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
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
40 @c FIXME: Note entry vs Music entry at top level menu is confusing.
46 The basic elements of any piece of music are the notes. This section
47 is about basic notation elements notes, rests and related constructs,
48 such as stems, tuplets and ties.
53 * Chromatic alterations::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative 2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (an accidental within parentheses) can be obtained by adding the
189 question mark `@code{?}' after the pitch:
191 @lilypond[fragment,verbatim]
192 cis' cis' cis'! cis'?
196 The automatic production of accidentals can be tuned in many
197 ways. For more information, refer to @ref{Accidentals}.
202 A chord is formed by a enclosing a set of pitches in @code{<} and
203 @code{>}. A chord may be followed by a duration, and a set of
204 articulations, just like simple notes.
214 Rests are entered like notes, with the note name @code{r}:
216 @lilypond[singleline,verbatim]
220 Whole bar rests, centered in middle of the bar,
221 must be done with multi measure rests. They are discussed in
222 @ref{Multi measure rests}.
225 A rest's vertical position may be explicitly specified by entering a
226 note with the @code{\rest} keyword appended. This makes manual
227 formatting in polyphonic music easier. Rest collision testing will
228 leave these rests alone:
230 @lilypond[singleline,verbatim]
236 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
243 @cindex Invisible rest
246 An invisible rest (also called a `skip') can be entered like a note
247 with note name `@code{s}' or with @code{\skip @var{duration}}:
249 @lilypond[singleline,verbatim]
253 The @code{s} syntax is only available in Note mode and Chord mode. In
254 other situations, you should use the @code{\skip} command:
256 @lilypond[singleline,verbatim]
259 { \time 4/8 \skip 2 \time 4/4 }
260 \notes\relative c'' { a2 a1 }
265 The skip command is merely an empty musical placeholder. It does not
266 produce any output, not even transparent output.
270 Internals: @internalsref{SkipEvent}.
275 @subsection Durations
281 In Note, Chord, and Lyrics mode, durations are designated by numbers
282 and dots: durations are entered as their reciprocal values. For example,
283 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
284 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
285 longer than a whole you must use variables:
287 @c FIXME: what is an identifier? I do not think it's been introduced yet.
288 @c and if it has, I obviously skipped that part. - Graham
292 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
294 r1 r2 r4 r8 r16 r32 r64 r64
299 \notes \relative c'' {
301 a1 a2 a4 a8 a16 a32 a64 a64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \remove "Clef_engraver"
309 \remove "Staff_symbol_engraver"
310 \remove "Time_signature_engraver"
311 \consists "Pitch_squash_engraver"
318 If the duration is omitted then it is set to the previously entered
319 duration. The default for the first note is a quarter note. The duration
320 can be followed by dots (`@code{.}') in order to obtain dotted note
324 @lilypond[fragment,verbatim,center]
325 a' b' c''8 b' a'4 a'4. b'4.. c'8.
330 You can alter the length of duration by a fraction @var{N/M}
331 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
332 will not affect the appearance of the notes or rests produced.
333 In the following example, the first three notes take up exactly two
335 @lilypond[fragment,relative 2,verbatim]
337 a4*2/3 gis4*2/3 a4*2/3
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
362 Whenever a note is found, a @internalsref{Stem} object is created
363 automatically. For whole notes and rests, they are also created but
368 @cindex @code{\stemUp}
370 @cindex @code{\stemDown}
372 @cindex @code{\stemBoth}
383 A tie connects two adjacent note heads of the same pitch. The tie in
384 effect extends the length of a note. Ties should not be confused with
385 slurs, which indicate articulation, or phrasing slurs, which indicate
386 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
388 @lilypond[fragment,verbatim,center]
389 e' ~ e' <c' e' g'> ~ <c' e' g'>
392 When a tie is applied to a chord, all note heads whose pitches match
393 are connected. When no note heads match, no ties will be created.
395 In its meaning a tie is just a way of extending a note duration, similar
396 to the augmentation dot; in the following example there are two ways of
397 notating exactly the same concept:
399 @lilypond[fragment, singleline,quote]
400 \time 3/4 c'2. c'2 ~ c'4
402 If you need to tie a lot of notes over bars, it may be easier to use automatic
403 note splitting (See @ref{Automatic note splitting}).
408 @cindex @code{\tieUp}
410 @cindex @code{\tieDown}
412 @cindex @code{\tieBoth}
414 @cindex @code{\tieDotted}
416 @cindex @code{\tieSolid}
421 In this manual: @ref{Automatic note splitting}.
423 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
426 Examples: if you want less ties created for a chord, see
427 @inputfileref{input/test,tie-sparse.ly}.
429 For tying only a subset of the note heads of a pair of chords, see
430 @inputfileref{input/regression,tie-chord-partial.ly}.
435 Switching staves when a tie is active will not produce a slanted tie.
437 Formatting of ties is a difficult subject. The results are often not
447 @cindex @code{\times}
449 Tuplets are made out of a music expression by multiplying all durations
452 @cindex @code{\times}
454 \times @var{fraction} @var{musicexpr}
458 The duration of @var{musicexpr} will be multiplied by the fraction.
459 The fraction's denominator will be printed over the notes, optionally
460 with a bracket. The most common tuplet is the triplet in which 3
461 notes have the length of 2, so the notes are 2/3 of their written
464 @lilypond[fragment,verbatim,center]
465 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
468 The property @code{tupletSpannerDuration} specifies how long each
469 bracket should last. With this, you can make lots of tuplets while
470 typing @code{\times} only once, saving lots of typing. In the next
471 example, there are two triplets shown, while @code{\times} was only
474 @lilypond[fragment, relative, singleline, verbatim]
475 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
476 \times 2/3 { c'8 c c c c c }
479 The format of the number is determined by the property
480 @code{tupletNumberFormatFunction}. The default prints only the
481 denominator, but if it is set to the Scheme function
482 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
486 @cindex @code{tupletNumberFormatFunction}
487 @cindex tuplet formatting
492 @cindex @code{\tupletUp}
494 @cindex @code{\tupletDown}
496 @cindex @code{\tupletBoth}
501 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
503 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
507 Nested tuplets are not formatted automatically. In this case, outer
508 tuplet brackets should be moved manually, which is demonstrated in
509 @inputfileref{input/regression,tuplet-nest.ly}.
513 @node Easier music entry
514 @section Easier music entry
517 When entering music it is easy to introduce errors. This section deals
518 with tricks and features of the input language that were added solely
519 to help entering music, and find and correct mistakes.
521 It is also possible to use external programs, for example GUI
522 interfaces, or MIDI transcription programs, to enter or edit
523 music. Refer to the website for more information. Finally, there are
524 tools make debugging easier, by linking the input file and the output
525 shown on screen. See @ref{Point and click} for more information.
532 * Skipping corrected music::
533 * Automatic note splitting::
539 @node Relative octaves
540 @subsection Relative octaves
542 @cindex relative octave specification
544 Octaves are specified by adding @code{'} and @code{,} to pitch names.
545 When you copy existing music, it is easy to accidentally put a pitch
546 in the wrong octave and hard to find such an error. The relative
547 octave mode prevents these errors: a single error puts the rest of the
548 piece off by one octave:
550 @cindex @code{\relative}
552 \relative @var{startpitch} @var{musicexpr}
555 The octave of notes that appear in @var{musicexpr} are calculated as
556 follows: If no octave changing marks are used, the basic interval
557 between this and the last note is always taken to be a fourth or less
558 (; this distance is determined without regarding alterations: a
559 @code{fisis} following a @code{ceses} will be put above the
562 The octave changing marks @code{'} and @code{,} can be added to raise
563 or lower the pitch by an extra octave. Upon entering relative mode,
564 an absolute starting pitch must be specified that will act as the
565 predecessor of the first note of @var{musicexpr}.
567 Here is the relative mode shown in action:
568 @lilypond[fragment,singleline,verbatim,center]
574 Octave changing marks are used for intervals greater than a fourth:
575 @lilypond[fragment,verbatim,center]
580 If the preceding item is a chord, the first note of the chord is used
581 to determine the first note of the next chord:
583 @lilypond[fragment,verbatim,center]
590 @cindex @code{\notes}
592 The pitch after the @code{\relative} contains a note name. To parse
593 the pitch as a note name, you have to be in note mode, so there must
594 be a surrounding @code{\notes} keyword (which is not
597 The relative conversion will not affect @code{\transpose},
598 @code{\chords} or @code{\relative} sections in its argument. If you
599 want to use relative within transposed music, you must place an
600 additional @code{\relative} inside the @code{\transpose}.
603 @subsection Octave check
606 Octave checks make octave errors easier to correct: a note may be
607 followed by @code{=}@var{quotes} which indicates what its absolute
608 octave should be. In the following example,
610 \relative c'' @{ c='' b=' d,='' @}
614 @c take care with @code, adds confusing quotes.
615 the d will generate a warning, because a d'' is expected, but a d' is
616 found. In the output, the octave is corrected this and the following
621 There is also a syntax that is separate from the notes.
626 This checks that @var{pitch} (without octave) yields @var{pitch} (with
627 octave) in \relative mode. If not, a warning is printed, and the
628 octave is corrected, for example, the first check is passed
629 successfully. The second check fails with an error message. The
630 octave is adjusted so the following notes are in the correct octave
641 The octave of a note following an octave check is determined with
642 respect to the note preceding it. In the next fragment, the last note
643 is a @code{a'}, above central C. Hence, the @code{\octave} check may
644 be deleted without changing the meaning of the piece.
646 @lilypond[verbatim,fragment]
655 @subsection Bar check
659 @cindex @code{barCheckSynchronize}
662 Bar checks help detect errors in the durations. A bar check is
663 entered using the bar symbol, `@code{|}'. Whenever it is encountered
664 during interpretation, it should fall on a measure boundary. If it
665 does not, a warning is printed. Depending on the value of
666 @code{barCheckSynchronize}, the beginning of the measure will be
669 In the next example, the second bar check will signal an error:
671 \time 3/4 c2 e4 | g2 |
674 Bar checks can also be used in lyrics, for example
679 Twin -- kle | Twin -- kle
684 @cindex skipTypesetting
686 Failed bar checks are caused by entering incorrect
687 durations. Incorrect durations often completely garble up the score,
688 especially if it is polyphonic, so you should start correcting the
689 score by scanning for failed bar checks and incorrect durations. To
690 speed up this process, you can use @code{skipTypesetting}, described
693 @node Skipping corrected music
694 @subsection Skipping corrected music
696 The property @code{Score.skipTypesetting} can be used to switch on and
697 off typesetting completely during the interpretation phase. When
698 typesetting is switched off, the music is processed much more quickly.
699 This can be used to skip over the parts of a score that have already
700 been checked for errors:
702 @lilypond[fragment,singleline,verbatim]
704 \property Score.skipTypesetting = ##t
706 \property Score.skipTypesetting = ##f
710 @node Automatic note splitting
711 @subsection Automatic note splitting
713 Long notes can be converted automatically to tied notes. This is done
714 by replacing the @internalsref{Note_heads_engraver} by the
715 @internalsref{Completion_heads_engraver}:
718 \paper @{ \translator @{
720 \remove "Note_heads_engraver"
721 \consists "Completion_heads_engraver"
725 which will make long notes tied in the following example:
728 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
735 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
737 \paper { \translator {
739 \remove "Note_heads_engraver"
740 \consists "Completion_heads_engraver"
745 This engraver splits all running notes at the bar line, and inserts
746 ties. One of its uses is to debug complex scores: if the measures are
747 not entirely filled, then the ties exactly show how much each measure
752 Not all durations (especially those containing tuplets) can be
753 represented exactly; the engraver will not insert tuplets.
759 @section Staff notation
761 This section describes music notation that occurs on staff level,
762 such as keys, clefs and time signatures.
764 @cindex Staff notation
778 @subsection Staff symbol
780 @cindex adjusting staff symbol
781 @cindex StaffSymbol, using \property
783 Notes, dynamic signs, etc. are grouped
784 with a set of horizontal lines, into a staff (plural `staves'). In our
785 system, these lines are drawn using a separate layout object called
789 @cindex staff lines, setting number of
790 @cindex staff lines, setting thickness of
791 @cindex thickness of staff lines, setting
792 @cindex number of staff lines, setting
796 Internals: @internalsref{StaffSymbol},
798 Examples: @inputfileref{input/test,staff-lines.ly},
799 @inputfileref{input/test,staff-size.ly}
803 If a staff is ended halfway a piece, the staff symbol may not end
804 exactly on the barline.
808 @subsection Key signature
809 @cindex Key signature
813 The key signature indicates the scale in which a piece is played. It
814 is denoted by a set of alterations (flats or sharps) at the start of
819 Setting or changing the key signature is done with the @code{\key}
822 @code{\key} @var{pitch} @var{type}
825 @cindex @code{\minor}
826 @cindex @code{\major}
827 @cindex @code{\minor}
828 @cindex @code{\ionian}
829 @cindex @code{\locrian}
830 @cindex @code{\aeolian}
831 @cindex @code{\mixolydian}
832 @cindex @code{\lydian}
833 @cindex @code{\phrygian}
834 @cindex @code{\dorian}
836 Here, @var{type} should be @code{\major} or @code{\minor} to get
837 @var{pitch}-major or @var{pitch}-minor, respectively.
838 The standard mode names @code{\ionian},
839 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
840 @code{\phrygian}, and @code{\dorian} are also defined.
842 This command sets the context property
843 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
844 can be specified by setting this property directly.
846 Accidentals and key signatures often confuse new users, because
847 unaltered notes get natural signs depending on the keysignature. The
848 tutorial explains why this is so in @ref{More about pitches}.
852 The ordering of a key cancellation is wrong when it is combined with
853 repeat bar lines. The cancellation is also printed after a line break.
857 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
859 @cindex @code{keySignature}
866 The clef indicates which lines of the staff correspond to which
871 The clef can be set or changed with the @code{\clef} command:
872 @lilypond[fragment,verbatim]
873 \key f\major c''2 \clef alto g'2
876 Supported clef-names include:
877 @c Moved standard clefs to the top /MB
881 @item treble, violin, G, G2
894 G clef on 1st line, so-called French violin clef
899 @cindex mezzosoprano clef
902 @cindex baritone clef
905 @cindex varbaritone clef
914 By adding @code{_8} or @code{^8} to the clef name, the clef is
915 transposed one octave down or up, respectively, and @code{_15} and
916 @code{^15} transposes by two octaves. The argument @var{clefname}
917 must be enclosed in quotes when it contains underscores or digits. For
921 @cindex choral tenor clef
922 @lilypond[verbatim,fragment,relative]
926 This command is equivalent to setting @code{clefGlyph},
927 @code{clefPosition} (which controls the Y position of the clef),
928 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
929 when any of these properties are changed.
933 Internals: the object for this symbol is @internalsref{Clef}.
937 @node Ottava brackets
938 @subsection Ottava brackets
940 ``Ottava'' brackets introduce an extra transposition of an octave for
941 the staff. They are created by invoking the function
942 @code{set-octavation}:
948 @lilypond[verbatim,fragment]
957 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
958 (for 15ma) as arguments. Internally the function sets the properties
959 @code{ottavation} (eg. to @code{"8va"}) and
960 @code{centralCPosition}. For overriding the text of the bracket, set
961 @code{ottavation} after invoking @code{set-octavation}, i.e.,
965 \property Staff.ottavation = #"8"
970 Internals: @internalsref{OttavaBracket}.
972 Examples: @inputfileref{input/regression,ottava.ly},
973 @inputfileref{input/regression,ottava-broken.ly}.
977 @code{set-octavation} will get confused when clef changes happen
978 during an octavation bracket.
981 @subsection Time signature
982 @cindex Time signature
986 Time signature indicates the metrum of a piece: a regular pattern of
987 strong and weak beats. It is denoted by a fraction at the start of the
992 The time signature is set or changed by the @code{\time}
994 @lilypond[fragment,verbatim]
995 \time 2/4 c'2 \time 3/4 c'2.
998 The symbol that is printed can be customized with the @code{style}
999 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1000 2/2 time. There are many more options for its layout. See
1001 @inputfileref{input/test,time.ly} for more examples.
1004 This command sets the property @code{timeSignatureFraction},
1005 @code{beatLength} and @code{measureLength} in the @code{Timing}
1006 context, which is normally aliased to @internalsref{Score}. The
1007 property @code{measureLength} determines where bar lines should be
1008 inserted, and how automatic beams should be generated. Changing the
1009 value of @code{timeSignatureFraction} also causes the symbol to be
1012 More options are available through the Scheme function
1013 @code{set-time-signature}. In combination with the
1014 @internalsref{Measure_grouping_engraver}, it will create
1015 @internalsref{MeasureGrouping} signs. Such signs ease reading
1016 rhythmically complex modern music. In the following example, the 9/8
1017 measure is subdivided in 2, 2, 2 and 3. This is passed to
1018 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1021 \score { \notes \relative c'' {
1022 #(set-time-signature 9 8 '(2 2 2 3))
1023 g8[ g] d[ d] g[ g] a8[( bes g]) |
1024 #(set-time-signature 5 8 '(3 2))
1029 \translator { \StaffContext
1030 \consists "Measure_grouping_engraver"
1036 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1041 Automatic beaming does not use measure grouping specified with
1042 @code{set-time-signature}.
1044 @node Partial measures
1045 @subsection Partial measures
1048 @cindex partial measure
1049 @cindex measure, partial
1050 @cindex shorten measures
1051 @cindex @code{\partial}
1053 Partial measures, for example in upsteps, are entered using the
1054 @code{\partial} command:
1055 @lilypond[fragment,verbatim,relative 1]
1056 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1059 The syntax for this command is
1061 \partial @var{duration}
1063 This is internally translated into
1065 \property Timing.measurePosition = -@var{length of duration}
1068 The property @code{measurePosition} contains a rational number
1069 indicating how much of the measure has passed at this point.
1071 @node Unmetered music
1072 @subsection Unmetered music
1074 Bar lines and bar numbers are calculated automatically. For unmetered
1075 music (e.g. cadenzas), this is not desirable. By setting
1076 @code{Score.timing} to false, this automatic timing can be switched
1082 @cindex @code{\cadenzaOn}
1084 @cindex @code{\cadenzaOff}
1088 @subsection Bar lines
1092 @cindex measure lines
1096 Bar lines delimit measures, but are also used to indicate repeats.
1097 Normally, they are inserted automatically. Line breaks may only
1103 of barlines can be forced with the @code{\bar} command:
1105 @lilypond[relative=1,fragment,verbatim]
1109 The following bar types are available:
1110 @lilypond[fragment, relative, singleline, verbatim]
1123 For allowing linebreaks, there is a special command,
1127 This will insert an invisible barline, and allow linebreaks at this
1130 In scores with many staves, a @code{\bar} command in one staff is
1131 automatically applied to all staves. The resulting bar lines are
1132 connected between different staves of a @internalsref{StaffGroup}:
1134 @lilypond[fragment, verbatim]
1135 << \context StaffGroup <<
1139 \new Staff { \clef bass c4 g e g } >>
1140 \new Staff { \clef bass c2 c2 } >>
1144 The command @code{\bar @var{bartype}} is a short cut for doing
1145 @code{\property Score.whichBar = @var{bartype}} Whenever
1146 @code{whichBar} is set to a string, a bar line of that type is
1147 created. At the start of a measure it is set to
1148 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1149 to override default measure bars.
1151 Property @code{whichBar} can also be set directly, using @code{\property}
1152 or @code{\bar}. These settings take precedence over the automatic
1153 @code{whichBar} settings.
1156 @cindex repeatCommands
1157 @cindex defaultBarType
1159 You are encouraged to use @code{\repeat} for repetitions. See
1166 In this manual: @ref{Repeats}.
1169 Internals: the bar line objects that are created at
1170 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1171 lines that span staves are @internalsref{SpanBar}s.
1173 @cindex bar lines at start of system
1174 @cindex start of system
1176 The barlines at the start of each system are
1177 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1178 @internalsref{SystemStartBracket}. Only one of these types is created
1179 in every context, and that type is determined by the property
1180 @code{systemStartDelimiter}.
1182 Examples: @inputfileref{input/test,bar-lines.ly},
1188 The easiest way to enter fragments with more than one voice on a staff
1189 is to split chords using the separator @code{\\}. You can use it for
1190 small, short-lived voices or for single chords:
1192 @lilypond[verbatim,fragment]
1193 \context Staff \relative c'' {
1194 c4 << { f d e } \\ { b c2 } >>
1195 c4 << g' \\ b, \\ f' \\ d >>
1199 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1200 voices are sometimes called "layers" other notation packages}
1202 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1203 each of these contexts, vertical direction of slurs, stems, etc. is set
1206 @cindex @code{\voiceOne}
1207 @cindex @code{\voiceFour}
1209 This can also be done by instantiating @internalsref{Voice} contexts
1210 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1211 a stem directions and horizontal shift for each part:
1214 @lilypond[singleline, verbatim]
1216 \context Staff << \new Voice { \voiceOne cis2 b }
1217 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1218 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1222 The command @code{\oneVoice} will revert back to the normal setting.
1223 @cindex @code{\oneVoice}
1226 Normally, note heads with a different number of dots are not merged, but
1227 when the object property @code{merge-differently-dotted} is set in
1228 the @internalsref{NoteCollision} object, they are merged:
1229 @lilypond[verbatim,fragment,singleline]
1230 \relative c'' \context Voice << {
1232 \property Staff.NoteCollision \override
1233 #'merge-differently-dotted = ##t
1235 } \\ { g8.[ f16] g8.[ f16] }
1239 Similarly, you can merge half note heads with eighth notes, by setting
1240 @code{merge-differently-headed}:
1241 @lilypond[fragment, relative=2,verbatim]
1244 \property Staff.NoteCollision
1245 \override #'merge-differently-headed = ##t
1246 c8 c4. } \\ { c2 c2 } >>
1249 LilyPond also vertically shifts rests that are opposite of a stem:
1252 @lilypond[singleline,fragment,verbatim]
1253 \context Voice << c''4 \\ r4 >>
1261 @cindex @code{\oneVoice}
1263 @cindex @code{\voiceOne}
1265 @cindex @code{\voiceTwo}
1267 @cindex @code{\voiceThree}
1269 @cindex @code{\voiceFour}
1273 The following commands specify in what chords of the current voice
1274 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1275 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1278 @cindex @code{\shiftOn}
1280 @cindex @code{\shiftOnn}
1282 @cindex @code{\shiftOnnn}
1284 @cindex @code{\shiftOff}
1291 Internals: the objects responsible for resolving collisions are
1292 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1294 Examples: See also example files
1295 @inputfileref{input/regression,collision-dots.ly},
1296 @inputfileref{input/regression,collision-head-chords.ly},
1297 @inputfileref{input/regression,collision-heads.ly},
1298 @inputfileref{input/regression,collision-mesh.ly}, and
1299 @inputfileref{input/regression,collisions.ly}.
1304 Resolving collisions is a intricate subject, and only a few situations
1305 are handled. When LilyPond cannot cope, the @code{force-hshift}
1306 property of the @internalsref{NoteColumn} object and pitched rests can
1307 be used to override typesetting decisions.
1309 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1310 note, and a downstem half note, the 8th note gets the wrong offset.
1312 There is no support for clusters where the same note occurs with
1313 different accidentals in the same chord. In this case, it is
1314 recommended to use enharmonic transcription, or to use special cluster
1315 notation (see @ref{Clusters}).
1320 Beams are used to group short notes into chunks that are aligned with
1321 the metrum. They are inserted automatically in most cases:
1323 @lilypond[fragment,verbatim, relative=2]
1324 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1327 When these automatic decisions are not good enough, beaming can be
1328 entered explicitly. It is also possible to define beaming patterns
1329 that differ from the defaults.
1333 Internals: @internalsref{Beam}.
1336 @cindex Automatic beams
1339 * Setting automatic beam behavior::
1343 @subsection Manual beams
1344 @cindex beams, manual
1348 In some cases it may be necessary to override the automatic beaming
1349 algorithm. For example, the auto beamer will not put beams over rests
1350 or bar lines. Such beams are specified by manually: the begin and end
1351 point are marked with @code{[} and @code{]}:
1353 @lilypond[fragment,relative,verbatim]
1355 r4 r8[ g' a r8] r8 g[ | a] r8
1359 @cindex @code{stemLeftBeamCount}
1361 Normally, beaming patterns within a beam are determined automatically.
1362 When this mechanism fouls up, the properties
1363 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1364 be used to control the beam subdivision on a stem. If either property
1365 is set, its value will be used only once, and then it is erased.
