2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automagically fill in these menus before saving changes
8 @c FIXME: singular vs. plural: Beams/Beam
12 @chapter Notation manual
14 This chapter describes all the different types of notation supported
15 by LilyPond. It is intended as a reference for users that are already
16 somewhat familiar with using LilyPond.
20 * Easier music entry::
34 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
48 The basic elements of any piece of music are the notes. This section
49 is about basic notation elements notes, rests and related constructs,
50 such as stems, tuplets and ties.
55 * Chromatic alterations::
70 A note is printed by specifying its pitch and then its duration:
71 @footnote{Notes constitute the most basic elements of LilyPond input,
72 but they do not form valid input on their own without a @code{\score}
73 block. However, for the sake of brevity and simplicity we will
74 generally omit @code{\score} blocks and @code{\paper} declarations in
77 @lilypond[fragment,verbatim]
86 @cindex Note specification
88 @cindex entering notes
90 The most common syntax for pitch entry is used in @code{\chords} and
91 @code{\notes} mode. In Note and Chord mode, pitches may be designated
92 by names. The notes are specified by the letters @code{a} through
93 @code{g}, while the octave is formed with notes ranging from @code{c}
94 to @code{b}. The pitch @code{c} is an octave below middle C and the
95 letters span the octave above that C:
97 @lilypond[fragment,verbatim]
99 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
102 @cindex note names, Dutch
104 A sharp is formed by adding @code{-is} to the end of a pitch name and
105 a flat is formed by adding @code{-es}. Double sharps and double flats
106 are obtained by adding @code{-isis} or @code{-eses}. These
107 names are the Dutch note names. In Dutch, @code{aes} is contracted to
108 @code{as}, but both forms are accepted. Similarly, both
109 @code{es} and @code{ees} are accepted.
111 Half-flats and half-sharps are formed by adding @code{-eh} and
112 @code{-ih}; the following is a series of Cs with increasing pitches:
114 @cindex quarter tones
115 @cindex semi-flats, semi-sharps
117 @lilypond[verbatim,relative=2]
129 There are predefined sets of note names for various other languages.
130 To use them, include the language specific init file. For
131 example: @code{\include "english.ly"}. The available language files
132 and the note names they define are:
137 Note Names sharp flat
138 nederlands.ly c d e f g a bes b -is -es
139 english.ly c d e f g a bf b -s/-sharp -f/-flat
141 deutsch.ly c d e f g a b h -is -es
142 norsk.ly c d e f g a b h -iss/-is -ess/-es
143 svenska.ly c d e f g a b h -iss -ess
144 italiano.ly do re mi fa sol la sib si -d -b
145 catalan.ly do re mi fa sol la sib si -d/-s -b
146 espanol.ly do re mi fa sol la sib si -s -b
155 The optional octave specification takes the form of a series of
156 single quote (`@code{'}') characters or a series of comma
157 (`@code{,}') characters. Each @code{'} raises the pitch by one
158 octave; each @code{,} lowers the pitch by an octave:
160 @lilypond[fragment,verbatim,center]
161 c' c'' es' g' as' gisis' ais'
167 Notes can be hidden and unhidden with the following commands:
169 @cindex @code{\hideNotes}
171 @cindex @code{\unHideNotes}
177 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
179 @node Chromatic alterations
180 @subsection Chromatic alterations
182 Normally accidentals are printed automatically, but you may also
183 print them manually. A reminder accidental
184 @cindex reminder accidental
186 can be forced by adding an exclamation mark @code{!}
187 after the pitch. A cautionary accidental
188 @cindex cautionary accidental
189 @cindex parenthesized accidental
190 (i.e. an accidental within parentheses) can be obtained by adding the
191 question mark `@code{?}' after the pitch:
193 @lilypond[fragment,verbatim]
194 cis' cis' cis'! cis'?
198 The automatic production of accidentals can be tuned in many
199 ways. For more information, refer to @ref{Accidentals}.
204 A chord is formed by a enclosing a set of pitches in @code{<} and
205 @code{>}. A chord may be followed by a duration, and a set of
206 articulations, just like simple notes.
216 Rests are entered like notes, with the note name @code{r}:
218 @lilypond[raggedright,verbatim]
222 Whole bar rests, centered in middle of the bar,
223 must be done with multi measure rests. They are discussed in
224 @ref{Multi measure rests}.
227 A rest's vertical position may be explicitly specified by entering a
228 note with the @code{\rest} keyword appended. This makes manual
229 formatting in polyphonic music easier. Rest collision testing will
230 leave these rests alone:
232 @lilypond[raggedright,verbatim]
238 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
245 @cindex Invisible rest
248 An invisible rest (also called a `skip') can be entered like a note
249 with note name `@code{s}' or with @code{\skip @var{duration}}:
251 @lilypond[raggedright,verbatim]
255 The @code{s} syntax is only available in note mode and chord mode. In
256 other situations, you should use the @code{\skip} command:
258 @lilypond[raggedright,verbatim]
261 { \time 4/8 \skip 2 \time 4/4 }
262 \notes\relative c'' { a2 a1 }
267 The skip command is merely an empty musical placeholder. It does not
268 produce any output, not even transparent output.
270 The @code{s} skip command does create @internalsref{Staff} and
271 @internalsref{Voice} when necessary, similar to note and rest
272 commands. For example, the following results in an empty staff.
274 @lilypond[raggedright,verbatim]
275 \score { \notes { s4 } }
278 The same fragment using @code{\skip} results in an empty page.
282 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
287 @subsection Durations
293 In Note, Chord, and Lyrics mode, durations are designated by numbers
294 and dots: durations are entered as their reciprocal values. For example,
295 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
296 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
297 longer than a whole you must use variables:
301 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \notes \relative c'' {
310 a1 a2 a4 a8 a16 a32 a64 a64
312 r1 r2 r4 r8 r16 r32 r64 r64
317 \remove "Clef_engraver"
318 StaffSymbol \set #'transparent = ##t
319 TimeSignature \set #'transparent = ##t
320 \consists "Pitch_squash_engraver"
327 If the duration is omitted then it is set to the previously entered
328 duration. The default for the first note is a quarter note. The duration
329 can be followed by dots (`@code{.}') in order to obtain dotted note
333 @lilypond[fragment,verbatim,center]
334 a' b' c''8 b' a'4 a'4. b'4.. c'8.
339 You can alter the length of duration by a fraction @var{N/M}
340 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
341 will not affect the appearance of the notes or rests produced.
342 In the following example, the first three notes take up exactly two
344 @lilypond[fragment,relative=2,verbatim]
346 a4*2/3 gis4*2/3 a4*2/3
353 Dots are normally moved up to avoid staff lines, except in polyphonic
354 situations. The following commands may be used to force a particular
357 @cindex @code{\dotsUp}
359 @cindex @code{\dotsDown}
361 @cindex @code{\dotsBoth}
366 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
371 Whenever a note is found, a @internalsref{Stem} object is created
372 automatically. For whole notes and rests, they are also created but
377 @cindex @code{\stemUp}
379 @cindex @code{\stemDown}
381 @cindex @code{\stemBoth}
392 A tie connects two adjacent note heads of the same pitch. The tie in
393 effect extends the length of a note. Ties should not be confused with
394 slurs, which indicate articulation, or phrasing slurs, which indicate
395 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
397 @lilypond[fragment,verbatim,center]
398 e' ~ e' <c' e' g'> ~ <c' e' g'>
401 When a tie is applied to a chord, all note heads whose pitches match
402 are connected. When no note heads match, no ties will be created.
404 In its meaning a tie is just a way of extending a note duration, similar
405 to the augmentation dot; in the following example there are two ways of
406 notating exactly the same concept:
408 @lilypond[fragment,raggedright,quote]
409 \time 3/4 c'2. c'2 ~ c'4
411 If you need to tie a lot of notes over bars, it may be easier to use automatic
412 note splitting (see @ref{Automatic note splitting}).
417 @cindex @code{\tieUp}
419 @cindex @code{\tieDown}
421 @cindex @code{\tieBoth}
423 @cindex @code{\tieDotted}
425 @cindex @code{\tieSolid}
430 In this manual: @ref{Automatic note splitting}.
432 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
435 Examples: if you want less ties created for a chord, see
436 @inputfileref{input/test,tie-sparse.ly}.
438 For tying only a subset of the note heads of a pair of chords, see
439 @inputfileref{input/regression,tie-chord-partial.ly}.
444 Switching staves when a tie is active will not produce a slanted tie.
446 Formatting of ties is a difficult subject. The results are often not
456 @cindex @code{\times}
458 Tuplets are made out of a music expression by multiplying all durations
461 @cindex @code{\times}
463 \times @var{fraction} @var{musicexpr}
467 The duration of @var{musicexpr} will be multiplied by the fraction.
468 The fraction's denominator will be printed over the notes, optionally
469 with a bracket. The most common tuplet is the triplet in which 3
470 notes have the length of 2, so the notes are 2/3 of their written
473 @lilypond[fragment,verbatim,center]
474 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
477 The property @code{tupletSpannerDuration} specifies how long each
478 bracket should last. With this, you can make lots of tuplets while
479 typing @code{\times} only once, saving lots of typing. In the next
480 example, there are two triplets shown, while @code{\times} was only
483 @lilypond[fragment,relative,raggedright,verbatim]
484 \set tupletSpannerDuration = #(ly:make-moment 1 4)
485 \times 2/3 { c'8 c c c c c }
488 The format of the number is determined by the property
489 @code{tupletNumberFormatFunction}. The default prints only the
490 denominator, but if it is set to the Scheme function
491 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
495 @cindex @code{tupletNumberFormatFunction}
496 @cindex tuplet formatting
501 @cindex @code{\tupletUp}
503 @cindex @code{\tupletDown}
505 @cindex @code{\tupletBoth}
510 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
512 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
516 Nested tuplets are not formatted automatically. In this case, outer
517 tuplet brackets should be moved manually, which is demonstrated in
518 @inputfileref{input/regression,tuplet-nest.ly}.
522 @node Easier music entry
523 @section Easier music entry
526 When entering music it is easy to introduce errors. This section deals
527 with tricks and features of the input language that were added solely
528 to help entering music, and find and correct mistakes.
530 It is also possible to use external programs, for example GUI
531 interfaces, or MIDI transcription programs, to enter or edit
532 music. Refer to the website for more information. Finally, there are
533 tools make debugging easier, by linking the input file and the output
534 shown on screen. See @ref{Point and click} for more information.
541 * Skipping corrected music::
542 * Automatic note splitting::
548 @node Relative octaves
549 @subsection Relative octaves
551 @cindex relative octave specification
553 Octaves are specified by adding @code{'} and @code{,} to pitch names.
554 When you copy existing music, it is easy to accidentally put a pitch
555 in the wrong octave and hard to find such an error. The relative
556 octave mode prevents these errors: a single error puts the rest of the
557 piece off by one octave:
559 @cindex @code{\relative}
561 \relative @var{startpitch} @var{musicexpr}
564 The octave of notes that appear in @var{musicexpr} are calculated as
565 follows: If no octave changing marks are used, the basic interval
566 between this and the last note is always taken to be a fourth or less
567 (; this distance is determined without regarding alterations: a
568 @code{fisis} following a @code{ceses} will be put above the
571 The octave changing marks @code{'} and @code{,} can be added to raise
572 or lower the pitch by an extra octave. Upon entering relative mode,
573 an absolute starting pitch must be specified that will act as the
574 predecessor of the first note of @var{musicexpr}.
576 Here is the relative mode shown in action:
577 @lilypond[fragment,raggedright,verbatim,center]
583 Octave changing marks are used for intervals greater than a fourth:
584 @lilypond[fragment,verbatim,center]
589 If the preceding item is a chord, the first note of the chord is used
590 to determine the first note of the next chord:
592 @lilypond[fragment,verbatim,center]
599 @cindex @code{\notes}
601 The pitch after the @code{\relative} contains a note name. To parse
602 the pitch as a note name, you have to be in note mode, so there must
603 be a surrounding @code{\notes} keyword (which is not
606 The relative conversion will not affect @code{\transpose},
607 @code{\chords} or @code{\relative} sections in its argument. If you
608 want to use relative within transposed music, you must place an
609 additional @code{\relative} inside the @code{\transpose}.
612 @subsection Octave check
615 Octave checks make octave errors easier to correct: a note may be
616 followed by @code{=}@var{quotes} which indicates what its absolute
617 octave should be. In the following example,
619 \relative c'' @{ c='' b=' d,='' @}
623 @c take care with @code, adds confusing quotes.
624 the d will generate a warning, because a d'' is expected, but a d' is
625 found. In the output, the octave is corrected this and the following
630 There is also a syntax that is separate from the notes.
635 This checks that @var{pitch} (without octave) yields @var{pitch} (with
636 octave) in \relative mode. If not, a warning is printed, and the
637 octave is corrected, for example, the first check is passed
638 successfully. The second check fails with an error message. The
639 octave is adjusted so the following notes are in the correct octave
650 The octave of a note following an octave check is determined with
651 respect to the note preceding it. In the next fragment, the last note
652 is a @code{a'}, above central C. Hence, the @code{\octave} check may
653 be deleted without changing the meaning of the piece.
655 @lilypond[verbatim,fragment]
664 @subsection Bar check
668 @cindex @code{barCheckSynchronize}
671 Bar checks help detect errors in the durations. A bar check is
672 entered using the bar symbol, `@code{|}'. Whenever it is encountered
673 during interpretation, it should fall on a measure boundary. If it
674 does not, a warning is printed. Depending on the value of
675 @code{barCheckSynchronize}, the beginning of the measure will be
678 In the next example, the second bar check will signal an error:
680 \time 3/4 c2 e4 | g2 |
683 Bar checks can also be used in lyrics, for example
688 Twin -- kle | Twin -- kle
693 @cindex skipTypesetting
695 Failed bar checks are caused by entering incorrect
696 durations. Incorrect durations often completely garble up the score,
697 especially if it is polyphonic, so you should start correcting the
698 score by scanning for failed bar checks and incorrect durations. To
699 speed up this process, you can use @code{skipTypesetting}, described
702 @node Skipping corrected music
703 @subsection Skipping corrected music
705 The property @code{Score.skipTypesetting} can be used to switch on and
706 off typesetting completely during the interpretation phase. When
707 typesetting is switched off, the music is processed much more quickly.
708 This can be used to skip over the parts of a score that have already
709 been checked for errors:
711 @lilypond[fragment,raggedright,verbatim]
713 \set Score.skipTypesetting = ##t
715 \set Score.skipTypesetting = ##f
719 @node Automatic note splitting
720 @subsection Automatic note splitting
722 Long notes can be converted automatically to tied notes. This is done
723 by replacing the @internalsref{Note_heads_engraver} by the
724 @internalsref{Completion_heads_engraver}.
725 In the following examples, notes crossing the barline are split and tied.
728 @lilypond[noindent,verbatim,relative=1]
730 \remove "Note_heads_engraver"
731 \consists "Completion_heads_engraver"
733 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
737 This engraver splits all running notes at the bar line, and inserts
738 ties. One of its uses is to debug complex scores: if the measures are
739 not entirely filled, then the ties exactly show how much each measure
744 Not all durations (especially those containing tuplets) can be
745 represented exactly; the engraver will not insert tuplets.
749 Examples: @inputfileref{input/regression,completion-heads.ly}.
751 Internals: @internalsref{Completion_heads_engraver}.
755 @section Staff notation
757 This section describes music notation that occurs on staff level,
758 such as keys, clefs and time signatures.
760 @cindex Staff notation
774 @subsection Staff symbol
776 @cindex adjusting staff symbol
777 @cindex StaffSymbol, using \property
779 Notes, dynamic signs, etc. are grouped
780 with a set of horizontal lines, into a staff (plural `staves'). In our
781 system, these lines are drawn using a separate layout object called
785 @cindex staff lines, setting number of
786 @cindex staff lines, setting thickness of
787 @cindex thickness of staff lines, setting
788 @cindex number of staff lines, setting
792 Internals: @internalsref{StaffSymbol}.
794 Examples: @inputfileref{input/test,staff-lines.ly},
795 @inputfileref{input/test,staff-size.ly}.
799 If a staff is ended halfway a piece, the staff symbol may not end
800 exactly on the barline.
804 @subsection Key signature
805 @cindex Key signature
809 The key signature indicates the scale in which a piece is played. It
810 is denoted by a set of alterations (flats or sharps) at the start of
815 Setting or changing the key signature is done with the @code{\key}
818 @code{\key} @var{pitch} @var{type}
821 @cindex @code{\minor}
822 @cindex @code{\major}
823 @cindex @code{\minor}
824 @cindex @code{\ionian}
825 @cindex @code{\locrian}
826 @cindex @code{\aeolian}
827 @cindex @code{\mixolydian}
828 @cindex @code{\lydian}
829 @cindex @code{\phrygian}
830 @cindex @code{\dorian}
832 Here, @var{type} should be @code{\major} or @code{\minor} to get
833 @var{pitch}-major or @var{pitch}-minor, respectively.
834 The standard mode names @code{\ionian},
835 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
836 @code{\phrygian}, and @code{\dorian} are also defined.
838 This command sets the context property
839 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
840 can be specified by setting this property directly.
842 Accidentals and key signatures often confuse new users, because
843 unaltered notes get natural signs depending on the keysignature. The
844 tutorial explains why this is so in @ref{More about pitches}.
848 The ordering of a key cancellation is wrong when it is combined with
849 repeat bar lines. The cancellation is also printed after a line break.
853 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
855 @cindex @code{keySignature}
862 The clef indicates which lines of the staff correspond to which
867 The clef can be set or changed with the @code{\clef} command:
868 @lilypond[fragment,verbatim]
869 \key f\major c''2 \clef alto g'2
872 Supported clef-names include:
873 @c Moved standard clefs to the top /MB
877 @item treble, violin, G, G2
890 G clef on 1st line, so-called French violin clef
895 @cindex mezzosoprano clef
898 @cindex baritone clef
901 @cindex varbaritone clef
910 By adding @code{_8} or @code{^8} to the clef name, the clef is
911 transposed one octave down or up, respectively, and @code{_15} and
912 @code{^15} transposes by two octaves. The argument @var{clefname}
913 must be enclosed in quotes when it contains underscores or digits. For
917 @cindex choral tenor clef
918 @lilypond[verbatim,fragment,relative]
922 This command is equivalent to setting @code{clefGlyph},
923 @code{clefPosition} (which controls the Y position of the clef),
924 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
925 when any of these properties are changed.
929 Internals: the object for this symbol is @internalsref{Clef}.
933 @node Ottava brackets
934 @subsection Ottava brackets
936 ``Ottava'' brackets introduce an extra transposition of an octave for
937 the staff. They are created by invoking the function
938 @code{set-octavation}:
944 @lilypond[verbatim,fragment]
953 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
954 (for 15ma) as arguments. Internally the function sets the properties
955 @code{ottavation} (eg. to @code{"8va"}) and
956 @code{centralCPosition}. For overriding the text of the bracket, set
957 @code{ottavation} after invoking @code{set-octavation}, i.e.,
961 \set Staff.ottavation = #"8"
966 Internals: @internalsref{OttavaBracket}.
968 Examples: @inputfileref{input/regression,ottava.ly},
969 @inputfileref{input/regression,ottava-broken.ly}.
973 @code{set-octavation} will get confused when clef changes happen
974 during an octavation bracket.
977 @subsection Time signature
978 @cindex Time signature
982 Time signature indicates the metrum of a piece: a regular pattern of
983 strong and weak beats. It is denoted by a fraction at the start of the
988 The time signature is set or changed by the @code{\time}
990 @lilypond[fragment,verbatim]
991 \time 2/4 c'2 \time 3/4 c'2.
994 The symbol that is printed can be customized with the @code{style}
995 property. Setting it to @code{#'()} uses fraction style for 4/4 and
996 2/2 time. There are many more options for its layout. See
997 @inputfileref{input/test,time.ly} for more examples.
1000 This command sets the property @code{timeSignatureFraction},
1001 @code{beatLength} and @code{measureLength} in the @code{Timing}
1002 context, which is normally aliased to @internalsref{Score}. The
1003 property @code{measureLength} determines where bar lines should be
1004 inserted, and how automatic beams should be generated. Changing the
1005 value of @code{timeSignatureFraction} also causes the symbol to be
1008 More options are available through the Scheme function
1009 @code{set-time-signature}. In combination with the
1010 @internalsref{Measure_grouping_engraver}, it will create
1011 @internalsref{MeasureGrouping} signs. Such signs ease reading
1012 rhythmically complex modern music. In the following example, the 9/8
1013 measure is subdivided in 2, 2, 2 and 3. This is passed to
1014 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1017 \score { \notes \relative c'' {
1018 #(set-time-signature 9 8 '(2 2 2 3))
1019 g8[ g] d[ d] g[ g] a8[( bes g]) |
1020 #(set-time-signature 5 8 '(3 2))
1025 \translator { \StaffContext
1026 \consists "Measure_grouping_engraver"
1032 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1037 Automatic beaming does not use measure grouping specified with
1038 @code{set-time-signature}.
1040 @node Partial measures
1041 @subsection Partial measures
1044 @cindex partial measure
1045 @cindex measure, partial
1046 @cindex shorten measures
1047 @cindex @code{\partial}
1049 Partial measures, for example in upsteps, are entered using the
1050 @code{\partial} command:
1051 @lilypond[fragment,verbatim,relative=1]
1052 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1055 The syntax for this command is
1057 \partial @var{duration}
1059 This is internally translated into
1061 \set Timing.measurePosition = -@var{length of duration}
1064 The property @code{measurePosition} contains a rational number
1065 indicating how much of the measure has passed at this point.
1067 @node Unmetered music
1068 @subsection Unmetered music
1070 Bar lines and bar numbers are calculated automatically. For unmetered
1071 music (e.g. cadenzas), this is not desirable. By setting
1072 @code{Score.timing} to false, this automatic timing can be switched
1078 @cindex @code{\cadenzaOn}
1080 @cindex @code{\cadenzaOff}
1084 @subsection Bar lines
1088 @cindex measure lines
1092 Bar lines delimit measures, but are also used to indicate repeats.
1093 Normally, they are inserted automatically. Line breaks may only
1099 of barlines can be forced with the @code{\bar} command:
1101 @lilypond[relative=1,fragment,verbatim]
1105 The following bar types are available:
1106 @lilypond[fragment,relative,raggedright,verbatim]
1119 For allowing linebreaks, there is a special command,
1123 This will insert an invisible barline, and allow linebreaks at this
1126 In scores with many staves, a @code{\bar} command in one staff is
1127 automatically applied to all staves. The resulting bar lines are
1128 connected between different staves of a @internalsref{StaffGroup}:
1130 @lilypond[fragment,verbatim]
1131 << \context StaffGroup <<
1135 \new Staff { \clef bass c4 g e g } >>
1136 \new Staff { \clef bass c2 c2 } >>
1140 The command @code{\bar @var{bartype}} is a short cut for doing
1141 @code{\set Score.whichBar = @var{bartype}} Whenever
1142 @code{whichBar} is set to a string, a bar line of that type is
1143 created. At the start of a measure it is set to
1144 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1145 to override default measure bars.
1147 Property @code{whichBar} can also be set directly, using @code{\property}
1148 or @code{\bar}. These settings take precedence over the automatic
1149 @code{whichBar} settings.
1152 @cindex repeatCommands
1153 @cindex defaultBarType
1155 You are encouraged to use @code{\repeat} for repetitions. See
1162 In this manual: @ref{Repeats}.
1165 Internals: the bar line objects that are created at
1166 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1167 lines that span staves are @internalsref{SpanBar}s.
1169 @cindex bar lines at start of system
1170 @cindex start of system
1172 The barlines at the start of each system are
1173 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1174 @internalsref{SystemStartBracket}. Only one of these types is created
1175 in every context, and that type is determined by the property
1176 @code{systemStartDelimiter}.
1178 Examples: @inputfileref{input/test,bar-lines.ly},
1184 The easiest way to enter fragments with more than one voice on a staff
1185 is to split chords using the separator @code{\\}. You can use it for
1186 small, short-lived voices or for single chords:
1188 @lilypond[verbatim,fragment]
1189 \context Staff \relative c'' {
1190 c4 << { f d e } \\ { b c2 } >>
1191 c4 << g' \\ b, \\ f' \\ d >>
1195 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1196 voices are sometimes called "layers" other notation packages}
1198 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1199 each of these contexts, vertical direction of slurs, stems, etc. is set
1202 @cindex @code{\voiceOne}
1203 @cindex @code{\voiceFour}
1205 This can also be done by instantiating @internalsref{Voice} contexts
1206 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1207 a stem directions and horizontal shift for each part:
1210 @lilypond[raggedright,verbatim]
1212 \context Staff << \new Voice { \voiceOne cis2 b }
1213 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1214 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1218 The command @code{\oneVoice} will revert back to the normal setting.
