3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
14 <!--- @@WEB-TITLE@@=Notation manual --->
20 * Easier music entry::
27 * Fingering instructions::
36 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
53 * Chromatic alterations::
61 * Easy Notation note heads ::
69 A note is printed by specifying its pitch and then its duration.
70 @footnote{Notes constitute the most basic elements of LilyPond input,
71 but they do not form valid input on their own without a @code{\score}
72 block. However, for the sake of brevity and simplicity we will
73 generally omit @code{\score} blocks and @code{\paper} declarations in
76 @lilypond[fragment,verbatim]
85 @cindex Note specification
87 @cindex entering notes
89 The most common syntax for pitch entry is used in @code{\chords} and
90 @code{\notes} mode. In Note and Chord mode, pitches may be designated
91 by names. The notes are specified by the letters @code{a} through
92 @code{g}, while the octave is formed with notes ranging from @code{c}
93 to @code{b}. The pitch @code{c} is an octave below middle C and the
94 letters span the octave above that C.
96 @lilypond[fragment,verbatim]
98 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
101 @cindex note names, Dutch
103 A sharp is formed by adding @code{-is} to the end of a pitch
104 name and a flat is formed by adding @code{-es}. Double sharps and
105 double flats are obtained by adding @code{-isis} or @code{-eses}.
107 These default names are the Dutch note names. In Dutch, @code{aes} is
108 contracted to @code{as} in Dutch, but both forms are
109 accepted. Similarly, both @code{es} and @code{ees} are accepted.
111 There are predefined sets of note names for various other languages.
112 To use them, include the language specific init file. For
113 example: @code{\include "english.ly"}. The available language files
114 and the note names they define are:
119 Note Names sharp flat
120 nederlands.ly c d e f g a bes b -is -es
121 english.ly c d e f g a bf b -s/-sharp -f/-flat
122 deutsch.ly c d e f g a b h -is -es
123 norsk.ly c d e f g a b h -iss/-is -ess/-es
124 svenska.ly c d e f g a b h -iss -ess
125 italiano.ly do re mi fa sol la sib si -d -b
126 catalan.ly do re mi fa sol la sib si -d/-s -b
127 espanol.ly do re mi fa sol la sib si -s -b
136 The optional octave specification takes the form of a series of
137 single quote (`@code{'}') characters or a series of comma
138 (`@code{,}') characters. Each @code{'} raises the pitch by one
139 octave; each @code{,} lowers the pitch by an octave.
141 @lilypond[fragment,verbatim,center]
142 c' c'' es' g' as' gisis' ais'
146 The verbose syntax for pitch specification is
148 @cindex @code{\pitch}
150 \pitch @var{scmpitch}
154 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
158 Dots are normally moved up to avoid staff lines, except in polyphonic
159 situations. The following commands may be used to force a particular
166 Notes can be hidden and unhidden with the following commands.
168 @refcommand hideNotes
169 @refcommand unHideNotes
174 @internalsref{NoteEvent}, @internalsref{NoteHead}
176 @node Chromatic alterations
177 @subsection Chromatic alterations
179 Normally accidentals are printed automatically, but you may also
180 print them manually. A reminder accidental
181 @cindex reminder accidental
183 can be forced by adding an exclamation mark @code{!}
184 after the pitch. A cautionary accidental
185 @cindex cautionary accidental
186 @cindex parenthesized accidental
187 (an accidental within parentheses) can be obtained by adding the
188 question mark `@code{?}' after the pitch.
190 @lilypond[fragment,verbatim]
191 cis' cis' cis'! cis'?
195 The automatic production of accidentals can be tuned in many
196 ways. For more information, refer to @ref{Accidentals}.
201 A chord is formed by a enclosing a set of pitches in @code{<<} and
202 @code{>>}. A chord may be followed by a duration, and a set of
203 articulations, just like simple notes.
205 Additionally, fingerings and articulations may be attached to
206 individual pitches of the chord:
208 @lilypond[singleline,verbatim,relative 1]
221 Rests are entered like notes, with the note name @code{r}.
223 @lilypond[singleline,verbatim]
227 Whole bar rests, centered in middle of the bar, are specified using
228 @code{R} (capital R); see @ref{Multi measure rests}. See also
231 For some music, you may wish to explicitly specify the rest's vertical
232 position. This can be achieved by entering a note with the @code{\rest}
233 keyword appended. Rest collision testing will leave these rests alone.
235 @lilypond[singleline,verbatim]
241 @internalsref{RestEvent}, @internalsref{Rest}
248 @cindex Invisible rest
251 An invisible rest (also called a `skip') can be entered like a note
252 with note name `@code{s}' or with @code{\skip @var{duration}}:
254 @lilypond[singleline,verbatim]
258 The @code{s} syntax is only available in Note mode and Chord
259 mode. In other situations, you should use the @code{\skip} command,
260 which will work outside of those two modes:
262 @lilypond[singleline,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
276 @internalsref{SkipEvent}
281 @subsection Durations
285 @cindex @code{\duration}
288 In Note, Chord, and Lyrics mode, durations are designated by numbers
289 and dots: durations are entered as their reciprocal values. For example,
290 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
291 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
292 longer than a whole you must use variables.
294 @c FIXME: what is an identifier? I do not think it's been introduced yet.
295 @c and if it has, I obviously skipped that part. - Graham
299 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
301 r1 r2 r4 r8 r16 r32 r64 r64
306 \notes \relative c'' {
308 a1 a2 a4 a8 a16 a32 a64 a64
310 r1 r2 r4 r8 r16 r32 r64 r64
315 \remove "Clef_engraver"
316 \remove "Staff_symbol_engraver"
317 \remove "Time_signature_engraver"
318 \consists "Pitch_squash_engraver"
325 If the duration is omitted then it is set to the previously entered
326 duration. Default for the first note is a quarter note. The duration
327 can be followed by dots (`@code{.}') in order to obtain dotted note
331 @lilypond[fragment,verbatim,center]
332 a' b' c''8 b' a'4 a'4. b'4.. c'8.
337 You can alter the length of duration by a fraction @var{N/M}
338 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
339 will not affect the appearance of the notes or rests produced.
341 @lilypond[fragment,verbatim]
342 a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
345 Durations can also be produced through GUILE extension mechanism.
346 @lilypond[verbatim,fragment]
347 c'\duration #(ly:make-duration 2 1)
353 Dot placement for chords is not perfect. In some cases, dots overlap:
361 Whenever a note is found, a
362 @internalsref{Stem} object is created automatically. For whole notes
363 and rests, stem objects are also created, but in those cases, the stem
380 A tie connects two adjacent note heads of the same pitch. The tie in
381 effect extends the length of a note. Ties should not be confused with
382 slurs, which indicate articulation, or phrasing slurs, which indicate
383 musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
385 @lilypond[fragment,verbatim,center]
386 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
389 When a tie is applied to a chord, all note heads whose pitches match
390 are connected. When no note heads match, no ties will be created.
392 In its meaning a tie is just a way of extending a note duration, similar
393 to the augmentation dot: the following example are two ways of notating
394 exactly the same concept.
396 @lilypond[fragment, singleline,quote]
397 \time 3/4 c'2. c'2 ~ c'4
399 If you need to tie notes over bars, it may be easier to use automatic
400 note splitting (See @ref{Automatic note splitting}).
408 @refcommand tieDotted
413 @internalsref{TieEvent}, @internalsref{NewTieEvent},
414 @internalsref{Tie}, @ref{Automatic note splitting}.
417 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
421 Tieing only a subset of the note heads of a pair of chords is not
422 supported in a simple way. It can be achieved by moving the
423 tie-engraver into the @internalsref{Thread} context and turning on and
424 off ties per @internalsref{Thread}.
426 Switching staves when a tie is active, will produce a horizontal tie
429 Formatting of ties is a difficult subject. The results are often not
439 @cindex @code{\times}
441 Tuplets are made out of a music expression by multiplying all durations
444 @cindex @code{\times}
446 \times @var{fraction} @var{musicexpr}
449 The duration of @var{musicexpr} will be multiplied by the fraction.
450 In the sheet music, the fraction's denominator will be printed over
451 the notes, optionally with a bracket. The most common tuplet is the
452 triplet in which 3 notes have the length of 2, so the notes are 2/3
453 of their written length:
455 @lilypond[fragment,verbatim,center]
456 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
459 The property @code{tupletSpannerDuration} specifies how long each bracket
460 should last. With this, you can make lots of tuplets while typing
461 @code{\times} only once, saving lots of typing.
463 @lilypond[fragment, relative, singleline, verbatim]
464 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
465 \times 2/3 { c'8 c c c c c }
468 The format of the number is determined by the property
469 @code{tupletNumberFormatFunction}. The default prints only the
470 denominator, but if it is set to the Scheme function
471 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
475 @cindex @code{tupletNumberFormatFunction}
476 @cindex tuplet formatting
482 @refcommand tupletDown
483 @refcommand tupletBoth
487 @seeinternals{TupletBracket}, @seeinternals{TimeScaledMusic}.
491 Nested tuplets are not formatted automatically. In this case, outer
492 tuplet brackets should be moved manually.
494 @node Easy Notation note heads
495 @subsection Easy Notation note heads
497 @cindex easy notation
500 The `easyplay' note head includes a note name inside the head. It is
501 used in music aimed at beginners.
503 @lilypond[singleline,verbatim,26pt]
505 \notes { c'2 e'4 f' | g'1 }
506 \paper { \translator { \EasyNotation } }
510 The @code{EasyNotation} variable overrides a @internalsref{Score}
511 context. You probably will want to print it with magnification or a
512 large font size to make it more readable. To print with
513 magnification, you must create a DVI file (with @file{ly2dvi}) and
514 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
515 See @file{man dvips} for details. To print with a larger font, see
522 If you view the result with Xdvi, then staff lines will show through
523 the letters. Printing the PostScript file obtained with ly2dvi does
524 produce the correct result.
527 @node Easier music entry
528 @section Easier music entry
531 When entering music it is easy to introduce errors. This section deals
532 with tricks and features of the input language that help when entering
533 music, and find and correct mistakes.
535 Some features of the input language ease entering music, for example
536 the use of variables (for splitting up large pieces of music), and
537 unfolded repeats for writing repetitive parts. They are described in
538 other sections (see @ref{Repeats} and @ref{Assignments}), since they
539 are not especially aimed at easing entry
541 It is also possible to use external programs, for example GUI
542 interfaces, or MIDI transcription programs, to enter or edit
543 music. Refer to the website for more information. Finally, there are
544 tools make debugging easier, by linking the input file and the output
545 shown on screen. See @ref{Point and click} for more information.
551 * Skipping corrected music::
552 * Automatic note splitting ::
558 @node Relative octaves
559 @subsection Relative octaves
561 @cindex relative octave specification
563 Octaves are specified by adding @code{'} and @code{,} to pitch names.
564 When you copy existing music, it is easy to accidentally put a pitch
565 in the wrong octave and hard to find such an error. The relative
566 octave mode prevents these errors
568 @cindex @code{\relative}
570 \relative @var{startpitch} @var{musicexpr}
573 The octave of notes that appear in @var{musicexpr} are calculated as
574 follows: If no octave changing marks are used, the basic interval
575 between this and the last note is always taken to be a fourth or less
576 (This distance is determined without regarding alterations; a
577 @code{fisis} following a @code{ceses} will be put above the
580 The octave changing marks @code{'} and @code{,} can be added to raise or
581 lower the pitch by an extra octave. Upon entering relative mode, an
582 absolute starting pitch must be specified that will act as the
583 predecessor of the first note of @var{musicexpr}.
585 Entering music that changes octave frequently is easy in relative mode.
586 @lilypond[fragment,singleline,verbatim,center]
592 And octave changing marks are used for intervals greater than a fourth.
593 @lilypond[fragment,verbatim,center]
598 If the preceding item is a chord, the first note of the chord is used
599 to determine the first note of the next chord. However, other notes
600 within the second chord are determined by looking at the immediately
603 @lilypond[fragment,verbatim,center]
610 @cindex @code{\notes}
612 The pitch after the @code{\relative} contains a note name. To parse
613 the pitch as a note name, you have to be in note mode, so there must
614 be a surrounding @code{\notes} keyword (which is not
617 The relative conversion will not affect @code{\transpose},
618 @code{\chords} or @code{\relative} sections in its argument. If you
619 want to use relative within transposed music, you must place an
620 additional @code{\relative} inside the @code{\transpose}.
624 @subsection Bar check
628 @cindex @code{barCheckSynchronize}
632 Whenever a bar check is encountered during interpretation, a warning
633 message is issued if it does not fall at a measure boundary. This can
634 help find errors in the input. Depending on the value of
635 @code{barCheckSynchronize}, the beginning of the measure will be
636 relocated. A bar check is entered using the bar symbol, `@code{|}'.
639 \time 3/4 c2 e4 | g2.
644 @cindex skipTypesetting
646 Failed bar checks are caused by entering incorrect
647 durations. Incorrect durations often completely garble up the score,
648 especially if it is polyphonic, so you should start correcting the
649 score by scanning for failed bar checks and incorrect durations. To
650 speed up this process, you can use @code{skipTypesetting}, described
653 @node Skipping corrected music
654 @subsection Skipping corrected music
656 The property @code{Score.skipTypesetting} can be used to switch on and
657 off typesetting completely during the interpretation phase. When
658 typesetting is switched off, the music is processed much more quickly.
659 This can be used to skip over the parts of a score that have already
660 been checked for errors.
662 @lilypond[fragment,singleline,verbatim]
664 \property Score.skipTypesetting = ##t
666 \property Score.skipTypesetting = ##f
670 @node Automatic note splitting
671 @subsection Automatic note splitting
673 Long notes can be converted automatically to tied notes. This is done
674 by replacing the @internalsref{Note_heads_engraver} by the
675 @internalsref{Completion_heads_engraver}.
678 \paper @{ \translator @{
680 \remove "Note_heads_engraver"
681 \consists "Completion_heads_engraver"
688 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
695 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
697 \paper { \translator {
699 \remove "Note_heads_engraver"
700 \consists "Completion_heads_engraver"
705 This engraver splits all running notes at the bar line, and inserts
706 ties. One of its uses is to debug complex scores: if the measures are
707 not entirely filled, then the ties exactly show how much each measure
712 Not all durations (especially those containing tuplets) can be
713 represented exactly; the engraver will not insert tuplets.
719 @section Staff notation
721 This section describes with music notation that occurs on staff level,
722 such as keys, clefs and time signatures.
724 @cindex Staff notation
737 @subsection Staff symbol
739 @cindex adjusting staff symbol
740 @cindex StaffSymbol, using \property
741 @cindex staff lines, setting number of
743 Notes, dynamic signs, etc. are grouped
744 with a set of horizontal lines, into a staff (plural `staves'). In our
745 system, these lines are drawn using a separate layout object called
748 This object is created whenever a @internalsref{Staff} context is
749 created. The appearance of the staff symbol cannot be changed by
750 using @code{\override} or @code{\set}. At the moment that
751 @code{\property Staff} is interpreted, a @internalsref{Staff} context
752 is made, and the @internalsref{StaffSymbol} is created before any
753 @code{\override} is effective. Properties can be changed in a
754 @code{\translator} definition, or by using @code{\outputproperty}.
758 If a staff is ended halfway a piece, the staff symbol may not end
759 exactly on the barline.
763 @subsection Key signature
768 The key signature indicates the scale in which a piece is played. It
769 is denoted by a set of alterations (flats or sharps) at the start of
774 Setting or changing the key signature is done with the @code{\key}
777 @code{\key} @var{pitch} @var{type}
780 @cindex @code{\minor}
781 @cindex @code{\major}
782 @cindex @code{\minor}
783 @cindex @code{\ionian}
784 @cindex @code{\locrian}
785 @cindex @code{\aeolian}
786 @cindex @code{\mixolydian}
787 @cindex @code{\lydian}
788 @cindex @code{\phrygian}
789 @cindex @code{\dorian}
791 Here, @var{type} should be @code{\major} or @code{\minor} to get
792 @var{pitch}-major or @var{pitch}-minor, respectively.
793 The standard mode names @code{\ionian},
794 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
795 @code{\phrygian}, and @code{\dorian} are also defined.
797 This command sets the context property
798 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
799 can be specified by setting this property directly.
803 The ordering of a key restoration (alterations that change back to
804 natural) is wrong when combined with a repeat barline.
808 @internalsref{KeyChangeEvent}, @internalsref{KeySignature}.
810 @cindex @code{keySignature}
817 The clef indicates which lines of the staff correspond to which
822 The clef can be set or changed with the @code{\clef} command:
823 @lilypond[fragment,verbatim]
824 \key f\major c''2 \clef alto g'2
827 Supported clef-names include
828 @c Moved standard clefs to the top /MB
830 @item treble, violin, G, G2
839 G clef on 1st line, so-called French violin clef
854 By adding @code{_8} or @code{^8} to the clef name, the clef is
855 transposed one octave down or up, respectively. @var{clefname} must
856 be enclosed in quotes when it contains underscores or digits. For
862 This command is equivalent to setting @code{clefGlyph},
863 @code{clefPosition} (which controls the Y position of the clef),
864 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
865 when any of these properties are changed.
869 The object for this symbol is @internalsref{Clef}.
873 @node Ottava brackets
874 @subsection Ottava brackets
876 ``Ottava'' brackets introduce an extra transposition of an octave for
877 the staff. They are created by invoking the function
878 @code{set-octavation}
884 @lilypond[verbatim,fragment]
893 Internally the @code{set-octavation} sets @code{ottavation} (eg. to
894 @code{"8va"}) and @code{centralCPosition} properties.
898 @internalsref{OttavaBracket}
902 @code{set-octavation} will get confused when clef changes happen
903 during an octavation bracket.
906 @subsection Time signature
907 @cindex Time signature
911 Time signature indicates the metrum of a piece: a regular pattern of
912 strong and weak beats. It is denoted by a fraction at the start of the
917 The time signature is set or changed by the @code{\time}
919 @lilypond[fragment,verbatim]
920 \time 2/4 c'2 \time 3/4 c'2.
923 The actual symbol that is printed can be customized with the
924 @code{style} property. Setting it to @code{#'()} uses fraction style
925 for 4/4 and 2/2 time. There are many more options for its layout.
926 See @inputfileref{input/test,time.ly} for more examples.
929 This command sets the property @code{timeSignatureFraction},
930 @code{beatLength} and @code{measureLength} in the @code{Timing}
931 context, which is normally aliased to @internalsref{Score}. The
932 property @code{timeSignatureFraction} determines where bar lines
933 should be inserted, and how automatic beams should be generated.
934 Changing the value of @code{timeSignatureFraction} also causes the
935 symbol to be printed.
937 More options are available through the Scheme function
938 @code{set-time-signature}. In combination with the
939 @internalsref{Measure_grouping_engraver}, it will create
940 @internalsref{MeasureGrouping} signs. Such signs ease reading
941 rhythmically complex modern music. In the following example, the 9/8
942 measure is subdivided in 2, 2, 2 and 3. This is passed to
943 @code{set-time-signature} as the third argument @code{(2 2 2 3)}.
946 \score { \notes \relative c'' {
947 #(set-time-signature 9 8 '(2 2 2 3))
948 g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
949 #(set-time-signature 5 8 '(3 2))
954 \translator { \StaffContext
955 \consists "Measure_grouping_engraver"
961 @internalsref{TimeSignature}, @internalsref{Timing_engraver}.
966 Automatic beaming does not use measure grouping specified with
967 @code{set-time-signature}.
974 @cindex partial measure
975 @cindex measure, partial
976 @cindex shorten measures
977 @cindex @code{\partial}
979 Partial measures, for example in upbeats, are entered using the
980 @code{\partial} command:
981 @lilypond[fragment,verbatim]
982 \partial 16*5 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
985 The syntax for this command is
987 \partial @var{duration}
989 This is internally translated into
991 \property Timing.measurePosition = -@var{length of duration}
994 The property @code{measurePosition} contains a rational number
995 indicating how much of the measure has passed at this point.
997 @node Unmetered music
998 @subsection Unmetered music
1000 Bar lines and bar numbers are calculated automatically. For unmetered
1001 music (e.g. cadenzas), this is not desirable. By setting
1002 @code{Score.timing} to false, this automatic timing can be switched
1008 @refcommand cadenzaOn
1009 @refcommand cadenzaOff
1012 @subsection Bar lines
1016 @cindex measure lines
1020 Bar lines delimit measures, but are also used to indicate
1021 repeats. Line breaks may only happen on barlines.
1025 Bar lines are inserted automatically. Special types
1026 of barlines can be forced with the @code{\bar} command:
1027 @lilypond[relative=1,fragment,verbatim]
1031 The following bar types are available
1032 @lilypond[fragment, relative, singleline, verbatim]
1044 In scores with many staves, the barlines are automatically placed at
1045 top level, and they are connected between different staves of a
1046 @internalsref{StaffGroup}:
1047 @lilypond[fragment, verbatim]
1048 < \context StaffGroup <
1049 \context Staff = up { e'4 d'
1052 \context Staff = down { \clef bass c4 g e g } >
1053 \context Staff = pedal { \clef bass c2 c2 } >
1057 The command @code{\bar @var{bartype}} is a short cut for
1058 doing @code{\property Score.whichBar = @var{bartype}}
1059 Whenever @code{whichBar} is set to a string, a bar line of that type is
1060 created. @code{whichBar} is usually set automatically: at the start of
1061 a measure it is set to @code{defaultBarType}. The contents of
1062 @code{repeatCommands} is used to override default measure bars.
1064 @code{whichBar} can also be set directly, using @code{\property} or
1065 @code{\bar }. These settings take precedence over the automatic
1066 @code{whichBar} settings.
1069 @cindex repeatCommands
1070 @cindex defaultBarType
1072 You are encouraged to use @code{\repeat} for repetitions. See
1082 The bar line objects that are created at @internalsref{Staff} level
1083 are called @internalsref{BarLine}, the bar lines that span staffs are
1084 @internalsref{SpanBar}s.
