3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
40 @c FIXME: Note entry vs Music entry at top level menu is confusing.
46 The basic elements of any piece of music are the notes. This section
47 is about basic notation elements notes, rests and related constructs,
48 such as stems, tuplets and ties.
53 * Chromatic alterations::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative=2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (i.e. 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[raggedright,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[raggedright,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[raggedright,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[raggedright,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.
268 The @code{s} skip command does create @internalsref{Staff} and
269 @internalsref{Voice} when necessary, similar to note and rest
270 commands. For example, the following results in an empty staff.
272 @lilypond[raggedright,verbatim]
273 \score { \notes { s4 } }
276 The same fragment using @code{\skip} results in an empty page.
280 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
285 @subsection Durations
291 In Note, Chord, and Lyrics mode, durations are designated by numbers
292 and dots: durations are entered as their reciprocal values. For example,
293 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
294 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
295 longer than a whole you must use variables:
297 @c FIXME: what is an identifier? I do not think it's been introduced yet.
298 @c and if it has, I obviously skipped that part. - Graham
302 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
304 r1 r2 r4 r8 r16 r32 r64 r64
309 \notes \relative c'' {
311 a1 a2 a4 a8 a16 a32 a64 a64
313 r1 r2 r4 r8 r16 r32 r64 r64
318 \remove "Clef_engraver"
319 \remove "Staff_symbol_engraver"
320 \remove "Time_signature_engraver"
321 \consists "Pitch_squash_engraver"
328 If the duration is omitted then it is set to the previously entered
329 duration. The default for the first note is a quarter note. The duration
330 can be followed by dots (`@code{.}') in order to obtain dotted note
334 @lilypond[fragment,verbatim,center]
335 a' b' c''8 b' a'4 a'4. b'4.. c'8.
340 You can alter the length of duration by a fraction @var{N/M}
341 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
342 will not affect the appearance of the notes or rests produced.
343 In the following example, the first three notes take up exactly two
345 @lilypond[fragment,relative=2,verbatim]
347 a4*2/3 gis4*2/3 a4*2/3
354 Dots are normally moved up to avoid staff lines, except in polyphonic
355 situations. The following commands may be used to force a particular
358 @cindex @code{\dotsUp}
360 @cindex @code{\dotsDown}
362 @cindex @code{\dotsBoth}
367 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
372 Whenever a note is found, a @internalsref{Stem} object is created
373 automatically. For whole notes and rests, they are also created but
378 @cindex @code{\stemUp}
380 @cindex @code{\stemDown}
382 @cindex @code{\stemBoth}
393 A tie connects two adjacent note heads of the same pitch. The tie in
394 effect extends the length of a note. Ties should not be confused with
395 slurs, which indicate articulation, or phrasing slurs, which indicate
396 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
398 @lilypond[fragment,verbatim,center]
399 e' ~ e' <c' e' g'> ~ <c' e' g'>
402 When a tie is applied to a chord, all note heads whose pitches match
403 are connected. When no note heads match, no ties will be created.
405 In its meaning a tie is just a way of extending a note duration, similar
406 to the augmentation dot; in the following example there are two ways of
407 notating exactly the same concept:
409 @lilypond[fragment,raggedright,quote]
410 \time 3/4 c'2. c'2 ~ c'4
412 If you need to tie a lot of notes over bars, it may be easier to use automatic
413 note splitting (see @ref{Automatic note splitting}).
418 @cindex @code{\tieUp}
420 @cindex @code{\tieDown}
422 @cindex @code{\tieBoth}
424 @cindex @code{\tieDotted}
426 @cindex @code{\tieSolid}
431 In this manual: @ref{Automatic note splitting}.
433 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
436 Examples: if you want less ties created for a chord, see
437 @inputfileref{input/test,tie-sparse.ly}.
439 For tying only a subset of the note heads of a pair of chords, see
440 @inputfileref{input/regression,tie-chord-partial.ly}.
445 Switching staves when a tie is active will not produce a slanted tie.
447 Formatting of ties is a difficult subject. The results are often not
457 @cindex @code{\times}
459 Tuplets are made out of a music expression by multiplying all durations
462 @cindex @code{\times}
464 \times @var{fraction} @var{musicexpr}
468 The duration of @var{musicexpr} will be multiplied by the fraction.
469 The fraction's denominator will be printed over the notes, optionally
470 with a bracket. The most common tuplet is the triplet in which 3
471 notes have the length of 2, so the notes are 2/3 of their written
474 @lilypond[fragment,verbatim,center]
475 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
478 The property @code{tupletSpannerDuration} specifies how long each
479 bracket should last. With this, you can make lots of tuplets while
480 typing @code{\times} only once, saving lots of typing. In the next
481 example, there are two triplets shown, while @code{\times} was only
484 @lilypond[fragment,relative,raggedright,verbatim]
485 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
486 \times 2/3 { c'8 c c c c c }
489 The format of the number is determined by the property
490 @code{tupletNumberFormatFunction}. The default prints only the
491 denominator, but if it is set to the Scheme function
492 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
496 @cindex @code{tupletNumberFormatFunction}
497 @cindex tuplet formatting
502 @cindex @code{\tupletUp}
504 @cindex @code{\tupletDown}
506 @cindex @code{\tupletBoth}
511 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
513 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
517 Nested tuplets are not formatted automatically. In this case, outer
518 tuplet brackets should be moved manually, which is demonstrated in
519 @inputfileref{input/regression,tuplet-nest.ly}.
523 @node Easier music entry
524 @section Easier music entry
527 When entering music it is easy to introduce errors. This section deals
528 with tricks and features of the input language that were added solely
529 to help entering music, and find and correct mistakes.
531 It is also possible to use external programs, for example GUI
532 interfaces, or MIDI transcription programs, to enter or edit
533 music. Refer to the website for more information. Finally, there are
534 tools make debugging easier, by linking the input file and the output
535 shown on screen. See @ref{Point and click} for more information.
542 * Skipping corrected music::
543 * Automatic note splitting::
549 @node Relative octaves
550 @subsection Relative octaves
552 @cindex relative octave specification
554 Octaves are specified by adding @code{'} and @code{,} to pitch names.
555 When you copy existing music, it is easy to accidentally put a pitch
556 in the wrong octave and hard to find such an error. The relative
557 octave mode prevents these errors: a single error puts the rest of the
558 piece off by one octave:
560 @cindex @code{\relative}
562 \relative @var{startpitch} @var{musicexpr}
565 The octave of notes that appear in @var{musicexpr} are calculated as
566 follows: If no octave changing marks are used, the basic interval
567 between this and the last note is always taken to be a fourth or less
568 (; this distance is determined without regarding alterations: a
569 @code{fisis} following a @code{ceses} will be put above the
572 The octave changing marks @code{'} and @code{,} can be added to raise
573 or lower the pitch by an extra octave. Upon entering relative mode,
574 an absolute starting pitch must be specified that will act as the
575 predecessor of the first note of @var{musicexpr}.
577 Here is the relative mode shown in action:
578 @lilypond[fragment,raggedright,verbatim,center]
584 Octave changing marks are used for intervals greater than a fourth:
585 @lilypond[fragment,verbatim,center]
590 If the preceding item is a chord, the first note of the chord is used
591 to determine the first note of the next chord:
593 @lilypond[fragment,verbatim,center]
600 @cindex @code{\notes}
602 The pitch after the @code{\relative} contains a note name. To parse
603 the pitch as a note name, you have to be in note mode, so there must
604 be a surrounding @code{\notes} keyword (which is not
607 The relative conversion will not affect @code{\transpose},
608 @code{\chords} or @code{\relative} sections in its argument. If you
609 want to use relative within transposed music, you must place an
610 additional @code{\relative} inside the @code{\transpose}.
613 @subsection Octave check
616 Octave checks make octave errors easier to correct: a note may be
617 followed by @code{=}@var{quotes} which indicates what its absolute
618 octave should be. In the following example,
620 \relative c'' @{ c='' b=' d,='' @}
624 @c take care with @code, adds confusing quotes.
625 the d will generate a warning, because a d'' is expected, but a d' is
626 found. In the output, the octave is corrected this and the following
631 There is also a syntax that is separate from the notes.
636 This checks that @var{pitch} (without octave) yields @var{pitch} (with
637 octave) in \relative mode. If not, a warning is printed, and the
638 octave is corrected, for example, the first check is passed
639 successfully. The second check fails with an error message. The
640 octave is adjusted so the following notes are in the correct octave
651 The octave of a note following an octave check is determined with
652 respect to the note preceding it. In the next fragment, the last note
653 is a @code{a'}, above central C. Hence, the @code{\octave} check may
654 be deleted without changing the meaning of the piece.
656 @lilypond[verbatim,fragment]
665 @subsection Bar check
669 @cindex @code{barCheckSynchronize}
672 Bar checks help detect errors in the durations. A bar check is
673 entered using the bar symbol, `@code{|}'. Whenever it is encountered
674 during interpretation, it should fall on a measure boundary. If it
675 does not, a warning is printed. Depending on the value of
676 @code{barCheckSynchronize}, the beginning of the measure will be
679 In the next example, the second bar check will signal an error:
681 \time 3/4 c2 e4 | g2 |
684 Bar checks can also be used in lyrics, for example
689 Twin -- kle | Twin -- kle
694 @cindex skipTypesetting
696 Failed bar checks are caused by entering incorrect
697 durations. Incorrect durations often completely garble up the score,
698 especially if it is polyphonic, so you should start correcting the
699 score by scanning for failed bar checks and incorrect durations. To
700 speed up this process, you can use @code{skipTypesetting}, described
703 @node Skipping corrected music
704 @subsection Skipping corrected music
706 The property @code{Score.skipTypesetting} can be used to switch on and
707 off typesetting completely during the interpretation phase. When
708 typesetting is switched off, the music is processed much more quickly.
709 This can be used to skip over the parts of a score that have already
710 been checked for errors:
712 @lilypond[fragment,raggedright,verbatim]
714 \property Score.skipTypesetting = ##t
716 \property Score.skipTypesetting = ##f
720 @node Automatic note splitting
721 @subsection Automatic note splitting
723 Long notes can be converted automatically to tied notes. This is done
724 by replacing the @internalsref{Note_heads_engraver} by the
725 @internalsref{Completion_heads_engraver}.
726 In the following examples, notes crossing the barline are split and tied.
729 @lilypond[noindent,verbatim]
731 \remove "Note_heads_engraver"
732 \consists "Completion_heads_engraver"
734 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
738 This engraver splits all running notes at the bar line, and inserts
739 ties. One of its uses is to debug complex scores: if the measures are
740 not entirely filled, then the ties exactly show how much each measure
745 Not all durations (especially those containing tuplets) can be
746 represented exactly; the engraver will not insert tuplets.
750 Examples: @inputfileref{input/regression,completion-heads.ly}
752 Internals: @internalsref{Completion_heads_engraver}
756 @section Staff notation
758 This section describes music notation that occurs on staff level,
759 such as keys, clefs and time signatures.
761 @cindex Staff notation
775 @subsection Staff symbol
777 @cindex adjusting staff symbol
778 @cindex StaffSymbol, using \property
780 Notes, dynamic signs, etc. are grouped
781 with a set of horizontal lines, into a staff (plural `staves'). In our
782 system, these lines are drawn using a separate layout object called
786 @cindex staff lines, setting number of
787 @cindex staff lines, setting thickness of
788 @cindex thickness of staff lines, setting
789 @cindex number of staff lines, setting
793 Internals: @internalsref{StaffSymbol},
795 Examples: @inputfileref{input/test,staff-lines.ly},
796 @inputfileref{input/test,staff-size.ly}
800 If a staff is ended halfway a piece, the staff symbol may not end
801 exactly on the barline.
805 @subsection Key signature
806 @cindex Key signature
810 The key signature indicates the scale in which a piece is played. It
811 is denoted by a set of alterations (flats or sharps) at the start of
816 Setting or changing the key signature is done with the @code{\key}
819 @code{\key} @var{pitch} @var{type}
822 @cindex @code{\minor}
823 @cindex @code{\major}
824 @cindex @code{\minor}
825 @cindex @code{\ionian}
826 @cindex @code{\locrian}
827 @cindex @code{\aeolian}
828 @cindex @code{\mixolydian}
829 @cindex @code{\lydian}
830 @cindex @code{\phrygian}
831 @cindex @code{\dorian}
833 Here, @var{type} should be @code{\major} or @code{\minor} to get
834 @var{pitch}-major or @var{pitch}-minor, respectively.
835 The standard mode names @code{\ionian},
836 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
837 @code{\phrygian}, and @code{\dorian} are also defined.
839 This command sets the context property
840 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
841 can be specified by setting this property directly.
843 Accidentals and key signatures often confuse new users, because
844 unaltered notes get natural signs depending on the keysignature. The
845 tutorial explains why this is so in @ref{More about pitches}.
849 The ordering of a key cancellation is wrong when it is combined with
850 repeat bar lines. The cancellation is also printed after a line break.
854 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
856 @cindex @code{keySignature}
863 The clef indicates which lines of the staff correspond to which
868 The clef can be set or changed with the @code{\clef} command:
869 @lilypond[fragment,verbatim]
870 \key f\major c''2 \clef alto g'2
873 Supported clef-names include:
874 @c Moved standard clefs to the top /MB
878 @item treble, violin, G, G2
891 G clef on 1st line, so-called French violin clef
896 @cindex mezzosoprano clef
899 @cindex baritone clef
902 @cindex varbaritone clef
911 By adding @code{_8} or @code{^8} to the clef name, the clef is
912 transposed one octave down or up, respectively, and @code{_15} and
913 @code{^15} transposes by two octaves. The argument @var{clefname}
914 must be enclosed in quotes when it contains underscores or digits. For
918 @cindex choral tenor clef
919 @lilypond[verbatim,fragment,relative]
923 This command is equivalent to setting @code{clefGlyph},
924 @code{clefPosition} (which controls the Y position of the clef),
925 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
926 when any of these properties are changed.
930 Internals: the object for this symbol is @internalsref{Clef}.
934 @node Ottava brackets
935 @subsection Ottava brackets
937 ``Ottava'' brackets introduce an extra transposition of an octave for
938 the staff. They are created by invoking the function
939 @code{set-octavation}:
945 @lilypond[verbatim,fragment]
954 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
955 (for 15ma) as arguments. Internally the function sets the properties
956 @code{ottavation} (eg. to @code{"8va"}) and
957 @code{centralCPosition}. For overriding the text of the bracket, set
958 @code{ottavation} after invoking @code{set-octavation}, i.e.,
962 \property Staff.ottavation = #"8"
967 Internals: @internalsref{OttavaBracket}.
969 Examples: @inputfileref{input/regression,ottava.ly},
970 @inputfileref{input/regression,ottava-broken.ly}.
974 @code{set-octavation} will get confused when clef changes happen
975 during an octavation bracket.