1367 @lilypond[fragment,relative,verbatim]
1370 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1373 @cindex @code{stemRightBeamCount}
1376 The property @code{subdivideBeams} can be set in order to subdivide
1377 all 16th or shorter beams at beat positions, as defined by the
1378 @code{beatLength} property . This accomplishes the same effect as
1379 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1380 but it take less typing:
1383 @lilypond[relative=1,verbatim,noindent]
1385 \property Voice.subdivideBeams = ##t
1387 \property Score.beatLength = #(ly:make-moment 1 8)
1390 @cindex subdivideBeams
1392 Kneed beams are inserted automatically, when a large gap is detected
1393 between the note heads. This behavior can be tuned through the object
1394 property @code{auto-knee-gap}.
1396 Normally, line breaks are forbidden when beams cross bar lines. This
1397 behavior can be changed by setting @code{allowBeamBreak}.
1399 @cindex @code{allowBeamBreak}
1400 @cindex beams and line breaks
1402 @cindex beams, kneed
1404 @cindex auto-knee-gap
1410 @cindex Frenched staves
1412 Automatically kneed beams cannot be used together with hidden staves.
1417 @node Setting automatic beam behavior
1418 @subsection Setting automatic beam behavior
1420 @cindex @code{autoBeamSettings}
1421 @cindex @code{(end * * * *)}
1422 @cindex @code{(begin * * * *)}
1423 @cindex automatic beams, tuning
1424 @cindex tuning automatic beaming
1426 @c [TODO: use \applycontext]
1428 In normal time signatures, automatic beams can start on any note but can
1429 only end in a few positions within the measure: beams can end on a beat,
1430 or at durations specified by the properties in
1431 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1432 are defined in @file{scm/auto-beam.scm}.
1434 The value of @code{autoBeamSettings} is changed using
1435 @code{\override} and restored with @code{\revert}:
1437 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1438 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1440 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1441 whether the rule applies to begin or end-points. The quantity
1442 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1443 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1444 signature (wildcards, `@code{* *}' may be entered to designate all time
1447 For example, if automatic beams should end on every quarter note, use
1450 \property Voice.autoBeamSettings \override
1451 #'(end * * * *) = #(ly:make-moment 1 4)
1453 Since the duration of a quarter note is 1/4 of a whole note, it is
1454 entered as @code{(ly:make-moment 1 4)}.
1456 The same syntax can be used to specify beam starting points. In this
1457 example, automatic beams can only end on a dotted quarter note:
1459 \property Voice.autoBeamSettings \override
1460 #'(end * * * *) = #(ly:make-moment 3 8)
1462 In 4/4 time signature, this means that automatic beams could end only on
1463 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1464 3/8 has passed within the measure).
1466 Rules can also be restricted to specific time signatures. A rule that
1467 should only be applied in @var{N}/@var{M} time signature is formed by
1468 replacing the second asterisks by @var{N} and @var{M}. For example, a
1469 rule for 6/8 time exclusively looks like
1471 \property Voice.autoBeamSettings \override
1472 #'(begin * * 6 8) = ...
1475 If a rule should be to applied only to certain types of beams, use the
1476 first pair of asterisks. Beams are classified according to the
1477 shortest note they contain. For a beam ending rule that only applies
1478 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1481 If a score ends while an automatic beam has not been ended and is still
1482 accepting notes, this last beam will not be typeset at all.
1484 @cindex automatic beam generation
1486 @cindex @code{Voice.autoBeaming}
1489 For melodies that have lyrics, you may want to switch off
1490 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1495 @cindex @code{\autoBeamOff}
1496 @code{\autoBeamOff},
1497 @cindex @code{\autoBeamOn}
1503 The rules for ending a beam depend on the shortest note in a beam.
1504 So, while it is possible to have different ending rules for eight
1505 beams and sixteenth beams, a beam that contains both eight and
1506 sixteenth notes will use the rules for the sixteenth beam.
1508 In the example below, the autobeamer makes eight beams and sixteenth
1509 end at 3 eights; the third beam can only be corrected by specifying
1512 @lilypond[singleline,fragment,relative,noverbatim,quote]
1513 \property Voice.autoBeamSettings
1514 \override #'(end * * * *) = #(ly:make-moment 3 8)
1515 % rather show case where it goes wrong
1516 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1517 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1519 It is not possible to specify beaming parameters that act differently in
1520 different parts of a measure. This means that it is not possible to use
1521 automatic beaming in irregular meters such as @code{5/8}.
1524 @section Accidentals
1527 This section describes how to change the way that accidentals are
1528 inserted automatically before the running notes.
1532 * Using the predefined accidental variables::
1533 * Customized accidental rules::
1536 @node Using the predefined accidental variables
1537 @subsection Using the predefined accidental variables
1539 The constructs for describing the accidental typesetting rules are
1540 quite hairy, so non-experts should stick to the variables
1541 defined in @file{ly/property-init.ly}.
1542 @cindex @file{property-init.ly}
1544 The variables set properties in the ``@code{Current}'' context (see
1545 @ref{Context properties}). This means that the variables should
1546 normally be added right after the creation of the context in which the
1547 accidental typesetting described by the variable is to take
1548 effect. For example, if you want to use piano-accidentals in a piano
1549 staff then issue @code{\pianoAccidentals} first thing after the
1550 creation of the piano staff:
1553 \notes \relative c'' <<
1554 \new Staff @{ cis4 d e2 @}
1555 \context GrandStaff <<
1557 \new Staff @{ cis4 d e2 @}
1558 \new Staff @{ es2 c @}
1560 \new Staff @{ es2 c @}
1564 @lilypond[singleline]
1566 \notes \relative c'' <<
1567 \new Staff { cis4 d e2 }
1568 \context GrandStaff <<
1570 \new Staff { cis4 d e2 }
1571 \new Staff { es2 c }
1573 \new Staff { es2 c }
1578 minimumVerticalExtent = #'(-4.0 . 4.0)
1586 @item \defaultAccidentals
1587 @cindex @code{\defaultAccidentals}
1588 This is the default typesetting behaviour. It should correspond
1589 to 18th century common practice: Accidentals are
1590 remembered to the end of the measure in which they occur and
1591 only on their own octave.
1593 @item \voiceAccidentals
1594 @cindex @code{\voiceAccidentals}
1596 The normal behaviour is to
1597 remember the accidentals on Staff-level. This variable, however,
1598 typesets accidentals individually for each voice. Apart from that the
1599 rule is similar to @code{\defaultAccidentals}.
1601 This leads to some weird and often unwanted results
1602 because accidentals from one voice do not get cancelled in other
1604 @lilypond[singleline,relative,fragment,verbatim,quote]
1612 Hence you should only use @code{\voiceAccidentals} if the voices
1613 are to be read solely by individual musicians. If the staff is to be
1614 used by one musician (e.g. a conductor) then you use
1615 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1618 @item \modernAccidentals
1619 @cindex @code{\modernAccidentals}
1620 This rule corresponds to the common practice in the 20th
1622 The rule is more complex than @code{\defaultAccidentals}.
1623 You get all the same accidentals, but temporary
1624 accidentals also get cancelled in other octaves. Furthermore,
1625 in the same octave, they also get cancelled in the following measure:
1626 @lilypond[singleline,fragment,verbatim]
1628 cis' c'' cis'2 | c'' c'
1631 @item \modernCautionaries
1632 @cindex @code{\modernCautionaries}
1633 This rule is similar to @code{\modernAccidentals}, but the
1634 ``extra'' accidentals (the ones not typeset by
1635 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1636 They are printed in reduced size or with parentheses:
1637 @lilypond[singleline,fragment,verbatim]
1639 cis' c'' cis'2 | c'' c'
1642 @cindex @code{\modernVoiceAccidentals}
1643 @item \modernVoiceAccidentals
1644 is used for multivoice accidentals to be read both by musicians
1645 playing one voice and musicians playing all voices. Accidentals are
1646 typeset for each voice, but they @emph{are} cancelled across voices in
1647 the same @internalsref{Staff}.
1649 @cindex @code{\modernVoiceCautionaries}
1650 @item \modernVoiceCautionaries
1651 is the same as @code{\modernVoiceAccidentals}, but with the extra
1652 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1653 as cautionaries. Even though all accidentals typeset by
1654 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1655 some of them are typeset as cautionaries.
1657 @item \pianoAccidentals
1658 @cindex @code{\pianoAccidentals}
1659 20th century practice for piano notation. Very similar to
1660 @code{\modernAccidentals} but accidentals also get cancelled
1661 across the staves in the same @internalsref{GrandStaff} or
1662 @internalsref{PianoStaff}.
1664 @item \pianoCautionaries
1665 @cindex @code{\pianoCautionaries}
1666 As @code{\pianoAccidentals} but with the extra accidentals
1667 typeset as cautionaries.
1670 @cindex @code{\noResetKey}
1671 Same as @code{\defaultAccidentals} but with accidentals lasting
1672 ``forever'' and not only until the next measure:
1673 @lilypond[singleline,fragment,verbatim,relative]
1678 @item \forgetAccidentals
1679 @cindex @code{\forgetAccidentals}
1680 This is sort of the opposite of @code{\noResetKey}: Accidentals
1681 are not remembered at all---and hence all accidentals are
1682 typeset relative to the key signature, regardless of what was
1683 before in the music:
1684 @lilypond[singleline,fragment,verbatim,relative]
1686 \key d\major c4 c cis cis d d dis dis
1690 @node Customized accidental rules
1691 @subsection Customized accidental rules
1693 For determining when to print an accidental, several different rules
1694 are tried. The rule that gives the highest number of accidentals is
1695 used. Each rule consists of
1698 In which context is the rule applied. For example, if
1699 @var{context} is @internalsref{Score} then all staves share
1700 accidentals, and if @var{context} is @internalsref{Staff} then all
1701 voices in the same staff share accidentals, but staves do not.
1703 Whether the accidental changes all octaves or only the current
1706 Over how many barlines the accidental lasts.
1707 If @var{lazyness} is @code{-1} then the accidental is forget
1708 immediately, and if @var{lazyness} is @code{#t} then the accidental
1711 @c [TODO: should use +infinity for this case?]
1717 @cindex @code{\defaultAccidentals}
1718 @code{\defaultAccidentals},
1719 @cindex @code{\voiceAccidentals}
1720 @code{\voiceAccidentals},
1721 @cindex @code{\modernAccidentals}
1722 @code{\modernAccidentals},
1723 @cindex @code{\modernCautionaries}
1724 @code{\modernCautionaries},
1725 @cindex @code{\modernVoiceAccidentals}
1726 @code{\modernVoiceAccidentals},
1727 @cindex @code{\modernVoiceCautionaries}
1728 @code{\modernVoiceCautionaries},
1729 @cindex @code{\pianoAccidentals}
1730 @code{\pianoAccidentals},
1731 @cindex @code{\pianoCautionaries}
1732 @code{\pianoCautionaries},
1733 @cindex @code{\noResetKey}
1735 @cindex @code{\forgetAccidentals}
1736 @code{\forgetAccidentals}.
1740 Internals: @internalsref{Accidental_engraver},
1741 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1746 Currently the simultaneous notes are considered to be entered in
1747 sequential mode. This means that in a chord the accidentals are
1748 typeset as if the notes in the chord happened once at a time - in the
1749 order in which they appear in the input file.
1751 This is only a problem when there are simultaneous notes whose
1752 accidentals depend on each other. The problem only occurs when using
1753 non-default accidentals. In the default scheme, accidentals only
1754 depend on other accidentals with the same pitch on the same staff, so
1755 no conflicts possible.
1757 This example shows two examples of the same music giving different
1758 accidentals depending on the order in which the notes occur in the
1761 @lilypond[singleline,fragment,verbatim]
1762 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1763 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1764 | <cis' c''> r | <c'' cis'> r |
1767 This problem can be solved by manually inserting @code{!} and @code{?}
1768 for the problematic notes.
1770 @node Expressive marks
1771 @section Expressive marks
1774 @c todo: should change ordering
1775 @c where to put text spanners, metronome marks,
1784 * Analysis brackets::
1786 * Fingering instructions::
1797 A slur indicates that notes are to be played bound or @emph{legato}.
1801 They are entered using parentheses:
1802 @lilypond[relative 1,fragment,verbatim,center]
1803 f( g)( a) a8 b( a4 g2 f4)
1808 @c TODO: should explain that ^( and _( set directions
1809 @c should set attachments with ^ and _ ?
1811 Slurs avoid crossing stems, and are generally attached to note heads.
1812 However, in some situations with beams, slurs may be attached to stem
1813 ends. If you want to override this layout you can do this through the
1814 object property @code{attachment} of @internalsref{Slur} in
1815 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1816 the attachment type of the left and right end points:
1818 @lilypond[fragment,relative,verbatim]
1820 \property Voice.Stem \set #'length = #5.5
1822 \property Voice.Slur \set #'attachment = #'(stem . stem)
1826 If a slur would strike through a stem or beam, the slur will be moved
1827 away upward or downward. If this happens, attaching the slur to the
1828 stems might look better:
1830 @lilypond[fragment,relative,verbatim]
1833 \property Voice.Slur \set #'attachment = #'(stem . stem)
1840 @cindex @code{\slurUp}
1842 @cindex @code{\slurDown}
1844 @cindex @code{\slurBoth}
1846 @cindex @code{\slurDotted}
1848 @cindex @code{\slurSolid}
1853 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1858 Producing nice slurs is a difficult problem, and LilyPond currently
1859 uses a simple, empiric method to produce slurs. In some cases, its
1863 @cindex Adjusting slurs
1865 @node Phrasing slurs
1866 @subsection Phrasing slurs
1868 @cindex phrasing slurs
1869 @cindex phrasing marks
1871 A phrasing slur (or phrasing mark) connects chords and is used to
1872 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1875 @lilypond[fragment,verbatim,center,relative]
1876 \time 6/4 c'\( d( e) f( e) d\)
1879 Typographically, the phrasing slur behaves almost exactly like a
1880 normal slur. However, they are treated as different objects. A
1881 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1882 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1883 @code{\phrasingSlurBoth}.
1885 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1886 will only affect normal slurs and not phrasing slurs.
1890 @cindex @code{\phrasingSlurUp}
1891 @code{\phrasingSlurUp},
1892 @cindex @code{\phrasingSlurDown}
1893 @code{\phrasingSlurDown},
1894 @cindex @code{\phrasingSlurBoth}
1895 @code{\phrasingSlurBoth},
1899 Internals: see also @internalsref{PhrasingSlur}, and
1900 @internalsref{PhrasingSlurEvent}.
1904 Phrasing slurs have the same limitations in their formatting as normal
1905 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1908 @subsection Breath marks
1910 Breath marks are entered using @code{\breathe}:
1913 @lilypond[fragment,relative,verbatim]
1917 The glyph of the breath mark can be tweaked by overriding the
1918 @code{text} property of the @code{BreathingSign} layout object with
1919 any markup text. For example,
1920 @lilypond[fragment,verbatim,relative]
1922 \property Voice.BreathingSign \override #'text
1923 = #(make-musicglyph-markup "scripts-rvarcomma")
1930 Internals: @internalsref{BreathingSign},
1931 @internalsref{BreathingSignEvent}
1933 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1936 @node Metronome marks
1937 @subsection Metronome marks
1940 @cindex beats per minute
1941 @cindex metronome marking
1943 Metronome settings can be entered as follows:
1945 \tempo @var{duration} = @var{perminute}
1948 In the MIDI output, they are interpreted as a tempo change, and in the
1949 paper output, a metronome marking is printed:
1950 @cindex @code{\tempo}
1951 @lilypond[fragment,verbatim]
1957 Internals: @internalsref{MetronomeChangeEvent}.
1962 @subsection Text spanners
1963 @cindex Text spanners
1965 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1966 are written as texts, and extended over many measures with dotted
1967 lines. You can create such texts using text spanners: attach
1968 @code{\startTextSpan} and @code{\stopTextSpan} to the
1969 start and ending note of the spanner.
1971 The string to be printed, as well as the style, is set through object
1974 @lilypond[fragment,relative,verbatim]
1976 \property Voice.TextSpanner \set #'direction = #-1
1977 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1978 c2\startTextSpan b c\stopTextSpan a }
1984 Internals @internalsref{TextSpanEvent},
1985 @internalsref{TextSpanner}.
1987 Examples: @inputfileref{input/regression,text-spanner.ly}.
1990 @node Analysis brackets
1991 @subsection Analysis brackets
1993 @cindex phrasing brackets
1994 @cindex musicological analysis
1995 @cindex note grouping bracket
1997 Brackets are used in musical analysis to indicate structure in musical
1998 pieces. LilyPond supports a simple form of nested horizontal brackets.
1999 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2000 @internalsref{Staff} context. A bracket is started with
2001 @code{\startGroup} and closed with @code{\stopGroup}:
2003 @lilypond[singleline,verbatim]
2004 \score { \notes \relative c'' {
2005 c4\startGroup\startGroup
2008 c4\stopGroup\stopGroup
2010 \paper { \translator {
2011 \StaffContext \consists "Horizontal_bracket_engraver"
2017 Internals: @internalsref{HorizontalBracket},
2018 @internalsref{NoteGroupingEvent}
2020 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2024 @subsection Articulations
2025 @cindex Articulations
2027 @cindex articulations
2031 A variety of symbols can appear above and below notes to indicate
2032 different characteristics of the performance. They are added to a note
2033 by adding a dash and the character signifying the
2034 articulation. They are demonstrated here:
2036 @lilypondfile[notexidoc]{script-abbreviations.ly}
2038 The meanings of these shorthands can be changed: see
2039 @file{ly/script-init.ly} for examples.
2042 The script is automatically placed, but if you need to force
2043 directions, you can use @code{_} to force them down, or @code{^} to
2045 @lilypond[fragment, verbatim]
2049 Other symbols can be added using the syntax
2050 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2051 can be forced up or down using @code{^} and @code{_},
2054 @lilypond[verbatim,fragment,relative 2]
2055 c\fermata c^\fermata c_\fermata
2062 @cindex staccatissimo
2071 @cindex organ pedal marks
2080 @cindex prallmordent
2084 @cindex thumb marking
2089 @lilypondfile[notexidoc]{script-chart.ly}
2094 @cindex @code{\scriptUp}
2096 @cindex @code{\scriptDown}
2098 @cindex @code{\scriptBoth}
2103 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2107 These note ornaments appear in the printed output but have no
2108 effect on the MIDI rendering of the music.
2111 @node Fingering instructions
2112 @subsection Fingering instructions
2116 Fingering instructions can be entered using
2118 @var{note}-@var{digit}
2120 For finger changes, use markup texts:
2122 @lilypond[verbatim, singleline, fragment]
2123 c'4-1 c'4-2 c'4-3 c'4-4
2124 c'^\markup { \fontsize #-3 \number "2-3" }
2127 @cindex finger change
2132 You can use the thumb-script to indicate that a note should be
2133 played with the thumb. (used in cello music):
2135 @lilypond[verbatim, singleline, fragment]
2136 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2137 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2140 Fingerings for chords can also be added to individual notes
2141 of the chord by adding them after the pitches:
2142 @lilypond[verbatim,singleline,fragment,relative=1]
2143 < c-1 e-2 g-3 b-5 > 4
2147 In this case, setting @code{fingeringOrientations} will put fingerings next
2150 @lilypond[verbatim,singleline,fragment,relative=1]
2151 \property Voice.fingeringOrientations = #'(left down)
2152 <c-1 es-2 g-4 bes-5 > 4
2153 \property Voice.fingeringOrientations = #'(up right down)
2154 <c-1 es-2 g-4 bes-5 > 4
2159 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2161 Examples: @inputfileref{input/regression,finger-chords.ly}
2164 @subsection Text scripts
2165 @cindex Text scripts
2167 @cindex text items, non-empty
2168 @cindex non-empty texts
2170 It is possible to place arbitrary strings of text or markup text (see
2171 @ref{Text markup}) above or below notes by using a string:
2172 @code{c^"text"}. By default, these indications do not influence the
2173 note spacing, but by using the command @code{\fatText}, the widths
2174 will be taken into account:
2176 @lilypond[fragment,singleline,verbatim] \relative c' {
2177 c4^"longtext" \fatText c4_"longlongtext" c4 }
2180 It is possible to use @TeX{} commands in the strings, but this should
2181 be avoided because the exact dimensions of the string can then no
2186 @refcommand{fatText}, @refcommand{emptyText}.
2191 In this manual: @ref{Text markup}.
2193 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2199 @subsection Grace notes
2202 @c should have blurb about accaciatura / appogiatura
2204 @cindex @code{\grace}
2208 Grace notes are ornaments that are written out. The most common ones
2209 are acciaccatura, which should be played as very short. It is denoted
2210 by a slurred small note with a slashed stem. The appoggiatura is a
2211 grace note that takes a fixed fraction of the main note, is and
2212 denoted as a slurred note in small print without a slash.
2213 They are entered with the commands @code{\acciaccatura} and
2214 @code{\appoggiatura}, as demonstrated in the following example:
2217 @cindex appoggiatura
2218 @cindex acciaccatura
2220 @lilypond[relative=2,verbatim,fragment]
2221 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2222 \acciaccatura { g16[ f] } e4
2225 Both are special forms of the @code{\grace} command. By prefixing this
2226 keyword to a music expression, a new one is formed, which will be
2227 printed in a smaller font and takes up no logical time in a measure.
2228 @lilypond[relative=2,verbatim,fragment]
2230 \grace { c16[ d16] } c2 c4
2234 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2235 @code{\grace} command does not start a slur.
2237 Internally, timing for grace notes is done using a second, `grace'
2238 time. Every point in time consists of two rational numbers: one
2239 denotes the logical time, one denotes the grace timing. The above
2240 example is shown here with timing tuples:
2242 @lilypond[singleline]
2245 c4 \grace c16 c4 \grace {
2248 \new Lyrics \lyrics {
2251 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2252 \markup { (\fraction 1 4 , 0 ) } 4
2254 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2255 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2257 \markup { ( \fraction 2 4 , 0 ) }
2262 The placement of grace notes is synchronized between different staves.
2263 In the following example, there are two sixteenth graces notes for
2264 every eighth grace note:
2266 @lilypond[relative=2,verbatim,fragment]
2267 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2268 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2273 If you want to end a note with a grace, then the standard trick
2274 is to put the grace notes after a ``space note'', e.g.
2275 @lilypond[fragment,verbatim, relative=2]
2278 { s2 \grace { c16[ d] } } >>
2284 By adjusting the duration of the skip note (here it is a half-note),
2285 the space between the main-note and the grace is adjusted.
2288 A @code{\grace} section will introduce special typesetting settings,
2289 for example, to produce smaller type, and set directions. Hence, when
2290 introducing layout tweaks, they should be inside the grace section,
2292 @lilypond[fragment,verbatim,relative 1]
2295 \property Voice.Stem \override #'direction = #-1
2297 \property Voice.Stem \revert #'direction
2304 The overrides should also be reverted inside the grace section.
2306 If the layout of grace sections must be changed throughout the music,
2307 then this can be accomplished through the function
2308 @code{add-grace-property}. The following example
2309 undefines the Stem direction grace section, so stems do not always
2314 #(add-grace-property "Voice" Stem direction '())
2320 Another option is to change the variables @code{startGraceMusic},
2321 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2322 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2323 @code{stopAppoggiaturaMstuic}. More information is in the file
2324 @file{ly/grace-init.ly}
2329 Internals: @internalsref{GraceMusic}.
2333 A score that starts with an @code{\grace} section needs an explicit
2334 @code{\context Voice} declaration, otherwise the main note and grace
2335 note end up on different staves.
2337 Grace note synchronization can also lead to surprises. Staff notation,
2338 such as key signatures, barlines, etc. are also synchronized. Take
2339 care when you mix staves with grace notes and staves without, for example,
2341 @lilypond[relative=2,verbatim,fragment]
2342 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2343 \new Staff { c4 \bar "|:" d4 } >>
2346 Grace sections should only be used within sequential music
2347 expressions. Nesting or juxtaposing grace sections is not supported,
2348 and might produce crashes or other errors.
2352 @subsection Glissando
2355 @cindex @code{\glissando}
2357 A glissando is a smooth change in pitch. It is denoted by a line or a
2358 wavy line between two notes.
2362 A glissando line can be requested by attaching a @code{\glissando} to
2365 @lilypond[fragment,relative,verbatim]
2371 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2376 Adding additional texts (such as @emph{gliss.}) is not supported.