1219 @cindex @code{\oneVoice}
1222 Normally, note heads with a different number of dots are not merged, but
1223 when the object property @code{merge-differently-dotted} is set in
1224 the @internalsref{NoteCollision} object, they are merged:
1225 @lilypond[verbatim,fragment,raggedright]
1226 \relative c'' \context Voice << {
1228 \override Staff.NoteCollision
1229 #'merge-differently-dotted = ##t
1231 } \\ { g8.[ f16] g8.[ f16] }
1235 Similarly, you can merge half note heads with eighth notes, by setting
1236 @code{merge-differently-headed}:
1237 @lilypond[fragment,relative=2,verbatim]
1240 \override Staff.NoteCollision
1241 #'merge-differently-headed = ##t
1242 c8 c4. } \\ { c2 c2 } >>
1245 LilyPond also vertically shifts rests that are opposite of a stem:
1248 @lilypond[raggedright,fragment,verbatim]
1249 \context Voice << c''4 \\ r4 >>
1257 @cindex @code{\oneVoice}
1259 @cindex @code{\voiceOne}
1261 @cindex @code{\voiceTwo}
1263 @cindex @code{\voiceThree}
1265 @cindex @code{\voiceFour}
1269 The following commands specify in what chords of the current voice
1270 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1271 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1274 @cindex @code{\shiftOn}
1276 @cindex @code{\shiftOnn}
1278 @cindex @code{\shiftOnnn}
1280 @cindex @code{\shiftOff}
1287 Internals: the objects responsible for resolving collisions are
1288 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1290 Examples: See also example files
1291 @inputfileref{input/regression,collision-dots.ly},
1292 @inputfileref{input/regression,collision-head-chords.ly},
1293 @inputfileref{input/regression,collision-heads.ly},
1294 @inputfileref{input/regression,collision-mesh.ly}, and
1295 @inputfileref{input/regression,collisions.ly}.
1300 Resolving collisions is a intricate subject, and only a few situations
1301 are handled. When LilyPond cannot cope, the @code{force-hshift}
1302 property of the @internalsref{NoteColumn} object and pitched rests can
1303 be used to override typesetting decisions.
1305 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1306 note, and a downstem half note, the 8th note gets the wrong offset.
1308 There is no support for clusters where the same note occurs with
1309 different accidentals in the same chord. In this case, it is
1310 recommended to use enharmonic transcription, or to use special cluster
1311 notation (see @ref{Clusters}).
1316 Beams are used to group short notes into chunks that are aligned with
1317 the metrum. They are inserted automatically in most cases:
1319 @lilypond[fragment,verbatim,relative=2]
1320 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1323 When these automatic decisions are not good enough, beaming can be
1324 entered explicitly. It is also possible to define beaming patterns
1325 that differ from the defaults.
1329 Internals: @internalsref{Beam}.
1332 @cindex Automatic beams
1335 * Setting automatic beam behavior::
1339 @subsection Manual beams
1340 @cindex beams, manual
1344 In some cases it may be necessary to override the automatic beaming
1345 algorithm. For example, the auto beamer will not put beams over rests
1346 or bar lines. Such beams are specified by manually: the begin and end
1347 point are marked with @code{[} and @code{]}:
1349 @lilypond[fragment,relative,verbatim]
1351 r4 r8[ g' a r8] r8 g[ | a] r8
1355 @cindex @code{stemLeftBeamCount}
1357 Normally, beaming patterns within a beam are determined automatically.
1358 When this mechanism fouls up, the properties
1359 @code{stemLeftBeamCount} and @code{stemRightBeamCount} can
1360 be used to control the beam subdivision on a stem. If either property
1361 is set, its value will be used only once, and then it is erased.
1363 @lilypond[fragment,relative,verbatim]
1366 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1369 @cindex @code{stemRightBeamCount}
1372 The property @code{subdivideBeams} can be set in order to subdivide
1373 all 16th or shorter beams at beat positions, as defined by the
1374 @code{beatLength} property . This accomplishes the same effect as
1375 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1376 but it take less typing:
1379 @lilypond[relative=1,verbatim,noindent]
1381 \set subdivideBeams = ##t
1383 \set Score.beatLength = #(ly:make-moment 1 8)
1386 @cindex subdivideBeams
1388 Kneed beams are inserted automatically, when a large gap is detected
1389 between the note heads. This behavior can be tuned through the object
1390 property @code{auto-knee-gap}.
1392 Normally, line breaks are forbidden when beams cross bar lines. This
1393 behavior can be changed by setting @code{allowBeamBreak}.
1395 @cindex @code{allowBeamBreak}
1396 @cindex beams and line breaks
1398 @cindex beams, kneed
1400 @cindex auto-knee-gap
1406 @cindex Frenched staves
1408 Automatically kneed beams cannot be used together with hidden staves.
1413 @node Setting automatic beam behavior
1414 @subsection Setting automatic beam behavior
1416 @cindex @code{autoBeamSettings}
1417 @cindex @code{(end * * * *)}
1418 @cindex @code{(begin * * * *)}
1419 @cindex automatic beams, tuning
1420 @cindex tuning automatic beaming
1422 @c [TODO: use \applycontext]
1424 In normal time signatures, automatic beams can start on any note but can
1425 only end in a few positions within the measure: beams can end on a beat,
1426 or at durations specified by the properties in
1427 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1428 are defined in @file{scm/auto-beam.scm}.
1430 The value of @code{autoBeamSettings} is changed using
1431 @code{\override} and restored with @code{\revert}:
1433 \override autoBeamSettings #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1434 \property autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1436 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1437 whether the rule applies to begin or end-points. The quantity
1438 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1439 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1440 signature (wildcards `@code{* *}' may be entered to designate all time
1443 For example, if automatic beams should end on every quarter note, use
1446 \override autoBeamSettings
1447 #'(end * * * *) = #(ly:make-moment 1 4)
1449 Since the duration of a quarter note is 1/4 of a whole note, it is
1450 entered as @code{(ly:make-moment 1 4)}.
1452 The same syntax can be used to specify beam starting points. In this
1453 example, automatic beams can only end on a dotted quarter note:
1455 \override autoBeamSettings
1456 #'(end * * * *) = #(ly:make-moment 3 8)
1458 In 4/4 time signature, this means that automatic beams could end only on
1459 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1460 3/8, has passed within the measure).
1462 Rules can also be restricted to specific time signatures. A rule that
1463 should only be applied in @var{N}/@var{M} time signature is formed by
1464 replacing the second asterisks by @var{N} and @var{M}. For example, a
1465 rule for 6/8 time exclusively looks like
1467 \override autoBeamSettings
1468 #'(begin * * 6 8) = ...
1471 If a rule should be to applied only to certain types of beams, use the
1472 first pair of asterisks. Beams are classified according to the
1473 shortest note they contain. For a beam ending rule that only applies
1474 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1477 If a score ends while an automatic beam has not been ended and is still
1478 accepting notes, this last beam will not be typeset at all.
1480 @cindex automatic beam generation
1482 @cindex @code{autoBeaming}
1485 For melodies that have lyrics, you may want to switch off
1486 automatic beaming. This is done by setting @code{autoBeaming} to
1491 @cindex @code{\autoBeamOff}
1492 @code{\autoBeamOff},
1493 @cindex @code{\autoBeamOn}
1499 The rules for ending a beam depend on the shortest note in a beam.
1500 So, while it is possible to have different ending rules for eight
1501 beams and sixteenth beams, a beam that contains both eight and
1502 sixteenth notes will use the rules for the sixteenth beam.
1504 In the example below, the autobeamer makes eight beams and sixteenth
1505 end at 3 eights; the third beam can only be corrected by specifying
1508 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1509 \override autoBeamSettings
1510 #'(end * * * *) = #(ly:make-moment 3 8)
1511 % rather show case where it goes wrong
1512 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1513 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1515 It is not possible to specify beaming parameters that act differently in
1516 different parts of a measure. This means that it is not possible to use
1517 automatic beaming in irregular meters such as @code{5/8}.
1520 @section Accidentals
1523 This section describes how to change the way that accidentals are
1524 inserted automatically before the running notes.
1528 * Using the predefined accidental variables::
1529 * Customized accidental rules::
1532 @node Using the predefined accidental variables
1533 @subsection Using the predefined accidental variables
1535 The constructs for describing the accidental typesetting rules are
1536 quite hairy, so non-experts should stick to the variables
1537 defined in @file{ly/property-init.ly}.
1538 @cindex @file{property-init.ly}
1540 The variables set properties in the ``@code{Current}'' context (see
1541 @ref{Context properties}). This means that the variables should
1542 normally be added right after the creation of the context in which the
1543 accidental typesetting described by the variable is to take
1544 effect. For example, if you want to use piano-accidentals in a piano
1545 staff then issue @code{\pianoAccidentals} first thing after the
1546 creation of the piano staff:
1549 \notes \relative c'' <<
1550 \new Staff @{ cis4 d e2 @}
1551 \context GrandStaff <<
1553 \new Staff @{ cis4 d e2 @}
1554 \new Staff @{ es2 c @}
1556 \new Staff @{ es2 c @}
1560 @lilypond[raggedright]
1562 \notes \relative c'' <<
1563 \new Staff { cis4 d e2 }
1564 \context GrandStaff <<
1566 \new Staff { cis4 d e2 }
1567 \new Staff { es2 c }
1569 \new Staff { es2 c }
1574 minimumVerticalExtent = #'(-4.0 . 4.0)
1582 @item \defaultAccidentals
1583 @cindex @code{\defaultAccidentals}
1584 This is the default typesetting behaviour. It should correspond
1585 to 18th century common practice: Accidentals are
1586 remembered to the end of the measure in which they occur and
1587 only on their own octave.
1589 @item \voiceAccidentals
1590 @cindex @code{\voiceAccidentals}
1592 The normal behaviour is to
1593 remember the accidentals on Staff-level. This variable, however,
1594 typesets accidentals individually for each voice. Apart from that the
1595 rule is similar to @code{\defaultAccidentals}.
1597 This leads to some weird and often unwanted results
1598 because accidentals from one voice do not get cancelled in other
1600 @lilypond[raggedright,relative,fragment,verbatim,quote]
1608 Hence you should only use @code{\voiceAccidentals} if the voices
1609 are to be read solely by individual musicians. If the staff is to be
1610 used by one musician (e.g. a conductor) then you use
1611 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1614 @item \modernAccidentals
1615 @cindex @code{\modernAccidentals}
1616 This rule corresponds to the common practice in the 20th
1618 The rule is more complex than @code{\defaultAccidentals}.
1619 You get all the same accidentals, but temporary
1620 accidentals also get cancelled in other octaves. Furthermore,
1621 in the same octave, they also get cancelled in the following measure:
1622 @lilypond[raggedright,fragment,verbatim]
1624 cis' c'' cis'2 | c'' c'
1627 @item \modernCautionaries
1628 @cindex @code{\modernCautionaries}
1629 This rule is similar to @code{\modernAccidentals}, but the
1630 ``extra'' accidentals (the ones not typeset by
1631 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1632 They are printed in reduced size or with parentheses:
1633 @lilypond[raggedright,fragment,verbatim]
1635 cis' c'' cis'2 | c'' c'
1638 @cindex @code{\modernVoiceAccidentals}
1639 @item \modernVoiceAccidentals
1640 is used for multivoice accidentals to be read both by musicians
1641 playing one voice and musicians playing all voices. Accidentals are
1642 typeset for each voice, but they @emph{are} cancelled across voices in
1643 the same @internalsref{Staff}.
1645 @cindex @code{\modernVoiceCautionaries}
1646 @item \modernVoiceCautionaries
1647 is the same as @code{\modernVoiceAccidentals}, but with the extra
1648 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1649 as cautionaries. Even though all accidentals typeset by
1650 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1651 some of them are typeset as cautionaries.
1653 @item \pianoAccidentals
1654 @cindex @code{\pianoAccidentals}
1655 20th century practice for piano notation. Very similar to
1656 @code{\modernAccidentals} but accidentals also get cancelled
1657 across the staves in the same @internalsref{GrandStaff} or
1658 @internalsref{PianoStaff}.
1660 @item \pianoCautionaries
1661 @cindex @code{\pianoCautionaries}
1662 As @code{\pianoAccidentals} but with the extra accidentals
1663 typeset as cautionaries.
1666 @cindex @code{\noResetKey}
1667 Same as @code{\defaultAccidentals} but with accidentals lasting
1668 ``forever'' and not only until the next measure:
1669 @lilypond[raggedright,fragment,verbatim,relative]
1674 @item \forgetAccidentals
1675 @cindex @code{\forgetAccidentals}
1676 This is sort of the opposite of @code{\noResetKey}: Accidentals
1677 are not remembered at all---and hence all accidentals are
1678 typeset relative to the key signature, regardless of what was
1679 before in the music:
1680 @lilypond[raggedright,fragment,verbatim,relative]
1682 \key d\major c4 c cis cis d d dis dis
1686 @node Customized accidental rules
1687 @subsection Customized accidental rules
1689 For determining when to print an accidental, several different rules
1690 are tried. The rule that gives the highest number of accidentals is
1691 used. Each rule consists of
1694 In which context is the rule applied. For example, if
1695 @var{context} is @internalsref{Score} then all staves share
1696 accidentals, and if @var{context} is @internalsref{Staff} then all
1697 voices in the same staff share accidentals, but staves do not.
1700 Whether the accidental changes all octaves or only the current
1701 octave. Valid choices are
1705 This is the default algorithm. Accidentals are typeset if the note changes
1706 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1707 and then as many measures as specified in the value. I.e. 1 means to the end
1708 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1710 Accidentals are typeset if the note is different from
1711 the previous note on the same pitch in any octave. The value has same meaning as in
1717 Over how many barlines the accidental lasts.
1718 If @var{lazyness} is @code{-1} then the accidental is forget
1719 immediately, and if @var{lazyness} is @code{#t} then the accidental
1726 @cindex @code{\defaultAccidentals}
1727 @code{\defaultAccidentals},
1728 @cindex @code{\voiceAccidentals}
1729 @code{\voiceAccidentals},
1730 @cindex @code{\modernAccidentals}
1731 @code{\modernAccidentals},
1732 @cindex @code{\modernCautionaries}
1733 @code{\modernCautionaries},
1734 @cindex @code{\modernVoiceAccidentals}
1735 @code{\modernVoiceAccidentals},
1736 @cindex @code{\modernVoiceCautionaries}
1737 @code{\modernVoiceCautionaries},
1738 @cindex @code{\pianoAccidentals}
1739 @code{\pianoAccidentals},
1740 @cindex @code{\pianoCautionaries}
1741 @code{\pianoCautionaries},
1742 @cindex @code{\noResetKey}
1744 @cindex @code{\forgetAccidentals}
1745 @code{\forgetAccidentals}.
1749 Internals: @internalsref{Accidental_engraver},
1750 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1755 Currently the simultaneous notes are considered to be entered in
1756 sequential mode. This means that in a chord the accidentals are
1757 typeset as if the notes in the chord happened once at a time - in the
1758 order in which they appear in the input file.
1760 This is only a problem when there are simultaneous notes whose
1761 accidentals depend on each other. The problem only occurs when using
1762 non-default accidentals. In the default scheme, accidentals only
1763 depend on other accidentals with the same pitch on the same staff, so
1764 no conflicts possible.
1766 This example shows two examples of the same music giving different
1767 accidentals depending on the order in which the notes occur in the
1770 @lilypond[raggedright,fragment,verbatim]
1771 \set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1772 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1773 | <cis' c''> r | <c'' cis'> r |
1776 This problem can be solved by manually inserting @code{!} and @code{?}
1777 for the problematic notes.
1779 @node Expressive marks
1780 @section Expressive marks
1783 @c todo: should change ordering
1784 @c where to put text spanners, metronome marks,
1793 * Analysis brackets::
1795 * Fingering instructions::
1806 A slur indicates that notes are to be played bound or @emph{legato}.
1810 They are entered using parentheses:
1811 @lilypond[relative=1,fragment,verbatim,center]
1812 f( g)( a) a8 b( a4 g2 f4)
1817 @c TODO: should explain that ^( and _( set directions
1818 @c should set attachments with ^ and _ ?
1820 Slurs avoid crossing stems, and are generally attached to note heads.
1821 However, in some situations with beams, slurs may be attached to stem
1822 ends. If you want to override this layout you can do this through the
1823 object property @code{attachment} of @internalsref{Slur} in
1824 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1825 the attachment type of the left and right end points:
1827 @lilypond[fragment,relative,verbatim]
1829 \override Stem #'length = #5.5
1831 \override Slur #'attachment = #'(stem . stem)
1835 If a slur would strike through a stem or beam, the slur will be moved
1836 away upward or downward. If this happens, attaching the slur to the
1837 stems might look better:
1839 @lilypond[fragment,relative,verbatim]
1842 \override Slur #'attachment = #'(stem . stem)
1849 @cindex @code{\slurUp}
1851 @cindex @code{\slurDown}
1853 @cindex @code{\slurBoth}
1855 @cindex @code{\slurDotted}
1857 @cindex @code{\slurSolid}
1862 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1867 Producing nice slurs is a difficult problem, and LilyPond currently
1868 uses a simple, empiric method to produce slurs. In some cases, its
1872 @cindex Adjusting slurs
1874 @node Phrasing slurs
1875 @subsection Phrasing slurs
1877 @cindex phrasing slurs
1878 @cindex phrasing marks
1880 A phrasing slur (or phrasing mark) connects chords and is used to
1881 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1884 @lilypond[fragment,verbatim,center,relative]
1885 \time 6/4 c'\( d( e) f( e) d\)
1888 Typographically, the phrasing slur behaves almost exactly like a
1889 normal slur. However, they are treated as different objects. A
1890 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1891 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1892 @code{\phrasingSlurBoth}.
1894 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1895 will only affect normal slurs and not phrasing slurs.
1899 @cindex @code{\phrasingSlurUp}
1900 @code{\phrasingSlurUp},
1901 @cindex @code{\phrasingSlurDown}
1902 @code{\phrasingSlurDown},
1903 @cindex @code{\phrasingSlurBoth}
1904 @code{\phrasingSlurBoth},
1908 Internals: see also @internalsref{PhrasingSlur}, and
1909 @internalsref{PhrasingSlurEvent}.
1913 Phrasing slurs have the same limitations in their formatting as normal
1914 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1917 @subsection Breath marks
1919 Breath marks are entered using @code{\breathe}:
1922 @lilypond[fragment,relative,verbatim]
1926 The glyph of the breath mark can be tweaked by overriding the
1927 @code{text} property of the @code{BreathingSign} layout object with
1928 any markup text. For example,
1929 @lilypond[fragment,verbatim,relative]
1931 \override BreathingSign #'text
1932 = #(make-musicglyph-markup "scripts-rvarcomma")
1939 Internals: @internalsref{BreathingSign},
1940 @internalsref{BreathingSignEvent}.
1942 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1945 @node Metronome marks
1946 @subsection Metronome marks
1949 @cindex beats per minute
1950 @cindex metronome marking
1952 Metronome settings can be entered as follows:
1954 \tempo @var{duration} = @var{perminute}
1957 In the MIDI output, they are interpreted as a tempo change, and in the
1958 paper output, a metronome marking is printed:
1959 @cindex @code{\tempo}
1960 @lilypond[fragment,verbatim]
1966 Internals: @internalsref{MetronomeChangeEvent}.
1971 @subsection Text spanners
1972 @cindex Text spanners
1974 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1975 are written as texts, and extended over many measures with dotted
1976 lines. You can create such texts using text spanners: attach
1977 @code{\startTextSpan} and @code{\stopTextSpan} to the
1978 start and ending note of the spanner.
1980 The string to be printed, as well as the style, is set through object
1983 @lilypond[fragment,relative,verbatim]
1985 \override TextSpanner #'direction = #-1
1986 \override TextSpanner #'edge-text = #'("rall " . "")
1987 c2\startTextSpan b c\stopTextSpan a }
1993 Internals @internalsref{TextSpanEvent},
1994 @internalsref{TextSpanner}.
1996 Examples: @inputfileref{input/regression,text-spanner.ly}.
1999 @node Analysis brackets
2000 @subsection Analysis brackets
2002 @cindex phrasing brackets
2003 @cindex musicological analysis
2004 @cindex note grouping bracket
2006 Brackets are used in musical analysis to indicate structure in musical
2007 pieces. LilyPond supports a simple form of nested horizontal brackets.
2008 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2009 @internalsref{Staff} context. A bracket is started with
2010 @code{\startGroup} and closed with @code{\stopGroup}:
2012 @lilypond[raggedright,verbatim]
2013 \score { \notes \relative c'' {
2014 c4\startGroup\startGroup
2017 c4\stopGroup\stopGroup
2019 \paper { \translator {
2020 \StaffContext \consists "Horizontal_bracket_engraver"
2026 Internals: @internalsref{HorizontalBracket},
2027 @internalsref{NoteGroupingEvent}.
2029 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2033 @subsection Articulations
2034 @cindex Articulations
2036 @cindex articulations
2040 A variety of symbols can appear above and below notes to indicate
2041 different characteristics of the performance. They are added to a note
2042 by adding a dash and the character signifying the
2043 articulation. They are demonstrated here:
2045 @lilypondfile[]{script-abbreviations.ly}
2047 The meanings of these shorthands can be changed: see
2048 @file{ly/script-init.ly} for examples.
2051 The script is automatically placed, but if you need to force
2052 directions, you can use @code{_} to force them down, or @code{^} to
2054 @lilypond[fragment,verbatim]
2058 Other symbols can be added using the syntax
2059 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2060 can be forced up or down using @code{^} and @code{_},
2063 @lilypond[verbatim,fragment,relative=2]
2064 c\fermata c^\fermata c_\fermata
2071 @cindex staccatissimo
2080 @cindex organ pedal marks
2089 @cindex prallmordent
2093 @cindex thumb marking
2098 @lilypondfile[]{script-chart.ly}
2103 @cindex @code{\scriptUp}
2105 @cindex @code{\scriptDown}
2107 @cindex @code{\scriptBoth}
2112 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2116 These note ornaments appear in the printed output but have no
2117 effect on the MIDI rendering of the music.
2120 @node Fingering instructions
2121 @subsection Fingering instructions
2125 Fingering instructions can be entered using
2127 @var{note}-@var{digit}
2129 For finger changes, use markup texts:
2131 @lilypond[verbatim,raggedright,fragment]
2132 c'4-1 c'4-2 c'4-3 c'4-4
2133 c'^\markup { \fontsize #-3 \number "2-3" }
2136 @cindex finger change
2141 You can use the thumb-script to indicate that a note should be
2142 played with the thumb (e.g. in cello music):
2144 @lilypond[verbatim,raggedright,fragment]
2145 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2146 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2149 Fingerings for chords can also be added to individual notes
2150 of the chord by adding them after the pitches:
2151 @lilypond[verbatim,raggedright,fragment,relative=1]
2152 < c-1 e-2 g-3 b-5 > 4
2156 In this case, setting @code{fingeringOrientations} will put fingerings next
2159 @lilypond[verbatim,raggedright,fragment,relative=1]
2160 \set fingeringOrientations = #'(left down)
2161 <c-1 es-2 g-4 bes-5 > 4
2162 \set fingeringOrientations = #'(up right down)
2163 <c-1 es-2 g-4 bes-5 > 4
2166 By using single note chords, fingering instructions can be put close
2167 to note heads in monophonic music.
2171 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2173 Examples: @inputfileref{input/regression,finger-chords.ly}.
2176 @subsection Text scripts
2177 @cindex Text scripts
2179 @cindex text items, non-empty
2180 @cindex non-empty texts
2182 It is possible to place arbitrary strings of text or markup text (see
2183 @ref{Text markup}) above or below notes by using a string:
2184 @code{c^"text"}. By default, these indications do not influence the
2185 note spacing, but by using the command @code{\fatText}, the widths
2186 will be taken into account:
2188 @lilypond[fragment,raggedright,verbatim] \relative c' {
2189 c4^"longtext" \fatText c4_"longlongtext" c4 }
2192 It is possible to use @TeX{} commands in the strings, but this should
2193 be avoided because the exact dimensions of the string can then no
2198 @refcommand{fatText}, @refcommand{emptyText}.
2203 In this manual: @ref{Text markup}.
2205 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2211 @subsection Grace notes
2214 @c should have blurb about accaciatura / appogiatura
2216 @cindex @code{\grace}
2220 Grace notes are ornaments that are written out. The most common ones
2221 are acciaccatura, which should be played as very short. It is denoted
2222 by a slurred small note with a slashed stem. The appoggiatura is a
2223 grace note that takes a fixed fraction of the main note, is and
2224 denoted as a slurred note in small print without a slash.
2225 They are entered with the commands @code{\acciaccatura} and
2226 @code{\appoggiatura}, as demonstrated in the following example:
2229 @cindex appoggiatura
2230 @cindex acciaccatura
2232 @lilypond[relative=2,verbatim,fragment]
2233 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2234 \acciaccatura { g16[ f] } e4
2237 Both are special forms of the @code{\grace} command. By prefixing this
2238 keyword to a music expression, a new one is formed, which will be
2239 printed in a smaller font and takes up no logical time in a measure.
2240 @lilypond[relative=2,verbatim,fragment]
2242 \grace { c16[ d16] } c2 c4
2246 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2247 @code{\grace} command does not start a slur.
