3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
14 <!--- @@WEB-TITLE@@=Notation manual --->
20 * Easier music entry::
27 * Fingering instructions::
36 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
53 * Chromatic alterations::
61 * Easy Notation note heads ::
69 A note is printed by specifying its pitch and then its duration.
70 @footnote{Notes constitute the most basic elements of LilyPond input,
71 but they do not form valid input on their own without a @code{\score}
72 block. However, for the sake of brevity and simplicity we will
73 generally omit @code{\score} blocks and @code{\paper} declarations in
76 @lilypond[fragment,verbatim]
85 @cindex Note specification
87 @cindex entering notes
89 The most common syntax for pitch entry is used in @code{\chords} and
90 @code{\notes} mode. In Note and Chord mode, pitches may be designated
91 by names. The notes are specified by the letters @code{a} through
92 @code{g}, while the octave is formed with notes ranging from @code{c}
93 to @code{b}. The pitch @code{c} is an octave below middle C and the
94 letters span the octave above that C.
96 @lilypond[fragment,verbatim]
98 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
101 @cindex note names, Dutch
103 A sharp is formed by adding @code{-is} to the end of a pitch
104 name and a flat is formed by adding @code{-es}. Double sharps and
105 double flats are obtained by adding @code{-isis} or @code{-eses}.
107 These default names are the Dutch note names. In Dutch, @code{aes} is
108 contracted to @code{as} in Dutch, but both forms are
109 accepted. Similarly, both @code{es} and @code{ees} are accepted.
111 There are predefined sets of note names for various other languages.
112 To use them, include the language specific init file. For
113 example: @code{\include "english.ly"}. The available language files
114 and the note names they define are:
119 Note Names sharp flat
120 nederlands.ly c d e f g a bes b -is -es
121 english.ly c d e f g a bf b -s/-sharp -f/-flat
122 deutsch.ly c d e f g a b h -is -es
123 norsk.ly c d e f g a b h -iss/-is -ess/-es
124 svenska.ly c d e f g a b h -iss -ess
125 italiano.ly do re mi fa sol la sib si -d -b
126 catalan.ly do re mi fa sol la sib si -d/-s -b
127 espanol.ly do re mi fa sol la sib si -s -b
136 The optional octave specification takes the form of a series of
137 single quote (`@code{'}') characters or a series of comma
138 (`@code{,}') characters. Each @code{'} raises the pitch by one
139 octave; each @code{,} lowers the pitch by an octave.
141 @lilypond[fragment,verbatim,center]
142 c' c'' es' g' as' gisis' ais'
146 The verbose syntax for pitch specification is
148 @cindex @code{\pitch}
150 \pitch @var{scmpitch}
154 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
158 Dots are normally moved up to avoid staff lines, except in polyphonic
159 situations. The following commands may be used to force a particular
166 Notes can be hidden and unhidden with the following commands.
168 @refcommand hideNotes
169 @refcommand unHideNotes
174 @internalsref{NoteEvent}, @internalsref{NoteHead}
176 @node Chromatic alterations
177 @subsection Chromatic alterations
179 Normally accidentals are printed automatically, but you may also
180 print them manually. A reminder accidental
181 @cindex reminder accidental
183 can be forced by adding an exclamation mark @code{!}
184 after the pitch. A cautionary accidental
185 @cindex cautionary accidental
186 @cindex parenthesized accidental
187 (an accidental within parentheses) can be obtained by adding the
188 question mark `@code{?}' after the pitch.
190 @lilypond[fragment,verbatim]
191 cis' cis' cis'! cis'?
195 The automatic production of accidentals can be tuned in many
196 ways. For more information, refer to @ref{Accidentals}.
201 A chord is formed by a enclosing a set of pitches in @code{<<} and
202 @code{>>}. A chord may be followed by a duration, and a set of
203 articulations, just like simple notes.
205 Additionally, fingerings and articulations may be attached to
206 individual pitches of the chord:
208 @lilypond[singleline,verbatim,relative 1]
221 Rests are entered like notes, with the note name @code{r}.
223 @lilypond[singleline,verbatim]
227 Whole bar rests, centered in middle of the bar, are specified using
228 @code{R} (capital R); see @ref{Multi measure rests}. See also
231 For some music, you may wish to explicitly specify the rest's vertical
232 position. This can be achieved by entering a note with the @code{\rest}
233 keyword appended. Rest collision testing will leave these rests alone.
235 @lilypond[singleline,verbatim]
241 @internalsref{RestEvent}, @internalsref{Rest}
248 @cindex Invisible rest
251 An invisible rest (also called a `skip') can be entered like a note
252 with note name `@code{s}' or with @code{\skip @var{duration}}:
254 @lilypond[singleline,verbatim]
258 The @code{s} syntax is only available in Note mode and Chord
259 mode. In other situations, you should use the @code{\skip} command,
260 which will work outside of those two modes:
262 @lilypond[singleline,verbatim]
265 { \time 4/8 \skip 2 \time 4/4 }
266 \notes\relative c'' { a2 a1 }
271 The skip command is merely an empty musical placeholder. It does not
272 produce any output, not even transparent output.
276 @internalsref{SkipEvent}
281 @subsection Durations
285 @cindex @code{\duration}
288 In Note, Chord, and Lyrics mode, durations are designated by numbers
289 and dots: durations are entered as their reciprocal values. For example,
290 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
291 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
292 longer than a whole you must use variables.
294 @c FIXME: what is an identifier? I do not think it's been introduced yet.
295 @c and if it has, I obviously skipped that part. - Graham
299 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
301 r1 r2 r4 r8 r16 r32 r64 r64
306 \notes \relative c'' {
308 a1 a2 a4 a8 a16 a32 a64 a64
310 r1 r2 r4 r8 r16 r32 r64 r64
315 \remove "Clef_engraver"
316 \remove "Staff_symbol_engraver"
317 \remove "Time_signature_engraver"
318 \consists "Pitch_squash_engraver"
325 If the duration is omitted then it is set to the previously entered
326 duration. Default for the first note is a quarter note. The duration
327 can be followed by dots (`@code{.}') in order to obtain dotted note
331 @lilypond[fragment,verbatim,center]
332 a' b' c''8 b' a'4 a'4. b'4.. c'8.
337 You can alter the length of duration by a fraction @var{N/M}
338 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
339 will not affect the appearance of the notes or rests produced.
341 @lilypond[fragment,verbatim]
342 a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
345 Durations can also be produced through GUILE extension mechanism.
346 @lilypond[verbatim,fragment]
347 c'\duration #(ly:make-duration 2 1)
353 Dot placement for chords is not perfect. In some cases, dots overlap:
361 Whenever a note is found, a
362 @internalsref{Stem} object is created automatically. For whole notes
363 and rests, stem objects are also created, but in those cases, the stem
380 A tie connects two adjacent note heads of the same pitch. The tie in
381 effect extends the length of a note. Ties should not be confused with
382 slurs, which indicate articulation, or phrasing slurs, which indicate
383 musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
385 @lilypond[fragment,verbatim,center]
386 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
389 When a tie is applied to a chord, all note heads whose pitches match
390 are connected. When no note heads match, no ties will be created.
392 In its meaning a tie is just a way of extending a note duration, similar
393 to the augmentation dot: the following example are two ways of notating
394 exactly the same concept.
396 @lilypond[fragment, singleline,quote]
397 \time 3/4 c'2. c'2 ~ c'4
399 If you need to tie notes over bars, it may be easier to use automatic
400 note splitting (See @ref{Automatic note splitting}).
408 @refcommand tieDotted
413 @internalsref{TieEvent}, @internalsref{NewTieEvent},
414 @internalsref{Tie}, @ref{Automatic note splitting}.
417 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
421 Tieing only a subset of the note heads of a pair of chords is not
422 supported in a simple way. It can be achieved by moving the
423 tie-engraver into the @internalsref{Thread} context and turning on and
424 off ties per @internalsref{Thread}.
426 Switching staves when a tie is active, will produce a horizontal tie
429 Formatting of ties is a difficult subject. The results are often not
439 @cindex @code{\times}
441 Tuplets are made out of a music expression by multiplying all durations
444 @cindex @code{\times}
446 \times @var{fraction} @var{musicexpr}
449 The duration of @var{musicexpr} will be multiplied by the fraction.
450 In the sheet music, the fraction's denominator will be printed over
451 the notes, optionally with a bracket. The most common tuplet is the
452 triplet in which 3 notes have the length of 2, so the notes are 2/3
453 of their written length:
455 @lilypond[fragment,verbatim,center]
456 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
459 The property @code{tupletSpannerDuration} specifies how long each bracket
460 should last. With this, you can make lots of tuplets while typing
461 @code{\times} only once, saving lots of typing.
463 @lilypond[fragment, relative, singleline, verbatim]
464 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
465 \times 2/3 { c'8 c c c c c }
468 The format of the number is determined by the property
469 @code{tupletNumberFormatFunction}. The default prints only the
470 denominator, but if it is set to the Scheme function
471 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
475 @cindex @code{tupletNumberFormatFunction}
476 @cindex tuplet formatting
482 @refcommand tupletDown
483 @refcommand tupletBoth
487 @seeinternals{TupletBracket}, @seeinternals{TimeScaledMusic}.
491 Nested tuplets are not formatted automatically. In this case, outer
492 tuplet brackets should be moved manually.
494 @node Easy Notation note heads
495 @subsection Easy Notation note heads
497 @cindex easy notation
500 The `easyplay' note head includes a note name inside the head. It is
501 used in music aimed at beginners.
503 @lilypond[singleline,verbatim,26pt]
505 \notes { c'2 e'4 f' | g'1 }
506 \paper { \translator { \EasyNotation } }
510 The @code{EasyNotation} variable overrides a @internalsref{Score}
511 context. You probably will want to print it with magnification or a
512 large font size to make it more readable. To print with
513 magnification, you must create a DVI file (with @file{ly2dvi}) and
514 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
515 See @file{man dvips} for details. To print with a larger font, see
522 If you view the result with Xdvi, then staff lines will show through
523 the letters. Printing the PostScript file obtained with ly2dvi does
524 produce the correct result.
527 @node Easier music entry
528 @section Easier music entry
531 When entering music it is easy to introduce errors. This section deals
532 with tricks and features of the input language that help when entering
533 music, and find and correct mistakes.
535 Some features of the input language ease entering music, for example
536 the use of variables (for splitting up large pieces of music), and
537 unfolded repeats for writing repetitive parts. They are described in
538 other sections (see @ref{Repeats} and @ref{Assignments}), since they
539 are not especially aimed at easing entry
541 It is also possible to use external programs, for example GUI
542 interfaces, or MIDI transcription programs, to enter or edit
543 music. Refer to the website for more information. Finally, there are
544 tools make debugging easier, by linking the input file and the output
545 shown on screen. See @ref{Point and click} for more information.
551 * Skipping corrected music::
552 * Automatic note splitting ::
558 @node Relative octaves
559 @subsection Relative octaves
561 @cindex relative octave specification
563 Octaves are specified by adding @code{'} and @code{,} to pitch names.
564 When you copy existing music, it is easy to accidentally put a pitch
565 in the wrong octave and hard to find such an error. The relative
566 octave mode prevents these errors
568 @cindex @code{\relative}
570 \relative @var{startpitch} @var{musicexpr}
573 The octave of notes that appear in @var{musicexpr} are calculated as
574 follows: If no octave changing marks are used, the basic interval
575 between this and the last note is always taken to be a fourth or less
576 (This distance is determined without regarding alterations; a
577 @code{fisis} following a @code{ceses} will be put above the
580 The octave changing marks @code{'} and @code{,} can be added to raise or
581 lower the pitch by an extra octave. Upon entering relative mode, an
582 absolute starting pitch must be specified that will act as the
583 predecessor of the first note of @var{musicexpr}.
585 Entering music that changes octave frequently is easy in relative mode.
586 @lilypond[fragment,singleline,verbatim,center]
592 And octave changing marks are used for intervals greater than a fourth.
593 @lilypond[fragment,verbatim,center]
598 If the preceding item is a chord, the first note of the chord is used
599 to determine the first note of the next chord. However, other notes
600 within the second chord are determined by looking at the immediately
603 @lilypond[fragment,verbatim,center]
610 @cindex @code{\notes}
612 The pitch after the @code{\relative} contains a note name. To parse
613 the pitch as a note name, you have to be in note mode, so there must
614 be a surrounding @code{\notes} keyword (which is not
617 The relative conversion will not affect @code{\transpose},
618 @code{\chords} or @code{\relative} sections in its argument. If you
619 want to use relative within transposed music, you must place an
620 additional @code{\relative} inside the @code{\transpose}.
624 @subsection Bar check
628 @cindex @code{barCheckSynchronize}
632 Whenever a bar check is encountered during interpretation, a warning
633 message is issued if it does not fall at a measure boundary. This can
634 help find errors in the input. Depending on the value of
635 @code{barCheckSynchronize}, the beginning of the measure will be
636 relocated. A bar check is entered using the bar symbol, `@code{|}'.
639 \time 3/4 c2 e4 | g2.
644 @cindex skipTypesetting
646 Failed bar checks are caused by entering incorrect
647 durations. Incorrect durations often completely garble up the score,
648 especially if it is polyphonic, so you should start correcting the
649 score by scanning for failed bar checks and incorrect durations. To
650 speed up this process, you can use @code{skipTypesetting}, described
653 @node Skipping corrected music
654 @subsection Skipping corrected music
656 The property @code{Score.skipTypesetting} can be used to switch on and
657 off typesetting completely during the interpretation phase. When
658 typesetting is switched off, the music is processed much more quickly.
659 This can be used to skip over the parts of a score that have already
660 been checked for errors.
662 @lilypond[fragment,singleline,verbatim]
664 \property Score.skipTypesetting = ##t
666 \property Score.skipTypesetting = ##f
670 @node Automatic note splitting
671 @subsection Automatic note splitting
673 Long notes can be converted automatically to tied notes. This is done
674 by replacing the @internalsref{Note_heads_engraver} by the
675 @internalsref{Completion_heads_engraver}.
678 \paper @{ \translator @{
680 \remove "Note_heads_engraver"
681 \consists "Completion_heads_engraver"
688 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
695 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
697 \paper { \translator {
699 \remove "Note_heads_engraver"
700 \consists "Completion_heads_engraver"
705 This engraver splits all running notes at the bar line, and inserts
706 ties. One of its uses is to debug complex scores: if the measures are
707 not entirely filled, then the ties exactly show how much each measure
712 Not all durations (especially those containing tuplets) can be
713 represented exactly; the engraver will not insert tuplets.
719 @section Staff notation
721 This section describes with music notation that occurs on staff level,
722 such as keys, clefs and time signatures.
724 @cindex Staff notation
737 @subsection Staff symbol
739 @cindex adjusting staff symbol
740 @cindex StaffSymbol, using \property
741 @cindex staff lines, setting number of
743 Notes, dynamic signs, etc. are grouped
744 with a set of horizontal lines, into a staff (plural `staves'). In our
745 system, these lines are drawn using a separate layout object called
748 This object is created whenever a @internalsref{Staff} context is
749 created. The appearance of the staff symbol cannot be changed by
750 using @code{\override} or @code{\set}. At the moment that
751 @code{\property Staff} is interpreted, a @internalsref{Staff} context
752 is made, and the @internalsref{StaffSymbol} is created before any
753 @code{\override} is effective. Properties can be changed in a
754 @code{\translator} definition, or by using @code{\outputproperty}.
758 If a staff is ended halfway a piece, the staff symbol may not end
759 exactly on the barline.
763 @subsection Key signature
764 @cindex Key signature
768 The key signature indicates the scale in which a piece is played. It
769 is denoted by a set of alterations (flats or sharps) at the start of
774 Setting or changing the key signature is done with the @code{\key}
777 @code{\key} @var{pitch} @var{type}
780 @cindex @code{\minor}
781 @cindex @code{\major}
782 @cindex @code{\minor}
783 @cindex @code{\ionian}
784 @cindex @code{\locrian}
785 @cindex @code{\aeolian}
786 @cindex @code{\mixolydian}
787 @cindex @code{\lydian}
788 @cindex @code{\phrygian}
789 @cindex @code{\dorian}
791 Here, @var{type} should be @code{\major} or @code{\minor} to get
792 @var{pitch}-major or @var{pitch}-minor, respectively.
793 The standard mode names @code{\ionian},
794 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
795 @code{\phrygian}, and @code{\dorian} are also defined.
797 This command sets the context property
798 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
799 can be specified by setting this property directly.
803 The ordering of a key restoration (alterations that change back to
804 natural) is wrong when combined with a repeat barline.
808 @internalsref{KeyChangeEvent}, @internalsref{KeySignature}.
810 @cindex @code{keySignature}
817 The clef indicates which lines of the staff correspond to which
822 The clef can be set or changed with the @code{\clef} command:
823 @lilypond[fragment,verbatim]
824 \key f\major c''2 \clef alto g'2
827 Supported clef-names include
828 @c Moved standard clefs to the top /MB
830 @item treble, violin, G, G2
839 G clef on 1st line, so-called French violin clef
854 By adding @code{_8} or @code{^8} to the clef name, the clef is
855 transposed one octave down or up, respectively. @var{clefname} must
856 be enclosed in quotes when it contains underscores or digits. For
862 This command is equivalent to setting @code{clefGlyph},
863 @code{clefPosition} (which controls the Y position of the clef),
864 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
865 when any of these properties are changed.
869 The object for this symbol is @internalsref{Clef}.
873 @node Ottava brackets
874 @subsection Ottava brackets
876 ``Ottava'' brackets introduce an extra transposition of an octave for
877 the staff. They are created by invoking the function
878 @code{set-octavation}
884 @lilypond[verbatim,fragment]
893 Internally the @code{set-octavation} sets @code{ottavation} (eg. to
894 @code{"8va"}) and @code{centralCPosition} properties.
898 @internalsref{OttavaBracket}
902 @code{set-octavation} will get confused when clef changes happen
903 during an octavation bracket.
906 @subsection Time signature
907 @cindex Time signature
911 Time signature indicates the metrum of a piece: a regular pattern of
912 strong and weak beats. It is denoted by a fraction at the start of the
917 The time signature is set or changed by the @code{\time}
919 @lilypond[fragment,verbatim]
920 \time 2/4 c'2 \time 3/4 c'2.
923 The actual symbol that is printed can be customized with the
924 @code{style} property. Setting it to @code{#'()} uses fraction style
925 for 4/4 and 2/2 time. There are many more options for its layout.
926 See @inputfileref{input/test,time.ly} for more examples.
929 This command sets the property @code{timeSignatureFraction},
930 @code{beatLength} and @code{measureLength} in the @code{Timing}
931 context, which is normally aliased to @internalsref{Score}. The
932 property @code{timeSignatureFraction} determines where bar lines
933 should be inserted, and how automatic beams should be generated.
934 Changing the value of @code{timeSignatureFraction} also causes the
935 symbol to be printed.
937 More options are available through the Scheme function
938 @code{set-time-signature}. In combination with the
939 @internalsref{Measure_grouping_engraver}, it will create
940 @internalsref{MeasureGrouping} signs. Such signs ease reading
941 rhythmically complex modern music. In the following example, the 9/8
942 measure is subdivided in 2, 2, 2 and 3. This is passed to
943 @code{set-time-signature} as the third argument @code{(2 2 2 3)}.
946 \score { \notes \relative c'' {
947 #(set-time-signature 9 8 '(2 2 2 3))
948 g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
949 #(set-time-signature 5 8 '(3 2))
954 \translator { \StaffContext
955 \consists "Measure_grouping_engraver"
961 @internalsref{TimeSignature}, @internalsref{Timing_engraver}.
966 Automatic beaming does not use measure grouping specified with
967 @code{set-time-signature}.
974 @cindex partial measure
975 @cindex measure, partial
976 @cindex shorten measures
977 @cindex @code{\partial}
979 Partial measures, for example in upbeats, are entered using the
980 @code{\partial} command:
981 @lilypond[fragment,verbatim]
982 \partial 16*5 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
985 The syntax for this command is
987 \partial @var{duration}
989 This is internally translated into
991 \property Timing.measurePosition = -@var{length of duration}
994 The property @code{measurePosition} contains a rational number
995 indicating how much of the measure has passed at this point.
997 @node Unmetered music
998 @subsection Unmetered music
1000 Bar lines and bar numbers are calculated automatically. For unmetered
1001 music (e.g. cadenzas), this is not desirable. By setting
1002 @code{Score.timing} to false, this automatic timing can be switched
1008 @refcommand cadenzaOn
1009 @refcommand cadenzaOff
1012 @subsection Bar lines
1016 @cindex measure lines
1020 Bar lines delimit measures, but are also used to indicate
1021 repeats. Line breaks may only happen on barlines.
1025 Bar lines are inserted automatically. Special types
1026 of barlines can be forced with the @code{\bar} command:
1027 @lilypond[relative=1,fragment,verbatim]
1031 The following bar types are available
1032 @lilypond[fragment, relative, singleline, verbatim]
1044 In scores with many staves, the barlines are automatically placed at
1045 top level, and they are connected between different staves of a
1046 @internalsref{StaffGroup}:
1047 @lilypond[fragment, verbatim]
1048 < \context StaffGroup <
1049 \context Staff = up { e'4 d'
1052 \context Staff = down { \clef bass c4 g e g } >
1053 \context Staff = pedal { \clef bass c2 c2 } >
1057 The command @code{\bar @var{bartype}} is a short cut for
1058 doing @code{\property Score.whichBar = @var{bartype}}
1059 Whenever @code{whichBar} is set to a string, a bar line of that type is
1060 created. @code{whichBar} is usually set automatically: at the start of
1061 a measure it is set to @code{defaultBarType}. The contents of
1062 @code{repeatCommands} is used to override default measure bars.
1064 @code{whichBar} can also be set directly, using @code{\property} or
1065 @code{\bar }. These settings take precedence over the automatic
1066 @code{whichBar} settings.
1069 @cindex repeatCommands
1070 @cindex defaultBarType
1072 You are encouraged to use @code{\repeat} for repetitions. See
1082 The bar line objects that are created at @internalsref{Staff} level
1083 are called @internalsref{BarLine}, the bar lines that span staffs are
1084 @internalsref{SpanBar}s.