2380 @subsection Dynamics
2393 @cindex @code{\ffff}
2403 Absolute dynamic marks are specified using an variable after a
2404 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2405 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2406 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2407 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2409 @lilypond[verbatim,singleline,fragment,relative]
2410 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2416 @cindex @code{\decr}
2417 @cindex @code{\rced}
2424 A crescendo mark is started with @code{\<} and terminated with
2425 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2426 with @code{\!}. Because these marks are bound to notes, if you must
2427 use spacer notes if multiple marks during one note are needed:
2429 @lilypond[fragment,verbatim,center,quote]
2430 c''\< c''\! d''\decr e''\rced
2431 << f''1 { s4 s4\< s4\! \> s4\! } >>
2433 This may give rise to very short hairpins. Use @code{minimum-length}
2434 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2438 \property Staff.Hairpin \override #'minimum-length = #5
2441 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2442 is an example how to do it:
2444 @lilypond[fragment,relative=2,verbatim]
2445 c4 \cresc c4 c c c \endcresc c4
2451 You can also supply your own texts:
2452 @lilypond[fragment,relative,verbatim]
2454 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2455 \property Voice.crescendoSpanner = #'dashed-line
2465 @cindex @code{\dynamicUp}
2467 @cindex @code{\dynamicDown}
2468 @code{\dynamicDown},
2469 @cindex @code{\dynamicBoth}
2470 @code{\dynamicBoth}.
2472 @cindex direction, of dynamics
2476 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2477 @internalsref{AbsoluteDynamicEvent}.
2479 Dynamics are objects of @internalsref{DynamicText} and
2480 @internalsref{Hairpin}. Vertical positioning of these symbols is
2481 handled by the @internalsref{DynamicLineSpanner} object.
2483 If you want to adjust padding or vertical direction of the dynamics, you
2484 must set properties for the @internalsref{DynamicLineSpanner} object.
2492 @cindex @code{\repeat}
2495 Repetition is a central concept in music, and multiple notations exist
2496 for repetitions. In LilyPond, most of these notations can be captured
2497 in a uniform syntax. One of the advantages is that they can be
2498 rendered in MIDI accurately.
2500 The following types of repetition are supported:
2504 Repeated music is fully written (played) out. Useful for MIDI
2505 output, and entering repetitive music.
2508 This is the normal notation: Repeats are not written out, but
2509 alternative endings (voltas) are printed, left to right.
2513 Alternative endings are written stacked. This has limited use but may be
2514 used to typeset two lines of lyrics in songs with repeats, see
2515 @inputfileref{input,star-spangled-banner.ly}.
2523 Make beat or measure repeats. These look like percent signs.
2529 * Repeats and MIDI::
2530 * Manual repeat commands::
2532 * Tremolo subdivisions::
2537 @subsection Repeat syntax
2541 LilyPond has one syntactic construct for specifying different types of
2542 repeats. The syntax is
2545 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2548 If you have alternative endings, you may add
2549 @cindex @code{\alternative}
2551 \alternative @code{@{} @var{alternative1}
2553 @var{alternative3} @dots{} @code{@}}
2555 where each @var{alternative} is a music expression. If you do not
2556 give enough alternatives for all of the repeats, then the first
2557 alternative is assumed to be played more than once.
2559 Normal notation repeats are used like this:
2560 @lilypond[fragment,verbatim,relative 1]
2562 \repeat volta 2 { c4 d e f }
2563 \repeat volta 2 { f e d c }
2566 With alternative endings:
2567 @lilypond[fragment,verbatim,relative 1]
2569 \repeat volta 2 {c4 d e f}
2570 \alternative { {d2 d} {f f,} }
2574 @lilypond[fragment,verbatim,relative 1]
2577 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2578 \alternative { { g4 g g } { a | a a a a | b2. } }
2584 If you do a nested repeat like
2593 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2594 belongs. This ambiguity is resolved by always having the
2595 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2596 it is advisable to use braces in such situations.
2599 @node Repeats and MIDI
2600 @subsection Repeats and MIDI
2602 @cindex expanding repeats
2604 For instructions on how to unfold repeats for MIDI output, see the
2605 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2610 Timing information is not remembered at the start of an alternative,
2611 so after a repeat timing information must be reset by hand, for
2612 example by setting @code{Score.measurePosition} or entering
2613 @code{\partial}. Similarly, slurs or ties are also not repeated.
2616 @node Manual repeat commands
2617 @subsection Manual repeat commands
2619 @cindex @code{repeatCommands}
2621 The property @code{repeatCommands} can be used to control the layout of
2622 repeats. Its value is a Scheme list of repeat commands, where each repeat
2626 @item the symbol @code{start-repeat},
2627 which prints a @code{|:} bar line,
2628 @item the symbol @code{end-repeat},
2629 which prints a @code{:|} bar line,
2630 @item the list @code{(volta @var{text})},
2631 which prints a volta bracket saying @var{text}: The text can be specified as
2632 a text string or as a markup text, see @ref{Text markup}. Do not
2633 forget to change the font, as the default number font does not contain
2634 alphabetic characters. Or,
2635 @item the list @code{(volta #f)}, which
2636 stops a running volta bracket:
2639 @lilypond[verbatim, fragment,relative 2]
2641 \property Score.repeatCommands = #'((volta "93") end-repeat)
2643 \property Score.repeatCommands = #'((volta #f))
2650 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2651 @internalsref{VoltaRepeatedMusic},
2652 @internalsref{UnfoldedRepeatedMusic}, and
2653 @internalsref{FoldedRepeatedMusic}.
2655 @node Tremolo repeats
2656 @subsection Tremolo repeats
2657 @cindex tremolo beams
2659 To place tremolo marks between notes, use @code{\repeat} with tremolo
2661 @lilypond[verbatim,singleline]
2663 \context Voice \notes\relative c' {
2664 \repeat "tremolo" 8 { c16 d16 }
2665 \repeat "tremolo" 4 { c16 d16 }
2666 \repeat "tremolo" 2 { c16 d16 }
2671 Tremolo marks can also be put on a single note. In this case, the
2672 note should not be surrounded by braces.
2673 @lilypond[verbatim,singleline]
2674 \repeat "tremolo" 4 c16
2677 A similar mechanism is the tremolo subdivision, described in
2678 @ref{Tremolo subdivisions}.
2682 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2684 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2685 tremolos are @internalsref{StemTremolo}s. The music expression is
2686 @internalsref{TremoloEvent},
2688 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2689 @inputfileref{input/regression,stem-tremolo.ly}.
2691 @node Tremolo subdivisions
2692 @subsection Tremolo subdivisions
2693 @cindex tremolo marks
2694 @cindex @code{tremoloFlags}
2696 Tremolo marks can be printed on a single note by adding
2697 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2698 A @var{length} value of 8 gives one line across the note stem. If the
2699 length is omitted, then then the last value (stored in
2700 @code{Voice.tremoloFlags}) is used:
2702 @lilypond[verbatim,fragment,center]
2703 c'2:8 c':32 | c': c': |
2706 @c [TODO : stok is te kort bij 32en]
2710 Tremolos in this style do not carry over into the MIDI output.
2714 In this manual: @ref{Tremolo repeats}.
2716 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2718 @node Measure repeats
2719 @subsection Measure repeats
2721 @cindex percent repeats
2722 @cindex measure repeats
2724 In the @code{percent} style, a note pattern can be repeated. It is
2725 printed once, and then the pattern is replaced with a special sign.
2726 Patterns of a one and two measures are replaced by percent-like signs,
2727 patterns that divide the measure length are replaced by slashes:
2729 @lilypond[verbatim,singleline]
2730 \context Voice { \repeat "percent" 4 { c'4 }
2731 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2737 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2738 @internalsref{PercentRepeatedMusic}, and
2739 @internalsref{DoublePercentRepeat}.
2743 @node Rhythmic music
2744 @section Rhythmic music
2746 Sometimes you might want to show only the rhythm of a melody. This
2747 can be done with the rhythmic staff. All pitches of notes on such a
2748 staff are squashed, and the staff itself has a single line:
2750 @lilypond[fragment,relative,verbatim]
2751 \context RhythmicStaff {
2753 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2759 Internals: @internalsref{RhythmicStaff}.
2761 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2765 * Percussion staves::
2766 * Percussion MIDI output::
2769 @node Percussion staves
2770 @subsection Percussion staves
2774 A percussion part for more than one instrument typically uses a
2775 multiline staff where each position in the staff refers to one piece
2780 Percussion staves are typeset with help of a set of Scheme
2781 functions. The system is based on the general MIDI drum-pitches.
2782 Include @file{drumpitch-init.ly} to use drum pitches. This file
2783 defines the pitches from the Scheme variable @code{drum-pitch-names},
2784 the definition of which can be read in @file{scm/drums.scm}. Each
2785 piece of percussion has a full name and an abbreviated name, and either
2786 the full name or the abbreviation may be used in input files.
2788 To typeset the music on a staff apply the function @code{drums->paper}
2789 to the percussion music. This function takes a list of percussion
2790 instrument names, notehead scripts and staff positions (that is:
2791 pitches relative to the C-clef) and transforms the input
2792 music by moving the pitch, changing the notehead and (optionally)
2795 @lilypond[singleline,verbatim,quote]
2796 \include "drumpitch-init.ly"
2797 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2798 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2800 \apply #(drums->paper 'drums) \context Staff <<
2802 \new Voice { \voiceOne \up }
2803 \new Voice { \voiceTwo \down }
2808 In the above example the music was transformed using the list @code{'drums}.
2809 The following lists are defined in @file{scm/drums.scm}:
2812 to typeset a typical drum kit on a five-line staff:
2815 \include "drumpitch-init.ly"
2816 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2817 bd sn ss tomh tommh tomml toml tomfh tomfl }
2818 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2819 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2822 \apply #(drums->paper 'drums) \context Staff <<
2826 \context Lyrics \nam
2829 linewidth = 100.0\mm
2832 \remove Bar_engraver
2833 \remove Time_signature_engraver
2834 minimumVerticalExtent = #'(-4.0 . 5.0)
2838 \remove Stem_engraver
2844 The drum scheme supports six different toms. When there fewer toms, simply
2845 select the toms that produce the desired result, i.e. to get toms on
2846 the three middle lines you use @code{tommh}, @code{tomml} and
2849 Because general MIDI does not contain rimshots the sidestick is used
2850 for this purpose instead.
2852 to typeset timbales on a two line staff:
2854 @lilypond[singleline]
2855 \include "drumpitch-init.ly"
2856 nam = \lyrics { timh ssh timl ssl cb }
2857 mus = \notes { timh ssh timl ssl cb s16 }
2860 \apply #(drums->paper 'timbales) \context Staff <<
2864 \context Lyrics \nam
2869 \remove Bar_engraver
2870 \remove Time_signature_engraver
2871 StaffSymbol \override #'line-count = #2
2872 StaffSymbol \override #'staff-space = #2
2873 minimumVerticalExtent = #'(-3.0 . 4.0)
2877 \remove Stem_engraver
2884 to typeset congas on a two line staff:
2886 @lilypond[singleline]
2887 \include "drumpitch-init.ly"
2888 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2889 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2892 \apply #(drums->paper 'congas) \context Staff <<
2896 \context Lyrics \nam
2901 \remove Bar_engraver
2902 \remove Time_signature_engraver
2903 StaffSymbol \override #'line-count = #2
2904 StaffSymbol \override #'staff-space = #2
2905 minimumVerticalExtent = #'(-3.0 . 4.0)
2909 \remove Stem_engraver
2915 to typeset bongos on a two line staff:
2917 @lilypond[singleline]
2918 \include "drumpitch-init.ly"
2919 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2920 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2923 \apply #(drums->paper 'bongos) \context Staff <<
2927 \context Lyrics \nam
2932 \remove Bar_engraver
2933 \remove Time_signature_engraver
2934 StaffSymbol \override #'line-count = #2
2935 StaffSymbol \override #'staff-space = #2
2936 minimumVerticalExtent = #'(-3.0 . 4.0)
2940 \remove Stem_engraver
2946 to typeset all kinds of simple percussion on one line staves:
2947 @lilypond[singleline]
2948 \include "drumpitch-init.ly"
2949 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2950 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2953 \apply #(drums->paper 'percussion) \context Staff <<
2957 \context Lyrics \nam
2962 \remove Bar_engraver
2963 \remove Time_signature_engraver
2964 StaffSymbol \override #'line-count = #1
2965 minimumVerticalExtent = #'(-2.0 . 3.0)
2969 \remove Stem_engraver
2976 If you do not like any of the predefined lists you can define your own
2977 list at the top of your file:
2979 @lilypond[singleline, verbatim]
2980 #(set-drum-kit 'mydrums `(
2981 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2982 (snare default #f ,(ly:make-pitch 0 1 0))
2983 (hihat cross #f ,(ly:make-pitch 0 5 0))
2984 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2985 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2987 \include "drumpitch-init.ly"
2988 up = \notes { hh8 hh hh hh hhp4 hhp }
2989 down = \notes { bd4 sn bd toml8 toml }
2991 \apply #(drums->paper 'mydrums) \context Staff <<
2993 \new Voice { \voiceOne \up }
2994 \new Voice { \voiceTwo \down }
2999 To use a modified existing list, one can prepend modifications to the
3003 #(set-drum-kit 'mydrums (append `(
3004 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3005 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3006 ) (get-drum-kit 'drums)))
3009 You can easily combine percussion notation with pitched notation.
3010 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
3011 names, so you will have to reinclude @file{nederlands.ly} after the
3012 drum-pattern-definitions to enter normal notes:
3014 @lilypond[singleline,verbatim]
3015 \include "drumpitch-init.ly"
3016 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3017 down = \notes { bassdrum4 snare8 bd r bd sn4 }
3018 \include "nederlands.ly"
3019 bass = \notes \transpose c c,, { a4. e8 r e g e }
3022 \apply #(drums->paper 'drums) \new Staff <<
3024 \new Voice { \voiceOne \up }
3025 \new Voice { \voiceTwo \down }
3027 \new Staff { \clef "F_8" \bass }
3032 @node Percussion MIDI output
3033 @subsection Percussion MIDI output
3035 In order to produce correct MIDI output you need to produce two score
3036 blocks---one for the paper and one for the MIDI output. To use the
3037 percussion channel you set the property @code{instrument} to
3038 @code{'drums}. Because the drum-pitches themselves are similar to the
3039 general MIDI pitches all you have to do is to insert the voices with
3040 none of the scheme functions to get the correct MIDI output:
3044 \apply #(drums->paper 'mydrums) \context Staff <<
3053 \property Staff.instrument = #'drums
3063 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3064 temporary implementation.
3068 @section Piano music
3070 Piano staves are two normal staves coupled with a brace. The staves
3071 are largely independent, but sometimes voices can cross between the
3072 two staves. The same notation is also used for harps and other key
3073 instruments. The @internalsref{PianoStaff} is especially built to
3074 handle this cross-staffing behavior. In this section we discuss the
3075 @internalsref{PianoStaff} and some other pianistic peculiarities.
3079 * Automatic staff changes::
3080 * Manual staff switches::
3083 * Staff switch lines::
3088 There is no support for putting chords across staves. You can get
3089 this result by increasing the length of the stem in the lower stave so
3090 it reaches the stem in the upper stave, or vice versa. An example is
3091 included with the distribution as
3092 @inputfileref{input/test,stem-cross-staff.ly}.
3094 Dynamics are not centered, but kludges do exist. See
3095 @inputfileref{input/template,piano-dynamics.ly}.
3097 @cindex cross staff stem
3098 @cindex stem, cross staff
3101 @c fixme: should have hyperlinks as well.
3107 @node Automatic staff changes
3108 @subsection Automatic staff changes
3109 @cindex Automatic staff changes
3111 Voices can switch automatically between the top and the bottom
3112 staff. The syntax for this is
3114 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3116 The two staffs of the piano staff must be named @code{up} and
3119 The autochanger switches on basis of pitch (central C is the turning
3120 point), and it looks ahead skipping over rests to switch in
3121 advance. Here is a practical example:
3123 @lilypond[verbatim,singleline,quote]
3124 \score { \notes \context PianoStaff <<
3125 \context Staff = "up" {
3126 \autochange Staff \context Voice = VA << \relative c' {
3127 g4 a b c d r4 a g } >> }
3128 \context Staff = "down" {
3135 In this example, spacer rests are used to prevent the bottom staff from
3136 terminating too soon.
3141 In this manual: @ref{Manual staff switches}
3143 Internals: @internalsref{AutoChangeMusic}.
3149 The staff switches often do not end up in optimal places. For high
3150 quality output, staff switches should be specified manually.
3153 @node Manual staff switches
3154 @subsection Manual staff switches
3156 @cindex manual staff switches
3157 @cindex staff switch, manual
3159 Voices can be switched between staves manually, using the following command:
3161 \change Staff = @var{staffname} @var{music}
3165 The string @var{staffname} is the name of the staff. It switches the
3166 current voice from its current staff to the Staff called
3167 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3176 Pianos have pedals that alter the way sound are produced. Generally, a
3177 piano has three pedals, sustain, una corda, and sostenuto.
3181 Piano pedal instruction can be expressed by attaching
3182 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3183 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3186 @lilypond[fragment,verbatim]
3187 c'4\sustainDown c'4\sustainUp
3190 What is printed can be modified by setting @code{pedal@var{X}Strings},
3191 where @var{X} is one of the pedal types: @code{Sustain},
3192 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3193 documentation of @internalsref{SustainPedal} for more information.
3195 Pedals can also be indicated by a sequence of brackets, by setting the
3196 @code{pedalSustainStyle} property to @code{bracket} objects:
3198 @lilypond[fragment,verbatim]
3199 \property Staff.pedalSustainStyle = #'bracket
3200 c''4\sustainDown d''4 e''4
3201 a'4\sustainUp\sustainDown
3202 f'4 g'4 a'4\sustainUp
3205 A third style of pedal notation is a mixture of text and brackets,
3206 obtained by setting @code{pedal-type} to @code{mixed}:
3208 @lilypond[fragment,verbatim]
3209 \property Staff.pedalSustainStyle = #'mixed
3210 c''4\sustainDown d''4 e''4
3211 c'4\sustainUp\sustainDown
3212 f'4 g'4 a'4\sustainUp
3215 The default `*Ped' style for sustain and damper pedals corresponds to
3216 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3217 for a sostenuto pedal:
3219 @lilypond[fragment,verbatim]
3220 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3223 For fine-tuning of the appearance of a pedal bracket, the properties
3224 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3225 @code{PianoPedalBracket} objects (see
3226 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3227 bracket may be extended to the end of the note head:
3229 @lilypond[fragment,verbatim]
3230 \property Staff.PianoPedalBracket \override
3231 #'shorten-pair = #'(0 . -1.0)
3232 c''4\sostenutoDown d''4 e''4 c'4
3233 f'4 g'4 a'4\sostenutoUp
3237 @subsection Arpeggio
3240 @cindex broken arpeggio
3241 @cindex @code{\arpeggio}
3243 You can specify an arpeggio sign on a chord by attaching an
3244 @code{\arpeggio} to a chord:
3247 @lilypond[fragment,relative,verbatim]
3251 When an arpeggio crosses staves, you attach an arpeggio to the chords
3252 in both staves, and set
3253 @internalsref{PianoStaff}.@code{connectArpeggios}:
3255 @lilypond[fragment,relative,verbatim]
3256 \context PianoStaff <<
3257 \property PianoStaff.connectArpeggios = ##t
3258 \new Staff { <c' e g c>\arpeggio }
3259 \new Staff { \clef bass <c,, e g>\arpeggio }
3263 The direction of the arpeggio is sometimes denoted by adding an
3264 arrowhead to the wiggly line. This can be typeset by setting
3265 @code{arpeggio-direction}:
3267 @lilypond[fragment,relative,verbatim]
3269 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3271 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3276 A square bracket on the left indicates that the player should not
3277 arpeggiate the chord. To draw these brackets, set the
3278 @code{molecule-callback} property of @code{Arpeggio} or
3279 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3280 @code{\arpeggio} statements within the chords as before:
3282 @lilypond[fragment,relative,verbatim]
3283 \property PianoStaff.Arpeggio \override
3284 #'molecule-callback = \arpeggioBracket
3290 @cindex @code{\arpeggioBracket}
3291 @code{\arpeggioBracket},
3292 @cindex @code{\arpeggio}
3297 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3298 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3299 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3303 It is not possible to mix connected arpeggios and unconnected
3304 arpeggios in one @internalsref{PianoStaff} at the same time.
3306 @node Staff switch lines
3307 @subsection Staff switch lines
3310 @cindex follow voice
3311 @cindex staff switching
3314 @cindex @code{followVoice}
3316 Whenever a voice switches to another staff a line connecting the notes
3317 can be printed automatically. This is enabled if the property
3318 @code{PianoStaff.followVoice} is set to true:
3320 @lilypond[fragment,relative,verbatim]
3321 \context PianoStaff <<
3322 \property PianoStaff.followVoice = ##t
3323 \context Staff \context Voice {
3328 \context Staff=two { \clef bass \skip 1*2 }
3332 The associated object is @internalsref{VoiceFollower}.
3336 @cindex @code{\showStaffSwitch}
3337 @code{\showStaffSwitch},
3338 @cindex @code{\hideStaffSwitch}
3339 @code{\hideStaffSwitch}.
3343 @section Vocal music
3345 This section discusses how to enter and print lyrics.
3349 * The Lyrics context::
3354 @node Entering lyrics
3355 @subsection Entering lyrics
3359 @cindex @code{\lyrics}
3362 Lyrics are entered in a special input mode. This mode is is introduced
3363 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3364 punctuation and accents without any hassle. Syllables are entered like
3365 notes, but with pitches replaced by text. For example,
3367 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3370 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3371 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3372 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3373 any 8-bit character with ASCII code over 127, or a two-character
3374 combination of a backslash followed by one of @code{`}, @code{'},
3375 @code{"}, or @code{^}.
3377 Subsequent characters of a word can be any character that is not a digit
3378 and not white space. One important consequence of this is that a word
3379 can end with @code{@}}. The following example is usually a bug. The
3380 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3382 \lyrics @{ twinkle@}
3385 @cindex @code{\property}, in @code{\lyrics}
3386 Similarly, a period following a alphabetic sequence, is included in the
3387 resulting string. As a consequence, spaces must be inserted around
3388 @code{\property} commands:
3390 \property Lyrics . LyricText \set #'font-shape = #'italic
3394 @cindex spaces, in lyrics
3395 @cindex quotes, in lyrics
3397 Any @code{_} character which appears in an unquoted word is converted
3398 to a space. This provides a mechanism for introducing spaces into words
3399 without using quotes. Quoted words can also be used in Lyrics mode to
3400 specify words that cannot be written with the above rules:
3403 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3407 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3412 These will be attached to the end of the first syllable.
3414 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3415 as a separate word between syllables. The hyphen will have variable
3416 length depending on the space between the syllables and it will be
3417 centered between the syllables.
3422 When a lyric is sung over many notes (this is called a melisma), this is
3423 indicated with a horizontal line centered between a syllable and the
3424 next one. Such a line is called an extender line, and it is entered as
3429 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3430 @internalsref{ExtenderEvent}.
3434 The definition of lyrics mode is too complex.
3436 @node The Lyrics context
3437 @subsection The Lyrics context
3439 Lyrics are printed by interpreting them in a @internalsref{LyricsVoice} context:
3441 \context LyricsVoice \lyrics @dots{}
3444 @cindex automatic syllable durations
3445 @cindex @code{\lyricsto}
3446 @cindex lyrics and melodies
3448 This will place the lyrics according to the durations that were
3449 entered. The lyrics can also be aligned under a given melody
3450 automatically. In this case, it is no longer necessary to enter the
3451 correct duration for each syllable. This is achieved by combining the
3452 melody and the lyrics with the @code{\lyricsto} expression:
3454 \lyricsto @var{name} \new LyricsVoice @dots{}
3457 This aligns the lyrics to the
3459 notes of the @internalsref{Voice} context called @var{name}, which has
3460 to exist. Therefore, normally the @code{Voice} is specified first, and
3461 then the lyrics are specified with @code{\lyricsto}.
3463 For different or more complex orderings, the best way is to setup the
3464 hierarchy of staves and lyrics first, e.g.
3466 \context ChoirStaff \notes <<
3467 \context LyricsVoice = sopranoLyrics @{ s1 @}
3468 \context Voice = soprano @{ @emph{music} @}
3469 \context LyricsVoice = tenor @{ s1 @}
3470 \context Voice = tenorLyrics @{ @emph{music} @}
3473 and then combine the appropriate melodies and lyric lines:
3475 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3479 The final input would resemble
3482 << \context ChoirStaff \notes << @emph{setup the music} >>
3483 \lyricsto "soprano" @emph{etc}
3484 \lyricsto "alto" @emph{etc}
3490 The @code{\lyricsto} command detects melismata: it only puts one
3491 syllable under a tied or slurred group of notes. If you want to force
3492 an unslurred group of notes to be a melisma, then insert
3493 @code{\melisma} after the first note of the group, and
3494 @code{\melismaEnd} after the last one, e.g.
