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
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
22 <!--- @@WEB-TITLE@@=Reference Manual --->
25 This document describes GNU LilyPond and its input format. The last
26 revision of this document was made for LilyPond 1.4.1. It supposes a
27 passing familiarity with how LilyPond input works. New users are
28 encouraged to study the tutorial first.
33 * Easier music entry::
52 @c FIXME: Note entry vs Music entry at top level menu is confusing.
58 The most basic forms of music are notes. Notes on their own don't
59 form valid input, but for the sake of brevity we omit @code{\score}
60 blocks and @code{\paper} declarations.
66 * Chromatic alterations::
71 * Automatic note splitting ::
73 * Easy Notation note heads ::
81 A note is printed by specifying its pitch, and then its duration.
82 @lilypond[fragment,verbatim]
91 @cindex Note specification
93 @cindex entering notes
95 The verbose syntax for pitch specification is
102 @var{scmpitch} is a pitch scheme object.
104 In Note and Chord mode, pitches may be designated by names. The default
105 names are the Dutch note names. The notes are specified by the letters
106 @code{a} through @code{g} (where the octave is formed by notes ranging
107 from @code{c} to @code{b}). The pitch @code{c} is an octave below
108 middle C and the letters span the octave above that C.
110 @cindex note names, Dutch
112 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
113 name and a flat is formed by adding @code{-es}. Double sharps and double
114 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
115 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
116 both forms are accepted.
118 LilyPond has predefined sets of note names for various other languages.
119 To use them, simply include the language specific init file. For
120 example: @code{\include "english.ly"}. The available language files and
121 the names they define are:
124 Note Names sharp flat
125 nederlands.ly c d e f g a bes b -is -es
126 english.ly c d e f g a bf b -s/-sharp -f/-flat
127 deutsch.ly c d e f g a b h -is -es
128 norsk.ly c d e f g a b h -iss/-is -ess/-es
129 svenska.ly c d e f g a b h -iss -ess
130 italiano.ly do re mi fa sol la sib si -d -b
131 catalan.ly do re mi fa sol la sib si -d/-s -b
132 espanol.ly do re mi fa sol la sib si -s -b
141 The optional octave specification takes the form of a series of
142 single quote (`@code{'}') characters or a series of comma
143 (`@code{,}') characters. Each @code{'} raises the pitch by one
144 octave; each @code{,} lowers the pitch by an octave.
146 @lilypond[fragment,verbatim,center]
147 c' c'' es' g' as' gisis' ais'
150 @node Chromatic alterations
151 @subsection Chromatic alterations
153 Normally, accidentals are printed automatically, but you may force
154 accidentals in the following ways: A reminder accidental
155 @cindex reminder accidental
157 can be forced by adding an exclamation mark @code{!} after the pitch. A
158 cautionary accidental,
159 @cindex cautionary accidental
160 @cindex parenthesized accidental
161 i.e., an accidental within parentheses can be obtained by adding the
162 question mark `@code{?}' after the pitch.
164 The automatic production of accidentals can be tuned in many
165 ways. Refer to @ref{Accidentals} for more information.
172 A rest is entered like a note, with note name `@code{r}':
174 @lilypond[singleline,verbatim]
178 Whole bar rests centered in the bar are specified using @code{R}, see
179 @ref{Multi measure rests}. See also @seeinternals{Rest}.
181 For polyphonic music, it can be convenient to specify the rest position
182 directly. You can do that by entering a note, with the keyword
183 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
185 @lilypond[singleline,verbatim]
195 @cindex Invisible rest
198 An invisible rest, or skip, can be entered like a note with note name
199 @code{s}, or with @code{\skip @var{duration}}:
201 @lilypond[singleline,verbatim]
205 The @code{s} syntax is only available in Note mode and Chord mode.
206 In other situations, you should use the @code{\skip} command, and it is
207 only available in Note mode and Chord mode.
209 @c FIXME: in lyrics mode, we have " " and _
211 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
212 @lilypond[singleline,verbatim]
214 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
215 \notes\relative c'' { a2 a4 a a2 a4 a }
219 The unabbreviated `@code{\skip} @var{duration}' also works outside of
222 @lilypond[singleline,verbatim]
225 { \time 4/8 \skip 2 \time 4/4 }
226 \notes\relative c'' { a2 a1 }
231 The skip command is merely a empty musical placeholder. It does not
232 produce any output, not even transparent output.
237 @subsection Durations
241 @cindex @code{\duration}
244 In Note, Chord, and Lyrics mode, durations may be designated by numbers
245 and dots: durations are entered as their reciprocal values. For notes
246 longer than a whole you must use identifiers.
250 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
252 r1 r2 r4 r8 r16 r32 r64 r64
258 \notes \relative c'' {
260 a1 a2 a4 a8 a16 a32 a64 a64
262 r1 r2 r4 r8 r16 r32 r64 r64
267 \remove "Clef_engraver"
268 \remove "Staff_symbol_engraver"
269 \remove "Time_signature_engraver"
270 \consists "Pitch_squash_engraver"
277 If the duration is omitted then it is set to the previous duration
278 entered. At the start of parsing a quarter note is assumed. The
279 duration can be followed by dots (`@code{.}') to obtain dotted note
283 @lilypond[fragment,verbatim,center]
289 You can alter the length of duration by a fraction @var{N/M} by
290 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
291 will not affect the appearance of the notes or rests produced.
293 Durations can also be produced through GUILE extension mechanism.
294 @lilypond[verbatim,fragment]
295 c\duration #(make-duration 2 1)
306 A tie connects two adjacent note heads of the same pitch. The tie in
307 effect extends the length of a note. A tie is entered with @code{~}.
309 @lilypond[fragment,verbatim,center]
310 e' ~ e' <c' e' g'> ~ <c' e' g'>
313 When ties are used with chords, all note heads whose pitches match are
314 connected. Ties are indicated using the tilde symbol `@code{~}'. If
315 you try to tie together chords which have no common pitches then no
316 ties will be created.
318 If you want less ties created for a chord, you can set
319 @code{Voice.sparseTies} to true. In this case, a single tie is used
320 for every tied chord.
321 @lilypond[fragment,verbatim,center]
322 \property Voice.sparseTies = ##t
323 <c' e' g'> ~ <c' e' g'>
326 In its meaning a tie is just a way of extending a note duration, similar
327 to the augmentation dot: the following example are two ways of notating
328 exactly the same concept.
330 @lilypond[fragment, singleline]
331 \time 3/4 c'2. c'2 ~ c'4
333 Ties should not be confused with slurs, which indicate articulation,
334 and phrasing slurs, which indicate musical phrasing.
336 See also @seeinternals{Tie}.
341 At present, the tie is represented as a separate event, temporally
342 located in between the notes. Tieing only a subset of the note heads
343 of a chord is not supported in a simple way. It can be achieved by
344 moving the tie-engraver into the Thread context and turning on and off
347 Switching staffs when a tie is active will not work.
349 @node Automatic note splitting
350 @subsection Automatic note splitting
351 @c FIXME: This subsection doesn't belong in @ref{Note entry}.
353 There is a facility for automatically converting long notes to tied
354 notes. This is done by replacing the @code{Note_heads_engraver} by the
355 @code{Completion_heads_engraver}.
357 @lilypond[verbatim,center]
359 \notes\relative c'{ \time 2/4
360 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
364 \remove "Note_heads_engraver"
365 \consists "Completion_heads_engraver"
369 This engraver splits all running notes at the bar line, and inserts
370 ties. One of its uses is to debug complex scores: if the measures are
371 not entirely filled, then the ties exactly show how much each measure
376 Not all durations (especially those containing tuplets) can be
377 represented exactly; the engraver will not insert tuplets.
384 @cindex @code{\times}
386 Tuplets are made out of a music expression by multiplying all duration
389 @cindex @code{\times}
391 \times @var{fraction} @var{musicexpr}
394 The duration of @var{musicexpr} will be multiplied by the fraction.
395 In print, the fraction's denominator will be printed over the notes,
396 optionally with a bracket. The most common tuplet is the triplet in
397 which 3 notes have the length of 2, so the notes are 2/3 of
398 their written length:
400 @lilypond[fragment,verbatim,center]
401 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
404 The property @code{tupletSpannerDuration} specifies how long each bracket
405 should last. With this, you can make lots of tuplets while typing
406 @code{\times} only once, thus saving typing work.
408 @lilypond[fragment, relative, singleline, verbatim]
409 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
410 \times 2/3 { c'8 c c c c c }
413 The format of the number is determined by the property
414 @code{tupletNumberFormatFunction}. The default prints only the
415 denominator, but if you set it to the Scheme function
416 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
420 @cindex @code{tupletNumberFormatFunction}
421 @cindex tuplet formatting
423 See also @seeinternals{TupletBracket}.
427 Nested tuplets are not formatted automatically. In this case, outer
428 tuplet brackets should be moved automatically.
430 @node Easy Notation note heads
431 @subsection Easy Notation note heads
433 @cindex easy notation
436 A entirely different type of note head is the "easyplay" note head: a
437 note head that includes a note name. It is used in some publications by
438 Hal-Leonard Inc. music publishers.
440 @lilypond[singleline,verbatim,26pt]
442 \notes { c'2 e'4 f' | g'1 }
443 \paper { \translator { \EasyNotation } }
447 Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
448 probably will want to print it with magnification or a large font size to make it more
455 If you view the result with Xdvi, then staff lines will show through
456 the letters. Printing the PostScript file obtained with ly2dvi does
457 produce the correct result.
460 @node Easier music entry
461 @section Easier music entry
464 * Graphical interfaces::
468 * Skipping corrected music::
471 When entering music with LilyPond, it is easy to introduce errors. This
472 section deals with tricks and features that help you enter music, and
473 find and correct mistakes.
475 @node Graphical interfaces
476 @subsection Graphical interfaces
479 @cindex graphical interface
486 One way to avoid entering notes using the keyboard, is to use a
487 graphical user interface. The following programs are known to have
488 a lilypond export option:
492 @uref{http://denemo.sourceforge.net/, Denemo}, was once intended as
493 LilyPond graphical user interface. It run on Gnome/GTK.
495 @uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html,noteedit}
496 NoteEdit is a graphical score editor that runs under KDE/Qt.
498 @uref{http://rosegarden.sf.net/,RoseGarden}
499 once was an inspiration for naming LilyPond. Nowadays, it has been
500 rewritten from scratch, and supports LilyPond export as of version
504 Another option is to enter the music using your favorite MIDI
505 sequencer, and then import it using midi2ly. midi2ly is described in
506 @ref{Importing MIDI}.
509 @node Relative octaves
510 @subsection Relative octaves
512 @cindex relative octave specification
514 Octaves are specified by adding @code{'} and @code{,} to pitch names.
515 When you copy existing music, it is easy to accidentally put a pitch in
516 the wrong octave and hard to find such an error. To prevent these
517 errors, LilyPond features octave entry.
519 @cindex @code{\relative}
521 \relative @var{startpitch} @var{musicexpr}
524 The octave of notes that appear in @var{musicexpr} are calculated as
525 follows: If no octave changing marks are used, the basic interval
526 between this and the last note is always taken to be a fourth or less
527 (This distance is determined without regarding alterations; a
528 @code{fisis} following a @code{ceses} will be put above the
531 The octave changing marks @code{'} and @code{,} can be added to raise or
532 lower the pitch by an extra octave. Upon entering relative mode, an
533 absolute starting pitch must be specified that will act as the
534 predecessor of the first note of @var{musicexpr}.
536 Entering music that changes octave frequently is easy in relative mode.
537 @lilypond[fragment,singleline,verbatim,center]
543 And octave changing marks are used for intervals greater than a fourth.
544 @lilypond[fragment,verbatim,center]
549 If the preceding item is a chord, the first note of the chord is used
550 to determine the first note of the next chord. However, other notes
551 within the second chord are determined by looking at the immediately
554 @lilypond[fragment,verbatim,center]
561 @cindex @code{\notes}
563 The pitch after the @code{\relative} contains a note name. To parse
564 the pitch as a note name, you have to be in note mode, so there must
565 be a surrounding @code{\notes} keyword (which is not
568 The relative conversion will not affect @code{\transpose},
569 @code{\chords} or @code{\relative} sections in its argument. If you
570 want to use relative within transposed music, you must place an
571 additional @code{\relative} inside the @code{\transpose}.
576 @subsection Bar check
580 @cindex @code{barCheckSynchronize}
584 Whenever a bar check is encountered during interpretation, a warning
585 message is issued if it doesn't fall at a measure boundary. This can
586 help you find errors in the input. Depending on the value of
587 @code{barCheckSynchronize}, the beginning of the measure will be
588 relocated, so this can also be used to shorten measures.
590 A bar check is entered using the bar symbol, @code{|}:
592 \time 3/4 c2 e4 | g2.
597 @cindex skipTypesetting
599 Failed bar checks are most often caused by entering incorrect
600 durations. Incorrect durations often completely garble up the score,
601 especially if it is polyphonic, so you should start correcting the score
602 by scanning for failed bar checks and incorrect durations. To speed up
603 this process, you can use @code{skipTypesetting} (See @ref{Skipping
606 @c . {Point and click}
607 @node Point and click
608 @subsection Point and click
609 @cindex poind and click
611 Point and click lets you find notes in the input by clicking on them in
612 the Xdvi window. This makes it very easy to find input that causes some
613 error in the sheet music.
615 To use it, you need the following software
617 @item A dvi viewer that supports src specials.
619 @item Plain Xdvi, version 22.36 or newer. Available from
620 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
622 Note that most @TeX{} distributions ship with xdvik, which is a
623 different and less well maintained program. To find out which xdvi you
624 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
625 @item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
626 newer. Enablle the menu Settings -> Inverse search.
628 @item An editor with a client/server interface (or a lightweight GUI editor).
630 @item Emacs. Emacs is an extensible text-editor. It is available from
631 @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
633 @item XEmacs. Xemacs is very similar to emacs.