978 @subsection Time signature
979 @cindex Time signature
983 Time signature indicates the metrum of a piece: a regular pattern of
984 strong and weak beats. It is denoted by a fraction at the start of the
989 The time signature is set or changed by the @code{\time}
991 @lilypond[fragment,verbatim]
992 \time 2/4 c'2 \time 3/4 c'2.
995 The symbol that is printed can be customized with the @code{style}
996 property. Setting it to @code{#'()} uses fraction style for 4/4 and
997 2/2 time. There are many more options for its layout. See
998 @inputfileref{input/test,time.ly} for more examples.
1001 This command sets the property @code{timeSignatureFraction},
1002 @code{beatLength} and @code{measureLength} in the @code{Timing}
1003 context, which is normally aliased to @internalsref{Score}. The
1004 property @code{measureLength} determines where bar lines should be
1005 inserted, and how automatic beams should be generated. Changing the
1006 value of @code{timeSignatureFraction} also causes the symbol to be
1009 More options are available through the Scheme function
1010 @code{set-time-signature}. In combination with the
1011 @internalsref{Measure_grouping_engraver}, it will create
1012 @internalsref{MeasureGrouping} signs. Such signs ease reading
1013 rhythmically complex modern music. In the following example, the 9/8
1014 measure is subdivided in 2, 2, 2 and 3. This is passed to
1015 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1018 \score { \notes \relative c'' {
1019 #(set-time-signature 9 8 '(2 2 2 3))
1020 g8[ g] d[ d] g[ g] a8[( bes g]) |
1021 #(set-time-signature 5 8 '(3 2))
1026 \translator { \StaffContext
1027 \consists "Measure_grouping_engraver"
1033 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1038 Automatic beaming does not use measure grouping specified with
1039 @code{set-time-signature}.
1041 @node Partial measures
1042 @subsection Partial measures
1045 @cindex partial measure
1046 @cindex measure, partial
1047 @cindex shorten measures
1048 @cindex @code{\partial}
1050 Partial measures, for example in upsteps, are entered using the
1051 @code{\partial} command:
1052 @lilypond[fragment,verbatim,relative=1]
1053 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1056 The syntax for this command is
1058 \partial @var{duration}
1060 This is internally translated into
1062 \property Timing.measurePosition = -@var{length of duration}
1065 The property @code{measurePosition} contains a rational number
1066 indicating how much of the measure has passed at this point.
1068 @node Unmetered music
1069 @subsection Unmetered music
1071 Bar lines and bar numbers are calculated automatically. For unmetered
1072 music (e.g. cadenzas), this is not desirable. By setting
1073 @code{Score.timing} to false, this automatic timing can be switched
1079 @cindex @code{\cadenzaOn}
1081 @cindex @code{\cadenzaOff}
1085 @subsection Bar lines
1089 @cindex measure lines
1093 Bar lines delimit measures, but are also used to indicate repeats.
1094 Normally, they are inserted automatically. Line breaks may only
1100 of barlines can be forced with the @code{\bar} command:
1102 @lilypond[relative=1,fragment,verbatim]
1106 The following bar types are available:
1107 @lilypond[fragment,relative,raggedright,verbatim]
1120 For allowing linebreaks, there is a special command,
1124 This will insert an invisible barline, and allow linebreaks at this
1127 In scores with many staves, a @code{\bar} command in one staff is
1128 automatically applied to all staves. The resulting bar lines are
1129 connected between different staves of a @internalsref{StaffGroup}:
1131 @lilypond[fragment,verbatim]
1132 << \context StaffGroup <<
1136 \new Staff { \clef bass c4 g e g } >>
1137 \new Staff { \clef bass c2 c2 } >>
1141 The command @code{\bar @var{bartype}} is a short cut for doing
1142 @code{\property Score.whichBar = @var{bartype}} Whenever
1143 @code{whichBar} is set to a string, a bar line of that type is
1144 created. At the start of a measure it is set to
1145 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1146 to override default measure bars.
1148 Property @code{whichBar} can also be set directly, using @code{\property}
1149 or @code{\bar}. These settings take precedence over the automatic
1150 @code{whichBar} settings.
1153 @cindex repeatCommands
1154 @cindex defaultBarType
1156 You are encouraged to use @code{\repeat} for repetitions. See
1163 In this manual: @ref{Repeats}.
1166 Internals: the bar line objects that are created at
1167 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1168 lines that span staves are @internalsref{SpanBar}s.
1170 @cindex bar lines at start of system
1171 @cindex start of system
1173 The barlines at the start of each system are
1174 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1175 @internalsref{SystemStartBracket}. Only one of these types is created
1176 in every context, and that type is determined by the property
1177 @code{systemStartDelimiter}.
1179 Examples: @inputfileref{input/test,bar-lines.ly},
1185 The easiest way to enter fragments with more than one voice on a staff
1186 is to split chords using the separator @code{\\}. You can use it for
1187 small, short-lived voices or for single chords:
1189 @lilypond[verbatim,fragment]
1190 \context Staff \relative c'' {
1191 c4 << { f d e } \\ { b c2 } >>
1192 c4 << g' \\ b, \\ f' \\ d >>
1196 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1197 voices are sometimes called "layers" other notation packages}
1199 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1200 each of these contexts, vertical direction of slurs, stems, etc. is set
1203 @cindex @code{\voiceOne}
1204 @cindex @code{\voiceFour}
1206 This can also be done by instantiating @internalsref{Voice} contexts
1207 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1208 a stem directions and horizontal shift for each part:
1211 @lilypond[raggedright,verbatim]
1213 \context Staff << \new Voice { \voiceOne cis2 b }
1214 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1215 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1219 The command @code{\oneVoice} will revert back to the normal setting.
1220 @cindex @code{\oneVoice}
1223 Normally, note heads with a different number of dots are not merged, but
1224 when the object property @code{merge-differently-dotted} is set in
1225 the @internalsref{NoteCollision} object, they are merged:
1226 @lilypond[verbatim,fragment,raggedright]
1227 \relative c'' \context Voice << {
1229 \property Staff.NoteCollision \override
1230 #'merge-differently-dotted = ##t
1232 } \\ { g8.[ f16] g8.[ f16] }
1236 Similarly, you can merge half note heads with eighth notes, by setting
1237 @code{merge-differently-headed}:
1238 @lilypond[fragment,relative=2,verbatim]
1241 \property Staff.NoteCollision
1242 \override #'merge-differently-headed = ##t
1243 c8 c4. } \\ { c2 c2 } >>
1246 LilyPond also vertically shifts rests that are opposite of a stem:
1249 @lilypond[raggedright,fragment,verbatim]
1250 \context Voice << c''4 \\ r4 >>
1258 @cindex @code{\oneVoice}
1260 @cindex @code{\voiceOne}
1262 @cindex @code{\voiceTwo}
1264 @cindex @code{\voiceThree}
1266 @cindex @code{\voiceFour}
1270 The following commands specify in what chords of the current voice
1271 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1272 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1275 @cindex @code{\shiftOn}
1277 @cindex @code{\shiftOnn}
1279 @cindex @code{\shiftOnnn}
1281 @cindex @code{\shiftOff}
1288 Internals: the objects responsible for resolving collisions are
1289 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1291 Examples: See also example files
1292 @inputfileref{input/regression,collision-dots.ly},
1293 @inputfileref{input/regression,collision-head-chords.ly},
1294 @inputfileref{input/regression,collision-heads.ly},
1295 @inputfileref{input/regression,collision-mesh.ly}, and
1296 @inputfileref{input/regression,collisions.ly}.
1301 Resolving collisions is a intricate subject, and only a few situations
1302 are handled. When LilyPond cannot cope, the @code{force-hshift}
1303 property of the @internalsref{NoteColumn} object and pitched rests can
1304 be used to override typesetting decisions.
1306 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1307 note, and a downstem half note, the 8th note gets the wrong offset.
1309 There is no support for clusters where the same note occurs with
1310 different accidentals in the same chord. In this case, it is
1311 recommended to use enharmonic transcription, or to use special cluster
1312 notation (see @ref{Clusters}).
1317 Beams are used to group short notes into chunks that are aligned with
1318 the metrum. They are inserted automatically in most cases:
1320 @lilypond[fragment,verbatim,relative=2]
1321 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1324 When these automatic decisions are not good enough, beaming can be
1325 entered explicitly. It is also possible to define beaming patterns
1326 that differ from the defaults.
1330 Internals: @internalsref{Beam}.
1333 @cindex Automatic beams
1336 * Setting automatic beam behavior::
1340 @subsection Manual beams
1341 @cindex beams, manual
1345 In some cases it may be necessary to override the automatic beaming
1346 algorithm. For example, the auto beamer will not put beams over rests
1347 or bar lines. Such beams are specified by manually: the begin and end
1348 point are marked with @code{[} and @code{]}:
1350 @lilypond[fragment,relative,verbatim]
1352 r4 r8[ g' a r8] r8 g[ | a] r8
1356 @cindex @code{stemLeftBeamCount}
1358 Normally, beaming patterns within a beam are determined automatically.
1359 When this mechanism fouls up, the properties
1360 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1361 be used to control the beam subdivision on a stem. If either property
1362 is set, its value will be used only once, and then it is erased.
1364 @lilypond[fragment,relative,verbatim]
1367 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1370 @cindex @code{stemRightBeamCount}
1373 The property @code{subdivideBeams} can be set in order to subdivide
1374 all 16th or shorter beams at beat positions, as defined by the
1375 @code{beatLength} property . This accomplishes the same effect as
1376 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1377 but it take less typing:
1380 @lilypond[relative=1,verbatim,noindent]
1382 \property Voice.subdivideBeams = ##t
1384 \property Score.beatLength = #(ly:make-moment 1 8)
1387 @cindex subdivideBeams
1389 Kneed beams are inserted automatically, when a large gap is detected
1390 between the note heads. This behavior can be tuned through the object
1391 property @code{auto-knee-gap}.
1393 Normally, line breaks are forbidden when beams cross bar lines. This
1394 behavior can be changed by setting @code{allowBeamBreak}.
1396 @cindex @code{allowBeamBreak}
1397 @cindex beams and line breaks
1399 @cindex beams, kneed
1401 @cindex auto-knee-gap
1407 @cindex Frenched staves
1409 Automatically kneed beams cannot be used together with hidden staves.
1414 @node Setting automatic beam behavior
1415 @subsection Setting automatic beam behavior
1417 @cindex @code{autoBeamSettings}
1418 @cindex @code{(end * * * *)}
1419 @cindex @code{(begin * * * *)}
1420 @cindex automatic beams, tuning
1421 @cindex tuning automatic beaming
1423 @c [TODO: use \applycontext]
1425 In normal time signatures, automatic beams can start on any note but can
1426 only end in a few positions within the measure: beams can end on a beat,
1427 or at durations specified by the properties in
1428 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1429 are defined in @file{scm/auto-beam.scm}.
1431 The value of @code{autoBeamSettings} is changed using
1432 @code{\override} and restored with @code{\revert}:
1434 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1435 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1437 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1438 whether the rule applies to begin or end-points. The quantity
1439 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1440 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1441 signature (wildcards `@code{* *}' may be entered to designate all time
1444 For example, if automatic beams should end on every quarter note, use
1447 \property Voice.autoBeamSettings \override
1448 #'(end * * * *) = #(ly:make-moment 1 4)
1450 Since the duration of a quarter note is 1/4 of a whole note, it is
1451 entered as @code{(ly:make-moment 1 4)}.
1453 The same syntax can be used to specify beam starting points. In this
1454 example, automatic beams can only end on a dotted quarter note:
1456 \property Voice.autoBeamSettings \override
1457 #'(end * * * *) = #(ly:make-moment 3 8)
1459 In 4/4 time signature, this means that automatic beams could end only on
1460 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1461 3/8, has passed within the measure).
1463 Rules can also be restricted to specific time signatures. A rule that
1464 should only be applied in @var{N}/@var{M} time signature is formed by
1465 replacing the second asterisks by @var{N} and @var{M}. For example, a
1466 rule for 6/8 time exclusively looks like
1468 \property Voice.autoBeamSettings \override
1469 #'(begin * * 6 8) = ...
1472 If a rule should be to applied only to certain types of beams, use the
1473 first pair of asterisks. Beams are classified according to the
1474 shortest note they contain. For a beam ending rule that only applies
1475 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1478 If a score ends while an automatic beam has not been ended and is still
1479 accepting notes, this last beam will not be typeset at all.
1481 @cindex automatic beam generation
1483 @cindex @code{Voice.autoBeaming}
1486 For melodies that have lyrics, you may want to switch off
1487 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1492 @cindex @code{\autoBeamOff}
1493 @code{\autoBeamOff},
1494 @cindex @code{\autoBeamOn}
1500 The rules for ending a beam depend on the shortest note in a beam.
1501 So, while it is possible to have different ending rules for eight
1502 beams and sixteenth beams, a beam that contains both eight and
1503 sixteenth notes will use the rules for the sixteenth beam.
1505 In the example below, the autobeamer makes eight beams and sixteenth
1506 end at 3 eights; the third beam can only be corrected by specifying
1509 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1510 \property Voice.autoBeamSettings
1511 \override #'(end * * * *) = #(ly:make-moment 3 8)
1512 % rather show case where it goes wrong
1513 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1514 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1516 It is not possible to specify beaming parameters that act differently in
1517 different parts of a measure. This means that it is not possible to use
1518 automatic beaming in irregular meters such as @code{5/8}.
1521 @section Accidentals
1524 This section describes how to change the way that accidentals are
1525 inserted automatically before the running notes.
1529 * Using the predefined accidental variables::
1530 * Customized accidental rules::
1533 @node Using the predefined accidental variables
1534 @subsection Using the predefined accidental variables
1536 The constructs for describing the accidental typesetting rules are
1537 quite hairy, so non-experts should stick to the variables
1538 defined in @file{ly/property-init.ly}.
1539 @cindex @file{property-init.ly}
1541 The variables set properties in the ``@code{Current}'' context (see
1542 @ref{Context properties}). This means that the variables should
1543 normally be added right after the creation of the context in which the
1544 accidental typesetting described by the variable is to take
1545 effect. For example, if you want to use piano-accidentals in a piano
1546 staff then issue @code{\pianoAccidentals} first thing after the
1547 creation of the piano staff:
1550 \notes \relative c'' <<
1551 \new Staff @{ cis4 d e2 @}
1552 \context GrandStaff <<
1554 \new Staff @{ cis4 d e2 @}
1555 \new Staff @{ es2 c @}
1557 \new Staff @{ es2 c @}
1561 @lilypond[raggedright]
1563 \notes \relative c'' <<
1564 \new Staff { cis4 d e2 }
1565 \context GrandStaff <<
1567 \new Staff { cis4 d e2 }
1568 \new Staff { es2 c }
1570 \new Staff { es2 c }
1575 minimumVerticalExtent = #'(-4.0 . 4.0)
1583 @item \defaultAccidentals
1584 @cindex @code{\defaultAccidentals}
1585 This is the default typesetting behaviour. It should correspond
1586 to 18th century common practice: Accidentals are
1587 remembered to the end of the measure in which they occur and
1588 only on their own octave.