1091 The easiest way to enter fragments with more than one voice on a staff
1092 is to split chords using the separator @code{\\}. You can use it for
1093 small, short-lived voices or for single chords:
1095 @lilypond[verbatim,fragment]
1096 \context Voice = VA \relative c'' {
1097 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' >
1101 The separator causes @internalsref{Voice} contexts to be instantiated,
1102 bearing the names @code{"1"}, @code{"2"}, etc. In each of these
1103 contexts, vertical direction of slurs, stems, etc. are set
1106 This can also be done by instantiating @internalsref{Voice} contexts
1107 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1108 a stem directions and horizontal shift for each part.
1111 @lilypond[singleline, verbatim]
1113 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1114 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1115 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1118 Normally, note heads with a different number of dots are not merged, but
1119 when the object property @code{merge-differently-dotted} is set in
1120 the @internalsref{NoteCollision} object, they are:
1121 @lilypond[verbatim,fragment,singleline]
1122 \relative c'' \context Voice < {
1124 \property Staff.NoteCollision \override
1125 #'merge-differently-dotted = ##t
1127 } \\ { g8.-[ f16-] g8.-[ f16-] }
1131 Similarly, you can merge half note heads with eighth notes, by setting
1132 @code{merge-differently-headed}:
1133 @lilypond[fragment, relative=2,verbatim]
1136 \property Staff.NoteCollision
1137 \override #'merge-differently-headed = ##t
1138 c8 c4. } \\ { c2 c2 } >
1141 LilyPond also vertically shifts rests that are opposite of a stem.
1144 @lilypond[singleline,fragment,verbatim]
1145 \context Voice < c''4 \\ r4 >
1153 @refcommand oneVoice
1154 @refcommand voiceOne
1155 @refcommand voiceTwo
1156 @refcommand voiceThree
1157 @refcommand voiceFour
1159 The following commands specify in what chords of the current voice
1160 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1161 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1165 @refcommand shiftOnn
1166 @refcommand shiftOnnn
1167 @refcommand shiftOff
1173 The objects responsible for resolving collisions are
1174 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1175 also example files @inputfileref{input/regression,collision-dots.ly},
1176 @inputfileref{input/regression,collision-head-chords.ly},
1177 @inputfileref{input/regression,collision-heads.ly},
1178 @inputfileref{input/regression,collision-mesh.ly}, and
1179 @inputfileref{input/regression,collisions.ly}.
1184 Resolving collisions is a intricate subject, and only a few situations
1185 are handled. When LilyPond cannot cope, the @code{force-hshift}
1186 property of the @internalsref{NoteColumn} object and pitched rests can
1187 be used to override typesetting decisions.
1192 Beams are used to group short notes into chunks that are aligned with
1193 the metrum. They are inserted automatically in most cases.
1195 @lilypond[fragment,verbatim, relative=2]
1196 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1199 When these automatic decisions are not good enough, beaming can be
1200 entered explicitly. It is also possible to define beaming patterns
1201 that differ from the defaults.
1205 @internalsref{Beam}.
1208 @cindex Automatic beams
1209 @subsection Manual beams
1210 @cindex beams, manual
1214 In some cases it may be necessary to override the automatic beaming
1215 algorithm. For example, the auto beamer will not beam over rests or
1216 bar lines, If you want that, specify the begin and end point manually
1217 using @code{[} and @code{]}.
1219 @lilypond[fragment,relative,verbatim]
1221 r4 r8-[ g' a r8-] r8 g-[ | a-] r8
1225 @cindex @code{stemLeftBeamCount}
1227 Normally, beaming patterns within a beam are determined automatically.
1228 When this mechanism fouls up, the properties
1229 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1230 be used to control the beam subdivision on a stem. If either property
1231 is set, its value will be used only once, and then it is erased.
1233 @lilypond[fragment,relative,verbatim]
1236 f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
1239 @cindex @code{stemRightBeamCount}
1242 The property @code{subdivideBeams} can be set in order to subdivide
1243 all 16th or shorter beams at beat positions. This accomplishes the
1244 same effect as twiddling with @code{stemLeftBeamCount} and
1245 @code{stemRightBeamCount}, but it take less typing.
1248 @lilypond[relative=1,verbatim,noindent]
1249 c16-[ c c c c c c c-]
1250 \property Voice.subdivideBeams = ##t
1251 c16-[ c c c c c c c-]
1252 \property Score.beatLength = #(ly:make-moment 1 8)
1253 c16-[ c c c c c c c-]
1255 @cindex subdivideBeams
1257 Kneed beams are inserted automatically, when a large gap is detected
1258 between the note heads. This behavior can be tuned through the object
1259 property @code{auto-knee-gap}.
1261 @cindex beams, kneed
1263 @cindex auto-knee-gap
1271 Automatically kneed beams cannot be used together with Hara Kiri
1276 * Setting automatic beam behavior ::
1280 @no de Beam typography
1281 @sub section Beam typography
1283 One of the strong points of LilyPond is how beams are formatted. Beams
1284 are quantized, meaning that the left and right endpoints beams start
1285 exactly on staff lines. Without quantization, small wedges of white
1286 space appear between the beam and staff line, and this looks untidy.
1288 Beams are also slope-damped: melodies that go up or down should also
1289 have beams that go up or down, but the slope of the beams should be
1290 less than the slope of the notes themselves.
1292 Some beams should be horizontal. These are so-called concave beams.
1294 [TODO: some pictures.]
1298 @node Setting automatic beam behavior
1299 @subsection Setting automatic beam behavior
1301 @cindex @code{autoBeamSettings}
1302 @cindex @code{(end * * * *)}
1303 @cindex @code{(begin * * * *)}
1304 @cindex automatic beams, tuning
1305 @cindex tuning automatic beaming
1307 @c [TODO: use \applycontext]
1309 In normal time signatures, automatic beams can start on any note but can
1310 only end in a few positions within the measure: beams can end on a beat,
1311 or at durations specified by the properties in
1312 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1313 are defined in @file{scm/auto-beam.scm}.
1315 The value of @code{autoBeamSettings} is changed using
1316 @code{\override} and unset using @code{\revert}:
1318 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1319 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1321 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1322 whether the rule applies to begin or end-points. The quantity
1323 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1324 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1325 signature (wildcards, `@code{* *}' may be entered to designate all time
1328 For example, if automatic beams should end on every quarter note, use
1331 \property Voice.autoBeamSettings \override
1332 #'(end * * * *) = #(ly:make-moment 1 4)
1334 Since the duration of a quarter note is 1/4 of a whole note, it is
1335 entered as @code{(ly:make-moment 1 4)}.
1337 The same syntax can be used to specify beam starting points. In this
1338 example, automatic beams can only end on a dotted quarter note.
1340 \property Voice.autoBeamSettings \override
1341 #'(end * * * *) = #(ly:make-moment 3 8)
1343 In 4/4 time signature, this means that automatic beams could end only on
1344 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1345 3/8 has passed within the measure).
1347 Rules can also be restricted to specific time signatures. A rule that
1348 should only be applied in @var{N}/@var{M} time signature is formed by
1349 replacing the second asterisks by @var{N} and @var{M}. For example, a
1350 rule for 6/8 time exclusively looks like
1352 \property Voice.autoBeamSettings \override
1353 #'(begin * * 6 8) = ...
1356 If a rule should be to applied only to certain types of beams, use the
1357 first pair of asterisks. Beams are classified according to the
1358 shortest note they contain. For a beam ending rule that only applies
1359 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1362 If a score ends while an automatic beam has not been ended and is still
1363 accepting notes, this last beam will not be typeset at all.
1365 @cindex automatic beam generation
1367 @cindex @code{Voice.autoBeaming}
1370 For melodies that have lyrics, you may want to switch off
1371 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1376 @refcommand autoBeamOff
1377 @refcommand autoBeamOn
1382 It is not possible to specify beaming parameters for beams with mixed
1383 durations, that differ from the beaming parameters of all separate
1384 durations, i.e., you will have to specify manual beams to get:
1386 @lilypond[singleline,fragment,relative,noverbatim,quote]
1387 \property Voice.autoBeamSettings
1388 \override #'(end * * * *) = #(ly:make-moment 3 8)
1389 \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4
1391 It is not possible to specify beaming parameters that act differently in
1392 different parts of a measure. This means that it is not possible to use
1393 automatic beaming in irregular meters such as @code{5/8}.
1396 @section Accidentals
1399 This section describes how to change the way that LilyPond automatically
1400 inserts accidentals before the running notes.
1404 * Using the predefined accidental variables::
1405 * Customized accidental rules::
1408 @node Using the predefined accidental variables
1409 @subsection Using the predefined accidental variables
1411 The constructs for describing the accidental typesetting rules are
1412 quite hairy, so non-experts should stick to the variables
1413 defined in @file{ly/property-init.ly}.
1414 @cindex @file{property-init.ly}
1416 The variables set properties in the ``Current'' context (see
1417 @ref{Context properties}). This means that the variables should
1418 normally be added right after the creation of the context in which the
1419 accidental typesetting described by the variable is to take
1420 effect. For example, if you want to use piano-accidentals in a piano
1421 staff then issue @code{\pianoAccidentals} first thing after the
1422 creation of the piano staff:
1425 \notes \relative c'' <
1426 \context Staff = sa @{ cis4 d e2 @}
1427 \context GrandStaff <
1429 \context Staff = sb @{ cis4 d e2 @}
1430 \context Staff = sc @{ es2 c @}
1432 \context Staff = sd @{ es2 c @}
1436 @lilypond[singleline]
1438 \notes \relative c'' <
1439 \context Staff = sa { cis4 d e2 }
1440 \context GrandStaff <
1442 \context Staff = sb { cis4 d e2 }
1443 \context Staff = sc { es2 c }
1445 \context Staff = sd { es2 c }
1450 minimumVerticalExtent = #'(-4.0 . 4.0)
1458 @item \defaultAccidentals
1459 @cindex @code{\defaultAccidentals}
1460 This is the default typesetting behaviour. It should correspond
1461 to 18th century common practice: Accidentals are
1462 remembered to the end of the measure in which they occur and
1463 only on their own octave.
1465 @item \voiceAccidentals
1466 @cindex @code{\voiceAccidentals}
1468 The normal behaviour is to
1469 remember the accidentals on Staff-level. This variable, however,
1470 typesets accidentals individually for each voice. Apart from that the
1471 rule is similar to @code{\defaultAccidentals}.
1473 This leads to some weird and often unwanted results
1474 because accidentals from one voice do not get cancelled in other
1476 @lilypond[singleline,relative,fragment,verbatim,quote]
1484 Hence you should only use @code{\voiceAccidentals} if the voices
1485 are to be read solely by individual musicians. If the staff is to be
1486 used by one musician (e.g., a conductor) then you use
1487 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1490 @item \modernAccidentals
1491 @cindex @code{\modernAccidentals}
1492 This rule corresponds to the common practice in the 20th
1494 The rule is more complex than @code{\defaultAccidentals}.
1495 You get all the same accidentals, but temporary
1496 accidentals also get cancelled in other octaves. Further more,
1497 in the same octave, they also get cancelled in the following measure:
1498 @lilypond[singleline,fragment,verbatim]
1500 cis' c'' cis'2 | c'' c'
1503 @item \modernCautionaries
1504 @cindex @code{\modernCautionaries}
1505 This rule is similar to @code{\modernAccidentals}, but the
1506 ``extra'' accidentals (the ones not typeset by
1507 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1508 (i.e. in reduced size):
1509 @lilypond[singleline,fragment,verbatim]
1511 cis' c'' cis'2 | c'' c'
1514 @cindex @code{\modernVoiceAccidentals}
1515 @item \modernVoiceAccidentals
1516 is used for multivoice accidentals to be read both by musicians
1517 playing one voice and musicians playing all voices. Accidentals are
1518 typeset for each voice, but they @emph{are} cancelled across voices in
1519 the same @internalsref{Staff}.
1521 @cindex @code{\modernVoiceCautionaries}
1522 @item \modernVoiceCautionaries
1523 is the same as @code{\modernVoiceAccidentals}, but with the extra
1524 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1525 as cautionaries. Even though all accidentals typeset by
1526 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1527 some of them are typeset as cautionaries.
1529 @item \pianoAccidentals
1530 @cindex @code{\pianoAccidentals}
1531 20th century practice for piano notation. Very similar to
1532 @code{\modernAccidentals} but accidentals also get cancelled
1533 across the staves in the same @internalsref{GrandStaff} or
1534 @internalsref{PianoStaff}.
1536 @item \pianoCautionaries
1537 @cindex @code{\pianoCautionaries}
1538 As @code{\pianoAccidentals} but with the extra accidentals
1539 typeset as cautionaries.
1542 @cindex @code{\noResetKey}
1543 Same as @code{\defaultAccidentals} but with accidentals lasting
1544 ``forever'' and not only until the next measure:
1545 @lilypond[singleline,fragment,verbatim,relative]
1550 @item \forgetAccidentals
1551 @cindex @code{\forgetAccidentals}
1552 This is sort of the opposite of @code{\noResetKey}: Accidentals
1553 are not remembered at all - and hence all accidentals are
1554 typeset relative to the key signature, regardless of what was
1555 before in the music:
1556 @lilypond[singleline,fragment,verbatim,relative]
1558 \key d\major c4 c cis cis d d dis dis
1562 @node Customized accidental rules
1563 @subsection Customized accidental rules
1565 This section must be considered gurus-only, and hence it must be
1566 sufficient with a short description of the system and a reference to
1567 the internal documentation.
1569 The algorithm tries several different rules, and uses the rule
1570 that gives the highest number of accidentals. Each rule consists of
1573 In which context is the rule applied. For example, if
1574 @var{context} is @internalsref{Score} then all staves share
1575 accidentals, and if @var{context} is @internalsref{Staff} then all
1576 voices in the same staff share accidentals, but staves do not.
1578 Whether the accidental changes all octaves or only the current
1581 Over how many barlines the accidental lasts.
1582 If @var{lazyness} is @code{-1} then the accidental is forget
1583 immediately, and if @var{lazyness} is @code{#t} then the accidental
1586 @c [TODO: should use +infinity for this case?]
1592 @refcommand defaultAccidentals
1593 @refcommand voiceAccidentals
1594 @refcommand modernAccidentals
1595 @refcommand modernCautionaries
1596 @refcommand modernVoiceAccidentals
1597 @refcommand modernVoiceCautionaries
1598 @refcommand pianoAccidentals
1599 @refcommand pianoCautionaries
1600 @refcommand noResetKey
1601 @refcommand forgetAccidentals
1605 @internalsref{Accidental_engraver}, @internalsref{Accidental},
1606 @internalsref{AccidentalPlacement}.
1611 Currently the simultaneous notes are considered to be entered in
1612 sequential mode. This means that in a chord the accidentals are
1613 typeset as if the notes in the chord happened one at a time - in the
1614 order in which they appear in the input file.
1616 This is only a problem when there are simultaneous notes whose
1617 accidentals depend on each other. The problem only occurs when using
1618 non-default accidentals. In the default scheme, accidentals only
1619 depend on other accidentals with the same pitch on the same staff, so
1620 no conflicts possible.
1622 This example shows two examples of the same music giving different
1623 accidentals depending on the order in which the notes occur in the
1626 @lilypond[singleline,fragment,verbatim]
1627 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1628 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1629 | <<cis' c''>> r | <<c'' cis'>> r |
1632 This problem can be solved by manually inserting @code{!} and @code{?}
1633 for the problematic notes.
1635 @node Expressive marks
1636 @section Expressive marks
1644 * Analysis brackets::
1651 A slur indicates that notes are to be played bound or @emph{legato}.
1655 They are entered using parentheses:
1656 @lilypond[fragment,verbatim,center]
1657 f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-)
1658 <<c' e'>>2-( <<b d'>>2-)
1662 @c TODO: should explain that ^( and _( set directions
1663 @c should set attachments with ^ and _ ?
1665 Slurs avoid crossing stems, and are generally attached to note heads.
1666 However, in some situations with beams, slurs may be attached to stem
1667 ends. If you want to override this layout you can do this through the
1668 object property @code{attachment} of @internalsref{Slur} in
1669 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1670 the attachment type of the left and right end points.
1672 @lilypond[fragment,relative,verbatim]
1674 \property Voice.Stem \set #'length = #5.5
1676 \property Voice.Slur \set #'attachment = #'(stem . stem)
1680 If a slur would strike through a stem or beam, the slur will be moved
1681 away upward or downward. If this happens, attaching the slur to the
1682 stems might look better:
1684 @lilypond[fragment,relative,verbatim]
1687 \property Voice.Slur \set #'attachment = #'(stem . stem)
1695 @refcommand slurDown
1696 @refcommand slurBoth
1697 @refcommand slurDotted
1698 @refcommand slurSolid
1702 @seeinternals{Slur}, @internalsref{SlurEvent}.
1707 Producing nice slurs is a difficult problem, and LilyPond currently
1708 uses a simple, empiric method to produce slurs. In some cases, the
1709 results of this method are ugly.
1712 @cindex Adjusting slurs
1714 @node Phrasing slurs
1715 @subsection Phrasing slurs
1717 @cindex phrasing slurs
1718 @cindex phrasing marks
1720 A phrasing slur (or phrasing mark) connects chords and is used to
1721 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1724 @lilypond[fragment,verbatim,center,relative]
1725 \time 6/4 c'-\( d-( e-) f-( e-) d-\)
1728 Typographically, the phrasing slur behaves almost exactly like a
1729 normal slur. However, they are treated as different objects. A
1730 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1731 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1732 @code{\phrasingSlurBoth}.
1734 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1735 will only affect normal slurs and not phrasing slurs.
1739 @refcommand phrasingSlurUp
1740 @refcommand phrasingSlurDown
1741 @refcommand phrasingSlurBoth
1745 See also @internalsref{PhrasingSlur},
1746 @internalsref{PhrasingSlurEvent}.
1750 Phrasing slurs have the same limitations in their formatting as normal
1751 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1754 @subsection Breath marks
1756 Breath marks are entered using @code{\breathe}.
1759 @lilypond[fragment,relative]
1763 The glyph of the breath mark can be tweaked by overriding the
1764 @code{text} property of the @code{BreathingSign} grob with the name of
1765 any glyph of @ref{The Feta font}. For example,
1766 @lilypond[fragment,verbatim,relative]
1768 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1775 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
1776 @inputfileref{input/regression,breathing-sign.ly}.
1779 @node Metronome marks
1780 @subsection Metronome marks
1783 @cindex beats per minute
1784 @cindex metronome marking
1786 Metronome settings can be entered as follows:
1788 \tempo @var{duration} = @var{perminute}
1791 In the MIDI output, they are interpreted as a tempo change, and in the
1792 paper output, a metronome marking is printed
1793 @cindex @code{\tempo}
1794 @lilypond[fragment,verbatim]
1800 @internalsref{TempoEvent}
1805 @subsection Text spanners
1806 @cindex Text spanners
1808 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1809 are written as texts, and extended over many measures with dotted
1810 lines. You can create such texts using text spanners: attach
1811 @code{\startTextSpan} and @code{\stopTextSpan} to the
1812 start and ending note of the spanner.
1814 The string to be printed, as well as the style, is set through object
1817 @lilypond[fragment,relative,verbatim]
1819 \property Voice.TextSpanner \set #'direction = #-1
1820 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1821 c2-\startTextSpan b c-\stopTextSpan a }
1827 @internalsref{TextSpanEvent},
1828 @internalsref{TextSpanner}, @inputfileref{input/regression,text-spanner.ly}.
1831 @node Analysis brackets
1832 @subsection Analysis brackets
1834 @cindex phrasing brackets
1835 @cindex musicological analysis
1836 @cindex note grouping bracket
1838 Brackets are used in musical analysis to indicate structure in musical
1839 pieces. LilyPond supports a simple form of nested horizontal brackets.
1840 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1841 @internalsref{Staff} context. A bracket is started with
1842 @code{\startGroup} and closed with @code{\stopGroup}.
1844 @lilypond[singleline,verbatim]
1845 \score { \notes \relative c'' {
1846 c4-\startGroup-\startGroup
1849 c4-\stopGroup-\stopGroup
1851 \paper { \translator {
1852 \StaffContext \consists "Horizontal_bracket_engraver"
1858 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent},
1859 @inputfileref{input/regression,note-group-bracket.ly}.
1863 Bracket endings should be angled/slanted. (TODO)
1870 @section Articulations
1871 @cindex Articulations
1873 @cindex articulations
1877 A variety of symbols can appear above and below notes to indicate
1878 different characteristics of the performance. They are added to a note
1879 by adding a dash and the character signifying the
1880 articulation. They are demonstrated here.
1882 @lilypondfile[notexidoc]{script-abbreviations.ly}
1884 The script is automatically placed, but if you need to force
1885 directions, you can use @code{_} to force them down, or @code{^} to
1887 @lilypond[fragment, verbatim]
1894 Other symbols can be added using the syntax
1895 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1896 using @code{^} and @code{_}.
1900 @cindex staccatissimo
1909 @cindex organ pedal marks
1918 @cindex prallmordent
1922 @cindex thumb marking
1927 @lilypondfile[notexidoc]{script-chart.ly}
1932 @refcommand scriptUp
1933 @refcommand scriptDown
1934 @refcommand scriptBoth
1938 @internalsref{ScriptEvent}, @internalsref{Script}.
1942 All of these note ornaments appear in the printed output but have no
1943 effect on the MIDI rendering of the music.
1946 @node Fingering instructions
1947 @section Fingering instructions
1951 Fingering instructions can be entered using
1953 @var{note}-@var{digit}
1955 For finger changes, use markup texts:
1957 @lilypond[verbatim, singleline, fragment]
1958 c'4-1 c'4-2 c'4-3 c'4-4
1959 c'^\markup { \fontsize #-3 \number "2-3" }
1962 @cindex finger change
1967 You can use the thumb-script to indicate that a note should be
1968 played with your thumb (used in cello music):
1970 @lilypond[verbatim, singleline, fragmnt]
1971 <<a' a''-3>>8-(_\thumb-[ <<b' b''-3>>-)_\thumb
1972 <<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
1975 Fingering for chords can be notated like this:
1977 @lilypond[verbatim,singleline,fragment,relative=1]
1978 << c-1 e-2 g-3 b-5 >> 4
1979 \property Voice.fingerHorizontalDirection = #LEFT
1980 << c-1 es-3 g-5 >> 4
1981 \property Voice.fingerHorizontalDirection = #RIGHT
1982 << c-1 e-2 g-3 b-5 >>4
1983 \property Voice.fingerHorizontalDirection = #LEFT
1984 << c_1 e-2 g-3 b^5 >>4
1989 @internalsref{FingerEvent} and @internalsref{Fingering}.
