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::
39 @c FIXME: Note entry vs Music entry at top level menu is confusing.
45 The basic elements of any piece of music are the notes. This section
46 is about basic notation elements notes, rests and related constructs,
47 such as stems, tuplets and ties.
52 * Chromatic alterations::
60 * Easy Notation note heads::
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}.
514 @node Easy Notation note heads
515 @subsection Easy Notation note heads
517 @cindex easy notation
520 The `easy play' note head includes a note name inside the head. It is
521 used in music aimed at beginners:
523 @lilypond[singleline,verbatim,26pt]
525 \notes { c'2 e'4 f' | g'1 }
526 \paper { \translator { \EasyNotation } }
530 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
531 You probably will want to print it with magnification or a
532 large font size to make it more readable. To print with
533 magnification, you must create a DVI file (with @file{lilypond}) and
534 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
535 See the @code{dvips} documentation for more details. To print with a
536 larger font, see @ref{Font Size}.
542 If you view the result with Xdvi, then staff lines will show through
543 the letters. Printing the PostScript file obtained does produce the
547 @node Easier music entry
548 @section Easier music entry
551 When entering music it is easy to introduce errors. This section deals
552 with tricks and features of the input language that were added solely
553 to help entering music, and find and correct mistakes.
555 It is also possible to use external programs, for example GUI
556 interfaces, or MIDI transcription programs, to enter or edit
557 music. Refer to the website for more information. Finally, there are
558 tools make debugging easier, by linking the input file and the output
559 shown on screen. See @ref{Point and click} for more information.
566 * Skipping corrected music::
567 * Automatic note splitting::
573 @node Relative octaves
574 @subsection Relative octaves
576 @cindex relative octave specification
578 Octaves are specified by adding @code{'} and @code{,} to pitch names.
579 When you copy existing music, it is easy to accidentally put a pitch
580 in the wrong octave and hard to find such an error. The relative
581 octave mode prevents these errors: a single error puts the rest of the
582 piece off by one octave:
584 @cindex @code{\relative}
586 \relative @var{startpitch} @var{musicexpr}
589 The octave of notes that appear in @var{musicexpr} are calculated as
590 follows: If no octave changing marks are used, the basic interval
591 between this and the last note is always taken to be a fourth or less
592 (; this distance is determined without regarding alterations: a
593 @code{fisis} following a @code{ceses} will be put above the
596 The octave changing marks @code{'} and @code{,} can be added to raise
597 or lower the pitch by an extra octave. Upon entering relative mode,
598 an absolute starting pitch must be specified that will act as the
599 predecessor of the first note of @var{musicexpr}.
601 Here is the relative mode shown in action:
602 @lilypond[fragment,singleline,verbatim,center]
608 Octave changing marks are used for intervals greater than a fourth:
609 @lilypond[fragment,verbatim,center]
614 If the preceding item is a chord, the first note of the chord is used
615 to determine the first note of the next chord:
617 @lilypond[fragment,verbatim,center]
624 @cindex @code{\notes}
626 The pitch after the @code{\relative} contains a note name. To parse
627 the pitch as a note name, you have to be in note mode, so there must
628 be a surrounding @code{\notes} keyword (which is not
631 The relative conversion will not affect @code{\transpose},
632 @code{\chords} or @code{\relative} sections in its argument. If you
633 want to use relative within transposed music, you must place an
634 additional @code{\relative} inside the @code{\transpose}.
637 @subsection Octave check
640 Octave checks make octave errors easier to correct: a note may be
641 followed by @code{=}@var{quotes} which indicates what its absolute
642 octave should be. In the following example,
644 \relative c'' @{ c='' b=' d,='' @}
648 the @code{d} will generate a warning, because a @code{d''} is
649 expected, but a @code{d'} is found. In the output, the octave is
650 corrected this and the following notes.
652 There is also a syntax that is separate from the notes.
657 This checks that @var{pitch} (without octave) yields @var{pitch} (with
658 octave) in \relative mode. If not, a warning is printed, and the
659 octave is corrected, for example, the first check is passed
660 successfully. The second check fails with an error message. The
661 octave is adjusted so the following notes are in the correct octave
672 The octave of a note following an octave check is determined with
673 respect to the note preceding it. In the next fragment, the last note
674 is a @code{a'}, above central C. Hence, the @code{\octave} check may
675 be deleted without changing the meaning of the piece.
677 @lilypond[verbatim,fragment]
686 @subsection Bar check
690 @cindex @code{barCheckSynchronize}
693 Bar checks help detect errors in the durations. A bar check is
694 entered using the bar symbol, `@code{|}'. Whenever it is encountered
695 during interpretation, it should fall on a measure boundary. If it
696 does not, a warning is printed. Depending on the value of
697 @code{barCheckSynchronize}, the beginning of the measure will be
700 In the next example, the second bar check will signal an error:
702 \time 3/4 c2 e4 | g2 |
705 Bar checks can also be used in lyrics, for example
710 Twin -- kle | Twin -- kle
715 @cindex skipTypesetting
717 Failed bar checks are caused by entering incorrect
718 durations. Incorrect durations often completely garble up the score,
719 especially if it is polyphonic, so you should start correcting the
720 score by scanning for failed bar checks and incorrect durations. To
721 speed up this process, you can use @code{skipTypesetting}, described
724 @node Skipping corrected music
725 @subsection Skipping corrected music
727 The property @code{Score.skipTypesetting} can be used to switch on and
728 off typesetting completely during the interpretation phase. When
729 typesetting is switched off, the music is processed much more quickly.
730 This can be used to skip over the parts of a score that have already
731 been checked for errors:
733 @lilypond[fragment,singleline,verbatim]
735 \property Score.skipTypesetting = ##t
737 \property Score.skipTypesetting = ##f
741 @node Automatic note splitting
742 @subsection Automatic note splitting
744 Long notes can be converted automatically to tied notes. This is done
745 by replacing the @internalsref{Note_heads_engraver} by the
746 @internalsref{Completion_heads_engraver}:
749 \paper @{ \translator @{
751 \remove "Note_heads_engraver"
752 \consists "Completion_heads_engraver"
756 which will make long notes tied in the following example:
759 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
766 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
768 \paper { \translator {
770 \remove "Note_heads_engraver"
771 \consists "Completion_heads_engraver"
776 This engraver splits all running notes at the bar line, and inserts
777 ties. One of its uses is to debug complex scores: if the measures are
778 not entirely filled, then the ties exactly show how much each measure
783 Not all durations (especially those containing tuplets) can be
784 represented exactly; the engraver will not insert tuplets.
790 @section Staff notation
792 This section describes music notation that occurs on staff level,
793 such as keys, clefs and time signatures.
795 @cindex Staff notation
809 @subsection Staff symbol
811 @cindex adjusting staff symbol
812 @cindex StaffSymbol, using \property
814 Notes, dynamic signs, etc. are grouped
815 with a set of horizontal lines, into a staff (plural `staves'). In our
816 system, these lines are drawn using a separate layout object called
820 @cindex staff lines, setting number of
821 @cindex staff lines, setting thickness of
822 @cindex thickness of staff lines, setting
823 @cindex number of staff lines, setting
827 Internals: @internalsref{StaffSymbol},
829 Examples: @inputfileref{input/test,staff-lines.ly},
830 @inputfileref{input/test,staff-size.ly}
834 If a staff is ended halfway a piece, the staff symbol may not end
835 exactly on the barline.
839 @subsection Key signature
840 @cindex Key signature
844 The key signature indicates the scale in which a piece is played. It
845 is denoted by a set of alterations (flats or sharps) at the start of
850 Setting or changing the key signature is done with the @code{\key}
853 @code{\key} @var{pitch} @var{type}
856 @cindex @code{\minor}
857 @cindex @code{\major}
858 @cindex @code{\minor}
859 @cindex @code{\ionian}
860 @cindex @code{\locrian}
861 @cindex @code{\aeolian}
862 @cindex @code{\mixolydian}
863 @cindex @code{\lydian}
864 @cindex @code{\phrygian}
865 @cindex @code{\dorian}
867 Here, @var{type} should be @code{\major} or @code{\minor} to get
868 @var{pitch}-major or @var{pitch}-minor, respectively.
869 The standard mode names @code{\ionian},
870 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
871 @code{\phrygian}, and @code{\dorian} are also defined.
873 This command sets the context property
874 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
875 can be specified by setting this property directly.
877 Accidentals and key signatures often confuse new users, because
878 unaltered notes get natural signs depending on the keysignature. The
879 tutorial explains why this is so in @ref{More about pitches}.
883 The ordering of a key cancellation is wrong when it is combined with
884 repeat bar lines. The cancellation is also printed after a line break.
888 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
890 @cindex @code{keySignature}
897 The clef indicates which lines of the staff correspond to which
902 The clef can be set or changed with the @code{\clef} command:
903 @lilypond[fragment,verbatim]
904 \key f\major c''2 \clef alto g'2
907 Supported clef-names include:
908 @c Moved standard clefs to the top /MB
912 @item treble, violin, G, G2
925 G clef on 1st line, so-called French violin clef
930 @cindex mezzosoprano clef
933 @cindex baritone clef
936 @cindex varbaritone clef
945 By adding @code{_8} or @code{^8} to the clef name, the clef is
946 transposed one octave down or up, respectively, and @code{_15} and
947 @code{^15} transposes by two octaves. The argument @var{clefname}
948 must be enclosed in quotes when it contains underscores or digits. For
952 @cindex choral tenor clef
953 @lilypond[verbatim,fragment,relative]
957 This command is equivalent to setting @code{clefGlyph},
958 @code{clefPosition} (which controls the Y position of the clef),
959 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
960 when any of these properties are changed.
964 Internals: the object for this symbol is @internalsref{Clef}.
968 @node Ottava brackets
969 @subsection Ottava brackets
971 ``Ottava'' brackets introduce an extra transposition of an octave for
972 the staff. They are created by invoking the function
973 @code{set-octavation}:
979 @lilypond[verbatim,fragment]
988 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
989 (for 15ma) as arguments. Internally the function sets the properties
990 @code{ottavation} (eg. to @code{"8va"}) and
991 @code{centralCPosition}. For overriding the text of the bracket, set
992 @code{ottavation} after invoking @code{set-octavation}, i.e.,
996 \property Staff.ottavation = #"8"
1001 Internals: @internalsref{OttavaSpanner}.
1003 Examples: @inputfileref{input/regression,ottava.ly},
1004 @inputfileref{input/regression,ottava-broken.ly}.
1008 @code{set-octavation} will get confused when clef changes happen
1009 during an octavation bracket.
1011 @node Time signature
1012 @subsection Time signature
1013 @cindex Time signature
1015 @cindex @code{\time}
1017 Time signature indicates the metrum of a piece: a regular pattern of
1018 strong and weak beats. It is denoted by a fraction at the start of the
1023 The time signature is set or changed by the @code{\time}
1025 @lilypond[fragment,verbatim]
1026 \time 2/4 c'2 \time 3/4 c'2.
1029 The symbol that is printed can be customized with the @code{style}
1030 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1031 2/2 time. There are many more options for its layout. See
1032 @inputfileref{input/test,time.ly} for more examples.
1035 This command sets the property @code{timeSignatureFraction},
1036 @code{beatLength} and @code{measureLength} in the @code{Timing}
1037 context, which is normally aliased to @internalsref{Score}. The
1038 property @code{measureLength} determines where bar lines should be
1039 inserted, and how automatic beams should be generated. Changing the
1040 value of @code{timeSignatureFraction} also causes the symbol to be
1043 More options are available through the Scheme function
1044 @code{set-time-signature}. In combination with the
1045 @internalsref{Measure_grouping_engraver}, it will create
1046 @internalsref{MeasureGrouping} signs. Such signs ease reading
1047 rhythmically complex modern music. In the following example, the 9/8
1048 measure is subdivided in 2, 2, 2 and 3. This is passed to
1049 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1052 \score { \notes \relative c'' {
1053 #(set-time-signature 9 8 '(2 2 2 3))
1054 g8[ g] d[ d] g[ g] a8[( bes g]) |
1055 #(set-time-signature 5 8 '(3 2))
1060 \translator { \StaffContext
1061 \consists "Measure_grouping_engraver"
1067 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1072 Automatic beaming does not use measure grouping specified with
1073 @code{set-time-signature}.
1075 @node Partial measures
1076 @subsection Partial measures
1079 @cindex partial measure
1080 @cindex measure, partial
1081 @cindex shorten measures
1082 @cindex @code{\partial}
1084 Partial measures, for example in upsteps, are entered using the
1085 @code{\partial} command:
1086 @lilypond[fragment,verbatim,relative 1]
1087 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1090 The syntax for this command is
1092 \partial @var{duration}
1094 This is internally translated into
1096 \property Timing.measurePosition = -@var{length of duration}
1099 The property @code{measurePosition} contains a rational number
1100 indicating how much of the measure has passed at this point.
1102 @node Unmetered music
1103 @subsection Unmetered music
1105 Bar lines and bar numbers are calculated automatically. For unmetered
1106 music (e.g. cadenzas), this is not desirable. By setting
1107 @code{Score.timing} to false, this automatic timing can be switched
1113 @cindex @code{\cadenzaOn}
1115 @cindex @code{\cadenzaOff}
1119 @subsection Bar lines
1123 @cindex measure lines
1127 Bar lines delimit measures, but are also used to indicate repeats.
1128 Normally, they are inserted automatically. Line breaks may only
1134 of barlines can be forced with the @code{\bar} command:
1136 @lilypond[relative=1,fragment,verbatim]
1140 The following bar types are available:
1141 @lilypond[fragment, relative, singleline, verbatim]
1154 For allowing linebreaks, there is a special command,
1158 This will insert an invisible barline, and allow linebreaks at this
1161 In scores with many staves, a @code{\bar} command in one staff is
1162 automatically applied to all staves. The resulting bar lines are
1163 connected between different staves of a @internalsref{StaffGroup}:
1165 @lilypond[fragment, verbatim]
1166 << \context StaffGroup <<
1170 \new Staff { \clef bass c4 g e g } >>
1171 \new Staff { \clef bass c2 c2 } >>
1175 The command @code{\bar @var{bartype}} is a short cut for doing
1176 @code{\property Score.whichBar = @var{bartype}} Whenever
1177 @code{whichBar} is set to a string, a bar line of that type is
1178 created. At the start of a measure it is set to
1179 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1180 to override default measure bars.
1182 Property @code{whichBar} can also be set directly, using @code{\property}
1183 or @code{\bar}. These settings take precedence over the automatic
1184 @code{whichBar} settings.
1187 @cindex repeatCommands
1188 @cindex defaultBarType
1190 You are encouraged to use @code{\repeat} for repetitions. See
1197 In this manual: @ref{Repeats}.
1200 Internals: the bar line objects that are created at
1201 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1202 lines that span staves are @internalsref{SpanBar}s.
1204 @cindex bar lines at start of system
1205 @cindex start of system
1207 The barlines at the start of each system are
1208 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1209 @internalsref{SystemStartBracket}. Only one of these types is created
1210 in every context, and that type is determined by the property
1211 @code{systemStartDelimiter}.
1213 Examples: @inputfileref{input/test,bar-lines.ly},
1219 The easiest way to enter fragments with more than one voice on a staff
1220 is to split chords using the separator @code{\\}. You can use it for
1221 small, short-lived voices or for single chords:
1223 @lilypond[verbatim,fragment]
1224 \context Staff \relative c'' {
1225 c4 << { f d e } \\ { b c2 } >>
1226 c4 << g' \\ b, \\ f' \\ d >>
1230 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1231 voices are sometimes called "layers" other notation packages}
1233 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1234 each of these contexts, vertical direction of slurs, stems, etc. is set
1237 @cindex @code{\voiceOne}
1238 @cindex @code{\voiceFour}
1240 This can also be done by instantiating @internalsref{Voice} contexts
1241 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1242 a stem directions and horizontal shift for each part:
1245 @lilypond[singleline, verbatim]
1247 \context Staff << \new Voice { \voiceOne cis2 b }
1248 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1249 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1253 The command @code{\oneVoice} will revert back to the normal setting.
1254 @cindex @code{\oneVoice}
1257 Normally, note heads with a different number of dots are not merged, but
1258 when the object property @code{merge-differently-dotted} is set in
1259 the @internalsref{NoteCollision} object, they are merged:
1260 @lilypond[verbatim,fragment,singleline]
1261 \relative c'' \context Voice << {
1263 \property Staff.NoteCollision \override
1264 #'merge-differently-dotted = ##t
1266 } \\ { g8.[ f16] g8.[ f16] }
1270 Similarly, you can merge half note heads with eighth notes, by setting
1271 @code{merge-differently-headed}:
1272 @lilypond[fragment, relative=2,verbatim]
1275 \property Staff.NoteCollision
1276 \override #'merge-differently-headed = ##t
1277 c8 c4. } \\ { c2 c2 } >>
1280 LilyPond also vertically shifts rests that are opposite of a stem:
1283 @lilypond[singleline,fragment,verbatim]
1284 \context Voice << c''4 \\ r4 >>
1292 @cindex @code{\oneVoice}
1294 @cindex @code{\voiceOne}
1296 @cindex @code{\voiceTwo}
1298 @cindex @code{\voiceThree}
1300 @cindex @code{\voiceFour}
1304 The following commands specify in what chords of the current voice
1305 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1306 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1309 @cindex @code{\shiftOn}
1311 @cindex @code{\shiftOnn}
1313 @cindex @code{\shiftOnnn}
1315 @cindex @code{\shiftOff}
1322 Internals: the objects responsible for resolving collisions are
1323 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1325 Examples: See also example files
1326 @inputfileref{input/regression,collision-dots.ly},
1327 @inputfileref{input/regression,collision-head-chords.ly},
1328 @inputfileref{input/regression,collision-heads.ly},
1329 @inputfileref{input/regression,collision-mesh.ly}, and
1330 @inputfileref{input/regression,collisions.ly}.
1335 Resolving collisions is a intricate subject, and only a few situations
1336 are handled. When LilyPond cannot cope, the @code{force-hshift}
1337 property of the @internalsref{NoteColumn} object and pitched rests can
1338 be used to override typesetting decisions.
1340 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1341 note, and a downstem half note, the 8th note gets the wrong offset.
1343 There is no support for clusters where the same note occurs with
1344 different accidentals in the same chord. In this case, it is
1345 recommended to use enharmonic transcription, or to use special cluster
1346 notation (see @ref{Clusters}).
1351 Beams are used to group short notes into chunks that are aligned with
1352 the metrum. They are inserted automatically in most cases:
1354 @lilypond[fragment,verbatim, relative=2]
1355 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1358 When these automatic decisions are not good enough, beaming can be
1359 entered explicitly. It is also possible to define beaming patterns
1360 that differ from the defaults.
1364 Internals: @internalsref{Beam}.
1367 @cindex Automatic beams
1368 @subsection Manual beams
1369 @cindex beams, manual
1373 In some cases it may be necessary to override the automatic beaming
1374 algorithm. For example, the auto beamer will not put beams over rests
1375 or bar lines. Such beams are specified by manually: the begin and end
1376 point are marked with @code{[} and @code{]}:
1378 @lilypond[fragment,relative,verbatim]
1380 r4 r8[ g' a r8] r8 g[ | a] r8
1384 @cindex @code{stemLeftBeamCount}
1386 Normally, beaming patterns within a beam are determined automatically.
1387 When this mechanism fouls up, the properties
1388 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1389 be used to control the beam subdivision on a stem. If either property
1390 is set, its value will be used only once, and then it is erased.
1392 @lilypond[fragment,relative,verbatim]
1395 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1398 @cindex @code{stemRightBeamCount}
1401 The property @code{subdivideBeams} can be set in order to subdivide
1402 all 16th or shorter beams at beat positions, as defined by the
1403 @code{beatLength} property . This accomplishes the same effect as
1404 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1405 but it take less typing:
1408 @lilypond[relative=1,verbatim,noindent]
1410 \property Voice.subdivideBeams = ##t
1412 \property Score.beatLength = #(ly:make-moment 1 8)
1415 @cindex subdivideBeams
1417 Kneed beams are inserted automatically, when a large gap is detected
1418 between the note heads. This behavior can be tuned through the object
1419 property @code{auto-knee-gap}.
1421 Normally, line breaks are forbidden when beams cross bar lines. This
1422 behavior can be changed by setting @code{allowBeamBreak}.
1424 @cindex @code{allowBeamBreak}
1425 @cindex beams and line breaks
1427 @cindex beams, kneed
1429 @cindex auto-knee-gap
1435 @cindex Frenched staves
1437 Automatically kneed beams cannot be used together with hidden staves.
1442 * Setting automatic beam behavior::
1446 @no de Beam typography
1447 @sub section Beam typography
1449 One of the strong points of LilyPond is how beams are formatted. Beams
1450 are quantized, meaning that the left and right endpoints beams start
1451 exactly on staff lines. Without quantization, small wedges of white
1452 space appear between the beam and staff line, and this looks untidy.
1454 Beams are also slope-damped: melodies that go up or down should also
1455 have beams that go up or down, but the slope of the beams should be
1456 less than the slope of the notes themselves.
1458 Some beams should be horizontal. These are so-called concave beams.
1460 [TODO: some pictures.]
1464 @node Setting automatic beam behavior
1465 @subsection Setting automatic beam behavior
1467 @cindex @code{autoBeamSettings}
1468 @cindex @code{(end * * * *)}
1469 @cindex @code{(begin * * * *)}
1470 @cindex automatic beams, tuning
1471 @cindex tuning automatic beaming
1473 @c [TODO: use \applycontext]
1475 In normal time signatures, automatic beams can start on any note but can
1476 only end in a few positions within the measure: beams can end on a beat,
1477 or at durations specified by the properties in
1478 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1479 are defined in @file{scm/auto-beam.scm}.
1481 The value of @code{autoBeamSettings} is changed using
1482 @code{\override} and restored with @code{\revert}:
1484 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1485 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1487 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1488 whether the rule applies to begin or end-points. The quantity
1489 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1490 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1491 signature (wildcards, `@code{* *}' may be entered to designate all time
1494 For example, if automatic beams should end on every quarter note, use
1497 \property Voice.autoBeamSettings \override
1498 #'(end * * * *) = #(ly:make-moment 1 4)
1500 Since the duration of a quarter note is 1/4 of a whole note, it is
1501 entered as @code{(ly:make-moment 1 4)}.
1503 The same syntax can be used to specify beam starting points. In this
1504 example, automatic beams can only end on a dotted quarter note:
1506 \property Voice.autoBeamSettings \override
1507 #'(end * * * *) = #(ly:make-moment 3 8)
1509 In 4/4 time signature, this means that automatic beams could end only on
1510 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1511 3/8 has passed within the measure).
1513 Rules can also be restricted to specific time signatures. A rule that
1514 should only be applied in @var{N}/@var{M} time signature is formed by
1515 replacing the second asterisks by @var{N} and @var{M}. For example, a
1516 rule for 6/8 time exclusively looks like
1518 \property Voice.autoBeamSettings \override
1519 #'(begin * * 6 8) = ...
1522 If a rule should be to applied only to certain types of beams, use the
1523 first pair of asterisks. Beams are classified according to the
1524 shortest note they contain. For a beam ending rule that only applies
1525 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1528 If a score ends while an automatic beam has not been ended and is still
1529 accepting notes, this last beam will not be typeset at all.
1531 @cindex automatic beam generation
1533 @cindex @code{Voice.autoBeaming}
1536 For melodies that have lyrics, you may want to switch off
1537 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1542 @cindex @code{\autoBeamOff}
1543 @code{\autoBeamOff},
1544 @cindex @code{\autoBeamOn}
1550 The rules for ending a beam depend on the shortest note in a beam.
1551 So, while it is possible to have different ending rules for eight
1552 beams and sixteenth beams, a beam that contains both eight and
1553 sixteenth notes will use the rules for the sixteenth beam.