1590 @item \voiceAccidentals
1591 @cindex @code{\voiceAccidentals}
1593 The normal behaviour is to
1594 remember the accidentals on Staff-level. This variable, however,
1595 typesets accidentals individually for each voice. Apart from that the
1596 rule is similar to @code{\defaultAccidentals}.
1598 This leads to some weird and often unwanted results
1599 because accidentals from one voice do not get cancelled in other
1601 @lilypond[raggedright,relative,fragment,verbatim,quote]
1609 Hence you should only use @code{\voiceAccidentals} if the voices
1610 are to be read solely by individual musicians. If the staff is to be
1611 used by one musician (e.g. a conductor) then you use
1612 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1615 @item \modernAccidentals
1616 @cindex @code{\modernAccidentals}
1617 This rule corresponds to the common practice in the 20th
1619 The rule is more complex than @code{\defaultAccidentals}.
1620 You get all the same accidentals, but temporary
1621 accidentals also get cancelled in other octaves. Furthermore,
1622 in the same octave, they also get cancelled in the following measure:
1623 @lilypond[raggedright,fragment,verbatim]
1625 cis' c'' cis'2 | c'' c'
1628 @item \modernCautionaries
1629 @cindex @code{\modernCautionaries}
1630 This rule is similar to @code{\modernAccidentals}, but the
1631 ``extra'' accidentals (the ones not typeset by
1632 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1633 They are printed in reduced size or with parentheses:
1634 @lilypond[raggedright,fragment,verbatim]
1636 cis' c'' cis'2 | c'' c'
1639 @cindex @code{\modernVoiceAccidentals}
1640 @item \modernVoiceAccidentals
1641 is used for multivoice accidentals to be read both by musicians
1642 playing one voice and musicians playing all voices. Accidentals are
1643 typeset for each voice, but they @emph{are} cancelled across voices in
1644 the same @internalsref{Staff}.
1646 @cindex @code{\modernVoiceCautionaries}
1647 @item \modernVoiceCautionaries
1648 is the same as @code{\modernVoiceAccidentals}, but with the extra
1649 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1650 as cautionaries. Even though all accidentals typeset by
1651 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1652 some of them are typeset as cautionaries.
1654 @item \pianoAccidentals
1655 @cindex @code{\pianoAccidentals}
1656 20th century practice for piano notation. Very similar to
1657 @code{\modernAccidentals} but accidentals also get cancelled
1658 across the staves in the same @internalsref{GrandStaff} or
1659 @internalsref{PianoStaff}.
1661 @item \pianoCautionaries
1662 @cindex @code{\pianoCautionaries}
1663 As @code{\pianoAccidentals} but with the extra accidentals
1664 typeset as cautionaries.
1667 @cindex @code{\noResetKey}
1668 Same as @code{\defaultAccidentals} but with accidentals lasting
1669 ``forever'' and not only until the next measure:
1670 @lilypond[raggedright,fragment,verbatim,relative]
1675 @item \forgetAccidentals
1676 @cindex @code{\forgetAccidentals}
1677 This is sort of the opposite of @code{\noResetKey}: Accidentals
1678 are not remembered at all---and hence all accidentals are
1679 typeset relative to the key signature, regardless of what was
1680 before in the music:
1681 @lilypond[raggedright,fragment,verbatim,relative]
1683 \key d\major c4 c cis cis d d dis dis
1687 @node Customized accidental rules
1688 @subsection Customized accidental rules
1690 For determining when to print an accidental, several different rules
1691 are tried. The rule that gives the highest number of accidentals is
1692 used. Each rule consists of
1695 In which context is the rule applied. For example, if
1696 @var{context} is @internalsref{Score} then all staves share
1697 accidentals, and if @var{context} is @internalsref{Staff} then all
1698 voices in the same staff share accidentals, but staves do not.
1700 Whether the accidental changes all octaves or only the current
1703 Over how many barlines the accidental lasts.
1704 If @var{lazyness} is @code{-1} then the accidental is forget
1705 immediately, and if @var{lazyness} is @code{#t} then the accidental
1708 @c [TODO: should use +infinity for this case?]
1714 @cindex @code{\defaultAccidentals}
1715 @code{\defaultAccidentals},
1716 @cindex @code{\voiceAccidentals}
1717 @code{\voiceAccidentals},
1718 @cindex @code{\modernAccidentals}
1719 @code{\modernAccidentals},
1720 @cindex @code{\modernCautionaries}
1721 @code{\modernCautionaries},
1722 @cindex @code{\modernVoiceAccidentals}
1723 @code{\modernVoiceAccidentals},
1724 @cindex @code{\modernVoiceCautionaries}
1725 @code{\modernVoiceCautionaries},
1726 @cindex @code{\pianoAccidentals}
1727 @code{\pianoAccidentals},
1728 @cindex @code{\pianoCautionaries}
1729 @code{\pianoCautionaries},
1730 @cindex @code{\noResetKey}
1732 @cindex @code{\forgetAccidentals}
1733 @code{\forgetAccidentals}.
1737 Internals: @internalsref{Accidental_engraver},
1738 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1743 Currently the simultaneous notes are considered to be entered in
1744 sequential mode. This means that in a chord the accidentals are
1745 typeset as if the notes in the chord happened once at a time - in the
1746 order in which they appear in the input file.
1748 This is only a problem when there are simultaneous notes whose
1749 accidentals depend on each other. The problem only occurs when using
1750 non-default accidentals. In the default scheme, accidentals only
1751 depend on other accidentals with the same pitch on the same staff, so
1752 no conflicts possible.
1754 This example shows two examples of the same music giving different
1755 accidentals depending on the order in which the notes occur in the
1758 @lilypond[raggedright,fragment,verbatim]
1759 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1760 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1761 | <cis' c''> r | <c'' cis'> r |
1764 This problem can be solved by manually inserting @code{!} and @code{?}
1765 for the problematic notes.
1767 @node Expressive marks
1768 @section Expressive marks
1771 @c todo: should change ordering
1772 @c where to put text spanners, metronome marks,
1781 * Analysis brackets::
1783 * Fingering instructions::
1794 A slur indicates that notes are to be played bound or @emph{legato}.
1798 They are entered using parentheses:
1799 @lilypond[relative=1,fragment,verbatim,center]
1800 f( g)( a) a8 b( a4 g2 f4)
1805 @c TODO: should explain that ^( and _( set directions
1806 @c should set attachments with ^ and _ ?
1808 Slurs avoid crossing stems, and are generally attached to note heads.
1809 However, in some situations with beams, slurs may be attached to stem
1810 ends. If you want to override this layout you can do this through the
1811 object property @code{attachment} of @internalsref{Slur} in
1812 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1813 the attachment type of the left and right end points:
1815 @lilypond[fragment,relative,verbatim]
1817 \property Voice.Stem \set #'length = #5.5
1819 \property Voice.Slur \set #'attachment = #'(stem . stem)
1823 If a slur would strike through a stem or beam, the slur will be moved
1824 away upward or downward. If this happens, attaching the slur to the
1825 stems might look better:
1827 @lilypond[fragment,relative,verbatim]
1830 \property Voice.Slur \set #'attachment = #'(stem . stem)
1837 @cindex @code{\slurUp}
1839 @cindex @code{\slurDown}
1841 @cindex @code{\slurBoth}
1843 @cindex @code{\slurDotted}
1845 @cindex @code{\slurSolid}
1850 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1855 Producing nice slurs is a difficult problem, and LilyPond currently
1856 uses a simple, empiric method to produce slurs. In some cases, its
1860 @cindex Adjusting slurs
1862 @node Phrasing slurs
1863 @subsection Phrasing slurs
1865 @cindex phrasing slurs
1866 @cindex phrasing marks
1868 A phrasing slur (or phrasing mark) connects chords and is used to
1869 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1872 @lilypond[fragment,verbatim,center,relative]
1873 \time 6/4 c'\( d( e) f( e) d\)
1876 Typographically, the phrasing slur behaves almost exactly like a
1877 normal slur. However, they are treated as different objects. A
1878 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1879 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1880 @code{\phrasingSlurBoth}.
1882 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1883 will only affect normal slurs and not phrasing slurs.
1887 @cindex @code{\phrasingSlurUp}
1888 @code{\phrasingSlurUp},
1889 @cindex @code{\phrasingSlurDown}
1890 @code{\phrasingSlurDown},
1891 @cindex @code{\phrasingSlurBoth}
1892 @code{\phrasingSlurBoth},
1896 Internals: see also @internalsref{PhrasingSlur}, and
1897 @internalsref{PhrasingSlurEvent}.
1901 Phrasing slurs have the same limitations in their formatting as normal
1902 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1905 @subsection Breath marks
1907 Breath marks are entered using @code{\breathe}:
1910 @lilypond[fragment,relative,verbatim]
1914 The glyph of the breath mark can be tweaked by overriding the
1915 @code{text} property of the @code{BreathingSign} layout object with
1916 any markup text. For example,
1917 @lilypond[fragment,verbatim,relative]
1919 \property Voice.BreathingSign \override #'text
1920 = #(make-musicglyph-markup "scripts-rvarcomma")
1927 Internals: @internalsref{BreathingSign},
1928 @internalsref{BreathingSignEvent}
1930 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1933 @node Metronome marks
1934 @subsection Metronome marks
1937 @cindex beats per minute
1938 @cindex metronome marking
1940 Metronome settings can be entered as follows:
1942 \tempo @var{duration} = @var{perminute}
1945 In the MIDI output, they are interpreted as a tempo change, and in the
1946 paper output, a metronome marking is printed:
1947 @cindex @code{\tempo}
1948 @lilypond[fragment,verbatim]
1954 Internals: @internalsref{MetronomeChangeEvent}.
1959 @subsection Text spanners
1960 @cindex Text spanners
1962 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1963 are written as texts, and extended over many measures with dotted
1964 lines. You can create such texts using text spanners: attach
1965 @code{\startTextSpan} and @code{\stopTextSpan} to the
1966 start and ending note of the spanner.
1968 The string to be printed, as well as the style, is set through object
1971 @lilypond[fragment,relative,verbatim]
1973 \property Voice.TextSpanner \set #'direction = #-1
1974 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1975 c2\startTextSpan b c\stopTextSpan a }
1981 Internals @internalsref{TextSpanEvent},
1982 @internalsref{TextSpanner}.
1984 Examples: @inputfileref{input/regression,text-spanner.ly}.
1987 @node Analysis brackets
1988 @subsection Analysis brackets
1990 @cindex phrasing brackets
1991 @cindex musicological analysis
1992 @cindex note grouping bracket
1994 Brackets are used in musical analysis to indicate structure in musical
1995 pieces. LilyPond supports a simple form of nested horizontal brackets.
1996 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1997 @internalsref{Staff} context. A bracket is started with
1998 @code{\startGroup} and closed with @code{\stopGroup}:
2000 @lilypond[raggedright,verbatim]
2001 \score { \notes \relative c'' {
2002 c4\startGroup\startGroup
2005 c4\stopGroup\stopGroup
2007 \paper { \translator {
2008 \StaffContext \consists "Horizontal_bracket_engraver"
2014 Internals: @internalsref{HorizontalBracket},
2015 @internalsref{NoteGroupingEvent}
2017 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2021 @subsection Articulations
2022 @cindex Articulations
2024 @cindex articulations
2028 A variety of symbols can appear above and below notes to indicate
2029 different characteristics of the performance. They are added to a note
2030 by adding a dash and the character signifying the
2031 articulation. They are demonstrated here:
2033 @lilypondfile[notexidoc]{script-abbreviations.ly}
2035 The meanings of these shorthands can be changed: see
2036 @file{ly/script-init.ly} for examples.
2039 The script is automatically placed, but if you need to force
2040 directions, you can use @code{_} to force them down, or @code{^} to
2042 @lilypond[fragment,verbatim]
2046 Other symbols can be added using the syntax
2047 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2048 can be forced up or down using @code{^} and @code{_},
2051 @lilypond[verbatim,fragment,relative=2]
2052 c\fermata c^\fermata c_\fermata
2059 @cindex staccatissimo
2068 @cindex organ pedal marks
2077 @cindex prallmordent
2081 @cindex thumb marking
2086 @lilypondfile[notexidoc]{script-chart.ly}
2091 @cindex @code{\scriptUp}
2093 @cindex @code{\scriptDown}
2095 @cindex @code{\scriptBoth}
2100 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2104 These note ornaments appear in the printed output but have no
2105 effect on the MIDI rendering of the music.
2108 @node Fingering instructions
2109 @subsection Fingering instructions
2113 Fingering instructions can be entered using
2115 @var{note}-@var{digit}
2117 For finger changes, use markup texts:
2119 @lilypond[verbatim,raggedright,fragment]
2120 c'4-1 c'4-2 c'4-3 c'4-4
2121 c'^\markup { \fontsize #-3 \number "2-3" }
2124 @cindex finger change
2129 You can use the thumb-script to indicate that a note should be
2130 played with the thumb (e.g. in cello music):
2132 @lilypond[verbatim,raggedright,fragment]
2133 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2134 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2137 Fingerings for chords can also be added to individual notes
2138 of the chord by adding them after the pitches:
2139 @lilypond[verbatim,raggedright,fragment,relative=1]
2140 < c-1 e-2 g-3 b-5 > 4
2144 In this case, setting @code{fingeringOrientations} will put fingerings next
2147 @lilypond[verbatim,raggedright,fragment,relative=1]
2148 \property Voice.fingeringOrientations = #'(left down)
2149 <c-1 es-2 g-4 bes-5 > 4
2150 \property Voice.fingeringOrientations = #'(up right down)
2151 <c-1 es-2 g-4 bes-5 > 4
2154 By using single note chords, fingering instructions can be put close
2155 to note heads in monophonic music.
2159 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2161 Examples: @inputfileref{input/regression,finger-chords.ly}
2164 @subsection Text scripts
2165 @cindex Text scripts
2167 @cindex text items, non-empty
2168 @cindex non-empty texts
2170 It is possible to place arbitrary strings of text or markup text (see
2171 @ref{Text markup}) above or below notes by using a string:
2172 @code{c^"text"}. By default, these indications do not influence the
2173 note spacing, but by using the command @code{\fatText}, the widths
2174 will be taken into account:
2176 @lilypond[fragment,raggedright,verbatim] \relative c' {
2177 c4^"longtext" \fatText c4_"longlongtext" c4 }
2180 It is possible to use @TeX{} commands in the strings, but this should
2181 be avoided because the exact dimensions of the string can then no
2186 @refcommand{fatText}, @refcommand{emptyText}.
