 centered between the syllables.
3365 When a lyric is sung over many notes (this is called a melisma), this is
3366 indicated with a horizontal line centered between a syllable and the
3367 next one. Such a line is called an extender line, and it is entered as
3372 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3373 @internalsref{ExtenderEvent}.
3377 The definition of lyrics mode is too complex.
3379 @node The Lyrics context
3380 @subsection The Lyrics context
3382 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3384 \context Lyrics \lyrics @dots{}
3387 @cindex automatic syllable durations
3388 @cindex @code{\addlyrics}
3389 @cindex lyrics and melodies
3391 This will place the lyrics according to the durations that were
3392 entered. The lyrics can also be aligned under a given melody
3393 automatically. In this case, it is no longer necessary to enter the
3394 correct duration for each syllable. This is achieved by combining the
3395 melody and the lyrics with the @code{\addlyrics} expression:
3399 \context Lyrics @dots{}
3402 @cindex staff order, with @code{\addlyrics}
3404 Normally, this will put the lyrics below the staff. For different or
3405 more complex orderings, the best way is to setup the hierarchy of
3406 staves and lyrics first, e.g.
3408 \context ChoirStaff \notes <
3409 \new Lyrics @{ s1 @}
3411 \new Lyrics @{ s1 @}
3415 and then combine the appropriate melodies and lyric lines:
3418 \new Staff @emph{the music}
3419 \new Lyrics @emph{the lyrics}
3422 putting both together, you would get
3424 \context ChoirStaff \notes <
3432 @cindex choral score
3434 A complete example of a SATB score setup is in the file
3435 @inputfileref{input/template,satb.ly}.
3439 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3440 @inputfileref{input/template,satb.ly}.
3444 @code{\addlyrics} is not automatic enough: melismata are not detected
3445 automatically, and melismata are not stopped when they hit a rest. A
3446 melisma on the last note in a melody is not printed.
3450 @subsection More stanzas
3453 @cindex phrasing, in lyrics
3455 When multiple stanzas are printed underneath each other, the vertical
3456 groups of syllables should be aligned around punctuation. This can be
3457 done automatically when corresponding lyric lines and melodies are
3460 To this end, give the @internalsref{Voice} context an identity:
3462 \context Voice = duet @{
3467 Then set the @internalsref{LyricsVoice} contexts to names starting with
3468 that identity followed by a dash. In the preceding example, the
3469 @internalsref{Voice} identity is @code{duet}, so the identities of the
3470 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3472 \context LyricsVoice = "duet-1" @{
3473 Hi, my name is bert. @}
3474 \context LyricsVoice = "duet-2" @{
3475 Ooooo, ch\'e -- ri, je t'aime. @}
3477 The convention for naming @internalsref{LyricsVoice} and
3478 @internalsref{Voice} must also be used to get melismata correct in
3479 conjunction with rests.
3481 The complete example is shown here:
3482 @lilypond[singleline,verbatim]
3485 \notes \relative c'' \context Voice = duet { \time 3/4
3487 \lyrics \context Lyrics <
3488 \context LyricsVoice = "duet-1" {
3489 \property LyricsVoice . stanza = "Bert"
3490 Hi, my name is bert. }
3491 \context LyricsVoice = "duet-2" {
3492 \property LyricsVoice . stanza = "Ernie"
3493 Ooooo, ch\'e -- ri, je t'aime. }
3498 Stanza numbers, or the names of the singers can be added by setting
3499 @code{LyricsVoice.Stanza} (for the first system) and
3500 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3501 surrounded with spaces in @code{\lyrics} mode:
3504 \property LyricsVoice . stanza = "Bert"
3506 \property LyricsVoice . stanza = "Ernie"
3509 To make empty spaces in lyrics, use @code{\skip}.
3517 Input for lyrics introduces a syntactical ambiguity:
3524 is interpreted as assigning a string identifier @code{\foo} such that
3525 it contains @code{"bar"}. However, it could also be interpreted as
3526 making or a music identifier @code{\foo} containing the syllable
3527 `bar'. The force the latter interpretation, use
3537 The term @emph{ambitus} denotes a range of pitches for a given voice in
3538 a part of music. It also may denote the pitch range that a musical
3539 instrument is capable of playing. Most musical instruments have their
3540 ambitus standardized (or at least there is agreement upon the minimal
3541 ambitus of a particular type of instrument), such that a composer or
3542 arranger of a piece of music can easily meet the ambitus constraints of
3543 the targeted instrument. However, the ambitus of the human voice
3544 depends on individual physiological state, including education and
3545 training of the voice. Therefore, a singer potentially has to check for
3546 each piece of music if the ambitus of that piece meets his individual
3547 capabilities. This is why the ambitus of a piece may be of particular
3548 value to vocal performers.
3550 The ambitus is typically notated on a per-voice basis at the very
3551 beginning of a piece, e.g. nearby the initial clef or time signature of
3552 each staff. The range is graphically specified by two noteheads, that
3553 represent the minimum and maximum pitch. Some publishers use a textual
3554 notation: they put the range in words in front of the corresponding
3555 staff. LilyPond currently only supports the graphical ambitus notation.
3557 To apply, add the @internalsref{Ambitus_engraver} to the
3558 @internalsref{Voice} context, i.e.
3561 \paper @{ \translator @{
3563 \consists Ambitus_engraver
3569 @lilypond[singleline]
3570 upper = \notes \relative c {
3573 as'' c e2 bes f cis d4 e f2 g
3575 lower = \notes \relative c {
3578 e'4 b g a c es fis a cis b a g f e d2
3581 \context ChoirStaff {
3583 \new Staff { \upper }
3584 \new Staff { \lower }
3590 \consists Ambitus_engraver
3599 @internalsref{Ambitus}, and @inputfileref{input/regression,ambitus.ly}.
3604 Tablature notation is used for notating music for plucked string
3605 instruments. It notates pitches not by using note heads, but by
3606 indicating on which string and fret a note must be played. LilyPond
3607 offers limited support for tablature.
3610 * Tablatures basic::
3611 * Non-guitar tablatures::
3614 @node Tablatures basic
3615 @subsection Tablatures basic
3616 @cindex Tablatures basic
3618 The string number associated to a note is given as a backslash
3619 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3620 string. By default, string 1 is the highest one, and the tuning
3621 defaults to the standard guitar tuning (with 6 strings). The notes
3622 are printed as tablature, by using @internalsref{TabStaff} and
3623 @internalsref{TabVoice} contexts:
3625 @lilypond[fragment,verbatim]
3626 \notes \context TabStaff {
3632 When no string is specified, the first string that does not give a
3633 fret number less than @code{minimumFret} is selected. The default
3634 value for @code{minimumFret} is 0:
3638 e8 fis gis a b cis' dis' e'
3639 \property TabStaff.minimumFret = #8
3640 e8 fis gis a b cis' dis' e'
3645 e8 fis gis a b cis' dis' e'
3646 \property TabStaff.minimumFret = #8
3647 e8 fis gis a b cis' dis' e'
3650 \context StaffGroup <
3651 \context Staff { \clef "G_8" \frag }
3652 \context TabStaff { \frag }
3659 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3660 @internalsref{StringNumberEvent}.
3664 Chords are not handled in a special way, and hence the automatic
3665 string selector may easily select the same string to two notes in a
3669 @node Non-guitar tablatures
3670 @subsection Non-guitar tablatures
3671 @cindex Non-guitar tablatures
3673 You can change the number of strings, by setting the number of lines
3674 in the @internalsref{TabStaff} (the @code{line-count} property of
3675 @internalsref{TabStaff} can only be changed using
3676 @code{\outputproperty}, for more information, see @ref{Tuning
3679 You can change the tuning of the strings. A string tuning is given as
3680 a Scheme list with one integer number for each string, the number
3681 being the pitch (measured in semitones relative to central C) of an
3682 open string. The numbers specified for @code{stringTuning} are the
3683 numbers of semitones to subtract or add, starting the specified pitch
3684 by default middle C, in string order. Thus, the notes are e, a, d, and
3687 @lilypond[fragment,verbatim]
3690 \outputproperty #(make-type-checker 'staff-symbol-interface)
3692 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3695 a,4 c' a e' e c' a e'
3700 It is possible to change the Scheme function to format the tablature
3701 note text. The default is @code{fret-number-tablature-format}, which
3702 uses the fret number. For instruments that do not use this notation,
3703 you can create a special tablature formatting function. This function
3704 takes three argument: string number, string tuning and note pitch.
3708 Most of the guitar special effects such as bend have not been
3714 @section Chord names
3717 LilyPond has support for both printing chord names. Chords may be
3718 entered in musical chord notation, i.e. @code{<< .. >>}, but they can
3719 also be entered by name. Internally, the chords are represented as a
3720 set of pitches, so they can be transposed:
3723 @lilypond[verbatim,singleline]
3724 twoWays = \notes \transpose c c' {
3734 < \context ChordNames \twoWays
3735 \context Voice \twoWays > }
3738 This example also shows that the chord printing routines do not try to
3739 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3745 * Printing chord names::
3750 @subsection Chords mode
3753 Chord mode is a mode where you can input sets of pitches using common
3754 names. It is introduced by the keyword @code{\chords}.
3755 In chords mode, a chord is entered by the root, which is entered
3756 like a common pitch:
3757 @lilypond[fragment,verbatim,quote, relative=1]
3758 \chords { es4. d8 c2 }
3763 Other chords may be entered by suffixing a colon, and introducing a
3764 modifier, and optionally, a number:
3766 @lilypond[fragment,verbatim,quote]
3767 \chords { e1:m e1:7 e1:m7 }
3769 The first number following the root is taken to be the `type' of the
3770 chord, thirds are added to the root until it reaches the specified
3772 @lilypond[fragment,verbatim]
3773 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3776 @cindex root of chord
3777 @cindex additions, in chords
3778 @cindex removals, in chords
3780 More complex chords may also be constructed adding separate steps
3781 to a chord. Additions are added after the number following
3782 the colon, and are separated by dots:
3784 @lilypond[verbatim,fragment,quote]
3785 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3787 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3789 @lilypond[verbatim,fragment,quote]
3790 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3792 Removals are specified similarly, and are introduced by a caret. They
3793 must come after the additions:
3794 @lilypond[verbatim,fragment]
3795 \chords { c^3 c:7^5 c:9^3.5 }
3798 Modifiers can be used to change pitches. The following modifiers are
3802 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3804 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3807 is the augmented chord. This modifier raises the 5th step.
3809 is the major 7th chord. This modifier raises the 7th step if present.
3811 is the suspended 4th or 2nd. This modifier removes the 3rd
3812 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3815 Modifiers can be mixed with additions:
3816 @lilypond[verbatim,fragment]
3817 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3820 @cindex modifiers, in chords.
3827 Since an unaltered 11 does not sound good when combined with an
3828 unaltered 13, the 11 is removed in this case (, unless it is added
3830 @lilypond[fragment,verbatim]
3831 \chords { c:13 c:13.11 c:m13 }
3836 An inversion (putting one pitch of the chord on the bottom), as well
3837 as bass notes, can be specified by appending
3838 @code{/}@var{pitch} to the chord:
3839 @lilypond[fragment,verbatim,center]
3840 \chords { c1 c/g c/f }
3844 A bass note can be added instead of transposed out of the chord,
3845 by using @code{/+}@var{pitch}.
3847 @lilypond[fragment,verbatim,center]
3848 \chords { c1 c/+g c/+f }
3851 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3852 of the commands continue to work, for example, @code{r} and
3853 @code{\skip} can be used to insert rests and spaces, and
3854 @code{\property} may be used to change various settings.
3860 Each step can only be present in a chord once. The following
3861 simply produces the augmented chord, since @code{5+} is interpreted
3864 @lilypond[verbatim,fragment]
3865 \chords { c:5.5-.5+ }
3869 @node Printing chord names
3870 @subsection Printing chord names
3872 @cindex printing chord names
3876 For displaying printed chord names, use the @internalsref{ChordNames} context.
3877 The chords may be entered either using the notation
3878 described above, or directly using @code{<<} and @code{>>}:
3880 @lilypond[verbatim,singleline]
3882 \chords {a1 b c} <<d' f' a'>> <<e' g' b'>>
3886 \context ChordNames \scheme
3887 \context Staff \scheme
3892 You can make the chord changes stand out by setting
3893 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3894 display chord names when there is a change in the chords scheme and at
3895 the start of a new line:
3897 @lilypond[verbatim, linewidth=9cm]
3899 c1:m c:m \break c:m c:m d
3903 \context ChordNames {
3904 \property ChordNames.chordChanges = ##t
3906 \context Staff \transpose c c' \scheme
3911 The default chord name layout is a system for Jazz music, proposed by
3912 Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
3913 following properties:
3916 @cindex chordNameExceptions
3917 @item chordNameExceptions
3918 This is a list that contains the chords that have special formatting.
3920 @inputfileref{input/regression,chord-name-exceptions.ly}.
3921 @cindex exceptions, chord names.
3924 @cindex majorSevenSymbol
3925 @item majorSevenSymbol
3926 This property contains the markup object used for the 7th step, when
3927 it is major. Predefined options are @code{whiteTriangleMarkup} and
3928 @code{blackTriangleMarkup}. See
3929 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3931 @cindex chordNameSeparator
3932 @item chordNameSeparator
3933 Different parts of a chord name are normally separated by a
3934 slash. By setting @code{chordNameSeparator}, you can specify other
3936 @lilypond[fragment,verbatim]
3937 \context ChordNames \chords {
3939 \property ChordNames.chordNameSeparator
3940 = \markup { \typewriter "|" }
3944 @cindex chordRootNamer
3945 @item chordRootNamer
3946 The root of a chord is usually printed as a letter with an optional
3947 alteration. The transformation from pitch to letter is done by this
3948 function. Special note names (for example, the German ``H'' for a
3949 B-chord) can be produced by storing a new function in this property.
3951 @cindex chordNoteNamer
3952 @item chordNoteNamer
3953 The default is to print single pitch, e.g. the bass note, using the
3954 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3955 to a specialized function to change this behavior. For example, the
3956 base can be printed in lower case.
3961 There are also two other chord name schemes implemented: an alternate
3962 Jazz chord notation, and a systematic scheme called Banter chords. The
3963 alternate jazz notation is also shown on the chart in @ref{Chord name
3964 chart}. Turning on these styles is described in the input file
3965 @inputfileref{input/test/,chord-names-jazz.ly}.
3969 @cindex chords, jazz
3974 @cindex @code{\germanChords}
3975 @code{\germanChords},
3976 @cindex @code{\semiGermanChords}
3977 @code{\semiGermanChords}.