1091 The easiest way to enter fragments with more than one voice on a staff
1092 is to split chords using the separator @code{\\}. You can use it for
1093 small, short-lived voices or for single chords:
1095 @lilypond[verbatim,fragment]
1096 \context Voice = VA \relative c'' {
1097 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' >
1101 The separator causes @internalsref{Voice} contexts to be instantiated,
1102 bearing the names @code{"1"}, @code{"2"}, etc. In each of these
1103 contexts, vertical direction of slurs, stems, etc. are set
1106 This can also be done by instantiating @internalsref{Voice} contexts
1107 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1108 a stem directions and horizontal shift for each part.
1111 @lilypond[singleline, verbatim]
1113 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1114 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1115 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1118 Normally, note heads with a different number of dots are not merged, but
1119 when the object property @code{merge-differently-dotted} is set in
1120 the @internalsref{NoteCollision} object, they are:
1121 @lilypond[verbatim,fragment,singleline]
1122 \relative c' \context Voice < {
1124 \property Staff.NoteCollision \override
1125 #'merge-differently-dotted = ##t
1127 } \\ { g8.-[ f16-] g8.-[ f16-] }
1131 Similarly, you can merge half note heads with eighth notes, by setting
1132 @code{merge-differently-headed}:
1133 @lilypond[fragment, relative=2,verbatim]
1136 \property Staff.NoteCollision
1137 \override #'merge-differently-headed = ##t
1138 c8 c4. } \\ { c2 c2 } >
1141 LilyPond also vertically shifts rests that are opposite of a stem.
1144 @lilypond[singleline,fragment,verbatim]
1145 \context Voice < c''4 \\ r4 >
1153 @refcommand oneVoice
1154 @refcommand voiceOne
1155 @refcommand voiceTwo
1156 @refcommand voiceThree
1157 @refcommand voiceFour
1159 The following commands specify in what chords of the current voice
1160 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1161 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1165 @refcommand shiftOnn
1166 @refcommand shiftOnnn
1167 @refcommand shiftOff
1173 The objects responsible for resolving collisions are
1174 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1175 also example files @inputfileref{input/regression,collision-dots.ly},
1176 @inputfileref{input/regression,collision-head-chords.ly},
1177 @inputfileref{input/regression,collision-heads.ly},
1178 @inputfileref{input/regression,collision-mesh.ly}, and
1179 @inputfileref{input/regression,collisions.ly}.
1184 Resolving collisions is a intricate subject, and only a few situations
1185 are handled. When LilyPond cannot cope, the @code{force-hshift}
1186 property of the @internalsref{NoteColumn} object and pitched rests can
1187 be used to override typesetting decisions.
1192 Beams are used to group short notes into chunks that are aligned with
1193 the metrum. They are inserted automatically in most cases.
1195 @lilypond[fragment,verbatim, relative=2]
1196 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1199 When these automatic decisions are not good enough, beaming can be
1200 entered explicitly. It is also possible to define beaming patterns
1201 that differ from the defaults.
1205 @internalsref{Beam}.
1208 @cindex Automatic beams
1209 @subsection Manual beams
1210 @cindex beams, manual
1214 In some cases it may be necessary to override the automatic beaming
1215 algorithm. For example, the auto beamer will not beam over rests or
1216 bar lines, If you want that, specify the begin and end point manually
1217 using @code{[} and @code{]}.
1219 @lilypond[fragment,relative,verbatim]
1221 r4 r8-[ g' a r8-] r8 g-[ | a-] r8
1225 @cindex @code{stemLeftBeamCount}
1227 Normally, beaming patterns within a beam are determined automatically.
1228 When this mechanism fouls up, the properties
1229 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1230 be used to control the beam subdivision on a stem. If either property
1231 is set, its value will be used only once, and then it is erased.
1233 @lilypond[fragment,relative,verbatim]
1236 f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
1239 @cindex @code{stemRightBeamCount}
1242 The property @code{subdivideBeams} can be set in order to subdivide
1243 all 16th or shorter beams at beat positions. This accomplishes the
1244 same effect as twiddling with @code{stemLeftBeamCount} and
1245 @code{stemRightBeamCount}, but it take less typing.
1248 @lilypond[relative=1,verbatim,noindent]
1249 c16-[ c c c c c c c-]
1250 \property Voice.subdivideBeams = ##t
1251 c16-[ c c c c c c c-]
1252 c32-[ c c c c c c c c c c c c c c c-]
1253 \property Score.beatLength = #(ly:make-moment 1 8)
1254 c32-[ c c c c c c c c c c c c c c c-]
1256 @cindex subdivideBeams
1258 Kneed beams are inserted automatically, when a large gap is detected
1259 between the note heads. This behavior can be tuned through the object
1260 property @code{auto-knee-gap}.
1262 @cindex beams, kneed
1264 @cindex auto-knee-gap
1272 Automatically kneed beams cannot be used together with Hara Kiri
1277 * Setting automatic beam behavior ::
1281 @no de Beam typography
1282 @sub section Beam typography
1284 One of the strong points of LilyPond is how beams are formatted. Beams
1285 are quantized, meaning that the left and right endpoints beams start
1286 exactly on staff lines. Without quantization, small wedges of white
1287 space appear between the beam and staff line, and this looks untidy.
1289 Beams are also slope-damped: melodies that go up or down should also
1290 have beams that go up or down, but the slope of the beams should be
1291 less than the slope of the notes themselves.
1293 Some beams should be horizontal. These are so-called concave beams.
1295 [TODO: some pictures.]
1299 @node Setting automatic beam behavior
1300 @subsection Setting automatic beam behavior
1302 @cindex @code{autoBeamSettings}
1303 @cindex @code{(end * * * *)}
1304 @cindex @code{(begin * * * *)}
1305 @cindex automatic beams, tuning
1306 @cindex tuning automatic beaming
1308 @c [TODO: use \applycontext]
1310 In normal time signatures, automatic beams can start on any note but can
1311 only end in a few positions within the measure: beams can end on a beat,
1312 or at durations specified by the properties in
1313 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1314 are defined in @file{scm/auto-beam.scm}.
1316 The value of @code{autoBeamSettings} is changed using
1317 @code{\override} and unset using @code{\revert}:
1319 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1320 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1322 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1323 whether the rule applies to begin or end-points. The quantity
1324 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1325 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1326 signature (wildcards, `@code{* *}' may be entered to designate all time
1329 For example, if automatic beams should end on every quarter note, use
1332 \property Voice.autoBeamSettings \override
1333 #'(end * * * *) = #(ly:make-moment 1 4)
1335 Since the duration of a quarter note is 1/4 of a whole note, it is
1336 entered as @code{(ly:make-moment 1 4)}.
1338 The same syntax can be used to specify beam starting points. In this
1339 example, automatic beams can only end on a dotted quarter note.
1341 \property Voice.autoBeamSettings \override
1342 #'(end * * * *) = #(ly:make-moment 3 8)
1344 In 4/4 time signature, this means that automatic beams could end only on
1345 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1346 3/8 has passed within the measure).
1348 Rules can also be restricted to specific time signatures. A rule that
1349 should only be applied in @var{N}/@var{M} time signature is formed by
1350 replacing the second asterisks by @var{N} and @var{M}. For example, a
1351 rule for 6/8 time exclusively looks like
1353 \property Voice.autoBeamSettings \override
1354 #'(begin * * 6 8) = ...
1357 If a rule should be to applied only to certain types of beams, use the
1358 first pair of asterisks. Beams are classified according to the
1359 shortest note they contain. For a beam ending rule that only applies
1360 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1363 If a score ends while an automatic beam has not been ended and is still
1364 accepting notes, this last beam will not be typeset at all.
1366 @cindex automatic beam generation
1368 @cindex @code{Voice.autoBeaming}
1371 For melodies that have lyrics, you may want to switch off
1372 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1377 @refcommand autoBeamOff
1378 @refcommand autoBeamOn
1383 It is not possible to specify beaming parameters for beams with mixed
1384 durations, that differ from the beaming parameters of all separate
1385 durations, i.e., you will have to specify manual beams to get:
1387 @lilypond[singleline,fragment,relative,noverbatim,quote]
1388 \property Voice.autoBeamSettings
1389 \override #'(end * * * *) = #(ly:make-moment 3 8)
1390 \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
1392 It is not possible to specify beaming parameters that act differently in
1393 different parts of a measure. This means that it is not possible to use
1394 automatic beaming in irregular meters such as @code{5/8}.
1397 @section Accidentals
1400 This section describes how to change the way that LilyPond automatically
1401 inserts accidentals before the running notes.
1405 * Using the predefined accidental variables::
1406 * Customized accidental rules::
1409 @node Using the predefined accidental variables
1410 @subsection Using the predefined accidental variables
1412 The constructs for describing the accidental typesetting rules are
1413 quite hairy, so non-experts should stick to the variables
1414 defined in @file{ly/property-init.ly}.
1415 @cindex @file{property-init.ly}
1417 The variables set properties in the ``Current'' context (see
1418 @ref{Context properties}). This means that the variables should
1419 normally be added right after the creation of the context in which the
1420 accidental typesetting described by the variable is to take
1421 effect. For example, if you want to use piano-accidentals in a piano
1422 staff then issue @code{\pianoAccidentals} first thing after the
1423 creation of the piano staff:
1426 \notes \relative c'' <
1427 \context Staff = sa @{ cis4 d e2 @}
1428 \context GrandStaff <
1430 \context Staff = sb @{ cis4 d e2 @}
1431 \context Staff = sc @{ es2 c @}
1433 \context Staff = sd @{ es2 c @}
1437 @lilypond[singleline]
1439 \notes \relative c'' <
1440 \context Staff = sa { cis4 d e2 }
1441 \context GrandStaff <
1443 \context Staff = sb { cis4 d e2 }
1444 \context Staff = sc { es2 c }
1446 \context Staff = sd { es2 c }
1451 minimumVerticalExtent = #'(-4.0 . 4.0)
1459 @item \defaultAccidentals
1460 @cindex @code{\defaultAccidentals}
1461 This is the default typesetting behaviour. It should correspond
1462 to 18th century common practice: Accidentals are
1463 remembered to the end of the measure in which they occur and
1464 only on their own octave.
1466 @item \voiceAccidentals
1467 @cindex @code{\voiceAccidentals}
1469 The normal behaviour is to
1470 remember the accidentals on Staff-level. This variable, however,
1471 typesets accidentals individually for each voice. Apart from that the
1472 rule is similar to @code{\defaultAccidentals}.
1474 This leads to some weird and often unwanted results
1475 because accidentals from one voice do not get cancelled in other
1477 @lilypond[singleline,relative,fragment,verbatim,quote]
1485 Hence you should only use @code{\voiceAccidentals} if the voices
1486 are to be read solely by individual musicians. If the staff is to be
1487 used by one musician (e.g., a conductor) then you use
1488 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1491 @item \modernAccidentals
1492 @cindex @code{\modernAccidentals}
1493 This rule corresponds to the common practice in the 20th
1495 The rule is more complex than @code{\defaultAccidentals}.
1496 You get all the same accidentals, but temporary
1497 accidentals also get cancelled in other octaves. Further more,
1498 in the same octave, they also get cancelled in the following measure:
1499 @lilypond[singleline,fragment,verbatim]
1501 cis' c'' cis'2 | c'' c'
1504 @item \modernCautionaries
1505 @cindex @code{\modernCautionaries}
1506 This rule is similar to @code{\modernAccidentals}, but the
1507 ``extra'' accidentals (the ones not typeset by
1508 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1509 (i.e. in reduced size):
1510 @lilypond[singleline,fragment,verbatim]
1512 cis' c'' cis'2 | c'' c'
1515 @cindex @code{\modernVoiceAccidentals}
1516 @item \modernVoiceAccidentals
1517 is used for multivoice accidentals to be read both by musicians
1518 playing one voice and musicians playing all voices. Accidentals are
1519 typeset for each voice, but they @emph{are} cancelled across voices in
1520 the same @internalsref{Staff}.
1522 @cindex @code{\modernVoiceCautionaries}
1523 @item \modernVoiceCautionaries
1524 is the same as @code{\modernVoiceAccidentals}, but with the extra
1525 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1526 as cautionaries. Even though all accidentals typeset by
1527 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1528 some of them are typeset as cautionaries.
1530 @item \pianoAccidentals
1531 @cindex @code{\pianoAccidentals}
1532 20th century practice for piano notation. Very similar to
1533 @code{\modernAccidentals} but accidentals also get cancelled
1534 across the staves in the same @internalsref{GrandStaff} or
1535 @internalsref{PianoStaff}.
1537 @item \pianoCautionaries
1538 @cindex @code{\pianoCautionaries}
1539 As @code{\pianoAccidentals} but with the extra accidentals
1540 typeset as cautionaries.
1543 @cindex @code{\noResetKey}
1544 Same as @code{\defaultAccidentals} but with accidentals lasting
1545 ``forever'' and not only until the next measure:
1546 @lilypond[singleline,fragment,verbatim,relative]
1551 @item \forgetAccidentals
1552 @cindex @code{\forgetAccidentals}
1553 This is sort of the opposite of @code{\noResetKey}: Accidentals
1554 are not remembered at all - and hence all accidentals are
1555 typeset relative to the key signature, regardless of what was
1556 before in the music:
1557 @lilypond[singleline,fragment,verbatim,relative]
1559 \key d\major c4 c cis cis d d dis dis
1563 @node Customized accidental rules
1564 @subsection Customized accidental rules
1566 This section must be considered gurus-only, and hence it must be
1567 sufficient with a short description of the system and a reference to
1568 the internal documentation.
1570 The algorithm tries several different rules, and uses the rule
1571 that gives the highest number of accidentals. Each rule consists of
1574 In which context is the rule applied. For example, if
1575 @var{context} is @internalsref{Score} then all staves share
1576 accidentals, and if @var{context} is @internalsref{Staff} then all
1577 voices in the same staff share accidentals, but staves do not.
1579 Whether the accidental changes all octaves or only the current
1582 Over how many barlines the accidental lasts.
1583 If @var{lazyness} is @code{-1} then the accidental is forget
1584 immediately, and if @var{lazyness} is @code{#t} then the accidental
1587 @c [TODO: should use +infinity for this case?]
1593 @refcommand defaultAccidentals
1594 @refcommand voiceAccidentals
1595 @refcommand modernAccidentals
1596 @refcommand modernCautionaries
1597 @refcommand modernVoiceAccidentals
1598 @refcommand modernVoiceCautionaries
1599 @refcommand pianoAccidentals
1600 @refcommand pianoCautionaries
1601 @refcommand noResetKey
1602 @refcommand forgetAccidentals
1606 @internalsref{Accidental_engraver}, @internalsref{Accidental},
1607 @internalsref{AccidentalPlacement}.
1612 Currently the simultaneous notes are considered to be entered in
1613 sequential mode. This means that in a chord the accidentals are
1614 typeset as if the notes in the chord happened one at a time - in the
1615 order in which they appear in the input file.
1617 This is only a problem when there are simultaneous notes whose
1618 accidentals depend on each other. The problem only occurs when using
1619 non-default accidentals. In the default scheme, accidentals only
1620 depend on other accidentals with the same pitch on the same staff, so
1621 no conflicts possible.
1623 This example shows two examples of the same music giving different
1624 accidentals depending on the order in which the notes occur in the
1627 @lilypond[singleline,fragment,verbatim]
1628 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1629 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1630 | <<cis' c''>> r | <<c'' cis'>> r |
1633 This problem can be solved by manually inserting @code{!} and @code{?}
1634 for the problematic notes.
1636 @node Expressive marks
1637 @section Expressive marks
1645 * Analysis brackets::
1652 A slur indicates that notes are to be played bound or @emph{legato}.
1656 They are entered using parentheses:
1657 @lilypond[fragment,verbatim,center]
1658 f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-)
1659 <<c' e'>>2-( <<b d'>>2-)
1663 @c TODO: should explain that ^( and _( set directions
1664 @c should set attachments with ^ and _ ?
1666 Slurs avoid crossing stems, and are generally attached to note heads.
1667 However, in some situations with beams, slurs may be attached to stem
1668 ends. If you want to override this layout you can do this through the
1669 object property @code{attachment} of @internalsref{Slur} in
1670 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1671 the attachment type of the left and right end points.
1673 @lilypond[fragment,relative,verbatim]
1675 \property Voice.Stem \set #'length = #5.5
1677 \property Voice.Slur \set #'attachment = #'(stem . stem)
1681 If a slur would strike through a stem or beam, the slur will be moved
1682 away upward or downward. If this happens, attaching the slur to the
1683 stems might look better:
1685 @lilypond[fragment,relative,verbatim]
1688 \property Voice.Slur \set #'attachment = #'(stem . stem)
1696 @refcommand slurDown
1697 @refcommand slurBoth
1698 @refcommand slurDotted
1699 @refcommand slurSolid
1703 @seeinternals{Slur}, @internalsref{SlurEvent}.
1708 Producing nice slurs is a difficult problem, and LilyPond currently
1709 uses a simple, empiric method to produce slurs. In some cases, the
1710 results of this method are ugly.
1713 @cindex Adjusting slurs
1715 @node Phrasing slurs
1716 @subsection Phrasing slurs
1718 @cindex phrasing slurs
1719 @cindex phrasing marks
1721 A phrasing slur (or phrasing mark) connects chords and is used to
1722 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1725 @lilypond[fragment,verbatim,center,relative]
1726 \time 6/4 c'-\( d-( e-) f-( e-) d-\)
1729 Typographically, the phrasing slur behaves almost exactly like a
1730 normal slur. However, they are treated as different objects. A
1731 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1732 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1733 @code{\phrasingSlurBoth}.
1735 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1736 will only affect normal slurs and not phrasing slurs.
1740 @refcommand phrasingSlurUp
1741 @refcommand phrasingSlurDown
1742 @refcommand phrasingSlurBoth
1746 See also @internalsref{PhrasingSlur},
1747 @internalsref{PhrasingSlurEvent}.
1751 Phrasing slurs have the same limitations in their formatting as normal
1752 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1755 @subsection Breath marks
1757 Breath marks are entered using @code{\breathe}.
1760 @lilypond[fragment,relative]
1764 The glyph of the breath mark can be tweaked by overriding the
1765 @code{text} property of the @code{BreathingSign} grob with the name of
1766 any glyph of @ref{The Feta font}. For example,
1767 @lilypond[fragment,verbatim,relative]
1769 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1776 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
1777 @inputfileref{input/regression,breathing-sign.ly}.
1780 @node Metronome marks
1781 @subsection Metronome marks
1784 @cindex beats per minute
1785 @cindex metronome marking
1787 Metronome settings can be entered as follows:
1789 \tempo @var{duration} = @var{perminute}
1792 In the MIDI output, they are interpreted as a tempo change, and in the
1793 paper output, a metronome marking is printed
1794 @cindex @code{\tempo}
1795 @lilypond[fragment,verbatim]
1801 @internalsref{TempoEvent}
1806 @subsection Text spanners
1807 @cindex Text spanners
1809 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1810 are written as texts, and extended over many measures with dotted
1811 lines. You can create such texts using text spanners: attach
1812 @code{\startTextSpan} and @code{\stopTextSpan} to the
1813 start and ending note of the spanner.
1815 The string to be printed, as well as the style, is set through object
1818 @lilypond[fragment,relative,verbatim]
1820 \property Voice.TextSpanner \set #'direction = #-1
1821 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1822 c2-\startTextSpan b c-\stopTextSpan a }
1828 @internalsref{TextSpanEvent},
1829 @internalsref{TextSpanner}, @inputfileref{input/regression,text-spanner.ly}.
1832 @node Analysis brackets
1833 @subsection Analysis brackets
1835 @cindex phrasing brackets
1836 @cindex musicological analysis
1837 @cindex note grouping bracket
1839 Brackets are used in musical analysis to indicate structure in musical
1840 pieces. LilyPond supports a simple form of nested horizontal brackets.
1841 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1842 @internalsref{Staff} context. A bracket is started with
1843 @code{\startGroup} and closed with @code{\stopGroup}.
1845 @lilypond[singleline,verbatim]
1846 \score { \notes \relative c'' {
1847 c4-\startGroup-\startGroup
1850 c4-\stopGroup-\stopGroup
1852 \paper { \translator {
1853 \StaffContext \consists "Horizontal_bracket_engraver"
1859 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent},
1860 @inputfileref{input/regression,note-group-bracket.ly}.
1864 Bracket endings should be angled/slanted. (TODO)
1871 @section Articulations
1872 @cindex Articulations
1874 @cindex articulations
1878 A variety of symbols can appear above and below notes to indicate
1879 different characteristics of the performance. They are added to a note
1880 by adding a dash and the character signifying the
1881 articulation. They are demonstrated here.
1883 @lilypondfile[notexidoc]{script-abbreviations.ly}
1885 The script is automatically placed, but if you need to force
1886 directions, you can use @code{_} to force them down, or @code{^} to
1888 @lilypond[fragment, verbatim]
1895 Other symbols can be added using the syntax
1896 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1897 using @code{^} and @code{_}.
1901 @cindex staccatissimo
1910 @cindex organ pedal marks
1919 @cindex prallmordent
1923 @cindex thumb marking
1928 @lilypondfile[notexidoc]{script-chart.ly}
1933 @refcommand scriptUp
1934 @refcommand scriptDown
1935 @refcommand scriptBoth
1939 @internalsref{ScriptEvent}, @internalsref{Script}.
1943 All of these note ornaments appear in the printed output but have no
1944 effect on the MIDI rendering of the music.
1947 @node Fingering instructions
1948 @section Fingering instructions
1952 Fingering instructions can be entered using
1954 @var{note}-@var{digit}
1956 For finger changes, use markup texts:
1958 @lilypond[verbatim, singleline, fragment]
1959 c'4-1 c'4-2 c'4-3 c'4-4
1960 c'^\markup { \fontsize #-3 \number "2-3" }
1963 @cindex finger change
1968 You can use the thumb-script to indicate that a note should be
1969 played with your thumb (used in cello music):
1971 @lilypond[verbatim, singleline, fragmnt]
1972 <<a' a''-3>>8-(_\thumb-[ <<b' b''-3>>-)_\thumb
1973 <<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
1976 Fingering for chords can be notated like this:
1978 @lilypond[verbatim,singleline,fragment,relative=1]
1979 << c-1 e-2 g-3 b-5 >> 4
1980 \property Voice.fingerHorizontalDirection = #LEFT
1981 << c-1 es-3 g-5 >> 4
1982 \property Voice.fingerHorizontalDirection = #RIGHT
1983 << c-1 e-2 g-3 b-5 >>4
1984 \property Voice.fingerHorizontalDirection = #LEFT
1985 << c_1 e-2 g-3 b^5 >>4
1990 @internalsref{FingerEvent} and @internalsref{Fingering}.