2191 In this manual: @ref{Text markup}.
2193 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2199 @subsection Grace notes
2202 @c should have blurb about accaciatura / appogiatura
2204 @cindex @code{\grace}
2208 Grace notes are ornaments that are written out. The most common ones
2209 are acciaccatura, which should be played as very short. It is denoted
2210 by a slurred small note with a slashed stem. The appoggiatura is a
2211 grace note that takes a fixed fraction of the main note, is and
2212 denoted as a slurred note in small print without a slash.
2213 They are entered with the commands @code{\acciaccatura} and
2214 @code{\appoggiatura}, as demonstrated in the following example:
2217 @cindex appoggiatura
2218 @cindex acciaccatura
2220 @lilypond[relative=2,verbatim,fragment]
2221 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2222 \acciaccatura { g16[ f] } e4
2225 Both are special forms of the @code{\grace} command. By prefixing this
2226 keyword to a music expression, a new one is formed, which will be
2227 printed in a smaller font and takes up no logical time in a measure.
2228 @lilypond[relative=2,verbatim,fragment]
2230 \grace { c16[ d16] } c2 c4
2234 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2235 @code{\grace} command does not start a slur.
2237 Internally, timing for grace notes is done using a second, `grace'
2238 time. Every point in time consists of two rational numbers: one
2239 denotes the logical time, one denotes the grace timing. The above
2240 example is shown here with timing tuples:
2242 @lilypond[raggedright]
2245 c4 \grace c16 c4 \grace {
2248 \new Lyrics \lyrics {
2251 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2252 \markup { (\fraction 1 4 , 0 ) } 4
2254 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2255 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2257 \markup { ( \fraction 2 4 , 0 ) }
2262 The placement of grace notes is synchronized between different staves.
2263 In the following example, there are two sixteenth graces notes for
2264 every eighth grace note:
2266 @lilypond[relative=2,verbatim,fragment]
2267 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2268 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2273 If you want to end a note with a grace, then the standard trick
2274 is to put the grace notes after a ``space note'', e.g.
2275 @lilypond[fragment,verbatim,relative=2]
2278 { s2 \grace { c16[ d] } } >>
2284 By adjusting the duration of the skip note (here it is a half-note),
2285 the space between the main-note and the grace is adjusted.
2288 A @code{\grace} section will introduce special typesetting settings,
2289 for example, to produce smaller type, and set directions. Hence, when
2290 introducing layout tweaks, they should be inside the grace section,
2292 @lilypond[fragment,verbatim,relative=1]
2295 \property Voice.Stem \override #'direction = #-1
2297 \property Voice.Stem \revert #'direction
2304 The overrides should also be reverted inside the grace section.
2306 If the layout of grace sections must be changed throughout the music,
2307 then this can be accomplished through the function
2308 @code{add-grace-property}. The following example
2309 undefines the Stem direction grace section, so stems do not always
2314 #(add-grace-property "Voice" Stem direction '())
2320 Another option is to change the variables @code{startGraceMusic},
2321 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2322 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2323 @code{stopAppoggiaturaMstuic}. More information is in the file
2324 @file{ly/grace-init.ly}
2329 Internals: @internalsref{GraceMusic}.
2333 A score that starts with an @code{\grace} section needs an explicit
2334 @code{\context Voice} declaration, otherwise the main note and grace
2335 note end up on different staves.
2337 Grace note synchronization can also lead to surprises. Staff notation,
2338 such as key signatures, barlines, etc. are also synchronized. Take
2339 care when you mix staves with grace notes and staves without, for example,
2341 @lilypond[relative=2,verbatim,fragment]
2342 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2343 \new Staff { c4 \bar "|:" d4 } >>
2346 Grace sections should only be used within sequential music
2347 expressions. Nesting or juxtaposing grace sections is not supported,
2348 and might produce crashes or other errors.
2352 @subsection Glissando
2355 @cindex @code{\glissando}
2357 A glissando is a smooth change in pitch. It is denoted by a line or a
2358 wavy line between two notes.
2362 A glissando line can be requested by attaching a @code{\glissando} to
2365 @lilypond[fragment,relative,verbatim]
2371 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2376 Adding additional texts (such as @emph{gliss.}) is not supported.
2380 @subsection Dynamics
2393 @cindex @code{\ffff}
2403 Absolute dynamic marks are specified using an variable after a
2404 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2405 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2406 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2407 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2409 @lilypond[verbatim,raggedright,fragment,relative]
2410 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2416 @cindex @code{\decr}
2417 @cindex @code{\rced}
2424 A crescendo mark is started with @code{\<} and terminated with
2425 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2426 with @code{\!}. Because these marks are bound to notes, if you must
2427 use spacer notes if multiple marks during one note are needed:
2429 @lilypond[fragment,verbatim,center,quote]
2430 c''\< c''\! d''\decr e''\rced
2431 << f''1 { s4 s4\< s4\! \> s4\! } >>
2433 This may give rise to very short hairpins. Use @code{minimum-length}
2434 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2438 \property Staff.Hairpin \override #'minimum-length = #5
2441 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2442 is an example how to do it:
2444 @lilypond[fragment,relative=2,verbatim]
2445 c4 \cresc c4 c c c \endcresc c4
2451 You can also supply your own texts:
2452 @lilypond[fragment,relative,verbatim]
2454 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2455 \property Voice.crescendoSpanner = #'dashed-line
2465 @cindex @code{\dynamicUp}
2467 @cindex @code{\dynamicDown}
2468 @code{\dynamicDown},
2469 @cindex @code{\dynamicBoth}
2470 @code{\dynamicBoth}.
2472 @cindex direction, of dynamics
2476 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2477 @internalsref{AbsoluteDynamicEvent}.
2479 Dynamics are objects of @internalsref{DynamicText} and
2480 @internalsref{Hairpin}. Vertical positioning of these symbols is
2481 handled by the @internalsref{DynamicLineSpanner} object.
2483 If you want to adjust padding or vertical direction of the dynamics, you
2484 must set properties for the @internalsref{DynamicLineSpanner} object.
2492 @cindex @code{\repeat}
2495 Repetition is a central concept in music, and multiple notations exist
2496 for repetitions. In LilyPond, most of these notations can be captured
2497 in a uniform syntax. One of the advantages is that they can be
2498 rendered in MIDI accurately.
2500 The following types of repetition are supported:
2504 Repeated music is fully written (played) out. Useful for MIDI
2505 output, and entering repetitive music.
2508 This is the normal notation: Repeats are not written out, but
2509 alternative endings (voltas) are printed, left to right.
2513 Alternative endings are written stacked. This has limited use but may be
2514 used to typeset two lines of lyrics in songs with repeats, see
2515 @inputfileref{input,star-spangled-banner.ly}.
2523 Make beat or measure repeats. These look like percent signs.
2529 * Repeats and MIDI::
2530 * Manual repeat commands::
2532 * Tremolo subdivisions::
2537 @subsection Repeat syntax
2541 LilyPond has one syntactic construct for specifying different types of
2542 repeats. The syntax is
2545 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2548 If you have alternative endings, you may add
2549 @cindex @code{\alternative}
2551 \alternative @code{@{} @var{alternative1}
2553 @var{alternative3} @dots{} @code{@}}
2555 where each @var{alternative} is a music expression. If you do not
2556 give enough alternatives for all of the repeats, then the first
2557 alternative is assumed to be played more than once.
2559 Normal notation repeats are used like this:
2560 @lilypond[fragment,verbatim,relative=1]
2562 \repeat volta 2 { c4 d e f }
2563 \repeat volta 2 { f e d c }
2566 With alternative endings:
2567 @lilypond[fragment,verbatim,relative=1]
2569 \repeat volta 2 {c4 d e f}
2570 \alternative { {d2 d} {f f,} }
2574 @lilypond[fragment,verbatim,relative=1]
2577 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2578 \alternative { { g4 g g } { a | a a a a | b2. } }
2584 If you do a nested repeat like
2593 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2594 belongs. This ambiguity is resolved by always having the
2595 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2596 it is advisable to use braces in such situations.
2599 @node Repeats and MIDI
2600 @subsection Repeats and MIDI
2602 @cindex expanding repeats
2604 For instructions on how to unfold repeats for MIDI output, see the
2605 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2610 Timing information is not remembered at the start of an alternative,
2611 so after a repeat timing information must be reset by hand, for
2612 example by setting @code{Score.measurePosition} or entering
2613 @code{\partial}. Similarly, slurs or ties are also not repeated.
2616 @node Manual repeat commands
2617 @subsection Manual repeat commands
2619 @cindex @code{repeatCommands}
2621 The property @code{repeatCommands} can be used to control the layout of
2622 repeats. Its value is a Scheme list of repeat commands, where each repeat
2626 @item the symbol @code{start-repeat},
2627 which prints a @code{|:} bar line,
2628 @item the symbol @code{end-repeat},
2629 which prints a @code{:|} bar line,
2630 @item the list @code{(volta @var{text})},
2631 which prints a volta bracket saying @var{text}: The text can be specified as
2632 a text string or as a markup text, see @ref{Text markup}. Do not
2633 forget to change the font, as the default number font does not contain
2634 alphabetic characters. Or,
2635 @item the list @code{(volta #f)}, which
2636 stops a running volta bracket:
2639 @lilypond[verbatim,fragment,relative=2]
2641 \property Score.repeatCommands = #'((volta "93") end-repeat)
2643 \property Score.repeatCommands = #'((volta #f))
2650 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2651 @internalsref{VoltaRepeatedMusic},
2652 @internalsref{UnfoldedRepeatedMusic}, and
2653 @internalsref{FoldedRepeatedMusic}.
2655 @node Tremolo repeats
2656 @subsection Tremolo repeats
2657 @cindex tremolo beams
2659 To place tremolo marks between notes, use @code{\repeat} with tremolo
2661 @lilypond[verbatim,raggedright]
2663 \context Voice \notes\relative c' {
2664 \repeat "tremolo" 8 { c16 d16 }
2665 \repeat "tremolo" 4 { c16 d16 }
2666 \repeat "tremolo" 2 { c16 d16 }
2671 Tremolo marks can also be put on a single note. In this case, the
2672 note should not be surrounded by braces.
2673 @lilypond[verbatim,raggedright]
2674 \repeat "tremolo" 4 c16
2677 A similar mechanism is the tremolo subdivision, described in
2678 @ref{Tremolo subdivisions}.
2682 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2684 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2685 tremolos are @internalsref{StemTremolo}s. The music expression is
2686 @internalsref{TremoloEvent},
2688 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2689 @inputfileref{input/regression,stem-tremolo.ly}.
2691 @node Tremolo subdivisions
2692 @subsection Tremolo subdivisions
2693 @cindex tremolo marks
2694 @cindex @code{tremoloFlags}
2696 Tremolo marks can be printed on a single note by adding
2697 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2698 A @var{length} value of 8 gives one line across the note stem. If the
2699 length is omitted, then then the last value (stored in
2700 @code{Voice.tremoloFlags}) is used:
2702 @lilypond[verbatim,fragment,center]
2703 c'2:8 c':32 | c': c': |
2706 @c [TODO : stok is te kort bij 32en]
2710 Tremolos in this style do not carry over into the MIDI output.
2714 In this manual: @ref{Tremolo repeats}.
2716 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2718 @node Measure repeats
2719 @subsection Measure repeats
2721 @cindex percent repeats
2722 @cindex measure repeats
2724 In the @code{percent} style, a note pattern can be repeated. It is
2725 printed once, and then the pattern is replaced with a special sign.
2726 Patterns of a one and two measures are replaced by percent-like signs,
2727 patterns that divide the measure length are replaced by slashes:
2729 @lilypond[verbatim,raggedright]
2730 \context Voice { \repeat "percent" 4 { c'4 }
2731 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2737 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2738 @internalsref{PercentRepeatedMusic}, and
2739 @internalsref{DoublePercentRepeat}.
2743 @node Rhythmic music
2744 @section Rhythmic music
2748 * Showing melody rhythms::
2749 * Percussion staves::
2753 @node Showing melody rhythms
2754 @subsection Showing melody rhythms
2756 Sometimes you might want to show only the rhythm of a melody. This
2757 can be done with the rhythmic staff. All pitches of notes on such a
2758 staff are squashed, and the staff itself has a single line:
2760 @lilypond[fragment,relative,verbatim]
2761 \context RhythmicStaff {
2763 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2769 Internals: @internalsref{RhythmicStaff}.
2771 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2774 @node Percussion staves
2775 @subsection Percussion staves
2779 A percussion part for more than one instrument typically uses a
2780 multiline staff where each position in the staff refers to one piece
2785 Percussion notes may be entered in @code{\drums} mode, which is
2786 similar to @code{notes}. Each piece of percussion has a full name and
2787 an abbreviated name, and both be used in input files:
2789 @lilypond[raggedright]
2790 \drums { hihat4 hh4 }
2793 To typeset the music, the notes must be interpreted in a
2794 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2797 @lilypond[raggedright,verbatim,quote]
2798 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2799 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2802 << \new DrumVoice { \voiceOne \up }
2803 \new DrumVoice { \voiceTwo \down }
2807 There are also other layout possibilities. To use these, set the
2808 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2809 The following variables have been predefined:
2813 is the default. It typesets a typical drum kit on a five-line staff
2816 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2817 bd sn ss tomh tommh tomml toml tomfh tomfl }
2818 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2819 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2821 << \new DrumStaff\with {
2822 \remove Bar_engraver
2823 \remove Time_signature_engraver
2824 Stem \set #'transparent = ##t
2825 Stem \set #'Y-extent-callback = ##f
2826 minimumVerticalExtent = #'(-4.0 . 5.0)
2828 \context LyricsVoice \nam
2831 %% need to do this, because of indented @itemize
2833 \translator { \ScoreContext
2834 BarNumber \set #'transparent =##T
2838 The drum scheme supports six different toms. When there fewer toms, simply
2839 select the toms that produce the desired result, i.e. to get toms on
2840 the three middle lines you use @code{tommh}, @code{tomml} and
2843 @item timbales-style
2844 to typeset timbales on a two line staff:
2846 @lilypond[raggedright]
2847 nam = \lyrics { timh ssh timl ssl cb }
2848 mus = \drums { timh ssh timl ssl cb s16 }
2851 \context DrumStaff \with {
2852 \remove Bar_engraver
2853 \remove Time_signature_engraver
2854 Stem \set #'transparent = ##t
2855 Stem \set #'Y-extent-callback = ##f
2856 StaffSymbol \override #'line-count = #2
2857 StaffSymbol \override #'staff-space = #2
2858 minimumVerticalExtent = #'(-3.0 . 4.0)
2859 drumStyleTable = #timbales-style
2861 \context LyricsVoice \nam
2866 to typeset congas on a two line staff:
2868 @lilypond[raggedright]
2869 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2870 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2873 \context DrumStaff\with {
2874 \remove Bar_engraver
2875 \remove Time_signature_engraver
2876 drumStyleTable = #congas-style
2877 StaffSymbol \override #'line-count = #2
2879 %% this sucks; it will lengthen stems.