2000 @subsection Text scripts
2001 @cindex Text scripts
2003 It is possible to place arbitrary strings of text or markup text (see
2004 @ref{Text markup}) above or below notes by using a string:
2005 @code{c^"text"}. By default, these indications do not influence the
2006 note spacing, but by using the command @code{\fatText}, the widths
2007 will be taken into account.
2009 @lilypond[fragment,singleline,verbatim] \relative c' {
2010 c4^"longtext" \fatText c4_"longlongtext" c4 }
2013 It is possible to use @TeX{} commands in the strings, but this should be
2014 avoided because it makes it impossible for LilyPond to compute the
2015 exact length of the string, which may lead to collisions. Also, @TeX{}
2016 commands will not work with direct PostScript output.
2021 @internalsref{TextScriptEvent}, @internalsref{TextScript},
2027 @subsection Grace notes
2031 @cindex @code{\grace}
2035 Grace notes are ornaments that are written out
2037 @lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
2041 In normal notation, grace notes take up no logical
2042 time in a measure. Such an idea is practical for normal notation, but
2043 is not strict enough to put it into a program. The model that LilyPond
2044 uses for grace notes internally is that all timing is done in two
2047 Every point in musical time consists of two rational numbers: one
2048 denotes the logical time, one denotes the grace timing. The above
2049 example is shown here with timing tuples.
2052 \score { \notes \relative c''{
2053 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
2054 c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
2056 \paper { linewidth = 8.\cm }
2061 The placement of these grace notes is synchronized between different
2064 @lilypond[relative=2,verbatim,fragment]
2065 < \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
2066 \context Staff = SB { c'4 \grace { g8 b } c4 } >
2070 Unbeamed eighth notes and shorter by default have a slash through the
2071 stem. This can be controlled with object property @code{stroke-style} of
2072 @internalsref{Stem}. For proper matching of override and reverts of
2073 such properties, it is necessary to use a Scheme function.
2075 The following fragment overrides the default formatting Grace style stems.
2077 #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
2080 The @code{\override} is carefully matched with a @code{\revert}.
2085 @lilypond[fragment,verbatim]
2086 \relative c'' \context Voice {
2087 \grace c8 c4 \grace { c16-[ c16-] } c4
2089 \property Voice.Stem \override #'stroke-style = #'()
2091 \property Voice.Stem \revert #'stroke-style
2096 If you want to end a note with a grace note, then the standard trick
2097 is to put the grace notes before a phantom ``space note'', e.g.
2098 @lilypond[fragment,verbatim, relative=2]
2101 { s2 \grace { c16-[ d-] } } >
2106 A @code{\grace} section has some default values, and LilyPond will
2107 use those default values unless you specify otherwise inside the
2108 @code{\grace} section. For example, if you specify \slurUp
2109 @emph{before} your @code{\grace} section, a slur which starts inside
2110 the @code{\grace} will not be forced up, even if the slur ends outside
2111 of the @code{\grace}. Note the difference between the first and
2112 second bars in this example:
2114 @lilypond[fragment,verbatim]
2115 \relative c'' \context Voice {
2133 @internalsref{GraceMusic}.
2137 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2139 Grace note synchronization can also lead to surprises. Staff notation,
2140 such as key signatures, barlines, etc. are also synchronized. Take
2141 care when you mix staves with grace notes and staves without.
2143 @lilypond[relative=2,verbatim,fragment]
2144 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2145 \context Staff = SB { c4 \bar "|:" d4 } >
2148 Grace sections should only be used within sequential music
2149 expressions. Nesting, juxtaposing, or ending sequential music with a
2150 grace section is not supported, and might produce crashes or other
2153 Overriding settings for grace music using @code{add-to-grace-init}
2154 cannot be done in a modular way.
2158 @subsection Glissando
2161 @cindex @code{\glissando}
2163 A glissando is a smooth change in pitch. It is denoted by a line or a
2164 wavy line between two notes.
2168 A glissando line can be requested by attaching a @code{\glissando} to
2171 @lilypond[fragment,relative,verbatim]
2177 @internalsref{Glissando}, @internalsref{GlissandoEvent}.
2182 Printing of an additional text (such as @emph{gliss.}) must be done
2187 @subsection Dynamics
2200 @cindex @code{\ffff}
2210 Absolute dynamic marks are specified using an variable after a
2211 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2212 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2213 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2214 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2216 @lilypond[verbatim,singleline,fragment,relative]
2217 c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
2223 @cindex @code{\decr}
2224 @cindex @code{\rced}
2231 A crescendo mark is started with @code{\cr} and terminated with
2232 @code{\endcr}, and decrescendi similarly with @code{\decr} and
2233 @code{\enddecr}. There are also shorthands for these marks. A
2234 crescendo can be started with @code{\<} and a decrescendo can be
2235 started with @code{\>}. Either one can be terminated with @code{\!}.
2236 Because these marks are bound to notes, if you must use spacer notes
2237 if multiple marks during one note are needed.
2239 @lilypond[fragment,verbatim,center,quote]
2240 c''-\< c''-\! d''-\decr e''-\rced
2241 < f''1 { s4 s4-\< s4-\! \> s4-\! } >
2243 This may give rise to very short hairpins. Use @code{minimum-length}
2244 in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for
2248 \property Staff.Hairpin \override #'minimum-length = #5
2251 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2252 is an example how to do it:
2254 @lilypond[fragment,relative=2,verbatim]
2255 c4 \cresc c4 \endcresc c4
2262 You can also supply your own texts:
2263 @lilypond[fragment,relative,verbatim]
2265 \property Voice.crescendoText = "cresc. poco"
2266 \property Voice.crescendoSpanner = #'dashed-line
2276 @refcommand dynamicUp
2277 @refcommand dynamicDown
2278 @refcommand dynamicBoth
2280 @cindex direction, of dynamics
2284 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent},
2285 @internalsref{AbsoluteDynamicEvent}.
2287 Dynamics are objects of @internalsref{DynamicText} and
2288 @internalsref{Hairpin}. Vertical positioning of these symbols is
2289 handled by the @internalsref{DynamicLineSpanner} object.
2291 If you want to adjust padding or vertical direction of the dynamics,
2292 you must set properties for the @internalsref{DynamicLineSpanner}
2301 @cindex @code{\repeat}
2304 Repetition is a central concept in music, and multiple notations exist
2305 for repetitions. In LilyPond, most of these notations can be captured
2306 in a uniform syntax. One of the advantages is, all these repetitions
2307 can be rendered in MIDI accurately.
2309 The following types of repetition are supported:
2313 Repeated music is fully written (played) out. Useful for MIDI
2314 output, and entering repetitive music.
2317 This is the normal notation: Repeats are not written out, but
2318 alternative endings (voltas) are printed, left to right.
2322 Alternative endings are written stacked. This has limited use but may be
2323 used to typeset two lines of lyrics in songs with repeats, see
2324 @inputfileref{input,star-spangled-banner.ly}.
2331 Make beat or measure repeats. These look like percent signs.
2337 * Repeats and MIDI::
2338 * Manual repeat commands::
2340 * Tremolo subdivisions::
2345 @subsection Repeat syntax
2349 LilyPond has one syntactic construct for specifying different types of
2350 repeats. The syntax is
2353 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2356 If you have alternative endings, you may add
2357 @cindex @code{\alternative}
2359 \alternative @code{@{} @var{alternative1}
2361 @var{alternative3} @dots{} @code{@}}
2363 where each @var{alternative} is a music expression. If you do not
2364 give enough alternatives for all of the repeats, then the first
2365 alternative is assumed to be played more than once.
2367 Normal notation repeats are used like this:
2368 @lilypond[fragment,verbatim]
2370 \repeat volta 2 { c'4 d' e' f' }
2371 \repeat volta 2 { f' e' d' c' }
2374 With alternative endings:
2375 @lilypond[fragment,verbatim]
2377 \repeat volta 2 {c'4 d' e' f'}
2378 \alternative { {d'2 d'} {f' f} }
2382 @lilypond[fragment,verbatim]
2386 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2387 \alternative { { g4 g g } { a | a a a a | b2. } }
2394 If you do a nested repeat like
2403 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2404 belongs. This ambiguity is resolved by always having the
2405 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2406 it is advisable to use braces in such situations.
2409 @node Repeats and MIDI
2410 @subsection Repeats and MIDI
2412 @cindex expanding repeats
2414 For instructions on how to unfold repeats for MIDI output, see the
2415 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2420 Timing information is not remembered at the start of an alternative,
2421 so you have to reset timing information after a repeat, e.g. using a
2422 bar-check (See @ref{Bar check}), setting @code{Score.measurePosition}
2423 or entering @code{\partial}. Similarly, slurs or ties are also not
2427 @node Manual repeat commands
2428 @subsection Manual repeat commands
2430 @cindex @code{repeatCommands}
2432 The property @code{repeatCommands} can be used to control the layout of
2433 repeats. Its value is a Scheme list of repeat commands, where each repeat
2441 @item (volta . @var{text})
2442 Print a volta bracket saying @var{text}. The text can be specified as
2443 a text string or as a markup text, see @ref{Text markup}. Do not
2444 forget to change the font, as the default number font does not contain
2445 alphabetic characters.
2447 Stop a running volta bracket
2450 @lilypond[verbatim, fragment]
2452 \property Score.repeatCommands = #'((volta "93") end-repeat)
2454 \property Score.repeatCommands = #'((volta #f))
2461 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2462 @internalsref{VoltaRepeatedMusic},
2463 @internalsref{UnfoldedRepeatedMusic}
2464 @internalsref{FoldedRepeatedMusic}.
2466 @node Tremolo repeats
2467 @subsection Tremolo repeats
2468 @cindex tremolo beams
2470 To place tremolo marks between notes, use @code{\repeat} with tremolo
2472 @lilypond[verbatim,center,singleline]
2474 \context Voice \notes\relative c' {
2475 \repeat "tremolo" 8 { c16 d16 }
2476 \repeat "tremolo" 4 { c16 d16 }
2477 \repeat "tremolo" 2 { c16 d16 }
2478 \repeat "tremolo" 4 c16
2485 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
2486 @internalsref{StemTremolo}. @internalsref{TremoloEvent}.
2491 The single stem tremolo @emph{must} be entered without @code{@{} and
2494 @node Tremolo subdivisions
2495 @subsection Tremolo subdivisions
2496 @cindex tremolo marks
2497 @cindex @code{tremoloFlags}
2499 Tremolo marks can be printed on a single note by adding
2500 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2501 A @var{length} value of 8 gives one line across the note stem. If the
2502 length is omitted, then then the last value (stored in
2503 @code{Voice.tremoloFlags}) is used.
2505 @lilypond[verbatim,fragment,center]
2506 c'2:8 c':32 | c': c': |
2509 @c [TODO : stok is te kort bij 32en]
2513 Tremolos in this style do not carry over into the MIDI output.
2516 @node Measure repeats
2517 @subsection Measure repeats
2519 @cindex percent repeats
2520 @cindex measure repeats
2522 In the @code{percent} style, a note pattern can be repeated. It is
2523 printed once, and then the pattern is replaced with a special sign.
2524 Patterns of a one and two measures are replaced by percent-like signs,
2525 patterns that divide the measure length are replaced by slashes.
2527 @lilypond[verbatim,singleline]
2528 \context Voice { \repeat "percent" 4 { c'4 }
2529 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2535 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2536 @internalsref{PercentRepeatedMusic}, and
2537 @internalsref{DoublePercentRepeat}.
2542 Single measure and double measure percent-repeats cannot be nested.
2544 @node Rhythmic music
2545 @section Rhythmic music
2547 Sometimes you might want to show only the rhythm of a melody. This
2548 can be done with the rhythmic staff. All pitches of notes on such a
2549 staff are squashed, and the staff itself has a single line:
2551 @lilypond[fragment,relative,verbatim]
2552 \context RhythmicStaff {
2554 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2559 * Percussion staves::
2560 * Percussion midi output::
2563 @node Percussion staves
2564 @subsection Percussion staves
2568 To typeset more than one piece of percussion to be played by the same
2569 musician one typically uses a multiline staff where each staff
2570 position refers to a specific piece of percussion.
2574 Percussion staves are typeset with help of a set of Scheme
2575 functions. The system is based on the general MIDI drum-pitches.
2576 Include @file{ly/drumpitch-init.ly} to use drum pitches. This file
2577 defines the pitches from the Scheme variable @code{drum-pitch-names},
2578 the definition of which can be read in @file{scm/drums.scm}. Each
2579 piece of percussion has a full name and an abbreviated name, and both
2580 the full name or the abbreviation may be used in input files.
2582 To typeset the music on a staff apply the function @code{drums->paper}
2583 to the percussion music. This function takes a list of percussion
2584 instrument names, notehead scripts and staff positions (that is:
2585 pitches relative to the C-clef) and transforms the input
2586 music by moving the pitch, changing the notehead and (optionally)
2589 @lilypond[singleline,verbatim,quote]
2590 \include "drumpitch-init.ly"
2591 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2592 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2594 \apply #(drums->paper 'drums) \context Staff <
2596 \context Voice = up { \voiceOne \up }
2597 \context Voice = down { \voiceTwo \down }
2602 In the above example the music was transformed using the list @code{'drums}.
2603 Currently the following lists are defined in @file{scm/drums.scm}:
2606 To typeset a typical drum kit on a five-line staff.
2609 \include "drumpitch-init.ly"
2610 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2611 bd sn ss tomh tommh tomml toml tomfh tomfl }
2612 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2613 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2616 \apply #(drums->paper 'drums) \context Staff <
2620 \context Lyrics \nam
2623 linewidth = 100.0\mm
2626 \remove Bar_engraver
2627 \remove Time_signature_engraver
2628 minimumVerticalExtent = #'(-4.0 . 5.0)
2632 \remove Stem_engraver
2638 The drum scheme supports six different toms. When there fewer toms, simply
2639 select the toms that produce the desired result, i.e., to get toms on
2640 the three middle lines you use @code{tommh}, @code{tomml} and
2643 Because general MIDI does not contain rimshots the sidestick is used
2644 for this purpose instead.
2646 To typeset timbales on a two line staff.
2648 @lilypond[singleline]
2649 \include "drumpitch-init.ly"
2650 nam = \lyrics { timh ssh timl ssl cb }
2651 mus = \notes { timh ssh timl ssl cb s16 }
2654 \apply #(drums->paper 'timbales) \context Staff <
2658 \context Lyrics \nam
2663 \remove Bar_engraver
2664 \remove Time_signature_engraver
2665 StaffSymbol \override #'line-count = #2
2666 StaffSymbol \override #'staff-space = #2
2667 minimumVerticalExtent = #'(-3.0 . 4.0)
2671 \remove Stem_engraver
2678 To typeset congas on a two line staff.
2680 @lilypond[singleline]
2681 \include "drumpitch-init.ly"
2682 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2683 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2686 \apply #(drums->paper 'congas) \context Staff <
2690 \context Lyrics \nam
2695 \remove Bar_engraver
2696 \remove Time_signature_engraver
2697 StaffSymbol \override #'line-count = #2
2698 StaffSymbol \override #'staff-space = #2
2699 minimumVerticalExtent = #'(-3.0 . 4.0)
2703 \remove Stem_engraver
2709 To typeset bongos on a two line staff.
2711 @lilypond[singleline]
2712 \include "drumpitch-init.ly"
2713 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2714 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2717 \apply #(drums->paper 'bongos) \context Staff <
2721 \context Lyrics \nam
2726 \remove Bar_engraver
2727 \remove Time_signature_engraver
2728 StaffSymbol \override #'line-count = #2
2729 StaffSymbol \override #'staff-space = #2
2730 minimumVerticalExtent = #'(-3.0 . 4.0)
2734 \remove Stem_engraver
2740 To typeset all kinds of simple percussion on one line staves.
2741 @lilypond[singleline]
2742 \include "drumpitch-init.ly"
2743 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2744 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2747 \apply #(drums->paper 'percussion) \context Staff <
2751 \context Lyrics \nam
2756 \remove Bar_engraver
2757 \remove Time_signature_engraver
2758 StaffSymbol \override #'line-count = #1
2759 minimumVerticalExtent = #'(-2.0 . 3.0)
2763 \remove Stem_engraver
2770 If you do not like any of the predefined lists you can define your own
2771 list at the top of your file:
2773 @lilypond[singleline, verbatim]
2775 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2776 (snare default #f ,(ly:make-pitch 0 1 0))
2777 (hihat cross #f ,(ly:make-pitch 0 5 0))
2778 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2779 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2781 \include "drumpitch-init.ly"
2782 up = \notes { hh8 hh hh hh hhp4 hhp }
2783 down = \notes { bd4 sn bd toml8 toml }
2785 \apply #(drums->paper 'mydrums) \context Staff <
2787 \context Voice = up { \voiceOne \up }
2788 \context Voice = down { \voiceTwo \down }
2793 To use a modified existing list, one can prepend modifications to the
2797 #(define mydrums (append `(
2798 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2799 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2803 The file @file{drumpitch-init.ly} replaces the normal pitch names, so
2804 you have to reinclude @file{nederlands.ly} after the
2805 drum-pattern-definitions to enter normal notes.
2807 @lilypond[singleline,verbatim]
2808 \include "drumpitch-init.ly"
2809 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2810 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2811 \include "nederlands.ly"
2812 bass = \notes \transpose c c,, { a4. e8 r e g e }
2815 \apply #(drums->paper 'drums) \context Staff = drums <
2817 \context Voice = up { \voiceOne \up }
2818 \context Voice = down { \voiceTwo \down }
2820 \context Staff = bass { \clef "F_8" \bass }
2825 @node Percussion midi output
2826 @subsection Percussion midi output
2828 In order to produce correct midi output you need to produce two score
2829 blocks---one for the paper and one for the midi output. To use the
2830 percussion channel you set the property @code{instrument} to
2831 @code{'drums}. Because the drum-pitches themself are similar to the
2832 general midi pitches all you have to do is to insert the voices with
2833 none of the scheme functions to get the correct midi output:
2837 \apply #(drums->paper 'mydrums) \context Staff <
2846 \property Staff.instrument = #'drums
2855 This scheme is to be considered a temporary implementation.
2859 @section Piano music
2861 Piano staves are two normal staves coupled with a brace. The staves
2862 are largely independent, but sometimes voices can cross between the
2863 two staves. The same notation is also used for harps and other key
2864 instruments. The @internalsref{PianoStaff} is especially built to
2865 handle this cross-staffing behavior. In this section we discuss the
2866 @internalsref{PianoStaff} and some other pianistic peculiarities.
2870 * Automatic staff changes::
2871 * Manual staff switches::
2874 * Staff switch lines::
2879 There is no support for putting chords across staves. You can get
2880 this result by increasing the length of the stem in the lower stave so
2881 it reaches the stem in the upper stave, or vice versa. An example is
2882 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
2884 Dynamics are not centered, but kludges do exist. See
2885 @inputfileref{input/templates,piano-dynamics.ly}.
2887 @cindex cross staff stem
2888 @cindex stem, cross staff
2891 @c fixme: should have hyperlinks as well.
2897 @node Automatic staff changes
2898 @subsection Automatic staff changes
2899 @cindex Automatic staff changes
2901 Voices can switch automatically between the top and the bottom
2902 staff. The syntax for this is
2904 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2906 The autochanger switches on basis of pitch (central C is the turning
2907 point), and it looks ahead skipping over rests to switch rests in
2908 advance. Here is a practical example:
2910 @lilypond[verbatim,singleline,quote]
2911 \score { \notes \context PianoStaff <
2912 \context Staff = "up" {
2913 \autochange Staff \context Voice = VA < \relative c' {
2914 g4 a b c d r4 a g } > }
2915 \context Staff = "down" {
2920 Spacer rests are used to prevent the bottom staff from
2921 terminating too soon.
2926 The staff switches often do not end up in optimal places. For high
2927 quality output staff switches should be specified manually.
2931 @node Manual staff switches
2932 @subsection Manual staff switches
2934 @cindex manual staff switches
2935 @cindex staff switch, manual
2937 Voices can be switched between staves manually, using the following command:
2939 \translator Staff = @var{staffname} @var{music}
2941 The string @var{staffname} is the name of the staff. It switches the
2942 current voice from its current staff to the Staff called
2943 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2951 Pianos have pedals that alter the way sound are produced. Generally, a
2952 piano has three pedals, sustain, una corda, and sostenuto.
2956 Piano pedal instruction can be expressed by attaching
2957 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2958 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
2961 The symbols that are printed can be modified by setting
2962 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2963 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation
2964 of @internalsref{SustainPedal} for more information.
2966 Pedals can also be indicated by a sequence of brackets, by setting the
2967 @code{pedal-type} property of @internalsref{SustainPedal} objects:
2969 @lilypond[fragment,verbatim]
2970 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2971 c''4-\sustainDown d''4 e''4
2972 a'4-\sustainUp-\sustainDown
2973 f'4 g'4 a'4-\sustainUp
2976 A third style of pedal notation is a mixture of text and brackets,
2977 obtained by setting @code{pedal-type} to @code{mixed}:
2979 @lilypond[fragment,verbatim]
2980 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2981 c''4-\sustainDown d''4 e''4
2982 c'4-\sustainUp-\sustainDown
2983 f'4 g'4 a'4-\sustainUp
2986 The default `*Ped' style for sustain and damper pedals corresponds to
2987 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2988 for a sostenuto pedal:
2990 @lilypond[fragment,verbatim]
2991 c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
2994 For fine-tuning of the appearance of a pedal bracket, the properties
2995 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2996 @code{PianoPedalBracket} objects (see the detailed documentation of
2997 @internalsref{PianoPedalBracket}) can be modified. For example, the bracket
2998 may be extended to the end of the note head.