3984 @inputfileref{input/regression,chord-name-major7.ly},
3985 @inputfileref{input/regression,chord-name-exceptions.ly},
3986 @inputfileref{input/test,chord-names-jazz.ly},
3987 @inputfileref{input/test,chord-names-german.ly},
3988 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3993 Chord names are determined solely from the list of pitches. Chord
3994 inversions are not identified, and neither are added bass notes. This
3995 may result in strange chord names when chords are entered with the
3996 @code{<< .. >>} syntax.
4001 @node Orchestral music
4002 @section Orchestral music
4004 @cindex Writing parts
4006 Orchestral music involves some special notation, both in the full
4007 score and the individual parts. This section explains how to tackle
4008 some common problems in orchestral music.
4013 * Multiple staff contexts::
4016 * Instrument names::
4018 * Multi measure rests::
4019 * Automatic part combining::
4021 * Sound output for transposing instruments::
4024 @node Multiple staff contexts
4025 @subsection Multiple staff contexts
4027 Polyphonic scores consist of many staves. These staves can be
4028 constructed in three different ways:
4030 @item The group is started with a brace at the left. This is done with the
4031 @internalsref{GrandStaff} context.
4032 @item The group is started with a bracket. This is done with the
4033 @internalsref{StaffGroup} context
4034 @item The group is started with a vertical line. This is the default
4038 @cindex Staff, multiple
4039 @cindex bracket, vertical
4040 @cindex brace, vertical
4047 @node Rehearsal marks
4048 @subsection Rehearsal marks
4049 @cindex Rehearsal marks
4051 @cindex @code{\mark}
4053 To print a rehearsal mark, use the @code{\mark} command:
4054 @lilypond[fragment,verbatim]
4064 The mark is incremented automatically if you use @code{\mark
4065 \default}. The value to use is stored in the property
4066 @code{rehearsalMark} is used and automatically incremented.
4068 The @code{\mark} command can also be used to put signs like coda,
4069 segno and fermatas on a barline. Use @code{\markup} to
4070 to access the appropriate symbol:
4072 @lilypond[fragment,verbatim,relative=1]
4073 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4077 In this case, during line breaks,
4078 marks must also be printed at the end of the line, and not at the
4079 beginning. Use the following to force that behavior:
4081 \property Score.RehearsalMark \override
4082 #'break-visibility = #begin-of-line-invisible
4085 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4091 @cindex barlines, putting symbols on
4095 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4096 @inputfileref{input/test,boxed-molecule.ly}.
4100 @subsection Bar numbers
4104 @cindex measure numbers
4105 @cindex currentBarNumber
4107 Bar numbers are printed by default at the start of the line. The
4108 number itself is stored in the
4109 @code{currentBarNumber} property,
4110 which is normally updated automatically for every measure.
4112 Bar numbers can be typeset at regular intervals instead of at the
4113 beginning of each line. This is illustrated in the following example,
4114 whose source is available as
4115 @inputfileref{input/test,bar-number-regular-interval.ly}:
4117 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4122 @internalsref{BarNumber},
4123 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4124 @inputfileref{input/test,bar-number-regular-interval.ly}.
4128 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4129 there is one at the top. To solve this, the
4130 @code{padding} property of @internalsref{BarNumber} can be
4131 used to position the number correctly.
4133 @node Instrument names
4134 @subsection Instrument names
4136 In an orchestral score, instrument names are printed left side of the
4139 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4140 and @internalsref{Staff}.@code{instr}. This will print a string before
4141 the start of the staff. For the first start, @code{instrument} is
4142 used, for the next ones @code{instr} is used:
4144 @lilypond[verbatim,singleline]
4145 \property Staff.instrument = "ploink " { c''4 }
4148 You can also use markup texts to construct more complicated instrument
4151 @lilypond[fragment,verbatim,singleline]
4153 \property Staff.instrument = \markup {
4154 \column << "Clarinetti"
4156 \smaller \musicglyph #"accidentals--1"
4167 @internalsref{InstrumentName}.
4171 When you put a name on a grand staff or piano staff the width of the
4172 brace is not taken into account. You must add extra spaces to the end of
4173 the name to avoid a collision.
4176 @subsection Transpose
4178 @cindex transposition of pitches
4179 @cindex @code{\transpose}
4181 A music expression can be transposed with @code{\transpose}. The syntax
4184 \transpose @var{from} @var{to} @var{musicexpr}
4187 This means that @var{musicexpr} is transposed by the interval
4188 between @var{from} and @var{to}.
4190 @code{\transpose} distinguishes between enharmonic pitches: both
4191 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4192 half a tone. The first version will print sharps and the second
4193 version will print flats:
4195 @lilypond[singleline, verbatim]
4196 mus =\notes { \key d \major cis d fis g }
4197 \score { \notes \context Staff {
4200 \transpose c g' \mus
4201 \transpose c f' \mus
4207 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4211 If you want to use both @code{\transpose} and @code{\relative}, then
4212 you must put @code{\transpose} outside of @code{\relative}, since
4213 @code{\relative} will have no effect music that appears inside a
4219 @node Multi measure rests
4220 @subsection Multi measure rests
4221 @cindex multi measure rests
4222 @cindex Rests, multi measure
4226 Multi measure rests are entered using `@code{R}'. It is specifically
4227 meant for full bar rests and for entering parts: the rest can expand to
4228 fill a score with rests, or it can be printed as a single multimeasure
4229 rest. This expansion is controlled by the property
4230 @code{Score.skipBars}. If this is set to true, Lily will not expand
4231 empty measures, and the appropriate number is added automatically:
4233 @lilypond[fragment,verbatim]
4234 \time 4/4 r1 | R1 | R1*2
4235 \property Score.skipBars = ##t R1*17 R1*4
4238 The @code{1} in @code{R1} is similar to the duration notation used for
4239 notes. Hence, for time signatures other than 4/4, you must enter other
4240 durations. This can be done with augmentation dots or fractions:
4242 @lilypond[fragment,verbatim]
4243 \property Score.skipBars = ##t
4251 An @code{R} spanning a single measure is printed as either a whole rest
4252 or a breve, centered in the measure regardless of the time signature.
4254 @cindex text on multi-measure rest
4255 @cindex script on multi-measure rest
4256 @cindex fermata on multi-measure rest
4258 Texts can be added to multi-measure rests by using the
4259 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4260 replaced. If you need both texts and the number, you must add the
4261 number by hand. A variable (@code{\fermataMarkup}) is provided for
4265 @lilypond[verbatim,fragment]
4267 R2._\markup { "Ad lib" }
4272 @cindex whole rests for a full measure
4276 @internalsref{MultiMeasureRestEvent},
4277 @internalsref{MultiMeasureTextEvent},
4278 @internalsref{MultiMeasureRestMusicGroup}, and
4279 @internalsref{MultiMeasureRest}.
4281 The layout object @internalsref{MultiMeasureRestNumber} is for the
4282 default number, and @internalsref{MultiMeasureRestText} for user
4287 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4288 over multi-measure rests.
4290 @cindex condensing rests
4292 There is no way to automatically condense multiple rests into a single
4293 multimeasure rest. Multi measure rests do not take part in rest
4296 Be careful when entering multimeasure rests followed by whole notes,
4300 will enter two notes lasting four measures each. When @code{skipBars}
4301 is set, then the result will look OK, but the bar numbering will be
4304 @node Automatic part combining
4305 @subsection Automatic part combining
4306 @cindex automatic part combining
4307 @cindex part combiner
4310 Automatic part combining is used to merge two parts of music onto a
4311 staff. It is aimed at typesetting orchestral scores. When the two
4312 parts are identical for a period of time, only one is shown. In
4313 places where the two parts differ, they are typeset as separate
4314 voices, and stem directions are set automatically. Also, solo and
4315 @emph{a due} parts are identified and can be marked.
4319 The syntax for part combining is
4322 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4324 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4325 combined into one context of type @var{context}. The music expressions
4326 must be interpreted by contexts whose names should start with @code{one}
4329 The following example demonstrates the basic functionality of the part
4330 combiner: putting parts on one staff, and setting stem directions and
4333 @lilypond[verbatim,singleline,fragment]
4335 \context Voice=one \partcombine Voice
4336 \context Thread=one \relative c'' {
4339 \context Thread=two \relative c'' {
4345 The first @code{g} appears only once, although it was
4346 specified twice (once in each part). Stem, slur and tie directions are
4347 set automatically, depending whether there is a solo or unisono. The
4348 first part (with context called @code{one}) always gets up stems, and
4349 `solo', while the second (called @code{two}) always gets down stems and
4352 If you just want the merging parts, and not the textual markings, you
4353 may set the property @var{soloADue} to false:
4355 @lilypond[verbatim,singleline,fragment]
4357 \property Staff.soloADue = ##f
4358 \context Voice=one \partcombine Voice
4359 \context Thread=one \relative c'' {
4362 \context Thread=two \relative c'' {
4370 @internalsref{PartCombineMusic},
4371 @internalsref{Thread_devnull_engraver}, and
4372 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4376 The syntax for naming contexts in inconsistent with the syntax for
4379 In @code{soloADue} mode, when the two voices play the same notes on and
4380 off, the part combiner may typeset @code{a2} more than once in a
4383 @lilypond[fragment,singleline]
4385 \context Voice=one \partcombine Voice
4386 \context Thread=one \relative c'' {
4389 \context Thread=two \relative c'' {
4395 The part combiner is slated to be rewritten [TODO: explain why].
4397 @cindex @code{Thread_devnull_engraver}
4398 @cindex @code{Voice_engraver}
4399 @cindex @code{A2_engraver}
4402 @subsection Hiding staves
4404 @cindex Frenched scores
4405 @cindex Hiding staves
4407 In orchestral scores, staff lines that only have rests are usually
4408 removed. This saves some space. This style is called `French Score'.
4409 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4410 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4411 switched on by default. When these line of these contexts turn out
4412 empty after the line-breaking process, they are removed.
4414 For normal staves, a specialized @internalsref{Staff} context is
4415 available, which does the same: staves containing nothing (or only
4416 multi measure rests) are removed. The context definition is stored in
4417 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4418 in this example disappears in the second line:
4423 \notes \relative c' <
4424 \new Staff { e4 f g a \break c1 }
4425 \new Staff { c4 d e f \break R1 }
4429 \translator { \RemoveEmptyStaffContext }
4435 @node Sound output for transposing instruments
4436 @subsection Sound output for transposing instruments
4438 When you want to make a MIDI file from a score containing transposed
4439 and untransposed instruments, you have to instruct LilyPond the pitch
4440 offset (in semitones) for the transposed instruments. This is done
4441 using the @code{transposing} property. It does not affect printed
4444 @cindex @code{transposing}
4447 \property Staff.instrument = #"Cl. in B-flat"
4448 \property Staff.transposing = #-2
4452 @node Ancient notation
4453 @section Ancient notation
4455 @cindex Vaticana, Editio
4456 @cindex Medicaea, Editio
4461 @c [TODO: write more comprehensive introduction on ancient notation]
4463 Support for ancient notation is still under heavy development.
4464 Regardless of all of the current limitations (see the bugs section
4465 below for details), it currently includes features for mensural
4466 notation and Gregorian Chant notation. There is also limited support
4467 for figured bass notation.
4469 Many graphical objects provide a @code{style} property, see
4470 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4471 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4472 signatures}. By manipulating such a grob property, the typographical
4473 appearance of the affected graphical objects can be accomodated for a
4474 specific notation flavour without need for introducing any new
4478 Other aspects of ancient notation can not that easily be expressed as
4479 in terms of just changing a style property of a graphical object.
4480 Therefore, some notational concepts are introduced specifically for
4481 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4482 @ref{Ligatures}, and @ref{Figured bass}.
4486 * Ancient note heads::
4487 * Ancient accidentals::
4491 * Ancient time signatures::
4496 * Vaticana style contexts::
4499 If this all is way too much of documentation for you, and you just
4500 want to dive into typesetting without worrying too much about the
4501 details on how to customize a context, then you may have a look at the
4502 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4503 set up predefined style-specific voice and staff contexts, and
4504 directly go ahead with the note entry.
4508 Ligatures need special spacing that has not yet been implemented. As
4509 a result, there is too much space between ligatures most of the time,
4510 and line breaking often is unsatisfactory. Also, lyrics do not
4511 correctly align with ligatures.
4513 Accidentals must not be printed within a ligature, but instead need to
4514 be collected and printed in front of it.
4516 Augmentum dots within ligatures are currently not handled correctly.
4519 @node Ancient note heads
4520 @subsection Ancient note heads
4526 For ancient notation, a note head style other than the @code{default}
4527 style may be chosen. This is accomplished by setting the @code{style}
4528 property of the NoteHead object to the desired value (@code{baroque},
4529 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4530 differs from the @code{default} style only in using a square shape for
4531 @code{\breve} note heads. The @code{neo_mensural} style differs from
4532 the @code{baroque} style in that it uses rhomboidal heads for whole
4533 notes and all smaller durations. Stems are centered on the note
4534 heads. This style is in particular useful when transcribing mensural
4535 music, e.g. for the incipit. The @code{mensural} style finally
4536 produces note heads that mimick the look of note heads in historic
4537 printings of the 16th century.
4539 The following example demonstrates the @code{neo_mensural} style:
4541 @lilypond[fragment,singleline,verbatim]
4542 \property Voice.NoteHead \set #'style = #'neo_mensural
4543 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4546 When typesetting a piece in Gregorian Chant notation, a Gregorian
4547 ligature engraver will automatically select the proper note heads,
4548 such there is no need to explicitly set the note head style. Still,
4549 the note head style can be set e.g. to @code{vaticana_punctum} to
4550 produce punctum neumes. Similarly, a mensural ligature engraver is
4551 used to automatically assemble mensural ligatures. See
4552 @ref{Ligatures} for how ligature engravers work.
4556 @inputfileref{input/regression,note-head-style.ly} gives an overview
4557 over all available note head styles.
4559 @ref{Percussion staves} use note head styles of their own that are
4560 frequently used in contemporary music notation.
4562 @node Ancient accidentals
4563 @subsection Ancient accidentals
4569 Use the @code{style} property of grob @internalsref{Accidental} to
4570 select ancient accidentals. Currently supported styles are
4571 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4573 @lilypond[singleline,26pt]
4581 { " " \musicglyph #"accidentals-vaticana-1"
4582 " " \musicglyph #"accidentals-vaticana0" }
4586 { " " \musicglyph #"accidentals-medicaea-1" }
4590 { " " \musicglyph #"accidentals-hufnagel-1" }
4594 { " " \musicglyph #"accidentals-mensural-1"
4595 " " \musicglyph #"accidentals-mensural1" }
4604 \remove "Bar_number_engraver"
4608 \remove "Clef_engraver"
4609 \remove "Key_engraver"
4610 \remove "Time_signature_engraver"
4611 \remove "Staff_symbol_engraver"
4612 minimumVerticalExtent = ##f
4618 As shown, not all accidentals are supported by each style. When
4619 trying to access an unsupported accidental, LilyPond will switch to a
4620 different style, as demonstrated in
4621 @inputfileref{input/test,ancient-accidentals.ly}.