2001 @subsection Text scripts
2002 @cindex Text scripts
2004 It is possible to place arbitrary strings of text or markup text (see
2005 @ref{Text markup}) above or below notes by using a string:
2006 @code{c^"text"}. By default, these indications do not influence the
2007 note spacing, but by using the command @code{\fatText}, the widths
2008 will be taken into account.
2010 @lilypond[fragment,singleline,verbatim] \relative c' {
2011 c4^"longtext" \fatText c4_"longlongtext" c4 }
2014 It is possible to use @TeX{} commands in the strings, but this should be
2015 avoided because it makes it impossible for LilyPond to compute the
2016 exact length of the string, which may lead to collisions. Also, @TeX{}
2017 commands will not work with direct PostScript output.
2022 @internalsref{TextScriptEvent}, @internalsref{TextScript},
2028 @subsection Grace notes
2032 @cindex @code{\grace}
2036 Grace notes are ornaments that are written out
2038 @lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
2042 In normal notation, grace notes take up no logical
2043 time in a measure. Such an idea is practical for normal notation, but
2044 is not strict enough to put it into a program. The model that LilyPond
2045 uses for grace notes internally is that all timing is done in two
2048 Every point in musical time consists of two rational numbers: one
2049 denotes the logical time, one denotes the grace timing. The above
2050 example is shown here with timing tuples.
2053 \score { \notes \relative c''{
2054 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
2055 c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
2057 \paper { linewidth = 8.\cm }
2062 The placement of these grace notes is synchronized between different
2065 @lilypond[relative=2,verbatim,fragment]
2066 < \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
2067 \context Staff = SB { c'4 \grace { g8 b } c4 } >
2071 Unbeamed eighth notes and shorter by default have a slash through the
2072 stem. This can be controlled with object property @code{stroke-style} of
2073 @internalsref{Stem}. For proper matching of override and reverts of
2074 such properties, it is necessary to use a Scheme function.
2076 The following fragment overrides the default formatting Grace style stems.
2078 #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
2081 The @code{\override} is carefully matched with a @code{\revert}.
2086 @lilypond[fragment,verbatim]
2087 \relative c'' \context Voice {
2088 \grace c8 c4 \grace { c16-[ c16-] } c4
2090 \property Voice.Stem \override #'stroke-style = #'()
2092 \property Voice.Stem \revert #'stroke-style
2097 If you want to end a note with a grace note, then the standard trick
2098 is to put the grace notes before a phantom ``space note'', e.g.
2099 @lilypond[fragment,verbatim, relative=2]
2102 { s2 \grace { c16-[ d-] } } >
2107 A @code{\grace} section has some default values, and LilyPond will
2108 use those default values unless you specify otherwise inside the
2109 @code{\grace} section. For example, if you specify \slurUp
2110 @emph{before} your @code{\grace} section, a slur which starts inside
2111 the @code{\grace} will not be forced up, even if the slur ends outside
2112 of the @code{\grace}. Note the difference between the first and
2113 second bars in this example:
2115 @lilypond[fragment,verbatim]
2116 \relative c'' \context Voice {
2134 @internalsref{GraceMusic}.
2138 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2140 Grace note synchronization can also lead to surprises. Staff notation,
2141 such as key signatures, barlines, etc. are also synchronized. Take
2142 care when you mix staves with grace notes and staves without.
2144 @lilypond[relative=2,verbatim,fragment]
2145 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2146 \context Staff = SB { c4 \bar "|:" d4 } >
2149 Grace sections should only be used within sequential music
2150 expressions. Nesting, juxtaposing, or ending sequential music with a
2151 grace section is not supported, and might produce crashes or other
2154 Overriding settings for grace music using @code{add-to-grace-init}
2155 cannot be done in a modular way.
2159 @subsection Glissando
2162 @cindex @code{\glissando}
2164 A glissando is a smooth change in pitch. It is denoted by a line or a
2165 wavy line between two notes.
2169 A glissando line can be requested by attaching a @code{\glissando} to
2172 @lilypond[fragment,relative,verbatim]
2178 @internalsref{Glissando}, @internalsref{GlissandoEvent}.
2183 Printing of an additional text (such as @emph{gliss.}) must be done
2188 @subsection Dynamics
2201 @cindex @code{\ffff}
2211 Absolute dynamic marks are specified using an variable after a
2212 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2213 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2214 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2215 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2217 @lilypond[verbatim,singleline,fragment,relative]
2218 c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
2224 @cindex @code{\decr}
2225 @cindex @code{\rced}
2232 A crescendo mark is started with @code{\cr} and terminated with
2233 @code{\endcr}, and decrescendi similarly with @code{\decr} and
2234 @code{\enddecr}. There are also shorthands for these marks. A
2235 crescendo can be started with @code{\<} and a decrescendo can be
2236 started with @code{\>}. Either one can be terminated with @code{\!}.
2237 Because these marks are bound to notes, if you must use spacer notes
2238 if multiple marks during one note are needed.
2240 @lilypond[fragment,verbatim,center,quote]
2241 c''-\< c''-\! d''-\decr e''-\rced
2242 < f''1 { s4 s4-\< s4-\! \> s4-\! } >
2244 This may give rise to very short hairpins. Use @code{minimum-length}
2245 in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for
2249 \property Staff.Hairpin \override #'minimum-length = #5
2252 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2253 is an example how to do it:
2255 @lilypond[fragment,relative=2,verbatim]
2256 c4 \cresc c4 \endcresc c4
2263 You can also supply your own texts:
2264 @lilypond[fragment,relative,verbatim]
2266 \property Voice.crescendoText = "cresc. poco"
2267 \property Voice.crescendoSpanner = #'dashed-line
2277 @refcommand dynamicUp
2278 @refcommand dynamicDown
2279 @refcommand dynamicBoth
2281 @cindex direction, of dynamics
2285 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent},
2286 @internalsref{AbsoluteDynamicEvent}.
2288 Dynamics are objects of @internalsref{DynamicText} and
2289 @internalsref{Hairpin}. Vertical positioning of these symbols is
2290 handled by the @internalsref{DynamicLineSpanner} object.
2292 If you want to adjust padding or vertical direction of the dynamics,
2293 you must set properties for the @internalsref{DynamicLineSpanner}
2302 @cindex @code{\repeat}
2305 Repetition is a central concept in music, and multiple notations exist
2306 for repetitions. In LilyPond, most of these notations can be captured
2307 in a uniform syntax. One of the advantages is, all these repetitions
2308 can be rendered in MIDI accurately.
2310 The following types of repetition are supported:
2314 Repeated music is fully written (played) out. Useful for MIDI
2315 output, and entering repetitive music.
2318 This is the normal notation: Repeats are not written out, but
2319 alternative endings (voltas) are printed, left to right.
2323 Alternative endings are written stacked. This has limited use but may be
2324 used to typeset two lines of lyrics in songs with repeats, see
2325 @inputfileref{input,star-spangled-banner.ly}.
2332 Make beat or measure repeats. These look like percent signs.
2338 * Repeats and MIDI::
2339 * Manual repeat commands::
2341 * Tremolo subdivisions::
2346 @subsection Repeat syntax
2350 LilyPond has one syntactic construct for specifying different types of
2351 repeats. The syntax is
2354 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2357 If you have alternative endings, you may add
2358 @cindex @code{\alternative}
2360 \alternative @code{@{} @var{alternative1}
2362 @var{alternative3} @dots{} @code{@}}
2364 where each @var{alternative} is a music expression. If you do not
2365 give enough alternatives for all of the repeats, then the first
2366 alternative is assumed to be played more than once.
2368 Normal notation repeats are used like this:
2369 @lilypond[fragment,verbatim]
2371 \repeat volta 2 { c'4 d' e' f' }
2372 \repeat volta 2 { f' e' d' c' }
2375 With alternative endings:
2376 @lilypond[fragment,verbatim]
2378 \repeat volta 2 {c'4 d' e' f'}
2379 \alternative { {d'2 d'} {f' f} }
2383 @lilypond[fragment,verbatim]
2387 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2388 \alternative { { g4 g g } { a | a a a a | b2. } }
2395 If you do a nested repeat like
2404 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2405 belongs. This ambiguity is resolved by always having the
2406 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2407 it is advisable to use braces in such situations.
2410 @node Repeats and MIDI
2411 @subsection Repeats and MIDI
2413 @cindex expanding repeats
2415 For instructions on how to unfold repeats for MIDI output, see the
2416 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2421 Timing information is not remembered at the start of an alternative,
2422 so you have to reset timing information after a repeat, e.g. using a
2423 bar-check (See @ref{Bar check}), setting @code{Score.measurePosition}
2424 or entering @code{\partial}. Similarly, slurs or ties are also not
2428 @node Manual repeat commands
2429 @subsection Manual repeat commands
2431 @cindex @code{repeatCommands}
2433 The property @code{repeatCommands} can be used to control the layout of
2434 repeats. Its value is a Scheme list of repeat commands, where each repeat
2442 @item (volta . @var{text})
2443 Print a volta bracket saying @var{text}. The text can be specified as
2444 a text string or as a markup text, see @ref{Text markup}. Do not
2445 forget to change the font, as the default number font does not contain
2446 alphabetic characters.
2448 Stop a running volta bracket
2451 @lilypond[verbatim, fragment]
2453 \property Score.repeatCommands = #'((volta "93") end-repeat)
2455 \property Score.repeatCommands = #'((volta #f))
2462 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2463 @internalsref{VoltaRepeatedMusic},
2464 @internalsref{UnfoldedRepeatedMusic}
2465 @internalsref{FoldedRepeatedMusic}.
2467 @node Tremolo repeats
2468 @subsection Tremolo repeats
2469 @cindex tremolo beams
2471 To place tremolo marks between notes, use @code{\repeat} with tremolo
2473 @lilypond[verbatim,center,singleline]
2475 \context Voice \notes\relative c' {
2476 \repeat "tremolo" 8 { c16 d16 }
2477 \repeat "tremolo" 4 { c16 d16 }
2478 \repeat "tremolo" 2 { c16 d16 }
2479 \repeat "tremolo" 4 c16
2486 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
2487 @internalsref{StemTremolo}. @internalsref{TremoloEvent}.
2492 The single stem tremolo @emph{must} be entered without @code{@{} and
2495 @node Tremolo subdivisions
2496 @subsection Tremolo subdivisions
2497 @cindex tremolo marks
2498 @cindex @code{tremoloFlags}
2500 Tremolo marks can be printed on a single note by adding
2501 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2502 A @var{length} value of 8 gives one line across the note stem. If the
2503 length is omitted, then then the last value (stored in
2504 @code{Voice.tremoloFlags}) is used.
2506 @lilypond[verbatim,fragment,center]
2507 c'2:8 c':32 | c': c': |
2510 @c [TODO : stok is te kort bij 32en]
2514 Tremolos in this style do not carry over into the MIDI output.
2517 @node Measure repeats
2518 @subsection Measure repeats
2520 @cindex percent repeats
2521 @cindex measure repeats
2523 In the @code{percent} style, a note pattern can be repeated. It is
2524 printed once, and then the pattern is replaced with a special sign.
2525 Patterns of a one and two measures are replaced by percent-like signs,
2526 patterns that divide the measure length are replaced by slashes.
2528 @lilypond[verbatim,singleline]
2529 \context Voice { \repeat "percent" 4 { c'4 }
2530 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2536 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2537 @internalsref{PercentRepeatedMusic}, and
2538 @internalsref{DoublePercentRepeat}.
2543 Single measure and double measure percent-repeats cannot be nested.
2545 @node Rhythmic music
2546 @section Rhythmic music
2548 Sometimes you might want to show only the rhythm of a melody. This
2549 can be done with the rhythmic staff. All pitches of notes on such a
2550 staff are squashed, and the staff itself has a single line:
2552 @lilypond[fragment,relative,verbatim]
2553 \context RhythmicStaff {
2555 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2560 * Percussion staves::
2561 * Percussion midi output::
2564 @node Percussion staves
2565 @subsection Percussion staves
2569 To typeset more than one piece of percussion to be played by the same
2570 musician one typically uses a multiline staff where each staff
2571 position refers to a specific piece of percussion.
2575 Percussion staves are typeset with help of a set of Scheme
2576 functions. The system is based on the general MIDI drum-pitches.
2577 Include @file{ly/drumpitch-init.ly} to use drum pitches. This file
2578 defines the pitches from the Scheme variable @code{drum-pitch-names},
2579 the definition of which can be read in @file{scm/drums.scm}. Each
2580 piece of percussion has a full name and an abbreviated name, and both
2581 the full name or the abbreviation may be used in input files.
2583 To typeset the music on a staff apply the function @code{drums->paper}
2584 to the percussion music. This function takes a list of percussion
2585 instrument names, notehead scripts and staff positions (that is:
2586 pitches relative to the C-clef) and transforms the input
2587 music by moving the pitch, changing the notehead and (optionally)
2590 @lilypond[singleline,verbatim,quote]
2591 \include "drumpitch-init.ly"
2592 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2593 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2595 \apply #(drums->paper 'drums) \context Staff <
2597 \context Voice = up { \voiceOne \up }
2598 \context Voice = down { \voiceTwo \down }
2603 In the above example the music was transformed using the list @code{'drums}.
2604 Currently the following lists are defined in @file{scm/drums.scm}:
2607 To typeset a typical drum kit on a five-line staff.
2610 \include "drumpitch-init.ly"
2611 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2612 bd sn ss tomh tommh tomml toml tomfh tomfl }
2613 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2614 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2617 \apply #(drums->paper 'drums) \context Staff <
2621 \context Lyrics \nam
2624 linewidth = 100.0\mm
2627 \remove Bar_engraver
2628 \remove Time_signature_engraver
2629 minimumVerticalExtent = #'(-4.0 . 5.0)
2633 \remove Stem_engraver
2639 The drum scheme supports six different toms. When there fewer toms, simply
2640 select the toms that produce the desired result, i.e., to get toms on
2641 the three middle lines you use @code{tommh}, @code{tomml} and
2644 Because general MIDI does not contain rimshots the sidestick is used
2645 for this purpose instead.
2647 To typeset timbales on a two line staff.
2649 @lilypond[singleline]
2650 \include "drumpitch-init.ly"
2651 nam = \lyrics { timh ssh timl ssl cb }
2652 mus = \notes { timh ssh timl ssl cb s16 }
2655 \apply #(drums->paper 'timbales) \context Staff <
2659 \context Lyrics \nam
2664 \remove Bar_engraver
2665 \remove Time_signature_engraver
2666 StaffSymbol \override #'line-count = #2
2667 StaffSymbol \override #'staff-space = #2
2668 minimumVerticalExtent = #'(-3.0 . 4.0)
2672 \remove Stem_engraver
2679 To typeset congas on a two line staff.
2681 @lilypond[singleline]
2682 \include "drumpitch-init.ly"
2683 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2684 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2687 \apply #(drums->paper 'congas) \context Staff <
2691 \context Lyrics \nam
2696 \remove Bar_engraver
2697 \remove Time_signature_engraver
2698 StaffSymbol \override #'line-count = #2
2699 StaffSymbol \override #'staff-space = #2
2700 minimumVerticalExtent = #'(-3.0 . 4.0)
2704 \remove Stem_engraver
2710 To typeset bongos on a two line staff.
2712 @lilypond[singleline]
2713 \include "drumpitch-init.ly"
2714 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2715 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2718 \apply #(drums->paper 'bongos) \context Staff <
2722 \context Lyrics \nam
2727 \remove Bar_engraver
2728 \remove Time_signature_engraver
2729 StaffSymbol \override #'line-count = #2
2730 StaffSymbol \override #'staff-space = #2
2731 minimumVerticalExtent = #'(-3.0 . 4.0)
2735 \remove Stem_engraver
2741 To typeset all kinds of simple percussion on one line staves.
2742 @lilypond[singleline]
2743 \include "drumpitch-init.ly"
2744 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2745 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2748 \apply #(drums->paper 'percussion) \context Staff <
2752 \context Lyrics \nam
2757 \remove Bar_engraver
2758 \remove Time_signature_engraver
2759 StaffSymbol \override #'line-count = #1
2760 minimumVerticalExtent = #'(-2.0 . 3.0)
2764 \remove Stem_engraver
2771 If you do not like any of the predefined lists you can define your own
2772 list at the top of your file:
2774 @lilypond[singleline, verbatim]
2776 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2777 (snare default #f ,(ly:make-pitch 0 1 0))
2778 (hihat cross #f ,(ly:make-pitch 0 5 0))
2779 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2780 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2782 \include "drumpitch-init.ly"
2783 up = \notes { hh8 hh hh hh hhp4 hhp }
2784 down = \notes { bd4 sn bd toml8 toml }
2786 \apply #(drums->paper 'mydrums) \context Staff <
2788 \context Voice = up { \voiceOne \up }
2789 \context Voice = down { \voiceTwo \down }
2794 To use a modified existing list, one can prepend modifications to the
2798 #(define mydrums (append `(
2799 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2800 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2804 The file @file{drumpitch-init.ly} replaces the normal pitch names, so
2805 you have to reinclude @file{nederlands.ly} after the
2806 drum-pattern-definitions to enter normal notes.
2808 @lilypond[singleline,verbatim]
2809 \include "drumpitch-init.ly"
2810 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2811 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2812 \include "nederlands.ly"
2813 bass = \notes \transpose c c,, { a4. e8 r e g e }
2816 \apply #(drums->paper 'drums) \context Staff = drums <
2818 \context Voice = up { \voiceOne \up }
2819 \context Voice = down { \voiceTwo \down }
2821 \context Staff = bass { \clef "F_8" \bass }
2826 @node Percussion midi output
2827 @subsection Percussion midi output
2829 In order to produce correct midi output you need to produce two score
2830 blocks---one for the paper and one for the midi output. To use the
2831 percussion channel you set the property @code{instrument} to
2832 @code{'drums}. Because the drum-pitches themself are similar to the
2833 general midi pitches all you have to do is to insert the voices with
2834 none of the scheme functions to get the correct midi output:
2838 \apply #(drums->paper 'mydrums) \context Staff <
2847 \property Staff.instrument = #'drums
2856 This scheme is to be considered a temporary implementation.
2860 @section Piano music
2862 Piano staves are two normal staves coupled with a brace. The staves
2863 are largely independent, but sometimes voices can cross between the
2864 two staves. The same notation is also used for harps and other key
2865 instruments. The @internalsref{PianoStaff} is especially built to
2866 handle this cross-staffing behavior. In this section we discuss the
2867 @internalsref{PianoStaff} and some other pianistic peculiarities.
2871 * Automatic staff changes::
2872 * Manual staff switches::
2875 * Staff switch lines::
2880 There is no support for putting chords across staves. You can get
2881 this result by increasing the length of the stem in the lower stave so
2882 it reaches the stem in the upper stave, or vice versa. An example is
2883 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
2885 Dynamics are not centered, but kludges do exist. See
2886 @inputfileref{input/templates,piano-dynamics.ly}.
2888 @cindex cross staff stem
2889 @cindex stem, cross staff
2892 @c fixme: should have hyperlinks as well.
2898 @node Automatic staff changes
2899 @subsection Automatic staff changes
2900 @cindex Automatic staff changes
2902 Voices can switch automatically between the top and the bottom
2903 staff. The syntax for this is
2905 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2907 The autochanger switches on basis of pitch (central C is the turning
2908 point), and it looks ahead skipping over rests to switch rests in
2909 advance. Here is a practical example:
2911 @lilypond[verbatim,singleline,quote]
2912 \score { \notes \context PianoStaff <
2913 \context Staff = "up" {
2914 \autochange Staff \context Voice = VA < \relative c' {
2915 g4 a b c d r4 a g } > }
2916 \context Staff = "down" {
2921 Spacer rests are used to prevent the bottom staff from
2922 terminating too soon.
2927 The staff switches often do not end up in optimal places. For high
2928 quality output staff switches should be specified manually.
2932 @node Manual staff switches
2933 @subsection Manual staff switches
2935 @cindex manual staff switches
2936 @cindex staff switch, manual
2938 Voices can be switched between staves manually, using the following command:
2940 \translator Staff = @var{staffname} @var{music}
2942 The string @var{staffname} is the name of the staff. It switches the
2943 current voice from its current staff to the Staff called
2944 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2952 Pianos have pedals that alter the way sound are produced. Generally, a
2953 piano has three pedals, sustain, una corda, and sostenuto.
2957 Piano pedal instruction can be expressed by attaching
2958 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2959 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
2962 The symbols that are printed can be modified by setting
2963 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2964 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation
2965 of @internalsref{SustainPedal} for more information.
2967 Pedals can also be indicated by a sequence of brackets, by setting the
2968 @code{pedal-type} property of @internalsref{SustainPedal} objects:
2970 @lilypond[fragment,verbatim]
2971 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2972 c''4-\sustainDown d''4 e''4
2973 a'4-\sustainUp-\sustainDown
2974 f'4 g'4 a'4-\sustainUp
2977 A third style of pedal notation is a mixture of text and brackets,
2978 obtained by setting @code{pedal-type} to @code{mixed}:
2980 @lilypond[fragment,verbatim]
2981 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2982 c''4-\sustainDown d''4 e''4
2983 c'4-\sustainUp-\sustainDown
2984 f'4 g'4 a'4-\sustainUp
2987 The default `*Ped' style for sustain and damper pedals corresponds to
2988 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2989 for a sostenuto pedal:
2991 @lilypond[fragment,verbatim]
2992 c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
2995 For fine-tuning of the appearance of a pedal bracket, the properties
2996 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2997 @code{PianoPedalBracket} objects (see the detailed documentation of
2998 @internalsref{PianoPedalBracket}) can be modified. For example, the bracket
2999 may be extended to the end of the note head.