634 @item NEdit. NEdit runs under Windows, and Unix.
635 It is available from @uref{http://www.nedit.org}.
636 @item GVim. GVim is a lightweight GUI variant of VIM, the popular VI
637 clone. It is available from @uref{http://www.vim.org}.
642 Xdvi must be configured to find the @TeX{} fonts and music
643 fonts. Refer to the Xdvi documentation for more information.
645 To use point-and-click, add one of these lines to the top of your .ly
648 #(set! point-and-click line-location)
650 @cindex line-location
652 When viewing, Control-Mousebutton 1 will take you to the originating
653 spot in the @file{.ly} file. Control-Mousebutton 2 will show all
656 If you correct large files with point-and-click, be sure to start
657 correcting at the end of the file. When you start at the top, and
658 insert one line, all following locations will be off by a line.
661 For using point-and-click with emacs, add the following
662 In your emacs startup file (usually @file{~/.emacs}),
667 Make sure that the environment variable @var{XEDITOR} is set to
669 emacsclient --no-wait +%l %f
671 @cindex @var{XEDITOR}
672 If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
673 your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
675 For using Vim, set @code{XEDITOR} to @code{gvim +%l %f}, or use this
676 argument with xdvi's @code{-editor} option.
678 For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
679 use this argument with xdvi's @code{-editor} option.
681 If can also make your editor jump to the exact location of the note
682 you clicked. This is only supported on Emacs. Users of version 20 must
683 apply the patch @file{emacsclient.patch}. Users of version 21 must
684 apply @file{server.el.patch} (version 21.2 and earlier). At the top
685 of the @code{ly} file, replace the @code{set!} line with the following
688 #(set! point-and-click line-column-location)
690 @cindex line-colomn-location
691 and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
695 When you convert the @TeX{} file to PostScript using @code{dvips}, it
696 will complain about not finding @code{src:X:Y} files. These complaints
697 are harmless, and can be ignored.
699 @node Skipping corrected music
700 @subsection Skipping corrected music
702 The property @code{Score.skipTypesetting} can be used to switch on and
703 off typesetting completely during the interpretation phase. When
704 typesetting is switched off, the music is processed much more quickly.
705 You can use this to skip over the parts of a score that you have already
708 @lilypond[fragment,singleline,verbatim]
710 \property Score.skipTypesetting = ##t
712 \property Score.skipTypesetting = ##f
720 @section Staff notation
722 This section deals with music notation that occurs on staff level,
723 such as keys, clefs and time signatures.
725 @cindex Staff notation
737 @subsection Key signature
742 Setting or changing the key signature is done with the @code{\key}
745 @code{\key} @var{pitch} @var{type}
748 @cindex @code{\minor}
749 @cindex @code{\major}
750 @cindex @code{\minor}
751 @cindex @code{\ionian}
752 @cindex @code{\locrian}
753 @cindex @code{\aeolian}
754 @cindex @code{\mixolydian}
755 @cindex @code{\lydian}
756 @cindex @code{\phrygian}
757 @cindex @code{\dorian}
759 Here, @var{type} should be @code{\major} or @code{\minor} to get
760 @var{pitch}-major or @var{pitch}-minor, respectively.
761 The standard mode names @code{\ionian},
762 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
763 @code{\phrygian}, and @code{\dorian} are also defined.
765 This command sets the context property @code{Staff.keySignature}.
766 Non-standard key signatures can be specified by setting this property
769 The printed signature is a @internalsref{KeySignature} grob, typically
770 created in @internalsref{Staff} context.
772 @cindex @code{keySignature}
779 The clef can be set or changed with the @code{\clef} command:
780 @lilypond[fragment,verbatim]
781 \key f\major c''2 \clef alto g'2
784 Supported clef-names include
785 @c Moved standard clefs to the top /MB
787 @item treble, violin, G, G2
796 G clef on 1st line, so-called French violin clef
811 By adding @code{_8} or @code{^8} to the clef name, the clef is
812 transposed one octave down or up, respectively. Note that you have to
813 enclose @var{clefname} in quotes if you use underscores or digits in the
819 The grob for this symbol is @internalsref{Clef}.
822 This command is equivalent to setting @code{clefGlyph},
823 @code{clefPosition} (which controls the Y position of the clef),
824 @code{centralCPosition} and @code{clefOctavation}. A clef is created
825 when any of these properties are changed.
828 @c . {Time signature}
830 @subsection Time signature
831 @cindex Time signature
835 The time signature is set or changed by the @code{\time}
837 @lilypond[fragment,verbatim]
838 \time 2/4 c'2 \time 3/4 c'2.
841 The actual symbol that's printed can be customized with the @code{style}
842 property. Setting it to @code{#'()} uses fraction style for 4/4 and
846 The grob for this symbol is @internalsref{TimeSignature}. There are
847 many more options for its layout. They are selected through the
848 @code{style} grob property. See @file{input/test/time.ly} for more
851 This command sets the property @code{timeSignatureFraction},
852 @code{beatLength} and @code{measureLength}. The property
853 @code{timeSignatureFraction} determine where bar lines should be
854 inserted, and how automatic beams should be generated. Changing the
855 value of @code{timeSignatureFraction} also causes a time signature
856 symbol to be printed.
863 @cindex partial measure
864 @cindex measure, partial
865 @cindex shorten measures
866 @cindex @code{\partial}
868 Partial measures, for example in upbeats, are entered using the
869 @code{\partial} command:
870 @lilypond[fragment,verbatim]
871 \partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
874 The syntax for this command is
876 \partial @var{duration}
878 This is internally translated into
880 \property Score.measurePosition = -@var{length of duration}
883 The property @code{measurePosition} contains a rational number
884 indicating how much of the measure has passed at this point.
887 @node Unmetered music
888 @subsection Unmetered music
890 Bar lines and bar numbers are calculated automatically. For unmetered
891 music (e.g. cadenzas), this is not desirable. The commands
892 @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
895 @lilypond[fragment,relative,singleline,verbatim]
903 The property @code{Score.timing} can be used to switch off this
908 @subsection Bar lines
912 @cindex measure lines
915 Bar lines are inserted automatically, but if you need a special type
916 of barline, you can force one using the @code{\bar} command:
917 @lilypond[fragment,verbatim] c4 \bar "|:" c4
920 The following bar types are available
921 @lilypond[fragment, relative, singleline, verbatim]
933 You are encouraged to use @code{\repeat} for repetitions. See
936 In scores with many staffs, the barlines are automatically placed at
937 top level, and they are connected between different staffs of a
938 @internalsref{StaffGroup}:
939 @lilypond[fragment, verbatim]
940 < \context StaffGroup <
941 \context Staff = up { e'4 d'
944 \context Staff = down { \clef bass c4 g e g } >
945 \context Staff = pedal { \clef bass c2 c2 } >
948 The grobs that are created at @internalsref{Staff} level. The name is
949 @internalsref{BarLine}.
951 The command @code{\bar @var{bartype}} is a short cut for
952 doing @code{\property Score.whichBar = @var{bartype}}
953 Whenever @code{whichBar} is set to a string, a bar line of that type is
954 created. @code{whichBar} is usually set automatically: at the start of
955 a measure it is set to @code{defaultBarType}. The contents of
956 @code{repeatCommands} is used to override default measure bars.
958 @code{whichBar} can also be set directly, using @code{\property} or
959 @code{\bar }. These settings take precedence over the automatic
960 @code{whichBar} settings.
963 @cindex Bar_line_engraver
965 @cindex repeatCommands
966 @cindex defaultBarType
975 The easiest way to enter such fragments with more than one voice on a
976 staff is to split chords using the separator @code{\\}. You can use
977 it for small, short-lived voices (make a chord of voices) or for
980 @lilypond[verbatim,fragment]
981 \context Voice = VA \relative c'' {
982 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
986 The separator causes @internalsref{Voice} contexts to be instantiated,
987 bearing the names @code{"1"}, @code{"2"}, etc.
989 Sometimes, it is necessary to instantiate these contexts by hand: For
990 Instantiate a separate Voice context for each part, and use
991 @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
992 and horizontal shift for each part.
995 @lilypond[singleline, verbatim]
997 \context Staff < \context Voice = VA { \voiceOne cis2 b }
998 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
999 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1002 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
1003 ties, slurs and stems, and set shift directions.
1005 If you want more than four voices, you can also manually set
1006 horizontal shifts and stem directions, as is shown in the following example:
1007 @lilypond[fragment, verbatim]
1008 \context Staff \notes\relative c''<
1009 \context Voice=one {
1010 \shiftOff \stemUp e4
1012 \context Voice=two {
1013 \shiftOn \stemUp cis
1015 \context Voice=three {
1016 \shiftOnn \stemUp ais
1018 \context Voice=four {
1019 \shiftOnnn \stemUp fis
1025 Normally, note heads with a different number of dots are not merged, but
1026 if you set the grob property @code{merge-differently-dotted}, they are:
1027 @lilypond[verbatim,fragment,singleline]
1030 \property Staff.NoteCollision \override
1031 #'merge-differently-dotted = ##t
1033 } \\ { [g'8. f16] [g'8. f'16] }
1037 Similarly, you can merge half note heads with eighth notes, by setting
1038 @code{merge-differently-headed}:
1039 @lilypond[fragment, relative=2,verbatim]
1042 \property Staff.NoteCollision
1043 \override #'merge-differently-headed = ##t
1044 c8 c4. } \\ { c2 c2 } >
1047 LilyPond also vertically shifts rests that are opposite of a stem.
1049 @lilypond[singleline,fragment,verbatim]
1050 \context Voice < c''4 \\ r4 >
1053 See also @internalsref{NoteCollision} and @internalsref{RestCollision}
1057 Resolving collisions is a very intricate subject, and LilyPond only
1058 handles a few situations. When it can not cope, you are advised to use
1059 @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
1060 rests to override typesetting decisions.
1065 Beams are used to group short notes into chunks that are aligned with
1066 the metrum. They are inserted automatically in most cases.
1068 @lilypond[fragment,verbatim, relative=2]
1069 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1072 If you're not satisfied with the automatic beaming, you can enter the
1073 beams explicitly. If you have beaming patterns that differ from the
1074 defaults, you can also set the patterns for automatic beamer.
1076 See also @internalsref{Beam}.
1079 @cindex Automatic beams
1080 @subsection Manual beams
1081 @cindex beams, manual
1085 In some cases it may be necessary to override LilyPond's automatic
1086 beaming algorithm. For example, the auto beamer will not beam over
1087 rests or bar lines, If you want that, specify the begin and end point
1088 manually using a @code{[} before the first beamed note and a @code{]}
1089 after the last note:
1091 @lilypond[fragment,relative,verbatim]
1093 r4 [r8 g' a r8] r8 [g | a] r8
1097 @cindex @code{stemLeftBeamCount}
1099 Normally, beaming patterns within a beam are determined automatically.
1100 When this mechanism fouls up, the properties
1101 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1102 be used to control the beam subdivision on a stem. If you set either
1103 property, its value will be used only once, and then it is erased.
1105 @lilypond[fragment,relative,verbatim]
1108 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1111 @cindex @code{stemRightBeamCount}
1114 The property @code{subdivideBeams} can be set in order to subdivide
1115 all 16th or shorter beams at beat positions. This accomplishes the
1116 same effect as twiddling with @code{stemLeftBeamCount} and
1117 @code{stemRightBeamCount}, but it take less typing.
1122 \property Voice.subdivideBeams = ##t
1124 [c32 c c c c c c c c c c c c c c c]
1125 \property Score.beatLength = #(make-moment 1 8)
1126 [c32 c c c c c c c c c c c c c c c]
1130 \notes \relative c' {
1132 \property Voice.subdivideBeams = ##t
1134 [c32 c c c c c c c c c c c c c c c]
1135 \property Score.beatLength = #(make-moment 1 8)
1136 [c32 c c c c c c c c c c c c c c c]
1140 @cindex subdivideBeams
1142 Kneed beams are inserted automatically, when a large gap between two
1143 adjacent beamed notes is detected. This behavior can be tuned through
1144 the grob property @code{auto-knee-gap}.
1146 @cindex beams, kneed
1148 @cindex auto-knee-gap
1152 @c TODO -> why this ref? Document?
1153 @cindex @code{neutral-direction}
1157 Auto knee beams can not be used together with hara kiri staffs.
1161 The Automatic beamer does not put @strong{unfinished} beams on the
1162 last notes of a score.
1164 Formatting of ties is a difficult subject. LilyPond often does not
1165 give optimal results.
1168 * Setting automatic beam behavior ::
1172 @no de Beam typography
1173 @sub section Beam typography
1175 One of the strong points of LilyPond is how beams are formatted. Beams
1176 are quantized, meaning that the left and right endpoints beams start
1177 exactly on staff lines. Without quantization, small wedges of white
1178 space appear between the beam and staff line, and this looks untidy.
1180 Beams are also slope-damped: melodies that go up or down should also
1181 have beams that go up or down, but the slope of the beams should be
1182 less than the slope of the notes themselves.
1184 Some beams should be horizontal. These are so-called concave beams.
1186 [TODO: some pictures.]
1189 @c . {Automatic beams}
1190 @node Setting automatic beam behavior
1191 @subsection Setting automatic beam behavior
1193 @cindex @code{autoBeamSettings}
1194 @cindex @code{(end * * * *)}
1195 @cindex @code{(begin * * * *)}
1196 @cindex automatic beams, tuning
1197 @cindex tuning automatic beaming
1199 In normal time signatures, automatic beams can start on any note but can
1200 only end in a few positions within the measure: beams can end on a beat,
1201 or at durations specified by the properties in
1202 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1203 are defined in @file{scm/auto-beam.scm}.