4623 Similarly to local accidentals, the style of the key signature can be
4624 controlled by the @code{style} property of the
4625 @internalsref{KeySignature} grob.
4629 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4630 a general introduction into the use of accidentals. @ref{Key
4631 signature} gives a general introduction into the use of key
4636 @subsection Ancient rests
4642 Use the @code{style} property of grob @internalsref{Rest} to select
4643 ancient accidentals. Currently supported styles are @code{classical},
4644 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4645 from the @code{default} style only in that the quarter rest looks like
4646 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4647 well for e.g. the incipit of a transcribed mensural piece of music.
4648 The @code{mensural} style finally mimicks the appearance of rests as
4649 in historic prints of the 16th century.
4651 The following example demonstrates the @code{neo_mensural} style:
4653 @lilypond[fragment,singleline,verbatim]
4654 \property Voice.Rest \set #'style = #'neo_mensural
4655 r\longa r\breve r1 r2 r4 r8 r16
4658 There are no 32th and 64th rests specifically for the mensural or
4659 neo-mensural style. Instead, the rests from the default style will be
4660 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4663 There are no rests in Gregorian Chant notation; instead, it uses
4668 @ref{Rests} gives a general introduction into the use of rests.
4672 @subsection Ancient clefs
4678 LilyPond supports a variety of clefs, many of them ancient.
4680 The following table shows all ancient clefs that are supported via the
4681 @code{\clef} command. Some of the clefs use the same glyph, but
4682 differ only with respect to the line they are printed on. In such
4683 cases, a trailing number in the name is used to enumerate these clefs.
4684 Still, you can manually force a clef glyph to be typeset on an
4685 arbitrary line, as described in @ref{Clef}. The note printed to the
4686 right side of each clef in the example column denotes the @code{c'}
4687 with respect to that clef.
4689 @multitable @columnfractions .3 .3 .3 .1
4693 @b{Description} @tab
4694 @b{Supported Clefs} @tab
4698 @code{clefs-neo_mensural_c} @tab
4699 modern style mensural C clef @tab
4700 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4701 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4702 @lilypond[relative 0, notime]
4703 \property Staff.TimeSignature \set #'transparent = ##t
4704 \clef "neo_mensural_c2" c
4708 @code{clefs-petrucci_c1}
4709 @code{clefs-petrucci_c2}
4710 @code{clefs-petrucci_c3}
4711 @code{clefs-petrucci_c4}
4712 @code{clefs-petrucci_c5}
4715 petrucci style mensural C clefs, for use on different stafflines
4716 (the examples shows the 2nd staffline C clef).
4726 @lilypond[relative 0, notime]
4727 \property Staff.TimeSignature \set #'transparent = ##t
4728 \clef "petrucci_c2" c
4732 @code{clefs-petrucci_f} @tab
4733 petrucci style mensural F clef @tab
4734 @code{petrucci_f} @tab
4735 @lilypond[relative 0, notime]
4736 \property Staff.TimeSignature \set #'transparent = ##t
4737 \clef "petrucci_f" c
4741 @code{clefs-petrucci_g} @tab
4742 petrucci style mensural G clef @tab
4743 @code{petrucci_g} @tab
4744 @lilypond[relative 0, notime]
4745 \property Staff.TimeSignature \set #'transparent = ##t
4746 \clef "petrucci_g" c
4750 @code{clefs-mensural_c} @tab
4751 historic style mensural C clef @tab
4752 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4753 @code{mensural_c4} @tab
4754 @lilypond[relative 0, notime]
4755 \property Staff.TimeSignature \set #'transparent = ##t
4756 \clef "mensural_c2" c
4760 @code{clefs-mensural_f} @tab
4761 historic style mensural F clef @tab
4762 @code{mensural_f} @tab
4763 @lilypond[relative 0, notime]
4764 \property Staff.TimeSignature \set #'transparent = ##t
4765 \clef "mensural_f" c
4769 @code{clefs-mensural_g} @tab
4770 historic style mensural G clef @tab
4771 @code{mensural_g} @tab
4772 @lilypond[relative 0, notime]
4773 \property Staff.TimeSignature \set #'transparent = ##t
4774 \clef "mensural_g" c
4778 @code{clefs-vaticana_do} @tab
4779 Editio Vaticana style do clef @tab
4780 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4781 @lilypond[relative 0, notime]
4783 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4784 \property Staff.TimeSignature \set #'transparent = ##t
4785 \clef "vaticana_do2" c
4789 @code{clefs-vaticana_fa} @tab
4790 Editio Vaticana style fa clef @tab
4791 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4792 @lilypond[relative 0, notime]
4794 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4795 \property Staff.TimeSignature \set #'transparent = ##t
4796 \clef "vaticana_fa2" c
4800 @code{clefs-medicaea_do} @tab
4801 Editio Medicaea style do clef @tab
4802 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4803 @lilypond[relative 0, notime]
4805 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4806 \property Staff.TimeSignature \set #'transparent = ##t
4807 \clef "medicaea_do2" c
4811 @code{clefs-medicaea_fa} @tab
4812 Editio Medicaea style fa clef @tab
4813 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4814 @lilypond[relative 0, notime]
4816 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4817 \property Staff.TimeSignature \set #'transparent = ##t
4818 \clef "medicaea_fa2" c
4822 @code{clefs-hufnagel_do} @tab
4823 historic style hufnagel do clef @tab
4824 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4825 @lilypond[relative 0, notime]
4827 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4828 \property Staff.TimeSignature \set #'transparent = ##t
4829 \clef "hufnagel_do2" c
4833 @code{clefs-hufnagel_fa} @tab
4834 historic style hufnagel fa clef @tab
4835 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4836 @lilypond[relative 0, notime]
4838 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4839 \property Staff.TimeSignature \set #'transparent = ##t
4840 \clef "hufnagel_fa2" c
4844 @code{clefs-hufnagel_do_fa} @tab
4845 historic style hufnagel combined do/fa clef @tab
4846 @code{hufnagel_do_fa} @tab
4847 @lilypond[relative 0, notime]
4848 \property Staff.TimeSignature \set #'transparent = ##t
4849 \clef "hufnagel_do_fa" c
4854 @c --- This should go somewhere else: ---
4855 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4858 @c @code{percussion}
4860 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4862 @c @item modern style tab clef (glyph: @code{clefs-tab})
4867 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4869 @emph{Modern style} means ``as is typeset in contemporary editions of
4870 transcribed mensural music''.
4872 @emph{Petrucci style} means ``inspired by printings published by the
4873 famous engraver Petrucci (1466-1539)''.
4875 @emph{Historic style} means ``as was typeset or written in historic
4876 editions (other than those of Petrucci)''.
4878 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4880 Petrucci used C clefs with differently balanced left-side vertical
4881 beams, depending on which staffline it is printed.
4885 For modern clefs, see @ref{Clef}. For the percussion clef, see
4886 @ref{Percussion staves}. For the @code{TAB} clef, see
4891 @subsection Ancient flags
4897 Use the @code{flag-style} property of grob @internalsref{Stem} to
4898 select ancient flags. Besides the @code{default} flag style,
4899 currently only @code{mensural} style is supported:
4901 @lilypond[fragment,singleline,verbatim]
4902 \property Voice.Stem \set #'flag-style = #'mensural
4903 \property Voice.Stem \set #'thickness = #1.0
4904 \property Voice.NoteHead \set #'style = #'mensural
4906 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
4907 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
4910 Note that the innermost flare of each mensural flag always is
4911 vertically aligned with a staff line. If you do not like this
4912 behaviour, you can set the @code{adjust-if-on-staffline} property of
4913 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
4914 of the end of each flare is different between notes on staff lines and
4915 notes between staff lines:
4917 @lilypond[fragment,singleline]
4918 \property Voice.Stem \set #'flag-style = #'mensural
4919 \property Voice.Stem \set #'thickness = #1.0
4920 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
4921 \property Voice.NoteHead \set #'style = #'mensural
4923 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
4924 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
4927 There is no particular flag style for neo-mensural notation. Hence,
4928 when typesetting e.g. the incipit of a transcibed piece of mensural
4929 music, the default flag style should be used. There are no flags in
4930 Gregorian Chant notation.
4933 @node Ancient time signatures
4934 @subsection Ancient time signatures
4936 @cindex time signatures
4940 There is limited support for mensural time signatures. Currently, the
4941 glyphs are hard-wired to particular time fractions. In other words,
4942 to get a particular mensural signature glyph with the @code{\time n/m}
4943 command, @code{n} and @code{m} have to be chosen according to the
4949 \property Score.timing = ##f
4950 \property Score.barAlways = ##t
4951 s_\markup { "$\\backslash$time 4/4" }
4952 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
4954 s_\markup { "$\\backslash$time 2/2" }
4955 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
4957 s_\markup { "$\\backslash$time 6/4" }
4958 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
4960 s_\markup { "$\\backslash$time 6/8" }
4961 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
4963 s_\markup { "$\\backslash$time 3/2" }
4964 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
4966 s_\markup { "$\\backslash$time 3/4" }
4967 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
4969 s_\markup { "$\\backslash$time 9/4" }
4970 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
4972 s_\markup { "$\\backslash$time 9/8" }
4973 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
4975 s_\markup { "$\\backslash$time 4/8" }
4976 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
4978 s_\markup { "$\\backslash$time 2/4" }
4979 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
4987 \remove Staff_symbol_engraver
4988 \remove Clef_engraver
4989 \remove Time_signature_engraver
4995 Use the @code{style} property of grob @internalsref{TimeSignature} to
4996 select ancient time signatures. Currently supported styles are
4997 @code{neo_mensural} and @code{mensural}. The above table uses the
4998 @code{neo_mensural} style. This style is appropriate e.g. for the
4999 incipit of transcriptions of mensural pieces. The @code{mensural}
5000 style mimicks the look of historical printings of the 16th century.
5002 @inputfileref{input/test,time.ly} gives an overview over all available
5003 ancient and modern styles.
5007 @ref{Time signature} gives a general introduction into the use of time
5012 Mensural signature glyphs are currently mapped to time fractions in a
5013 hard-wired way. This mapping is sensible, but still arbitrary: given
5014 a mensural time signature, the time fraction represents a modern meter
5015 that usually will be a good choice when transcribing a mensural piece
5016 of music. For a particular piece of mensural music, however, the
5017 mapping may be unsatisfactory. In particular, the mapping assumes a
5018 fixed transcription of durations (e.g. brevis = half note in 2/2,
5019 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5020 are currently not at all accessible through the @code{\time} command.
5022 Mensural time signatures are supported typographically, but not yet
5023 musically. The internal representation of durations is currently
5024 based on a purely binary system; a ternary division such as 1 brevis =
5025 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5026 prolatione maiori) is not correctly handled: event times in ternary
5027 modes will be badly computed, resulting e.g. in horizontally
5028 misaligned note heads, and bar checks are likely to erroneously fail.
5030 The syntax and semantics of the @code{\time} command for mensural
5031 music is subject to change.
5034 @subsection Custodes
5039 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5040 symbol that appears at the end of a staff. It anticipates the pitch
5041 of the first note(s) of the following line and thus helps the player
5042 or singer to manage line breaks during performance, thus enhancing
5043 readability of a score.
5045 Custodes were frequently used in music notation until the 17th
5046 century. Nowadays, they have survived only in a few particular forms
5047 of musical notation such as contemporary editions of Gregorian chant
5048 like the @emph{editio vaticana}. There are different custos glyphs
5049 used in different flavours of notational style.
5053 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5054 @internalsref{Staff} context when declaring the @code{\paper} block,
5055 as shown in the following example:
5061 \consists Custos_engraver
5062 Custos \override #'style = #'mensural
5067 The result looks like this:
5073 \property Staff.Custos \set #'style = #'mensural
5080 \consists Custos_engraver
5087 The custos glyph is selected by the @code{style} property. The styles
5088 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5089 @code{mensural}. They are demonstrated in the following fragment:
5099 { " " \musicglyph #"custodes-vaticana-u0" }
5103 { " " \musicglyph #"custodes-medicaea-u0" }
5107 { " " \musicglyph #"custodes-hufnagel-u0" }
5111 { " " \musicglyph #"custodes-mensural-u0" }
5120 \remove "Bar_number_engraver"
5124 \remove "Clef_engraver"
5125 \remove "Key_engraver"
5126 \remove "Time_signature_engraver"
5127 \remove "Staff_symbol_engraver"
5128 minimumVerticalExtent = ##f
5134 If the boolean property @code{adjust-if-on-staffline} is set to
5135 @code{#t} (which it is by default), lily typesets slightly different
5136 variants of the custos glyph, depending on whether the custos, is
5137 typeset on or between stafflines. The glyph will
5138 optically fit well into the staff, with the appendage on the right of
5139 the custos always ending at the same vertical position between two
5140 stafflines regardless of the pitch. If you set
5141 @code{adjust-if-on-staffline} to @code{#f}, then
5142 a compromise between both forms is used.
5144 Just like stems can be attached to noteheads in two directions
5145 @emph{up} and @emph{down}, each custos glyph is available with its
5146 appendage pointing either up or down. If the pitch of a custos is
5147 above a selectable position, the appendage will point downwards; if
5148 the pitch is below this position, the appendage will point upwards.
5149 Use property @code{neutral-position} to select this position. By
5150 default, it is set to @code{0}, such that the neutral position is the
5151 center of the staff. Use property @code{neutral-direction} to control
5152 what happens if a custos is typeset on the neutral position itself.
5153 By default, this property is set to @code{-1}, such that the appendage
5154 will point downwards. If set to @code{1}, the appendage will point
5155 upwards. Other values such as @code{0} are reserved for future
5156 extensions and should not be used.
5160 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5164 @subsection Divisiones
5170 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5171 `division') is a staff context symbol that is used to structure
5172 Gregorian music into phrases and sections. The musical meaning of
5173 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5174 can be characterized as short, medium and long pause, somewhat like
5175 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5176 a chant, but is also frequently used within a single
5177 antiphonal/responsorial chant to mark the end of each section.
5181 To use divisiones, include the file @code{gregorian-init.ly}. It
5182 contains definitions that you can apply by just inserting
5183 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5184 and @code{\finalis} at proper places in the input. Some editions use
5185 @emph{virgula} or @emph{caesura} instead of divisio minima.