1555 In the example below, the autobeamer makes eight beams and sixteenth
1556 end at 3 eights; the third beam can only be corrected by specifying
1559 @lilypond[singleline,fragment,relative,noverbatim,quote]
1560 \property Voice.autoBeamSettings
1561 \override #'(end * * * *) = #(ly:make-moment 3 8)
1562 % rather show case where it goes wrong
1563 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1564 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1566 It is not possible to specify beaming parameters that act differently in
1567 different parts of a measure. This means that it is not possible to use
1568 automatic beaming in irregular meters such as @code{5/8}.
1571 @section Accidentals
1574 This section describes how to change the way that accidentals are
1575 inserted automatically before the running notes.
1579 * Using the predefined accidental variables::
1580 * Customized accidental rules::
1583 @node Using the predefined accidental variables
1584 @subsection Using the predefined accidental variables
1586 The constructs for describing the accidental typesetting rules are
1587 quite hairy, so non-experts should stick to the variables
1588 defined in @file{ly/property-init.ly}.
1589 @cindex @file{property-init.ly}
1591 The variables set properties in the ``@code{Current}'' context (see
1592 @ref{Context properties}). This means that the variables should
1593 normally be added right after the creation of the context in which the
1594 accidental typesetting described by the variable is to take
1595 effect. For example, if you want to use piano-accidentals in a piano
1596 staff then issue @code{\pianoAccidentals} first thing after the
1597 creation of the piano staff:
1600 \notes \relative c'' <<
1601 \new Staff @{ cis4 d e2 @}
1602 \context GrandStaff <<
1604 \new Staff @{ cis4 d e2 @}
1605 \new Staff @{ es2 c @}
1607 \new Staff @{ es2 c @}
1611 @lilypond[singleline]
1613 \notes \relative c'' <<
1614 \new Staff { cis4 d e2 }
1615 \context GrandStaff <<
1617 \new Staff { cis4 d e2 }
1618 \new Staff { es2 c }
1620 \new Staff { es2 c }
1625 minimumVerticalExtent = #'(-4.0 . 4.0)
1633 @item \defaultAccidentals
1634 @cindex @code{\defaultAccidentals}
1635 This is the default typesetting behaviour. It should correspond
1636 to 18th century common practice: Accidentals are
1637 remembered to the end of the measure in which they occur and
1638 only on their own octave.
1640 @item \voiceAccidentals
1641 @cindex @code{\voiceAccidentals}
1643 The normal behaviour is to
1644 remember the accidentals on Staff-level. This variable, however,
1645 typesets accidentals individually for each voice. Apart from that the
1646 rule is similar to @code{\defaultAccidentals}.
1648 This leads to some weird and often unwanted results
1649 because accidentals from one voice do not get cancelled in other
1651 @lilypond[singleline,relative,fragment,verbatim,quote]
1659 Hence you should only use @code{\voiceAccidentals} if the voices
1660 are to be read solely by individual musicians. If the staff is to be
1661 used by one musician (e.g. a conductor) then you use
1662 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1665 @item \modernAccidentals
1666 @cindex @code{\modernAccidentals}
1667 This rule corresponds to the common practice in the 20th
1669 The rule is more complex than @code{\defaultAccidentals}.
1670 You get all the same accidentals, but temporary
1671 accidentals also get cancelled in other octaves. Furthermore,
1672 in the same octave, they also get cancelled in the following measure:
1673 @lilypond[singleline,fragment,verbatim]
1675 cis' c'' cis'2 | c'' c'
1678 @item \modernCautionaries
1679 @cindex @code{\modernCautionaries}
1680 This rule is similar to @code{\modernAccidentals}, but the
1681 ``extra'' accidentals (the ones not typeset by
1682 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1683 They are printed in reduced size or with parentheses:
1684 @lilypond[singleline,fragment,verbatim]
1686 cis' c'' cis'2 | c'' c'
1689 @cindex @code{\modernVoiceAccidentals}
1690 @item \modernVoiceAccidentals
1691 is used for multivoice accidentals to be read both by musicians
1692 playing one voice and musicians playing all voices. Accidentals are
1693 typeset for each voice, but they @emph{are} cancelled across voices in
1694 the same @internalsref{Staff}.
1696 @cindex @code{\modernVoiceCautionaries}
1697 @item \modernVoiceCautionaries
1698 is the same as @code{\modernVoiceAccidentals}, but with the extra
1699 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1700 as cautionaries. Even though all accidentals typeset by
1701 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1702 some of them are typeset as cautionaries.
1704 @item \pianoAccidentals
1705 @cindex @code{\pianoAccidentals}
1706 20th century practice for piano notation. Very similar to
1707 @code{\modernAccidentals} but accidentals also get cancelled
1708 across the staves in the same @internalsref{GrandStaff} or
1709 @internalsref{PianoStaff}.
1711 @item \pianoCautionaries
1712 @cindex @code{\pianoCautionaries}
1713 As @code{\pianoAccidentals} but with the extra accidentals
1714 typeset as cautionaries.
1717 @cindex @code{\noResetKey}
1718 Same as @code{\defaultAccidentals} but with accidentals lasting
1719 ``forever'' and not only until the next measure:
1720 @lilypond[singleline,fragment,verbatim,relative]
1725 @item \forgetAccidentals
1726 @cindex @code{\forgetAccidentals}
1727 This is sort of the opposite of @code{\noResetKey}: Accidentals
1728 are not remembered at all---and hence all accidentals are
1729 typeset relative to the key signature, regardless of what was
1730 before in the music:
1731 @lilypond[singleline,fragment,verbatim,relative]
1733 \key d\major c4 c cis cis d d dis dis
1737 @node Customized accidental rules
1738 @subsection Customized accidental rules
1740 For determining when to print an accidental, several different rules
1741 are tried. The rule that gives the highest number of accidentals is
1742 used. Each rule consists of
1745 In which context is the rule applied. For example, if
1746 @var{context} is @internalsref{Score} then all staves share
1747 accidentals, and if @var{context} is @internalsref{Staff} then all
1748 voices in the same staff share accidentals, but staves do not.
1750 Whether the accidental changes all octaves or only the current
1753 Over how many barlines the accidental lasts.
1754 If @var{lazyness} is @code{-1} then the accidental is forget
1755 immediately, and if @var{lazyness} is @code{#t} then the accidental
1758 @c [TODO: should use +infinity for this case?]
1764 @cindex @code{\defaultAccidentals}
1765 @code{\defaultAccidentals},
1766 @cindex @code{\voiceAccidentals}
1767 @code{\voiceAccidentals},
1768 @cindex @code{\modernAccidentals}
1769 @code{\modernAccidentals},
1770 @cindex @code{\modernCautionaries}
1771 @code{\modernCautionaries},
1772 @cindex @code{\modernVoiceAccidentals}
1773 @code{\modernVoiceAccidentals},
1774 @cindex @code{\modernVoiceCautionaries}
1775 @code{\modernVoiceCautionaries},
1776 @cindex @code{\pianoAccidentals}
1777 @code{\pianoAccidentals},
1778 @cindex @code{\pianoCautionaries}
1779 @code{\pianoCautionaries},
1780 @cindex @code{\noResetKey}
1782 @cindex @code{\forgetAccidentals}
1783 @code{\forgetAccidentals}.
1787 Internals: @internalsref{Accidental_engraver},
1788 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1793 Currently the simultaneous notes are considered to be entered in
1794 sequential mode. This means that in a chord the accidentals are
1795 typeset as if the notes in the chord happened once at a time - in the
1796 order in which they appear in the input file.
1798 This is only a problem when there are simultaneous notes whose
1799 accidentals depend on each other. The problem only occurs when using
1800 non-default accidentals. In the default scheme, accidentals only
1801 depend on other accidentals with the same pitch on the same staff, so
1802 no conflicts possible.
1804 This example shows two examples of the same music giving different
1805 accidentals depending on the order in which the notes occur in the
1808 @lilypond[singleline,fragment,verbatim]
1809 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1810 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1811 | <cis' c''> r | <c'' cis'> r |
1814 This problem can be solved by manually inserting @code{!} and @code{?}
1815 for the problematic notes.
1817 @node Expressive marks
1818 @section Expressive marks
1821 @c todo: should change ordering
1822 @c where to put text spanners, metronome marks,
1831 * Analysis brackets::
1833 * Fingering instructions::
1844 A slur indicates that notes are to be played bound or @emph{legato}.
1848 They are entered using parentheses:
1849 @lilypond[relative 1,fragment,verbatim,center]
1850 f( g)( a) a8 b( a4 g2 f4)
1855 @c TODO: should explain that ^( and _( set directions
1856 @c should set attachments with ^ and _ ?
1858 Slurs avoid crossing stems, and are generally attached to note heads.
1859 However, in some situations with beams, slurs may be attached to stem
1860 ends. If you want to override this layout you can do this through the
1861 object property @code{attachment} of @internalsref{Slur} in
1862 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1863 the attachment type of the left and right end points:
1865 @lilypond[fragment,relative,verbatim]
1867 \property Voice.Stem \set #'length = #5.5
1869 \property Voice.Slur \set #'attachment = #'(stem . stem)
1873 If a slur would strike through a stem or beam, the slur will be moved
1874 away upward or downward. If this happens, attaching the slur to the
1875 stems might look better:
1877 @lilypond[fragment,relative,verbatim]
1880 \property Voice.Slur \set #'attachment = #'(stem . stem)
1887 @cindex @code{\slurUp}
1889 @cindex @code{\slurDown}
1891 @cindex @code{\slurBoth}
1893 @cindex @code{\slurDotted}
1895 @cindex @code{\slurSolid}
1900 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1905 Producing nice slurs is a difficult problem, and LilyPond currently
1906 uses a simple, empiric method to produce slurs. In some cases, its
1910 @cindex Adjusting slurs
1912 @node Phrasing slurs
1913 @subsection Phrasing slurs
1915 @cindex phrasing slurs
1916 @cindex phrasing marks
1918 A phrasing slur (or phrasing mark) connects chords and is used to
1919 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1922 @lilypond[fragment,verbatim,center,relative]
1923 \time 6/4 c'\( d( e) f( e) d\)
1926 Typographically, the phrasing slur behaves almost exactly like a
1927 normal slur. However, they are treated as different objects. A
1928 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1929 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1930 @code{\phrasingSlurBoth}.
1932 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1933 will only affect normal slurs and not phrasing slurs.
1937 @cindex @code{\phrasingSlurUp}
1938 @code{\phrasingSlurUp},
1939 @cindex @code{\phrasingSlurDown}
1940 @code{\phrasingSlurDown},
1941 @cindex @code{\phrasingSlurBoth}
1942 @code{\phrasingSlurBoth},
1946 Internals: see also @internalsref{PhrasingSlur}, and
1947 @internalsref{PhrasingSlurEvent}.
1951 Phrasing slurs have the same limitations in their formatting as normal
1952 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1955 @subsection Breath marks
1957 Breath marks are entered using @code{\breathe}:
1960 @lilypond[fragment,relative,verbatim]
1964 The glyph of the breath mark can be tweaked by overriding the
1965 @code{text} property of the @code{BreathingSign} layout object with
1966 any markup text. For example,
1967 @lilypond[fragment,verbatim,relative]
1969 \property Voice.BreathingSign \override #'text
1970 = #(make-musicglyph-markup "scripts-rvarcomma")
1977 Internals: @internalsref{BreathingSign},
1978 @internalsref{BreathingSignEvent}
1980 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1983 @node Metronome marks
1984 @subsection Metronome marks
1987 @cindex beats per minute
1988 @cindex metronome marking
1990 Metronome settings can be entered as follows:
1992 \tempo @var{duration} = @var{perminute}
1995 In the MIDI output, they are interpreted as a tempo change, and in the
1996 paper output, a metronome marking is printed:
1997 @cindex @code{\tempo}
1998 @lilypond[fragment,verbatim]
2004 Internals: @internalsref{MetronomeChangeEvent}.
2009 @subsection Text spanners
2010 @cindex Text spanners
2012 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2013 are written as texts, and extended over many measures with dotted
2014 lines. You can create such texts using text spanners: attach
2015 @code{\startTextSpan} and @code{\stopTextSpan} to the
2016 start and ending note of the spanner.
2018 The string to be printed, as well as the style, is set through object
2021 @lilypond[fragment,relative,verbatim]
2023 \property Voice.TextSpanner \set #'direction = #-1
2024 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
2025 c2\startTextSpan b c\stopTextSpan a }
2031 Internals @internalsref{TextSpanEvent},
2032 @internalsref{TextSpanner}.
2034 Examples: @inputfileref{input/regression,text-spanner.ly}.
2037 @node Analysis brackets
2038 @subsection Analysis brackets
2040 @cindex phrasing brackets
2041 @cindex musicological analysis
2042 @cindex note grouping bracket
2044 Brackets are used in musical analysis to indicate structure in musical
2045 pieces. LilyPond supports a simple form of nested horizontal brackets.
2046 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2047 @internalsref{Staff} context. A bracket is started with
2048 @code{\startGroup} and closed with @code{\stopGroup}:
2050 @lilypond[singleline,verbatim]
2051 \score { \notes \relative c'' {
2052 c4\startGroup\startGroup
2055 c4\stopGroup\stopGroup
2057 \paper { \translator {
2058 \StaffContext \consists "Horizontal_bracket_engraver"
2064 Internals: @internalsref{HorizontalBracket},
2065 @internalsref{NoteGroupingEvent}
2067 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2071 @subsection Articulations
2072 @cindex Articulations
2074 @cindex articulations
2078 A variety of symbols can appear above and below notes to indicate
2079 different characteristics of the performance. They are added to a note
2080 by adding a dash and the character signifying the
2081 articulation. They are demonstrated here:
2083 @lilypondfile[notexidoc]{script-abbreviations.ly}
2085 The meanings of these shorthands can be changed: see
2086 @file{ly/script-init.ly} for examples.
2089 The script is automatically placed, but if you need to force
2090 directions, you can use @code{_} to force them down, or @code{^} to
2092 @lilypond[fragment, verbatim]
2096 Other symbols can be added using the syntax
2097 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2098 can be forced up or down using @code{^} and @code{_},
2101 @lilypond[verbatim,fragment,relative 2]
2102 c\fermata c^\fermata c_\fermata
2109 @cindex staccatissimo
2118 @cindex organ pedal marks
2127 @cindex prallmordent
2131 @cindex thumb marking
2136 @lilypondfile[notexidoc]{script-chart.ly}
2141 @cindex @code{\scriptUp}
2143 @cindex @code{\scriptDown}
2145 @cindex @code{\scriptBoth}
2150 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2154 These note ornaments appear in the printed output but have no
2155 effect on the MIDI rendering of the music.
2158 @node Fingering instructions
2159 @subsection Fingering instructions
2163 Fingering instructions can be entered using
2165 @var{note}-@var{digit}
2167 For finger changes, use markup texts:
2169 @lilypond[verbatim, singleline, fragment]
2170 c'4-1 c'4-2 c'4-3 c'4-4
2171 c'^\markup { \fontsize #-3 \number "2-3" }
2174 @cindex finger change
2179 You can use the thumb-script to indicate that a note should be
2180 played with your thumb (used in cello music):
2182 @lilypond[verbatim, singleline, fragment]
2183 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2184 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2187 Fingerings for chords can also be added to individual notes
2188 of the chord by adding them after the pitches:
2189 @lilypond[verbatim,singleline,fragment,relative=1]
2190 < c-1 e-2 g-3 b-5 > 4
2193 Setting @code{fingeringOrientations} will put fingerings next
2196 @lilypond[verbatim,singleline,fragment,relative=1]
2197 \property Voice.fingeringOrientations = #'(left down)
2198 <c-1 es-2 g-4 bes-5 > 4
2199 \property Voice.fingeringOrientations = #'(up right down)
2200 <c-1 es-2 g-4 bes-5 > 4
2205 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2209 @subsection Text scripts
2210 @cindex Text scripts
2212 @cindex text items, non-empty
2213 @cindex non-empty texts
2215 It is possible to place arbitrary strings of text or markup text (see
2216 @ref{Text markup}) above or below notes by using a string:
2217 @code{c^"text"}. By default, these indications do not influence the
2218 note spacing, but by using the command @code{\fatText}, the widths
2219 will be taken into account:
2221 @lilypond[fragment,singleline,verbatim] \relative c' {
2222 c4^"longtext" \fatText c4_"longlongtext" c4 }
2225 It is possible to use @TeX{} commands in the strings, but this should
2226 be avoided because the exact dimensions of the string can then no
2231 @refcommand{fatText}, @refcommand{emptyText}.
2236 In this manual: @ref{Text markup}.
2238 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2244 @subsection Grace notes
2247 @c should have blurb about accaciatura / appogiatura
2249 @cindex @code{\grace}
2253 Grace notes are ornaments that are written out. The most common ones
2254 are acciaccatura, which should be played as very short. It is denoted
2255 by a slurred small note with a slashed stem. The appoggiatura is a
2256 grace note that takes a fixed fraction of the main note, is and
2257 denoted as a slurred note in small print without a slash.
2258 They are entered with the commands @code{\acciaccatura} and
2259 @code{\appoggiatura}, as demonstrated in the following example:
2262 @cindex appoggiatura
2263 @cindex acciaccatura
2265 @lilypond[relative=2,verbatim,fragment]
2266 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2267 \acciaccatura { g16[ f] } e4
2270 Both are special forms of the @code{\grace} command. By prefixing this
2271 keyword to a music expression, a new one is formed, which will be
2272 printed in a smaller font and takes up no logical time in a measure.
2273 @lilypond[relative=2,verbatim,fragment]
2275 \grace { c16[ d16] } c2 c4
2279 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2280 @code{\grace} command does not start a slur.
2282 Internally, timing for grace notes is done using a second, `grace'
2283 time. Every point in time consists of two rational numbers: one
2284 denotes the logical time, one denotes the grace timing. The above
2285 example is shown here with timing tuples:
2287 @lilypond[singleline]
2290 c4 \grace c16 c4 \grace {
2293 \new Lyrics \lyrics {
2296 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2297 \markup { (\fraction 1 4 , 0 ) } 4
2299 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2300 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2302 \markup { ( \fraction 2 4 , 0 ) }
2307 The placement of grace notes is synchronized between different staves.
2308 In the following example, there are two sixteenth graces notes for
2309 every eighth grace note:
2311 @lilypond[relative=2,verbatim,fragment]
2312 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2313 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2318 If you want to end a note with a grace, then the standard trick
2319 is to put the grace notes after a ``space note'', e.g.
2320 @lilypond[fragment,verbatim, relative=2]
2323 { s2 \grace { c16[ d] } } >>
2329 By adjusting the duration of the skip note (here it is a half-note),
2330 the space between the main-note and the grace is adjusted.
2333 A @code{\grace} section will introduce special typesetting settings,
2334 for example, to produce smaller type, and set directions. Hence, when
2335 introducing layout tweaks, they should be inside the grace section,
2337 @lilypond[fragment,verbatim,relative 1]
2340 \property Voice.Stem \override #'direction = #-1
2342 \property Voice.Stem \revert #'direction
2349 The overrides should also be reverted inside the grace section.
2351 If the layout of grace sections must be changed throughout the music,
2352 then this can be accomplished through the function
2353 @code{add-grace-property}. The following example
2354 undefines the Stem direction grace section, so stems do not always
2359 #(add-grace-property "Voice" Stem direction '())
2365 Another option is to change the variables @code{startGraceMusic},
2366 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2367 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2368 @code{stopAppoggiaturaMstuic}. More information is in the file
2369 @file{ly/grace-init.ly}
2374 Internals: @internalsref{GraceMusic}.
2378 A score that starts with an @code{\grace} section needs an explicit
2379 @code{\context Voice} declaration, otherwise the main note and grace
2380 note end up on different staves.
2382 Grace note synchronization can also lead to surprises. Staff notation,
2383 such as key signatures, barlines, etc. are also synchronized. Take
2384 care when you mix staves with grace notes and staves without, for example,
2386 @lilypond[relative=2,verbatim,fragment]
2387 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2388 \new Staff { c4 \bar "|:" d4 } >>
2391 Grace sections should only be used within sequential music
2392 expressions. Nesting or juxtaposing grace sections is not supported,
2393 and might produce crashes or other errors.
2397 @subsection Glissando
2400 @cindex @code{\glissando}
2402 A glissando is a smooth change in pitch. It is denoted by a line or a
2403 wavy line between two notes.
2407 A glissando line can be requested by attaching a @code{\glissando} to
2410 @lilypond[fragment,relative,verbatim]
2416 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2421 Adding additional texts (such as @emph{gliss.}) is not supported.
2425 @subsection Dynamics
2438 @cindex @code{\ffff}
2448 Absolute dynamic marks are specified using an variable after a
2449 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2450 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2451 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2452 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2454 @lilypond[verbatim,singleline,fragment,relative]
2455 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2461 @cindex @code{\decr}
2462 @cindex @code{\rced}
2469 A crescendo mark is started with @code{\<} and terminated with
2470 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2471 with @code{\!}. Because these marks are bound to notes, if you must
2472 use spacer notes if multiple marks during one note are needed:
2474 @lilypond[fragment,verbatim,center,quote]
2475 c''\< c''\! d''\decr e''\rced
2476 << f''1 { s4 s4\< s4\! \> s4\! } >>
2478 This may give rise to very short hairpins. Use @code{minimum-length}
2479 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2483 \property Staff.Hairpin \override #'minimum-length = #5
2486 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2487 is an example how to do it:
2489 @lilypond[fragment,relative=2,verbatim]
2490 c4 \cresc c4 c c c \endcresc c4
2496 You can also supply your own texts:
2497 @lilypond[fragment,relative,verbatim]
2499 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2500 \property Voice.crescendoSpanner = #'dashed-line
2510 @cindex @code{\dynamicUp}
2512 @cindex @code{\dynamicDown}
2513 @code{\dynamicDown},
2514 @cindex @code{\dynamicBoth}
2515 @code{\dynamicBoth}.
2517 @cindex direction, of dynamics
2521 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2522 @internalsref{AbsoluteDynamicEvent}.
2524 Dynamics are objects of @internalsref{DynamicText} and
2525 @internalsref{Hairpin}. Vertical positioning of these symbols is
2526 handled by the @internalsref{DynamicLineSpanner} object.
2528 If you want to adjust padding or vertical direction of the dynamics, you
2529 must set properties for the @internalsref{DynamicLineSpanner} object.
2537 @cindex @code{\repeat}
2540 Repetition is a central concept in music, and multiple notations exist
2541 for repetitions. In LilyPond, most of these notations can be captured
2542 in a uniform syntax. One of the advantages is that they can be
2543 rendered in MIDI accurately.
2545 The following types of repetition are supported:
2549 Repeated music is fully written (played) out. Useful for MIDI
2550 output, and entering repetitive music.
2553 This is the normal notation: Repeats are not written out, but
2554 alternative endings (voltas) are printed, left to right.
2558 Alternative endings are written stacked. This has limited use but may be
2559 used to typeset two lines of lyrics in songs with repeats, see
2560 @inputfileref{input,star-spangled-banner.ly}.
2568 Make beat or measure repeats. These look like percent signs.
2574 * Repeats and MIDI::
2575 * Manual repeat commands::
2577 * Tremolo subdivisions::
2582 @subsection Repeat syntax
2586 LilyPond has one syntactic construct for specifying different types of
2587 repeats. The syntax is
2590 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2593 If you have alternative endings, you may add
2594 @cindex @code{\alternative}
2596 \alternative @code{@{} @var{alternative1}
2598 @var{alternative3} @dots{} @code{@}}
2600 where each @var{alternative} is a music expression. If you do not
2601 give enough alternatives for all of the repeats, then the first
2602 alternative is assumed to be played more than once.