3001 @lilypond[fragment,verbatim]
3002 \property Staff.PianoPedalBracket \override
3003 #'shorten-pair = #'(0 . -1.0)
3004 c''4-\sostenutoDown d''4 e''4 c'4
3005 f'4 g'4 a'4-\sostenutoUp
3009 @subsection Arpeggio
3012 @cindex broken arpeggio
3013 @cindex @code{\arpeggio}
3015 You can specify an arpeggio sign on a chord by attaching an
3016 @code{\arpeggio} to a chord.
3019 @lilypond[fragment,relative,verbatim]
3020 <<c e g c>>-\arpeggio
3023 When an arpeggio crosses staves in piano music, you attach an arpeggio
3024 to the chords in both staves, and set
3025 @internalsref{PianoStaff}.@code{connectArpeggios}.
3027 @lilypond[fragment,relative,verbatim]
3028 \context PianoStaff <
3029 \property PianoStaff.connectArpeggios = ##t
3030 \context Voice = one { <<c' e g c>>-\arpeggio }
3031 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
3035 This command creates @internalsref{Arpeggio} objects. Cross staff
3036 arpeggios are @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3038 The direction of the arpeggio is sometimes denoted by adding an
3039 arrowhead to the wiggly line. This can be typeset by setting
3040 @code{arpeggio-direction}.
3042 @lilypond[fragment,relative,verbatim]
3044 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3045 <<c e g c>>-\arpeggio
3046 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3047 <<c e g c>>-\arpeggio
3051 A square bracket on the left indicates that the player should not
3052 arpeggiate the chord. To draw these brackets, set the
3053 @code{molecule-callback} property of @code{Arpeggio} or
3054 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3055 @code{\arpeggio} statements within the chords as before.
3057 @lilypond[fragment,relative,verbatim]
3058 \property PianoStaff.Arpeggio \override
3059 #'molecule-callback = \arpeggioBracket
3060 <<c' e g c>>-\arpeggio
3065 @refcommand arpeggioBracket
3066 @refcommand arpeggio
3070 It is not possible to mix connected arpeggios and unconnected
3071 arpeggios in one @internalsref{PianoStaff} at the same time.
3073 @node Staff switch lines
3074 @subsection Staff switch lines
3077 @cindex follow voice
3078 @cindex staff switching
3081 @cindex @code{followVoice}
3083 Whenever a voice switches to another staff a line connecting the notes
3084 can be printed automatically. This is enabled if the property
3085 @code{PianoStaff.followVoice} is set to true:
3087 @lilypond[fragment,relative,verbatim]
3088 \context PianoStaff <
3089 \property PianoStaff.followVoice = ##t
3090 \context Staff \context Voice {
3092 \translator Staff=two
3095 \context Staff=two { \clef bass \skip 1*2 }
3099 The associated object is @internalsref{VoiceFollower}.
3103 @refcommand showStaffSwitch
3104 @refcommand hideStaffSwitch
3108 @section Vocal music
3110 This section discusses how to enter, and print lyrics.
3114 * The Lyrics context::
3119 @node Entering lyrics
3120 @subsection Entering lyrics
3124 @cindex @code{\lyrics}
3127 Lyrics are entered in a special input mode. This mode is is introduced
3128 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3129 punctuation and accents without any hassle. Syllables are entered like
3130 notes, but with pitches replaced by text. For example,
3132 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3135 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3136 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3137 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3138 any 8-bit character with ASCII code over 127, or a two-character
3139 combination of a backslash followed by one of @code{`}, @code{'},
3140 @code{"}, or @code{^}.
3142 Subsequent characters of a word can be any character that is not a digit
3143 and not white space. One important consequence of this is that a word
3144 can end with @code{@}}. The following example is usually a bug. The
3145 syllable includes a @code{@}}, and hence the opening brace is not balanced.
3147 \lyrics @{ twinkle@}
3149 which may be confusing.
3151 @cindex @code{\property}, in @code{\lyrics}
3152 Similarly, a period following a alphabetic sequence, is included in the
3153 resulting string. As a consequence, spaces must be inserted around
3154 @code{\property} commands:
3156 \property Lyrics . LyricText \set #'font-shape = #'italic
3160 @cindex spaces, in lyrics
3161 @cindex quotes, in lyrics
3163 Any @code{_} character which appears in an unquoted word is converted
3164 to a space. This provides a mechanism for introducing spaces into words
3165 without using quotes. Quoted words can also be used in Lyrics mode to
3166 specify words that cannot be written with the above rules:
3169 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3173 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3178 These will be attached to the end of the first syllable.
3180 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3181 as a separate word between syllables. The hyphen will have variable
3182 length depending on the space between the syllables and it will be
3183 centered between the syllables.
3188 When a lyric is sung over many notes (this is called a melisma), this is
3189 indicated with a horizontal line centered between a syllable and the
3190 next one. Such a line is called an extender line, and it is entered as
3195 @internalsref{LyricEvent}, @internalsref{HyphenEvent},
3196 @internalsref{ExtenderEvent}.
3200 The definition of lyrics mode is too complex.
3202 @node The Lyrics context
3203 @subsection The Lyrics context
3205 Lyrics are printed by interpreting them in @internalsref{Lyrics}
3208 \context Lyrics \lyrics @dots{}
3211 @cindex automatic syllable durations
3212 @cindex @code{\addlyrics}
3213 @cindex lyrics and melodies
3215 This will place the lyrics according to the durations that were
3216 entered. The lyrics can also be aligned under a given melody
3217 automatically. In this case, it is no longer necessary to enter the
3218 correct duration for each syllable. This is achieved by combining the
3219 melody and the lyrics with the @code{\addlyrics} expression
3223 \context Lyrics @dots{}
3226 @cindex staff order, with @code{\addlyrics}
3228 Normally, this will put the lyrics below the staff. For different or
3229 more complex orderings, the best way is to setup the hierarchy of
3230 staffs and lyrics first, e.g.
3232 \context ChoirStaff \notes <
3233 \context Lyrics = LA @{ s1 @}
3234 \context Staff = SA @{ s1 @}
3235 \context Lyrics = LB @{ s1 @}
3236 \context Staff = SB @{ s1 @}
3239 and then combine the appropriate melodies and lyric lines:
3242 \context Staff = SA @emph{the music}
3243 \context Lyrics = LA @emph{the lyrics}
3246 putting both together, you would get
3248 \context ChoirStaff \notes <
3249 \context Lyrics = LA @dots{}
3250 \context Staff = SB @dots{}
3256 @cindex choral score
3258 An example of a SATB score setup is in the file
3259 @inputfileref{input/template,satb}.
3263 @internalsref{LyricCombineMusic}, @internalsref{Lyrics},
3264 @inputfileref{input/template,satb}.
3268 @code{\addlyrics} is not automatic enough: melismata are not detected
3269 automatically, and melismata are not stopped when they hit a rest. A
3270 melisma on the last note in a melody is not printed.
3274 @subsection More stanzas
3277 @cindex phrasing, in lyrics
3279 When multiple stanzas are printed underneath each other, the vertical
3280 groups of syllables should be aligned around punctuation. This can be
3281 done automatically when corresponding lyric lines and melodies are
3284 To this end, give the @internalsref{Voice} context an identity,
3286 \context Voice = duet @{
3291 Then set the @internalsref{LyricsVoice} contexts to names starting with
3292 that identity followed by a dash. In the preceding example, the
3293 @internalsref{Voice} identity is @code{duet}, so the identities of the
3294 @internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}.
3296 \context LyricsVoice = "duet-1" @{
3297 Hi, my name is bert. @}
3298 \context LyricsVoice = "duet-2" @{
3299 Ooooo, ch\'e -- ri, je t'aime. @}
3301 The convention for naming @internalsref{LyricsVoice} and
3302 @internalsref{Voice} must also be used to get melismata on rests
3305 The complete example is shown here.
3306 @lilypond[singleline,verbatim]
3309 \notes \relative c'' \context Voice = duet { \time 3/4
3311 \lyrics \context Lyrics <
3312 \context LyricsVoice = "duet-1" {
3313 \property LyricsVoice . stanza = "Bert"
3314 Hi, my name is bert. }
3315 \context LyricsVoice = "duet-2" {
3316 \property LyricsVoice . stanza = "Ernie"
3317 Ooooo, ch\'e -- ri, je t'aime. }
3322 Stanza numbers, or the names of the singers can be added by setting
3323 @code{LyricsVoice.Stanza} (for the first system) and
3324 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3325 surrounded with spaces in @code{\lyrics} mode.
3328 \property LyricsVoice . stanza = "Bert"
3330 \property LyricsVoice . stanza = "Ernie"
3333 You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter
3334 lyrics. This can confuse the LilyPond -- for example, this might put
3335 (empty) lyrics under rests. To remedy this, use @code{\skip} instead.
3343 Input for lyrics introduces a syntactical ambiguity:
3350 is interpreted as assigning a string identifier @code{\foo} such that
3351 it contains @code{"bar"}. However, it could also be interpreted as
3352 making or a music identifier @code{\foo} containing the syllable
3353 `bar'. The force the latter interpretation, use
3363 The term @emph{ambitus} denotes a range of pitches for a given voice in
3364 a part of music. It also may denote the pitch range that a musical
3365 instrument is capable of playing. Most musical instruments have their
3366 ambitus standardized (or at least there is agreement upon the minimal
3367 ambitus of a particular type of instrument), such that a composer or
3368 arranger of a piece of music can easily meet the ambitus constraints of
3369 the targeted instrument. However, the ambitus of the human voice
3370 depends on individual physiological state, including education and
3371 training of the voice. Therefore, a singer potentially has to check for
3372 each piece of music if the ambitus of that piece meets his individual
3373 capabilities. This is why the ambitus of a piece may be of particular
3374 value to vocal performers.
3376 The ambitus is typically notated on a per-voice basis at the very
3377 beginning of a piece, e.g. nearby the initial clef or time signature of
3378 each staff. The range is graphically specified by two noteheads, that
3379 represent the minimum and maximum pitch. Some publishers use a textual
3380 notation: they put the range in words in front of the corresponding
3381 staff. Lilypond currently only supports the graphical ambitus notation.
3383 To apply, add the @internalsref{Ambitus_engraver} to the
3384 @internalsref{Voice} context, i.e.
3387 \paper @{ \translator @{
3389 \consists Ambitus_engraver
3395 @lilypond[singleline]
3396 upper = \notes \relative c {
3399 as'' c e2 bes f cis d4 e f2 g
3401 lower = \notes \relative c {
3404 e'4 b g a c es fis a cis b a g f e d2
3407 \context ChoirStaff {
3409 \context Staff = one { \upper }
3410 \context Staff = three { \lower }
3416 \consists Ambitus_engraver
3425 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly}.
3430 Tablature notation is used for notating music for plucked string
3431 instruments. It notates pitches not by using note heads, but by
3432 indicating on which string and fret a note must be played. LilyPond
3433 offers limited support for tablature.
3436 * Tablatures basic::
3437 * Non-guitar tablatures::
3440 @node Tablatures basic
3441 @subsection Tablatures basic
3442 @cindex Tablatures basic
3444 The string number associated to a note is given as a backslash
3445 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3446 string. By default, string 1 is the highest one, and the tuning
3447 defaults to the standard guitar tuning (with 6 strings). The notes
3448 are printed as tablature, by using @internalsref{TabStaff} and
3449 @internalsref{TabVoice} contexts.
3451 @lilypond[fragment,verbatim]
3452 \notes \context TabStaff {
3458 If you do not specify a string number then one is selected
3459 automatically: the first string that does not give a fret number less
3460 than @code{minimumFret} is selected. The default value for
3461 @code{minimumFret} is 0.
3465 e8 fis gis a b cis' dis' e'
3466 \property TabStaff.minimumFret = #8
3467 e8 fis gis a b cis' dis' e'
3472 e8 fis gis a b cis' dis' e'
3473 \property TabStaff.minimumFret = #8
3474 e8 fis gis a b cis' dis' e'
3477 \context StaffGroup <
3478 \context Staff { \clef "G_8" \frag }
3479 \context TabStaff { \frag }
3486 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3487 @internalsref{StringNumberEvent}.
3491 Chords are not handled in a special way, and hence the automatic
3492 string selector may easily select the same string to two notes in a
3496 @node Non-guitar tablatures
3497 @subsection Non-guitar tablatures
3498 @cindex Non-guitar tablatures
3500 You can change the number of strings, by setting the number of lines
3501 in the @internalsref{TabStaff} (the @code{line-count} property of
3502 @internalsref{TabStaff} can only be changed using
3503 @code{\outputproperty}, for more information, see @ref{Tuning objects}.
3505 You can change the tuning of the strings. A string tuning is given as
3506 a Scheme list with one integer number for each string, the number
3507 being the pitch (measured in semitones relative to central C) of an
3508 open string. The numbers specified for @code{stringTuning} are the
3509 numbers of semitones to subtract or add, starting the specified pitch
3510 by default middle C, in string order: thus the notes are e, a, d, and
3513 @lilypond[fragment,verbatim]
3516 \outputproperty #(make-type-checker 'staff-symbol-interface)
3518 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3521 a,4 c' a e' e c' a e'
3526 It is possible to change the Scheme function to format the tablature
3527 note text. The default is @code{fret-number-tablature-format}, which
3528 uses the fret number. For instruments that do not use this notation,
3529 you can create a special tablature formatting function. This function
3530 takes three argument: the string number, the string tuning and the
3535 As tablature is a recent feature, most of the guitar special effects
3536 such as bend are not yet supported.
3540 @section Chord names
3543 LilyPond has support for both entering and printing named chords.
3544 These chords are internally represented as a set of pitches. Therefore
3545 they can be entered by name and printed as notes, entered as notes and
3546 printed as chord names, or (the most common case) entered them by
3547 name, and print them as name. The following fragment shows these
3550 @lilypond[verbatim,singleline]
3551 twoWays = \notes \transpose c c' {
3561 < \context ChordNames \twoWays
3562 \context Voice \twoWays > }
3565 This example also shows that the chord printing routines do not try to
3566 be intelligent. The chord @code{f bes d}, is not interpreted as an
3572 * Printing chord names::
3577 @subsection Chords mode
3580 Chord mode is a mode where you can input sets of pitches using common
3581 names. It is introduced by the keyword @code{\chords}.
3582 In chords mode, a chord is entered by the root, which is entered
3583 like a common pitch, for example,
3584 @lilypond[fragment,verbatim,quote, relative=1]
3585 \chords { es4. d8 c2 }
3590 Other chords may be entered by suffixing a colon, and introducing a
3591 modifier, and optionally, a number, for example
3593 @lilypond[fragment,verbatim,quote]
3594 \chords { e1:m e1:7 e1:m7 }
3596 The first number following the root is taken to be the `type' of the
3597 chord, thirds are added to the root until it reaches the specified
3598 number, for example.
3599 @lilypond[fragment,verbatim]
3600 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3603 @cindex root of chord
3604 @cindex additions, in chords
3605 @cindex removals, in chords
3607 More complex chords may also be constructed adding separate steps
3608 to a chord. Additions are added after the number following
3609 the colon, and are separated by dots. For example
3611 @lilypond[verbatim,fragment,quote]
3612 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3614 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3615 to the number, for example:
3616 @lilypond[verbatim,fragment,quote]
3617 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3619 Removals are specified similarly, and are introduced by a caret. They
3620 must come after the additions.
3621 @lilypond[verbatim,fragment]
3622 \chords { c^3 c:7^5 c:9^3.5 }
3625 Modifiers can be used to change pitches. The following modifiers are
3629 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3631 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3634 is the augmented chord. This modifier raises the 5th step.
3636 is the major 7th chord. This modifier raises the 7th step if present.
3638 is the suspended 4th or 2nd. This modifier removes the 3rd
3639 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3642 Modifiers can be mixed with additions.
3643 @lilypond[verbatim,fragment]
3644 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3647 @cindex modifiers, in chords.
3654 Since the unaltered 11 does sound well when combined with the
3655 unaltered 3, the 11 is removed in this case, unless it is added
3656 explicitly). For example,
3657 @lilypond[fragment,verbatim]
3658 \chords { c:13 c:13.11 c:m13 }
3663 An inversion (putting one pitch of the chord on the bottom), as well
3664 as bass notes, can be specified by appending
3665 @code{/}@var{pitch} to the chord.
3666 @lilypond[fragment,verbatim,center]
3667 \chords { c1 c/g c/f }
3670 If you do not want to remove the bass note from the chord, but rather
3671 add the note, then you can use @code{/+}@var{pitch}.
3673 @lilypond[fragment,verbatim,center]
3674 \chords { c1 c/+g c/+f }
3677 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3678 of the commands continue to work, for example, @code{r} and
3679 @code{\skip} can be used to insert rests and spaces, and
3680 @code{\property} may be used to change various settings.
3686 Each step can only be present in a chord once. The following
3687 simply produces the augmented chord, since @code{5+} is interpreted
3690 @lilypond[verbatim,fragment]
3691 \chords { c:5.5-.5+ }
3694 In chord mode, dashes and carets are used to indicate chord additions
3695 and subtractions, so articulation scripts cannot be entered.
3698 @node Printing chord names
3699 @subsection Printing chord names
3701 @cindex printing chord names
3705 For displaying printed chord names, use the @internalsref{ChordNames}
3706 context. The chords may be entered either using the notation
3707 described above, or directly using @code{<<} and @code{>>}.
3709 @lilypond[verbatim,singleline]
3711 \chords {a1 b c} <<d' f' g'>> <<e' g' b'>>
3715 \context ChordNames \scheme
3716 \context Staff \scheme
3721 You can make the chord changes stand out by setting
3722 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3723 display chord names when there is a change in the chords scheme and at
3724 the start of a new line.
3728 c1:m c:m \break c:m c:m d
3732 \context ChordNames {
3733 \property ChordNames.chordChanges = ##t
3735 \context Staff \transpose c c' \scheme
3737 \paper{linewidth= 9.\cm}
3741 The default chord name layout is a system for Jazz music, proposed by
3742 Klaus Ignatzek (See @ref{Literature}).
3744 The Ignatzek chord name formatting can be tuned in a number of ways
3745 through the following properties:
3748 @cindex chordNameExceptions
3749 @item chordNameExceptions
3750 This is a list that contains the chords that have special formatting.
3752 @inputfileref{input/regression,chord-name-exceptions.ly}.
3753 @cindex exceptions, chord names.
3756 @cindex majorSevenSymbol
3757 @item majorSevenSymbol
3758 This property contains the markup object used for the 7th step, when
3759 it is major. Predefined options are @code{whiteTriangleMarkup} and
3760 @code{blackTriangleMarkup}. See
3761 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3763 @cindex chordNameSeparator
3764 @item chordNameSeparator
3765 Different parts of a chord name are normally separated by a
3766 slash. By setting @code{chordNameSeparator}, you can specify other
3768 @lilypond[fragment,verbatim]
3769 \context ChordNames \chords {
3771 \property ChordNames.chordNameSeparator
3776 @cindex chordRootNamer
3777 @item chordRootNamer
3778 The root of a chord is usually printed as a letter with an optional
3779 alteration. The transformation from pitch to letter is done by this
3780 function. Special note names (for example, the German ``H'' for a
3781 B-chord) can be produced by storing a new function in this property.
3783 @cindex chordNoteNamer
3784 @item chordNoteNamer
3785 The default is to print single notes (as for instance the bass note)
3786 using the @code{chordRootNamer}. However, by setting this function to a non-null
3787 value you can specify a different function. I.e. you could use letters
3788 in lower case for the base note.
3794 @refcommand germanChords
3795 @refcommand semiGermanChords
3800 @inputfileref{input/regression,chord-name-major7.ly},
3801 @inputfileref{input/regression,chord-name-exceptions.ly},
3802 @inputfileref{input/test,chord-names-german.ly},
3803 @file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
3808 Chord names are determined solely from the list of pitches. Chord
3809 inversions are not identified, and neither are added bass notes. This
3810 may result in strange chord names when chords are entered with the
3811 @code{<< .. >>} syntax.
3817 @section Writing parts
3819 Orchestral music involves some special notation, both in the full
3820 score and the individual parts. This section explains how to tackle
3821 some common problems in orchestral music.
3828 * Instrument names::
3830 * Multi measure rests::
3831 * Automatic part combining::
3833 * Sound output for transposing instruments::
3837 @node Rehearsal marks
3838 @subsection Rehearsal marks
3839 @cindex Rehearsal marks
3841 @cindex @code{\mark}
3843 To print a rehearsal mark, use the @code{\mark} command.
3844 @lilypond[fragment,verbatim]
3854 The mark is incremented automatically if you use @code{\mark
3855 \default}. The value to use is stored in the property
3856 @code{rehearsalMark} is used and automatically incremented.
3858 The @code{\mark} command can also be used to put signs like coda,
3859 segno and fermatas on a barline. Use @code{\markup} to
3860 to access the appropriate symbol.
3862 @lilypond[fragment,verbatim,relative=1]
3863 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
3867 In this case, during line breaks,
3868 marks must also be printed at the end of the line, and not at the
3869 beginning. Use the following to force that behavior
3871 \property Score.RehearsalMark \override
3872 #'break-visibility = #begin-of-line-invisible
3875 See @inputfileref{input/test,boxed-molecule.ly}. for putting boxes
3881 @cindex barlines, putting symbols on
3885 @internalsref{MarkEvent}, @internalsref{RehearsalMark},
3886 @inputfileref{input/test,boxed-molecule.ly}.
3890 @subsection Bar numbers
3894 @cindex measure numbers
3895 @cindex currentBarNumber
3897 Bar numbers are printed by default at the start of the line. The
3898 number itself is stored in the
3899 @code{currentBarNumber} property,
3900 which is normally updated automatically for every measure.
3902 Bar numbers can be typeset at regular intervals instead of at the
3903 beginning of each line. This is illustrated in the following example,
3904 whose source is available as
3905 @inputfileref{input/test,bar-number-every-fifth.ly}
3907 @lilypondfile[notexidoc]{bar-number-every-fifth.ly}
3909 The start of that numbering can also be reset, as demonstrated in
3910 @inputfileref{input/test,bar-number-every-five-reset.ly}.
3912 @lilypondfile[notexidoc]{bar-number-every-five-reset.ly}
3917 @internalsref{BarNumber}.