5186 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5189 @lilypondfile[notexidoc]{divisiones.ly}
5193 @cindex @code{\virgula}
5195 @cindex @code{\caesura}
5197 @cindex @code{\divisioMinima}
5198 @code{\divisioMinima},
5199 @cindex @code{\divisioMaior}
5200 @code{\divisioMaior},
5201 @cindex @code{\divisioMaxima}
5202 @code{\divisioMaxima},
5203 @cindex @code{\finalis}
5208 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5209 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5212 @subsection Ligatures
5216 @c TODO: Should double check if I recalled things correctly when I wrote
5217 @c down the following paragraph by heart.
5219 In musical terminology, a ligature is a coherent graphical symbol that
5220 represents at least two distinct notes. Ligatures originally appeared
5221 in the manuscripts of Gregorian chant notation roughly since the 9th
5222 century as an allusion to the accent symbols of greek lyric poetry to
5223 denote ascending or descending sequences of notes. Both, the shape
5224 and the exact meaning of ligatures changed tremendously during the
5225 following centuries: In early notation, ligatures were used for
5226 monophonic tunes (Gregorian chant) and very soon denoted also the way
5227 of performance in the sense of articulation. With upcoming
5228 multiphony, the need for a metric system arised, since multiple voices
5229 of a piece have to be synchronized some way. New notation systems
5230 were invented that used the manifold shapes of ligatures to now denote
5231 rhythmical patterns (e.g. black mensural notation, mannered notation,
5232 ars nova). With the invention of the metric system of the white
5233 mensural notation, the need for ligatures to denote such patterns
5234 disappeared. Nevertheless, ligatures were still in use in the
5235 mensural system for a couple of decades until they finally disappeared
5236 during the late 16th / early 17th century. Still, ligatures have
5237 survived in contemporary editions of Gregorian chant such as the
5238 Editio Vaticana from 1905/08.
5242 Syntactically, ligatures are simply enclosed by @code{\[} and
5243 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5244 additional input syntax specific for this particular type of ligature.
5245 By default, the @internalsref{LigatureBracket} engraver just puts a
5246 square bracket above the ligature:
5248 @lilypond[singleline,verbatim]
5250 \notes \transpose c c' {
5258 To select a specific style of ligatures, a proper ligature engraver
5259 has to be added to the @internalsref{Voice} context, as explained in
5260 the following subsections. Currently, only white mensural ligatures
5261 are supported with certain limitations. Support for Editio Vaticana
5262 will be added in the future.
5265 * White mensural ligatures::
5266 * Gregorian square neumes ligatures::
5269 @node White mensural ligatures
5270 @subsubsection White mensural ligatures
5272 @cindex Mensural ligatures
5273 @cindex White mensural ligatures
5275 There is limited support for white mensural ligatures. The
5276 implementation is still experimental; it currently may output strange
5277 warnings or even crash in some cases or produce weird results on more
5282 To engrave white mensural ligatures, in the paper block the
5283 @internalsref{Mensural_ligature_engraver} has to be put into the
5284 @internalsref{Voice} context, and remove the
5285 @internalsref{Ligature_bracket_engraver}:
5291 \remove Ligature_bracket_engraver
5292 \consists Mensural_ligature_engraver
5297 There is no additional input language to describe the shape of a
5298 white mensural ligature. The shape is rather determined solely from
5299 the pitch and duration of the enclosed notes. While this approach may
5300 take a new user a while to get accustomed, it has the great advantage
5301 that the full musical information of the ligature is known internally.
5302 This is not only required for correct MIDI output, but also allows for
5303 automatic transcription of the ligatures.
5308 \property Score.timing = ##f
5309 \property Score.defaultBarType = "empty"
5310 \property Voice.NoteHead \set #'style = #'neo_mensural
5311 \property Staff.TimeSignature \set #'style = #'neo_mensural
5313 \[ g\longa c\breve a\breve f\breve d'\longa \]
5315 \[ e1 f1 a\breve g\longa \]
5317 @lilypond[singleline]
5319 \notes \transpose c c' {
5320 \property Score.timing = ##f
5321 \property Score.defaultBarType = "empty"
5322 \property Voice.NoteHead \set #'style = #'neo_mensural
5323 \property Staff.TimeSignature \set #'style = #'neo_mensural
5325 \[ g\longa c\breve a\breve f\breve d'\longa \]
5327 \[ e1 f1 a\breve g\longa \]
5332 \remove Ligature_bracket_engraver
5333 \consists Mensural_ligature_engraver
5339 Without replacing @internalsref{Ligature_bracket_engraver} with
5340 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5343 @lilypond[singleline]
5345 \notes \transpose c c' {
5346 \property Score.timing = ##f
5347 \property Score.defaultBarType = "empty"
5348 \property Voice.NoteHead \set #'style = #'neo_mensural
5349 \property Staff.TimeSignature \set #'style = #'neo_mensural
5351 \[ g\longa c\breve a\breve f\breve d'\longa \]
5353 \[ e1 f1 a\breve g\longa \]
5359 @node Gregorian square neumes ligatures
5360 @subsubsection Gregorian square neumes ligatures
5362 @cindex Square neumes ligatures
5363 @cindex Gregorian square neumes ligatures
5365 Gregorian square neumes notation (following the style of the Editio
5366 Vaticana) is under heavy development, but not yet really usable for
5367 production purposes. Core ligatures can already be typeset, but
5368 essential issues for serious typesetting are still under development,
5369 such as (among others) horizontal alignment of multiple ligatures,
5370 lyrics alignment and proper accidentals handling. Still, this section
5371 gives a sneak preview of what Gregorian chant may look like once it
5374 The following table contains the extended neumes table of the 2nd
5375 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5376 1983 by the monks of Solesmes.
5378 @multitable @columnfractions .4 .2 .2 .2
5381 @b{Neuma aut@*Neumarum Elementa} @tab
5382 @b{Figurae@*Rectae} @tab
5383 @b{Figurae@*Liquescentes Auctae} @tab
5384 @b{Figurae@*Liquescentes Deminutae}
5386 @c TODO: \paper block is identical in all of the below examples.
5387 @c Therefore, it should somehow be included rather than duplicated all
5390 @c why not make identifiers in ly/engraver-init.ly? --hwn
5392 @c Because it's just used to typeset plain notes without
5393 @c a staff for demonstration purposes rather than something
5394 @c special of Gregorian chant notation. --jr
5399 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5400 \include "gregorian-init.ly"
5402 \notes \transpose c c' {
5405 \noBreak s^\markup {"a"} \noBreak
5407 % Punctum Inclinatum
5409 \noBreak s^\markup {"b"}
5415 \remove "Bar_number_engraver"
5419 \remove "Clef_engraver"
5420 \remove "Key_engraver"
5421 StaffSymbol \set #'transparent = ##t
5422 \remove "Time_signature_engraver"
5423 \remove "Bar_engraver"
5424 minimumVerticalExtent = ##f
5428 \remove Ligature_bracket_engraver
5429 \consists Vaticana_ligature_engraver
5430 NoteHead \set #'style = #'vaticana_punctum
5431 Stem \set #'transparent = ##t
5437 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5438 \include "gregorian-init.ly"
5440 \notes \transpose c c' {
5441 % Punctum Auctum Ascendens
5442 \[ \auctum \ascendens b \]
5443 \noBreak s^\markup {"c"} \noBreak
5445 % Punctum Auctum Descendens
5446 \[ \auctum \descendens b \]
5447 \noBreak s^\markup {"d"} \noBreak
5449 % Punctum Inclinatum Auctum
5450 \[ \inclinatum \auctum b \]
5451 \noBreak s^\markup {"e"}
5457 \remove "Bar_number_engraver"
5461 \remove "Clef_engraver"
5462 \remove "Key_engraver"
5463 StaffSymbol \set #'transparent = ##t
5464 \remove "Time_signature_engraver"
5465 \remove "Bar_engraver"
5466 minimumVerticalExtent = ##f
5470 \remove Ligature_bracket_engraver
5471 \consists Vaticana_ligature_engraver
5472 NoteHead \set #'style = #'vaticana_punctum
5473 Stem \set #'transparent = ##t
5479 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5480 \include "gregorian-init.ly"
5482 \notes \transpose c c' {
5483 % Punctum Inclinatum Parvum
5484 \[ \inclinatum \deminutum b \]
5485 \noBreak s^\markup {"f"}
5491 \remove "Bar_number_engraver"
5495 \remove "Clef_engraver"
5496 \remove "Key_engraver"
5497 StaffSymbol \set #'transparent = ##t
5498 \remove "Time_signature_engraver"
5499 \remove "Bar_engraver"
5500 minimumVerticalExtent = ##f
5504 \remove Ligature_bracket_engraver
5505 \consists Vaticana_ligature_engraver
5506 NoteHead \set #'style = #'vaticana_punctum
5507 Stem \set #'transparent = ##t
5516 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5517 \include "gregorian-init.ly"
5519 \notes \transpose c c' {
5522 \noBreak s^\markup {"g"}
5528 \remove "Bar_number_engraver"
5532 \remove "Clef_engraver"
5533 \remove "Key_engraver"
5534 StaffSymbol \set #'transparent = ##t
5535 \remove "Time_signature_engraver"
5536 \remove "Bar_engraver"
5537 minimumVerticalExtent = ##f
5541 \remove Ligature_bracket_engraver
5542 \consists Vaticana_ligature_engraver
5543 NoteHead \set #'style = #'vaticana_punctum
5544 Stem \set #'transparent = ##t
5553 @code{3. Apostropha vel Stropha}
5555 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5556 \include "gregorian-init.ly"
5558 \notes \transpose c c' {
5561 \noBreak s^\markup {"h"}
5567 \remove "Bar_number_engraver"
5571 \remove "Clef_engraver"
5572 \remove "Key_engraver"
5573 StaffSymbol \set #'transparent = ##t
5574 \remove "Time_signature_engraver"
5575 \remove "Bar_engraver"
5576 minimumVerticalExtent = ##f
5580 \remove Ligature_bracket_engraver
5581 \consists Vaticana_ligature_engraver
5582 NoteHead \set #'style = #'vaticana_punctum
5583 Stem \set #'transparent = ##t
5589 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5590 \include "gregorian-init.ly"
5592 \notes \transpose c c' {
5594 \[ \stropha \auctum b \]
5595 \noBreak s^\markup {"i"}
5601 \remove "Bar_number_engraver"
5605 \remove "Clef_engraver"
5606 \remove "Key_engraver"
5607 StaffSymbol \set #'transparent = ##t
5608 \remove "Time_signature_engraver"
5609 \remove "Bar_engraver"
5610 minimumVerticalExtent = ##f
5614 \remove Ligature_bracket_engraver
5615 \consists Vaticana_ligature_engraver
5616 NoteHead \set #'style = #'vaticana_punctum
5617 Stem \set #'transparent = ##t
5627 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5628 \include "gregorian-init.ly"
5630 \notes \transpose c c' {
5633 \noBreak s^\markup {"j"}
5639 \remove "Bar_number_engraver"
5643 \remove "Clef_engraver"
5644 \remove "Key_engraver"
5645 StaffSymbol \set #'transparent = ##t
5646 \remove "Time_signature_engraver"
5647 \remove "Bar_engraver"
5648 minimumVerticalExtent = ##f
5652 \remove Ligature_bracket_engraver
5653 \consists Vaticana_ligature_engraver
5654 NoteHead \set #'style = #'vaticana_punctum
5655 Stem \set #'transparent = ##t
5664 @code{5. Clivis vel Flexa}
5666 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5667 \include "gregorian-init.ly"
5669 \notes \transpose c c' {
5678 \remove "Bar_number_engraver"
5682 \remove "Clef_engraver"
5683 \remove "Key_engraver"
5684 StaffSymbol \set #'transparent = ##t
5685 \remove "Time_signature_engraver"
5686 \remove "Bar_engraver"
5687 minimumVerticalExtent = ##f
5691 \remove Ligature_bracket_engraver
5692 \consists Vaticana_ligature_engraver
5693 NoteHead \set #'style = #'vaticana_punctum
5694 Stem \set #'transparent = ##t
5700 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5701 \include "gregorian-init.ly"
5703 \notes \transpose c c' {
5704 % Clivis Aucta Descendens
5705 \[ b \flexa \auctum \descendens g \]
5706 \noBreak s^\markup {"l"} \noBreak
5708 % Clivis Aucta Ascendens
5709 \[ b \flexa \auctum \ascendens g \]
5710 \noBreak s^\markup {"m"}
5716 \remove "Bar_number_engraver"
5720 \remove "Clef_engraver"
5721 \remove "Key_engraver"
5722 StaffSymbol \set #'transparent = ##t
5723 \remove "Time_signature_engraver"
5724 \remove "Bar_engraver"
5725 minimumVerticalExtent = ##f
5729 \remove Ligature_bracket_engraver
5730 \consists Vaticana_ligature_engraver
5731 NoteHead \set #'style = #'vaticana_punctum
5732 Stem \set #'transparent = ##t
5738 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5739 \include "gregorian-init.ly"
5741 \notes \transpose c c' {
5743 \[ b \flexa \deminutum g \]
5750 \remove "Bar_number_engraver"
5754 \remove "Clef_engraver"
5755 \remove "Key_engraver"
5756 StaffSymbol \set #'transparent = ##t
5757 \remove "Time_signature_engraver"
5758 \remove "Bar_engraver"
5759 minimumVerticalExtent = ##f
5763 \remove Ligature_bracket_engraver
5764 \consists Vaticana_ligature_engraver
5765 NoteHead \set #'style = #'vaticana_punctum
5766 Stem \set #'transparent = ##t
5773 @code{6. Podatus vel Pes}
5775 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5776 \include "gregorian-init.ly"
5778 \notes \transpose c c' {
5787 \remove "Bar_number_engraver"
5791 \remove "Clef_engraver"
5792 \remove "Key_engraver"
5793 StaffSymbol \set #'transparent = ##t
5794 \remove "Time_signature_engraver"
5795 \remove "Bar_engraver"
5796 minimumVerticalExtent = ##f
5800 \remove Ligature_bracket_engraver
5801 \consists Vaticana_ligature_engraver
5802 NoteHead \set #'style = #'vaticana_punctum
5803 Stem \set #'transparent = ##t
5809 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5810 \include "gregorian-init.ly"
5812 \notes \transpose c c' {
5813 % Pes Auctus Descendens
5814 \[ g \pes \auctum \descendens b \]
5815 \noBreak s^\markup {"p"} \noBreak
5817 % Pes Auctus Ascendens
5818 \[ g \pes \auctum \ascendens b \]
5819 \noBreak s^\markup {"q"}
5825 \remove "Bar_number_engraver"
5829 \remove "Clef_engraver"
5830 \remove "Key_engraver"
5831 StaffSymbol \set #'transparent = ##t
5832 \remove "Time_signature_engraver"
5833 \remove "Bar_engraver"
5834 minimumVerticalExtent = ##f
5838 \remove Ligature_bracket_engraver
5839 \consists Vaticana_ligature_engraver
5840 NoteHead \set #'style = #'vaticana_punctum
5841 Stem \set #'transparent = ##t
5847 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5848 \include "gregorian-init.ly"
5850 \notes \transpose c c' {
5852 \[ g \pes \deminutum b \]
5859 \remove "Bar_number_engraver"
5863 \remove "Clef_engraver"
5864 \remove "Key_engraver"
5865 StaffSymbol \set #'transparent = ##t
5866 \remove "Time_signature_engraver"
5867 \remove "Bar_engraver"
5868 minimumVerticalExtent = ##f