2604 Normal notation repeats are used like this:
2605 @lilypond[fragment,verbatim,relative 1]
2607 \repeat volta 2 { c4 d e f }
2608 \repeat volta 2 { f e d c }
2611 With alternative endings:
2612 @lilypond[fragment,verbatim,relative 1]
2614 \repeat volta 2 {c4 d e f}
2615 \alternative { {d2 d} {f f,} }
2619 @lilypond[fragment,verbatim,relative 1]
2622 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2623 \alternative { { g4 g g } { a | a a a a | b2. } }
2629 If you do a nested repeat like
2638 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2639 belongs. This ambiguity is resolved by always having the
2640 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2641 it is advisable to use braces in such situations.
2644 @node Repeats and MIDI
2645 @subsection Repeats and MIDI
2647 @cindex expanding repeats
2649 For instructions on how to unfold repeats for MIDI output, see the
2650 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2655 Timing information is not remembered at the start of an alternative,
2656 so after a repeat timing information must be reset by hand, for
2657 example by setting @code{Score.measurePosition} or entering
2658 @code{\partial}. Similarly, slurs or ties are also not repeated.
2661 @node Manual repeat commands
2662 @subsection Manual repeat commands
2664 @cindex @code{repeatCommands}
2666 The property @code{repeatCommands} can be used to control the layout of
2667 repeats. Its value is a Scheme list of repeat commands, where each repeat
2671 @item the symbol @code{start-repeat},
2672 which prints a @code{|:} bar line,
2673 @item the symbol @code{end-repeat},
2674 which prints a @code{:|} bar line,
2675 @item the list @code{(volta @var{text})},
2676 which prints a volta bracket saying @var{text}: The text can be specified as
2677 a text string or as a markup text, see @ref{Text markup}. Do not
2678 forget to change the font, as the default number font does not contain
2679 alphabetic characters. Or,
2680 @item the list @code{(volta #f)}, which
2681 stops a running volta bracket:
2684 @lilypond[verbatim, fragment,relative 2]
2686 \property Score.repeatCommands = #'((volta "93") end-repeat)
2688 \property Score.repeatCommands = #'((volta #f))
2695 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2696 @internalsref{VoltaRepeatedMusic},
2697 @internalsref{UnfoldedRepeatedMusic}, and
2698 @internalsref{FoldedRepeatedMusic}.
2700 @node Tremolo repeats
2701 @subsection Tremolo repeats
2702 @cindex tremolo beams
2704 To place tremolo marks between notes, use @code{\repeat} with tremolo
2706 @lilypond[verbatim,singleline]
2708 \context Voice \notes\relative c' {
2709 \repeat "tremolo" 8 { c16 d16 }
2710 \repeat "tremolo" 4 { c16 d16 }
2711 \repeat "tremolo" 2 { c16 d16 }
2716 Tremolo marks can also be put on a single note. In this case, the
2717 note should not be surrounded by braces.
2718 @lilypond[verbatim,singleline]
2719 \repeat "tremolo" 4 c16
2722 A similar mechanism is the tremolo subdivision, described in
2723 @ref{Tremolo subdivisions}.
2727 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2729 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2730 tremolos are @internalsref{StemTremolo}s. The music expression is
2731 @internalsref{TremoloEvent},
2733 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2734 @inputfileref{input/regression,stem-tremolo.ly}.
2736 @node Tremolo subdivisions
2737 @subsection Tremolo subdivisions
2738 @cindex tremolo marks
2739 @cindex @code{tremoloFlags}
2741 Tremolo marks can be printed on a single note by adding
2742 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2743 A @var{length} value of 8 gives one line across the note stem. If the
2744 length is omitted, then then the last value (stored in
2745 @code{Voice.tremoloFlags}) is used:
2747 @lilypond[verbatim,fragment,center]
2748 c'2:8 c':32 | c': c': |
2751 @c [TODO : stok is te kort bij 32en]
2755 Tremolos in this style do not carry over into the MIDI output.
2759 In this manual: @ref{Tremolo repeats}.
2761 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2763 @node Measure repeats
2764 @subsection Measure repeats
2766 @cindex percent repeats
2767 @cindex measure repeats
2769 In the @code{percent} style, a note pattern can be repeated. It is
2770 printed once, and then the pattern is replaced with a special sign.
2771 Patterns of a one and two measures are replaced by percent-like signs,
2772 patterns that divide the measure length are replaced by slashes:
2774 @lilypond[verbatim,singleline]
2775 \context Voice { \repeat "percent" 4 { c'4 }
2776 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2782 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2783 @internalsref{PercentRepeatedMusic}, and
2784 @internalsref{DoublePercentRepeat}.
2788 @node Rhythmic music
2789 @section Rhythmic music
2791 Sometimes you might want to show only the rhythm of a melody. This
2792 can be done with the rhythmic staff. All pitches of notes on such a
2793 staff are squashed, and the staff itself has a single line:
2795 @lilypond[fragment,relative,verbatim]
2796 \context RhythmicStaff {
2798 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2804 Internals: @internalsref{RhythmicStaff}.
2806 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2810 * Percussion staves::
2811 * Percussion MIDI output::
2814 @node Percussion staves
2815 @subsection Percussion staves
2819 A percussion part for more than one instrument typically uses a
2820 multiline staff where each position in the staff refers to one piece
2825 Percussion staves are typeset with help of a set of Scheme
2826 functions. The system is based on the general MIDI drum-pitches.
2827 Include @file{drumpitch-init.ly} to use drum pitches. This file
2828 defines the pitches from the Scheme variable @code{drum-pitch-names},
2829 the definition of which can be read in @file{scm/drums.scm}. Each
2830 piece of percussion has a full name and an abbreviated name, and either
2831 the full name or the abbreviation may be used in input files.
2833 To typeset the music on a staff apply the function @code{drums->paper}
2834 to the percussion music. This function takes a list of percussion
2835 instrument names, notehead scripts and staff positions (that is:
2836 pitches relative to the C-clef) and transforms the input
2837 music by moving the pitch, changing the notehead and (optionally)
2840 @lilypond[singleline,verbatim,quote]
2841 \include "drumpitch-init.ly"
2842 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2843 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2845 \apply #(drums->paper 'drums) \context Staff <<
2847 \new Voice { \voiceOne \up }
2848 \new Voice { \voiceTwo \down }
2853 In the above example the music was transformed using the list @code{'drums}.
2854 The following lists are defined in @file{scm/drums.scm}:
2857 to typeset a typical drum kit on a five-line staff:
2860 \include "drumpitch-init.ly"
2861 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2862 bd sn ss tomh tommh tomml toml tomfh tomfl }
2863 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2864 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2867 \apply #(drums->paper 'drums) \context Staff <<
2871 \context Lyrics \nam
2874 linewidth = 100.0\mm
2877 \remove Bar_engraver
2878 \remove Time_signature_engraver
2879 minimumVerticalExtent = #'(-4.0 . 5.0)
2883 \remove Stem_engraver
2889 The drum scheme supports six different toms. When there fewer toms, simply
2890 select the toms that produce the desired result, i.e. to get toms on
2891 the three middle lines you use @code{tommh}, @code{tomml} and
2894 Because general MIDI does not contain rimshots the sidestick is used
2895 for this purpose instead.
2897 to typeset timbales on a two line staff:
2899 @lilypond[singleline]
2900 \include "drumpitch-init.ly"
2901 nam = \lyrics { timh ssh timl ssl cb }
2902 mus = \notes { timh ssh timl ssl cb s16 }
2905 \apply #(drums->paper 'timbales) \context Staff <<
2909 \context Lyrics \nam
2914 \remove Bar_engraver
2915 \remove Time_signature_engraver
2916 StaffSymbol \override #'line-count = #2
2917 StaffSymbol \override #'staff-space = #2
2918 minimumVerticalExtent = #'(-3.0 . 4.0)
2922 \remove Stem_engraver
2929 to typeset congas on a two line staff:
2931 @lilypond[singleline]
2932 \include "drumpitch-init.ly"
2933 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2934 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2937 \apply #(drums->paper 'congas) \context Staff <<
2941 \context Lyrics \nam
2946 \remove Bar_engraver
2947 \remove Time_signature_engraver
2948 StaffSymbol \override #'line-count = #2
2949 StaffSymbol \override #'staff-space = #2
2950 minimumVerticalExtent = #'(-3.0 . 4.0)
2954 \remove Stem_engraver
2960 to typeset bongos on a two line staff:
2962 @lilypond[singleline]
2963 \include "drumpitch-init.ly"
2964 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2965 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2968 \apply #(drums->paper 'bongos) \context Staff <<
2972 \context Lyrics \nam
2977 \remove Bar_engraver
2978 \remove Time_signature_engraver
2979 StaffSymbol \override #'line-count = #2
2980 StaffSymbol \override #'staff-space = #2
2981 minimumVerticalExtent = #'(-3.0 . 4.0)
2985 \remove Stem_engraver
2991 to typeset all kinds of simple percussion on one line staves:
2992 @lilypond[singleline]
2993 \include "drumpitch-init.ly"
2994 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2995 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2998 \apply #(drums->paper 'percussion) \context Staff <<
3002 \context Lyrics \nam
3007 \remove Bar_engraver
3008 \remove Time_signature_engraver
3009 StaffSymbol \override #'line-count = #1
3010 minimumVerticalExtent = #'(-2.0 . 3.0)
3014 \remove Stem_engraver
3021 If you do not like any of the predefined lists you can define your own
3022 list at the top of your file:
3024 @lilypond[singleline, verbatim]
3025 #(set-drum-kit 'mydrums `(
3026 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3027 (snare default #f ,(ly:make-pitch 0 1 0))
3028 (hihat cross #f ,(ly:make-pitch 0 5 0))
3029 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
3030 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3032 \include "drumpitch-init.ly"
3033 up = \notes { hh8 hh hh hh hhp4 hhp }
3034 down = \notes { bd4 sn bd toml8 toml }
3036 \apply #(drums->paper 'mydrums) \context Staff <<
3038 \new Voice { \voiceOne \up }
3039 \new Voice { \voiceTwo \down }
3044 To use a modified existing list, one can prepend modifications to the
3048 #(set-drum-kit 'mydrums (append `(
3049 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3050 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3051 ) (get-drum-kit 'drums)))
3054 You can easily combine percussion notation with pitched notation.
3055 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
3056 names, so you will have to reinclude @file{nederlands.ly} after the
3057 drum-pattern-definitions to enter normal notes:
3059 @lilypond[singleline,verbatim]
3060 \include "drumpitch-init.ly"
3061 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3062 down = \notes { bassdrum4 snare8 bd r bd sn4 }
3063 \include "nederlands.ly"
3064 bass = \notes \transpose c c,, { a4. e8 r e g e }
3067 \apply #(drums->paper 'drums) \new Staff <<
3069 \new Voice { \voiceOne \up }
3070 \new Voice { \voiceTwo \down }
3072 \new Staff { \clef "F_8" \bass }
3077 @node Percussion MIDI output
3078 @subsection Percussion MIDI output
3080 In order to produce correct MIDI output you need to produce two score
3081 blocks---one for the paper and one for the MIDI output. To use the
3082 percussion channel you set the property @code{instrument} to
3083 @code{'drums}. Because the drum-pitches themselves are similar to the
3084 general MIDI pitches all you have to do is to insert the voices with
3085 none of the scheme functions to get the correct MIDI output:
3089 \apply #(drums->paper 'mydrums) \context Staff <<
3098 \property Staff.instrument = #'drums
3108 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3109 temporary implementation.
3113 @section Piano music
3115 Piano staves are two normal staves coupled with a brace. The staves
3116 are largely independent, but sometimes voices can cross between the
3117 two staves. The same notation is also used for harps and other key
3118 instruments. The @internalsref{PianoStaff} is especially built to
3119 handle this cross-staffing behavior. In this section we discuss the
3120 @internalsref{PianoStaff} and some other pianistic peculiarities.
3124 * Automatic staff changes::
3125 * Manual staff switches::
3128 * Staff switch lines::
3133 There is no support for putting chords across staves. You can get
3134 this result by increasing the length of the stem in the lower stave so
3135 it reaches the stem in the upper stave, or vice versa. An example is
3136 included with the distribution as
3137 @inputfileref{input/test,stem-cross-staff.ly}.
3139 Dynamics are not centered, but kludges do exist. See
3140 @inputfileref{input/template,piano-dynamics.ly}.
3142 @cindex cross staff stem
3143 @cindex stem, cross staff
3146 @c fixme: should have hyperlinks as well.
3152 @node Automatic staff changes
3153 @subsection Automatic staff changes
3154 @cindex Automatic staff changes
3156 Voices can switch automatically between the top and the bottom
3157 staff. The syntax for this is
3159 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3161 The two staffs of the piano staff must be named @code{up} and
3164 The autochanger switches on basis of pitch (central C is the turning
3165 point), and it looks ahead skipping over rests to switch in
3166 advance. Here is a practical example:
3168 @lilypond[verbatim,singleline,quote]
3169 \score { \notes \context PianoStaff <<
3170 \context Staff = "up" {
3171 \autochange Staff \context Voice = VA << \relative c' {
3172 g4 a b c d r4 a g } >> }
3173 \context Staff = "down" {
3180 In this example, spacer rests are used to prevent the bottom staff from
3181 terminating too soon.
3186 In this manual: @ref{Manual staff switches}
3188 Internals: @internalsref{AutoChangeMusic}.
3194 The staff switches often do not end up in optimal places. For high
3195 quality output, staff switches should be specified manually.
3198 @node Manual staff switches
3199 @subsection Manual staff switches
3201 @cindex manual staff switches
3202 @cindex staff switch, manual
3204 Voices can be switched between staves manually, using the following command:
3206 \change Staff = @var{staffname} @var{music}
3210 The string @var{staffname} is the name of the staff. It switches the
3211 current voice from its current staff to the Staff called
3212 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3221 Pianos have pedals that alter the way sound are produced. Generally, a
3222 piano has three pedals, sustain, una corda, and sostenuto.
3226 Piano pedal instruction can be expressed by attaching
3227 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3228 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3231 @lilypond[fragment,verbatim]
3232 c'4\sustainDown c'4\sustainUp
3235 What is printed can be modified by setting @code{pedal@var{X}Strings},
3236 where @var{X} is one of the pedal types: @code{Sustain},
3237 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3238 documentation of @internalsref{SustainPedal} for more information.
3240 Pedals can also be indicated by a sequence of brackets, by setting the
3241 @code{pedalSustainStyle} property to @code{bracket} objects:
3243 @lilypond[fragment,verbatim]
3244 \property Staff.pedalSustainStyle = #'bracket
3245 c''4\sustainDown d''4 e''4
3246 a'4\sustainUp\sustainDown
3247 f'4 g'4 a'4\sustainUp
3250 A third style of pedal notation is a mixture of text and brackets,
3251 obtained by setting @code{pedal-type} to @code{mixed}:
3253 @lilypond[fragment,verbatim]
3254 \property Staff.pedalSustainStyle = #'mixed
3255 c''4\sustainDown d''4 e''4
3256 c'4\sustainUp\sustainDown
3257 f'4 g'4 a'4\sustainUp
3260 The default `*Ped' style for sustain and damper pedals corresponds to
3261 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3262 for a sostenuto pedal:
3264 @lilypond[fragment,verbatim]
3265 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3268 For fine-tuning of the appearance of a pedal bracket, the properties
3269 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3270 @code{PianoPedalBracket} objects (see
3271 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3272 bracket may be extended to the end of the note head:
3274 @lilypond[fragment,verbatim]
3275 \property Staff.PianoPedalBracket \override
3276 #'shorten-pair = #'(0 . -1.0)
3277 c''4\sostenutoDown d''4 e''4 c'4
3278 f'4 g'4 a'4\sostenutoUp
3282 @subsection Arpeggio
3285 @cindex broken arpeggio
3286 @cindex @code{\arpeggio}
3288 You can specify an arpeggio sign on a chord by attaching an
3289 @code{\arpeggio} to a chord:
3292 @lilypond[fragment,relative,verbatim]
3296 When an arpeggio crosses staves, you attach an arpeggio to the chords
3297 in both staves, and set
3298 @internalsref{PianoStaff}.@code{connectArpeggios}:
3300 @lilypond[fragment,relative,verbatim]
3301 \context PianoStaff <<
3302 \property PianoStaff.connectArpeggios = ##t
3303 \new Staff { <c' e g c>\arpeggio }
3304 \new Staff { \clef bass <c,, e g>\arpeggio }
3308 The direction of the arpeggio is sometimes denoted by adding an
3309 arrowhead to the wiggly line. This can be typeset by setting
3310 @code{arpeggio-direction}:
3312 @lilypond[fragment,relative,verbatim]
3314 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3316 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3321 A square bracket on the left indicates that the player should not
3322 arpeggiate the chord. To draw these brackets, set the
3323 @code{molecule-callback} property of @code{Arpeggio} or
3324 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3325 @code{\arpeggio} statements within the chords as before:
3327 @lilypond[fragment,relative,verbatim]
3328 \property PianoStaff.Arpeggio \override
3329 #'molecule-callback = \arpeggioBracket
3335 @cindex @code{\arpeggioBracket}
3336 @code{\arpeggioBracket},
3337 @cindex @code{\arpeggio}
3342 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3343 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3344 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3348 It is not possible to mix connected arpeggios and unconnected
3349 arpeggios in one @internalsref{PianoStaff} at the same time.
3351 @node Staff switch lines
3352 @subsection Staff switch lines
3355 @cindex follow voice
3356 @cindex staff switching
3359 @cindex @code{followVoice}
3361 Whenever a voice switches to another staff a line connecting the notes
3362 can be printed automatically. This is enabled if the property
3363 @code{PianoStaff.followVoice} is set to true:
3365 @lilypond[fragment,relative,verbatim]
3366 \context PianoStaff <<
3367 \property PianoStaff.followVoice = ##t
3368 \context Staff \context Voice {
3373 \context Staff=two { \clef bass \skip 1*2 }
3377 The associated object is @internalsref{VoiceFollower}.
3381 @cindex @code{\showStaffSwitch}
3382 @code{\showStaffSwitch},
3383 @cindex @code{\hideStaffSwitch}
3384 @code{\hideStaffSwitch}.
3388 @section Vocal music
3390 This section discusses how to enter and print lyrics.
3394 * The Lyrics context::
3399 @node Entering lyrics
3400 @subsection Entering lyrics
3404 @cindex @code{\lyrics}
3407 Lyrics are entered in a special input mode. This mode is is introduced
3408 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3409 punctuation and accents without any hassle. Syllables are entered like
3410 notes, but with pitches replaced by text. For example,
3412 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3415 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3416 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3417 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3418 any 8-bit character with ASCII code over 127, or a two-character
3419 combination of a backslash followed by one of @code{`}, @code{'},
3420 @code{"}, or @code{^}.
3422 Subsequent characters of a word can be any character that is not a digit
3423 and not white space. One important consequence of this is that a word
3424 can end with @code{@}}. The following example is usually a bug. The
3425 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3427 \lyrics @{ twinkle@}
3430 @cindex @code{\property}, in @code{\lyrics}
3431 Similarly, a period following a alphabetic sequence, is included in the
3432 resulting string. As a consequence, spaces must be inserted around
3433 @code{\property} commands:
3435 \property Lyrics . LyricText \set #'font-shape = #'italic
3439 @cindex spaces, in lyrics
3440 @cindex quotes, in lyrics
3442 Any @code{_} character which appears in an unquoted word is converted
3443 to a space. This provides a mechanism for introducing spaces into words
3444 without using quotes. Quoted words can also be used in Lyrics mode to
3445 specify words that cannot be written with the above rules:
3448 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3452 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3457 These will be attached to the end of the first syllable.
3459 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3460 as a separate word between syllables. The hyphen will have variable
3461 length depending on the space between the syllables and it will be
3462 centered between the syllables.
3467 When a lyric is sung over many notes (this is called a melisma), this is
3468 indicated with a horizontal line centered between a syllable and the
3469 next one. Such a line is called an extender line, and it is entered as
3474 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3475 @internalsref{ExtenderEvent}.
3479 The definition of lyrics mode is too complex.
3481 @node The Lyrics context
3482 @subsection The Lyrics context
3484 Lyrics are printed by interpreting them in @internalsref{LyricsVoice} context:
3486 \context LyricsVoice \lyrics @dots{}
3489 @cindex automatic syllable durations
3490 @cindex @code{\lyricsto}
3491 @cindex lyrics and melodies
3493 This will place the lyrics according to the durations that were
3494 entered. The lyrics can also be aligned under a given melody
3495 automatically. In this case, it is no longer necessary to enter the
3496 correct duration for each syllable. This is achieved by combining the
3497 melody and the lyrics with the @code{\lyricsto} expression:
3499 \lyricsto @var{name} \new LyricsVoice @dots{}
3502 This aligns the lyrics to the notes of the @internalsref{Voice}
3503 context called @var{name}, which has to exist. Therefore, normally
3504 the @code{Voice} is specified first, and then the lyrics are specified
3505 with @code{\lyricsto}.
3507 For different or more complex orderings, the best way is to setup the
3508 hierarchy of staves and lyrics first, e.g.
3510 \context ChoirStaff \notes <<
3511 \context LyricsVoice = sopranoLyrics @{ s1 @}
3512 \context Voice = soprano @{ @emph{music} @}
3513 \context LyricsVoice = tenor @{ s1 @}
3514 \context Voice = tenorLyrics @{ @emph{music} @}
3517 and then combine the appropriate melodies and lyric lines:
3519 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3522 An example is in @inputfileref{input/template,satb.ly}.
3524 When multiple stanzas are put on the same melody, it can happen that
3525 two stanzas have melismata in different locations. This can be
3526 remedied by switching off melismata for one
3527 @internalsref{LyricsVoice}. This is achieved by setting
3528 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3529 in @inputfileref{input/regression,lyric-combine-new.ly}.
3533 @cindex choral score
3535 A complete example of a SATB score setup is in the file
3536 @inputfileref{input/template,satb.ly}.
3540 Internals: @internalsref{LyricCombineMusic}, @internalsref{Lyrics}
3542 Examples: @inputfileref{input/template,satb.ly},
3543 @inputfileref{input/regression,lyric-combine-new.ly}.
3547 Melismata are not detected automatically, and must be inserted by hand.
3551 @subsection More stanzas
3553 @cindex phrasing, in lyrics
3556 The lyrics should be aligned with the note heads of the melody. To
3557 achieve this, each line of lyrics should be marked to correspond with
3560 To this end, give the @internalsref{Voice} context an identity:
3562 \context Voice = duet @{
3567 Then set the @internalsref{LyricsVoice} contexts to names starting with
3568 that identity followed by a dash. In the preceding example, the
3569 @internalsref{Voice} identity is @code{duet}, so the identities of the
3570 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3572 \context LyricsVoice = "duet-1" @{
3573 Hi, my name is bert. @}
3574 \context LyricsVoice = "duet-2" @{
3575 Ooooo, ch\'e -- ri, je t'aime. @}
3578 The complete example is shown here:
3579 @lilypond[singleline,verbatim]
3581 << \notes \relative c'' \context Voice = duet { \time 3/4
3583 \lyrics << \lyricsto "duet" \new LyricsVoice {
3584 \property LyricsVoice . stanza = "1"
3585 Hi, my name is bert. }
3586 \lyricsto "duet" \new LyricsVoice {
3587 \property LyricsVoice . stanza = "2"
3588 Ooooo, ch\'e -- ri, je t'aime. }
3593 @cindex stanza number
3594 @cindex singer's names
3595 @cindex name of singer
3597 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3600 \property LyricsVoice . stanza = "Bert"
3602 \property LyricsVoice . stanza = "Ernie"
3605 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3606 prevent @code{LyricsVoice.stanza} being interpreted as a single
3609 Names of the singers should be added using @code{LyricsVoice
3610 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3611 annotations for staves.
