3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
15 * Easier music entry::
22 * Fingering instructions::
31 * Contemporary notation::
37 @c FIXME: Note entry vs Music entry at top level menu is confusing.
43 This chapter describes all the different types of notation supported
44 by LilyPond. It is intended as a reference for users that are already
45 somewhat familiar with using LilyPond.
51 * Chromatic alterations::
59 * Easy Notation note heads ::
67 A note is printed by specifying its pitch and then its duration:
68 @footnote{Notes constitute the most basic elements of LilyPond input,
69 but they do not form valid input on their own without a @code{\score}
70 block. However, for the sake of brevity and simplicity we will
71 generally omit @code{\score} blocks and @code{\paper} declarations in
74 @lilypond[fragment,verbatim]
83 @cindex Note specification
85 @cindex entering notes
87 The most common syntax for pitch entry is used in @code{\chords} and
88 @code{\notes} mode. In Note and Chord mode, pitches may be designated
89 by names. The notes are specified by the letters @code{a} through
90 @code{g}, while the octave is formed with notes ranging from @code{c}
91 to @code{b}. The pitch @code{c} is an octave below middle C and the
92 letters span the octave above that C:
94 @lilypond[fragment,verbatim]
96 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
99 @cindex note names, Dutch
101 A sharp is formed by adding @code{-is} to the end of a pitch name and
102 a flat is formed by adding @code{-es}. Double sharps and double flats
103 are obtained by adding @code{-isis} or @code{-eses}. These
104 names are the Dutch note names. In Dutch, @code{aes} is contracted to
105 @code{as} in Dutch, but both forms are accepted. Similarly, both
106 @code{es} and @code{ees} are accepted.
108 There are predefined sets of note names for various other languages.
109 To use them, include the language specific init file. For
110 example: @code{\include "english.ly"}. The available language files
111 and the note names they define are:
116 Note Names sharp flat
117 nederlands.ly c d e f g a bes b -is -es
118 english.ly c d e f g a bf b -s/-sharp -f/-flat
119 deutsch.ly c d e f g a b h -is -es
120 norsk.ly c d e f g a b h -iss/-is -ess/-es
121 svenska.ly c d e f g a b h -iss -ess
122 italiano.ly do re mi fa sol la sib si -d -b
123 catalan.ly do re mi fa sol la sib si -d/-s -b
124 espanol.ly do re mi fa sol la sib si -s -b
133 The optional octave specification takes the form of a series of
134 single quote (`@code{'}') characters or a series of comma
135 (`@code{,}') characters. Each @code{'} raises the pitch by one
136 octave; each @code{,} lowers the pitch by an octave:
138 @lilypond[fragment,verbatim,center]
139 c' c'' es' g' as' gisis' ais'
143 There is also a verbose syntax for pitch specification:
146 @cindex @code{\pitch}
148 \pitch @var{scmpitch}
152 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
156 Notes can be hidden and unhidden with the following commands:
158 @cindex @code{\hideNotes}
160 @cindex @code{\unHideNotes}
167 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
169 @node Chromatic alterations
170 @subsection Chromatic alterations
172 Normally accidentals are printed automatically, but you may also
173 print them manually. A reminder accidental
174 @cindex reminder accidental
176 can be forced by adding an exclamation mark @code{!}
177 after the pitch. A cautionary accidental
178 @cindex cautionary accidental
179 @cindex parenthesized accidental
180 (an accidental within parentheses) can be obtained by adding the
181 question mark `@code{?}' after the pitch:
183 @lilypond[fragment,verbatim]
184 cis' cis' cis'! cis'?
188 The automatic production of accidentals can be tuned in many
189 ways. For more information, refer to @ref{Accidentals}.
194 A chord is formed by a enclosing a set of pitches in @code{<<} and
195 @code{>>}. A chord may be followed by a duration, and a set of
196 articulations, just like simple notes.
206 Rests are entered like notes, with the note name @code{r}:
208 @lilypond[singleline,verbatim]
212 Whole bar rests, centered in middle of the bar,
213 must be done with multi measure rests. They are discussed in
214 @ref{Multi measure rests}.
217 A rest's vertical position may be explicitly specified by entering a
218 note with the @code{\rest} keyword appended. This makes manual
219 formatting in polyphonic music easier. Rest collision testing will
220 leave these rests alone:
222 @lilypond[singleline,verbatim]
228 @internalsref{RestEvent}, and @internalsref{Rest}.
235 @cindex Invisible rest
238 An invisible rest (also called a `skip') can be entered like a note
239 with note name `@code{s}' or with @code{\skip @var{duration}}:
241 @lilypond[singleline,verbatim]
245 The @code{s} syntax is only available in Note mode and Chord mode. In
246 other situations, you should use the @code{\skip} command:
248 @lilypond[singleline,verbatim]
251 { \time 4/8 \skip 2 \time 4/4 }
252 \notes\relative c'' { a2 a1 }
257 The skip command is merely an empty musical placeholder. It does not
258 produce any output, not even transparent output.
262 @internalsref{SkipEvent}.
267 @subsection Durations
271 @cindex @code{\duration}
274 In Note, Chord, and Lyrics mode, durations are designated by numbers
275 and dots: durations are entered as their reciprocal values. For example,
276 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
277 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
278 longer than a whole you must use variables:
280 @c FIXME: what is an identifier? I do not think it's been introduced yet.
281 @c and if it has, I obviously skipped that part. - Graham
285 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
287 r1 r2 r4 r8 r16 r32 r64 r64
292 \notes \relative c'' {
294 a1 a2 a4 a8 a16 a32 a64 a64
296 r1 r2 r4 r8 r16 r32 r64 r64
301 \remove "Clef_engraver"
302 \remove "Staff_symbol_engraver"
303 \remove "Time_signature_engraver"
304 \consists "Pitch_squash_engraver"
311 If the duration is omitted then it is set to the previously entered
312 duration. The default for the first note is a quarter note. The duration
313 can be followed by dots (`@code{.}') in order to obtain dotted note
317 @lilypond[fragment,verbatim,center]
318 a' b' c''8 b' a'4 a'4. b'4.. c'8.
323 You can alter the length of duration by a fraction @var{N/M}
324 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
325 will not affect the appearance of the notes or rests produced.
326 In the following example, the first three notes take up exactly two
328 @lilypond[fragment,relative 2,verbatim]
330 a4*2/3 gis4*2/3 a4*2/3
334 Durations can also be produced using the verbose syntax
335 @code{\duration @var{Scheme object}}:
336 @lilypond[verbatim,fragment]
337 c'\duration #(ly:make-duration 4 1)
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 @internalsref{Dots}, and @internalsref{DotColumn}.
361 In dense chords, dots can overlap.
366 Whenever a note is found, a
367 @internalsref{Stem} object is created automatically. For whole notes
368 and rests, stem objects are also created, but in those cases, the stem
373 @cindex @code{\stemUp}
375 @cindex @code{\stemDown}
377 @cindex @code{\stemBoth}
388 A tie connects two adjacent note heads of the same pitch. The tie in
389 effect extends the length of a note. Ties should not be confused with
390 slurs, which indicate articulation, or phrasing slurs, which indicate
391 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
393 @lilypond[fragment,verbatim,center]
394 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
397 When a tie is applied to a chord, all note heads whose pitches match
398 are connected. When no note heads match, no ties will be created.
400 In its meaning a tie is just a way of extending a note duration, similar
401 to the augmentation dot; in the following example there are two ways of
402 notating exactly the same concept:
404 @lilypond[fragment, singleline,quote]
405 \time 3/4 c'2. c'2 ~ c'4
407 If you need to tie a lot of notes over bars, it may be easier to use automatic
408 note splitting (See @ref{Automatic note splitting}).
413 @cindex @code{\tieUp}
415 @cindex @code{\tieDown}
417 @cindex @code{\tieBoth}
419 @cindex @code{\tieDotted}
421 @cindex @code{\tieSolid}
426 @internalsref{TieEvent}, @internalsref{NewTieEvent},
427 @internalsref{Tie}, and @ref{Automatic note splitting}.
430 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
434 Tieing only a subset of the note heads of a pair of chords is not
435 supported in a simple way. It can be achieved by moving the
436 tie-engraver into the @internalsref{Thread} context and turning on and
437 off ties per @internalsref{Thread}.
439 Switching staves when a tie is active, will not produce a slanted tie.
441 Formatting of ties is a difficult subject. The results are often not
451 @cindex @code{\times}
453 Tuplets are made out of a music expression by multiplying all durations
456 @cindex @code{\times}
458 \times @var{fraction} @var{musicexpr}
461 The duration of @var{musicexpr} will be multiplied by the fraction.
462 In the sheet music, the fraction's denominator will be printed over
463 the notes, optionally with a bracket. The most common tuplet is the
464 triplet in which 3 notes have the length of 2, so the notes are 2/3
465 of their written length:
467 @lilypond[fragment,verbatim,center]
468 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
471 The property @code{tupletSpannerDuration} specifies how long each
472 bracket should last. With this, you can make lots of tuplets while
473 typing @code{\times} only once, saving lots of typing. In the next
474 example, there are two triplets shown, while @code{\times} was only
477 @lilypond[fragment, relative, singleline, verbatim]
478 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
479 \times 2/3 { c'8 c c c c c }
482 The format of the number is determined by the property
483 @code{tupletNumberFormatFunction}. The default prints only the
484 denominator, but if it is set to the Scheme function
485 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
489 @cindex @code{tupletNumberFormatFunction}
490 @cindex tuplet formatting
495 @cindex @code{\tupletUp}
497 @cindex @code{\tupletDown}
499 @cindex @code{\tupletBoth}
504 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
508 Nested tuplets are not formatted automatically. In this case, outer
509 tuplet brackets should be moved manually.
511 @node Easy Notation note heads
512 @subsection Easy Notation note heads
514 @cindex easy notation
517 The `easy play' note head includes a note name inside the head. It is
518 used in music aimed at beginners:
520 @lilypond[singleline,verbatim,26pt]
522 \notes { c'2 e'4 f' | g'1 }
523 \paper { \translator { \EasyNotation } }
527 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
528 You probably will want to print it with magnification or a
529 large font size to make it more readable. To print with
530 magnification, you must create a DVI file (with @file{ly2dvi}) and
531 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
532 See the @code{dvips} documentation for more details. To print with a
533 larger font, see @ref{Font Size}.
539 If you view the result with Xdvi, then staff lines will show through
540 the letters. Printing the PostScript file obtained with ly2dvi does
541 produce the correct result.
544 @node Easier music entry
545 @section Easier music entry
548 When entering music it is easy to introduce errors. This section deals
549 with tricks and features of the input language that help when entering
550 music, and find and correct mistakes. Some features of the input
551 language ease entering music, but also have other applications. They
552 are not described in this section.
554 It is also possible to use external programs, for example GUI
555 interfaces, or MIDI transcription programs, to enter or edit
556 music. Refer to the website for more information. Finally, there are
557 tools make debugging easier, by linking the input file and the output
558 shown on screen. See @ref{Point and click} for more information.
565 * Skipping corrected music::
566 * Automatic note splitting ::
572 @node Relative octaves
573 @subsection Relative octaves
575 @cindex relative octave specification
577 Octaves are specified by adding @code{'} and @code{,} to pitch names.
578 When you copy existing music, it is easy to accidentally put a pitch
579 in the wrong octave and hard to find such an error. The relative
580 octave mode prevents these errors: a single error puts the rest of the
581 piece off by one octave:
583 @cindex @code{\relative}
585 \relative @var{startpitch} @var{musicexpr}
588 The octave of notes that appear in @var{musicexpr} are calculated as
589 follows: If no octave changing marks are used, the basic interval
590 between this and the last note is always taken to be a fourth or less
591 (; this distance is determined without regarding alterations: a
592 @code{fisis} following a @code{ceses} will be put above the
595 The octave changing marks @code{'} and @code{,} can be added to raise
596 or lower the pitch by an extra octave. Upon entering relative mode,
597 an absolute starting pitch must be specified that will act as the
598 predecessor of the first note of @var{musicexpr}.
600 Here is the relative mode shown in action:
601 @lilypond[fragment,singleline,verbatim,center]
607 Octave changing marks are used for intervals greater than a fourth:
608 @lilypond[fragment,verbatim,center]
613 If the preceding item is a chord, the first note of the chord is used
614 to determine the first note of the next chord:
616 @lilypond[fragment,verbatim,center]
623 @cindex @code{\notes}
625 The pitch after the @code{\relative} contains a note name. To parse
626 the pitch as a note name, you have to be in note mode, so there must
627 be a surrounding @code{\notes} keyword (which is not
630 The relative conversion will not affect @code{\transpose},
631 @code{\chords} or @code{\relative} sections in its argument. If you
632 want to use relative within transposed music, you must place an
633 additional @code{\relative} inside the @code{\transpose}.
636 @subsection Octave check
639 Octave checks make octave errors easier to correct.
645 This checks that @var{pitch} (without octave) yields @var{pitch} (with
646 octave) in \relative mode. If not, a warning is printed, and the
647 octave is corrected, for example, the first check is passed
648 successfully. The second check fails with an error message. The
649 octave is adjusted so the following notes are in the correct octave
660 The octave of a note following an octave check is determined with
661 respect to the note preceding it. In the next fragment, the last note
662 is a @code{a'}, above central C.
664 @lilypond[verbatim,fragment]
675 @subsection Bar check
679 @cindex @code{barCheckSynchronize}
682 Bar checks help detect errors in the durations. A bar check is
683 entered using the bar symbol, `@code{|}'. Whenever it is encountered
684 during interpretation, it should fall on a measure boundary. If it
685 does not, a warning is printed. Depending on the value of
686 @code{barCheckSynchronize}, the beginning of the measure will be
689 In the next example, the second bar check will signal an error:
691 \time 3/4 c2 e4 | g2 |
696 @cindex skipTypesetting
698 Failed bar checks are caused by entering incorrect
699 durations. Incorrect durations often completely garble up the score,
700 especially if it is polyphonic, so you should start correcting the
701 score by scanning for failed bar checks and incorrect durations. To
702 speed up this process, you can use @code{skipTypesetting}, described
705 @node Skipping corrected music
706 @subsection Skipping corrected music
708 The property @code{Score.skipTypesetting} can be used to switch on and
709 off typesetting completely during the interpretation phase. When
710 typesetting is switched off, the music is processed much more quickly.
711 This can be used to skip over the parts of a score that have already
712 been checked for errors:
714 @lilypond[fragment,singleline,verbatim]
716 \property Score.skipTypesetting = ##t
718 \property Score.skipTypesetting = ##f
722 @node Automatic note splitting
723 @subsection Automatic note splitting
725 Long notes can be converted automatically to tied notes. This is done
726 by replacing the @internalsref{Note_heads_engraver} by the
727 @internalsref{Completion_heads_engraver}:
730 \paper @{ \translator @{
732 \remove "Note_heads_engraver"
733 \consists "Completion_heads_engraver"
737 which will make long notes tied in the following example:
740 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
747 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
749 \paper { \translator {
751 \remove "Note_heads_engraver"
752 \consists "Completion_heads_engraver"
757 This engraver splits all running notes at the bar line, and inserts
758 ties. One of its uses is to debug complex scores: if the measures are
759 not entirely filled, then the ties exactly show how much each measure
764 Not all durations (especially those containing tuplets) can be
765 represented exactly; the engraver will not insert tuplets.
771 @section Staff notation
773 This section describes music notation that occurs on staff level,
774 such as keys, clefs and time signatures.
776 @cindex Staff notation
790 @subsection Staff symbol
792 @cindex adjusting staff symbol
793 @cindex StaffSymbol, using \property
794 @cindex staff lines, setting number of
796 Notes, dynamic signs, etc. are grouped
797 with a set of horizontal lines, into a staff (plural `staves'). In our
798 system, these lines are drawn using a separate layout object called
801 This object is created whenever a @internalsref{Staff} context is
802 created. The appearance of the staff symbol cannot be changed by
803 using @code{\override} or @code{\set}. At the moment that
804 @code{\property Staff} is interpreted, a @internalsref{Staff} context
805 is made, and the @internalsref{StaffSymbol} is created before any
806 @code{\override} is effective. Properties can be changed in a
807 @code{\translator} definition, or by using @code{\outputproperty}.
811 If a staff is ended halfway a piece, the staff symbol may not end
812 exactly on the barline.
816 @subsection Key signature
817 @cindex Key signature
821 The key signature indicates the scale in which a piece is played. It
822 is denoted by a set of alterations (flats or sharps) at the start of
827 Setting or changing the key signature is done with the @code{\key}
830 @code{\key} @var{pitch} @var{type}
833 @cindex @code{\minor}
834 @cindex @code{\major}
835 @cindex @code{\minor}
836 @cindex @code{\ionian}
837 @cindex @code{\locrian}
838 @cindex @code{\aeolian}
839 @cindex @code{\mixolydian}
840 @cindex @code{\lydian}
841 @cindex @code{\phrygian}
842 @cindex @code{\dorian}
844 Here, @var{type} should be @code{\major} or @code{\minor} to get
845 @var{pitch}-major or @var{pitch}-minor, respectively.
846 The standard mode names @code{\ionian},
847 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
848 @code{\phrygian}, and @code{\dorian} are also defined.
850 This command sets the context property
851 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
852 can be specified by setting this property directly.
856 The ordering of a key cancellation is wrong when it is combined with
857 repeat bar lines. The cancellation is also printed after a line break.
861 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
863 @cindex @code{keySignature}
870 The clef indicates which lines of the staff correspond to which
875 The clef can be set or changed with the @code{\clef} command:
876 @lilypond[fragment,verbatim]
877 \key f\major c''2 \clef alto g'2
880 Supported clef-names include:
881 @c Moved standard clefs to the top /MB
883 @item treble, violin, G, G2
892 G clef on 1st line, so-called French violin clef
907 By adding @code{_8} or @code{^8} to the clef name, the clef is
908 transposed one octave down or up, respectively. Argument @var{clefname}
909 must be enclosed in quotes when it contains underscores or digits. For
915 This command is equivalent to setting @code{clefGlyph},
916 @code{clefPosition} (which controls the Y position of the clef),
917 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
918 when any of these properties are changed.
922 The object for this symbol is @internalsref{Clef}.
926 @node Ottava brackets
927 @subsection Ottava brackets
929 ``Ottava'' brackets introduce an extra transposition of an octave for
930 the staff. They are created by invoking the function
931 @code{set-octavation}:
937 @lilypond[verbatim,fragment]
946 Internally the @code{set-octavation} function sets the properties
947 @code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
951 @internalsref{OttavaSpanner}.
955 @code{set-octavation} will get confused when clef changes happen
956 during an octavation bracket.
959 @subsection Time signature
960 @cindex Time signature
964 Time signature indicates the metrum of a piece: a regular pattern of
965 strong and weak beats. It is denoted by a fraction at the start of the
970 The time signature is set or changed by the @code{\time}
972 @lilypond[fragment,verbatim]
973 \time 2/4 c'2 \time 3/4 c'2.
976 The symbol that is printed can be customized with the @code{style}
977 property. Setting it to @code{#'()} uses fraction style for 4/4 and
978 2/2 time. There are many more options for its layout. See
979 @inputfileref{input/test,time.ly} for more examples.
982 This command sets the property @code{timeSignatureFraction},
983 @code{beatLength} and @code{measureLength} in the @code{Timing}
984 context, which is normally aliased to @internalsref{Score}. The
985 property @code{measureLength} determines where bar lines should be
986 inserted, and how automatic beams should be generated. Changing the
987 value of @code{timeSignatureFraction} also causes the symbol to be
990 More options are available through the Scheme function
991 @code{set-time-signature}. In combination with the
992 @internalsref{Measure_grouping_engraver}, it will create
993 @internalsref{MeasureGrouping} signs. Such signs ease reading
994 rhythmically complex modern music. In the following example, the 9/8
995 measure is subdivided in 2, 2, 2 and 3. This is passed to
996 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
999 \score { \notes \relative c'' {
1000 #(set-time-signature 9 8 '(2 2 2 3))
1001 g8[ g] d[ d] g[ g] a8[( bes g]) |
1002 #(set-time-signature 5 8 '(3 2))
1007 \translator { \StaffContext
1008 \consists "Measure_grouping_engraver"
1014 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1019 Automatic beaming does not use measure grouping specified with
1020 @code{set-time-signature}.
1022 @node Partial measures
1023 @subsection Partial measures
1026 @cindex partial measure
1027 @cindex measure, partial
1028 @cindex shorten measures
1029 @cindex @code{\partial}
1031 Partial measures, for example in upsteps, are entered using the
1032 @code{\partial} command:
1033 @lilypond[fragment,verbatim]
1034 \partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
1037 The syntax for this command is
1039 \partial @var{duration}
1041 This is internally translated into
1043 \property Timing.measurePosition = -@var{length of duration}
1046 The property @code{measurePosition} contains a rational number
1047 indicating how much of the measure has passed at this point.
1049 @node Unmetered music
1050 @subsection Unmetered music
1052 Bar lines and bar numbers are calculated automatically. For unmetered
1053 music (e.g. cadenzas), this is not desirable. By setting
1054 @code{Score.timing} to false, this automatic timing can be switched
1060 @cindex @code{\cadenzaOn}
1062 @cindex @code{\cadenzaOff}
1066 @subsection Bar lines
1070 @cindex measure lines
1074 Bar lines delimit measures, but are also used to indicate repeats.
1075 Normally, they are inserted automatically. Line breaks may only
1081 of barlines can be forced with the @code{\bar} command:
1082 @lilypond[relative=1,fragment,verbatim]
1086 The following bar types are available:
1087 @lilypond[fragment, relative, singleline, verbatim]
1099 In scores with many staves, a @code{\bar} command in one staff is
1100 automatically applied to all staves. The resulting bar lines are
1101 connected between different staves of a @internalsref{StaffGroup}:
1103 @lilypond[fragment, verbatim]
1104 < \context StaffGroup <
1105 \context Staff = up { e'4 d'
1108 \context Staff = down { \clef bass c4 g e g } >
1109 \context Staff = pedal { \clef bass c2 c2 } >
1113 The command @code{\bar @var{bartype}} is a short cut for doing
1114 @code{\property Score.whichBar = @var{bartype}} Whenever
1115 @code{whichBar} is set to a string, a bar line of that type is
1116 created. At the start of a measure it is set to
1117 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1118 to override default measure bars.
1120 Property @code{whichBar} can also be set directly, using @code{\property}
1121 or @code{\bar}. These settings take precedence over the automatic
1122 @code{whichBar} settings.
1125 @cindex repeatCommands
1126 @cindex defaultBarType
1128 You are encouraged to use @code{\repeat} for repetitions. See
1138 The bar line objects that are created at @internalsref{Staff} level
1139 are called @internalsref{BarLine}, the bar lines that span staves are
1140 @internalsref{SpanBar}s.
1142 @cindex bar lines at start of system
1143 @cindex start of system
1145 The barlines at the start of each system are
1146 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1147 @internalsref{SystemStartBracket}. They are spanner objects and
1148 typically must be tuned from a @code{\translator} block.