5872 \remove Ligature_bracket_engraver
5873 \consists Vaticana_ligature_engraver
5874 NoteHead \set #'style = #'vaticana_punctum
5875 Stem \set #'transparent = ##t
5882 @code{7. Pes Quassus}
5884 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5885 \include "gregorian-init.ly"
5887 \notes \transpose c c' {
5889 \[ \oriscus g \pes \virga b \]
5896 \remove "Bar_number_engraver"
5900 \remove "Clef_engraver"
5901 \remove "Key_engraver"
5902 StaffSymbol \set #'transparent = ##t
5903 \remove "Time_signature_engraver"
5904 \remove "Bar_engraver"
5905 minimumVerticalExtent = ##f
5909 \remove Ligature_bracket_engraver
5910 \consists Vaticana_ligature_engraver
5911 NoteHead \set #'style = #'vaticana_punctum
5912 Stem \set #'transparent = ##t
5918 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5919 \include "gregorian-init.ly"
5921 \notes \transpose c c' {
5922 % Pes Quassus Auctus Descendens
5923 \[ \oriscus g \pes \auctum \descendens b \]
5930 \remove "Bar_number_engraver"
5934 \remove "Clef_engraver"
5935 \remove "Key_engraver"
5936 StaffSymbol \set #'transparent = ##t
5937 \remove "Time_signature_engraver"
5938 \remove "Bar_engraver"
5939 minimumVerticalExtent = ##f
5943 \remove Ligature_bracket_engraver
5944 \consists Vaticana_ligature_engraver
5945 NoteHead \set #'style = #'vaticana_punctum
5946 Stem \set #'transparent = ##t
5954 @code{8. Quilisma Pes}
5956 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5957 \include "gregorian-init.ly"
5959 \notes \transpose c c' {
5961 \[ \quilisma g \pes b \]
5968 \remove "Bar_number_engraver"
5972 \remove "Clef_engraver"
5973 \remove "Key_engraver"
5974 StaffSymbol \set #'transparent = ##t
5975 \remove "Time_signature_engraver"
5976 \remove "Bar_engraver"
5977 minimumVerticalExtent = ##f
5981 \remove Ligature_bracket_engraver
5982 \consists Vaticana_ligature_engraver
5983 NoteHead \set #'style = #'vaticana_punctum
5984 Stem \set #'transparent = ##t
5990 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5991 \include "gregorian-init.ly"
5993 \notes \transpose c c' {
5994 % Quilisma Pes Auctus Descendens
5995 \[ \quilisma g \pes \auctum \descendens b \]
6002 \remove "Bar_number_engraver"
6006 \remove "Clef_engraver"
6007 \remove "Key_engraver"
6008 StaffSymbol \set #'transparent = ##t
6009 \remove "Time_signature_engraver"
6010 \remove "Bar_engraver"
6011 minimumVerticalExtent = ##f
6015 \remove Ligature_bracket_engraver
6016 \consists Vaticana_ligature_engraver
6017 NoteHead \set #'style = #'vaticana_punctum
6018 Stem \set #'transparent = ##t
6026 @code{9. Podatus Initio Debilis}
6028 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6029 \include "gregorian-init.ly"
6031 \notes \transpose c c' {
6032 % Pes Initio Debilis
6033 \[ \deminutum g \pes b \]
6040 \remove "Bar_number_engraver"
6044 \remove "Clef_engraver"
6045 \remove "Key_engraver"
6046 StaffSymbol \set #'transparent = ##t
6047 \remove "Time_signature_engraver"
6048 \remove "Bar_engraver"
6049 minimumVerticalExtent = ##f
6053 \remove Ligature_bracket_engraver
6054 \consists Vaticana_ligature_engraver
6055 NoteHead \set #'style = #'vaticana_punctum
6056 Stem \set #'transparent = ##t
6062 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6063 \include "gregorian-init.ly"
6065 \notes \transpose c c' {
6066 % Pes Auctus Descendens Initio Debilis
6067 \[ \deminutum g \pes \auctum \descendens b \]
6074 \remove "Bar_number_engraver"
6078 \remove "Clef_engraver"
6079 \remove "Key_engraver"
6080 StaffSymbol \set #'transparent = ##t
6081 \remove "Time_signature_engraver"
6082 \remove "Bar_engraver"
6083 minimumVerticalExtent = ##f
6087 \remove Ligature_bracket_engraver
6088 \consists Vaticana_ligature_engraver
6089 NoteHead \set #'style = #'vaticana_punctum
6090 Stem \set #'transparent = ##t
6100 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6101 \include "gregorian-init.ly"
6103 \notes \transpose c c' {
6105 \[ a \pes b \flexa g \]
6112 \remove "Bar_number_engraver"
6116 \remove "Clef_engraver"
6117 \remove "Key_engraver"
6118 StaffSymbol \set #'transparent = ##t
6119 \remove "Time_signature_engraver"
6120 \remove "Bar_engraver"
6121 minimumVerticalExtent = ##f
6125 \remove Ligature_bracket_engraver
6126 \consists Vaticana_ligature_engraver
6127 NoteHead \set #'style = #'vaticana_punctum
6128 Stem \set #'transparent = ##t
6134 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6135 \include "gregorian-init.ly"
6137 \notes \transpose c c' {
6138 % Torculus Auctus Descendens
6139 \[ a \pes b \flexa \auctum \descendens g \]
6146 \remove "Bar_number_engraver"
6150 \remove "Clef_engraver"
6151 \remove "Key_engraver"
6152 StaffSymbol \set #'transparent = ##t
6153 \remove "Time_signature_engraver"
6154 \remove "Bar_engraver"
6155 minimumVerticalExtent = ##f
6159 \remove Ligature_bracket_engraver
6160 \consists Vaticana_ligature_engraver
6161 NoteHead \set #'style = #'vaticana_punctum
6162 Stem \set #'transparent = ##t
6168 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6169 \include "gregorian-init.ly"
6171 \notes \transpose c c' {
6172 % Torculus Deminutus
6173 \[ a \pes b \flexa \deminutum g \]
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
6203 @code{11. Torculus Initio Debilis}
6205 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6206 \include "gregorian-init.ly"
6208 \notes \transpose c c' {
6209 % Torculus Initio Debilis
6210 \[ \deminutum a \pes b \flexa g \]
6217 \remove "Bar_number_engraver"
6221 \remove "Clef_engraver"
6222 \remove "Key_engraver"
6223 StaffSymbol \set #'transparent = ##t
6224 \remove "Time_signature_engraver"
6225 \remove "Bar_engraver"
6226 minimumVerticalExtent = ##f
6230 \remove Ligature_bracket_engraver
6231 \consists Vaticana_ligature_engraver
6232 NoteHead \set #'style = #'vaticana_punctum
6233 Stem \set #'transparent = ##t
6239 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6240 \include "gregorian-init.ly"
6242 \notes \transpose c c' {
6243 % Torculus Auctus Descendens Initio Debilis
6244 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6251 \remove "Bar_number_engraver"
6255 \remove "Clef_engraver"
6256 \remove "Key_engraver"
6257 StaffSymbol \set #'transparent = ##t
6258 \remove "Time_signature_engraver"
6259 \remove "Bar_engraver"
6260 minimumVerticalExtent = ##f
6264 \remove Ligature_bracket_engraver
6265 \consists Vaticana_ligature_engraver
6266 NoteHead \set #'style = #'vaticana_punctum
6267 Stem \set #'transparent = ##t
6273 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6274 \include "gregorian-init.ly"
6276 \notes \transpose c c' {
6277 % Torculus Deminutus Initio Debilis
6278 \[ \deminutum a \pes b \flexa \deminutum g \]
6285 \remove "Bar_number_engraver"
6289 \remove "Clef_engraver"
6290 \remove "Key_engraver"
6291 StaffSymbol \set #'transparent = ##t
6292 \remove "Time_signature_engraver"
6293 \remove "Bar_engraver"
6294 minimumVerticalExtent = ##f
6298 \remove Ligature_bracket_engraver
6299 \consists Vaticana_ligature_engraver
6300 NoteHead \set #'style = #'vaticana_punctum
6301 Stem \set #'transparent = ##t
6308 @code{12. Porrectus}
6310 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6311 \include "gregorian-init.ly"
6313 \notes \transpose c c' {
6315 \[ a \flexa g \pes b \]
6322 \remove "Bar_number_engraver"
6326 \remove "Clef_engraver"
6327 \remove "Key_engraver"
6328 StaffSymbol \set #'transparent = ##t
6329 \remove "Time_signature_engraver"
6330 \remove "Bar_engraver"
6331 minimumVerticalExtent = ##f
6335 \remove Ligature_bracket_engraver
6336 \consists Vaticana_ligature_engraver
6337 NoteHead \set #'style = #'vaticana_punctum
6338 Stem \set #'transparent = ##t
6344 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6345 \include "gregorian-init.ly"
6347 \notes \transpose c c' {
6348 % Porrectus Auctus Descendens
6349 \[ a \flexa g \pes \auctum \descendens b \]
6356 \remove "Bar_number_engraver"
6360 \remove "Clef_engraver"
6361 \remove "Key_engraver"
6362 StaffSymbol \set #'transparent = ##t
6363 \remove "Time_signature_engraver"
6364 \remove "Bar_engraver"
6365 minimumVerticalExtent = ##f
6369 \remove Ligature_bracket_engraver
6370 \consists Vaticana_ligature_engraver
6371 NoteHead \set #'style = #'vaticana_punctum
6372 Stem \set #'transparent = ##t
6378 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6379 \include "gregorian-init.ly"
6381 \notes \transpose c c' {
6382 % Porrectus Deminutus
6383 \[ a \flexa g \pes \deminutum b \]
6390 \remove "Bar_number_engraver"
6394 \remove "Clef_engraver"
6395 \remove "Key_engraver"
6396 StaffSymbol \set #'transparent = ##t
6397 \remove "Time_signature_engraver"
6398 \remove "Bar_engraver"
6399 minimumVerticalExtent = ##f
6403 \remove Ligature_bracket_engraver
6404 \consists Vaticana_ligature_engraver
6405 NoteHead \set #'style = #'vaticana_punctum
6406 Stem \set #'transparent = ##t
6415 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6416 \include "gregorian-init.ly"
6418 \notes \transpose c c' {
6420 \[ \virga b \inclinatum a \inclinatum g \]
6427 \remove "Bar_number_engraver"
6431 \remove "Clef_engraver"
6432 \remove "Key_engraver"
6433 StaffSymbol \set #'transparent = ##t
6434 \remove "Time_signature_engraver"
6435 \remove "Bar_engraver"
6436 minimumVerticalExtent = ##f
6440 \remove Ligature_bracket_engraver
6441 \consists Vaticana_ligature_engraver
6442 NoteHead \set #'style = #'vaticana_punctum
6443 Stem \set #'transparent = ##t
6449 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6450 \include "gregorian-init.ly"
6452 \notes \transpose c c' {
6454 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6461 \remove "Bar_number_engraver"
6465 \remove "Clef_engraver"
6466 \remove "Key_engraver"
6467 StaffSymbol \set #'transparent = ##t
6468 \remove "Time_signature_engraver"
6469 \remove "Bar_engraver"
6470 minimumVerticalExtent = ##f
6474 \remove Ligature_bracket_engraver
6475 \consists Vaticana_ligature_engraver
6476 NoteHead \set #'style = #'vaticana_punctum
6477 Stem \set #'transparent = ##t
6483 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6484 \include "gregorian-init.ly"
6486 \notes \transpose c c' {
6487 % Climacus Deminutus
6488 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6495 \remove "Bar_number_engraver"
6499 \remove "Clef_engraver"
6500 \remove "Key_engraver"
6501 StaffSymbol \set #'transparent = ##t
6502 \remove "Time_signature_engraver"
6503 \remove "Bar_engraver"
6504 minimumVerticalExtent = ##f
6508 \remove Ligature_bracket_engraver
6509 \consists Vaticana_ligature_engraver
6510 NoteHead \set #'style = #'vaticana_punctum
6511 Stem \set #'transparent = ##t
6518 @code{14. Scandicus}
6520 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6521 \include "gregorian-init.ly"
6523 \notes \transpose c c' {
6525 \[ g \pes a \virga b \]
6532 \remove "Bar_number_engraver"
6536 \remove "Clef_engraver"
6537 \remove "Key_engraver"
6538 StaffSymbol \set #'transparent = ##t
6539 \remove "Time_signature_engraver"
6540 \remove "Bar_engraver"
6541 minimumVerticalExtent = ##f
6545 \remove Ligature_bracket_engraver
6546 \consists Vaticana_ligature_engraver
6547 NoteHead \set #'style = #'vaticana_punctum
6548 Stem \set #'transparent = ##t
6554 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6555 \include "gregorian-init.ly"
6557 \notes \transpose c c' {
6558 % Scandicus Auctus Descendens
6559 \[ g \pes a \pes \auctum \descendens b \]
6566 \remove "Bar_number_engraver"
6570 \remove "Clef_engraver"
6571 \remove "Key_engraver"
6572 StaffSymbol \set #'transparent = ##t
6573 \remove "Time_signature_engraver"
6574 \remove "Bar_engraver"
6575 minimumVerticalExtent = ##f
6579 \remove Ligature_bracket_engraver
6580 \consists Vaticana_ligature_engraver
6581 NoteHead \set #'style = #'vaticana_punctum
6582 Stem \set #'transparent = ##t
6588 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6589 \include "gregorian-init.ly"
6591 \notes \transpose c c' {
6592 % Scandicus Deminutus
6593 \[ g \pes a \pes \deminutum b \]
6600 \remove "Bar_number_engraver"
6604 \remove "Clef_engraver"
6605 \remove "Key_engraver"
6606 StaffSymbol \set #'transparent = ##t
6607 \remove "Time_signature_engraver"
6608 \remove "Bar_engraver"
6609 minimumVerticalExtent = ##f
6613 \remove Ligature_bracket_engraver
6614 \consists Vaticana_ligature_engraver
6615 NoteHead \set #'style = #'vaticana_punctum
6616 Stem \set #'transparent = ##t
6625 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6626 \include "gregorian-init.ly"
6628 \notes \transpose c c' {
6630 \[ g \oriscus a \pes \virga b \]
6637 \remove "Bar_number_engraver"
6641 \remove "Clef_engraver"
6642 \remove "Key_engraver"
6643 StaffSymbol \set #'transparent = ##t
6644 \remove "Time_signature_engraver"
6645 \remove "Bar_engraver"
6646 minimumVerticalExtent = ##f
6650 \remove Ligature_bracket_engraver
6651 \consists Vaticana_ligature_engraver
6652 NoteHead \set #'style = #'vaticana_punctum
6653 Stem \set #'transparent = ##t
6659 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6660 \include "gregorian-init.ly"
6662 \notes \transpose c c' {
6663 % Salicus Auctus Descendens
6664 \[ g \oriscus a \pes \auctum \descendens b \]
6671 \remove "Bar_number_engraver"
6675 \remove "Clef_engraver"
6676 \remove "Key_engraver"
6677 StaffSymbol \set #'transparent = ##t
6678 \remove "Time_signature_engraver"
6679 \remove "Bar_engraver"
6680 minimumVerticalExtent = ##f
6684 \remove Ligature_bracket_engraver
6685 \consists Vaticana_ligature_engraver
6686 NoteHead \set #'style = #'vaticana_punctum
6687 Stem \set #'transparent = ##t
6697 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6698 \include "gregorian-init.ly"
6700 \notes \transpose c c' {
6702 \[ \stropha b \stropha b \stropha a \]
6709 \remove "Bar_number_engraver"
6713 \remove "Clef_engraver"
6714 \remove "Key_engraver"
6715 StaffSymbol \set #'transparent = ##t
6716 \remove "Time_signature_engraver"
6717 \remove "Bar_engraver"
6718 minimumVerticalExtent = ##f
6722 \remove Ligature_bracket_engraver
6723 \consists Vaticana_ligature_engraver
6724 NoteHead \set #'style = #'vaticana_punctum
6725 Stem \set #'transparent = ##t
6737 Unlike most other neumes notation systems, the input language for
6738 neumes does not necessarily reflect directly the typographical
6739 appearance, but is designed to solely focuse on musical meaning. For
6740 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6741 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6742 a Porrectus with a curved flexa shape and only a single Punctum head.