3613 To make empty spaces in lyrics, use @code{\skip}.
3621 Input for lyrics introduces a syntactical ambiguity:
3628 is interpreted as assigning a string identifier @code{\foo} such that
3629 it contains @code{"bar"}. However, it could also be interpreted as
3630 making or a music identifier @code{\foo} containing the syllable
3631 `bar'. The force the latter interpretation, use
3641 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3642 for a given voice in a part of music. It also may denote the pitch
3643 range that a musical instrument is capable of playing. Most musical
3644 instruments have their ambitus standardized (or at least there is
3645 agreement upon the minimal ambitus of a particular type of
3646 instrument), such that a composer or arranger of a piece of music can
3647 easily meet the ambitus constraints of the targeted instrument.
3648 However, the ambitus of the human voice depends on individual
3649 physiological state, including education and training of the voice.
3650 Therefore, a singer potentially has to check for each piece of music
3651 if the ambitus of that piece meets his individual capabilities. This
3652 is why the ambitus of a piece may be of particular value to vocal
3655 The ambitus is typically notated on a per-voice basis at the very
3656 beginning of a piece, e.g. nearby the initial clef or time signature of
3657 each staff. The range is graphically specified by two noteheads, that
3658 represent the minimum and maximum pitch. Some publishers use a textual
3659 notation: they put the range in words in front of the corresponding
3660 staff. LilyPond only supports the graphical ambitus notation.
3662 To apply, add the @internalsref{Ambitus_engraver} to the
3663 @internalsref{Voice} context, i.e.
3669 \consists Ambitus_engraver
3674 This results in the following output:
3675 @lilypond[singleline]
3676 upper = \notes \relative c {
3679 as'' c e2 bes f cis d4 e f2 g
3681 lower = \notes \relative c {
3684 e'4 b g a c es fis a cis b a g f e d2
3687 \context ChoirStaff {
3689 \new Staff { \upper }
3690 \new Staff { \lower }
3696 \consists Ambitus_engraver
3702 If you have multiple voices in a single staff, and you want a single
3703 ambitus per staff rather than per each voice, then add the
3704 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3705 rather than to the @internalsref{Voice} context.
3707 It is possible to tune individual ambituses for multiple voices on a
3708 single staff, for example by erasing or shifting them horizontally. An
3709 example is in @inputfileref{input/test,ambitus-mixed.ly}
3713 Internals: @internalsref{Ambitus}
3715 Examples: @inputfileref{input/regression,ambitus.ly},
3716 @inputfileref{input/test,ambitus-mixed.ly}.
3720 There is no collision handling in the case of multiple per-voice
3726 Tablature notation is used for notating music for plucked string
3727 instruments. It notates pitches not by using note heads, but by
3728 indicating on which string and fret a note must be played. LilyPond
3729 offers limited support for tablature.
3732 * Tablatures basic::
3733 * Non-guitar tablatures::
3736 @node Tablatures basic
3737 @subsection Tablatures basic
3738 @cindex Tablatures basic
3740 The string number associated to a note is given as a backslash
3741 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3742 string. By default, string 1 is the highest one, and the tuning
3743 defaults to the standard guitar tuning (with 6 strings). The notes
3744 are printed as tablature, by using @internalsref{TabStaff} and
3745 @internalsref{TabVoice} contexts:
3747 @lilypond[fragment,verbatim]
3748 \notes \context TabStaff {
3756 When no string is specified, the first string that does not give a
3757 fret number less than @code{minimumFret} is selected. The default
3758 value for @code{minimumFret} is 0:
3762 e8 fis gis a b cis' dis' e'
3763 \property TabStaff.minimumFret = #8
3764 e8 fis gis a b cis' dis' e'
3769 e8 fis gis a b cis' dis' e'
3770 \property TabStaff.minimumFret = #8
3771 e8 fis gis a b cis' dis' e'
3774 \context StaffGroup <<
3775 \context Staff { \clef "G_8" \frag }
3776 \context TabStaff { \frag }
3783 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3784 @internalsref{StringNumberEvent}.
3788 Chords are not handled in a special way, and hence the automatic
3789 string selector may easily select the same string to two notes in a
3793 @node Non-guitar tablatures
3794 @subsection Non-guitar tablatures
3795 @cindex Non-guitar tablatures
3797 You can change the number of strings, by setting the number of lines
3798 in the @internalsref{TabStaff}.
3800 You can change the tuning of the strings. A string tuning is given as
3801 a Scheme list with one integer number for each string, the number
3802 being the pitch (measured in semitones relative to central C) of an
3803 open string. The numbers specified for @code{stringTuning} are the
3804 numbers of semitones to subtract or add, starting the specified pitch
3805 by default middle C, in string order. Thus, the notes are e, a, d, and
3808 @lilypond[fragment,verbatim]
3809 \context TabStaff <<
3810 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3813 a,4 c' a e' e c' a e'
3818 It is possible to change the Scheme function to format the tablature
3819 note text. The default is @code{fret-number-tablature-format}, which
3820 uses the fret number. For instruments that do not use this notation,
3821 you can create a special tablature formatting function. This function
3822 takes three argument: string number, string tuning and note pitch.
3826 No guitar special effects have been implemented.
3831 @section Chord names
3834 LilyPond has support for both printing chord names. Chords may be
3835 entered in musical chord notation, i.e. @code{< .. >}, but they can
3836 also be entered by name. Internally, the chords are represented as a
3837 set of pitches, so they can be transposed:
3840 @lilypond[verbatim,singleline]
3841 twoWays = \notes \transpose c c' {
3851 << \context ChordNames \twoWays
3852 \context Voice \twoWays >> }
3855 This example also shows that the chord printing routines do not try to
3856 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3862 * Printing chord names::
3867 @subsection Chords mode
3870 Chord mode is a mode where you can input sets of pitches using common
3871 names. It is introduced by the keyword @code{\chords}.
3872 In chords mode, a chord is entered by the root, which is entered
3873 like a common pitch:
3874 @lilypond[fragment,verbatim,quote, relative=1]
3875 \chords { es4. d8 c2 }
3880 Other chords may be entered by suffixing a colon, and introducing a
3881 modifier, and optionally, a number:
3883 @lilypond[fragment,verbatim,quote]
3884 \chords { e1:m e1:7 e1:m7 }
3886 The first number following the root is taken to be the `type' of the
3887 chord, thirds are added to the root until it reaches the specified
3889 @lilypond[fragment,verbatim]
3890 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3893 @cindex root of chord
3894 @cindex additions, in chords
3895 @cindex removals, in chords
3897 More complex chords may also be constructed adding separate steps
3898 to a chord. Additions are added after the number following
3899 the colon, and are separated by dots:
3901 @lilypond[verbatim,fragment,quote]
3902 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3904 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3906 @lilypond[verbatim,fragment,quote]
3907 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3909 Removals are specified similarly, and are introduced by a caret. They
3910 must come after the additions:
3911 @lilypond[verbatim,fragment]
3912 \chords { c^3 c:7^5 c:9^3.5 }
3915 Modifiers can be used to change pitches. The following modifiers are
3919 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3921 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3924 is the augmented chord. This modifier raises the 5th step.
3926 is the major 7th chord. This modifier raises the 7th step if present.
3928 is the suspended 4th or 2nd. This modifier removes the 3rd
3929 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3932 Modifiers can be mixed with additions:
3933 @lilypond[verbatim,fragment]
3934 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3937 @cindex modifiers, in chords.
3944 Since an unaltered 11 does not sound good when combined with an
3945 unaltered 13, the 11 is removed in this case (unless it is added
3948 @lilypond[fragment,verbatim]
3949 \chords { c:13 c:13.11 c:m13 }
3954 An inversion (putting one pitch of the chord on the bottom), as well
3955 as bass notes, can be specified by appending
3956 @code{/}@var{pitch} to the chord:
3957 @lilypond[fragment,verbatim,center]
3958 \chords { c1 c/g c/f }
3962 A bass note can be added instead of transposed out of the chord,
3963 by using @code{/+}@var{pitch}.
3965 @lilypond[fragment,verbatim,center]
3966 \chords { c1 c/+g c/+f }
3969 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3970 of the commands continue to work, for example, @code{r} and
3971 @code{\skip} can be used to insert rests and spaces, and
3972 @code{\property} may be used to change various settings.
3978 Each step can only be present in a chord once. The following
3979 simply produces the augmented chord, since @code{5+} is interpreted
3982 @lilypond[verbatim,fragment]
3983 \chords { c:5.5-.5+ }
3987 @node Printing chord names
3988 @subsection Printing chord names
3990 @cindex printing chord names
3994 For displaying printed chord names, use the @internalsref{ChordNames} context.
3995 The chords may be entered either using the notation
3996 described above, or directly using @code{<} and @code{>}:
3998 @lilypond[verbatim,singleline]
4000 \chords {a1 b c} <d' f' a'> <e' g' b'>
4004 \context ChordNames \scheme
4005 \context Staff \scheme
4010 You can make the chord changes stand out by setting
4011 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4012 display chord names when there is a change in the chords scheme and at
4013 the start of a new line:
4015 @lilypond[verbatim, linewidth=9cm]
4017 c1:m c:m \break c:m c:m d
4021 \context ChordNames {
4022 \property ChordNames.chordChanges = ##t
4024 \context Staff \transpose c c' \scheme
4029 The default chord name layout is a system for Jazz music, proposed by
4030 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4031 following properties:
4034 @cindex chordNameExceptions
4035 @item chordNameExceptions
4036 This is a list that contains the chords that have special formatting.
4038 @inputfileref{input/regression,chord-name-exceptions.ly}.
4039 @cindex exceptions, chord names.
4042 @cindex majorSevenSymbol
4043 @item majorSevenSymbol
4044 This property contains the markup object used for the 7th step, when
4045 it is major. Predefined options are @code{whiteTriangleMarkup} and
4046 @code{blackTriangleMarkup}. See
4047 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4049 @cindex chordNameSeparator
4050 @item chordNameSeparator
4051 Different parts of a chord name are normally separated by a
4052 slash. By setting @code{chordNameSeparator}, you can specify other
4054 @lilypond[fragment,verbatim]
4055 \context ChordNames \chords {
4057 \property ChordNames.chordNameSeparator
4058 = \markup { \typewriter "|" }
4062 @cindex chordRootNamer
4063 @item chordRootNamer
4064 The root of a chord is usually printed as a letter with an optional
4065 alteration. The transformation from pitch to letter is done by this
4066 function. Special note names (for example, the German ``H'' for a
4067 B-chord) can be produced by storing a new function in this property.
4069 The pre-defined variables @code{\germanChords},
4070 @code{\semiGermanChords} set these variables.
4073 @cindex chordNoteNamer
4074 @item chordNoteNamer
4075 The default is to print single pitch, e.g. the bass note, using the
4076 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4077 to a specialized function to change this behavior. For example, the
4078 base can be printed in lower case.
4083 There are also two other chord name schemes implemented: an alternate
4084 Jazz chord notation, and a systematic scheme called Banter chords. The
4085 alternate jazz notation is also shown on the chart in @ref{Chord name
4086 chart}. Turning on these styles is described in the input file
4087 @inputfileref{input/test,chord-names-jazz.ly}.
4091 @cindex chords, jazz
4096 @cindex @code{\germanChords}
4097 @code{\germanChords},
4098 @cindex @code{\semiGermanChords}
4099 @code{\semiGermanChords}.
4106 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4107 @inputfileref{input/regression,chord-name-exceptions.ly},
4108 @inputfileref{input/test,chord-names-jazz.ly},
4109 @inputfileref{input/test,chord-names-german.ly}.
4111 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4116 Chord names are determined solely from the list of pitches. Chord
4117 inversions are not identified, and neither are added bass notes. This
4118 may result in strange chord names when chords are entered with the
4119 @code{< .. >} syntax.
4124 @node Orchestral music
4125 @section Orchestral music
4127 @cindex Writing parts
4129 Orchestral music involves some special notation, both in the full
4130 score and the individual parts. This section explains how to tackle
4131 some common problems in orchestral music.
4136 * Multiple staff contexts::
4139 * Instrument names::
4141 * Multi measure rests::
4142 * Automatic part combining::
4144 * Different editions from one source::
4145 * Sound output for transposing instruments::
4148 @node Multiple staff contexts
4149 @subsection Multiple staff contexts
4151 Polyphonic scores consist of many staves. These staves can be
4152 constructed in three different ways:
4154 @item The group is started with a brace at the left. This is done with the
4155 @internalsref{GrandStaff} context.
4156 @item The group is started with a bracket. This is done with the
4157 @internalsref{StaffGroup} context
4158 @item The group is started with a vertical line. This is the default
4162 @cindex Staff, multiple
4163 @cindex bracket, vertical
4164 @cindex brace, vertical
4171 @node Rehearsal marks
4172 @subsection Rehearsal marks
4173 @cindex Rehearsal marks
4175 @cindex @code{\mark}
4177 To print a rehearsal mark, use the @code{\mark} command:
4178 @lilypond[fragment,verbatim]
4189 (The letter I is skipped in accordance with engraving traditions.)
4191 The mark is incremented automatically if you use @code{\mark
4192 \default}, but you can also use an integer argument to set the mark
4193 manually. The value to use is stored in the property
4194 @code{rehearsalMark}.
4196 The style is defined by the property @code{markFormatter}. It is a
4197 function taking the current mark (an integer) and the current context
4198 as argument. It should return a markup object. In the following
4199 example, @code{markFormatter} is set to a canned procedure. After a
4200 few measures, it is set to function that produces a boxed number.
4202 @lilypond[verbatim,fragment,relative 1]
4203 \property Score.markFormatter = #format-mark-numbers
4206 \property Score.markFormatter
4207 = #(lambda (mark context)
4208 (make-bold-markup (make-box-markup (number->string mark))))
4213 The file @file{scm/translation-functions.scm} contains the definitions
4214 of @code{format-mark-numbers} (the default format) and
4215 @code{format-mark-letters}. They can be used as inspiration for other
4216 formatting functions.
4219 @cindex coda on bar line
4220 @cindex segno on bar line
4221 @cindex fermata on bar line
4222 @cindex bar lines, symbols on
4224 The @code{\mark} command can also be used to put signs like coda,
4225 segno and fermatas on a barline. Use @code{\markup} to
4226 to access the appropriate symbol:
4228 @lilypond[fragment,verbatim,relative=1]
4229 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4233 In this case, during line breaks, marks must also be printed at the
4234 end of the line, and not at the beginning. Use the following to force
4237 \property Score.RehearsalMark \override
4238 #'break-visibility = #begin-of-line-invisible
4244 @cindex barlines, putting symbols on
4248 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4250 Init files: @file{scm/translation-functions.scm} contains the
4251 definition of @code{format-mark-numbers} and
4252 @code{format-mark-letters}. They can be used as inspiration for other
4253 formatting functions.
4255 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4256 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4260 @subsection Bar numbers
4264 @cindex measure numbers
4265 @cindex currentBarNumber
4267 Bar numbers are printed by default at the start of the line. The
4268 number itself is stored in the
4269 @code{currentBarNumber} property,
4270 which is normally updated automatically for every measure.
4272 Bar numbers can be typeset at regular intervals instead of at the
4273 beginning of each line. This is illustrated in the following example,
4274 whose source is available as
4275 @inputfileref{input/test,bar-number-regular-interval.ly}:
4277 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4282 Internals: @internalsref{BarNumber}.
4284 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4285 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4289 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4290 there is one at the top. To solve this, the
4291 @code{padding} property of @internalsref{BarNumber} can be
4292 used to position the number correctly.
4294 @node Instrument names
4295 @subsection Instrument names
4297 In an orchestral score, instrument names are printed left side of the
4300 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4301 and @internalsref{Staff}.@code{instr}. This will print a string before
4302 the start of the staff. For the first start, @code{instrument} is
4303 used, for the next ones @code{instr} is used:
4306 @lilypond[verbatim,singleline]
4307 \property Staff.instrument = "ploink " { c''4 }
4311 You can also use markup texts to construct more complicated instrument
4315 @lilypond[fragment,verbatim,singleline]
4317 \property Staff.instrument = \markup {
4318 \column < "Clarinetti"
4320 \smaller \musicglyph #"accidentals--1"
4331 Internals: @internalsref{InstrumentName}.
4335 When you put a name on a grand staff or piano staff the width of the
4336 brace is not taken into account. You must add extra spaces to the end of
4337 the name to avoid a collision.
4340 @subsection Transpose
4342 @cindex transposition of pitches
4343 @cindex @code{\transpose}
4345 A music expression can be transposed with @code{\transpose}. The syntax
4348 \transpose @var{from} @var{to} @var{musicexpr}
4351 This means that @var{musicexpr} is transposed by the interval
4352 between the pitches @var{from} and @var{to}.
4353 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4354 inside a @code{\notes} section.
4356 @code{\transpose} distinguishes between enharmonic pitches: both
4357 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4358 half a tone. The first version will print sharps and the second
4359 version will print flats:
4361 @lilypond[singleline, verbatim]
4362 mus =\notes { \key d \major cis d fis g }
4363 \score { \notes \context Staff {
4366 \transpose c g' \mus
4367 \transpose c f' \mus
4374 Internals: @internalsref{TransposedMusic}, and
4375 @internalsref{UntransposableMusic}.
4379 If you want to use both @code{\transpose} and @code{\relative}, then
4380 you must put @code{\transpose} outside of @code{\relative}, since
4381 @code{\relative} will have no effect music that appears inside a
4387 @node Multi measure rests
4388 @subsection Multi measure rests
4389 @cindex multi measure rests
4390 @cindex Rests, multi measure
4394 Multi measure rests are entered using `@code{R}'. It is specifically
4395 meant for full bar rests and for entering parts: the rest can expand
4396 to fill a score with rests, or it can be printed as a single
4397 multimeasure rest. This expansion is controlled by the property
4398 @code{Score.skipBars}. If this is set to true, empty measures will not
4399 be expanded, and the appropriate number is added automatically:
4401 @lilypond[fragment,verbatim]
4402 \time 4/4 r1 | R1 | R1*2
4403 \property Score.skipBars = ##t R1*17 R1*4
4406 The @code{1} in @code{R1} is similar to the duration notation used for
4407 notes. Hence, for time signatures other than 4/4, you must enter other
4408 durations. This can be done with augmentation dots or fractions:
4410 @lilypond[fragment,verbatim]
4411 \property Score.skipBars = ##t
4419 An @code{R} spanning a single measure is printed as either a whole rest
4420 or a breve, centered in the measure regardless of the time signature.
4422 @cindex text on multi-measure rest
4423 @cindex script on multi-measure rest
4424 @cindex fermata on multi-measure rest
4426 Texts can be added to multi-measure rests by using the
4427 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4428 replaced. If you need both texts and the number, you must add the
4429 number by hand. A variable (@code{\fermataMarkup}) is provided for
4433 @lilypond[verbatim,fragment]
4435 R2._\markup { "Ad lib" }
4439 If you want to have a text on the left end of a multi-measure rest,
4440 attach the text to a zero-length skip note, i.e.
4448 @cindex whole rests for a full measure
4452 Internals: @internalsref{MultiMeasureRestEvent},
4453 @internalsref{MultiMeasureTextEvent},
4454 @internalsref{MultiMeasureRestMusicGroup}, and
4455 @internalsref{MultiMeasureRest}.
4457 The layout object @internalsref{MultiMeasureRestNumber} is for the
4458 default number, and @internalsref{MultiMeasureRestText} for user
4463 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4464 over multi-measure rests.
4466 @cindex condensing rests
4468 There is no way to automatically condense multiple rests into a single
4469 multimeasure rest. Multi measure rests do not take part in rest
4472 Be careful when entering multimeasure rests followed by whole
4473 notes. The following will enter two notes lasting four measures each:
4477 When @code{skipBars} is set, then the result will look OK, but the
4478 bar numbering will be off.
4480 @node Automatic part combining
4481 @subsection Automatic part combining
4482 @cindex automatic part combining
4483 @cindex part combiner
4486 Automatic part combining is used to merge two parts of music onto a
4487 staff. It is aimed at typesetting orchestral scores. When the two
4488 parts are identical for a period of time, only one is shown. In
4489 places where the two parts differ, they are typeset as separate
4490 voices, and stem directions are set automatically. Also, solo and
4491 @emph{a due} parts are identified and can be marked.
4495 The syntax for part combining is
4498 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4500 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4501 combined into one context of type @var{context}. The music expressions
4502 must be interpreted by contexts whose names should start with @code{one}
4505 The following example demonstrates the basic functionality of the part
4506 combiner: putting parts on one staff, and setting stem directions and
4509 @lilypond[verbatim,singleline,fragment]
4511 \context Voice=one \partcombine Voice
4512 \context Thread=one \relative c'' {
4515 \context Thread=two \relative c'' {
4521 The first @code{g} appears only once, although it was
4522 specified twice (once in each part). Stem, slur and tie directions are
4523 set automatically, depending whether there is a solo or unisono. The
4524 first part (with context called @code{one}) always gets up stems, and
4525 `solo', while the second (called @code{two}) always gets down stems and
4528 If you just want the merging parts, and not the textual markings, you
4529 may set the property @var{soloADue} to false:
4531 @lilypond[verbatim,singleline,fragment]
4533 \property Staff.soloADue = ##f
4534 \context Voice=one \partcombine Voice
4535 \context Thread=one \relative c'' {
4538 \context Thread=two \relative c'' {
4546 Internals: @internalsref{PartCombineMusic},
4547 @internalsref{Thread_devnull_engraver}, and
4548 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4552 The syntax for naming contexts in inconsistent with the syntax for
4555 In @code{soloADue} mode, when the two voices play the same notes on and
4556 off, the part combiner may typeset @code{a2} more than once in a
4559 @lilypond[fragment,singleline]
4561 \context Voice=one \partcombine Voice
4562 \context Thread=one \relative c'' {
4565 \context Thread=two \relative c'' {
4571 The part combiner is rather buggy, and it will be replaced by a better
4572 mechanism in the near future.
4574 @cindex @code{Thread_devnull_engraver}
4575 @cindex @code{Voice_engraver}
4576 @cindex @code{A2_engraver}
4579 @subsection Hiding staves
4581 @cindex Frenched scores
4582 @cindex Hiding staves
4584 In orchestral scores, staff lines that only have rests are usually
4585 removed. This saves some space. This style is called `French Score'.
4586 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4587 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4588 switched on by default. When these line of these contexts turn out
4589 empty after the line-breaking process, they are removed.
4591 For normal staves, a specialized @internalsref{Staff} context is
4592 available, which does the same: staves containing nothing (or only
4593 multi measure rests) are removed. The context definition is stored in
4594 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4595 in this example disappears in the second line:
4600 \notes \relative c' <<
4601 \new Staff { e4 f g a \break c1 }
4602 \new Staff { c4 d e f \break R1 }
4606 \translator { \RemoveEmptyStaffContext }
4611 The first page shows all staffs in full. If they should be removed
4612 from the first page too, set @code{remove-first} to false
4613 in @internalsref{RemoveEmptyVerticalGroup}.
4615 @node Different editions from one source
4616 @subsection Different editions from one source
4618 The @code{\tag} command marks music expressions with a name. These
4619 tagged expressions can be filtered out later. With this mechanism it
4620 is possible to make different versions of the same music source.