3918 @inputfileref{input/test,bar-number-every-five-reset.ly}.
3919 @inputfileref{input/test,bar-number-every-fifth.ly}
3923 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
3924 there is one at the top. To solve this, You have to twiddle with the
3925 @internalsref{padding} property of @internalsref{BarNumber} if your
3926 score starts with a @internalsref{StaffGroup}.
3928 @node Instrument names
3929 @subsection Instrument names
3931 In an orchestral score, instrument names are printed left of the
3934 This can be achieved by setting @internalsref{Staff}.@code{instrument}
3935 and @internalsref{Staff}.@code{instr}. This will print a string before
3936 the start of the staff. For the first start, @code{instrument} is
3937 used, for the next ones @code{instr} is used.
3939 @lilypond[verbatim,singleline]
3940 \property Staff.instrument = "ploink " { c''4 }
3943 You can also use markup texts to construct more complicated instrument
3946 @lilypond[fragment,verbatim,singleline]
3947 \notes \context Staff = treble {
3948 \property Staff.instrument = \markup {
3949 \column << "Clarinetti"
3951 \smaller \musicglyph #"accidentals--1"
3962 @internalsref{InstrumentName}
3966 When you put a name on a grand staff or piano staff the width of the
3967 brace is not taken into account. You must add extra spaces to the end of
3968 the name to avoid a collision.
3971 @subsection Transpose
3973 @cindex transposition of pitches
3974 @cindex @code{\transpose}
3976 A music expression can be transposed with @code{\transpose}. The syntax
3979 \transpose @var{from} @var{to} @var{musicexpr}
3982 This means that @var{musicexpr} is transposed by the interval
3983 between @var{from} and @var{to}.
3985 @code{\transpose} distinguishes between enharmonic pitches: both
3986 @code{\transpose c cis} or @code{\transpose c des} will transpose up
3987 half a tone. The first version will print sharps and the second
3988 version will print flats.
3990 @lilypond[singleline, verbatim]
3991 mus =\notes { \key d \major cis d fis g }
3992 \score { \notes \context Staff {
3995 \transpose c g' \mus
3996 \transpose c f' \mus
4002 @internalsref{TransposedMusic}, @internalsref{UntransposableMusic}.
4006 If you want to use both @code{\transpose} and @code{\relative}, then
4007 you must put @code{\transpose} outside of @code{\relative}, since
4008 @code{\relative} will have no effect music that appears inside a
4014 @node Multi measure rests
4015 @subsection Multi measure rests
4016 @cindex multi measure rests
4017 @cindex Rests, multi measure
4021 Multi measure rests are entered using `@code{R}'. It is specifically
4022 meant for full bar rests and for entering parts: the rest can expand to
4023 fill a score with rests, or it can be printed as a single multimeasure
4024 rest. This expansion is controlled by the property
4025 @code{Score.skipBars}. If this is set to true, Lily will not expand
4026 empty measures, and the appropriate number is added automatically.
4028 @lilypond[fragment,verbatim]
4029 \time 4/4 r1 | R1 | R1*2
4030 \property Score.skipBars = ##t R1*17 R1*4
4033 The @code{1} in @code{R1} is similar to the duration notation used for
4034 notes. Hence, for time signatures other than 4/4, you must enter other
4035 durations. This can be done with augmentation dots or fractions:
4037 @lilypond[fragment,verbatim]
4038 \property Score.skipBars = ##t
4046 A @code{R} spanning a single measure is printed as a whole rest
4047 centered in the measure (or a breve when the measure lasts longer than
4048 two whole notes), regardless of the time signature.
4052 @cindex text on multi-measure rest
4053 @cindex script on multi-measure rest
4054 @cindex fermata on multi-measure rest
4056 Texts can be added to multi-measure rests by using the
4057 @var{note}-@code{markup} syntax (see @ref{Text markup}) . In this case, the number is
4058 replaced. If you need both texts and the number, you must add the
4059 number by hand. A variable (@code{\fermataMarkup}) is provided for
4063 @lilypond[verbatim,fragment]
4065 R2._\markup { "Ad lib" }
4070 @cindex whole rests for a full measure
4074 @internalsref{MultiMeasureRestEvent},
4075 @internalsref{MultiMeasureTextEvent},
4076 @internalsref{MultiMeasureRestMusicGroup},
4077 @internalsref{MultiMeasureRest},
4079 The layout object @internalsref{MultiMeasureRestNumber} is for the
4080 default number, and @internalsref{MultiMeasureRestText} for user
4085 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4086 over multi-measure rests.
4088 @cindex condensing rests
4090 There is no way to automatically condense multiple rests into a single
4091 multimeasure rest. Multi measure rests do not take part in rest
4094 Be careful when entering multimeasure rests followed by whole notes,
4098 will enter two notes lasting four measures each. When @code{skipBars}
4099 is set, then the result will look OK6, but the bar numbering will be
4102 @node Automatic part combining
4103 @subsection Automatic part combining
4104 @cindex automatic part combining
4105 @cindex part combiner
4108 Automatic part combining is used to merge two parts of music onto a
4109 staff. It is aimed at typesetting orchestral scores. When the two
4110 parts are identical for a period of time, only one is shown. In
4111 places where the two parts differ, they are typeset as separate
4112 voices, and stem directions are set automatically. Also, solo and
4113 @emph{a due} parts are identified and can be marked.
4117 The syntax for part combining is
4120 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4122 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4123 combined into one context of type @var{context}. The music expressions
4124 must be interpreted by contexts whose names should start with @code{one}
4127 The following example demonstrates the basic functionality of the part
4128 combiner: putting parts on one staff, and setting stem directions and
4131 @lilypond[verbatim,singleline,fragment]
4133 \context Voice=one \partcombine Voice
4134 \context Thread=one \relative c'' {
4137 \context Thread=two \relative c'' {
4143 The first @code{g} appears only once, although it was
4144 specified twice (once in each part). Stem, slur and tie directions are
4145 set automatically, depending whether there is a solo or unisono. The
4146 first part (with context called @code{one}) always gets up stems, and
4147 `solo', while the second (called @code{two}) always gets down stems and
4150 If you just want the merging parts, and not the textual markings, you
4151 may set the property @var{soloADue} to false.
4153 @lilypond[verbatim,singleline,fragment]
4155 \property Staff.soloADue = ##f
4156 \context Voice=one \partcombine Voice
4157 \context Thread=one \relative c'' {
4160 \context Thread=two \relative c'' {
4168 @internalsref{PartCombineMusic},
4169 @internalsref{Thread_devnull_engraver},
4170 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4174 The syntax for naming contexts in inconsistent with the syntax for
4177 In @code{soloADue} mode, when the two voices play the same notes on and
4178 off, the part combiner may typeset @code{a2} more than once in a
4181 @lilypond[fragment,singleline]
4183 \context Voice=one \partcombine Voice
4184 \context Thread=one \relative c'' {
4187 \context Thread=two \relative c'' {
4193 The part combiner is slated to be rewritten [TODO: explain why] .
4195 @cindex @code{Thread_devnull_engraver}
4196 @cindex @code{Voice_engraver}
4197 @cindex @code{A2_engraver}
4199 @node Frenched scores
4200 @subsection Frenched scores
4202 In orchestral scores, staff lines that only have rests are usually removed.
4203 This saves some space. This style is called `French Score'.
4207 This is supported through the @code{RemoveEmptyStaff}. This staff is
4208 removed when it turns out empty (or containing multimeasure rests)
4209 after the line-breaking process.
4211 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4212 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4213 switched on by default. For normal staffs, it is available as a
4214 specialized @internalsref{Staff} context, with the name variable
4215 @code{\RemoveEmptyStaffContext}. Observe how the second staff in this
4216 example disappears in the second line.
4220 \notes \relative c' <
4221 \context Staff = SA { e4 f g a \break c1 }
4222 \context Staff = SB { c4 d e f \break R1 }
4226 \translator { \RemoveEmptyStaffContext }
4232 @node Sound output for transposing instruments
4233 @subsection Sound output for transposing instruments
4235 When you want to make a MIDI file from a score containing transposed
4236 and untransposed instruments, you have to instruct LilyPond the pitch
4237 offset (in semitones) for the transposed instruments. This is done
4238 using the @code{transposing} property. It does not affect printed
4241 @cindex @code{transposing}
4244 \property Staff.instrument = #"Cl. in B-flat"
4245 \property Staff.transposing = #-2
4249 @node Ancient notation
4250 @section Ancient notation
4252 @cindex Vaticana, Editio
4253 @cindex Medicaea, Editio
4258 @c [TODO: write introduction on ancient notation]
4261 * Ancient note heads::
4270 @node Ancient note heads
4271 @subsection Ancient note heads
4273 To get a longa note head, you have to use mensural note heads. This
4274 is accomplished by setting the @code{style} property of the
4275 NoteHead object to @code{mensural}. There is also a note head style
4276 @code{baroque} which gives mensural note heads for @code{\longa} and
4277 @code{\breve} but standard note heads for shorter notes.
4279 @lilypond[fragment,singleline,verbatim]
4280 \property Voice.NoteHead \set #'style = #'mensural
4285 @subsection Ancient clefs
4287 LilyPond supports a variety of clefs, many of them ancient.
4289 For modern clefs, see section @ref{Clef}. For the percussion clef, see
4290 section @ref{Percussion staves}. For the @code{TAB} clef, see section
4293 The following table shows all ancient clefs that are supported via the
4294 @code{\clef} command. Some of the clefs use the same glyph, but
4295 differ only with respect to the line they are printed on. In such
4296 cases, a trailing number in the name is used to enumerate these clefs.
4297 Still, you can manually force a clef glyph to be typeset on an
4298 arbitrary line, as described in section @ref{Clef}. The note printed
4299 to the right side of each clef in the example column denotes the
4300 @code{c'} with respect to that clef.
4302 @multitable @columnfractions .3 .3 .3 .1
4306 @b{Description} @tab
4307 @b{Supported Clefs} @tab
4311 @code{clefs-neo_mensural_c} @tab
4312 modern style mensural C clef @tab
4313 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4314 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4315 @lilypond[relative 0, notime]
4316 \property Staff.TimeSignature \set #'transparent = ##t
4317 \clef "neo_mensural_c2" c
4321 @code{clefs-petrucci_c1}
4322 @code{clefs-petrucci_c2}
4323 @code{clefs-petrucci_c3}
4324 @code{clefs-petrucci_c4}
4325 @code{clefs-petrucci_c5}
4328 petrucci style mensural C clefs, for use on different stafflines
4329 (the examples shows the 2nd staffline C clef).
4339 @lilypond[relative 0, notime]
4340 \property Staff.TimeSignature \set #'transparent = ##t
4341 \clef "petrucci_c2" c
4345 @code{clefs-petrucci_f} @tab
4346 petrucci style mensural F clef @tab
4347 @code{petrucci_f} @tab
4348 @lilypond[relative 0, notime]
4349 \property Staff.TimeSignature \set #'transparent = ##t
4350 \clef "petrucci_f" c
4354 @code{clefs-petrucci_g} @tab
4355 petrucci style mensural G clef @tab
4356 @code{petrucci_g} @tab
4357 @lilypond[relative 0, notime]
4358 \property Staff.TimeSignature \set #'transparent = ##t
4359 \clef "petrucci_g" c
4363 @code{clefs-mensural_c'} @tab
4364 historic style mensural C clef @tab
4365 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4366 @code{mensural_c4} @tab
4367 @lilypond[relative 0, notime]
4368 \property Staff.TimeSignature \set #'transparent = ##t
4369 \clef "mensural_c2" c
4373 @code{clefs-mensural_f} @tab
4374 historic style mensural F clef @tab
4375 @code{mensural_f} @tab
4376 @lilypond[relative 0, notime]
4377 \property Staff.TimeSignature \set #'transparent = ##t
4378 \clef "mensural_f" c
4382 @code{clefs-mensural_g} @tab
4383 historic style mensural G clef @tab
4384 @code{mensural_g} @tab
4385 @lilypond[relative 0, notime]
4386 \property Staff.TimeSignature \set #'transparent = ##t
4387 \clef "mensural_g" c
4391 @code{clefs-vaticana_do} @tab
4392 Editio Vaticana style do clef @tab
4393 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4394 @lilypond[relative 0, notime]
4396 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4397 \property Staff.TimeSignature \set #'transparent = ##t
4398 \clef "vaticana_do2" c
4402 @code{clefs-vaticana_fa} @tab
4403 Editio Vaticana style fa clef @tab
4404 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4405 @lilypond[relative 0, notime]
4407 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4408 \property Staff.TimeSignature \set #'transparent = ##t
4409 \clef "vaticana_fa2" c
4413 @code{clefs-medicaea_do} @tab
4414 Editio Medicaea style do clef @tab
4415 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4416 @lilypond[relative 0, notime]
4418 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4419 \property Staff.TimeSignature \set #'transparent = ##t
4420 \clef "medicaea_do2" c
4424 @code{clefs-medicaea_fa} @tab
4425 Editio Medicaea style fa clef @tab
4426 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4427 @lilypond[relative 0, notime]
4429 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4430 \property Staff.TimeSignature \set #'transparent = ##t
4431 \clef "medicaea_fa2" c
4435 @code{clefs-hufnagel_do} @tab
4436 historic style hufnagel do clef @tab
4437 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4438 @lilypond[relative 0, notime]
4440 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4441 \property Staff.TimeSignature \set #'transparent = ##t
4442 \clef "hufnagel_do2" c
4446 @code{clefs-hufnagel_fa} @tab
4447 historic style hufnagel fa clef @tab
4448 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4449 @lilypond[relative 0, notime]
4451 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4452 \property Staff.TimeSignature \set #'transparent = ##t
4453 \clef "hufnagel_fa2" c
4457 @code{clefs-hufnagel_do_fa} @tab
4458 historic style hufnagel combined do/fa clef @tab
4459 @code{hufnagel_do_fa} @tab
4460 @lilypond[relative 0, notime]
4461 \property Staff.TimeSignature \set #'transparent = ##t
4462 \clef "hufnagel_do_fa" c
4467 @c --- This should go somewhere else: ---
4468 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4471 @c @code{percussion}
4473 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4475 @c @item modern style tab clef (glyph: @code{clefs-tab})
4480 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4482 @emph{Modern style} means ``as is typeset in contemporary editions of
4483 transcribed mensural music''.
4485 @emph{Petrucci style} means ``inspired by printings published by the
4486 famous engraver Petrucci (1466-1539)''.
4488 @emph{Historic style} means ``as was typeset or written in historic
4489 editions (other than those of Petrucci)''.
4491 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4493 Petrucci used C clefs with differently balanced left-side vertical
4494 beams, depending on which staffline it is printed.
4498 @subsection Custodes
4503 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4504 symbol that appears at the end of a staff. It anticipates the pitch
4505 of the first note(s) of the following line and thus helps the player
4506 or singer to manage line breaks during performance, thus enhancing
4507 readability of a score.
4509 Custodes were frequently used in music notation until the 17th
4510 century. Nowadays, they have survived only in a few particular forms
4511 of musical notation such as contemporary editions of Gregorian chant
4512 like the @emph{editio vaticana}. There are different custos glyphs
4513 used in different flavours of notational style.
4515 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
4516 @internalsref{Staff} context when declaring the @code{\paper} block,
4517 as shown in the following example.
4523 \consists Custos_engraver
4524 Custos \override #'style = #'mensural
4529 The result looks like this:
4535 \property Staff.Custos \set #'style = #'mensural
4542 \consists Custos_engraver
4549 The custos glyph is selected by the @code{style} property. The styles
4550 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
4551 @code{mensural}. They are demonstrated in the following fragment:
4561 { " " \musicglyph #"custodes-vaticana-u0" }
4565 { " " \musicglyph #"custodes-medicaea-u0" }
4569 { " " \musicglyph #"custodes-hufnagel-u0" }
4573 { " " \musicglyph #"custodes-mensural-u0" }
4582 \remove "Bar_number_engraver"
4586 \remove "Clef_engraver"
4587 \remove "Key_engraver"
4588 \remove "Time_signature_engraver"
4589 \remove "Staff_symbol_engraver"
4590 minimumVerticalExtent = ##f
4596 If the boolean property @code{adjust-if-on-staffline} is set to
4597 @code{#t} (which it is by default), lily typesets slightly different
4598 variants of the custos glyph, depending on whether the custos, is
4599 typeset on or between stafflines. The glyph will
4600 optically fit well into the staff, with the appendage on the right of
4601 the custos always ending at the same vertical position between two
4602 stafflines regardless of the pitch. If you set
4603 @code{adjust-if-on-staffline} to @code{#f}, then
4604 a compromise between both forms is used.
4606 Just like stems can be attached to noteheads in two directions
4607 @emph{up} and @emph{down}, each custos glyph is available with its
4608 appendage pointing either up or down. If the pitch of a custos is
4609 above a selectable position, the appendage will point downwards; if
4610 the pitch is below this position, the appendage will point upwards.
4611 Use property @code{neutral-position} to select this position. By
4612 default, it is set to @code{0}, such that the neutral position is the
4613 center of the staff. Use property @code{neutral-direction} to control
4614 what happens if a custos is typeset on the neutral position itself.
4615 By default, this property is set to @code{-1}, such that the appendage
4616 will point downwards. If set to @code{1}, the appendage will point
4617 upwards. Other values such as @code{0} are reserved for future
4618 extensions and should not be used.
4623 @internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
4624 @inputfileref{input/regression,custos.ly}.
4628 @subsection Divisiones
4634 A @emph{divisio} (plural: @emph{divisiones}; latin word for
4635 `division') is a staff context symbol that is used to structure
4636 Gregorian music into phrases and sections. The musical meaning of
4637 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
4638 can be characterized as short, medium and long pause, somewhat like
4639 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
4640 a chant, but is also frequently used within a single
4641 antiphonal/responsorial chant to mark the end of each section.
4645 To use divisiones, include the file @code{gregorian-init.ly}. It
4646 contains definitions that you can apply by just inserting
4647 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
4648 and @code{\finalis} at proper places in the input. Some editions use
4649 @emph{virgula} or @emph{caesura} instead of divisio minima.
4650 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
4654 @lilypondfile[notexidoc]{divisiones.ly}
4658 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
4659 @inputfileref{input/test,divisiones.ly}, @ref{Breath marks}.
4662 @subsection Ligatures
4666 @c TODO: Should double check if I recalled things correctly when I wrote
4667 @c down the following paragraph by heart.
4669 In musical terminology, a ligature is a coherent graphical symbol that
4670 represents at least two different notes. Ligatures originally appeared
4671 in the manuscripts of Gregorian chant notation roughly since the 9th
4672 century as an allusion to the accent symbols of greek lyric poetry to
4673 denote ascending or descending sequences of notes. Both, the shape and
4674 the exact meaning of ligatures changed tremendously during the following
4675 centuries: In early notation, ligatures where used for monophonic tunes
4676 (Gregorian chant) and very soon denoted also the way of performance in
4677 the sense of articulation. With upcoming multiphony, the need for a
4678 metric system arised, since multiple voices of a piece have to be
4679 synchronized some way. New notation systems were invented that used
4680 the manifold shapes of ligatures to now denote rhythmical patterns
4681 (e.g. black mensural notation, mannered notation, ars nova). With the
4682 invention of the metric system of the white mensural notation, the need
4683 for ligatures to denote such patterns disappeared. Nevertheless,
4684 ligatures were still in use in the mensural system for a couple of
4685 decades until they finally disappeared during the late 16th / early 17th
4686 century. Still, ligatures have survived in contemporary editions of
4687 Gregorian chant such as the Editio Vaticana from 1905/08.
4691 Syntactically, ligatures are simply enclosed by @code{\[} and
4692 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
4693 additional input syntax specific for this particular type of ligature.
4694 By default, the @internalsref{LigatureBracket} engraver just puts a
4695 square bracket above the ligature.
4697 @lilypond[singleline,verbatim]
4699 \notes \transpose c c' {
4707 To select a specific style of ligatures, a proper ligature engraver
4708 has to be added to the @internalsref{Voice} context, as explained in
4709 the following subsections. Currently, only white mensural ligatures
4710 are supported with certain limitations. Support for Editio Vaticana
4711 will be added in the future.
4714 * White mensural ligatures::
4715 * Gregorian square neumes ligatures::
4718 @node White mensural ligatures
4719 @subsubsection White mensural ligatures
4721 @cindex Mensural ligatures
4722 @cindex White mensural ligatures
4724 There is limited support for white mensural ligatures. The
4725 implementation is still experimental; it currently may output strange
4726 warnings or even crash in some cases or produce weird results on more
4727 complex ligatures. To engrave white mensural ligatures, in the paper
4728 block the @internalsref{Mensural_ligature_engraver} has to be put into
4729 the @internalsref{Voice} context, and remove the
4730 @internalsref{Ligature_bracket_engraver}:
4736 \remove Ligature_bracket_engraver
4737 \consists Mensural_ligature_engraver
4742 There is no additional input language to describe the shape of a
4743 white mensural ligature. The shape is rather determined solely from
4744 the pitch and duration of the enclosed notes. While this approach may
4745 take a new user a while to get accustomed, it has the great advantage
4746 that the full musical information of the ligature is known internally.
4747 This is not only required for correct MIDI output, but also allows for
4748 automatic transcription of the ligatures.