6743 There is no command to explicitly typeset the curved flexa shape; the
6744 decision of when to typeset a curved flexa shape is purely taken from
6745 the musical input. The idea of this approach is to separate the
6746 musical aspects of the input from the notation style of the output.
6747 This way, the same input can be reused to typeset the same music in a
6748 different style of Gregorian chant notation such as Hufnagel (also
6749 known as German gothic neumes) or Medicaea (kind of a very simple
6750 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6751 engraver and Medicaea ligature engraver will have been implemented, it
6752 will be as simple as replacing the ligature engraver in the
6753 @internalsref{Voice} context to get the desired notation style from
6756 The following table shows the code fragments that produce the
6757 ligatures in the above neumes table. The letter in the first column
6758 in each line of the below table indicates to which ligature in the
6759 above table it refers. The second column gives the name of the
6760 ligature. The third column shows the code fragment that produces this
6761 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6763 @multitable @columnfractions .1 .4 .5
6777 Punctum Inclinatum @tab
6778 @code{\[ \inclinatum b \]}
6782 Punctum Auctum Ascendens @tab
6783 @code{\[ \auctum \ascendens b \]}
6787 Punctum Auctum Descendens @tab
6788 @code{\[ \auctum \descendens b \]}
6792 Punctum Inclinatum Auctum @tab
6793 @code{\[ \inclinatum \auctum b \]}
6797 Punctum Inclinatum Parvum @tab
6798 @code{\[ \inclinatum \deminutum b \]}
6803 @code{\[ \virga b \]}
6808 @code{\[ \stropha b \]}
6813 @code{\[ \stropha \auctum b \]}
6818 @code{\[ \oriscus b \]}
6822 Clivis vel Flexa @tab
6823 @code{\[ b \flexa g \]}
6827 Clivis Aucta Descendens @tab
6828 @code{\[ b \flexa \auctum \descendens g \]}
6832 Clivis Aucta Ascendens @tab
6833 @code{\[ b \flexa \auctum \ascendens g \]}
6838 @code{\[ b \flexa \deminutum g \]}
6842 Podatus vel Pes @tab
6843 @code{\[ g \pes b \]}
6847 Pes Auctus Descendens @tab
6848 @code{\[ g \pes \auctum \descendens b \]}
6852 Pes Auctus Ascendens @tab
6853 @code{\[ g \pes \auctum \ascendens b \]}
6858 @code{\[ g \pes \deminutum b \]}
6863 @code{\[ \oriscus g \pes \virga b \]}
6867 Pes Quassus Auctus Descendens @tab
6868 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6873 @code{\[ \quilisma g \pes b \]}
6877 Quilisma Pes Auctus Descendens @tab
6878 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6882 Pes Initio Debilis @tab
6883 @code{\[ \deminutum g \pes b \]}
6887 Pes Auctus Descendens Initio Debilis @tab
6888 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6893 @code{\[ a \pes b \flexa g \]}
6897 Torculus Auctus Descendens @tab
6898 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6902 Torculus Deminutus @tab
6903 @code{\[ a \pes b \flexa \deminutum g \]}
6907 Torculus Initio Debilis @tab
6908 @code{\[ \deminutum a \pes b \flexa g \]}
6912 Torculus Auctus Descendens Initio Debilis @tab
6913 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6917 Torculus Deminutus Initio Debilis @tab
6918 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6923 @code{\[ a \flexa g \pes b \]}
6927 Porrectus Auctus Descendens @tab
6928 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6932 Porrectus Deminutus @tab
6933 @code{\[ a \flexa g \pes \deminutum b \]}
6938 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6942 Climacus Auctus @tab
6943 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6947 Climacus Deminutus @tab
6948 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6953 @code{\[ g \pes a \virga b \]}
6957 Scandicus Auctus Descendens @tab
6958 @code{\[ g \pes a \pes \auctum \descendens b \]}
6962 Scandicus Deminutus @tab
6963 @code{\[ g \pes a \pes \deminutum b \]}
6968 @code{\[ g \oriscus a \pes \virga b \]}
6972 Salicus Auctus Descendens @tab
6973 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6978 @code{\[ \stropha b \stropha b \stropha a \]}
6984 The following head prefixes are supported:
6986 @cindex @code{\virga}
6988 @cindex @code{\stropha}
6990 @cindex @code{\inclinatum}
6992 @cindex @code{\auctum}
6994 @cindex @code{\descendens}
6996 @cindex @code{\ascendens}
6998 @cindex @code{\oriscus}
7000 @cindex @code{\quilisma}
7002 @cindex @code{\deminutum}
7005 Head prefixes can be accumulated, though restrictions apply. For
7006 example, either @code{\descendens} or @code{\ascendens} can be applied
7007 to a head, but not both to the same head.
7010 @cindex @code{\flexa}
7011 Two adjacent heads can be tied together with the @code{\pes} and
7012 @code{\flexa} infix commands for a rising and falling line of melody,
7017 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
7018 Semivocalis head; this looks awful.
7020 Trigonus: apply equal spacing, regardless of pitch.
7022 Flexa and similar figurae: the left appendix should be adjusted with
7023 respect to the position of this head (on staffline or on staffspace)
7024 and the vertical position of the subsequent head.
7027 @subsection Figured bass
7029 @cindex Basso continuo
7031 @c TODO: musicological blurb about FB
7035 LilyPond has limited support for figured bass:
7037 @lilypond[verbatim,fragment]
7039 \context Voice \notes { \clef bass dis4 c d ais}
7040 \context FiguredBass
7042 < 6 >4 < 7 >8 < 6+ [_!] >
7048 The support for figured bass consists of two parts: there is an input
7049 mode, introduced by @code{\figures}, where you can enter bass figures
7050 as numbers, and there is a context called @internalsref{FiguredBass} that
7051 takes care of making @internalsref{BassFigure} objects.
7053 In figures input mode, a group of bass figures is delimited by
7054 @code{<} and @code{>}. The duration is entered after the @code{>}:
7059 \context FiguredBass
7063 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7070 \context FiguredBass
7071 \figures { <4- 6+ 7!> }
7074 Spaces or dashes may be inserted by using @code{_}. Brackets are
7075 introduced with @code{[} and @code{]}:
7081 \context FiguredBass
7082 \figures { < [4 6] 8 [_! 12]> }
7085 Although the support for figured bass may superficially resemble chord
7086 support, it works much simpler. The @code{\figures} mode simply
7087 stores the numbers , and @internalsref{FiguredBass} context prints
7088 them as entered. There is no conversion to pitches, and no
7089 realizations of the bass are played in the MIDI file.
7091 Internally, the code produces markup texts. You can use any of the
7092 markup text properties to override formatting. For example, the
7093 vertical spacing of the figures may be set with @code{baseline-skip}.
7097 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7098 and @internalsref{FiguredBass} context.
7102 Slash notation for alterations is not supported.
7105 @node Vaticana style contexts
7106 @subsection Vaticana style contexts
7108 @cindex VaticanaVoiceContext
7109 @cindex VaticanaStaffContext
7111 The predefined @code{VaticanaVoiceContext} and
7112 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7113 Gregorian Chant in the style of the Editio Vaticana. These contexts
7114 initialize all relevant context properties and grob properties to
7115 proper values. With these contexts, you can immediately go ahead
7116 entering the chant, as the following short excerpt demonstrates:
7118 @lilypond[raggedright,verbatim,noindent]
7119 \include "gregorian-init.ly"
7122 \context VaticanaVoice {
7123 \property Score.BarNumber \set #'transparent = ##t
7125 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7126 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7127 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7130 \context Lyrics \lyrics {
7131 San- ctus, San- ctus, San- ctus
7136 @node Contemporary notation
7137 @section Contemporary notation
7139 In the 20th century, composers have greatly expanded the musical
7140 vocabulary. With this expansion, many innovations in musical notation
7141 have been tried. For a comprehensive overview, refer to @cite{Stone
7142 1980} (see @ref{Literature}). In general, the use of new, innovative
7143 notation makes a piece harder to understand and perform and its use
7144 should therefore be avoided if possible. For this reason, support for
7145 contemporary notation in LilyPond is limited.
7154 @subsection Clusters
7158 In musical terminology, a @emph{cluster} denotes a range of
7159 simultaneously sounding pitches that may change over time. The set of
7160 available pitches to apply usually depends on the accoustic source.
7161 Thus, in piano music, a cluster typically consists of a continous range
7162 of the semitones as provided by the piano's fixed set of a chromatic
7163 scale. In choral music, each singer of the choir typically may sing an
7164 arbitrary pitch within the cluster's range that is not bound to any
7165 diatonic, chromatic or other scale. In electronic music, a cluster
7166 (theoretically) may even cover a continuous range of pitches, thus
7167 resulting in coloured noise, such as pink noise.
7169 Clusters can be denoted in the context of ordinary staff notation by
7170 engraving simple geometrical shapes that replace ordinary notation of
7171 notes. Ordinary notes as musical events specify starting time and
7172 duration of pitches; however, the duration of a note is expressed by the
7173 shape of the note head rather than by the horizontal graphical extent of
7174 the note symbol. In contrast, the shape of a cluster geometrically
7175 describes the development of a range of pitches (vertical extent) over
7176 time (horizontal extent). Still, the geometrical shape of a cluster
7177 covers the area in wich any single pitch contained in the cluster would
7178 be notated as an ordinary note. From this point of view, it is
7179 reasonable to specify a cluster as the envelope of a set of notes.
7183 A cluster is engraved as the envelope of a set of
7184 cluster-notes. Cluster notes are created by applying the function
7185 @code{notes-to-clusters} to a sequence of chords, e.g.
7187 @lilypond[relative 1,verbatim]
7188 \apply #notes-to-clusters { <<c e >> <<b f'>> }
7191 The following example (from
7192 @inputfileref{input/regression,cluster.ly}) shows what the result
7195 @lilypondfile[notexidoc]{cluster.ly}
7197 By default, @internalsref{Cluster_spanner_engraver} is in the
7198 @internalsref{Voice} context. This allows putting ordinary notes and
7199 clusters together in the same staff, even simultaneously. In such a
7200 case no attempt is made to automatically avoid collisions between
7201 ordinary notes and clusters.
7205 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7206 @inputfileref{input/regression,cluster.ly},
7207 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7211 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
7212 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
7217 @subsection Fermatas
7223 Contemporary music notation frequently uses special fermata symbols to
7224 indicate fermatas of differing lengths.
7228 The following are supported
7230 @lilypond[singleline]
7232 < \addlyrics \notes {
7252 \context Lyrics \lyrics {
7253 "shortfermata" "fermata" "longfermata" "verylongfermata"
7258 See @ref{Articulations} for general instructions how to apply scripts
7259 such as fermatas to a @code{\notes@{@}} block.
7262 @section Tuning output
7264 There are situations where default layout decisions are not
7265 sufficient. In this section we discuss ways to override these
7268 Formatting is internally done by manipulating so called objects
7269 (graphic objects). Each object carries with it a set of properties
7270 (object or layout properties) specific to that object. For example, a
7271 stem object has properties that specify its direction, length and
7274 The most direct way of tuning the output is by altering the values of
7275 these properties. There are two ways of doing that: first, you can
7276 temporarily change the definition of one type of object, thus
7277 affecting a whole set of objects. Second, you can select one specific
7278 object, and set a layout property in that object.
7280 Do not confuse layout properties with translation
7281 properties. Translation properties always use a mixed caps style
7282 naming, and are manipulated using @code{\property}:
7284 \property Context.propertyName = @var{value}
7286 Layout properties are use Scheme style variable naming, i.e. lower
7287 case words separated with dashes. They are symbols, and should always
7288 be quoted using @code{#'}. For example, this could be an imaginary
7289 layout property name:
7291 #'layout-property-name
7296 * Constructing a tweak::
7305 @node Tuning objects
7306 @subsection Tuning objects
7308 @cindex object description
7310 The definition of an object is a list of default object
7311 properties. For example, the definition of the Stem object (available
7312 in @file{scm/define-grobs.scm}), includes the following definitions
7313 for @internalsref{Stem}:
7317 (beamed-lengths . (0.0 2.5 2.0 1.5))
7318 (Y-extent-callback . ,Stem::height)
7323 Adding variables on top of this existing definition overrides the
7324 system default, and alters the resulting appearance of the layout
7330 Changing a variable for only one object is commonly achieved with
7334 \once \property @var{context}.@var{objectname}
7335 \override @var{symbol} = @var{value}
7337 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7338 and @var{objectname} is a string and @var{value} is a Scheme expression.