3496 @lilypond[relative 1, singleline, fragment,verbatim]
3497 << \context Voice = "lala" { \time 3/4
3503 \lyricsto "lala" \new LyricsVoice \lyrics {
3508 In addition, notes are considered a melisma if they are manually
3509 beamed, and automatic beaming (See @ref{Setting automatic beam
3510 behavior}) is switched off. The criteria for deciding melismata
3511 can be tuned with the property @code{melismaBusyProperties}. See
3512 @internalsref{Melisma_engraver} for more information.
3514 When multiple stanzas are put on the same melody, it can happen that
3515 two stanzas have melismata in different locations. This can be
3516 remedied by switching off melismata for one
3517 @internalsref{LyricsVoice}. This is achieved by setting
3518 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3519 in @inputfileref{input/regression,lyric-combine-new.ly}.
3522 @cindex choral score
3524 A complete example of a SATB score setup is in the file
3525 @inputfileref{input/template,satb.ly}.
3529 @code{\melisma}, @code{\melismaEnd}
3530 @cindex @code{\melismaEnd}
3531 @cindex @code{\melisma}
3535 Internals: @internalsref{LyricCombineMusic}, @internalsref{Lyrics},
3536 @internalsref{Melisma_engraver}.
3538 Examples: @inputfileref{input/template,satb.ly},
3539 @inputfileref{input/regression,lyric-combine-new.ly}.
3543 Melismata are not detected automatically, and must be inserted by hand.
3547 @subsection More stanzas
3549 @cindex phrasing, in lyrics
3552 The lyrics should be aligned with the note heads of the melody. To
3553 achieve this, each line of lyrics should be marked to correspond with
3556 To this end, give the @internalsref{Voice} context an identity:
3558 \context Voice = duet @{
3563 Then set the @internalsref{LyricsVoice} contexts to names starting with
3564 that identity followed by a dash. In the preceding example, the
3565 @internalsref{Voice} identity is @code{duet}, so the identities of the
3566 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3568 \context LyricsVoice = "duet-1" @{
3569 Hi, my name is bert. @}
3570 \context LyricsVoice = "duet-2" @{
3571 Ooooo, ch\'e -- ri, je t'aime. @}
3574 The complete example is shown here:
3575 @lilypond[singleline,verbatim]
3577 << \notes \relative c'' \context Voice = duet { \time 3/4
3579 \lyrics << \lyricsto "duet" \new LyricsVoice {
3580 \property LyricsVoice . stanza = "1"
3581 Hi, my name is bert. }
3582 \lyricsto "duet" \new LyricsVoice {
3583 \property LyricsVoice . stanza = "2"
3584 Ooooo, ch\'e -- ri, je t'aime. }
3589 @cindex stanza number
3590 @cindex singer's names
3591 @cindex name of singer
3593 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3596 \property LyricsVoice . stanza = "Bert"
3598 \property LyricsVoice . stanza = "Ernie"
3601 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3602 prevent @code{LyricsVoice.stanza} being interpreted as a single
3605 Names of the singers should be added using @code{LyricsVoice
3606 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3607 annotations for staves.
3609 To make empty spaces in lyrics, use @code{\skip}.
3617 Input for lyrics introduces a syntactical ambiguity:
3624 is interpreted as assigning a string identifier @code{\foo} such that
3625 it contains @code{"bar"}. However, it could also be interpreted as
3626 making or a music identifier @code{\foo} containing the syllable
3627 `bar'. The force the latter interpretation, use
3637 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3638 for a given voice in a part of music. It also may denote the pitch
3639 range that a musical instrument is capable of playing. Most musical
3640 instruments have their ambitus standardized (or at least there is
3641 agreement upon the minimal ambitus of a particular type of
3642 instrument), such that a composer or arranger of a piece of music can
3643 easily meet the ambitus constraints of the targeted instrument.
3644 However, the ambitus of the human voice depends on individual
3645 physiological state, including education and training of the voice.
3646 Therefore, a singer potentially has to check for each piece of music
3647 if the ambitus of that piece meets his individual capabilities. This
3648 is why the ambitus of a piece may be of particular value to vocal
3651 The ambitus is typically notated on a per-voice basis at the very
3652 beginning of a piece, e.g. nearby the initial clef or time signature of
3653 each staff. The range is graphically specified by two noteheads, that
3654 represent the minimum and maximum pitch. Some publishers use a textual
3655 notation: they put the range in words in front of the corresponding
3656 staff. LilyPond only supports the graphical ambitus notation.
3658 To apply, add the @internalsref{Ambitus_engraver} to the
3659 @internalsref{Voice} context, i.e.
3665 \consists Ambitus_engraver
3670 This results in the following output:
3671 @lilypond[singleline]
3672 upper = \notes \relative c {
3675 as'' c e2 bes f cis d4 e f2 g
3677 lower = \notes \relative c {
3680 e'4 b g a c es fis a cis b a g f e d2
3683 \context ChoirStaff {
3685 \new Staff { \upper }
3686 \new Staff { \lower }
3692 \consists Ambitus_engraver
3698 If you have multiple voices in a single staff, and you want a single
3699 ambitus per staff rather than per each voice, then add the
3700 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3701 rather than to the @internalsref{Voice} context.
3703 It is possible to tune individual ambituses for multiple voices on a
3704 single staff, for example by erasing or shifting them horizontally. An
3705 example is in @inputfileref{input/test,ambitus-mixed.ly}
3709 Internals: @internalsref{Ambitus}
3711 Examples: @inputfileref{input/regression,ambitus.ly},
3712 @inputfileref{input/test,ambitus-mixed.ly}.
3716 There is no collision handling in the case of multiple per-voice
3722 Tablature notation is used for notating music for plucked string
3723 instruments. It notates pitches not by using note heads, but by
3724 indicating on which string and fret a note must be played. LilyPond
3725 offers limited support for tablature.
3728 * Tablatures basic::
3729 * Non-guitar tablatures::
3732 @node Tablatures basic
3733 @subsection Tablatures basic
3734 @cindex Tablatures basic
3736 The string number associated to a note is given as a backslash
3737 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3738 string. By default, string 1 is the highest one, and the tuning
3739 defaults to the standard guitar tuning (with 6 strings). The notes
3740 are printed as tablature, by using @internalsref{TabStaff} and
3741 @internalsref{TabVoice} contexts:
3743 @lilypond[fragment,verbatim]
3744 \notes \context TabStaff {
3752 When no string is specified, the first string that does not give a
3753 fret number less than @code{minimumFret} is selected. The default
3754 value for @code{minimumFret} is 0:
3758 e8 fis gis a b cis' dis' e'
3759 \property TabStaff.minimumFret = #8
3760 e8 fis gis a b cis' dis' e'
3765 e8 fis gis a b cis' dis' e'
3766 \property TabStaff.minimumFret = #8
3767 e8 fis gis a b cis' dis' e'
3770 \context StaffGroup <<
3771 \context Staff { \clef "G_8" \frag }
3772 \context TabStaff { \frag }
3779 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3780 @internalsref{StringNumberEvent}.
3784 Chords are not handled in a special way, and hence the automatic
3785 string selector may easily select the same string to two notes in a
3789 @node Non-guitar tablatures
3790 @subsection Non-guitar tablatures
3791 @cindex Non-guitar tablatures
3793 You can change the number of strings, by setting the number of lines
3794 in the @internalsref{TabStaff}.
3796 You can change the tuning of the strings. A string tuning is given as
3797 a Scheme list with one integer number for each string, the number
3798 being the pitch (measured in semitones relative to central C) of an
3799 open string. The numbers specified for @code{stringTuning} are the
3800 numbers of semitones to subtract or add, starting the specified pitch
3801 by default middle C, in string order. Thus, the notes are e, a, d, and
3804 @lilypond[fragment,verbatim]
3805 \context TabStaff <<
3806 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3809 a,4 c' a e' e c' a e'
3814 It is possible to change the Scheme function to format the tablature
3815 note text. The default is @code{fret-number-tablature-format}, which
3816 uses the fret number. For instruments that do not use this notation,
3817 you can create a special tablature formatting function. This function
3818 takes three argument: string number, string tuning and note pitch.
3822 No guitar special effects have been implemented.
3827 @section Chord names
3830 LilyPond has support for both printing chord names. Chords may be
3831 entered in musical chord notation, i.e. @code{< .. >}, but they can
3832 also be entered by name. Internally, the chords are represented as a
3833 set of pitches, so they can be transposed:
3836 @lilypond[verbatim,singleline]
3837 twoWays = \notes \transpose c c' {
3847 << \context ChordNames \twoWays
3848 \context Voice \twoWays >> }
3851 This example also shows that the chord printing routines do not try to
3852 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3858 * Printing chord names::
3863 @subsection Chords mode
3866 Chord mode is a mode where you can input sets of pitches using common
3867 names. It is introduced by the keyword @code{\chords}.
3868 In chords mode, a chord is entered by the root, which is entered
3869 like a common pitch:
3870 @lilypond[fragment,verbatim,quote, relative=1]
3871 \chords { es4. d8 c2 }
3876 Other chords may be entered by suffixing a colon, and introducing a
3877 modifier, and optionally, a number:
3879 @lilypond[fragment,verbatim,quote]
3880 \chords { e1:m e1:7 e1:m7 }
3882 The first number following the root is taken to be the `type' of the
3883 chord, thirds are added to the root until it reaches the specified
3885 @lilypond[fragment,verbatim]
3886 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3889 @cindex root of chord
3890 @cindex additions, in chords
3891 @cindex removals, in chords
3893 More complex chords may also be constructed adding separate steps
3894 to a chord. Additions are added after the number following
3895 the colon, and are separated by dots:
3897 @lilypond[verbatim,fragment,quote]
3898 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3900 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3902 @lilypond[verbatim,fragment,quote]
3903 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3905 Removals are specified similarly, and are introduced by a caret. They
3906 must come after the additions:
3907 @lilypond[verbatim,fragment]
3908 \chords { c^3 c:7^5 c:9^3.5 }
3911 Modifiers can be used to change pitches. The following modifiers are
3915 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3917 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3920 is the augmented chord. This modifier raises the 5th step.
3922 is the major 7th chord. This modifier raises the 7th step if present.
3924 is the suspended 4th or 2nd. This modifier removes the 3rd
3925 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3928 Modifiers can be mixed with additions:
3929 @lilypond[verbatim,fragment]
3930 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3933 @cindex modifiers, in chords.
3940 Since an unaltered 11 does not sound good when combined with an
3941 unaltered 13, the 11 is removed in this case (unless it is added
3944 @lilypond[fragment,verbatim]
3945 \chords { c:13 c:13.11 c:m13 }
3950 An inversion (putting one pitch of the chord on the bottom), as well
3951 as bass notes, can be specified by appending
3952 @code{/}@var{pitch} to the chord:
3953 @lilypond[fragment,verbatim,center]
3954 \chords { c1 c/g c/f }
3958 A bass note can be added instead of transposed out of the chord,
3959 by using @code{/+}@var{pitch}.
3961 @lilypond[fragment,verbatim,center]
3962 \chords { c1 c/+g c/+f }
3965 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3966 of the commands continue to work, for example, @code{r} and
3967 @code{\skip} can be used to insert rests and spaces, and
3968 @code{\property} may be used to change various settings.
3974 Each step can only be present in a chord once. The following
3975 simply produces the augmented chord, since @code{5+} is interpreted
3978 @lilypond[verbatim,fragment]
3979 \chords { c:5.5-.5+ }
3983 @node Printing chord names
3984 @subsection Printing chord names
3986 @cindex printing chord names
3990 For displaying printed chord names, use the @internalsref{ChordNames} context.
3991 The chords may be entered either using the notation
3992 described above, or directly using @code{<} and @code{>}:
3994 @lilypond[verbatim,singleline]
3996 \chords {a1 b c} <d' f' a'> <e' g' b'>
4000 \context ChordNames \scheme
4001 \context Staff \scheme
4006 You can make the chord changes stand out by setting
4007 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4008 display chord names when there is a change in the chords scheme and at
4009 the start of a new line:
4011 @lilypond[verbatim, linewidth=9cm]
4013 c1:m c:m \break c:m c:m d
4017 \context ChordNames {
4018 \property ChordNames.chordChanges = ##t
4020 \context Staff \transpose c c' \scheme
4025 The default chord name layout is a system for Jazz music, proposed by
4026 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4027 following properties:
4030 @cindex chordNameExceptions
4031 @item chordNameExceptions
4032 This is a list that contains the chords that have special formatting.
4034 @inputfileref{input/regression,chord-name-exceptions.ly}.
4035 @cindex exceptions, chord names.
4038 @cindex majorSevenSymbol
4039 @item majorSevenSymbol
4040 This property contains the markup object used for the 7th step, when
4041 it is major. Predefined options are @code{whiteTriangleMarkup} and
4042 @code{blackTriangleMarkup}. See
4043 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4045 @cindex chordNameSeparator
4046 @item chordNameSeparator
4047 Different parts of a chord name are normally separated by a
4048 slash. By setting @code{chordNameSeparator}, you can specify other
4050 @lilypond[fragment,verbatim]
4051 \context ChordNames \chords {
4053 \property ChordNames.chordNameSeparator
4054 = \markup { \typewriter "|" }
4058 @cindex chordRootNamer
4059 @item chordRootNamer
4060 The root of a chord is usually printed as a letter with an optional
4061 alteration. The transformation from pitch to letter is done by this
4062 function. Special note names (for example, the German ``H'' for a
4063 B-chord) can be produced by storing a new function in this property.
4065 The pre-defined variables @code{\germanChords},
4066 @code{\semiGermanChords} set these variables.
4069 @cindex chordNoteNamer
4070 @item chordNoteNamer
4071 The default is to print single pitch, e.g. the bass note, using the
4072 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4073 to a specialized function to change this behavior. For example, the
4074 base can be printed in lower case.
4079 There are also two other chord name schemes implemented: an alternate
4080 Jazz chord notation, and a systematic scheme called Banter chords. The
4081 alternate jazz notation is also shown on the chart in @ref{Chord name
4082 chart}. Turning on these styles is described in the input file
4083 @inputfileref{input/test,chord-names-jazz.ly}.
4087 @cindex chords, jazz
4092 @cindex @code{\germanChords}
4093 @code{\germanChords},
4094 @cindex @code{\semiGermanChords}
4095 @code{\semiGermanChords}.
4102 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4103 @inputfileref{input/regression,chord-name-exceptions.ly},
4104 @inputfileref{input/test,chord-names-jazz.ly},
4105 @inputfileref{input/test,chord-names-german.ly}.
4107 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4112 Chord names are determined solely from the list of pitches. Chord
4113 inversions are not identified, and neither are added bass notes. This
4114 may result in strange chord names when chords are entered with the
4115 @code{< .. >} syntax.
4120 @node Orchestral music
4121 @section Orchestral music
4123 @cindex Writing parts
4125 Orchestral music involves some special notation, both in the full
4126 score and the individual parts. This section explains how to tackle
4127 some common problems in orchestral music.
4132 * Multiple staff contexts::
4135 * Instrument names::
4137 * Multi measure rests::
4138 * Automatic part combining::
4140 * Different editions from one source::
4141 * Sound output for transposing instruments::
4144 @node Multiple staff contexts
4145 @subsection Multiple staff contexts
4147 Polyphonic scores consist of many staves. These staves can be
4148 constructed in three different ways:
4150 @item The group is started with a brace at the left. This is done with the
4151 @internalsref{GrandStaff} context.
4152 @item The group is started with a bracket. This is done with the
4153 @internalsref{StaffGroup} context
4154 @item The group is started with a vertical line. This is the default
4158 @cindex Staff, multiple
4159 @cindex bracket, vertical
4160 @cindex brace, vertical
4167 @node Rehearsal marks
4168 @subsection Rehearsal marks
4169 @cindex Rehearsal marks
4171 @cindex @code{\mark}
4173 To print a rehearsal mark, use the @code{\mark} command:
4174 @lilypond[fragment,verbatim]
4185 (The letter I is skipped in accordance with engraving traditions.)
4187 The mark is incremented automatically if you use @code{\mark
4188 \default}, but you can also use an integer argument to set the mark
4189 manually. The value to use is stored in the property
4190 @code{rehearsalMark}.
4192 The style is defined by the property @code{markFormatter}. It is a
4193 function taking the current mark (an integer) and the current context
4194 as argument. It should return a markup object. In the following
4195 example, @code{markFormatter} is set to a canned procedure. After a
4196 few measures, it is set to function that produces a boxed number.
4198 @lilypond[verbatim,fragment,relative 1]
4199 \property Score.markFormatter = #format-mark-numbers
4202 \property Score.markFormatter
4203 = #(lambda (mark context)
4204 (make-bold-markup (make-box-markup (number->string mark))))
4209 The file @file{scm/translation-functions.scm} contains the definitions
4210 of @code{format-mark-numbers} (the default format) and
4211 @code{format-mark-letters}. They can be used as inspiration for other
4212 formatting functions.
4215 @cindex coda on bar line
4216 @cindex segno on bar line
4217 @cindex fermata on bar line
4218 @cindex bar lines, symbols on
4220 The @code{\mark} command can also be used to put signs like coda,
4221 segno and fermatas on a barline. Use @code{\markup} to
4222 to access the appropriate symbol:
4224 @lilypond[fragment,verbatim,relative=1]
4225 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4229 In this case, during line breaks, marks must also be printed at the
4230 end of the line, and not at the beginning. Use the following to force
4233 \property Score.RehearsalMark \override
4234 #'break-visibility = #begin-of-line-invisible
4240 @cindex barlines, putting symbols on
4244 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4246 Init files: @file{scm/translation-functions.scm} contains the
4247 definition of @code{format-mark-numbers} and
4248 @code{format-mark-letters}. They can be used as inspiration for other
4249 formatting functions.
4251 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4252 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4256 @subsection Bar numbers
4260 @cindex measure numbers
4261 @cindex currentBarNumber
4263 Bar numbers are printed by default at the start of the line. The
4264 number itself is stored in the
4265 @code{currentBarNumber} property,
4266 which is normally updated automatically for every measure.
4268 Bar numbers can be typeset at regular intervals instead of at the
4269 beginning of each line. This is illustrated in the following example,
4270 whose source is available as
4271 @inputfileref{input/test,bar-number-regular-interval.ly}:
4273 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4278 Internals: @internalsref{BarNumber}.
4280 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4281 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4285 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4286 there is one at the top. To solve this, the
4287 @code{padding} property of @internalsref{BarNumber} can be
4288 used to position the number correctly.
4290 @node Instrument names
4291 @subsection Instrument names
4293 In an orchestral score, instrument names are printed left side of the
4296 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4297 and @internalsref{Staff}.@code{instr}. This will print a string before
4298 the start of the staff. For the first start, @code{instrument} is
4299 used, for the next ones @code{instr} is used:
4302 @lilypond[verbatim,singleline]
4303 \property Staff.instrument = "ploink " { c''4 }
4307 You can also use markup texts to construct more complicated instrument
4311 @lilypond[fragment,verbatim,singleline]
4313 \property Staff.instrument = \markup {
4314 \column < "Clarinetti"
4316 \smaller \musicglyph #"accidentals--1"
4327 Internals: @internalsref{InstrumentName}.
4331 When you put a name on a grand staff or piano staff the width of the
4332 brace is not taken into account. You must add extra spaces to the end of
4333 the name to avoid a collision.
4336 @subsection Transpose
4338 @cindex transposition of pitches
4339 @cindex @code{\transpose}
4341 A music expression can be transposed with @code{\transpose}. The syntax
4344 \transpose @var{from} @var{to} @var{musicexpr}
4347 This means that @var{musicexpr} is transposed by the interval
4348 between the pitches @var{from} and @var{to}.
4349 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4350 inside a @code{\notes} section.
4352 @code{\transpose} distinguishes between enharmonic pitches: both
4353 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4354 half a tone. The first version will print sharps and the second
4355 version will print flats:
4357 @lilypond[singleline, verbatim]
4358 mus =\notes { \key d \major cis d fis g }
4359 \score { \notes \context Staff {
4362 \transpose c g' \mus
4363 \transpose c f' \mus
4370 Internals: @internalsref{TransposedMusic}, and
4371 @internalsref{UntransposableMusic}.
4375 If you want to use both @code{\transpose} and @code{\relative}, then
4376 you must put @code{\transpose} outside of @code{\relative}, since
4377 @code{\relative} will have no effect music that appears inside a
4383 @node Multi measure rests
4384 @subsection Multi measure rests
4385 @cindex multi measure rests
4386 @cindex Rests, multi measure
4390 Multi measure rests are entered using `@code{R}'. It is specifically
4391 meant for full bar rests and for entering parts: the rest can expand
4392 to fill a score with rests, or it can be printed as a single
4393 multimeasure rest. This expansion is controlled by the property
4394 @code{Score.skipBars}. If this is set to true, empty measures will not
4395 be expanded, and the appropriate number is added automatically:
4397 @lilypond[fragment,verbatim]
4398 \time 4/4 r1 | R1 | R1*2
4399 \property Score.skipBars = ##t R1*17 R1*4
4402 The @code{1} in @code{R1} is similar to the duration notation used for
4403 notes. Hence, for time signatures other than 4/4, you must enter other
4404 durations. This can be done with augmentation dots or fractions:
4406 @lilypond[fragment,verbatim]
4407 \property Score.skipBars = ##t
4415 An @code{R} spanning a single measure is printed as either a whole rest
4416 or a breve, centered in the measure regardless of the time signature.
4418 @cindex text on multi-measure rest
4419 @cindex script on multi-measure rest
4420 @cindex fermata on multi-measure rest
4422 Texts can be added to multi-measure rests by using the
4423 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4424 replaced. If you need both texts and the number, you must add the
4425 number by hand. A variable (@code{\fermataMarkup}) is provided for
4429 @lilypond[verbatim,fragment]
4431 R2._\markup { "Ad lib" }
4435 If you want to have a text on the left end of a multi-measure rest,
4436 attach the text to a zero-length skip note, i.e.
4444 @cindex whole rests for a full measure
4448 Internals: @internalsref{MultiMeasureRestEvent},
4449 @internalsref{MultiMeasureTextEvent},
4450 @internalsref{MultiMeasureRestMusicGroup}, and
4451 @internalsref{MultiMeasureRest}.
4453 The layout object @internalsref{MultiMeasureRestNumber} is for the
4454 default number, and @internalsref{MultiMeasureRestText} for user
4459 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4460 over multi-measure rests.
4462 @cindex condensing rests
4464 There is no way to automatically condense multiple rests into a single
4465 multimeasure rest. Multi measure rests do not take part in rest
4468 Be careful when entering multimeasure rests followed by whole
4469 notes. The following will enter two notes lasting four measures each:
4473 When @code{skipBars} is set, then the result will look OK, but the
4474 bar numbering will be off.
4476 @node Automatic part combining
4477 @subsection Automatic part combining
4478 @cindex automatic part combining
4479 @cindex part combiner
4482 Automatic part combining is used to merge two parts of music onto a
4483 staff. It is aimed at typesetting orchestral scores. When the two
4484 parts are identical for a period of time, only one is shown. In
4485 places where the two parts differ, they are typeset as separate
4486 voices, and stem directions are set automatically. Also, solo and
4487 @emph{a due} parts are identified and can be marked.
4491 The syntax for part combining is
4494 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4496 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4497 combined into one context of type @var{context}. The music expressions
4498 must be interpreted by contexts whose names should start with @code{one}
4501 The following example demonstrates the basic functionality of the part
4502 combiner: putting parts on one staff, and setting stem directions and
4505 @lilypond[verbatim,singleline,fragment]
4507 \context Voice=one \partcombine Voice
4508 \context Thread=one \relative c'' {
4511 \context Thread=two \relative c'' {
4517 The first @code{g} appears only once, although it was
4518 specified twice (once in each part). Stem, slur and tie directions are
4519 set automatically, depending whether there is a solo or unisono. The
4520 first part (with context called @code{one}) always gets up stems, and
4521 `solo', while the second (called @code{two}) always gets down stems and
4524 If you just want the merging parts, and not the textual markings, you
4525 may set the property @var{soloADue} to false:
4527 @lilypond[verbatim,singleline,fragment]
4529 \property Staff.soloADue = ##f
4530 \context Voice=one \partcombine Voice
4531 \context Thread=one \relative c'' {
4534 \context Thread=two \relative c'' {
4542 Internals: @internalsref{PartCombineMusic},
4543 @internalsref{Thread_devnull_engraver}, and
4544 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4548 The syntax for naming contexts in inconsistent with the syntax for
4551 In @code{soloADue} mode, when the two voices play the same notes on and
4552 off, the part combiner may typeset @code{a2} more than once in a
4555 @lilypond[fragment,singleline]
4557 \context Voice=one \partcombine Voice
4558 \context Thread=one \relative c'' {
4561 \context Thread=two \relative c'' {
4567 The part combiner is rather buggy, and it will be replaced by a better
4568 mechanism in the near future.