4753 \property Score.timing = ##f
4754 \property Score.defaultBarType = "empty"
4755 \property Voice.NoteHead \set #'style = #'neo_mensural
4756 \property Staff.TimeSignature \set #'style = #'neo_mensural
4758 \[ g\longa c\breve a\breve f\breve d'\longa \]
4760 \[ e1 f1 a\breve g\longa \]
4762 @lilypond[singleline]
4764 \notes \transpose c c' {
4765 \property Score.timing = ##f
4766 \property Score.defaultBarType = "empty"
4767 \property Voice.NoteHead \set #'style = #'neo_mensural
4768 \property Staff.TimeSignature \set #'style = #'neo_mensural
4770 \[ g\longa c\breve a\breve f\breve d'\longa \]
4772 \[ e1 f1 a\breve g\longa \]
4777 \remove Ligature_bracket_engraver
4778 \consists Mensural_ligature_engraver
4784 Without replacing @internalsref{Ligature_bracket_engraver} with
4785 @internalsref{Mensural_ligature_engraver}, the same music transcribes
4788 @lilypond[singleline]
4790 \notes \transpose c c' {
4791 \property Score.timing = ##f
4792 \property Score.defaultBarType = "empty"
4793 \property Voice.NoteHead \set #'style = #'neo_mensural
4794 \property Staff.TimeSignature \set #'style = #'neo_mensural
4796 \[ g\longa c\breve a\breve f\breve d'\longa \]
4798 \[ e1 f1 a\breve g\longa \]
4803 @node Gregorian square neumes ligatures
4804 @subsubsection Gregorian square neumes ligatures
4806 @cindex Square neumes ligatures
4807 @cindex Gregorian square neumes ligatures
4809 Gregorian square neumes notation (following the style of the Editio
4810 Vaticana) is under heavy development, but not yet really usable for
4811 production purposes. Core ligatures can already be typeset, but
4812 essential issues for serious typesetting are still under development,
4813 such as (among others) horizontal alignment of multiple ligatures,
4814 lyrics alignment and proper accidentals handling. Still, this section
4815 gives a sneak preview of what Gregorian chant may look like once it
4818 The following table contains the extended neumes table of the 2nd
4819 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
4820 1983 by the monks of Solesmes.
4822 @multitable @columnfractions .4 .2 .2 .2
4825 @b{Neuma aut@*Neumarum Elementa} @tab
4826 @b{Figurae@*Rectae} @tab
4827 @b{Figurae@*Liquescentes Auctae} @tab
4828 @b{Figurae@*Liquescentes Deminutae}
4830 @c TODO: \paper block is identical in all of the below examples.
4831 @c Therefore, it should somehow be included rather than duplicated all
4834 @c why not make identifiers in ly/engraver-init.ly? --hwn
4836 @c Because it's just used to typeset plain notes without
4837 @c a staff for demonstration purposes rather than something
4838 @c special of Gregorian chant notation. --jr
4843 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
4844 \include "gregorian-init.ly"
4846 \notes \transpose c c' {
4849 \noBreak s^\markup {"a"} \noBreak
4851 % Punctum Inclinatum
4853 \noBreak s^\markup {"b"}
4859 \remove "Bar_number_engraver"
4863 \remove "Clef_engraver"
4864 \remove "Key_engraver"
4865 StaffSymbol \set #'transparent = ##t
4866 \remove "Time_signature_engraver"
4867 \remove "Bar_engraver"
4868 minimumVerticalExtent = ##f
4872 \remove Ligature_bracket_engraver
4873 \consists Vaticana_ligature_engraver
4874 NoteHead \set #'style = #'vaticana_punctum
4875 Stem \set #'transparent = ##t
4881 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
4882 \include "gregorian-init.ly"
4884 \notes \transpose c c' {
4885 % Punctum Auctum Ascendens
4886 \[ \auctum \ascendens b \]
4887 \noBreak s^\markup {"c"} \noBreak
4889 % Punctum Auctum Descendens
4890 \[ \auctum \descendens b \]
4891 \noBreak s^\markup {"d"} \noBreak
4893 % Punctum Inclinatum Auctum
4894 \[ \inclinatum \auctum b \]
4895 \noBreak s^\markup {"e"}
4901 \remove "Bar_number_engraver"
4905 \remove "Clef_engraver"
4906 \remove "Key_engraver"
4907 StaffSymbol \set #'transparent = ##t
4908 \remove "Time_signature_engraver"
4909 \remove "Bar_engraver"
4910 minimumVerticalExtent = ##f
4914 \remove Ligature_bracket_engraver
4915 \consists Vaticana_ligature_engraver
4916 NoteHead \set #'style = #'vaticana_punctum
4917 Stem \set #'transparent = ##t
4923 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4924 \include "gregorian-init.ly"
4926 \notes \transpose c c' {
4927 % Punctum Inclinatum Parvum
4928 \[ \inclinatum \deminutum b \]
4929 \noBreak s^\markup {"f"}
4935 \remove "Bar_number_engraver"
4939 \remove "Clef_engraver"
4940 \remove "Key_engraver"
4941 StaffSymbol \set #'transparent = ##t
4942 \remove "Time_signature_engraver"
4943 \remove "Bar_engraver"
4944 minimumVerticalExtent = ##f
4948 \remove Ligature_bracket_engraver
4949 \consists Vaticana_ligature_engraver
4950 NoteHead \set #'style = #'vaticana_punctum
4951 Stem \set #'transparent = ##t
4960 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4961 \include "gregorian-init.ly"
4963 \notes \transpose c c' {
4966 \noBreak s^\markup {"g"}
4972 \remove "Bar_number_engraver"
4976 \remove "Clef_engraver"
4977 \remove "Key_engraver"
4978 StaffSymbol \set #'transparent = ##t
4979 \remove "Time_signature_engraver"
4980 \remove "Bar_engraver"
4981 minimumVerticalExtent = ##f
4985 \remove Ligature_bracket_engraver
4986 \consists Vaticana_ligature_engraver
4987 NoteHead \set #'style = #'vaticana_punctum
4988 Stem \set #'transparent = ##t
4997 @code{3. Apostropha vel Stropha}
4999 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5000 \include "gregorian-init.ly"
5002 \notes \transpose c c' {
5005 \noBreak s^\markup {"h"}
5011 \remove "Bar_number_engraver"
5015 \remove "Clef_engraver"
5016 \remove "Key_engraver"
5017 StaffSymbol \set #'transparent = ##t
5018 \remove "Time_signature_engraver"
5019 \remove "Bar_engraver"
5020 minimumVerticalExtent = ##f
5024 \remove Ligature_bracket_engraver
5025 \consists Vaticana_ligature_engraver
5026 NoteHead \set #'style = #'vaticana_punctum
5027 Stem \set #'transparent = ##t
5033 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5034 \include "gregorian-init.ly"
5036 \notes \transpose c c' {
5038 \[ \stropha \auctum b \]
5039 \noBreak s^\markup {"i"}
5045 \remove "Bar_number_engraver"
5049 \remove "Clef_engraver"
5050 \remove "Key_engraver"
5051 StaffSymbol \set #'transparent = ##t
5052 \remove "Time_signature_engraver"
5053 \remove "Bar_engraver"
5054 minimumVerticalExtent = ##f
5058 \remove Ligature_bracket_engraver
5059 \consists Vaticana_ligature_engraver
5060 NoteHead \set #'style = #'vaticana_punctum
5061 Stem \set #'transparent = ##t
5071 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5072 \include "gregorian-init.ly"
5074 \notes \transpose c c' {
5077 \noBreak s^\markup {"j"}
5083 \remove "Bar_number_engraver"
5087 \remove "Clef_engraver"
5088 \remove "Key_engraver"
5089 StaffSymbol \set #'transparent = ##t
5090 \remove "Time_signature_engraver"
5091 \remove "Bar_engraver"
5092 minimumVerticalExtent = ##f
5096 \remove Ligature_bracket_engraver
5097 \consists Vaticana_ligature_engraver
5098 NoteHead \set #'style = #'vaticana_punctum
5099 Stem \set #'transparent = ##t
5108 @code{5. Clivis vel Flexa}
5110 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5111 \include "gregorian-init.ly"
5113 \notes \transpose c c' {
5122 \remove "Bar_number_engraver"
5126 \remove "Clef_engraver"
5127 \remove "Key_engraver"
5128 StaffSymbol \set #'transparent = ##t
5129 \remove "Time_signature_engraver"
5130 \remove "Bar_engraver"
5131 minimumVerticalExtent = ##f
5135 \remove Ligature_bracket_engraver
5136 \consists Vaticana_ligature_engraver
5137 NoteHead \set #'style = #'vaticana_punctum
5138 Stem \set #'transparent = ##t
5144 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5145 \include "gregorian-init.ly"
5147 \notes \transpose c c' {
5148 % Clivis Aucta Descendens
5149 \[ b \flexa \auctum \descendens g \]
5150 \noBreak s^\markup {"l"} \noBreak
5152 % Clivis Aucta Ascendens
5153 \[ b \flexa \auctum \ascendens g \]
5154 \noBreak s^\markup {"m"}
5160 \remove "Bar_number_engraver"
5164 \remove "Clef_engraver"
5165 \remove "Key_engraver"
5166 StaffSymbol \set #'transparent = ##t
5167 \remove "Time_signature_engraver"
5168 \remove "Bar_engraver"
5169 minimumVerticalExtent = ##f
5173 \remove Ligature_bracket_engraver
5174 \consists Vaticana_ligature_engraver
5175 NoteHead \set #'style = #'vaticana_punctum
5176 Stem \set #'transparent = ##t
5182 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5183 \include "gregorian-init.ly"
5185 \notes \transpose c c' {
5187 \[ b \flexa \deminutum g \]
5194 \remove "Bar_number_engraver"
5198 \remove "Clef_engraver"
5199 \remove "Key_engraver"
5200 StaffSymbol \set #'transparent = ##t
5201 \remove "Time_signature_engraver"
5202 \remove "Bar_engraver"
5203 minimumVerticalExtent = ##f
5207 \remove Ligature_bracket_engraver
5208 \consists Vaticana_ligature_engraver
5209 NoteHead \set #'style = #'vaticana_punctum
5210 Stem \set #'transparent = ##t
5217 @code{6. Podatus vel Pes}
5219 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5220 \include "gregorian-init.ly"
5222 \notes \transpose c c' {
5231 \remove "Bar_number_engraver"
5235 \remove "Clef_engraver"
5236 \remove "Key_engraver"
5237 StaffSymbol \set #'transparent = ##t
5238 \remove "Time_signature_engraver"
5239 \remove "Bar_engraver"
5240 minimumVerticalExtent = ##f
5244 \remove Ligature_bracket_engraver
5245 \consists Vaticana_ligature_engraver
5246 NoteHead \set #'style = #'vaticana_punctum
5247 Stem \set #'transparent = ##t
5253 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5254 \include "gregorian-init.ly"
5256 \notes \transpose c c' {
5257 % Pes Auctus Descendens
5258 \[ g \pes \auctum \descendens b \]
5259 \noBreak s^\markup {"p"} \noBreak
5261 % Pes Auctus Ascendens
5262 \[ g \pes \auctum \ascendens b \]
5263 \noBreak s^\markup {"q"}
5269 \remove "Bar_number_engraver"
5273 \remove "Clef_engraver"
5274 \remove "Key_engraver"
5275 StaffSymbol \set #'transparent = ##t
5276 \remove "Time_signature_engraver"
5277 \remove "Bar_engraver"
5278 minimumVerticalExtent = ##f
5282 \remove Ligature_bracket_engraver
5283 \consists Vaticana_ligature_engraver
5284 NoteHead \set #'style = #'vaticana_punctum
5285 Stem \set #'transparent = ##t
5291 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5292 \include "gregorian-init.ly"
5294 \notes \transpose c c' {
5296 \[ g \pes \deminutum b \]
5303 \remove "Bar_number_engraver"
5307 \remove "Clef_engraver"
5308 \remove "Key_engraver"
5309 StaffSymbol \set #'transparent = ##t
5310 \remove "Time_signature_engraver"
5311 \remove "Bar_engraver"
5312 minimumVerticalExtent = ##f
5316 \remove Ligature_bracket_engraver
5317 \consists Vaticana_ligature_engraver
5318 NoteHead \set #'style = #'vaticana_punctum
5319 Stem \set #'transparent = ##t
5326 @code{7. Pes Quassus}
5328 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5329 \include "gregorian-init.ly"
5331 \notes \transpose c c' {
5333 \[ \oriscus g \pes \virga b \]
5340 \remove "Bar_number_engraver"
5344 \remove "Clef_engraver"
5345 \remove "Key_engraver"
5346 StaffSymbol \set #'transparent = ##t
5347 \remove "Time_signature_engraver"
5348 \remove "Bar_engraver"
5349 minimumVerticalExtent = ##f
5353 \remove Ligature_bracket_engraver
5354 \consists Vaticana_ligature_engraver
5355 NoteHead \set #'style = #'vaticana_punctum
5356 Stem \set #'transparent = ##t
5362 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5363 \include "gregorian-init.ly"
5365 \notes \transpose c c' {
5366 % Pes Quassus Auctus Descendens
5367 \[ \oriscus g \pes \auctum \descendens b \]
5374 \remove "Bar_number_engraver"
5378 \remove "Clef_engraver"
5379 \remove "Key_engraver"
5380 StaffSymbol \set #'transparent = ##t
5381 \remove "Time_signature_engraver"
5382 \remove "Bar_engraver"
5383 minimumVerticalExtent = ##f
5387 \remove Ligature_bracket_engraver
5388 \consists Vaticana_ligature_engraver
5389 NoteHead \set #'style = #'vaticana_punctum
5390 Stem \set #'transparent = ##t
5398 @code{8. Quilisma Pes}
5400 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5401 \include "gregorian-init.ly"
5403 \notes \transpose c c' {
5405 \[ \quilisma g \pes b \]
5412 \remove "Bar_number_engraver"
5416 \remove "Clef_engraver"
5417 \remove "Key_engraver"
5418 StaffSymbol \set #'transparent = ##t
5419 \remove "Time_signature_engraver"
5420 \remove "Bar_engraver"
5421 minimumVerticalExtent = ##f
5425 \remove Ligature_bracket_engraver
5426 \consists Vaticana_ligature_engraver
5427 NoteHead \set #'style = #'vaticana_punctum
5428 Stem \set #'transparent = ##t
5434 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5435 \include "gregorian-init.ly"
5437 \notes \transpose c c' {
5438 % Quilisma Pes Auctus Descendens
5439 \[ \quilisma g \pes \auctum \descendens b \]
5446 \remove "Bar_number_engraver"
5450 \remove "Clef_engraver"
5451 \remove "Key_engraver"
5452 StaffSymbol \set #'transparent = ##t
5453 \remove "Time_signature_engraver"
5454 \remove "Bar_engraver"
5455 minimumVerticalExtent = ##f
5459 \remove Ligature_bracket_engraver
5460 \consists Vaticana_ligature_engraver
5461 NoteHead \set #'style = #'vaticana_punctum
5462 Stem \set #'transparent = ##t
5470 @code{9. Podatus Initio Debilis}
5472 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5473 \include "gregorian-init.ly"
5475 \notes \transpose c c' {
5476 % Pes Initio Debilis
5477 \[ \deminutum g \pes b \]
5484 \remove "Bar_number_engraver"
5488 \remove "Clef_engraver"
5489 \remove "Key_engraver"
5490 StaffSymbol \set #'transparent = ##t
5491 \remove "Time_signature_engraver"
5492 \remove "Bar_engraver"
5493 minimumVerticalExtent = ##f
5497 \remove Ligature_bracket_engraver
5498 \consists Vaticana_ligature_engraver
5499 NoteHead \set #'style = #'vaticana_punctum
5500 Stem \set #'transparent = ##t
5506 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5507 \include "gregorian-init.ly"
5509 \notes \transpose c c' {
5510 % Pes Auctus Descendens Initio Debilis
5511 \[ \deminutum g \pes \auctum \descendens b \]
5518 \remove "Bar_number_engraver"
5522 \remove "Clef_engraver"
5523 \remove "Key_engraver"
5524 StaffSymbol \set #'transparent = ##t
5525 \remove "Time_signature_engraver"
5526 \remove "Bar_engraver"
5527 minimumVerticalExtent = ##f
5531 \remove Ligature_bracket_engraver
5532 \consists Vaticana_ligature_engraver
5533 NoteHead \set #'style = #'vaticana_punctum
5534 Stem \set #'transparent = ##t
5544 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5545 \include "gregorian-init.ly"
5547 \notes \transpose c c' {
5549 \[ a \pes b \flexa g \]
5556 \remove "Bar_number_engraver"
5560 \remove "Clef_engraver"
5561 \remove "Key_engraver"
5562 StaffSymbol \set #'transparent = ##t
5563 \remove "Time_signature_engraver"
5564 \remove "Bar_engraver"
5565 minimumVerticalExtent = ##f
5569 \remove Ligature_bracket_engraver
5570 \consists Vaticana_ligature_engraver
5571 NoteHead \set #'style = #'vaticana_punctum
5572 Stem \set #'transparent = ##t
5578 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5579 \include "gregorian-init.ly"
5581 \notes \transpose c c' {
5582 % Torculus Auctus Descendens
5583 \[ a \pes b \flexa \auctum \descendens g \]
5590 \remove "Bar_number_engraver"
5594 \remove "Clef_engraver"
5595 \remove "Key_engraver"
5596 StaffSymbol \set #'transparent = ##t
5597 \remove "Time_signature_engraver"
5598 \remove "Bar_engraver"
5599 minimumVerticalExtent = ##f
5603 \remove Ligature_bracket_engraver
5604 \consists Vaticana_ligature_engraver
5605 NoteHead \set #'style = #'vaticana_punctum
5606 Stem \set #'transparent = ##t
5612 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5613 \include "gregorian-init.ly"
5615 \notes \transpose c c' {
5616 % Torculus Deminutus
5617 \[ a \pes b \flexa \deminutum g \]
5624 \remove "Bar_number_engraver"
5628 \remove "Clef_engraver"
5629 \remove "Key_engraver"
5630 StaffSymbol \set #'transparent = ##t
5631 \remove "Time_signature_engraver"
5632 \remove "Bar_engraver"
5633 minimumVerticalExtent = ##f
5637 \remove Ligature_bracket_engraver
5638 \consists Vaticana_ligature_engraver
5639 NoteHead \set #'style = #'vaticana_punctum
5640 Stem \set #'transparent = ##t
5647 @code{11. Torculus Initio Debilis}
5649 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5650 \include "gregorian-init.ly"
5652 \notes \transpose c c' {
5653 % Torculus Initio Debilis
5654 \[ \deminutum a \pes b \flexa g \]
5661 \remove "Bar_number_engraver"
5665 \remove "Clef_engraver"
5666 \remove "Key_engraver"
5667 StaffSymbol \set #'transparent = ##t
5668 \remove "Time_signature_engraver"
5669 \remove "Bar_engraver"
5670 minimumVerticalExtent = ##f
5674 \remove Ligature_bracket_engraver
5675 \consists Vaticana_ligature_engraver
5676 NoteHead \set #'style = #'vaticana_punctum
5677 Stem \set #'transparent = ##t
5683 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5684 \include "gregorian-init.ly"
5686 \notes \transpose c c' {
5687 % Torculus Auctus Descendens Initio Debilis
5688 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
5695 \remove "Bar_number_engraver"
5699 \remove "Clef_engraver"
5700 \remove "Key_engraver"
5701 StaffSymbol \set #'transparent = ##t
5702 \remove "Time_signature_engraver"
5703 \remove "Bar_engraver"
5704 minimumVerticalExtent = ##f
5708 \remove Ligature_bracket_engraver
5709 \consists Vaticana_ligature_engraver
5710 NoteHead \set #'style = #'vaticana_punctum
5711 Stem \set #'transparent = ##t
5717 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5718 \include "gregorian-init.ly"
5720 \notes \transpose c c' {
5721 % Torculus Deminutus Initio Debilis
5722 \[ \deminutum a \pes b \flexa \deminutum g \]
5729 \remove "Bar_number_engraver"
5733 \remove "Clef_engraver"
5734 \remove "Key_engraver"
5735 StaffSymbol \set #'transparent = ##t
5736 \remove "Time_signature_engraver"
5737 \remove "Bar_engraver"
5738 minimumVerticalExtent = ##f
5742 \remove Ligature_bracket_engraver
5743 \consists Vaticana_ligature_engraver
5744 NoteHead \set #'style = #'vaticana_punctum
5745 Stem \set #'transparent = ##t
5752 @code{12. Porrectus}
5754 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5755 \include "gregorian-init.ly"
5757 \notes \transpose c c' {
5759 \[ a \flexa g \pes b \]
5766 \remove "Bar_number_engraver"
5770 \remove "Clef_engraver"
5771 \remove "Key_engraver"
5772 StaffSymbol \set #'transparent = ##t
5773 \remove "Time_signature_engraver"
5774 \remove "Bar_engraver"
5775 minimumVerticalExtent = ##f
5779 \remove Ligature_bracket_engraver
5780 \consists Vaticana_ligature_engraver
5781 NoteHead \set #'style = #'vaticana_punctum
5782 Stem \set #'transparent = ##t
5788 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5789 \include "gregorian-init.ly"
5791 \notes \transpose c c' {
5792 % Porrectus Auctus Descendens
5793 \[ a \flexa g \pes \auctum \descendens b \]
5800 \remove "Bar_number_engraver"
5804 \remove "Clef_engraver"
5805 \remove "Key_engraver"
5806 StaffSymbol \set #'transparent = ##t
5807 \remove "Time_signature_engraver"
5808 \remove "Bar_engraver"
5809 minimumVerticalExtent = ##f
5813 \remove Ligature_bracket_engraver
5814 \consists Vaticana_ligature_engraver
5815 NoteHead \set #'style = #'vaticana_punctum
5816 Stem \set #'transparent = ##t
5822 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5823 \include "gregorian-init.ly"
5825 \notes \transpose c c' {
5826 % Porrectus Deminutus
5827 \[ a \flexa g \pes \deminutum b \]
5834 \remove "Bar_number_engraver"
5838 \remove "Clef_engraver"
5839 \remove "Key_engraver"
5840 StaffSymbol \set #'transparent = ##t
5841 \remove "Time_signature_engraver"
5842 \remove "Bar_engraver"
5843 minimumVerticalExtent = ##f
5847 \remove Ligature_bracket_engraver
5848 \consists Vaticana_ligature_engraver
5849 NoteHead \set #'style = #'vaticana_punctum
5850 Stem \set #'transparent = ##t
5859 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5860 \include "gregorian-init.ly"
5862 \notes \transpose c c' {
5864 \[ \virga b \inclinatum a \inclinatum g \]
5871 \remove "Bar_number_engraver"
5875 \remove "Clef_engraver"
5876 \remove "Key_engraver"
5877 StaffSymbol \set #'transparent = ##t
5878 \remove "Time_signature_engraver"
5879 \remove "Bar_engraver"
5880 minimumVerticalExtent = ##f
5884 \remove Ligature_bracket_engraver
5885 \consists Vaticana_ligature_engraver
5886 NoteHead \set #'style = #'vaticana_punctum
5887 Stem \set #'transparent = ##t
5893 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5894 \include "gregorian-init.ly"
5896 \notes \transpose c c' {
5898 \[ \virga b \inclinatum a \inclinatum \auctum g \]
5905 \remove "Bar_number_engraver"
5909 \remove "Clef_engraver"
5910 \remove "Key_engraver"
5911 StaffSymbol \set #'transparent = ##t
5912 \remove "Time_signature_engraver"
5913 \remove "Bar_engraver"
5914 minimumVerticalExtent = ##f
5918 \remove Ligature_bracket_engraver
5919 \consists Vaticana_ligature_engraver
5920 NoteHead \set #'style = #'vaticana_punctum
5921 Stem \set #'transparent = ##t
5927 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5928 \include "gregorian-init.ly"
5930 \notes \transpose c c' {
5931 % Climacus Deminutus
5932 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
5939 \remove "Bar_number_engraver"
5943 \remove "Clef_engraver"
5944 \remove "Key_engraver"
5945 StaffSymbol \set #'transparent = ##t
5946 \remove "Time_signature_engraver"
5947 \remove "Bar_engraver"
5948 minimumVerticalExtent = ##f
5952 \remove Ligature_bracket_engraver
5953 \consists Vaticana_ligature_engraver
5954 NoteHead \set #'style = #'vaticana_punctum
5955 Stem \set #'transparent = ##t
5962 @code{14. Scandicus}
5964 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5965 \include "gregorian-init.ly"
5967 \notes \transpose c c' {
5969 \[ g \pes a \virga b \]
5976 \remove "Bar_number_engraver"
5980 \remove "Clef_engraver"
5981 \remove "Key_engraver"
5982 StaffSymbol \set #'transparent = ##t
5983 \remove "Time_signature_engraver"
5984 \remove "Bar_engraver"
5985 minimumVerticalExtent = ##f
5989 \remove Ligature_bracket_engraver
5990 \consists Vaticana_ligature_engraver
5991 NoteHead \set #'style = #'vaticana_punctum
5992 Stem \set #'transparent = ##t
5998 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5999 \include "gregorian-init.ly"
6001 \notes \transpose c c' {
6002 % Scandicus Auctus Descendens
6003 \[ g \pes a \pes \auctum \descendens b \]
6010 \remove "Bar_number_engraver"
6014 \remove "Clef_engraver"
6015 \remove "Key_engraver"
6016 StaffSymbol \set #'transparent = ##t
6017 \remove "Time_signature_engraver"
6018 \remove "Bar_engraver"
6019 minimumVerticalExtent = ##f
6023 \remove Ligature_bracket_engraver
6024 \consists Vaticana_ligature_engraver
6025 NoteHead \set #'style = #'vaticana_punctum
6026 Stem \set #'transparent = ##t
6032 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6033 \include "gregorian-init.ly"
6035 \notes \transpose c c' {
6036 % Scandicus Deminutus
6037 \[ g \pes a \pes \deminutum b \]
6044 \remove "Bar_number_engraver"
6048 \remove "Clef_engraver"
6049 \remove "Key_engraver"
6050 StaffSymbol \set #'transparent = ##t
6051 \remove "Time_signature_engraver"
6052 \remove "Bar_engraver"
6053 minimumVerticalExtent = ##f
6057 \remove Ligature_bracket_engraver
6058 \consists Vaticana_ligature_engraver
6059 NoteHead \set #'style = #'vaticana_punctum
6060 Stem \set #'transparent = ##t
6069 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6070 \include "gregorian-init.ly"
6072 \notes \transpose c c' {
6074 \[ g \oriscus a \pes \virga b \]
6081 \remove "Bar_number_engraver"
6085 \remove "Clef_engraver"
6086 \remove "Key_engraver"
6087 StaffSymbol \set #'transparent = ##t
6088 \remove "Time_signature_engraver"
6089 \remove "Bar_engraver"
6090 minimumVerticalExtent = ##f
6094 \remove Ligature_bracket_engraver
6095 \consists Vaticana_ligature_engraver
6096 NoteHead \set #'style = #'vaticana_punctum
6097 Stem \set #'transparent = ##t
6103 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6104 \include "gregorian-init.ly"
6106 \notes \transpose c c' {
6107 % Salicus Auctus Descendens
6108 \[ g \oriscus a \pes \auctum \descendens b \]
6115 \remove "Bar_number_engraver"
6119 \remove "Clef_engraver"
6120 \remove "Key_engraver"
6121 StaffSymbol \set #'transparent = ##t
6122 \remove "Time_signature_engraver"
6123 \remove "Bar_engraver"
6124 minimumVerticalExtent = ##f
6128 \remove Ligature_bracket_engraver
6129 \consists Vaticana_ligature_engraver
6130 NoteHead \set #'style = #'vaticana_punctum
6131 Stem \set #'transparent = ##t
6141 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6142 \include "gregorian-init.ly"
6144 \notes \transpose c c' {
6146 \[ \stropha b \stropha b \stropha a \]
6153 \remove "Bar_number_engraver"
6157 \remove "Clef_engraver"
6158 \remove "Key_engraver"
6159 StaffSymbol \set #'transparent = ##t
6160 \remove "Time_signature_engraver"
6161 \remove "Bar_engraver"
6162 minimumVerticalExtent = ##f
6166 \remove Ligature_bracket_engraver
6167 \consists Vaticana_ligature_engraver
6168 NoteHead \set #'style = #'vaticana_punctum
6169 Stem \set #'transparent = ##t
6180 Unlike most other neumes notation systems, the input language for
6181 neumes does not necessarily reflect directly the typographical
6182 appearance, but is designed to solely focuse on musical meaning. For
6183 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6184 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6185 a torculus with a curved flexa shape and only a single Punctum head.