2249 Internally, timing for grace notes is done using a second, `grace'
2250 time. Every point in time consists of two rational numbers: one
2251 denotes the logical time, one denotes the grace timing. The above
2252 example is shown here with timing tuples:
2254 @lilypond[raggedright]
2257 c4 \grace c16 c4 \grace {
2260 \new Lyrics \lyrics {
2263 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2264 \markup { (\fraction 1 4 , 0 ) } 4
2266 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2267 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2269 \markup { ( \fraction 2 4 , 0 ) }
2274 The placement of grace notes is synchronized between different staves.
2275 In the following example, there are two sixteenth graces notes for
2276 every eighth grace note:
2278 @lilypond[relative=2,verbatim,fragment]
2279 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2280 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2285 If you want to end a note with a grace, then the standard trick
2286 is to put the grace notes after a ``space note'', e.g.
2287 @lilypond[fragment,verbatim,relative=2]
2290 { s2 \grace { c16[ d] } } >>
2296 By adjusting the duration of the skip note (here it is a half-note),
2297 the space between the main-note and the grace is adjusted.
2300 A @code{\grace} section will introduce special typesetting settings,
2301 for example, to produce smaller type, and set directions. Hence, when
2302 introducing layout tweaks, they should be inside the grace section,
2304 @lilypond[fragment,verbatim,relative=1]
2307 \override Stem #'direction = #-1
2309 \revert Stem #'direction
2316 The overrides should also be reverted inside the grace section.
2318 If the layout of grace sections must be changed throughout the music,
2319 then this can be accomplished through the function
2320 @code{add-grace-property}. The following example
2321 undefines the Stem direction grace section, so stems do not always
2326 #(add-grace-property "Voice" Stem direction '())
2332 Another option is to change the variables @code{startGraceMusic},
2333 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2334 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2335 @code{stopAppoggiaturaMusic}. More information is in the file
2336 @file{ly/grace-init.ly}
2341 Internals: @internalsref{GraceMusic}.
2345 A score that starts with an @code{\grace} section needs an explicit
2346 @code{\context Voice} declaration, otherwise the main note and grace
2347 note end up on different staves.
2349 Grace note synchronization can also lead to surprises. Staff notation,
2350 such as key signatures, barlines, etc. are also synchronized. Take
2351 care when you mix staves with grace notes and staves without, for example,
2353 @lilypond[relative=2,verbatim,fragment]
2354 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2355 \new Staff { c4 \bar "|:" d4 } >>
2358 Grace sections should only be used within sequential music
2359 expressions. Nesting or juxtaposing grace sections is not supported,
2360 and might produce crashes or other errors.
2364 @subsection Glissando
2367 @cindex @code{\glissando}
2369 A glissando is a smooth change in pitch. It is denoted by a line or a
2370 wavy line between two notes.
2374 A glissando line can be requested by attaching a @code{\glissando} to
2377 @lilypond[fragment,relative,verbatim]
2383 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2388 Adding additional texts (such as @emph{gliss.}) is not supported.
2392 @subsection Dynamics
2405 @cindex @code{\ffff}
2415 Absolute dynamic marks are specified using an variable after a
2416 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2417 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2418 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2419 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2421 @lilypond[verbatim,raggedright,fragment,relative]
2422 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2428 @cindex @code{\decr}
2429 @cindex @code{\rced}
2436 A crescendo mark is started with @code{\<} and terminated with
2437 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2438 with @code{\!}. Because these marks are bound to notes, if you must
2439 use spacer notes if multiple marks during one note are needed:
2441 @lilypond[fragment,verbatim,center,quote]
2442 c''\< c''\! d''\decr e''\rced
2443 << f''1 { s4 s4\< s4\! \> s4\! } >>
2445 This may give rise to very short hairpins. Use @code{minimum-length}
2446 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2450 \override Staff.Hairpin #'minimum-length = #5
2453 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2454 is an example how to do it:
2456 @lilypond[fragment,relative=2,verbatim]
2457 c4 \cresc c4 c c c \endcresc c4
2463 You can also supply your own texts:
2464 @lilypond[fragment,relative,verbatim]
2466 \set crescendoText = \markup { \italic "cresc. poco" }
2467 \set crescendoSpanner = #'dashed-line
2477 @cindex @code{\dynamicUp}
2479 @cindex @code{\dynamicDown}
2480 @code{\dynamicDown},
2481 @cindex @code{\dynamicBoth}
2482 @code{\dynamicBoth}.
2484 @cindex direction, of dynamics
2488 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2489 @internalsref{AbsoluteDynamicEvent}.
2491 Dynamics are objects of @internalsref{DynamicText} and
2492 @internalsref{Hairpin}. Vertical positioning of these symbols is
2493 handled by the @internalsref{DynamicLineSpanner} object.
2495 If you want to adjust padding or vertical direction of the dynamics, you
2496 must set properties for the @internalsref{DynamicLineSpanner} object.
2504 @cindex @code{\repeat}
2507 Repetition is a central concept in music, and multiple notations exist
2508 for repetitions. In LilyPond, most of these notations can be captured
2509 in a uniform syntax. One of the advantages is that they can be
2510 rendered in MIDI accurately.
2512 The following types of repetition are supported:
2516 Repeated music is fully written (played) out. Useful for MIDI
2517 output, and entering repetitive music.
2520 This is the normal notation: Repeats are not written out, but
2521 alternative endings (voltas) are printed, left to right.
2525 Alternative endings are written stacked. This has limited use but may be
2526 used to typeset two lines of lyrics in songs with repeats, see
2527 @inputfileref{input,star-spangled-banner.ly}.
2535 Make beat or measure repeats. These look like percent signs.
2541 * Repeats and MIDI::
2542 * Manual repeat commands::
2544 * Tremolo subdivisions::
2549 @subsection Repeat syntax
2553 LilyPond has one syntactic construct for specifying different types of
2554 repeats. The syntax is
2557 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2560 If you have alternative endings, you may add
2561 @cindex @code{\alternative}
2563 \alternative @code{@{} @var{alternative1}
2565 @var{alternative3} @dots{} @code{@}}
2567 where each @var{alternative} is a music expression. If you do not
2568 give enough alternatives for all of the repeats, then the first
2569 alternative is assumed to be played more than once.
2571 Normal notation repeats are used like this:
2572 @lilypond[fragment,verbatim,relative=1]
2574 \repeat volta 2 { c4 d e f }
2575 \repeat volta 2 { f e d c }
2578 With alternative endings:
2579 @lilypond[fragment,verbatim,relative=1]
2581 \repeat volta 2 {c4 d e f}
2582 \alternative { {d2 d} {f f,} }
2586 @lilypond[fragment,verbatim,relative=1]
2589 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2590 \alternative { { g4 g g } { a | a a a a | b2. } }
2596 If you do a nested repeat like
2605 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2606 belongs. This ambiguity is resolved by always having the
2607 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2608 it is advisable to use braces in such situations.
2611 @node Repeats and MIDI
2612 @subsection Repeats and MIDI
2614 @cindex expanding repeats
2616 For instructions on how to unfold repeats for MIDI output, see the
2617 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2622 Timing information is not remembered at the start of an alternative,
2623 so after a repeat timing information must be reset by hand, for
2624 example by setting @code{Score.measurePosition} or entering
2625 @code{\partial}. Similarly, slurs or ties are also not repeated.
2628 @node Manual repeat commands
2629 @subsection Manual repeat commands
2631 @cindex @code{repeatCommands}
2633 The property @code{repeatCommands} can be used to control the layout of
2634 repeats. Its value is a Scheme list of repeat commands, where each repeat
2638 @item the symbol @code{start-repeat},
2639 which prints a @code{|:} bar line,
2640 @item the symbol @code{end-repeat},
2641 which prints a @code{:|} bar line,
2642 @item the list @code{(volta @var{text})},
2643 which prints a volta bracket saying @var{text}: The text can be specified as
2644 a text string or as a markup text, see @ref{Text markup}. Do not
2645 forget to change the font, as the default number font does not contain
2646 alphabetic characters. Or,
2647 @item the list @code{(volta #f)}, which
2648 stops a running volta bracket:
2651 @lilypond[verbatim,fragment,relative=2]
2653 \set Score.repeatCommands = #'((volta "93") end-repeat)
2655 \set Score.repeatCommands = #'((volta #f))
2662 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2663 @internalsref{VoltaRepeatedMusic},
2664 @internalsref{UnfoldedRepeatedMusic}, and
2665 @internalsref{FoldedRepeatedMusic}.
2667 @node Tremolo repeats
2668 @subsection Tremolo repeats
2669 @cindex tremolo beams
2671 To place tremolo marks between notes, use @code{\repeat} with tremolo
2673 @lilypond[verbatim,raggedright]
2675 \context Voice \notes\relative c' {
2676 \repeat "tremolo" 8 { c16 d16 }
2677 \repeat "tremolo" 4 { c16 d16 }
2678 \repeat "tremolo" 2 { c16 d16 }
2683 Tremolo marks can also be put on a single note. In this case, the
2684 note should not be surrounded by braces.
2685 @lilypond[verbatim,raggedright]
2686 \repeat "tremolo" 4 c16
2689 A similar mechanism is the tremolo subdivision, described in
2690 @ref{Tremolo subdivisions}.
2694 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2696 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2697 tremolos are @internalsref{StemTremolo}s. The music expression is
2698 @internalsref{TremoloEvent}.
2700 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2701 @inputfileref{input/regression,stem-tremolo.ly}.
2703 @node Tremolo subdivisions
2704 @subsection Tremolo subdivisions
2705 @cindex tremolo marks
2706 @cindex @code{tremoloFlags}
2708 Tremolo marks can be printed on a single note by adding
2709 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2710 A @var{length} value of 8 gives one line across the note stem. If the
2711 length is omitted, then then the last value (stored in
2712 @code{tremoloFlags}) is used:
2714 @lilypond[verbatim,fragment,center]
2715 c'2:8 c':32 | c': c': |
2718 @c [TODO : stok is te kort bij 32en]
2722 Tremolos in this style do not carry over into the MIDI output.
2726 In this manual: @ref{Tremolo repeats}.
2728 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2730 @node Measure repeats
2731 @subsection Measure repeats
2733 @cindex percent repeats
2734 @cindex measure repeats
2736 In the @code{percent} style, a note pattern can be repeated. It is
2737 printed once, and then the pattern is replaced with a special sign.
2738 Patterns of a one and two measures are replaced by percent-like signs,
2739 patterns that divide the measure length are replaced by slashes:
2741 @lilypond[verbatim,raggedright]
2742 \context Voice { \repeat "percent" 4 { c'4 }
2743 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2749 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2750 @internalsref{PercentRepeatedMusic}, and
2751 @internalsref{DoublePercentRepeat}.
2755 @node Rhythmic music
2756 @section Rhythmic music
2760 * Showing melody rhythms::
2761 * Entering percussion::
2762 * Percussion staves::
2766 @node Showing melody rhythms
2767 @subsection Showing melody rhythms
2769 Sometimes you might want to show only the rhythm of a melody. This
2770 can be done with the rhythmic staff. All pitches of notes on such a
2771 staff are squashed, and the staff itself has a single line:
2773 @lilypond[fragment,relative,verbatim]
2774 \context RhythmicStaff {
2776 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2782 Internals: @internalsref{RhythmicStaff}.
2784 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2787 @node Entering percussion
2788 @subsection Entering percussion
2795 Percussion notes may be entered in @code{\drums} mode, which is
2796 similar to @code{notes}. Each piece of percussion has a full name and
2797 an abbreviated name, and both be used in input files:
2799 @lilypond[raggedright]
2800 \drums { hihat4 hh4 }
2803 The complete list of drum names is in the init file
2804 @file{ly/drumpitch-init.ly}.
2805 @c TODO: properly document this.
2809 Internals: @internalsref{DrumNoteEvent}.
2811 @node Percussion staves
2812 @subsection Percussion staves
2816 A percussion part for more than one instrument typically uses a
2817 multiline staff where each position in the staff refers to one piece
2821 To typeset the music, the notes must be interpreted in a
2822 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2825 @lilypond[raggedright,verbatim,quote]
2826 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2827 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2830 << \new DrumVoice { \voiceOne \up }
2831 \new DrumVoice { \voiceTwo \down }
2835 There are also other layout possibilities. To use these, set the
2836 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2837 The following variables have been predefined:
2841 is the default. It typesets a typical drum kit on a five-line staff
2844 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2845 bd sn ss tomh tommh tomml toml tomfh tomfl }
2846 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2847 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2849 << \new DrumStaff\with {
2850 \remove Bar_engraver
2851 \remove Time_signature_engraver
2852 Stem \set #'transparent = ##t
2853 Stem \set #'Y-extent-callback = ##f
2854 minimumVerticalExtent = #'(-4.0 . 5.0)
2856 \context Lyrics \nam
2859 %% need to do this, because of indented @itemize
2861 \translator { \ScoreContext
2862 BarNumber \set #'transparent =##T
2866 The drum scheme supports six different toms. When there fewer toms, simply
2867 select the toms that produce the desired result, i.e. to get toms on
2868 the three middle lines you use @code{tommh}, @code{tomml} and
2871 @item timbales-style
2872 to typeset timbales on a two line staff:
2874 @lilypond[raggedright]
2875 nam = \lyrics { timh ssh timl ssl cb }
2876 mus = \drums { timh ssh timl ssl cb s16 }
2879 \context DrumStaff \with {
2880 \remove Bar_engraver
2881 \remove Time_signature_engraver
2882 Stem \set #'transparent = ##t
2883 Stem \set #'Y-extent-callback = ##f
2884 StaffSymbol \override #'line-count = #2
2885 StaffSymbol \override #'staff-space = #2
2886 minimumVerticalExtent = #'(-3.0 . 4.0)
2887 drumStyleTable = #timbales-style
2889 \context Lyrics \nam
2894 to typeset congas on a two line staff:
2896 @lilypond[raggedright]
2897 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2898 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2901 \context DrumStaff\with {
2902 \remove Bar_engraver
2903 \remove Time_signature_engraver
2904 drumStyleTable = #congas-style
2905 StaffSymbol \override #'line-count = #2
2907 %% this sucks; it will lengthen stems.
2908 StaffSymbol \override #'staff-space = #2
2909 Stem \set #'transparent = ##t
2910 Stem \set #'Y-extent-callback = ##f
2912 \context Lyrics \nam
2917 to typeset bongos on a two line staff:
2919 @lilypond[raggedright]
2920 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2921 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2924 \context DrumStaff\with {
2925 \remove Bar_engraver
2926 \remove Time_signature_engraver
2927 StaffSymbol \override #'line-count = #2
2928 drumStyleTable = #bongos-style
2930 %% this sucks; it will lengthen stems.
2931 StaffSymbol \override #'staff-space = #2
2932 Stem \set #'transparent = ##t
2933 Stem \set #'Y-extent-callback = ##f
2935 \context Lyrics \nam
2940 @item percussion-style
2941 to typeset all kinds of simple percussion on one line staves:
2942 @lilypond[raggedright]
2943 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2944 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2947 \context DrumStaff\with{
2948 \remove Bar_engraver
2949 drumStyleTable = #percussion-style
2950 StaffSymbol \override #'line-count = #1
2951 \remove Time_signature_engraver
2952 Stem \set #'transparent = ##t
2953 Stem \set #'Y-extent-callback = ##f
2955 \context Lyrics \nam
2961 If you do not like any of the predefined lists you can define your own
2962 list at the top of your file:
2964 @lilypond[raggedright,verbatim]
2966 (bassdrum default #f -1)
2967 (snare default #f 0)
2969 (pedalhihat xcircle "stopped" 2)
2970 (lowtom diamond #f 3)
2972 up = \drums { hh8 hh hh hh hhp4 hhp }
2973 down = \drums { bd4 sn bd toml8 toml }
2976 \set DrumStaff.drumStyleTable
2977 = #(alist->hash-table mydrums)
2978 \new DrumVoice { \voiceOne \up }
2979 \new DrumVoice { \voiceTwo \down }
2987 Init files: @file{ly/drumpitch-init.ly}.
2989 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2993 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2994 work for @internalsref{DrumVoices}.
2996 Because general MIDI does not contain rimshots the sidestick is used
2997 for this purpose instead.
3000 @section Piano music
3002 Piano staves are two normal staves coupled with a brace. The staves
3003 are largely independent, but sometimes voices can cross between the
3004 two staves. The same notation is also used for harps and other key
3005 instruments. The @internalsref{PianoStaff} is especially built to
3006 handle this cross-staffing behavior. In this section we discuss the
3007 @internalsref{PianoStaff} and some other pianistic peculiarities.
3011 * Automatic staff changes::
3012 * Manual staff switches::
3015 * Staff switch lines::
3020 There is no support for putting chords across staves. You can get
3021 this result by increasing the length of the stem in the lower stave so
3022 it reaches the stem in the upper stave, or vice versa. An example is
3023 included with the distribution as
3024 @inputfileref{input/test,stem-cross-staff.ly}.
3026 Dynamics are not centered, but kludges do exist. See
3027 @inputfileref{input/template,piano-dynamics.ly}.
3029 @cindex cross staff stem
3030 @cindex stem, cross staff
3033 @c fixme: should have hyperlinks as well.
3039 @node Automatic staff changes
3040 @subsection Automatic staff changes
3041 @cindex Automatic staff changes
3043 Voices can switch automatically between the top and the bottom
3044 staff. The syntax for this is
3046 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3048 The two staffs of the piano staff must be named @code{up} and
3051 The autochanger switches on basis of pitch (central C is the turning
3052 point), and it looks ahead skipping over rests to switch in
3053 advance. Here is a practical example:
3055 @lilypond[verbatim,raggedright,quote]
3056 \score { \notes \context PianoStaff <<
3057 \context Staff = "up" {
3058 \autochange \new Voice \relative c' {
3059 g4 a b c d r4 a g } }
3060 \context Staff = "down" {
3067 In this example, spacer rests are used to prevent the bottom staff from
3068 terminating too soon.
3073 In this manual: @ref{Manual staff switches}.
3075 Internals: @internalsref{AutoChangeMusic}.
3081 The staff switches often do not end up in optimal places. For high
3082 quality output, staff switches should be specified manually.
3086 @node Manual staff switches
3087 @subsection Manual staff switches
3089 @cindex manual staff switches
3090 @cindex staff switch, manual
3092 Voices can be switched between staves manually, using the following command:
3094 \change Staff = @var{staffname} @var{music}
3098 The string @var{staffname} is the name of the staff. It switches the
3099 current voice from its current staff to the Staff called
3100 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3109 Pianos have pedals that alter the way sound are produced. Generally, a
3110 piano has three pedals, sustain, una corda, and sostenuto.
3114 Piano pedal instruction can be expressed by attaching
3115 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3116 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3119 @lilypond[fragment,verbatim]
3120 c'4\sustainDown c'4\sustainUp
3123 What is printed can be modified by setting @code{pedal@var{X}Strings},
3124 where @var{X} is one of the pedal types: @code{Sustain},
3125 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3126 documentation of @internalsref{SustainPedal} for more information.
3128 Pedals can also be indicated by a sequence of brackets, by setting the
3129 @code{pedalSustainStyle} property to @code{bracket} objects:
3131 @lilypond[fragment,verbatim]
3132 \set Staff.pedalSustainStyle = #'bracket
3133 c''4\sustainDown d''4 e''4
3134 a'4\sustainUp\sustainDown
3135 f'4 g'4 a'4\sustainUp
3138 A third style of pedal notation is a mixture of text and brackets,
3139 obtained by setting the @code{pedalSustainStyle} style property to
3142 @lilypond[fragment,verbatim]
3143 \set Staff.pedalSustainStyle = #'mixed
3144 c''4\sustainDown d''4 e''4
3145 c'4\sustainUp\sustainDown
3146 f'4 g'4 a'4\sustainUp
3149 The default `*Ped' style for sustain and damper pedals corresponds to
3150 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3153 @lilypond[fragment,verbatim]
3154 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3157 For fine-tuning of the appearance of a pedal bracket, the properties
3158 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3159 @code{PianoPedalBracket} objects (see
3160 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3161 bracket may be extended to the end of the note head:
3163 @lilypond[fragment,verbatim]
3164 \override Staff.PianoPedalBracket
3165 #'shorten-pair = #'(0 . -1.0)
3166 c''4\sostenutoDown d''4 e''4 c'4
3167 f'4 g'4 a'4\sostenutoUp
3171 @subsection Arpeggio
3174 @cindex broken arpeggio
3175 @cindex @code{\arpeggio}
3177 You can specify an arpeggio sign on a chord by attaching an
3178 @code{\arpeggio} to a chord:
3181 @lilypond[fragment,relative,verbatim]
3185 When an arpeggio crosses staves, you attach an arpeggio to the chords
3186 in both staves, and set
3187 @internalsref{PianoStaff}.@code{connectArpeggios}:
3189 @lilypond[fragment,relative,verbatim]
3190 \context PianoStaff <<
3191 \set PianoStaff.connectArpeggios = ##t
3192 \new Staff { <c' e g c>\arpeggio }
3193 \new Staff { \clef bass <c,, e g>\arpeggio }
3197 The direction of the arpeggio is sometimes denoted by adding an
3198 arrowhead to the wiggly line. This can be typeset by setting
3199 @code{arpeggio-direction}:
3201 @lilypond[fragment,relative,verbatim]
3203 \override Arpeggio #'arpeggio-direction = #1
3205 \override Arpeggio #'arpeggio-direction = #-1
3210 A square bracket on the left indicates that the player should not
3211 arpeggiate the chord. To draw these brackets, set the
3212 @code{print-function} property of @code{Arpeggio} or
3213 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3214 @code{\arpeggio} statements within the chords as before:
3216 @lilypond[fragment,relative,verbatim]
3217 \override PianoStaff.Arpeggio
3218 #'print-function = \arpeggioBracket
3224 @cindex @code{\arpeggioBracket}
3225 @code{\arpeggioBracket},
3226 @cindex @code{\arpeggio}
3231 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3232 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3233 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3237 It is not possible to mix connected arpeggios and unconnected
3238 arpeggios in one @internalsref{PianoStaff} at the same time.
3240 @node Staff switch lines
3241 @subsection Staff switch lines
3244 @cindex follow voice
3245 @cindex staff switching
3248 @cindex @code{followVoice}
3250 Whenever a voice switches to another staff a line connecting the notes
3251 can be printed automatically. This is enabled if the property
3252 @code{PianoStaff.followVoice} is set to true:
3254 @lilypond[fragment,relative,verbatim]
3255 \context PianoStaff <<
3256 \set PianoStaff.followVoice = ##t
3257 \context Staff \context Voice {
3262 \context Staff=two { \clef bass \skip 1*2 }
3266 The associated object is @internalsref{VoiceFollower}.
3270 @cindex @code{\showStaffSwitch}
3271 @code{\showStaffSwitch},
3272 @cindex @code{\hideStaffSwitch}
3273 @code{\hideStaffSwitch}.
3277 @section Vocal music
3279 This section discusses how to enter and print lyrics.
3283 * The Lyrics context::
3288 @node Entering lyrics
3289 @subsection Entering lyrics
3293 @cindex @code{\lyrics}
3296 Lyrics are entered in a special input mode. This mode is is introduced
3297 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3298 punctuation and accents without any hassle. Syllables are entered like
3299 notes, but with pitches replaced by text. For example,
3301 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3304 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3305 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3306 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3307 any 8-bit character with ASCII code over 127, or a two-character
3308 combination of a backslash followed by one of @code{`}, @code{'},
3309 @code{"}, or @code{^}.
3311 Subsequent characters of a word can be any character that is not a digit
3312 and not white space. One important consequence of this is that a word
3313 can end with @code{@}}. The following example is usually a bug. The
3314 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3316 \lyrics @{ twinkle@}
3319 @cindex @code{\property}, in @code{\lyrics}
3320 Similarly, a period following a alphabetic sequence, is included in the
3321 resulting string. As a consequence, spaces must be inserted around
3322 @code{\property} commands:
3324 \override Lyrics .LyricText #'font-shape = #'italic
3328 @cindex spaces, in lyrics
3329 @cindex quotes, in lyrics
3331 Any @code{_} character which appears in an unquoted word is converted
3332 to a space. This provides a mechanism for introducing spaces into words
3333 without using quotes. Quoted words can also be used in Lyrics mode to
3334 specify words that cannot be written with the above rules:
3337 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3341 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3346 These will be attached to the end of the first syllable.
3348 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3349 as a separate word between syllables. The hyphen will have variable
3350 length depending on the space between the syllables and it will be
3351 centered between the syllables.
3356 When a lyric is sung over many notes (this is called a melisma), this is
3357 indicated with a horizontal line centered between a syllable and the
3358 next one. Such a line is called an extender line, and it is entered as
3363 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3364 @internalsref{ExtenderEvent}.
3366 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3370 The definition of lyrics mode is too complex.
3374 @node The Lyrics context
3375 @subsection The Lyrics context
3377 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3379 \context Lyrics \lyrics @dots{}
3382 @cindex automatic syllable durations
3383 @cindex @code{\lyricsto}
3384 @cindex lyrics and melodies
3386 This will place the lyrics according to the durations that were
3387 entered. The lyrics can also be aligned under a given melody
3388 automatically. In this case, it is no longer necessary to enter the
3389 correct duration for each syllable. This is achieved by combining the
3390 melody and the lyrics with the @code{\lyricsto} expression:
3392 \lyricsto @var{name} \new Lyrics @dots{}
3395 This aligns the lyrics to the
3397 notes of the @internalsref{Voice} context called @var{name}, which has
3398 to exist. Therefore, normally the @code{Voice} is specified first, and
3399 then the lyrics are specified with @code{\lyricsto}.