1155 The easiest way to enter fragments with more than one voice on a staff
1156 is to split chords using the separator @code{\\}. You can use it for
1157 small, short-lived voices or for single chords:
1159 @lilypond[verbatim,fragment]
1160 \context Voice = VA \relative c'' {
1161 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d >
1165 The separator causes @internalsref{Voice} contexts to be
1167 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1168 contexts, vertical direction of slurs, stems, etc. is set
1171 This can also be done by instantiating @internalsref{Voice} contexts
1172 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1173 a stem directions and horizontal shift for each part:
1176 @lilypond[singleline, verbatim]
1178 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1179 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1180 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1183 Normally, note heads with a different number of dots are not merged, but
1184 when the object property @code{merge-differently-dotted} is set in
1185 the @internalsref{NoteCollision} object, they are merged:
1186 @lilypond[verbatim,fragment,singleline]
1187 \relative c'' \context Voice < {
1189 \property Staff.NoteCollision \override
1190 #'merge-differently-dotted = ##t
1192 } \\ { g8.[ f16] g8.[ f16] }
1196 Similarly, you can merge half note heads with eighth notes, by setting
1197 @code{merge-differently-headed}:
1198 @lilypond[fragment, relative=2,verbatim]
1201 \property Staff.NoteCollision
1202 \override #'merge-differently-headed = ##t
1203 c8 c4. } \\ { c2 c2 } >
1206 LilyPond also vertically shifts rests that are opposite of a stem:
1209 @lilypond[singleline,fragment,verbatim]
1210 \context Voice < c''4 \\ r4 >
1218 @cindex @code{\oneVoice}
1220 @cindex @code{\voiceOne}
1222 @cindex @code{\voiceTwo}
1224 @cindex @code{\voiceThree}
1226 @cindex @code{\voiceFour}
1229 The following commands specify in what chords of the current voice
1230 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1231 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1234 @cindex @code{\shiftOn}
1236 @cindex @code{\shiftOnn}
1238 @cindex @code{\shiftOnnn}
1240 @cindex @code{\shiftOff}
1247 The objects responsible for resolving collisions are
1248 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1249 also example files @inputfileref{input/regression,collision-dots.ly},
1250 @inputfileref{input/regression,collision-head-chords.ly},
1251 @inputfileref{input/regression,collision-heads.ly},
1252 @inputfileref{input/regression,collision-mesh.ly}, and
1253 @inputfileref{input/regression,collisions.ly}.
1258 Resolving collisions is a intricate subject, and only a few situations
1259 are handled. When LilyPond cannot cope, the @code{force-hshift}
1260 property of the @internalsref{NoteColumn} object and pitched rests can
1261 be used to override typesetting decisions.
1263 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1264 note, and a downstem half note, the 8th note gets the wrong offset.
1269 Beams are used to group short notes into chunks that are aligned with
1270 the metrum. They are inserted automatically in most cases:
1272 @lilypond[fragment,verbatim, relative=2]
1273 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1276 When these automatic decisions are not good enough, beaming can be
1277 entered explicitly. It is also possible to define beaming patterns
1278 that differ from the defaults.
1282 @internalsref{Beam}.
1285 @cindex Automatic beams
1286 @subsection Manual beams
1287 @cindex beams, manual
1291 In some cases it may be necessary to override the automatic beaming
1292 algorithm. For example, the auto beamer will not put beams over rests
1293 or bar lines. Such beams are specified by manually: the begin and end
1294 point are marked with @code{[} and @code{]}:
1296 @lilypond[fragment,relative,verbatim]
1298 r4 r8[ g' a r8] r8 g[ | a] r8
1302 @cindex @code{stemLeftBeamCount}
1304 Normally, beaming patterns within a beam are determined automatically.
1305 When this mechanism fouls up, the properties
1306 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1307 be used to control the beam subdivision on a stem. If either property
1308 is set, its value will be used only once, and then it is erased.
1310 @lilypond[fragment,relative,verbatim]
1313 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1316 @cindex @code{stemRightBeamCount}
1319 The property @code{subdivideBeams} can be set in order to subdivide
1320 all 16th or shorter beams at beat positions, as defined by the
1321 @code{beatLength} property . This accomplishes the same effect as
1322 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1323 but it take less typing:
1326 @lilypond[relative=1,verbatim,noindent]
1328 \property Voice.subdivideBeams = ##t
1330 \property Score.beatLength = #(ly:make-moment 1 8)
1333 @cindex subdivideBeams
1335 Kneed beams are inserted automatically, when a large gap is detected
1336 between the note heads. This behavior can be tuned through the object
1337 property @code{auto-knee-gap}.
1339 Normally, line breaks are forbidden when beams cross bar lines. This
1340 behavior can be changed by setting @code{allowBeamBreak}.
1342 @cindex @code{allowBeamBreak}
1343 @cindex beams and line breaks
1345 @cindex beams, kneed
1347 @cindex auto-knee-gap
1353 @cindex Frenched staves
1355 Automatically kneed beams cannot be used together with hidden staves.
1360 * Setting automatic beam behavior ::
1364 @no de Beam typography
1365 @sub section Beam typography
1367 One of the strong points of LilyPond is how beams are formatted. Beams
1368 are quantized, meaning that the left and right endpoints beams start
1369 exactly on staff lines. Without quantization, small wedges of white
1370 space appear between the beam and staff line, and this looks untidy.
1372 Beams are also slope-damped: melodies that go up or down should also
1373 have beams that go up or down, but the slope of the beams should be
1374 less than the slope of the notes themselves.
1376 Some beams should be horizontal. These are so-called concave beams.
1378 [TODO: some pictures.]
1382 @node Setting automatic beam behavior
1383 @subsection Setting automatic beam behavior
1385 @cindex @code{autoBeamSettings}
1386 @cindex @code{(end * * * *)}
1387 @cindex @code{(begin * * * *)}
1388 @cindex automatic beams, tuning
1389 @cindex tuning automatic beaming
1391 @c [TODO: use \applycontext]
1393 In normal time signatures, automatic beams can start on any note but can
1394 only end in a few positions within the measure: beams can end on a beat,
1395 or at durations specified by the properties in
1396 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1397 are defined in @file{scm/auto-beam.scm}.
1399 The value of @code{autoBeamSettings} is changed using
1400 @code{\override} and restored with @code{\revert}:
1402 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1403 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1405 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1406 whether the rule applies to begin or end-points. The quantity
1407 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1408 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1409 signature (wildcards, `@code{* *}' may be entered to designate all time
1412 For example, if automatic beams should end on every quarter note, use
1415 \property Voice.autoBeamSettings \override
1416 #'(end * * * *) = #(ly:make-moment 1 4)
1418 Since the duration of a quarter note is 1/4 of a whole note, it is
1419 entered as @code{(ly:make-moment 1 4)}.
1421 The same syntax can be used to specify beam starting points. In this
1422 example, automatic beams can only end on a dotted quarter note:
1424 \property Voice.autoBeamSettings \override
1425 #'(end * * * *) = #(ly:make-moment 3 8)
1427 In 4/4 time signature, this means that automatic beams could end only on
1428 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1429 3/8 has passed within the measure).
1431 Rules can also be restricted to specific time signatures. A rule that
1432 should only be applied in @var{N}/@var{M} time signature is formed by
1433 replacing the second asterisks by @var{N} and @var{M}. For example, a
1434 rule for 6/8 time exclusively looks like
1436 \property Voice.autoBeamSettings \override
1437 #'(begin * * 6 8) = ...
1440 If a rule should be to applied only to certain types of beams, use the
1441 first pair of asterisks. Beams are classified according to the
1442 shortest note they contain. For a beam ending rule that only applies
1443 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1446 If a score ends while an automatic beam has not been ended and is still
1447 accepting notes, this last beam will not be typeset at all.
1449 @cindex automatic beam generation
1451 @cindex @code{Voice.autoBeaming}
1454 For melodies that have lyrics, you may want to switch off
1455 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1460 @cindex @code{\autoBeamOff}
1461 @code{\autoBeamOff},
1462 @cindex @code{\autoBeamOn}
1468 The rules for ending a beam depend on the shortest note in a beam.
1469 So, while it is possible to have different ending rules for eight
1470 beams and sixteenth beams, a beam that contains both eight and
1471 sixteenth notes will use the rules for the sixteenth beam.
1473 In the example below, the autobeamer makes eight beams and sixteenth
1474 end at 3 eights; the third beam can only be corrected by specifying
1477 @lilypond[singleline,fragment,relative,noverbatim,quote]
1478 \property Voice.autoBeamSettings
1479 \override #'(end * * * *) = #(ly:make-moment 3 8)
1480 % rather show case where it goes wrong
1481 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1482 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1484 It is not possible to specify beaming parameters that act differently in
1485 different parts of a measure. This means that it is not possible to use
1486 automatic beaming in irregular meters such as @code{5/8}.
1489 @section Accidentals
1492 This section describes how to change the way that accidentals are
1493 inserted automatically before the running notes.
1497 * Using the predefined accidental variables::
1498 * Customized accidental rules::
1501 @node Using the predefined accidental variables
1502 @subsection Using the predefined accidental variables
1504 The constructs for describing the accidental typesetting rules are
1505 quite hairy, so non-experts should stick to the variables
1506 defined in @file{ly/property-init.ly}.
1507 @cindex @file{property-init.ly}
1509 The variables set properties in the ``@code{Current}'' context (see
1510 @ref{Context properties}). This means that the variables should
1511 normally be added right after the creation of the context in which the
1512 accidental typesetting described by the variable is to take
1513 effect. For example, if you want to use piano-accidentals in a piano
1514 staff then issue @code{\pianoAccidentals} first thing after the
1515 creation of the piano staff:
1518 \notes \relative c'' <
1519 \context Staff = sa @{ cis4 d e2 @}
1520 \context GrandStaff <
1522 \context Staff = sb @{ cis4 d e2 @}
1523 \context Staff = sc @{ es2 c @}
1525 \context Staff = sd @{ es2 c @}
1529 @lilypond[singleline]
1531 \notes \relative c'' <
1532 \context Staff = sa { cis4 d e2 }
1533 \context GrandStaff <
1535 \context Staff = sb { cis4 d e2 }
1536 \context Staff = sc { es2 c }
1538 \context Staff = sd { es2 c }
1543 minimumVerticalExtent = #'(-4.0 . 4.0)
1551 @item \defaultAccidentals
1552 @cindex @code{\defaultAccidentals}
1553 This is the default typesetting behaviour. It should correspond
1554 to 18th century common practice: Accidentals are
1555 remembered to the end of the measure in which they occur and
1556 only on their own octave.
1558 @item \voiceAccidentals
1559 @cindex @code{\voiceAccidentals}
1561 The normal behaviour is to
1562 remember the accidentals on Staff-level. This variable, however,
1563 typesets accidentals individually for each voice. Apart from that the
1564 rule is similar to @code{\defaultAccidentals}.
1566 This leads to some weird and often unwanted results
1567 because accidentals from one voice do not get cancelled in other
1569 @lilypond[singleline,relative,fragment,verbatim,quote]
1577 Hence you should only use @code{\voiceAccidentals} if the voices
1578 are to be read solely by individual musicians. If the staff is to be
1579 used by one musician (e.g. a conductor) then you use
1580 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1583 @item \modernAccidentals
1584 @cindex @code{\modernAccidentals}
1585 This rule corresponds to the common practice in the 20th
1587 The rule is more complex than @code{\defaultAccidentals}.
1588 You get all the same accidentals, but temporary
1589 accidentals also get cancelled in other octaves. Furthermore,
1590 in the same octave, they also get cancelled in the following measure:
1591 @lilypond[singleline,fragment,verbatim]
1593 cis' c'' cis'2 | c'' c'
1596 @item \modernCautionaries
1597 @cindex @code{\modernCautionaries}
1598 This rule is similar to @code{\modernAccidentals}, but the
1599 ``extra'' accidentals (the ones not typeset by
1600 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1601 They are printed in reduced size or with parentheses:
1602 @lilypond[singleline,fragment,verbatim]
1604 cis' c'' cis'2 | c'' c'
1607 @cindex @code{\modernVoiceAccidentals}
1608 @item \modernVoiceAccidentals
1609 is used for multivoice accidentals to be read both by musicians
1610 playing one voice and musicians playing all voices. Accidentals are
1611 typeset for each voice, but they @emph{are} cancelled across voices in
1612 the same @internalsref{Staff}.
1614 @cindex @code{\modernVoiceCautionaries}
1615 @item \modernVoiceCautionaries
1616 is the same as @code{\modernVoiceAccidentals}, but with the extra
1617 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1618 as cautionaries. Even though all accidentals typeset by
1619 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1620 some of them are typeset as cautionaries.
1622 @item \pianoAccidentals
1623 @cindex @code{\pianoAccidentals}
1624 20th century practice for piano notation. Very similar to
1625 @code{\modernAccidentals} but accidentals also get cancelled
1626 across the staves in the same @internalsref{GrandStaff} or
1627 @internalsref{PianoStaff}.
1629 @item \pianoCautionaries
1630 @cindex @code{\pianoCautionaries}
1631 As @code{\pianoAccidentals} but with the extra accidentals
1632 typeset as cautionaries.
1635 @cindex @code{\noResetKey}
1636 Same as @code{\defaultAccidentals} but with accidentals lasting
1637 ``forever'' and not only until the next measure:
1638 @lilypond[singleline,fragment,verbatim,relative]
1643 @item \forgetAccidentals
1644 @cindex @code{\forgetAccidentals}
1645 This is sort of the opposite of @code{\noResetKey}: Accidentals
1646 are not remembered at all---and hence all accidentals are
1647 typeset relative to the key signature, regardless of what was
1648 before in the music:
1649 @lilypond[singleline,fragment,verbatim,relative]
1651 \key d\major c4 c cis cis d d dis dis
1655 @node Customized accidental rules
1656 @subsection Customized accidental rules
1658 This section must be considered gurus-only, and hence it must be
1659 sufficient with a short description of the system and a reference to
1660 the internal documentation.
1662 The algorithm tries several different rules, and uses the rule
1663 that gives the highest number of accidentals. Each rule consists of
1666 In which context is the rule applied. For example, if
1667 @var{context} is @internalsref{Score} then all staves share
1668 accidentals, and if @var{context} is @internalsref{Staff} then all
1669 voices in the same staff share accidentals, but staves do not.
1671 Whether the accidental changes all octaves or only the current
1674 Over how many barlines the accidental lasts.
1675 If @var{lazyness} is @code{-1} then the accidental is forget
1676 immediately, and if @var{lazyness} is @code{#t} then the accidental
1679 @c [TODO: should use +infinity for this case?]
1685 @cindex @code{\defaultAccidentals}
1686 @code{\defaultAccidentals},
1687 @cindex @code{\voiceAccidentals}
1688 @code{\voiceAccidentals},
1689 @cindex @code{\modernAccidentals}
1690 @code{\modernAccidentals},
1691 @cindex @code{\modernCautionaries}
1692 @code{\modernCautionaries},
1693 @cindex @code{\modernVoiceAccidentals}
1694 @code{\modernVoiceAccidentals},
1695 @cindex @code{\modernVoiceCautionaries}
1696 @code{\modernVoiceCautionaries},
1697 @cindex @code{\pianoAccidentals}
1698 @code{\pianoAccidentals},
1699 @cindex @code{\pianoCautionaries}
1700 @code{\pianoCautionaries},
1701 @cindex @code{\noResetKey}
1703 @cindex @code{\forgetAccidentals}
1704 @code{\forgetAccidentals}.
1708 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1709 @internalsref{AccidentalPlacement}.
1714 Currently the simultaneous notes are considered to be entered in
1715 sequential mode. This means that in a chord the accidentals are
1716 typeset as if the notes in the chord happened once at a time - in the
1717 order in which they appear in the input file.
1719 This is only a problem when there are simultaneous notes whose
1720 accidentals depend on each other. The problem only occurs when using
1721 non-default accidentals. In the default scheme, accidentals only
1722 depend on other accidentals with the same pitch on the same staff, so
1723 no conflicts possible.
1725 This example shows two examples of the same music giving different
1726 accidentals depending on the order in which the notes occur in the
1729 @lilypond[singleline,fragment,verbatim]
1730 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1731 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1732 | <<cis' c''>> r | <<c'' cis'>> r |
1735 This problem can be solved by manually inserting @code{!} and @code{?}
1736 for the problematic notes.
1738 @node Expressive marks
1739 @section Expressive marks
1747 * Analysis brackets::
1754 A slur indicates that notes are to be played bound or @emph{legato}.
1758 They are entered using parentheses:
1759 @lilypond[fragment,verbatim,center]
1760 f'( g')( a') a'8[ b'(] a'4 g'2 f'4)
1761 <<c' e'>>2( <<b d'>>2)
1765 @c TODO: should explain that ^( and _( set directions
1766 @c should set attachments with ^ and _ ?
1768 Slurs avoid crossing stems, and are generally attached to note heads.
1769 However, in some situations with beams, slurs may be attached to stem
1770 ends. If you want to override this layout you can do this through the
1771 object property @code{attachment} of @internalsref{Slur} in
1772 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1773 the attachment type of the left and right end points:
1775 @lilypond[fragment,relative,verbatim]
1777 \property Voice.Stem \set #'length = #5.5
1779 \property Voice.Slur \set #'attachment = #'(stem . stem)
1783 If a slur would strike through a stem or beam, the slur will be moved
1784 away upward or downward. If this happens, attaching the slur to the
1785 stems might look better:
1787 @lilypond[fragment,relative,verbatim]
1790 \property Voice.Slur \set #'attachment = #'(stem . stem)
1797 @cindex @code{\slurUp}
1799 @cindex @code{\slurDown}
1801 @cindex @code{\slurBoth}
1803 @cindex @code{\slurDotted}
1805 @cindex @code{\slurSolid}
1810 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1815 Producing nice slurs is a difficult problem, and LilyPond currently
1816 uses a simple, empiric method to produce slurs. In some cases, its
1820 @cindex Adjusting slurs
1822 @node Phrasing slurs
1823 @subsection Phrasing slurs
1825 @cindex phrasing slurs
1826 @cindex phrasing marks
1828 A phrasing slur (or phrasing mark) connects chords and is used to
1829 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1832 @lilypond[fragment,verbatim,center,relative]
1833 \time 6/4 c'\( d( e) f( e) d\)
1836 Typographically, the phrasing slur behaves almost exactly like a
1837 normal slur. However, they are treated as different objects. A
1838 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1839 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1840 @code{\phrasingSlurBoth}.
1842 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1843 will only affect normal slurs and not phrasing slurs.
1847 @cindex @code{\phrasingSlurUp}
1848 @code{\phrasingSlurUp},
1849 @cindex @code{\phrasingSlurDown}
1850 @code{\phrasingSlurDown},
1851 @cindex @code{\phrasingSlurBoth}
1852 @code{\phrasingSlurBoth},
1856 See also @internalsref{PhrasingSlur}, and
1857 @internalsref{PhrasingSlurEvent}.
1861 Phrasing slurs have the same limitations in their formatting as normal
1862 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1865 @subsection Breath marks
1867 Breath marks are entered using @code{\breathe}:
1870 @lilypond[fragment,relative,verbatim]
1874 The glyph of the breath mark can be tweaked by overriding the
1875 @code{text} property of the @code{BreathingSign} layout object with the name of
1876 any glyph of @ref{The Feta font}. For example,
1877 @lilypond[fragment,verbatim,relative]
1879 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1886 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1887 @inputfileref{input/regression,breathing-sign.ly}.
1890 @node Metronome marks
1891 @subsection Metronome marks
1894 @cindex beats per minute
1895 @cindex metronome marking
1897 Metronome settings can be entered as follows:
1899 \tempo @var{duration} = @var{perminute}
1902 In the MIDI output, they are interpreted as a tempo change, and in the
1903 paper output, a metronome marking is printed:
1904 @cindex @code{\tempo}
1905 @lilypond[fragment,verbatim]
1911 @internalsref{MetronomeChangeEvent}.
1916 @subsection Text spanners
1917 @cindex Text spanners
1919 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1920 are written as texts, and extended over many measures with dotted
1921 lines. You can create such texts using text spanners: attach
1922 @code{\startTextSpan} and @code{\stopTextSpan} to the
1923 start and ending note of the spanner.
1925 The string to be printed, as well as the style, is set through object
1928 @lilypond[fragment,relative,verbatim]
1930 \property Voice.TextSpanner \set #'direction = #-1
1931 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1932 c2\startTextSpan b c\stopTextSpan a }
1938 @internalsref{TextSpanEvent},
1939 @internalsref{TextSpanner}, and
1940 @inputfileref{input/regression,text-spanner.ly}.
1943 @node Analysis brackets
1944 @subsection Analysis brackets
1946 @cindex phrasing brackets
1947 @cindex musicological analysis
1948 @cindex note grouping bracket
1950 Brackets are used in musical analysis to indicate structure in musical
1951 pieces. LilyPond supports a simple form of nested horizontal brackets.
1952 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1953 @internalsref{Staff} context. A bracket is started with
1954 @code{\startGroup} and closed with @code{\stopGroup}:
1956 @lilypond[singleline,verbatim]
1957 \score { \notes \relative c'' {
1958 c4\startGroup\startGroup
1961 c4\stopGroup\stopGroup
1963 \paper { \translator {
1964 \StaffContext \consists "Horizontal_bracket_engraver"
1970 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
1971 @inputfileref{input/regression,note-group-bracket.ly}.
1975 @section Articulations
1976 @cindex Articulations
1978 @cindex articulations
1982 A variety of symbols can appear above and below notes to indicate
1983 different characteristics of the performance. They are added to a note
1984 by adding a dash and the character signifying the
1985 articulation. They are demonstrated here:
1987 @lilypondfile[notexidoc]{script-abbreviations.ly}
1989 The meanings of these shorthands can be changed: see
1990 @file{ly/script-init.ly} for examples.
1993 The script is automatically placed, but if you need to force
1994 directions, you can use @code{_} to force them down, or @code{^} to
1996 @lilypond[fragment, verbatim]
2000 Other symbols can be added using the syntax
2001 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2002 can be forced up or down using @code{^} and @code{_},
2005 @lilypond[verbatim,fragment,relative 2]
2006 c\fermata c^\fermata c_\fermata
2013 @cindex staccatissimo
2022 @cindex organ pedal marks
2031 @cindex prallmordent
2035 @cindex thumb marking
2040 @lilypondfile[notexidoc]{script-chart.ly}
2045 @cindex @code{\scriptUp}
2047 @cindex @code{\scriptDown}
2049 @cindex @code{\scriptBoth}
2054 @internalsref{ScriptEvent}, and @internalsref{Script}.
2058 All of these note ornaments appear in the printed output but have no
2059 effect on the MIDI rendering of the music.
2062 @node Fingering instructions
2063 @section Fingering instructions
2067 Fingering instructions can be entered using
2069 @var{note}-@var{digit}
2071 For finger changes, use markup texts:
2073 @lilypond[verbatim, singleline, fragment]
2074 c'4-1 c'4-2 c'4-3 c'4-4
2075 c'^\markup { \fontsize #-3 \number "2-3" }
2078 @cindex finger change
2083 You can use the thumb-script to indicate that a note should be
2084 played with your thumb (used in cello music):
2086 @lilypond[verbatim, singleline, fragment]
2087 <<a' a''-3>>8(_\thumb[ <<b' b''-3>>)_\thumb
2088 <<c'' c'''-3>>(_\thumb <<d'' d'''-3>>)_\thumb]
2091 Fingerings for chords can also be added to individual notes
2092 of the chord by adding them after the pitches:
2093 @lilypond[verbatim,singleline,fragment,relative=1]
2094 << c-1 e-2 g-3 b-5 >> 4
2097 Setting @code{fingerHorizontalDirection} will put the fingerings next
2100 @lilypond[verbatim,singleline,fragment,relative=1]
2101 \property Voice.fingerHorizontalDirection = #LEFT
2102 << c-1 es-2 g-4 bes-5 >> 4
2103 \property Voice.fingerHorizontalDirection = #RIGHT
2104 << c-1 es-2 g-4 bes-5 >> 4
2109 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2120 @subsection Text scripts
2121 @cindex Text scripts
2123 It is possible to place arbitrary strings of text or markup text (see
2124 @ref{Text markup}) above or below notes by using a string:
2125 @code{c^"text"}. By default, these indications do not influence the
2126 note spacing, but by using the command @code{\fatText}, the widths
2127 will be taken into account:
2129 @lilypond[fragment,singleline,verbatim] \relative c' {
2130 c4^"longtext" \fatText c4_"longlongtext" c4 }
2133 It is possible to use @TeX{} commands in the strings, but this should
2134 be avoided because the exact dimensions of the string can then no
2140 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2146 @subsection Grace notes
2149 @c should have blurb about accaciatura / appogiatura
2151 @cindex @code{\grace}
2155 Grace notes are ornaments that are written out, like accaciatura and
2157 @lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
2161 From the point of view of typesetting, their characteristic is that
2162 grace notes take up take up no logical time in a measure. Internally,
2163 timing for grace notes is done using a second time. Every point in
2164 musical time consists of two rational numbers: one denotes the logical
2165 time, one denotes the grace timing. The above example is shown here
2169 \score { \notes \relative c''{
2170 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
2171 c16_"(2/4,-1/8)"[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
2173 \paper { linewidth = 12.\cm }
2178 The placement of grace notes is synchronized between different staves.
2179 In the following example, there are two sixteenth graces notes for
2180 every eighth grace note:
2182 @lilypond[relative=2,verbatim,fragment]
2183 < \context Staff = SA { e4 \grace { c16[ d e f] } e4 }
2184 \context Staff = SB { c'4 \grace { g8[ b] } c4 } >
2188 Unbeamed eighth notes and shorter by default have a slash through the
2189 stem. These notes are called accaciaturas, and should generally be
2190 played as short as possible. An appogiatura takes a fixed fraction of
2191 the main note, is and denoted without a slash.