2880 StaffSymbol \override #'staff-space = #2
2881 Stem \set #'transparent = ##t
2882 Stem \set #'Y-extent-callback = ##f
2884 \context LyricsVoice \nam
2889 to typeset bongos on a two line staff:
2891 @lilypond[raggedright]
2892 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2893 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2896 \context DrumStaff\with {
2897 \remove Bar_engraver
2898 \remove Time_signature_engraver
2899 StaffSymbol \override #'line-count = #2
2900 drumStyleTable = #bongos-style
2902 %% this sucks; it will lengthen stems.
2903 StaffSymbol \override #'staff-space = #2
2904 Stem \set #'transparent = ##t
2905 Stem \set #'Y-extent-callback = ##f
2907 \context LyricsVoice \nam
2912 @item percussion-style
2913 to typeset all kinds of simple percussion on one line staves:
2914 @lilypond[raggedright]
2915 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2916 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2919 \context DrumStaff\with{
2920 \remove Bar_engraver
2921 drumStyleTable = #percussion-style
2922 StaffSymbol \override #'line-count = #1
2923 \remove Time_signature_engraver
2924 Stem \set #'transparent = ##t
2925 Stem \set #'Y-extent-callback = ##f
2927 \context LyricsVoice \nam
2933 If you do not like any of the predefined lists you can define your own
2934 list at the top of your file:
2936 @lilypond[raggedright,verbatim]
2938 (bassdrum default #f -1)
2939 (snare default #f 0)
2941 (pedalhihat xcircle "stopped" 2)
2942 (lowtom diamond #f 3)
2944 up = \drums { hh8 hh hh hh hhp4 hhp }
2945 down = \drums { bd4 sn bd toml8 toml }
2948 \property DrumStaff.drumStyleTable
2949 = #(alist->hash-table mydrums)
2950 \new DrumVoice { \voiceOne \up }
2951 \new DrumVoice { \voiceTwo \down }
2959 Init files: @file{ly/drumpitch-init.ly}
2961 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}
2965 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2966 work for @internalsref{DrumVoices}.
2968 Because general MIDI does not contain rimshots the sidestick is used
2969 for this purpose instead.
2972 @section Piano music
2974 Piano staves are two normal staves coupled with a brace. The staves
2975 are largely independent, but sometimes voices can cross between the
2976 two staves. The same notation is also used for harps and other key
2977 instruments. The @internalsref{PianoStaff} is especially built to
2978 handle this cross-staffing behavior. In this section we discuss the
2979 @internalsref{PianoStaff} and some other pianistic peculiarities.
2983 * Automatic staff changes::
2984 * Manual staff switches::
2987 * Staff switch lines::
2992 There is no support for putting chords across staves. You can get
2993 this result by increasing the length of the stem in the lower stave so
2994 it reaches the stem in the upper stave, or vice versa. An example is
2995 included with the distribution as
2996 @inputfileref{input/test,stem-cross-staff.ly}.
2998 Dynamics are not centered, but kludges do exist. See
2999 @inputfileref{input/template,piano-dynamics.ly}.
3001 @cindex cross staff stem
3002 @cindex stem, cross staff
3005 @c fixme: should have hyperlinks as well.
3011 @node Automatic staff changes
3012 @subsection Automatic staff changes
3013 @cindex Automatic staff changes
3015 Voices can switch automatically between the top and the bottom
3016 staff. The syntax for this is
3018 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3020 The two staffs of the piano staff must be named @code{up} and
3023 The autochanger switches on basis of pitch (central C is the turning
3024 point), and it looks ahead skipping over rests to switch in
3025 advance. Here is a practical example:
3027 @lilypond[verbatim,raggedright,quote]
3028 \score { \notes \context PianoStaff <<
3029 \context Staff = "up" {
3030 \autochange \new Voice \relative c' {
3031 g4 a b c d r4 a g } }
3032 \context Staff = "down" {
3039 In this example, spacer rests are used to prevent the bottom staff from
3040 terminating too soon.
3045 In this manual: @ref{Manual staff switches}
3047 Internals: @internalsref{AutoChangeMusic}.
3053 The staff switches often do not end up in optimal places. For high
3054 quality output, staff switches should be specified manually.
3058 @node Manual staff switches
3059 @subsection Manual staff switches
3061 @cindex manual staff switches
3062 @cindex staff switch, manual
3064 Voices can be switched between staves manually, using the following command:
3066 \change Staff = @var{staffname} @var{music}
3070 The string @var{staffname} is the name of the staff. It switches the
3071 current voice from its current staff to the Staff called
3072 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3081 Pianos have pedals that alter the way sound are produced. Generally, a
3082 piano has three pedals, sustain, una corda, and sostenuto.
3086 Piano pedal instruction can be expressed by attaching
3087 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3088 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3091 @lilypond[fragment,verbatim]
3092 c'4\sustainDown c'4\sustainUp
3095 What is printed can be modified by setting @code{pedal@var{X}Strings},
3096 where @var{X} is one of the pedal types: @code{Sustain},
3097 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3098 documentation of @internalsref{SustainPedal} for more information.
3100 Pedals can also be indicated by a sequence of brackets, by setting the
3101 @code{pedalSustainStyle} property to @code{bracket} objects:
3103 @lilypond[fragment,verbatim]
3104 \property Staff.pedalSustainStyle = #'bracket
3105 c''4\sustainDown d''4 e''4
3106 a'4\sustainUp\sustainDown
3107 f'4 g'4 a'4\sustainUp
3110 A third style of pedal notation is a mixture of text and brackets,
3111 obtained by setting the @code{pedalSustainStyle} style property to
3114 @lilypond[fragment,verbatim]
3115 \property Staff.pedalSustainStyle = #'mixed
3116 c''4\sustainDown d''4 e''4
3117 c'4\sustainUp\sustainDown
3118 f'4 g'4 a'4\sustainUp
3121 The default `*Ped' style for sustain and damper pedals corresponds to
3122 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3125 @lilypond[fragment,verbatim]
3126 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3129 For fine-tuning of the appearance of a pedal bracket, the properties
3130 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3131 @code{PianoPedalBracket} objects (see
3132 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3133 bracket may be extended to the end of the note head:
3135 @lilypond[fragment,verbatim]
3136 \property Staff.PianoPedalBracket \override
3137 #'shorten-pair = #'(0 . -1.0)
3138 c''4\sostenutoDown d''4 e''4 c'4
3139 f'4 g'4 a'4\sostenutoUp
3143 @subsection Arpeggio
3146 @cindex broken arpeggio
3147 @cindex @code{\arpeggio}
3149 You can specify an arpeggio sign on a chord by attaching an
3150 @code{\arpeggio} to a chord:
3153 @lilypond[fragment,relative,verbatim]
3157 When an arpeggio crosses staves, you attach an arpeggio to the chords
3158 in both staves, and set
3159 @internalsref{PianoStaff}.@code{connectArpeggios}:
3161 @lilypond[fragment,relative,verbatim]
3162 \context PianoStaff <<
3163 \property PianoStaff.connectArpeggios = ##t
3164 \new Staff { <c' e g c>\arpeggio }
3165 \new Staff { \clef bass <c,, e g>\arpeggio }
3169 The direction of the arpeggio is sometimes denoted by adding an
3170 arrowhead to the wiggly line. This can be typeset by setting
3171 @code{arpeggio-direction}:
3173 @lilypond[fragment,relative,verbatim]
3175 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3177 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3182 A square bracket on the left indicates that the player should not
3183 arpeggiate the chord. To draw these brackets, set the
3184 @code{molecule-callback} property of @code{Arpeggio} or
3185 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3186 @code{\arpeggio} statements within the chords as before:
3188 @lilypond[fragment,relative,verbatim]
3189 \property PianoStaff.Arpeggio \override
3190 #'molecule-callback = \arpeggioBracket
3196 @cindex @code{\arpeggioBracket}
3197 @code{\arpeggioBracket},
3198 @cindex @code{\arpeggio}
3203 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3204 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3205 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3209 It is not possible to mix connected arpeggios and unconnected
3210 arpeggios in one @internalsref{PianoStaff} at the same time.
3212 @node Staff switch lines
3213 @subsection Staff switch lines
3216 @cindex follow voice
3217 @cindex staff switching
3220 @cindex @code{followVoice}
3222 Whenever a voice switches to another staff a line connecting the notes
3223 can be printed automatically. This is enabled if the property
3224 @code{PianoStaff.followVoice} is set to true:
3226 @lilypond[fragment,relative,verbatim]
3227 \context PianoStaff <<
3228 \property PianoStaff.followVoice = ##t
3229 \context Staff \context Voice {
3234 \context Staff=two { \clef bass \skip 1*2 }
3238 The associated object is @internalsref{VoiceFollower}.
3242 @cindex @code{\showStaffSwitch}
3243 @code{\showStaffSwitch},
3244 @cindex @code{\hideStaffSwitch}
3245 @code{\hideStaffSwitch}.
3249 @section Vocal music
3251 This section discusses how to enter and print lyrics.
3255 * The Lyrics context::
3260 @node Entering lyrics
3261 @subsection Entering lyrics
3265 @cindex @code{\lyrics}
3268 Lyrics are entered in a special input mode. This mode is is introduced
3269 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3270 punctuation and accents without any hassle. Syllables are entered like
3271 notes, but with pitches replaced by text. For example,
3273 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3276 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3277 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3278 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3279 any 8-bit character with ASCII code over 127, or a two-character
3280 combination of a backslash followed by one of @code{`}, @code{'},
3281 @code{"}, or @code{^}.
3283 Subsequent characters of a word can be any character that is not a digit
3284 and not white space. One important consequence of this is that a word
3285 can end with @code{@}}. The following example is usually a bug. The
3286 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3288 \lyrics @{ twinkle@}
3291 @cindex @code{\property}, in @code{\lyrics}
3292 Similarly, a period following a alphabetic sequence, is included in the
3293 resulting string. As a consequence, spaces must be inserted around
3294 @code{\property} commands:
3296 \property Lyrics . LyricText \set #'font-shape = #'italic
3300 @cindex spaces, in lyrics
3301 @cindex quotes, in lyrics
3303 Any @code{_} character which appears in an unquoted word is converted
3304 to a space. This provides a mechanism for introducing spaces into words
3305 without using quotes. Quoted words can also be used in Lyrics mode to
3306 specify words that cannot be written with the above rules:
3309 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3313 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3318 These will be attached to the end of the first syllable.
3320 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3321 as a separate word between syllables. The hyphen will have variable
3322 length depending on the space between the syllables and it will be
3323 centered between the syllables.
3328 When a lyric is sung over many notes (this is called a melisma), this is
3329 indicated with a horizontal line centered between a syllable and the
3330 next one. Such a line is called an extender line, and it is entered as
3335 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3336 @internalsref{ExtenderEvent}.
3340 The definition of lyrics mode is too complex.
3344 @node The Lyrics context
3345 @subsection The Lyrics context
3347 Lyrics are printed by interpreting them in a @internalsref{LyricsVoice} context:
3349 \context LyricsVoice \lyrics @dots{}
3352 @cindex automatic syllable durations
3353 @cindex @code{\lyricsto}
3354 @cindex lyrics and melodies
3356 This will place the lyrics according to the durations that were
3357 entered. The lyrics can also be aligned under a given melody
3358 automatically. In this case, it is no longer necessary to enter the
3359 correct duration for each syllable. This is achieved by combining the
3360 melody and the lyrics with the @code{\lyricsto} expression:
3362 \lyricsto @var{name} \new LyricsVoice @dots{}
3365 This aligns the lyrics to the
3367 notes of the @internalsref{Voice} context called @var{name}, which has
3368 to exist. Therefore, normally the @code{Voice} is specified first, and
3369 then the lyrics are specified with @code{\lyricsto}.
3371 For different or more complex orderings, the best way is to setup the
3372 hierarchy of staves and lyrics first, e.g.
3374 \context ChoirStaff \notes <<
3375 \context LyricsVoice = sopranoLyrics @{ s1 @}
3376 \context Voice = soprano @{ @emph{music} @}
3377 \context LyricsVoice = tenor @{ s1 @}
3378 \context Voice = tenorLyrics @{ @emph{music} @}
3381 and then combine the appropriate melodies and lyric lines:
3383 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3387 The final input would resemble
3390 << \context ChoirStaff \notes << @emph{setup the music} >>
3391 \lyricsto "soprano" @emph{etc}
3392 \lyricsto "alto" @emph{etc}
3398 The @code{\lyricsto} command detects melismata: it only puts one
3399 syllable under a tied or slurred group of notes. If you want to force
3400 an unslurred group of notes to be a melisma, then insert
3401 @code{\melisma} after the first note of the group, and
3402 @code{\melismaEnd} after the last one, e.g.
3404 @lilypond[relative=1,raggedright,fragment,verbatim]
3405 << \context Voice = "lala" { \time 3/4
3411 \lyricsto "lala" \new LyricsVoice \lyrics {
3416 In addition, notes are considered a melisma if they are manually
3417 beamed, and automatic beaming (see @ref{Setting automatic beam
3418 behavior}) is switched off. The criteria for deciding melismata
3419 can be tuned with the property @code{melismaBusyProperties}. See
3420 @internalsref{Melisma_engraver} for more information.
3422 When multiple stanzas are put on the same melody, it can happen that
3423 two stanzas have melismata in different locations. This can be
3424 remedied by switching off melismata for one
3425 @internalsref{LyricsVoice}. This is achieved by setting
3426 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3427 in @inputfileref{input/regression,lyric-combine-new.ly}.
3430 @cindex choral score
3432 A complete example of a SATB score setup is in the file
3433 @inputfileref{input/template,satb.ly}.
3437 @code{\melisma}, @code{\melismaEnd}
3438 @cindex @code{\melismaEnd}
3439 @cindex @code{\melisma}
3443 Internals: Music expressions: @internalsref{LyricCombineMusic},
3444 Contexts: @internalsref{LyricsVoice}, @internalsref{Melisma_engraver}.
3446 Examples: @inputfileref{input/template,satb.ly},
3447 @inputfileref{input/regression,lyric-combine-new.ly}.
3451 Melismata are not detected automatically, and extender lines must be
3455 For proper processing of extender lines, the
3456 @internalsref{LyricsVoice} and @internalsref{Voice} should be
3457 linked. This can be achieved either by using @code{\lyricsto} or by
3458 setting corresponding names for both contexts. The latter is explained
3459 in @ref{More stanzas}.