3401 For different or more complex orderings, the best way is to setup the
3402 hierarchy of staves and lyrics first, e.g.
3404 \context ChoirStaff \notes <<
3405 \context Lyrics = sopranoLyrics @{ s1 @}
3406 \context Voice = soprano @{ @emph{music} @}
3407 \context Lyrics = tenor @{ s1 @}
3408 \context Voice = tenorLyrics @{ @emph{music} @}
3411 and then combine the appropriate melodies and lyric lines:
3413 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3417 The final input would resemble
3420 << \context ChoirStaff \notes << @emph{setup the music} >>
3421 \lyricsto "soprano" @emph{etc}
3422 \lyricsto "alto" @emph{etc}
3428 The @code{\lyricsto} command detects melismata: it only puts one
3429 syllable under a tied or slurred group of notes. If you want to force
3430 an unslurred group of notes to be a melisma, then insert
3431 @code{\melisma} after the first note of the group, and
3432 @code{\melismaEnd} after the last one, e.g.
3434 @lilypond[relative=1,raggedright,fragment,verbatim]
3435 << \context Voice = "lala" { \time 3/4
3441 \lyricsto "lala" \new Lyrics \lyrics {
3446 In addition, notes are considered a melisma if they are manually
3447 beamed, and automatic beaming (see @ref{Setting automatic beam
3448 behavior}) is switched off. The criteria for deciding melismata
3449 can be tuned with the property @code{melismaBusyProperties}. See
3450 @internalsref{Melisma_engraver} for more information.
3452 When multiple stanzas are put on the same melody, it can happen that
3453 two stanzas have melismata in different locations. This can be
3454 remedied by switching off melismata for one
3455 @internalsref{Lyrics}. This is achieved by setting
3456 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3457 in @inputfileref{input/regression,lyric-combine-new.ly}.
3460 @cindex choral score
3462 A complete example of a SATB score setup is in the file
3463 @inputfileref{input/template,satb.ly}.
3468 @code{\melisma}, @code{\melismaEnd}
3469 @cindex @code{\melismaEnd}
3470 @cindex @code{\melisma}
3474 Internals: Music expressions: @internalsref{LyricCombineMusic},
3475 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_engraver}.
3477 Examples: @inputfileref{input/template,satb.ly},
3478 @inputfileref{input/regression,lyric-combine-new.ly}.
3482 Melismata are not detected automatically, and extender lines must be
3486 For proper processing of extender lines, the
3487 @internalsref{Lyrics} and @internalsref{Voice} should be
3488 linked. This can be achieved either by using @code{\lyricsto} or by
3489 setting corresponding names for both contexts. The latter is explained
3490 in @ref{More stanzas}.
3493 @subsection More stanzas
3495 @cindex phrasing, in lyrics
3498 The lyrics should be aligned with the note heads of the melody. To
3499 achieve this, each line of lyrics should be marked to correspond with
3500 the melodic line. This is done automatically when @code{\lyricsto},
3501 but it can also be done manually.
3503 To this end, give the @internalsref{Voice} context an identity:
3505 \context Voice = duet @{
3510 Then set the @internalsref{Lyrics} contexts to names starting with
3511 that identity followed by a dash. In the preceding example, the
3512 @internalsref{Voice} identity is @code{duet}, so the identities of the
3513 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3515 \context Lyrics = "duet-1" @{
3516 Hi, my name is bert. @}
3517 \context Lyrics = "duet-2" @{
3518 Ooooo, ch\'e -- ri, je t'aime. @}
3521 The complete example is shown here:
3522 @lilypond[raggedright,verbatim]
3524 << \notes \relative c'' \context Voice = duet { \time 3/4
3526 \lyrics << \lyricsto "duet" \new Lyrics {
3528 Hi, my name is bert. }
3529 \lyricsto "duet" \new Lyrics {
3531 Ooooo, ch\'e -- ri, je t'aime. }
3536 @cindex stanza number
3537 @cindex singer's names
3538 @cindex name of singer
3540 Stanza numbers can be added by setting @code{stanza}, e.g.
3543 \set stanza = "Bert"
3545 \set stanza = "Ernie"
3548 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3549 prevent @code{stanza} being interpreted as a single
3552 Names of the singers should be added using @code{Lyrics
3553 . vocalName} and @code{Lyrics . vocNam}, analogous to instrument
3554 annotations for staves.
3556 To make empty spaces in lyrics, use @code{\skip}.
3561 Internals: Layout objects @internalsref{LyricText}
3562 @internalsref{VocalName}. Music expressions:
3563 @internalsref{LyricEvent}.
3569 Input for lyrics introduces a syntactical ambiguity:
3576 is interpreted as assigning a string identifier @code{\foo} such that
3577 it contains @code{"bar"}. However, it could also be interpreted as
3578 making or a music identifier @code{\foo} containing the syllable
3579 `bar'. The force the latter interpretation, use
3589 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3590 for a given voice in a part of music. It also may denote the pitch
3591 range that a musical instrument is capable of playing. Most musical
3592 instruments have their ambitus standardized (or at least there is
3593 agreement upon the minimal ambitus of a particular type of
3594 instrument), such that a composer or arranger of a piece of music can
3595 easily meet the ambitus constraints of the targeted instrument.
3596 However, the ambitus of the human voice depends on individual
3597 physiological state, including education and training of the voice.
3598 Therefore, a singer potentially has to check for each piece of music
3599 if the ambitus of that piece meets his individual capabilities. This
3600 is why the ambitus of a piece may be of particular value to vocal
3603 The ambitus is typically notated on a per-voice basis at the very
3604 beginning of a piece, e.g. nearby the initial clef or time signature of
3605 each staff. The range is graphically specified by two noteheads, that
3606 represent the minimum and maximum pitch. Some publishers use a textual
3607 notation: they put the range in words in front of the corresponding
3608 staff. LilyPond only supports the graphical ambitus notation.
3610 To apply, add the @internalsref{Ambitus_engraver} to the
3611 @internalsref{Voice} context, i.e.
3617 \consists Ambitus_engraver
3622 This results in the following output:
3624 @lilypond[raggedright]
3625 upper = \notes \relative c {
3628 as'' c e2 bes f cis d4 e f2 g
3630 lower = \notes \relative c {
3633 e'4 b g a c es fis a cis b a g f e d2
3636 \context ChoirStaff {
3638 \new Staff { \upper }
3639 \new Staff { \lower }
3645 \consists Ambitus_engraver
3651 If you have multiple voices in a single staff, and you want a single
3652 ambitus per staff rather than per each voice, then add the
3653 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3654 rather than to the @internalsref{Voice} context.
3656 It is possible to tune individual ambituses for multiple voices on a
3657 single staff, for example by erasing or shifting them horizontally. An
3658 example is in @inputfileref{input/test,ambitus-mixed.ly}
3662 Internals: @internalsref{Ambitus}.
3664 Examples: @inputfileref{input/regression,ambitus.ly},
3665 @inputfileref{input/test,ambitus-mixed.ly}.
3669 There is no collision handling in the case of multiple per-voice
3675 Tablature notation is used for notating music for plucked string
3676 instruments. It notates pitches not by using note heads, but by
3677 indicating on which string and fret a note must be played. LilyPond
3678 offers limited support for tablature.
3681 * Tablatures basic::
3682 * Non-guitar tablatures::
3685 @node Tablatures basic
3686 @subsection Tablatures basic
3687 @cindex Tablatures basic
3689 The string number associated to a note is given as a backslash
3690 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3691 string. By default, string 1 is the highest one, and the tuning
3692 defaults to the standard guitar tuning (with 6 strings). The notes
3693 are printed as tablature, by using @internalsref{TabStaff} and
3694 @internalsref{TabVoice} contexts:
3696 @lilypond[fragment,verbatim]
3697 \notes \context TabStaff {
3705 When no string is specified, the first string that does not give a
3706 fret number less than @code{minimumFret} is selected. The default
3707 value for @code{minimumFret} is 0:
3711 e8 fis gis a b cis' dis' e'
3712 \set TabStaff.minimumFret = #8
3713 e8 fis gis a b cis' dis' e'
3718 e8 fis gis a b cis' dis' e'
3719 \set TabStaff.minimumFret = #8
3720 e8 fis gis a b cis' dis' e'
3723 \context StaffGroup <<
3724 \context Staff { \clef "G_8" \frag }
3725 \context TabStaff { \frag }
3732 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3733 @internalsref{StringNumberEvent}.
3737 Chords are not handled in a special way, and hence the automatic
3738 string selector may easily select the same string to two notes in a
3742 @node Non-guitar tablatures
3743 @subsection Non-guitar tablatures
3744 @cindex Non-guitar tablatures
3746 You can change the number of strings, by setting the number of lines
3747 in the @internalsref{TabStaff}.
3749 You can change the tuning of the strings. A string tuning is given as
3750 a Scheme list with one integer number for each string, the number
3751 being the pitch (measured in semitones relative to central C) of an
3752 open string. The numbers specified for @code{stringTuning} are the
3753 numbers of semitones to subtract or add, starting the specified pitch
3754 by default middle C, in string order. Thus, the notes are e, a, d, and
3757 @lilypond[fragment,verbatim]
3758 \context TabStaff <<
3759 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3762 a,4 c' a e' e c' a e'
3767 It is possible to change the Scheme function to format the tablature
3768 note text. The default is @code{fret-number-tablature-format}, which
3769 uses the fret number. For instruments that do not use this notation,
3770 you can create a special tablature formatting function. This function
3771 takes three argument: string number, string tuning and note pitch.
3775 No guitar special effects have been implemented.
3780 @section Chord names
3783 LilyPond has support for both printing chord names. Chords may be
3784 entered in musical chord notation, i.e. @code{< .. >}, but they can
3785 also be entered by name. Internally, the chords are represented as a
3786 set of pitches, so they can be transposed:
3789 @lilypond[verbatim,raggedright]
3790 twoWays = \notes \transpose c c' {
3800 << \context ChordNames \twoWays
3801 \context Voice \twoWays >> }
3804 This example also shows that the chord printing routines do not try to
3805 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3811 * Printing chord names::
3816 @subsection Chords mode
3819 Chord mode is a mode where you can input sets of pitches using common
3820 names. It is introduced by the keyword @code{\chords}.
3821 In chords mode, a chord is entered by the root, which is entered
3822 like a common pitch:
3823 @lilypond[fragment,verbatim,quote,relative=1]
3824 \chords { es4. d8 c2 }
3829 Other chords may be entered by suffixing a colon, and introducing a
3830 modifier, and optionally, a number:
3832 @lilypond[fragment,verbatim,quote]
3833 \chords { e1:m e1:7 e1:m7 }
3835 The first number following the root is taken to be the `type' of the
3836 chord, thirds are added to the root until it reaches the specified
3838 @lilypond[fragment,verbatim]
3839 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3842 @cindex root of chord
3843 @cindex additions, in chords
3844 @cindex removals, in chords
3846 More complex chords may also be constructed adding separate steps
3847 to a chord. Additions are added after the number following
3848 the colon, and are separated by dots:
3850 @lilypond[verbatim,fragment,quote]
3851 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3853 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3855 @lilypond[verbatim,fragment,quote]
3856 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3858 Removals are specified similarly, and are introduced by a caret. They
3859 must come after the additions:
3860 @lilypond[verbatim,fragment]
3861 \chords { c^3 c:7^5 c:9^3.5 }
3864 Modifiers can be used to change pitches. The following modifiers are
3868 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3870 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3873 is the augmented chord. This modifier raises the 5th step.
3875 is the major 7th chord. This modifier raises the 7th step if present.
3877 is the suspended 4th or 2nd. This modifier removes the 3rd
3878 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3881 Modifiers can be mixed with additions:
3882 @lilypond[verbatim,fragment]
3883 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3886 @cindex modifiers, in chords.
3893 Since an unaltered 11 does not sound good when combined with an
3894 unaltered 13, the 11 is removed in this case (unless it is added
3897 @lilypond[fragment,verbatim]
3898 \chords { c:13 c:13.11 c:m13 }
3903 An inversion (putting one pitch of the chord on the bottom), as well
3904 as bass notes, can be specified by appending
3905 @code{/}@var{pitch} to the chord:
3906 @lilypond[fragment,verbatim,center]
3907 \chords { c1 c/g c/f }
3911 A bass note can be added instead of transposed out of the chord,
3912 by using @code{/+}@var{pitch}.
3914 @lilypond[fragment,verbatim,center]
3915 \chords { c1 c/+g c/+f }
3918 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3919 of the commands continue to work, for example, @code{r} and
3920 @code{\skip} can be used to insert rests and spaces, and
3921 @code{\property} may be used to change various settings.
3927 Each step can only be present in a chord once. The following
3928 simply produces the augmented chord, since @code{5+} is interpreted
3931 @lilypond[verbatim,fragment]
3932 \chords { c:5.5-.5+ }
3936 @node Printing chord names
3937 @subsection Printing chord names
3939 @cindex printing chord names
3943 For displaying printed chord names, use the @internalsref{ChordNames} context.
3944 The chords may be entered either using the notation
3945 described above, or directly using @code{<} and @code{>}:
3947 @lilypond[verbatim,raggedright]
3949 \chords {a1 b c} <d' f' a'> <e' g' b'>
3953 \context ChordNames \scheme
3954 \context Staff \scheme
3959 You can make the chord changes stand out by setting
3960 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3961 display chord names when there is a change in the chords scheme and at
3962 the start of a new line:
3964 @lilypond[verbatim,linewidth=9\cm]
3966 c1:m c:m \break c:m c:m d
3970 \context ChordNames {
3971 \set chordChanges = ##t
3973 \context Staff \transpose c c' \scheme
3978 The default chord name layout is a system for Jazz music, proposed by
3979 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3980 following properties:
3983 @cindex chordNameExceptions
3984 @item chordNameExceptions
3985 This is a list that contains the chords that have special formatting.
3987 @inputfileref{input/regression,chord-name-exceptions.ly}.
3988 @cindex exceptions, chord names.
3991 @cindex majorSevenSymbol
3992 @item majorSevenSymbol
3993 This property contains the markup object used for the 7th step, when
3994 it is major. Predefined options are @code{whiteTriangleMarkup} and
3995 @code{blackTriangleMarkup}. See
3996 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3998 @cindex chordNameSeparator
3999 @item chordNameSeparator
4000 Different parts of a chord name are normally separated by a
4001 slash. By setting @code{chordNameSeparator}, you can specify other
4003 @lilypond[fragment,verbatim]
4004 \context ChordNames \chords {
4006 \set chordNameSeparator
4007 = \markup { \typewriter "|" }
4011 @cindex chordRootNamer
4012 @item chordRootNamer
4013 The root of a chord is usually printed as a letter with an optional
4014 alteration. The transformation from pitch to letter is done by this
4015 function. Special note names (for example, the German ``H'' for a
4016 B-chord) can be produced by storing a new function in this property.
4018 The pre-defined variables @code{\germanChords},
4019 @code{\semiGermanChords} set these variables.
4022 @cindex chordNoteNamer
4023 @item chordNoteNamer
4024 The default is to print single pitch, e.g. the bass note, using the
4025 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4026 to a specialized function to change this behavior. For example, the
4027 base can be printed in lower case.
4032 There are also two other chord name schemes implemented: an alternate
4033 Jazz chord notation, and a systematic scheme called Banter chords. The
4034 alternate jazz notation is also shown on the chart in @ref{Chord name
4035 chart}. Turning on these styles is described in the input file
4036 @inputfileref{input/test,chord-names-jazz.ly}.
4040 @cindex chords, jazz
4045 @cindex @code{\germanChords}
4046 @code{\germanChords},
4047 @cindex @code{\semiGermanChords}
4048 @code{\semiGermanChords}.
4055 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4056 @inputfileref{input/regression,chord-name-exceptions.ly},
4057 @inputfileref{input/test,chord-names-jazz.ly},
4058 @inputfileref{input/test,chord-names-german.ly}.
4060 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4065 Chord names are determined solely from the list of pitches. Chord
4066 inversions are not identified, and neither are added bass notes. This
4067 may result in strange chord names when chords are entered with the
4068 @code{< .. >} syntax.
4073 @node Orchestral music
4074 @section Orchestral music
4076 @cindex Writing parts
4078 Orchestral music involves some special notation, both in the full
4079 score and the individual parts. This section explains how to tackle
4080 some common problems in orchestral music.
4085 * Multiple staff contexts::
4088 * Instrument names::
4090 * Multi measure rests::
4091 * Automatic part combining::
4093 * Different editions from one source::
4094 * Sound output for transposing instruments::
4097 @node Multiple staff contexts
4098 @subsection Multiple staff contexts
4100 Polyphonic scores consist of many staves. These staves can be
4101 constructed in three different ways:
4103 @item The group is started with a brace at the left. This is done with the
4104 @internalsref{GrandStaff} context.
4105 @item The group is started with a bracket. This is done with the
4106 @internalsref{StaffGroup} context
4107 @item The group is started with a vertical line. This is the default
4111 @cindex Staff, multiple
4112 @cindex bracket, vertical
4113 @cindex brace, vertical
4120 @node Rehearsal marks
4121 @subsection Rehearsal marks
4122 @cindex Rehearsal marks
4124 @cindex @code{\mark}
4126 To print a rehearsal mark, use the @code{\mark} command:
4127 @lilypond[fragment,verbatim]
4138 (The letter I is skipped in accordance with engraving traditions.)
4140 The mark is incremented automatically if you use @code{\mark
4141 \default}, but you can also use an integer argument to set the mark
4142 manually. The value to use is stored in the property
4143 @code{rehearsalMark}.
4145 The style is defined by the property @code{markFormatter}. It is a
4146 function taking the current mark (an integer) and the current context
4147 as argument. It should return a markup object. In the following
4148 example, @code{markFormatter} is set to a canned procedure. After a
4149 few measures, it is set to function that produces a boxed number.
4151 @lilypond[verbatim,fragment,relative=1]
4152 \set Score.markFormatter = #format-mark-numbers
4155 \set Score.markFormatter
4156 = #(lambda (mark context)
4157 (make-bold-markup (make-box-markup (number->string mark))))
4162 The file @file{scm/translation-functions.scm} contains the definitions
4163 of @code{format-mark-numbers} (the default format) and
4164 @code{format-mark-letters}. They can be used as inspiration for other
4165 formatting functions.
4168 @cindex coda on bar line
4169 @cindex segno on bar line
4170 @cindex fermata on bar line
4171 @cindex bar lines, symbols on
4173 The @code{\mark} command can also be used to put signs like coda,
4174 segno and fermatas on a barline. Use @code{\markup} to
4175 to access the appropriate symbol:
4177 @lilypond[fragment,verbatim,relative=1]
4178 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4182 In this case, during line breaks, marks must also be printed at the
4183 end of the line, and not at the beginning. Use the following to force
4186 \override Score.RehearsalMark
4187 #'break-visibility = #begin-of-line-invisible
4193 @cindex barlines, putting symbols on
4197 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4199 Init files: @file{scm/translation-functions.scm} contains the
4200 definition of @code{format-mark-numbers} and
4201 @code{format-mark-letters}. They can be used as inspiration for other
4202 formatting functions.
4204 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4205 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4209 @subsection Bar numbers
4213 @cindex measure numbers
4214 @cindex currentBarNumber
4216 Bar numbers are printed by default at the start of the line. The
4217 number itself is stored in the
4218 @code{currentBarNumber} property,
4219 which is normally updated automatically for every measure.
4221 Bar numbers can be typeset at regular intervals instead of at the
4222 beginning of each line. This is illustrated in the following example,
4223 whose source is available as
4224 @inputfileref{input/test,bar-number-regular-interval.ly}:
4226 @lilypondfile[]{bar-number-regular-interval.ly}
4231 Internals: @internalsref{BarNumber}.
4233 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4234 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4238 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4239 there is one at the top. To solve this, the
4240 @code{padding} property of @internalsref{BarNumber} can be
4241 used to position the number correctly.
4243 @node Instrument names
4244 @subsection Instrument names
4246 In an orchestral score, instrument names are printed left side of the
4249 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4250 and @internalsref{Staff}.@code{instr}. This will print a string before
4251 the start of the staff. For the first start, @code{instrument} is
4252 used, for the next ones @code{instr} is used:
4255 @lilypond[verbatim,raggedright]
4256 \set Staff.instrument = "ploink " { c''4 }
4260 You can also use markup texts to construct more complicated instrument
4264 @lilypond[fragment,verbatim,raggedright]
4266 \set Staff.instrument = \markup {
4267 \column < "Clarinetti"
4269 \smaller \musicglyph #"accidentals--1"
4280 Internals: @internalsref{InstrumentName}.
4284 When you put a name on a grand staff or piano staff the width of the
4285 brace is not taken into account. You must add extra spaces to the end of
4286 the name to avoid a collision.
4289 @subsection Transpose
4291 @cindex transposition of pitches
4292 @cindex @code{\transpose}
4294 A music expression can be transposed with @code{\transpose}. The syntax
4297 \transpose @var{from} @var{to} @var{musicexpr}
4300 This means that @var{musicexpr} is transposed by the interval between
4301 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4302 is changed to @code{to}.
4305 For example, consider a piece written in the key of D major. If
4306 this piece is a little too low for its performer, it can be
4307 transposed up to E major with
4309 \tranpose d e @dots{}
4312 Consider a part written for violin (a C instrument). If
4313 this part is to be played on the A clarinet, the following
4314 transposition will produce the appropriate part
4317 \transpose a c @dots{}
4320 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4321 inside a @code{\notes} section. @code{\transpose} distinguishes
4322 between enharmonic pitches: both @code{\transpose c cis} or
4323 @code{\transpose c des} will transpose up half a tone. The first
4324 version will print sharps and the second version will print flats:
4326 @lilypond[raggedright,verbatim]
4327 mus =\notes { \key d \major cis d fis g }
4328 \score { \notes \context Staff {
4331 \transpose c g' \mus
4332 \transpose c f' \mus
4339 Internals: @internalsref{TransposedMusic}, and
4340 @internalsref{UntransposableMusic}.
4344 If you want to use both @code{\transpose} and @code{\relative}, then
4345 you must put @code{\transpose} outside of @code{\relative}, since
4346 @code{\relative} will have no effect music that appears inside a
4352 @node Multi measure rests
4353 @subsection Multi measure rests
4354 @cindex multi measure rests
4355 @cindex Rests, multi measure
4359 Multi measure rests are entered using `@code{R}'. It is specifically
4360 meant for full bar rests and for entering parts: the rest can expand
4361 to fill a score with rests, or it can be printed as a single
4362 multimeasure rest. This expansion is controlled by the property
4363 @code{Score.skipBars}. If this is set to true, empty measures will not
4364 be expanded, and the appropriate number is added automatically:
4366 @lilypond[fragment,verbatim]
4367 \time 4/4 r1 | R1 | R1*2
4368 \set Score.skipBars = ##t R1*17 R1*4
4371 The @code{1} in @code{R1} is similar to the duration notation used for
4372 notes. Hence, for time signatures other than 4/4, you must enter other
4373 durations. This can be done with augmentation dots or fractions:
4375 @lilypond[fragment,verbatim]
4376 \set Score.skipBars = ##t
4384 An @code{R} spanning a single measure is printed as either a whole rest
4385 or a breve, centered in the measure regardless of the time signature.
4387 @cindex text on multi-measure rest
4388 @cindex script on multi-measure rest
4389 @cindex fermata on multi-measure rest
4391 Texts can be added to multi-measure rests by using the
4392 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4393 replaced. If you need both texts and the number, you must add the
4394 number by hand. A variable (@code{\fermataMarkup}) is provided for
4398 @lilypond[verbatim,fragment]
4400 R2._\markup { "Ad lib" }
4404 If you want to have a text on the left end of a multi-measure rest,
4405 attach the text to a zero-length skip note, i.e.
4413 @cindex whole rests for a full measure
4417 Internals: @internalsref{MultiMeasureRestEvent},
4418 @internalsref{MultiMeasureTextEvent},
4419 @internalsref{MultiMeasureRestMusicGroup}, and
4420 @internalsref{MultiMeasureRest}.
4422 The layout object @internalsref{MultiMeasureRestNumber} is for the
4423 default number, and @internalsref{MultiMeasureRestText} for user
4428 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4429 over multi-measure rests.
4431 @cindex condensing rests
4433 There is no way to automatically condense multiple rests into a single
4434 multimeasure rest. Multi measure rests do not take part in rest
4437 Be careful when entering multimeasure rests followed by whole
4438 notes. The following will enter two notes lasting four measures each:
4442 When @code{skipBars} is set, then the result will look OK, but the
4443 bar numbering will be off.