2193 Such slashless notes are obtained by setting the object property
2194 @code{stroke-style} of the @internalsref{Stem} object. For proper
2195 matching of override and reverts of such properties, it is necessary
2196 to use a Scheme function.
2198 The following fragment overrides the default formatting Grace style stems:
2200 #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
2203 The @code{\override} is carefully matched with a @code{\revert}:
2208 @lilypond[fragment,verbatim]
2209 \relative c'' \context Voice {
2210 \grace c8 c4 \grace { c16[ c16] } c4
2212 \property Voice.Stem \override #'stroke-style = #'()
2214 \property Voice.Stem \revert #'stroke-style
2219 If you want to end a note with a grace note, then the standard trick
2220 is to put the grace notes before a phantom ``space note'', e.g.
2221 @lilypond[fragment,verbatim, relative=2]
2224 { s2 \grace { c16[ d] } } >
2230 By adjusting the duration of the skip note (here it is a half-note),
2231 the space between the main-note and the grace is adjusted.
2233 A @code{\grace} section has some default values, and LilyPond will
2234 use those default values unless you specify otherwise inside the
2235 @code{\grace} section. For example, if you specify \slurUp
2236 @emph{before} your @code{\grace} section, a slur which starts inside
2237 the @code{\grace} will not be forced up, even if the slur ends outside
2238 of the @code{\grace}. Note the difference between the first and
2239 second bars in this example:
2241 @lilypond[fragment,verbatim]
2242 \relative c'' \context Voice {
2260 @internalsref{GraceMusic}.
2264 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2266 A score that starts with an @code{\grace} section needs an explicit
2267 @code{\context Voice} declaration, otherwise the main note and grace
2268 note end up on different staves.
2270 Grace note synchronization can also lead to surprises. Staff notation,
2271 such as key signatures, barlines, etc. are also synchronized. Take
2272 care when you mix staves with grace notes and staves without, for example,
2274 @lilypond[relative=2,verbatim,fragment]
2275 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2276 \context Staff = SB { c4 \bar "|:" d4 } >
2279 Grace sections should only be used within sequential music
2280 expressions. Nesting or juxtaposing grace sections is not supported,
2281 and might produce crashes or other errors.
2283 Overriding settings for grace music globally cannot be done in a
2284 modular way. A kludge (@code{add-to-grace-init}) is defined in
2285 @file{ly/grace-init.ly}.
2289 @subsection Glissando
2292 @cindex @code{\glissando}
2294 A glissando is a smooth change in pitch. It is denoted by a line or a
2295 wavy line between two notes.
2299 A glissando line can be requested by attaching a @code{\glissando} to
2302 @lilypond[fragment,relative,verbatim]
2308 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2313 Additional texts (such as @emph{gliss.}) is not supported.
2317 @subsection Dynamics
2330 @cindex @code{\ffff}
2340 Absolute dynamic marks are specified using an variable after a
2341 note: @code{c4-\ff}. The available dynamic marks are @code{\ppp},
2342 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2343 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2344 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2346 @lilypond[verbatim,singleline,fragment,relative]
2347 c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
2353 @cindex @code{\decr}
2354 @cindex @code{\rced}
2361 A crescendo mark is started with @code{\<} and terminated with
2362 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2363 with @code{\!}. Because these marks are bound to notes, if you must
2364 use spacer notes if multiple marks during one note are needed:
2366 @lilypond[fragment,verbatim,center,quote]
2367 c''-\< c''-\! d''-\decr e''-\rced
2368 < f''1 { s4 s4-\< s4-\! \> s4-\! } >
2370 This may give rise to very short hairpins. Use @code{minimum-length}
2371 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2375 \property Staff.Hairpin \override #'minimum-length = #5
2378 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2379 is an example how to do it:
2381 @lilypond[fragment,relative=2,verbatim]
2382 c4 \cresc c4 c c c \endcresc c4
2388 You can also supply your own texts:
2389 @lilypond[fragment,relative,verbatim]
2391 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2392 \property Voice.crescendoSpanner = #'dashed-line
2402 @cindex @code{\dynamicUp}
2404 @cindex @code{\dynamicDown}
2405 @code{\dynamicDown},
2406 @cindex @code{\dynamicBoth}
2407 @code{\dynamicBoth}.
2409 @cindex direction, of dynamics
2413 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2414 @internalsref{AbsoluteDynamicEvent}.
2416 Dynamics are objects of @internalsref{DynamicText} and
2417 @internalsref{Hairpin}. Vertical positioning of these symbols is
2418 handled by the @internalsref{DynamicLineSpanner} object.
2420 If you want to adjust padding or vertical direction of the dynamics, you
2421 must set properties for the @internalsref{DynamicLineSpanner} object.
2429 @cindex @code{\repeat}
2432 Repetition is a central concept in music, and multiple notations exist
2433 for repetitions. In LilyPond, most of these notations can be captured
2434 in a uniform syntax. One of the advantages is, all these repetitions
2435 can be rendered in MIDI accurately.
2437 The following types of repetition are supported:
2441 Repeated music is fully written (played) out. Useful for MIDI
2442 output, and entering repetitive music.
2445 This is the normal notation: Repeats are not written out, but
2446 alternative endings (voltas) are printed, left to right.
2450 Alternative endings are written stacked. This has limited use but may be
2451 used to typeset two lines of lyrics in songs with repeats, see
2452 @inputfileref{input,star-spangled-banner.ly}.
2459 Make beat or measure repeats. These look like percent signs.
2465 * Repeats and MIDI::
2466 * Manual repeat commands::
2468 * Tremolo subdivisions::
2473 @subsection Repeat syntax
2477 LilyPond has one syntactic construct for specifying different types of
2478 repeats. The syntax is
2481 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2484 If you have alternative endings, you may add
2485 @cindex @code{\alternative}
2487 \alternative @code{@{} @var{alternative1}
2489 @var{alternative3} @dots{} @code{@}}
2491 where each @var{alternative} is a music expression. If you do not
2492 give enough alternatives for all of the repeats, then the first
2493 alternative is assumed to be played more than once.
2495 Normal notation repeats are used like this:
2496 @lilypond[fragment,verbatim]
2498 \repeat volta 2 { c'4 d' e' f' }
2499 \repeat volta 2 { f' e' d' c' }
2502 With alternative endings:
2503 @lilypond[fragment,verbatim]
2505 \repeat volta 2 {c'4 d' e' f'}
2506 \alternative { {d'2 d'} {f' f} }
2510 @lilypond[fragment,verbatim]
2514 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2515 \alternative { { g4 g g } { a | a a a a | b2. } }
2522 If you do a nested repeat like
2531 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2532 belongs. This ambiguity is resolved by always having the
2533 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2534 it is advisable to use braces in such situations.
2537 @node Repeats and MIDI
2538 @subsection Repeats and MIDI
2540 @cindex expanding repeats
2542 For instructions on how to unfold repeats for MIDI output, see the
2543 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2548 Timing information is not remembered at the start of an alternative,
2549 so after a repeat timing information must be reset by hand, for
2550 example by setting @code{Score.measurePosition} or entering
2551 @code{\partial}. Similarly, slurs or ties are also not repeated.
2554 @node Manual repeat commands
2555 @subsection Manual repeat commands
2557 @cindex @code{repeatCommands}
2559 The property @code{repeatCommands} can be used to control the layout of
2560 repeats. Its value is a Scheme list of repeat commands, where each repeat
2564 @item the symbol @code{start-repeat},
2565 which prints a @code{|:} bar line,
2566 @item the symbol @code{end-repeat},
2567 which prints a @code{:|} bar line,
2568 @item the list @code{(volta @var{text})},
2569 which prints a volta bracket saying @var{text}: The text can be specified as
2570 a text string or as a markup text, see @ref{Text markup}. Do not
2571 forget to change the font, as the default number font does not contain
2572 alphabetic characters. Or,
2573 @item the list @code{(volta #f)}, which
2574 stops a running volta bracket:
2577 @lilypond[verbatim, fragment]
2579 \property Score.repeatCommands = #'((volta "93") end-repeat)
2581 \property Score.repeatCommands = #'((volta #f))
2588 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2589 @internalsref{VoltaRepeatedMusic},
2590 @internalsref{UnfoldedRepeatedMusic}, and
2591 @internalsref{FoldedRepeatedMusic}.
2593 @node Tremolo repeats
2594 @subsection Tremolo repeats
2595 @cindex tremolo beams
2597 To place tremolo marks between notes, use @code{\repeat} with tremolo
2599 @lilypond[verbatim,center,singleline]
2601 \context Voice \notes\relative c' {
2602 \repeat "tremolo" 8 { c16 d16 }
2603 \repeat "tremolo" 4 { c16 d16 }
2604 \repeat "tremolo" 2 { c16 d16 }
2605 \repeat "tremolo" 4 c16
2612 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2613 are @internalsref{StemTremolo}s. The music expression is
2614 @internalsref{TremoloEvent}.
2619 The single stem tremolo must be entered without @code{@{} and
2622 @node Tremolo subdivisions
2623 @subsection Tremolo subdivisions
2624 @cindex tremolo marks
2625 @cindex @code{tremoloFlags}
2627 Tremolo marks can be printed on a single note by adding
2628 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2629 A @var{length} value of 8 gives one line across the note stem. If the
2630 length is omitted, then then the last value (stored in
2631 @code{Voice.tremoloFlags}) is used:
2633 @lilypond[verbatim,fragment,center]
2634 c'2:8 c':32 | c': c': |
2637 @c [TODO : stok is te kort bij 32en]
2641 Tremolos in this style do not carry over into the MIDI output.
2644 @node Measure repeats
2645 @subsection Measure repeats
2647 @cindex percent repeats
2648 @cindex measure repeats
2650 In the @code{percent} style, a note pattern can be repeated. It is
2651 printed once, and then the pattern is replaced with a special sign.
2652 Patterns of a one and two measures are replaced by percent-like signs,
2653 patterns that divide the measure length are replaced by slashes:
2655 @lilypond[verbatim,singleline]
2656 \context Voice { \repeat "percent" 4 { c'4 }
2657 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2663 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2664 @internalsref{PercentRepeatedMusic}, and
2665 @internalsref{DoublePercentRepeat}.
2669 @node Rhythmic music
2670 @section Rhythmic music
2672 Sometimes you might want to show only the rhythm of a melody. This
2673 can be done with the rhythmic staff. All pitches of notes on such a
2674 staff are squashed, and the staff itself has a single line:
2676 @lilypond[fragment,relative,verbatim]
2677 \context RhythmicStaff {
2679 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2684 * Percussion staves::
2685 * Percussion MIDI output::
2688 @node Percussion staves
2689 @subsection Percussion staves
2693 A percussion part for more than one instrument typically uses a
2694 multiline staff where each position in the staff refers to one piece
2699 Percussion staves are typeset with help of a set of Scheme
2700 functions. The system is based on the general MIDI drum-pitches.
2701 Include @file{drumpitch-init.ly} to use drum pitches. This file
2702 defines the pitches from the Scheme variable @code{drum-pitch-names},
2703 the definition of which can be read in @file{scm/drums.scm}. Each
2704 piece of percussion has a full name and an abbreviated name, and either
2705 the full name or the abbreviation may be used in input files.
2707 To typeset the music on a staff apply the function @code{drums->paper}
2708 to the percussion music. This function takes a list of percussion
2709 instrument names, notehead scripts and staff positions (that is:
2710 pitches relative to the C-clef) and transforms the input
2711 music by moving the pitch, changing the notehead and (optionally)
2714 @lilypond[singleline,verbatim,quote]
2715 \include "drumpitch-init.ly"
2716 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2717 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2719 \apply #(drums->paper 'drums) \context Staff <
2721 \context Voice = up { \voiceOne \up }
2722 \context Voice = down { \voiceTwo \down }
2727 In the above example the music was transformed using the list @code{'drums}.
2728 Currently the following lists are defined in @file{scm/drums.scm}:
2731 to typeset a typical drum kit on a five-line staff:
2734 \include "drumpitch-init.ly"
2735 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2736 bd sn ss tomh tommh tomml toml tomfh tomfl }
2737 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2738 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2741 \apply #(drums->paper 'drums) \context Staff <
2745 \context Lyrics \nam
2748 linewidth = 100.0\mm
2751 \remove Bar_engraver
2752 \remove Time_signature_engraver
2753 minimumVerticalExtent = #'(-4.0 . 5.0)
2757 \remove Stem_engraver
2763 The drum scheme supports six different toms. When there fewer toms, simply
2764 select the toms that produce the desired result, i.e. to get toms on
2765 the three middle lines you use @code{tommh}, @code{tomml} and
2768 Because general MIDI does not contain rimshots the sidestick is used
2769 for this purpose instead.
2771 to typeset timbales on a two line staff:
2773 @lilypond[singleline]
2774 \include "drumpitch-init.ly"
2775 nam = \lyrics { timh ssh timl ssl cb }
2776 mus = \notes { timh ssh timl ssl cb s16 }
2779 \apply #(drums->paper 'timbales) \context Staff <
2783 \context Lyrics \nam
2788 \remove Bar_engraver
2789 \remove Time_signature_engraver
2790 StaffSymbol \override #'line-count = #2
2791 StaffSymbol \override #'staff-space = #2
2792 minimumVerticalExtent = #'(-3.0 . 4.0)
2796 \remove Stem_engraver
2803 to typeset congas on a two line staff:
2805 @lilypond[singleline]
2806 \include "drumpitch-init.ly"
2807 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2808 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2811 \apply #(drums->paper 'congas) \context Staff <
2815 \context Lyrics \nam
2820 \remove Bar_engraver
2821 \remove Time_signature_engraver
2822 StaffSymbol \override #'line-count = #2
2823 StaffSymbol \override #'staff-space = #2
2824 minimumVerticalExtent = #'(-3.0 . 4.0)
2828 \remove Stem_engraver
2834 to typeset bongos on a two line staff:
2836 @lilypond[singleline]
2837 \include "drumpitch-init.ly"
2838 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2839 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2842 \apply #(drums->paper 'bongos) \context Staff <
2846 \context Lyrics \nam
2851 \remove Bar_engraver
2852 \remove Time_signature_engraver
2853 StaffSymbol \override #'line-count = #2
2854 StaffSymbol \override #'staff-space = #2
2855 minimumVerticalExtent = #'(-3.0 . 4.0)
2859 \remove Stem_engraver
2865 to typeset all kinds of simple percussion on one line staves:
2866 @lilypond[singleline]
2867 \include "drumpitch-init.ly"
2868 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2869 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2872 \apply #(drums->paper 'percussion) \context Staff <
2876 \context Lyrics \nam
2881 \remove Bar_engraver
2882 \remove Time_signature_engraver
2883 StaffSymbol \override #'line-count = #1
2884 minimumVerticalExtent = #'(-2.0 . 3.0)
2888 \remove Stem_engraver
2895 If you do not like any of the predefined lists you can define your own
2896 list at the top of your file:
2898 @lilypond[singleline, verbatim]
2899 #(set-drum-kit 'mydrums `(
2900 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2901 (snare default #f ,(ly:make-pitch 0 1 0))
2902 (hihat cross #f ,(ly:make-pitch 0 5 0))
2903 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2904 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2906 \include "drumpitch-init.ly"
2907 up = \notes { hh8 hh hh hh hhp4 hhp }
2908 down = \notes { bd4 sn bd toml8 toml }
2910 \apply #(drums->paper 'mydrums) \context Staff <
2912 \context Voice = up { \voiceOne \up }
2913 \context Voice = down { \voiceTwo \down }
2918 To use a modified existing list, one can prepend modifications to the
2922 #(set-drum-kit 'mydrums (append `(
2923 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2924 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2925 ) (get-drum-kit 'drums)))
2928 You can easily combine percussion notation with pitched notation.
2929 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2930 names, so you will have to reinclude @file{nederlands.ly} after the
2931 drum-pattern-definitions to enter normal notes:
2933 @lilypond[singleline,verbatim]
2934 \include "drumpitch-init.ly"
2935 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2936 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2937 \include "nederlands.ly"
2938 bass = \notes \transpose c c,, { a4. e8 r e g e }
2941 \apply #(drums->paper 'drums) \context Staff = drums <
2943 \context Voice = up { \voiceOne \up }
2944 \context Voice = down { \voiceTwo \down }
2946 \context Staff = bass { \clef "F_8" \bass }
2951 @node Percussion MIDI output
2952 @subsection Percussion MIDI output
2954 In order to produce correct MIDI output you need to produce two score
2955 blocks---one for the paper and one for the MIDI output. To use the
2956 percussion channel you set the property @code{instrument} to
2957 @code{'drums}. Because the drum-pitches themselves are similar to the
2958 general MIDI pitches all you have to do is to insert the voices with
2959 none of the scheme functions to get the correct MIDI output:
2963 \apply #(drums->paper 'mydrums) \context Staff <
2972 \property Staff.instrument = #'drums
2981 This scheme is a temporary implementation.
2985 @section Piano music
2987 Piano staves are two normal staves coupled with a brace. The staves
2988 are largely independent, but sometimes voices can cross between the
2989 two staves. The same notation is also used for harps and other key
2990 instruments. The @internalsref{PianoStaff} is especially built to
2991 handle this cross-staffing behavior. In this section we discuss the
2992 @internalsref{PianoStaff} and some other pianistic peculiarities.
2996 * Automatic staff changes::
2997 * Manual staff switches::
3000 * Staff switch lines::
3005 There is no support for putting chords across staves. You can get
3006 this result by increasing the length of the stem in the lower stave so
3007 it reaches the stem in the upper stave, or vice versa. An example is
3008 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3010 Dynamics are not centered, but kludges do exist. See
3011 @inputfileref{input/template,piano-dynamics.ly}.
3013 @cindex cross staff stem
3014 @cindex stem, cross staff
3017 @c fixme: should have hyperlinks as well.
3023 @node Automatic staff changes
3024 @subsection Automatic staff changes
3025 @cindex Automatic staff changes
3027 Voices can switch automatically between the top and the bottom
3028 staff. The syntax for this is
3030 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3032 The autochanger switches on basis of pitch (central C is the turning
3033 point), and it looks ahead skipping over rests to switch in
3034 advance. Here is a practical example:
3036 @lilypond[verbatim,singleline,quote]
3037 \score { \notes \context PianoStaff <
3038 \context Staff = "up" {
3039 \autochange Staff \context Voice = VA < \relative c' {
3040 g4 a b c d r4 a g } > }
3041 \context Staff = "down" {
3048 In this example, spacer rests are used to prevent the bottom staff from
3049 terminating too soon.
3054 @internalsref{AutoChangeMusic}.
3058 The staff switches often do not end up in optimal places. For high
3059 quality output staff switches should be specified manually.
3063 @node Manual staff switches
3064 @subsection Manual staff switches
3066 @cindex manual staff switches
3067 @cindex staff switch, manual
3069 Voices can be switched between staves manually, using the following command:
3071 \translator Staff = @var{staffname} @var{music}
3075 The string @var{staffname} is the name of the staff. It switches the
3076 current voice from its current staff to the Staff called
3077 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3085 Pianos have pedals that alter the way sound are produced. Generally, a
3086 piano has three pedals, sustain, una corda, and sostenuto.
3090 Piano pedal instruction can be expressed by attaching
3091 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3092 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3095 @lilypond[fragment,verbatim]
3096 c'4-\sustainDown c'4-\sustainUp
3099 What is printed can be modified by setting @code{pedal@var{X}Strings},
3100 where @var{X} is one of the pedal types: @code{Sustain},
3101 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3102 documentation of @internalsref{SustainPedal} for more information.
3104 Pedals can also be indicated by a sequence of brackets, by setting the
3105 @code{pedalSustainStyle} property to @code{bracket} objects:
3107 @lilypond[fragment,verbatim]
3108 \property Staff.pedalSustainStyle = #'bracket
3109 c''4-\sustainDown d''4 e''4
3110 a'4-\sustainUp-\sustainDown
3111 f'4 g'4 a'4-\sustainUp
3114 A third style of pedal notation is a mixture of text and brackets,
3115 obtained by setting @code{pedal-type} to @code{mixed}:
3117 @lilypond[fragment,verbatim]
3118 \property Staff.pedalSustainStyle = #'mixed
3119 c''4-\sustainDown d''4 e''4
3120 c'4-\sustainUp-\sustainDown
3121 f'4 g'4 a'4-\sustainUp
3124 The default `*Ped' style for sustain and damper pedals corresponds to
3125 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3126 for a sostenuto pedal:
3128 @lilypond[fragment,verbatim]
3129 c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
3132 For fine-tuning of the appearance of a pedal bracket, the properties
3133 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3134 @code{PianoPedalBracket} objects (, see the detailed documentation of
3135 @internalsref{PianoPedalBracket},) can be modified. For example, the bracket
3136 may be extended to the end of the note head:
3138 @lilypond[fragment,verbatim]
3139 \property Staff.PianoPedalBracket \override
3140 #'shorten-pair = #'(0 . -1.0)
3141 c''4-\sostenutoDown d''4 e''4 c'4
3142 f'4 g'4 a'4-\sostenutoUp
3146 @subsection Arpeggio
3149 @cindex broken arpeggio
3150 @cindex @code{\arpeggio}
3152 You can specify an arpeggio sign on a chord by attaching an
3153 @code{\arpeggio} to a chord:
3156 @lilypond[fragment,relative,verbatim]
3157 <<c e g c>>-\arpeggio
3160 When an arpeggio crosses staves, you attach an arpeggio to the chords
3161 in both staves, and set
3162 @internalsref{PianoStaff}.@code{connectArpeggios}:
3164 @lilypond[fragment,relative,verbatim]
3165 \context PianoStaff <
3166 \property PianoStaff.connectArpeggios = ##t
3167 \context Voice = one { <<c' e g c>>-\arpeggio }
3168 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
3172 The direction of the arpeggio is sometimes denoted by adding an
3173 arrowhead to the wiggly line. This can be typeset by setting
3174 @code{arpeggio-direction}:
3176 @lilypond[fragment,relative,verbatim]
3178 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3179 <<c e g c>>-\arpeggio
3180 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3181 <<c e g c>>-\arpeggio
3185 A square bracket on the left indicates that the player should not
3186 arpeggiate the chord. To draw these brackets, set the
3187 @code{molecule-callback} property of @code{Arpeggio} or
3188 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3189 @code{\arpeggio} statements within the chords as before:
3191 @lilypond[fragment,relative,verbatim]
3192 \property PianoStaff.Arpeggio \override
3193 #'molecule-callback = \arpeggioBracket
3194 <<c' e g c>>-\arpeggio
3199 @cindex @code{\arpeggioBracket}
3200 @code{\arpeggioBracket},
3201 @cindex @code{\arpeggio}
3206 @internalsref{ArpeggioEvent} expression lead to
3207 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3208 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3212 It is not possible to mix connected arpeggios and unconnected
3213 arpeggios in one @internalsref{PianoStaff} at the same time.