4622 In the following example, we see two versions of a piece of music, one
4623 for the full score, and one with cue notes for the instrumental part:
4631 \property Voice.fontSize = #-1
4639 The same can be applied to articulations, texts, etc.: they are
4642 -\tag #@var{your-tag}
4644 to an articulation, for example,
4649 This defines a note with a conditional fingering indication.
4651 By applying the @code{remove-tag} function, tagged expressions can be
4652 filtered. For example,
4656 \apply #(remove-tag 'score) @var{the music}
4657 \apply #(remove-tag 'part) @var{the music}
4662 @lilypondfile[notexidoc]{tag-filter.ly}
4664 The argument of the @code{\tag} command should be a symbol, or a list
4665 of symbols, for example,
4667 \tag #'(original-part transposed-part) @dots{}
4672 Examples: @inputfileref{input/regression,tag-filter.ly}
4675 @node Sound output for transposing instruments
4676 @subsection Sound output for transposing instruments
4678 When you want to make a MIDI file from a score containing transposed
4679 and untransposed instruments, you have to instruct LilyPond the pitch
4680 offset (in semitones) for the transposed instruments. This is done
4681 using the @code{transposing} property. It does not affect printed
4684 @cindex @code{transposing}
4687 \property Staff.instrument = #"Cl. in B-flat"
4688 \property Staff.transposing = #-2
4692 @node Ancient notation
4693 @section Ancient notation
4695 @cindex Vaticana, Editio
4696 @cindex Medicaea, Editio
4701 @c [TODO: write more comprehensive introduction on ancient notation]
4703 Support for ancient notation is still under heavy development.
4704 Regardless of all of the current limitations (see the bugs section
4705 below for details), it includes features for mensural
4706 notation and Gregorian Chant notation. There is also limited support
4707 for figured bass notation.
4709 Many graphical objects provide a @code{style} property, see
4710 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4711 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4712 signatures}. By manipulating such a grob property, the typographical
4713 appearance of the affected graphical objects can be accomodated for a
4714 specific notation flavour without need for introducing any new
4718 Other aspects of ancient notation can not that easily be expressed as
4719 in terms of just changing a style property of a graphical object.
4720 Therefore, some notational concepts are introduced specifically for
4721 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4722 @ref{Ligatures}, and @ref{Figured bass}.
4726 * Ancient note heads::
4727 * Ancient accidentals::
4731 * Ancient time signatures::
4736 * Vaticana style contexts::
4739 If this all is way too much of documentation for you, and you just
4740 want to dive into typesetting without worrying too much about the
4741 details on how to customize a context, then you may have a look at the
4742 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4743 set up predefined style-specific voice and staff contexts, and
4744 directly go ahead with the note entry.
4748 Ligatures need special spacing that has not yet been implemented. As
4749 a result, there is too much space between ligatures most of the time,
4750 and line breaking often is unsatisfactory. Also, lyrics do not
4751 correctly align with ligatures.
4753 Accidentals must not be printed within a ligature, but instead need to
4754 be collected and printed in front of it.
4756 Augmentum dots within ligatures are not handled correctly.
4759 @node Ancient note heads
4760 @subsection Ancient note heads
4766 For ancient notation, a note head style other than the @code{default}
4767 style may be chosen. This is accomplished by setting the @code{style}
4768 property of the NoteHead object to the desired value (@code{baroque},
4769 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4770 differs from the @code{default} style only in using a square shape for
4771 @code{\breve} note heads. The @code{neo_mensural} style differs from
4772 the @code{baroque} style in that it uses rhomboidal heads for whole
4773 notes and all smaller durations. Stems are centered on the note
4774 heads. This style is in particular useful when transcribing mensural
4775 music, e.g. for the incipit. The @code{mensural} style finally
4776 produces note heads that mimick the look of note heads in historic
4777 printings of the 16th century.
4779 The following example demonstrates the @code{neo_mensural} style:
4781 @lilypond[fragment,singleline,verbatim]
4782 \property Voice.NoteHead \set #'style = #'neo_mensural
4783 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4786 When typesetting a piece in Gregorian Chant notation, a Gregorian
4787 ligature engraver will automatically select the proper note heads,
4788 such there is no need to explicitly set the note head style. Still,
4789 the note head style can be set e.g. to @code{vaticana_punctum} to
4790 produce punctum neumes. Similarly, a mensural ligature engraver is
4791 used to automatically assemble mensural ligatures. See
4792 @ref{Ligatures} for how ligature engravers work.
4797 @ref{Percussion staves} use note head styles of their own that are
4798 frequently used in contemporary music notation.
4800 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4801 overview over all available note head styles.
4804 @node Ancient accidentals
4805 @subsection Ancient accidentals
4811 Use the @code{style} property of grob @internalsref{Accidental} to
4812 select ancient accidentals. Supported styles are
4813 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4815 @lilypond[singleline,26pt]
4823 { " " \musicglyph #"accidentals-vaticana-1"
4824 " " \musicglyph #"accidentals-vaticana0" }
4828 { " " \musicglyph #"accidentals-medicaea-1" }
4832 { " " \musicglyph #"accidentals-hufnagel-1" }
4836 { " " \musicglyph #"accidentals-mensural-1"
4837 " " \musicglyph #"accidentals-mensural1" }
4846 \remove "Bar_number_engraver"
4850 \remove "Clef_engraver"
4851 \remove "Key_engraver"
4852 \remove "Time_signature_engraver"
4853 \remove "Staff_symbol_engraver"
4854 minimumVerticalExtent = ##f
4860 As shown, not all accidentals are supported by each style. When
4861 trying to access an unsupported accidental, LilyPond will switch to a
4862 different style, as demonstrated in
4863 @inputfileref{input/test,ancient-accidentals.ly}.
4865 Similarly to local accidentals, the style of the key signature can be
4866 controlled by the @code{style} property of the
4867 @internalsref{KeySignature} grob.
4871 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4872 @ref{Accidentals} give a general introduction into the use of
4873 accidentals. @ref{Key signature} gives a general introduction into
4874 the use of key signatures.
4876 Internals: @internalsref{KeySignature}
4878 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4881 @subsection Ancient rests
4887 Use the @code{style} property of grob @internalsref{Rest} to select
4888 ancient accidentals. Supported styles are @code{classical},
4889 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4890 from the @code{default} style only in that the quarter rest looks like
4891 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4892 well for e.g. the incipit of a transcribed mensural piece of music.
4893 The @code{mensural} style finally mimicks the appearance of rests as
4894 in historic prints of the 16th century.
4896 The following example demonstrates the @code{neo_mensural} style:
4898 @lilypond[fragment,singleline,verbatim]
4899 \property Voice.Rest \set #'style = #'neo_mensural
4900 r\longa r\breve r1 r2 r4 r8 r16
4903 There are no 32th and 64th rests specifically for the mensural or
4904 neo-mensural style. Instead, the rests from the default style will be
4905 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4908 There are no rests in Gregorian Chant notation; instead, it uses
4913 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4917 @subsection Ancient clefs
4923 LilyPond supports a variety of clefs, many of them ancient.
4925 The following table shows all ancient clefs that are supported via the
4926 @code{\clef} command. Some of the clefs use the same glyph, but
4927 differ only with respect to the line they are printed on. In such
4928 cases, a trailing number in the name is used to enumerate these clefs.
4929 Still, you can manually force a clef glyph to be typeset on an
4930 arbitrary line, as described in @ref{Clef}. The note printed to the
4931 right side of each clef in the example column denotes the @code{c'}
4932 with respect to that clef.
4934 @multitable @columnfractions .3 .3 .3 .1
4938 @b{Description} @tab
4939 @b{Supported Clefs} @tab
4943 @code{clefs-neo_mensural_c} @tab
4944 modern style mensural C clef @tab
4945 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4946 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4947 @lilypond[relative 0, notime]
4948 \property Staff.TimeSignature \set #'transparent = ##t
4949 \clef "neo_mensural_c2" c
4953 @code{clefs-petrucci_c1}
4954 @code{clefs-petrucci_c2}
4955 @code{clefs-petrucci_c3}
4956 @code{clefs-petrucci_c4}
4957 @code{clefs-petrucci_c5}
4960 petrucci style mensural C clefs, for use on different stafflines
4961 (the examples shows the 2nd staffline C clef).
4971 @lilypond[relative 0, notime]
4972 \property Staff.TimeSignature \set #'transparent = ##t
4973 \clef "petrucci_c2" c
4977 @code{clefs-petrucci_f} @tab
4978 petrucci style mensural F clef @tab
4979 @code{petrucci_f} @tab
4980 @lilypond[relative 0, notime]
4981 \property Staff.TimeSignature \set #'transparent = ##t
4982 \clef "petrucci_f" c
4986 @code{clefs-petrucci_g} @tab
4987 petrucci style mensural G clef @tab
4988 @code{petrucci_g} @tab
4989 @lilypond[relative 0, notime]
4990 \property Staff.TimeSignature \set #'transparent = ##t
4991 \clef "petrucci_g" c
4995 @code{clefs-mensural_c} @tab
4996 historic style mensural C clef @tab
4997 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4998 @code{mensural_c4} @tab
4999 @lilypond[relative 0, notime]
5000 \property Staff.TimeSignature \set #'transparent = ##t
5001 \clef "mensural_c2" c
5005 @code{clefs-mensural_f} @tab
5006 historic style mensural F clef @tab
5007 @code{mensural_f} @tab
5008 @lilypond[relative 0, notime]
5009 \property Staff.TimeSignature \set #'transparent = ##t
5010 \clef "mensural_f" c
5014 @code{clefs-mensural_g} @tab
5015 historic style mensural G clef @tab
5016 @code{mensural_g} @tab
5017 @lilypond[relative 0, notime]
5018 \property Staff.TimeSignature \set #'transparent = ##t
5019 \clef "mensural_g" c
5023 @code{clefs-vaticana_do} @tab
5024 Editio Vaticana style do clef @tab
5025 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5026 @lilypond[relative 0, notime]
5027 \property Staff.StaffSymbol \set #'line-count = #4
5028 \property Staff.TimeSignature \set #'transparent = ##t
5029 \clef "vaticana_do2" c
5033 @code{clefs-vaticana_fa} @tab
5034 Editio Vaticana style fa clef @tab
5035 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5036 @lilypond[relative 0, notime]
5037 \property Staff.StaffSymbol \set #'line-count = #4
5038 \property Staff.TimeSignature \set #'transparent = ##t
5039 \clef "vaticana_fa2" c
5043 @code{clefs-medicaea_do} @tab
5044 Editio Medicaea style do clef @tab
5045 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5046 @lilypond[relative 0, notime]
5047 \property Staff.StaffSymbol \set #'line-count = #4
5048 \property Staff.TimeSignature \set #'transparent = ##t
5049 \clef "medicaea_do2" c
5053 @code{clefs-medicaea_fa} @tab
5054 Editio Medicaea style fa clef @tab
5055 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5056 @lilypond[relative 0, notime]
5057 \property Staff.StaffSymbol \set #'line-count = #4
5058 \property Staff.TimeSignature \set #'transparent = ##t
5059 \clef "medicaea_fa2" c
5063 @code{clefs-hufnagel_do} @tab
5064 historic style hufnagel do clef @tab
5065 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5066 @lilypond[relative 0, notime]
5067 \property Staff.StaffSymbol \set #'line-count = #4
5068 \property Staff.TimeSignature \set #'transparent = ##t
5069 \clef "hufnagel_do2" c
5073 @code{clefs-hufnagel_fa} @tab
5074 historic style hufnagel fa clef @tab
5075 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5076 @lilypond[relative 0, notime]
5077 \property Staff.StaffSymbol \set #'line-count = #4
5078 \property Staff.TimeSignature \set #'transparent = ##t
5079 \clef "hufnagel_fa2" c
5083 @code{clefs-hufnagel_do_fa} @tab
5084 historic style hufnagel combined do/fa clef @tab
5085 @code{hufnagel_do_fa} @tab
5086 @lilypond[relative 0, notime]
5087 \property Staff.TimeSignature \set #'transparent = ##t
5088 \clef "hufnagel_do_fa" c
5093 @c --- This should go somewhere else: ---
5094 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5097 @c @code{percussion}
5099 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5101 @c @item modern style tab clef (glyph: @code{clefs-tab})
5106 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5108 @emph{Modern style} means ``as is typeset in contemporary editions of
5109 transcribed mensural music''.
5111 @emph{Petrucci style} means ``inspired by printings published by the
5112 famous engraver Petrucci (1466-1539)''.
5114 @emph{Historic style} means ``as was typeset or written in historic
5115 editions (other than those of Petrucci)''.
5117 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5119 Petrucci used C clefs with differently balanced left-side vertical
5120 beams, depending on which staffline it is printed.
5124 In this manual: for the percussion clef, see @ref{Percussion staves}.
5125 For the @code{TAB} clef, see @ref{Tablatures}.
5127 Internals: for modern clefs, see @ref{Clef}.
5132 @subsection Ancient flags
5138 Use the @code{flag-style} property of grob @internalsref{Stem} to
5139 select ancient flags. Besides the @code{default} flag style,
5140 only @code{mensural} style is supported:
5142 @lilypond[fragment,singleline,verbatim]
5143 \property Voice.Stem \set #'flag-style = #'mensural
5144 \property Voice.Stem \set #'thickness = #1.0
5145 \property Voice.NoteHead \set #'style = #'mensural
5147 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
5148 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5151 Note that the innermost flare of each mensural flag always is
5152 vertically aligned with a staff line. If you do not like this
5153 behaviour, you can set the @code{adjust-if-on-staffline} property of
5154 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5155 of the end of each flare is different between notes on staff lines and
5156 notes between staff lines:
5158 @lilypond[fragment,singleline]
5159 \property Voice.Stem \set #'flag-style = #'mensural
5160 \property Voice.Stem \set #'thickness = #1.0
5161 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5162 \property Voice.NoteHead \set #'style = #'mensural
5164 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
5165 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5168 There is no particular flag style for neo-mensural notation. Hence,
5169 when typesetting e.g. the incipit of a transcibed piece of mensural
5170 music, the default flag style should be used. There are no flags in
5171 Gregorian Chant notation.
5174 @node Ancient time signatures
5175 @subsection Ancient time signatures
5177 @cindex time signatures
5181 There is limited support for mensural time signatures. The
5182 glyphs are hard-wired to particular time fractions. In other words,
5183 to get a particular mensural signature glyph with the @code{\time n/m}
5184 command, @code{n} and @code{m} have to be chosen according to the
5190 \property Score.timing = ##f
5191 \property Score.barAlways = ##t
5192 s_\markup { "$\\backslash$time 4/4" }
5193 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5195 s_\markup { "$\\backslash$time 2/2" }
5196 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5198 s_\markup { "$\\backslash$time 6/4" }
5199 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5201 s_\markup { "$\\backslash$time 6/8" }
5202 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5204 s_\markup { "$\\backslash$time 3/2" }
5205 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5207 s_\markup { "$\\backslash$time 3/4" }
5208 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5210 s_\markup { "$\\backslash$time 9/4" }
5211 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5213 s_\markup { "$\\backslash$time 9/8" }
5214 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5216 s_\markup { "$\\backslash$time 4/8" }
5217 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5219 s_\markup { "$\\backslash$time 2/4" }
5220 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5228 \remove Staff_symbol_engraver
5229 \remove Clef_engraver
5230 \remove Time_signature_engraver
5236 Use the @code{style} property of grob @internalsref{TimeSignature} to
5237 select ancient time signatures. Supported styles are
5238 @code{neo_mensural} and @code{mensural}. The above table uses the
5239 @code{neo_mensural} style. This style is appropriate e.g. for the
5240 incipit of transcriptions of mensural pieces. The @code{mensural}
5241 style mimicks the look of historical printings of the 16th century.
5243 @inputfileref{input/test,time.ly} gives an overview over all available
5244 ancient and modern styles.
5248 Internals: @ref{Time signature} gives a general introduction into the use of time
5253 Mensural signature glyphs are mapped to time fractions in a
5254 hard-wired way. This mapping is sensible, but still arbitrary: given
5255 a mensural time signature, the time fraction represents a modern meter
5256 that usually will be a good choice when transcribing a mensural piece
5257 of music. For a particular piece of mensural music, however, the
5258 mapping may be unsatisfactory. In particular, the mapping assumes a
5259 fixed transcription of durations (e.g. brevis = half note in 2/2,
5260 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5261 are not at all accessible through the @code{\time} command.
5263 Mensural time signatures are supported typographically, but not yet
5264 musically. The internal representation of durations is
5265 based on a purely binary system; a ternary division such as 1 brevis =
5266 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5267 prolatione maiori) is not correctly handled: event times in ternary
5268 modes will be badly computed, resulting e.g. in horizontally
5269 misaligned note heads, and bar checks are likely to erroneously fail.
5271 The syntax and semantics of the @code{\time} command for mensural
5272 music is subject to change.
5275 @subsection Custodes
5280 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5281 symbol that appears at the end of a staff. It anticipates the pitch
5282 of the first note(s) of the following line and thus helps the player
5283 or singer to manage line breaks during performance, thus enhancing
5284 readability of a score.
5286 Custodes were frequently used in music notation until the 17th
5287 century. Nowadays, they have survived only in a few particular forms
5288 of musical notation such as contemporary editions of Gregorian chant
5289 like the @emph{editio vaticana}. There are different custos glyphs
5290 used in different flavours of notational style.
5294 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5295 @internalsref{Staff} context when declaring the @code{\paper} block,
5296 as shown in the following example:
5302 \consists Custos_engraver
5303 Custos \override #'style = #'mensural
5308 The result looks like this:
5314 \property Staff.Custos \set #'style = #'mensural
5321 \consists Custos_engraver
5328 The custos glyph is selected by the @code{style} property. The styles
5329 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5330 @code{mensural}. They are demonstrated in the following fragment:
5340 { " " \musicglyph #"custodes-vaticana-u0" }
5344 { " " \musicglyph #"custodes-medicaea-u0" }
5348 { " " \musicglyph #"custodes-hufnagel-u0" }
5352 { " " \musicglyph #"custodes-mensural-u0" }
5361 \remove "Bar_number_engraver"
5365 \remove "Clef_engraver"
5366 \remove "Key_engraver"
5367 \remove "Time_signature_engraver"
5368 \remove "Staff_symbol_engraver"
5369 minimumVerticalExtent = ##f
5375 If the boolean property @code{adjust-if-on-staffline} is set to
5376 @code{#t} (which it is by default), lily typesets slightly different
5377 variants of the custos glyph, depending on whether the custos, is
5378 typeset on or between stafflines. The glyph will
5379 optically fit well into the staff, with the appendage on the right of
5380 the custos always ending at the same vertical position between two
5381 stafflines regardless of the pitch. If you set
5382 @code{adjust-if-on-staffline} to @code{#f}, then
5383 a compromise between both forms is used.
5385 Just like stems can be attached to noteheads in two directions
5386 @emph{up} and @emph{down}, each custos glyph is available with its
5387 appendage pointing either up or down. If the pitch of a custos is
5388 above a selectable position, the appendage will point downwards; if
5389 the pitch is below this position, the appendage will point upwards.
5390 Use property @code{neutral-position} to select this position. By
5391 default, it is set to @code{0}, such that the neutral position is the
5392 center of the staff. Use property @code{neutral-direction} to control
5393 what happens if a custos is typeset on the neutral position itself.
5394 By default, this property is set to @code{-1}, such that the appendage
5395 will point downwards. If set to @code{1}, the appendage will point
5396 upwards. Other values such as @code{0} are reserved for future
5397 extensions and should not be used.
5401 Internals: @internalsref{Custos}
5403 Examples: @inputfileref{input/regression,custos.ly}.
5407 @subsection Divisiones
5413 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5414 `division') is a staff context symbol that is used to structure
5415 Gregorian music into phrases and sections. The musical meaning of
5416 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5417 can be characterized as short, medium and long pause, somewhat like
5418 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5419 a chant, but is also frequently used within a single
5420 antiphonal/responsorial chant to mark the end of each section.
5424 To use divisiones, include the file @code{gregorian-init.ly}. It
5425 contains definitions that you can apply by just inserting
5426 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5427 and @code{\finalis} at proper places in the input. Some editions use
5428 @emph{virgula} or @emph{caesura} instead of divisio minima.
5429 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5432 @lilypondfile[notexidoc]{divisiones.ly}
5436 @cindex @code{\virgula}
5438 @cindex @code{\caesura}
5440 @cindex @code{\divisioMinima}
5441 @code{\divisioMinima},
5442 @cindex @code{\divisioMaior}
5443 @code{\divisioMaior},
5444 @cindex @code{\divisioMaxima}
5445 @code{\divisioMaxima},
5446 @cindex @code{\finalis}
5451 In this manual: @ref{Breath marks}.
5453 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5455 Examples: @inputfileref{input/test,divisiones.ly}
5458 @subsection Ligatures
5462 @c TODO: Should double check if I recalled things correctly when I wrote
5463 @c down the following paragraph by heart.
5465 In musical terminology, a ligature is a coherent graphical symbol that
5466 represents at least two distinct notes. Ligatures originally appeared
5467 in the manuscripts of Gregorian chant notation roughly since the 9th
5468 century as an allusion to the accent symbols of greek lyric poetry to
5469 denote ascending or descending sequences of notes. Both, the shape
5470 and the exact meaning of ligatures changed tremendously during the
5471 following centuries: In early notation, ligatures were used for
5472 monophonic tunes (Gregorian chant) and very soon denoted also the way
5473 of performance in the sense of articulation. With upcoming
5474 multiphony, the need for a metric system arised, since multiple voices
5475 of a piece have to be synchronized some way. New notation systems
5476 were invented that used the manifold shapes of ligatures to now denote
5477 rhythmical patterns (e.g. black mensural notation, mannered notation,
5478 ars nova). With the invention of the metric system of the white
5479 mensural notation, the need for ligatures to denote such patterns
5480 disappeared. Nevertheless, ligatures were still in use in the
5481 mensural system for a couple of decades until they finally disappeared
5482 during the late 16th / early 17th century. Still, ligatures have
5483 survived in contemporary editions of Gregorian chant such as the
5484 Editio Vaticana from 1905/08.
5488 Syntactically, ligatures are simply enclosed by @code{\[} and
5489 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5490 additional input syntax specific for this particular type of ligature.
5491 By default, the @internalsref{LigatureBracket} engraver just puts a
5492 square bracket above the ligature:
5494 @lilypond[singleline,verbatim]
5496 \notes \transpose c c' {
5504 To select a specific style of ligatures, a proper ligature engraver
5505 has to be added to the @internalsref{Voice} context, as explained in
5506 the following subsections. Only white mensural ligatures
5507 are supported with certain limitations. Support for Editio Vaticana
5508 will be added in the future.
5511 * White mensural ligatures::
5512 * Gregorian square neumes ligatures::
5515 @node White mensural ligatures
5516 @subsubsection White mensural ligatures
5518 @cindex Mensural ligatures
5519 @cindex White mensural ligatures
5521 There is limited support for white mensural ligatures. The
5522 implementation is still experimental; it may output strange
5523 warnings or even crash in some cases or produce weird results on more
5528 To engrave white mensural ligatures, in the paper block the
5529 @internalsref{Mensural_ligature_engraver} has to be put into the
5530 @internalsref{Voice} context, and remove the
5531 @internalsref{Ligature_bracket_engraver}:
5537 \remove Ligature_bracket_engraver
5538 \consists Mensural_ligature_engraver
5543 There is no additional input language to describe the shape of a
5544 white mensural ligature. The shape is rather determined solely from
5545 the pitch and duration of the enclosed notes. While this approach may
5546 take a new user a while to get accustomed, it has the great advantage
5547 that the full musical information of the ligature is known internally.
5548 This is not only required for correct MIDI output, but also allows for
5549 automatic transcription of the ligatures.