3000 @lilypond[fragment,verbatim]
3001 \property Staff.PianoPedalBracket \override
3002 #'shorten-pair = #'(0 . -1.0)
3003 c''4-\sostenutoDown d''4 e''4 c'4
3004 f'4 g'4 a'4-\sostenutoUp
3008 @subsection Arpeggio
3011 @cindex broken arpeggio
3012 @cindex @code{\arpeggio}
3014 You can specify an arpeggio sign on a chord by attaching an
3015 @code{\arpeggio} to a chord.
3018 @lilypond[fragment,relative,verbatim]
3019 <<c e g c>>-\arpeggio
3022 When an arpeggio crosses staves in piano music, you attach an arpeggio
3023 to the chords in both staves, and set
3024 @internalsref{PianoStaff}.@code{connectArpeggios}.
3026 @lilypond[fragment,relative,verbatim]
3027 \context PianoStaff <
3028 \property PianoStaff.connectArpeggios = ##t
3029 \context Voice = one { <<c' e g c>>-\arpeggio }
3030 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
3034 This command creates @internalsref{Arpeggio} objects. Cross staff
3035 arpeggios are @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3037 The direction of the arpeggio is sometimes denoted by adding an
3038 arrowhead to the wiggly line. This can be typeset by setting
3039 @code{arpeggio-direction}.
3041 @lilypond[fragment,relative,verbatim]
3043 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3044 <<c e g c>>-\arpeggio
3045 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3046 <<c e g c>>-\arpeggio
3050 A square bracket on the left indicates that the player should not
3051 arpeggiate the chord. To draw these brackets, set the
3052 @code{molecule-callback} property of @code{Arpeggio} or
3053 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3054 @code{\arpeggio} statements within the chords as before.
3056 @lilypond[fragment,relative,verbatim]
3057 \property PianoStaff.Arpeggio \override
3058 #'molecule-callback = \arpeggioBracket
3059 <<c' e g c>>-\arpeggio
3064 @refcommand arpeggioBracket
3065 @refcommand arpeggio
3069 It is not possible to mix connected arpeggios and unconnected
3070 arpeggios in one @internalsref{PianoStaff} at the same time.
3072 @node Staff switch lines
3073 @subsection Staff switch lines
3076 @cindex follow voice
3077 @cindex staff switching
3080 @cindex @code{followVoice}
3082 Whenever a voice switches to another staff a line connecting the notes
3083 can be printed automatically. This is enabled if the property
3084 @code{PianoStaff.followVoice} is set to true:
3086 @lilypond[fragment,relative,verbatim]
3087 \context PianoStaff <
3088 \property PianoStaff.followVoice = ##t
3089 \context Staff \context Voice {
3091 \translator Staff=two
3094 \context Staff=two { \clef bass \skip 1*2 }
3098 The associated object is @internalsref{VoiceFollower}.
3102 @refcommand showStaffSwitch
3103 @refcommand hideStaffSwitch
3107 @section Vocal music
3109 This section discusses how to enter, and print lyrics.
3113 * The Lyrics context::
3118 @node Entering lyrics
3119 @subsection Entering lyrics
3123 @cindex @code{\lyrics}
3126 Lyrics are entered in a special input mode. This mode is is introduced
3127 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3128 punctuation and accents without any hassle. Syllables are entered like
3129 notes, but with pitches replaced by text. For example,
3131 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3134 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3135 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3136 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3137 any 8-bit character with ASCII code over 127, or a two-character
3138 combination of a backslash followed by one of @code{`}, @code{'},
3139 @code{"}, or @code{^}.
3141 Subsequent characters of a word can be any character that is not a digit
3142 and not white space. One important consequence of this is that a word
3143 can end with @code{@}}. The following example is usually a bug. The
3144 syllable includes a @code{@}}, and hence the opening brace is not balanced.
3146 \lyrics @{ twinkle@}
3148 which may be confusing.
3150 @cindex @code{\property}, in @code{\lyrics}
3151 Similarly, a period following a alphabetic sequence, is included in the
3152 resulting string. As a consequence, spaces must be inserted around
3153 @code{\property} commands:
3155 \property Lyrics . LyricText \set #'font-shape = #'italic
3159 @cindex spaces, in lyrics
3160 @cindex quotes, in lyrics
3162 Any @code{_} character which appears in an unquoted word is converted
3163 to a space. This provides a mechanism for introducing spaces into words
3164 without using quotes. Quoted words can also be used in Lyrics mode to
3165 specify words that cannot be written with the above rules:
3168 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3172 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3177 These will be attached to the end of the first syllable.
3179 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3180 as a separate word between syllables. The hyphen will have variable
3181 length depending on the space between the syllables and it will be
3182 centered between the syllables.
3187 When a lyric is sung over many notes (this is called a melisma), this is
3188 indicated with a horizontal line centered between a syllable and the
3189 next one. Such a line is called an extender line, and it is entered as
3194 @internalsref{LyricEvent}, @internalsref{HyphenEvent},
3195 @internalsref{ExtenderEvent}.
3199 The definition of lyrics mode is too complex.
3201 @node The Lyrics context
3202 @subsection The Lyrics context
3204 Lyrics are printed by interpreting them in @internalsref{Lyrics}
3207 \context Lyrics \lyrics @dots{}
3210 @cindex automatic syllable durations
3211 @cindex @code{\addlyrics}
3212 @cindex lyrics and melodies
3214 This will place the lyrics according to the durations that were
3215 entered. The lyrics can also be aligned under a given melody
3216 automatically. In this case, it is no longer necessary to enter the
3217 correct duration for each syllable. This is achieved by combining the
3218 melody and the lyrics with the @code{\addlyrics} expression
3222 \context Lyrics @dots{}
3225 @cindex staff order, with @code{\addlyrics}
3227 Normally, this will put the lyrics below the staff. For different or
3228 more complex orderings, the best way is to setup the hierarchy of
3229 staffs and lyrics first, e.g.
3231 \context ChoirStaff \notes <
3232 \context Lyrics = LA @{ s1 @}
3233 \context Staff = SA @{ s1 @}
3234 \context Lyrics = LB @{ s1 @}
3235 \context Staff = SB @{ s1 @}
3238 and then combine the appropriate melodies and lyric lines:
3241 \context Staff = SA @emph{the music}
3242 \context Lyrics = LA @emph{the lyrics}
3245 putting both together, you would get
3247 \context ChoirStaff \notes <
3248 \context Lyrics = LA @dots{}
3249 \context Staff = SB @dots{}
3255 @cindex choral score
3257 An example of a SATB score setup is in the file
3258 @inputfileref{input/template,satb}.
3262 @internalsref{LyricCombineMusic}, @internalsref{Lyrics},
3263 @inputfileref{input/template,satb}.
3267 @code{\addlyrics} is not automatic enough: melismata are not detected
3268 automatically, and melismata are not stopped when they hit a rest. A
3269 melisma on the last note in a melody is not printed.
3273 @subsection More stanzas
3276 @cindex phrasing, in lyrics
3278 When multiple stanzas are printed underneath each other, the vertical
3279 groups of syllables should be aligned around punctuation. This can be
3280 done automatically when corresponding lyric lines and melodies are
3283 To this end, give the @internalsref{Voice} context an identity,
3285 \context Voice = duet @{
3290 Then set the @internalsref{LyricsVoice} contexts to names starting with
3291 that identity followed by a dash. In the preceding example, the
3292 @internalsref{Voice} identity is @code{duet}, so the identities of the
3293 @internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}.
3295 \context LyricsVoice = "duet-1" @{
3296 Hi, my name is bert. @}
3297 \context LyricsVoice = "duet-2" @{
3298 Ooooo, ch\'e -- ri, je t'aime. @}
3300 The convention for naming @internalsref{LyricsVoice} and
3301 @internalsref{Voice} must also be used to get melismata on rests
3304 The complete example is shown here.
3305 @lilypond[singleline,verbatim]
3308 \notes \relative c'' \context Voice = duet { \time 3/4
3310 \lyrics \context Lyrics <
3311 \context LyricsVoice = "duet-1" {
3312 \property LyricsVoice . stanza = "Bert"
3313 Hi, my name is bert. }
3314 \context LyricsVoice = "duet-2" {
3315 \property LyricsVoice . stanza = "Ernie"
3316 Ooooo, ch\'e -- ri, je t'aime. }
3321 Stanza numbers, or the names of the singers can be added by setting
3322 @code{LyricsVoice.Stanza} (for the first system) and
3323 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3324 surrounded with spaces in @code{\lyrics} mode.
3327 \property LyricsVoice . stanza = "Bert"
3329 \property LyricsVoice . stanza = "Ernie"
3332 You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter
3333 lyrics. This can confuse the LilyPond -- for example, this might put
3334 (empty) lyrics under rests. To remedy this, use @code{\skip} instead.
3342 Input for lyrics introduces a syntactical ambiguity:
3349 is interpreted as assigning a string identifier @code{\foo} such that
3350 it contains @code{"bar"}. However, it could also be interpreted as
3351 making or a music identifier @code{\foo} containing the syllable
3352 `bar'. The force the latter interpretation, use
3362 The term @emph{ambitus} denotes a range of pitches for a given voice in
3363 a part of music. It also may denote the pitch range that a musical
3364 instrument is capable of playing. Most musical instruments have their
3365 ambitus standardized (or at least there is agreement upon the minimal
3366 ambitus of a particular type of instrument), such that a composer or
3367 arranger of a piece of music can easily meet the ambitus constraints of
3368 the targeted instrument. However, the ambitus of the human voice
3369 depends on individual physiological state, including education and
3370 training of the voice. Therefore, a singer potentially has to check for
3371 each piece of music if the ambitus of that piece meets his individual
3372 capabilities. This is why the ambitus of a piece may be of particular
3373 value to vocal performers.
3375 The ambitus is typically notated on a per-voice basis at the very
3376 beginning of a piece, e.g. nearby the initial clef or time signature of
3377 each staff. The range is graphically specified by two noteheads, that
3378 represent the minimum and maximum pitch. Some publishers use a textual
3379 notation: they put the range in words in front of the corresponding
3380 staff. Lilypond currently only supports the graphical ambitus notation.
3382 To apply, add the @internalsref{Ambitus_engraver} to the
3383 @internalsref{Voice} context, i.e.
3386 \paper @{ \translator @{
3388 \consists Ambitus_engraver
3394 @lilypond[singleline]
3395 upper = \notes \relative c {
3398 as'' c e2 bes f cis d4 e f2 g
3400 lower = \notes \relative c {
3403 e'4 b g a c es fis a cis b a g f e d2
3406 \context ChoirStaff {
3408 \context Staff = one { \upper }
3409 \context Staff = three { \lower }
3415 \consists Ambitus_engraver
3424 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly}.
3429 Tablature notation is used for notating music for plucked string
3430 instruments. It notates pitches not by using note heads, but by
3431 indicating on which string and fret a note must be played. LilyPond
3432 offers limited support for tablature.
3435 * Tablatures basic::
3436 * Non-guitar tablatures::
3439 @node Tablatures basic
3440 @subsection Tablatures basic
3441 @cindex Tablatures basic
3443 The string number associated to a note is given as a backslash
3444 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3445 string. By default, string 1 is the highest one, and the tuning
3446 defaults to the standard guitar tuning (with 6 strings). The notes
3447 are printed as tablature, by using @internalsref{TabStaff} and
3448 @internalsref{TabVoice} contexts.
3450 @lilypond[fragment,verbatim]
3451 \notes \context TabStaff {
3457 If you do not specify a string number then one is selected
3458 automatically: the first string that does not give a fret number less
3459 than @code{minimumFret} is selected. The default value for
3460 @code{minimumFret} is 0.
3464 e8 fis gis a b cis' dis' e'
3465 \property TabStaff.minimumFret = #8
3466 e8 fis gis a b cis' dis' e'
3471 e8 fis gis a b cis' dis' e'
3472 \property TabStaff.minimumFret = #8
3473 e8 fis gis a b cis' dis' e'
3476 \context StaffGroup <
3477 \context Staff { \clef "G_8" \frag }
3478 \context TabStaff { \frag }
3485 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3486 @internalsref{StringNumberEvent}.
3490 Chords are not handled in a special way, and hence the automatic
3491 string selector may easily select the same string to two notes in a
3495 @node Non-guitar tablatures
3496 @subsection Non-guitar tablatures
3497 @cindex Non-guitar tablatures
3499 You can change the number of strings, by setting the number of lines
3500 in the @internalsref{TabStaff} (the @code{line-count} property of
3501 @internalsref{TabStaff} can only be changed using
3502 @code{\outputproperty}, for more information, see @ref{Tuning objects}.
3504 You can change the tuning of the strings. A string tuning is given as
3505 a Scheme list with one integer number for each string, the number
3506 being the pitch (measured in semitones relative to central C) of an
3507 open string. The numbers specified for @code{stringTuning} are the
3508 numbers of semitones to subtract or add, starting the specified pitch
3509 by default middle C, in string order: thus the notes are e, a, d, and
3512 @lilypond[fragment,verbatim]
3515 \outputproperty #(make-type-checker 'staff-symbol-interface)
3517 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3520 a,4 c' a e' e c' a e'
3525 It is possible to change the Scheme function to format the tablature
3526 note text. The default is @code{fret-number-tablature-format}, which
3527 uses the fret number. For instruments that do not use this notation,
3528 you can create a special tablature formatting function. This function
3529 takes three argument: the string number, the string tuning and the
3534 As tablature is a recent feature, most of the guitar special effects
3535 such as bend are not yet supported.
3539 @section Chord names
3542 LilyPond has support for both entering and printing named chords.
3543 These chords are internally represented as a set of pitches. Therefore
3544 they can be entered by name and printed as notes, entered as notes and
3545 printed as chord names, or (the most common case) entered them by
3546 name, and print them as name. The following fragment shows these
3549 @lilypond[verbatim,singleline]
3550 twoWays = \notes \transpose c c' {
3560 < \context ChordNames \twoWays
3561 \context Voice \twoWays > }
3564 This example also shows that the chord printing routines do not try to
3565 be intelligent. The chord @code{f bes d}, is not interpreted as an
3571 * Printing chord names::
3576 @subsection Chords mode
3579 Chord mode is a mode where you can input sets of pitches using common
3580 names. It is introduced by the keyword @code{\chords}.
3581 In chords mode, a chord is entered by the root, which is entered
3582 like a common pitch, for example,
3583 @lilypond[fragment,verbatim,quote, relative=1]
3584 \chords { es4. d8 c2 }
3589 Other chords may be entered by suffixing a colon, and introducing a
3590 modifier, and optionally, a number, for example
3592 @lilypond[fragment,verbatim,quote]
3593 \chords { e1:m e1:7 e1:m7 }
3595 The first number following the root is taken to be the `type' of the
3596 chord, thirds are added to the root until it reaches the specified
3597 number, for example.
3598 @lilypond[fragment,verbatim]
3599 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3602 @cindex root of chord
3603 @cindex additions, in chords
3604 @cindex removals, in chords
3606 More complex chords may also be constructed adding separate steps
3607 to a chord. Additions are added after the number following
3608 the colon, and are separated by dots. For example
3610 @lilypond[verbatim,fragment,quote]
3611 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3613 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3614 to the number, for example:
3615 @lilypond[verbatim,fragment,quote]
3616 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3618 Removals are specified similarly, and are introduced by a caret. They
3619 must come after the additions.
3620 @lilypond[verbatim,fragment]
3621 \chords { c^3 c:7^5 c:9^3.5 }
3624 Modifiers can be used to change pitches. The following modifiers are
3628 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3630 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3633 is the augmented chord. This modifier raises the 5th step.
3635 is the major 7th chord. This modifier raises the 7th step if present.
3637 is the suspended 4th or 2nd. This modifier removes the 3rd
3638 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3641 Modifiers can be mixed with additions.
3642 @lilypond[verbatim,fragment]
3643 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3646 @cindex modifiers, in chords.
3653 Since the unaltered 11 does sound well when combined with the
3654 unaltered 3, the 11 is removed in this case, unless it is added
3655 explicitly). For example,
3656 @lilypond[fragment,verbatim]
3657 \chords { c:13 c:13.11 c:m13 }
3662 An inversion (putting one pitch of the chord on the bottom), as well
3663 as bass notes, can be specified by appending
3664 @code{/}@var{pitch} to the chord.
3665 @lilypond[fragment,verbatim,center]
3666 \chords { c1 c/g c/f }
3669 If you do not want to remove the bass note from the chord, but rather
3670 add the note, then you can use @code{/+}@var{pitch}.
3672 @lilypond[fragment,verbatim,center]
3673 \chords { c1 c/+g c/+f }
3676 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3677 of the commands continue to work, for example, @code{r} and
3678 @code{\skip} can be used to insert rests and spaces, and
3679 @code{\property} may be used to change various settings.
3685 Each step can only be present in a chord once. The following
3686 simply produces the augmented chord, since @code{5+} is interpreted
3689 @lilypond[verbatim,fragment]
3690 \chords { c:5.5-.5+ }
3693 In chord mode, dashes and carets are used to indicate chord additions
3694 and subtractions, so articulation scripts cannot be entered.
3697 @node Printing chord names
3698 @subsection Printing chord names
3700 @cindex printing chord names
3704 For displaying printed chord names, use the @internalsref{ChordNames}
3705 context. The chords may be entered either using the notation
3706 described above, or directly using @code{<<} and @code{>>}.
3708 @lilypond[verbatim,singleline]
3710 \chords {a1 b c} <<d' f' g'>> <<e' g' b'>>
3714 \context ChordNames \scheme
3715 \context Staff \scheme
3720 You can make the chord changes stand out by setting
3721 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3722 display chord names when there is a change in the chords scheme and at
3723 the start of a new line.
3727 c1:m c:m \break c:m c:m d
3731 \context ChordNames {
3732 \property ChordNames.chordChanges = ##t
3734 \context Staff \transpose c c' \scheme
3736 \paper{linewidth= 9.\cm}
3740 The default chord name layout is a system for Jazz music, proposed by
3741 Klaus Ignatzek (See @ref{Literature}).
3743 The Ignatzek chord name formatting can be tuned in a number of ways
3744 through the following properties:
3747 @cindex chordNameExceptions
3748 @item chordNameExceptions
3749 This is a list that contains the chords that have special formatting.
3751 @inputfileref{input/regression,chord-name-exceptions.ly}.
3752 @cindex exceptions, chord names.
3755 @cindex majorSevenSymbol
3756 @item majorSevenSymbol
3757 This property contains the markup object used for the 7th step, when
3758 it is major. Predefined options are @code{whiteTriangleMarkup} and
3759 @code{blackTriangleMarkup}. See
3760 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3762 @cindex chordNameSeparator
3763 @item chordNameSeparator
3764 Different parts of a chord name are normally separated by a
3765 slash. By setting @code{chordNameSeparator}, you can specify other
3767 @lilypond[fragment,verbatim]
3768 \context ChordNames \chords {
3770 \property ChordNames.chordNameSeparator
3775 @cindex chordRootNamer
3776 @item chordRootNamer
3777 The root of a chord is usually printed as a letter with an optional
3778 alteration. The transformation from pitch to letter is done by this
3779 function. Special note names (for example, the German ``H'' for a
3780 B-chord) can be produced by storing a new function in this property.
3782 @cindex chordNoteNamer
3783 @item chordNoteNamer
3784 The default is to print single notes (as for instance the bass note)
3785 using the @code{chordRootNamer}. However, by setting this function to a non-null
3786 value you can specify a different function. I.e. you could use letters
3787 in lower case for the base note.
3793 @refcommand germanChords
3794 @refcommand semiGermanChords
3799 @inputfileref{input/regression,chord-name-major7.ly},
3800 @inputfileref{input/regression,chord-name-exceptions.ly},
3801 @inputfileref{input/test,chord-names-german.ly},
3802 @file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm}
3807 Chord names are determined solely from the list of pitches. Chord
3808 inversions are not identified, and neither are added bass notes. This
3809 may result in strange chord names when chords are entered with the
3810 @code{<< .. >>} syntax.
3815 @node Orchestral music
3816 @section Orchestral music
3818 @cindex Writing parts
3820 Orchestral music involves some special notation, both in the full
3821 score and the individual parts. This section explains how to tackle
3822 some common problems in orchestral music.
3827 * Multiple staff contexts::
3830 * Instrument names::
3832 * Multi measure rests::
3833 * Automatic part combining::
3835 * Sound output for transposing instruments::
3838 @node Multiple staff contexts
3839 @subsection Multiple staff contexts
3841 Polyphonic scores consist of many staffs. These staffs can be
3842 constructed in three different ways:
3844 @item The group is started with a brace at the left. This is done with the
3845 @internalsref{GrandStaff} context.
3846 @item The group is started with a bracket. This is done with the
3847 @internalsref{StaffGroup} context
3848 @item The group is started with a vertical line. This is the default
3852 @cindex Staff, multiple
3853 @cindex bracket, vertical
3854 @cindex brace, vertical
3861 @node Rehearsal marks
3862 @subsection Rehearsal marks
3863 @cindex Rehearsal marks
3865 @cindex @code{\mark}
3867 To print a rehearsal mark, use the @code{\mark} command.
3868 @lilypond[fragment,verbatim]
3878 The mark is incremented automatically if you use @code{\mark
3879 \default}. The value to use is stored in the property
3880 @code{rehearsalMark} is used and automatically incremented.
3882 The @code{\mark} command can also be used to put signs like coda,
3883 segno and fermatas on a barline. Use @code{\markup} to
3884 to access the appropriate symbol.
3886 @lilypond[fragment,verbatim,relative=1]
3887 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
3891 In this case, during line breaks,
3892 marks must also be printed at the end of the line, and not at the
3893 beginning. Use the following to force that behavior
3895 \property Score.RehearsalMark \override
3896 #'break-visibility = #begin-of-line-invisible
3899 See @inputfileref{input/test,boxed-molecule.ly}. for putting boxes
3905 @cindex barlines, putting symbols on
3909 @internalsref{MarkEvent}, @internalsref{RehearsalMark},
3910 @inputfileref{input/test,boxed-molecule.ly}.
3914 @subsection Bar numbers
3918 @cindex measure numbers
3919 @cindex currentBarNumber
3921 Bar numbers are printed by default at the start of the line. The
3922 number itself is stored in the
3923 @code{currentBarNumber} property,
3924 which is normally updated automatically for every measure.