3215 @node Staff switch lines
3216 @subsection Staff switch lines
3219 @cindex follow voice
3220 @cindex staff switching
3223 @cindex @code{followVoice}
3225 Whenever a voice switches to another staff a line connecting the notes
3226 can be printed automatically. This is enabled if the property
3227 @code{PianoStaff.followVoice} is set to true:
3229 @lilypond[fragment,relative,verbatim]
3230 \context PianoStaff <
3231 \property PianoStaff.followVoice = ##t
3232 \context Staff \context Voice {
3234 \translator Staff=two
3237 \context Staff=two { \clef bass \skip 1*2 }
3241 The associated object is @internalsref{VoiceFollower}.
3245 @cindex @code{\showStaffSwitch}
3246 @code{\showStaffSwitch},
3247 @cindex @code{\hideStaffSwitch}
3248 @code{\hideStaffSwitch}.
3252 @section Vocal music
3254 This section discusses how to enter and print lyrics.
3258 * The Lyrics context::
3263 @node Entering lyrics
3264 @subsection Entering lyrics
3268 @cindex @code{\lyrics}
3271 Lyrics are entered in a special input mode. This mode is is introduced
3272 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3273 punctuation and accents without any hassle. Syllables are entered like
3274 notes, but with pitches replaced by text. For example,
3276 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3279 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3280 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3281 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3282 any 8-bit character with ASCII code over 127, or a two-character
3283 combination of a backslash followed by one of @code{`}, @code{'},
3284 @code{"}, or @code{^}.
3286 Subsequent characters of a word can be any character that is not a digit
3287 and not white space. One important consequence of this is that a word
3288 can end with @code{@}}. The following example is usually a bug. The
3289 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3291 \lyrics @{ twinkle@}
3294 @cindex @code{\property}, in @code{\lyrics}
3295 Similarly, a period following a alphabetic sequence, is included in the
3296 resulting string. As a consequence, spaces must be inserted around
3297 @code{\property} commands:
3299 \property Lyrics . LyricText \set #'font-shape = #'italic
3303 @cindex spaces, in lyrics
3304 @cindex quotes, in lyrics
3306 Any @code{_} character which appears in an unquoted word is converted
3307 to a space. This provides a mechanism for introducing spaces into words
3308 without using quotes. Quoted words can also be used in Lyrics mode to
3309 specify words that cannot be written with the above rules:
3312 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3316 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3321 These will be attached to the end of the first syllable.
3323 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3324 as a separate word between syllables. The hyphen will have variable
3325 length depending on the space between the syllables and it will be
3326 centered between the syllables.
3331 When a lyric is sung over many notes (this is called a melisma), this is
3332 indicated with a horizontal line centered between a syllable and the
3333 next one. Such a line is called an extender line, and it is entered as
3338 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3339 @internalsref{ExtenderEvent}.
3343 The definition of lyrics mode is too complex.
3345 @node The Lyrics context
3346 @subsection The Lyrics context
3348 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3350 \context Lyrics \lyrics @dots{}
3353 @cindex automatic syllable durations
3354 @cindex @code{\addlyrics}
3355 @cindex lyrics and melodies
3357 This will place the lyrics according to the durations that were
3358 entered. The lyrics can also be aligned under a given melody
3359 automatically. In this case, it is no longer necessary to enter the
3360 correct duration for each syllable. This is achieved by combining the
3361 melody and the lyrics with the @code{\addlyrics} expression:
3365 \context Lyrics @dots{}
3368 @cindex staff order, with @code{\addlyrics}
3370 Normally, this will put the lyrics below the staff. For different or
3371 more complex orderings, the best way is to setup the hierarchy of
3372 staves and lyrics first, e.g.
3374 \context ChoirStaff \notes <
3375 \context Lyrics = LA @{ s1 @}
3376 \context Staff = SA @{ s1 @}
3377 \context Lyrics = LB @{ s1 @}
3378 \context Staff = SB @{ s1 @}
3381 and then combine the appropriate melodies and lyric lines:
3384 \context Staff = SA @emph{the music}
3385 \context Lyrics = LA @emph{the lyrics}
3388 putting both together, you would get
3390 \context ChoirStaff \notes <
3391 \context Lyrics = LA @dots{}
3392 \context Staff = SB @dots{}
3398 @cindex choral score
3400 A complete example of a SATB score setup is in the file
3401 @inputfileref{input/template,satb.ly}.
3405 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3406 @inputfileref{input/template,satb.ly}.
3410 @code{\addlyrics} is not automatic enough: melismata are not detected
3411 automatically, and melismata are not stopped when they hit a rest. A
3412 melisma on the last note in a melody is not printed.
3416 @subsection More stanzas
3419 @cindex phrasing, in lyrics
3421 When multiple stanzas are printed underneath each other, the vertical
3422 groups of syllables should be aligned around punctuation. This can be
3423 done automatically when corresponding lyric lines and melodies are
3426 To this end, give the @internalsref{Voice} context an identity:
3428 \context Voice = duet @{
3433 Then set the @internalsref{LyricsVoice} contexts to names starting with
3434 that identity followed by a dash. In the preceding example, the
3435 @internalsref{Voice} identity is @code{duet}, so the identities of the
3436 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3438 \context LyricsVoice = "duet-1" @{
3439 Hi, my name is bert. @}
3440 \context LyricsVoice = "duet-2" @{
3441 Ooooo, ch\'e -- ri, je t'aime. @}
3443 The convention for naming @internalsref{LyricsVoice} and
3444 @internalsref{Voice} must also be used to get melismata correct in
3445 conjunction with rests.
3447 The complete example is shown here:
3448 @lilypond[singleline,verbatim]
3451 \notes \relative c'' \context Voice = duet { \time 3/4
3453 \lyrics \context Lyrics <
3454 \context LyricsVoice = "duet-1" {
3455 \property LyricsVoice . stanza = "Bert"
3456 Hi, my name is bert. }
3457 \context LyricsVoice = "duet-2" {
3458 \property LyricsVoice . stanza = "Ernie"
3459 Ooooo, ch\'e -- ri, je t'aime. }
3464 Stanza numbers, or the names of the singers can be added by setting
3465 @code{LyricsVoice.Stanza} (for the first system) and
3466 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3467 surrounded with spaces in @code{\lyrics} mode:
3470 \property LyricsVoice . stanza = "Bert"
3472 \property LyricsVoice . stanza = "Ernie"
3475 To make empty spaces in lyrics, use @code{\skip}.
3483 Input for lyrics introduces a syntactical ambiguity:
3490 is interpreted as assigning a string identifier @code{\foo} such that
3491 it contains @code{"bar"}. However, it could also be interpreted as
3492 making or a music identifier @code{\foo} containing the syllable
3493 `bar'. The force the latter interpretation, use
3503 The term @emph{ambitus} denotes a range of pitches for a given voice in
3504 a part of music. It also may denote the pitch range that a musical
3505 instrument is capable of playing. Most musical instruments have their
3506 ambitus standardized (or at least there is agreement upon the minimal
3507 ambitus of a particular type of instrument), such that a composer or
3508 arranger of a piece of music can easily meet the ambitus constraints of
3509 the targeted instrument. However, the ambitus of the human voice
3510 depends on individual physiological state, including education and
3511 training of the voice. Therefore, a singer potentially has to check for
3512 each piece of music if the ambitus of that piece meets his individual
3513 capabilities. This is why the ambitus of a piece may be of particular
3514 value to vocal performers.
3516 The ambitus is typically notated on a per-voice basis at the very
3517 beginning of a piece, e.g. nearby the initial clef or time signature of
3518 each staff. The range is graphically specified by two noteheads, that
3519 represent the minimum and maximum pitch. Some publishers use a textual
3520 notation: they put the range in words in front of the corresponding
3521 staff. LilyPond currently only supports the graphical ambitus notation.
3523 To apply, add the @internalsref{Ambitus_engraver} to the
3524 @internalsref{Voice} context, i.e.
3527 \paper @{ \translator @{
3529 \consists Ambitus_engraver
3535 @lilypond[singleline]
3536 upper = \notes \relative c {
3539 as'' c e2 bes f cis d4 e f2 g
3541 lower = \notes \relative c {
3544 e'4 b g a c es fis a cis b a g f e d2
3547 \context ChoirStaff {
3549 \context Staff = one { \upper }
3550 \context Staff = three { \lower }
3556 \consists Ambitus_engraver
3565 @internalsref{Ambitus}, and @inputfileref{input/regression,ambitus.ly}.
3570 Tablature notation is used for notating music for plucked string
3571 instruments. It notates pitches not by using note heads, but by
3572 indicating on which string and fret a note must be played. LilyPond
3573 offers limited support for tablature.
3576 * Tablatures basic::
3577 * Non-guitar tablatures::
3580 @node Tablatures basic
3581 @subsection Tablatures basic
3582 @cindex Tablatures basic
3584 The string number associated to a note is given as a backslash
3585 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3586 string. By default, string 1 is the highest one, and the tuning
3587 defaults to the standard guitar tuning (with 6 strings). The notes
3588 are printed as tablature, by using @internalsref{TabStaff} and
3589 @internalsref{TabVoice} contexts:
3591 @lilypond[fragment,verbatim]
3592 \notes \context TabStaff {
3598 When no string is specified, the first string that does not give a
3599 fret number less than @code{minimumFret} is selected. The default
3600 value for @code{minimumFret} is 0:
3604 e8 fis gis a b cis' dis' e'
3605 \property TabStaff.minimumFret = #8
3606 e8 fis gis a b cis' dis' e'
3611 e8 fis gis a b cis' dis' e'
3612 \property TabStaff.minimumFret = #8
3613 e8 fis gis a b cis' dis' e'
3616 \context StaffGroup <
3617 \context Staff { \clef "G_8" \frag }
3618 \context TabStaff { \frag }
3625 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3626 @internalsref{StringNumberEvent}.
3630 Chords are not handled in a special way, and hence the automatic
3631 string selector may easily select the same string to two notes in a
3635 @node Non-guitar tablatures
3636 @subsection Non-guitar tablatures
3637 @cindex Non-guitar tablatures
3639 You can change the number of strings, by setting the number of lines
3640 in the @internalsref{TabStaff} (the @code{line-count} property of
3641 @internalsref{TabStaff} can only be changed using
3642 @code{\outputproperty}, for more information, see @ref{Tuning
3645 You can change the tuning of the strings. A string tuning is given as
3646 a Scheme list with one integer number for each string, the number
3647 being the pitch (measured in semitones relative to central C) of an
3648 open string. The numbers specified for @code{stringTuning} are the
3649 numbers of semitones to subtract or add, starting the specified pitch
3650 by default middle C, in string order. Thus, the notes are e, a, d, and
3653 @lilypond[fragment,verbatim]
3656 \outputproperty #(make-type-checker 'staff-symbol-interface)
3658 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3661 a,4 c' a e' e c' a e'
3666 It is possible to change the Scheme function to format the tablature
3667 note text. The default is @code{fret-number-tablature-format}, which
3668 uses the fret number. For instruments that do not use this notation,
3669 you can create a special tablature formatting function. This function
3670 takes three argument: string number, string tuning and note pitch.
3674 Most of the guitar special effects such as bend have not been
3680 @section Chord names
3683 LilyPond has support for both printing chord names. Chords may be
3684 entered in musical chord notation, i.e. @code{<< .. >>}, but they can
3685 also be entered by name. Internally, the chords are represented as a
3686 set of pitches, so they can be transposed:
3689 @lilypond[verbatim,singleline]
3690 twoWays = \notes \transpose c c' {
3700 < \context ChordNames \twoWays
3701 \context Voice \twoWays > }
3704 This example also shows that the chord printing routines do not try to
3705 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3711 * Printing chord names::
3716 @subsection Chords mode
3719 Chord mode is a mode where you can input sets of pitches using common
3720 names. It is introduced by the keyword @code{\chords}.
3721 In chords mode, a chord is entered by the root, which is entered
3722 like a common pitch:
3723 @lilypond[fragment,verbatim,quote, relative=1]
3724 \chords { es4. d8 c2 }
3729 Other chords may be entered by suffixing a colon, and introducing a
3730 modifier, and optionally, a number:
3732 @lilypond[fragment,verbatim,quote]
3733 \chords { e1:m e1:7 e1:m7 }
3735 The first number following the root is taken to be the `type' of the
3736 chord, thirds are added to the root until it reaches the specified
3738 @lilypond[fragment,verbatim]
3739 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3742 @cindex root of chord
3743 @cindex additions, in chords
3744 @cindex removals, in chords
3746 More complex chords may also be constructed adding separate steps
3747 to a chord. Additions are added after the number following
3748 the colon, and are separated by dots:
3750 @lilypond[verbatim,fragment,quote]
3751 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3753 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3755 @lilypond[verbatim,fragment,quote]
3756 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3758 Removals are specified similarly, and are introduced by a caret. They
3759 must come after the additions:
3760 @lilypond[verbatim,fragment]
3761 \chords { c^3 c:7^5 c:9^3.5 }
3764 Modifiers can be used to change pitches. The following modifiers are
3768 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3770 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3773 is the augmented chord. This modifier raises the 5th step.
3775 is the major 7th chord. This modifier raises the 7th step if present.
3777 is the suspended 4th or 2nd. This modifier removes the 3rd
3778 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3781 Modifiers can be mixed with additions:
3782 @lilypond[verbatim,fragment]
3783 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3786 @cindex modifiers, in chords.
3793 Since an unaltered 11 does not sound good when combined with an
3794 unaltered 13, the 11 is removed in this case (, unless it is added
3796 @lilypond[fragment,verbatim]
3797 \chords { c:13 c:13.11 c:m13 }
3802 An inversion (putting one pitch of the chord on the bottom), as well
3803 as bass notes, can be specified by appending
3804 @code{/}@var{pitch} to the chord:
3805 @lilypond[fragment,verbatim,center]
3806 \chords { c1 c/g c/f }
3810 A bass note can be added instead of transposed out of the chord,
3811 by using @code{/+}@var{pitch}.
3813 @lilypond[fragment,verbatim,center]
3814 \chords { c1 c/+g c/+f }
3817 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3818 of the commands continue to work, for example, @code{r} and
3819 @code{\skip} can be used to insert rests and spaces, and
3820 @code{\property} may be used to change various settings.
3826 Each step can only be present in a chord once. The following
3827 simply produces the augmented chord, since @code{5+} is interpreted
3830 @lilypond[verbatim,fragment]
3831 \chords { c:5.5-.5+ }
3835 @node Printing chord names
3836 @subsection Printing chord names
3838 @cindex printing chord names
3842 For displaying printed chord names, use the @internalsref{ChordNames} context.
3843 The chords may be entered either using the notation
3844 described above, or directly using @code{<<} and @code{>>}:
3846 @lilypond[verbatim,singleline]
3848 \chords {a1 b c} <<d' f' a'>> <<e' g' b'>>
3852 \context ChordNames \scheme
3853 \context Staff \scheme
3858 You can make the chord changes stand out by setting
3859 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3860 display chord names when there is a change in the chords scheme and at
3861 the start of a new line:
3863 @lilypond[verbatim, linewidth=9cm]
3865 c1:m c:m \break c:m c:m d
3869 \context ChordNames {
3870 \property ChordNames.chordChanges = ##t
3872 \context Staff \transpose c c' \scheme
3877 The default chord name layout is a system for Jazz music, proposed by
3878 Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
3879 following properties:
3882 @cindex chordNameExceptions
3883 @item chordNameExceptions
3884 This is a list that contains the chords that have special formatting.
3886 @inputfileref{input/regression,chord-name-exceptions.ly}.
3887 @cindex exceptions, chord names.
3890 @cindex majorSevenSymbol
3891 @item majorSevenSymbol
3892 This property contains the markup object used for the 7th step, when
3893 it is major. Predefined options are @code{whiteTriangleMarkup} and
3894 @code{blackTriangleMarkup}. See
3895 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3897 @cindex chordNameSeparator
3898 @item chordNameSeparator
3899 Different parts of a chord name are normally separated by a
3900 slash. By setting @code{chordNameSeparator}, you can specify other
3902 @lilypond[fragment,verbatim]
3903 \context ChordNames \chords {
3905 \property ChordNames.chordNameSeparator
3906 = \markup { \typewriter "|" }
3910 @cindex chordRootNamer
3911 @item chordRootNamer
3912 The root of a chord is usually printed as a letter with an optional
3913 alteration. The transformation from pitch to letter is done by this
3914 function. Special note names (for example, the German ``H'' for a
3915 B-chord) can be produced by storing a new function in this property.
3917 @cindex chordNoteNamer
3918 @item chordNoteNamer
3919 The default is to print single pitch, e.g. the bass note, using the
3920 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3921 to a specialized function to change this behavior. For example, the
3922 base can be printed in lower case.
3927 There are also two other chord name schemes implemented: an alternate
3928 Jazz chord notation, and a systematic scheme called Banter chords. The
3929 alternate jazz notation is also shown on the chart in @ref{Chord name
3930 chart}. Turning on these styles is described in the input file
3931 @inputfileref{input/test/,chord-names-jazz.ly}.
3935 @cindex chords, jazz
3940 @cindex @code{\germanChords}
3941 @code{\germanChords},
3942 @cindex @code{\semiGermanChords}
3943 @code{\semiGermanChords}.
3950 @inputfileref{input/regression,chord-name-major7.ly},
3951 @inputfileref{input/regression,chord-name-exceptions.ly},
3952 @inputfileref{input/test,chord-names-jazz.ly},
3953 @inputfileref{input/test,chord-names-german.ly},
3954 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3959 Chord names are determined solely from the list of pitches. Chord
3960 inversions are not identified, and neither are added bass notes. This
3961 may result in strange chord names when chords are entered with the
3962 @code{<< .. >>} syntax.
3967 @node Orchestral music
3968 @section Orchestral music
3970 @cindex Writing parts
3972 Orchestral music involves some special notation, both in the full
3973 score and the individual parts. This section explains how to tackle
3974 some common problems in orchestral music.
3979 * Multiple staff contexts::
3982 * Instrument names::
3984 * Multi measure rests::
3985 * Automatic part combining::
3987 * Sound output for transposing instruments::
3990 @node Multiple staff contexts
3991 @subsection Multiple staff contexts
3993 Polyphonic scores consist of many staves. These staves can be
3994 constructed in three different ways:
3996 @item The group is started with a brace at the left. This is done with the
3997 @internalsref{GrandStaff} context.
3998 @item The group is started with a bracket. This is done with the
3999 @internalsref{StaffGroup} context
4000 @item The group is started with a vertical line. This is the default
4004 @cindex Staff, multiple
4005 @cindex bracket, vertical
4006 @cindex brace, vertical
4013 @node Rehearsal marks
4014 @subsection Rehearsal marks
4015 @cindex Rehearsal marks
4017 @cindex @code{\mark}
4019 To print a rehearsal mark, use the @code{\mark} command:
4020 @lilypond[fragment,verbatim]
4030 The mark is incremented automatically if you use @code{\mark
4031 \default}. The value to use is stored in the property
4032 @code{rehearsalMark} is used and automatically incremented.
4034 The @code{\mark} command can also be used to put signs like coda,
4035 segno and fermatas on a barline. Use @code{\markup} to
4036 to access the appropriate symbol:
4038 @lilypond[fragment,verbatim,relative=1]
4039 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4043 In this case, during line breaks,
4044 marks must also be printed at the end of the line, and not at the
4045 beginning. Use the following to force that behavior:
4047 \property Score.RehearsalMark \override
4048 #'break-visibility = #begin-of-line-invisible
4051 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4057 @cindex barlines, putting symbols on
4061 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4062 @inputfileref{input/test,boxed-molecule.ly}.
4066 @subsection Bar numbers
4070 @cindex measure numbers
4071 @cindex currentBarNumber
4073 Bar numbers are printed by default at the start of the line. The
4074 number itself is stored in the
4075 @code{currentBarNumber} property,
4076 which is normally updated automatically for every measure.
4078 Bar numbers can be typeset at regular intervals instead of at the
4079 beginning of each line. This is illustrated in the following example,
4080 whose source is available as
4081 @inputfileref{input/test,bar-number-regular-interval.ly}:
4083 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4088 @internalsref{BarNumber},
4089 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4090 @inputfileref{input/test,bar-number-regular-interval.ly}.
4094 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4095 there is one at the top. To solve this, the
4096 @code{padding} property of @internalsref{BarNumber} can be
4097 used to position the number correctly.
4099 @node Instrument names
4100 @subsection Instrument names
4102 In an orchestral score, instrument names are printed left side of the
4105 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4106 and @internalsref{Staff}.@code{instr}. This will print a string before
4107 the start of the staff. For the first start, @code{instrument} is
4108 used, for the next ones @code{instr} is used:
4110 @lilypond[verbatim,singleline]
4111 \property Staff.instrument = "ploink " { c''4 }
4114 You can also use markup texts to construct more complicated instrument
4117 @lilypond[fragment,verbatim,singleline]
4118 \notes \context Staff = treble {
4119 \property Staff.instrument = \markup {
4120 \column << "Clarinetti"
4122 \smaller \musicglyph #"accidentals--1"
4133 @internalsref{InstrumentName}.
4137 When you put a name on a grand staff or piano staff the width of the
4138 brace is not taken into account. You must add extra spaces to the end of
4139 the name to avoid a collision.
4142 @subsection Transpose
4144 @cindex transposition of pitches
4145 @cindex @code{\transpose}
4147 A music expression can be transposed with @code{\transpose}. The syntax
4150 \transpose @var{from} @var{to} @var{musicexpr}
4153 This means that @var{musicexpr} is transposed by the interval
4154 between @var{from} and @var{to}.
4156 @code{\transpose} distinguishes between enharmonic pitches: both
4157 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4158 half a tone. The first version will print sharps and the second
4159 version will print flats:
4161 @lilypond[singleline, verbatim]
4162 mus =\notes { \key d \major cis d fis g }
4163 \score { \notes \context Staff {
4166 \transpose c g' \mus
4167 \transpose c f' \mus
4173 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4177 If you want to use both @code{\transpose} and @code{\relative}, then
4178 you must put @code{\transpose} outside of @code{\relative}, since
4179 @code{\relative} will have no effect music that appears inside a
4185 @node Multi measure rests
4186 @subsection Multi measure rests
4187 @cindex multi measure rests
4188 @cindex Rests, multi measure
4192 Multi measure rests are entered using `@code{R}'. It is specifically
4193 meant for full bar rests and for entering parts: the rest can expand to
4194 fill a score with rests, or it can be printed as a single multimeasure
4195 rest. This expansion is controlled by the property
4196 @code{Score.skipBars}. If this is set to true, Lily will not expand
4197 empty measures, and the appropriate number is added automatically:
4199 @lilypond[fragment,verbatim]
4200 \time 4/4 r1 | R1 | R1*2
4201 \property Score.skipBars = ##t R1*17 R1*4
4204 The @code{1} in @code{R1} is similar to the duration notation used for
4205 notes. Hence, for time signatures other than 4/4, you must enter other
4206 durations. This can be done with augmentation dots or fractions:
4208 @lilypond[fragment,verbatim]
4209 \property Score.skipBars = ##t
4217 An @code{R} spanning a single measure is printed as either a whole rest
4218 or a breve, centered in the measure regardless of the time signature.
4220 @cindex text on multi-measure rest
4221 @cindex script on multi-measure rest
4222 @cindex fermata on multi-measure rest
4224 Texts can be added to multi-measure rests by using the
4225 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4226 replaced. If you need both texts and the number, you must add the
4227 number by hand. A variable (@code{\fermataMarkup}) is provided for
4231 @lilypond[verbatim,fragment]
4233 R2._\markup { "Ad lib" }
4238 @cindex whole rests for a full measure
4242 @internalsref{MultiMeasureRestEvent},
4243 @internalsref{MultiMeasureTextEvent},
4244 @internalsref{MultiMeasureRestMusicGroup}, and
4245 @internalsref{MultiMeasureRest}.
4247 The layout object @internalsref{MultiMeasureRestNumber} is for the
4248 default number, and @internalsref{MultiMeasureRestText} for user
4253 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4254 over multi-measure rests.