7339 This command applies a setting only during one moment in the score.
7341 In the following example, only one @internalsref{Stem} object is
7342 changed from its original setting:
7344 @lilypond[verbatim, fragment, relative=1]
7346 \once \property Voice.Stem \set #'thickness = #4
7350 @cindex @code{\once}
7352 For changing more objects, the same command, without @code{\once} can
7355 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7357 This command adds @code{@var{symbol} = @var{value}} to the definition
7358 of @var{objectname} in the context @var{context}, and this definition
7359 stays in place until it is removed.
7361 An existing definition may be removed by the following command:
7364 \property @var{context}.@var{objectname} \revert @var{symbol}
7367 All @code{\override} and @code{\revert} commands should be balanced.
7368 The @code{\set} shorthand performs a revert followed by an override,
7369 and is often more convenient to use
7372 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7376 @lilypond[verbatim,quote]
7377 c'4 \property Voice.Stem \override #'thickness = #4.0
7379 c'4 \property Voice.Stem \revert #'thickness
7383 The following example gives exactly the same result as the previous
7384 one (assuming the system default for stem thickness is 1.3):
7386 @lilypond[verbatim,quote]
7387 c'4 \property Voice.Stem \set #'thickness = #4.0
7389 c'4 \property Voice.Stem \set #'thickness = #1.3
7393 Reverting a setting which was not set in the first place has no
7394 effect. However, if the setting was set as a system default, this may
7395 remove the default value, and this may give surprising results,
7396 including crashes. In other words, @code{\override} and
7397 @code{\revert} must be carefully balanced. The following are examples
7398 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7402 a clumsy but correct form:
7404 \override \revert \override \revert \override \revert
7408 shorter version of the same:
7410 \override \set \set \revert
7414 a short form, using only @code{\set}. This requires you to know the
7417 \set \set \set \set @var{to default value}
7421 if there is no default (i.e. by default, the object property is unset),
7424 \set \set \set \revert
7428 For the digirati, the object description is an Scheme association
7429 list. Since a Scheme list is a singly linked list, we can treat it as
7430 a stack, and @code{\override} and @code{\revert} are push and pop
7431 operations. The association list is stored in a normal context
7434 \property Voice.NoteHead = #'()
7436 will effectively erase @internalsref{NoteHead}s from the current
7437 @internalsref{Voice}. However, this mechanism is not guaranteed to
7438 work, and may cause crashes or other anomalous behavior.
7442 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7443 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7444 @internalsref{All-layout-objects}.
7449 The backend is not very strict in type-checking object properties.
7450 Cyclic references in @var{value} cause hangs and/or crashes.
7451 Similarly, reverting properties that are system defaults may also lead
7454 @node Constructing a tweak
7455 @subsection Constructing a tweak
7458 @cindex internal documentation
7459 @cindex finding graphical objects
7460 @cindex graphical object descriptions
7462 @cindex @code{\override}
7464 @cindex internal documentation
7468 Three pieces of information are required to use @code{\override} and
7469 @code{\set}: the name of the layout object, the context and the name
7470 of the property. We demonstrate how to glean this information from
7471 the notation manual and the generated documentation.
7473 The generated documentation is a set of HTML pages which should be
7474 included if you installed a binary distribution, typically in
7475 @file{/usr/share/doc/lilypond}. They are also available on the web:
7476 go to the @uref{http://lilypond.org,LilyPond website}, click
7477 ``Documentation'', and then ``Program reference'' on the side bar. It
7478 is advisable to bookmark either the local HTML files if possible. They
7479 will load faster than the ones on the web. If you use the version
7480 from the web, you must check whether the documentation matches the
7481 program version: the documentation is generated from the definitions
7482 that the program uses, and therefore it is strongly tied to the
7486 @c [TODO: revise for new site.]
7488 Suppose we want to move the fingering indication in the fragment below:
7490 @lilypond[relative=2,verbatim]
7496 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7497 instructions}), you will notice that there is written:
7502 @internalsref{FingerEvent} and @internalsref{Fingering}.
7506 In other words, the fingerings once entered, are internally stored as
7507 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7508 layout object is created for every @code{FingerEvent}.
7510 The Fingering object has a number of different functions, and each of
7511 those is captured in an interface, when we look up
7512 @internalsref{Fingering} in the generated documentation.
7516 The @code{Fingering} object has a fixed size
7517 (@internalsref{item-interface}), the symbol is a piece of text
7518 (@internalsref{text-interface}), whose font can be set
7519 (@internalsref{font-interface}). It is centered horizontally
7520 (@internalsref{self-alignment-interface}), it is placed next to other
7521 objects (@internalsref{side-position-interface}) vertically, and its
7522 placement is coordinated with other scripts
7523 (@internalsref{text-script-interface}). It also has the standard
7524 @internalsref{grob-interface} (grob stands for Graphical object)
7526 @cindex graphical object
7527 @cindex layout object
7528 @cindex object, layout
7529 with all the variables that come with
7530 it. Finally, it denotes a fingering instruction, so it has
7531 @internalsref{finger-interface}.
7533 For the vertical placement, we have to look under
7534 @code{side-position-interface}:
7536 @code{side-position-interface}
7538 Position a victim object (this one) next to other objects (the
7539 support). In this case, the direction signifies where to put the
7540 victim object relative to the support (left or right, up or down?)
7545 below this description, the variable @code{padding} is described as
7549 (dimension, in staff space)
7551 add this much extra space between objects that are next to each
7552 other. Default value: @code{0.6}
7556 By increasing the value of @code{padding}, we can move away the
7557 fingering. The following command inserts 3 staff spaces of white
7558 between the note and the fingering:
7560 \once \property Voice.Fingering \set #'padding = #3
7563 Inserting this command before the Fingering object is created,
7564 i.e. before @code{c2}, yields the following result:
7566 @lilypond[relative=2,fragment,verbatim]
7567 \once \property Voice.Fingering
7574 The context name @code{Voice} in the example above can be determined
7575 as follows. In the documentation for @internalsref{Fingering}, it says
7577 Fingering grobs are created by: @internalsref{Fingering_engraver}
7580 Clicking @code{Fingering_engraver} shows the documentation of
7581 the module responsible for interpreting the fingering instructions and
7582 translating them to a @code{Fingering} object. Such a module is called
7583 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7586 Fingering_engraver is part of contexts: Voice
7588 so tuning the settings for Fingering should be done with
7590 \property Voice.Fingering \set @dots{}
7593 Of course, the tweak may also done in a larger context than
7594 @code{Voice}, for example, @internalsref{Staff} or
7595 @internalsref{Score}.
7597 The internals document also contains alphabetical lists of
7598 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7599 @internalsref{Music-expressions}, so you can also find which objects to
7600 tweak by browsing the internals document.
7604 @subsection Applyoutput
7606 The most versatile way of tuning an object is @code{\applyoutput}. Its
7609 \applyoutput @var{proc}
7613 where @var{proc} is a Scheme function, taking four arguments.
7615 When interpreted, the function @var{proc} is called for every layout object found
7616 in the context, with the following arguments:
7618 @item the layout object itself,
7619 @item the context where the layout object was created, and
7620 @item the context where @code{\applyoutput} is processed.
7623 In addition, the cause of the layout object, i.e. the music
7624 expression or object that was responsible for creating it, is in the
7625 object property @code{cause}. For example, for a note head, this is a
7626 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7627 this is a @internalsref{NoteHead} object.
7630 @node Outputproperty
7631 @subsection Outputproperty
7633 @cindex @code{\outputproperty}
7635 Another way of tuning objects is the more arcane @code{\outputproperty}
7636 feature. The syntax is as follows:
7638 \outputproperty @var{predicate} @var{symbol} = @var{value}
7640 Here @code{predicate} is a Scheme function taking an object argument, and
7641 returning a boolean. This statement is processed by the
7642 @code{Output_property_engraver}. It instructs the engraver to feed all
7643 objects that it sees to @var{predicate}. Whenever the predicate returns
7644 true, the object property @var{symbol} will be set to @var{value}.
7646 You will need to combine this statement with @code{\context} to select
7647 the appropriate context to apply this to.
7648 @inputfileref{input/regression,output-property.ly} shows an example of
7649 the use of @code{\outputproperty}.
7653 This command is slated for removal. Please use the
7654 @code{\applyoutput} command, see @ref{Applyoutput}.
7657 @node Font selection
7658 @subsection Font selection
7660 The most common thing to change about the appearance of fonts is their
7661 size. The font size of any context can be easily changed by setting
7662 the @code{fontSize} property for that context. Its value is an
7663 integer: negative numbers make the font smaller, positive numbers
7664 larger. An example is given below:
7666 @lilypond[fragment,relative=1,verbatim,quote]
7667 c4 c4 \property Voice.fontSize = #-1
7670 This command will set @code{font-relative-size} (see below), and does
7671 not change the size of variable symbols, such as beams or slurs.
7674 One of the uses of @code{fontSize} is to get smaller symbol for cue
7675 notes. An elaborate example of those is in
7676 @inputfileref{input/test,cue-notes.ly}.
7678 @cindex magnification
7680 The size of the font may be scaled with the object property
7681 @code{font-magnification}. For example, @code{2.0} blows up all
7682 letters by a factor 2 in both directions.
7691 The font used for printing a object can be selected by setting
7692 @code{font-name}, e.g.
7694 \property Staff.TimeSignature
7695 \set #'font-name = #"cmr17"
7699 Any font can be used, as long as it is available to @TeX{}. Possible
7700 fonts include foreign fonts or fonts that do not belong to the
7701 Computer Modern font family.
7703 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7704 can also be adjusted with a more fine-grained mechanism. By setting
7705 the object properties described below, you can select a different font;
7706 all three mechanisms work for every object that supports
7707 @code{font-interface}:
7711 is a symbol indicating the general class of the typeface. Supported are
7712 @code{roman} (Computer Modern), @code{braces} (for piano staff
7713 braces), @code{music} (the standard music font, including ancient
7714 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7717 is a symbol indicating the shape of the font, there are typically several
7718 font shapes available for each font family. Choices are @code{italic},
7719 @code{caps} and @code{upright}.
7722 is a symbol indicating the series of the font. There are typically several
7723 font series for each font family and shape. Choices are @code{medium}
7726 @item font-relative-size
7727 is a number indicating the size relative the standard size. For example,
7728 with 20pt staff height, relative size -1 corresponds to 16pt staff
7729 height, and relative size +1 corresponds to 23 pt staff height.
7731 There are small differences in design between fonts designed for
7732 different sizes, hence @code{font-relative-size} is preferred over
7733 @code{font-magnification} for changing font sizes.
7736 @item font-design-size
7737 is a number indicating the design size of the font.
7739 This is a feature of the Computer Modern Font: each point size has a
7740 slightly different design. Smaller design sizes are relatively wider,
7741 which enhances readability.
7744 For any of these properties, the value @code{*} (i.e. the symbol
7745 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7746 to override default setting, which are always present. For example:
7748 \property Lyrics . LyricText \override #'font-series = #'bold
7749 \property Lyrics . LyricText \override #'font-family = #'typewriter
7750 \property Lyrics . LyricText \override #'font-shape = #'*
7753 @cindex @code{font-style}
7757 The following commands set @code{fontSize} for the current voice.
7759 @cindex @code{\tiny}
7761 @cindex @code{\small}
7763 @cindex @code{\normalsize}
7768 Relative size is not linked to any real size.
7770 There is no style sheet provided for other fonts besides the @TeX{}
7771 family, and the style sheet cannot be modified easily.
7773 @cindex font selection
7774 @cindex font magnification
7775 @cindex @code{font-interface}
7779 @subsection Text markup
7784 @cindex typeset text
7786 LilyPond has an internal mechanism to typeset texts. You can access it
7787 with the keyword @code{\markup}. Within markup mode, you can enter texts
7788 similar to lyrics: simply enter them, surrounded by spaces:
7791 @lilypond[verbatim,fragment,relative=1]
7792 c1^\markup { hello }
7793 c1_\markup { hi there }
7794 c1^\markup { hi \bold there, is \italic anyone home? }
7797 @cindex font switching
7799 The markup in the example demonstrates font switching commands. The
7800 command @code{\bold} and @code{\italic} only apply to the first
7801 following word; enclose a set of texts with braces to apply a command
7804 \markup @{ \bold @{ hi there @} @}
7808 For clarity, you can also do this for single arguments, e.g.
7810 \markup @{ is \italic @{ anyone @} home @}
7813 @cindex font size, texts
7815 The following size commands set absolute sizes:
7817 @cindex @code{\teeny}
7818 @cindex @code{\tiny}
7819 @cindex @code{\small}
7820 @cindex @code{\large}
7821 @cindex @code{\huge}
7831 You can also make letter larger or smaller relative to their neighbors,
7832 with the commands @code{\larger} and @code{\smaller}.
7836 @cindex font style, for texts
7837 @cindex @code{\bold}
7838 @cindex @code{\dynamic}
7839 @cindex @code{\number}
7840 @cindex @code{\italic}
7842 The following font change commands are defined:
7845 changes to the font used in dynamic signs. This font does not
7846 contain all characters of the alphabet, so when producing ``piu f'',
7847 the ``piu'' should be done in a different font.
7851 changes to the font used in time signatures. It only contains
7852 numbers and a few punctuation marks.
7854 changes @code{font-shape} to @code{italic}.
7856 changes @code{font-series} to @code{bold}.
7859 @cindex raising text
7860 @cindex lowering text
7862 @cindex translating text
7865 @cindex @code{\super}
7867 Raising and lowering texts can be done with @code{\super} and
7870 @lilypond[verbatim,fragment,relative=1]
7871 c1^\markup { E "=" mc \super "2" }
7874 @cindex @code{\raise}
7876 If you want to give an explicit amount for lowering or raising, use
7877 @code{\raise}. This command takes a Scheme valued first argument, and
7878 a markup object as second argument:
7880 @lilypond[verbatim,fragment,relative=1,quote]
7881 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7883 The argument to @code{\raise} is the vertical displacement amount,
7884 measured in (global) staff spaces. @code{\raise} and @code{\super}
7885 raise objects in relation to their surrounding markups. They cannot be
7886 used to move a single text up or down, when it is above or below a
7887 note, since the mechanism that positions it next to the note cancels
7888 any vertical shift. For vertical positioning, use the @code{padding}
7889 and/or @code{extra-offset} properties.
7891 Other commands taking single arguments include
7894 @item \bracket, \hbracket
7895 Bracket the argument markup with normal and horizontal brackets
7899 @cindex @code{\musicglyph}
7900 This is converted to a musical symbol, e.g. @code{\musicglyph
7901 #"accidentals-0"} will select the natural sign from the music font.