4445 @node Automatic part combining
4446 @subsection Automatic part combining
4447 @cindex automatic part combining
4448 @cindex part combiner
4451 Automatic part combining is used to merge two parts of music onto a
4452 staff. It is aimed at typesetting orchestral scores. When the two
4453 parts are identical for a period of time, only one is shown. In
4454 places where the two parts differ, they are typeset as separate
4455 voices, and stem directions are set automatically. Also, solo and
4456 @emph{a due} parts are identified and can be marked.
4460 The syntax for part combining is
4463 \partcombine @var{musicexpr1} @var{musicexpr2}
4466 The music expressions will be interpreted as @internalsref{Voice}
4469 The following example demonstrates the basic functionality of the part
4470 combiner: putting parts on one staff, and setting stem directions and
4473 @lilypond[verbatim,raggedright,fragment,relative=1]
4474 \new Staff \partcombine
4483 The first @code{g} appears only once, although it was
4484 specified twice (once in each part). Stem, slur and tie directions are
4485 set automatically, depending whether there is a solo or unisono. The
4486 first part (with context called @code{one}) always gets up stems, and
4487 `solo', while the second (called @code{two}) always gets down stems and
4490 If you just want the merging parts, and not the textual markings, you
4491 may set the property @var{soloADue} to false:
4493 @lilypond[verbatim,raggedright,fragment]
4495 \set Staff.soloADue = ##f
4507 Internals: @internalsref{PartCombineMusic},
4508 @internalsref{SoloOneEvent}, and
4509 @internalsref{SoloTwoEvent}, and
4510 @internalsref{UnisonoEvent}.
4514 In @code{soloADue} mode, when the two voices play the same notes on and
4515 off, the part combiner may typeset @code{a2} more than once in a
4518 @code{\partcombine} can not be inside @code{\times}.
4523 @subsection Hiding staves
4525 @cindex Frenched scores
4526 @cindex Hiding staves
4528 In orchestral scores, staff lines that only have rests are usually
4529 removed. This saves some space. This style is called `French Score'.
4530 For @internalsref{Lyrics}, @internalsref{Lyrics},
4531 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4532 switched on by default. When these line of these contexts turn out
4533 empty after the line-breaking process, they are removed.
4535 For normal staves, a specialized @internalsref{Staff} context is
4536 available, which does the same: staves containing nothing (or only
4537 multi measure rests) are removed. The context definition is stored in
4538 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4539 in this example disappears in the second line:
4544 \notes \relative c' <<
4545 \new Staff { e4 f g a \break c1 }
4546 \new Staff { c4 d e f \break R1 }
4550 \translator { \RemoveEmptyStaffContext }
4555 The first page shows all staffs in full. If they should be removed
4556 from the first page too, set @code{remove-first} to false
4557 in @internalsref{RemoveEmptyVerticalGroup}.
4559 @node Different editions from one source
4560 @subsection Different editions from one source
4562 The @code{\tag} command marks music expressions with a name. These
4563 tagged expressions can be filtered out later. With this mechanism it
4564 is possible to make different versions of the same music source.
4566 In the following example, we see two versions of a piece of music, one
4567 for the full score, and one with cue notes for the instrumental part:
4583 The same can be applied to articulations, texts, etc.: they are
4586 -\tag #@var{your-tag}
4588 to an articulation, for example,
4593 This defines a note with a conditional fingering indication.
4595 By applying the @code{remove-tag} function, tagged expressions can be
4596 filtered. For example,
4600 \apply #(remove-tag 'score) @var{the music}
4601 \apply #(remove-tag 'part) @var{the music}
4606 @lilypondfile[]{tag-filter.ly}
4608 The argument of the @code{\tag} command should be a symbol, or a list
4609 of symbols, for example,
4611 \tag #'(original-part transposed-part) @dots{}
4616 Examples: @inputfileref{input/regression,tag-filter.ly}.
4619 @node Sound output for transposing instruments
4620 @subsection Sound output for transposing instruments
4622 When you want to make a MIDI file from a score containing transposed
4623 and untransposed instruments, you have to instruct LilyPond the pitch
4624 offset (in semitones) for the transposed instruments. This is done
4625 using the @code{transposing} property. It does not affect printed
4628 @cindex @code{transposing}
4631 \set Staff.instrument = #"Cl. in B-flat"
4632 \set Staff.transposing = #-2
4636 @node Ancient notation
4637 @section Ancient notation
4639 @cindex Vaticana, Editio
4640 @cindex Medicaea, Editio
4645 @c [TODO: write more comprehensive introduction on ancient notation]
4647 Support for ancient notation is still under heavy development.
4648 Regardless of all of the current limitations (see the bugs section
4649 below for details), it includes features for mensural
4650 notation and Gregorian Chant notation. There is also limited support
4651 for figured bass notation.
4653 Many graphical objects provide a @code{style} property, see
4654 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4655 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4656 signatures}. By manipulating such a grob property, the typographical
4657 appearance of the affected graphical objects can be accomodated for a
4658 specific notation flavour without need for introducing any new
4662 Other aspects of ancient notation can not that easily be expressed as
4663 in terms of just changing a style property of a graphical object.
4664 Therefore, some notational concepts are introduced specifically for
4665 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4666 @ref{Ligatures}, and @ref{Figured bass}.
4670 * Ancient note heads::
4671 * Ancient accidentals::
4675 * Ancient time signatures::
4680 * Vaticana style contexts::
4683 If this all is way too much of documentation for you, and you just
4684 want to dive into typesetting without worrying too much about the
4685 details on how to customize a context, then you may have a look at the
4686 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4687 set up predefined style-specific voice and staff contexts, and
4688 directly go ahead with the note entry.
4692 Ligatures need special spacing that has not yet been implemented. As
4693 a result, there is too much space between ligatures most of the time,
4694 and line breaking often is unsatisfactory. Also, lyrics do not
4695 correctly align with ligatures.
4697 Accidentals must not be printed within a ligature, but instead need to
4698 be collected and printed in front of it.
4700 Augmentum dots within ligatures are not handled correctly.
4703 @node Ancient note heads
4704 @subsection Ancient note heads
4710 For ancient notation, a note head style other than the @code{default}
4711 style may be chosen. This is accomplished by setting the @code{style}
4712 property of the NoteHead object to the desired value (@code{baroque},
4713 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4714 differs from the @code{default} style only in using a square shape for
4715 @code{\breve} note heads. The @code{neo_mensural} style differs from
4716 the @code{baroque} style in that it uses rhomboidal heads for whole
4717 notes and all smaller durations. Stems are centered on the note
4718 heads. This style is in particular useful when transcribing mensural
4719 music, e.g. for the incipit. The @code{mensural} style finally
4720 produces note heads that mimick the look of note heads in historic
4721 printings of the 16th century.
4723 The following example demonstrates the @code{neo_mensural} style:
4725 @lilypond[fragment,raggedright,verbatim]
4726 \override NoteHead #'style = #'neo_mensural
4727 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4730 When typesetting a piece in Gregorian Chant notation, a Gregorian
4731 ligature engraver will automatically select the proper note heads,
4732 such there is no need to explicitly set the note head style. Still,
4733 the note head style can be set e.g. to @code{vaticana_punctum} to
4734 produce punctum neumes. Similarly, a mensural ligature engraver is
4735 used to automatically assemble mensural ligatures. See
4736 @ref{Ligatures} for how ligature engravers work.
4741 @ref{Percussion staves} use note head styles of their own that are
4742 frequently used in contemporary music notation.
4744 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4745 overview over all available note head styles.
4748 @node Ancient accidentals
4749 @subsection Ancient accidentals
4755 Use the @code{style} property of grob @internalsref{Accidental} to
4756 select ancient accidentals. Supported styles are
4757 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4759 @lilypond[raggedright,staffsize=26]
4767 { " " \musicglyph #"accidentals-vaticana-1"
4768 " " \musicglyph #"accidentals-vaticana0" }
4772 { " " \musicglyph #"accidentals-medicaea-1" }
4776 { " " \musicglyph #"accidentals-hufnagel-1" }
4780 { " " \musicglyph #"accidentals-mensural-1"
4781 " " \musicglyph #"accidentals-mensural1" }
4790 \remove "Bar_number_engraver"
4794 \remove "Clef_engraver"
4795 \remove "Key_engraver"
4796 \remove "Time_signature_engraver"
4797 \remove "Staff_symbol_engraver"
4798 minimumVerticalExtent = ##f
4804 As shown, not all accidentals are supported by each style. When
4805 trying to access an unsupported accidental, LilyPond will switch to a
4806 different style, as demonstrated in
4807 @inputfileref{input/test,ancient-accidentals.ly}.
4809 Similarly to local accidentals, the style of the key signature can be
4810 controlled by the @code{style} property of the
4811 @internalsref{KeySignature} grob.
4815 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4816 @ref{Accidentals} give a general introduction into the use of
4817 accidentals. @ref{Key signature} gives a general introduction into
4818 the use of key signatures.
4820 Internals: @internalsref{KeySignature}.
4822 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4825 @subsection Ancient rests
4831 Use the @code{style} property of grob @internalsref{Rest} to select
4832 ancient accidentals. Supported styles are @code{classical},
4833 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4834 from the @code{default} style only in that the quarter rest looks like
4835 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4836 well for e.g. the incipit of a transcribed mensural piece of music.
4837 The @code{mensural} style finally mimicks the appearance of rests as
4838 in historic prints of the 16th century.
4840 The following example demonstrates the @code{neo_mensural} style:
4842 @lilypond[fragment,raggedright,verbatim]
4843 \override Rest #'style = #'neo_mensural
4844 r\longa r\breve r1 r2 r4 r8 r16
4847 There are no 32th and 64th rests specifically for the mensural or
4848 neo-mensural style. Instead, the rests from the default style will be
4849 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4852 There are no rests in Gregorian Chant notation; instead, it uses
4857 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4861 @subsection Ancient clefs
4867 LilyPond supports a variety of clefs, many of them ancient.
4869 The following table shows all ancient clefs that are supported via the
4870 @code{\clef} command. Some of the clefs use the same glyph, but
4871 differ only with respect to the line they are printed on. In such
4872 cases, a trailing number in the name is used to enumerate these clefs.
4873 Still, you can manually force a clef glyph to be typeset on an
4874 arbitrary line, as described in @ref{Clef}. The note printed to the
4875 right side of each clef in the example column denotes the @code{c'}
4876 with respect to that clef.
4878 @multitable @columnfractions .3 .3 .3 .1
4882 @b{Description} @tab
4883 @b{Supported Clefs} @tab
4887 @code{clefs-neo_mensural_c} @tab
4888 modern style mensural C clef @tab
4889 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4890 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4891 @lilypond[relative,notime]
4892 \override Staff.TimeSignature #'transparent = ##t
4893 \clef "neo_mensural_c2" c
4897 @code{clefs-petrucci_c1}
4898 @code{clefs-petrucci_c2}
4899 @code{clefs-petrucci_c3}
4900 @code{clefs-petrucci_c4}
4901 @code{clefs-petrucci_c5}
4904 petrucci style mensural C clefs, for use on different stafflines
4905 (the examples shows the 2nd staffline C clef).
4915 @lilypond[relative,notime]
4916 \override Staff.TimeSignature #'transparent = ##t
4917 \clef "petrucci_c2" c
4921 @code{clefs-petrucci_f} @tab
4922 petrucci style mensural F clef @tab
4923 @code{petrucci_f} @tab
4924 @lilypond[relative,notime]
4925 \override Staff.TimeSignature #'transparent = ##t
4926 \clef "petrucci_f" c
4930 @code{clefs-petrucci_g} @tab
4931 petrucci style mensural G clef @tab
4932 @code{petrucci_g} @tab
4933 @lilypond[relative,notime]
4934 \override Staff.TimeSignature #'transparent = ##t
4935 \clef "petrucci_g" c
4939 @code{clefs-mensural_c} @tab
4940 historic style mensural C clef @tab
4941 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4942 @code{mensural_c4} @tab
4943 @lilypond[relative,notime]
4944 \override Staff.TimeSignature #'transparent = ##t
4945 \clef "mensural_c2" c
4949 @code{clefs-mensural_f} @tab
4950 historic style mensural F clef @tab
4951 @code{mensural_f} @tab
4952 @lilypond[relative,notime]
4953 \override Staff.TimeSignature #'transparent = ##t
4954 \clef "mensural_f" c
4958 @code{clefs-mensural_g} @tab
4959 historic style mensural G clef @tab
4960 @code{mensural_g} @tab
4961 @lilypond[relative,notime]
4962 \override Staff.TimeSignature #'transparent = ##t
4963 \clef "mensural_g" c
4967 @code{clefs-vaticana_do} @tab
4968 Editio Vaticana style do clef @tab
4969 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4970 @lilypond[relative,notime]
4971 \override Staff.StaffSymbol #'line-count = #4
4972 \override Staff.TimeSignature #'transparent = ##t
4973 \clef "vaticana_do2" c
4977 @code{clefs-vaticana_fa} @tab
4978 Editio Vaticana style fa clef @tab
4979 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4980 @lilypond[relative,notime]
4981 \override Staff.StaffSymbol #'line-count = #4
4982 \override Staff.TimeSignature #'transparent = ##t
4983 \clef "vaticana_fa2" c
4987 @code{clefs-medicaea_do} @tab
4988 Editio Medicaea style do clef @tab
4989 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4990 @lilypond[relative,notime]
4991 \override Staff.StaffSymbol #'line-count = #4
4992 \override Staff.TimeSignature #'transparent = ##t
4993 \clef "medicaea_do2" c
4997 @code{clefs-medicaea_fa} @tab
4998 Editio Medicaea style fa clef @tab
4999 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5000 @lilypond[relative,notime]
5001 \override Staff.StaffSymbol #'line-count = #4
5002 \override Staff.TimeSignature #'transparent = ##t
5003 \clef "medicaea_fa2" c
5007 @code{clefs-hufnagel_do} @tab
5008 historic style hufnagel do clef @tab
5009 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5010 @lilypond[relative,notime]
5011 \override Staff.StaffSymbol #'line-count = #4
5012 \override Staff.TimeSignature #'transparent = ##t
5013 \clef "hufnagel_do2" c
5017 @code{clefs-hufnagel_fa} @tab
5018 historic style hufnagel fa clef @tab
5019 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5020 @lilypond[relative,notime]
5021 \override Staff.StaffSymbol #'line-count = #4
5022 \override Staff.TimeSignature #'transparent = ##t
5023 \clef "hufnagel_fa2" c
5027 @code{clefs-hufnagel_do_fa} @tab
5028 historic style hufnagel combined do/fa clef @tab
5029 @code{hufnagel_do_fa} @tab
5030 @lilypond[relative,notime]
5031 \override Staff.TimeSignature #'transparent = ##t
5032 \clef "hufnagel_do_fa" c
5037 @c --- This should go somewhere else: ---
5038 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5041 @c @code{percussion}
5043 @c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
5045 @c @item modern style tab clef (glyph: @code{clefs-tab})
5050 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
5052 @emph{Modern style} means ``as is typeset in contemporary editions of
5053 transcribed mensural music''.
5055 @emph{Petrucci style} means ``inspired by printings published by the
5056 famous engraver Petrucci (1466-1539)''.
5058 @emph{Historic style} means ``as was typeset or written in historic
5059 editions (other than those of Petrucci)''.
5061 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5063 Petrucci used C clefs with differently balanced left-side vertical
5064 beams, depending on which staffline it is printed.
5068 In this manual: for the percussion clef, see @ref{Percussion staves}.
5069 For the @code{TAB} clef, see @ref{Tablatures}.
5071 Internals: for modern clefs, see @ref{Clef}.
5075 The mensural g clef is temporarily mapped to the Petrucci g clef,
5076 until a new mensural g clef will have been implemented.
5081 @subsection Ancient flags
5087 Use the @code{flag-style} property of grob @internalsref{Stem} to
5088 select ancient flags. Besides the @code{default} flag style,
5089 only @code{mensural} style is supported:
5091 @lilypond[fragment,raggedright,verbatim]
5092 \override Stem #'flag-style = #'mensural
5093 \override Stem #'thickness = #1.0
5094 \override NoteHead #'style = #'mensural
5096 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
5097 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5100 Note that the innermost flare of each mensural flag always is
5101 vertically aligned with a staff line. If you do not like this
5102 behaviour, you can set the @code{adjust-if-on-staffline} property of
5103 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5104 of the end of each flare is different between notes on staff lines and
5105 notes between staff lines:
5107 @lilypond[fragment,raggedright]
5108 \override Stem #'flag-style = #'mensural
5109 \override Stem #'thickness = #1.0
5110 \override Stem #'adjust-if-on-staffline = ##f
5111 \override NoteHead #'style = #'mensural
5113 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
5114 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5117 There is no particular flag style for neo-mensural notation. Hence,
5118 when typesetting e.g. the incipit of a transcibed piece of mensural
5119 music, the default flag style should be used. There are no flags in
5120 Gregorian Chant notation.
5123 @node Ancient time signatures
5124 @subsection Ancient time signatures
5126 @cindex time signatures
5130 There is limited support for mensural time signatures. The
5131 glyphs are hard-wired to particular time fractions. In other words,
5132 to get a particular mensural signature glyph with the @code{\time n/m}
5133 command, @code{n} and @code{m} have to be chosen according to the
5139 \set Score.timing = ##f
5140 \set Score.barAlways = ##t
5141 s_\markup { "$\\backslash$time 4/4" }
5142 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5144 s_\markup { "$\\backslash$time 2/2" }
5145 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5147 s_\markup { "$\\backslash$time 6/4" }
5148 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5150 s_\markup { "$\\backslash$time 6/8" }
5151 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5153 s_\markup { "$\\backslash$time 3/2" }
5154 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5156 s_\markup { "$\\backslash$time 3/4" }
5157 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5159 s_\markup { "$\\backslash$time 9/4" }
5160 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5162 s_\markup { "$\\backslash$time 9/8" }
5163 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5165 s_\markup { "$\\backslash$time 4/8" }
5166 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5168 s_\markup { "$\\backslash$time 2/4" }
5169 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5177 \remove Staff_symbol_engraver
5178 \remove Clef_engraver
5179 \remove Time_signature_engraver
5185 Use the @code{style} property of grob @internalsref{TimeSignature} to
5186 select ancient time signatures. Supported styles are
5187 @code{neo_mensural} and @code{mensural}. The above table uses the
5188 @code{neo_mensural} style. This style is appropriate e.g. for the
5189 incipit of transcriptions of mensural pieces. The @code{mensural}
5190 style mimicks the look of historical printings of the 16th century.
5192 @inputfileref{input/test,time.ly} gives an overview over all available
5193 ancient and modern styles.
5197 Internals: @ref{Time signature} gives a general introduction into the use of time
5202 Mensural signature glyphs are mapped to time fractions in a
5203 hard-wired way. This mapping is sensible, but still arbitrary: given
5204 a mensural time signature, the time fraction represents a modern meter
5205 that usually will be a good choice when transcribing a mensural piece
5206 of music. For a particular piece of mensural music, however, the
5207 mapping may be unsatisfactory. In particular, the mapping assumes a
5208 fixed transcription of durations (e.g. brevis = half note in 2/2,
5209 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5210 are not at all accessible through the @code{\time} command.
5212 Mensural time signatures are supported typographically, but not yet
5213 musically. The internal representation of durations is
5214 based on a purely binary system; a ternary division such as 1 brevis =
5215 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5216 prolatione maiori) is not correctly handled: event times in ternary
5217 modes will be badly computed, resulting e.g. in horizontally
5218 misaligned note heads, and bar checks are likely to erroneously fail.
5220 The syntax and semantics of the @code{\time} command for mensural
5221 music is subject to change.
5224 @subsection Custodes
5229 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5230 symbol that appears at the end of a staff. It anticipates the pitch
5231 of the first note(s) of the following line and thus helps the player
5232 or singer to manage line breaks during performance, thus enhancing
5233 readability of a score.
5235 Custodes were frequently used in music notation until the 17th
5236 century. Nowadays, they have survived only in a few particular forms
5237 of musical notation such as contemporary editions of Gregorian chant
5238 like the @emph{editio vaticana}. There are different custos glyphs
5239 used in different flavours of notational style.
5243 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5244 @internalsref{Staff} context when declaring the @code{\paper} block,
5245 as shown in the following example:
5251 \consists Custos_engraver
5252 Custos \override #'style = #'mensural
5257 The result looks like this:
5263 \override Staff.Custos #'style = #'mensural
5270 \consists Custos_engraver
5277 The custos glyph is selected by the @code{style} property. The styles
5278 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5279 @code{mensural}. They are demonstrated in the following fragment:
5289 { " " \musicglyph #"custodes-vaticana-u0" }
5293 { " " \musicglyph #"custodes-medicaea-u0" }
5297 { " " \musicglyph #"custodes-hufnagel-u0" }
5301 { " " \musicglyph #"custodes-mensural-u0" }
5310 \remove "Bar_number_engraver"
5314 \remove "Clef_engraver"
5315 \remove "Key_engraver"
5316 \remove "Time_signature_engraver"
5317 \remove "Staff_symbol_engraver"
5318 minimumVerticalExtent = ##f
5324 If the boolean property @code{adjust-if-on-staffline} is set to
5325 @code{#t} (which it is by default), lily typesets slightly different
5326 variants of the custos glyph, depending on whether the custos, is
5327 typeset on or between stafflines. The glyph will
5328 optically fit well into the staff, with the appendage on the right of
5329 the custos always ending at the same vertical position between two
5330 stafflines regardless of the pitch. If you set
5331 @code{adjust-if-on-staffline} to @code{#f}, then
5332 a compromise between both forms is used.
5334 Just like stems can be attached to noteheads in two directions
5335 @emph{up} and @emph{down}, each custos glyph is available with its
5336 appendage pointing either up or down. If the pitch of a custos is
5337 above a selectable position, the appendage will point downwards; if
5338 the pitch is below this position, the appendage will point upwards.
5339 Use property @code{neutral-position} to select this position. By
5340 default, it is set to @code{0}, such that the neutral position is the
5341 center of the staff. Use property @code{neutral-direction} to control
5342 what happens if a custos is typeset on the neutral position itself.
5343 By default, this property is set to @code{-1}, such that the appendage
5344 will point downwards. If set to @code{1}, the appendage will point
5345 upwards. Other values such as @code{0} are reserved for future
5346 extensions and should not be used.
5350 Internals: @internalsref{Custos}.
5352 Examples: @inputfileref{input/regression,custos.ly}.
5356 @subsection Divisiones
5362 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5363 `division') is a staff context symbol that is used to structure
5364 Gregorian music into phrases and sections. The musical meaning of
5365 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5366 can be characterized as short, medium and long pause, somewhat like
5367 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5368 a chant, but is also frequently used within a single
5369 antiphonal/responsorial chant to mark the end of each section.
5373 To use divisiones, include the file @code{gregorian-init.ly}. It
5374 contains definitions that you can apply by just inserting
5375 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5376 and @code{\finalis} at proper places in the input. Some editions use
5377 @emph{virgula} or @emph{caesura} instead of divisio minima.
5378 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5381 @lilypondfile[]{divisiones.ly}
5385 @cindex @code{\virgula}
5387 @cindex @code{\caesura}
5389 @cindex @code{\divisioMinima}
5390 @code{\divisioMinima},
5391 @cindex @code{\divisioMaior}
5392 @code{\divisioMaior},
5393 @cindex @code{\divisioMaxima}
5394 @code{\divisioMaxima},
5395 @cindex @code{\finalis}
5400 In this manual: @ref{Breath marks}.
5402 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5404 Examples: @inputfileref{input/test,divisiones.ly}.
5407 @subsection Ligatures
5411 @c TODO: Should double check if I recalled things correctly when I wrote
5412 @c down the following paragraph by heart.
5414 In musical terminology, a ligature is a coherent graphical symbol that
5415 represents at least two distinct notes. Ligatures originally appeared
5416 in the manuscripts of Gregorian chant notation roughly since the 9th
5417 century as an allusion to the accent symbols of greek lyric poetry to
5418 denote ascending or descending sequences of notes. Both, the shape
5419 and the exact meaning of ligatures changed tremendously during the
5420 following centuries: In early notation, ligatures were used for
5421 monophonic tunes (Gregorian chant) and very soon denoted also the way
5422 of performance in the sense of articulation. With upcoming
5423 multiphony, the need for a metric system arised, since multiple voices
5424 of a piece have to be synchronized some way. New notation systems
5425 were invented that used the manifold shapes of ligatures to now denote
5426 rhythmical patterns (e.g. black mensural notation, mannered notation,
5427 ars nova). With the invention of the metric system of the white
5428 mensural notation, the need for ligatures to denote such patterns
5429 disappeared. Nevertheless, ligatures were still in use in the
5430 mensural system for a couple of decades until they finally disappeared
5431 during the late 16th / early 17th century. Still, ligatures have
5432 survived in contemporary editions of Gregorian chant such as the
5433 Editio Vaticana from 1905/08.
5437 Syntactically, ligatures are simply enclosed by @code{\[} and
5438 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5439 additional input syntax specific for this particular type of ligature.