4256 @cindex condensing rests
4258 There is no way to automatically condense multiple rests into a single
4259 multimeasure rest. Multi measure rests do not take part in rest
4262 Be careful when entering multimeasure rests followed by whole notes,
4266 will enter two notes lasting four measures each. When @code{skipBars}
4267 is set, then the result will look OK, but the bar numbering will be
4270 @node Automatic part combining
4271 @subsection Automatic part combining
4272 @cindex automatic part combining
4273 @cindex part combiner
4276 Automatic part combining is used to merge two parts of music onto a
4277 staff. It is aimed at typesetting orchestral scores. When the two
4278 parts are identical for a period of time, only one is shown. In
4279 places where the two parts differ, they are typeset as separate
4280 voices, and stem directions are set automatically. Also, solo and
4281 @emph{a due} parts are identified and can be marked.
4285 The syntax for part combining is
4288 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4290 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4291 combined into one context of type @var{context}. The music expressions
4292 must be interpreted by contexts whose names should start with @code{one}
4295 The following example demonstrates the basic functionality of the part
4296 combiner: putting parts on one staff, and setting stem directions and
4299 @lilypond[verbatim,singleline,fragment]
4301 \context Voice=one \partcombine Voice
4302 \context Thread=one \relative c'' {
4305 \context Thread=two \relative c'' {
4311 The first @code{g} appears only once, although it was
4312 specified twice (once in each part). Stem, slur and tie directions are
4313 set automatically, depending whether there is a solo or unisono. The
4314 first part (with context called @code{one}) always gets up stems, and
4315 `solo', while the second (called @code{two}) always gets down stems and
4318 If you just want the merging parts, and not the textual markings, you
4319 may set the property @var{soloADue} to false:
4321 @lilypond[verbatim,singleline,fragment]
4323 \property Staff.soloADue = ##f
4324 \context Voice=one \partcombine Voice
4325 \context Thread=one \relative c'' {
4328 \context Thread=two \relative c'' {
4336 @internalsref{PartCombineMusic},
4337 @internalsref{Thread_devnull_engraver}, and
4338 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4342 The syntax for naming contexts in inconsistent with the syntax for
4345 In @code{soloADue} mode, when the two voices play the same notes on and
4346 off, the part combiner may typeset @code{a2} more than once in a
4349 @lilypond[fragment,singleline]
4351 \context Voice=one \partcombine Voice
4352 \context Thread=one \relative c'' {
4355 \context Thread=two \relative c'' {
4361 The part combiner is slated to be rewritten [TODO: explain why].
4363 @cindex @code{Thread_devnull_engraver}
4364 @cindex @code{Voice_engraver}
4365 @cindex @code{A2_engraver}
4368 @subsection Hiding staves
4370 @cindex Frenched scores
4371 @cindex Hiding staves
4373 In orchestral scores, staff lines that only have rests are usually
4374 removed. This saves some space. This style is called `French Score'.
4375 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4376 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4377 switched on by default. When these line of these contexts turn out
4378 empty after the line-breaking process, they are removed.
4380 For normal staves, a specialized @internalsref{Staff} context is
4381 available, which does the same: staves containing nothing (or only
4382 multi measure rests) are removed. The context definition is stored in
4383 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4384 in this example disappears in the second line:
4389 \notes \relative c' <
4390 \context Staff = SA { e4 f g a \break c1 }
4391 \context Staff = SB { c4 d e f \break R1 }
4395 \translator { \RemoveEmptyStaffContext }
4401 @node Sound output for transposing instruments
4402 @subsection Sound output for transposing instruments
4404 When you want to make a MIDI file from a score containing transposed
4405 and untransposed instruments, you have to instruct LilyPond the pitch
4406 offset (in semitones) for the transposed instruments. This is done
4407 using the @code{transposing} property. It does not affect printed
4410 @cindex @code{transposing}
4413 \property Staff.instrument = #"Cl. in B-flat"
4414 \property Staff.transposing = #-2
4418 @node Ancient notation
4419 @section Ancient notation
4421 @cindex Vaticana, Editio
4422 @cindex Medicaea, Editio
4427 @c [TODO: write more comprehensive introduction on ancient notation]
4429 Support for ancient notation is still under heavy development.
4430 Regardless of all of the current limitations (see the bugs section
4431 below for details), it currently includes features for mensural
4432 notation and Gregorian Chant notation. There is also limited support
4433 for figured bass notation.
4435 Many graphical objects provide a @code{style} property, see
4436 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4437 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4438 signatures}. By manipulating such a grob property, the typographical
4439 appearance of the affected graphical objects can be accomodated for a
4440 specific notation flavour without need for introducing any new
4444 Other aspects of ancient notation can not that easily be expressed as
4445 in terms of just changing a style property of a graphical object.
4446 Therefore, some notational concepts are introduced specifically for
4447 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4448 @ref{Ligatures}, and @ref{Figured bass}.
4452 * Ancient note heads::
4453 * Ancient accidentals::
4457 * Ancient time signatures::
4462 * Vaticana style contexts::
4465 If this all is way too much of documentation for you, and you just
4466 want to dive into typesetting without worrying too much about the
4467 details on how to customize a context, then you may have a look at the
4468 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4469 set up predefined style-specific voice and staff contexts, and
4470 directly go ahead with the note entry.
4474 Ligatures need special spacing that has not yet been implemented. As
4475 a result, there is too much space between ligatures most of the time,
4476 and line breaking often is unsatisfactory. Also, lyrics do not
4477 correctly align with ligatures.
4479 Accidentals must not be printed within a ligature, but instead need to
4480 be collected and printed in front of it.
4482 Augmentum dots within ligatures are currently not handled correctly.
4485 @node Ancient note heads
4486 @subsection Ancient note heads
4492 For ancient notation, a note head style other than the @code{default}
4493 style may be chosen. This is accomplished by setting the @code{style}
4494 property of the NoteHead object to the desired value (@code{baroque},
4495 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4496 differs from the @code{default} style only in using a square shape for
4497 @code{\breve} note heads. The @code{neo_mensural} style differs from
4498 the @code{baroque} style in that it uses rhomboidal heads for whole
4499 notes and all smaller durations. Stems are centered on the note
4500 heads. This style is in particular useful when transcribing mensural
4501 music, e.g. for the incipit. The @code{mensural} style finally
4502 produces note heads that mimick the look of note heads in historic
4503 printings of the 16th century.
4505 The following example demonstrates the @code{neo_mensural} style:
4507 @lilypond[fragment,singleline,verbatim]
4508 \property Voice.NoteHead \set #'style = #'neo_mensural
4509 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4512 When typesetting a piece in Gregorian Chant notation, a Gregorian
4513 ligature engraver will automatically select the proper note heads,
4514 such there is no need to explicitly set the note head style. Still,
4515 the note head style can be set e.g. to @code{vaticana_punctum} to
4516 produce punctum neumes. Similarly, a mensural ligature engraver is
4517 used to automatically assemble mensural ligatures. See
4518 @ref{Ligatures} for how ligature engravers work.
4522 @inputfileref{input/regression,note-head-style.ly} gives an overview
4523 over all available note head styles.
4525 @ref{Percussion staves} use note head styles of their own that are
4526 frequently used in contemporary music notation.
4528 @node Ancient accidentals
4529 @subsection Ancient accidentals
4535 Use the @code{style} property of grob @internalsref{Accidental} to
4536 select ancient accidentals. Currently supported styles are
4537 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4539 @lilypond[singleline,26pt]
4547 { " " \musicglyph #"accidentals-vaticana-1"
4548 " " \musicglyph #"accidentals-vaticana0" }
4552 { " " \musicglyph #"accidentals-medicaea-1" }
4556 { " " \musicglyph #"accidentals-hufnagel-1" }
4560 { " " \musicglyph #"accidentals-mensural-1"
4561 " " \musicglyph #"accidentals-mensural1" }
4570 \remove "Bar_number_engraver"
4574 \remove "Clef_engraver"
4575 \remove "Key_engraver"
4576 \remove "Time_signature_engraver"
4577 \remove "Staff_symbol_engraver"
4578 minimumVerticalExtent = ##f
4584 As shown, not all accidentals are supported by each style. When
4585 trying to access an unsupported accidental, LilyPond will switch to a
4586 different style, as demonstrated in
4587 @inputfileref{input/test,ancient-accidentals.ly}.
4589 Similarly to local accidentals, the style of the key signature can be
4590 controlled by the @code{style} property of the
4591 @internalsref{KeySignature} grob.
4595 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4596 a general introduction into the use of accidentals. @ref{Key
4597 signature} gives a general introduction into the use of key
4602 @subsection Ancient rests
4608 Use the @code{style} property of grob @internalsref{Rest} to select
4609 ancient accidentals. Currently supported styles are @code{classical},
4610 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4611 from the @code{default} style only in that the quarter rest looks like
4612 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4613 well for e.g. the incipit of a transcribed mensural piece of music.
4614 The @code{mensural} style finally mimicks the appearance of rests as
4615 in historic prints of the 16th century.
4617 The following example demonstrates the @code{neo_mensural} style:
4619 @lilypond[fragment,singleline,verbatim]
4620 \property Voice.Rest \set #'style = #'neo_mensural
4621 r\longa r\breve r1 r2 r4 r8 r16
4624 There are no 32th and 64th rests specifically for the mensural or
4625 neo-mensural style. Instead, the rests from the default style will be
4626 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4629 There are no rests in Gregorian Chant notation; instead, it uses
4634 @ref{Rests} gives a general introduction into the use of rests.
4638 @subsection Ancient clefs
4644 LilyPond supports a variety of clefs, many of them ancient.
4646 The following table shows all ancient clefs that are supported via the
4647 @code{\clef} command. Some of the clefs use the same glyph, but
4648 differ only with respect to the line they are printed on. In such
4649 cases, a trailing number in the name is used to enumerate these clefs.
4650 Still, you can manually force a clef glyph to be typeset on an
4651 arbitrary line, as described in @ref{Clef}. The note printed to the
4652 right side of each clef in the example column denotes the @code{c'}
4653 with respect to that clef.
4655 @multitable @columnfractions .3 .3 .3 .1
4659 @b{Description} @tab
4660 @b{Supported Clefs} @tab
4664 @code{clefs-neo_mensural_c} @tab
4665 modern style mensural C clef @tab
4666 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4667 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4668 @lilypond[relative 0, notime]
4669 \property Staff.TimeSignature \set #'transparent = ##t
4670 \clef "neo_mensural_c2" c
4674 @code{clefs-petrucci_c1}
4675 @code{clefs-petrucci_c2}
4676 @code{clefs-petrucci_c3}
4677 @code{clefs-petrucci_c4}
4678 @code{clefs-petrucci_c5}
4681 petrucci style mensural C clefs, for use on different stafflines
4682 (the examples shows the 2nd staffline C clef).
4692 @lilypond[relative 0, notime]
4693 \property Staff.TimeSignature \set #'transparent = ##t
4694 \clef "petrucci_c2" c
4698 @code{clefs-petrucci_f} @tab
4699 petrucci style mensural F clef @tab
4700 @code{petrucci_f} @tab
4701 @lilypond[relative 0, notime]
4702 \property Staff.TimeSignature \set #'transparent = ##t
4703 \clef "petrucci_f" c
4707 @code{clefs-petrucci_g} @tab
4708 petrucci style mensural G clef @tab
4709 @code{petrucci_g} @tab
4710 @lilypond[relative 0, notime]
4711 \property Staff.TimeSignature \set #'transparent = ##t
4712 \clef "petrucci_g" c
4716 @code{clefs-mensural_c} @tab
4717 historic style mensural C clef @tab
4718 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4719 @code{mensural_c4} @tab
4720 @lilypond[relative 0, notime]
4721 \property Staff.TimeSignature \set #'transparent = ##t
4722 \clef "mensural_c2" c
4726 @code{clefs-mensural_f} @tab
4727 historic style mensural F clef @tab
4728 @code{mensural_f} @tab
4729 @lilypond[relative 0, notime]
4730 \property Staff.TimeSignature \set #'transparent = ##t
4731 \clef "mensural_f" c
4735 @code{clefs-mensural_g} @tab
4736 historic style mensural G clef @tab
4737 @code{mensural_g} @tab
4738 @lilypond[relative 0, notime]
4739 \property Staff.TimeSignature \set #'transparent = ##t
4740 \clef "mensural_g" c
4744 @code{clefs-vaticana_do} @tab
4745 Editio Vaticana style do clef @tab
4746 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4747 @lilypond[relative 0, notime]
4749 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4750 \property Staff.TimeSignature \set #'transparent = ##t
4751 \clef "vaticana_do2" c
4755 @code{clefs-vaticana_fa} @tab
4756 Editio Vaticana style fa clef @tab
4757 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4758 @lilypond[relative 0, notime]
4760 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4761 \property Staff.TimeSignature \set #'transparent = ##t
4762 \clef "vaticana_fa2" c
4766 @code{clefs-medicaea_do} @tab
4767 Editio Medicaea style do clef @tab
4768 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4769 @lilypond[relative 0, notime]
4771 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4772 \property Staff.TimeSignature \set #'transparent = ##t
4773 \clef "medicaea_do2" c
4777 @code{clefs-medicaea_fa} @tab
4778 Editio Medicaea style fa clef @tab
4779 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4780 @lilypond[relative 0, notime]
4782 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4783 \property Staff.TimeSignature \set #'transparent = ##t
4784 \clef "medicaea_fa2" c
4788 @code{clefs-hufnagel_do} @tab
4789 historic style hufnagel do clef @tab
4790 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4791 @lilypond[relative 0, notime]
4793 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4794 \property Staff.TimeSignature \set #'transparent = ##t
4795 \clef "hufnagel_do2" c
4799 @code{clefs-hufnagel_fa} @tab
4800 historic style hufnagel fa clef @tab
4801 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4802 @lilypond[relative 0, notime]
4804 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4805 \property Staff.TimeSignature \set #'transparent = ##t
4806 \clef "hufnagel_fa2" c
4810 @code{clefs-hufnagel_do_fa} @tab
4811 historic style hufnagel combined do/fa clef @tab
4812 @code{hufnagel_do_fa} @tab
4813 @lilypond[relative 0, notime]
4814 \property Staff.TimeSignature \set #'transparent = ##t
4815 \clef "hufnagel_do_fa" c
4820 @c --- This should go somewhere else: ---
4821 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4824 @c @code{percussion}
4826 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4828 @c @item modern style tab clef (glyph: @code{clefs-tab})
4833 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4835 @emph{Modern style} means ``as is typeset in contemporary editions of
4836 transcribed mensural music''.
4838 @emph{Petrucci style} means ``inspired by printings published by the
4839 famous engraver Petrucci (1466-1539)''.
4841 @emph{Historic style} means ``as was typeset or written in historic
4842 editions (other than those of Petrucci)''.
4844 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4846 Petrucci used C clefs with differently balanced left-side vertical
4847 beams, depending on which staffline it is printed.
4851 For modern clefs, see @ref{Clef}. For the percussion clef, see
4852 @ref{Percussion staves}. For the @code{TAB} clef, see
4857 @subsection Ancient flags
4863 Use the @code{flag-style} property of grob @internalsref{Stem} to
4864 select ancient flags. Besides the @code{default} flag style,
4865 currently only @code{mensural} style is supported:
4867 @lilypond[fragment,singleline,verbatim]
4868 \property Voice.Stem \set #'flag-style = #'mensural
4869 \property Voice.Stem \set #'thickness = #1.0
4870 \property Voice.NoteHead \set #'style = #'mensural
4872 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
4873 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
4876 Note that the innermost flare of each mensural flag always is
4877 vertically aligned with a staff line. If you do not like this
4878 behaviour, you can set the @code{adjust-if-on-staffline} property of
4879 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
4880 of the end of each flare is different between notes on staff lines and
4881 notes between staff lines:
4883 @lilypond[fragment,singleline]
4884 \property Voice.Stem \set #'flag-style = #'mensural
4885 \property Voice.Stem \set #'thickness = #1.0
4886 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
4887 \property Voice.NoteHead \set #'style = #'mensural
4889 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
4890 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
4893 There is no particular flag style for neo-mensural notation. Hence,
4894 when typesetting e.g. the incipit of a transcibed piece of mensural
4895 music, the default flag style should be used. There are no flags in
4896 Gregorian Chant notation.
4899 @node Ancient time signatures
4900 @subsection Ancient time signatures
4902 @cindex time signatures
4906 There is limited support for mensural time signatures. Currently, the
4907 glyphs are hard-wired to particular time fractions. In other words,
4908 to get a particular mensural signature glyph with the @code{\time n/m}
4909 command, @code{n} and @code{m} have to be chosen according to the
4915 \property Score.timing = ##f
4916 \property Score.barAlways = ##t
4917 s_\markup { "$\\backslash$time 4/4" }
4918 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
4920 s_\markup { "$\\backslash$time 2/2" }
4921 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
4923 s_\markup { "$\\backslash$time 6/4" }
4924 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
4926 s_\markup { "$\\backslash$time 6/8" }
4927 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
4929 s_\markup { "$\\backslash$time 3/2" }
4930 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
4932 s_\markup { "$\\backslash$time 3/4" }
4933 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
4935 s_\markup { "$\\backslash$time 9/4" }
4936 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
4938 s_\markup { "$\\backslash$time 9/8" }
4939 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
4941 s_\markup { "$\\backslash$time 4/8" }
4942 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
4944 s_\markup { "$\\backslash$time 2/4" }
4945 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
4953 \remove Staff_symbol_engraver
4954 \remove Clef_engraver
4955 \remove Time_signature_engraver
4961 Use the @code{style} property of grob @internalsref{TimeSignature} to
4962 select ancient time signatures. Currently supported styles are
4963 @code{neo_mensural} and @code{mensural}. The above table uses the
4964 @code{neo_mensural} style. This style is appropriate e.g. for the
4965 incipit of transcriptions of mensural pieces. The @code{mensural}
4966 style mimicks the look of historical printings of the 16th century.
4968 @inputfileref{input/test,time.ly} gives an overview over all available
4969 ancient and modern styles.
4973 @ref{Time signature} gives a general introduction into the use of time
4978 Mensural signature glyphs are currently mapped to time fractions in a
4979 hard-wired way. This mapping is sensible, but still arbitrary: given
4980 a mensural time signature, the time fraction represents a modern meter
4981 that usually will be a good choice when transcribing a mensural piece
4982 of music. For a particular piece of mensural music, however, the
4983 mapping may be unsatisfactory. In particular, the mapping assumes a
4984 fixed transcription of durations (e.g. brevis = half note in 2/2,
4985 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
4986 are currently not at all accessible through the @code{\time} command.
4988 Mensural time signatures are supported typographically, but not yet
4989 musically. The internal representation of durations is currently
4990 based on a purely binary system; a ternary division such as 1 brevis =
4991 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
4992 prolatione maiori) is not correctly handled: event times in ternary
4993 modes will be badly computed, resulting e.g. in horizontally
4994 misaligned note heads, and bar checks are likely to erroneously fail.
4996 The syntax and semantics of the @code{\time} command for mensural
4997 music is subject to change.
5000 @subsection Custodes
5005 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5006 symbol that appears at the end of a staff. It anticipates the pitch
5007 of the first note(s) of the following line and thus helps the player
5008 or singer to manage line breaks during performance, thus enhancing
5009 readability of a score.
5011 Custodes were frequently used in music notation until the 17th
5012 century. Nowadays, they have survived only in a few particular forms
5013 of musical notation such as contemporary editions of Gregorian chant
5014 like the @emph{editio vaticana}. There are different custos glyphs
5015 used in different flavours of notational style.
5019 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5020 @internalsref{Staff} context when declaring the @code{\paper} block,
5021 as shown in the following example:
5027 \consists Custos_engraver
5028 Custos \override #'style = #'mensural
5033 The result looks like this:
5039 \property Staff.Custos \set #'style = #'mensural
5046 \consists Custos_engraver
5053 The custos glyph is selected by the @code{style} property. The styles
5054 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5055 @code{mensural}. They are demonstrated in the following fragment:
5065 { " " \musicglyph #"custodes-vaticana-u0" }
5069 { " " \musicglyph #"custodes-medicaea-u0" }
5073 { " " \musicglyph #"custodes-hufnagel-u0" }
5077 { " " \musicglyph #"custodes-mensural-u0" }
5086 \remove "Bar_number_engraver"
5090 \remove "Clef_engraver"
5091 \remove "Key_engraver"
5092 \remove "Time_signature_engraver"
5093 \remove "Staff_symbol_engraver"
5094 minimumVerticalExtent = ##f
5100 If the boolean property @code{adjust-if-on-staffline} is set to
5101 @code{#t} (which it is by default), lily typesets slightly different
5102 variants of the custos glyph, depending on whether the custos, is
5103 typeset on or between stafflines. The glyph will
5104 optically fit well into the staff, with the appendage on the right of
5105 the custos always ending at the same vertical position between two
5106 stafflines regardless of the pitch. If you set
5107 @code{adjust-if-on-staffline} to @code{#f}, then
5108 a compromise between both forms is used.
5110 Just like stems can be attached to noteheads in two directions
5111 @emph{up} and @emph{down}, each custos glyph is available with its
5112 appendage pointing either up or down. If the pitch of a custos is
5113 above a selectable position, the appendage will point downwards; if
5114 the pitch is below this position, the appendage will point upwards.
5115 Use property @code{neutral-position} to select this position. By
5116 default, it is set to @code{0}, such that the neutral position is the
5117 center of the staff. Use property @code{neutral-direction} to control
5118 what happens if a custos is typeset on the neutral position itself.
5119 By default, this property is set to @code{-1}, such that the appendage
5120 will point downwards. If set to @code{1}, the appendage will point
5121 upwards. Other values such as @code{0} are reserved for future
5122 extensions and should not be used.
5126 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5130 @subsection Divisiones
5136 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5137 `division') is a staff context symbol that is used to structure
5138 Gregorian music into phrases and sections. The musical meaning of
5139 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5140 can be characterized as short, medium and long pause, somewhat like
5141 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5142 a chant, but is also frequently used within a single
5143 antiphonal/responsorial chant to mark the end of each section.
5147 To use divisiones, include the file @code{gregorian-init.ly}. It
5148 contains definitions that you can apply by just inserting
5149 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5150 and @code{\finalis} at proper places in the input. Some editions use
5151 @emph{virgula} or @emph{caesura} instead of divisio minima.
5152 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5155 @lilypondfile[notexidoc]{divisiones.ly}
5159 @cindex @code{\virgula}
5161 @cindex @code{\caesura}
5163 @cindex @code{\divisioMinima}
5164 @code{\divisioMinima},
5165 @cindex @code{\divisioMaior}
5166 @code{\divisioMaior},
5167 @cindex @code{\divisioMaxima}
5168 @code{\divisioMaxima},
5169 @cindex @code{\finalis}
5174 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5175 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5178 @subsection Ligatures
5182 @c TODO: Should double check if I recalled things correctly when I wrote
5183 @c down the following paragraph by heart.
5185 In musical terminology, a ligature is a coherent graphical symbol that
5186 represents at least two distinct notes. Ligatures originally appeared
5187 in the manuscripts of Gregorian chant notation roughly since the 9th
5188 century as an allusion to the accent symbols of greek lyric poetry to
5189 denote ascending or descending sequences of notes. Both, the shape
5190 and the exact meaning of ligatures changed tremendously during the
5191 following centuries: In early notation, ligatures were used for
5192 monophonic tunes (Gregorian chant) and very soon denoted also the way
5193 of performance in the sense of articulation. With upcoming
5194 multiphony, the need for a metric system arised, since multiple voices
5195 of a piece have to be synchronized some way. New notation systems
5196 were invented that used the manifold shapes of ligatures to now denote
5197 rhythmical patterns (e.g. black mensural notation, mannered notation,
5198 ars nova). With the invention of the metric system of the white
5199 mensural notation, the need for ligatures to denote such patterns
5200 disappeared. Nevertheless, ligatures were still in use in the
5201 mensural system for a couple of decades until they finally disappeared
5202 during the late 16th / early 17th century. Still, ligatures have
5203 survived in contemporary editions of Gregorian chant such as the
5204 Editio Vaticana from 1905/08.
5208 Syntactically, ligatures are simply enclosed by @code{\[} and
5209 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5210 additional input syntax specific for this particular type of ligature.