3926 Bar numbers can be typeset at regular intervals instead of at the
3927 beginning of each line. This is illustrated in the following example,
3928 whose source is available as
3929 @inputfileref{input/test,bar-number-every-fifth.ly}
3931 @lilypondfile[notexidoc]{bar-number-every-fifth.ly}
3933 The start of that numbering can also be reset, as demonstrated in
3934 @inputfileref{input/test,bar-number-every-five-reset.ly}.
3936 @lilypondfile[notexidoc]{bar-number-every-five-reset.ly}
3941 @internalsref{BarNumber}.
3942 @inputfileref{input/test,bar-number-every-five-reset.ly}.
3943 @inputfileref{input/test,bar-number-every-fifth.ly}
3947 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
3948 there is one at the top. To solve this, You have to twiddle with the
3949 @internalsref{padding} property of @internalsref{BarNumber} if your
3950 score starts with a @internalsref{StaffGroup}.
3952 @node Instrument names
3953 @subsection Instrument names
3955 In an orchestral score, instrument names are printed left of the
3958 This can be achieved by setting @internalsref{Staff}.@code{instrument}
3959 and @internalsref{Staff}.@code{instr}. This will print a string before
3960 the start of the staff. For the first start, @code{instrument} is
3961 used, for the next ones @code{instr} is used.
3963 @lilypond[verbatim,singleline]
3964 \property Staff.instrument = "ploink " { c''4 }
3967 You can also use markup texts to construct more complicated instrument
3970 @lilypond[fragment,verbatim,singleline]
3971 \notes \context Staff = treble {
3972 \property Staff.instrument = \markup {
3973 \column << "Clarinetti"
3975 \smaller \musicglyph #"accidentals--1"
3986 @internalsref{InstrumentName}
3990 When you put a name on a grand staff or piano staff the width of the
3991 brace is not taken into account. You must add extra spaces to the end of
3992 the name to avoid a collision.
3995 @subsection Transpose
3997 @cindex transposition of pitches
3998 @cindex @code{\transpose}
4000 A music expression can be transposed with @code{\transpose}. The syntax
4003 \transpose @var{from} @var{to} @var{musicexpr}
4006 This means that @var{musicexpr} is transposed by the interval
4007 between @var{from} and @var{to}.
4009 @code{\transpose} distinguishes between enharmonic pitches: both
4010 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4011 half a tone. The first version will print sharps and the second
4012 version will print flats.
4014 @lilypond[singleline, verbatim]
4015 mus =\notes { \key d \major cis d fis g }
4016 \score { \notes \context Staff {
4019 \transpose c g' \mus
4020 \transpose c f' \mus
4026 @internalsref{TransposedMusic}, @internalsref{UntransposableMusic}.
4030 If you want to use both @code{\transpose} and @code{\relative}, then
4031 you must put @code{\transpose} outside of @code{\relative}, since
4032 @code{\relative} will have no effect music that appears inside a
4038 @node Multi measure rests
4039 @subsection Multi measure rests
4040 @cindex multi measure rests
4041 @cindex Rests, multi measure
4045 Multi measure rests are entered using `@code{R}'. It is specifically
4046 meant for full bar rests and for entering parts: the rest can expand to
4047 fill a score with rests, or it can be printed as a single multimeasure
4048 rest. This expansion is controlled by the property
4049 @code{Score.skipBars}. If this is set to true, Lily will not expand
4050 empty measures, and the appropriate number is added automatically.
4052 @lilypond[fragment,verbatim]
4053 \time 4/4 r1 | R1 | R1*2
4054 \property Score.skipBars = ##t R1*17 R1*4
4057 The @code{1} in @code{R1} is similar to the duration notation used for
4058 notes. Hence, for time signatures other than 4/4, you must enter other
4059 durations. This can be done with augmentation dots or fractions:
4061 @lilypond[fragment,verbatim]
4062 \property Score.skipBars = ##t
4070 A @code{R} spanning a single measure is printed as a whole rest
4071 centered in the measure (or a breve when the measure lasts longer than
4072 two whole notes), regardless of the time signature.
4076 @cindex text on multi-measure rest
4077 @cindex script on multi-measure rest
4078 @cindex fermata on multi-measure rest
4080 Texts can be added to multi-measure rests by using the
4081 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4082 replaced. If you need both texts and the number, you must add the
4083 number by hand. A variable (@code{\fermataMarkup}) is provided for
4087 @lilypond[verbatim,fragment]
4089 R2._\markup { "Ad lib" }
4094 @cindex whole rests for a full measure
4098 @internalsref{MultiMeasureRestEvent},
4099 @internalsref{MultiMeasureTextEvent},
4100 @internalsref{MultiMeasureRestMusicGroup},
4101 @internalsref{MultiMeasureRest},
4103 The layout object @internalsref{MultiMeasureRestNumber} is for the
4104 default number, and @internalsref{MultiMeasureRestText} for user
4109 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4110 over multi-measure rests.
4112 @cindex condensing rests
4114 There is no way to automatically condense multiple rests into a single
4115 multimeasure rest. Multi measure rests do not take part in rest
4118 Be careful when entering multimeasure rests followed by whole notes,
4122 will enter two notes lasting four measures each. When @code{skipBars}
4123 is set, then the result will look OK6, but the bar numbering will be
4126 @node Automatic part combining
4127 @subsection Automatic part combining
4128 @cindex automatic part combining
4129 @cindex part combiner
4132 Automatic part combining is used to merge two parts of music onto a
4133 staff. It is aimed at typesetting orchestral scores. When the two
4134 parts are identical for a period of time, only one is shown. In
4135 places where the two parts differ, they are typeset as separate
4136 voices, and stem directions are set automatically. Also, solo and
4137 @emph{a due} parts are identified and can be marked.
4141 The syntax for part combining is
4144 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4146 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4147 combined into one context of type @var{context}. The music expressions
4148 must be interpreted by contexts whose names should start with @code{one}
4151 The following example demonstrates the basic functionality of the part
4152 combiner: putting parts on one staff, and setting stem directions and
4155 @lilypond[verbatim,singleline,fragment]
4157 \context Voice=one \partcombine Voice
4158 \context Thread=one \relative c'' {
4161 \context Thread=two \relative c'' {
4167 The first @code{g} appears only once, although it was
4168 specified twice (once in each part). Stem, slur and tie directions are
4169 set automatically, depending whether there is a solo or unisono. The
4170 first part (with context called @code{one}) always gets up stems, and
4171 `solo', while the second (called @code{two}) always gets down stems and
4174 If you just want the merging parts, and not the textual markings, you
4175 may set the property @var{soloADue} to false.
4177 @lilypond[verbatim,singleline,fragment]
4179 \property Staff.soloADue = ##f
4180 \context Voice=one \partcombine Voice
4181 \context Thread=one \relative c'' {
4184 \context Thread=two \relative c'' {
4192 @internalsref{PartCombineMusic},
4193 @internalsref{Thread_devnull_engraver},
4194 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4198 The syntax for naming contexts in inconsistent with the syntax for
4201 In @code{soloADue} mode, when the two voices play the same notes on and
4202 off, the part combiner may typeset @code{a2} more than once in a
4205 @lilypond[fragment,singleline]
4207 \context Voice=one \partcombine Voice
4208 \context Thread=one \relative c'' {
4211 \context Thread=two \relative c'' {
4217 The part combiner is slated to be rewritten [TODO: explain why].
4219 @cindex @code{Thread_devnull_engraver}
4220 @cindex @code{Voice_engraver}
4221 @cindex @code{A2_engraver}
4223 @node Frenched scores
4224 @subsection Frenched scores
4226 In orchestral scores, staff lines that only have rests are usually removed.
4227 This saves some space. This style is called `French Score'.
4231 This is supported through the @code{RemoveEmptyStaff}. This staff is
4232 removed when it turns out empty (or containing multimeasure rests)
4233 after the line-breaking process.
4235 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4236 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4237 switched on by default. For normal staffs, it is available as a
4238 specialized @internalsref{Staff} context, with the name variable
4239 @code{\RemoveEmptyStaffContext}. Observe how the second staff in this
4240 example disappears in the second line.
4244 \notes \relative c' <
4245 \context Staff = SA { e4 f g a \break c1 }
4246 \context Staff = SB { c4 d e f \break R1 }
4250 \translator { \RemoveEmptyStaffContext }
4256 @node Sound output for transposing instruments
4257 @subsection Sound output for transposing instruments
4259 When you want to make a MIDI file from a score containing transposed
4260 and untransposed instruments, you have to instruct LilyPond the pitch
4261 offset (in semitones) for the transposed instruments. This is done
4262 using the @code{transposing} property. It does not affect printed
4265 @cindex @code{transposing}
4268 \property Staff.instrument = #"Cl. in B-flat"
4269 \property Staff.transposing = #-2
4273 @node Ancient notation
4274 @section Ancient notation
4276 @cindex Vaticana, Editio
4277 @cindex Medicaea, Editio
4282 @c [TODO: write introduction on ancient notation]
4285 * Ancient note heads::
4294 @node Ancient note heads
4295 @subsection Ancient note heads
4297 To get a longa note head, you have to use mensural note heads. This
4298 is accomplished by setting the @code{style} property of the
4299 NoteHead object to @code{mensural}. There is also a note head style
4300 @code{baroque} which gives mensural note heads for @code{\longa} and
4301 @code{\breve} but standard note heads for shorter notes.
4303 @lilypond[fragment,singleline,verbatim]
4304 \property Voice.NoteHead \set #'style = #'mensural
4309 @subsection Ancient clefs
4311 LilyPond supports a variety of clefs, many of them ancient.
4313 For modern clefs, see section @ref{Clef}. For the percussion clef, see
4314 section @ref{Percussion staves}. For the @code{TAB} clef, see section
4317 The following table shows all ancient clefs that are supported via the
4318 @code{\clef} command. Some of the clefs use the same glyph, but
4319 differ only with respect to the line they are printed on. In such
4320 cases, a trailing number in the name is used to enumerate these clefs.
4321 Still, you can manually force a clef glyph to be typeset on an
4322 arbitrary line, as described in section @ref{Clef}. The note printed
4323 to the right side of each clef in the example column denotes the
4324 @code{c'} with respect to that clef.
4326 @multitable @columnfractions .3 .3 .3 .1
4330 @b{Description} @tab
4331 @b{Supported Clefs} @tab
4335 @code{clefs-neo_mensural_c} @tab
4336 modern style mensural C clef @tab
4337 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4338 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4339 @lilypond[relative 0, notime]
4340 \property Staff.TimeSignature \set #'transparent = ##t
4341 \clef "neo_mensural_c2" c
4345 @code{clefs-petrucci_c1}
4346 @code{clefs-petrucci_c2}
4347 @code{clefs-petrucci_c3}
4348 @code{clefs-petrucci_c4}
4349 @code{clefs-petrucci_c5}
4352 petrucci style mensural C clefs, for use on different stafflines
4353 (the examples shows the 2nd staffline C clef).
4363 @lilypond[relative 0, notime]
4364 \property Staff.TimeSignature \set #'transparent = ##t
4365 \clef "petrucci_c2" c
4369 @code{clefs-petrucci_f} @tab
4370 petrucci style mensural F clef @tab
4371 @code{petrucci_f} @tab
4372 @lilypond[relative 0, notime]
4373 \property Staff.TimeSignature \set #'transparent = ##t
4374 \clef "petrucci_f" c
4378 @code{clefs-petrucci_g} @tab
4379 petrucci style mensural G clef @tab
4380 @code{petrucci_g} @tab
4381 @lilypond[relative 0, notime]
4382 \property Staff.TimeSignature \set #'transparent = ##t
4383 \clef "petrucci_g" c
4387 @code{clefs-mensural_c'} @tab
4388 historic style mensural C clef @tab
4389 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4390 @code{mensural_c4} @tab
4391 @lilypond[relative 0, notime]
4392 \property Staff.TimeSignature \set #'transparent = ##t
4393 \clef "mensural_c2" c
4397 @code{clefs-mensural_f} @tab
4398 historic style mensural F clef @tab
4399 @code{mensural_f} @tab
4400 @lilypond[relative 0, notime]
4401 \property Staff.TimeSignature \set #'transparent = ##t
4402 \clef "mensural_f" c
4406 @code{clefs-mensural_g} @tab
4407 historic style mensural G clef @tab
4408 @code{mensural_g} @tab
4409 @lilypond[relative 0, notime]
4410 \property Staff.TimeSignature \set #'transparent = ##t
4411 \clef "mensural_g" c
4415 @code{clefs-vaticana_do} @tab
4416 Editio Vaticana style do clef @tab
4417 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4418 @lilypond[relative 0, notime]
4420 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4421 \property Staff.TimeSignature \set #'transparent = ##t
4422 \clef "vaticana_do2" c
4426 @code{clefs-vaticana_fa} @tab
4427 Editio Vaticana style fa clef @tab
4428 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4429 @lilypond[relative 0, notime]
4431 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4432 \property Staff.TimeSignature \set #'transparent = ##t
4433 \clef "vaticana_fa2" c
4437 @code{clefs-medicaea_do} @tab
4438 Editio Medicaea style do clef @tab
4439 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4440 @lilypond[relative 0, notime]
4442 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4443 \property Staff.TimeSignature \set #'transparent = ##t
4444 \clef "medicaea_do2" c
4448 @code{clefs-medicaea_fa} @tab
4449 Editio Medicaea style fa clef @tab
4450 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4451 @lilypond[relative 0, notime]
4453 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4454 \property Staff.TimeSignature \set #'transparent = ##t
4455 \clef "medicaea_fa2" c
4459 @code{clefs-hufnagel_do} @tab
4460 historic style hufnagel do clef @tab
4461 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4462 @lilypond[relative 0, notime]
4464 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4465 \property Staff.TimeSignature \set #'transparent = ##t
4466 \clef "hufnagel_do2" c
4470 @code{clefs-hufnagel_fa} @tab
4471 historic style hufnagel fa clef @tab
4472 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4473 @lilypond[relative 0, notime]
4475 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4476 \property Staff.TimeSignature \set #'transparent = ##t
4477 \clef "hufnagel_fa2" c
4481 @code{clefs-hufnagel_do_fa} @tab
4482 historic style hufnagel combined do/fa clef @tab
4483 @code{hufnagel_do_fa} @tab
4484 @lilypond[relative 0, notime]
4485 \property Staff.TimeSignature \set #'transparent = ##t
4486 \clef "hufnagel_do_fa" c
4491 @c --- This should go somewhere else: ---
4492 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4495 @c @code{percussion}
4497 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4499 @c @item modern style tab clef (glyph: @code{clefs-tab})
4504 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4506 @emph{Modern style} means ``as is typeset in contemporary editions of
4507 transcribed mensural music''.
4509 @emph{Petrucci style} means ``inspired by printings published by the
4510 famous engraver Petrucci (1466-1539)''.
4512 @emph{Historic style} means ``as was typeset or written in historic
4513 editions (other than those of Petrucci)''.
4515 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4517 Petrucci used C clefs with differently balanced left-side vertical
4518 beams, depending on which staffline it is printed.
4522 @subsection Custodes
4527 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4528 symbol that appears at the end of a staff. It anticipates the pitch
4529 of the first note(s) of the following line and thus helps the player
4530 or singer to manage line breaks during performance, thus enhancing
4531 readability of a score.
4533 Custodes were frequently used in music notation until the 17th
4534 century. Nowadays, they have survived only in a few particular forms
4535 of musical notation such as contemporary editions of Gregorian chant
4536 like the @emph{editio vaticana}. There are different custos glyphs
4537 used in different flavours of notational style.
4539 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
4540 @internalsref{Staff} context when declaring the @code{\paper} block,
4541 as shown in the following example.
4547 \consists Custos_engraver
4548 Custos \override #'style = #'mensural
4553 The result looks like this:
4559 \property Staff.Custos \set #'style = #'mensural
4566 \consists Custos_engraver
4573 The custos glyph is selected by the @code{style} property. The styles
4574 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
4575 @code{mensural}. They are demonstrated in the following fragment:
4585 { " " \musicglyph #"custodes-vaticana-u0" }
4589 { " " \musicglyph #"custodes-medicaea-u0" }
4593 { " " \musicglyph #"custodes-hufnagel-u0" }
4597 { " " \musicglyph #"custodes-mensural-u0" }
4606 \remove "Bar_number_engraver"
4610 \remove "Clef_engraver"
4611 \remove "Key_engraver"
4612 \remove "Time_signature_engraver"
4613 \remove "Staff_symbol_engraver"
4614 minimumVerticalExtent = ##f
4620 If the boolean property @code{adjust-if-on-staffline} is set to
4621 @code{#t} (which it is by default), lily typesets slightly different
4622 variants of the custos glyph, depending on whether the custos, is
4623 typeset on or between stafflines. The glyph will
4624 optically fit well into the staff, with the appendage on the right of
4625 the custos always ending at the same vertical position between two
4626 stafflines regardless of the pitch. If you set
4627 @code{adjust-if-on-staffline} to @code{#f}, then
4628 a compromise between both forms is used.
4630 Just like stems can be attached to noteheads in two directions
4631 @emph{up} and @emph{down}, each custos glyph is available with its
4632 appendage pointing either up or down. If the pitch of a custos is
4633 above a selectable position, the appendage will point downwards; if
4634 the pitch is below this position, the appendage will point upwards.
4635 Use property @code{neutral-position} to select this position. By
4636 default, it is set to @code{0}, such that the neutral position is the
4637 center of the staff. Use property @code{neutral-direction} to control
4638 what happens if a custos is typeset on the neutral position itself.
4639 By default, this property is set to @code{-1}, such that the appendage
4640 will point downwards. If set to @code{1}, the appendage will point
4641 upwards. Other values such as @code{0} are reserved for future
4642 extensions and should not be used.
4647 @internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and
4648 @inputfileref{input/regression,custos.ly}.
4652 @subsection Divisiones
4658 A @emph{divisio} (plural: @emph{divisiones}; latin word for
4659 `division') is a staff context symbol that is used to structure
4660 Gregorian music into phrases and sections. The musical meaning of
4661 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
4662 can be characterized as short, medium and long pause, somewhat like
4663 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
4664 a chant, but is also frequently used within a single
4665 antiphonal/responsorial chant to mark the end of each section.
4669 To use divisiones, include the file @code{gregorian-init.ly}. It
4670 contains definitions that you can apply by just inserting
4671 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
4672 and @code{\finalis} at proper places in the input. Some editions use
4673 @emph{virgula} or @emph{caesura} instead of divisio minima.
4674 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
4678 @lilypondfile[notexidoc]{divisiones.ly}
4682 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
4683 @inputfileref{input/test,divisiones.ly}, @ref{Breath marks}.
4686 @subsection Ligatures
4690 @c TODO: Should double check if I recalled things correctly when I wrote
4691 @c down the following paragraph by heart.
4693 In musical terminology, a ligature is a coherent graphical symbol that
4694 represents at least two different notes. Ligatures originally appeared
4695 in the manuscripts of Gregorian chant notation roughly since the 9th
4696 century as an allusion to the accent symbols of greek lyric poetry to
4697 denote ascending or descending sequences of notes. Both, the shape and
4698 the exact meaning of ligatures changed tremendously during the following
4699 centuries: In early notation, ligatures where used for monophonic tunes
4700 (Gregorian chant) and very soon denoted also the way of performance in
4701 the sense of articulation. With upcoming multiphony, the need for a
4702 metric system arised, since multiple voices of a piece have to be
4703 synchronized some way. New notation systems were invented that used
4704 the manifold shapes of ligatures to now denote rhythmical patterns
4705 (e.g. black mensural notation, mannered notation, ars nova). With the
4706 invention of the metric system of the white mensural notation, the need
4707 for ligatures to denote such patterns disappeared. Nevertheless,
4708 ligatures were still in use in the mensural system for a couple of
4709 decades until they finally disappeared during the late 16th / early 17th
4710 century. Still, ligatures have survived in contemporary editions of
4711 Gregorian chant such as the Editio Vaticana from 1905/08.
4715 Syntactically, ligatures are simply enclosed by @code{\[} and
4716 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
4717 additional input syntax specific for this particular type of ligature.
4718 By default, the @internalsref{LigatureBracket} engraver just puts a
4719 square bracket above the ligature.
4721 @lilypond[singleline,verbatim]
4723 \notes \transpose c c' {
4731 To select a specific style of ligatures, a proper ligature engraver
4732 has to be added to the @internalsref{Voice} context, as explained in
4733 the following subsections. Currently, only white mensural ligatures
4734 are supported with certain limitations. Support for Editio Vaticana
4735 will be added in the future.
4738 * White mensural ligatures::
4739 * Gregorian square neumes ligatures::
4742 @node White mensural ligatures
4743 @subsubsection White mensural ligatures
4745 @cindex Mensural ligatures
4746 @cindex White mensural ligatures
4748 There is limited support for white mensural ligatures. The
4749 implementation is still experimental; it currently may output strange
4750 warnings or even crash in some cases or produce weird results on more
4751 complex ligatures. To engrave white mensural ligatures, in the paper
4752 block the @internalsref{Mensural_ligature_engraver} has to be put into
4753 the @internalsref{Voice} context, and remove the
4754 @internalsref{Ligature_bracket_engraver}:
4760 \remove Ligature_bracket_engraver
4761 \consists Mensural_ligature_engraver
4766 There is no additional input language to describe the shape of a
4767 white mensural ligature. The shape is rather determined solely from
4768 the pitch and duration of the enclosed notes. While this approach may
4769 take a new user a while to get accustomed, it has the great advantage
4770 that the full musical information of the ligature is known internally.
4771 This is not only required for correct MIDI output, but also allows for
4772 automatic transcription of the ligatures.