6186 There is no command to explicitly typeset the curved flexa shape; the
6187 decision of when to typeset a curved flexa shape is purely taken from
6188 the musical input. The idea of this approach is to separate the
6189 musical aspects of the input from the notation style of the output.
6190 This way, the same input can be reused to typeset the same music in a
6191 different style of Gregorian chant notation such as Hufnagel (also
6192 known as German gothic neumes) or Medicaea (kind of a very simple
6193 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6194 engraver and Medicaea ligature engraver will have been implemented, it
6195 will be as simple as replacing the ligature engraver in the
6196 VoiceContext to get the desired notation style from the same input.
6198 The following table shows the code fragments that produce the
6199 ligatures in the above neumes table. The letter in the first column
6200 in each line of the below table indicates to which ligature in the
6201 above table it refers. The second column gives the name of the
6202 ligature. The third column shows the code fragment that produces this
6203 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6205 @multitable @columnfractions .1 .4 .5
6219 Punctum Inclinatum @tab
6220 @code{\[ \inclinatum b \]}
6224 Punctum Auctum Ascendens @tab
6225 @code{\[ \auctum \ascendens b \]}
6229 Punctum Auctum Descendens @tab
6230 @code{\[ \auctum \descendens b \]}
6234 Punctum Inclinatum Auctum @tab
6235 @code{\[ \inclinatum \auctum b \]}
6239 Punctum Inclinatum Parvum @tab
6240 @code{\[ \inclinatum \deminutum b \]}
6245 @code{\[ \virga b \]}
6250 @code{\[ \stropha b \]}
6255 @code{\[ \stropha \auctum b \]}
6260 @code{\[ \oriscus b \]}
6264 Clivis vel Flexa @tab
6265 @code{\[ b \flexa g \]}
6269 Clivis Aucta Descendens @tab
6270 @code{\[ b \flexa \auctum \descendens g \]}
6274 Clivis Aucta Ascendens @tab
6275 @code{\[ b \flexa \auctum \ascendens g \]}
6280 @code{\[ b \flexa \deminutum g \]}
6284 Podatus vel Pes @tab
6285 @code{\[ g \pes b \]}
6289 Pes Auctus Descendens @tab
6290 @code{\[ g \pes \auctum \descendens b \]}
6294 Pes Auctus Ascendens @tab
6295 @code{\[ g \pes \auctum \ascendens b \]}
6300 @code{\[ g \pes \deminutum b \]}
6305 @code{\[ \oriscus g \pes \virga b \]}
6309 Pes Quassus Auctus Descendens @tab
6310 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6315 @code{\[ \quilisma g \pes b \]}
6319 Quilisma Pes Auctus Descendens @tab
6320 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6324 Pes Initio Debilis @tab
6325 @code{\[ \deminutum g \pes b \]}
6329 Pes Auctus Descendens Initio Debilis @tab
6330 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6335 @code{\[ a \pes b \flexa g \]}
6339 Torculus Auctus Descendens @tab
6340 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6344 Torculus Deminutus @tab
6345 @code{\[ a \pes b \flexa \deminutum g \]}
6349 Torculus Initio Debilis @tab
6350 @code{\[ \deminutum a \pes b \flexa g \]}
6354 Torculus Auctus Descendens Initio Debilis @tab
6355 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6359 Torculus Deminutus Initio Debilis @tab
6360 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6365 @code{\[ a \flexa g \pes b \]}
6369 Porrectus Auctus Descendens @tab
6370 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6374 Porrectus Deminutus @tab
6375 @code{\[ a \flexa g \pes \deminutum b \]}
6380 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6384 Climacus Auctus @tab
6385 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6389 Climacus Deminutus @tab
6390 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6395 @code{\[ g \pes a \virga b \]}
6399 Scandicus Auctus Descendens @tab
6400 @code{\[ g \pes a \pes \auctum \descendens b \]}
6404 Scandicus Deminutus @tab
6405 @code{\[ g \pes a \pes \deminutum b \]}
6410 @code{\[ g \oriscus a \pes \virga b \]}
6414 Salicus Auctus Descendens @tab
6415 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6420 @code{\[ \stropha b \stropha b \stropha a \]}
6426 Use special heads for lower/upper head of Pes only when heads are
6429 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
6430 Semivocalis head; this looks awful.
6432 Trigonus: apply equal spacing, regardless of pitch.
6435 @subsection Figured bass
6437 @cindex Basso continuo
6439 @c TODO: musicological blurb about FB
6443 LilyPond has limited support for figured bass:
6445 @lilypond[verbatim,fragment]
6447 \context Voice \notes { \clef bass dis4 c d ais}
6448 \context FiguredBass
6450 < 6 >4 < 7 >8 < 6+ [_!] >
6456 The support for figured bass consists of two parts: there is an input
6457 mode, introduced by @code{\figures}, where you can enter bass figures
6458 as numbers, and there is a context called @internalsref{FiguredBass}
6459 that takes care of making @internalsref{BassFigure} objects.
6461 In figures input mode, a group of bass figures is delimited by
6462 @code{<} and @code{>}. The duration is entered after the @code{>}.
6467 \context FiguredBass
6471 Accidentals are added to the numbers if you alterate them by
6472 appending @code{-}, @code{!} and @code{+}.
6478 \context FiguredBass
6479 \figures { <4- 6+ 7!> }
6482 Spaces or dashes may be inserted by using @code{_}. Brackets are
6483 introduced with @code{[} and @code{]}.
6489 \context FiguredBass
6490 \figures { < [4 6] 8 [_ 12]> }
6493 Although the support for figured bass may superficially resemble chord
6494 support, it works much simpler. The @code{\figures} mode simply
6495 stores the numbers , and @internalsref{FiguredBass} context prints
6496 them as entered. There is no conversion to pitches, and no
6497 realizations of the bass are played in the MIDI file.
6499 Internally, the code produces markup texts. You can use any of the
6500 markup text properties to override formatting. For example, the
6501 vertical spacing of the figures may be set with @code{baseline-skip}.
6505 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} grob,
6506 @internalsref{FiguredBass} context
6510 Slash notation for alterations is not supported.
6513 @node Contemporary notation
6514 @section Contemporary notation
6516 In the 20th century, composers have greatly expanded the musical
6517 vocabulary. With this expansion, many innovations in musical notation
6518 have been tried. For a comprehensive overview, refer to @cite{Stone
6519 1980} (see @ref{Literature}). In general, the use of new, innovative
6520 notation makes a piece harder to understand and perform and its use
6521 should therefore be avoided if possible. For this reason, support for
6522 contemporary notation in LilyPond is limited.
6531 @subsection Clusters
6535 In musical terminology, a @emph{cluster} denotes a range of
6536 simultaneously sounding pitches that may change over time. The set of
6537 available pitches to apply usually depends on the accoustic source.
6538 Thus, in piano music, a cluster typically consists of a continous range
6539 of the semitones as provided by the piano's fixed set of a chromatic
6540 scale. In choral music, each singer of the choir typically may sing an
6541 arbitrary pitch within the cluster's range that is not bound to any
6542 diatonic, chromatic or other scale. In electronic music, a cluster
6543 (theoretically) may even cover a continuous range of pitches, thus
6544 resulting in coloured noise, such as pink noise.
6546 Clusters can be denoted in the context of ordinary staff notation by
6547 engraving simple geometrical shapes that replace ordinary notation of
6548 notes. Ordinary notes as musical events specify starting time and
6549 duration of pitches; however, the duration of a note is expressed by the
6550 shape of the note head rather than by the horizontal graphical extent of
6551 the note symbol. In contrast, the shape of a cluster geometrically
6552 describes the development of a range of pitches (vertical extent) over
6553 time (horizontal extent). Still, the geometrical shape of a cluster
6554 covers the area in wich any single pitch contained in the cluster would
6555 be notated as an ordinary note. From this point of view, it is
6556 reasonable to specify a cluster as the envelope of a set of notes.
6560 A cluster is engraved as the envelope of a set of notes. The starting
6561 note is marked with @code{\startCluster}, and the ending note with
6562 @code{\stopCluster}, e.g.,
6570 The following example (from
6571 @inputfileref{input/regression,cluster.ly}) shows what the result
6574 @lilypondfile[notexidoc]{cluster.ly}
6576 By default, @internalsref{Cluster_engraver} is in the
6577 @internalsref{Voice} context. This allows putting ordinary notes and
6578 clusters together in the same staff, even simultaneously. In such a
6579 case no attempt is made to automatically avoid collisions between
6580 ordinary notes and clusters.
6584 @internalsref{Cluster}, @inputfileref{input/regression,cluster.ly},
6585 @internalsref{Cluster_engraver}, @internalsref{ClusterEvent}.
6589 When a cluster is active, note heads must be switched off manually using
6592 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
6593 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
6598 @subsection Fermatas
6604 Contemporary music notation frequently uses special fermata symbols to
6605 indicate fermatas of differing lengths.
6609 The following are supported
6611 @lilypond[singleline]
6634 \context Lyrics \lyrics {
6635 "shortfermata" "fermata" "longfermata" "verylongfermata"
6640 See @ref{Articulations} for general instructions how to apply scripts
6641 such as fermatas to a @code{\notes@{@}} block.
6644 @section Tuning output
6646 There are situations where default layout decisions are not
6647 sufficient. In this section we discuss ways to override these
6650 Formatting is internally done by manipulating so called objects (graphic
6651 objects). Each object carries with it a set of properties (object
6652 properties) specific to that object. For example, a stem object has
6653 properties that specify its direction, length and thickness.
6655 The most direct way of tuning the output is by altering the values of
6656 these properties. There are two ways of doing that: first, you can
6657 temporarily change the definition of one type of object, thus
6658 affecting a whole set of objects. Second, you can select one specific
6659 object, and set a object property in that object.
6663 * Constructing a tweak::
6672 @node Tuning objects
6673 @subsection Tuning objects
6675 @cindex object description
6677 The definition of an object is actually a list of default object
6678 properties. For example, the definition of the Stem object (available
6679 in @file{scm/grob-description.scm}), includes the following definitions for
6684 (beamed-lengths . (0.0 2.5 2.0 1.5))
6685 (Y-extent-callback . ,Stem::height)
6690 By adding variables on top of these existing definitions, the system
6691 defaults is overriden, and the appearance of a layout objects is
6697 Changing a variable for only one object is commonly achieved with
6701 \once \property @var{context}.@var{grobname}
6702 \override @var{symbol} = @var{value}
6704 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
6705 and @var{grobname} is a string and @var{value} is a Scheme expression.
6706 This command applies a setting only during one moment in the score.
6708 In the following example, only one @internalsref{Stem} object is
6709 changed from its original setting:
6711 @lilypond[verbatim, fragment, relative=1]
6713 \once \property Voice.Stem \set #'thickness = #4
6717 @cindex @code{\once}
6719 For changing more objects, the same command, without @code{\once} can
6722 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
6724 This command adds @code{@var{symbol} = @var{value}} to the definition
6725 of @var{grobname} in the context @var{context}, and this definition
6726 stays in place until it is removed.
6728 An existing definition may be removed by the following command
6731 \property @var{context}.@var{grobname} \revert @var{symbol}
6734 All @code{\override} and @code{\revert} commands should be balanced.
6735 The @code{\set} shorthand, performs a revert followed by an override,
6736 and is often more convenient to use
6739 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
6743 @lilypond[verbatim,quote]
6744 c'4 \property Voice.Stem \override #'thickness = #4.0
6746 c'4 \property Voice.Stem \revert #'thickness
6750 The following example gives exactly the same result as the previous
6751 one (assuming the system default for stem thickness is 1.3).
6753 @lilypond[verbatim,quote]
6754 c'4 \property Voice.Stem \set #'thickness = #4.0
6756 c'4 \property Voice.Stem \set #'thickness = #1.3
6760 Reverting a setting which was not set in the first place has no
6761 effect. However, if the setting was set as a system default, this may
6762 remove the default value, and this may give surprising results,
6763 including crashes. In other words, @code{\override} and
6764 @code{\revert} must be carefully balanced.
6766 These are examples of correct nesting of @code{\override}, @code{\set},
6769 A clumsy but correct form:
6771 \override \revert \override \revert \override \revert
6774 Shorter version of the same:
6776 \override \set \set \revert
6779 A short form, using only @code{\set}. This requires you to know the
6782 \set \set \set \set @var{to default value}
6785 If there is no default (i.e. by default, the object property is unset),
6788 \set \set \set \revert
6791 For the digirati, the object description is an Scheme association
6792 list. Since a Scheme list is a singly linked list, we can treat it as
6793 a stack, and @code{\override} and @code{\revert} are push and pop
6794 operations. The association list is stored in a normal context
6797 \property Voice.NoteHead = #'()
6799 will effectively erase @internalsref{NoteHead}s from the current
6800 @internalsref{Voice}. However, this mechanism is not guaranteed to
6801 work, and may cause crashes or other anomalous behavior.
6805 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
6806 @internalsref{PropertySet}, @internalsref{backend properties},
6807 @internalsref{All layout objects}.
6812 The backend is not very strict in type-checking object properties.
6813 Cyclic references in @var{value} cause hangs and/or crashes.
6814 Similarly, reverting properties that are system defaults may also lead
6817 @node Constructing a tweak
6818 @subsection Constructing a tweak
6821 @cindex internal documentation
6822 @cindex finding graphical objects
6823 @cindex graphical object descriptions
6825 @cindex @code{\override}
6827 @cindex internal documentation
6831 Using @code{\override} and @code{\set}, requires three pieces of
6832 information: the name of the layout object, the context and the name
6833 of the property. We demonstrate how to glean this information from
6834 the notation manual and the generated documentation.
6836 The generated documentation is a set of HTML pages which should be
6837 included if you installed a binary distribution, typically in
6838 @file{/usr/share/doc/lilypond}. They are also available on the web:
6839 go to the @uref{LilyPond website,http://lilypond.org}, click
6840 ``Documentation: Index'' on the side bar, look in the ``Information
6841 for users'' section, and click on ``Documentation of internals.'' It
6842 is advisable to bookmark either the local HTML files if possilbe. They
6843 will load faster than the ones on the web. If you use the version
6844 from the web, you must check whether the documentation matches the
6845 program version: the documentation is generated from the definitions
6846 that the program uses, and therefore it is strongly tied to the
6850 @c [TODO: revise for new site.]
6852 Suppose we want to move the fingering indication in the fragment below
6853 @lilypond[relative=2]
6859 If you visit the documentation of @code{Fingering} (in @ref{Fingering
6860 instructions}), you will notice that it says
6865 @internalsref{FingerEvent} and @internalsref{Fingering}.
6868 This implies that the fingerings, once entered, are internally stored
6869 as @code{FingerEvent} music objects. When printed, a @code{Fingering}
6870 layout object is created for every @code{FingerEvent}.
6873 When we follow the link of @internalsref{Fingering},
6876 When we look up @internalsref{Fingering} in the generated
6879 we see a list of interfaces. The Fingering object has a number of
6880 different functions, and each of those is captured in an interface.
6882 The @code{Fingering} object has a fixed size
6883 (@internalsref{item-interface}), the symbol is a piece of text
6884 (@internalsref{text-interface}), whose font can be set
6885 (@internalsref{font-interface}). It is centered horizontally
6886 (@internalsref{self-alignment-interface}), it is placed next to other
6887 objects (@internalsref{side-position-interface}) vertically, and its
6888 placement is coordinated with other scripts
6889 (@internalsref{text-script-interface}). It also has the standard
6890 @internalsref{grob-interface} with all the variables that come with
6891 it. Finally, it denotes a fingering instruction, so it has
6892 @internalsref{finger-interface}.
6894 For the vertical placement, we have to look under
6895 @code{side-position-interface}.
6897 side-position-interface
6899 Position a victim object (this one) next to other objects (the
6900 support). In this case, the direction signifies where to put the
6901 victim object relative to the support (left or right, up or down?)
6903 below this description, the variable @code{padding} is described as
6907 (dimension, in staff space)
6909 add this much extra space between objects that are next to each
6910 other. Default value: @code{0.6}
6914 By increasing the value of @code{padding}, we can move away the
6915 fingering. The following command inserts 3 staff spaces of white
6916 between the note and the fingering
6918 \once \property Voice.Fingering \set #'padding = #3
6921 Before the object is created, we get
6922 @lilypond[relative=2,fragment]
6923 \once \property Voice.Fingering
6930 The context name @code{Voice} in the example above can be determined
6931 as follows. In the documentation for @internalsref{Fingering}, it says
6933 Fingering grobs are created by: @internalsref{Fingering_engraver}
6936 Clicking @code{Fingering_engraver} shows the documentation of
6937 the module responsible for interpreting the fingering instructions and
6938 translating them to a @code{Fingering} object. Such a module is called
6939 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
6942 Fingering_engraver is part of contexts: Voice and TabVoice
6944 so tuning the settings for Fingering should be done using either
6946 \property Voice.Fingering \set @dots{}
6950 \property TabVoice.Fingering \set @dots{}
6953 Since the @code{TabVoice} is only used for tab notation, we see that
6954 the first guess @code{Voice} was indeed correct.