5211 By default, the @internalsref{LigatureBracket} engraver just puts a
5212 square bracket above the ligature:
5214 @lilypond[singleline,verbatim]
5216 \notes \transpose c c' {
5224 To select a specific style of ligatures, a proper ligature engraver
5225 has to be added to the @internalsref{Voice} context, as explained in
5226 the following subsections. Currently, only white mensural ligatures
5227 are supported with certain limitations. Support for Editio Vaticana
5228 will be added in the future.
5231 * White mensural ligatures::
5232 * Gregorian square neumes ligatures::
5235 @node White mensural ligatures
5236 @subsubsection White mensural ligatures
5238 @cindex Mensural ligatures
5239 @cindex White mensural ligatures
5241 There is limited support for white mensural ligatures. The
5242 implementation is still experimental; it currently may output strange
5243 warnings or even crash in some cases or produce weird results on more
5248 To engrave white mensural ligatures, in the paper block the
5249 @internalsref{Mensural_ligature_engraver} has to be put into the
5250 @internalsref{Voice} context, and remove the
5251 @internalsref{Ligature_bracket_engraver}:
5257 \remove Ligature_bracket_engraver
5258 \consists Mensural_ligature_engraver
5263 There is no additional input language to describe the shape of a
5264 white mensural ligature. The shape is rather determined solely from
5265 the pitch and duration of the enclosed notes. While this approach may
5266 take a new user a while to get accustomed, it has the great advantage
5267 that the full musical information of the ligature is known internally.
5268 This is not only required for correct MIDI output, but also allows for
5269 automatic transcription of the ligatures.
5274 \property Score.timing = ##f
5275 \property Score.defaultBarType = "empty"
5276 \property Voice.NoteHead \set #'style = #'neo_mensural
5277 \property Staff.TimeSignature \set #'style = #'neo_mensural
5279 \[ g\longa c\breve a\breve f\breve d'\longa \]
5281 \[ e1 f1 a\breve g\longa \]
5283 @lilypond[singleline]
5285 \notes \transpose c c' {
5286 \property Score.timing = ##f
5287 \property Score.defaultBarType = "empty"
5288 \property Voice.NoteHead \set #'style = #'neo_mensural
5289 \property Staff.TimeSignature \set #'style = #'neo_mensural
5291 \[ g\longa c\breve a\breve f\breve d'\longa \]
5293 \[ e1 f1 a\breve g\longa \]
5298 \remove Ligature_bracket_engraver
5299 \consists Mensural_ligature_engraver
5305 Without replacing @internalsref{Ligature_bracket_engraver} with
5306 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5309 @lilypond[singleline]
5311 \notes \transpose c c' {
5312 \property Score.timing = ##f
5313 \property Score.defaultBarType = "empty"
5314 \property Voice.NoteHead \set #'style = #'neo_mensural
5315 \property Staff.TimeSignature \set #'style = #'neo_mensural
5317 \[ g\longa c\breve a\breve f\breve d'\longa \]
5319 \[ e1 f1 a\breve g\longa \]
5325 @node Gregorian square neumes ligatures
5326 @subsubsection Gregorian square neumes ligatures
5328 @cindex Square neumes ligatures
5329 @cindex Gregorian square neumes ligatures
5331 Gregorian square neumes notation (following the style of the Editio
5332 Vaticana) is under heavy development, but not yet really usable for
5333 production purposes. Core ligatures can already be typeset, but
5334 essential issues for serious typesetting are still under development,
5335 such as (among others) horizontal alignment of multiple ligatures,
5336 lyrics alignment and proper accidentals handling. Still, this section
5337 gives a sneak preview of what Gregorian chant may look like once it
5340 The following table contains the extended neumes table of the 2nd
5341 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5342 1983 by the monks of Solesmes.
5344 @multitable @columnfractions .4 .2 .2 .2
5347 @b{Neuma aut@*Neumarum Elementa} @tab
5348 @b{Figurae@*Rectae} @tab
5349 @b{Figurae@*Liquescentes Auctae} @tab
5350 @b{Figurae@*Liquescentes Deminutae}
5352 @c TODO: \paper block is identical in all of the below examples.
5353 @c Therefore, it should somehow be included rather than duplicated all
5356 @c why not make identifiers in ly/engraver-init.ly? --hwn
5358 @c Because it's just used to typeset plain notes without
5359 @c a staff for demonstration purposes rather than something
5360 @c special of Gregorian chant notation. --jr
5365 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5366 \include "gregorian-init.ly"
5368 \notes \transpose c c' {
5371 \noBreak s^\markup {"a"} \noBreak
5373 % Punctum Inclinatum
5375 \noBreak s^\markup {"b"}
5381 \remove "Bar_number_engraver"
5385 \remove "Clef_engraver"
5386 \remove "Key_engraver"
5387 StaffSymbol \set #'transparent = ##t
5388 \remove "Time_signature_engraver"
5389 \remove "Bar_engraver"
5390 minimumVerticalExtent = ##f
5394 \remove Ligature_bracket_engraver
5395 \consists Vaticana_ligature_engraver
5396 NoteHead \set #'style = #'vaticana_punctum
5397 Stem \set #'transparent = ##t
5403 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5404 \include "gregorian-init.ly"
5406 \notes \transpose c c' {
5407 % Punctum Auctum Ascendens
5408 \[ \auctum \ascendens b \]
5409 \noBreak s^\markup {"c"} \noBreak
5411 % Punctum Auctum Descendens
5412 \[ \auctum \descendens b \]
5413 \noBreak s^\markup {"d"} \noBreak
5415 % Punctum Inclinatum Auctum
5416 \[ \inclinatum \auctum b \]
5417 \noBreak s^\markup {"e"}
5423 \remove "Bar_number_engraver"
5427 \remove "Clef_engraver"
5428 \remove "Key_engraver"
5429 StaffSymbol \set #'transparent = ##t
5430 \remove "Time_signature_engraver"
5431 \remove "Bar_engraver"
5432 minimumVerticalExtent = ##f
5436 \remove Ligature_bracket_engraver
5437 \consists Vaticana_ligature_engraver
5438 NoteHead \set #'style = #'vaticana_punctum
5439 Stem \set #'transparent = ##t
5445 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5446 \include "gregorian-init.ly"
5448 \notes \transpose c c' {
5449 % Punctum Inclinatum Parvum
5450 \[ \inclinatum \deminutum b \]
5451 \noBreak s^\markup {"f"}
5457 \remove "Bar_number_engraver"
5461 \remove "Clef_engraver"
5462 \remove "Key_engraver"
5463 StaffSymbol \set #'transparent = ##t
5464 \remove "Time_signature_engraver"
5465 \remove "Bar_engraver"
5466 minimumVerticalExtent = ##f
5470 \remove Ligature_bracket_engraver
5471 \consists Vaticana_ligature_engraver
5472 NoteHead \set #'style = #'vaticana_punctum
5473 Stem \set #'transparent = ##t
5482 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5483 \include "gregorian-init.ly"
5485 \notes \transpose c c' {
5488 \noBreak s^\markup {"g"}
5494 \remove "Bar_number_engraver"
5498 \remove "Clef_engraver"
5499 \remove "Key_engraver"
5500 StaffSymbol \set #'transparent = ##t
5501 \remove "Time_signature_engraver"
5502 \remove "Bar_engraver"
5503 minimumVerticalExtent = ##f
5507 \remove Ligature_bracket_engraver
5508 \consists Vaticana_ligature_engraver
5509 NoteHead \set #'style = #'vaticana_punctum
5510 Stem \set #'transparent = ##t
5519 @code{3. Apostropha vel Stropha}
5521 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5522 \include "gregorian-init.ly"
5524 \notes \transpose c c' {
5527 \noBreak s^\markup {"h"}
5533 \remove "Bar_number_engraver"
5537 \remove "Clef_engraver"
5538 \remove "Key_engraver"
5539 StaffSymbol \set #'transparent = ##t
5540 \remove "Time_signature_engraver"
5541 \remove "Bar_engraver"
5542 minimumVerticalExtent = ##f
5546 \remove Ligature_bracket_engraver
5547 \consists Vaticana_ligature_engraver
5548 NoteHead \set #'style = #'vaticana_punctum
5549 Stem \set #'transparent = ##t
5555 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5556 \include "gregorian-init.ly"
5558 \notes \transpose c c' {
5560 \[ \stropha \auctum b \]
5561 \noBreak s^\markup {"i"}
5567 \remove "Bar_number_engraver"
5571 \remove "Clef_engraver"
5572 \remove "Key_engraver"
5573 StaffSymbol \set #'transparent = ##t
5574 \remove "Time_signature_engraver"
5575 \remove "Bar_engraver"
5576 minimumVerticalExtent = ##f
5580 \remove Ligature_bracket_engraver
5581 \consists Vaticana_ligature_engraver
5582 NoteHead \set #'style = #'vaticana_punctum
5583 Stem \set #'transparent = ##t
5593 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5594 \include "gregorian-init.ly"
5596 \notes \transpose c c' {
5599 \noBreak s^\markup {"j"}
5605 \remove "Bar_number_engraver"
5609 \remove "Clef_engraver"
5610 \remove "Key_engraver"
5611 StaffSymbol \set #'transparent = ##t
5612 \remove "Time_signature_engraver"
5613 \remove "Bar_engraver"
5614 minimumVerticalExtent = ##f
5618 \remove Ligature_bracket_engraver
5619 \consists Vaticana_ligature_engraver
5620 NoteHead \set #'style = #'vaticana_punctum
5621 Stem \set #'transparent = ##t
5630 @code{5. Clivis vel Flexa}
5632 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5633 \include "gregorian-init.ly"
5635 \notes \transpose c c' {
5644 \remove "Bar_number_engraver"
5648 \remove "Clef_engraver"
5649 \remove "Key_engraver"
5650 StaffSymbol \set #'transparent = ##t
5651 \remove "Time_signature_engraver"
5652 \remove "Bar_engraver"
5653 minimumVerticalExtent = ##f
5657 \remove Ligature_bracket_engraver
5658 \consists Vaticana_ligature_engraver
5659 NoteHead \set #'style = #'vaticana_punctum
5660 Stem \set #'transparent = ##t
5666 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5667 \include "gregorian-init.ly"
5669 \notes \transpose c c' {
5670 % Clivis Aucta Descendens
5671 \[ b \flexa \auctum \descendens g \]
5672 \noBreak s^\markup {"l"} \noBreak
5674 % Clivis Aucta Ascendens
5675 \[ b \flexa \auctum \ascendens g \]
5676 \noBreak s^\markup {"m"}
5682 \remove "Bar_number_engraver"
5686 \remove "Clef_engraver"
5687 \remove "Key_engraver"
5688 StaffSymbol \set #'transparent = ##t
5689 \remove "Time_signature_engraver"
5690 \remove "Bar_engraver"
5691 minimumVerticalExtent = ##f
5695 \remove Ligature_bracket_engraver
5696 \consists Vaticana_ligature_engraver
5697 NoteHead \set #'style = #'vaticana_punctum
5698 Stem \set #'transparent = ##t
5704 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5705 \include "gregorian-init.ly"
5707 \notes \transpose c c' {
5709 \[ b \flexa \deminutum g \]
5716 \remove "Bar_number_engraver"
5720 \remove "Clef_engraver"
5721 \remove "Key_engraver"
5722 StaffSymbol \set #'transparent = ##t
5723 \remove "Time_signature_engraver"
5724 \remove "Bar_engraver"
5725 minimumVerticalExtent = ##f
5729 \remove Ligature_bracket_engraver
5730 \consists Vaticana_ligature_engraver
5731 NoteHead \set #'style = #'vaticana_punctum
5732 Stem \set #'transparent = ##t
5739 @code{6. Podatus vel Pes}
5741 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5742 \include "gregorian-init.ly"
5744 \notes \transpose c c' {
5753 \remove "Bar_number_engraver"
5757 \remove "Clef_engraver"
5758 \remove "Key_engraver"
5759 StaffSymbol \set #'transparent = ##t
5760 \remove "Time_signature_engraver"
5761 \remove "Bar_engraver"
5762 minimumVerticalExtent = ##f
5766 \remove Ligature_bracket_engraver
5767 \consists Vaticana_ligature_engraver
5768 NoteHead \set #'style = #'vaticana_punctum
5769 Stem \set #'transparent = ##t
5775 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5776 \include "gregorian-init.ly"
5778 \notes \transpose c c' {
5779 % Pes Auctus Descendens
5780 \[ g \pes \auctum \descendens b \]
5781 \noBreak s^\markup {"p"} \noBreak
5783 % Pes Auctus Ascendens
5784 \[ g \pes \auctum \ascendens b \]
5785 \noBreak s^\markup {"q"}
5791 \remove "Bar_number_engraver"
5795 \remove "Clef_engraver"
5796 \remove "Key_engraver"
5797 StaffSymbol \set #'transparent = ##t
5798 \remove "Time_signature_engraver"
5799 \remove "Bar_engraver"
5800 minimumVerticalExtent = ##f
5804 \remove Ligature_bracket_engraver
5805 \consists Vaticana_ligature_engraver
5806 NoteHead \set #'style = #'vaticana_punctum
5807 Stem \set #'transparent = ##t
5813 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5814 \include "gregorian-init.ly"
5816 \notes \transpose c c' {
5818 \[ g \pes \deminutum b \]
5825 \remove "Bar_number_engraver"
5829 \remove "Clef_engraver"
5830 \remove "Key_engraver"
5831 StaffSymbol \set #'transparent = ##t
5832 \remove "Time_signature_engraver"
5833 \remove "Bar_engraver"
5834 minimumVerticalExtent = ##f
5838 \remove Ligature_bracket_engraver
5839 \consists Vaticana_ligature_engraver
5840 NoteHead \set #'style = #'vaticana_punctum
5841 Stem \set #'transparent = ##t
5848 @code{7. Pes Quassus}
5850 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5851 \include "gregorian-init.ly"
5853 \notes \transpose c c' {
5855 \[ \oriscus g \pes \virga b \]
5862 \remove "Bar_number_engraver"
5866 \remove "Clef_engraver"
5867 \remove "Key_engraver"
5868 StaffSymbol \set #'transparent = ##t
5869 \remove "Time_signature_engraver"
5870 \remove "Bar_engraver"
5871 minimumVerticalExtent = ##f
5875 \remove Ligature_bracket_engraver
5876 \consists Vaticana_ligature_engraver
5877 NoteHead \set #'style = #'vaticana_punctum
5878 Stem \set #'transparent = ##t
5884 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5885 \include "gregorian-init.ly"
5887 \notes \transpose c c' {
5888 % Pes Quassus Auctus Descendens
5889 \[ \oriscus g \pes \auctum \descendens b \]
5896 \remove "Bar_number_engraver"
5900 \remove "Clef_engraver"
5901 \remove "Key_engraver"
5902 StaffSymbol \set #'transparent = ##t
5903 \remove "Time_signature_engraver"
5904 \remove "Bar_engraver"
5905 minimumVerticalExtent = ##f
5909 \remove Ligature_bracket_engraver
5910 \consists Vaticana_ligature_engraver
5911 NoteHead \set #'style = #'vaticana_punctum
5912 Stem \set #'transparent = ##t
5920 @code{8. Quilisma Pes}
5922 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5923 \include "gregorian-init.ly"
5925 \notes \transpose c c' {
5927 \[ \quilisma g \pes b \]
5934 \remove "Bar_number_engraver"
5938 \remove "Clef_engraver"
5939 \remove "Key_engraver"
5940 StaffSymbol \set #'transparent = ##t
5941 \remove "Time_signature_engraver"
5942 \remove "Bar_engraver"
5943 minimumVerticalExtent = ##f
5947 \remove Ligature_bracket_engraver
5948 \consists Vaticana_ligature_engraver
5949 NoteHead \set #'style = #'vaticana_punctum
5950 Stem \set #'transparent = ##t
5956 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5957 \include "gregorian-init.ly"
5959 \notes \transpose c c' {
5960 % Quilisma Pes Auctus Descendens
5961 \[ \quilisma g \pes \auctum \descendens b \]
5968 \remove "Bar_number_engraver"
5972 \remove "Clef_engraver"
5973 \remove "Key_engraver"
5974 StaffSymbol \set #'transparent = ##t
5975 \remove "Time_signature_engraver"
5976 \remove "Bar_engraver"
5977 minimumVerticalExtent = ##f
5981 \remove Ligature_bracket_engraver
5982 \consists Vaticana_ligature_engraver
5983 NoteHead \set #'style = #'vaticana_punctum
5984 Stem \set #'transparent = ##t
5992 @code{9. Podatus Initio Debilis}
5994 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5995 \include "gregorian-init.ly"
5997 \notes \transpose c c' {
5998 % Pes Initio Debilis
5999 \[ \deminutum g \pes b \]
6006 \remove "Bar_number_engraver"
6010 \remove "Clef_engraver"
6011 \remove "Key_engraver"
6012 StaffSymbol \set #'transparent = ##t
6013 \remove "Time_signature_engraver"
6014 \remove "Bar_engraver"
6015 minimumVerticalExtent = ##f
6019 \remove Ligature_bracket_engraver
6020 \consists Vaticana_ligature_engraver
6021 NoteHead \set #'style = #'vaticana_punctum
6022 Stem \set #'transparent = ##t
6028 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6029 \include "gregorian-init.ly"
6031 \notes \transpose c c' {
6032 % Pes Auctus Descendens Initio Debilis
6033 \[ \deminutum g \pes \auctum \descendens b \]
6040 \remove "Bar_number_engraver"
6044 \remove "Clef_engraver"
6045 \remove "Key_engraver"
6046 StaffSymbol \set #'transparent = ##t
6047 \remove "Time_signature_engraver"
6048 \remove "Bar_engraver"
6049 minimumVerticalExtent = ##f
6053 \remove Ligature_bracket_engraver
6054 \consists Vaticana_ligature_engraver
6055 NoteHead \set #'style = #'vaticana_punctum
6056 Stem \set #'transparent = ##t
6066 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6067 \include "gregorian-init.ly"
6069 \notes \transpose c c' {
6071 \[ a \pes b \flexa g \]
6078 \remove "Bar_number_engraver"
6082 \remove "Clef_engraver"
6083 \remove "Key_engraver"
6084 StaffSymbol \set #'transparent = ##t
6085 \remove "Time_signature_engraver"
6086 \remove "Bar_engraver"
6087 minimumVerticalExtent = ##f
6091 \remove Ligature_bracket_engraver
6092 \consists Vaticana_ligature_engraver
6093 NoteHead \set #'style = #'vaticana_punctum
6094 Stem \set #'transparent = ##t
6100 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6101 \include "gregorian-init.ly"
6103 \notes \transpose c c' {
6104 % Torculus Auctus Descendens
6105 \[ a \pes b \flexa \auctum \descendens g \]
6112 \remove "Bar_number_engraver"
6116 \remove "Clef_engraver"
6117 \remove "Key_engraver"
6118 StaffSymbol \set #'transparent = ##t
6119 \remove "Time_signature_engraver"
6120 \remove "Bar_engraver"
6121 minimumVerticalExtent = ##f
6125 \remove Ligature_bracket_engraver
6126 \consists Vaticana_ligature_engraver
6127 NoteHead \set #'style = #'vaticana_punctum
6128 Stem \set #'transparent = ##t
6134 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6135 \include "gregorian-init.ly"
6137 \notes \transpose c c' {
6138 % Torculus Deminutus
6139 \[ a \pes b \flexa \deminutum g \]
6146 \remove "Bar_number_engraver"
6150 \remove "Clef_engraver"
6151 \remove "Key_engraver"
6152 StaffSymbol \set #'transparent = ##t
6153 \remove "Time_signature_engraver"
6154 \remove "Bar_engraver"
6155 minimumVerticalExtent = ##f
6159 \remove Ligature_bracket_engraver
6160 \consists Vaticana_ligature_engraver
6161 NoteHead \set #'style = #'vaticana_punctum
6162 Stem \set #'transparent = ##t
6169 @code{11. Torculus Initio Debilis}
6171 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6172 \include "gregorian-init.ly"
6174 \notes \transpose c c' {
6175 % Torculus Initio Debilis
6176 \[ \deminutum a \pes b \flexa g \]
6183 \remove "Bar_number_engraver"
6187 \remove "Clef_engraver"
6188 \remove "Key_engraver"
6189 StaffSymbol \set #'transparent = ##t
6190 \remove "Time_signature_engraver"
6191 \remove "Bar_engraver"
6192 minimumVerticalExtent = ##f
6196 \remove Ligature_bracket_engraver
6197 \consists Vaticana_ligature_engraver
6198 NoteHead \set #'style = #'vaticana_punctum
6199 Stem \set #'transparent = ##t
6205 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6206 \include "gregorian-init.ly"
6208 \notes \transpose c c' {
6209 % Torculus Auctus Descendens Initio Debilis
6210 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6217 \remove "Bar_number_engraver"
6221 \remove "Clef_engraver"
6222 \remove "Key_engraver"
6223 StaffSymbol \set #'transparent = ##t
6224 \remove "Time_signature_engraver"
6225 \remove "Bar_engraver"
6226 minimumVerticalExtent = ##f
6230 \remove Ligature_bracket_engraver
6231 \consists Vaticana_ligature_engraver
6232 NoteHead \set #'style = #'vaticana_punctum
6233 Stem \set #'transparent = ##t
6239 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6240 \include "gregorian-init.ly"
6242 \notes \transpose c c' {
6243 % Torculus Deminutus Initio Debilis
6244 \[ \deminutum a \pes b \flexa \deminutum g \]
6251 \remove "Bar_number_engraver"
6255 \remove "Clef_engraver"
6256 \remove "Key_engraver"
6257 StaffSymbol \set #'transparent = ##t
6258 \remove "Time_signature_engraver"
6259 \remove "Bar_engraver"
6260 minimumVerticalExtent = ##f
6264 \remove Ligature_bracket_engraver
6265 \consists Vaticana_ligature_engraver
6266 NoteHead \set #'style = #'vaticana_punctum
6267 Stem \set #'transparent = ##t
6274 @code{12. Porrectus}
6276 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6277 \include "gregorian-init.ly"
6279 \notes \transpose c c' {
6281 \[ a \flexa g \pes b \]
6288 \remove "Bar_number_engraver"
6292 \remove "Clef_engraver"
6293 \remove "Key_engraver"
6294 StaffSymbol \set #'transparent = ##t
6295 \remove "Time_signature_engraver"
6296 \remove "Bar_engraver"
6297 minimumVerticalExtent = ##f
6301 \remove Ligature_bracket_engraver
6302 \consists Vaticana_ligature_engraver
6303 NoteHead \set #'style = #'vaticana_punctum
6304 Stem \set #'transparent = ##t
6310 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6311 \include "gregorian-init.ly"
6313 \notes \transpose c c' {
6314 % Porrectus Auctus Descendens
6315 \[ a \flexa g \pes \auctum \descendens b \]
6322 \remove "Bar_number_engraver"
6326 \remove "Clef_engraver"
6327 \remove "Key_engraver"
6328 StaffSymbol \set #'transparent = ##t
6329 \remove "Time_signature_engraver"
6330 \remove "Bar_engraver"
6331 minimumVerticalExtent = ##f
6335 \remove Ligature_bracket_engraver
6336 \consists Vaticana_ligature_engraver
6337 NoteHead \set #'style = #'vaticana_punctum
6338 Stem \set #'transparent = ##t
6344 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6345 \include "gregorian-init.ly"
6347 \notes \transpose c c' {
6348 % Porrectus Deminutus
6349 \[ a \flexa g \pes \deminutum b \]
6356 \remove "Bar_number_engraver"
6360 \remove "Clef_engraver"
6361 \remove "Key_engraver"
6362 StaffSymbol \set #'transparent = ##t
6363 \remove "Time_signature_engraver"
6364 \remove "Bar_engraver"
6365 minimumVerticalExtent = ##f
6369 \remove Ligature_bracket_engraver
6370 \consists Vaticana_ligature_engraver
6371 NoteHead \set #'style = #'vaticana_punctum
6372 Stem \set #'transparent = ##t
6381 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6382 \include "gregorian-init.ly"
6384 \notes \transpose c c' {
6386 \[ \virga b \inclinatum a \inclinatum g \]
6393 \remove "Bar_number_engraver"
6397 \remove "Clef_engraver"
6398 \remove "Key_engraver"
6399 StaffSymbol \set #'transparent = ##t
6400 \remove "Time_signature_engraver"
6401 \remove "Bar_engraver"
6402 minimumVerticalExtent = ##f
6406 \remove Ligature_bracket_engraver
6407 \consists Vaticana_ligature_engraver
6408 NoteHead \set #'style = #'vaticana_punctum
6409 Stem \set #'transparent = ##t
6415 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6416 \include "gregorian-init.ly"
6418 \notes \transpose c c' {
6420 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6427 \remove "Bar_number_engraver"
6431 \remove "Clef_engraver"
6432 \remove "Key_engraver"
6433 StaffSymbol \set #'transparent = ##t
6434 \remove "Time_signature_engraver"
6435 \remove "Bar_engraver"
6436 minimumVerticalExtent = ##f
6440 \remove Ligature_bracket_engraver
6441 \consists Vaticana_ligature_engraver
6442 NoteHead \set #'style = #'vaticana_punctum
6443 Stem \set #'transparent = ##t
6449 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6450 \include "gregorian-init.ly"
6452 \notes \transpose c c' {
6453 % Climacus Deminutus
6454 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6461 \remove "Bar_number_engraver"
6465 \remove "Clef_engraver"
6466 \remove "Key_engraver"
6467 StaffSymbol \set #'transparent = ##t
6468 \remove "Time_signature_engraver"
6469 \remove "Bar_engraver"
6470 minimumVerticalExtent = ##f
6474 \remove Ligature_bracket_engraver
6475 \consists Vaticana_ligature_engraver
6476 NoteHead \set #'style = #'vaticana_punctum
6477 Stem \set #'transparent = ##t
6484 @code{14. Scandicus}
6486 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6487 \include "gregorian-init.ly"
6489 \notes \transpose c c' {
6491 \[ g \pes a \virga b \]
6498 \remove "Bar_number_engraver"
6502 \remove "Clef_engraver"
6503 \remove "Key_engraver"
6504 StaffSymbol \set #'transparent = ##t
6505 \remove "Time_signature_engraver"
6506 \remove "Bar_engraver"
6507 minimumVerticalExtent = ##f
6511 \remove Ligature_bracket_engraver
6512 \consists Vaticana_ligature_engraver
6513 NoteHead \set #'style = #'vaticana_punctum
6514 Stem \set #'transparent = ##t
6520 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6521 \include "gregorian-init.ly"
6523 \notes \transpose c c' {
6524 % Scandicus Auctus Descendens
6525 \[ g \pes a \pes \auctum \descendens b \]
6532 \remove "Bar_number_engraver"
6536 \remove "Clef_engraver"
6537 \remove "Key_engraver"
6538 StaffSymbol \set #'transparent = ##t
6539 \remove "Time_signature_engraver"
6540 \remove "Bar_engraver"
6541 minimumVerticalExtent = ##f
6545 \remove Ligature_bracket_engraver
6546 \consists Vaticana_ligature_engraver
6547 NoteHead \set #'style = #'vaticana_punctum
6548 Stem \set #'transparent = ##t
6554 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6555 \include "gregorian-init.ly"
6557 \notes \transpose c c' {
6558 % Scandicus Deminutus
6559 \[ g \pes a \pes \deminutum b \]
6566 \remove "Bar_number_engraver"
6570 \remove "Clef_engraver"
6571 \remove "Key_engraver"
6572 StaffSymbol \set #'transparent = ##t
6573 \remove "Time_signature_engraver"
6574 \remove "Bar_engraver"
6575 minimumVerticalExtent = ##f
6579 \remove Ligature_bracket_engraver
6580 \consists Vaticana_ligature_engraver
6581 NoteHead \set #'style = #'vaticana_punctum
6582 Stem \set #'transparent = ##t
6591 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6592 \include "gregorian-init.ly"
6594 \notes \transpose c c' {
6596 \[ g \oriscus a \pes \virga b \]
6603 \remove "Bar_number_engraver"
6607 \remove "Clef_engraver"
6608 \remove "Key_engraver"
6609 StaffSymbol \set #'transparent = ##t
6610 \remove "Time_signature_engraver"
6611 \remove "Bar_engraver"
6612 minimumVerticalExtent = ##f
6616 \remove Ligature_bracket_engraver
6617 \consists Vaticana_ligature_engraver
6618 NoteHead \set #'style = #'vaticana_punctum
6619 Stem \set #'transparent = ##t
6625 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6626 \include "gregorian-init.ly"
6628 \notes \transpose c c' {
6629 % Salicus Auctus Descendens
6630 \[ g \oriscus a \pes \auctum \descendens b \]
6637 \remove "Bar_number_engraver"
6641 \remove "Clef_engraver"
6642 \remove "Key_engraver"
6643 StaffSymbol \set #'transparent = ##t
6644 \remove "Time_signature_engraver"
6645 \remove "Bar_engraver"
6646 minimumVerticalExtent = ##f
6650 \remove Ligature_bracket_engraver
6651 \consists Vaticana_ligature_engraver
6652 NoteHead \set #'style = #'vaticana_punctum
6653 Stem \set #'transparent = ##t
6663 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6664 \include "gregorian-init.ly"
6666 \notes \transpose c c' {
6668 \[ \stropha b \stropha b \stropha a \]
6675 \remove "Bar_number_engraver"
6679 \remove "Clef_engraver"
6680 \remove "Key_engraver"
6681 StaffSymbol \set #'transparent = ##t
6682 \remove "Time_signature_engraver"
6683 \remove "Bar_engraver"
6684 minimumVerticalExtent = ##f
6688 \remove Ligature_bracket_engraver
6689 \consists Vaticana_ligature_engraver
6690 NoteHead \set #'style = #'vaticana_punctum
6691 Stem \set #'transparent = ##t
6703 Unlike most other neumes notation systems, the input language for
6704 neumes does not necessarily reflect directly the typographical
6705 appearance, but is designed to solely focuse on musical meaning. For
6706 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6707 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6708 a Porrectus with a curved flexa shape and only a single Punctum head.