3462 @subsection More stanzas
3464 @cindex phrasing, in lyrics
3467 The lyrics should be aligned with the note heads of the melody. To
3468 achieve this, each line of lyrics should be marked to correspond with
3469 the melodic line. This is done automatically when @code{\lyricsto},
3470 but it can also be done manually.
3472 To this end, give the @internalsref{Voice} context an identity:
3474 \context Voice = duet @{
3479 Then set the @internalsref{LyricsVoice} contexts to names starting with
3480 that identity followed by a dash. In the preceding example, the
3481 @internalsref{Voice} identity is @code{duet}, so the identities of the
3482 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3484 \context LyricsVoice = "duet-1" @{
3485 Hi, my name is bert. @}
3486 \context LyricsVoice = "duet-2" @{
3487 Ooooo, ch\'e -- ri, je t'aime. @}
3490 The complete example is shown here:
3491 @lilypond[raggedright,verbatim]
3493 << \notes \relative c'' \context Voice = duet { \time 3/4
3495 \lyrics << \lyricsto "duet" \new LyricsVoice {
3496 \property LyricsVoice . stanza = "1"
3497 Hi, my name is bert. }
3498 \lyricsto "duet" \new LyricsVoice {
3499 \property LyricsVoice . stanza = "2"
3500 Ooooo, ch\'e -- ri, je t'aime. }
3505 @cindex stanza number
3506 @cindex singer's names
3507 @cindex name of singer
3509 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3512 \property LyricsVoice . stanza = "Bert"
3514 \property LyricsVoice . stanza = "Ernie"
3517 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3518 prevent @code{LyricsVoice.stanza} being interpreted as a single
3521 Names of the singers should be added using @code{LyricsVoice
3522 . vocalName} and @code{LyricsVoice . vocNam}, analogous to instrument
3523 annotations for staves.
3525 To make empty spaces in lyrics, use @code{\skip}.
3530 Internals: Layout objects @internalsref{LyricText}
3531 @internalsref{VocalName}. Music expressions:
3532 @internalsref{LyricEvent}.
3538 Input for lyrics introduces a syntactical ambiguity:
3545 is interpreted as assigning a string identifier @code{\foo} such that
3546 it contains @code{"bar"}. However, it could also be interpreted as
3547 making or a music identifier @code{\foo} containing the syllable
3548 `bar'. The force the latter interpretation, use
3558 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3559 for a given voice in a part of music. It also may denote the pitch
3560 range that a musical instrument is capable of playing. Most musical
3561 instruments have their ambitus standardized (or at least there is
3562 agreement upon the minimal ambitus of a particular type of
3563 instrument), such that a composer or arranger of a piece of music can
3564 easily meet the ambitus constraints of the targeted instrument.
3565 However, the ambitus of the human voice depends on individual
3566 physiological state, including education and training of the voice.
3567 Therefore, a singer potentially has to check for each piece of music
3568 if the ambitus of that piece meets his individual capabilities. This
3569 is why the ambitus of a piece may be of particular value to vocal
3572 The ambitus is typically notated on a per-voice basis at the very
3573 beginning of a piece, e.g. nearby the initial clef or time signature of
3574 each staff. The range is graphically specified by two noteheads, that
3575 represent the minimum and maximum pitch. Some publishers use a textual
3576 notation: they put the range in words in front of the corresponding
3577 staff. LilyPond only supports the graphical ambitus notation.
3579 To apply, add the @internalsref{Ambitus_engraver} to the
3580 @internalsref{Voice} context, i.e.
3586 \consists Ambitus_engraver
3591 This results in the following output:
3592 @lilypond[raggedright]
3593 upper = \notes \relative c {
3596 as'' c e2 bes f cis d4 e f2 g
3598 lower = \notes \relative c {
3601 e'4 b g a c es fis a cis b a g f e d2
3604 \context ChoirStaff {
3606 \new Staff { \upper }
3607 \new Staff { \lower }
3613 \consists Ambitus_engraver
3619 If you have multiple voices in a single staff, and you want a single
3620 ambitus per staff rather than per each voice, then add the
3621 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3622 rather than to the @internalsref{Voice} context.
3624 It is possible to tune individual ambituses for multiple voices on a
3625 single staff, for example by erasing or shifting them horizontally. An
3626 example is in @inputfileref{input/test,ambitus-mixed.ly}
3630 Internals: @internalsref{Ambitus}
3632 Examples: @inputfileref{input/regression,ambitus.ly},
3633 @inputfileref{input/test,ambitus-mixed.ly}.
3637 There is no collision handling in the case of multiple per-voice
3643 Tablature notation is used for notating music for plucked string
3644 instruments. It notates pitches not by using note heads, but by
3645 indicating on which string and fret a note must be played. LilyPond
3646 offers limited support for tablature.
3649 * Tablatures basic::
3650 * Non-guitar tablatures::
3653 @node Tablatures basic
3654 @subsection Tablatures basic
3655 @cindex Tablatures basic
3657 The string number associated to a note is given as a backslash
3658 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3659 string. By default, string 1 is the highest one, and the tuning
3660 defaults to the standard guitar tuning (with 6 strings). The notes
3661 are printed as tablature, by using @internalsref{TabStaff} and
3662 @internalsref{TabVoice} contexts:
3664 @lilypond[fragment,verbatim]
3665 \notes \context TabStaff {
3673 When no string is specified, the first string that does not give a
3674 fret number less than @code{minimumFret} is selected. The default
3675 value for @code{minimumFret} is 0:
3679 e8 fis gis a b cis' dis' e'
3680 \property TabStaff.minimumFret = #8
3681 e8 fis gis a b cis' dis' e'
3686 e8 fis gis a b cis' dis' e'
3687 \property TabStaff.minimumFret = #8
3688 e8 fis gis a b cis' dis' e'
3691 \context StaffGroup <<
3692 \context Staff { \clef "G_8" \frag }
3693 \context TabStaff { \frag }
3700 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3701 @internalsref{StringNumberEvent}.
3705 Chords are not handled in a special way, and hence the automatic
3706 string selector may easily select the same string to two notes in a
3710 @node Non-guitar tablatures
3711 @subsection Non-guitar tablatures
3712 @cindex Non-guitar tablatures
3714 You can change the number of strings, by setting the number of lines
3715 in the @internalsref{TabStaff}.
3717 You can change the tuning of the strings. A string tuning is given as
3718 a Scheme list with one integer number for each string, the number
3719 being the pitch (measured in semitones relative to central C) of an
3720 open string. The numbers specified for @code{stringTuning} are the
3721 numbers of semitones to subtract or add, starting the specified pitch
3722 by default middle C, in string order. Thus, the notes are e, a, d, and
3725 @lilypond[fragment,verbatim]
3726 \context TabStaff <<
3727 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3730 a,4 c' a e' e c' a e'
3735 It is possible to change the Scheme function to format the tablature
3736 note text. The default is @code{fret-number-tablature-format}, which
3737 uses the fret number. For instruments that do not use this notation,
3738 you can create a special tablature formatting function. This function
3739 takes three argument: string number, string tuning and note pitch.
3743 No guitar special effects have been implemented.
3748 @section Chord names
3751 LilyPond has support for both printing chord names. Chords may be
3752 entered in musical chord notation, i.e. @code{< .. >}, but they can
3753 also be entered by name. Internally, the chords are represented as a
3754 set of pitches, so they can be transposed:
3757 @lilypond[verbatim,raggedright]
3758 twoWays = \notes \transpose c c' {
3768 << \context ChordNames \twoWays
3769 \context Voice \twoWays >> }
3772 This example also shows that the chord printing routines do not try to
3773 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3779 * Printing chord names::
3784 @subsection Chords mode
3787 Chord mode is a mode where you can input sets of pitches using common
3788 names. It is introduced by the keyword @code{\chords}.
3789 In chords mode, a chord is entered by the root, which is entered
3790 like a common pitch:
3791 @lilypond[fragment,verbatim,quote,relative=1]
3792 \chords { es4. d8 c2 }
3797 Other chords may be entered by suffixing a colon, and introducing a
3798 modifier, and optionally, a number:
3800 @lilypond[fragment,verbatim,quote]
3801 \chords { e1:m e1:7 e1:m7 }
3803 The first number following the root is taken to be the `type' of the
3804 chord, thirds are added to the root until it reaches the specified
3806 @lilypond[fragment,verbatim]
3807 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3810 @cindex root of chord
3811 @cindex additions, in chords
3812 @cindex removals, in chords
3814 More complex chords may also be constructed adding separate steps
3815 to a chord. Additions are added after the number following
3816 the colon, and are separated by dots:
3818 @lilypond[verbatim,fragment,quote]
3819 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3821 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3823 @lilypond[verbatim,fragment,quote]
3824 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3826 Removals are specified similarly, and are introduced by a caret. They
3827 must come after the additions:
3828 @lilypond[verbatim,fragment]
3829 \chords { c^3 c:7^5 c:9^3.5 }
3832 Modifiers can be used to change pitches. The following modifiers are
3836 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3838 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3841 is the augmented chord. This modifier raises the 5th step.
3843 is the major 7th chord. This modifier raises the 7th step if present.
3845 is the suspended 4th or 2nd. This modifier removes the 3rd
3846 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3849 Modifiers can be mixed with additions:
3850 @lilypond[verbatim,fragment]
3851 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3854 @cindex modifiers, in chords.
3861 Since an unaltered 11 does not sound good when combined with an
3862 unaltered 13, the 11 is removed in this case (unless it is added
3865 @lilypond[fragment,verbatim]
3866 \chords { c:13 c:13.11 c:m13 }
3871 An inversion (putting one pitch of the chord on the bottom), as well
3872 as bass notes, can be specified by appending
3873 @code{/}@var{pitch} to the chord:
3874 @lilypond[fragment,verbatim,center]
3875 \chords { c1 c/g c/f }
3879 A bass note can be added instead of transposed out of the chord,
3880 by using @code{/+}@var{pitch}.
3882 @lilypond[fragment,verbatim,center]
3883 \chords { c1 c/+g c/+f }
3886 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3887 of the commands continue to work, for example, @code{r} and
3888 @code{\skip} can be used to insert rests and spaces, and
3889 @code{\property} may be used to change various settings.
3895 Each step can only be present in a chord once. The following
3896 simply produces the augmented chord, since @code{5+} is interpreted
3899 @lilypond[verbatim,fragment]
3900 \chords { c:5.5-.5+ }
3904 @node Printing chord names
3905 @subsection Printing chord names
3907 @cindex printing chord names
3911 For displaying printed chord names, use the @internalsref{ChordNames} context.
3912 The chords may be entered either using the notation
3913 described above, or directly using @code{<} and @code{>}:
3915 @lilypond[verbatim,raggedright]
3917 \chords {a1 b c} <d' f' a'> <e' g' b'>
3921 \context ChordNames \scheme
3922 \context Staff \scheme
3927 You can make the chord changes stand out by setting
3928 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3929 display chord names when there is a change in the chords scheme and at
3930 the start of a new line:
3932 @lilypond[verbatim,linewidth=9\cm]
3934 c1:m c:m \break c:m c:m d
3938 \context ChordNames {
3939 \property ChordNames.chordChanges = ##t
3941 \context Staff \transpose c c' \scheme
3946 The default chord name layout is a system for Jazz music, proposed by
3947 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3948 following properties:
3951 @cindex chordNameExceptions
3952 @item chordNameExceptions
3953 This is a list that contains the chords that have special formatting.
3955 @inputfileref{input/regression,chord-name-exceptions.ly}.
3956 @cindex exceptions, chord names.
3959 @cindex majorSevenSymbol
3960 @item majorSevenSymbol
3961 This property contains the markup object used for the 7th step, when
3962 it is major. Predefined options are @code{whiteTriangleMarkup} and
3963 @code{blackTriangleMarkup}. See
3964 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3966 @cindex chordNameSeparator
3967 @item chordNameSeparator
3968 Different parts of a chord name are normally separated by a
3969 slash. By setting @code{chordNameSeparator}, you can specify other
3971 @lilypond[fragment,verbatim]
3972 \context ChordNames \chords {
3974 \property ChordNames.chordNameSeparator
3975 = \markup { \typewriter "|" }
3979 @cindex chordRootNamer
3980 @item chordRootNamer
3981 The root of a chord is usually printed as a letter with an optional
3982 alteration. The transformation from pitch to letter is done by this
3983 function. Special note names (for example, the German ``H'' for a
3984 B-chord) can be produced by storing a new function in this property.
3986 The pre-defined variables @code{\germanChords},
3987 @code{\semiGermanChords} set these variables.
3990 @cindex chordNoteNamer
3991 @item chordNoteNamer
3992 The default is to print single pitch, e.g. the bass note, using the
3993 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3994 to a specialized function to change this behavior. For example, the
3995 base can be printed in lower case.
4000 There are also two other chord name schemes implemented: an alternate
4001 Jazz chord notation, and a systematic scheme called Banter chords. The
4002 alternate jazz notation is also shown on the chart in @ref{Chord name
4003 chart}. Turning on these styles is described in the input file
4004 @inputfileref{input/test,chord-names-jazz.ly}.
4008 @cindex chords, jazz
4013 @cindex @code{\germanChords}
4014 @code{\germanChords},
4015 @cindex @code{\semiGermanChords}
4016 @code{\semiGermanChords}.
4023 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4024 @inputfileref{input/regression,chord-name-exceptions.ly},
4025 @inputfileref{input/test,chord-names-jazz.ly},
4026 @inputfileref{input/test,chord-names-german.ly}.
4028 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4033 Chord names are determined solely from the list of pitches. Chord
4034 inversions are not identified, and neither are added bass notes. This
4035 may result in strange chord names when chords are entered with the
4036 @code{< .. >} syntax.
4041 @node Orchestral music
4042 @section Orchestral music
4044 @cindex Writing parts
4046 Orchestral music involves some special notation, both in the full
4047 score and the individual parts. This section explains how to tackle
4048 some common problems in orchestral music.
4053 * Multiple staff contexts::
4056 * Instrument names::
4058 * Multi measure rests::
4059 * Automatic part combining::
4061 * Different editions from one source::
4062 * Sound output for transposing instruments::
4065 @node Multiple staff contexts
4066 @subsection Multiple staff contexts
4068 Polyphonic scores consist of many staves. These staves can be
4069 constructed in three different ways:
4071 @item The group is started with a brace at the left. This is done with the
4072 @internalsref{GrandStaff} context.
4073 @item The group is started with a bracket. This is done with the
4074 @internalsref{StaffGroup} context
4075 @item The group is started with a vertical line. This is the default
4079 @cindex Staff, multiple
4080 @cindex bracket, vertical
4081 @cindex brace, vertical
4088 @node Rehearsal marks
4089 @subsection Rehearsal marks
4090 @cindex Rehearsal marks
4092 @cindex @code{\mark}
4094 To print a rehearsal mark, use the @code{\mark} command:
4095 @lilypond[fragment,verbatim]
4106 (The letter I is skipped in accordance with engraving traditions.)