4570 @cindex @code{Thread_devnull_engraver}
4571 @cindex @code{Voice_engraver}
4572 @cindex @code{A2_engraver}
4575 @subsection Hiding staves
4577 @cindex Frenched scores
4578 @cindex Hiding staves
4580 In orchestral scores, staff lines that only have rests are usually
4581 removed. This saves some space. This style is called `French Score'.
4582 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4583 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4584 switched on by default. When these line of these contexts turn out
4585 empty after the line-breaking process, they are removed.
4587 For normal staves, a specialized @internalsref{Staff} context is
4588 available, which does the same: staves containing nothing (or only
4589 multi measure rests) are removed. The context definition is stored in
4590 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4591 in this example disappears in the second line:
4596 \notes \relative c' <<
4597 \new Staff { e4 f g a \break c1 }
4598 \new Staff { c4 d e f \break R1 }
4602 \translator { \RemoveEmptyStaffContext }
4607 The first page shows all staffs in full. If they should be removed
4608 from the first page too, set @code{remove-first} to false
4609 in @internalsref{RemoveEmptyVerticalGroup}.
4611 @node Different editions from one source
4612 @subsection Different editions from one source
4614 The @code{\tag} command marks music expressions with a name. These
4615 tagged expressions can be filtered out later. With this mechanism it
4616 is possible to make different versions of the same music source.
4618 In the following example, we see two versions of a piece of music, one
4619 for the full score, and one with cue notes for the instrumental part:
4627 \property Voice.fontSize = #-1
4635 The same can be applied to articulations, texts, etc.: they are
4638 -\tag #@var{your-tag}
4640 to an articulation, for example,
4645 This defines a note with a conditional fingering indication.
4647 By applying the @code{remove-tag} function, tagged expressions can be
4648 filtered. For example,
4652 \apply #(remove-tag 'score) @var{the music}
4653 \apply #(remove-tag 'part) @var{the music}
4658 @lilypondfile[notexidoc]{tag-filter.ly}
4660 The argument of the @code{\tag} command should be a symbol, or a list
4661 of symbols, for example,
4663 \tag #'(original-part transposed-part) @dots{}
4668 Examples: @inputfileref{input/regression,tag-filter.ly}
4671 @node Sound output for transposing instruments
4672 @subsection Sound output for transposing instruments
4674 When you want to make a MIDI file from a score containing transposed
4675 and untransposed instruments, you have to instruct LilyPond the pitch
4676 offset (in semitones) for the transposed instruments. This is done
4677 using the @code{transposing} property. It does not affect printed
4680 @cindex @code{transposing}
4683 \property Staff.instrument = #"Cl. in B-flat"
4684 \property Staff.transposing = #-2
4688 @node Ancient notation
4689 @section Ancient notation
4691 @cindex Vaticana, Editio
4692 @cindex Medicaea, Editio
4697 @c [TODO: write more comprehensive introduction on ancient notation]
4699 Support for ancient notation is still under heavy development.
4700 Regardless of all of the current limitations (see the bugs section
4701 below for details), it includes features for mensural
4702 notation and Gregorian Chant notation. There is also limited support
4703 for figured bass notation.
4705 Many graphical objects provide a @code{style} property, see
4706 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4707 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4708 signatures}. By manipulating such a grob property, the typographical
4709 appearance of the affected graphical objects can be accomodated for a
4710 specific notation flavour without need for introducing any new
4714 Other aspects of ancient notation can not that easily be expressed as
4715 in terms of just changing a style property of a graphical object.
4716 Therefore, some notational concepts are introduced specifically for
4717 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4718 @ref{Ligatures}, and @ref{Figured bass}.
4722 * Ancient note heads::
4723 * Ancient accidentals::
4727 * Ancient time signatures::
4732 * Vaticana style contexts::
4735 If this all is way too much of documentation for you, and you just
4736 want to dive into typesetting without worrying too much about the
4737 details on how to customize a context, then you may have a look at the
4738 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4739 set up predefined style-specific voice and staff contexts, and
4740 directly go ahead with the note entry.
4744 Ligatures need special spacing that has not yet been implemented. As
4745 a result, there is too much space between ligatures most of the time,
4746 and line breaking often is unsatisfactory. Also, lyrics do not
4747 correctly align with ligatures.
4749 Accidentals must not be printed within a ligature, but instead need to
4750 be collected and printed in front of it.
4752 Augmentum dots within ligatures are not handled correctly.
4755 @node Ancient note heads
4756 @subsection Ancient note heads
4762 For ancient notation, a note head style other than the @code{default}
4763 style may be chosen. This is accomplished by setting the @code{style}
4764 property of the NoteHead object to the desired value (@code{baroque},
4765 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4766 differs from the @code{default} style only in using a square shape for
4767 @code{\breve} note heads. The @code{neo_mensural} style differs from
4768 the @code{baroque} style in that it uses rhomboidal heads for whole
4769 notes and all smaller durations. Stems are centered on the note
4770 heads. This style is in particular useful when transcribing mensural
4771 music, e.g. for the incipit. The @code{mensural} style finally
4772 produces note heads that mimick the look of note heads in historic
4773 printings of the 16th century.
4775 The following example demonstrates the @code{neo_mensural} style:
4777 @lilypond[fragment,singleline,verbatim]
4778 \property Voice.NoteHead \set #'style = #'neo_mensural
4779 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4782 When typesetting a piece in Gregorian Chant notation, a Gregorian
4783 ligature engraver will automatically select the proper note heads,
4784 such there is no need to explicitly set the note head style. Still,
4785 the note head style can be set e.g. to @code{vaticana_punctum} to
4786 produce punctum neumes. Similarly, a mensural ligature engraver is
4787 used to automatically assemble mensural ligatures. See
4788 @ref{Ligatures} for how ligature engravers work.
4793 @ref{Percussion staves} use note head styles of their own that are
4794 frequently used in contemporary music notation.
4796 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4797 overview over all available note head styles.
4800 @node Ancient accidentals
4801 @subsection Ancient accidentals
4807 Use the @code{style} property of grob @internalsref{Accidental} to
4808 select ancient accidentals. Supported styles are
4809 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4811 @lilypond[singleline,26pt]
4819 { " " \musicglyph #"accidentals-vaticana-1"
4820 " " \musicglyph #"accidentals-vaticana0" }
4824 { " " \musicglyph #"accidentals-medicaea-1" }
4828 { " " \musicglyph #"accidentals-hufnagel-1" }
4832 { " " \musicglyph #"accidentals-mensural-1"
4833 " " \musicglyph #"accidentals-mensural1" }
4842 \remove "Bar_number_engraver"
4846 \remove "Clef_engraver"
4847 \remove "Key_engraver"
4848 \remove "Time_signature_engraver"
4849 \remove "Staff_symbol_engraver"
4850 minimumVerticalExtent = ##f
4856 As shown, not all accidentals are supported by each style. When
4857 trying to access an unsupported accidental, LilyPond will switch to a
4858 different style, as demonstrated in
4859 @inputfileref{input/test,ancient-accidentals.ly}.
4861 Similarly to local accidentals, the style of the key signature can be
4862 controlled by the @code{style} property of the
4863 @internalsref{KeySignature} grob.
4867 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4868 @ref{Accidentals} give a general introduction into the use of
4869 accidentals. @ref{Key signature} gives a general introduction into
4870 the use of key signatures.
4872 Internals: @internalsref{KeySignature}
4874 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4877 @subsection Ancient rests
4883 Use the @code{style} property of grob @internalsref{Rest} to select
4884 ancient accidentals. Supported styles are @code{classical},
4885 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4886 from the @code{default} style only in that the quarter rest looks like
4887 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4888 well for e.g. the incipit of a transcribed mensural piece of music.
4889 The @code{mensural} style finally mimicks the appearance of rests as
4890 in historic prints of the 16th century.
4892 The following example demonstrates the @code{neo_mensural} style:
4894 @lilypond[fragment,singleline,verbatim]
4895 \property Voice.Rest \set #'style = #'neo_mensural
4896 r\longa r\breve r1 r2 r4 r8 r16
4899 There are no 32th and 64th rests specifically for the mensural or
4900 neo-mensural style. Instead, the rests from the default style will be
4901 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4904 There are no rests in Gregorian Chant notation; instead, it uses
4909 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4913 @subsection Ancient clefs
4919 LilyPond supports a variety of clefs, many of them ancient.
4921 The following table shows all ancient clefs that are supported via the
4922 @code{\clef} command. Some of the clefs use the same glyph, but
4923 differ only with respect to the line they are printed on. In such
4924 cases, a trailing number in the name is used to enumerate these clefs.
4925 Still, you can manually force a clef glyph to be typeset on an
4926 arbitrary line, as described in @ref{Clef}. The note printed to the
4927 right side of each clef in the example column denotes the @code{c'}
4928 with respect to that clef.
4930 @multitable @columnfractions .3 .3 .3 .1
4934 @b{Description} @tab
4935 @b{Supported Clefs} @tab
4939 @code{clefs-neo_mensural_c} @tab
4940 modern style mensural C clef @tab
4941 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4942 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4943 @lilypond[relative 0, notime]
4944 \property Staff.TimeSignature \set #'transparent = ##t
4945 \clef "neo_mensural_c2" c
4949 @code{clefs-petrucci_c1}
4950 @code{clefs-petrucci_c2}
4951 @code{clefs-petrucci_c3}
4952 @code{clefs-petrucci_c4}
4953 @code{clefs-petrucci_c5}
4956 petrucci style mensural C clefs, for use on different stafflines
4957 (the examples shows the 2nd staffline C clef).
4967 @lilypond[relative 0, notime]
4968 \property Staff.TimeSignature \set #'transparent = ##t
4969 \clef "petrucci_c2" c
4973 @code{clefs-petrucci_f} @tab
4974 petrucci style mensural F clef @tab
4975 @code{petrucci_f} @tab
4976 @lilypond[relative 0, notime]
4977 \property Staff.TimeSignature \set #'transparent = ##t
4978 \clef "petrucci_f" c
4982 @code{clefs-petrucci_g} @tab
4983 petrucci style mensural G clef @tab
4984 @code{petrucci_g} @tab
4985 @lilypond[relative 0, notime]
4986 \property Staff.TimeSignature \set #'transparent = ##t
4987 \clef "petrucci_g" c
4991 @code{clefs-mensural_c} @tab
4992 historic style mensural C clef @tab
4993 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4994 @code{mensural_c4} @tab
4995 @lilypond[relative 0, notime]
4996 \property Staff.TimeSignature \set #'transparent = ##t
4997 \clef "mensural_c2" c
5001 @code{clefs-mensural_f} @tab
5002 historic style mensural F clef @tab
5003 @code{mensural_f} @tab
5004 @lilypond[relative 0, notime]
5005 \property Staff.TimeSignature \set #'transparent = ##t
5006 \clef "mensural_f" c
5010 @code{clefs-mensural_g} @tab
5011 historic style mensural G clef @tab
5012 @code{mensural_g} @tab
5013 @lilypond[relative 0, notime]
5014 \property Staff.TimeSignature \set #'transparent = ##t
5015 \clef "mensural_g" c
5019 @code{clefs-vaticana_do} @tab
5020 Editio Vaticana style do clef @tab
5021 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5022 @lilypond[relative 0, notime]
5023 \property Staff.StaffSymbol \set #'line-count = #4
5024 \property Staff.TimeSignature \set #'transparent = ##t
5025 \clef "vaticana_do2" c
5029 @code{clefs-vaticana_fa} @tab
5030 Editio Vaticana style fa clef @tab
5031 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5032 @lilypond[relative 0, notime]
5033 \property Staff.StaffSymbol \set #'line-count = #4
5034 \property Staff.TimeSignature \set #'transparent = ##t
5035 \clef "vaticana_fa2" c
5039 @code{clefs-medicaea_do} @tab
5040 Editio Medicaea style do clef @tab
5041 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5042 @lilypond[relative 0, notime]
5043 \property Staff.StaffSymbol \set #'line-count = #4
5044 \property Staff.TimeSignature \set #'transparent = ##t
5045 \clef "medicaea_do2" c
5049 @code{clefs-medicaea_fa} @tab
5050 Editio Medicaea style fa clef @tab
5051 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5052 @lilypond[relative 0, notime]
5053 \property Staff.StaffSymbol \set #'line-count = #4
5054 \property Staff.TimeSignature \set #'transparent = ##t
5055 \clef "medicaea_fa2" c
5059 @code{clefs-hufnagel_do} @tab
5060 historic style hufnagel do clef @tab
5061 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5062 @lilypond[relative 0, notime]
5063 \property Staff.StaffSymbol \set #'line-count = #4
5064 \property Staff.TimeSignature \set #'transparent = ##t
5065 \clef "hufnagel_do2" c
5069 @code{clefs-hufnagel_fa} @tab
5070 historic style hufnagel fa clef @tab
5071 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5072 @lilypond[relative 0, notime]
5073 \property Staff.StaffSymbol \set #'line-count = #4
5074 \property Staff.TimeSignature \set #'transparent = ##t
5075 \clef "hufnagel_fa2" c
5079 @code{clefs-hufnagel_do_fa} @tab
5080 historic style hufnagel combined do/fa clef @tab
5081 @code{hufnagel_do_fa} @tab
5082 @lilypond[relative 0, notime]
5083 \property Staff.TimeSignature \set #'transparent = ##t
5084 \clef "hufnagel_do_fa" c
5089 @c --- This should go somewhere else: ---
5090 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5093 @c @code{percussion}
5095 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5097 @c @item modern style tab clef (glyph: @code{clefs-tab})
5102 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5104 @emph{Modern style} means ``as is typeset in contemporary editions of
5105 transcribed mensural music''.
5107 @emph{Petrucci style} means ``inspired by printings published by the
5108 famous engraver Petrucci (1466-1539)''.
5110 @emph{Historic style} means ``as was typeset or written in historic
5111 editions (other than those of Petrucci)''.
5113 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5115 Petrucci used C clefs with differently balanced left-side vertical
5116 beams, depending on which staffline it is printed.
5120 In this manual: for the percussion clef, see @ref{Percussion staves}.
5121 For the @code{TAB} clef, see @ref{Tablatures}.
5123 Internals: for modern clefs, see @ref{Clef}.
5128 @subsection Ancient flags
5134 Use the @code{flag-style} property of grob @internalsref{Stem} to
5135 select ancient flags. Besides the @code{default} flag style,
5136 only @code{mensural} style is supported:
5138 @lilypond[fragment,singleline,verbatim]
5139 \property Voice.Stem \set #'flag-style = #'mensural
5140 \property Voice.Stem \set #'thickness = #1.0
5141 \property Voice.NoteHead \set #'style = #'mensural
5143 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5144 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5147 Note that the innermost flare of each mensural flag always is
5148 vertically aligned with a staff line. If you do not like this
5149 behaviour, you can set the @code{adjust-if-on-staffline} property of
5150 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5151 of the end of each flare is different between notes on staff lines and
5152 notes between staff lines:
5154 @lilypond[fragment,singleline]
5155 \property Voice.Stem \set #'flag-style = #'mensural
5156 \property Voice.Stem \set #'thickness = #1.0
5157 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5158 \property Voice.NoteHead \set #'style = #'mensural
5160 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5161 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5164 There is no particular flag style for neo-mensural notation. Hence,
5165 when typesetting e.g. the incipit of a transcibed piece of mensural
5166 music, the default flag style should be used. There are no flags in
5167 Gregorian Chant notation.
5170 @node Ancient time signatures
5171 @subsection Ancient time signatures
5173 @cindex time signatures
5177 There is limited support for mensural time signatures. The
5178 glyphs are hard-wired to particular time fractions. In other words,
5179 to get a particular mensural signature glyph with the @code{\time n/m}
5180 command, @code{n} and @code{m} have to be chosen according to the
5186 \property Score.timing = ##f
5187 \property Score.barAlways = ##t
5188 s_\markup { "$\\backslash$time 4/4" }
5189 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5191 s_\markup { "$\\backslash$time 2/2" }
5192 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5194 s_\markup { "$\\backslash$time 6/4" }
5195 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5197 s_\markup { "$\\backslash$time 6/8" }
5198 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5200 s_\markup { "$\\backslash$time 3/2" }
5201 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5203 s_\markup { "$\\backslash$time 3/4" }
5204 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5206 s_\markup { "$\\backslash$time 9/4" }
5207 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5209 s_\markup { "$\\backslash$time 9/8" }
5210 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5212 s_\markup { "$\\backslash$time 4/8" }
5213 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5215 s_\markup { "$\\backslash$time 2/4" }
5216 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5224 \remove Staff_symbol_engraver
5225 \remove Clef_engraver
5226 \remove Time_signature_engraver
5232 Use the @code{style} property of grob @internalsref{TimeSignature} to
5233 select ancient time signatures. Supported styles are
5234 @code{neo_mensural} and @code{mensural}. The above table uses the
5235 @code{neo_mensural} style. This style is appropriate e.g. for the
5236 incipit of transcriptions of mensural pieces. The @code{mensural}
5237 style mimicks the look of historical printings of the 16th century.
5239 @inputfileref{input/test,time.ly} gives an overview over all available
5240 ancient and modern styles.
5244 Internals: @ref{Time signature} gives a general introduction into the use of time
5249 Mensural signature glyphs are mapped to time fractions in a
5250 hard-wired way. This mapping is sensible, but still arbitrary: given
5251 a mensural time signature, the time fraction represents a modern meter
5252 that usually will be a good choice when transcribing a mensural piece
5253 of music. For a particular piece of mensural music, however, the
5254 mapping may be unsatisfactory. In particular, the mapping assumes a
5255 fixed transcription of durations (e.g. brevis = half note in 2/2,
5256 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5257 are not at all accessible through the @code{\time} command.
5259 Mensural time signatures are supported typographically, but not yet
5260 musically. The internal representation of durations is
5261 based on a purely binary system; a ternary division such as 1 brevis =
5262 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5263 prolatione maiori) is not correctly handled: event times in ternary
5264 modes will be badly computed, resulting e.g. in horizontally
5265 misaligned note heads, and bar checks are likely to erroneously fail.
5267 The syntax and semantics of the @code{\time} command for mensural
5268 music is subject to change.
5271 @subsection Custodes
5276 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5277 symbol that appears at the end of a staff. It anticipates the pitch
5278 of the first note(s) of the following line and thus helps the player
5279 or singer to manage line breaks during performance, thus enhancing
5280 readability of a score.
5282 Custodes were frequently used in music notation until the 17th
5283 century. Nowadays, they have survived only in a few particular forms
5284 of musical notation such as contemporary editions of Gregorian chant
5285 like the @emph{editio vaticana}. There are different custos glyphs
5286 used in different flavours of notational style.
5290 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5291 @internalsref{Staff} context when declaring the @code{\paper} block,
5292 as shown in the following example:
5298 \consists Custos_engraver
5299 Custos \override #'style = #'mensural
5304 The result looks like this:
5310 \property Staff.Custos \set #'style = #'mensural
5317 \consists Custos_engraver
5324 The custos glyph is selected by the @code{style} property. The styles
5325 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5326 @code{mensural}. They are demonstrated in the following fragment:
5336 { " " \musicglyph #"custodes-vaticana-u0" }
5340 { " " \musicglyph #"custodes-medicaea-u0" }
5344 { " " \musicglyph #"custodes-hufnagel-u0" }
5348 { " " \musicglyph #"custodes-mensural-u0" }
5357 \remove "Bar_number_engraver"
5361 \remove "Clef_engraver"
5362 \remove "Key_engraver"
5363 \remove "Time_signature_engraver"
5364 \remove "Staff_symbol_engraver"
5365 minimumVerticalExtent = ##f
5371 If the boolean property @code{adjust-if-on-staffline} is set to
5372 @code{#t} (which it is by default), lily typesets slightly different
5373 variants of the custos glyph, depending on whether the custos, is
5374 typeset on or between stafflines. The glyph will
5375 optically fit well into the staff, with the appendage on the right of
5376 the custos always ending at the same vertical position between two
5377 stafflines regardless of the pitch. If you set
5378 @code{adjust-if-on-staffline} to @code{#f}, then
5379 a compromise between both forms is used.
5381 Just like stems can be attached to noteheads in two directions
5382 @emph{up} and @emph{down}, each custos glyph is available with its
5383 appendage pointing either up or down. If the pitch of a custos is
5384 above a selectable position, the appendage will point downwards; if
5385 the pitch is below this position, the appendage will point upwards.
5386 Use property @code{neutral-position} to select this position. By
5387 default, it is set to @code{0}, such that the neutral position is the
5388 center of the staff. Use property @code{neutral-direction} to control
5389 what happens if a custos is typeset on the neutral position itself.
5390 By default, this property is set to @code{-1}, such that the appendage
5391 will point downwards. If set to @code{1}, the appendage will point
5392 upwards. Other values such as @code{0} are reserved for future
5393 extensions and should not be used.
5397 Internals: @internalsref{Custos}
5399 Examples: @inputfileref{input/regression,custos.ly}.
5403 @subsection Divisiones
5409 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5410 `division') is a staff context symbol that is used to structure
5411 Gregorian music into phrases and sections. The musical meaning of
5412 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5413 can be characterized as short, medium and long pause, somewhat like
5414 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5415 a chant, but is also frequently used within a single
5416 antiphonal/responsorial chant to mark the end of each section.
5420 To use divisiones, include the file @code{gregorian-init.ly}. It
5421 contains definitions that you can apply by just inserting
5422 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5423 and @code{\finalis} at proper places in the input. Some editions use
5424 @emph{virgula} or @emph{caesura} instead of divisio minima.
5425 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5428 @lilypondfile[notexidoc]{divisiones.ly}
5432 @cindex @code{\virgula}
5434 @cindex @code{\caesura}
5436 @cindex @code{\divisioMinima}
5437 @code{\divisioMinima},
5438 @cindex @code{\divisioMaior}
5439 @code{\divisioMaior},
5440 @cindex @code{\divisioMaxima}
5441 @code{\divisioMaxima},
5442 @cindex @code{\finalis}
5447 In this manual: @ref{Breath marks}.
5449 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5451 Examples: @inputfileref{input/test,divisiones.ly}
5454 @subsection Ligatures
5458 @c TODO: Should double check if I recalled things correctly when I wrote
5459 @c down the following paragraph by heart.
5461 In musical terminology, a ligature is a coherent graphical symbol that
5462 represents at least two distinct notes. Ligatures originally appeared
5463 in the manuscripts of Gregorian chant notation roughly since the 9th
5464 century as an allusion to the accent symbols of greek lyric poetry to
5465 denote ascending or descending sequences of notes. Both, the shape
5466 and the exact meaning of ligatures changed tremendously during the
5467 following centuries: In early notation, ligatures were used for
5468 monophonic tunes (Gregorian chant) and very soon denoted also the way
5469 of performance in the sense of articulation. With upcoming
5470 multiphony, the need for a metric system arised, since multiple voices
5471 of a piece have to be synchronized some way. New notation systems
5472 were invented that used the manifold shapes of ligatures to now denote
5473 rhythmical patterns (e.g. black mensural notation, mannered notation,
5474 ars nova). With the invention of the metric system of the white
5475 mensural notation, the need for ligatures to denote such patterns
5476 disappeared. Nevertheless, ligatures were still in use in the
5477 mensural system for a couple of decades until they finally disappeared
5478 during the late 16th / early 17th century. Still, ligatures have
5479 survived in contemporary editions of Gregorian chant such as the
5480 Editio Vaticana from 1905/08.
5484 Syntactically, ligatures are simply enclosed by @code{\[} and
5485 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5486 additional input syntax specific for this particular type of ligature.
5487 By default, the @internalsref{LigatureBracket} engraver just puts a
5488 square bracket above the ligature:
5490 @lilypond[singleline,verbatim]
5492 \notes \transpose c c' {
5500 To select a specific style of ligatures, a proper ligature engraver
5501 has to be added to the @internalsref{Voice} context, as explained in
5502 the following subsections. Only white mensural ligatures
5503 are supported with certain limitations. Support for Editio Vaticana
5504 will be added in the future.