7902 See @ref{The Feta font} for a complete listing of the possible glyphs.
7904 This produces a single character, e.g. @code{\char #65} produces the
7907 @item \note @var{log} @var{dots} @var{dir}
7908 @cindex @code{\note}
7910 This produces a note with a stem pointing in @var{dir} direction, with
7911 duration log @var{log} and @var{dots} augmentation dots. The duration
7912 log is the negative 2-logarithm of the duration denominator. For
7913 example, a quarter note has log 2, an eighth note 3 and a breve has
7916 @item \hspace #@var{amount}
7917 @cindex @code{\hspace}
7918 This produces a invisible object taking horizontal space.
7920 \markup @{ A \hspace #2.0 B @}
7922 will put extra space between A and B, on top of the space that is
7923 normally inserted before elements on a line.
7925 @item \fontsize #@var{size}
7926 @cindex @code{\fontsize}
7927 This sets the relative font size, eg.
7929 A \fontsize #2 @{ B C @} D
7933 This will enlarge the B and the C by two steps.
7934 @item \translate #(cons @var{x} @var{y})
7936 This translates an object. Its first argument is a cons of numbers
7938 A \translate #(cons 2 -3) @{ B C @} D
7940 This moves `B C' 2 spaces to the right, and 3 down.
7942 @item \magnify #@var{mag}
7943 @cindex @code{\magnify}
7944 This sets the font magnification for the its argument. In the following
7945 example, the middle A will be 10% larger:
7947 A \magnify #1.1 @{ A @} A
7951 @item \override #(@var{key} . @var{value})
7952 @cindex @code{\override}
7953 This overrides a formatting property for its argument. The argument
7954 should be a key/value pair, e.g.
7956 m \override #'(font-family . math) m m
7960 In markup mode you can compose expressions, similar to mathematical
7961 expressions, XML documents and music expressions. The braces group
7962 notes into horizontal lines. Other types of lists also exist: you can
7963 stack expressions grouped with @code{<<}, and @code{>>} vertically with
7964 the command @code{\column}. Similarly, @code{\center} aligns texts by
7967 @lilypond[verbatim,fragment,relative=1]
7968 c1^\markup { \column << a bbbb c >> }
7969 c1^\markup { \center << a bbbb c >> }
7970 c1^\markup { \line << a b c >> }
7973 The markup mechanism is extensible. Refer to
7974 @file{scm/new-markup.scm} for more information.
7980 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
7987 Text layout is ultimately done by @TeX{}, which does kerning of
7988 letters. LilyPond does not account for kerning, so texts will be
7989 spaced slightly too wide.
7991 Syntax errors for markup mode are confusing.
7993 Markup texts cannot be used in the titling of the @code{\header}
7994 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8001 @section Global layout
8003 The global layout determined by three factors: the page layout, the
8004 line breaks and the spacing. These all influence each other. The
8005 choice of spacing determines how densely each system of music is set,
8006 which influences where line breaks breaks are chosen, and thus
8007 ultimately how many pages a piece of music takes. In this section, the
8008 algorithm for spacing music is explained, and how spacing can be
8011 Globally spoken, this procedure happens in three steps: first,
8012 flexible distances (``springs'') are chosen, based on durations. All
8013 possible line breaking combination are tried, and the one with the
8014 best results---a layout that has uniform density and requires as
8015 little stretching or cramping as possible---is chosen. When the score
8016 is processed by @TeX{}, each page is filled with systems, and page breaks
8017 are chosen whenever the page gets full.
8022 * Vertical spacing::
8023 * Horizontal spacing::
8030 @node Vertical spacing
8031 @subsection Vertical spacing
8033 @cindex vertical spacing
8034 @cindex distance between staves
8035 @cindex staff distance
8036 @cindex between staves, distance
8037 @cindex staffs per page
8038 @cindex space between staves
8040 The height of each system is determined automatically by LilyPond, to
8041 keep systems from bumping into each other, some minimum distances are
8042 set. By changing these, you can put staves closer together, and thus
8043 put more systems onto one page.
8045 Normally staves are stacked vertically. To make
8046 staves maintain a distance, their vertical size is padded. This is
8047 done with the property @code{minimumVerticalExtent}. It takes a pair
8048 of numbers, so if you want to make it smaller from its, then you could
8051 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8053 This sets the vertical size of the current staff to 4 staff-space on
8054 either side of the center staff line. The argument of
8055 @code{minimumVerticalExtent} is interpreted as an interval, where the
8056 center line is the 0, so the first number is generally negative. The
8057 staff can be made larger at the bottom by setting it to @code{(-6
8060 The piano staves are handled a little differently: to make cross-staff
8061 beaming work correctly, it is necessary that the distance between staves
8062 is fixed beforehand. This is also done with a
8063 @internalsref{VerticalAlignment} object, created in
8064 @internalsref{PianoStaff}. In this object the distance between the
8065 staves is fixed by setting @code{forced-distance}. If you want to
8066 override this, use a @code{\translator} block as follows:
8070 VerticalAlignment \override #'forced-distance = #9
8073 This would bring the staves together at a distance of 9 staff spaces,
8074 measured from the center line of each staff.
8078 Vertical alignment of staves is handled by the
8079 @internalsref{VerticalAlignment} object.
8083 @node Horizontal spacing
8084 @subsection Horizontal Spacing
8086 The spacing engine translates differences in durations into
8087 stretchable distances (``springs'') of differing lengths. Longer
8088 durations get more space, shorter durations get less. The shortest
8089 durations get a fixed amount of space (which is controlled by
8090 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8091 /The longer the duration, the more space it gets: doubling a
8092 duration adds a fixed amount (this amount is controlled by
8093 @code{spacing-increment}) of space to the note.
8095 For example, the following piece contains lots of half, quarter and
8096 8th notes, the eighth note is followed by 1 note head width (NHW).
8097 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8098 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8102 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8103 width of a note head, and @code{shortest-duration-space} is set to
8104 2.0, meaning that the shortest note gets 2 NHW (2 times
8105 @code{shortest-duration-space}) of space. For normal notes, this space
8106 is always counted from the left edge of the symbol, so the shortest
8107 notes are generally followed by one NHW of space.
8109 If one would follow the above procedure exactly, then adding a single
8110 32th note to a score that uses 8th and 16th notes, would widen up the
8111 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8112 thus adding 2 noteheads of space to every note. To prevent this, the
8113 shortest duration for spacing is not the shortest note in the score,
8114 but the most commonly found shortest note. Notes that are even
8115 shorter this are followed by a space that is proportonial to their
8116 duration relative to the common shortest note. So if we were to add
8117 only a few 16th notes to the example above, they would be followed by
8120 @lilypond[fragment, verbatim, relative=2]
8121 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8124 The most common shortest duration is determined as follows: in every
8125 measure, the shortest duration is determined. The most common short
8126 duration, is taken as the basis for the spacing, with the stipulation
8127 that this shortest duration should always be equal to or shorter than
8128 1/8th note. The shortest duration is printed when you run lilypond
8129 with @code{--verbose}. These durations may also be customized. If you
8130 set the @code{common-shortest-duration} in
8131 @internalsref{SpacingSpanner}, then this sets the base duration for
8132 spacing. The maximum duration for this base (normally 1/8th), is set
8133 through @code{base-shortest-duration}.
8135 @cindex @code{common-shortest-duration}
8136 @cindex @code{base-shortest-duration}
8137 @cindex @code{stem-spacing-correction}
8138 @cindex @code{spacing}
8140 In the introduction it was explained that stem directions influence
8141 spacing. This is controlled with @code{stem-spacing-correction}
8142 property in @internalsref{NoteSpacing}, which are generated for every
8143 @internalsref{Voice} context. The @code{StaffSpacing} object
8144 (generated at @internalsref{Staff} context) contains the same property
8145 for controlling the stem/barline spacing. The following example
8146 shows these corrections, once with default settings, and once with
8147 exaggerated corrections:
8153 \property Staff.NoteSpacing \override #'stem-spacing-correction
8155 \property Staff.StaffSpacing \override #'stem-spacing-correction
8160 \paper { raggedright = ##t } }
8163 @cindex SpacingSpanner, overriding properties
8165 Properties of the @internalsref{SpacingSpanner} must be overridden
8166 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8167 created before any @code{\property} statements are interpreted.
8169 \paper @{ \translator @{
8171 SpacingSpanner \override #'spacing-increment = #3.0
8178 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8179 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8180 @internalsref{SeparatingGroupSpanner}.
8184 Spacing is determined on a score wide basis. If you have a score that
8185 changes its character (measured in durations) halfway during the
8186 score, the part containing the longer durations will be spaced too
8189 There is no convenient mechanism to manually override spacing.
8194 @subsection Font size
8195 @cindex font size, setting
8196 @cindex staff size, setting
8197 @cindex @code{paper} file
8199 The Feta font provides musical symbols at seven different sizes.
8200 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8201 26 point. The point size of a font is the height of the corresponding
8202 staff (excluding line thicknesses).
8204 Definitions for these sizes are the files @file{paperSZ.ly}, where
8205 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8206 of these files, the variables @code{paperEleven},
8207 @code{paperThirteen}, @code{paperSixteen},
8208 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8209 are defined respectively. The default @code{\paper} block is also
8210 set. These files should be imported at toplevel, i.e.
8212 \include "paper26.ly"
8216 The default font size settings for each staff heights are generated
8217 from the 20pt style sheet. For more details, see the file
8218 @file{scm/font.scm}.
8222 @subsection Line breaking
8225 @cindex breaking lines
8227 Line breaks are normally computed automatically. They are chosen such
8228 that lines look neither cramped nor loose, and that consecutive lines
8229 have similar density.
8231 Occasionally you might want to override the automatic breaks; you can
8232 do this by specifying @code{\break}. This will force a line break at
8233 this point. Line breaks can only occur at places where there are bar
8234 lines. If you want to have a line break where there is no bar line,
8235 you can force an invisible bar line by entering @code{\bar
8236 ""}. Similarly, @code{\noBreak} forbids a line break at a
8240 @cindex regular line breaks
8241 @cindex four bar music.
8243 For linebreaks at regular intervals use @code{\break} separated by
8244 skips and repeated with @code{\repeat}:
8246 < \repeat unfold 7 @{ s1 * 4 \break @}
8247 @emph{the real music}
8252 This makes the following 28 measures (assuming 4/4 time) be broken every
8257 @internalsref{BreakEvent}.
8261 @subsection Page layout
8264 @cindex breaking pages
8266 @cindex @code{indent}
8267 @cindex @code{linewidth}
8269 The most basic settings influencing the spacing are @code{indent} and
8270 @code{linewidth}. They are set in the @code{\paper} block. They
8271 control the indentation of the first line of music, and the lengths of
8274 If @code{raggedright} is set to true in the @code{\paper}
8275 block, then the lines are justified at their natural length. This
8276 useful for short fragments, and for checking how tight the natural
8280 @cindex vertical spacing
8282 The page layout process happens outside the LilyPond formatting
8283 engine: variables controlling page layout are passed to the output,
8284 and are further interpreted by @code{lilypond} wrapper program. It
8285 responds to the following variables in the @code{\paper} block. The
8286 variable @code{textheight} sets the total height of the music on each
8287 page. The spacing between systems is controlled with
8288 @code{interscoreline}, its default is 16pt. The distance between the
8289 score lines will stretch in order to fill the full page
8290 @code{interscorelinefill} is set to a positive number. In that case
8291 @code{interscoreline} specifies the minimum spacing.
8293 @cindex @code{textheight}
8294 @cindex @code{interscoreline}
8295 @cindex @code{interscorelinefill}
8297 If the variable @code{lastpagefill} is defined,
8298 @c fixme: this should only be done if lastpagefill == #t
8299 systems are evenly distributed vertically on the last page. This
8300 might produce ugly results in case there are not enough systems on the
8301 last page. The @command{lilypond-book} command ignores
8302 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8305 @cindex @code{lastpagefill}
8307 Page breaks are normally computed by @TeX{}, so they are not under
8308 direct control of LilyPond. However, you can insert a commands into
8309 the @file{.tex} output to instruct @TeX{} where to break pages. This
8310 is done by setting the @code{between-systems-strings} on the
8311 @internalsref{NonMusicalPaperColumn} where the system is broken.
8312 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8313 The predefined command @code{\newpage} also does this.
8317 @cindex @code{papersize}
8319 To change the paper size, you must first set the @code{papersize} paper
8320 variable variable as in the example below. Set it to
8321 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8322 specification, you must set the font as described above. If you want
8323 the default font, then use the 20 point font.
8326 \paper@{ papersize = "a4" @}
8327 \include "paper16.ly"
8330 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8331 will set the paper variables @code{hsize} and @code{vsize} (used by
8332 @code{lilypond-book} and @code{lilypond}).
8337 @cindex @code{\newpage}
8343 @ref{Invoking lilypond},
8344 @inputfileref{input/regression,between-systems.ly}, and
8345 @internalsref{NonMusicalPaperColumn}.
8349 LilyPond has no concept of page layout, which makes it difficult to
8350 reliably choose page breaks in longer pieces.
8359 Entered music can also be converted to MIDI output. The performance
8360 is good enough for proof-hearing the music for errors.
8362 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8363 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8364 marks translate to a fixed fraction of the available MIDI volume
8365 range, crescendi and decrescendi make the volume vary linearly between
8366 their two extremities. The fractions can be adjusted by
8367 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8368 For each type of MIDI instrument, a volume range can be defined. This
8369 gives a basic equalizer control, which can enhance the quality of
8370 the MIDI output remarkably. The equalizer can be controlled by
8371 setting @code{instrumentEqualizer}.
8375 Many musically interesting effects, such as swing, articulation,
8376 slurring, etc., are not translated to MIDI.
8381 * MIDI instrument names::
8386 @subsection MIDI block
8390 The MIDI block is analogous to the paper block, but it is somewhat
8391 simpler. The @code{\midi} block can contain:
8395 @item a @code{\tempo} definition, and
8396 @item context definitions.
8399 Assignments in the @code{\midi} block are not allowed.
8401 A number followed by a period is interpreted as a real number, so
8402 for setting the tempo for dotted notes, an extra space should be
8403 inserted, for example:
8406 \midi @{ \tempo 4 . = 120 @}
8410 @cindex context definition
8412 Context definitions follow precisely the same syntax as within the
8413 \paper block. Translation modules for sound are called performers.
8414 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8417 @node MIDI instrument names
8418 @subsection MIDI instrument names
8420 @cindex instrument names
8421 @cindex @code{Staff.midiInstrument}
8422 @cindex @code{Staff.instrument}
8424 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8425 property or, if that property is not set, the @code{Staff.instrument}
8426 property. The instrument name should be chosen from the list in
8427 @ref{MIDI instruments}.
8431 If the selected string does not exactly match, then LilyPond uses the
8432 default (Grand Piano). It is not possible to select an instrument by