1205 The value of @code{autoBeamSettings} is changed using
1206 @code{\override} and unset using @code{\revert}:
1208 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1209 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1211 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1212 whether the rule applies to begin or end-points. The quantity
1213 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1214 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1215 signature (wildcards, `@code{* *}' may be entered to designate all time
1218 For example, if you want automatic beams to end on every quarter note,
1219 you can use the following:
1221 \property Voice.autoBeamSettings \override
1222 #'(end * * * *) = #(make-moment 1 4)
1224 Since the duration of a quarter note is 1/4 of a whole note, it is
1225 entered as @code{(make-moment 1 4)}.
1227 The same syntax can be used to specify beam starting points. In this
1228 example, automatic beams can only end on a dotted quarter note.
1230 \property Voice.autoBeamSettings \override
1231 #'(end * * * *) = #(make-moment 3 8)
1233 In 4/4 time signature, this means that automatic beams could end only on
1234 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1235 3/8 has passed within the measure).
1237 You can also restrict rules to specific time signatures. A rule that
1238 should only be applied in @var{N}/@var{M} time signature is formed by
1239 replacing the second asterisks by @var{N} and @var{M}. For example, a
1240 rule for 6/8 time exclusively looks like
1242 \property Voice.autoBeamSettings \override
1243 #'(begin * * 6 8) = ...
1246 If you want a rule to apply to certain types of beams, you can use the
1247 first pair of asterisks. Beams are classified according to the shortest
1248 note they contain. For a beam ending rule that only applies to beams
1249 with 32nd notes (and no shorter notes), you would use @code{(end 1
1253 @c Automatic beams can not be put on the last note in a score.
1255 If a score ends while an automatic beam has not been ended and is still
1256 accepting notes, this last beam will not be typeset at all.
1258 @cindex automatic beam generation
1260 @cindex @code{Voice.autoBeaming}
1263 For melodies that have lyrics, you may want to switch off
1264 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1270 It is not possible to specify beaming parameters for beams with mixed
1271 durations, that differ from the beaming parameters of all separate
1272 durations, i.e., you'll have to specify manual beams to get:
1273 @lilypond[fragment,singleline,relative]
1274 \property Voice.autoBeamSettings
1275 \override #'(end * * * *) = #(make-moment 3 8)
1276 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1279 It is not possible to specify beaming parameters that act differently in
1280 different parts of a measure. This means that it is not possible to use
1281 automatic beaming in irregular meters such as @code{5/8}.
1284 @section Accidentals
1286 This section describes how to change the way that LilyPond automatically
1287 inserts accidentals before the running notes.
1290 * Using the predefined accidental macros::
1291 * Defining your own accidental typesettings::
1294 @node Using the predefined accidental macros
1295 @subsection Using the predefined accidental macros
1296 The constructs for describing the accidental typesetting rules are
1297 quite hairy, so non-experts should stick to the macros defined in
1298 @file{ly/property-init.ly}.
1299 @cindex @file{property-init.ly}
1301 The normal way of using the macros is to enter the macro name right after the
1302 creation of the context in which the accidental typesetting described
1303 by the macro is to take effect. I.e. if you want to use
1304 piano-accidentals in a pianostaff then you issue
1305 @code{\pianoAccidentals} first thing after the creation of the piano
1309 \notes \relative c'' <
1310 \context Staff = sa @{ cis4 d e2 @}
1311 \context GrandStaff <
1313 \context Staff = sb @{ cis4 d e2 @}
1314 \context Staff = sc @{ es2 c @}
1316 \context Staff = sd @{ es2 c @}
1320 @lilypond[singleline]
1322 \notes \relative c'' <
1323 \context Staff = sa { cis4 d e2 }
1324 \context GrandStaff <
1326 \context Staff = sb { cis4 d e2 }
1327 \context Staff = sc { es2 c }
1329 \context Staff = sd { es2 c }
1334 minimumVerticalExtent = #'(-4.0 . 4.0)
1342 @item \defaultAccidentals
1343 @cindex @code{\defaultAccidentals}
1344 This is the default typesetting behaviour. It should correspond
1345 to 18th century common practice: Accidentals are
1346 remembered to the end of the measure in which they occur and
1347 only on their own octave.
1349 @item \voiceAccidentals
1350 @cindex @code{\voiceAccidentals}
1351 The normal behaviour is to remember the accidentals on
1353 This macro, however, typesets accidentals individually for each
1355 Apart from that the rule is similar to
1356 @code{\defaultAccidentals}.
1358 Warning: This leads to some weird and often unwanted results
1359 because accidentals from one voice DO NOT get cancelled in other
1361 @lilypond[singleline,relative,fragment,verbatim]
1364 \context Voice=va { \voiceOne es g }
1365 \context Voice=vb { \voiceTwo c, e }
1368 Hence you should only use @code{\voiceAccidentals}
1369 if the voices are to be read solely by
1370 individual musicians. if the staff should be readable also
1371 by one musician/conductor then you should use
1372 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1375 @item \modernAccidentals
1376 @cindex @code{\modernAccidentals}
1377 This rule should correspond to the common practice in the 20th
1379 The rule is a bit more complex than @code{\defaultAccidentals}:
1380 You get all the same accidentals, but temporary
1381 accidentals also get cancelled in other octaves. Further more,
1382 in the same octave, they also get cancelled in the following measure:
1383 @lilypond[singleline,fragment,verbatim]
1385 cis' c'' cis'2 | c'' c'
1388 @item \modernCautionaries
1389 @cindex @code{\modernCautionaries}
1390 This rule is similar to @code{\modernAccidentals}, but the
1391 ``extra'' accidentals (the ones not typeset by
1392 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1393 (i.e. in reduced size):
1394 @lilypond[singleline,fragment,verbatim]
1396 cis' c'' cis'2 | c'' c'
1399 @item \modernVoiceAccidentals
1400 @cindex @code{\modernVoiceAccidentals}
1401 Multivoice accidentals to be read both by musicians playing one voice
1402 and musicians playing all voices.
1404 Accidentals are typeset for each voice, but they ARE cancelled
1405 across voices in the same @internalsref{Staff}.
1407 @item \modernVoiceCautionaries
1408 @cindex @code{\modernVoiceCautionaries}
1409 The same as @code{\modernVoiceAccidentals}, but with the
1410 extra accidentals (the ones not typeset by
1411 @code{\voiceAccidentals}) typeset as cautionaries.
1412 Notice that even though all accidentals typeset by
1413 @code{\defaultAccidentals} ARE typeset by this macro then some
1414 of them are typeset as cautionaries.
1416 @item \pianoAccidentals
1417 @cindex @code{\pianoAccidentals}
1418 20th century practice for piano notation. Very similar to
1419 @code{\modernAccidentals} but accidentals also get cancelled
1420 across the staves in the same @internalsref{GrandStaff} or
1421 @internalsref{PianoStaff}.
1423 @item \pianoCautionaries
1424 @cindex @code{\pianoCautionaries}
1425 As @code{\pianoAccidentals} but with the extra accidentals
1426 typeset as cationaries.
1429 @cindex @code{\noResetKey}
1430 Same as @code{\defaultAccidentals} but with accidentals lasting
1431 ``forever'' and not only until the next measure:
1432 @lilypond[singleline,fragment,verbatim,relative]
1437 @item \forgetAccidentals
1438 @cindex @code{\forgetAccidentals}
1439 This is sort of the opposite of @code{\noResetKey}: Accidentals
1440 are not remembered at all - and hence all accidentals are
1441 typeset relative to the key signature, regardless of what was
1442 before in the music:
1443 @lilypond[singleline,fragment,verbatim,relative]
1445 \key d\major c4 c cis cis d d dis dis
1449 @node Defining your own accidental typesettings
1450 @subsection Defining your own accidental typesettings
1452 This section must be considered gurus-only, and hence it must be
1453 sufficient with a short description of the system and a reference to
1454 the internal documentation.
1456 The idea of the algorithm is to try several different rules and then
1457 use the rule that gives the highest number of accidentals.
1458 Each rule cosists of
1461 In which context is the rule applied. I.e. if context is
1462 @internalsref{Score} then all staves share accidentals, and if
1463 context is @internalsref{Staff} then all voices in the same
1464 staff share accidentals, but staves don't - like normally.
1466 Whether the accidental changes all octaves or only the current
1469 Over how many barlines the accidental lasts.
1470 If lazyness is @code{-1} then the accidental is forget
1471 immidiately, and if lazyness is @code{#t} then the accidental
1475 As described in the internal documentation of
1476 @reng{Accidental_engraver}, the properties @code{autoAccidentals} and
1477 @code{autoCautionaries} contain lists of rule descriptions. Notice
1478 that the contexts must be listed from in to out - that is
1479 @internalsref{Thread} before @internalsref{Voice},
1480 @internalsref{Voice} before @internalsref{Staff}, etc.
1481 see the macros in @file{ly/property-init.ly} for examples of how the
1486 Currently the simultaneous notes are considered to be entered in
1487 sequential mode. This means that in a chord the accidentals are
1488 typeset as if the notes in the chord happened one at a time - in the
1489 order in which they appear in the input file.
1491 Of course this is only a problem when you have simultainous notes
1492 which accidentals should depend on each other.
1493 Notice that the problem only occurs when using non-default accidentals
1494 - as the default accidentals only depend on other accidentals on the
1495 same staff and same pitch and hence cannot depend on other
1498 This example shows two examples of the same music giving different
1499 accidentals depending on the order in which the notes occur in the
1502 @lilypond[singleline,fragment,verbatim]
1503 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1504 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
1507 The only solution is to manually insert the problematic
1508 accidentals using @code{!} and @code{?}.
1510 @node Expressive marks
1511 @section Expressive marks
1526 A slur indicates that notes are to be played bound or @emph{legato}.
1527 They are entered using parentheses:
1528 @lilypond[fragment,verbatim,center]
1529 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1532 See also @seeinternals{Slur}.
1534 Slurs avoid crossing stems, and are generally attached to note heads.
1535 However, in some situations with beams, slurs may be attached to stem
1536 ends. If you want to override this layout you can do this through the
1537 grob-property @code{attachment} of @internalsref{Slur} in
1538 @internalsref{Voice} context It's value is a pair of symbols, specifying
1539 the attachment type of the left and right end points.
1541 @lilypond[fragment,relative,verbatim]
1543 \property Voice.Stem \set #'length = #5.5
1545 \property Voice.Slur \set #'attachment = #'(stem . stem)
1549 If a slur would strike through a stem or beam, the slur will be moved
1550 away upward or downward. If this happens, attaching the slur to the
1551 stems might look better:
1553 @lilypond[fragment,relative,verbatim]
1556 \property Voice.Slur \set #'attachment = #'(stem . stem)
1561 Similarly, the curvature of a slur is adjusted to stay clear of note
1562 heads and stems. When that would increase the curvature too much, the
1563 slur is reverted to its default shape. The threshold for this
1564 decision is in @internalsref{Slur}'s grob-property @code{beautiful}.
1565 It is loosely related to the enclosed area between the slur and the
1566 notes. Usually, the default setting works well, but in some cases you
1567 may prefer a curved slur when LilyPond decides for a vertically moved
1568 one. You can indicate this preference by increasing the
1569 @code{beautiful} value:
1571 @lilyp ond[verbatim,singleline,relative]
1573 c16( a' f' a a f a, )c,
1574 c( a' f' a a f d, )c
1575 \property Voice.Slur \override #'beautiful = #5.0
1576 c( a' f' a a f d, )c
1582 Producing nice slurs is a difficult problem, and LilyPond currently
1583 uses a simple, empiric method to produce slurs. In some cases, the
1584 results of this method are ugly.
1587 This is reflected by the
1588 @code{beautiful} property, which it is an arbitrary parameter in the
1589 slur formatter. Useful values can only be determined by trial and
1593 @cindex Adjusting slurs
1595 @node Phrasing slurs
1596 @subsection Phrasing slurs
1598 @cindex phrasing slurs
1599 @cindex phrasing marks
1601 A phrasing slur (or phrasing mark) connects chords and is used to
1602 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1605 @lilypond[fragment,verbatim,center,relative]
1606 \time 6/4 c' \( d () e f () e \) d
1609 Typographically, the phrasing slur behaves almost exactly like a normal
1610 slur. See also @seeinternals{PhrasingSlur}.
1614 @subsection Breath marks
1616 Breath marks are entered using @code{\breathe}. See also
1617 @seeinternals{BreathingSign}.
1619 @lilypond[fragment,relative]
1628 @cindex beats per minute
1629 @cindex metronome marking
1631 Metronome settings can be entered as follows:
1633 @cindex @code{\tempo}
1635 \tempo @var{duration} = @var{perminute}
1638 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1643 The tempo setting is not printed, but is only used in the MIDI
1644 output. You can trick lily into producing a metronome mark,
1645 though. Details are in @ref{Text markup}.
1650 @subsection Text spanners
1651 @cindex Text spanners
1653 Some textual indications, e.g. rallentando or accelerando, often extend
1654 over many measures. This is indicated by following the text with a
1655 dotted line. You can create such texts using text spanners. The syntax
1658 \spanrequest \start "text"
1659 \spanrequest \stop "text"
1661 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1662 in @internalsref{Voice} context). The string to be printed, as well as the
1663 style is set through grob properties.
1665 An application---or rather, a hack---is to fake octavation indications.
1666 @lilypond[fragment,relative,verbatim]
1667 \relative c' { a''' b c a
1668 \property Voice.TextSpanner \set #'type = #'dotted-line
1669 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1670 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1671 \property Staff.centralCPosition = #-13
1672 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1690 @subsection Articulations
1691 @cindex Articulations
1693 @cindex articulations
1697 A variety of symbols can appear above and below notes to indicate
1698 different characteristics of the performance. They are added to a note
1699 by adding a dash and the the character signifying the
1700 articulation. They are demonstrated here.