5554 \property Score.timing = ##f
5555 \property Score.defaultBarType = "empty"
5556 \property Voice.NoteHead \set #'style = #'neo_mensural
5557 \property Staff.TimeSignature \set #'style = #'neo_mensural
5559 \[ g\longa c\breve a\breve f\breve d'\longa \]
5561 \[ e1 f1 a\breve g\longa \]
5563 @lilypond[singleline]
5565 \notes \transpose c c' {
5566 \property Score.timing = ##f
5567 \property Score.defaultBarType = "empty"
5568 \property Voice.NoteHead \set #'style = #'neo_mensural
5569 \property Staff.TimeSignature \set #'style = #'neo_mensural
5571 \[ g\longa c\breve a\breve f\breve d'\longa \]
5573 \[ e1 f1 a\breve g\longa \]
5578 \remove Ligature_bracket_engraver
5579 \consists Mensural_ligature_engraver
5585 Without replacing @internalsref{Ligature_bracket_engraver} with
5586 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5589 @lilypond[singleline]
5591 \notes \transpose c c' {
5592 \property Score.timing = ##f
5593 \property Score.defaultBarType = "empty"
5594 \property Voice.NoteHead \set #'style = #'neo_mensural
5595 \property Staff.TimeSignature \set #'style = #'neo_mensural
5597 \[ g\longa c\breve a\breve f\breve d'\longa \]
5599 \[ e1 f1 a\breve g\longa \]
5605 @node Gregorian square neumes ligatures
5606 @subsubsection Gregorian square neumes ligatures
5608 @cindex Square neumes ligatures
5609 @cindex Gregorian square neumes ligatures
5611 Gregorian square neumes notation (following the style of the Editio
5612 Vaticana) is under heavy development, but not yet really usable for
5613 production purposes. Core ligatures can already be typeset, but
5614 essential issues for serious typesetting are still under development,
5615 such as (among others) horizontal alignment of multiple ligatures,
5616 lyrics alignment and proper accidentals handling. Still, this section
5617 gives a sneak preview of what Gregorian chant may look like once it
5620 The following table contains the extended neumes table of the 2nd
5621 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5622 1983 by the monks of Solesmes.
5624 @multitable @columnfractions .4 .2 .2 .2
5627 @b{Neuma aut@*Neumarum Elementa} @tab
5628 @b{Figurae@*Rectae} @tab
5629 @b{Figurae@*Liquescentes Auctae} @tab
5630 @b{Figurae@*Liquescentes Deminutae}
5632 @c TODO: \paper block is identical in all of the below examples.
5633 @c Therefore, it should somehow be included rather than duplicated all
5636 @c why not make identifiers in ly/engraver-init.ly? --hwn
5638 @c Because it's just used to typeset plain notes without
5639 @c a staff for demonstration purposes rather than something
5640 @c special of Gregorian chant notation. --jr
5645 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5646 \include "gregorian-init.ly"
5648 \notes \transpose c c' {
5651 \noBreak s^\markup {"a"} \noBreak
5653 % Punctum Inclinatum
5655 \noBreak s^\markup {"b"}
5661 \remove "Bar_number_engraver"
5665 \remove "Clef_engraver"
5666 \remove "Key_engraver"
5667 StaffSymbol \set #'transparent = ##t
5668 \remove "Time_signature_engraver"
5669 \remove "Bar_engraver"
5670 minimumVerticalExtent = ##f
5674 \remove Ligature_bracket_engraver
5675 \consists Vaticana_ligature_engraver
5676 NoteHead \set #'style = #'vaticana_punctum
5677 Stem \set #'transparent = ##t
5683 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5684 \include "gregorian-init.ly"
5686 \notes \transpose c c' {
5687 % Punctum Auctum Ascendens
5688 \[ \auctum \ascendens b \]
5689 \noBreak s^\markup {"c"} \noBreak
5691 % Punctum Auctum Descendens
5692 \[ \auctum \descendens b \]
5693 \noBreak s^\markup {"d"} \noBreak
5695 % Punctum Inclinatum Auctum
5696 \[ \inclinatum \auctum b \]
5697 \noBreak s^\markup {"e"}
5703 \remove "Bar_number_engraver"
5707 \remove "Clef_engraver"
5708 \remove "Key_engraver"
5709 StaffSymbol \set #'transparent = ##t
5710 \remove "Time_signature_engraver"
5711 \remove "Bar_engraver"
5712 minimumVerticalExtent = ##f
5716 \remove Ligature_bracket_engraver
5717 \consists Vaticana_ligature_engraver
5718 NoteHead \set #'style = #'vaticana_punctum
5719 Stem \set #'transparent = ##t
5725 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5726 \include "gregorian-init.ly"
5728 \notes \transpose c c' {
5729 % Punctum Inclinatum Parvum
5730 \[ \inclinatum \deminutum b \]
5731 \noBreak s^\markup {"f"}
5737 \remove "Bar_number_engraver"
5741 \remove "Clef_engraver"
5742 \remove "Key_engraver"
5743 StaffSymbol \set #'transparent = ##t
5744 \remove "Time_signature_engraver"
5745 \remove "Bar_engraver"
5746 minimumVerticalExtent = ##f
5750 \remove Ligature_bracket_engraver
5751 \consists Vaticana_ligature_engraver
5752 NoteHead \set #'style = #'vaticana_punctum
5753 Stem \set #'transparent = ##t
5762 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5763 \include "gregorian-init.ly"
5765 \notes \transpose c c' {
5768 \noBreak s^\markup {"g"}
5774 \remove "Bar_number_engraver"
5778 \remove "Clef_engraver"
5779 \remove "Key_engraver"
5780 StaffSymbol \set #'transparent = ##t
5781 \remove "Time_signature_engraver"
5782 \remove "Bar_engraver"
5783 minimumVerticalExtent = ##f
5787 \remove Ligature_bracket_engraver
5788 \consists Vaticana_ligature_engraver
5789 NoteHead \set #'style = #'vaticana_punctum
5790 Stem \set #'transparent = ##t
5799 @code{3. Apostropha vel Stropha}
5801 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5802 \include "gregorian-init.ly"
5804 \notes \transpose c c' {
5807 \noBreak s^\markup {"h"}
5813 \remove "Bar_number_engraver"
5817 \remove "Clef_engraver"
5818 \remove "Key_engraver"
5819 StaffSymbol \set #'transparent = ##t
5820 \remove "Time_signature_engraver"
5821 \remove "Bar_engraver"
5822 minimumVerticalExtent = ##f
5826 \remove Ligature_bracket_engraver
5827 \consists Vaticana_ligature_engraver
5828 NoteHead \set #'style = #'vaticana_punctum
5829 Stem \set #'transparent = ##t
5835 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5836 \include "gregorian-init.ly"
5838 \notes \transpose c c' {
5840 \[ \stropha \auctum b \]
5841 \noBreak s^\markup {"i"}
5847 \remove "Bar_number_engraver"
5851 \remove "Clef_engraver"
5852 \remove "Key_engraver"
5853 StaffSymbol \set #'transparent = ##t
5854 \remove "Time_signature_engraver"
5855 \remove "Bar_engraver"
5856 minimumVerticalExtent = ##f
5860 \remove Ligature_bracket_engraver
5861 \consists Vaticana_ligature_engraver
5862 NoteHead \set #'style = #'vaticana_punctum
5863 Stem \set #'transparent = ##t
5873 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5874 \include "gregorian-init.ly"
5876 \notes \transpose c c' {
5879 \noBreak s^\markup {"j"}
5885 \remove "Bar_number_engraver"
5889 \remove "Clef_engraver"
5890 \remove "Key_engraver"
5891 StaffSymbol \set #'transparent = ##t
5892 \remove "Time_signature_engraver"
5893 \remove "Bar_engraver"
5894 minimumVerticalExtent = ##f
5898 \remove Ligature_bracket_engraver
5899 \consists Vaticana_ligature_engraver
5900 NoteHead \set #'style = #'vaticana_punctum
5901 Stem \set #'transparent = ##t
5910 @code{5. Clivis vel Flexa}
5912 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5913 \include "gregorian-init.ly"
5915 \notes \transpose c c' {
5924 \remove "Bar_number_engraver"
5928 \remove "Clef_engraver"
5929 \remove "Key_engraver"
5930 StaffSymbol \set #'transparent = ##t
5931 \remove "Time_signature_engraver"
5932 \remove "Bar_engraver"
5933 minimumVerticalExtent = ##f
5937 \remove Ligature_bracket_engraver
5938 \consists Vaticana_ligature_engraver
5939 NoteHead \set #'style = #'vaticana_punctum
5940 Stem \set #'transparent = ##t
5946 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5947 \include "gregorian-init.ly"
5949 \notes \transpose c c' {
5950 % Clivis Aucta Descendens
5951 \[ b \flexa \auctum \descendens g \]
5952 \noBreak s^\markup {"l"} \noBreak
5954 % Clivis Aucta Ascendens
5955 \[ b \flexa \auctum \ascendens g \]
5956 \noBreak s^\markup {"m"}
5962 \remove "Bar_number_engraver"
5966 \remove "Clef_engraver"
5967 \remove "Key_engraver"
5968 StaffSymbol \set #'transparent = ##t
5969 \remove "Time_signature_engraver"
5970 \remove "Bar_engraver"
5971 minimumVerticalExtent = ##f
5975 \remove Ligature_bracket_engraver
5976 \consists Vaticana_ligature_engraver
5977 NoteHead \set #'style = #'vaticana_punctum
5978 Stem \set #'transparent = ##t
5984 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5985 \include "gregorian-init.ly"
5987 \notes \transpose c c' {
5989 \[ b \flexa \deminutum g \]
5996 \remove "Bar_number_engraver"
6000 \remove "Clef_engraver"
6001 \remove "Key_engraver"
6002 StaffSymbol \set #'transparent = ##t
6003 \remove "Time_signature_engraver"
6004 \remove "Bar_engraver"
6005 minimumVerticalExtent = ##f
6009 \remove Ligature_bracket_engraver
6010 \consists Vaticana_ligature_engraver
6011 NoteHead \set #'style = #'vaticana_punctum
6012 Stem \set #'transparent = ##t
6019 @code{6. Podatus vel Pes}
6021 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6022 \include "gregorian-init.ly"
6024 \notes \transpose c c' {
6033 \remove "Bar_number_engraver"
6037 \remove "Clef_engraver"
6038 \remove "Key_engraver"
6039 StaffSymbol \set #'transparent = ##t
6040 \remove "Time_signature_engraver"
6041 \remove "Bar_engraver"
6042 minimumVerticalExtent = ##f
6046 \remove Ligature_bracket_engraver
6047 \consists Vaticana_ligature_engraver
6048 NoteHead \set #'style = #'vaticana_punctum
6049 Stem \set #'transparent = ##t
6055 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
6056 \include "gregorian-init.ly"
6058 \notes \transpose c c' {
6059 % Pes Auctus Descendens
6060 \[ g \pes \auctum \descendens b \]
6061 \noBreak s^\markup {"p"} \noBreak
6063 % Pes Auctus Ascendens
6064 \[ g \pes \auctum \ascendens b \]
6065 \noBreak s^\markup {"q"}
6071 \remove "Bar_number_engraver"
6075 \remove "Clef_engraver"
6076 \remove "Key_engraver"
6077 StaffSymbol \set #'transparent = ##t
6078 \remove "Time_signature_engraver"
6079 \remove "Bar_engraver"
6080 minimumVerticalExtent = ##f
6084 \remove Ligature_bracket_engraver
6085 \consists Vaticana_ligature_engraver
6086 NoteHead \set #'style = #'vaticana_punctum
6087 Stem \set #'transparent = ##t
6093 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6094 \include "gregorian-init.ly"
6096 \notes \transpose c c' {
6098 \[ g \pes \deminutum b \]
6105 \remove "Bar_number_engraver"
6109 \remove "Clef_engraver"
6110 \remove "Key_engraver"
6111 StaffSymbol \set #'transparent = ##t
6112 \remove "Time_signature_engraver"
6113 \remove "Bar_engraver"
6114 minimumVerticalExtent = ##f
6118 \remove Ligature_bracket_engraver
6119 \consists Vaticana_ligature_engraver
6120 NoteHead \set #'style = #'vaticana_punctum
6121 Stem \set #'transparent = ##t
6128 @code{7. Pes Quassus}
6130 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6131 \include "gregorian-init.ly"
6133 \notes \transpose c c' {
6135 \[ \oriscus g \pes \virga b \]
6142 \remove "Bar_number_engraver"
6146 \remove "Clef_engraver"
6147 \remove "Key_engraver"
6148 StaffSymbol \set #'transparent = ##t
6149 \remove "Time_signature_engraver"
6150 \remove "Bar_engraver"
6151 minimumVerticalExtent = ##f
6155 \remove Ligature_bracket_engraver
6156 \consists Vaticana_ligature_engraver
6157 NoteHead \set #'style = #'vaticana_punctum
6158 Stem \set #'transparent = ##t
6164 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6165 \include "gregorian-init.ly"
6167 \notes \transpose c c' {
6168 % Pes Quassus Auctus Descendens
6169 \[ \oriscus g \pes \auctum \descendens b \]
6176 \remove "Bar_number_engraver"
6180 \remove "Clef_engraver"
6181 \remove "Key_engraver"
6182 StaffSymbol \set #'transparent = ##t
6183 \remove "Time_signature_engraver"
6184 \remove "Bar_engraver"
6185 minimumVerticalExtent = ##f
6189 \remove Ligature_bracket_engraver
6190 \consists Vaticana_ligature_engraver
6191 NoteHead \set #'style = #'vaticana_punctum
6192 Stem \set #'transparent = ##t
6200 @code{8. Quilisma Pes}
6202 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6203 \include "gregorian-init.ly"
6205 \notes \transpose c c' {
6207 \[ \quilisma g \pes b \]
6214 \remove "Bar_number_engraver"
6218 \remove "Clef_engraver"
6219 \remove "Key_engraver"
6220 StaffSymbol \set #'transparent = ##t
6221 \remove "Time_signature_engraver"
6222 \remove "Bar_engraver"
6223 minimumVerticalExtent = ##f
6227 \remove Ligature_bracket_engraver
6228 \consists Vaticana_ligature_engraver
6229 NoteHead \set #'style = #'vaticana_punctum
6230 Stem \set #'transparent = ##t
6236 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6237 \include "gregorian-init.ly"
6239 \notes \transpose c c' {
6240 % Quilisma Pes Auctus Descendens
6241 \[ \quilisma g \pes \auctum \descendens b \]
6248 \remove "Bar_number_engraver"
6252 \remove "Clef_engraver"
6253 \remove "Key_engraver"
6254 StaffSymbol \set #'transparent = ##t
6255 \remove "Time_signature_engraver"
6256 \remove "Bar_engraver"
6257 minimumVerticalExtent = ##f
6261 \remove Ligature_bracket_engraver
6262 \consists Vaticana_ligature_engraver
6263 NoteHead \set #'style = #'vaticana_punctum
6264 Stem \set #'transparent = ##t
6272 @code{9. Podatus Initio Debilis}
6274 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6275 \include "gregorian-init.ly"
6277 \notes \transpose c c' {
6278 % Pes Initio Debilis
6279 \[ \deminutum g \pes b \]
6286 \remove "Bar_number_engraver"
6290 \remove "Clef_engraver"
6291 \remove "Key_engraver"
6292 StaffSymbol \set #'transparent = ##t
6293 \remove "Time_signature_engraver"
6294 \remove "Bar_engraver"
6295 minimumVerticalExtent = ##f
6299 \remove Ligature_bracket_engraver
6300 \consists Vaticana_ligature_engraver
6301 NoteHead \set #'style = #'vaticana_punctum
6302 Stem \set #'transparent = ##t
6308 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6309 \include "gregorian-init.ly"
6311 \notes \transpose c c' {
6312 % Pes Auctus Descendens Initio Debilis
6313 \[ \deminutum g \pes \auctum \descendens b \]
6320 \remove "Bar_number_engraver"
6324 \remove "Clef_engraver"
6325 \remove "Key_engraver"
6326 StaffSymbol \set #'transparent = ##t
6327 \remove "Time_signature_engraver"
6328 \remove "Bar_engraver"
6329 minimumVerticalExtent = ##f
6333 \remove Ligature_bracket_engraver
6334 \consists Vaticana_ligature_engraver
6335 NoteHead \set #'style = #'vaticana_punctum
6336 Stem \set #'transparent = ##t
6346 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6347 \include "gregorian-init.ly"
6349 \notes \transpose c c' {
6351 \[ a \pes b \flexa g \]
6358 \remove "Bar_number_engraver"
6362 \remove "Clef_engraver"
6363 \remove "Key_engraver"
6364 StaffSymbol \set #'transparent = ##t
6365 \remove "Time_signature_engraver"
6366 \remove "Bar_engraver"
6367 minimumVerticalExtent = ##f
6371 \remove Ligature_bracket_engraver
6372 \consists Vaticana_ligature_engraver
6373 NoteHead \set #'style = #'vaticana_punctum
6374 Stem \set #'transparent = ##t
6380 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6381 \include "gregorian-init.ly"
6383 \notes \transpose c c' {
6384 % Torculus Auctus Descendens
6385 \[ a \pes b \flexa \auctum \descendens g \]
6392 \remove "Bar_number_engraver"
6396 \remove "Clef_engraver"
6397 \remove "Key_engraver"
6398 StaffSymbol \set #'transparent = ##t
6399 \remove "Time_signature_engraver"
6400 \remove "Bar_engraver"
6401 minimumVerticalExtent = ##f
6405 \remove Ligature_bracket_engraver
6406 \consists Vaticana_ligature_engraver
6407 NoteHead \set #'style = #'vaticana_punctum
6408 Stem \set #'transparent = ##t
6414 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6415 \include "gregorian-init.ly"
6417 \notes \transpose c c' {
6418 % Torculus Deminutus
6419 \[ a \pes b \flexa \deminutum g \]
6426 \remove "Bar_number_engraver"
6430 \remove "Clef_engraver"
6431 \remove "Key_engraver"
6432 StaffSymbol \set #'transparent = ##t
6433 \remove "Time_signature_engraver"
6434 \remove "Bar_engraver"
6435 minimumVerticalExtent = ##f
6439 \remove Ligature_bracket_engraver
6440 \consists Vaticana_ligature_engraver
6441 NoteHead \set #'style = #'vaticana_punctum
6442 Stem \set #'transparent = ##t
6449 @code{11. Torculus Initio Debilis}
6451 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6452 \include "gregorian-init.ly"
6454 \notes \transpose c c' {
6455 % Torculus Initio Debilis
6456 \[ \deminutum a \pes b \flexa g \]
6463 \remove "Bar_number_engraver"
6467 \remove "Clef_engraver"
6468 \remove "Key_engraver"
6469 StaffSymbol \set #'transparent = ##t
6470 \remove "Time_signature_engraver"
6471 \remove "Bar_engraver"
6472 minimumVerticalExtent = ##f
6476 \remove Ligature_bracket_engraver
6477 \consists Vaticana_ligature_engraver
6478 NoteHead \set #'style = #'vaticana_punctum
6479 Stem \set #'transparent = ##t
6485 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6486 \include "gregorian-init.ly"
6488 \notes \transpose c c' {
6489 % Torculus Auctus Descendens Initio Debilis
6490 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6497 \remove "Bar_number_engraver"
6501 \remove "Clef_engraver"
6502 \remove "Key_engraver"
6503 StaffSymbol \set #'transparent = ##t
6504 \remove "Time_signature_engraver"
6505 \remove "Bar_engraver"
6506 minimumVerticalExtent = ##f
6510 \remove Ligature_bracket_engraver
6511 \consists Vaticana_ligature_engraver
6512 NoteHead \set #'style = #'vaticana_punctum
6513 Stem \set #'transparent = ##t
6519 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6520 \include "gregorian-init.ly"
6522 \notes \transpose c c' {
6523 % Torculus Deminutus Initio Debilis
6524 \[ \deminutum a \pes b \flexa \deminutum g \]
6531 \remove "Bar_number_engraver"
6535 \remove "Clef_engraver"
6536 \remove "Key_engraver"
6537 StaffSymbol \set #'transparent = ##t
6538 \remove "Time_signature_engraver"
6539 \remove "Bar_engraver"
6540 minimumVerticalExtent = ##f
6544 \remove Ligature_bracket_engraver
6545 \consists Vaticana_ligature_engraver
6546 NoteHead \set #'style = #'vaticana_punctum
6547 Stem \set #'transparent = ##t
6554 @code{12. Porrectus}
6556 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6557 \include "gregorian-init.ly"
6559 \notes \transpose c c' {
6561 \[ a \flexa g \pes b \]
6568 \remove "Bar_number_engraver"
6572 \remove "Clef_engraver"
6573 \remove "Key_engraver"
6574 StaffSymbol \set #'transparent = ##t
6575 \remove "Time_signature_engraver"
6576 \remove "Bar_engraver"
6577 minimumVerticalExtent = ##f
6581 \remove Ligature_bracket_engraver
6582 \consists Vaticana_ligature_engraver
6583 NoteHead \set #'style = #'vaticana_punctum
6584 Stem \set #'transparent = ##t
6590 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6591 \include "gregorian-init.ly"
6593 \notes \transpose c c' {
6594 % Porrectus Auctus Descendens
6595 \[ a \flexa g \pes \auctum \descendens b \]
6602 \remove "Bar_number_engraver"
6606 \remove "Clef_engraver"
6607 \remove "Key_engraver"
6608 StaffSymbol \set #'transparent = ##t
6609 \remove "Time_signature_engraver"
6610 \remove "Bar_engraver"
6611 minimumVerticalExtent = ##f
6615 \remove Ligature_bracket_engraver
6616 \consists Vaticana_ligature_engraver
6617 NoteHead \set #'style = #'vaticana_punctum
6618 Stem \set #'transparent = ##t
6624 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6625 \include "gregorian-init.ly"
6627 \notes \transpose c c' {
6628 % Porrectus Deminutus
6629 \[ a \flexa g \pes \deminutum b \]
6636 \remove "Bar_number_engraver"
6640 \remove "Clef_engraver"
6641 \remove "Key_engraver"
6642 StaffSymbol \set #'transparent = ##t
6643 \remove "Time_signature_engraver"
6644 \remove "Bar_engraver"
6645 minimumVerticalExtent = ##f
6649 \remove Ligature_bracket_engraver
6650 \consists Vaticana_ligature_engraver
6651 NoteHead \set #'style = #'vaticana_punctum
6652 Stem \set #'transparent = ##t
6661 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6662 \include "gregorian-init.ly"
6664 \notes \transpose c c' {
6666 \[ \virga b \inclinatum a \inclinatum g \]
6673 \remove "Bar_number_engraver"
6677 \remove "Clef_engraver"
6678 \remove "Key_engraver"
6679 StaffSymbol \set #'transparent = ##t
6680 \remove "Time_signature_engraver"
6681 \remove "Bar_engraver"
6682 minimumVerticalExtent = ##f
6686 \remove Ligature_bracket_engraver
6687 \consists Vaticana_ligature_engraver
6688 NoteHead \set #'style = #'vaticana_punctum
6689 Stem \set #'transparent = ##t
6695 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6696 \include "gregorian-init.ly"
6698 \notes \transpose c c' {
6700 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6707 \remove "Bar_number_engraver"
6711 \remove "Clef_engraver"
6712 \remove "Key_engraver"
6713 StaffSymbol \set #'transparent = ##t
6714 \remove "Time_signature_engraver"
6715 \remove "Bar_engraver"
6716 minimumVerticalExtent = ##f
6720 \remove Ligature_bracket_engraver
6721 \consists Vaticana_ligature_engraver
6722 NoteHead \set #'style = #'vaticana_punctum
6723 Stem \set #'transparent = ##t
6729 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6730 \include "gregorian-init.ly"
6732 \notes \transpose c c' {
6733 % Climacus Deminutus
6734 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6741 \remove "Bar_number_engraver"
6745 \remove "Clef_engraver"
6746 \remove "Key_engraver"
6747 StaffSymbol \set #'transparent = ##t
6748 \remove "Time_signature_engraver"
6749 \remove "Bar_engraver"
6750 minimumVerticalExtent = ##f
6754 \remove Ligature_bracket_engraver
6755 \consists Vaticana_ligature_engraver
6756 NoteHead \set #'style = #'vaticana_punctum
6757 Stem \set #'transparent = ##t
6764 @code{14. Scandicus}
6766 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6767 \include "gregorian-init.ly"
6769 \notes \transpose c c' {
6771 \[ g \pes a \virga b \]
6778 \remove "Bar_number_engraver"
6782 \remove "Clef_engraver"
6783 \remove "Key_engraver"
6784 StaffSymbol \set #'transparent = ##t
6785 \remove "Time_signature_engraver"
6786 \remove "Bar_engraver"
6787 minimumVerticalExtent = ##f
6791 \remove Ligature_bracket_engraver
6792 \consists Vaticana_ligature_engraver
6793 NoteHead \set #'style = #'vaticana_punctum
6794 Stem \set #'transparent = ##t
6800 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6801 \include "gregorian-init.ly"
6803 \notes \transpose c c' {
6804 % Scandicus Auctus Descendens
6805 \[ g \pes a \pes \auctum \descendens b \]
6812 \remove "Bar_number_engraver"
6816 \remove "Clef_engraver"
6817 \remove "Key_engraver"
6818 StaffSymbol \set #'transparent = ##t
6819 \remove "Time_signature_engraver"
6820 \remove "Bar_engraver"
6821 minimumVerticalExtent = ##f
6825 \remove Ligature_bracket_engraver
6826 \consists Vaticana_ligature_engraver
6827 NoteHead \set #'style = #'vaticana_punctum
6828 Stem \set #'transparent = ##t
6834 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6835 \include "gregorian-init.ly"
6837 \notes \transpose c c' {
6838 % Scandicus Deminutus
6839 \[ g \pes a \pes \deminutum b \]
6846 \remove "Bar_number_engraver"
6850 \remove "Clef_engraver"
6851 \remove "Key_engraver"
6852 StaffSymbol \set #'transparent = ##t
6853 \remove "Time_signature_engraver"
6854 \remove "Bar_engraver"
6855 minimumVerticalExtent = ##f
6859 \remove Ligature_bracket_engraver
6860 \consists Vaticana_ligature_engraver
6861 NoteHead \set #'style = #'vaticana_punctum
6862 Stem \set #'transparent = ##t
6871 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6872 \include "gregorian-init.ly"
6874 \notes \transpose c c' {
6876 \[ g \oriscus a \pes \virga b \]
6883 \remove "Bar_number_engraver"
6887 \remove "Clef_engraver"
6888 \remove "Key_engraver"
6889 StaffSymbol \set #'transparent = ##t
6890 \remove "Time_signature_engraver"
6891 \remove "Bar_engraver"
6892 minimumVerticalExtent = ##f
6896 \remove Ligature_bracket_engraver
6897 \consists Vaticana_ligature_engraver
6898 NoteHead \set #'style = #'vaticana_punctum
6899 Stem \set #'transparent = ##t
6905 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6906 \include "gregorian-init.ly"
6908 \notes \transpose c c' {
6909 % Salicus Auctus Descendens
6910 \[ g \oriscus a \pes \auctum \descendens b \]
6917 \remove "Bar_number_engraver"
6921 \remove "Clef_engraver"
6922 \remove "Key_engraver"
6923 StaffSymbol \set #'transparent = ##t
6924 \remove "Time_signature_engraver"
6925 \remove "Bar_engraver"
6926 minimumVerticalExtent = ##f
6930 \remove Ligature_bracket_engraver
6931 \consists Vaticana_ligature_engraver
6932 NoteHead \set #'style = #'vaticana_punctum
6933 Stem \set #'transparent = ##t
6943 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6944 \include "gregorian-init.ly"
6946 \notes \transpose c c' {
6948 \[ \stropha b \stropha b \stropha a \]
6955 \remove "Bar_number_engraver"
6959 \remove "Clef_engraver"
6960 \remove "Key_engraver"
6961 StaffSymbol \set #'transparent = ##t
6962 \remove "Time_signature_engraver"
6963 \remove "Bar_engraver"
6964 minimumVerticalExtent = ##f
6968 \remove Ligature_bracket_engraver
6969 \consists Vaticana_ligature_engraver
6970 NoteHead \set #'style = #'vaticana_punctum
6971 Stem \set #'transparent = ##t
6983 Unlike most other neumes notation systems, the input language for
6984 neumes does not necessarily reflect directly the typographical
6985 appearance, but is designed to solely focuse on musical meaning. For
6986 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6987 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6988 a Porrectus with a curved flexa shape and only a single Punctum head.