5440 By default, the @internalsref{LigatureBracket} engraver just puts a
5441 square bracket above the ligature:
5443 @lilypond[raggedright,verbatim]
5445 \notes \transpose c c' {
5453 To select a specific style of ligatures, a proper ligature engraver
5454 has to be added to the @internalsref{Voice} context, as explained in
5455 the following subsections. Only white mensural ligatures
5456 are supported with certain limitations. Support for Editio Vaticana
5457 will be added in the future.
5460 * White mensural ligatures::
5461 * Gregorian square neumes ligatures::
5464 @node White mensural ligatures
5465 @subsubsection White mensural ligatures
5467 @cindex Mensural ligatures
5468 @cindex White mensural ligatures
5470 There is limited support for white mensural ligatures. The
5471 implementation is still experimental; it may output strange
5472 warnings or even crash in some cases or produce weird results on more
5477 To engrave white mensural ligatures, in the paper block the
5478 @internalsref{Mensural_ligature_engraver} has to be put into the
5479 @internalsref{Voice} context, and remove the
5480 @internalsref{Ligature_bracket_engraver}:
5486 \remove Ligature_bracket_engraver
5487 \consists Mensural_ligature_engraver
5492 There is no additional input language to describe the shape of a
5493 white mensural ligature. The shape is rather determined solely from
5494 the pitch and duration of the enclosed notes. While this approach may
5495 take a new user a while to get accustomed, it has the great advantage
5496 that the full musical information of the ligature is known internally.
5497 This is not only required for correct MIDI output, but also allows for
5498 automatic transcription of the ligatures.
5503 \set Score.timing = ##f
5504 \set Score.defaultBarType = "empty"
5505 \override NoteHead #'style = #'neo_mensural
5506 \override Staff.TimeSignature #'style = #'neo_mensural
5508 \[ g\longa c\breve a\breve f\breve d'\longa \]
5510 \[ e1 f1 a\breve g\longa \]
5512 @lilypond[raggedright]
5514 \notes \transpose c c' {
5515 \set Score.timing = ##f
5516 \set Score.defaultBarType = "empty"
5517 \override NoteHead #'style = #'neo_mensural
5518 \override Staff.TimeSignature #'style = #'neo_mensural
5520 \[ g\longa c\breve a\breve f\breve d'\longa \]
5522 \[ e1 f1 a\breve g\longa \]
5527 \remove Ligature_bracket_engraver
5528 \consists Mensural_ligature_engraver
5534 Without replacing @internalsref{Ligature_bracket_engraver} with
5535 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5538 @lilypond[raggedright]
5540 \notes \transpose c c' {
5541 \set Score.timing = ##f
5542 \set Score.defaultBarType = "empty"
5543 \override NoteHead #'style = #'neo_mensural
5544 \override Staff.TimeSignature #'style = #'neo_mensural
5546 \[ g\longa c\breve a\breve f\breve d'\longa \]
5548 \[ e1 f1 a\breve g\longa \]
5554 @node Gregorian square neumes ligatures
5555 @subsubsection Gregorian square neumes ligatures
5557 @cindex Square neumes ligatures
5558 @cindex Gregorian square neumes ligatures
5560 Gregorian square neumes notation (following the style of the Editio
5561 Vaticana) is under heavy development, but not yet really usable for
5562 production purposes. Core ligatures can already be typeset, but
5563 essential issues for serious typesetting are still under development,
5564 such as (among others) horizontal alignment of multiple ligatures,
5565 lyrics alignment and proper accidentals handling. Still, this section
5566 gives a sneak preview of what Gregorian chant may look like once it
5569 The following table contains the extended neumes table of the 2nd
5570 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5571 1983 by the monks of Solesmes.
5573 @multitable @columnfractions .4 .2 .2 .2
5576 @b{Neuma aut@*Neumarum Elementa} @tab
5577 @b{Figurae@*Rectae} @tab
5578 @b{Figurae@*Liquescentes Auctae} @tab
5579 @b{Figurae@*Liquescentes Deminutae}
5581 @c TODO: \paper block is identical in all of the below examples.
5582 @c Therefore, it should somehow be included rather than duplicated all
5585 @c why not make identifiers in ly/engraver-init.ly? --hwn
5587 @c Because it's just used to typeset plain notes without
5588 @c a staff for demonstration purposes rather than something
5589 @c special of Gregorian chant notation. --jr
5594 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5595 \include "gregorian-init.ly"
5597 \notes \transpose c c' {
5600 \noBreak s^\markup {"a"} \noBreak
5602 % Punctum Inclinatum
5604 \noBreak s^\markup {"b"}
5610 \remove "Bar_number_engraver"
5614 \remove "Clef_engraver"
5615 \remove "Key_engraver"
5616 StaffSymbol \set #'transparent = ##t
5617 \remove "Time_signature_engraver"
5618 \remove "Bar_engraver"
5619 minimumVerticalExtent = ##f
5623 \remove Ligature_bracket_engraver
5624 \consists Vaticana_ligature_engraver
5625 NoteHead \set #'style = #'vaticana_punctum
5626 Stem \set #'transparent = ##t
5632 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5633 \include "gregorian-init.ly"
5635 \notes \transpose c c' {
5636 % Punctum Auctum Ascendens
5637 \[ \auctum \ascendens b \]
5638 \noBreak s^\markup {"c"} \noBreak
5640 % Punctum Auctum Descendens
5641 \[ \auctum \descendens b \]
5642 \noBreak s^\markup {"d"} \noBreak
5644 % Punctum Inclinatum Auctum
5645 \[ \inclinatum \auctum b \]
5646 \noBreak s^\markup {"e"}
5652 \remove "Bar_number_engraver"
5656 \remove "Clef_engraver"
5657 \remove "Key_engraver"
5658 StaffSymbol \set #'transparent = ##t
5659 \remove "Time_signature_engraver"
5660 \remove "Bar_engraver"
5661 minimumVerticalExtent = ##f
5665 \remove Ligature_bracket_engraver
5666 \consists Vaticana_ligature_engraver
5667 NoteHead \set #'style = #'vaticana_punctum
5668 Stem \set #'transparent = ##t
5674 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5675 \include "gregorian-init.ly"
5677 \notes \transpose c c' {
5678 % Punctum Inclinatum Parvum
5679 \[ \inclinatum \deminutum b \]
5680 \noBreak s^\markup {"f"}
5686 \remove "Bar_number_engraver"
5690 \remove "Clef_engraver"
5691 \remove "Key_engraver"
5692 StaffSymbol \set #'transparent = ##t
5693 \remove "Time_signature_engraver"
5694 \remove "Bar_engraver"
5695 minimumVerticalExtent = ##f
5699 \remove Ligature_bracket_engraver
5700 \consists Vaticana_ligature_engraver
5701 NoteHead \set #'style = #'vaticana_punctum
5702 Stem \set #'transparent = ##t
5711 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5712 \include "gregorian-init.ly"
5714 \notes \transpose c c' {
5717 \noBreak s^\markup {"g"}
5723 \remove "Bar_number_engraver"
5727 \remove "Clef_engraver"
5728 \remove "Key_engraver"
5729 StaffSymbol \set #'transparent = ##t
5730 \remove "Time_signature_engraver"
5731 \remove "Bar_engraver"
5732 minimumVerticalExtent = ##f
5736 \remove Ligature_bracket_engraver
5737 \consists Vaticana_ligature_engraver
5738 NoteHead \set #'style = #'vaticana_punctum
5739 Stem \set #'transparent = ##t
5748 @code{3. Apostropha vel Stropha}
5750 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5751 \include "gregorian-init.ly"
5753 \notes \transpose c c' {
5756 \noBreak s^\markup {"h"}
5762 \remove "Bar_number_engraver"
5766 \remove "Clef_engraver"
5767 \remove "Key_engraver"
5768 StaffSymbol \set #'transparent = ##t
5769 \remove "Time_signature_engraver"
5770 \remove "Bar_engraver"
5771 minimumVerticalExtent = ##f
5775 \remove Ligature_bracket_engraver
5776 \consists Vaticana_ligature_engraver
5777 NoteHead \set #'style = #'vaticana_punctum
5778 Stem \set #'transparent = ##t
5784 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5785 \include "gregorian-init.ly"
5787 \notes \transpose c c' {
5789 \[ \stropha \auctum b \]
5790 \noBreak s^\markup {"i"}
5796 \remove "Bar_number_engraver"
5800 \remove "Clef_engraver"
5801 \remove "Key_engraver"
5802 StaffSymbol \set #'transparent = ##t
5803 \remove "Time_signature_engraver"
5804 \remove "Bar_engraver"
5805 minimumVerticalExtent = ##f
5809 \remove Ligature_bracket_engraver
5810 \consists Vaticana_ligature_engraver
5811 NoteHead \set #'style = #'vaticana_punctum
5812 Stem \set #'transparent = ##t
5822 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5823 \include "gregorian-init.ly"
5825 \notes \transpose c c' {
5828 \noBreak s^\markup {"j"}
5834 \remove "Bar_number_engraver"
5838 \remove "Clef_engraver"
5839 \remove "Key_engraver"
5840 StaffSymbol \set #'transparent = ##t
5841 \remove "Time_signature_engraver"
5842 \remove "Bar_engraver"
5843 minimumVerticalExtent = ##f
5847 \remove Ligature_bracket_engraver
5848 \consists Vaticana_ligature_engraver
5849 NoteHead \set #'style = #'vaticana_punctum
5850 Stem \set #'transparent = ##t
5859 @code{5. Clivis vel Flexa}
5861 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5862 \include "gregorian-init.ly"
5864 \notes \transpose c c' {
5873 \remove "Bar_number_engraver"
5877 \remove "Clef_engraver"
5878 \remove "Key_engraver"
5879 StaffSymbol \set #'transparent = ##t
5880 \remove "Time_signature_engraver"
5881 \remove "Bar_engraver"
5882 minimumVerticalExtent = ##f
5886 \remove Ligature_bracket_engraver
5887 \consists Vaticana_ligature_engraver
5888 NoteHead \set #'style = #'vaticana_punctum
5889 Stem \set #'transparent = ##t
5895 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5896 \include "gregorian-init.ly"
5898 \notes \transpose c c' {
5899 % Clivis Aucta Descendens
5900 \[ b \flexa \auctum \descendens g \]
5901 \noBreak s^\markup {"l"} \noBreak
5903 % Clivis Aucta Ascendens
5904 \[ b \flexa \auctum \ascendens g \]
5905 \noBreak s^\markup {"m"}
5911 \remove "Bar_number_engraver"
5915 \remove "Clef_engraver"
5916 \remove "Key_engraver"
5917 StaffSymbol \set #'transparent = ##t
5918 \remove "Time_signature_engraver"
5919 \remove "Bar_engraver"
5920 minimumVerticalExtent = ##f
5924 \remove Ligature_bracket_engraver
5925 \consists Vaticana_ligature_engraver
5926 NoteHead \set #'style = #'vaticana_punctum
5927 Stem \set #'transparent = ##t
5933 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5934 \include "gregorian-init.ly"
5936 \notes \transpose c c' {
5938 \[ b \flexa \deminutum g \]
5945 \remove "Bar_number_engraver"
5949 \remove "Clef_engraver"
5950 \remove "Key_engraver"
5951 StaffSymbol \set #'transparent = ##t
5952 \remove "Time_signature_engraver"
5953 \remove "Bar_engraver"
5954 minimumVerticalExtent = ##f
5958 \remove Ligature_bracket_engraver
5959 \consists Vaticana_ligature_engraver
5960 NoteHead \set #'style = #'vaticana_punctum
5961 Stem \set #'transparent = ##t
5968 @code{6. Podatus vel Pes}
5970 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5971 \include "gregorian-init.ly"
5973 \notes \transpose c c' {
5982 \remove "Bar_number_engraver"
5986 \remove "Clef_engraver"
5987 \remove "Key_engraver"
5988 StaffSymbol \set #'transparent = ##t
5989 \remove "Time_signature_engraver"
5990 \remove "Bar_engraver"
5991 minimumVerticalExtent = ##f
5995 \remove Ligature_bracket_engraver
5996 \consists Vaticana_ligature_engraver
5997 NoteHead \set #'style = #'vaticana_punctum
5998 Stem \set #'transparent = ##t
6004 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6005 \include "gregorian-init.ly"
6007 \notes \transpose c c' {
6008 % Pes Auctus Descendens
6009 \[ g \pes \auctum \descendens b \]
6010 \noBreak s^\markup {"p"} \noBreak
6012 % Pes Auctus Ascendens
6013 \[ g \pes \auctum \ascendens b \]
6014 \noBreak s^\markup {"q"}
6020 \remove "Bar_number_engraver"
6024 \remove "Clef_engraver"
6025 \remove "Key_engraver"
6026 StaffSymbol \set #'transparent = ##t
6027 \remove "Time_signature_engraver"
6028 \remove "Bar_engraver"
6029 minimumVerticalExtent = ##f
6033 \remove Ligature_bracket_engraver
6034 \consists Vaticana_ligature_engraver
6035 NoteHead \set #'style = #'vaticana_punctum
6036 Stem \set #'transparent = ##t
6042 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6043 \include "gregorian-init.ly"
6045 \notes \transpose c c' {
6047 \[ g \pes \deminutum b \]
6054 \remove "Bar_number_engraver"
6058 \remove "Clef_engraver"
6059 \remove "Key_engraver"
6060 StaffSymbol \set #'transparent = ##t
6061 \remove "Time_signature_engraver"
6062 \remove "Bar_engraver"
6063 minimumVerticalExtent = ##f
6067 \remove Ligature_bracket_engraver
6068 \consists Vaticana_ligature_engraver
6069 NoteHead \set #'style = #'vaticana_punctum
6070 Stem \set #'transparent = ##t
6077 @code{7. Pes Quassus}
6079 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6080 \include "gregorian-init.ly"
6082 \notes \transpose c c' {
6084 \[ \oriscus g \pes \virga b \]
6091 \remove "Bar_number_engraver"
6095 \remove "Clef_engraver"
6096 \remove "Key_engraver"
6097 StaffSymbol \set #'transparent = ##t
6098 \remove "Time_signature_engraver"
6099 \remove "Bar_engraver"
6100 minimumVerticalExtent = ##f
6104 \remove Ligature_bracket_engraver
6105 \consists Vaticana_ligature_engraver
6106 NoteHead \set #'style = #'vaticana_punctum
6107 Stem \set #'transparent = ##t
6113 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6114 \include "gregorian-init.ly"
6116 \notes \transpose c c' {
6117 % Pes Quassus Auctus Descendens
6118 \[ \oriscus g \pes \auctum \descendens b \]
6125 \remove "Bar_number_engraver"
6129 \remove "Clef_engraver"
6130 \remove "Key_engraver"
6131 StaffSymbol \set #'transparent = ##t
6132 \remove "Time_signature_engraver"
6133 \remove "Bar_engraver"
6134 minimumVerticalExtent = ##f
6138 \remove Ligature_bracket_engraver
6139 \consists Vaticana_ligature_engraver
6140 NoteHead \set #'style = #'vaticana_punctum
6141 Stem \set #'transparent = ##t
6149 @code{8. Quilisma Pes}
6151 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6152 \include "gregorian-init.ly"
6154 \notes \transpose c c' {
6156 \[ \quilisma g \pes b \]
6163 \remove "Bar_number_engraver"
6167 \remove "Clef_engraver"
6168 \remove "Key_engraver"
6169 StaffSymbol \set #'transparent = ##t
6170 \remove "Time_signature_engraver"
6171 \remove "Bar_engraver"
6172 minimumVerticalExtent = ##f
6176 \remove Ligature_bracket_engraver
6177 \consists Vaticana_ligature_engraver
6178 NoteHead \set #'style = #'vaticana_punctum
6179 Stem \set #'transparent = ##t
6185 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6186 \include "gregorian-init.ly"
6188 \notes \transpose c c' {
6189 % Quilisma Pes Auctus Descendens
6190 \[ \quilisma g \pes \auctum \descendens b \]
6197 \remove "Bar_number_engraver"
6201 \remove "Clef_engraver"
6202 \remove "Key_engraver"
6203 StaffSymbol \set #'transparent = ##t
6204 \remove "Time_signature_engraver"
6205 \remove "Bar_engraver"
6206 minimumVerticalExtent = ##f
6210 \remove Ligature_bracket_engraver
6211 \consists Vaticana_ligature_engraver
6212 NoteHead \set #'style = #'vaticana_punctum
6213 Stem \set #'transparent = ##t
6221 @code{9. Podatus Initio Debilis}
6223 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6224 \include "gregorian-init.ly"
6226 \notes \transpose c c' {
6227 % Pes Initio Debilis
6228 \[ \deminutum g \pes b \]
6235 \remove "Bar_number_engraver"
6239 \remove "Clef_engraver"
6240 \remove "Key_engraver"
6241 StaffSymbol \set #'transparent = ##t
6242 \remove "Time_signature_engraver"
6243 \remove "Bar_engraver"
6244 minimumVerticalExtent = ##f
6248 \remove Ligature_bracket_engraver
6249 \consists Vaticana_ligature_engraver
6250 NoteHead \set #'style = #'vaticana_punctum
6251 Stem \set #'transparent = ##t
6257 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6258 \include "gregorian-init.ly"
6260 \notes \transpose c c' {
6261 % Pes Auctus Descendens Initio Debilis
6262 \[ \deminutum g \pes \auctum \descendens b \]
6269 \remove "Bar_number_engraver"
6273 \remove "Clef_engraver"
6274 \remove "Key_engraver"
6275 StaffSymbol \set #'transparent = ##t
6276 \remove "Time_signature_engraver"
6277 \remove "Bar_engraver"
6278 minimumVerticalExtent = ##f
6282 \remove Ligature_bracket_engraver
6283 \consists Vaticana_ligature_engraver
6284 NoteHead \set #'style = #'vaticana_punctum
6285 Stem \set #'transparent = ##t
6295 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6296 \include "gregorian-init.ly"
6298 \notes \transpose c c' {
6300 \[ a \pes b \flexa g \]
6307 \remove "Bar_number_engraver"
6311 \remove "Clef_engraver"
6312 \remove "Key_engraver"
6313 StaffSymbol \set #'transparent = ##t
6314 \remove "Time_signature_engraver"
6315 \remove "Bar_engraver"
6316 minimumVerticalExtent = ##f
6320 \remove Ligature_bracket_engraver
6321 \consists Vaticana_ligature_engraver
6322 NoteHead \set #'style = #'vaticana_punctum
6323 Stem \set #'transparent = ##t
6329 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6330 \include "gregorian-init.ly"
6332 \notes \transpose c c' {
6333 % Torculus Auctus Descendens
6334 \[ a \pes b \flexa \auctum \descendens g \]
6341 \remove "Bar_number_engraver"
6345 \remove "Clef_engraver"
6346 \remove "Key_engraver"
6347 StaffSymbol \set #'transparent = ##t
6348 \remove "Time_signature_engraver"
6349 \remove "Bar_engraver"
6350 minimumVerticalExtent = ##f
6354 \remove Ligature_bracket_engraver
6355 \consists Vaticana_ligature_engraver
6356 NoteHead \set #'style = #'vaticana_punctum
6357 Stem \set #'transparent = ##t
6363 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6364 \include "gregorian-init.ly"
6366 \notes \transpose c c' {
6367 % Torculus Deminutus
6368 \[ a \pes b \flexa \deminutum g \]
6375 \remove "Bar_number_engraver"
6379 \remove "Clef_engraver"
6380 \remove "Key_engraver"
6381 StaffSymbol \set #'transparent = ##t
6382 \remove "Time_signature_engraver"
6383 \remove "Bar_engraver"
6384 minimumVerticalExtent = ##f
6388 \remove Ligature_bracket_engraver
6389 \consists Vaticana_ligature_engraver
6390 NoteHead \set #'style = #'vaticana_punctum
6391 Stem \set #'transparent = ##t
6398 @code{11. Torculus Initio Debilis}
6400 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6401 \include "gregorian-init.ly"
6403 \notes \transpose c c' {
6404 % Torculus Initio Debilis
6405 \[ \deminutum a \pes b \flexa g \]
6412 \remove "Bar_number_engraver"
6416 \remove "Clef_engraver"
6417 \remove "Key_engraver"
6418 StaffSymbol \set #'transparent = ##t
6419 \remove "Time_signature_engraver"
6420 \remove "Bar_engraver"
6421 minimumVerticalExtent = ##f
6425 \remove Ligature_bracket_engraver
6426 \consists Vaticana_ligature_engraver
6427 NoteHead \set #'style = #'vaticana_punctum
6428 Stem \set #'transparent = ##t
6434 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6435 \include "gregorian-init.ly"
6437 \notes \transpose c c' {
6438 % Torculus Auctus Descendens Initio Debilis
6439 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6446 \remove "Bar_number_engraver"
6450 \remove "Clef_engraver"
6451 \remove "Key_engraver"
6452 StaffSymbol \set #'transparent = ##t
6453 \remove "Time_signature_engraver"
6454 \remove "Bar_engraver"
6455 minimumVerticalExtent = ##f
6459 \remove Ligature_bracket_engraver
6460 \consists Vaticana_ligature_engraver
6461 NoteHead \set #'style = #'vaticana_punctum
6462 Stem \set #'transparent = ##t
6468 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6469 \include "gregorian-init.ly"
6471 \notes \transpose c c' {
6472 % Torculus Deminutus Initio Debilis
6473 \[ \deminutum a \pes b \flexa \deminutum g \]
6480 \remove "Bar_number_engraver"
6484 \remove "Clef_engraver"
6485 \remove "Key_engraver"
6486 StaffSymbol \set #'transparent = ##t
6487 \remove "Time_signature_engraver"
6488 \remove "Bar_engraver"
6489 minimumVerticalExtent = ##f
6493 \remove Ligature_bracket_engraver
6494 \consists Vaticana_ligature_engraver
6495 NoteHead \set #'style = #'vaticana_punctum
6496 Stem \set #'transparent = ##t
6503 @code{12. Porrectus}
6505 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6506 \include "gregorian-init.ly"
6508 \notes \transpose c c' {
6510 \[ a \flexa g \pes b \]
6517 \remove "Bar_number_engraver"
6521 \remove "Clef_engraver"
6522 \remove "Key_engraver"
6523 StaffSymbol \set #'transparent = ##t
6524 \remove "Time_signature_engraver"
6525 \remove "Bar_engraver"
6526 minimumVerticalExtent = ##f
6530 \remove Ligature_bracket_engraver
6531 \consists Vaticana_ligature_engraver
6532 NoteHead \set #'style = #'vaticana_punctum
6533 Stem \set #'transparent = ##t
6539 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6540 \include "gregorian-init.ly"
6542 \notes \transpose c c' {
6543 % Porrectus Auctus Descendens
6544 \[ a \flexa g \pes \auctum \descendens b \]
6551 \remove "Bar_number_engraver"
6555 \remove "Clef_engraver"
6556 \remove "Key_engraver"
6557 StaffSymbol \set #'transparent = ##t
6558 \remove "Time_signature_engraver"
6559 \remove "Bar_engraver"
6560 minimumVerticalExtent = ##f
6564 \remove Ligature_bracket_engraver
6565 \consists Vaticana_ligature_engraver
6566 NoteHead \set #'style = #'vaticana_punctum
6567 Stem \set #'transparent = ##t
6573 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6574 \include "gregorian-init.ly"
6576 \notes \transpose c c' {
6577 % Porrectus Deminutus
6578 \[ a \flexa g \pes \deminutum b \]
6585 \remove "Bar_number_engraver"
6589 \remove "Clef_engraver"
6590 \remove "Key_engraver"
6591 StaffSymbol \set #'transparent = ##t
6592 \remove "Time_signature_engraver"
6593 \remove "Bar_engraver"
6594 minimumVerticalExtent = ##f
6598 \remove Ligature_bracket_engraver
6599 \consists Vaticana_ligature_engraver
6600 NoteHead \set #'style = #'vaticana_punctum
6601 Stem \set #'transparent = ##t
6610 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6611 \include "gregorian-init.ly"
6613 \notes \transpose c c' {
6615 \[ \virga b \inclinatum a \inclinatum g \]
6622 \remove "Bar_number_engraver"
6626 \remove "Clef_engraver"
6627 \remove "Key_engraver"
6628 StaffSymbol \set #'transparent = ##t
6629 \remove "Time_signature_engraver"
6630 \remove "Bar_engraver"
6631 minimumVerticalExtent = ##f
6635 \remove Ligature_bracket_engraver
6636 \consists Vaticana_ligature_engraver
6637 NoteHead \set #'style = #'vaticana_punctum
6638 Stem \set #'transparent = ##t
6644 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6645 \include "gregorian-init.ly"
6647 \notes \transpose c c' {
6649 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6656 \remove "Bar_number_engraver"
6660 \remove "Clef_engraver"
6661 \remove "Key_engraver"
6662 StaffSymbol \set #'transparent = ##t
6663 \remove "Time_signature_engraver"
6664 \remove "Bar_engraver"
6665 minimumVerticalExtent = ##f
6669 \remove Ligature_bracket_engraver
6670 \consists Vaticana_ligature_engraver
6671 NoteHead \set #'style = #'vaticana_punctum
6672 Stem \set #'transparent = ##t
6678 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6679 \include "gregorian-init.ly"
6681 \notes \transpose c c' {
6682 % Climacus Deminutus
6683 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6690 \remove "Bar_number_engraver"
6694 \remove "Clef_engraver"
6695 \remove "Key_engraver"
6696 StaffSymbol \set #'transparent = ##t
6697 \remove "Time_signature_engraver"
6698 \remove "Bar_engraver"
6699 minimumVerticalExtent = ##f
6703 \remove Ligature_bracket_engraver
6704 \consists Vaticana_ligature_engraver
6705 NoteHead \set #'style = #'vaticana_punctum
6706 Stem \set #'transparent = ##t
6713 @code{14. Scandicus}
6715 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6716 \include "gregorian-init.ly"
6718 \notes \transpose c c' {
6720 \[ g \pes a \virga b \]
6727 \remove "Bar_number_engraver"
6731 \remove "Clef_engraver"
6732 \remove "Key_engraver"
6733 StaffSymbol \set #'transparent = ##t
6734 \remove "Time_signature_engraver"
6735 \remove "Bar_engraver"
6736 minimumVerticalExtent = ##f
6740 \remove Ligature_bracket_engraver
6741 \consists Vaticana_ligature_engraver
6742 NoteHead \set #'style = #'vaticana_punctum
6743 Stem \set #'transparent = ##t
6749 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6750 \include "gregorian-init.ly"
6752 \notes \transpose c c' {
6753 % Scandicus Auctus Descendens
6754 \[ g \pes a \pes \auctum \descendens b \]
6761 \remove "Bar_number_engraver"
6765 \remove "Clef_engraver"
6766 \remove "Key_engraver"
6767 StaffSymbol \set #'transparent = ##t
6768 \remove "Time_signature_engraver"
6769 \remove "Bar_engraver"
6770 minimumVerticalExtent = ##f
6774 \remove Ligature_bracket_engraver
6775 \consists Vaticana_ligature_engraver
6776 NoteHead \set #'style = #'vaticana_punctum
6777 Stem \set #'transparent = ##t
6783 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6784 \include "gregorian-init.ly"
6786 \notes \transpose c c' {
6787 % Scandicus Deminutus
6788 \[ g \pes a \pes \deminutum b \]
6795 \remove "Bar_number_engraver"
6799 \remove "Clef_engraver"
6800 \remove "Key_engraver"
6801 StaffSymbol \set #'transparent = ##t
6802 \remove "Time_signature_engraver"
6803 \remove "Bar_engraver"
6804 minimumVerticalExtent = ##f
6808 \remove Ligature_bracket_engraver
6809 \consists Vaticana_ligature_engraver
6810 NoteHead \set #'style = #'vaticana_punctum
6811 Stem \set #'transparent = ##t
6820 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6821 \include "gregorian-init.ly"
6823 \notes \transpose c c' {
6825 \[ g \oriscus a \pes \virga b \]
6832 \remove "Bar_number_engraver"
6836 \remove "Clef_engraver"
6837 \remove "Key_engraver"
6838 StaffSymbol \set #'transparent = ##t
6839 \remove "Time_signature_engraver"
6840 \remove "Bar_engraver"
6841 minimumVerticalExtent = ##f
6845 \remove Ligature_bracket_engraver
6846 \consists Vaticana_ligature_engraver
6847 NoteHead \set #'style = #'vaticana_punctum
6848 Stem \set #'transparent = ##t
6854 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6855 \include "gregorian-init.ly"
6857 \notes \transpose c c' {
6858 % Salicus Auctus Descendens
6859 \[ g \oriscus a \pes \auctum \descendens b \]
6866 \remove "Bar_number_engraver"
6870 \remove "Clef_engraver"
6871 \remove "Key_engraver"
6872 StaffSymbol \set #'transparent = ##t
6873 \remove "Time_signature_engraver"
6874 \remove "Bar_engraver"
6875 minimumVerticalExtent = ##f
6879 \remove Ligature_bracket_engraver
6880 \consists Vaticana_ligature_engraver
6881 NoteHead \set #'style = #'vaticana_punctum
6882 Stem \set #'transparent = ##t
6892 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6893 \include "gregorian-init.ly"
6895 \notes \transpose c c' {
6897 \[ \stropha b \stropha b \stropha a \]
6904 \remove "Bar_number_engraver"
6908 \remove "Clef_engraver"
6909 \remove "Key_engraver"
6910 StaffSymbol \set #'transparent = ##t
6911 \remove "Time_signature_engraver"
6912 \remove "Bar_engraver"
6913 minimumVerticalExtent = ##f
6917 \remove Ligature_bracket_engraver
6918 \consists Vaticana_ligature_engraver
6919 NoteHead \set #'style = #'vaticana_punctum
6920 Stem \set #'transparent = ##t
6932 Unlike most other neumes notation systems, the input language for
6933 neumes does not necessarily reflect directly the typographical
6934 appearance, but is designed to solely focuse on musical meaning. For
6935 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6936 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6937 a Porrectus with a curved flexa shape and only a single Punctum head.