1701 @lilypond[singleline]
1703 \notes \context Voice {
1704 \property Voice.TextScript \set #'font-family = #'typewriter
1705 \property Voice.TextScript \set #'font-shape = #'upright
1711 c''4-^_"c-\\^{ }" s4
1716 The script is automatically placed, but if you need to force
1717 directions, you can use @code{_} to force them down, or @code{^} to
1719 @lilypond[fragment, verbatim]
1724 Other symbols can be added using the syntax
1725 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1726 using @code{^} and @code{_}.
1730 @cindex staccatissimo
1738 @cindex organ pedal marks
1747 @cindex prallmordent
1751 @cindex thumb marking
1758 \property Score.LyricText \override #'font-family =#'typewriter
1759 \property Score.LyricText \override #'font-shape = #'upright
1760 \context Staff \notes {
1761 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1762 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1763 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1764 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1765 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1766 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1767 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1768 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1770 \context Lyrics \lyrics {
1771 accent__ marcato__ staccatissimo__ fermata
1772 stopped__ staccato__ tenuto__ upbow
1773 downbow__ lheel__ rheel__ ltoe
1774 rtoe__ turn__ open__ flageolet
1775 reverseturn__ trill__ prall__ mordent
1776 prallprall__ prallmordent__ uprall__ downprall
1777 upmordent__ downmordent__ pralldown__ prallup__
1778 lineprall__ thumb__ segno__ coda
1782 linewidth = 5.875\in
1791 Fingering instructions can also be entered in this shorthand. For
1792 finger changes, use markup texts:
1794 @lilypond[verbatim, singleline, fragment]
1795 c'4-1 c'4-2 c'4-3 c'4-4
1800 @cindex @code{\script}
1805 See also @seeinternals{Script} and @seeinternals{Fingering}.
1809 All of these note ornaments appear in the printed output but have no
1810 effect on the MIDI rendering of the music.
1812 Unfortunately, there is no support for adding fingering instructions or
1813 ornaments to individual note heads. Some hacks exist, though. See
1814 @file{input/test/script-horizontal.ly}.
1819 @subsection Text scripts
1820 @cindex Text scripts
1822 In addition, it is possible to place arbitrary strings of text or markup
1823 text (see @ref{Text markup}) above or below notes by using a string:
1826 By default, these indications do not influence the note spacing, but
1827 by using the command @code{\fatText}, the widths will be taken into
1830 @lilypond[fragment,singleline,verbatim] \relative c' {
1831 c4^"longtext" \fatText c4_"longlongtext" c4 }
1834 It is possible to use @TeX{} commands in the strings, but this should be
1835 avoided because it makes it impossible for LilyPond to compute the
1836 exact length of the string, which may lead to collisions. Also, @TeX{}
1837 commands won't work with direct PostScript output.
1838 @c (see @ref{PostScript output}).
1840 Text scripts are created in form of @internalsref{TextScript} grobs, in
1841 @internalsref{Voice} context.
1843 @ref{Text markup} describes how to change the font or access
1844 special symbols in text scripts.
1849 @subsection Grace notes
1853 @cindex @code{\grace}
1857 Grace notes are ornaments are written out ornaments
1858 @lilypond[relative=2,verbatim,ifragment]
1859 c4 \grace c16 c4 \grace { [c16 d16] } c4
1862 In normal notation, grace notes are supposed to take up no logical
1863 time in a measure. Such an idea is practical for normal notation, but
1864 is not strict enough to put it into a program. The model that LilyPond
1865 uses for grace notes internally is that all timing is done in two
1868 Every point in musical time consists of two rational numbers: one
1869 denotes the logical time, one denotes the grace timing. The above
1870 example is shown here with timing tuples.
1873 \score { \notes \relative c''{
1874 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1875 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1877 \paper { linewidth = 8.\cm }
1881 The advantage of this approach is that you can use almost any lilypond
1882 construction together with grace notes, for example slurs and clef
1883 changes may appear halfway in between grace notes:
1885 @lilypond[relative=2,verbatim,fragment]
1886 c4 \grace { [ c16 c, \clef bass c, b(] } )c4
1889 The placement of these grace notes is synchronized between different
1890 staffs, using this grace timing.
1892 @lilypond[relative=2,verbatim,fragment]
1893 < \context Staff = SA { e4 \grace { c16 d e f } e4 }
1894 \context Staff = SB { c4 \grace { g8 b } c4 } >
1898 Unbeamed eighth notes and shorter by default have a slash through the
1899 stem. This can be controlled with grob property @code{flag-style} of
1900 @internalsref{Stem}. The change in formatting is accomplished by
1901 inserting @code{\startGraceMusic} before handling the grace notes, and
1902 @code{\stopGraceMusic} after finishing the grace notes. You can add to
1903 these definitions to globally change grace note formatting. The
1904 standard definitions are in @file{ly/grace-init.ly}.
1907 @lilypond[fragment,verbatim]
1908 \relative c'' \context Voice {
1909 \grace c8 c4 \grace { [c16 c16] } c4
1911 \property Voice.Stem \override #'flag-style = #'()
1913 \property Voice.Stem \revert #'flag-style
1920 Grace note synchronization can also lead to surprises. Staff notation,
1921 such as key signatures, barlines, etc. are also synchronized. Take
1922 care when you mix staffs with grace notes and staffs without.
1924 @lilypond[relative=2,verbatim,fragment]
1925 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
1926 \context Staff = SB { c4 \bar "|:" d4 } >
1929 Grace sections should only be used within sequential music
1930 expressions. Nesting, juxtaposing, or ending sequential music with a
1931 grace section is not supported, and might produce crashes or other
1943 @subsection Glissando
1946 @cindex @code{\glissando}
1948 A glissando line can be requested by attaching a @code{\glissando} to
1951 @lilypond[fragment,relative,verbatim]
1957 Printing of an additional text (such as @emph{gliss.}) must be done
1958 manually. See also @seeinternals{Glissando}.
1964 @subsection Dynamics
1977 @cindex @code{\ffff}
1987 Absolute dynamic marks are specified using an identifier after a
1988 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1989 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1990 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1991 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1993 @lilypond[verbatim,singleline,fragment,relative]
1994 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2000 @cindex @code{\decr}
2001 @cindex @code{\rced}
2007 A crescendo mark is started with @code{\cr} and terminated with
2008 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
2009 started with @code{\decr} and terminated with @code{\rced}. There are
2010 also shorthands for these marks. A crescendo can be started with
2011 @code{\<} and a decrescendo can be started with @code{\>}. Either one
2012 can be terminated with @code{\!}. Note that @code{\!} must go before
2013 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
2014 after the last note. Because these marks are bound to notes, if you
2015 want several marks during one note, you have to use spacer notes.
2017 @lilypond[fragment,verbatim,center]
2018 c'' \< \! c'' d'' \decr e'' \rced
2019 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
2022 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2023 is an example how to do it:
2025 @lilypond[fragment,relative=2,verbatim]
2026 c4 \cresc c4 \endcresc c4
2033 You can also supply your own texts:
2034 @lilypond[fragment,relative,verbatim]
2036 \property Voice.crescendoText = "cresc. poco"
2037 \property Voice.crescendoSpanner = #'dashed-line
2044 Dynamics are grobs of @internalsref{DynamicText} and
2045 @internalsref{Hairpin}. Vertical positioning of these symbols is
2046 handled by the @internalsref{DynamicLineSpanner} grob. If you want to
2047 adjust padding or vertical direction of the dynamics, you must set
2048 properties for the @internalsref{DynamicLineSpanner} grob. Predefined
2049 identifiers to set the vertical direction are \dynamicUp and
2052 @cindex direction, of dynamics
2053 @cindex @code{\dynamicDown}
2054 @cindex @code{\dynamicUp}
2062 @cindex @code{\repeat}
2064 To specify repeats, use the @code{\repeat} keyword. Since repeats
2065 should work differently when played or printed, there are a few
2066 different variants of repeats.
2070 Repeated music is fully written (played) out. Useful for MIDI
2071 output, and entering repetitive music.
2074 This is the normal notation: Repeats are not written out, but
2075 alternative endings (voltas) are printed, left to right.
2078 Alternative endings are written stacked. This has limited use but may be
2079 used to typeset two lines of lyrics in songs with repeats, see
2080 @file{input/star-spangled-banner.ly}.
2086 Make beat or measure repeats. These look like percent signs.
2092 * Repeats and MIDI::
2093 * Manual repeat commands::
2095 * Tremolo subdivisions::
2100 @subsection Repeat syntax
2102 The syntax for repeats is
2105 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2108 If you have alternative endings, you may add
2109 @cindex @code{\alternative}
2111 \alternative @code{@{} @var{alternative1}
2113 @var{alternative3} @dots{} @code{@}}
2115 where each @var{alternative} is a music expression.
2117 Normal notation repeats are used like this:
2118 @lilypond[fragment,verbatim]
2120 \repeat volta 2 { c'4 d' e' f' }
2121 \repeat volta 2 { f' e' d' c' }
2124 With alternative endings:
2125 @lilypond[fragment,verbatim]
2127 \repeat volta 2 {c'4 d' e' f'}
2128 \alternative { {d'2 d'} {f' f} }
2131 Folded repeats look like this:
2134 @lilypond[fragment,verbatim]
2136 \repeat fold 2 {c'4 d' e' f'}
2137 \alternative { {d'2 d'} {f' f} }
2141 If you don't give enough alternatives for all of the repeats, then
2142 the first alternative is assumed to be repeated often enough to equal
2143 the specified number of repeats.
2145 @lilypond[fragment,verbatim]
2149 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2150 \alternative { { g4 g g } { a | a a a a | b2. } }
2155 @node Repeats and MIDI
2156 @subsection Repeats and MIDI
2158 @cindex expanding repeats
2160 For instructions on how to unfoldi repeats for MIDI output, see
2161 the example file @file{input/test/unfold-all-repeats.ly}.
2166 Notice that timing information is not remembered at the start of an
2167 alternative, so you have to reset timing information after a repeat,
2168 e.g. using a bar-check (See @ref{Bar check}), setting
2169 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
2170 are also not repeated.
2172 It is possible to nest @code{\repeat}s, although this probably is only
2173 meaningful for unfolded repeats.
2175 Folded repeats offer little more over simultaneous music.
2177 @node Manual repeat commands
2178 @subsection Manual repeat commands
2180 @cindex @code{repeatCommands}
2182 The property @code{repeatCommands} can be used to control the layout of
2183 repeats. Its value is a Scheme list of repeat commands, where each repeat
2191 @item (volta . @var{text})
2192 Print a volta bracket saying @var{text}.
2194 Stop a running volta bracket
2197 @lilypond[verbatim, fragment]
2199 \property Score.repeatCommands = #'((volta "93") end-repeat)
2201 \property Score.repeatCommands = #'((volta #f))
2206 Repeats brackets are @internalsref{VoltaBracket} grobs.
2208 @node Tremolo repeats
2209 @subsection Tremolo repeats
2210 @cindex tremolo beams
2212 To place tremolo marks between notes, use @code{\repeat} with tremolo
2214 @lilypond[verbatim,center,singleline]
2216 \context Voice \notes\relative c' {
2217 \repeat "tremolo" 8 { c16 d16 }
2218 \repeat "tremolo" 4 { c16 d16 }
2219 \repeat "tremolo" 2 { c16 d16 }
2220 \repeat "tremolo" 4 c16
2225 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
2226 @internalsref{StemTremolo}. The single stem tremolo @emph{must} be
2227 entered without @code{@{} and @code{@}}.
2231 Only powers of two and undotted notes are supported repeat counts.
2233 @node Tremolo subdivisions
2234 @subsection Tremolo subdivisions
2235 @cindex tremolo marks
2236 @cindex @code{tremoloFlags}
2238 Tremolo marks can be printed on a single note by adding
2239 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2240 A @var{length} value of 8 gives one line across the note stem. If the
2241 length is omitted, then then the last value (stored in
2242 @code{Voice.tremoloFlags}) is used.
2244 @lilypond[verbatim,fragment,center]
2245 c'2:8 c':32 | c': c': |
2251 Tremolos in this style do not carry over into the MIDI output.
2254 @node Measure repeats
2255 @subsection Measure repeats
2257 @cindex percent repeats
2258 @cindex measure repeats
2260 In the @code{percent} style, a note pattern can be repeated. It is
2261 printed once, and then the pattern is replaced with a special sign.
2262 Patterns of a one and two measures are replaced by percent-like signs,
2263 patterns that divide the measure length are replaced by slashes.
2265 @lilypond[verbatim,singleline]
2266 \context Voice { \repeat "percent" 4 { c'4 }
2267 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2271 The signs are represented by these grobs: @internalsref{RepeatSlash} and
2272 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
2276 You can not nest percent repeats, e.g. by filling in the first measure
2277 with slashes, and repeating that measure with percents.
2279 @node Rhythmic music
2280 @section Rhythmic music
2282 Sometimes you might want to show only the rhythm of a melody. This can
2283 be done with the rhythmic staff. All pitches of notes on such a staff
2284 are squashed, and the staff itself looks has a single staff line:
2286 @lilypond[fragment,relative,verbatim]
2287 \context RhythmicStaff {
2289 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2294 * Percussion staves::
2297 @node Percussion staves
2298 @subsection Percussion staves
2301 To typeset more than one piece of percussion to be played by the same
2302 musician one typically uses a multiline staff where each staff
2303 position refers to a specific piece of percussion.
2305 LilyPond is shipped with a bunch of scheme functions which allows you
2306 to do this fairly easily.
2308 The system is based on the general midi drum-pitches.
2309 In order to use the drum pitches you include
2310 @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
2311 variable @code{drum-pitch-names} - which definition can be read in
2312 @file{scm/drums.scm}. You see that each piece of percussion has a full
2313 name and an abbreviated name - and you may freely select whether to
2314 refer to the full name or the abbreviation in your music definition.