6956 Of course, the tweak may also done in a larger context than
6957 @code{Voice}, for example, @internalsref{Staff} or
6958 @internalsref{Score}.
6960 The internals document also contains alphabetical lists of
6961 @internalsref{All contexts}, @internalsref{All layout objects} and
6962 @internalsref{All music types}, so you can also find which objects to
6963 tweak by browsing the internals document.
6967 @subsection Applyoutput
6969 The most versatile way of tuning object is @code{\applyoutput}. Its
6972 \applyoutput @var{proc}
6974 where @var{proc} is a Scheme function, taking four arguments.
6976 When interpreted, the function @var{proc} is called for every grob found
6977 in the context, with the following arguments:
6979 @item the grob itself
6980 @item the context where the grob was created
6981 @item the context where @code{\applyoutput} is processed.
6984 In addition, the cause of the grob, i.e. the music expression or object
6985 that was responsible for creating the object, is in the object property
6986 @code{cause}. For example, for a note head, this is a
6987 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
6988 this is a @internalsref{NoteHead} object.
6991 @node Outputproperty
6992 @subsection Outputproperty
6994 @cindex \outputproperty
6996 Another way of tuning objects is the more arcane @code{\outputproperty}
6997 feature. The syntax is as follows:
6999 \outputproperty @var{predicate} @var{symbol} = @var{value}
7001 Here @code{predicate} is a Scheme function taking an object argument, and
7002 returning a boolean. This statement is processed by the
7003 @code{Output_property_engraver}. It instructs the engraver to feed all
7004 objects that it sees to @var{predicate}. Whenever the predicate returns
7005 true, the object property @var{symbol} will be set to @var{value}.
7007 You will need to combine this statement with @code{\context} to select
7008 the appropriate context to apply this to.
7009 @inputfileref{input/regression,output-property.ly} shows an example of
7010 the use of @code{\outputproperty}.
7014 If possible, avoid this feature: the semantics are not very clean, and
7015 the syntax and semantics are up for rewrite.
7018 @node Font selection
7019 @subsection Font selection
7021 The most common thing to change about the appearance of fonts is
7022 their size. The font size of any context can be easily
7023 changed by setting the @code{fontSize} property for that context:
7025 @lilypond[fragment,relative=1,verbatim,quote]
7026 c4 c4 \property Voice.fontSize = #-1
7029 This command will set @code{font-relative-size} (see below),
7030 and does not change the size of variable symbols, such as
7031 beams or slurs. You can use this command to get smaller symbol for
7032 cue notes, but that involves some more subtleties. An elaborate
7033 example of those is in @inputfileref{input/test,cue-notes.ly}.
7035 @cindex magnification
7037 The size of the font may be scaled with the object property
7038 @code{font-magnification}. For example, @code{2.0} blows up all
7039 letters by a factor 2 in both directions.
7048 The font used for printing a object can be selected by setting
7049 @code{font-name}, e.g.
7051 \property Staff.TimeSignature
7052 \set #'font-name = #"cmr17"
7054 You may use any font which is available to @TeX{}, such as foreign
7055 fonts or fonts that do not belong to the Computer Modern font family.
7057 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7058 can also be adjusted with a more fine-grained mechanism. By setting
7059 the object properties described below, you can select a different font.
7060 All three mechanisms work for every object that supports
7061 @code{font-interface}.
7065 A symbol indicating the general class of the typeface. Supported are
7066 @code{roman} (Computer Modern), @code{braces} (for piano staff
7067 braces), @code{music} (the standard music font, including ancient
7068 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7071 A symbol indicating the shape of the font, there are typically several
7072 font shapes available for each font family. Choices are @code{italic},
7073 @code{caps} and @code{upright}
7076 A symbol indicating the series of the font. There are typically several
7077 font series for each font family and shape. Choices are @code{medium}
7080 @item font-relative-size
7081 A number indicating the size relative the standard size. For example,
7082 with 20pt staff height, relative size -1 corresponds to 16pt staff
7083 height, and relative size +1 corresponds to 23 pt staff height.
7085 There are small differences in design between fonts designed for
7086 different sizes, hence @code{font-relative-size} is preferred over
7087 @code{font-magnification} for changing font sizes.
7090 @item font-design-size
7091 A number indicating the design size of the font.
7093 This is a feature of the Computer Modern Font: each point size has a
7094 slightly different design. Smaller design sizes are relatively wider,
7095 which enhances readability.
7098 For any of these properties, the value @code{*} (i.e. the symbol
7099 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7100 to override default setting, which are always present. For example:
7102 \property Lyrics.LyricText \override #'font-series = #'bold
7103 \property Lyrics.LyricText \override #'font-family = #'typewriter
7104 \property Lyrics.LyricText \override #'font-shape = #'*
7107 @cindex @code{font-style}
7111 The following commands set @code{fontSize} for the current voice.
7115 @refcommand normalsize
7119 Relative size is not linked to any real size.
7121 There is no style sheet provided for other fonts besides the @TeX{}
7122 family, and the style sheet cannot be modified easily.
7124 @cindex font selection
7125 @cindex font magnification
7126 @cindex @code{font-interface}
7130 @subsection Text markup
7135 @cindex typeset text
7137 LilyPond has an internal mechanism to typeset texts. You can access it
7138 with the keyword @code{\markup}. Within markup mode, you can enter texts
7139 similar to lyrics: simply enter them, surrounded by spaces.
7142 @lilypond[verbatim,fragment,relative=1]
7143 c1^\markup { hello }
7144 c1_\markup { hi there }
7145 c1^\markup { hi \bold there, is \italic anyone home? }
7148 @cindex font switching
7150 The line of the example demonstrates font switching commands. The
7151 command only apply to the first following word; enclose a set of texts
7152 with braces to apply a command to more words.
7154 \markup @{ \bold @{ hi there @} @}
7156 For clarity, you can also do this for single arguments, e.g.
7158 \markup @{ is \italic @{ anyone @} home @}
7161 @cindex font size, texts
7163 The following size commands set abolute sizes
7179 You can also make letter larger or smaller relative to their neighbors,
7180 with the commands @code{\larger} and @code{\smaller}.
7184 @cindex font style, for texts
7190 The following font change commands are defined:
7193 This changes to the font used for dynamic signs. This font does not
7194 contain all characters of the alphabet, so when producing ``piu f'',
7195 the ``piu'' should be done in a different font.
7199 This changes to the font used for time signatures. It only contains
7200 numbers and a few punctuation marks.
7202 Changes @code{font-shape} to @code{italic}
7204 Changes @code{font-series} to @code{bold}
7207 @cindex raising text
7208 @cindex lowering text
7210 @cindex translating text
7215 Raising and lowering texts can be done with @code{\super} and
7218 @lilypond[verbatim,fragment,relative=1]
7219 c1^\markup { E "=" mc \super "2" }
7224 If you want to give an explicit amount for lowering or raising, use
7225 @code{\raise}. This command takes a Scheme valued first argument, and
7226 a markup object as second argument
7228 @lilypond[verbatim,fragment,relative=1,quote]
7229 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7231 The argument to @code{\raise} is the vertical displacement amount,
7232 measured in (global) staff spaces.
7234 Other commands taking single arguments include
7237 @item \bracket, \hbracket
7238 Bracket the argument markup with normal and horizontal brackets
7243 This is converted to a musical symbol, e.g. @code{\musicglyph
7244 #"accidentals-0"} will select the natural sign from the music font.
7245 See @ref{The Feta font} for a complete listing of the possible glyphs.
7247 This produces a single character, e.g. @code{\char #65} produces the
7250 @item \hspace #@var{amount}
7252 This produces a invisible object taking horizontal space.
7254 \markup @{ A \hspace #2.0 B @}
7256 will put extra space between A and B, on top of the space that is
7257 normally inserted before elements on a line.
7259 @item \fontsize #@var{size}
7261 This sets the relative font size, eg.
7263 A \fontsize #2 @{ B C @} D
7267 This will enlarge the B and the C by two steps.
7268 @item \translate #(cons @var{x} @var{y})
7270 This translates an object. Its first argument is a cons of numbers
7272 A \translate #(cons 2 -3) @{ B C @} D
7274 This moves `B C' 2 spaces to the right, and 3 down.
7276 @item \magnify #@var{mag}
7278 This sets the font magnification for the its argument. In the following
7279 example, the middle A will be 10% larger.
7281 A \magnify #1.1 @{ A @} A
7285 @item \override #(@var{key} . @var{value})
7287 This overrides a formatting property for its argument. The argument
7288 should be a key/value pair, e.g.
7290 m \override #'(font-family . math) m m
7294 In markup mode you can compose expressions, similar to mathematical
7295 expressions, XML documents and music expressions. The braces group
7296 notes into horizontal lines. Other types of lists also exist: you can
7297 stack expressions grouped with @code{<<}, and @code{>>} vertically with
7298 the command @code{\column}. Similarly, @code{\center} aligns texts by
7301 @lilypond[verbatim,fragment,relative=1]
7302 c1^\markup { \column << a bbbb c >> }
7303 c1^\markup { \center << a bbbb c >> }
7304 c1^\markup { \line << a b c >> }
7307 The markup mechanism is extensible. Refer to
7308 @file{scm/new-markup.scm} for more information on extending the markup
7315 @internalsref{Markup functions}, @file{scm/new-markup.scm}
7322 Text layout is ultimately done by @TeX{}, which does kerning of
7323 letters. LilyPond does not account for kerning, so texts will be
7324 spaced slightly too wide.
7326 Syntax errors for markup mode are confusing.
7330 @section Global layout
7332 The global layout determined by three factors: the page layout, the
7333 line breaks and the spacing. These all influence each other. The
7334 choice of spacing determines how densely each system of music is set,
7335 which influences where line breaks breaks are chosen, and thus
7336 ultimately how many pages a piece of music takes. In this section, the
7337 algorithm for spacing music is explained, and how spacing can be
7340 Globally spoken, this procedure happens in three steps: first,
7341 flexible distances (``springs'') are chosen, based on durations. All
7342 possible line breaking combination are tried, and the one with the
7343 best results---a layout that has uniform density and requires as
7344 little stretching or cramping as possible---is chosen. When the score
7345 is processed by @TeX{}, each page is filled with systems, and page breaks
7346 are chosen whenever the page gets full.
7351 * Vertical spacing::
7352 * Horizontal spacing::
7359 @node Vertical spacing
7360 @subsection Vertical spacing
7362 @cindex vertical spacing
7363 @cindex distance between staves
7364 @cindex staff distance
7365 @cindex between staves, distance
7366 @cindex staffs per page
7369 The height of each system is determined automatically by lilypond, to
7370 keep systems from bumping into each other, some minimum distances are
7371 set. By changing these, you can put staves closer together, and thus
7372 put more systems onto one page.
7374 Normally staves are stacked vertically. To make
7375 staves maintain a distance, their vertical size is padded. This is
7376 done with the property @code{minimumVerticalExtent}. It takes a pair
7377 of numbers, so if you want to make it smaller from its, then you could
7380 \property Staff.minimumVerticalExtent = #'(-4 . 4)
7382 This sets the vertical size of the current staff to 4 staff-space on
7383 either side of the center staff line. The argument of
7384 @code{minimumVerticalExtent} is interpreted as an interval, where the
7385 center line is the 0, so the first number is generally negative. The
7386 staff can be made larger at the bottom by setting it to @code{(-6
7389 The piano staves are handled a little differently: to make cross-staff
7390 beaming work correctly, it necessary that the distance between staves
7391 is fixed beforehand. This is also done with a
7392 @internalsref{VerticalAlignment} object, created in
7393 @internalsref{PianoStaff}. In this object the distance between the
7394 staves is fixed by setting @code{forced-distance}. If you want to
7395 override this, use a @code{\translator} block as follows:
7399 VerticalAlignment \override #'forced-distance = #9
7402 This would bring the staves together at a distance of 9 staff spaces,
7403 measured from the center line of each staff.
7407 Vertical aligment of staves is handled by the
7408 @internalsref{VerticalAlignment} object.
7412 @node Horizontal spacing
7413 @subsection Horizontal Spacing
7415 The spacing engine translates differences in durations into
7416 stretchable distances (``springs'') of differing lengths. Longer
7417 durations get more space, shorter durations get less. The shortest
7418 durations get a fixed amount of space (which is controlled by
7419 @code{shortest-duration-space} in the @internalsref{SpacingSpanner}
7420 object). The longer the duration, the more space it gets: doubling a
7421 duration adds a fixed amount (this amount is controlled by
7422 @code{spacing-increment}) of space to the note.
7424 For example, the following piece contains lots of half, quarter and
7425 8th notes, the eighth note is followed by 1 note head width (NHW).
7426 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
7427 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
7431 Normally, @code{shortest-duration-space} is set to 1.2, which is the
7432 width of a note head, and @code{shortest-duration-space} is set to
7433 2.0, meaning that the shortest note gets 2 NHW (2 times
7434 @code{shortest-duration-space}) of space. For normal notes, this space
7435 is always counted from the left edge of the symbol, so the shortest
7436 notes are generally followed by one NHW of space.
7438 If one would follow the above procedure exactly, then adding a single
7439 32th note to a score that uses 8th and 16th notes, would widen up the
7440 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
7441 thus adding 2 noteheads of space to every note. To prevent this, the
7442 shortest duration for spacing is not the shortest note in the score,
7443 but the most commonly found shortest note. Notes that are even
7444 shorter this are followed by a space that is proportonial to their
7445 duration relative to the common shortest note. So if we were to add
7446 only a few 16th notes to the example above, they would be followed by
7449 @lilypond[fragment, verbatim, relative=2]
7450 c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
7453 The most common shortest duration is determined as follows: in every
7454 measure, the shortest duration is determined. The most common short
7455 duration, is taken as the basis for the spacing, with the stipulation
7456 that this shortest duration should always be equal to or shorter than
7457 1/8th note. The shortest duration is printed when you run lilypond
7458 with @code{--verbose}. These durations may also be customized. If you
7459 set the @code{common-shortest-duration} in
7460 @internalsref{SpacingSpanner}, then this sets the base duration for
7461 spacing. The maximum duration for this base (normally 1/8th), is set
7462 through @code{base-shortest-duration}.
7464 @cindex @code{common-shortest-duration}
7465 @cindex @code{base-shortest-duration}
7466 @cindex @code{stem-spacing-correction}
7467 @cindex @code{spacing}
7469 In the introduction it was explained that stem directions influence
7470 spacing. This is controlled with @code{stem-spacing-correction}
7471 property in @internalsref{NoteSpacing}, which are generated for every
7472 @internalsref{Voice} context. The @code{StaffSpacing} object
7473 (generated at @internalsref{Staff} context) contains the same property
7474 for controlling the stem/barline spacing. The following example
7475 shows these corrections, once with default settings, and once with
7476 exaggerated corrections.
7482 \property Staff.NoteSpacing \override #'stem-spacing-correction
7484 \property Staff.StaffSpacing \override #'stem-spacing-correction
7489 \paper { raggedright = ##t } }
7492 @cindex SpacingSpanner, overriding properties
7494 Properties of the @internalsref{SpacingSpanner} must be overriden
7495 from the @code{\paper} block, since the @internalsref{SpacingSpanner}
7496 is created before any @code{\property} statements are interpreted.
7498 \paper @{ \translator @{
7500 SpacingSpanner \override #'spacing-increment = #3.0
7507 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
7508 @internalsref{StaffSpacing}, @internalsref{SeparationItem},
7509 @internalsref{SeparatingGroupSpanner}.
7513 Spacing is determined on a score wide basis. If you have a score that
7514 changes its character (measured in durations) halfway during the
7515 score, the part containing the longer durations will be spaced too
7518 There is no convenient mechanism to manually override spacing.
7523 @subsection Font size
7524 @cindex font size, setting
7525 @cindex staff size, setting
7526 @cindex @code{paper} file
7528 The Feta font provides musical symbols at seven different sizes.
7529 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
7530 26 point. The point size of a font is the height of the corresponding
7531 staff (excluding line thicknesses).
7533 Definitions for these sizes are the files @file{paperSZ.ly}, where
7534 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
7535 of these files, the variables @code{paperEleven},
7536 @code{paperThirteen}, @code{paperSixteen},
7537 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
7538 are defined respectively. The default @code{\paper} block is also
7539 set. These files should be imported at toplevel, i.e.
7541 \include "paper26.ly"
7545 The font definitions are generated using a Scheme function. For more
7546 details, see the file @file{scm/font.scm}.
7551 @subsection Line breaking
7554 @cindex breaking lines
7556 Line breaks are normally computed automatically. They are chosen such
7557 that lines look neither cramped nor loose, and that consecutive lines
7558 have similar density.
7560 Occasionally you might want to override the automatic breaks; you can
7561 do this by specifying @code{\break}. This will force a line break at
7562 this point. Line breaks can only occur at places where there are bar
7563 lines. If you want to have a line break where there is no bar line,
7564 you can force an invisible bar line by entering @code{\bar
7565 ""}. Similarly, @code{\noBreak} forbids a line break at a
7569 @cindex regular line breaks
7570 @cindex four bar music.
7572 If you want linebreaks at regular intervals, you can use the following:
7574 < \repeat unfold 7 @{ s1 * 4 \break @}
7575 @emph{the real music}
7578 This makes the following 28 measures (assuming 4/4 time) be broken every
7583 @internalsref{BreakEvent}
7587 @subsection Page layout
7590 @cindex breaking pages
7592 @cindex @code{indent}
7593 @cindex @code{linewidth}
7595 The most basic settings influencing the spacing are @code{indent} and
7596 @code{linewidth}. They are set in the @code{\paper} block. They
7597 control the indentation of the first line of music, and the lengths of
7600 If @code{raggedright} is set to true in the @code{\paper}
7601 block, then the lines are justified at their natural length. This
7602 useful for short fragments, and for checking how tight the natural
7606 @cindex vertical spacing
7608 The page layout process happens outside the LilyPond formatting
7609 engine: variables controlling page layout are passed to the output,
7610 and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
7611 to the following variables in the @code{\paper} block. The variable
7612 @code{textheight} sets the total height of the music on each page.
7613 The spacing between systems is controlled with @code{interscoreline},
7614 its default is 16pt. The distance between the score lines will
7615 stretch in order to fill the full page @code{interscorelinefill} is
7616 set to a positive number. In that case @code{interscoreline}
7617 specifies the minimum spacing.
7619 @cindex @code{textheight}
7620 @cindex @code{interscoreline}
7621 @cindex @code{interscorelinefill}
7623 If the variable @code{lastpagefill} is defined,
7624 @c fixme: this should only be done if lastpagefill == #t
7625 systems are evenly distributed vertically on the last page. This
7626 might produce ugly results in case there are not enough systems on the
7627 last page. The @command{lilypond-book} command ignores
7628 @code{lastpagefill}. See @ref{lilypond-book manual} for more
7631 @cindex @code{lastpagefill}
7633 Page breaks are normally computed by @TeX{}, so they are not under
7634 direct control of LilyPond. However, you can insert a commands into
7635 the @file{.tex} output to instruct @TeX{} where to break pages. This
7636 is done by setting the @code{between-systems-strings} on the
7637 @internalsref{NonMusicalPaperColumn} where the system is broken.
7638 An example is shown in @inputfileref{input/regression,between-systems.ly}.
7639 The predefined command @code{\newpage} also does this.
7643 @cindex @code{papersize}
7645 To change the paper size, you must first set the
7646 @code{papersize} paper variable variable. Set it to
7647 the strings @code{a4}, @code{letter}, or @code{legal}. After this
7648 specification, you must set the font as described above. If you want
7649 the default font, then use the 20 point font.
7652 \paper@{ papersize = "a4" @}
7653 \include "paper16.ly"
7656 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
7657 will set the paper variables @code{hsize} and @code{vsize} (used by
7658 Lilypond and @code{ly2dvi})
7668 @ref{Invoking ly2dvi},
7669 @inputfileref{input/regression,between-systems.ly},
7670 @internalsref{NonMusicalPaperColumn}.
7674 There is no concept of page breaking, which makes it difficult to
7675 choose sensible page breaks in multi-page pieces.
7684 Entered music can also be converted to MIDI output. The performance
7685 is good enough for proof-hearing the music for errors.
7687 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7688 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7689 marks translate to a fixed fraction of the available MIDI volume
7690 range, crescendi and decrescendi make the volume vary linearly between
7691 their two extremities. The fractions be adjusted by
7692 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7693 For each type of MIDI instrument, a volume range can be defined. This
7694 gives you basic equalizer control, which can enhance the quality of
7695 the MIDI output remarkably. The equalizer can be controlled by
7696 setting @code{instrumentEqualizer}.
7700 Many musically interesting effects, such as swing, articulation,
7701 slurring, etc., are not translated to MIDI.
7706 * MIDI instrument names::
7711 @subsection MIDI block
7715 The MIDI block is analogous to the paper block, but it is somewhat
7716 simpler. The @code{\midi} block can contain:
7720 @item a @code{\tempo} definition
7721 @item context definitions
7724 Assignments in the @code{\midi} block are not allowed.
7728 @cindex context definition
7730 Context definitions follow precisely the same syntax as within the
7731 \paper block. Translation modules for sound are called performers.
7732 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7735 @node MIDI instrument names
7736 @subsection MIDI instrument names
7738 @cindex instrument names
7739 @cindex @code{Staff.midiInstrument}
7740 @cindex @code{Staff.instrument}
7742 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7743 property or, if that property is not set, the @code{Staff.instrument}
7744 property. The instrument name should be chosen from the list in
7745 @ref{MIDI instruments}.
7749 If the selected string does not exactly match, then LilyPond uses the
7750 default (Grand Piano). It is not possible to select an instrument by