6989 There is no command to explicitly typeset the curved flexa shape; the
6990 decision of when to typeset a curved flexa shape is purely taken from
6991 the musical input. The idea of this approach is to separate the
6992 musical aspects of the input from the notation style of the output.
6993 This way, the same input can be reused to typeset the same music in a
6994 different style of Gregorian chant notation such as Hufnagel (also
6995 known as German gothic neumes) or Medicaea (kind of a very simple
6996 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6997 engraver and Medicaea ligature engraver will have been implemented, it
6998 will be as simple as replacing the ligature engraver in the
6999 @internalsref{Voice} context to get the desired notation style from
7002 The following table shows the code fragments that produce the
7003 ligatures in the above neumes table. The letter in the first column
7004 in each line of the below table indicates to which ligature in the
7005 above table it refers. The second column gives the name of the
7006 ligature. The third column shows the code fragment that produces this
7007 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7009 @multitable @columnfractions .1 .4 .5
7023 Punctum Inclinatum @tab
7024 @code{\[ \inclinatum b \]}
7028 Punctum Auctum Ascendens @tab
7029 @code{\[ \auctum \ascendens b \]}
7033 Punctum Auctum Descendens @tab
7034 @code{\[ \auctum \descendens b \]}
7038 Punctum Inclinatum Auctum @tab
7039 @code{\[ \inclinatum \auctum b \]}
7043 Punctum Inclinatum Parvum @tab
7044 @code{\[ \inclinatum \deminutum b \]}
7049 @code{\[ \virga b \]}
7054 @code{\[ \stropha b \]}
7059 @code{\[ \stropha \auctum b \]}
7064 @code{\[ \oriscus b \]}
7068 Clivis vel Flexa @tab
7069 @code{\[ b \flexa g \]}
7073 Clivis Aucta Descendens @tab
7074 @code{\[ b \flexa \auctum \descendens g \]}
7078 Clivis Aucta Ascendens @tab
7079 @code{\[ b \flexa \auctum \ascendens g \]}
7084 @code{\[ b \flexa \deminutum g \]}
7088 Podatus vel Pes @tab
7089 @code{\[ g \pes b \]}
7093 Pes Auctus Descendens @tab
7094 @code{\[ g \pes \auctum \descendens b \]}
7098 Pes Auctus Ascendens @tab
7099 @code{\[ g \pes \auctum \ascendens b \]}
7104 @code{\[ g \pes \deminutum b \]}
7109 @code{\[ \oriscus g \pes \virga b \]}
7113 Pes Quassus Auctus Descendens @tab
7114 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7119 @code{\[ \quilisma g \pes b \]}
7123 Quilisma Pes Auctus Descendens @tab
7124 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7128 Pes Initio Debilis @tab
7129 @code{\[ \deminutum g \pes b \]}
7133 Pes Auctus Descendens Initio Debilis @tab
7134 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7139 @code{\[ a \pes b \flexa g \]}
7143 Torculus Auctus Descendens @tab
7144 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7148 Torculus Deminutus @tab
7149 @code{\[ a \pes b \flexa \deminutum g \]}
7153 Torculus Initio Debilis @tab
7154 @code{\[ \deminutum a \pes b \flexa g \]}
7158 Torculus Auctus Descendens Initio Debilis @tab
7159 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7163 Torculus Deminutus Initio Debilis @tab
7164 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7169 @code{\[ a \flexa g \pes b \]}
7173 Porrectus Auctus Descendens @tab
7174 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7178 Porrectus Deminutus @tab
7179 @code{\[ a \flexa g \pes \deminutum b \]}
7184 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7188 Climacus Auctus @tab
7189 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7193 Climacus Deminutus @tab
7194 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7199 @code{\[ g \pes a \virga b \]}
7203 Scandicus Auctus Descendens @tab
7204 @code{\[ g \pes a \pes \auctum \descendens b \]}
7208 Scandicus Deminutus @tab
7209 @code{\[ g \pes a \pes \deminutum b \]}
7214 @code{\[ g \oriscus a \pes \virga b \]}
7218 Salicus Auctus Descendens @tab
7219 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7224 @code{\[ \stropha b \stropha b \stropha a \]}
7230 The following head prefixes are supported:
7232 @cindex @code{\virga}
7234 @cindex @code{\stropha}
7236 @cindex @code{\inclinatum}
7238 @cindex @code{\auctum}
7240 @cindex @code{\descendens}
7242 @cindex @code{\ascendens}
7244 @cindex @code{\oriscus}
7246 @cindex @code{\quilisma}
7248 @cindex @code{\deminutum}
7251 Head prefixes can be accumulated, though restrictions apply. For
7252 example, either @code{\descendens} or @code{\ascendens} can be applied
7253 to a head, but not both to the same head.
7256 @cindex @code{\flexa}
7257 Two adjacent heads can be tied together with the @code{\pes} and
7258 @code{\flexa} infix commands for a rising and falling line of melody,
7263 Trigonus: apply equal spacing, regardless of pitch.
7266 @subsection Figured bass
7268 @cindex Basso continuo
7270 @c TODO: musicological blurb about FB
7274 LilyPond has limited support for figured bass:
7276 @lilypond[verbatim,fragment]
7278 \context Voice \notes { \clef bass dis4 c d ais}
7279 \context FiguredBass
7281 < 6 >4 < 7 >8 < 6+ [_!] >
7287 The support for figured bass consists of two parts: there is an input
7288 mode, introduced by @code{\figures}, where you can enter bass figures
7289 as numbers, and there is a context called @internalsref{FiguredBass} that
7290 takes care of making @internalsref{BassFigure} objects.
7292 In figures input mode, a group of bass figures is delimited by
7293 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7298 \context FiguredBass
7302 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7309 \context FiguredBass
7310 \figures { <4- 6+ 7!> }
7313 Spaces or dashes may be inserted by using @code{_}. Brackets are
7314 introduced with @code{[} and @code{]}:
7320 \context FiguredBass
7321 \figures { < [4 6] 8 [_! 12]> }
7324 Although the support for figured bass may superficially resemble chord
7325 support, it works much simpler. The @code{\figures} mode simply
7326 stores the numbers , and @internalsref{FiguredBass} context prints
7327 them as entered. There is no conversion to pitches, and no
7328 realizations of the bass are played in the MIDI file.
7330 Internally, the code produces markup texts. You can use any of the
7331 markup text properties to override formatting. For example, the
7332 vertical spacing of the figures may be set with @code{baseline-skip}.
7336 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7337 and @internalsref{FiguredBass} context.
7341 Slash notation for alterations is not supported.
7344 @node Vaticana style contexts
7345 @subsection Vaticana style contexts
7347 @cindex VaticanaVoiceContext
7348 @cindex VaticanaStaffContext
7350 The predefined @code{VaticanaVoiceContext} and
7351 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7352 Gregorian Chant in the style of the Editio Vaticana. These contexts
7353 initialize all relevant context properties and grob properties to
7354 proper values. With these contexts, you can immediately go ahead
7355 entering the chant, as the following short excerpt demonstrates:
7357 @lilypond[raggedright,verbatim,noindent]
7358 \include "gregorian-init.ly"
7361 \context VaticanaVoice {
7362 \property Score.BarNumber \set #'transparent = ##t
7364 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7365 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7366 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7369 \lyricsto "" \new LyricsVoice \lyrics {
7370 San- ctus, San- ctus, San- ctus
7376 @node Contemporary notation
7377 @section Contemporary notation
7379 In the 20th century, composers have greatly expanded the musical
7380 vocabulary. With this expansion, many innovations in musical notation
7381 have been tried. The book by Stone (1980) gives a comprehensive
7382 overview (see @ref{Literature list}). In general, the use of new,
7383 innovative notation makes a piece harder to understand and perform and
7384 its use should therefore be avoided if possible. For this reason,
7385 support for contemporary notation in LilyPond is limited.
7394 @subsection Clusters
7398 In musical terminology, a @emph{cluster} denotes a range of
7399 simultaneously sounding pitches that may change over time. The set of
7400 available pitches to apply usually depends on the accoustic source.
7401 Thus, in piano music, a cluster typically consists of a continous range
7402 of the semitones as provided by the piano's fixed set of a chromatic
7403 scale. In choral music, each singer of the choir typically may sing an
7404 arbitrary pitch within the cluster's range that is not bound to any
7405 diatonic, chromatic or other scale. In electronic music, a cluster
7406 (theoretically) may even cover a continuous range of pitches, thus
7407 resulting in coloured noise, such as pink noise.
7409 Clusters can be denoted in the context of ordinary staff notation by
7410 engraving simple geometrical shapes that replace ordinary notation of
7411 notes. Ordinary notes as musical events specify starting time and
7412 duration of pitches; however, the duration of a note is expressed by the
7413 shape of the note head rather than by the horizontal graphical extent of
7414 the note symbol. In contrast, the shape of a cluster geometrically
7415 describes the development of a range of pitches (vertical extent) over
7416 time (horizontal extent). Still, the geometrical shape of a cluster
7417 covers the area in wich any single pitch contained in the cluster would
7418 be notated as an ordinary note. From this point of view, it is
7419 reasonable to specify a cluster as the envelope of a set of notes.
7423 A cluster is engraved as the envelope of a set of
7424 cluster-notes. Cluster notes are created by applying the function
7425 @code{notes-to-clusters} to a sequence of chords, e.g.
7427 @lilypond[relative 1,verbatim]
7428 \apply #notes-to-clusters { <c e > <b f'> }
7431 The following example (from
7432 @inputfileref{input/regression,cluster.ly}) shows what the result
7435 @lilypondfile[notexidoc]{cluster.ly}
7437 By default, @internalsref{Cluster_spanner_engraver} is in the
7438 @internalsref{Voice} context. This allows putting ordinary notes and
7439 clusters together in the same staff, even simultaneously. In such a
7440 case no attempt is made to automatically avoid collisions between
7441 ordinary notes and clusters.
7445 Internals: @internalsref{ClusterSpanner},
7446 @internalsref{ClusterSpannerBeacon},
7447 @internalsref{Cluster_spanner_engraver}, and
7448 @internalsref{ClusterNoteEvent}.
7450 Examples: @inputfileref{input/regression,cluster.ly}.
7454 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7455 accurately. Use @code{<g a>8 <e a>8} instead.
7460 @subsection Fermatas
7466 Contemporary music notation frequently uses special fermata symbols to
7467 indicate fermatas of differing lengths.
7471 The following are supported
7473 @lilypond[singleline]
7475 << \addlyrics \notes {
7495 \context Lyrics \lyrics {
7496 "shortfermata" "fermata" "longfermata" "verylongfermata"
7501 See @ref{Articulations} for general instructions how to apply scripts
7502 such as fermatas to a @code{\notes@{@}} block.
7505 @section Tuning output
7507 There are situations where default layout decisions are not
7508 sufficient. In this section we discuss ways to override these
7511 Formatting is internally done by manipulating so called objects
7512 (graphic objects). Each object carries with it a set of properties
7513 (object or layout properties) specific to that object. For example, a
7514 stem object has properties that specify its direction, length and
7517 The most direct way of tuning the output is by altering the values of
7518 these properties. There are two ways of doing that: first, you can
7519 temporarily change the definition of one type of object, thus
7520 affecting a whole set of objects. Second, you can select one specific
7521 object, and set a layout property in that object.
7523 Do not confuse layout properties with translation
7524 properties. Translation properties always use a mixed caps style
7525 naming, and are manipulated using @code{\property}:
7527 \property Context.propertyName = @var{value}
7530 Layout properties are use Scheme style variable naming, i.e. lower
7531 case words separated with dashes. They are symbols, and should always
7532 be quoted using @code{#'}. For example, this could be an imaginary
7533 layout property name:
7535 #'layout-property-name
7540 The introduction of the @ref{Technical manual} gives a more in-depth
7541 treatment of the difference between translation and layout.
7545 * Constructing a tweak::
7553 @node Tuning objects
7554 @subsection Tuning objects
7556 @cindex object description
7558 The definition of an object is a list of default object
7559 properties. For example, the definition of the Stem object (available
7560 in @file{scm/define-grobs.scm}), includes the following definitions
7561 for @internalsref{Stem}:
7565 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7566 (Y-extent-callback . ,Stem::height)
7571 Adding variables on top of this existing definition overrides the
7572 system default, and alters the resulting appearance of the layout
7578 Changing a variable for only one object is commonly achieved with
7582 \once \property @var{context}.@var{objectname}
7583 \override @var{symbol} = @var{value}
7585 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7586 and @var{objectname} is a string and @var{value} is a Scheme expression.
7587 This command applies a setting only during one moment in the score.
7589 In the following example, only one @internalsref{Stem} object is
7590 changed from its original setting:
7592 @lilypond[verbatim, fragment, relative=1]
7594 \once \property Voice.Stem \set #'thickness = #4
7598 @cindex @code{\once}
7600 For changing more objects, the same command, without @code{\once} can
7603 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7605 This command adds @code{@var{symbol} = @var{value}} to the definition
7606 of @var{objectname} in the context @var{context}, and this definition
7607 stays in place until it is removed.
7609 An existing definition may be removed by the following command:
7612 \property @var{context}.@var{objectname} \revert @var{symbol}
7615 All @code{\override} and @code{\revert} commands should be balanced.
7616 The @code{\set} shorthand performs a revert followed by an override,
7617 and is often more convenient to use
7620 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7624 @lilypond[verbatim,quote]
7625 c'4 \property Voice.Stem \override #'thickness = #4.0
7627 c'4 \property Voice.Stem \revert #'thickness
7631 The following example gives exactly the same result as the previous
7632 one (assuming the system default for stem thickness is 1.3):
7634 @lilypond[verbatim,quote]
7635 c'4 \property Voice.Stem \set #'thickness = #4.0
7637 c'4 \property Voice.Stem \set #'thickness = #1.3
7641 Reverting a setting which was not set in the first place has no
7642 effect. However, if the setting was set as a system default, this may
7643 remove the default value, and this may give surprising results,
7644 including crashes. In other words, @code{\override} and
7645 @code{\revert} must be carefully balanced. The following are examples
7646 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7650 a clumsy but correct form:
7652 \override \revert \override \revert \override \revert
7656 shorter version of the same:
7658 \override \set \set \revert
7662 a short form, using only @code{\set}. This requires you to know the
7665 \set \set \set \set @var{to default value}
7669 if there is no default (i.e. by default, the object property is unset),
7672 \set \set \set \revert
7676 The object description is an Scheme association list. Since a Scheme
7677 list is a singly linked list, we can treat it as a stack, and
7678 @code{\override} and @code{\revert} are push and pop operations. The
7679 association list is stored in a normal context property, hence
7681 \property Voice.NoteHead = #'()
7683 will effectively erase @internalsref{NoteHead}s from the current
7684 @internalsref{Voice}. Typically, this will blank the object. However,
7685 this mechanism should not be used: it may cause crashes or other
7690 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7691 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7692 @internalsref{All-layout-objects}.
7697 The backend is not very strict in type-checking object properties.
7698 Cyclic references in Scheme values for properties cause hangs and/or
7699 crashes. Reverting properties that are system defaults may also lead
7702 A property tweak of modifies a local copy of the object definition.
7703 After such a tweak, the definition is independent of the objects in
7704 enclosing contexts. For example
7707 \property Voice.Stem \set #'neutral-direction = #1
7709 \property Staff.Stem \set #'thickness = #4.0
7714 In this fragment, @code{neutral-direction} is tweaked. As a result,
7715 the current @internalsref{Voice} gets a private version of the
7716 @internalsref{Stem} object. The following tweak modifies the
7717 definition at @internalsref{Staff} level. Since it a different
7718 definition, the thickness of the @code{b'16} is unaffected. For the
7719 third note, a new Voice is created, which inherits the new definition,
7720 including the changed thickness, but excluding the new neutral
7726 * Constructing a tweak::
7732 @node Constructing a tweak
7733 @subsection Constructing a tweak
7736 @cindex internal documentation
7737 @cindex finding graphical objects
7738 @cindex graphical object descriptions
7740 @cindex @code{\override}
7742 @cindex internal documentation
7746 Three pieces of information are required to use @code{\override} and
7747 @code{\set}: the name of the layout object, the context and the name
7748 of the property. We demonstrate how to glean this information from
7749 the notation manual and the generated documentation.
7751 The generated documentation is a set of HTML pages which should be
7752 included if you installed a binary distribution, typically in
7753 @file{/usr/share/doc/lilypond}. They are also available on the web:
7754 go to the @uref{http://lilypond.org,LilyPond website}, click
7755 ``Documentation'', select the correct version, and click then
7756 ``Program reference.'' It is advisable to bookmark the local HTML
7757 files. They will load faster than the ones on the web. If you use the
7758 version from the web, you must check whether the documentation matches
7759 the program version: it is generated from the definitions that the
7760 program uses, and therefore it is strongly tied to the LilyPond
7764 @c [TODO: revise for new site.]
7766 Suppose we want to move the fingering indication in the fragment below:
7768 @lilypond[relative=2,verbatim]
7774 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7775 instructions}), you will notice that there is written:
7780 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7787 In other words, the fingerings once entered, are internally stored as
7788 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7789 layout object is created for every @code{FingerEvent}.
7791 The Fingering object has a number of different functions, and each of
7792 those is captured in an interface. The interfaces are listed under
7793 @internalsref{Fingering} in the program reference.
7797 The @code{Fingering} object has a fixed size
7798 (@internalsref{item-interface}), the symbol is a piece of text
7799 (@internalsref{text-interface}), whose font can be set
7800 (@internalsref{font-interface}). It is centered horizontally
7801 (@internalsref{self-alignment-interface}), it is placed next to other
7802 objects (@internalsref{side-position-interface}) vertically, and its
7803 placement is coordinated with other scripts
7804 (@internalsref{text-script-interface}). It also has the standard
7805 @internalsref{grob-interface} (grob stands for Graphical object)
7807 @cindex graphical object
7808 @cindex layout object
7809 @cindex object, layout
7810 with all the variables that come with
7811 it. Finally, it denotes a fingering instruction, so it has
7812 @internalsref{finger-interface}.
7814 For the vertical placement, we have to look under
7815 @code{side-position-interface}:
7817 @code{side-position-interface}
7819 Position a victim object (this one) next to other objects (the
7820 support). In this case, the property @code{direction} signifies where to put the
7821 victim object relative to the support (left or right, up or down?)