2316 To typeset the music on a staff you apply the scheme function
2317 @code{drums->paper} to the percussion music. This function takes a
2318 list of percussion instrument names, notehead scripts and staff
2319 positions (that is: pitches relative to the C-clef) and uses this to
2320 transform the input music by moving the pitch, changing the notehead
2321 and (optionally) adding a script:
2322 @lilypond[singleline,verbatim]
2323 \include "drumpitch-init.ly"
2324 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2325 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2327 \apply #(drums->paper 'drums) \context Staff <
2329 \context Voice = up { \voiceOne \up }
2330 \context Voice = down { \voiceTwo \down }
2335 In the above example the music was transformed using the list @code{'drums}.
2336 Currently the following lists are defined in @file{scm/drums.scm}:
2339 To typeset a typical drum kit on a five line staff.
2341 \include "drumpitch-init.ly"
2342 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2343 bd sn ss tomh tommh tomml toml tomfh tomfl }
2344 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2345 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2348 \apply #(drums->paper 'drums) \context Staff <
2352 \context Lyrics \nam
2357 \remove Bar_engraver
2358 \remove Time_signature_engraver
2359 minimumVerticalExtent = #'(-4.0 . 5.0)
2363 \remove Stem_engraver
2368 Notice that the scheme supports six different toms.
2369 If you are using fewer toms then you simply select the toms that produce
2370 the desired result - i.e. to get toms on the three middle lines you
2371 use @code{tommh}, @code{tomml} and @code{tomfh}.
2373 Because the general midi contain no rimshots we use the sidestick for
2374 this purpose instead.
2376 To typeset timbales on a two line staff.
2377 @lilypond[singleline]
2378 \include "drumpitch-init.ly"
2379 nam = \lyrics { timh ssh timl ssl cb }
2380 mus = \notes { timh ssh timl ssl cb s16 }
2383 \apply #(drums->paper 'timbales) \context Staff <
2387 \context Lyrics \nam
2392 \remove Bar_engraver
2393 \remove Time_signature_engraver
2394 StaffSymbol \override #'line-count = #2
2395 StaffSymbol \override #'staff-space = #2
2396 minimumVerticalExtent = #'(-3.0 . 4.0)
2400 \remove Stem_engraver
2407 To typeset congas on a two line staff.
2408 @lilypond[singleline]
2409 \include "drumpitch-init.ly"
2410 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2411 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2414 \apply #(drums->paper 'congas) \context Staff <
2418 \context Lyrics \nam
2423 \remove Bar_engraver
2424 \remove Time_signature_engraver
2425 StaffSymbol \override #'line-count = #2
2426 StaffSymbol \override #'staff-space = #2
2427 minimumVerticalExtent = #'(-3.0 . 4.0)
2431 \remove Stem_engraver
2437 To typeset bongos on a two line staff.
2438 @lilypond[singleline]
2439 \include "drumpitch-init.ly"
2440 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2441 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2444 \apply #(drums->paper 'bongos) \context Staff <
2448 \context Lyrics \nam
2453 \remove Bar_engraver
2454 \remove Time_signature_engraver
2455 StaffSymbol \override #'line-count = #2
2456 StaffSymbol \override #'staff-space = #2
2457 minimumVerticalExtent = #'(-3.0 . 4.0)
2461 \remove Stem_engraver
2467 To typeset all kinds of simple percussion on one line staves.
2468 @lilypond[singleline]
2469 \include "drumpitch-init.ly"
2470 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2471 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2474 \apply #(drums->paper 'percussion) \context Staff <
2478 \context Lyrics \nam
2483 \remove Bar_engraver
2484 \remove Time_signature_engraver
2485 StaffSymbol \override #'line-count = #1
2486 minimumVerticalExtent = #'(-2.0 . 3.0)
2490 \remove Stem_engraver
2497 If you don't like any of the predefined lists you can define your own
2498 list at the top of your file:
2500 @lilypond[singleline, verbatim]
2502 (bassdrum default #f ,(make-pitch -1 2 0))
2503 (snare default #f ,(make-pitch 0 1 0))
2504 (hihat cross #f ,(make-pitch 0 5 0))
2505 (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0))
2506 (lowtom diamond #f ,(make-pitch -1 6 0))
2508 \include "drumpitch-init.ly"
2509 up = \notes { hh8 hh hh hh hhp4 hhp }
2510 down = \notes { bd4 sn bd toml8 toml }
2512 \apply #(drums->paper 'mydrums) \context Staff <
2514 \context Voice = up { \voiceOne \up }
2515 \context Voice = down { \voiceTwo \down }
2520 To use a modified existing list instead of building your own from
2521 scratch you can append your modifications to the start of the existing
2525 #(define mydrums (append `(
2526 (bassdrum default #f ,(make-pitch -1 2 0))
2527 (lowtom diamond #f ,(make-pitch -1 6 0))
2531 @c FIXME: Too many levels of headers when using subsubsections.
2532 @c Perhaps junk subsection ``Percussion staves''
2533 @subsubsection Percussion staves with normal staves
2534 When you include @file{drumpitch-init.ly} then the default pitches
2535 are overridden so that you after the inclusion cannot use the common
2536 dutch pitch names anymore. Hence you might wan't to reinclude
2537 @file{nederlands.ly} after the drum-pattern-definitions:
2538 @lilypond[singleline,verbatim]
2539 \include "drumpitch-init.ly"
2540 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2541 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2542 \include "nederlands.ly"
2543 bass = \notes \transpose c, { a4. e8 r e g e }
2546 \apply #(drums->paper 'drums) \context Staff = drums <
2548 \context Voice = up { \voiceOne \up }
2549 \context Voice = down { \voiceTwo \down }
2551 \context Staff = bass { \clef "F_8" \bass }
2556 @subsubsection Percussion midi output
2557 In order to produce correct midi output you need to produce two score
2558 blocks - one for the paper and one for the midi.
2559 To use the percussion channel you set the property @code{instrument}
2560 to @code{'drums}. Because the drum-pitches themself are similar to the
2561 general midi pitches all you have to do is to insert the voices with
2562 none of the scheme functions to get the correct midi output:
2566 \apply #(drums->paper 'mydrums) \context Staff <
2568 \context Voice = up @{ \voiceOne \up @}
2569 \context Voice = down @{ \voiceTwo \down @}
2575 \property Staff.instrument = #'drums
2584 This scheme is to be considered a temporary implementation. Even
2585 though the scheme will probably keep on working then the future might
2586 bring some other way of typesetting drums, and probably
2587 there will be made no great efforts in keeping things downwards
2592 @section Piano music
2594 Piano music is an odd type of notation. Piano staves are two normal
2595 staves coupled with a brace. The staves are largely independent, but
2596 sometimes voices can cross between the two staves. The
2597 @internalsref{PianoStaff} is especially built to handle this cross-staffing
2598 behavior. In this section we discuss the @internalsref{PianoStaff} and some
2599 other pianistic peculiarities.
2602 * Automatic staff changes::
2603 * Manual staff switches::
2606 * Voice follower lines::
2610 @c . {Automatic staff changes}
2611 @node Automatic staff changes
2612 @subsection Automatic staff changes
2613 @cindex Automatic staff changes
2615 Voices can switch automatically between the top and the bottom
2616 staff. The syntax for this is
2618 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2620 The autochanger switches on basis of pitch (central C is the turning
2621 point), and it looks ahead skipping over rests to switch rests in
2622 advance. Here is a practical example:
2624 @lilypond[verbatim,singleline]
2625 \score { \notes \context PianoStaff <
2626 \context Staff = "up" {
2627 \autochange Staff \context Voice = VA < \relative c' {
2628 g4 a b c d r4 a g } > }
2629 \context Staff = "down" {
2634 Spacer rests are used to prevent the bottom staff from
2635 terminating too soon.
2638 @node Manual staff switches
2639 @subsection Manual staff switches
2641 @cindex manual staff switches
2642 @cindex staff switch, manual
2644 Voices can be switched between staves manually, using the following command:
2646 \translator Staff = @var{staffname} @var{music}
2648 The string @var{staffname} is the name of the staff. It switches the
2649 current voice from its current staff to the Staff called
2650 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2658 Piano pedal instruction can be expressed using
2659 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2660 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
2662 These identifiers are shorthands for spanner commands of the types
2663 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
2665 @lilypond[fragment,verbatim]
2666 c''4 \spanrequest \start "Sustain" c''4
2667 c''4 \spanrequest \stop "Sustain"
2670 The symbols that are printed can be modified by setting
2671 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2672 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
2673 @rgrob{SustainPedal}, for example, for more information.
2675 Pedals can also be indicated by a sequence of brackets, by setting the
2676 @code{pedal-type} property of SustainPedal grobs:
2678 @lilypond[fragment,verbatim]
2679 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2680 c''4 \sustainDown d''4 e''4 a'4
2681 \sustainUp \sustainDown
2682 f'4 g'4 a'4 \sustainUp
2685 A third style of pedal notation is a mixture of text and brackets,
2686 obtained by setting @code{pedal-type} to @code{mixed}:
2688 @lilypond[fragment,verbatim]
2689 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2690 c''4 \sustainDown d''4 e''4 c'4
2691 \sustainUp \sustainDown
2692 f'4 g'4 a'4 \sustainUp
2695 The default '*Ped' style for sustain and damper pedals corresponds to
2696 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2697 for a sostenuto pedal:
2699 @lilypond[fragment,verbatim]
2700 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2703 For fine-tuning of the appearance of a pedal bracket, the properties
2704 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2705 @code{PianoPedalBracket} grobs (see the detailed documentation of
2706 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2707 may be extended to the end of the note head.
2709 @lilypond[fragment,verbatim]
2710 \property Staff.PianoPedalBracket \override
2711 #'shorten-pair = #'(0 . -1.0)
2712 c''4 \sostenutoDown d''4 e''4 c'4
2713 f'4 g'4 a'4 \sostenutoUp
2720 @subsection Arpeggio
2723 @cindex broken arpeggio
2724 @cindex @code{\arpeggio}
2726 You can specify an arpeggio sign on a chord by attaching an
2727 @code{\arpeggio} to a note of the chord.
2730 @lilypond[fragment,relative,verbatim]
2731 \context Voice <c\arpeggio e g c>
2734 When an arpeggio crosses staves in piano music, you attach an arpeggio
2735 to the chords in both staves, and set
2736 @code{PianoStaff.connectArpeggios}.
2738 @lilypond[fragment,relative,verbatim]
2739 \context PianoStaff <
2740 \property PianoStaff.connectArpeggios = ##t
2741 \context Voice = one { <c'\arpeggio e g c> }
2742 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2746 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
2747 are @code{PianoStaff.Arpeggio}.
2749 To add an arrow head to explicitly specify the direction of the
2750 arpeggio, you should set the arpeggio grob property
2751 @code{arpeggio-direction}.
2753 @lilypond[fragment,relative,verbatim]
2755 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2757 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2762 A square bracket on the left indicates that the player should not
2763 arpeggiate the chord. To draw these brackets, set the
2764 @code{molecule-callback} property of @code{Arpeggio} or
2765 @code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
2766 @code{\arpeggio} statements within the chords as before.
2768 @lilypond[fragment,relative,verbatim]
2769 \context PianoStaff <
2770 \property PianoStaff.connectArpeggios = ##t
2771 \property PianoStaff.Arpeggio \override
2772 #'molecule-callback = \arpeggioBracket
2773 \context Voice = one { <c'\arpeggio e g c> }
2774 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2781 It is not possible to mix connected arpeggios and unconnected
2782 arpeggios in one PianoStaff at the same time.
2786 @node Voice follower lines
2787 @subsection Voice follower lines
2789 @cindex follow voice
2790 @cindex staff switching
2793 @cindex @code{followVoice}
2795 Whenever a voice switches to another staff a line connecting the notes
2796 can be printed automatically. This is enabled if the property
2797 @code{PianoStaff.followVoice} is set to true:
2799 @lilypond[fragment,relative,verbatim]
2800 \context PianoStaff <
2801 \property PianoStaff.followVoice = ##t
2802 \context Staff \context Voice {
2804 \translator Staff=two
2807 \context Staff=two {\clef bass \skip 1*2 }
2811 The associated grob is @internalsref{VoiceFollower}.
2817 Tablature notation is used music for plucked string instruments. It
2818 notates pitches not by using note heads, but by indicating on which
2819 string and fret a note must be played. LilyPond offers limited
2820 support for tablature, by abusing the fingering system.
2823 * Tablatures basic::
2824 * Non-guitar tablatures::
2825 * Tablature in addition to normal staff::
2828 @node Tablatures basic
2829 @subsection Tablatures basic
2830 @cindex Tablatures basic
2832 Tablature can be typeset with Lilypond by using the
2833 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
2834 tablature is a recent feature in Lilypond, most of the guitar special
2835 effects such as hammer, pull, bend are not yet supported.
2837 With the @internalsref{TabStaff}, the string number associated to a note
2838 is given though the fingering mechanism, e.g. @code{c4-3} for a C
2839 quarter on the third string. The string 1 is the lowest one, and the
2840 tuning defaults to the standard guitar tuning (with 6 strings).
2842 @lilypond[fragment,verbatim]
2845 \property Staff.Stem \override #'direction = #1
2854 @node Non-guitar tablatures
2855 @subsection Non-guitar tablatures
2856 @cindex Non-guitar tablatures
2858 There are many ways to customize Lilypond tablatures.
2860 First you can change the number of strings, by setting the number of
2861 lines in the @internalsref{TabStaff}. You can change the strings
2862 tuning. A string tuning is given as a Scheme list with one integer
2863 number for each string, the number being the pitch of an open string.
2865 Finally, it is possible to change the Scheme function to format the
2866 tablature note text. The default is @var{fret-number-tablature-format},
2867 which uses the fret number, but for some instruments that may not use
2868 this notation, just create your own tablature-format function. This
2869 function takes three argument: the string number, the string tuning and
2873 @node Tablature in addition to normal staff
2874 @subsection Tablature in addition to normal staff
2875 @cindex Tablature in addition to normal staff
2877 It is possible to typeset both tablature and a "normal" staff, as
2878 commonly done in many parts.