4777 \property Score.timing = ##f
4778 \property Score.defaultBarType = "empty"
4779 \property Voice.NoteHead \set #'style = #'neo_mensural
4780 \property Staff.TimeSignature \set #'style = #'neo_mensural
4782 \[ g\longa c\breve a\breve f\breve d'\longa \]
4784 \[ e1 f1 a\breve g\longa \]
4786 @lilypond[singleline]
4788 \notes \transpose c c' {
4789 \property Score.timing = ##f
4790 \property Score.defaultBarType = "empty"
4791 \property Voice.NoteHead \set #'style = #'neo_mensural
4792 \property Staff.TimeSignature \set #'style = #'neo_mensural
4794 \[ g\longa c\breve a\breve f\breve d'\longa \]
4796 \[ e1 f1 a\breve g\longa \]
4801 \remove Ligature_bracket_engraver
4802 \consists Mensural_ligature_engraver
4808 Without replacing @internalsref{Ligature_bracket_engraver} with
4809 @internalsref{Mensural_ligature_engraver}, the same music transcribes
4812 @lilypond[singleline]
4814 \notes \transpose c c' {
4815 \property Score.timing = ##f
4816 \property Score.defaultBarType = "empty"
4817 \property Voice.NoteHead \set #'style = #'neo_mensural
4818 \property Staff.TimeSignature \set #'style = #'neo_mensural
4820 \[ g\longa c\breve a\breve f\breve d'\longa \]
4822 \[ e1 f1 a\breve g\longa \]
4827 @node Gregorian square neumes ligatures
4828 @subsubsection Gregorian square neumes ligatures
4830 @cindex Square neumes ligatures
4831 @cindex Gregorian square neumes ligatures
4833 Gregorian square neumes notation (following the style of the Editio
4834 Vaticana) is under heavy development, but not yet really usable for
4835 production purposes. Core ligatures can already be typeset, but
4836 essential issues for serious typesetting are still under development,
4837 such as (among others) horizontal alignment of multiple ligatures,
4838 lyrics alignment and proper accidentals handling. Still, this section
4839 gives a sneak preview of what Gregorian chant may look like once it
4842 The following table contains the extended neumes table of the 2nd
4843 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
4844 1983 by the monks of Solesmes.
4846 @multitable @columnfractions .4 .2 .2 .2
4849 @b{Neuma aut@*Neumarum Elementa} @tab
4850 @b{Figurae@*Rectae} @tab
4851 @b{Figurae@*Liquescentes Auctae} @tab
4852 @b{Figurae@*Liquescentes Deminutae}
4854 @c TODO: \paper block is identical in all of the below examples.
4855 @c Therefore, it should somehow be included rather than duplicated all
4858 @c why not make identifiers in ly/engraver-init.ly? --hwn
4860 @c Because it's just used to typeset plain notes without
4861 @c a staff for demonstration purposes rather than something
4862 @c special of Gregorian chant notation. --jr
4867 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
4868 \include "gregorian-init.ly"
4870 \notes \transpose c c' {
4873 \noBreak s^\markup {"a"} \noBreak
4875 % Punctum Inclinatum
4877 \noBreak s^\markup {"b"}
4883 \remove "Bar_number_engraver"
4887 \remove "Clef_engraver"
4888 \remove "Key_engraver"
4889 StaffSymbol \set #'transparent = ##t
4890 \remove "Time_signature_engraver"
4891 \remove "Bar_engraver"
4892 minimumVerticalExtent = ##f
4896 \remove Ligature_bracket_engraver
4897 \consists Vaticana_ligature_engraver
4898 NoteHead \set #'style = #'vaticana_punctum
4899 Stem \set #'transparent = ##t
4905 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
4906 \include "gregorian-init.ly"
4908 \notes \transpose c c' {
4909 % Punctum Auctum Ascendens
4910 \[ \auctum \ascendens b \]
4911 \noBreak s^\markup {"c"} \noBreak
4913 % Punctum Auctum Descendens
4914 \[ \auctum \descendens b \]
4915 \noBreak s^\markup {"d"} \noBreak
4917 % Punctum Inclinatum Auctum
4918 \[ \inclinatum \auctum b \]
4919 \noBreak s^\markup {"e"}
4925 \remove "Bar_number_engraver"
4929 \remove "Clef_engraver"
4930 \remove "Key_engraver"
4931 StaffSymbol \set #'transparent = ##t
4932 \remove "Time_signature_engraver"
4933 \remove "Bar_engraver"
4934 minimumVerticalExtent = ##f
4938 \remove Ligature_bracket_engraver
4939 \consists Vaticana_ligature_engraver
4940 NoteHead \set #'style = #'vaticana_punctum
4941 Stem \set #'transparent = ##t
4947 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4948 \include "gregorian-init.ly"
4950 \notes \transpose c c' {
4951 % Punctum Inclinatum Parvum
4952 \[ \inclinatum \deminutum b \]
4953 \noBreak s^\markup {"f"}
4959 \remove "Bar_number_engraver"
4963 \remove "Clef_engraver"
4964 \remove "Key_engraver"
4965 StaffSymbol \set #'transparent = ##t
4966 \remove "Time_signature_engraver"
4967 \remove "Bar_engraver"
4968 minimumVerticalExtent = ##f
4972 \remove Ligature_bracket_engraver
4973 \consists Vaticana_ligature_engraver
4974 NoteHead \set #'style = #'vaticana_punctum
4975 Stem \set #'transparent = ##t
4984 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
4985 \include "gregorian-init.ly"
4987 \notes \transpose c c' {
4990 \noBreak s^\markup {"g"}
4996 \remove "Bar_number_engraver"
5000 \remove "Clef_engraver"
5001 \remove "Key_engraver"
5002 StaffSymbol \set #'transparent = ##t
5003 \remove "Time_signature_engraver"
5004 \remove "Bar_engraver"
5005 minimumVerticalExtent = ##f
5009 \remove Ligature_bracket_engraver
5010 \consists Vaticana_ligature_engraver
5011 NoteHead \set #'style = #'vaticana_punctum
5012 Stem \set #'transparent = ##t
5021 @code{3. Apostropha vel Stropha}
5023 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5024 \include "gregorian-init.ly"
5026 \notes \transpose c c' {
5029 \noBreak s^\markup {"h"}
5035 \remove "Bar_number_engraver"
5039 \remove "Clef_engraver"
5040 \remove "Key_engraver"
5041 StaffSymbol \set #'transparent = ##t
5042 \remove "Time_signature_engraver"
5043 \remove "Bar_engraver"
5044 minimumVerticalExtent = ##f
5048 \remove Ligature_bracket_engraver
5049 \consists Vaticana_ligature_engraver
5050 NoteHead \set #'style = #'vaticana_punctum
5051 Stem \set #'transparent = ##t
5057 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5058 \include "gregorian-init.ly"
5060 \notes \transpose c c' {
5062 \[ \stropha \auctum b \]
5063 \noBreak s^\markup {"i"}
5069 \remove "Bar_number_engraver"
5073 \remove "Clef_engraver"
5074 \remove "Key_engraver"
5075 StaffSymbol \set #'transparent = ##t
5076 \remove "Time_signature_engraver"
5077 \remove "Bar_engraver"
5078 minimumVerticalExtent = ##f
5082 \remove Ligature_bracket_engraver
5083 \consists Vaticana_ligature_engraver
5084 NoteHead \set #'style = #'vaticana_punctum
5085 Stem \set #'transparent = ##t
5095 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5096 \include "gregorian-init.ly"
5098 \notes \transpose c c' {
5101 \noBreak s^\markup {"j"}
5107 \remove "Bar_number_engraver"
5111 \remove "Clef_engraver"
5112 \remove "Key_engraver"
5113 StaffSymbol \set #'transparent = ##t
5114 \remove "Time_signature_engraver"
5115 \remove "Bar_engraver"
5116 minimumVerticalExtent = ##f
5120 \remove Ligature_bracket_engraver
5121 \consists Vaticana_ligature_engraver
5122 NoteHead \set #'style = #'vaticana_punctum
5123 Stem \set #'transparent = ##t
5132 @code{5. Clivis vel Flexa}
5134 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5135 \include "gregorian-init.ly"
5137 \notes \transpose c c' {
5146 \remove "Bar_number_engraver"
5150 \remove "Clef_engraver"
5151 \remove "Key_engraver"
5152 StaffSymbol \set #'transparent = ##t
5153 \remove "Time_signature_engraver"
5154 \remove "Bar_engraver"
5155 minimumVerticalExtent = ##f
5159 \remove Ligature_bracket_engraver
5160 \consists Vaticana_ligature_engraver
5161 NoteHead \set #'style = #'vaticana_punctum
5162 Stem \set #'transparent = ##t
5168 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5169 \include "gregorian-init.ly"
5171 \notes \transpose c c' {
5172 % Clivis Aucta Descendens
5173 \[ b \flexa \auctum \descendens g \]
5174 \noBreak s^\markup {"l"} \noBreak
5176 % Clivis Aucta Ascendens
5177 \[ b \flexa \auctum \ascendens g \]
5178 \noBreak s^\markup {"m"}
5184 \remove "Bar_number_engraver"
5188 \remove "Clef_engraver"
5189 \remove "Key_engraver"
5190 StaffSymbol \set #'transparent = ##t
5191 \remove "Time_signature_engraver"
5192 \remove "Bar_engraver"
5193 minimumVerticalExtent = ##f
5197 \remove Ligature_bracket_engraver
5198 \consists Vaticana_ligature_engraver
5199 NoteHead \set #'style = #'vaticana_punctum
5200 Stem \set #'transparent = ##t
5206 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5207 \include "gregorian-init.ly"
5209 \notes \transpose c c' {
5211 \[ b \flexa \deminutum g \]
5218 \remove "Bar_number_engraver"
5222 \remove "Clef_engraver"
5223 \remove "Key_engraver"
5224 StaffSymbol \set #'transparent = ##t
5225 \remove "Time_signature_engraver"
5226 \remove "Bar_engraver"
5227 minimumVerticalExtent = ##f
5231 \remove Ligature_bracket_engraver
5232 \consists Vaticana_ligature_engraver
5233 NoteHead \set #'style = #'vaticana_punctum
5234 Stem \set #'transparent = ##t
5241 @code{6. Podatus vel Pes}
5243 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5244 \include "gregorian-init.ly"
5246 \notes \transpose c c' {
5255 \remove "Bar_number_engraver"
5259 \remove "Clef_engraver"
5260 \remove "Key_engraver"
5261 StaffSymbol \set #'transparent = ##t
5262 \remove "Time_signature_engraver"
5263 \remove "Bar_engraver"
5264 minimumVerticalExtent = ##f
5268 \remove Ligature_bracket_engraver
5269 \consists Vaticana_ligature_engraver
5270 NoteHead \set #'style = #'vaticana_punctum
5271 Stem \set #'transparent = ##t
5277 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5278 \include "gregorian-init.ly"
5280 \notes \transpose c c' {
5281 % Pes Auctus Descendens
5282 \[ g \pes \auctum \descendens b \]
5283 \noBreak s^\markup {"p"} \noBreak
5285 % Pes Auctus Ascendens
5286 \[ g \pes \auctum \ascendens b \]
5287 \noBreak s^\markup {"q"}
5293 \remove "Bar_number_engraver"
5297 \remove "Clef_engraver"
5298 \remove "Key_engraver"
5299 StaffSymbol \set #'transparent = ##t
5300 \remove "Time_signature_engraver"
5301 \remove "Bar_engraver"
5302 minimumVerticalExtent = ##f
5306 \remove Ligature_bracket_engraver
5307 \consists Vaticana_ligature_engraver
5308 NoteHead \set #'style = #'vaticana_punctum
5309 Stem \set #'transparent = ##t
5315 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5316 \include "gregorian-init.ly"
5318 \notes \transpose c c' {
5320 \[ g \pes \deminutum b \]
5327 \remove "Bar_number_engraver"
5331 \remove "Clef_engraver"
5332 \remove "Key_engraver"
5333 StaffSymbol \set #'transparent = ##t
5334 \remove "Time_signature_engraver"
5335 \remove "Bar_engraver"
5336 minimumVerticalExtent = ##f
5340 \remove Ligature_bracket_engraver
5341 \consists Vaticana_ligature_engraver
5342 NoteHead \set #'style = #'vaticana_punctum
5343 Stem \set #'transparent = ##t
5350 @code{7. Pes Quassus}
5352 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5353 \include "gregorian-init.ly"
5355 \notes \transpose c c' {
5357 \[ \oriscus g \pes \virga b \]
5364 \remove "Bar_number_engraver"
5368 \remove "Clef_engraver"
5369 \remove "Key_engraver"
5370 StaffSymbol \set #'transparent = ##t
5371 \remove "Time_signature_engraver"
5372 \remove "Bar_engraver"
5373 minimumVerticalExtent = ##f
5377 \remove Ligature_bracket_engraver
5378 \consists Vaticana_ligature_engraver
5379 NoteHead \set #'style = #'vaticana_punctum
5380 Stem \set #'transparent = ##t
5386 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5387 \include "gregorian-init.ly"
5389 \notes \transpose c c' {
5390 % Pes Quassus Auctus Descendens
5391 \[ \oriscus g \pes \auctum \descendens b \]
5398 \remove "Bar_number_engraver"
5402 \remove "Clef_engraver"
5403 \remove "Key_engraver"
5404 StaffSymbol \set #'transparent = ##t
5405 \remove "Time_signature_engraver"
5406 \remove "Bar_engraver"
5407 minimumVerticalExtent = ##f
5411 \remove Ligature_bracket_engraver
5412 \consists Vaticana_ligature_engraver
5413 NoteHead \set #'style = #'vaticana_punctum
5414 Stem \set #'transparent = ##t
5422 @code{8. Quilisma Pes}
5424 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5425 \include "gregorian-init.ly"
5427 \notes \transpose c c' {
5429 \[ \quilisma g \pes b \]
5436 \remove "Bar_number_engraver"
5440 \remove "Clef_engraver"
5441 \remove "Key_engraver"
5442 StaffSymbol \set #'transparent = ##t
5443 \remove "Time_signature_engraver"
5444 \remove "Bar_engraver"
5445 minimumVerticalExtent = ##f
5449 \remove Ligature_bracket_engraver
5450 \consists Vaticana_ligature_engraver
5451 NoteHead \set #'style = #'vaticana_punctum
5452 Stem \set #'transparent = ##t
5458 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5459 \include "gregorian-init.ly"
5461 \notes \transpose c c' {
5462 % Quilisma Pes Auctus Descendens
5463 \[ \quilisma g \pes \auctum \descendens b \]
5470 \remove "Bar_number_engraver"
5474 \remove "Clef_engraver"
5475 \remove "Key_engraver"
5476 StaffSymbol \set #'transparent = ##t
5477 \remove "Time_signature_engraver"
5478 \remove "Bar_engraver"
5479 minimumVerticalExtent = ##f
5483 \remove Ligature_bracket_engraver
5484 \consists Vaticana_ligature_engraver
5485 NoteHead \set #'style = #'vaticana_punctum
5486 Stem \set #'transparent = ##t
5494 @code{9. Podatus Initio Debilis}
5496 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5497 \include "gregorian-init.ly"
5499 \notes \transpose c c' {
5500 % Pes Initio Debilis
5501 \[ \deminutum g \pes b \]
5508 \remove "Bar_number_engraver"
5512 \remove "Clef_engraver"
5513 \remove "Key_engraver"
5514 StaffSymbol \set #'transparent = ##t
5515 \remove "Time_signature_engraver"
5516 \remove "Bar_engraver"
5517 minimumVerticalExtent = ##f
5521 \remove Ligature_bracket_engraver
5522 \consists Vaticana_ligature_engraver
5523 NoteHead \set #'style = #'vaticana_punctum
5524 Stem \set #'transparent = ##t
5530 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5531 \include "gregorian-init.ly"
5533 \notes \transpose c c' {
5534 % Pes Auctus Descendens Initio Debilis
5535 \[ \deminutum g \pes \auctum \descendens b \]
5542 \remove "Bar_number_engraver"
5546 \remove "Clef_engraver"
5547 \remove "Key_engraver"
5548 StaffSymbol \set #'transparent = ##t
5549 \remove "Time_signature_engraver"
5550 \remove "Bar_engraver"
5551 minimumVerticalExtent = ##f
5555 \remove Ligature_bracket_engraver
5556 \consists Vaticana_ligature_engraver
5557 NoteHead \set #'style = #'vaticana_punctum
5558 Stem \set #'transparent = ##t
5568 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5569 \include "gregorian-init.ly"
5571 \notes \transpose c c' {
5573 \[ a \pes b \flexa g \]
5580 \remove "Bar_number_engraver"
5584 \remove "Clef_engraver"
5585 \remove "Key_engraver"
5586 StaffSymbol \set #'transparent = ##t
5587 \remove "Time_signature_engraver"
5588 \remove "Bar_engraver"
5589 minimumVerticalExtent = ##f
5593 \remove Ligature_bracket_engraver
5594 \consists Vaticana_ligature_engraver
5595 NoteHead \set #'style = #'vaticana_punctum
5596 Stem \set #'transparent = ##t
5602 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5603 \include "gregorian-init.ly"
5605 \notes \transpose c c' {
5606 % Torculus Auctus Descendens
5607 \[ a \pes b \flexa \auctum \descendens g \]
5614 \remove "Bar_number_engraver"
5618 \remove "Clef_engraver"
5619 \remove "Key_engraver"
5620 StaffSymbol \set #'transparent = ##t
5621 \remove "Time_signature_engraver"
5622 \remove "Bar_engraver"
5623 minimumVerticalExtent = ##f
5627 \remove Ligature_bracket_engraver
5628 \consists Vaticana_ligature_engraver
5629 NoteHead \set #'style = #'vaticana_punctum
5630 Stem \set #'transparent = ##t
5636 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5637 \include "gregorian-init.ly"
5639 \notes \transpose c c' {
5640 % Torculus Deminutus
5641 \[ a \pes b \flexa \deminutum g \]
5648 \remove "Bar_number_engraver"
5652 \remove "Clef_engraver"
5653 \remove "Key_engraver"
5654 StaffSymbol \set #'transparent = ##t
5655 \remove "Time_signature_engraver"
5656 \remove "Bar_engraver"
5657 minimumVerticalExtent = ##f
5661 \remove Ligature_bracket_engraver
5662 \consists Vaticana_ligature_engraver
5663 NoteHead \set #'style = #'vaticana_punctum
5664 Stem \set #'transparent = ##t
5671 @code{11. Torculus Initio Debilis}
5673 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5674 \include "gregorian-init.ly"
5676 \notes \transpose c c' {
5677 % Torculus Initio Debilis
5678 \[ \deminutum a \pes b \flexa g \]
5685 \remove "Bar_number_engraver"
5689 \remove "Clef_engraver"
5690 \remove "Key_engraver"
5691 StaffSymbol \set #'transparent = ##t
5692 \remove "Time_signature_engraver"
5693 \remove "Bar_engraver"
5694 minimumVerticalExtent = ##f
5698 \remove Ligature_bracket_engraver
5699 \consists Vaticana_ligature_engraver
5700 NoteHead \set #'style = #'vaticana_punctum
5701 Stem \set #'transparent = ##t
5707 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5708 \include "gregorian-init.ly"
5710 \notes \transpose c c' {
5711 % Torculus Auctus Descendens Initio Debilis
5712 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
5719 \remove "Bar_number_engraver"
5723 \remove "Clef_engraver"
5724 \remove "Key_engraver"
5725 StaffSymbol \set #'transparent = ##t
5726 \remove "Time_signature_engraver"
5727 \remove "Bar_engraver"
5728 minimumVerticalExtent = ##f
5732 \remove Ligature_bracket_engraver
5733 \consists Vaticana_ligature_engraver
5734 NoteHead \set #'style = #'vaticana_punctum
5735 Stem \set #'transparent = ##t
5741 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5742 \include "gregorian-init.ly"
5744 \notes \transpose c c' {
5745 % Torculus Deminutus Initio Debilis
5746 \[ \deminutum a \pes b \flexa \deminutum g \]
5753 \remove "Bar_number_engraver"
5757 \remove "Clef_engraver"
5758 \remove "Key_engraver"
5759 StaffSymbol \set #'transparent = ##t
5760 \remove "Time_signature_engraver"
5761 \remove "Bar_engraver"
5762 minimumVerticalExtent = ##f
5766 \remove Ligature_bracket_engraver
5767 \consists Vaticana_ligature_engraver
5768 NoteHead \set #'style = #'vaticana_punctum
5769 Stem \set #'transparent = ##t
5776 @code{12. Porrectus}
5778 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5779 \include "gregorian-init.ly"
5781 \notes \transpose c c' {
5783 \[ a \flexa g \pes b \]
5790 \remove "Bar_number_engraver"
5794 \remove "Clef_engraver"
5795 \remove "Key_engraver"
5796 StaffSymbol \set #'transparent = ##t
5797 \remove "Time_signature_engraver"
5798 \remove "Bar_engraver"
5799 minimumVerticalExtent = ##f
5803 \remove Ligature_bracket_engraver
5804 \consists Vaticana_ligature_engraver
5805 NoteHead \set #'style = #'vaticana_punctum
5806 Stem \set #'transparent = ##t
5812 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5813 \include "gregorian-init.ly"
5815 \notes \transpose c c' {
5816 % Porrectus Auctus Descendens
5817 \[ a \flexa g \pes \auctum \descendens b \]
5824 \remove "Bar_number_engraver"
5828 \remove "Clef_engraver"
5829 \remove "Key_engraver"
5830 StaffSymbol \set #'transparent = ##t
5831 \remove "Time_signature_engraver"
5832 \remove "Bar_engraver"
5833 minimumVerticalExtent = ##f
5837 \remove Ligature_bracket_engraver
5838 \consists Vaticana_ligature_engraver
5839 NoteHead \set #'style = #'vaticana_punctum
5840 Stem \set #'transparent = ##t
5846 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5847 \include "gregorian-init.ly"
5849 \notes \transpose c c' {
5850 % Porrectus Deminutus
5851 \[ a \flexa g \pes \deminutum b \]
5858 \remove "Bar_number_engraver"
5862 \remove "Clef_engraver"
5863 \remove "Key_engraver"
5864 StaffSymbol \set #'transparent = ##t
5865 \remove "Time_signature_engraver"
5866 \remove "Bar_engraver"
5867 minimumVerticalExtent = ##f
5871 \remove Ligature_bracket_engraver
5872 \consists Vaticana_ligature_engraver
5873 NoteHead \set #'style = #'vaticana_punctum
5874 Stem \set #'transparent = ##t
5883 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5884 \include "gregorian-init.ly"
5886 \notes \transpose c c' {
5888 \[ \virga b \inclinatum a \inclinatum g \]
5895 \remove "Bar_number_engraver"
5899 \remove "Clef_engraver"
5900 \remove "Key_engraver"
5901 StaffSymbol \set #'transparent = ##t
5902 \remove "Time_signature_engraver"
5903 \remove "Bar_engraver"
5904 minimumVerticalExtent = ##f
5908 \remove Ligature_bracket_engraver
5909 \consists Vaticana_ligature_engraver
5910 NoteHead \set #'style = #'vaticana_punctum
5911 Stem \set #'transparent = ##t
5917 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5918 \include "gregorian-init.ly"
5920 \notes \transpose c c' {
5922 \[ \virga b \inclinatum a \inclinatum \auctum g \]
5929 \remove "Bar_number_engraver"
5933 \remove "Clef_engraver"
5934 \remove "Key_engraver"
5935 StaffSymbol \set #'transparent = ##t
5936 \remove "Time_signature_engraver"
5937 \remove "Bar_engraver"
5938 minimumVerticalExtent = ##f
5942 \remove Ligature_bracket_engraver
5943 \consists Vaticana_ligature_engraver
5944 NoteHead \set #'style = #'vaticana_punctum
5945 Stem \set #'transparent = ##t
5951 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5952 \include "gregorian-init.ly"
5954 \notes \transpose c c' {
5955 % Climacus Deminutus
5956 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
5963 \remove "Bar_number_engraver"
5967 \remove "Clef_engraver"
5968 \remove "Key_engraver"
5969 StaffSymbol \set #'transparent = ##t
5970 \remove "Time_signature_engraver"
5971 \remove "Bar_engraver"
5972 minimumVerticalExtent = ##f
5976 \remove Ligature_bracket_engraver
5977 \consists Vaticana_ligature_engraver
5978 NoteHead \set #'style = #'vaticana_punctum
5979 Stem \set #'transparent = ##t
5986 @code{14. Scandicus}
5988 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5989 \include "gregorian-init.ly"
5991 \notes \transpose c c' {
5993 \[ g \pes a \virga b \]
6000 \remove "Bar_number_engraver"
6004 \remove "Clef_engraver"
6005 \remove "Key_engraver"
6006 StaffSymbol \set #'transparent = ##t
6007 \remove "Time_signature_engraver"
6008 \remove "Bar_engraver"
6009 minimumVerticalExtent = ##f
6013 \remove Ligature_bracket_engraver
6014 \consists Vaticana_ligature_engraver
6015 NoteHead \set #'style = #'vaticana_punctum
6016 Stem \set #'transparent = ##t
6022 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6023 \include "gregorian-init.ly"
6025 \notes \transpose c c' {
6026 % Scandicus Auctus Descendens
6027 \[ g \pes a \pes \auctum \descendens b \]
6034 \remove "Bar_number_engraver"
6038 \remove "Clef_engraver"
6039 \remove "Key_engraver"
6040 StaffSymbol \set #'transparent = ##t
6041 \remove "Time_signature_engraver"
6042 \remove "Bar_engraver"
6043 minimumVerticalExtent = ##f
6047 \remove Ligature_bracket_engraver
6048 \consists Vaticana_ligature_engraver
6049 NoteHead \set #'style = #'vaticana_punctum
6050 Stem \set #'transparent = ##t
6056 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6057 \include "gregorian-init.ly"
6059 \notes \transpose c c' {
6060 % Scandicus Deminutus
6061 \[ g \pes a \pes \deminutum b \]
6068 \remove "Bar_number_engraver"
6072 \remove "Clef_engraver"
6073 \remove "Key_engraver"
6074 StaffSymbol \set #'transparent = ##t
6075 \remove "Time_signature_engraver"
6076 \remove "Bar_engraver"
6077 minimumVerticalExtent = ##f
6081 \remove Ligature_bracket_engraver
6082 \consists Vaticana_ligature_engraver
6083 NoteHead \set #'style = #'vaticana_punctum
6084 Stem \set #'transparent = ##t
6093 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6094 \include "gregorian-init.ly"
6096 \notes \transpose c c' {
6098 \[ g \oriscus a \pes \virga b \]
6105 \remove "Bar_number_engraver"
6109 \remove "Clef_engraver"
6110 \remove "Key_engraver"
6111 StaffSymbol \set #'transparent = ##t
6112 \remove "Time_signature_engraver"
6113 \remove "Bar_engraver"
6114 minimumVerticalExtent = ##f
6118 \remove Ligature_bracket_engraver
6119 \consists Vaticana_ligature_engraver
6120 NoteHead \set #'style = #'vaticana_punctum
6121 Stem \set #'transparent = ##t
6127 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6128 \include "gregorian-init.ly"
6130 \notes \transpose c c' {
6131 % Salicus Auctus Descendens
6132 \[ g \oriscus a \pes \auctum \descendens b \]
6139 \remove "Bar_number_engraver"
6143 \remove "Clef_engraver"
6144 \remove "Key_engraver"
6145 StaffSymbol \set #'transparent = ##t
6146 \remove "Time_signature_engraver"
6147 \remove "Bar_engraver"
6148 minimumVerticalExtent = ##f
6152 \remove Ligature_bracket_engraver
6153 \consists Vaticana_ligature_engraver
6154 NoteHead \set #'style = #'vaticana_punctum
6155 Stem \set #'transparent = ##t
6165 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6166 \include "gregorian-init.ly"
6168 \notes \transpose c c' {
6170 \[ \stropha b \stropha b \stropha a \]
6177 \remove "Bar_number_engraver"
6181 \remove "Clef_engraver"
6182 \remove "Key_engraver"
6183 StaffSymbol \set #'transparent = ##t
6184 \remove "Time_signature_engraver"
6185 \remove "Bar_engraver"
6186 minimumVerticalExtent = ##f
6190 \remove Ligature_bracket_engraver
6191 \consists Vaticana_ligature_engraver
6192 NoteHead \set #'style = #'vaticana_punctum
6193 Stem \set #'transparent = ##t
6204 Unlike most other neumes notation systems, the input language for
6205 neumes does not necessarily reflect directly the typographical
6206 appearance, but is designed to solely focuse on musical meaning. For
6207 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6208 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6209 a torculus with a curved flexa shape and only a single Punctum head.