4108 The mark is incremented automatically if you use @code{\mark
4109 \default}, but you can also use an integer argument to set the mark
4110 manually. The value to use is stored in the property
4111 @code{rehearsalMark}.
4113 The style is defined by the property @code{markFormatter}. It is a
4114 function taking the current mark (an integer) and the current context
4115 as argument. It should return a markup object. In the following
4116 example, @code{markFormatter} is set to a canned procedure. After a
4117 few measures, it is set to function that produces a boxed number.
4119 @lilypond[verbatim,fragment,relative=1]
4120 \property Score.markFormatter = #format-mark-numbers
4123 \property Score.markFormatter
4124 = #(lambda (mark context)
4125 (make-bold-markup (make-box-markup (number->string mark))))
4130 The file @file{scm/translation-functions.scm} contains the definitions
4131 of @code{format-mark-numbers} (the default format) and
4132 @code{format-mark-letters}. They can be used as inspiration for other
4133 formatting functions.
4136 @cindex coda on bar line
4137 @cindex segno on bar line
4138 @cindex fermata on bar line
4139 @cindex bar lines, symbols on
4141 The @code{\mark} command can also be used to put signs like coda,
4142 segno and fermatas on a barline. Use @code{\markup} to
4143 to access the appropriate symbol:
4145 @lilypond[fragment,verbatim,relative=1]
4146 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4150 In this case, during line breaks, marks must also be printed at the
4151 end of the line, and not at the beginning. Use the following to force
4154 \property Score.RehearsalMark \override
4155 #'break-visibility = #begin-of-line-invisible
4161 @cindex barlines, putting symbols on
4165 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4167 Init files: @file{scm/translation-functions.scm} contains the
4168 definition of @code{format-mark-numbers} and
4169 @code{format-mark-letters}. They can be used as inspiration for other
4170 formatting functions.
4172 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4173 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4177 @subsection Bar numbers
4181 @cindex measure numbers
4182 @cindex currentBarNumber
4184 Bar numbers are printed by default at the start of the line. The
4185 number itself is stored in the
4186 @code{currentBarNumber} property,
4187 which is normally updated automatically for every measure.
4189 Bar numbers can be typeset at regular intervals instead of at the
4190 beginning of each line. This is illustrated in the following example,
4191 whose source is available as
4192 @inputfileref{input/test,bar-number-regular-interval.ly}:
4194 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4199 Internals: @internalsref{BarNumber}.
4201 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4202 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4206 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4207 there is one at the top. To solve this, the
4208 @code{padding} property of @internalsref{BarNumber} can be
4209 used to position the number correctly.
4211 @node Instrument names
4212 @subsection Instrument names
4214 In an orchestral score, instrument names are printed left side of the
4217 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4218 and @internalsref{Staff}.@code{instr}. This will print a string before
4219 the start of the staff. For the first start, @code{instrument} is
4220 used, for the next ones @code{instr} is used:
4223 @lilypond[verbatim,raggedright]
4224 \property Staff.instrument = "ploink " { c''4 }
4228 You can also use markup texts to construct more complicated instrument
4232 @lilypond[fragment,verbatim,raggedright]
4234 \property Staff.instrument = \markup {
4235 \column < "Clarinetti"
4237 \smaller \musicglyph #"accidentals--1"
4248 Internals: @internalsref{InstrumentName}.
4252 When you put a name on a grand staff or piano staff the width of the
4253 brace is not taken into account. You must add extra spaces to the end of
4254 the name to avoid a collision.
4257 @subsection Transpose
4259 @cindex transposition of pitches
4260 @cindex @code{\transpose}
4262 A music expression can be transposed with @code{\transpose}. The syntax
4265 \transpose @var{from} @var{to} @var{musicexpr}
4268 This means that @var{musicexpr} is transposed by the interval between
4269 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4270 is changed to @code{to}.
4273 For example, consider a piece written in the key of D major. If
4274 this piece is a little too low for its performer, it can be
4275 transposed up to E major with
4277 \tranpose d e @dots{}
4280 Consider a part written for violin (a C instrument). If
4281 this part is to be played on the A clarinet, the following
4282 transposition will produce the appropriate part
4285 \transpose a c @dots{}
4288 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4289 inside a @code{\notes} section. @code{\transpose} distinguishes
4290 between enharmonic pitches: both @code{\transpose c cis} or
4291 @code{\transpose c des} will transpose up half a tone. The first
4292 version will print sharps and the second version will print flats:
4294 @lilypond[raggedright,verbatim]
4295 mus =\notes { \key d \major cis d fis g }
4296 \score { \notes \context Staff {
4299 \transpose c g' \mus
4300 \transpose c f' \mus
4307 Internals: @internalsref{TransposedMusic}, and
4308 @internalsref{UntransposableMusic}.
4312 If you want to use both @code{\transpose} and @code{\relative}, then
4313 you must put @code{\transpose} outside of @code{\relative}, since
4314 @code{\relative} will have no effect music that appears inside a
4320 @node Multi measure rests
4321 @subsection Multi measure rests
4322 @cindex multi measure rests
4323 @cindex Rests, multi measure
4327 Multi measure rests are entered using `@code{R}'. It is specifically
4328 meant for full bar rests and for entering parts: the rest can expand
4329 to fill a score with rests, or it can be printed as a single
4330 multimeasure rest. This expansion is controlled by the property
4331 @code{Score.skipBars}. If this is set to true, empty measures will not
4332 be expanded, and the appropriate number is added automatically:
4334 @lilypond[fragment,verbatim]
4335 \time 4/4 r1 | R1 | R1*2
4336 \property Score.skipBars = ##t R1*17 R1*4
4339 The @code{1} in @code{R1} is similar to the duration notation used for
4340 notes. Hence, for time signatures other than 4/4, you must enter other
4341 durations. This can be done with augmentation dots or fractions:
4343 @lilypond[fragment,verbatim]
4344 \property Score.skipBars = ##t
4352 An @code{R} spanning a single measure is printed as either a whole rest
4353 or a breve, centered in the measure regardless of the time signature.
4355 @cindex text on multi-measure rest
4356 @cindex script on multi-measure rest
4357 @cindex fermata on multi-measure rest
4359 Texts can be added to multi-measure rests by using the
4360 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4361 replaced. If you need both texts and the number, you must add the
4362 number by hand. A variable (@code{\fermataMarkup}) is provided for
4366 @lilypond[verbatim,fragment]
4368 R2._\markup { "Ad lib" }
4372 If you want to have a text on the left end of a multi-measure rest,
4373 attach the text to a zero-length skip note, i.e.
4381 @cindex whole rests for a full measure
4385 Internals: @internalsref{MultiMeasureRestEvent},
4386 @internalsref{MultiMeasureTextEvent},
4387 @internalsref{MultiMeasureRestMusicGroup}, and
4388 @internalsref{MultiMeasureRest}.
4390 The layout object @internalsref{MultiMeasureRestNumber} is for the
4391 default number, and @internalsref{MultiMeasureRestText} for user
4396 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4397 over multi-measure rests.
4399 @cindex condensing rests
4401 There is no way to automatically condense multiple rests into a single
4402 multimeasure rest. Multi measure rests do not take part in rest
4405 Be careful when entering multimeasure rests followed by whole
4406 notes. The following will enter two notes lasting four measures each:
4410 When @code{skipBars} is set, then the result will look OK, but the
4411 bar numbering will be off.
4413 @node Automatic part combining
4414 @subsection Automatic part combining
4415 @cindex automatic part combining
4416 @cindex part combiner
4419 Automatic part combining is used to merge two parts of music onto a
4420 staff. It is aimed at typesetting orchestral scores. When the two
4421 parts are identical for a period of time, only one is shown. In
4422 places where the two parts differ, they are typeset as separate
4423 voices, and stem directions are set automatically. Also, solo and
4424 @emph{a due} parts are identified and can be marked.
4428 The syntax for part combining is
4431 \partcombine @var{musicexpr1} @var{musicexpr2}
4434 The music expressions will be interpreted as @internalsref{Voice}
4437 The following example demonstrates the basic functionality of the part
4438 combiner: putting parts on one staff, and setting stem directions and
4441 @lilypond[verbatim,raggedright,fragment,relative=1]
4442 \new Staff \partcombine
4451 The first @code{g} appears only once, although it was
4452 specified twice (once in each part). Stem, slur and tie directions are
4453 set automatically, depending whether there is a solo or unisono. The
4454 first part (with context called @code{one}) always gets up stems, and
4455 `solo', while the second (called @code{two}) always gets down stems and
4458 If you just want the merging parts, and not the textual markings, you
4459 may set the property @var{soloADue} to false:
4461 @lilypond[verbatim,raggedright,fragment]
4463 \property Staff.soloADue = ##f
4475 Internals: @internalsref{PartCombineMusic},
4476 @internalsref{SoloOneEvent}, and
4477 @internalsref{SoloTwoEvent}, and
4478 @internalsref{UnisonoEvent}.
4482 In @code{soloADue} mode, when the two voices play the same notes on and
4483 off, the part combiner may typeset @code{a2} more than once in a
4489 @subsection Hiding staves
4491 @cindex Frenched scores
4492 @cindex Hiding staves
4494 In orchestral scores, staff lines that only have rests are usually
4495 removed. This saves some space. This style is called `French Score'.
4496 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4497 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4498 switched on by default. When these line of these contexts turn out
4499 empty after the line-breaking process, they are removed.
4501 For normal staves, a specialized @internalsref{Staff} context is
4502 available, which does the same: staves containing nothing (or only
4503 multi measure rests) are removed. The context definition is stored in
4504 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4505 in this example disappears in the second line:
4510 \notes \relative c' <<
4511 \new Staff { e4 f g a \break c1 }
4512 \new Staff { c4 d e f \break R1 }
4516 \translator { \RemoveEmptyStaffContext }
4521 The first page shows all staffs in full. If they should be removed
4522 from the first page too, set @code{remove-first} to false
4523 in @internalsref{RemoveEmptyVerticalGroup}.
4525 @node Different editions from one source
4526 @subsection Different editions from one source
4528 The @code{\tag} command marks music expressions with a name. These
4529 tagged expressions can be filtered out later. With this mechanism it
4530 is possible to make different versions of the same music source.
4532 In the following example, we see two versions of a piece of music, one
4533 for the full score, and one with cue notes for the instrumental part:
4541 \property Voice.fontSize = #-1
4549 The same can be applied to articulations, texts, etc.: they are
4552 -\tag #@var{your-tag}
4554 to an articulation, for example,
4559 This defines a note with a conditional fingering indication.
4561 By applying the @code{remove-tag} function, tagged expressions can be
4562 filtered. For example,
4566 \apply #(remove-tag 'score) @var{the music}
4567 \apply #(remove-tag 'part) @var{the music}
4572 @lilypondfile[notexidoc]{tag-filter.ly}
4574 The argument of the @code{\tag} command should be a symbol, or a list
4575 of symbols, for example,
4577 \tag #'(original-part transposed-part) @dots{}
4582 Examples: @inputfileref{input/regression,tag-filter.ly}
4585 @node Sound output for transposing instruments
4586 @subsection Sound output for transposing instruments
4588 When you want to make a MIDI file from a score containing transposed
4589 and untransposed instruments, you have to instruct LilyPond the pitch
4590 offset (in semitones) for the transposed instruments. This is done
4591 using the @code{transposing} property. It does not affect printed
4594 @cindex @code{transposing}
4597 \property Staff.instrument = #"Cl. in B-flat"
4598 \property Staff.transposing = #-2
4602 @node Ancient notation
4603 @section Ancient notation
4605 @cindex Vaticana, Editio
4606 @cindex Medicaea, Editio
4611 @c [TODO: write more comprehensive introduction on ancient notation]
4613 Support for ancient notation is still under heavy development.
4614 Regardless of all of the current limitations (see the bugs section
4615 below for details), it includes features for mensural
4616 notation and Gregorian Chant notation. There is also limited support
4617 for figured bass notation.
4619 Many graphical objects provide a @code{style} property, see
4620 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4621 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4622 signatures}. By manipulating such a grob property, the typographical
4623 appearance of the affected graphical objects can be accomodated for a
4624 specific notation flavour without need for introducing any new
4628 Other aspects of ancient notation can not that easily be expressed as
4629 in terms of just changing a style property of a graphical object.
4630 Therefore, some notational concepts are introduced specifically for
4631 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4632 @ref{Ligatures}, and @ref{Figured bass}.
4636 * Ancient note heads::
4637 * Ancient accidentals::
4641 * Ancient time signatures::
4646 * Vaticana style contexts::
4649 If this all is way too much of documentation for you, and you just
4650 want to dive into typesetting without worrying too much about the
4651 details on how to customize a context, then you may have a look at the
4652 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4653 set up predefined style-specific voice and staff contexts, and
4654 directly go ahead with the note entry.
4658 Ligatures need special spacing that has not yet been implemented. As
4659 a result, there is too much space between ligatures most of the time,
4660 and line breaking often is unsatisfactory. Also, lyrics do not
4661 correctly align with ligatures.
4663 Accidentals must not be printed within a ligature, but instead need to
4664 be collected and printed in front of it.
4666 Augmentum dots within ligatures are not handled correctly.
4669 @node Ancient note heads
4670 @subsection Ancient note heads
4676 For ancient notation, a note head style other than the @code{default}
4677 style may be chosen. This is accomplished by setting the @code{style}
4678 property of the NoteHead object to the desired value (@code{baroque},
4679 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4680 differs from the @code{default} style only in using a square shape for
4681 @code{\breve} note heads. The @code{neo_mensural} style differs from
4682 the @code{baroque} style in that it uses rhomboidal heads for whole
4683 notes and all smaller durations. Stems are centered on the note
4684 heads. This style is in particular useful when transcribing mensural
4685 music, e.g. for the incipit. The @code{mensural} style finally
4686 produces note heads that mimick the look of note heads in historic
4687 printings of the 16th century.
4689 The following example demonstrates the @code{neo_mensural} style:
4691 @lilypond[fragment,raggedright,verbatim]
4692 \property Voice.NoteHead \set #'style = #'neo_mensural
4693 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4696 When typesetting a piece in Gregorian Chant notation, a Gregorian
4697 ligature engraver will automatically select the proper note heads,
4698 such there is no need to explicitly set the note head style. Still,
4699 the note head style can be set e.g. to @code{vaticana_punctum} to
4700 produce punctum neumes. Similarly, a mensural ligature engraver is
4701 used to automatically assemble mensural ligatures. See
4702 @ref{Ligatures} for how ligature engravers work.
4707 @ref{Percussion staves} use note head styles of their own that are
4708 frequently used in contemporary music notation.
4710 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4711 overview over all available note head styles.