2880 A common trick for that is to put the notes in a variables, and to hide
2881 the fingering information (which correspond to the string number) for
2890 \context StaffGroup <
2892 % Hide fingering number
2893 \property Staff.Fingering \override #'transparent = ##t
2898 \property Staff.Stem \override #'direction = #1
2912 LilyPond has support for both entering and printing chords.
2913 @lilypond[verbatim,singleline]
2914 twoWays = \notes \transpose c'' {
2924 < \context ChordNames \twoWays
2925 \context Voice \twoWays > }
2928 This example also shows that the chord printing routines do not try to
2929 be intelligent. If you enter @code{f bes d}, it does not interpret
2930 this as an inversion.
2932 As you can see chords really are a set of pitches. They are internally
2933 stored as simultaneous music expressions. This means you can enter
2934 chords by name and print them as notes, enter them as notes and print
2935 them as chord names, or (the most common case) enter them by name, and
2940 * Printing named chords::
2945 @subsection Chords mode
2948 Chord mode is a mode where you can input sets of pitches using common
2949 names. It is introduced by the keyword @code{\chords}. It is similar
2950 to note mode, but words are also looked up in a chord modifier table
2951 (containing @code{maj}, @code{dim}, etc). Dashes and carets are used
2952 to indicate chord additions and subtractions, so articulation scripts
2953 can not be entered in Chord mode.
2955 Throughout these examples, chords have been shifted around the staff
2956 using @code{\transpose}.
2958 @lilypond[fragment,verbatim]
2962 c:9 c:9-.5+.7+ c:3-.5-
2972 The second type of modifier that may appear after the @code{:} is a
2973 named modifier. Named modifiers are listed in the file
2974 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2975 @code{min} which lower the 3rd half a step, `@code{aug}' which
2976 raises the 5th, `@code{dim}' which lowers the 5th,
2977 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2978 which replaces the 5th with a 4th.
2980 @lilypond[fragment,verbatim]
2983 c1:m c:min7 c:maj c:aug c:dim c:sus
2989 Chord subtractions are used to eliminate notes from a chord. The
2990 notes to be subtracted are listed after a @code{^} character,
2993 @lilypond[fragment,verbatim,center]
3002 Chord inversions can be specified by appending `@code{/}' and the name
3003 of a single note to a chord. In a chord inversion, the inverted note is
3004 transposed down until it is the lowest note in the chord. If the note
3005 is not in the chord, a warning will be printed.
3007 @lilypond[fragment,verbatim,center]
3017 Bass notes can be added by `@code{/+}' and
3018 the name of a single note to a chord. This has the effect of
3019 adding the specified note to the chord, lowered by an octave,
3020 so it becomes the lowest note in the chord.
3022 @lilypond[fragment,verbatim,center]
3031 The formal syntax for named chords is as follows:
3033 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
3036 @var{tonic} should be the tonic note of the chord, and @var{duration} is
3037 the chord duration in the usual notation. There are two kinds of
3038 modifiers. One type is formed by @emph{chord additions}. Additions are
3039 obtained by listing intervals separated by dots. An interval is written
3040 by its number with an optional @code{+} or @code{-} to indicate raising
3041 or lowering by half a step. Chord additions have two effects: they adds
3042 the specified interval and all lower odd numbered intervals to the
3043 chord, and they may lower or raise the specified interval.
3048 Implementation details are gory. For example @code{c:4} not only adds
3049 a fourth, but also removes the third.
3052 @c . {Printing named chords}
3053 @node Printing named chords
3054 @subsection Printing named chords
3056 @cindex printing chord names
3060 For displaying printed chord names, use the @internalsref{ChordNames} context.
3061 The chords may be entered either using the notation described above, or
3062 directly using simultaneous music.
3064 @lilypond[verbatim,singleline]
3066 \chords {a1 b c} <d f g> <e g b>
3070 \context ChordNames \scheme
3071 \context Staff \transpose c'' \scheme
3076 You can make the chord changes stand out by setting
3077 @code{ChordNames.chordChanges} to true. This will only display chord
3078 names when there's a change in the chords scheme and at the start of a
3083 c1:m c:m \break c:m c:m d
3087 \context ChordNames {
3088 \property ChordNames.chordChanges = ##t
3090 \context Staff \transpose c'' \scheme
3092 \paper{linewidth= 9.\cm}
3096 LilyPond examines chords specified as lists of notes to determine a name
3097 to give the chord. LilyPond will not try to identify chord inversions or
3098 an added bass note, which may result in strange chord names when chords
3099 are entered as a list of pitches:
3101 @lilypond[verbatim,center,singleline]
3110 \context ChordNames \scheme
3111 \context Staff \scheme
3117 By default, a chord name system proposed by Harald Banter (See
3118 @ref{Literature}) is used. The system is very regular and predictable.
3119 Typical American style chord names may be selected by setting the
3120 @code{style} property of the @code{ChordNames.ChordName} grob to
3121 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
3123 Routines that determine the names to be printed are written in Scheme,
3124 and may be customized by the user. The code can be found in
3125 @file{scm/chord-name.scm}. Here's an example showing the differences in
3129 @c maybe just junk verbatim option?
3130 @lilypond[verbatim,singleline]
3140 \context ChordNames = banter \scheme
3141 \context ChordNames = american {
3142 \property ChordNames.ChordName \override
3143 #'style = #'american \scheme }
3144 \context ChordNames = jazz {
3145 \property ChordNames.ChordName \override
3146 #'style = #'jazz \scheme }
3147 \context Staff \transpose c'' \scheme
3154 @section Writing parts
3156 Orchestral music involves some special notation, both in the full score,
3157 as in the individual parts. This section explains how to tackle common
3158 problems in orchestral music.
3165 * Instrument names::
3167 * Multi measure rests::
3168 * Automatic part combining::
3169 * Hara kiri staves::
3170 * Sound output for transposing instruments::
3173 @c . {Rehearsal marks}
3174 @node Rehearsal marks
3175 @subsection Rehearsal marks
3176 @cindex Rehearsal marks
3178 @cindex @code{\mark}
3180 To print a rehearsal mark, use the @code{\mark} command.
3181 @lilypond[fragment,verbatim]
3188 c1 \mark #'(music "scripts-segno")
3193 As you can see, the mark is incremented automatically if you use
3194 @code{\mark \default}. The value to use is stored in the property
3195 @code{rehearsalMark} is used and automatically incremented. The grob
3196 is @internalsref{RehearsalMark} in @internalsref{Score} context. See
3197 @code{input/test/boxed-molecule.ly} if you need boxes around the
3201 @subsection Bar numbers
3205 @cindex measure numbers
3206 @cindex currentBarNumber
3208 Bar numbers are printed by default at the start of the line. The
3209 number itself is a property that can be set by modifying the
3210 @code{currentBarNumber} property, i.e.
3212 \property Score.currentBarNumber = #217
3215 If you want boxed bar numbers, see the example file
3216 @code{input/test/boxed-molecule.ly}.
3218 See also @seeinternals{BarNumber}.
3222 Printing bar numbers at regular intervals is not implemented.
3223 Barnumbers can collide with the StaffGroup, if there is one at the
3224 top. To solve this, You have to twiddle with the
3225 @internalsref{padding} property of @internalsref{BarNumber} if your
3226 score starts with a @internalsref{StaffGroup}.
3228 @node Instrument names
3229 @subsection Instrument names
3231 In scores, the instrument name is printed before the staff. This can
3232 be done by setting @code{Staff.instrument} and
3233 @code{Staff.instr}. This will print a string before the start of the
3234 staff. For the first start, @code{instrument} is used, for the next
3235 ones @code{instr} is used.
3237 @lilypond[verbatim,singleline]
3238 \property Staff.instrument = "ploink " { c''4 }
3241 You can also use markup texts to construct more complicated instrument
3245 @lilypond[verbatim,singleline]
3247 '((font-relative-size . -2 ) (music "accidentals--1")))
3250 \property Staff.instrument = #`((kern . 0.5) (lines
3251 "2 Clarinetti" (columns " (B" ,text-flat ")")))
3259 When you put a name on a grand staff or piano staff the width of the
3260 brace is not taken into account. You must add extra spaces to the end of
3261 the name to avoid a collision.
3264 @subsection Transpose
3266 @cindex transposition of pitches
3267 @cindex @code{\transpose}
3269 A music expression can be transposed with @code{\transpose}. The syntax
3272 \transpose @var{pitch} @var{musicexpr}
3275 This means that middle C in @var{musicexpr} is transposed to
3278 @code{\transpose} distinguishes between enharmonic pitches: both
3279 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
3280 a tone. The first version will print sharps and the second version
3283 @lilypond[singleline, verbatim]
3284 mus =\notes { \key d \major cis d fis g }
3285 \score { \notes \context Staff {
3293 If you want to use both @code{\transpose} and @code{\relative}, then
3294 you must use @code{\transpose} first. @code{\relative} will have no
3295 effect music that appears inside a @code{\transpose}.
3297 @c . {Multi measure rests}
3298 @node Multi measure rests
3299 @subsection Multi measure rests
3300 @cindex Multi measure rests
3304 Multi measure rests are entered using `@code{R}'. It is specifically
3305 meant for full bar rests and for entering parts: the rest can expand to
3307 rests, or it can be printed as a single multimeasure rest This expansion
3308 is controlled by the property @code{Score.skipBars}. If this is set to true,
3309 Lily will not expand empty measures, and the appropriate number is added
3312 @lilypond[fragment,verbatim]
3313 \time 3/4 r2. | R2. | R2.*2
3314 \property Score.skipBars = ##t R2.*17 R2.*4
3317 Notice that the @code{R2.} is printed as a whole rest, centered in the
3320 @cindex whole rests for a full measure
3322 The grob for this object is @internalsref{MultiMeasureRest}.
3326 Currently, there is no way to automatically condense multiple rests
3327 into a single multimeasure rest. Multi measure rests do not take part
3330 @cindex condensing rests
3332 @node Automatic part combining
3333 @subsection Automatic part combining
3334 @cindex automatic part combining
3335 @cindex part combiner
3338 Automatic part combining is used to merge two parts of music onto a
3339 staff in an intelligent way. It is aimed primarily at typesetting
3340 orchestral scores. When the two parts are identical for a period of
3341 time, only one is shown. In places where the two parts differ, they
3342 are typeset as separate voices, and stem directions are set
3343 automatically. Also, solo and @emph{a due} parts can be identified
3346 The syntax for part combining is
3349 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3351 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3352 combined into one context of type @var{context}. The music expressions
3353 must be interpreted by contexts whose names should start with @code{one}
3356 The most useful function of the part combiner is to combine parts into
3357 one voice, as common for wind parts in orchestral scores:
3359 @lilypond[verbatim,singleline,fragment]
3361 \context Voice=one \partcombine Voice
3362 \context Thread=one \relative c'' {
3365 \context Thread=two \relative c'' {
3371 Notice that the first @code{g} appears only once, although it was
3372 specified twice (once in each part). Stem, slur and tie directions are
3373 set automatically, depending whether there is a solo or unisono. The
3374 first part (with context called @code{one}) always gets up stems, and
3375 `solo', while the second (called @code{two}) always gets down stems and
3378 If you just want the merging parts, and not the textual markings, you
3379 may set the property @var{soloADue} to false.
3381 @lilypond[verbatim,singleline,fragment]
3383 \property Staff.soloADue = ##f
3384 \context Voice=one \partcombine Voice
3385 \context Thread=one \relative c'' {
3388 \context Thread=two \relative c'' {
3394 There are a number of other properties that you can use to tweak the
3395 behavior of part combining, refer to the automatically generated
3396 documentation of @reng{Thread_devnull_engraver} and
3397 @reng{Voice_devnull_engraver}. Look at the documentation of the
3398 responsible engravers, @code{Thread_devnull_engraver},
3399 @code{Voice_devnull_engraver} and @code{A2_engraver}.
3403 In @code{soloADue} mode, when the two voices play the same notes on and
3404 off, the part combiner may typeset @code{a2} more than once in a
3407 @lilypond[fragment,singleline]
3409 \context Voice=one \partcombine Voice
3410 \context Thread=one \relative c'' {
3413 \context Thread=two \relative c'' {
3419 @cindex @code{Thread_devnull_engraver}
3420 @cindex @code{Voice_engraver}
3421 @cindex @code{A2_engraver}
3423 @node Hara kiri staves
3424 @subsection Hara kiri staves
3426 In orchestral scores, staff lines that only have rests are usually removed.
3427 This saves some space. LilyPond also supports this through the hara
3428 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
3429 the Japanese Samourai warriors.} staff. This staff commits suicide when
3430 it finds itself to be empty after the line-breaking process. It will
3431 not disappear when it contains normal rests, you must use multi measure
3434 The hara kiri staff is specialized version of the @internalsref{Staff}
3435 context. It is available as the context identifier
3436 @code{\HaraKiriStaffContext}. Observe how the second staff in this
3437 example disappears in the second line.
3441 \notes \relative c' <
3442 \context Staff = SA { e4 f g a \break c1 }
3443 \context Staff = SB { c4 d e f \break R1 }
3447 \translator { \HaraKiriStaffContext }
3453 @node Sound output for transposing instruments
3454 @subsection Sound output for transposing instruments
3456 When you want to make a MIDI file from a score containing transposed
3457 and untransposed instruments, you have to instruct LilyPond the pitch
3458 offset (in semitones) for the transposed instruments. This is done
3459 using the @code{transposing} property. It does not affect printed
3462 @cindex @code{transposing}
3465 \property Staff.instrument = #"Cl. in B-flat"
3466 \property Staff.transposing = #-2
3472 @node Ancient notation
3473 @section Ancient notation
3476 * Ancient note heads::
3483 @node Ancient note heads
3484 @subsection Ancient note heads
3486 To get a longa note head, you have to use mensural note heads. This
3487 is accomplished by setting the @code{style} property of the
3488 NoteHead grob to @code{mensural}. There is also a note head style
3489 @code{baroque} which gives mensural note heads for @code{\longa} and
3490 @code{\breve} but standard note heads for shorter notes.