6709 There is no command to explicitly typeset the curved flexa shape; the
6710 decision of when to typeset a curved flexa shape is purely taken from
6711 the musical input. The idea of this approach is to separate the
6712 musical aspects of the input from the notation style of the output.
6713 This way, the same input can be reused to typeset the same music in a
6714 different style of Gregorian chant notation such as Hufnagel (also
6715 known as German gothic neumes) or Medicaea (kind of a very simple
6716 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6717 engraver and Medicaea ligature engraver will have been implemented, it
6718 will be as simple as replacing the ligature engraver in the
6719 @internalsref{Voice} context to get the desired notation style from
6722 The following table shows the code fragments that produce the
6723 ligatures in the above neumes table. The letter in the first column
6724 in each line of the below table indicates to which ligature in the
6725 above table it refers. The second column gives the name of the
6726 ligature. The third column shows the code fragment that produces this
6727 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6729 @multitable @columnfractions .1 .4 .5
6743 Punctum Inclinatum @tab
6744 @code{\[ \inclinatum b \]}
6748 Punctum Auctum Ascendens @tab
6749 @code{\[ \auctum \ascendens b \]}
6753 Punctum Auctum Descendens @tab
6754 @code{\[ \auctum \descendens b \]}
6758 Punctum Inclinatum Auctum @tab
6759 @code{\[ \inclinatum \auctum b \]}
6763 Punctum Inclinatum Parvum @tab
6764 @code{\[ \inclinatum \deminutum b \]}
6769 @code{\[ \virga b \]}
6774 @code{\[ \stropha b \]}
6779 @code{\[ \stropha \auctum b \]}
6784 @code{\[ \oriscus b \]}
6788 Clivis vel Flexa @tab
6789 @code{\[ b \flexa g \]}
6793 Clivis Aucta Descendens @tab
6794 @code{\[ b \flexa \auctum \descendens g \]}
6798 Clivis Aucta Ascendens @tab
6799 @code{\[ b \flexa \auctum \ascendens g \]}
6804 @code{\[ b \flexa \deminutum g \]}
6808 Podatus vel Pes @tab
6809 @code{\[ g \pes b \]}
6813 Pes Auctus Descendens @tab
6814 @code{\[ g \pes \auctum \descendens b \]}
6818 Pes Auctus Ascendens @tab
6819 @code{\[ g \pes \auctum \ascendens b \]}
6824 @code{\[ g \pes \deminutum b \]}
6829 @code{\[ \oriscus g \pes \virga b \]}
6833 Pes Quassus Auctus Descendens @tab
6834 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6839 @code{\[ \quilisma g \pes b \]}
6843 Quilisma Pes Auctus Descendens @tab
6844 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6848 Pes Initio Debilis @tab
6849 @code{\[ \deminutum g \pes b \]}
6853 Pes Auctus Descendens Initio Debilis @tab
6854 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6859 @code{\[ a \pes b \flexa g \]}
6863 Torculus Auctus Descendens @tab
6864 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6868 Torculus Deminutus @tab
6869 @code{\[ a \pes b \flexa \deminutum g \]}
6873 Torculus Initio Debilis @tab
6874 @code{\[ \deminutum a \pes b \flexa g \]}
6878 Torculus Auctus Descendens Initio Debilis @tab
6879 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6883 Torculus Deminutus Initio Debilis @tab
6884 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6889 @code{\[ a \flexa g \pes b \]}
6893 Porrectus Auctus Descendens @tab
6894 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6898 Porrectus Deminutus @tab
6899 @code{\[ a \flexa g \pes \deminutum b \]}
6904 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6908 Climacus Auctus @tab
6909 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6913 Climacus Deminutus @tab
6914 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6919 @code{\[ g \pes a \virga b \]}
6923 Scandicus Auctus Descendens @tab
6924 @code{\[ g \pes a \pes \auctum \descendens b \]}
6928 Scandicus Deminutus @tab
6929 @code{\[ g \pes a \pes \deminutum b \]}
6934 @code{\[ g \oriscus a \pes \virga b \]}
6938 Salicus Auctus Descendens @tab
6939 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6944 @code{\[ \stropha b \stropha b \stropha a \]}
6950 The following head prefixes are supported:
6952 @cindex @code{\virga}
6954 @cindex @code{\stropha}
6956 @cindex @code{\inclinatum}
6958 @cindex @code{\auctum}
6960 @cindex @code{\descendens}
6962 @cindex @code{\ascendens}
6964 @cindex @code{\oriscus}
6966 @cindex @code{\quilisma}
6968 @cindex @code{\deminutum}
6971 Head prefixes can be accumulated, though restrictions apply. For
6972 example, either @code{\descendens} or @code{\ascendens} can be applied
6973 to a head, but not both to the same head.
6976 @cindex @code{\flexa}
6977 Two adjacent heads can be tied together with the @code{\pes} and
6978 @code{\flexa} infix commands for a rising and falling line of melody,
6983 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
6984 Semivocalis head; this looks awful.
6986 Trigonus: apply equal spacing, regardless of pitch.
6988 Flexa and similar figurae: the left appendix should be adjusted with
6989 respect to the position of this head (on staffline or on staffspace)
6990 and the vertical position of the subsequent head.
6993 @subsection Figured bass
6995 @cindex Basso continuo
6997 @c TODO: musicological blurb about FB
7001 LilyPond has limited support for figured bass:
7003 @lilypond[verbatim,fragment]
7005 \context Voice \notes { \clef bass dis4 c d ais}
7006 \context FiguredBass
7008 < 6 >4 < 7 >8 < 6+ [_!] >
7014 The support for figured bass consists of two parts: there is an input
7015 mode, introduced by @code{\figures}, where you can enter bass figures
7016 as numbers, and there is a context called @internalsref{FiguredBass} that
7017 takes care of making @internalsref{BassFigure} objects.
7019 In figures input mode, a group of bass figures is delimited by
7020 @code{<} and @code{>}. The duration is entered after the @code{>}:
7025 \context FiguredBass
7029 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7036 \context FiguredBass
7037 \figures { <4- 6+ 7!> }
7040 Spaces or dashes may be inserted by using @code{_}. Brackets are
7041 introduced with @code{[} and @code{]}:
7047 \context FiguredBass
7048 \figures { < [4 6] 8 [_! 12]> }
7051 Although the support for figured bass may superficially resemble chord
7052 support, it works much simpler. The @code{\figures} mode simply
7053 stores the numbers , and @internalsref{FiguredBass} context prints
7054 them as entered. There is no conversion to pitches, and no
7055 realizations of the bass are played in the MIDI file.
7057 Internally, the code produces markup texts. You can use any of the
7058 markup text properties to override formatting. For example, the
7059 vertical spacing of the figures may be set with @code{baseline-skip}.
7063 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7064 and @internalsref{FiguredBass} context.
7068 Slash notation for alterations is not supported.
7071 @node Vaticana style contexts
7072 @subsection Vaticana style contexts
7074 @cindex VaticanaVoiceContext
7075 @cindex VaticanaStaffContext
7077 The predefined @code{VaticanaVoiceContext} and
7078 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7079 Gregorian Chant in the style of the Editio Vaticana. These contexts
7080 initialize all relevant context properties and grob properties to
7081 proper values. With these contexts, you can immediately go ahead
7082 entering the chant, as the following short excerpt demonstrates:
7084 @lilypond[raggedright,verbatim,noindent]
7085 \include "gregorian-init.ly"
7088 \context VaticanaVoice {
7089 \property Score.BarNumber \set #'transparent = ##t
7091 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7092 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7093 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7096 \context Lyrics \lyrics {
7097 San- ctus, San- ctus, San- ctus
7102 @node Contemporary notation
7103 @section Contemporary notation
7105 In the 20th century, composers have greatly expanded the musical
7106 vocabulary. With this expansion, many innovations in musical notation
7107 have been tried. For a comprehensive overview, refer to @cite{Stone
7108 1980} (see @ref{Literature}). In general, the use of new, innovative
7109 notation makes a piece harder to understand and perform and its use
7110 should therefore be avoided if possible. For this reason, support for
7111 contemporary notation in LilyPond is limited.
7120 @subsection Clusters
7124 In musical terminology, a @emph{cluster} denotes a range of
7125 simultaneously sounding pitches that may change over time. The set of
7126 available pitches to apply usually depends on the accoustic source.
7127 Thus, in piano music, a cluster typically consists of a continous range
7128 of the semitones as provided by the piano's fixed set of a chromatic
7129 scale. In choral music, each singer of the choir typically may sing an
7130 arbitrary pitch within the cluster's range that is not bound to any
7131 diatonic, chromatic or other scale. In electronic music, a cluster
7132 (theoretically) may even cover a continuous range of pitches, thus
7133 resulting in coloured noise, such as pink noise.
7135 Clusters can be denoted in the context of ordinary staff notation by
7136 engraving simple geometrical shapes that replace ordinary notation of
7137 notes. Ordinary notes as musical events specify starting time and
7138 duration of pitches; however, the duration of a note is expressed by the
7139 shape of the note head rather than by the horizontal graphical extent of
7140 the note symbol. In contrast, the shape of a cluster geometrically
7141 describes the development of a range of pitches (vertical extent) over
7142 time (horizontal extent). Still, the geometrical shape of a cluster
7143 covers the area in wich any single pitch contained in the cluster would
7144 be notated as an ordinary note. From this point of view, it is
7145 reasonable to specify a cluster as the envelope of a set of notes.
7149 A cluster is engraved as the envelope of a set of
7150 cluster-notes. Cluster notes are created by applying the function
7151 @code{notes-to-clusters} to a sequence of chords, e.g.
7153 @lilypond[relative 1,verbatim]
7154 \apply #notes-to-clusters { <<c e >> <<b f'>> }
7157 The following example (from
7158 @inputfileref{input/regression,cluster.ly}) shows what the result
7161 @lilypondfile[notexidoc]{cluster.ly}
7163 By default, @internalsref{Cluster_spanner_engraver} is in the
7164 @internalsref{Voice} context. This allows putting ordinary notes and
7165 clusters together in the same staff, even simultaneously. In such a
7166 case no attempt is made to automatically avoid collisions between
7167 ordinary notes and clusters.
7171 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7172 @inputfileref{input/regression,cluster.ly},
7173 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7177 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
7178 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
7183 @subsection Fermatas
7189 Contemporary music notation frequently uses special fermata symbols to
7190 indicate fermatas of differing lengths.
7194 The following are supported
7196 @lilypond[singleline]
7198 < \addlyrics \notes {
7218 \context Lyrics \lyrics {
7219 "shortfermata" "fermata" "longfermata" "verylongfermata"
7224 See @ref{Articulations} for general instructions how to apply scripts
7225 such as fermatas to a @code{\notes@{@}} block.
7228 @section Tuning output
7230 There are situations where default layout decisions are not
7231 sufficient. In this section we discuss ways to override these
7234 Formatting is internally done by manipulating so called objects
7235 (graphic objects). Each object carries with it a set of properties
7236 (object or layout properties) specific to that object. For example, a
7237 stem object has properties that specify its direction, length and
7240 The most direct way of tuning the output is by altering the values of
7241 these properties. There are two ways of doing that: first, you can
7242 temporarily change the definition of one type of object, thus
7243 affecting a whole set of objects. Second, you can select one specific
7244 object, and set a layout property in that object.
7246 Do not confuse layout properties with translation
7247 properties. Translation properties always use a mixed caps style
7248 naming, and are manipulated using @code{\property}:
7250 \property Context.propertyName = @var{value}
7252 Layout properties are use Scheme style variable naming, i.e. lower
7253 case words separated with dashes. They are symbols, and should always
7254 be quoted using @code{#'}. For example, this could be an imaginary
7255 layout property name:
7257 #'layout-property-name
7262 * Constructing a tweak::
7271 @node Tuning objects
7272 @subsection Tuning objects
7274 @cindex object description
7276 The definition of an object is a list of default object
7277 properties. For example, the definition of the Stem object (available
7278 in @file{scm/define-grobs.scm}), includes the following definitions
7279 for @internalsref{Stem}:
7283 (beamed-lengths . (0.0 2.5 2.0 1.5))
7284 (Y-extent-callback . ,Stem::height)
7289 Adding variables on top of this existing definition overrides the
7290 system default, and alters the resulting appearance of the layout
7296 Changing a variable for only one object is commonly achieved with
7300 \once \property @var{context}.@var{objectname}
7301 \override @var{symbol} = @var{value}
7303 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7304 and @var{objectname} is a string and @var{value} is a Scheme expression.
7305 This command applies a setting only during one moment in the score.
7307 In the following example, only one @internalsref{Stem} object is
7308 changed from its original setting:
7310 @lilypond[verbatim, fragment, relative=1]
7312 \once \property Voice.Stem \set #'thickness = #4
7316 @cindex @code{\once}
7318 For changing more objects, the same command, without @code{\once} can
7321 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7323 This command adds @code{@var{symbol} = @var{value}} to the definition
7324 of @var{objectname} in the context @var{context}, and this definition
7325 stays in place until it is removed.
7327 An existing definition may be removed by the following command:
7330 \property @var{context}.@var{objectname} \revert @var{symbol}
7333 All @code{\override} and @code{\revert} commands should be balanced.
7334 The @code{\set} shorthand performs a revert followed by an override,
7335 and is often more convenient to use
7338 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7342 @lilypond[verbatim,quote]
7343 c'4 \property Voice.Stem \override #'thickness = #4.0
7345 c'4 \property Voice.Stem \revert #'thickness
7349 The following example gives exactly the same result as the previous
7350 one (assuming the system default for stem thickness is 1.3):
7352 @lilypond[verbatim,quote]
7353 c'4 \property Voice.Stem \set #'thickness = #4.0
7355 c'4 \property Voice.Stem \set #'thickness = #1.3
7359 Reverting a setting which was not set in the first place has no
7360 effect. However, if the setting was set as a system default, this may
7361 remove the default value, and this may give surprising results,
7362 including crashes. In other words, @code{\override} and
7363 @code{\revert} must be carefully balanced. The following are examples
7364 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7368 a clumsy but correct form:
7370 \override \revert \override \revert \override \revert
7374 shorter version of the same:
7376 \override \set \set \revert
7380 a short form, using only @code{\set}. This requires you to know the
7383 \set \set \set \set @var{to default value}
7387 if there is no default (i.e. by default, the object property is unset),
7390 \set \set \set \revert
7394 For the digirati, the object description is an Scheme association
7395 list. Since a Scheme list is a singly linked list, we can treat it as
7396 a stack, and @code{\override} and @code{\revert} are push and pop
7397 operations. The association list is stored in a normal context
7400 \property Voice.NoteHead = #'()
7402 will effectively erase @internalsref{NoteHead}s from the current
7403 @internalsref{Voice}. However, this mechanism is not guaranteed to
7404 work, and may cause crashes or other anomalous behavior.
7408 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7409 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7410 @internalsref{All-layout-objects}.
7415 The backend is not very strict in type-checking object properties.
7416 Cyclic references in @var{value} cause hangs and/or crashes.
7417 Similarly, reverting properties that are system defaults may also lead
7420 @node Constructing a tweak
7421 @subsection Constructing a tweak
7424 @cindex internal documentation
7425 @cindex finding graphical objects
7426 @cindex graphical object descriptions
7428 @cindex @code{\override}
7430 @cindex internal documentation
7434 Three pieces of information are required to use @code{\override} and
7435 @code{\set}: the name of the layout object, the context and the name
7436 of the property. We demonstrate how to glean this information from
7437 the notation manual and the generated documentation.
7439 The generated documentation is a set of HTML pages which should be
7440 included if you installed a binary distribution, typically in
7441 @file{/usr/share/doc/lilypond}. They are also available on the web:
7442 go to the @uref{http://lilypond.org,LilyPond website}, click
7443 ``Documentation'', and then ``Program reference'' on the side bar. It
7444 is advisable to bookmark either the local HTML files if possible. They
7445 will load faster than the ones on the web. If you use the version
7446 from the web, you must check whether the documentation matches the
7447 program version: the documentation is generated from the definitions
7448 that the program uses, and therefore it is strongly tied to the
7452 @c [TODO: revise for new site.]
7454 Suppose we want to move the fingering indication in the fragment below:
7456 @lilypond[relative=2,verbatim]
7462 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7463 instructions}), you will notice that there is written:
7468 @internalsref{FingerEvent} and @internalsref{Fingering}.
7472 In other words, the fingerings once entered, are internally stored as
7473 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7474 layout object is created for every @code{FingerEvent}.
7476 The Fingering object has a number of different functions, and each of
7477 those is captured in an interface, when we look up
7478 @internalsref{Fingering} in the generated documentation.
7482 The @code{Fingering} object has a fixed size
7483 (@internalsref{item-interface}), the symbol is a piece of text
7484 (@internalsref{text-interface}), whose font can be set
7485 (@internalsref{font-interface}). It is centered horizontally
7486 (@internalsref{self-alignment-interface}), it is placed next to other
7487 objects (@internalsref{side-position-interface}) vertically, and its
7488 placement is coordinated with other scripts
7489 (@internalsref{text-script-interface}). It also has the standard
7490 @internalsref{grob-interface} (grob stands for Graphical object)
7492 @cindex graphical object
7493 @cindex layout object
7494 @cindex object, layout
7495 with all the variables that come with
7496 it. Finally, it denotes a fingering instruction, so it has
7497 @internalsref{finger-interface}.
7499 For the vertical placement, we have to look under
7500 @code{side-position-interface}:
7502 @code{side-position-interface}
7504 Position a victim object (this one) next to other objects (the
7505 support). In this case, the direction signifies where to put the
7506 victim object relative to the support (left or right, up or down?)