7826 below this description, the variable @code{padding} is described as
7830 (dimension, in staff space)
7832 add this much extra space between objects that are next to each
7833 other. Default value: @code{0.6}
7837 By increasing the value of @code{padding}, we can move away the
7838 fingering. The following command inserts 3 staff spaces of white
7839 between the note and the fingering:
7841 \once \property Voice.Fingering \set #'padding = #3
7844 Inserting this command before the Fingering object is created,
7845 i.e. before @code{c2}, yields the following result:
7847 @lilypond[relative=2,fragment,verbatim]
7848 \once \property Voice.Fingering
7855 The context name @code{Voice} in the example above can be determined
7856 as follows. In the documentation for @internalsref{Fingering}, it says
7858 Fingering grobs are created by: @internalsref{Fingering_engraver}
7861 Clicking @code{Fingering_engraver} shows the documentation of
7862 the module responsible for interpreting the fingering instructions and
7863 translating them to a @code{Fingering} object. Such a module is called
7864 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7867 Fingering_engraver is part of contexts: Voice
7869 so tuning the settings for Fingering should be done with
7871 \property Voice.Fingering \set @dots{}
7874 Of course, the tweak may also done in a larger context than
7875 @code{Voice}, for example, @internalsref{Staff} or
7876 @internalsref{Score}.
7880 Internals: the program reference also contains alphabetical lists of
7881 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7882 @internalsref{Music-expressions}, so you can also find which objects
7883 to tweak by browsing the internals document.
7887 @subsection Applyoutput
7889 The most versatile way of tuning an object is @code{\applyoutput}. Its
7892 \applyoutput @var{proc}
7896 where @var{proc} is a Scheme function, taking three arguments.
7898 When interpreted, the function @var{proc} is called for every layout
7899 object found in the context, with the following arguments:
7901 @item the layout object itself,
7902 @item the context where the layout object was created, and
7903 @item the context where @code{\applyoutput} is processed.
7907 In addition, the cause of the layout object, i.e. the music
7908 expression or object that was responsible for creating it, is in the
7909 object property @code{cause}. For example, for a note head, this is a
7910 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7911 this is a @internalsref{NoteHead} object.
7913 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7916 (define (blanker grob grob-origin context)
7917 (if (and (memq (ly:get-grob-property grob 'interfaces)
7918 note-head-interface)
7919 (eq? (ly:get-grob-property grob 'staff-position) 0))
7921 (ly:set-grob-property! grob 'transparent #t)))
7926 @node Font selection
7927 @subsection Font selection
7929 The most common thing to change about the appearance of fonts is their
7930 size. The font size of any context can be easily changed by setting
7931 the @code{fontSize} property for that context. Its value is a number:
7932 negative numbers make the font smaller, positive numbers larger. An
7933 example is given below:
7935 @lilypond[fragment,relative=1,verbatim,quote]
7936 c4 c4 \property Voice.fontSize = #-1
7939 This command will set @code{font-size} (see below), and does
7940 not change the size of variable symbols, such as beams or slurs.
7942 One of the uses of @code{fontSize} is to get smaller symbols for cue
7943 notes. An elaborate example of those is in
7944 @inputfileref{input/test,cue-notes.ly}.
7946 @cindex magnification
7949 The font used for printing a object can be selected by setting
7950 @code{font-name}, e.g.
7952 \property Staff.TimeSignature
7953 \set #'font-name = #"cmr17"
7957 Any font can be used, as long as it is available to @TeX{}. Possible
7958 fonts include foreign fonts or fonts that do not belong to the
7959 Computer Modern font family. The size of fonts selected in this way
7960 can be changed with the @code{font-magnification} property. For
7961 example, @code{2.0} blows up all letters by a factor 2 in both
7965 @cindex font magnification
7967 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7968 can also be adjusted with a more fine-grained mechanism. By setting
7969 the object properties described below, you can select a different font;
7970 all three mechanisms work for every object that supports
7971 @code{font-interface}:
7976 is a symbol indicating the general class of the typeface. Supported are
7977 @code{roman} (Computer Modern), @code{braces} (for piano staff
7978 braces), @code{music} (the standard music font, including ancient
7979 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7982 is a symbol indicating the shape of the font, there are typically several
7983 font shapes available for each font family. Choices are @code{italic},
7984 @code{caps} and @code{upright}.
7987 is a symbol indicating the series of the font. There are typically several
7988 font series for each font family and shape. Choices are @code{medium}
7993 For any of these properties, the value @code{*} (i.e. the symbol
7994 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7995 to override default setting, which are always present. For example:
7997 \property Lyrics . LyricText \override #'font-series = #'bold
7998 \property Lyrics . LyricText \override #'font-family = #'typewriter
7999 \property Lyrics . LyricText \override #'font-shape = #'*
8002 @cindex @code{font-style}
8004 The font size is set by modifying the @code{font-size} property. Its
8005 value is a number indicating the size relative to the standard size.
8006 Each step up is an increase of approximately 12% of the font size. Six
8007 steps is exactly a factor two. The Scheme function @code{magstep}
8008 converts a @code{font-size} number to a scaling factor.
8010 LilyPond has fonts in different design sizes: the music fonts for
8011 smaller sizes are chubbier, while the text fonts are relatively wider.
8012 Font size changes are achieved by scaling the design size that is
8013 closest to the desired size.
8015 The @code{font-size} mechanism does not work for fonts selected
8016 through @code{font-name}. These may be scaled with
8017 @code{font-magnification}.
8021 The following commands set @code{fontSize} for the current voice.
8023 @cindex @code{\tiny}
8025 @cindex @code{\small}
8027 @cindex @code{\normalsize}
8032 Init files: @file{ly/paper20.ly} contains hints how new fonts may be
8037 There is no style sheet provided for other fonts besides the @TeX{}
8038 Computer Modern family.
8040 @cindex font selection
8041 @cindex font magnification
8042 @cindex @code{font-interface}
8046 @subsection Text markup
8051 @cindex typeset text
8053 LilyPond has an internal mechanism to typeset texts. You can access it
8054 with the keyword @code{\markup}. Within markup mode, you can enter texts
8055 similar to lyrics: simply enter them, surrounded by spaces:
8058 @lilypond[verbatim,fragment,relative=1]
8059 c1^\markup { hello }
8060 c1_\markup { hi there }
8061 c1^\markup { hi \bold there, is \italic anyone home? }
8064 @cindex font switching
8066 The markup in the example demonstrates font switching commands. The
8067 command @code{\bold} and @code{\italic} only apply to the first
8068 following word; enclose a set of texts with braces to apply a command
8071 \markup @{ \bold @{ hi there @} @}
8075 For clarity, you can also do this for single arguments, e.g.
8077 \markup @{ is \italic @{ anyone @} home @}
8080 @cindex font size, texts
8082 The following size commands set absolute sizes:
8084 @cindex @code{\teeny}
8085 @cindex @code{\tiny}
8086 @cindex @code{\small}
8087 @cindex @code{\large}
8088 @cindex @code{\huge}
8098 You can also make letter larger or smaller relative to their neighbors,
8099 with the commands @code{\larger} and @code{\smaller}.
8103 @cindex font style, for texts
8104 @cindex @code{\bold}
8105 @cindex @code{\dynamic}
8106 @cindex @code{\number}
8107 @cindex @code{\italic}
8109 The following font change commands are defined:
8112 changes to the font used in dynamic signs. This font does not
8113 contain all characters of the alphabet, so when producing ``piu f'',
8114 the ``piu'' should be done in a different font.
8118 changes to the font used in time signatures. It only contains
8119 numbers and a few punctuation marks.
8121 changes @code{font-shape} to @code{italic}.
8123 changes @code{font-series} to @code{bold}.
8126 @cindex raising text
8127 @cindex lowering text
8129 @cindex translating text
8132 @cindex @code{\super}
8134 Raising and lowering texts can be done with @code{\super} and
8137 @lilypond[verbatim,fragment,relative=1]
8138 c1^\markup { E "=" mc \super "2" }
8141 @cindex @code{\raise}
8143 If you want to give an explicit amount for lowering or raising, use
8144 @code{\raise}. This command takes a Scheme valued first argument, and
8145 a markup object as second argument:
8147 @lilypond[verbatim,fragment,relative=1,quote]
8148 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8150 The argument to @code{\raise} is the vertical displacement amount,
8151 measured in (global) staff spaces. @code{\raise} and @code{\super}
8152 raise objects in relation to their surrounding markups. They cannot be
8153 used to move a single text up or down, when it is above or below a
8154 note, since the mechanism that positions it next to the note cancels
8155 any vertical shift. For vertical positioning, use the @code{padding}
8156 and/or @code{extra-offset} properties.
8158 Other commands taking single arguments include
8161 @item \bracket, \hbracket
8162 Bracket the argument markup with normal and horizontal brackets
8166 @cindex @code{\musicglyph}
8167 This is converted to a musical symbol, e.g. @code{\musicglyph
8168 #"accidentals-0"} will select the natural sign from the music font.
8169 See @ref{The Feta font} for a complete listing of the possible glyphs.
8172 This produces a single character, e.g. @code{\char #65} produces the
8175 @item \note @var{duration} @var{dir}
8176 @cindex @code{\note}
8178 This produces a note with a stem pointing in @var{dir} direction, with
8179 the @var{duration} for the note head type and augmentation dots. For
8180 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8181 a shortened down stem.
8183 @item \hspace #@var{amount}
8184 @cindex @code{\hspace}
8185 This produces a invisible object taking horizontal space.
8187 \markup @{ A \hspace #2.0 B @}
8189 will put extra space between A and B, on top of the space that is
8190 normally inserted before elements on a line.
8192 @item \fontsize #@var{size}
8193 @cindex @code{\fontsize}
8194 This sets the relative font size, eg.
8196 A \fontsize #2 @{ B C @} D
8200 This will enlarge the B and the C by two steps.
8201 @item \translate #(cons @var{x} @var{y})
8203 This translates an object. Its first argument is a cons of numbers
8205 A \translate #(cons 2 -3) @{ B C @} D
8207 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8208 surroundings. This command cannot be used to move isolated scripts
8209 vertically, for the same reason that @code{\raise} cannot be used for
8212 @item \magnify #@var{mag}
8213 @cindex @code{\magnify}
8214 This sets the font magnification for the its argument. In the following
8215 example, the middle A will be 10% larger:
8217 A \magnify #1.1 @{ A @} A
8221 @item \override #(@var{key} . @var{value})
8222 @cindex @code{\override}
8223 This overrides a formatting property for its argument. The argument
8224 should be a key/value pair, e.g.
8226 m \override #'(font-family . math) m m
8230 In markup mode you can compose expressions, similar to mathematical
8231 expressions, XML documents and music expressions. The braces group
8232 notes into horizontal lines. Other types of lists also exist: you can
8233 stack expressions grouped with @code{<}, and @code{>} vertically with
8234 the command @code{\column}. Similarly, @code{\center} aligns texts by
8237 @lilypond[verbatim,fragment,relative=1]
8238 c1^\markup { \column < a bbbb c > }
8239 c1^\markup { \center < a bbbb c > }
8240 c1^\markup { \line < a b c > }
8244 Markups can be stored in variables, and these variables
8245 may be attached to notes, like
8247 allegro = \markup { \bold \large { Allegro } }
8248 \notes { a^\allegro b c d }
8251 The markup mechanism is extensible. Refer to
8252 @file{scm/new-markup.scm} for more information.
8255 Some objects have alignment procedures of their own, which cancel out
8256 any effects of alignments applied to their markup arguments as a
8257 whole. For example, the @internalsref{RehearsalMark} is horizontally
8258 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8259 effect. Similarly, whole texts over notes cannot be moved vertically
8260 with @code{\raise}. For moving and aligning complete objects, grob
8261 properties should be used.
8265 Internals: @internalsref{Markup-functions} contains a complete list of
8266 all markup commands.
8268 Init files: @file{scm/new-markup.scm}.
8275 Text layout is ultimately done by @TeX{}, which does kerning of
8276 letters. LilyPond does not account for kerning, so texts will be
8277 spaced slightly too wide.
8279 Syntax errors for markup mode are confusing.
8281 Markup texts cannot be used in the titling of the @code{\header}
8282 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8291 @section Global layout
8293 The global layout determined by three factors: the page layout, the
8294 line breaks and the spacing. These all influence each other. The
8295 choice of spacing determines how densely each system of music is set,
8296 which influences where line breaks breaks are chosen, and thus
8297 ultimately how many pages a piece of music takes. This section
8298 explains how to tune the algorithm for spacing.
8300 Globally spoken, this procedure happens in three steps: first,
8301 flexible distances (``springs'') are chosen, based on durations. All
8302 possible line breaking combination are tried, and the one with the
8303 best results---a layout that has uniform density and requires as
8304 little stretching or cramping as possible---is chosen. When the score
8305 is processed by @TeX{}, each page is filled with systems, and page breaks
8306 are chosen whenever the page gets full.
8311 * Vertical spacing::
8312 * Horizontal spacing::
8319 @node Vertical spacing
8320 @subsection Vertical spacing
8322 @cindex vertical spacing
8323 @cindex distance between staves
8324 @cindex staff distance
8325 @cindex between staves, distance
8326 @cindex staffs per page
8327 @cindex space between staves
8329 The height of each system is determined automatically by LilyPond, to
8330 keep systems from bumping into each other, some minimum distances are
8331 set. By changing these, you can put staves closer together, and thus
8332 put more systems onto one page.
8334 Normally staves are stacked vertically. To make
8335 staves maintain a distance, their vertical size is padded. This is
8336 done with the property @code{minimumVerticalExtent}. It takes a pair
8337 of numbers, so if you want to make it smaller from its, then you could
8340 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8342 This sets the vertical size of the current staff to 4 staff spaces on
8343 either side of the center staff line. The argument of
8344 @code{minimumVerticalExtent} is interpreted as an interval, where the
8345 center line is the 0, so the first number is generally negative. The
8346 staff can be made larger at the bottom by setting it to @code{(-6
8349 The piano staves are handled a little differently: to make cross-staff
8350 beaming work correctly, it is necessary that the distance between staves
8351 is fixed beforehand. This is also done with a
8352 @internalsref{VerticalAlignment} object, created in
8353 @internalsref{PianoStaff}. In this object the distance between the
8354 staves is fixed by setting @code{forced-distance}. If you want to
8355 override this, use a @code{\translator} block as follows:
8359 VerticalAlignment \override #'forced-distance = #9
8362 This would bring the staves together at a distance of 9 staff spaces,
8363 measured from the center line of each staff.
8367 Internals: Vertical alignment of staves is handled by the
8368 @internalsref{VerticalAlignment} object.
8372 @node Horizontal spacing
8373 @subsection Horizontal Spacing
8375 The spacing engine translates differences in durations into
8376 stretchable distances (``springs'') of differing lengths. Longer
8377 durations get more space, shorter durations get less. The shortest
8378 durations get a fixed amount of space (which is controlled by
8379 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8380 /The longer the duration, the more space it gets: doubling a
8381 duration adds a fixed amount (this amount is controlled by
8382 @code{spacing-increment}) of space to the note.
8384 For example, the following piece contains lots of half, quarter and
8385 8th notes, the eighth note is followed by 1 note head width (NHW).
8386 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8387 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8391 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8392 width of a note head, and @code{shortest-duration-space} is set to
8393 2.0, meaning that the shortest note gets 2 NHW (2 times
8394 @code{shortest-duration-space}) of space. For normal notes, this space
8395 is always counted from the left edge of the symbol, so the shortest
8396 notes are generally followed by one NHW of space.
8398 If one would follow the above procedure exactly, then adding a single
8399 32th note to a score that uses 8th and 16th notes, would widen up the
8400 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8401 thus adding 1 NHW to every note. To prevent this, the
8402 shortest duration for spacing is not the shortest note in the score,
8403 but the most commonly found shortest note. Notes that are even
8404 shorter this are followed by a space that is proportional to their
8405 duration relative to the common shortest note. So if we were to add
8406 only a few 16th notes to the example above, they would be followed by
8409 @lilypond[fragment, verbatim, relative=2]
8410 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8413 The most common shortest duration is determined as follows: in every
8414 measure, the shortest duration is determined. The most common short
8415 duration, is taken as the basis for the spacing, with the stipulation
8416 that this shortest duration should always be equal to or shorter than
8417 1/8th note. The shortest duration is printed when you run lilypond
8418 with @code{--verbose}. These durations may also be customized. If you
8419 set the @code{common-shortest-duration} in
8420 @internalsref{SpacingSpanner}, then this sets the base duration for
8421 spacing. The maximum duration for this base (normally 1/8th), is set
8422 through @code{base-shortest-duration}.
8424 @cindex @code{common-shortest-duration}
8425 @cindex @code{base-shortest-duration}
8426 @cindex @code{stem-spacing-correction}
8427 @cindex @code{spacing}
8429 In the introduction it was explained that stem directions influence
8430 spacing. This is controlled with @code{stem-spacing-correction}
8431 property in @internalsref{NoteSpacing}, which are generated for every
8432 @internalsref{Voice} context. The @code{StaffSpacing} object
8433 (generated at @internalsref{Staff} context) contains the same property
8434 for controlling the stem/barline spacing. The following example
8435 shows these corrections, once with default settings, and once with
8436 exaggerated corrections:
8442 \property Staff.NoteSpacing \override #'stem-spacing-correction
8444 \property Staff.StaffSpacing \override #'stem-spacing-correction
8449 \paper { raggedright = ##t } }
8452 @cindex SpacingSpanner, overriding properties
8454 Properties of the @internalsref{SpacingSpanner} must be overridden
8455 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8456 created before any @code{\property} statements are interpreted.
8458 \paper @{ \translator @{
8460 SpacingSpanner \override #'spacing-increment = #3.0
8467 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8468 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8469 @internalsref{SeparatingGroupSpanner}.
8473 Spacing is determined on a score wide basis. If you have a score that
8474 changes its character (measured in durations) halfway during the
8475 score, the part containing the longer durations will be spaced too
8478 There is no convenient mechanism to manually override spacing.
8483 @subsection Font size
8484 @cindex font size, setting
8485 @cindex staff size, setting
8486 @cindex @code{paper} file
8488 The Feta font provides musical symbols at eight seven different
8489 sizes. Each font is tuned for a different staff size: at smaller sizes
8490 the font gets heavier, to match the relatively heavier staff lines.
8491 The recommended font sizes are listed in the following table:
8493 @multitable @columnfractions .25 .25 .25 .25
8496 @tab @b{staff height (pt)}
8497 @tab @b{staff height (mm)}
8539 @c modern rental material ?
8543 These fonts are available in any sizes. The context property
8544 @code{fontSize} and the layout property @code{staff-space} (in
8545 @internalsref{StaffSymbol}) can be used to tune size for individual
8546 staffs. The size of individual staffs are relative to the global size,
8547 which can be set in the following manner:
8550 #(set-staff-size 14)
8553 This sets the global default size to 14pt staff height, and scales all
8559 @subsection Line breaking
8562 @cindex breaking lines
8564 Line breaks are normally computed automatically. They are chosen such
8565 that lines look neither cramped nor loose, and that consecutive lines
8566 have similar density.
8568 Occasionally you might want to override the automatic breaks; you can
8569 do this by specifying @code{\break}. This will force a line break at
8570 this point. Line breaks can only occur at places where there are bar
8571 lines. If you want to have a line break where there is no bar line,
8572 you can force an invisible bar line by entering @code{\bar
8573 ""}. Similarly, @code{\noBreak} forbids a line break at a
8577 @cindex regular line breaks
8578 @cindex four bar music.
8580 For linebreaks at regular intervals use @code{\break} separated by
8581 skips and repeated with @code{\repeat}:
8583 << \repeat unfold 7 @{
8584 s1 \noBreak s1 \noBreak
8585 s1 \noBreak s1 \break @}
8586 @emph{the real music}
8591 This makes the following 28 measures (assuming 4/4 time) be broken every
8592 4 measures, and only there.
8596 @code{\break}, @code{\noBreak}
8597 @cindex @code{\break}
8598 @cindex @code{\noBreak}
8602 Internals: @internalsref{BreakEvent}.
8606 @subsection Page layout
8609 @cindex breaking pages
8611 @cindex @code{indent}
8612 @cindex @code{linewidth}
8614 The most basic settings influencing the spacing are @code{indent} and
8615 @code{linewidth}. They are set in the @code{\paper} block. They
8616 control the indentation of the first line of music, and the lengths of
8619 If @code{raggedright} is set to true in the @code{\paper}
8620 block, then the lines are justified at their natural length. This
8621 useful for short fragments, and for checking how tight the natural
8625 @cindex vertical spacing
8627 The page layout process happens outside the LilyPond formatting
8628 engine: variables controlling page layout are passed to the output,
8629 and are further interpreted by @code{lilypond} wrapper program. It
8630 responds to the following variables in the @code{\paper} block. The
8631 variable @code{textheight} sets the total height of the music on each
8632 page. The spacing between systems is controlled with
8633 @code{interscoreline}, its default is 16pt. The distance between the
8634 score lines will stretch in order to fill the full page
8635 @code{interscorelinefill} is set to a positive number. In that case
8636 @code{interscoreline} specifies the minimum spacing.
8638 @cindex @code{textheight}
8639 @cindex @code{interscoreline}
8640 @cindex @code{interscorelinefill}
8642 If the variable @code{lastpagefill} is defined,
8643 @c fixme: this should only be done if lastpagefill == #t
8644 systems are evenly distributed vertically on the last page. This
8645 might produce ugly results in case there are not enough systems on the
8646 last page. The @command{lilypond-book} command ignores
8647 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8650 @cindex @code{lastpagefill}
8652 Page breaks are normally computed by @TeX{}, so they are not under
8653 direct control of LilyPond. However, you can insert a commands into
8654 the @file{.tex} output to instruct @TeX{} where to break pages. This
8655 is done by setting the @code{between-systems-strings} on the
8656 @internalsref{NonMusicalPaperColumn} where the system is broken.
8657 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8658 The predefined command @code{\newpage} also does this.
8662 @cindex @code{papersize}
8664 To change the paper size, use the following Scheme code:
8667 #(set-paper-size "a4")
8674 @cindex @code{\newpage}
8680 In this manual @ref{Invoking lilypond}
8682 Examples: @inputfileref{input/regression,between-systems.ly}
8684 Internals: @internalsref{NonMusicalPaperColumn}.
8688 LilyPond has no concept of page layout, which makes it difficult to
8689 reliably choose page breaks in longer pieces.
8698 Entered music can also be converted to MIDI output. The performance
8699 is good enough for proof-hearing the music for errors.
8701 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8702 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8703 marks translate to a fixed fraction of the available MIDI volume
8704 range, crescendi and decrescendi make the volume vary linearly between
8705 their two extremities. The fractions can be adjusted by
8706 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8707 For each type of MIDI instrument, a volume range can be defined. This
8708 gives a basic equalizer control, which can enhance the quality of
8709 the MIDI output remarkably. The equalizer can be controlled by
8710 setting @code{instrumentEqualizer}.
8714 Many musically interesting effects, such as swing, articulation,
8715 slurring, etc., are not translated to MIDI.
8720 * MIDI instrument names::
8725 @subsection MIDI block
8729 The MIDI block is analogous to the paper block, but it is somewhat
8730 simpler. The @code{\midi} block can contain:
8734 @item a @code{\tempo} definition, and
8735 @item context definitions.
8738 Assignments in the @code{\midi} block are not allowed.
8740 A number followed by a period is interpreted as a real number, so
8741 for setting the tempo for dotted notes, an extra space should be
8742 inserted, for example:
8745 \midi @{ \tempo 4 . = 120 @}
8749 @cindex context definition
8751 Context definitions follow precisely the same syntax as within the
8752 \paper block. Translation modules for sound are called performers.
8753 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8756 @node MIDI instrument names
8757 @subsection MIDI instrument names
8759 @cindex instrument names
8760 @cindex @code{Staff.midiInstrument}
8762 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8763 property. The instrument name should be chosen from the list in
8764 @ref{MIDI instruments}.
8768 If the selected string does not exactly match, then the default is
8769 used, which is the Grand Piano.