3492 @lilypond[fragment,singleline,verbatim]
3493 \property Voice.NoteHead \set #'style = #'mensural
3494 \property Voice.NoteHead \set #'font-family = #'ancient
3499 @subsection Custodes
3504 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
3505 staff context symbol that appears at the end of a staff line. It
3506 anticipates the pitch of the first note(s) of the following line and
3507 thus helps the player or singer to manage line breaks during
3508 performance, thus enhancing readability of a score.
3513 \property Staff.Custos \set #'style = #'mensural
3518 \consists Custos_engraver
3524 Custodes were frequently used in music notation until the 17th century.
3525 There were different appearances for different notation styles.
3526 Nowadays, they have survived only in special forms of musical notation
3527 such as via the @emph{editio vaticana} dating back to the beginning of
3530 For typesetting custodes, just put a @code{Custos_engraver} into the
3531 @internalsref{Staff} context when declaring the @code{\paper} block. In this
3532 block, you can also globally control the appearance of the custos symbol
3533 by setting the custos @code{style} property. Currently supported styles
3534 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
3541 \consists Custos_engraver
3542 Custos \override #'style = #'mensural
3547 The property can also be set locally, for example in a @code{\notes}
3552 \property Staff.Custos \override #'style = #'vaticana
3553 c'1 d' e' d' \break c' d' e' d'
3558 @subsection Ancient clefs
3560 LilyPond supports a variety of clefs, many of them ancient. These can
3561 be selected from the @code{ancient} font family, by setting
3562 @code{Staff.clefGlyph}) to one of the following values
3571 @item clefs-vaticana_do
3572 Editio Vaticana style do clef
3573 @item clefs-vaticana_fa
3574 Editio Vaticana style fa clef
3575 @item clefs-medicaea_do
3576 Editio Medicaea style do clef
3577 @item clefs-medicaea_fa
3578 Editio Medicaea style fa clef
3579 @item clefs-mensural1_c
3580 modern style mensural C clef
3581 @item clefs-mensural2_c
3582 historic style small mensural C clef
3583 @item clefs-mensural3_c
3584 historic style big mensural C clef
3585 @item clefs-mensural1_f
3586 historic style traditional mensural F clef
3587 @item clefs-mensural2_f
3588 historic style new mensural F clef
3589 @item clefs-mensural_g
3590 historic style mensural G clef
3591 @item clefs-hufnagel_do
3592 historic style hufnagel do clef
3593 @item clefs-hufnagel_fa
3594 historic style hufnagel fa clef
3595 @item clefs-hufnagel_do_fa
3596 historic style hufnagel combined do/fa clef
3597 @item clefs-percussion
3598 modern style percussion clef
3601 @emph{Modern style} means ``as is typeset in current editions.''
3602 @emph{Historic style} means ``as was typeset or written in contemporary
3603 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
3606 @cindex Vaticana, Editio
3607 @cindex Medicaea, Editio
3608 @cindex hufnagel clefs
3612 @subsection Figured bass
3614 @cindex Basso continuo
3616 LilyPond has limited support for figured bass:
3618 @lilypond[verbatim,fragment]
3620 \context FiguredBass
3625 \context Voice { c4 g8 }
3629 The support for figured bass consists of two parts: there is an input
3630 mode, introduced by @code{\figures}, where you can enter bass figures
3631 as numbers, and there is a context called @internalsref{FiguredBass}
3632 that takes care of making @internalsref{BassFigure} grobs.
3634 In figures input mode, a group of bass figures is delimited by
3635 @code{<} and @code{>}. The duration is entered after the @code{>}.
3640 \context FiguredBass
3644 Accidentals are added to the numbers if you alterate them by
3645 appending @code{-}, @code{!} and @code{+}.
3651 \context FiguredBass
3652 \figures { <4- 6+ 7!> }
3655 Spaces or dashes may be inserted by using @code{_}. Brackets are
3656 introduced with @code{[} and @code{]}.
3662 \context FiguredBass
3663 \figures { < [4 6] 8 [_ 12]> }
3666 Although the support for figured bass may superficially resemble chord
3667 support, it works much simpler: in figured bass simply stores the
3668 numbers, and then prints the numbers you entered. There is no
3669 conversion to pitches, and no realizations of the bass are played in
3673 @c . {Tuning output}
3675 @section Tuning output
3677 LilyPond tries to take as much formatting as possible out of your
3678 hands. Nevertheless, there are situations where it needs some help, or
3679 where you want to override its decisions. In this section we discuss
3680 ways to do just that.
3682 Formatting is internally done by manipulating so called grobs (graphic
3683 objects). Each grob carries with it a set of properties (grob
3684 properties) specific to that object. For example, a stem grob has
3685 properties that specify its direction, length and thickness.
3687 The most direct way of tuning the output is by altering the values of
3688 these properties. There are two ways of doing that: first, you can
3689 temporarily change the definition of a certain type of grob, thus
3690 affecting a whole set of objects. Second, you can select one specific
3691 object, and set a grob property in that object.
3694 * Tuning groups of grobs ::
3695 * Tuning per grob ::
3700 @node Tuning groups of grobs
3701 @subsection Tuning groups of grobs
3703 @cindex grob description
3707 A grob definition is a Scheme association list, that is stored in a
3708 context property. By assigning to that property (using plain
3709 @code{\property}), you can change the resulting grobs.
3711 @lilypond[verbatim, fragment]
3712 c'4 \property Voice.Stem = #'()
3715 The @code{\property} assignment effectively empties the definition of
3716 the Stem object. One of the effects is that the recipe of how it should be
3717 printed is erased, with the effect of rendering it invisible. The above
3718 assignment is available as a standard identifier, for the case that you
3722 \property Voice.Stem = \turnOff
3729 This mechanism is fairly crude, since you can only set, but not modify,
3730 the definition of a grob. For this reason, there is a more advanced
3733 The definition of a grob is actually a list of default grob
3734 properties. For example, the definition of the Stem grob (available in
3735 @file{scm/grob-description.scm}), defines the following values for
3740 (beamed-lengths . (0.0 2.5 2.0 1.5))
3741 (Y-extent-callback . ,Stem::height)
3745 You can add a property on top of the existing definition, or remove a
3746 property, thus overriding the system defaults:
3748 c'4 \property Voice.Stem \override #'thickness = #4.0
3749 c'4 \property Voice.Stem \revert #'thickness
3752 You should balance @code{\override} and @code{\revert}. If that's too
3753 much work, you can use the @code{\set} shorthand. It performs a revert
3754 followed by an override. The following example gives exactly the same
3755 result as the previous one.
3757 c'4 \property Voice.Stem \set #'thickness = #4.0
3758 c'4 \property Voice.Stem \set #'thickness = #0.8
3761 If you use @code{\set}, you must explicitly restore the default.
3764 Formally the syntax for these constructions is
3766 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
3767 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
3768 \property @var{context}.@var{grobname} \revert @var{symbol}
3770 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
3771 and @var{grobname} are strings and @var{value} is a Scheme expression.
3774 If you revert a setting which was not set in the first place, then it
3775 has no effect. However, if the setting was set as a system default, it
3776 may remove the default value, and this may give surprising results,
3777 including crashes. In other words, @code{\override} and @code{\revert},
3778 must be carefully balanced.
3780 These are examples of correct nesting of @code{\override}, @code{\set},
3783 A clumsy but correct form:
3785 \override \revert \override \revert \override \revert
3788 Shorter version of the same:
3790 \override \set \set \revert
3793 A short form, using only @code{\set}. This requires you to know the
3796 \set \set \set \set @var{to default value}
3799 If there is no default (i.e. by default, the grob property is unset),
3802 \set \set \set \revert
3805 For the digirati, the grob description is an Scheme association
3806 list. Since a Scheme list is a singly linked list, we can treat it as a
3807 stack, and @code{\override} and @code{\revert} are just push and pop
3808 operations. This pushing and popping is also used for overriding
3809 automatic beaming settings.
3813 LilyPond will hang or crash if @var{value} contains cyclic references.
3814 The backend is not very strict in type-checking grob properties. If you
3815 @code{\revert} properties that are expected to be set by default,
3819 @cindex adjusting staff symbol
3820 @cindex StaffSymbol, using \property
3821 @cindex staff lines, setting number of
3823 Some grobs are created at the moment that their context is created. An
3824 example of such a grob is the staff itself (i.e. the horizontal lines).
3825 You can not change the appearance of the staff symbol by manipulating
3826 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
3827 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
3828 created before any @code{\override} is effective. You can deal with this
3829 either overriding properties in a @code{\translator} definition, or by
3830 using @code{\outputproperty}.
3835 @node Tuning per grob
3836 @subsection Tuning per grob
3838 @cindex \outputproperty
3840 A second way of tuning grobs is the more arcane @code{\outputproperty}
3841 feature. The syntax is as follows:
3843 \outputproperty @var{predicate} @var{symbol} = @var{value}
3845 Here @code{predicate} is a Scheme function taking a grob argument, and
3846 returning a boolean. This statement is processed by the
3847 @code{Output_property_engraver}. It instructs the engraver to feed all
3848 grobs that it sees to @var{predicate}. Whenever the predicate returns
3849 true, the grob property @var{symbol} will be set to @var{value}.
3851 You will need to combine this statement with @code{\context} to select
3852 the appropriate context to apply this to.
3854 Here are some random examples.
3857 In the following example, all note heads occurring at current staff
3858 level, are shifted up and right by setting their @code{extra-offset}
3861 @lilypond[fragment,verbatim,singleline]
3863 \context Staff \outputproperty
3864 #(make-type-checker 'note-head-interface)
3865 #'extra-offset = #'(0.5 . 0.75)
3869 @cindex @code{extra-offset}
3871 In this example, the predicate checks the @code{text} grob property, to
3872 shift only the `m.d.' text, but not the fingering instruction "2".
3873 @lilypond[verbatim,singleline]
3874 #(define (make-text-checker text)
3875 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3878 \notes\relative c''' {
3879 \property Voice.Stem \set #'direction = #1
3880 \outputproperty #(make-text-checker "m.d.")
3881 #'extra-offset = #'(-3.5 . -4.5)
3889 If possible, avoid this feature: the semantics are not very clean, and
3890 the syntax and semantics are up for rewrite.
3895 @node Font selection
3896 @subsection Font selection
3898 The most common thing to change about the appearance of fonts is
3899 their size. The font size of a @internalsref{Voice},
3900 @internalsref{Staff} or @internalsref{Thread} context, can be easily
3901 changed by setting the @code{fontSize} property for that context:
3902 @lilypond[fragment,relative=1]
3903 c4 c4 \property Voice.fontSize = #-1
3906 This command will not change the size of variable symbols, such as
3907 beams or slurs. You can use this command to get smaller symbol for
3908 cue notes, but that involves some more subtleties. An elaborate
3909 example of those is in @file{input/test/cue-notes.ly}.
3915 The font used for printing a grob can be selected by setting
3916 @code{font-name}, e.g.
3918 \property Staff.TimeSignature
3919 \set #'font-name = #"cmr17"
3921 You may use any font which is available to @TeX{}, such as foreign
3922 fonts or fonts that do not belong to the Computer Modern font family.
3923 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
3924 can also be adjusted with a more fine-grained mechanism. By setting
3925 the grob properties described below, you can select a different font.
3926 All three mechanisms work for every grob that supports
3927 @code{font-interface}.
3931 A symbol indicating the general class of the typeface. Supported are
3932 @code{roman} (Computer Modern), @code{braces} (for piano staff
3933 braces), @code{music} (the standard music font), @code{ancient} (the
3934 ancient notation font) @code{dynamic} (font for dynamic signs) and
3938 A symbol indicating the shape of the font, there are typically several
3939 font shapes available for each font family. Choices are @code{italic},
3940 @code{caps} and @code{upright}
3943 A symbol indicating the series of the font. There are typically several
3944 font series for each font family and shape. Choices are @code{medium}
3947 @item font-relative-size
3948 A number indicating the size relative the standard size. For example,
3949 with 20pt staff height, relative size -1 corresponds to 16pt staff
3950 height, and relative size +1 corresponds to 23 pt staff height.
3952 @item font-design-size
3953 A number indicating the design size of the font.
3955 This is a feature of the Computer Modern Font: each point size has a
3956 slightly different design. Smaller design sizes are relatively wider,
3957 which enhances readability.
3960 For any of these properties, the value @code{*} (i.e. the @emph{symbol},
3961 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
3962 to override default setting, which are always present. For example:
3964 \property Lyrics . LyricText \override #'font-series = #'bold
3965 \property Lyrics . LyricText \override #'font-family = #'typewriter
3966 \property Lyrics . LyricText \override #'font-shape = #'*
3969 @cindex @code{font-style}
3971 There are also pre-cooked font selection qualifiers. These are
3972 selected through the grob property @code{font-style}. For example,
3973 the style @code{finger} selects family @code{number} and relative size
3974 @code{-3}. Styles available include @code{volta}, @code{finger},
3975 @code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
3976 @code{large}, @code{Large} and @code{dynamic}. The style sheets and
3977 tables for selecting fonts are located in @file{scm/font.scm}. Refer
3978 to this file for more information.
3980 @cindex magnification
3982 The size of the font may be scaled with the grob property
3983 @code{font-magnification}. For example, @code{2.0} blows up all
3984 letters by a factor 2 in both directions.
3988 Relative size is not linked to any real size.
3990 There is no style sheet provided for other fonts besides the @TeX{}
3991 family, and the style sheet can not be modified easiyl.