5507 * White mensural ligatures::
5508 * Gregorian square neumes ligatures::
5511 @node White mensural ligatures
5512 @subsubsection White mensural ligatures
5514 @cindex Mensural ligatures
5515 @cindex White mensural ligatures
5517 There is limited support for white mensural ligatures. The
5518 implementation is still experimental; it may output strange
5519 warnings or even crash in some cases or produce weird results on more
5524 To engrave white mensural ligatures, in the paper block the
5525 @internalsref{Mensural_ligature_engraver} has to be put into the
5526 @internalsref{Voice} context, and remove the
5527 @internalsref{Ligature_bracket_engraver}:
5533 \remove Ligature_bracket_engraver
5534 \consists Mensural_ligature_engraver
5539 There is no additional input language to describe the shape of a
5540 white mensural ligature. The shape is rather determined solely from
5541 the pitch and duration of the enclosed notes. While this approach may
5542 take a new user a while to get accustomed, it has the great advantage
5543 that the full musical information of the ligature is known internally.
5544 This is not only required for correct MIDI output, but also allows for
5545 automatic transcription of the ligatures.
5550 \property Score.timing = ##f
5551 \property Score.defaultBarType = "empty"
5552 \property Voice.NoteHead \set #'style = #'neo_mensural
5553 \property Staff.TimeSignature \set #'style = #'neo_mensural
5555 \[ g\longa c\breve a\breve f\breve d'\longa \]
5557 \[ e1 f1 a\breve g\longa \]
5559 @lilypond[singleline]
5561 \notes \transpose c c' {
5562 \property Score.timing = ##f
5563 \property Score.defaultBarType = "empty"
5564 \property Voice.NoteHead \set #'style = #'neo_mensural
5565 \property Staff.TimeSignature \set #'style = #'neo_mensural
5567 \[ g\longa c\breve a\breve f\breve d'\longa \]
5569 \[ e1 f1 a\breve g\longa \]
5574 \remove Ligature_bracket_engraver
5575 \consists Mensural_ligature_engraver
5581 Without replacing @internalsref{Ligature_bracket_engraver} with
5582 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5585 @lilypond[singleline]
5587 \notes \transpose c c' {
5588 \property Score.timing = ##f
5589 \property Score.defaultBarType = "empty"
5590 \property Voice.NoteHead \set #'style = #'neo_mensural
5591 \property Staff.TimeSignature \set #'style = #'neo_mensural
5593 \[ g\longa c\breve a\breve f\breve d'\longa \]
5595 \[ e1 f1 a\breve g\longa \]
5601 @node Gregorian square neumes ligatures
5602 @subsubsection Gregorian square neumes ligatures
5604 @cindex Square neumes ligatures
5605 @cindex Gregorian square neumes ligatures
5607 Gregorian square neumes notation (following the style of the Editio
5608 Vaticana) is under heavy development, but not yet really usable for
5609 production purposes. Core ligatures can already be typeset, but
5610 essential issues for serious typesetting are still under development,
5611 such as (among others) horizontal alignment of multiple ligatures,
5612 lyrics alignment and proper accidentals handling. Still, this section
5613 gives a sneak preview of what Gregorian chant may look like once it
5616 The following table contains the extended neumes table of the 2nd
5617 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5618 1983 by the monks of Solesmes.
5620 @multitable @columnfractions .4 .2 .2 .2
5623 @b{Neuma aut@*Neumarum Elementa} @tab
5624 @b{Figurae@*Rectae} @tab
5625 @b{Figurae@*Liquescentes Auctae} @tab
5626 @b{Figurae@*Liquescentes Deminutae}
5628 @c TODO: \paper block is identical in all of the below examples.
5629 @c Therefore, it should somehow be included rather than duplicated all
5632 @c why not make identifiers in ly/engraver-init.ly? --hwn
5634 @c Because it's just used to typeset plain notes without
5635 @c a staff for demonstration purposes rather than something
5636 @c special of Gregorian chant notation. --jr
5641 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5642 \include "gregorian-init.ly"
5644 \notes \transpose c c' {
5647 \noBreak s^\markup {"a"} \noBreak
5649 % Punctum Inclinatum
5651 \noBreak s^\markup {"b"}
5657 \remove "Bar_number_engraver"
5661 \remove "Clef_engraver"
5662 \remove "Key_engraver"
5663 StaffSymbol \set #'transparent = ##t
5664 \remove "Time_signature_engraver"
5665 \remove "Bar_engraver"
5666 minimumVerticalExtent = ##f
5670 \remove Ligature_bracket_engraver
5671 \consists Vaticana_ligature_engraver
5672 NoteHead \set #'style = #'vaticana_punctum
5673 Stem \set #'transparent = ##t
5679 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5680 \include "gregorian-init.ly"
5682 \notes \transpose c c' {
5683 % Punctum Auctum Ascendens
5684 \[ \auctum \ascendens b \]
5685 \noBreak s^\markup {"c"} \noBreak
5687 % Punctum Auctum Descendens
5688 \[ \auctum \descendens b \]
5689 \noBreak s^\markup {"d"} \noBreak
5691 % Punctum Inclinatum Auctum
5692 \[ \inclinatum \auctum b \]
5693 \noBreak s^\markup {"e"}
5699 \remove "Bar_number_engraver"
5703 \remove "Clef_engraver"
5704 \remove "Key_engraver"
5705 StaffSymbol \set #'transparent = ##t
5706 \remove "Time_signature_engraver"
5707 \remove "Bar_engraver"
5708 minimumVerticalExtent = ##f
5712 \remove Ligature_bracket_engraver
5713 \consists Vaticana_ligature_engraver
5714 NoteHead \set #'style = #'vaticana_punctum
5715 Stem \set #'transparent = ##t
5721 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5722 \include "gregorian-init.ly"
5724 \notes \transpose c c' {
5725 % Punctum Inclinatum Parvum
5726 \[ \inclinatum \deminutum b \]
5727 \noBreak s^\markup {"f"}
5733 \remove "Bar_number_engraver"
5737 \remove "Clef_engraver"
5738 \remove "Key_engraver"
5739 StaffSymbol \set #'transparent = ##t
5740 \remove "Time_signature_engraver"
5741 \remove "Bar_engraver"
5742 minimumVerticalExtent = ##f
5746 \remove Ligature_bracket_engraver
5747 \consists Vaticana_ligature_engraver
5748 NoteHead \set #'style = #'vaticana_punctum
5749 Stem \set #'transparent = ##t
5758 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5759 \include "gregorian-init.ly"
5761 \notes \transpose c c' {
5764 \noBreak s^\markup {"g"}
5770 \remove "Bar_number_engraver"
5774 \remove "Clef_engraver"
5775 \remove "Key_engraver"
5776 StaffSymbol \set #'transparent = ##t
5777 \remove "Time_signature_engraver"
5778 \remove "Bar_engraver"
5779 minimumVerticalExtent = ##f
5783 \remove Ligature_bracket_engraver
5784 \consists Vaticana_ligature_engraver
5785 NoteHead \set #'style = #'vaticana_punctum
5786 Stem \set #'transparent = ##t
5795 @code{3. Apostropha vel Stropha}
5797 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5798 \include "gregorian-init.ly"
5800 \notes \transpose c c' {
5803 \noBreak s^\markup {"h"}
5809 \remove "Bar_number_engraver"
5813 \remove "Clef_engraver"
5814 \remove "Key_engraver"
5815 StaffSymbol \set #'transparent = ##t
5816 \remove "Time_signature_engraver"
5817 \remove "Bar_engraver"
5818 minimumVerticalExtent = ##f
5822 \remove Ligature_bracket_engraver
5823 \consists Vaticana_ligature_engraver
5824 NoteHead \set #'style = #'vaticana_punctum
5825 Stem \set #'transparent = ##t
5831 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5832 \include "gregorian-init.ly"
5834 \notes \transpose c c' {
5836 \[ \stropha \auctum b \]
5837 \noBreak s^\markup {"i"}
5843 \remove "Bar_number_engraver"
5847 \remove "Clef_engraver"
5848 \remove "Key_engraver"
5849 StaffSymbol \set #'transparent = ##t
5850 \remove "Time_signature_engraver"
5851 \remove "Bar_engraver"
5852 minimumVerticalExtent = ##f
5856 \remove Ligature_bracket_engraver
5857 \consists Vaticana_ligature_engraver
5858 NoteHead \set #'style = #'vaticana_punctum
5859 Stem \set #'transparent = ##t
5869 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5870 \include "gregorian-init.ly"
5872 \notes \transpose c c' {
5875 \noBreak s^\markup {"j"}
5881 \remove "Bar_number_engraver"
5885 \remove "Clef_engraver"
5886 \remove "Key_engraver"
5887 StaffSymbol \set #'transparent = ##t
5888 \remove "Time_signature_engraver"
5889 \remove "Bar_engraver"
5890 minimumVerticalExtent = ##f
5894 \remove Ligature_bracket_engraver
5895 \consists Vaticana_ligature_engraver
5896 NoteHead \set #'style = #'vaticana_punctum
5897 Stem \set #'transparent = ##t
5906 @code{5. Clivis vel Flexa}
5908 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5909 \include "gregorian-init.ly"
5911 \notes \transpose c c' {
5920 \remove "Bar_number_engraver"
5924 \remove "Clef_engraver"
5925 \remove "Key_engraver"
5926 StaffSymbol \set #'transparent = ##t
5927 \remove "Time_signature_engraver"
5928 \remove "Bar_engraver"
5929 minimumVerticalExtent = ##f
5933 \remove Ligature_bracket_engraver
5934 \consists Vaticana_ligature_engraver
5935 NoteHead \set #'style = #'vaticana_punctum
5936 Stem \set #'transparent = ##t
5942 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5943 \include "gregorian-init.ly"
5945 \notes \transpose c c' {
5946 % Clivis Aucta Descendens
5947 \[ b \flexa \auctum \descendens g \]
5948 \noBreak s^\markup {"l"} \noBreak
5950 % Clivis Aucta Ascendens
5951 \[ b \flexa \auctum \ascendens g \]
5952 \noBreak s^\markup {"m"}
5958 \remove "Bar_number_engraver"
5962 \remove "Clef_engraver"
5963 \remove "Key_engraver"
5964 StaffSymbol \set #'transparent = ##t
5965 \remove "Time_signature_engraver"
5966 \remove "Bar_engraver"
5967 minimumVerticalExtent = ##f
5971 \remove Ligature_bracket_engraver
5972 \consists Vaticana_ligature_engraver
5973 NoteHead \set #'style = #'vaticana_punctum
5974 Stem \set #'transparent = ##t
5980 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5981 \include "gregorian-init.ly"
5983 \notes \transpose c c' {
5985 \[ b \flexa \deminutum g \]
5992 \remove "Bar_number_engraver"
5996 \remove "Clef_engraver"
5997 \remove "Key_engraver"
5998 StaffSymbol \set #'transparent = ##t
5999 \remove "Time_signature_engraver"
6000 \remove "Bar_engraver"
6001 minimumVerticalExtent = ##f
6005 \remove Ligature_bracket_engraver
6006 \consists Vaticana_ligature_engraver
6007 NoteHead \set #'style = #'vaticana_punctum
6008 Stem \set #'transparent = ##t
6015 @code{6. Podatus vel Pes}
6017 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6018 \include "gregorian-init.ly"
6020 \notes \transpose c c' {
6029 \remove "Bar_number_engraver"
6033 \remove "Clef_engraver"
6034 \remove "Key_engraver"
6035 StaffSymbol \set #'transparent = ##t
6036 \remove "Time_signature_engraver"
6037 \remove "Bar_engraver"
6038 minimumVerticalExtent = ##f
6042 \remove Ligature_bracket_engraver
6043 \consists Vaticana_ligature_engraver
6044 NoteHead \set #'style = #'vaticana_punctum
6045 Stem \set #'transparent = ##t
6051 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
6052 \include "gregorian-init.ly"
6054 \notes \transpose c c' {
6055 % Pes Auctus Descendens
6056 \[ g \pes \auctum \descendens b \]
6057 \noBreak s^\markup {"p"} \noBreak
6059 % Pes Auctus Ascendens
6060 \[ g \pes \auctum \ascendens b \]
6061 \noBreak s^\markup {"q"}
6067 \remove "Bar_number_engraver"
6071 \remove "Clef_engraver"
6072 \remove "Key_engraver"
6073 StaffSymbol \set #'transparent = ##t
6074 \remove "Time_signature_engraver"
6075 \remove "Bar_engraver"
6076 minimumVerticalExtent = ##f
6080 \remove Ligature_bracket_engraver
6081 \consists Vaticana_ligature_engraver
6082 NoteHead \set #'style = #'vaticana_punctum
6083 Stem \set #'transparent = ##t
6089 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6090 \include "gregorian-init.ly"
6092 \notes \transpose c c' {
6094 \[ g \pes \deminutum b \]
6101 \remove "Bar_number_engraver"
6105 \remove "Clef_engraver"
6106 \remove "Key_engraver"
6107 StaffSymbol \set #'transparent = ##t
6108 \remove "Time_signature_engraver"
6109 \remove "Bar_engraver"
6110 minimumVerticalExtent = ##f
6114 \remove Ligature_bracket_engraver
6115 \consists Vaticana_ligature_engraver
6116 NoteHead \set #'style = #'vaticana_punctum
6117 Stem \set #'transparent = ##t
6124 @code{7. Pes Quassus}
6126 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6127 \include "gregorian-init.ly"
6129 \notes \transpose c c' {
6131 \[ \oriscus g \pes \virga b \]
6138 \remove "Bar_number_engraver"
6142 \remove "Clef_engraver"
6143 \remove "Key_engraver"
6144 StaffSymbol \set #'transparent = ##t
6145 \remove "Time_signature_engraver"
6146 \remove "Bar_engraver"
6147 minimumVerticalExtent = ##f
6151 \remove Ligature_bracket_engraver
6152 \consists Vaticana_ligature_engraver
6153 NoteHead \set #'style = #'vaticana_punctum
6154 Stem \set #'transparent = ##t
6160 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6161 \include "gregorian-init.ly"
6163 \notes \transpose c c' {
6164 % Pes Quassus Auctus Descendens
6165 \[ \oriscus g \pes \auctum \descendens b \]
6172 \remove "Bar_number_engraver"
6176 \remove "Clef_engraver"
6177 \remove "Key_engraver"
6178 StaffSymbol \set #'transparent = ##t
6179 \remove "Time_signature_engraver"
6180 \remove "Bar_engraver"
6181 minimumVerticalExtent = ##f
6185 \remove Ligature_bracket_engraver
6186 \consists Vaticana_ligature_engraver
6187 NoteHead \set #'style = #'vaticana_punctum
6188 Stem \set #'transparent = ##t
6196 @code{8. Quilisma Pes}
6198 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6199 \include "gregorian-init.ly"
6201 \notes \transpose c c' {
6203 \[ \quilisma g \pes b \]
6210 \remove "Bar_number_engraver"
6214 \remove "Clef_engraver"
6215 \remove "Key_engraver"
6216 StaffSymbol \set #'transparent = ##t
6217 \remove "Time_signature_engraver"
6218 \remove "Bar_engraver"
6219 minimumVerticalExtent = ##f
6223 \remove Ligature_bracket_engraver
6224 \consists Vaticana_ligature_engraver
6225 NoteHead \set #'style = #'vaticana_punctum
6226 Stem \set #'transparent = ##t
6232 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6233 \include "gregorian-init.ly"
6235 \notes \transpose c c' {
6236 % Quilisma Pes Auctus Descendens
6237 \[ \quilisma g \pes \auctum \descendens b \]
6244 \remove "Bar_number_engraver"
6248 \remove "Clef_engraver"
6249 \remove "Key_engraver"
6250 StaffSymbol \set #'transparent = ##t
6251 \remove "Time_signature_engraver"
6252 \remove "Bar_engraver"
6253 minimumVerticalExtent = ##f
6257 \remove Ligature_bracket_engraver
6258 \consists Vaticana_ligature_engraver
6259 NoteHead \set #'style = #'vaticana_punctum
6260 Stem \set #'transparent = ##t
6268 @code{9. Podatus Initio Debilis}
6270 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6271 \include "gregorian-init.ly"
6273 \notes \transpose c c' {
6274 % Pes Initio Debilis
6275 \[ \deminutum g \pes b \]
6282 \remove "Bar_number_engraver"
6286 \remove "Clef_engraver"
6287 \remove "Key_engraver"
6288 StaffSymbol \set #'transparent = ##t
6289 \remove "Time_signature_engraver"
6290 \remove "Bar_engraver"
6291 minimumVerticalExtent = ##f
6295 \remove Ligature_bracket_engraver
6296 \consists Vaticana_ligature_engraver
6297 NoteHead \set #'style = #'vaticana_punctum
6298 Stem \set #'transparent = ##t
6304 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6305 \include "gregorian-init.ly"
6307 \notes \transpose c c' {
6308 % Pes Auctus Descendens Initio Debilis
6309 \[ \deminutum g \pes \auctum \descendens b \]
6316 \remove "Bar_number_engraver"
6320 \remove "Clef_engraver"
6321 \remove "Key_engraver"
6322 StaffSymbol \set #'transparent = ##t
6323 \remove "Time_signature_engraver"
6324 \remove "Bar_engraver"
6325 minimumVerticalExtent = ##f
6329 \remove Ligature_bracket_engraver
6330 \consists Vaticana_ligature_engraver
6331 NoteHead \set #'style = #'vaticana_punctum
6332 Stem \set #'transparent = ##t
6342 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6343 \include "gregorian-init.ly"
6345 \notes \transpose c c' {
6347 \[ a \pes b \flexa g \]
6354 \remove "Bar_number_engraver"
6358 \remove "Clef_engraver"
6359 \remove "Key_engraver"
6360 StaffSymbol \set #'transparent = ##t
6361 \remove "Time_signature_engraver"
6362 \remove "Bar_engraver"
6363 minimumVerticalExtent = ##f
6367 \remove Ligature_bracket_engraver
6368 \consists Vaticana_ligature_engraver
6369 NoteHead \set #'style = #'vaticana_punctum
6370 Stem \set #'transparent = ##t
6376 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6377 \include "gregorian-init.ly"
6379 \notes \transpose c c' {
6380 % Torculus Auctus Descendens
6381 \[ a \pes b \flexa \auctum \descendens g \]
6388 \remove "Bar_number_engraver"
6392 \remove "Clef_engraver"
6393 \remove "Key_engraver"
6394 StaffSymbol \set #'transparent = ##t
6395 \remove "Time_signature_engraver"
6396 \remove "Bar_engraver"
6397 minimumVerticalExtent = ##f
6401 \remove Ligature_bracket_engraver
6402 \consists Vaticana_ligature_engraver
6403 NoteHead \set #'style = #'vaticana_punctum
6404 Stem \set #'transparent = ##t
6410 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6411 \include "gregorian-init.ly"
6413 \notes \transpose c c' {
6414 % Torculus Deminutus
6415 \[ a \pes b \flexa \deminutum g \]
6422 \remove "Bar_number_engraver"
6426 \remove "Clef_engraver"
6427 \remove "Key_engraver"
6428 StaffSymbol \set #'transparent = ##t
6429 \remove "Time_signature_engraver"
6430 \remove "Bar_engraver"
6431 minimumVerticalExtent = ##f
6435 \remove Ligature_bracket_engraver
6436 \consists Vaticana_ligature_engraver
6437 NoteHead \set #'style = #'vaticana_punctum
6438 Stem \set #'transparent = ##t
6445 @code{11. Torculus Initio Debilis}
6447 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6448 \include "gregorian-init.ly"
6450 \notes \transpose c c' {
6451 % Torculus Initio Debilis
6452 \[ \deminutum a \pes b \flexa g \]
6459 \remove "Bar_number_engraver"
6463 \remove "Clef_engraver"
6464 \remove "Key_engraver"
6465 StaffSymbol \set #'transparent = ##t
6466 \remove "Time_signature_engraver"
6467 \remove "Bar_engraver"
6468 minimumVerticalExtent = ##f
6472 \remove Ligature_bracket_engraver
6473 \consists Vaticana_ligature_engraver
6474 NoteHead \set #'style = #'vaticana_punctum
6475 Stem \set #'transparent = ##t
6481 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6482 \include "gregorian-init.ly"
6484 \notes \transpose c c' {
6485 % Torculus Auctus Descendens Initio Debilis
6486 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6493 \remove "Bar_number_engraver"
6497 \remove "Clef_engraver"
6498 \remove "Key_engraver"
6499 StaffSymbol \set #'transparent = ##t
6500 \remove "Time_signature_engraver"
6501 \remove "Bar_engraver"
6502 minimumVerticalExtent = ##f
6506 \remove Ligature_bracket_engraver
6507 \consists Vaticana_ligature_engraver
6508 NoteHead \set #'style = #'vaticana_punctum
6509 Stem \set #'transparent = ##t
6515 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6516 \include "gregorian-init.ly"
6518 \notes \transpose c c' {
6519 % Torculus Deminutus Initio Debilis
6520 \[ \deminutum a \pes b \flexa \deminutum g \]
6527 \remove "Bar_number_engraver"
6531 \remove "Clef_engraver"
6532 \remove "Key_engraver"
6533 StaffSymbol \set #'transparent = ##t
6534 \remove "Time_signature_engraver"
6535 \remove "Bar_engraver"
6536 minimumVerticalExtent = ##f
6540 \remove Ligature_bracket_engraver
6541 \consists Vaticana_ligature_engraver
6542 NoteHead \set #'style = #'vaticana_punctum
6543 Stem \set #'transparent = ##t
6550 @code{12. Porrectus}
6552 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6553 \include "gregorian-init.ly"
6555 \notes \transpose c c' {
6557 \[ a \flexa g \pes b \]
6564 \remove "Bar_number_engraver"
6568 \remove "Clef_engraver"
6569 \remove "Key_engraver"
6570 StaffSymbol \set #'transparent = ##t
6571 \remove "Time_signature_engraver"
6572 \remove "Bar_engraver"
6573 minimumVerticalExtent = ##f
6577 \remove Ligature_bracket_engraver
6578 \consists Vaticana_ligature_engraver
6579 NoteHead \set #'style = #'vaticana_punctum
6580 Stem \set #'transparent = ##t
6586 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6587 \include "gregorian-init.ly"
6589 \notes \transpose c c' {
6590 % Porrectus Auctus Descendens
6591 \[ a \flexa g \pes \auctum \descendens b \]
6598 \remove "Bar_number_engraver"
6602 \remove "Clef_engraver"
6603 \remove "Key_engraver"
6604 StaffSymbol \set #'transparent = ##t
6605 \remove "Time_signature_engraver"
6606 \remove "Bar_engraver"
6607 minimumVerticalExtent = ##f
6611 \remove Ligature_bracket_engraver
6612 \consists Vaticana_ligature_engraver
6613 NoteHead \set #'style = #'vaticana_punctum
6614 Stem \set #'transparent = ##t
6620 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6621 \include "gregorian-init.ly"
6623 \notes \transpose c c' {
6624 % Porrectus Deminutus
6625 \[ a \flexa g \pes \deminutum b \]
6632 \remove "Bar_number_engraver"
6636 \remove "Clef_engraver"
6637 \remove "Key_engraver"
6638 StaffSymbol \set #'transparent = ##t
6639 \remove "Time_signature_engraver"
6640 \remove "Bar_engraver"
6641 minimumVerticalExtent = ##f
6645 \remove Ligature_bracket_engraver
6646 \consists Vaticana_ligature_engraver
6647 NoteHead \set #'style = #'vaticana_punctum
6648 Stem \set #'transparent = ##t
6657 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6658 \include "gregorian-init.ly"
6660 \notes \transpose c c' {
6662 \[ \virga b \inclinatum a \inclinatum g \]
6669 \remove "Bar_number_engraver"
6673 \remove "Clef_engraver"
6674 \remove "Key_engraver"
6675 StaffSymbol \set #'transparent = ##t
6676 \remove "Time_signature_engraver"
6677 \remove "Bar_engraver"
6678 minimumVerticalExtent = ##f
6682 \remove Ligature_bracket_engraver
6683 \consists Vaticana_ligature_engraver
6684 NoteHead \set #'style = #'vaticana_punctum
6685 Stem \set #'transparent = ##t
6691 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6692 \include "gregorian-init.ly"
6694 \notes \transpose c c' {
6696 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6703 \remove "Bar_number_engraver"
6707 \remove "Clef_engraver"
6708 \remove "Key_engraver"
6709 StaffSymbol \set #'transparent = ##t
6710 \remove "Time_signature_engraver"
6711 \remove "Bar_engraver"
6712 minimumVerticalExtent = ##f
6716 \remove Ligature_bracket_engraver
6717 \consists Vaticana_ligature_engraver
6718 NoteHead \set #'style = #'vaticana_punctum
6719 Stem \set #'transparent = ##t
6725 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6726 \include "gregorian-init.ly"
6728 \notes \transpose c c' {
6729 % Climacus Deminutus
6730 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6737 \remove "Bar_number_engraver"
6741 \remove "Clef_engraver"
6742 \remove "Key_engraver"
6743 StaffSymbol \set #'transparent = ##t
6744 \remove "Time_signature_engraver"
6745 \remove "Bar_engraver"
6746 minimumVerticalExtent = ##f
6750 \remove Ligature_bracket_engraver
6751 \consists Vaticana_ligature_engraver
6752 NoteHead \set #'style = #'vaticana_punctum
6753 Stem \set #'transparent = ##t
6760 @code{14. Scandicus}
6762 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6763 \include "gregorian-init.ly"
6765 \notes \transpose c c' {
6767 \[ g \pes a \virga b \]
6774 \remove "Bar_number_engraver"
6778 \remove "Clef_engraver"
6779 \remove "Key_engraver"
6780 StaffSymbol \set #'transparent = ##t
6781 \remove "Time_signature_engraver"
6782 \remove "Bar_engraver"
6783 minimumVerticalExtent = ##f
6787 \remove Ligature_bracket_engraver
6788 \consists Vaticana_ligature_engraver
6789 NoteHead \set #'style = #'vaticana_punctum
6790 Stem \set #'transparent = ##t
6796 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6797 \include "gregorian-init.ly"
6799 \notes \transpose c c' {
6800 % Scandicus Auctus Descendens
6801 \[ g \pes a \pes \auctum \descendens b \]
6808 \remove "Bar_number_engraver"
6812 \remove "Clef_engraver"
6813 \remove "Key_engraver"
6814 StaffSymbol \set #'transparent = ##t
6815 \remove "Time_signature_engraver"
6816 \remove "Bar_engraver"
6817 minimumVerticalExtent = ##f
6821 \remove Ligature_bracket_engraver
6822 \consists Vaticana_ligature_engraver
6823 NoteHead \set #'style = #'vaticana_punctum
6824 Stem \set #'transparent = ##t
6830 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6831 \include "gregorian-init.ly"
6833 \notes \transpose c c' {
6834 % Scandicus Deminutus
6835 \[ g \pes a \pes \deminutum b \]
6842 \remove "Bar_number_engraver"
6846 \remove "Clef_engraver"
6847 \remove "Key_engraver"
6848 StaffSymbol \set #'transparent = ##t
6849 \remove "Time_signature_engraver"
6850 \remove "Bar_engraver"
6851 minimumVerticalExtent = ##f
6855 \remove Ligature_bracket_engraver
6856 \consists Vaticana_ligature_engraver
6857 NoteHead \set #'style = #'vaticana_punctum
6858 Stem \set #'transparent = ##t
6867 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6868 \include "gregorian-init.ly"
6870 \notes \transpose c c' {
6872 \[ g \oriscus a \pes \virga b \]
6879 \remove "Bar_number_engraver"
6883 \remove "Clef_engraver"
6884 \remove "Key_engraver"
6885 StaffSymbol \set #'transparent = ##t
6886 \remove "Time_signature_engraver"
6887 \remove "Bar_engraver"
6888 minimumVerticalExtent = ##f
6892 \remove Ligature_bracket_engraver
6893 \consists Vaticana_ligature_engraver
6894 NoteHead \set #'style = #'vaticana_punctum
6895 Stem \set #'transparent = ##t
6901 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6902 \include "gregorian-init.ly"
6904 \notes \transpose c c' {
6905 % Salicus Auctus Descendens
6906 \[ g \oriscus a \pes \auctum \descendens b \]
6913 \remove "Bar_number_engraver"
6917 \remove "Clef_engraver"
6918 \remove "Key_engraver"
6919 StaffSymbol \set #'transparent = ##t
6920 \remove "Time_signature_engraver"
6921 \remove "Bar_engraver"
6922 minimumVerticalExtent = ##f
6926 \remove Ligature_bracket_engraver
6927 \consists Vaticana_ligature_engraver
6928 NoteHead \set #'style = #'vaticana_punctum
6929 Stem \set #'transparent = ##t
6939 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6940 \include "gregorian-init.ly"
6942 \notes \transpose c c' {
6944 \[ \stropha b \stropha b \stropha a \]
6951 \remove "Bar_number_engraver"
6955 \remove "Clef_engraver"
6956 \remove "Key_engraver"
6957 StaffSymbol \set #'transparent = ##t
6958 \remove "Time_signature_engraver"
6959 \remove "Bar_engraver"
6960 minimumVerticalExtent = ##f
6964 \remove Ligature_bracket_engraver
6965 \consists Vaticana_ligature_engraver
6966 NoteHead \set #'style = #'vaticana_punctum
6967 Stem \set #'transparent = ##t
6979 Unlike most other neumes notation systems, the input language for
6980 neumes does not necessarily reflect directly the typographical
6981 appearance, but is designed to solely focuse on musical meaning. For
6982 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6983 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6984 a Porrectus with a curved flexa shape and only a single Punctum head.