6938 There is no command to explicitly typeset the curved flexa shape; the
6939 decision of when to typeset a curved flexa shape is purely taken from
6940 the musical input. The idea of this approach is to separate the
6941 musical aspects of the input from the notation style of the output.
6942 This way, the same input can be reused to typeset the same music in a
6943 different style of Gregorian chant notation such as Hufnagel (also
6944 known as German gothic neumes) or Medicaea (kind of a very simple
6945 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6946 engraver and Medicaea ligature engraver will have been implemented, it
6947 will be as simple as replacing the ligature engraver in the
6948 @internalsref{Voice} context to get the desired notation style from
6951 The following table shows the code fragments that produce the
6952 ligatures in the above neumes table. The letter in the first column
6953 in each line of the below table indicates to which ligature in the
6954 above table it refers. The second column gives the name of the
6955 ligature. The third column shows the code fragment that produces this
6956 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6958 @multitable @columnfractions .1 .4 .5
6972 Punctum Inclinatum @tab
6973 @code{\[ \inclinatum b \]}
6977 Punctum Auctum Ascendens @tab
6978 @code{\[ \auctum \ascendens b \]}
6982 Punctum Auctum Descendens @tab
6983 @code{\[ \auctum \descendens b \]}
6987 Punctum Inclinatum Auctum @tab
6988 @code{\[ \inclinatum \auctum b \]}
6992 Punctum Inclinatum Parvum @tab
6993 @code{\[ \inclinatum \deminutum b \]}
6998 @code{\[ \virga b \]}
7003 @code{\[ \stropha b \]}
7008 @code{\[ \stropha \auctum b \]}
7013 @code{\[ \oriscus b \]}
7017 Clivis vel Flexa @tab
7018 @code{\[ b \flexa g \]}
7022 Clivis Aucta Descendens @tab
7023 @code{\[ b \flexa \auctum \descendens g \]}
7027 Clivis Aucta Ascendens @tab
7028 @code{\[ b \flexa \auctum \ascendens g \]}
7033 @code{\[ b \flexa \deminutum g \]}
7037 Podatus vel Pes @tab
7038 @code{\[ g \pes b \]}
7042 Pes Auctus Descendens @tab
7043 @code{\[ g \pes \auctum \descendens b \]}
7047 Pes Auctus Ascendens @tab
7048 @code{\[ g \pes \auctum \ascendens b \]}
7053 @code{\[ g \pes \deminutum b \]}
7058 @code{\[ \oriscus g \pes \virga b \]}
7062 Pes Quassus Auctus Descendens @tab
7063 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7068 @code{\[ \quilisma g \pes b \]}
7072 Quilisma Pes Auctus Descendens @tab
7073 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7077 Pes Initio Debilis @tab
7078 @code{\[ \deminutum g \pes b \]}
7082 Pes Auctus Descendens Initio Debilis @tab
7083 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7088 @code{\[ a \pes b \flexa g \]}
7092 Torculus Auctus Descendens @tab
7093 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7097 Torculus Deminutus @tab
7098 @code{\[ a \pes b \flexa \deminutum g \]}
7102 Torculus Initio Debilis @tab
7103 @code{\[ \deminutum a \pes b \flexa g \]}
7107 Torculus Auctus Descendens Initio Debilis @tab
7108 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7112 Torculus Deminutus Initio Debilis @tab
7113 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7118 @code{\[ a \flexa g \pes b \]}
7122 Porrectus Auctus Descendens @tab
7123 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7127 Porrectus Deminutus @tab
7128 @code{\[ a \flexa g \pes \deminutum b \]}
7133 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7137 Climacus Auctus @tab
7138 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7142 Climacus Deminutus @tab
7143 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7148 @code{\[ g \pes a \virga b \]}
7152 Scandicus Auctus Descendens @tab
7153 @code{\[ g \pes a \pes \auctum \descendens b \]}
7157 Scandicus Deminutus @tab
7158 @code{\[ g \pes a \pes \deminutum b \]}
7163 @code{\[ g \oriscus a \pes \virga b \]}
7167 Salicus Auctus Descendens @tab
7168 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7173 @code{\[ \stropha b \stropha b \stropha a \]}
7179 The following head prefixes are supported:
7181 @cindex @code{\virga}
7183 @cindex @code{\stropha}
7185 @cindex @code{\inclinatum}
7187 @cindex @code{\auctum}
7189 @cindex @code{\descendens}
7191 @cindex @code{\ascendens}
7193 @cindex @code{\oriscus}
7195 @cindex @code{\quilisma}
7197 @cindex @code{\deminutum}
7200 Head prefixes can be accumulated, though restrictions apply. For
7201 example, either @code{\descendens} or @code{\ascendens} can be applied
7202 to a head, but not both to the same head.
7205 @cindex @code{\flexa}
7206 Two adjacent heads can be tied together with the @code{\pes} and
7207 @code{\flexa} infix commands for a rising and falling line of melody,
7212 Trigonus: apply equal spacing, regardless of pitch.
7215 @subsection Figured bass
7217 @cindex Basso continuo
7219 @c TODO: musicological blurb about FB
7223 LilyPond has limited support for figured bass:
7225 @lilypond[verbatim,fragment]
7227 \context Voice \notes { \clef bass dis4 c d ais}
7228 \context FiguredBass
7230 < 6 >4 < 7 >8 < 6+ [_!] >
7236 The support for figured bass consists of two parts: there is an input
7237 mode, introduced by @code{\figures}, where you can enter bass figures
7238 as numbers, and there is a context called @internalsref{FiguredBass} that
7239 takes care of making @internalsref{BassFigure} objects.
7241 In figures input mode, a group of bass figures is delimited by
7242 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7247 \context FiguredBass
7251 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7258 \context FiguredBass
7259 \figures { <4- 6+ 7!> }
7262 Spaces or dashes may be inserted by using @code{_}. Brackets are
7263 introduced with @code{[} and @code{]}:
7269 \context FiguredBass
7270 \figures { < [4 6] 8 [_! 12]> }
7273 Although the support for figured bass may superficially resemble chord
7274 support, it works much simpler. The @code{\figures} mode simply
7275 stores the numbers , and @internalsref{FiguredBass} context prints
7276 them as entered. There is no conversion to pitches, and no
7277 realizations of the bass are played in the MIDI file.
7279 Internally, the code produces markup texts. You can use any of the
7280 markup text properties to override formatting. For example, the
7281 vertical spacing of the figures may be set with @code{baseline-skip}.
7285 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7286 and @internalsref{FiguredBass} context.
7290 Slash notation for alterations is not supported.
7293 @node Vaticana style contexts
7294 @subsection Vaticana style contexts
7296 @cindex VaticanaVoiceContext
7297 @cindex VaticanaStaffContext
7299 The predefined @code{VaticanaVoiceContext} and
7300 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7301 Gregorian Chant in the style of the Editio Vaticana. These contexts
7302 initialize all relevant context properties and grob properties to
7303 proper values. With these contexts, you can immediately go ahead
7304 entering the chant, as the following short excerpt demonstrates:
7306 @lilypond[raggedright,verbatim,noindent]
7307 \include "gregorian-init.ly"
7310 \context VaticanaVoice = "cantus" {
7311 \override Score.BarNumber #'transparent = ##t
7313 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7314 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7315 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7318 \lyricsto "cantus" \new Lyrics \lyrics {
7319 San- ctus, San- ctus, San- ctus
7325 @node Contemporary notation
7326 @section Contemporary notation
7328 In the 20th century, composers have greatly expanded the musical
7329 vocabulary. With this expansion, many innovations in musical notation
7330 have been tried. The book by Stone (1980) gives a comprehensive
7331 overview (see @ref{Literature list}). In general, the use of new,
7332 innovative notation makes a piece harder to understand and perform and
7333 its use should therefore be avoided if possible. For this reason,
7334 support for contemporary notation in LilyPond is limited.
7343 @subsection Clusters
7347 In musical terminology, a @emph{cluster} denotes a range of
7348 simultaneously sounding pitches that may change over time. The set of
7349 available pitches to apply usually depends on the accoustic source.
7350 Thus, in piano music, a cluster typically consists of a continous range
7351 of the semitones as provided by the piano's fixed set of a chromatic
7352 scale. In choral music, each singer of the choir typically may sing an
7353 arbitrary pitch within the cluster's range that is not bound to any
7354 diatonic, chromatic or other scale. In electronic music, a cluster
7355 (theoretically) may even cover a continuous range of pitches, thus
7356 resulting in coloured noise, such as pink noise.
7358 Clusters can be denoted in the context of ordinary staff notation by
7359 engraving simple geometrical shapes that replace ordinary notation of
7360 notes. Ordinary notes as musical events specify starting time and
7361 duration of pitches; however, the duration of a note is expressed by the
7362 shape of the note head rather than by the horizontal graphical extent of
7363 the note symbol. In contrast, the shape of a cluster geometrically
7364 describes the development of a range of pitches (vertical extent) over
7365 time (horizontal extent). Still, the geometrical shape of a cluster
7366 covers the area in wich any single pitch contained in the cluster would
7367 be notated as an ordinary note. From this point of view, it is
7368 reasonable to specify a cluster as the envelope of a set of notes.
7372 A cluster is engraved as the envelope of a set of
7373 cluster-notes. Cluster notes are created by applying the function
7374 @code{notes-to-clusters} to a sequence of chords, e.g.
7376 @lilypond[relative=1,verbatim]
7377 \apply #notes-to-clusters { <c e > <b f'> }
7380 The following example (from
7381 @inputfileref{input/regression,cluster.ly}) shows what the result
7384 @lilypondfile[]{cluster.ly}
7386 By default, @internalsref{Cluster_spanner_engraver} is in the
7387 @internalsref{Voice} context. This allows putting ordinary notes and
7388 clusters together in the same staff, even simultaneously. In such a
7389 case no attempt is made to automatically avoid collisions between
7390 ordinary notes and clusters.
7394 Internals: @internalsref{ClusterSpanner},
7395 @internalsref{ClusterSpannerBeacon},
7396 @internalsref{Cluster_spanner_engraver}, and
7397 @internalsref{ClusterNoteEvent}.
7399 Examples: @inputfileref{input/regression,cluster.ly}.
7403 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7404 accurately. Use @code{<g a>8 <e a>8} instead.
7409 @subsection Fermatas
7415 Contemporary music notation frequently uses special fermata symbols to
7416 indicate fermatas of differing lengths.
7420 The following are supported
7422 @lilypond[raggedright]
7424 << \addlyrics \notes {
7444 \context Lyrics \lyrics {
7445 "shortfermata" "fermata" "longfermata" "verylongfermata"
7450 See @ref{Articulations} for general instructions how to apply scripts
7451 such as fermatas to a @code{\notes@{@}} block.
7454 @node Special notation
7455 @section Special notation
7459 * Easy Notation note heads::
7463 @subsection Balloon help
7465 Elements of notation can be marked and named with the help of a square
7466 balloon. The primary purpose of this feature is to explain notation.
7468 The following example demonstrates its use.
7470 @lilypond[verbatim,fragment,raggedright,relative=1]
7473 #(add-balloon-text 'NoteHead "heads, or tails?"
7479 The function @code{add-balloon-text} takes the name of a grob, the
7480 label to print and where to put the label relative to the object. In
7481 the above example, the text ``heads or tails?'' ends 3 spaces below
7485 @cindex notation, explaining
7489 Internals: @internalsref{text-balloon-interface}.
7491 Examples: @inputfileref{input/regression,balloon.ly}.
7493 @node Easy Notation note heads
7494 @subsection Easy Notation note heads
7496 @cindex easy notation
7499 The `easy play' note head includes a note name inside the head. It is
7500 used in music aimed at beginners:
7502 @lilypond[raggedright,verbatim,staffsize=26]
7504 \notes { c'2 e'4 f' | g'1 }
7505 \paper { \translator { \EasyNotation } }
7509 The @code{EasyNotation} variable overrides a @internalsref{Score}
7510 context. To make the letters readable, it has to be printed in a
7511 large font size. To print with a larger font, see @ref{Font Size}.
7516 If you view the result with Xdvi, then staff lines may show through
7517 the letters. Printing the PostScript file obtained does produce the
7523 @section Tuning output
7525 There are situations where default layout decisions are not
7526 sufficient. In this section we discuss ways to override these
7529 Formatting is internally done by manipulating so called objects
7530 (graphic objects). Each object carries with it a set of properties
7531 (object or layout properties) specific to that object. For example, a
7532 stem object has properties that specify its direction, length and
7535 The most direct way of tuning the output is by altering the values of
7536 these properties. There are two ways of doing that: first, you can
7537 temporarily change the definition of one type of object, thus
7538 affecting a whole set of objects. Second, you can select one specific
7539 object, and set a layout property in that object.
7541 Do not confuse layout properties with translation
7542 properties. Translation properties always use a mixed caps style
7543 naming, and are manipulated using @code{\property}:
7545 \set Context.propertyName = @var{value}
7548 Layout properties are use Scheme style variable naming, i.e. lower
7549 case words separated with dashes. They are symbols, and should always
7550 be quoted using @code{#'}. For example, this could be an imaginary
7551 layout property name:
7553 #'layout-property-name
7558 The introduction of the @ref{Technical manual} gives a more in-depth
7559 treatment of the difference between translation and layout.
7563 * Constructing a tweak::
7570 @node Tuning objects
7571 @subsection Tuning objects
7573 @cindex object description
7575 The definition of an object is a list of default object
7576 properties. For example, the definition of the Stem object (available
7577 in @file{scm/define-grobs.scm}), includes the following definitions
7578 for @internalsref{Stem}:
7582 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7583 (Y-extent-callback . ,Stem::height)
7588 Adding variables on top of this existing definition overrides the
7589 system default, and alters the resulting appearance of the layout
7595 Changing a variable for only one object is commonly achieved with
7599 \once \override @var{context}.@var{objectname}
7600 @var{symbol} = @var{value}
7602 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7603 and @var{objectname} is a string and @var{value} is a Scheme expression.
7604 This command applies a setting only during one moment in the score.
7606 In the following example, only one @internalsref{Stem} object is
7607 changed from its original setting:
7609 @lilypond[verbatim,fragment,relative=1]
7611 \once \override Stem #'thickness = #4
7615 @cindex @code{\once}
7617 For changing more objects, the same command, without @code{\once} can
7620 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
7622 This command adds @code{@var{symbol} = @var{value}} to the definition
7623 of @var{objectname} in the context @var{context}, and this definition
7624 stays in place until it is removed.
7626 An existing definition may be removed by the following command:
7629 \property @var{context}.@var{objectname} \revert @var{symbol}
7632 All @code{\override} and @code{\revert} commands should be balanced.
7633 The @code{\set} shorthand performs a revert followed by an override,
7634 and is often more convenient to use
7637 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
7641 @lilypond[verbatim,quote]
7642 c'4 \override Stem #'thickness = #4.0
7644 c'4 \revert Stem #'thickness
7648 The following example gives exactly the same result as the previous
7649 one (assuming the system default for stem thickness is 1.3):
7651 @lilypond[verbatim,quote]
7652 c'4 \override Stem #'thickness = #4.0
7654 c'4 \override Stem #'thickness = #1.3
7658 Reverting a setting which was not set in the first place has no
7659 effect. However, if the setting was set as a system default, this may
7660 remove the default value, and this may give surprising results,
7661 including crashes. In other words, @code{\override} and
7662 @code{\revert} must be carefully balanced. The following are examples
7663 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7667 a clumsy but correct form:
7669 \override \revert \override \revert \override \revert
7673 shorter version of the same:
7675 \override \set \set \revert
7679 a short form, using only @code{\set}. This requires you to know the
7682 \set \set \set \set @var{to default value}
7686 if there is no default (i.e. by default, the object property is unset),
7689 \set \set \set \revert
7693 The object description is an Scheme association list. Since a Scheme
7694 list is a singly linked list, we can treat it as a stack, and
7695 @code{\override} and @code{\revert} are push and pop operations. The
7696 association list is stored in a normal context property, hence
7698 \set NoteHead = #'()
7700 will effectively erase @internalsref{NoteHead}s from the current
7701 @internalsref{Voice}. Typically, this will blank the object. However,
7702 this mechanism should not be used: it may cause crashes or other
7707 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7708 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7709 @internalsref{All-layout-objects}.
7714 The backend is not very strict in type-checking object properties.
7715 Cyclic references in Scheme values for properties cause hangs and/or
7716 crashes. Reverting properties that are system defaults may also lead
7720 * Constructing a tweak::
7726 @node Constructing a tweak
7727 @subsection Constructing a tweak
7730 @cindex internal documentation
7731 @cindex finding graphical objects
7732 @cindex graphical object descriptions
7734 @cindex @code{\override}
7736 @cindex internal documentation
7740 Three pieces of information are required to use @code{\override} and
7741 @code{\set}: the name of the layout object, the context and the name
7742 of the property. We demonstrate how to glean this information from
7743 the notation manual and the generated documentation.
7745 The generated documentation is a set of HTML pages which should be
7746 included if you installed a binary distribution, typically in
7747 @file{/usr/share/doc/lilypond}. They are also available on the web:
7748 go to the @uref{http://lilypond.org,LilyPond website}, click
7749 ``Documentation'', select the correct version, and click then
7750 ``Program reference.'' It is advisable to bookmark the local HTML
7751 files. They will load faster than the ones on the web. If you use the
7752 version from the web, you must check whether the documentation matches
7753 the program version: it is generated from the definitions that the
7754 program uses, and therefore it is strongly tied to the LilyPond
7758 @c [TODO: revise for new site.]
7760 Suppose we want to move the fingering indication in the fragment below:
7762 @lilypond[relative=2,verbatim]
7768 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7769 instructions}), you will notice that there is written:
7774 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7781 In other words, the fingerings once entered, are internally stored as
7782 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7783 layout object is created for every @code{FingerEvent}.
7785 The Fingering object has a number of different functions, and each of
7786 those is captured in an interface. The interfaces are listed under
7787 @internalsref{Fingering} in the program reference.
7791 The @code{Fingering} object has a fixed size
7792 (@internalsref{item-interface}), the symbol is a piece of text
7793 (@internalsref{text-interface}), whose font can be set
7794 (@internalsref{font-interface}). It is centered horizontally
7795 (@internalsref{self-alignment-interface}), it is placed next to other
7796 objects (@internalsref{side-position-interface}) vertically, and its
7797 placement is coordinated with other scripts
7798 (@internalsref{text-script-interface}). It also has the standard
7799 @internalsref{grob-interface} (grob stands for Graphical object)
7801 @cindex graphical object
7802 @cindex layout object
7803 @cindex object, layout
7804 with all the variables that come with
7805 it. Finally, it denotes a fingering instruction, so it has
7806 @internalsref{finger-interface}.
7808 For the vertical placement, we have to look under
7809 @code{side-position-interface}:
7811 @code{side-position-interface}
7813 Position a victim object (this one) next to other objects (the
7814 support). In this case, the property @code{direction} signifies where to put the
7815 victim object relative to the support (left or right, up or down?)
7820 below this description, the variable @code{padding} is described as
7824 (dimension, in staff space)
7826 add this much extra space between objects that are next to each
7827 other. Default value: @code{0.6}
7831 By increasing the value of @code{padding}, we can move away the
7832 fingering. The following command inserts 3 staff spaces of white
7833 between the note and the fingering:
7835 \once \override Fingering #'padding = #3
7838 Inserting this command before the Fingering object is created,
7839 i.e. before @code{c2}, yields the following result:
7841 @lilypond[relative=2,fragment,verbatim]
7842 \once \override Fingering
7849 The context name @code{Voice} in the example above can be determined
7850 as follows. In the documentation for @internalsref{Fingering}, it says
7852 Fingering grobs are created by: @internalsref{Fingering_engraver}
7855 Clicking @code{Fingering_engraver} shows the documentation of
7856 the module responsible for interpreting the fingering instructions and
7857 translating them to a @code{Fingering} object. Such a module is called
7858 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7861 Fingering_engraver is part of contexts: Voice
7863 so tuning the settings for Fingering should be done with
7865 \override Fingering @dots{}
7868 Of course, the tweak may also done in a larger context than
7869 @code{Voice}, for example, @internalsref{Staff} or
7870 @internalsref{Score}.
7874 Internals: the program reference also contains alphabetical lists of
7875 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7876 @internalsref{Music-expressions}, so you can also find which objects
7877 to tweak by browsing the internals document.