3993 @cindex font selection
3994 @cindex font magnification
3995 @cindex @code{font-interface}
3999 @subsection Text markup
4003 LilyPond has an internal mechanism to typeset texts. You can
4004 form text markup expressions by composing scheme expressions
4005 in the following way.
4007 @lilypond[verbatim, singleline]
4012 c^#'(italic "italic")
4013 d_#'((bold italic) "ff")
4015 f_#'(lines "one" (bold "two"))
4016 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
4020 Normally, the Scheme markup text is stored in the @code{text} property
4021 of a grob. Formally, it is defined as follows:
4024 text: string | (head? text+)
4025 head: markup | (markup+)
4026 markup-item: property | abbrev
4027 property: (@var{key} . @var{value})
4028 abbrev: @code{columns lines roman music bold italic named super sub}
4029 @code{overstrike text finger volta timesig mmrest mark script}
4030 @code{large Large dynamic}
4033 The markup is broken down and converted into a list of grob properties,
4034 which are prepended to the property list. The @var{key}-@var{value}
4035 pair is a grob property. A list of properties available is included in
4036 the generated documentation for @rint{Text_interface}.
4038 The following abbreviations are defined:
4041 horizontal mode: set all text on one line (default)
4043 vertical mode: set every text on a new line
4047 selects the Feta font (the standard font for music notation glyphs),
4048 and uses named lookup
4055 lookup by character name
4057 plain text lookup (by character value)
4063 the next text or character overstrikes this one
4065 select fingering number fontstyle
4067 select volta number fontstyle
4069 select time signature number fontstyle
4071 select multi measure rest number fontstyle
4073 select mark number fontstyle
4075 select scriptsize roman fontstyle
4077 select large roman fontstyle
4079 select Large roman fontstyle
4081 select dynamics fontstyle
4085 @cindex metronome mark
4087 One practical application of complicated markup is to fake a metronome
4091 #(define note '(columns
4092 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
4093 #(define eight-note `(columns ,note ((kern . -0.1)
4094 (music ((raise . 3.5) "flags-u3")))))
4095 #(define dotted-eight-note
4096 `(columns ,eight-note (music "dots-dot")))
4099 \notes\relative c'' {
4100 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
4106 TextScript \override #'font-shape = #'upright
4114 The syntax and semantics of markup texts are not clean, and both
4115 syntax and semantics are slated for a rewrite.
4117 LilyPond does not do kerning, and there generally spaces texts
4123 @section Global layout
4125 The global layout determined by three factors: the page layout, the
4126 iline breaks and the spacing. These all influence each other: The
4127 choice of spacing determines how densely each system of music is set,
4128 whree line breaks breaks are chosen, and thus ultimately how many
4129 pages a piece of music takes. In this section we will explain how the
4130 lilypond spacing engine works, and how you can tune its results.
4132 Globally spoken, this procedure happens in three steps: first,
4133 flexible distances (``springs'') are chosen, based on durations. All
4134 possible line breaking combination are tried, and the one with the
4135 best results---a layout that has uniform density and requires as
4136 little stretching or cramping as possible---is chosen. When the score
4137 is processed by @TeX{}, page are filled with systems, and page breaks
4138 are chosen whenever the page gets full.
4141 * Vertical spacing::
4142 * Horizontal spacing::
4149 @node Vertical spacing
4150 @subsection Vertical spacing
4152 @cindex vertical spacing
4153 @cindex distance between staffs
4154 @cindex staff distance
4155 @cindex between staves, distance
4157 The height of each system is determined automatically by lilypond, to
4158 keep systems from bumping into each other, some minimum distances are
4159 set. By changing these, you can put staffs closer together, and thus
4160 put more systems onto one page.
4162 Normally staves are stacked vertically. To make
4163 staves maintain a distance, their vertical size is padded. This is
4164 done with the property @code{minimumVerticalExtent}. It takes a pair
4165 of numbers, so if you want to make it smaller from its, then you could
4168 \property Staff.minimumVerticalExtent = #'(-4 . 4)
4170 This sets the vertical size of the current staff to 4 staff-space on
4171 either side of the center staff line. The argument of
4172 @code{minimumVerticalExtent} is interpreted as an interval, where the
4173 center line is the 0, so the first number is generally negative. you
4174 could also make the staff larger at the bottom by setting it to
4175 @code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
4177 Vertical aligment of staves is handled by the
4178 @internalsref{VerticalAlignment} grob, which lives at
4179 @internalsref{Score} level.
4181 The piano staffs are handled a little differently: to make cross-staff
4182 beaming work correctly, it necessary that the distance between staves
4183 is fixed. This is also done with a @internalsref{VerticalAlignment}
4184 grob, created in @internalsref{PianoStaff}, but a forced distance is
4185 set. This is done with the grob property #'forced-distance. If you
4186 want to override this, use a @code{\translator} block as follows:
4190 VerticalAlignment \override #'forced-distance = #9
4193 This would bring the staffs together at a distance of 9 staff spaces,
4194 and again this is measured from the center line of each staff.
4198 @node Horizontal spacing
4199 @subsection Horizontal Spacing
4201 The spacing engine translates differences in durations into
4202 stretchable distances (``springs'') of differing lengths. Longer
4203 durations get more space, shorter durations get less. The basis for
4204 assigning spaces to durations, is that the shortest durations get a
4205 fixed amount of space, and the longer durations get more: doubling a
4206 duration adds a fixed amount of space to the note.
4208 For example, the following piece contains lots of half, quarter and
4209 8th notes, the eighth note is followed by 1 note head width. The The
4210 quarter note is followed by 2 NHW, the half by 3 NHW, etc.
4211 @lilypond[fragment, verbatim, relative=1]
4212 c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
4215 These two amounts of space are @code{shortest-duration-space}
4216 @code{spacing-increment}, grob properties of
4217 @internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
4218 set to 1.2, which is the width of a note head, and
4219 @code{shortest-duration-space} is set to 2.0, meaning that the
4220 shortest note gets 2 noteheads of space. For normal notes, this space
4221 is always counted from the left edge of the symbol, so the short notes
4222 in a score is generally followed by one note head width of space.
4224 If one would follow the above procedure exactly, then adding a single
4225 32th note to a score that uses 8th and 16th notes, would widen up the
4226 entire score a lot. The shortest note is no longer a 16th, but a 64th,
4227 thus adding 2 noteheads of space to every note. To prevent this, the
4228 shortest duration for spacing is not the shortest note in the score,
4229 but the most commonly found shortest note. Notes that are even
4230 shorter this are followed by a space that is proportonial to their
4231 duration relative to the common shortest note. So if we were to add
4232 only a few 16th notes to the example above, they would be followed by
4235 @lilypond[fragment, verbatim, relative=1]
4236 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
4239 The most common shortest duration is determined as follows: in every
4240 measure, the shortest duration is determined. The most common short
4241 duration, is taken as the basis for the spacing, with the stipulation
4242 that this shortest duration should always be equal to or shorter than
4243 1/8th note. The shortest duration is printed when you run lilypond
4244 with @code{--verbose}. These durations may also be customized. If you
4245 set the @code{common-shortest-duration} in
4246 @internalsref{SpacingSpanner}, then this sets the base duration for
4247 spacing. The maximum duration for this base (normally 1/8th), is set
4248 through @code{base-shortest-duration}.
4250 @cindex @code{common-shortest-duration}
4251 @cindex @code{base-shortest-duration}
4252 @cindex @code{stem-spacing-correction}
4253 @cindex @code{spacing}
4255 In the introduction it was explained that stem directions influence
4256 spacing. This is controlled with @code{stem-spacing-correction} in
4257 @internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the
4258 same property for controlling the stem/barline spacing. In the
4259 following example shows these corrections, once with default settings,
4260 and once with exaggerated corrections.
4266 \property Staff.NoteSpacing \override #'stem-spacing-correction
4268 \property Staff.StaffSpacing \override #'stem-spacing-correction
4273 \paper { linewidth = -1. } }
4280 Spacing is determined on a score wide basis. If you have a score that
4281 changes its character (measured in durations) half way during the
4282 score, the part containing the longer durations will be spaced too
4285 Generating optically pleasing spacing is black magic. LilyPond tries
4286 to deal with a number of frequent cases. Here is an example that is
4287 not handled correctly, due to the combination of chord collisions and
4292 \context PianoStaff \notes \transpose c''' <
4293 \context Staff = up { s1 }
4294 \context Staff = down { [c8 c \translator Staff=up <c d> c
4295 \translator Staff=down c c c] }
4297 \paper { linewidth = -1 }
4304 @subsection Font size
4305 @cindex font size, setting
4306 @cindex staff size, setting
4307 @cindex @code{paper} file
4309 The Feta font provides musical symbols at seven different sizes.
4310 These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
4311 point, and 26 point. The point size of a font is the height of the
4312 five lines in a staff when displayed in the font.
4314 Definitions for these sizes are the files @file{paperSZ.ly}, where
4315 @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
4316 of these files, the identifiers @code{paperEleven},
4317 @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
4318 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
4319 are defined respectively. The default @code{\paper} block is also
4320 set. These files should be imported at toplevel, i.e.
4322 \include "paper26.ly"
4326 The font definitions are generated using a Scheme function. For more
4327 details, see the file @file{scm/font.scm}.
4332 @subsection Line breaking
4335 @cindex breaking lines
4337 Line breaks are normally computed automatically. They are chosen such
4338 that it looks neither cramped nor loose, and that consecutive lines have
4341 Occasionally you might want to override the automatic breaks; you can
4342 do this by specifying @code{\break}. This will force a line break at
4343 this point. Line breaks can only occur at places where there are bar
4344 lines. If you want to have a line break where there is no bar line,
4345 you can force an invisible bar line by entering @code{\bar
4346 ""}. Similarly, @code{\noBreak} forbids a line break at a certain
4349 If you want linebreaks at regular intervals, you can use the following:
4351 < \repeat 7 unfold @{ s1 * 4 \break @}
4355 This makes the following 28 measures (assuming 4/4 time) be broken every
4359 @subsection Page layout
4362 @cindex breaking pages
4364 @cindex @code{indent}
4365 @cindex @code{linewidth}
4367 The most basic settings influencing the spacing are @code{linewidth}
4368 and @code{indent}, both set in the @code{\paper} block. They control
4369 the indentation of the first line of music, and the lengths of the
4370 lines. If @code{linewidth} set to a negative value, a single
4371 unjustified line is produced. A similar effect for scores that are
4372 longer than one line, can be produced by setting @code{raggedright} to
4373 true in the @code{\paper} block.
4377 The page layout process happens outside lilypond. Ly2dvi sets page
4378 layout instructions. Ly2dvi responds to the following variables in the
4379 @code{\paper} block. The variable @code{textheight} sets the total
4380 height of the music on each page. The spacing between systems is
4381 controlled with @code{interscoreline}, its default is 16pt.
4382 The distance between the score lines will stretch in order to fill the
4383 full page @code{interscorelinefill} is set to a positive number. In
4384 that case @code{interscoreline} specifies the minimum spacing.
4386 @cindex @code{textheight}
4387 @cindex @code{interscoreline}
4388 @cindex @code{interscorelinefill}
4390 Page breaks are normally computed by @TeX{}, so they are not under
4391 direct control of LilyPond. However, you can insert a commands into
4392 the @file{.tex} output to instruct @TeX{} where to break pages. You
4393 can insert a @code{\newpage} from within lilypond. This is done by
4394 setting the @code{between-systems-strings} on the
4395 @internalsref{NonMusicalPaperColumn} where the system is broken.
4399 @cindex @code{papersize}
4401 To change the paper size, you must first set the
4402 @code{papersize} paper variable variable. Set it to
4403 the strings @code{a4}, @code{letter}, or @code{legal}. After this
4404 specification, you must set the font as described above. If you want
4405 the default font, then use the 20 point font.
4408 \paper@{ papersize = "a4" @}
4409 \include "paper16.ly"
4412 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
4413 will set the paper variables @code{hsize} and @code{vsize} (used by
4414 Lilypond and @code{ly2dvi})
4424 LilyPond can produce MIDI output. The performance lacks lots of
4425 interesting effects, such as swing, articulation, slurring, etc., but it
4426 is good enough for proof-hearing the music you have entered. Ties,
4427 dynamics and tempo changes are interpreted.
4429 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4430 levels. Dynamic marks translate to a fixed fraction of the available
4431 MIDI volume range, crescendi and decrescendi make the the volume vary
4432 linearly between their two extremities. The fractions be adjusted by
4433 overriding the @code{absolute-volume-alist} defined in
4434 @file{scm/midi.scm}.
4436 For each type of musical instrument (that MIDI supports), a volume range
4437 can be defined. This gives you basic equalizer control, which can
4438 enhance the quality of the MIDI output remarkably. You can add
4439 instruments and ranges or change the default settings by overriding the
4440 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4442 Both loudness controls are combined to produce the final MIDI volume.
4448 * MIDI instrument names::
4453 @subsection MIDI block
4457 The MIDI block is analogous to the paper block, but it is somewhat
4458 simpler. The @code{\midi} block can contain:
4462 @item a @code{\tempo} definition
4463 @item context definitions
4466 Assignments in the @code{\midi} block are not allowed.
4470 @cindex context definition
4472 Context definitions follow precisely the same syntax as within the
4473 \paper block. Translation modules for sound are called performers.
4474 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
4477 @node MIDI instrument names
4478 @subsection MIDI instrument names
4480 @cindex instrument names
4481 @cindex @code{Staff.midiInstrument}
4482 @cindex @code{Staff.instrument}
4484 The MIDI instrument name is set by the @code{Staff.midiInstrument}
4485 property or, if that property is not set, the @code{Staff.instrument}
4486 property. The instrument name should be chosen from the list in
4487 @ref{MIDI instruments}.
4491 If the selected string does not exactly match, then LilyPond uses the
4492 default (Grand Piano). It is not possible to select an instrument by