6210 There is no command to explicitly typeset the curved flexa shape; the
6211 decision of when to typeset a curved flexa shape is purely taken from
6212 the musical input. The idea of this approach is to separate the
6213 musical aspects of the input from the notation style of the output.
6214 This way, the same input can be reused to typeset the same music in a
6215 different style of Gregorian chant notation such as Hufnagel (also
6216 known as German gothic neumes) or Medicaea (kind of a very simple
6217 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6218 engraver and Medicaea ligature engraver will have been implemented, it
6219 will be as simple as replacing the ligature engraver in the
6220 VoiceContext to get the desired notation style from the same input.
6222 The following table shows the code fragments that produce the
6223 ligatures in the above neumes table. The letter in the first column
6224 in each line of the below table indicates to which ligature in the
6225 above table it refers. The second column gives the name of the
6226 ligature. The third column shows the code fragment that produces this
6227 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6229 @multitable @columnfractions .1 .4 .5
6243 Punctum Inclinatum @tab
6244 @code{\[ \inclinatum b \]}
6248 Punctum Auctum Ascendens @tab
6249 @code{\[ \auctum \ascendens b \]}
6253 Punctum Auctum Descendens @tab
6254 @code{\[ \auctum \descendens b \]}
6258 Punctum Inclinatum Auctum @tab
6259 @code{\[ \inclinatum \auctum b \]}
6263 Punctum Inclinatum Parvum @tab
6264 @code{\[ \inclinatum \deminutum b \]}
6269 @code{\[ \virga b \]}
6274 @code{\[ \stropha b \]}
6279 @code{\[ \stropha \auctum b \]}
6284 @code{\[ \oriscus b \]}
6288 Clivis vel Flexa @tab
6289 @code{\[ b \flexa g \]}
6293 Clivis Aucta Descendens @tab
6294 @code{\[ b \flexa \auctum \descendens g \]}
6298 Clivis Aucta Ascendens @tab
6299 @code{\[ b \flexa \auctum \ascendens g \]}
6304 @code{\[ b \flexa \deminutum g \]}
6308 Podatus vel Pes @tab
6309 @code{\[ g \pes b \]}
6313 Pes Auctus Descendens @tab
6314 @code{\[ g \pes \auctum \descendens b \]}
6318 Pes Auctus Ascendens @tab
6319 @code{\[ g \pes \auctum \ascendens b \]}
6324 @code{\[ g \pes \deminutum b \]}
6329 @code{\[ \oriscus g \pes \virga b \]}
6333 Pes Quassus Auctus Descendens @tab
6334 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6339 @code{\[ \quilisma g \pes b \]}
6343 Quilisma Pes Auctus Descendens @tab
6344 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6348 Pes Initio Debilis @tab
6349 @code{\[ \deminutum g \pes b \]}
6353 Pes Auctus Descendens Initio Debilis @tab
6354 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6359 @code{\[ a \pes b \flexa g \]}
6363 Torculus Auctus Descendens @tab
6364 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6368 Torculus Deminutus @tab
6369 @code{\[ a \pes b \flexa \deminutum g \]}
6373 Torculus Initio Debilis @tab
6374 @code{\[ \deminutum a \pes b \flexa g \]}
6378 Torculus Auctus Descendens Initio Debilis @tab
6379 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6383 Torculus Deminutus Initio Debilis @tab
6384 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6389 @code{\[ a \flexa g \pes b \]}
6393 Porrectus Auctus Descendens @tab
6394 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6398 Porrectus Deminutus @tab
6399 @code{\[ a \flexa g \pes \deminutum b \]}
6404 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6408 Climacus Auctus @tab
6409 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6413 Climacus Deminutus @tab
6414 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6419 @code{\[ g \pes a \virga b \]}
6423 Scandicus Auctus Descendens @tab
6424 @code{\[ g \pes a \pes \auctum \descendens b \]}
6428 Scandicus Deminutus @tab
6429 @code{\[ g \pes a \pes \deminutum b \]}
6434 @code{\[ g \oriscus a \pes \virga b \]}
6438 Salicus Auctus Descendens @tab
6439 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6444 @code{\[ \stropha b \stropha b \stropha a \]}
6450 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
6451 Semivocalis head; this looks awful.
6453 Trigonus: apply equal spacing, regardless of pitch.
6456 @subsection Figured bass
6458 @cindex Basso continuo
6460 @c TODO: musicological blurb about FB
6464 LilyPond has limited support for figured bass:
6466 @lilypond[verbatim,fragment]
6468 \context Voice \notes { \clef bass dis4 c d ais}
6469 \context FiguredBass
6471 < 6 >4 < 7 >8 < 6+ [_!] >
6477 The support for figured bass consists of two parts: there is an input
6478 mode, introduced by @code{\figures}, where you can enter bass figures
6479 as numbers, and there is a context called @internalsref{FiguredBass}
6480 that takes care of making @internalsref{BassFigure} objects.
6482 In figures input mode, a group of bass figures is delimited by
6483 @code{<} and @code{>}. The duration is entered after the @code{>}.
6488 \context FiguredBass
6492 Accidentals are added to the numbers if you alterate them by
6493 appending @code{-}, @code{!} and @code{+}.
6499 \context FiguredBass
6500 \figures { <4- 6+ 7!> }
6503 Spaces or dashes may be inserted by using @code{_}. Brackets are
6504 introduced with @code{[} and @code{]}.
6510 \context FiguredBass
6511 \figures { < [4 6] 8 [_ 12]> }
6514 Although the support for figured bass may superficially resemble chord
6515 support, it works much simpler. The @code{\figures} mode simply
6516 stores the numbers , and @internalsref{FiguredBass} context prints
6517 them as entered. There is no conversion to pitches, and no
6518 realizations of the bass are played in the MIDI file.
6520 Internally, the code produces markup texts. You can use any of the
6521 markup text properties to override formatting. For example, the
6522 vertical spacing of the figures may be set with @code{baseline-skip}.
6526 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} grob,
6527 @internalsref{FiguredBass} context
6531 Slash notation for alterations is not supported.
6534 @node Contemporary notation
6535 @section Contemporary notation
6537 In the 20th century, composers have greatly expanded the musical
6538 vocabulary. With this expansion, many innovations in musical notation
6539 have been tried. For a comprehensive overview, refer to @cite{Stone
6540 1980} (see @ref{Literature}). In general, the use of new, innovative
6541 notation makes a piece harder to understand and perform and its use
6542 should therefore be avoided if possible. For this reason, support for
6543 contemporary notation in LilyPond is limited.
6552 @subsection Clusters
6556 In musical terminology, a @emph{cluster} denotes a range of
6557 simultaneously sounding pitches that may change over time. The set of
6558 available pitches to apply usually depends on the accoustic source.
6559 Thus, in piano music, a cluster typically consists of a continous range
6560 of the semitones as provided by the piano's fixed set of a chromatic
6561 scale. In choral music, each singer of the choir typically may sing an
6562 arbitrary pitch within the cluster's range that is not bound to any
6563 diatonic, chromatic or other scale. In electronic music, a cluster
6564 (theoretically) may even cover a continuous range of pitches, thus
6565 resulting in coloured noise, such as pink noise.
6567 Clusters can be denoted in the context of ordinary staff notation by
6568 engraving simple geometrical shapes that replace ordinary notation of
6569 notes. Ordinary notes as musical events specify starting time and
6570 duration of pitches; however, the duration of a note is expressed by the
6571 shape of the note head rather than by the horizontal graphical extent of
6572 the note symbol. In contrast, the shape of a cluster geometrically
6573 describes the development of a range of pitches (vertical extent) over
6574 time (horizontal extent). Still, the geometrical shape of a cluster
6575 covers the area in wich any single pitch contained in the cluster would
6576 be notated as an ordinary note. From this point of view, it is
6577 reasonable to specify a cluster as the envelope of a set of notes.
6581 A cluster is engraved as the envelope of a set of notes. The starting
6582 note is marked with @code{\startCluster}, and the ending note with
6583 @code{\stopCluster}, e.g.,
6591 The following example (from
6592 @inputfileref{input/regression,cluster.ly}) shows what the result
6595 @lilypondfile[notexidoc]{cluster.ly}
6597 By default, @internalsref{Cluster_engraver} is in the
6598 @internalsref{Voice} context. This allows putting ordinary notes and
6599 clusters together in the same staff, even simultaneously. In such a
6600 case no attempt is made to automatically avoid collisions between
6601 ordinary notes and clusters.
6605 @internalsref{Cluster}, @inputfileref{input/regression,cluster.ly},
6606 @internalsref{Cluster_engraver}, @internalsref{ClusterEvent}.
6610 When a cluster is active, note heads must be switched off manually using
6613 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
6614 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
6619 @subsection Fermatas
6625 Contemporary music notation frequently uses special fermata symbols to
6626 indicate fermatas of differing lengths.
6630 The following are supported
6632 @lilypond[singleline]
6655 \context Lyrics \lyrics {
6656 "shortfermata" "fermata" "longfermata" "verylongfermata"
6661 See @ref{Articulations} for general instructions how to apply scripts
6662 such as fermatas to a @code{\notes@{@}} block.
6665 @section Tuning output
6667 There are situations where default layout decisions are not
6668 sufficient. In this section we discuss ways to override these
6671 Formatting is internally done by manipulating so called objects (graphic
6672 objects). Each object carries with it a set of properties (object
6673 properties) specific to that object. For example, a stem object has
6674 properties that specify its direction, length and thickness.
6676 The most direct way of tuning the output is by altering the values of
6677 these properties. There are two ways of doing that: first, you can
6678 temporarily change the definition of one type of object, thus
6679 affecting a whole set of objects. Second, you can select one specific
6680 object, and set a object property in that object.
6684 * Constructing a tweak::
6693 @node Tuning objects
6694 @subsection Tuning objects
6696 @cindex object description
6698 The definition of an object is actually a list of default object
6699 properties. For example, the definition of the Stem object (available
6700 in @file{scm/grob-description.scm}), includes the following definitions for
6705 (beamed-lengths . (0.0 2.5 2.0 1.5))
6706 (Y-extent-callback . ,Stem::height)
6711 By adding variables on top of these existing definitions, the system
6712 default is overridden, and the appearance of a layout objects is
6718 Changing a variable for only one object is commonly achieved with
6722 \once \property @var{context}.@var{grobname}
6723 \override @var{symbol} = @var{value}
6725 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
6726 and @var{grobname} is a string and @var{value} is a Scheme expression.
6727 This command applies a setting only during one moment in the score.
6729 In the following example, only one @internalsref{Stem} object is
6730 changed from its original setting:
6732 @lilypond[verbatim, fragment, relative=1]
6734 \once \property Voice.Stem \set #'thickness = #4
6738 @cindex @code{\once}
6740 For changing more objects, the same command, without @code{\once} can
6743 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
6745 This command adds @code{@var{symbol} = @var{value}} to the definition
6746 of @var{grobname} in the context @var{context}, and this definition
6747 stays in place until it is removed.
6749 An existing definition may be removed by the following command
6752 \property @var{context}.@var{grobname} \revert @var{symbol}
6755 All @code{\override} and @code{\revert} commands should be balanced.
6756 The @code{\set} shorthand, performs a revert followed by an override,
6757 and is often more convenient to use
6760 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
6764 @lilypond[verbatim,quote]
6765 c'4 \property Voice.Stem \override #'thickness = #4.0
6767 c'4 \property Voice.Stem \revert #'thickness
6771 The following example gives exactly the same result as the previous
6772 one (assuming the system default for stem thickness is 1.3).
6774 @lilypond[verbatim,quote]
6775 c'4 \property Voice.Stem \set #'thickness = #4.0
6777 c'4 \property Voice.Stem \set #'thickness = #1.3
6781 Reverting a setting which was not set in the first place has no
6782 effect. However, if the setting was set as a system default, this may
6783 remove the default value, and this may give surprising results,
6784 including crashes. In other words, @code{\override} and
6785 @code{\revert} must be carefully balanced.
6787 These are examples of correct nesting of @code{\override}, @code{\set},
6790 A clumsy but correct form:
6792 \override \revert \override \revert \override \revert
6795 Shorter version of the same:
6797 \override \set \set \revert
6800 A short form, using only @code{\set}. This requires you to know the
6803 \set \set \set \set @var{to default value}
6806 If there is no default (i.e. by default, the object property is unset),
6809 \set \set \set \revert
6812 For the digirati, the object description is an Scheme association
6813 list. Since a Scheme list is a singly linked list, we can treat it as
6814 a stack, and @code{\override} and @code{\revert} are push and pop
6815 operations. The association list is stored in a normal context
6818 \property Voice.NoteHead = #'()
6820 will effectively erase @internalsref{NoteHead}s from the current
6821 @internalsref{Voice}. However, this mechanism is not guaranteed to
6822 work, and may cause crashes or other anomalous behavior.
6826 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
6827 @internalsref{PropertySet}, @internalsref{backend properties},
6828 @internalsref{All layout objects}.
6833 The backend is not very strict in type-checking object properties.
6834 Cyclic references in @var{value} cause hangs and/or crashes.
6835 Similarly, reverting properties that are system defaults may also lead
6838 @node Constructing a tweak
6839 @subsection Constructing a tweak
6842 @cindex internal documentation
6843 @cindex finding graphical objects
6844 @cindex graphical object descriptions
6846 @cindex @code{\override}
6848 @cindex internal documentation
6852 Using @code{\override} and @code{\set}, requires three pieces of
6853 information: the name of the layout object, the context and the name
6854 of the property. We demonstrate how to glean this information from
6855 the notation manual and the generated documentation.
6857 The generated documentation is a set of HTML pages which should be
6858 included if you installed a binary distribution, typically in
6859 @file{/usr/share/doc/lilypond}. They are also available on the web:
6860 go to the @uref{LilyPond website,http://lilypond.org}, click
6861 ``Documentation: Index'' on the side bar, look in the ``Information
6862 for users'' section, and click on ``Documentation of internals.'' It
6863 is advisable to bookmark either the local HTML files if possilbe. They
6864 will load faster than the ones on the web. If you use the version
6865 from the web, you must check whether the documentation matches the
6866 program version: the documentation is generated from the definitions
6867 that the program uses, and therefore it is strongly tied to the
6871 @c [TODO: revise for new site.]
6873 Suppose we want to move the fingering indication in the fragment below
6875 @lilypond[relative=2]
6881 If you visit the documentation of @code{Fingering} (in @ref{Fingering
6882 instructions}), you will notice that it says
6887 @internalsref{FingerEvent} and @internalsref{Fingering}.
6890 This implies that the fingerings, once entered, are internally stored
6891 as @code{FingerEvent} music objects. When printed, a @code{Fingering}
6892 layout object is created for every @code{FingerEvent}.
6895 When we follow the link of @internalsref{Fingering},
6898 When we look up @internalsref{Fingering} in the generated
6901 we see a list of interfaces. The Fingering object has a number of
6902 different functions, and each of those is captured in an interface.
6904 The @code{Fingering} object has a fixed size
6905 (@internalsref{item-interface}), the symbol is a piece of text
6906 (@internalsref{text-interface}), whose font can be set
6907 (@internalsref{font-interface}). It is centered horizontally
6908 (@internalsref{self-alignment-interface}), it is placed next to other
6909 objects (@internalsref{side-position-interface}) vertically, and its
6910 placement is coordinated with other scripts
6911 (@internalsref{text-script-interface}). It also has the standard
6912 @internalsref{grob-interface} with all the variables that come with
6913 it. Finally, it denotes a fingering instruction, so it has
6914 @internalsref{finger-interface}.
6916 For the vertical placement, we have to look under
6917 @code{side-position-interface}.
6919 side-position-interface
6921 Position a victim object (this one) next to other objects (the
6922 support). In this case, the direction signifies where to put the
6923 victim object relative to the support (left or right, up or down?)
6925 below this description, the variable @code{padding} is described as
6929 (dimension, in staff space)
6931 add this much extra space between objects that are next to each
6932 other. Default value: @code{0.6}
6936 By increasing the value of @code{padding}, we can move away the
6937 fingering. The following command inserts 3 staff spaces of white
6938 between the note and the fingering
6940 \once \property Voice.Fingering \set #'padding = #3
6943 Before the object is created, we get
6944 @lilypond[relative=2,fragment]
6945 \once \property Voice.Fingering
6952 The context name @code{Voice} in the example above can be determined
6953 as follows. In the documentation for @internalsref{Fingering}, it says
6955 Fingering grobs are created by: @internalsref{Fingering_engraver}
6958 Clicking @code{Fingering_engraver} shows the documentation of
6959 the module responsible for interpreting the fingering instructions and
6960 translating them to a @code{Fingering} object. Such a module is called
6961 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
6964 Fingering_engraver is part of contexts: Voice and TabVoice
6966 so tuning the settings for Fingering should be done using either
6968 \property Voice.Fingering \set @dots{}
6972 \property TabVoice.Fingering \set @dots{}
6975 Since the @code{TabVoice} is only used for tab notation, we see that
6976 the first guess @code{Voice} was indeed correct.