6985 There is no command to explicitly typeset the curved flexa shape; the
6986 decision of when to typeset a curved flexa shape is purely taken from
6987 the musical input. The idea of this approach is to separate the
6988 musical aspects of the input from the notation style of the output.
6989 This way, the same input can be reused to typeset the same music in a
6990 different style of Gregorian chant notation such as Hufnagel (also
6991 known as German gothic neumes) or Medicaea (kind of a very simple
6992 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6993 engraver and Medicaea ligature engraver will have been implemented, it
6994 will be as simple as replacing the ligature engraver in the
6995 @internalsref{Voice} context to get the desired notation style from
6998 The following table shows the code fragments that produce the
6999 ligatures in the above neumes table. The letter in the first column
7000 in each line of the below table indicates to which ligature in the
7001 above table it refers. The second column gives the name of the
7002 ligature. The third column shows the code fragment that produces this
7003 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7005 @multitable @columnfractions .1 .4 .5
7019 Punctum Inclinatum @tab
7020 @code{\[ \inclinatum b \]}
7024 Punctum Auctum Ascendens @tab
7025 @code{\[ \auctum \ascendens b \]}
7029 Punctum Auctum Descendens @tab
7030 @code{\[ \auctum \descendens b \]}
7034 Punctum Inclinatum Auctum @tab
7035 @code{\[ \inclinatum \auctum b \]}
7039 Punctum Inclinatum Parvum @tab
7040 @code{\[ \inclinatum \deminutum b \]}
7045 @code{\[ \virga b \]}
7050 @code{\[ \stropha b \]}
7055 @code{\[ \stropha \auctum b \]}
7060 @code{\[ \oriscus b \]}
7064 Clivis vel Flexa @tab
7065 @code{\[ b \flexa g \]}
7069 Clivis Aucta Descendens @tab
7070 @code{\[ b \flexa \auctum \descendens g \]}
7074 Clivis Aucta Ascendens @tab
7075 @code{\[ b \flexa \auctum \ascendens g \]}
7080 @code{\[ b \flexa \deminutum g \]}
7084 Podatus vel Pes @tab
7085 @code{\[ g \pes b \]}
7089 Pes Auctus Descendens @tab
7090 @code{\[ g \pes \auctum \descendens b \]}
7094 Pes Auctus Ascendens @tab
7095 @code{\[ g \pes \auctum \ascendens b \]}
7100 @code{\[ g \pes \deminutum b \]}
7105 @code{\[ \oriscus g \pes \virga b \]}
7109 Pes Quassus Auctus Descendens @tab
7110 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7115 @code{\[ \quilisma g \pes b \]}
7119 Quilisma Pes Auctus Descendens @tab
7120 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7124 Pes Initio Debilis @tab
7125 @code{\[ \deminutum g \pes b \]}
7129 Pes Auctus Descendens Initio Debilis @tab
7130 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7135 @code{\[ a \pes b \flexa g \]}
7139 Torculus Auctus Descendens @tab
7140 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7144 Torculus Deminutus @tab
7145 @code{\[ a \pes b \flexa \deminutum g \]}
7149 Torculus Initio Debilis @tab
7150 @code{\[ \deminutum a \pes b \flexa g \]}
7154 Torculus Auctus Descendens Initio Debilis @tab
7155 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7159 Torculus Deminutus Initio Debilis @tab
7160 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7165 @code{\[ a \flexa g \pes b \]}
7169 Porrectus Auctus Descendens @tab
7170 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7174 Porrectus Deminutus @tab
7175 @code{\[ a \flexa g \pes \deminutum b \]}
7180 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7184 Climacus Auctus @tab
7185 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7189 Climacus Deminutus @tab
7190 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7195 @code{\[ g \pes a \virga b \]}
7199 Scandicus Auctus Descendens @tab
7200 @code{\[ g \pes a \pes \auctum \descendens b \]}
7204 Scandicus Deminutus @tab
7205 @code{\[ g \pes a \pes \deminutum b \]}
7210 @code{\[ g \oriscus a \pes \virga b \]}
7214 Salicus Auctus Descendens @tab
7215 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7220 @code{\[ \stropha b \stropha b \stropha a \]}
7226 The following head prefixes are supported:
7228 @cindex @code{\virga}
7230 @cindex @code{\stropha}
7232 @cindex @code{\inclinatum}
7234 @cindex @code{\auctum}
7236 @cindex @code{\descendens}
7238 @cindex @code{\ascendens}
7240 @cindex @code{\oriscus}
7242 @cindex @code{\quilisma}
7244 @cindex @code{\deminutum}
7247 Head prefixes can be accumulated, though restrictions apply. For
7248 example, either @code{\descendens} or @code{\ascendens} can be applied
7249 to a head, but not both to the same head.
7252 @cindex @code{\flexa}
7253 Two adjacent heads can be tied together with the @code{\pes} and
7254 @code{\flexa} infix commands for a rising and falling line of melody,
7259 Trigonus: apply equal spacing, regardless of pitch.
7262 @subsection Figured bass
7264 @cindex Basso continuo
7266 @c TODO: musicological blurb about FB
7270 LilyPond has limited support for figured bass:
7272 @lilypond[verbatim,fragment]
7274 \context Voice \notes { \clef bass dis4 c d ais}
7275 \context FiguredBass
7277 < 6 >4 < 7 >8 < 6+ [_!] >
7283 The support for figured bass consists of two parts: there is an input
7284 mode, introduced by @code{\figures}, where you can enter bass figures
7285 as numbers, and there is a context called @internalsref{FiguredBass} that
7286 takes care of making @internalsref{BassFigure} objects.
7288 In figures input mode, a group of bass figures is delimited by
7289 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7294 \context FiguredBass
7298 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7305 \context FiguredBass
7306 \figures { <4- 6+ 7!> }
7309 Spaces or dashes may be inserted by using @code{_}. Brackets are
7310 introduced with @code{[} and @code{]}:
7316 \context FiguredBass
7317 \figures { < [4 6] 8 [_! 12]> }
7320 Although the support for figured bass may superficially resemble chord
7321 support, it works much simpler. The @code{\figures} mode simply
7322 stores the numbers , and @internalsref{FiguredBass} context prints
7323 them as entered. There is no conversion to pitches, and no
7324 realizations of the bass are played in the MIDI file.
7326 Internally, the code produces markup texts. You can use any of the
7327 markup text properties to override formatting. For example, the
7328 vertical spacing of the figures may be set with @code{baseline-skip}.
7332 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7333 and @internalsref{FiguredBass} context.
7337 Slash notation for alterations is not supported.
7340 @node Vaticana style contexts
7341 @subsection Vaticana style contexts
7343 @cindex VaticanaVoiceContext
7344 @cindex VaticanaStaffContext
7346 The predefined @code{VaticanaVoiceContext} and
7347 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7348 Gregorian Chant in the style of the Editio Vaticana. These contexts
7349 initialize all relevant context properties and grob properties to
7350 proper values. With these contexts, you can immediately go ahead
7351 entering the chant, as the following short excerpt demonstrates:
7353 @lilypond[raggedright,verbatim,noindent]
7354 \include "gregorian-init.ly"
7357 \context VaticanaVoice {
7358 \property Score.BarNumber \set #'transparent = ##t
7360 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7361 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7362 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7365 \lyricsto "" \new LyricsVoice \lyrics {
7366 San- ctus, San- ctus, San- ctus
7372 @node Contemporary notation
7373 @section Contemporary notation
7375 In the 20th century, composers have greatly expanded the musical
7376 vocabulary. With this expansion, many innovations in musical notation
7377 have been tried. The book by Stone (1980) gives a comprehensive
7378 overview (see @ref{Literature list}). In general, the use of new,
7379 innovative notation makes a piece harder to understand and perform and
7380 its use should therefore be avoided if possible. For this reason,
7381 support for contemporary notation in LilyPond is limited.
7390 @subsection Clusters
7394 In musical terminology, a @emph{cluster} denotes a range of
7395 simultaneously sounding pitches that may change over time. The set of
7396 available pitches to apply usually depends on the accoustic source.
7397 Thus, in piano music, a cluster typically consists of a continous range
7398 of the semitones as provided by the piano's fixed set of a chromatic
7399 scale. In choral music, each singer of the choir typically may sing an
7400 arbitrary pitch within the cluster's range that is not bound to any
7401 diatonic, chromatic or other scale. In electronic music, a cluster
7402 (theoretically) may even cover a continuous range of pitches, thus
7403 resulting in coloured noise, such as pink noise.
7405 Clusters can be denoted in the context of ordinary staff notation by
7406 engraving simple geometrical shapes that replace ordinary notation of
7407 notes. Ordinary notes as musical events specify starting time and
7408 duration of pitches; however, the duration of a note is expressed by the
7409 shape of the note head rather than by the horizontal graphical extent of
7410 the note symbol. In contrast, the shape of a cluster geometrically
7411 describes the development of a range of pitches (vertical extent) over
7412 time (horizontal extent). Still, the geometrical shape of a cluster
7413 covers the area in wich any single pitch contained in the cluster would
7414 be notated as an ordinary note. From this point of view, it is
7415 reasonable to specify a cluster as the envelope of a set of notes.
7419 A cluster is engraved as the envelope of a set of
7420 cluster-notes. Cluster notes are created by applying the function
7421 @code{notes-to-clusters} to a sequence of chords, e.g.
7423 @lilypond[relative 1,verbatim]
7424 \apply #notes-to-clusters { <c e > <b f'> }
7427 The following example (from
7428 @inputfileref{input/regression,cluster.ly}) shows what the result
7431 @lilypondfile[notexidoc]{cluster.ly}
7433 By default, @internalsref{Cluster_spanner_engraver} is in the
7434 @internalsref{Voice} context. This allows putting ordinary notes and
7435 clusters together in the same staff, even simultaneously. In such a
7436 case no attempt is made to automatically avoid collisions between
7437 ordinary notes and clusters.
7441 Internals: @internalsref{ClusterSpanner},
7442 @internalsref{ClusterSpannerBeacon},
7443 @internalsref{Cluster_spanner_engraver}, and
7444 @internalsref{ClusterNoteEvent}.
7446 Examples: @inputfileref{input/regression,cluster.ly}.
7450 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7451 accurately. Use @code{<g a>8 <e a>8} instead.
7456 @subsection Fermatas
7462 Contemporary music notation frequently uses special fermata symbols to
7463 indicate fermatas of differing lengths.
7467 The following are supported
7469 @lilypond[singleline]
7471 << \addlyrics \notes {
7491 \context Lyrics \lyrics {
7492 "shortfermata" "fermata" "longfermata" "verylongfermata"
7497 See @ref{Articulations} for general instructions how to apply scripts
7498 such as fermatas to a @code{\notes@{@}} block.
7501 @node Special notation
7502 @section Special notation
7506 * Easy Notation note heads::
7510 @subsection Balloon help
7512 Elements of notation can be marked and named with the help of a square
7513 balloon. The primary purpose of this feature is to explain notation.
7515 The following example demonstrates its use.
7517 @lilypond[verbatim,fragment,singleline,relative 1]
7520 #(add-balloon-text 'NoteHead "heads, or tails?"
7526 The function @code{add-balloon-text} takes the name of a grob, the
7527 label to print and where to put the label relative to the object. In
7528 the above example, the text ``heads or tails?'' ends 3 spaces below
7532 @cindex notation, explaining
7536 Internals: @internalsref{text-balloon-interface}
7538 Examples: @inputfileref{input/regression,balloon.ly}
7540 @node Easy Notation note heads
7541 @subsection Easy Notation note heads
7543 @cindex easy notation
7546 The `easy play' note head includes a note name inside the head. It is
7547 used in music aimed at beginners:
7549 @lilypond[singleline,verbatim,26pt]
7551 \notes { c'2 e'4 f' | g'1 }
7552 \paper { \translator { \EasyNotation } }
7556 The @code{EasyNotation} variable overrides a @internalsref{Score}
7557 context. To make the letters readable, it has to be printed in a
7558 large font size. To print with a larger font, see @ref{Font Size}.
7563 If you view the result with Xdvi, then staff lines may show through
7564 the letters. Printing the PostScript file obtained does produce the
7570 @section Tuning output
7572 There are situations where default layout decisions are not
7573 sufficient. In this section we discuss ways to override these
7576 Formatting is internally done by manipulating so called objects
7577 (graphic objects). Each object carries with it a set of properties
7578 (object or layout properties) specific to that object. For example, a
7579 stem object has properties that specify its direction, length and
7582 The most direct way of tuning the output is by altering the values of
7583 these properties. There are two ways of doing that: first, you can
7584 temporarily change the definition of one type of object, thus
7585 affecting a whole set of objects. Second, you can select one specific
7586 object, and set a layout property in that object.
7588 Do not confuse layout properties with translation
7589 properties. Translation properties always use a mixed caps style
7590 naming, and are manipulated using @code{\property}:
7592 \property Context.propertyName = @var{value}
7595 Layout properties are use Scheme style variable naming, i.e. lower
7596 case words separated with dashes. They are symbols, and should always
7597 be quoted using @code{#'}. For example, this could be an imaginary
7598 layout property name:
7600 #'layout-property-name
7605 The introduction of the @ref{Technical manual} gives a more in-depth
7606 treatment of the difference between translation and layout.
7610 * Constructing a tweak::
7618 @node Tuning objects
7619 @subsection Tuning objects
7621 @cindex object description
7623 The definition of an object is a list of default object
7624 properties. For example, the definition of the Stem object (available
7625 in @file{scm/define-grobs.scm}), includes the following definitions
7626 for @internalsref{Stem}:
7630 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7631 (Y-extent-callback . ,Stem::height)
7636 Adding variables on top of this existing definition overrides the
7637 system default, and alters the resulting appearance of the layout
7643 Changing a variable for only one object is commonly achieved with
7647 \once \property @var{context}.@var{objectname}
7648 \override @var{symbol} = @var{value}
7650 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7651 and @var{objectname} is a string and @var{value} is a Scheme expression.
7652 This command applies a setting only during one moment in the score.
7654 In the following example, only one @internalsref{Stem} object is
7655 changed from its original setting:
7657 @lilypond[verbatim, fragment, relative=1]
7659 \once \property Voice.Stem \set #'thickness = #4
7663 @cindex @code{\once}
7665 For changing more objects, the same command, without @code{\once} can
7668 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7670 This command adds @code{@var{symbol} = @var{value}} to the definition
7671 of @var{objectname} in the context @var{context}, and this definition
7672 stays in place until it is removed.
7674 An existing definition may be removed by the following command:
7677 \property @var{context}.@var{objectname} \revert @var{symbol}
7680 All @code{\override} and @code{\revert} commands should be balanced.
7681 The @code{\set} shorthand performs a revert followed by an override,
7682 and is often more convenient to use
7685 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7689 @lilypond[verbatim,quote]
7690 c'4 \property Voice.Stem \override #'thickness = #4.0
7692 c'4 \property Voice.Stem \revert #'thickness
7696 The following example gives exactly the same result as the previous
7697 one (assuming the system default for stem thickness is 1.3):
7699 @lilypond[verbatim,quote]
7700 c'4 \property Voice.Stem \set #'thickness = #4.0
7702 c'4 \property Voice.Stem \set #'thickness = #1.3
7706 Reverting a setting which was not set in the first place has no
7707 effect. However, if the setting was set as a system default, this may
7708 remove the default value, and this may give surprising results,
7709 including crashes. In other words, @code{\override} and
7710 @code{\revert} must be carefully balanced. The following are examples
7711 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7715 a clumsy but correct form:
7717 \override \revert \override \revert \override \revert
7721 shorter version of the same:
7723 \override \set \set \revert
7727 a short form, using only @code{\set}. This requires you to know the
7730 \set \set \set \set @var{to default value}
7734 if there is no default (i.e. by default, the object property is unset),
7737 \set \set \set \revert
7741 The object description is an Scheme association list. Since a Scheme
7742 list is a singly linked list, we can treat it as a stack, and
7743 @code{\override} and @code{\revert} are push and pop operations. The
7744 association list is stored in a normal context property, hence
7746 \property Voice.NoteHead = #'()
7748 will effectively erase @internalsref{NoteHead}s from the current
7749 @internalsref{Voice}. Typically, this will blank the object. However,
7750 this mechanism should not be used: it may cause crashes or other
7755 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7756 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7757 @internalsref{All-layout-objects}.
7762 The backend is not very strict in type-checking object properties.
7763 Cyclic references in Scheme values for properties cause hangs and/or
7764 crashes. Reverting properties that are system defaults may also lead
7767 A property tweak of modifies a local copy of the object definition.
7768 After such a tweak, the definition is independent of the objects in
7769 enclosing contexts. For example
7772 \property Voice.Stem \set #'neutral-direction = #1
7774 \property Staff.Stem \set #'thickness = #4.0
7779 In this fragment, @code{neutral-direction} is tweaked. As a result,
7780 the current @internalsref{Voice} gets a private version of the
7781 @internalsref{Stem} object. The following tweak modifies the
7782 definition at @internalsref{Staff} level. Since it a different
7783 definition, the thickness of the @code{b'16} is unaffected. For the
7784 third note, a new Voice is created, which inherits the new definition,
7785 including the changed thickness, but excluding the new neutral
7791 * Constructing a tweak::
7797 @node Constructing a tweak
7798 @subsection Constructing a tweak
7801 @cindex internal documentation
7802 @cindex finding graphical objects
7803 @cindex graphical object descriptions
7805 @cindex @code{\override}
7807 @cindex internal documentation
7811 Three pieces of information are required to use @code{\override} and
7812 @code{\set}: the name of the layout object, the context and the name
7813 of the property. We demonstrate how to glean this information from
7814 the notation manual and the generated documentation.
7816 The generated documentation is a set of HTML pages which should be
7817 included if you installed a binary distribution, typically in
7818 @file{/usr/share/doc/lilypond}. They are also available on the web:
7819 go to the @uref{http://lilypond.org,LilyPond website}, click
7820 ``Documentation'', select the correct version, and click then
7821 ``Program reference.'' It is advisable to bookmark the local HTML
7822 files. They will load faster than the ones on the web. If you use the
7823 version from the web, you must check whether the documentation matches
7824 the program version: it is generated from the definitions that the
7825 program uses, and therefore it is strongly tied to the LilyPond
7829 @c [TODO: revise for new site.]
7831 Suppose we want to move the fingering indication in the fragment below:
7833 @lilypond[relative=2,verbatim]
7839 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7840 instructions}), you will notice that there is written:
7845 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7852 In other words, the fingerings once entered, are internally stored as
7853 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7854 layout object is created for every @code{FingerEvent}.
7856 The Fingering object has a number of different functions, and each of
7857 those is captured in an interface. The interfaces are listed under
7858 @internalsref{Fingering} in the program reference.
7862 The @code{Fingering} object has a fixed size
7863 (@internalsref{item-interface}), the symbol is a piece of text
7864 (@internalsref{text-interface}), whose font can be set
7865 (@internalsref{font-interface}). It is centered horizontally
7866 (@internalsref{self-alignment-interface}), it is placed next to other
7867 objects (@internalsref{side-position-interface}) vertically, and its
7868 placement is coordinated with other scripts
7869 (@internalsref{text-script-interface}). It also has the standard
7870 @internalsref{grob-interface} (grob stands for Graphical object)
7872 @cindex graphical object
7873 @cindex layout object
7874 @cindex object, layout
7875 with all the variables that come with
7876 it. Finally, it denotes a fingering instruction, so it has
7877 @internalsref{finger-interface}.