7511 below this description, the variable @code{padding} is described as
7515 (dimension, in staff space)
7517 add this much extra space between objects that are next to each
7518 other. Default value: @code{0.6}
7522 By increasing the value of @code{padding}, we can move away the
7523 fingering. The following command inserts 3 staff spaces of white
7524 between the note and the fingering:
7526 \once \property Voice.Fingering \set #'padding = #3
7529 Inserting this command before the Fingering object is created,
7530 i.e. before @code{c2}, yields the following result:
7532 @lilypond[relative=2,fragment,verbatim]
7533 \once \property Voice.Fingering
7540 The context name @code{Voice} in the example above can be determined
7541 as follows. In the documentation for @internalsref{Fingering}, it says
7543 Fingering grobs are created by: @internalsref{Fingering_engraver}
7546 Clicking @code{Fingering_engraver} shows the documentation of
7547 the module responsible for interpreting the fingering instructions and
7548 translating them to a @code{Fingering} object. Such a module is called
7549 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7552 Fingering_engraver is part of contexts: Voice
7554 so tuning the settings for Fingering should be done with
7556 \property Voice.Fingering \set @dots{}
7559 Of course, the tweak may also done in a larger context than
7560 @code{Voice}, for example, @internalsref{Staff} or
7561 @internalsref{Score}.
7563 The internals document also contains alphabetical lists of
7564 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7565 @internalsref{Music-expressions}, so you can also find which objects to
7566 tweak by browsing the internals document.
7570 @subsection Applyoutput
7572 The most versatile way of tuning an object is @code{\applyoutput}. Its
7575 \applyoutput @var{proc}
7579 where @var{proc} is a Scheme function, taking four arguments.
7581 When interpreted, the function @var{proc} is called for every layout object found
7582 in the context, with the following arguments:
7584 @item the layout object itself,
7585 @item the context where the layout object was created, and
7586 @item the context where @code{\applyoutput} is processed.
7589 In addition, the cause of the layout object, i.e. the music
7590 expression or object that was responsible for creating it, is in the
7591 object property @code{cause}. For example, for a note head, this is a
7592 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7593 this is a @internalsref{NoteHead} object.
7596 @node Outputproperty
7597 @subsection Outputproperty
7599 @cindex @code{\outputproperty}
7601 Another way of tuning objects is the more arcane @code{\outputproperty}
7602 feature. The syntax is as follows:
7604 \outputproperty @var{predicate} @var{symbol} = @var{value}
7606 Here @code{predicate} is a Scheme function taking an object argument, and
7607 returning a boolean. This statement is processed by the
7608 @code{Output_property_engraver}. It instructs the engraver to feed all
7609 objects that it sees to @var{predicate}. Whenever the predicate returns
7610 true, the object property @var{symbol} will be set to @var{value}.
7612 You will need to combine this statement with @code{\context} to select
7613 the appropriate context to apply this to.
7614 @inputfileref{input/regression,output-property.ly} shows an example of
7615 the use of @code{\outputproperty}.
7619 This command is slated for removal. Please use the
7620 @code{\applyoutput} command, see @ref{Applyoutput}.
7623 @node Font selection
7624 @subsection Font selection
7626 The most common thing to change about the appearance of fonts is their
7627 size. The font size of any context can be easily changed by setting
7628 the @code{fontSize} property for that context. Its value is an
7629 integer: negative numbers make the font smaller, positive numbers
7630 larger. An example is given below:
7632 @lilypond[fragment,relative=1,verbatim,quote]
7633 c4 c4 \property Voice.fontSize = #-1
7636 This command will set @code{font-relative-size} (see below), and does
7637 not change the size of variable symbols, such as beams or slurs.
7640 One of the uses of @code{fontSize} is to get smaller symbol for cue
7641 notes. An elaborate example of those is in
7642 @inputfileref{input/test,cue-notes.ly}.
7644 @cindex magnification
7646 The size of the font may be scaled with the object property
7647 @code{font-magnification}. For example, @code{2.0} blows up all
7648 letters by a factor 2 in both directions.
7657 The font used for printing a object can be selected by setting
7658 @code{font-name}, e.g.
7660 \property Staff.TimeSignature
7661 \set #'font-name = #"cmr17"
7665 Any font can be used, as long as it is available to @TeX{}. Possible
7666 fonts include foreign fonts or fonts that do not belong to the
7667 Computer Modern font family.
7669 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7670 can also be adjusted with a more fine-grained mechanism. By setting
7671 the object properties described below, you can select a different font;
7672 all three mechanisms work for every object that supports
7673 @code{font-interface}:
7677 is a symbol indicating the general class of the typeface. Supported are
7678 @code{roman} (Computer Modern), @code{braces} (for piano staff
7679 braces), @code{music} (the standard music font, including ancient
7680 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7683 is a symbol indicating the shape of the font, there are typically several
7684 font shapes available for each font family. Choices are @code{italic},
7685 @code{caps} and @code{upright}.
7688 is a symbol indicating the series of the font. There are typically several
7689 font series for each font family and shape. Choices are @code{medium}
7692 @item font-relative-size
7693 is a number indicating the size relative the standard size. For example,
7694 with 20pt staff height, relative size -1 corresponds to 16pt staff
7695 height, and relative size +1 corresponds to 23 pt staff height.
7697 There are small differences in design between fonts designed for
7698 different sizes, hence @code{font-relative-size} is preferred over
7699 @code{font-magnification} for changing font sizes.
7702 @item font-design-size
7703 is a number indicating the design size of the font.
7705 This is a feature of the Computer Modern Font: each point size has a
7706 slightly different design. Smaller design sizes are relatively wider,
7707 which enhances readability.
7710 For any of these properties, the value @code{*} (i.e. the symbol
7711 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7712 to override default setting, which are always present. For example:
7714 \property Lyrics . LyricText \override #'font-series = #'bold
7715 \property Lyrics . LyricText \override #'font-family = #'typewriter
7716 \property Lyrics . LyricText \override #'font-shape = #'*
7719 @cindex @code{font-style}
7723 The following commands set @code{fontSize} for the current voice.
7725 @cindex @code{\tiny}
7727 @cindex @code{\small}
7729 @cindex @code{\normalsize}
7734 Relative size is not linked to any real size.
7736 There is no style sheet provided for other fonts besides the @TeX{}
7737 family, and the style sheet cannot be modified easily.
7739 @cindex font selection
7740 @cindex font magnification
7741 @cindex @code{font-interface}
7745 @subsection Text markup
7750 @cindex typeset text
7752 LilyPond has an internal mechanism to typeset texts. You can access it
7753 with the keyword @code{\markup}. Within markup mode, you can enter texts
7754 similar to lyrics: simply enter them, surrounded by spaces:
7757 @lilypond[verbatim,fragment,relative=1]
7758 c1^\markup { hello }
7759 c1_\markup { hi there }
7760 c1^\markup { hi \bold there, is \italic anyone home? }
7763 @cindex font switching
7765 The markup in the example demonstrates font switching commands. The
7766 command @code{\bold} and @code{\italic} only apply to the first
7767 following word; enclose a set of texts with braces to apply a command
7770 \markup @{ \bold @{ hi there @} @}
7774 For clarity, you can also do this for single arguments, e.g.
7776 \markup @{ is \italic @{ anyone @} home @}
7779 @cindex font size, texts
7781 The following size commands set absolute sizes:
7783 @cindex @code{\teeny}
7784 @cindex @code{\tiny}
7785 @cindex @code{\small}
7786 @cindex @code{\large}
7787 @cindex @code{\huge}
7797 You can also make letter larger or smaller relative to their neighbors,
7798 with the commands @code{\larger} and @code{\smaller}.
7802 @cindex font style, for texts
7803 @cindex @code{\bold}
7804 @cindex @code{\dynamic}
7805 @cindex @code{\number}
7806 @cindex @code{\italic}
7808 The following font change commands are defined:
7811 changes to the font used in dynamic signs. This font does not
7812 contain all characters of the alphabet, so when producing ``piu f'',
7813 the ``piu'' should be done in a different font.
7817 changes to the font used in time signatures. It only contains
7818 numbers and a few punctuation marks.
7820 changes @code{font-shape} to @code{italic}.
7822 changes @code{font-series} to @code{bold}.
7825 @cindex raising text
7826 @cindex lowering text
7828 @cindex translating text
7831 @cindex @code{\super}
7833 Raising and lowering texts can be done with @code{\super} and
7836 @lilypond[verbatim,fragment,relative=1]
7837 c1^\markup { E "=" mc \super "2" }
7840 @cindex @code{\raise}
7842 If you want to give an explicit amount for lowering or raising, use
7843 @code{\raise}. This command takes a Scheme valued first argument, and
7844 a markup object as second argument:
7846 @lilypond[verbatim,fragment,relative=1,quote]
7847 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7849 The argument to @code{\raise} is the vertical displacement amount,
7850 measured in (global) staff spaces. @code{\raise} and @code{\super}
7851 raise objects in relation to their surrounding markups. They cannot be
7852 used to move a single text up or down, when it is above or below a
7853 note, since the mechanism that positions it next to the note cancels
7854 any vertical shift. For vertical positioning, use the @code{padding}
7855 and/or @code{extra-offset} properties.
7857 Other commands taking single arguments include
7860 @item \bracket, \hbracket
7861 Bracket the argument markup with normal and horizontal brackets
7865 @cindex @code{\musicglyph}
7866 This is converted to a musical symbol, e.g. @code{\musicglyph
7867 #"accidentals-0"} will select the natural sign from the music font.
7868 See @ref{The Feta font} for a complete listing of the possible glyphs.
7870 This produces a single character, e.g. @code{\char #65} produces the
7873 @item \note @var{log} @var{dots} @var{dir}
7874 @cindex @code{\note}
7876 This produces a note with a stem pointing in @var{dir} direction, with
7877 duration log @var{log} and @var{dots} augmentation dots. The duration
7878 log is the negative 2-logarithm of the duration denominator. For
7879 example, a quarter note has log 2, an eighth note 3 and a breve has
7882 @item \hspace #@var{amount}
7883 @cindex @code{\hspace}
7884 This produces a invisible object taking horizontal space.
7886 \markup @{ A \hspace #2.0 B @}
7888 will put extra space between A and B, on top of the space that is
7889 normally inserted before elements on a line.
7891 @item \fontsize #@var{size}
7892 @cindex @code{\fontsize}
7893 This sets the relative font size, eg.
7895 A \fontsize #2 @{ B C @} D
7899 This will enlarge the B and the C by two steps.
7900 @item \translate #(cons @var{x} @var{y})
7902 This translates an object. Its first argument is a cons of numbers
7904 A \translate #(cons 2 -3) @{ B C @} D
7906 This moves `B C' 2 spaces to the right, and 3 down.
7908 @item \magnify #@var{mag}
7909 @cindex @code{\magnify}
7910 This sets the font magnification for the its argument. In the following
7911 example, the middle A will be 10% larger:
7913 A \magnify #1.1 @{ A @} A
7917 @item \override #(@var{key} . @var{value})
7918 @cindex @code{\override}
7919 This overrides a formatting property for its argument. The argument
7920 should be a key/value pair, e.g.
7922 m \override #'(font-family . math) m m
7926 In markup mode you can compose expressions, similar to mathematical
7927 expressions, XML documents and music expressions. The braces group
7928 notes into horizontal lines. Other types of lists also exist: you can
7929 stack expressions grouped with @code{<<}, and @code{>>} vertically with
7930 the command @code{\column}. Similarly, @code{\center} aligns texts by
7933 @lilypond[verbatim,fragment,relative=1]
7934 c1^\markup { \column << a bbbb c >> }
7935 c1^\markup { \center << a bbbb c >> }
7936 c1^\markup { \line << a b c >> }
7939 The markup mechanism is extensible. Refer to
7940 @file{scm/new-markup.scm} for more information.
7946 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
7953 Text layout is ultimately done by @TeX{}, which does kerning of
7954 letters. LilyPond does not account for kerning, so texts will be
7955 spaced slightly too wide.
7957 Syntax errors for markup mode are confusing.
7959 Markup texts cannot be used in the titling of the @code{\header}
7960 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
7967 @section Global layout
7969 The global layout determined by three factors: the page layout, the
7970 line breaks and the spacing. These all influence each other. The
7971 choice of spacing determines how densely each system of music is set,
7972 which influences where line breaks breaks are chosen, and thus
7973 ultimately how many pages a piece of music takes. In this section, the
7974 algorithm for spacing music is explained, and how spacing can be
7977 Globally spoken, this procedure happens in three steps: first,
7978 flexible distances (``springs'') are chosen, based on durations. All
7979 possible line breaking combination are tried, and the one with the
7980 best results---a layout that has uniform density and requires as
7981 little stretching or cramping as possible---is chosen. When the score
7982 is processed by @TeX{}, each page is filled with systems, and page breaks
7983 are chosen whenever the page gets full.
7988 * Vertical spacing::
7989 * Horizontal spacing::
7996 @node Vertical spacing
7997 @subsection Vertical spacing
7999 @cindex vertical spacing
8000 @cindex distance between staves
8001 @cindex staff distance
8002 @cindex between staves, distance
8003 @cindex staffs per page
8004 @cindex space between staves
8006 The height of each system is determined automatically by LilyPond, to
8007 keep systems from bumping into each other, some minimum distances are
8008 set. By changing these, you can put staves closer together, and thus
8009 put more systems onto one page.
8011 Normally staves are stacked vertically. To make
8012 staves maintain a distance, their vertical size is padded. This is
8013 done with the property @code{minimumVerticalExtent}. It takes a pair
8014 of numbers, so if you want to make it smaller from its, then you could
8017 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8019 This sets the vertical size of the current staff to 4 staff-space on
8020 either side of the center staff line. The argument of
8021 @code{minimumVerticalExtent} is interpreted as an interval, where the
8022 center line is the 0, so the first number is generally negative. The
8023 staff can be made larger at the bottom by setting it to @code{(-6
8026 The piano staves are handled a little differently: to make cross-staff
8027 beaming work correctly, it is necessary that the distance between staves
8028 is fixed beforehand. This is also done with a
8029 @internalsref{VerticalAlignment} object, created in
8030 @internalsref{PianoStaff}. In this object the distance between the
8031 staves is fixed by setting @code{forced-distance}. If you want to
8032 override this, use a @code{\translator} block as follows:
8036 VerticalAlignment \override #'forced-distance = #9
8039 This would bring the staves together at a distance of 9 staff spaces,
8040 measured from the center line of each staff.
8044 Vertical alignment of staves is handled by the
8045 @internalsref{VerticalAlignment} object.
8049 @node Horizontal spacing
8050 @subsection Horizontal Spacing
8052 The spacing engine translates differences in durations into
8053 stretchable distances (``springs'') of differing lengths. Longer
8054 durations get more space, shorter durations get less. The shortest
8055 durations get a fixed amount of space (which is controlled by
8056 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8057 /The longer the duration, the more space it gets: doubling a
8058 duration adds a fixed amount (this amount is controlled by
8059 @code{spacing-increment}) of space to the note.
8061 For example, the following piece contains lots of half, quarter and
8062 8th notes, the eighth note is followed by 1 note head width (NHW).
8063 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8064 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8068 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8069 width of a note head, and @code{shortest-duration-space} is set to
8070 2.0, meaning that the shortest note gets 2 NHW (2 times
8071 @code{shortest-duration-space}) of space. For normal notes, this space
8072 is always counted from the left edge of the symbol, so the shortest
8073 notes are generally followed by one NHW of space.
8075 If one would follow the above procedure exactly, then adding a single
8076 32th note to a score that uses 8th and 16th notes, would widen up the
8077 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8078 thus adding 2 noteheads of space to every note. To prevent this, the
8079 shortest duration for spacing is not the shortest note in the score,
8080 but the most commonly found shortest note. Notes that are even
8081 shorter this are followed by a space that is proportonial to their
8082 duration relative to the common shortest note. So if we were to add
8083 only a few 16th notes to the example above, they would be followed by
8086 @lilypond[fragment, verbatim, relative=2]
8087 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8090 The most common shortest duration is determined as follows: in every
8091 measure, the shortest duration is determined. The most common short
8092 duration, is taken as the basis for the spacing, with the stipulation
8093 that this shortest duration should always be equal to or shorter than
8094 1/8th note. The shortest duration is printed when you run lilypond
8095 with @code{--verbose}. These durations may also be customized. If you
8096 set the @code{common-shortest-duration} in
8097 @internalsref{SpacingSpanner}, then this sets the base duration for
8098 spacing. The maximum duration for this base (normally 1/8th), is set
8099 through @code{base-shortest-duration}.
8101 @cindex @code{common-shortest-duration}
8102 @cindex @code{base-shortest-duration}
8103 @cindex @code{stem-spacing-correction}
8104 @cindex @code{spacing}
8106 In the introduction it was explained that stem directions influence
8107 spacing. This is controlled with @code{stem-spacing-correction}
8108 property in @internalsref{NoteSpacing}, which are generated for every
8109 @internalsref{Voice} context. The @code{StaffSpacing} object
8110 (generated at @internalsref{Staff} context) contains the same property
8111 for controlling the stem/barline spacing. The following example
8112 shows these corrections, once with default settings, and once with
8113 exaggerated corrections:
8119 \property Staff.NoteSpacing \override #'stem-spacing-correction
8121 \property Staff.StaffSpacing \override #'stem-spacing-correction
8126 \paper { raggedright = ##t } }
8129 @cindex SpacingSpanner, overriding properties
8131 Properties of the @internalsref{SpacingSpanner} must be overridden
8132 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8133 created before any @code{\property} statements are interpreted.
8135 \paper @{ \translator @{
8137 SpacingSpanner \override #'spacing-increment = #3.0
8144 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8145 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8146 @internalsref{SeparatingGroupSpanner}.
8150 Spacing is determined on a score wide basis. If you have a score that
8151 changes its character (measured in durations) halfway during the
8152 score, the part containing the longer durations will be spaced too
8155 There is no convenient mechanism to manually override spacing.
8160 @subsection Font size
8161 @cindex font size, setting
8162 @cindex staff size, setting
8163 @cindex @code{paper} file
8165 The Feta font provides musical symbols at seven different sizes.
8166 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8167 26 point. The point size of a font is the height of the corresponding
8168 staff (excluding line thicknesses).
8170 Definitions for these sizes are the files @file{paperSZ.ly}, where
8171 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8172 of these files, the variables @code{paperEleven},
8173 @code{paperThirteen}, @code{paperSixteen},
8174 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8175 are defined respectively. The default @code{\paper} block is also
8176 set. These files should be imported at toplevel, i.e.
8178 \include "paper26.ly"
8182 The default font size settings for each staff heights are generated
8183 from the 20pt style sheet. For more details, see the file
8184 @file{scm/font.scm}.
8188 @subsection Line breaking
8191 @cindex breaking lines
8193 Line breaks are normally computed automatically. They are chosen such
8194 that lines look neither cramped nor loose, and that consecutive lines
8195 have similar density.
8197 Occasionally you might want to override the automatic breaks; you can
8198 do this by specifying @code{\break}. This will force a line break at
8199 this point. Line breaks can only occur at places where there are bar
8200 lines. If you want to have a line break where there is no bar line,
8201 you can force an invisible bar line by entering @code{\bar
8202 ""}. Similarly, @code{\noBreak} forbids a line break at a
8206 @cindex regular line breaks
8207 @cindex four bar music.
8209 For linebreaks at regular intervals use @code{\break} separated by
8210 skips and repeated with @code{\repeat}:
8212 < \repeat unfold 7 @{ s1 * 4 \break @}
8213 @emph{the real music}
8218 This makes the following 28 measures (assuming 4/4 time) be broken every
8223 @internalsref{BreakEvent}.
8227 @subsection Page layout
8230 @cindex breaking pages
8232 @cindex @code{indent}
8233 @cindex @code{linewidth}
8235 The most basic settings influencing the spacing are @code{indent} and
8236 @code{linewidth}. They are set in the @code{\paper} block. They
8237 control the indentation of the first line of music, and the lengths of
8240 If @code{raggedright} is set to true in the @code{\paper}
8241 block, then the lines are justified at their natural length. This
8242 useful for short fragments, and for checking how tight the natural
8246 @cindex vertical spacing
8248 The page layout process happens outside the LilyPond formatting
8249 engine: variables controlling page layout are passed to the output,
8250 and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
8251 to the following variables in the @code{\paper} block. The variable
8252 @code{textheight} sets the total height of the music on each page.
8253 The spacing between systems is controlled with @code{interscoreline},
8254 its default is 16pt. The distance between the score lines will
8255 stretch in order to fill the full page @code{interscorelinefill} is
8256 set to a positive number. In that case @code{interscoreline}
8257 specifies the minimum spacing.
8259 @cindex @code{textheight}
8260 @cindex @code{interscoreline}
8261 @cindex @code{interscorelinefill}
8263 If the variable @code{lastpagefill} is defined,
8264 @c fixme: this should only be done if lastpagefill == #t
8265 systems are evenly distributed vertically on the last page. This
8266 might produce ugly results in case there are not enough systems on the
8267 last page. The @command{lilypond-book} command ignores
8268 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8271 @cindex @code{lastpagefill}
8273 Page breaks are normally computed by @TeX{}, so they are not under
8274 direct control of LilyPond. However, you can insert a commands into
8275 the @file{.tex} output to instruct @TeX{} where to break pages. This
8276 is done by setting the @code{between-systems-strings} on the
8277 @internalsref{NonMusicalPaperColumn} where the system is broken.
8278 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8279 The predefined command @code{\newpage} also does this.
8283 @cindex @code{papersize}
8285 To change the paper size, you must first set the @code{papersize} paper
8286 variable variable as in the example below. Set it to
8287 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8288 specification, you must set the font as described above. If you want
8289 the default font, then use the 20 point font.
8292 \paper@{ papersize = "a4" @}
8293 \include "paper16.ly"
8296 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8297 will set the paper variables @code{hsize} and @code{vsize} (used by
8298 @code{lilypond} and @code{ly2dvi}).
8303 @cindex @code{\newpage}
8309 @ref{Invoking ly2dvi},
8310 @inputfileref{input/regression,between-systems.ly}, and
8311 @internalsref{NonMusicalPaperColumn}.
8315 LilyPond has no concept of page layout, which makes it difficult to
8316 reliably choose page breaks in longer pieces.
8325 Entered music can also be converted to MIDI output. The performance
8326 is good enough for proof-hearing the music for errors.
8328 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8329 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8330 marks translate to a fixed fraction of the available MIDI volume
8331 range, crescendi and decrescendi make the volume vary linearly between
8332 their two extremities. The fractions can be adjusted by
8333 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8334 For each type of MIDI instrument, a volume range can be defined. This
8335 gives a basic equalizer control, which can enhance the quality of
8336 the MIDI output remarkably. The equalizer can be controlled by
8337 setting @code{instrumentEqualizer}.
8341 Many musically interesting effects, such as swing, articulation,
8342 slurring, etc., are not translated to MIDI.
8347 * MIDI instrument names::
8352 @subsection MIDI block
8356 The MIDI block is analogous to the paper block, but it is somewhat
8357 simpler. The @code{\midi} block can contain:
8361 @item a @code{\tempo} definition, and
8362 @item context definitions.
8365 Assignments in the @code{\midi} block are not allowed.
8369 @cindex context definition
8371 Context definitions follow precisely the same syntax as within the
8372 \paper block. Translation modules for sound are called performers.
8373 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8376 @node MIDI instrument names
8377 @subsection MIDI instrument names
8379 @cindex instrument names
8380 @cindex @code{Staff.midiInstrument}
8381 @cindex @code{Staff.instrument}
8383 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8384 property or, if that property is not set, the @code{Staff.instrument}
8385 property. The instrument name should be chosen from the list in
8386 @ref{MIDI instruments}.
8390 If the selected string does not exactly match, then LilyPond uses the
8391 default (Grand Piano). It is not possible to select an instrument by