6978 Of course, the tweak may also done in a larger context than
6979 @code{Voice}, for example, @internalsref{Staff} or
6980 @internalsref{Score}.
6982 The internals document also contains alphabetical lists of
6983 @internalsref{All contexts}, @internalsref{All layout objects} and
6984 @internalsref{All music types}, so you can also find which objects to
6985 tweak by browsing the internals document.
6989 @subsection Applyoutput
6991 The most versatile way of tuning object is @code{\applyoutput}. Its
6994 \applyoutput @var{proc}
6996 where @var{proc} is a Scheme function, taking four arguments.
6998 When interpreted, the function @var{proc} is called for every grob found
6999 in the context, with the following arguments:
7001 @item the grob itself
7002 @item the context where the grob was created
7003 @item the context where @code{\applyoutput} is processed.
7006 In addition, the cause of the grob, i.e. the music expression or object
7007 that was responsible for creating the object, is in the object property
7008 @code{cause}. For example, for a note head, this is a
7009 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7010 this is a @internalsref{NoteHead} object.
7013 @node Outputproperty
7014 @subsection Outputproperty
7016 @cindex \outputproperty
7018 Another way of tuning objects is the more arcane @code{\outputproperty}
7019 feature. The syntax is as follows:
7021 \outputproperty @var{predicate} @var{symbol} = @var{value}
7023 Here @code{predicate} is a Scheme function taking an object argument, and
7024 returning a boolean. This statement is processed by the
7025 @code{Output_property_engraver}. It instructs the engraver to feed all
7026 objects that it sees to @var{predicate}. Whenever the predicate returns
7027 true, the object property @var{symbol} will be set to @var{value}.
7029 You will need to combine this statement with @code{\context} to select
7030 the appropriate context to apply this to.
7031 @inputfileref{input/regression,output-property.ly} shows an example of
7032 the use of @code{\outputproperty}.
7036 If possible, avoid this feature: the semantics are not very clean, and
7037 the syntax and semantics are up for rewrite.
7040 @node Font selection
7041 @subsection Font selection
7043 The most common thing to change about the appearance of fonts is
7044 their size. The font size of any context can be easily
7045 changed by setting the @code{fontSize} property for that context:
7047 @lilypond[fragment,relative=1,verbatim,quote]
7048 c4 c4 \property Voice.fontSize = #-1
7051 This command will set @code{font-relative-size} (see below),
7052 and does not change the size of variable symbols, such as
7053 beams or slurs. You can use this command to get smaller symbol for
7054 cue notes, but that involves some more subtleties. An elaborate
7055 example of those is in @inputfileref{input/test,cue-notes.ly}.
7057 @cindex magnification
7059 The size of the font may be scaled with the object property
7060 @code{font-magnification}. For example, @code{2.0} blows up all
7061 letters by a factor 2 in both directions.
7070 The font used for printing a object can be selected by setting
7071 @code{font-name}, e.g.
7073 \property Staff.TimeSignature
7074 \set #'font-name = #"cmr17"
7076 You may use any font which is available to @TeX{}, such as foreign
7077 fonts or fonts that do not belong to the Computer Modern font family.
7079 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7080 can also be adjusted with a more fine-grained mechanism. By setting
7081 the object properties described below, you can select a different font.
7082 All three mechanisms work for every object that supports
7083 @code{font-interface}.
7087 A symbol indicating the general class of the typeface. Supported are
7088 @code{roman} (Computer Modern), @code{braces} (for piano staff
7089 braces), @code{music} (the standard music font, including ancient
7090 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7093 A symbol indicating the shape of the font, there are typically several
7094 font shapes available for each font family. Choices are @code{italic},
7095 @code{caps} and @code{upright}
7098 A symbol indicating the series of the font. There are typically several
7099 font series for each font family and shape. Choices are @code{medium}
7102 @item font-relative-size
7103 A number indicating the size relative the standard size. For example,
7104 with 20pt staff height, relative size -1 corresponds to 16pt staff
7105 height, and relative size +1 corresponds to 23 pt staff height.
7107 There are small differences in design between fonts designed for
7108 different sizes, hence @code{font-relative-size} is preferred over
7109 @code{font-magnification} for changing font sizes.
7112 @item font-design-size
7113 A number indicating the design size of the font.
7115 This is a feature of the Computer Modern Font: each point size has a
7116 slightly different design. Smaller design sizes are relatively wider,
7117 which enhances readability.
7120 For any of these properties, the value @code{*} (i.e. the symbol
7121 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7122 to override default setting, which are always present. For example:
7124 \property Lyrics.LyricText \override #'font-series = #'bold
7125 \property Lyrics.LyricText \override #'font-family = #'typewriter
7126 \property Lyrics.LyricText \override #'font-shape = #'*
7129 @cindex @code{font-style}
7133 The following commands set @code{fontSize} for the current voice.
7137 @refcommand normalsize
7141 Relative size is not linked to any real size.
7143 There is no style sheet provided for other fonts besides the @TeX{}
7144 family, and the style sheet cannot be modified easily.
7146 @cindex font selection
7147 @cindex font magnification
7148 @cindex @code{font-interface}
7152 @subsection Text markup
7157 @cindex typeset text
7159 LilyPond has an internal mechanism to typeset texts. You can access it
7160 with the keyword @code{\markup}. Within markup mode, you can enter texts
7161 similar to lyrics: simply enter them, surrounded by spaces.
7164 @lilypond[verbatim,fragment,relative=1]
7165 c1^\markup { hello }
7166 c1_\markup { hi there }
7167 c1^\markup { hi \bold there, is \italic anyone home? }
7170 @cindex font switching
7172 The line of the example demonstrates font switching commands. The
7173 command only apply to the first following word; enclose a set of texts
7174 with braces to apply a command to more words.
7176 \markup @{ \bold @{ hi there @} @}
7178 For clarity, you can also do this for single arguments, e.g.
7180 \markup @{ is \italic @{ anyone @} home @}
7183 @cindex font size, texts
7185 The following size commands set abolute sizes
7201 You can also make letter larger or smaller relative to their neighbors,
7202 with the commands @code{\larger} and @code{\smaller}.
7206 @cindex font style, for texts
7212 The following font change commands are defined:
7215 This changes to the font used for dynamic signs. This font does not
7216 contain all characters of the alphabet, so when producing ``piu f'',
7217 the ``piu'' should be done in a different font.
7221 This changes to the font used for time signatures. It only contains
7222 numbers and a few punctuation marks.
7224 Changes @code{font-shape} to @code{italic}
7226 Changes @code{font-series} to @code{bold}
7229 @cindex raising text
7230 @cindex lowering text
7232 @cindex translating text
7237 Raising and lowering texts can be done with @code{\super} and
7240 @lilypond[verbatim,fragment,relative=1]
7241 c1^\markup { E "=" mc \super "2" }
7246 If you want to give an explicit amount for lowering or raising, use
7247 @code{\raise}. This command takes a Scheme valued first argument, and
7248 a markup object as second argument
7250 @lilypond[verbatim,fragment,relative=1,quote]
7251 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7253 The argument to @code{\raise} is the vertical displacement amount,
7254 measured in (global) staff spaces.
7256 Other commands taking single arguments include
7259 @item \bracket, \hbracket
7260 Bracket the argument markup with normal and horizontal brackets
7265 This is converted to a musical symbol, e.g. @code{\musicglyph
7266 #"accidentals-0"} will select the natural sign from the music font.
7267 See @ref{The Feta font} for a complete listing of the possible glyphs.
7269 This produces a single character, e.g. @code{\char #65} produces the
7272 @item \hspace #@var{amount}
7274 This produces a invisible object taking horizontal space.
7276 \markup @{ A \hspace #2.0 B @}
7278 will put extra space between A and B, on top of the space that is
7279 normally inserted before elements on a line.
7281 @item \fontsize #@var{size}
7283 This sets the relative font size, eg.
7285 A \fontsize #2 @{ B C @} D
7289 This will enlarge the B and the C by two steps.
7290 @item \translate #(cons @var{x} @var{y})
7292 This translates an object. Its first argument is a cons of numbers
7294 A \translate #(cons 2 -3) @{ B C @} D
7296 This moves `B C' 2 spaces to the right, and 3 down.
7298 @item \magnify #@var{mag}
7300 This sets the font magnification for the its argument. In the following
7301 example, the middle A will be 10% larger.
7303 A \magnify #1.1 @{ A @} A
7307 @item \override #(@var{key} . @var{value})
7309 This overrides a formatting property for its argument. The argument
7310 should be a key/value pair, e.g.
7312 m \override #'(font-family . math) m m
7316 In markup mode you can compose expressions, similar to mathematical
7317 expressions, XML documents and music expressions. The braces group
7318 notes into horizontal lines. Other types of lists also exist: you can
7319 stack expressions grouped with @code{<<}, and @code{>>} vertically with
7320 the command @code{\column}. Similarly, @code{\center} aligns texts by
7323 @lilypond[verbatim,fragment,relative=1]
7324 c1^\markup { \column << a bbbb c >> }
7325 c1^\markup { \center << a bbbb c >> }
7326 c1^\markup { \line << a b c >> }
7329 The markup mechanism is extensible. Refer to
7330 @file{scm/new-markup.scm} for more information on extending the markup
7337 @internalsref{Markup functions}, @file{scm/new-markup.scm}
7344 Text layout is ultimately done by @TeX{}, which does kerning of
7345 letters. LilyPond does not account for kerning, so texts will be
7346 spaced slightly too wide.
7348 Syntax errors for markup mode are confusing.
7352 @section Global layout
7354 The global layout determined by three factors: the page layout, the
7355 line breaks and the spacing. These all influence each other. The
7356 choice of spacing determines how densely each system of music is set,
7357 which influences where line breaks breaks are chosen, and thus
7358 ultimately how many pages a piece of music takes. In this section, the
7359 algorithm for spacing music is explained, and how spacing can be
7362 Globally spoken, this procedure happens in three steps: first,
7363 flexible distances (``springs'') are chosen, based on durations. All
7364 possible line breaking combination are tried, and the one with the
7365 best results---a layout that has uniform density and requires as
7366 little stretching or cramping as possible---is chosen. When the score
7367 is processed by @TeX{}, each page is filled with systems, and page breaks
7368 are chosen whenever the page gets full.
7373 * Vertical spacing::
7374 * Horizontal spacing::
7381 @node Vertical spacing
7382 @subsection Vertical spacing
7384 @cindex vertical spacing
7385 @cindex distance between staves
7386 @cindex staff distance
7387 @cindex between staves, distance
7388 @cindex staffs per page
7391 The height of each system is determined automatically by lilypond, to
7392 keep systems from bumping into each other, some minimum distances are
7393 set. By changing these, you can put staves closer together, and thus
7394 put more systems onto one page.
7396 Normally staves are stacked vertically. To make
7397 staves maintain a distance, their vertical size is padded. This is
7398 done with the property @code{minimumVerticalExtent}. It takes a pair
7399 of numbers, so if you want to make it smaller from its, then you could
7402 \property Staff.minimumVerticalExtent = #'(-4 . 4)
7404 This sets the vertical size of the current staff to 4 staff-space on
7405 either side of the center staff line. The argument of
7406 @code{minimumVerticalExtent} is interpreted as an interval, where the
7407 center line is the 0, so the first number is generally negative. The
7408 staff can be made larger at the bottom by setting it to @code{(-6
7411 The piano staves are handled a little differently: to make cross-staff
7412 beaming work correctly, it necessary that the distance between staves
7413 is fixed beforehand. This is also done with a
7414 @internalsref{VerticalAlignment} object, created in
7415 @internalsref{PianoStaff}. In this object the distance between the
7416 staves is fixed by setting @code{forced-distance}. If you want to
7417 override this, use a @code{\translator} block as follows:
7421 VerticalAlignment \override #'forced-distance = #9
7424 This would bring the staves together at a distance of 9 staff spaces,
7425 measured from the center line of each staff.
7429 Vertical aligment of staves is handled by the
7430 @internalsref{VerticalAlignment} object.
7434 @node Horizontal spacing
7435 @subsection Horizontal Spacing
7437 The spacing engine translates differences in durations into
7438 stretchable distances (``springs'') of differing lengths. Longer
7439 durations get more space, shorter durations get less. The shortest
7440 durations get a fixed amount of space (which is controlled by
7441 @code{shortest-duration-space} in the @internalsref{SpacingSpanner}
7442 object). The longer the duration, the more space it gets: doubling a
7443 duration adds a fixed amount (this amount is controlled by
7444 @code{spacing-increment}) of space to the note.
7446 For example, the following piece contains lots of half, quarter and
7447 8th notes, the eighth note is followed by 1 note head width (NHW).
7448 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
7449 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
7453 Normally, @code{shortest-duration-space} is set to 1.2, which is the
7454 width of a note head, and @code{shortest-duration-space} is set to
7455 2.0, meaning that the shortest note gets 2 NHW (2 times
7456 @code{shortest-duration-space}) of space. For normal notes, this space
7457 is always counted from the left edge of the symbol, so the shortest
7458 notes are generally followed by one NHW of space.
7460 If one would follow the above procedure exactly, then adding a single
7461 32th note to a score that uses 8th and 16th notes, would widen up the
7462 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
7463 thus adding 2 noteheads of space to every note. To prevent this, the
7464 shortest duration for spacing is not the shortest note in the score,
7465 but the most commonly found shortest note. Notes that are even
7466 shorter this are followed by a space that is proportonial to their
7467 duration relative to the common shortest note. So if we were to add
7468 only a few 16th notes to the example above, they would be followed by
7471 @lilypond[fragment, verbatim, relative=2]
7472 c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
7475 The most common shortest duration is determined as follows: in every
7476 measure, the shortest duration is determined. The most common short
7477 duration, is taken as the basis for the spacing, with the stipulation
7478 that this shortest duration should always be equal to or shorter than
7479 1/8th note. The shortest duration is printed when you run lilypond
7480 with @code{--verbose}. These durations may also be customized. If you
7481 set the @code{common-shortest-duration} in
7482 @internalsref{SpacingSpanner}, then this sets the base duration for
7483 spacing. The maximum duration for this base (normally 1/8th), is set
7484 through @code{base-shortest-duration}.
7486 @cindex @code{common-shortest-duration}
7487 @cindex @code{base-shortest-duration}
7488 @cindex @code{stem-spacing-correction}
7489 @cindex @code{spacing}
7491 In the introduction it was explained that stem directions influence
7492 spacing. This is controlled with @code{stem-spacing-correction}
7493 property in @internalsref{NoteSpacing}, which are generated for every
7494 @internalsref{Voice} context. The @code{StaffSpacing} object
7495 (generated at @internalsref{Staff} context) contains the same property
7496 for controlling the stem/barline spacing. The following example
7497 shows these corrections, once with default settings, and once with
7498 exaggerated corrections.
7504 \property Staff.NoteSpacing \override #'stem-spacing-correction
7506 \property Staff.StaffSpacing \override #'stem-spacing-correction
7511 \paper { raggedright = ##t } }
7514 @cindex SpacingSpanner, overriding properties
7516 Properties of the @internalsref{SpacingSpanner} must be overridden
7517 from the @code{\paper} block, since the @internalsref{SpacingSpanner}
7518 is created before any @code{\property} statements are interpreted.
7520 \paper @{ \translator @{
7522 SpacingSpanner \override #'spacing-increment = #3.0
7529 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
7530 @internalsref{StaffSpacing}, @internalsref{SeparationItem},
7531 @internalsref{SeparatingGroupSpanner}.
7535 Spacing is determined on a score wide basis. If you have a score that
7536 changes its character (measured in durations) halfway during the
7537 score, the part containing the longer durations will be spaced too
7540 There is no convenient mechanism to manually override spacing.
7545 @subsection Font size
7546 @cindex font size, setting
7547 @cindex staff size, setting
7548 @cindex @code{paper} file
7550 The Feta font provides musical symbols at seven different sizes.
7551 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
7552 26 point. The point size of a font is the height of the corresponding
7553 staff (excluding line thicknesses).
7555 Definitions for these sizes are the files @file{paperSZ.ly}, where
7556 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
7557 of these files, the variables @code{paperEleven},
7558 @code{paperThirteen}, @code{paperSixteen},
7559 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
7560 are defined respectively. The default @code{\paper} block is also
7561 set. These files should be imported at toplevel, i.e.
7563 \include "paper26.ly"
7567 The font definitions are generated using a Scheme function. For more
7568 details, see the file @file{scm/font.scm}.
7573 @subsection Line breaking
7576 @cindex breaking lines
7578 Line breaks are normally computed automatically. They are chosen such
7579 that lines look neither cramped nor loose, and that consecutive lines
7580 have similar density.
7582 Occasionally you might want to override the automatic breaks; you can
7583 do this by specifying @code{\break}. This will force a line break at
7584 this point. Line breaks can only occur at places where there are bar
7585 lines. If you want to have a line break where there is no bar line,
7586 you can force an invisible bar line by entering @code{\bar
7587 ""}. Similarly, @code{\noBreak} forbids a line break at a
7591 @cindex regular line breaks
7592 @cindex four bar music.
7594 If you want linebreaks at regular intervals, you can use the following:
7596 < \repeat unfold 7 @{ s1 * 4 \break @}
7597 @emph{the real music}
7600 This makes the following 28 measures (assuming 4/4 time) be broken every
7605 @internalsref{BreakEvent}
7609 @subsection Page layout
7612 @cindex breaking pages
7614 @cindex @code{indent}
7615 @cindex @code{linewidth}
7617 The most basic settings influencing the spacing are @code{indent} and
7618 @code{linewidth}. They are set in the @code{\paper} block. They
7619 control the indentation of the first line of music, and the lengths of
7622 If @code{raggedright} is set to true in the @code{\paper}
7623 block, then the lines are justified at their natural length. This
7624 useful for short fragments, and for checking how tight the natural
7628 @cindex vertical spacing
7630 The page layout process happens outside the LilyPond formatting
7631 engine: variables controlling page layout are passed to the output,
7632 and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
7633 to the following variables in the @code{\paper} block. The variable
7634 @code{textheight} sets the total height of the music on each page.
7635 The spacing between systems is controlled with @code{interscoreline},
7636 its default is 16pt. The distance between the score lines will
7637 stretch in order to fill the full page @code{interscorelinefill} is
7638 set to a positive number. In that case @code{interscoreline}
7639 specifies the minimum spacing.
7641 @cindex @code{textheight}
7642 @cindex @code{interscoreline}
7643 @cindex @code{interscorelinefill}
7645 If the variable @code{lastpagefill} is defined,
7646 @c fixme: this should only be done if lastpagefill == #t
7647 systems are evenly distributed vertically on the last page. This
7648 might produce ugly results in case there are not enough systems on the
7649 last page. The @command{lilypond-book} command ignores
7650 @code{lastpagefill}. See @ref{lilypond-book manual} for more
7653 @cindex @code{lastpagefill}
7655 Page breaks are normally computed by @TeX{}, so they are not under
7656 direct control of LilyPond. However, you can insert a commands into
7657 the @file{.tex} output to instruct @TeX{} where to break pages. This
7658 is done by setting the @code{between-systems-strings} on the
7659 @internalsref{NonMusicalPaperColumn} where the system is broken.
7660 An example is shown in @inputfileref{input/regression,between-systems.ly}.
7661 The predefined command @code{\newpage} also does this.
7665 @cindex @code{papersize}
7667 To change the paper size, you must first set the
7668 @code{papersize} paper variable variable. Set it to
7669 the strings @code{a4}, @code{letter}, or @code{legal}. After this
7670 specification, you must set the font as described above. If you want
7671 the default font, then use the 20 point font.
7674 \paper@{ papersize = "a4" @}
7675 \include "paper16.ly"
7678 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
7679 will set the paper variables @code{hsize} and @code{vsize} (used by
7680 Lilypond and @code{ly2dvi})
7690 @ref{Invoking ly2dvi},
7691 @inputfileref{input/regression,between-systems.ly},
7692 @internalsref{NonMusicalPaperColumn}.
7696 There is no concept of page breaking, which makes it difficult to
7697 choose sensible page breaks in multi-page pieces.
7706 Entered music can also be converted to MIDI output. The performance
7707 is good enough for proof-hearing the music for errors.
7709 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
7710 crescendi and decrescendi translate into MIDI volume levels. Dynamic
7711 marks translate to a fixed fraction of the available MIDI volume
7712 range, crescendi and decrescendi make the volume vary linearly between
7713 their two extremities. The fractions be adjusted by
7714 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
7715 For each type of MIDI instrument, a volume range can be defined. This
7716 gives you basic equalizer control, which can enhance the quality of
7717 the MIDI output remarkably. The equalizer can be controlled by
7718 setting @code{instrumentEqualizer}.
7722 Many musically interesting effects, such as swing, articulation,
7723 slurring, etc., are not translated to MIDI.
7728 * MIDI instrument names::
7733 @subsection MIDI block
7737 The MIDI block is analogous to the paper block, but it is somewhat
7738 simpler. The @code{\midi} block can contain:
7742 @item a @code{\tempo} definition
7743 @item context definitions
7746 Assignments in the @code{\midi} block are not allowed.
7750 @cindex context definition
7752 Context definitions follow precisely the same syntax as within the
7753 \paper block. Translation modules for sound are called performers.
7754 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
7757 @node MIDI instrument names
7758 @subsection MIDI instrument names
7760 @cindex instrument names
7761 @cindex @code{Staff.midiInstrument}
7762 @cindex @code{Staff.instrument}
7764 The MIDI instrument name is set by the @code{Staff.midiInstrument}
7765 property or, if that property is not set, the @code{Staff.instrument}
7766 property. The instrument name should be chosen from the list in
7767 @ref{MIDI instruments}.
7771 If the selected string does not exactly match, then LilyPond uses the
7772 default (Grand Piano). It is not possible to select an instrument by