7879 For the vertical placement, we have to look under
7880 @code{side-position-interface}:
7882 @code{side-position-interface}
7884 Position a victim object (this one) next to other objects (the
7885 support). In this case, the property @code{direction} signifies where to put the
7886 victim object relative to the support (left or right, up or down?)
7891 below this description, the variable @code{padding} is described as
7895 (dimension, in staff space)
7897 add this much extra space between objects that are next to each
7898 other. Default value: @code{0.6}
7902 By increasing the value of @code{padding}, we can move away the
7903 fingering. The following command inserts 3 staff spaces of white
7904 between the note and the fingering:
7906 \once \property Voice.Fingering \set #'padding = #3
7909 Inserting this command before the Fingering object is created,
7910 i.e. before @code{c2}, yields the following result:
7912 @lilypond[relative=2,fragment,verbatim]
7913 \once \property Voice.Fingering
7920 The context name @code{Voice} in the example above can be determined
7921 as follows. In the documentation for @internalsref{Fingering}, it says
7923 Fingering grobs are created by: @internalsref{Fingering_engraver}
7926 Clicking @code{Fingering_engraver} shows the documentation of
7927 the module responsible for interpreting the fingering instructions and
7928 translating them to a @code{Fingering} object. Such a module is called
7929 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7932 Fingering_engraver is part of contexts: Voice
7934 so tuning the settings for Fingering should be done with
7936 \property Voice.Fingering \set @dots{}
7939 Of course, the tweak may also done in a larger context than
7940 @code{Voice}, for example, @internalsref{Staff} or
7941 @internalsref{Score}.
7945 Internals: the program reference also contains alphabetical lists of
7946 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7947 @internalsref{Music-expressions}, so you can also find which objects
7948 to tweak by browsing the internals document.
7952 @subsection Applyoutput
7954 The most versatile way of tuning an object is @code{\applyoutput}. Its
7957 \applyoutput @var{proc}
7961 where @var{proc} is a Scheme function, taking three arguments.
7963 When interpreted, the function @var{proc} is called for every layout
7964 object found in the context, with the following arguments:
7966 @item the layout object itself,
7967 @item the context where the layout object was created, and
7968 @item the context where @code{\applyoutput} is processed.
7972 In addition, the cause of the layout object, i.e. the music
7973 expression or object that was responsible for creating it, is in the
7974 object property @code{cause}. For example, for a note head, this is a
7975 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7976 this is a @internalsref{NoteHead} object.
7978 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7981 (define (blanker grob grob-origin context)
7982 (if (and (memq (ly:get-grob-property grob 'interfaces)
7983 note-head-interface)
7984 (eq? (ly:get-grob-property grob 'staff-position) 0))
7986 (ly:set-grob-property! grob 'transparent #t)))
7991 @node Font selection
7992 @subsection Font selection
7994 The most common thing to change about the appearance of fonts is their
7995 size. The font size of any context can be easily changed by setting
7996 the @code{fontSize} property for that context. Its value is a number:
7997 negative numbers make the font smaller, positive numbers larger. An
7998 example is given below:
8000 @lilypond[fragment,relative=1,verbatim,quote]
8001 c4 c4 \property Voice.fontSize = #-1
8004 This command will set @code{font-size} (see below), and does
8005 not change the size of variable symbols, such as beams or slurs.
8007 One of the uses of @code{fontSize} is to get smaller symbols for cue
8008 notes. An elaborate example of those is in
8009 @inputfileref{input/test,cue-notes.ly}.
8011 @cindex magnification
8014 The font used for printing a object can be selected by setting
8015 @code{font-name}, e.g.
8017 \property Staff.TimeSignature
8018 \set #'font-name = #"cmr17"
8022 Any font can be used, as long as it is available to @TeX{}. Possible
8023 fonts include foreign fonts or fonts that do not belong to the
8024 Computer Modern font family. The size of fonts selected in this way
8025 can be changed with the @code{font-magnification} property. For
8026 example, @code{2.0} blows up all letters by a factor 2 in both
8030 @cindex font magnification
8032 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
8033 can also be adjusted with a more fine-grained mechanism. By setting
8034 the object properties described below, you can select a different font;
8035 all three mechanisms work for every object that supports
8036 @code{font-interface}:
8041 is a symbol indicating the general class of the typeface. Supported are
8042 @code{roman} (Computer Modern), @code{braces} (for piano staff
8043 braces), @code{music} (the standard music font, including ancient
8044 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
8047 is a symbol indicating the shape of the font, there are typically several
8048 font shapes available for each font family. Choices are @code{italic},
8049 @code{caps} and @code{upright}.
8052 is a symbol indicating the series of the font. There are typically several
8053 font series for each font family and shape. Choices are @code{medium}
8058 For any of these properties, the value @code{*} (i.e. the symbol
8059 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
8060 to override default setting, which are always present. For example:
8062 \property Lyrics . LyricText \override #'font-series = #'bold
8063 \property Lyrics . LyricText \override #'font-family = #'typewriter
8064 \property Lyrics . LyricText \override #'font-shape = #'*
8067 @cindex @code{font-style}
8069 The font size is set by modifying the @code{font-size} property. Its
8070 value is a number indicating the size relative to the standard size.
8071 Each step up is an increase of approximately 12% of the font size. Six
8072 steps is exactly a factor two. The Scheme function @code{magstep}
8073 converts a @code{font-size} number to a scaling factor.
8075 LilyPond has fonts in different design sizes: the music fonts for
8076 smaller sizes are chubbier, while the text fonts are relatively wider.
8077 Font size changes are achieved by scaling the design size that is
8078 closest to the desired size.
8080 The @code{font-size} mechanism does not work for fonts selected
8081 through @code{font-name}. These may be scaled with
8082 @code{font-magnification}.
8086 The following commands set @code{fontSize} for the current voice.
8088 @cindex @code{\tiny}
8090 @cindex @code{\small}
8092 @cindex @code{\normalsize}
8097 Init files: @file{ly/paper20.ly} contains hints how new fonts may be
8102 There is no style sheet provided for other fonts besides the @TeX{}
8103 Computer Modern family.
8105 @cindex font selection
8106 @cindex font magnification
8107 @cindex @code{font-interface}
8111 @subsection Text markup
8116 @cindex typeset text
8118 LilyPond has an internal mechanism to typeset texts. You can access it
8119 with the keyword @code{\markup}. Within markup mode, you can enter texts
8120 similar to lyrics: simply enter them, surrounded by spaces:
8123 @lilypond[verbatim,fragment,relative=1]
8124 c1^\markup { hello }
8125 c1_\markup { hi there }
8126 c1^\markup { hi \bold there, is \italic anyone home? }
8129 @cindex font switching
8131 The markup in the example demonstrates font switching commands. The
8132 command @code{\bold} and @code{\italic} only apply to the first
8133 following word; enclose a set of texts with braces to apply a command
8136 \markup @{ \bold @{ hi there @} @}
8140 For clarity, you can also do this for single arguments, e.g.
8142 \markup @{ is \italic @{ anyone @} home @}
8145 @cindex font size, texts
8147 The following size commands set absolute sizes:
8149 @cindex @code{\teeny}
8150 @cindex @code{\tiny}
8151 @cindex @code{\small}
8152 @cindex @code{\large}
8153 @cindex @code{\huge}
8163 You can also make letter larger or smaller relative to their neighbors,
8164 with the commands @code{\larger} and @code{\smaller}.
8168 @cindex font style, for texts
8169 @cindex @code{\bold}
8170 @cindex @code{\dynamic}
8171 @cindex @code{\number}
8172 @cindex @code{\italic}
8174 The following font change commands are defined:
8177 changes to the font used in dynamic signs. This font does not
8178 contain all characters of the alphabet, so when producing ``piu f'',
8179 the ``piu'' should be done in a different font.
8183 changes to the font used in time signatures. It only contains
8184 numbers and a few punctuation marks.
8186 changes @code{font-shape} to @code{italic}.
8188 changes @code{font-series} to @code{bold}.
8191 @cindex raising text
8192 @cindex lowering text
8194 @cindex translating text
8197 @cindex @code{\super}
8199 Raising and lowering texts can be done with @code{\super} and
8202 @lilypond[verbatim,fragment,relative=1]
8203 c1^\markup { E "=" mc \super "2" }
8206 @cindex @code{\raise}
8208 If you want to give an explicit amount for lowering or raising, use
8209 @code{\raise}. This command takes a Scheme valued first argument, and
8210 a markup object as second argument:
8212 @lilypond[verbatim,fragment,relative=1,quote]
8213 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8215 The argument to @code{\raise} is the vertical displacement amount,
8216 measured in (global) staff spaces. @code{\raise} and @code{\super}
8217 raise objects in relation to their surrounding markups. They cannot be
8218 used to move a single text up or down, when it is above or below a
8219 note, since the mechanism that positions it next to the note cancels
8220 any vertical shift. For vertical positioning, use the @code{padding}
8221 and/or @code{extra-offset} properties.
8223 Other commands taking single arguments include
8226 @item \bracket, \hbracket
8227 Bracket the argument markup with normal and horizontal brackets
8231 @cindex @code{\musicglyph}
8232 This is converted to a musical symbol, e.g. @code{\musicglyph
8233 #"accidentals-0"} will select the natural sign from the music font.
8234 See @ref{The Feta font} for a complete listing of the possible glyphs.
8237 This produces a single character, e.g. @code{\char #65} produces the
8240 @item \note @var{duration} @var{dir}
8241 @cindex @code{\note}
8243 This produces a note with a stem pointing in @var{dir} direction, with
8244 the @var{duration} for the note head type and augmentation dots. For
8245 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8246 a shortened down stem.
8248 @item \hspace #@var{amount}
8249 @cindex @code{\hspace}
8250 This produces a invisible object taking horizontal space.
8252 \markup @{ A \hspace #2.0 B @}
8254 will put extra space between A and B, on top of the space that is
8255 normally inserted before elements on a line.
8257 @item \fontsize #@var{size}
8258 @cindex @code{\fontsize}
8259 This sets the relative font size, eg.
8261 A \fontsize #2 @{ B C @} D
8265 This will enlarge the B and the C by two steps.
8266 @item \translate #(cons @var{x} @var{y})
8268 This translates an object. Its first argument is a cons of numbers
8270 A \translate #(cons 2 -3) @{ B C @} D
8272 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8273 surroundings. This command cannot be used to move isolated scripts
8274 vertically, for the same reason that @code{\raise} cannot be used for
8277 @item \magnify #@var{mag}
8278 @cindex @code{\magnify}
8279 This sets the font magnification for the its argument. In the following
8280 example, the middle A will be 10% larger:
8282 A \magnify #1.1 @{ A @} A
8286 @item \override #(@var{key} . @var{value})
8287 @cindex @code{\override}
8288 This overrides a formatting property for its argument. The argument
8289 should be a key/value pair, e.g.
8291 m \override #'(font-family . math) m m
8295 In markup mode you can compose expressions, similar to mathematical
8296 expressions, XML documents and music expressions. The braces group
8297 notes into horizontal lines. Other types of lists also exist: you can
8298 stack expressions grouped with @code{<}, and @code{>} vertically with
8299 the command @code{\column}. Similarly, @code{\center} aligns texts by
8302 @lilypond[verbatim,fragment,relative=1]
8303 c1^\markup { \column < a bbbb c > }
8304 c1^\markup { \center < a bbbb c > }
8305 c1^\markup { \line < a b c > }
8309 Markups can be stored in variables, and these variables
8310 may be attached to notes, like
8312 allegro = \markup { \bold \large { Allegro } }
8313 \notes { a^\allegro b c d }
8316 The markup mechanism is extensible. Refer to
8317 @file{scm/new-markup.scm} for more information.
8320 Some objects have alignment procedures of their own, which cancel out
8321 any effects of alignments applied to their markup arguments as a
8322 whole. For example, the @internalsref{RehearsalMark} is horizontally
8323 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8324 effect. Similarly, whole texts over notes cannot be moved vertically
8325 with @code{\raise}. For moving and aligning complete objects, grob
8326 properties should be used.
8330 Internals: @internalsref{Markup-functions} contains a complete list of
8331 all markup commands.
8333 Init files: @file{scm/new-markup.scm}.
8340 Text layout is ultimately done by @TeX{}, which does kerning of
8341 letters. LilyPond does not account for kerning, so texts will be
8342 spaced slightly too wide.
8344 Syntax errors for markup mode are confusing.
8346 Markup texts cannot be used in the titling of the @code{\header}
8347 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8356 @section Global layout
8358 The global layout determined by three factors: the page layout, the
8359 line breaks and the spacing. These all influence each other. The
8360 choice of spacing determines how densely each system of music is set,
8361 which influences where line breaks breaks are chosen, and thus
8362 ultimately how many pages a piece of music takes. This section
8363 explains how to tune the algorithm for spacing.
8365 Globally spoken, this procedure happens in three steps: first,
8366 flexible distances (``springs'') are chosen, based on durations. All
8367 possible line breaking combination are tried, and the one with the
8368 best results---a layout that has uniform density and requires as
8369 little stretching or cramping as possible---is chosen. When the score
8370 is processed by @TeX{}, each page is filled with systems, and page breaks
8371 are chosen whenever the page gets full.
8376 * Vertical spacing::
8377 * Horizontal spacing::
8384 @node Vertical spacing
8385 @subsection Vertical spacing
8387 @cindex vertical spacing
8388 @cindex distance between staves
8389 @cindex staff distance
8390 @cindex between staves, distance
8391 @cindex staffs per page
8392 @cindex space between staves
8394 The height of each system is determined automatically by LilyPond, to
8395 keep systems from bumping into each other, some minimum distances are
8396 set. By changing these, you can put staves closer together, and thus
8397 put more systems onto one page.
8399 Normally staves are stacked vertically. To make
8400 staves maintain a distance, their vertical size is padded. This is
8401 done with the property @code{minimumVerticalExtent}. It takes a pair
8402 of numbers, so if you want to make it smaller from its, then you could
8405 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8407 This sets the vertical size of the current staff to 4 staff spaces on
8408 either side of the center staff line. The argument of
8409 @code{minimumVerticalExtent} is interpreted as an interval, where the
8410 center line is the 0, so the first number is generally negative. The
8411 staff can be made larger at the bottom by setting it to @code{(-6
8414 The piano staves are handled a little differently: to make cross-staff
8415 beaming work correctly, it is necessary that the distance between staves
8416 is fixed beforehand. This is also done with a
8417 @internalsref{VerticalAlignment} object, created in
8418 @internalsref{PianoStaff}. In this object the distance between the
8419 staves is fixed by setting @code{forced-distance}. If you want to
8420 override this, use a @code{\translator} block as follows:
8424 VerticalAlignment \override #'forced-distance = #9
8427 This would bring the staves together at a distance of 9 staff spaces,
8428 measured from the center line of each staff.
8432 Internals: Vertical alignment of staves is handled by the
8433 @internalsref{VerticalAlignment} object.
8437 @node Horizontal spacing
8438 @subsection Horizontal Spacing
8440 The spacing engine translates differences in durations into
8441 stretchable distances (``springs'') of differing lengths. Longer
8442 durations get more space, shorter durations get less. The shortest
8443 durations get a fixed amount of space (which is controlled by
8444 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8445 /The longer the duration, the more space it gets: doubling a
8446 duration adds a fixed amount (this amount is controlled by
8447 @code{spacing-increment}) of space to the note.
8449 For example, the following piece contains lots of half, quarter and
8450 8th notes, the eighth note is followed by 1 note head width (NHW).
8451 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8452 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8456 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8457 width of a note head, and @code{shortest-duration-space} is set to
8458 2.0, meaning that the shortest note gets 2 NHW (2 times
8459 @code{shortest-duration-space}) of space. For normal notes, this space
8460 is always counted from the left edge of the symbol, so the shortest
8461 notes are generally followed by one NHW of space.
8463 If one would follow the above procedure exactly, then adding a single
8464 32th note to a score that uses 8th and 16th notes, would widen up the
8465 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8466 thus adding 1 NHW to every note. To prevent this, the
8467 shortest duration for spacing is not the shortest note in the score,
8468 but the most commonly found shortest note. Notes that are even
8469 shorter this are followed by a space that is proportional to their
8470 duration relative to the common shortest note. So if we were to add
8471 only a few 16th notes to the example above, they would be followed by
8474 @lilypond[fragment, verbatim, relative=2]
8475 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8478 The most common shortest duration is determined as follows: in every
8479 measure, the shortest duration is determined. The most common short
8480 duration, is taken as the basis for the spacing, with the stipulation
8481 that this shortest duration should always be equal to or shorter than
8482 1/8th note. The shortest duration is printed when you run lilypond
8483 with @code{--verbose}. These durations may also be customized. If you
8484 set the @code{common-shortest-duration} in
8485 @internalsref{SpacingSpanner}, then this sets the base duration for
8486 spacing. The maximum duration for this base (normally 1/8th), is set
8487 through @code{base-shortest-duration}.
8489 @cindex @code{common-shortest-duration}
8490 @cindex @code{base-shortest-duration}
8491 @cindex @code{stem-spacing-correction}
8492 @cindex @code{spacing}
8494 In the introduction it was explained that stem directions influence
8495 spacing. This is controlled with @code{stem-spacing-correction}
8496 property in @internalsref{NoteSpacing}, which are generated for every
8497 @internalsref{Voice} context. The @code{StaffSpacing} object
8498 (generated at @internalsref{Staff} context) contains the same property
8499 for controlling the stem/barline spacing. The following example
8500 shows these corrections, once with default settings, and once with
8501 exaggerated corrections:
8507 \property Staff.NoteSpacing \override #'stem-spacing-correction
8509 \property Staff.StaffSpacing \override #'stem-spacing-correction
8514 \paper { raggedright = ##t } }
8517 @cindex SpacingSpanner, overriding properties
8519 Properties of the @internalsref{SpacingSpanner} must be overridden
8520 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8521 created before any @code{\property} statements are interpreted.
8523 \paper @{ \translator @{
8525 SpacingSpanner \override #'spacing-increment = #3.0
8532 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8533 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8534 @internalsref{SeparatingGroupSpanner}.
8538 Spacing is determined on a score wide basis. If you have a score that
8539 changes its character (measured in durations) halfway during the
8540 score, the part containing the longer durations will be spaced too
8543 There is no convenient mechanism to manually override spacing.
8548 @subsection Font size
8549 @cindex font size, setting
8550 @cindex staff size, setting
8551 @cindex @code{paper} file
8553 The Feta font provides musical symbols at eight seven different
8554 sizes. Each font is tuned for a different staff size: at smaller sizes
8555 the font gets heavier, to match the relatively heavier staff lines.
8556 The recommended font sizes are listed in the following table:
8558 @multitable @columnfractions .25 .25 .25 .25
8561 @tab @b{staff height (pt)}
8562 @tab @b{staff height (mm)}
8604 @c modern rental material ?
8608 These fonts are available in any sizes. The context property
8609 @code{fontSize} and the layout property @code{staff-space} (in
8610 @internalsref{StaffSymbol}) can be used to tune size for individual
8611 staffs. The size of individual staffs are relative to the global size,
8612 which can be set in the following manner:
8615 #(set-global-staff-size 14)
8618 This sets the global default size to 14pt staff height, and scales all
8624 @subsection Line breaking
8627 @cindex breaking lines
8629 Line breaks are normally computed automatically. They are chosen such
8630 that lines look neither cramped nor loose, and that consecutive lines
8631 have similar density.
8633 Occasionally you might want to override the automatic breaks; you can
8634 do this by specifying @code{\break}. This will force a line break at
8635 this point. Line breaks can only occur at places where there are bar
8636 lines. If you want to have a line break where there is no bar line,
8637 you can force an invisible bar line by entering @code{\bar
8638 ""}. Similarly, @code{\noBreak} forbids a line break at a
8642 @cindex regular line breaks
8643 @cindex four bar music.
8645 For linebreaks at regular intervals use @code{\break} separated by
8646 skips and repeated with @code{\repeat}:
8648 << \repeat unfold 7 @{
8649 s1 \noBreak s1 \noBreak
8650 s1 \noBreak s1 \break @}
8651 @emph{the real music}
8656 This makes the following 28 measures (assuming 4/4 time) be broken every
8657 4 measures, and only there.
8661 @code{\break}, @code{\noBreak}
8662 @cindex @code{\break}
8663 @cindex @code{\noBreak}
8667 Internals: @internalsref{BreakEvent}.
8671 @subsection Page layout
8674 @cindex breaking pages
8676 @cindex @code{indent}
8677 @cindex @code{linewidth}
8679 The most basic settings influencing the spacing are @code{indent} and
8680 @code{linewidth}. They are set in the @code{\paper} block. They
8681 control the indentation of the first line of music, and the lengths of
8684 If @code{raggedright} is set to true in the @code{\paper}
8685 block, then the lines are justified at their natural length. This
8686 useful for short fragments, and for checking how tight the natural
8690 @cindex vertical spacing
8692 The page layout process happens outside the LilyPond formatting
8693 engine: variables controlling page layout are passed to the output,
8694 and are further interpreted by @code{lilypond} wrapper program. It
8695 responds to the following variables in the @code{\paper} block. The
8696 variable @code{textheight} sets the total height of the music on each
8697 page. The spacing between systems is controlled with
8698 @code{interscoreline}, its default is 16pt. The distance between the
8699 score lines will stretch in order to fill the full page
8700 @code{interscorelinefill} is set to a positive number. In that case
8701 @code{interscoreline} specifies the minimum spacing.
8703 @cindex @code{textheight}
8704 @cindex @code{interscoreline}
8705 @cindex @code{interscorelinefill}
8707 If the variable @code{lastpagefill} is defined,
8708 @c fixme: this should only be done if lastpagefill == #t
8709 systems are evenly distributed vertically on the last page. This
8710 might produce ugly results in case there are not enough systems on the
8711 last page. The @command{lilypond-book} command ignores
8712 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8715 @cindex @code{lastpagefill}
8717 Page breaks are normally computed by @TeX{}, so they are not under
8718 direct control of LilyPond. However, you can insert a commands into
8719 the @file{.tex} output to instruct @TeX{} where to break pages. This
8720 is done by setting the @code{between-systems-strings} on the
8721 @internalsref{NonMusicalPaperColumn} where the system is broken.
8722 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8723 The predefined command @code{\newpage} also does this.
8727 @cindex @code{papersize}
8729 To change the paper size, use the following Scheme code:
8732 #(set-paper-size "a4")
8739 @cindex @code{\newpage}
8745 In this manual @ref{Invoking lilypond}
8747 Examples: @inputfileref{input/regression,between-systems.ly}
8749 Internals: @internalsref{NonMusicalPaperColumn}.
8753 LilyPond has no concept of page layout, which makes it difficult to
8754 reliably choose page breaks in longer pieces.
8763 Entered music can also be converted to MIDI output. The performance
8764 is good enough for proof-hearing the music for errors.
8766 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8767 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8768 marks translate to a fixed fraction of the available MIDI volume
8769 range, crescendi and decrescendi make the volume vary linearly between
8770 their two extremities. The fractions can be adjusted by
8771 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8772 For each type of MIDI instrument, a volume range can be defined. This
8773 gives a basic equalizer control, which can enhance the quality of
8774 the MIDI output remarkably. The equalizer can be controlled by
8775 setting @code{instrumentEqualizer}.
8779 Many musically interesting effects, such as swing, articulation,
8780 slurring, etc., are not translated to MIDI.
8785 * MIDI instrument names::
8790 @subsection MIDI block
8794 The MIDI block is analogous to the paper block, but it is somewhat
8795 simpler. The @code{\midi} block can contain:
8799 @item a @code{\tempo} definition, and
8800 @item context definitions.
8803 Assignments in the @code{\midi} block are not allowed.
8805 A number followed by a period is interpreted as a real number, so
8806 for setting the tempo for dotted notes, an extra space should be
8807 inserted, for example:
8810 \midi @{ \tempo 4 . = 120 @}
8814 @cindex context definition
8816 Context definitions follow precisely the same syntax as within the
8817 \paper block. Translation modules for sound are called performers.
8818 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8821 @node MIDI instrument names
8822 @subsection MIDI instrument names
8824 @cindex instrument names
8825 @cindex @code{Staff.midiInstrument}
8827 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8828 property. The instrument name should be chosen from the list in
8829 @ref{MIDI instruments}.
8833 If the selected string does not exactly match, then the default is
8834 used, which is the Grand Piano.