7881 @subsection Applyoutput
7883 The most versatile way of tuning an object is @code{\applyoutput}. Its
7886 \applyoutput @var{proc}
7890 where @var{proc} is a Scheme function, taking three arguments.
7892 When interpreted, the function @var{proc} is called for every layout
7893 object found in the context, with the following arguments:
7895 @item the layout object itself,
7896 @item the context where the layout object was created, and
7897 @item the context where @code{\applyoutput} is processed.
7901 In addition, the cause of the layout object, i.e. the music
7902 expression or object that was responsible for creating it, is in the
7903 object property @code{cause}. For example, for a note head, this is a
7904 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7905 this is a @internalsref{NoteHead} object.
7907 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7910 (define (blanker grob grob-origin context)
7911 (if (and (memq (ly:get-grob-property grob 'interfaces)
7912 note-head-interface)
7913 (eq? (ly:get-grob-property grob 'staff-position) 0))
7915 (ly:set-grob-property! grob 'transparent #t)))
7920 @node Font selection
7921 @subsection Font selection
7923 The most common thing to change about the appearance of fonts is their
7924 size. The font size of any context can be easily changed by setting
7925 the @code{fontSize} property for that context. Its value is a number:
7926 negative numbers make the font smaller, positive numbers larger. An
7927 example is given below:
7929 @lilypond[fragment,relative=1,verbatim,quote]
7930 c4 c4 \set fontSize = #-1
7933 This command will set @code{font-size} (see below), and does
7934 not change the size of variable symbols, such as beams or slurs.
7936 One of the uses of @code{fontSize} is to get smaller symbols for cue
7937 notes. An elaborate example of those is in
7938 @inputfileref{input/test,cue-notes.ly}.
7940 @cindex magnification
7943 The font used for printing a object can be selected by setting
7944 @code{font-name}, e.g.
7946 \override Staff.TimeSignature
7947 #'font-name = #"cmr17"
7951 Any font can be used, as long as it is available to @TeX{}. Possible
7952 fonts include foreign fonts or fonts that do not belong to the
7953 Computer Modern font family. The size of fonts selected in this way
7954 can be changed with the @code{font-magnification} property. For
7955 example, @code{2.0} blows up all letters by a factor 2 in both
7959 @cindex font magnification
7961 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7962 can also be adjusted with a more fine-grained mechanism. By setting
7963 the object properties described below, you can select a different font;
7964 all three mechanisms work for every object that supports
7965 @code{font-interface}:
7970 is a symbol indicating the general class of the typeface. Supported are
7971 @code{roman} (Computer Modern), @code{braces} (for piano staff
7972 braces), @code{music} (the standard music font, including ancient
7973 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7976 is a symbol indicating the shape of the font, there are typically several
7977 font shapes available for each font family. Choices are @code{italic},
7978 @code{caps} and @code{upright}.
7981 is a symbol indicating the series of the font. There are typically several
7982 font series for each font family and shape. Choices are @code{medium}
7987 For any of these properties, the value @code{*} (i.e. the symbol
7988 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7989 to override default setting, which are always present. For example:
7991 \override Lyrics .LyricText #'font-series = #'bold
7992 \override Lyrics .LyricText #'font-family = #'typewriter
7993 \override Lyrics .LyricText #'font-shape = #'*
7996 @cindex @code{font-style}
7998 The font size is set by modifying the @code{font-size} property. Its
7999 value is a number indicating the size relative to the standard size.
8000 Each step up is an increase of approximately 12% of the font size. Six
8001 steps is exactly a factor two. The Scheme function @code{magstep}
8002 converts a @code{font-size} number to a scaling factor.
8004 LilyPond has fonts in different design sizes: the music fonts for
8005 smaller sizes are chubbier, while the text fonts are relatively wider.
8006 Font size changes are achieved by scaling the design size that is
8007 closest to the desired size.
8009 The @code{font-size} mechanism does not work for fonts selected
8010 through @code{font-name}. These may be scaled with
8011 @code{font-magnification}.
8015 The following commands set @code{fontSize} for the current voice.
8017 @cindex @code{\tiny}
8019 @cindex @code{\small}
8021 @cindex @code{\normalsize}
8026 Init files: @file{ly/declarations-init.ly} contains hints how new
8027 fonts may be added to LilyPond.
8031 There is no style sheet provided for other fonts besides the @TeX{}
8032 Computer Modern family.
8034 @cindex font selection
8035 @cindex font magnification
8036 @cindex @code{font-interface}
8040 @section Text markup
8045 @cindex typeset text
8047 LilyPond has an internal mechanism to typeset texts. You can access it
8048 with the keyword @code{\markup}. Within markup mode, you can enter texts
8049 similar to lyrics: simply enter them, surrounded by spaces:
8052 @lilypond[verbatim,fragment,relative=1]
8053 c1^\markup { hello }
8054 c1_\markup { hi there }
8055 c1^\markup { hi \bold there, is \italic anyone home? }
8058 @cindex font switching
8060 The markup in the example demonstrates font switching commands. The
8061 command @code{\bold} and @code{\italic} only apply to the first
8062 following word; enclose a set of texts with braces to apply a command
8065 \markup @{ \bold @{ hi there @} @}
8069 For clarity, you can also do this for single arguments, e.g.
8072 \markup { is \italic { anyone } home }
8075 @cindex font size, texts
8078 In markup mode you can compose expressions, similar to mathematical
8079 expressions, XML documents and music expressions. The braces group
8080 notes into horizontal lines. Other types of lists also exist: you can
8081 stack expressions grouped with @code{<}, and @code{>} vertically with
8082 the command @code{\column}. Similarly, @code{\center} aligns texts by
8085 @lilypond[verbatim,fragment,relative=1]
8086 c1^\markup { \column < a bbbb c > }
8087 c1^\markup { \center < a bbbb c > }
8088 c1^\markup { \line < a b c > }
8092 Markups can be stored in variables, and these variables
8093 may be attached to notes, like
8095 allegro = \markup { \bold \large { Allegro } }
8096 \notes { a^\allegro b c d }
8100 Some objects have alignment procedures of their own, which cancel out
8101 any effects of alignments applied to their markup arguments as a
8102 whole. For example, the @internalsref{RehearsalMark} is horizontally
8103 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8104 effect. Similarly, whole texts over notes cannot be moved vertically
8105 with @code{\raise}. For moving and aligning complete objects, grob
8106 properties should be used.
8112 Init files: @file{scm/new-markup.scm}.
8117 Text layout is ultimately done by @TeX{}, which does kerning of
8118 letters. LilyPond does not account for kerning, so texts will be
8119 spaced slightly too wide.
8121 Syntax errors for markup mode are confusing.
8123 Markup texts cannot be used in the titling of the @code{\header}
8124 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8130 * Overview of text markup commands::
8131 * Markup construction in scheme::
8132 * Markup command definition::
8135 @node Overview of text markup commands
8136 @subsection Overview of text markup commands
8138 @include markup-commands.tely
8140 @node Markup construction in scheme
8141 @subsection Markup construction in scheme
8143 @cindex defining markup commands
8145 The @code{markup} macro builds markup expressions in Scheme while
8146 providing a LilyPond-like syntax. For example,
8148 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
8149 #:bigger #:line ("foo" "bar" "baz")))
8155 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
8156 \bigger @{ foo bar baz @} >
8160 This example exposes the main translation rules between regular
8161 LilyPond markup syntax and scheme markup syntax, which are summed up
8163 @multitable @columnfractions .5 .5
8164 @item @b{LilyPond} @tab @b{Scheme}
8165 @item @code{\command} @tab @code{#:command}
8166 @item @code{\variable} @tab @code{variable}
8167 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
8168 @item @code{\center < ... >} @tab @code{#:center ( ... )}
8169 @item @code{string} @tab @code{"string"}
8170 @item @code{#scheme-arg} @tab @code{scheme-arg}
8173 Besides, the whole scheme language is accessible inside the
8174 @code{markup} macro: thus, one may use function calls inside
8175 @code{markup} in order to manipulate character strings for
8176 instance. This proves useful when defining new markup commands (see
8177 @ref{Markup command definition}).
8181 One can not feed the @code{#:line} (resp @code{#:center},
8182 @code{#:column}) command with a variable or the result of a function
8185 (markup #:line (fun-that-returns-markups))
8187 is illegal. One should use the @code{make-line-markup} (resp
8188 @code{make-center-markup}, @code{make-column-markup}) function
8191 (markup (make-line-markup (fun-that-returns-markups)))
8194 @node Markup command definition
8195 @subsection Markup command definition
8197 New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
8199 (def-markup-command (@var{command-name} @var{paper} @var{props} @var{arg1} @var{arg2} ...)
8200 (@var{arg1-type?} @var{arg2-type?} ...)
8203 @var{argi}: i@var{th} command argument
8204 @var{argi-type?}: a type predicate for the i@var{th} argument
8205 @var{paper}: the `paper' definition
8206 @var{props}: a list of alists, containing all active properties.
8209 As a simple example, we show how to add a @code{\smallcaps} command,
8210 which selects @TeX{}'s small caps font. Normally, we could select the
8211 small caps font as follows:
8214 \markup { \override #'(font-shape . caps) Text-in-caps }
8217 This selects the caps font by setting the @code{font-shape} property to
8218 @code{#'caps} for interpreting @code{Text-in-caps}.
8220 To make the above available as @code{\smallcaps} command, we have to
8221 define a function using @code{def-markup-command}. The command should
8222 take a single argument, of markup type. Therefore, the start of the
8223 definition should read
8225 (def-markup-command (smallcaps paper props argument) (markup?)
8230 What follows is the content of the command: we should interpret
8231 the @code{argument} as a markup, i.e.
8234 (interpret-markup paper @dots{} argument)
8238 This interpretation should add @code{'(font-shape . caps)} to the active
8239 properties, so we substitute the the following for the @dots{} in the
8243 (cons (list '(font-shape . caps) ) props)
8247 The variable @code{props} is a list of alists, and we prepend to it by
8248 consing a list with the extra setting.
8250 However, suppose that we are using a font that does not have a
8251 small-caps variant. In that case, we have to fake the small caps font,
8252 by setting a string in upcase, with the first letter a little larger:
8255 #(def-markup-command (smallcaps paper props str) (string?)
8256 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8257 (interpret-markup paper props
8260 (if (= (string-length s) 0)
8262 (markup #:large (string-upcase (substring s 0 1))
8263 #:translate (cons -0.6 0)
8264 #:tiny (string-upcase (substring s 1)))))
8265 (string-split str #\Space)))))
8268 The @code{smallcaps} command first splits its string argument into
8269 tokens separated by spaces (@code{(string-split str #\Space)}); for
8270 each token, a markup is built with the first letter made large and
8271 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
8272 second markup built with the following letters made tiny and upcased
8273 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
8274 introduces a space between markups on a line, the second markup is
8275 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
8276 the markups built for each token are put in a line
8277 (@code{(make-line-markup ...)}). Finally, the resulting markup is
8278 passed to the @code{interpret-markup} function, with the @code{paper}
8279 and @code{props} arguments.
8281 Finally, suppose that we are typesetting a recitative in an opera, and
8282 we would like to define a command that will show character names in a
8283 custom manner. Names should be printed with small caps and translated a
8284 bit to the left and top. We will define a @code{\character} command
8285 that takes into account the needed translation, and uses the newly
8286 defined @code{\smallcaps} command:
8289 #(def-markup-command (character paper props name) (string?)
8290 "Print the character name in small caps, translated to the left and
8291 top. Syntax: \\character #\"name\""
8292 (interpret-markup paper props
8293 (markup "" #:translate (cons -4 2) #:smallcaps name)))
8296 There is one complication that needs explanation: texts above and below
8297 the staff are moved vertically to be at a certain distance (the
8298 @code{padding} property) from the staff and the notes. To make sure
8299 that this mechanism does not annihilate the vertical effect of our
8300 @code{#:translate}, we add an empty string (@code{""}) before the
8301 translated text. Now the @code{""} will be put above the notes, and the
8302 @code{name} is moved in relation to that empty string. The net effect is
8303 that the text is moved to the upper left.
8305 The final result is as follows:
8309 c''^\markup \character #"Cleopatra"
8310 e'^\markup \character #"Giulio Cesare"
8315 @lilypond[raggedright]
8316 #(def-markup-command (smallcaps paper props str) (string?)
8317 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8318 (interpret-markup paper props
8321 (if (= (string-length s) 0)
8323 (markup #:large (string-upcase (substring s 0 1))
8324 #:translate (cons -0.6 0)
8325 #:tiny (string-upcase (substring s 1)))))
8326 (string-split str #\Space)))))
8328 #(def-markup-command (character paper props name) (string?)
8329 "Print the character name in small caps, translated to the left and
8330 top. Syntax: \\character #\"name\""
8331 (interpret-markup paper props
8332 (markup "" #:translate (cons -4 0) #:smallcaps name)))
8336 c''^\markup \character #"Cleopatra"
8337 e'^\markup \character #"Giulio Cesare"
8345 @section Global layout
8347 The global layout determined by three factors: the page layout, the
8348 line breaks and the spacing. These all influence each other. The
8349 choice of spacing determines how densely each system of music is set,
8350 which influences where line breaks breaks are chosen, and thus
8351 ultimately how many pages a piece of music takes. This section
8352 explains how to tune the algorithm for spacing.
8354 Globally spoken, this procedure happens in three steps: first,
8355 flexible distances (``springs'') are chosen, based on durations. All
8356 possible line breaking combination are tried, and the one with the
8357 best results---a layout that has uniform density and requires as
8358 little stretching or cramping as possible---is chosen. When the score
8359 is processed by @TeX{}, each page is filled with systems, and page breaks
8360 are chosen whenever the page gets full.
8365 * Vertical spacing::
8366 * Horizontal spacing::
8373 @node Vertical spacing
8374 @subsection Vertical spacing
8376 @cindex vertical spacing
8377 @cindex distance between staves
8378 @cindex staff distance
8379 @cindex between staves, distance
8380 @cindex staffs per page
8381 @cindex space between staves
8383 The height of each system is determined automatically by LilyPond, to
8384 keep systems from bumping into each other, some minimum distances are
8385 set. By changing these, you can put staves closer together, and thus
8386 put more systems onto one page.
8388 Normally staves are stacked vertically. To make
8389 staves maintain a distance, their vertical size is padded. This is
8390 done with the property @code{minimumVerticalExtent}. It takes a pair
8391 of numbers, so if you want to make it smaller from its, then you could
8394 \set Staff.minimumVerticalExtent = #'(-4 . 4)
8396 This sets the vertical size of the current staff to 4 staff spaces on
8397 either side of the center staff line. The argument of
8398 @code{minimumVerticalExtent} is interpreted as an interval, where the
8399 center line is the 0, so the first number is generally negative. The
8400 staff can be made larger at the bottom by setting it to @code{(-6
8403 The piano staves are handled a little differently: to make cross-staff
8404 beaming work correctly, it is necessary that the distance between staves
8405 is fixed beforehand. This is also done with a
8406 @internalsref{VerticalAlignment} object, created in
8407 @internalsref{PianoStaff}. In this object the distance between the
8408 staves is fixed by setting @code{forced-distance}. If you want to
8409 override this, use a @code{\translator} block as follows:
8413 VerticalAlignment \override #'forced-distance = #9
8416 This would bring the staves together at a distance of 9 staff spaces,
8417 measured from the center line of each staff.
8421 Internals: Vertical alignment of staves is handled by the
8422 @internalsref{VerticalAlignment} object.
8426 @node Horizontal spacing
8427 @subsection Horizontal Spacing
8429 The spacing engine translates differences in durations into
8430 stretchable distances (``springs'') of differing lengths. Longer
8431 durations get more space, shorter durations get less. The shortest
8432 durations get a fixed amount of space (which is controlled by
8433 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8434 The longer the duration, the more space it gets: doubling a
8435 duration adds a fixed amount (this amount is controlled by
8436 @code{spacing-increment}) of space to the note.
8438 For example, the following piece contains lots of half, quarter and
8439 8th notes, the eighth note is followed by 1 note head width (NHW).
8440 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8441 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8445 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8446 width of a note head, and @code{shortest-duration-space} is set to
8447 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8448 @code{shortest-duration-space}) of space. For normal notes, this space
8449 is always counted from the left edge of the symbol, so the shortest
8450 notes are generally followed by one NHW of space.
8452 If one would follow the above procedure exactly, then adding a single
8453 32th note to a score that uses 8th and 16th notes, would widen up the
8454 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8455 thus adding 1 NHW to every note. To prevent this, the
8456 shortest duration for spacing is not the shortest note in the score,
8457 but the most commonly found shortest note. Notes that are even
8458 shorter this are followed by a space that is proportional to their
8459 duration relative to the common shortest note. So if we were to add
8460 only a few 16th notes to the example above, they would be followed by
8463 @lilypond[fragment,verbatim,relative=2]
8464 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8467 The most common shortest duration is determined as follows: in every
8468 measure, the shortest duration is determined. The most common short
8469 duration, is taken as the basis for the spacing, with the stipulation
8470 that this shortest duration should always be equal to or shorter than
8471 1/8th note. The shortest duration is printed when you run lilypond
8472 with @code{--verbose}. These durations may also be customized. If you
8473 set the @code{common-shortest-duration} in
8474 @internalsref{SpacingSpanner}, then this sets the base duration for
8475 spacing. The maximum duration for this base (normally 1/8th), is set
8476 through @code{base-shortest-duration}.
8478 @cindex @code{common-shortest-duration}
8479 @cindex @code{base-shortest-duration}
8480 @cindex @code{stem-spacing-correction}
8481 @cindex @code{spacing}
8483 In the introduction it was explained that stem directions influence
8484 spacing. This is controlled with @code{stem-spacing-correction}
8485 property in @internalsref{NoteSpacing}, which are generated for every
8486 @internalsref{Voice} context. The @code{StaffSpacing} object
8487 (generated at @internalsref{Staff} context) contains the same property
8488 for controlling the stem/barline spacing. The following example
8489 shows these corrections, once with default settings, and once with
8490 exaggerated corrections:
8496 \override Staff.NoteSpacing #'stem-spacing-correction
8498 \override Staff.StaffSpacing #'stem-spacing-correction
8503 \paper { raggedright = ##t } }
8506 @cindex SpacingSpanner, overriding properties
8508 Properties of the @internalsref{SpacingSpanner} must be overridden
8509 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8510 created before any @code{\property} statements are interpreted.
8512 \paper @{ \translator @{
8514 SpacingSpanner \override #'spacing-increment = #3.0
8521 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8522 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8523 @internalsref{SeparatingGroupSpanner}.
8527 Spacing is determined on a score wide basis. If you have a score that
8528 changes its character (measured in durations) halfway during the
8529 score, the part containing the longer durations will be spaced too
8532 There is no convenient mechanism to manually override spacing.
8537 @subsection Font size
8538 @cindex font size, setting
8539 @cindex staff size, setting
8540 @cindex @code{paper} file
8542 The Feta font provides musical symbols at eight seven different
8543 sizes. Each font is tuned for a different staff size: at smaller sizes
8544 the font gets heavier, to match the relatively heavier staff lines.
8545 The recommended font sizes are listed in the following table:
8547 @multitable @columnfractions .25 .25 .25 .25
8550 @tab @b{staff height (pt)}
8551 @tab @b{staff height (mm)}
8593 @c modern rental material ?
8597 These fonts are available in any sizes. The context property
8598 @code{fontSize} and the layout property @code{staff-space} (in
8599 @internalsref{StaffSymbol}) can be used to tune size for individual
8600 staffs. The size of individual staffs are relative to the global size,
8601 which can be set in the following manner:
8604 #(set-global-staff-size 14)
8607 This sets the global default size to 14pt staff height, and scales all
8613 @subsection Line breaking
8616 @cindex breaking lines
8618 Line breaks are normally computed automatically. They are chosen such
8619 that lines look neither cramped nor loose, and that consecutive lines
8620 have similar density.
8622 Occasionally you might want to override the automatic breaks; you can
8623 do this by specifying @code{\break}. This will force a line break at
8624 this point. Line breaks can only occur at places where there are bar
8625 lines. If you want to have a line break where there is no bar line,
8626 you can force an invisible bar line by entering @code{\bar
8627 ""}. Similarly, @code{\noBreak} forbids a line break at a
8631 @cindex regular line breaks
8632 @cindex four bar music.
8634 For linebreaks at regular intervals use @code{\break} separated by
8635 skips and repeated with @code{\repeat}:
8637 << \repeat unfold 7 @{
8638 s1 \noBreak s1 \noBreak
8639 s1 \noBreak s1 \break @}
8640 @emph{the real music}
8645 This makes the following 28 measures (assuming 4/4 time) be broken every
8646 4 measures, and only there.
8650 @code{\break}, @code{\noBreak}
8651 @cindex @code{\break}
8652 @cindex @code{\noBreak}
8656 Internals: @internalsref{BreakEvent}.
8660 @subsection Page layout
8663 @cindex breaking pages
8665 @cindex @code{indent}
8666 @cindex @code{linewidth}
8668 The most basic settings influencing the spacing are @code{indent} and
8669 @code{linewidth}. They are set in the @code{\paper} block. They
8670 control the indentation of the first line of music, and the lengths of
8673 If @code{raggedright} is set to true in the @code{\paper}
8674 block, then the lines are justified at their natural length. This
8675 useful for short fragments, and for checking how tight the natural
8679 @cindex vertical spacing
8681 The page layout process happens outside the LilyPond formatting
8682 engine: variables controlling page layout are passed to the output,
8683 and are further interpreted by @code{lilypond} wrapper program. It
8684 responds to the following variables in the @code{\paper} block. The
8685 variable @code{textheight} sets the total height of the music on each
8686 page. The spacing between systems is controlled with
8687 @code{interscoreline}, its default is 16pt. The distance between the
8688 score lines will stretch in order to fill the full page
8689 @code{interscorelinefill} is set to a positive number. In that case
8690 @code{interscoreline} specifies the minimum spacing.
8692 @cindex @code{textheight}
8693 @cindex @code{interscoreline}
8694 @cindex @code{interscorelinefill}
8696 If the variable @code{lastpagefill} is defined,
8697 @c fixme: this should only be done if lastpagefill= #t
8698 systems are evenly distributed vertically on the last page. This
8699 might produce ugly results in case there are not enough systems on the
8700 last page. The @command{lilypond-book} command ignores
8701 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8704 @cindex @code{lastpagefill}
8706 Page breaks are normally computed by @TeX{}, so they are not under
8707 direct control of LilyPond. However, you can insert a commands into
8708 the @file{.tex} output to instruct @TeX{} where to break pages. This
8709 is done by setting the @code{between-systems-strings} on the
8710 @internalsref{NonMusicalPaperColumn} where the system is broken.
8711 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8712 The predefined command @code{\newpage} also does this.
8716 @cindex @code{papersize}
8718 To change the paper size, use the following Scheme code:
8721 #(set-paper-size "a4")
8728 @cindex @code{\newpage}
8734 In this manual: @ref{Invoking lilypond}.
8736 Examples: @inputfileref{input/regression,between-systems.ly}.
8738 Internals: @internalsref{NonMusicalPaperColumn}.
8742 LilyPond has no concept of page layout, which makes it difficult to
8743 reliably choose page breaks in longer pieces.
8752 Entered music can also be converted to MIDI output. The performance
8753 is good enough for proof-hearing the music for errors.
8755 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8756 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8757 marks translate to a fixed fraction of the available MIDI volume
8758 range, crescendi and decrescendi make the volume vary linearly between
8759 their two extremities. The fractions can be adjusted by
8760 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8761 For each type of MIDI instrument, a volume range can be defined. This
8762 gives a basic equalizer control, which can enhance the quality of
8763 the MIDI output remarkably. The equalizer can be controlled by
8764 setting @code{instrumentEqualizer}.
8768 Many musically interesting effects, such as swing, articulation,
8769 slurring, etc., are not translated to MIDI.
8771 Since slurs are not interpreted, @code{\lyricsto} and
8772 @code{\addlyrics} sections will be interpreted wrongly.
8774 The MIDI output allocates a channel for each Staff, and one for global
8775 settings. Hence, the MIDI file should not have more than 15 staves
8776 (or 14 if you do not use drums).
8781 * MIDI instrument names::
8786 @subsection MIDI block
8790 The MIDI block is analogous to the paper block, but it is somewhat
8791 simpler. The @code{\midi} block can contain:
8795 @item a @code{\tempo} definition, and
8796 @item context definitions.
8799 Assignments in the @code{\midi} block are not allowed.
8801 A number followed by a period is interpreted as a real number, so
8802 for setting the tempo for dotted notes, an extra space should be
8803 inserted, for example:
8806 \midi @{ \tempo 4 . = 120 @}
8810 @cindex context definition
8812 Context definitions follow precisely the same syntax as within the
8813 \paper block. Translation modules for sound are called performers.
8814 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8817 @node MIDI instrument names
8818 @subsection MIDI instrument names
8820 @cindex instrument names
8821 @cindex @code{Staff.midiInstrument}
8823 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8824 property. The instrument name should be chosen from the list in
8825 @ref{MIDI instruments}.
8829 If the selected string does not exactly match, then the default is
8830 used, which is the Grand Piano.