4714 @node Ancient accidentals
4715 @subsection Ancient accidentals
4721 Use the @code{style} property of grob @internalsref{Accidental} to
4722 select ancient accidentals. Supported styles are
4723 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4725 @lilypond[raggedright,staffsize=26]
4733 { " " \musicglyph #"accidentals-vaticana-1"
4734 " " \musicglyph #"accidentals-vaticana0" }
4738 { " " \musicglyph #"accidentals-medicaea-1" }
4742 { " " \musicglyph #"accidentals-hufnagel-1" }
4746 { " " \musicglyph #"accidentals-mensural-1"
4747 " " \musicglyph #"accidentals-mensural1" }
4756 \remove "Bar_number_engraver"
4760 \remove "Clef_engraver"
4761 \remove "Key_engraver"
4762 \remove "Time_signature_engraver"
4763 \remove "Staff_symbol_engraver"
4764 minimumVerticalExtent = ##f
4770 As shown, not all accidentals are supported by each style. When
4771 trying to access an unsupported accidental, LilyPond will switch to a
4772 different style, as demonstrated in
4773 @inputfileref{input/test,ancient-accidentals.ly}.
4775 Similarly to local accidentals, the style of the key signature can be
4776 controlled by the @code{style} property of the
4777 @internalsref{KeySignature} grob.
4781 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4782 @ref{Accidentals} give a general introduction into the use of
4783 accidentals. @ref{Key signature} gives a general introduction into
4784 the use of key signatures.
4786 Internals: @internalsref{KeySignature}
4788 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4791 @subsection Ancient rests
4797 Use the @code{style} property of grob @internalsref{Rest} to select
4798 ancient accidentals. Supported styles are @code{classical},
4799 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4800 from the @code{default} style only in that the quarter rest looks like
4801 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4802 well for e.g. the incipit of a transcribed mensural piece of music.
4803 The @code{mensural} style finally mimicks the appearance of rests as
4804 in historic prints of the 16th century.
4806 The following example demonstrates the @code{neo_mensural} style:
4808 @lilypond[fragment,raggedright,verbatim]
4809 \property Voice.Rest \set #'style = #'neo_mensural
4810 r\longa r\breve r1 r2 r4 r8 r16
4813 There are no 32th and 64th rests specifically for the mensural or
4814 neo-mensural style. Instead, the rests from the default style will be
4815 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4818 There are no rests in Gregorian Chant notation; instead, it uses
4823 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4827 @subsection Ancient clefs
4833 LilyPond supports a variety of clefs, many of them ancient.
4835 The following table shows all ancient clefs that are supported via the
4836 @code{\clef} command. Some of the clefs use the same glyph, but
4837 differ only with respect to the line they are printed on. In such
4838 cases, a trailing number in the name is used to enumerate these clefs.
4839 Still, you can manually force a clef glyph to be typeset on an
4840 arbitrary line, as described in @ref{Clef}. The note printed to the
4841 right side of each clef in the example column denotes the @code{c'}
4842 with respect to that clef.
4844 @multitable @columnfractions .3 .3 .3 .1
4848 @b{Description} @tab
4849 @b{Supported Clefs} @tab
4853 @code{clefs-neo_mensural_c} @tab
4854 modern style mensural C clef @tab
4855 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4856 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4857 @lilypond[relative,notime]
4858 \property Staff.TimeSignature \set #'transparent = ##t
4859 \clef "neo_mensural_c2" c
4863 @code{clefs-petrucci_c1}
4864 @code{clefs-petrucci_c2}
4865 @code{clefs-petrucci_c3}
4866 @code{clefs-petrucci_c4}
4867 @code{clefs-petrucci_c5}
4870 petrucci style mensural C clefs, for use on different stafflines
4871 (the examples shows the 2nd staffline C clef).
4881 @lilypond[relative,notime]
4882 \property Staff.TimeSignature \set #'transparent = ##t
4883 \clef "petrucci_c2" c
4887 @code{clefs-petrucci_f} @tab
4888 petrucci style mensural F clef @tab
4889 @code{petrucci_f} @tab
4890 @lilypond[relative,notime]
4891 \property Staff.TimeSignature \set #'transparent = ##t
4892 \clef "petrucci_f" c
4896 @code{clefs-petrucci_g} @tab
4897 petrucci style mensural G clef @tab
4898 @code{petrucci_g} @tab
4899 @lilypond[relative,notime]
4900 \property Staff.TimeSignature \set #'transparent = ##t
4901 \clef "petrucci_g" c
4905 @code{clefs-mensural_c} @tab
4906 historic style mensural C clef @tab
4907 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4908 @code{mensural_c4} @tab
4909 @lilypond[relative,notime]
4910 \property Staff.TimeSignature \set #'transparent = ##t
4911 \clef "mensural_c2" c
4915 @code{clefs-mensural_f} @tab
4916 historic style mensural F clef @tab
4917 @code{mensural_f} @tab
4918 @lilypond[relative,notime]
4919 \property Staff.TimeSignature \set #'transparent = ##t
4920 \clef "mensural_f" c
4924 @code{clefs-mensural_g} @tab
4925 historic style mensural G clef @tab
4926 @code{mensural_g} @tab
4927 @lilypond[relative,notime]
4928 \property Staff.TimeSignature \set #'transparent = ##t
4929 \clef "mensural_g" c
4933 @code{clefs-vaticana_do} @tab
4934 Editio Vaticana style do clef @tab
4935 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4936 @lilypond[relative,notime]
4937 \property Staff.StaffSymbol \set #'line-count = #4
4938 \property Staff.TimeSignature \set #'transparent = ##t
4939 \clef "vaticana_do2" c
4943 @code{clefs-vaticana_fa} @tab
4944 Editio Vaticana style fa clef @tab
4945 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4946 @lilypond[relative,notime]
4947 \property Staff.StaffSymbol \set #'line-count = #4
4948 \property Staff.TimeSignature \set #'transparent = ##t
4949 \clef "vaticana_fa2" c
4953 @code{clefs-medicaea_do} @tab
4954 Editio Medicaea style do clef @tab
4955 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4956 @lilypond[relative,notime]
4957 \property Staff.StaffSymbol \set #'line-count = #4
4958 \property Staff.TimeSignature \set #'transparent = ##t
4959 \clef "medicaea_do2" c
4963 @code{clefs-medicaea_fa} @tab
4964 Editio Medicaea style fa clef @tab
4965 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4966 @lilypond[relative,notime]
4967 \property Staff.StaffSymbol \set #'line-count = #4
4968 \property Staff.TimeSignature \set #'transparent = ##t
4969 \clef "medicaea_fa2" c
4973 @code{clefs-hufnagel_do} @tab
4974 historic style hufnagel do clef @tab
4975 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4976 @lilypond[relative,notime]
4977 \property Staff.StaffSymbol \set #'line-count = #4
4978 \property Staff.TimeSignature \set #'transparent = ##t
4979 \clef "hufnagel_do2" c
4983 @code{clefs-hufnagel_fa} @tab
4984 historic style hufnagel fa clef @tab
4985 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4986 @lilypond[relative,notime]
4987 \property Staff.StaffSymbol \set #'line-count = #4
4988 \property Staff.TimeSignature \set #'transparent = ##t
4989 \clef "hufnagel_fa2" c
4993 @code{clefs-hufnagel_do_fa} @tab
4994 historic style hufnagel combined do/fa clef @tab
4995 @code{hufnagel_do_fa} @tab
4996 @lilypond[relative,notime]
4997 \property Staff.TimeSignature \set #'transparent = ##t
4998 \clef "hufnagel_do_fa" c
5003 @c --- This should go somewhere else: ---
5004 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5007 @c @code{percussion}
5009 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5011 @c @item modern style tab clef (glyph: @code{clefs-tab})
5016 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5018 @emph{Modern style} means ``as is typeset in contemporary editions of
5019 transcribed mensural music''.
5021 @emph{Petrucci style} means ``inspired by printings published by the
5022 famous engraver Petrucci (1466-1539)''.
5024 @emph{Historic style} means ``as was typeset or written in historic
5025 editions (other than those of Petrucci)''.
5027 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5029 Petrucci used C clefs with differently balanced left-side vertical
5030 beams, depending on which staffline it is printed.
5034 In this manual: for the percussion clef, see @ref{Percussion staves}.
5035 For the @code{TAB} clef, see @ref{Tablatures}.
5037 Internals: for modern clefs, see @ref{Clef}.
5041 The mensural g clef is temporarily mapped to the Petrucci g clef,
5042 until a new mensural g clef will have been implemented.
5047 @subsection Ancient flags
5053 Use the @code{flag-style} property of grob @internalsref{Stem} to
5054 select ancient flags. Besides the @code{default} flag style,
5055 only @code{mensural} style is supported:
5057 @lilypond[fragment,raggedright,verbatim]
5058 \property Voice.Stem \set #'flag-style = #'mensural
5059 \property Voice.Stem \set #'thickness = #1.0
5060 \property Voice.NoteHead \set #'style = #'mensural
5062 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
5063 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5066 Note that the innermost flare of each mensural flag always is
5067 vertically aligned with a staff line. If you do not like this
5068 behaviour, you can set the @code{adjust-if-on-staffline} property of
5069 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5070 of the end of each flare is different between notes on staff lines and
5071 notes between staff lines:
5073 @lilypond[fragment,raggedright]
5074 \property Voice.Stem \set #'flag-style = #'mensural
5075 \property Voice.Stem \set #'thickness = #1.0
5076 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5077 \property Voice.NoteHead \set #'style = #'mensural
5079 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
5080 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5083 There is no particular flag style for neo-mensural notation. Hence,
5084 when typesetting e.g. the incipit of a transcibed piece of mensural
5085 music, the default flag style should be used. There are no flags in
5086 Gregorian Chant notation.
5089 @node Ancient time signatures
5090 @subsection Ancient time signatures
5092 @cindex time signatures
5096 There is limited support for mensural time signatures. The
5097 glyphs are hard-wired to particular time fractions. In other words,
5098 to get a particular mensural signature glyph with the @code{\time n/m}
5099 command, @code{n} and @code{m} have to be chosen according to the
5105 \property Score.timing = ##f
5106 \property Score.barAlways = ##t
5107 s_\markup { "$\\backslash$time 4/4" }
5108 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5110 s_\markup { "$\\backslash$time 2/2" }
5111 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5113 s_\markup { "$\\backslash$time 6/4" }
5114 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5116 s_\markup { "$\\backslash$time 6/8" }
5117 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5119 s_\markup { "$\\backslash$time 3/2" }
5120 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5122 s_\markup { "$\\backslash$time 3/4" }
5123 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5125 s_\markup { "$\\backslash$time 9/4" }
5126 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5128 s_\markup { "$\\backslash$time 9/8" }
5129 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5131 s_\markup { "$\\backslash$time 4/8" }
5132 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5134 s_\markup { "$\\backslash$time 2/4" }
5135 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5143 \remove Staff_symbol_engraver
5144 \remove Clef_engraver
5145 \remove Time_signature_engraver
5151 Use the @code{style} property of grob @internalsref{TimeSignature} to
5152 select ancient time signatures. Supported styles are
5153 @code{neo_mensural} and @code{mensural}. The above table uses the
5154 @code{neo_mensural} style. This style is appropriate e.g. for the
5155 incipit of transcriptions of mensural pieces. The @code{mensural}
5156 style mimicks the look of historical printings of the 16th century.
5158 @inputfileref{input/test,time.ly} gives an overview over all available
5159 ancient and modern styles.
5163 Internals: @ref{Time signature} gives a general introduction into the use of time
5168 Mensural signature glyphs are mapped to time fractions in a
5169 hard-wired way. This mapping is sensible, but still arbitrary: given
5170 a mensural time signature, the time fraction represents a modern meter
5171 that usually will be a good choice when transcribing a mensural piece
5172 of music. For a particular piece of mensural music, however, the
5173 mapping may be unsatisfactory. In particular, the mapping assumes a
5174 fixed transcription of durations (e.g. brevis = half note in 2/2,
5175 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5176 are not at all accessible through the @code{\time} command.
5178 Mensural time signatures are supported typographically, but not yet
5179 musically. The internal representation of durations is
5180 based on a purely binary system; a ternary division such as 1 brevis =
5181 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5182 prolatione maiori) is not correctly handled: event times in ternary
5183 modes will be badly computed, resulting e.g. in horizontally
5184 misaligned note heads, and bar checks are likely to erroneously fail.
5186 The syntax and semantics of the @code{\time} command for mensural
5187 music is subject to change.
5190 @subsection Custodes
5195 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5196 symbol that appears at the end of a staff. It anticipates the pitch
5197 of the first note(s) of the following line and thus helps the player
5198 or singer to manage line breaks during performance, thus enhancing
5199 readability of a score.
5201 Custodes were frequently used in music notation until the 17th
5202 century. Nowadays, they have survived only in a few particular forms
5203 of musical notation such as contemporary editions of Gregorian chant
5204 like the @emph{editio vaticana}. There are different custos glyphs
5205 used in different flavours of notational style.
5209 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5210 @internalsref{Staff} context when declaring the @code{\paper} block,
5211 as shown in the following example:
5217 \consists Custos_engraver
5218 Custos \override #'style = #'mensural
5223 The result looks like this:
5229 \property Staff.Custos \set #'style = #'mensural
5236 \consists Custos_engraver
5243 The custos glyph is selected by the @code{style} property. The styles
5244 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5245 @code{mensural}. They are demonstrated in the following fragment:
5255 { " " \musicglyph #"custodes-vaticana-u0" }
5259 { " " \musicglyph #"custodes-medicaea-u0" }
5263 { " " \musicglyph #"custodes-hufnagel-u0" }
5267 { " " \musicglyph #"custodes-mensural-u0" }
5276 \remove "Bar_number_engraver"
5280 \remove "Clef_engraver"
5281 \remove "Key_engraver"
5282 \remove "Time_signature_engraver"
5283 \remove "Staff_symbol_engraver"
5284 minimumVerticalExtent = ##f
5290 If the boolean property @code{adjust-if-on-staffline} is set to
5291 @code{#t} (which it is by default), lily typesets slightly different
5292 variants of the custos glyph, depending on whether the custos, is
5293 typeset on or between stafflines. The glyph will
5294 optically fit well into the staff, with the appendage on the right of
5295 the custos always ending at the same vertical position between two
5296 stafflines regardless of the pitch. If you set
5297 @code{adjust-if-on-staffline} to @code{#f}, then
5298 a compromise between both forms is used.
5300 Just like stems can be attached to noteheads in two directions
5301 @emph{up} and @emph{down}, each custos glyph is available with its
5302 appendage pointing either up or down. If the pitch of a custos is
5303 above a selectable position, the appendage will point downwards; if
5304 the pitch is below this position, the appendage will point upwards.
5305 Use property @code{neutral-position} to select this position. By
5306 default, it is set to @code{0}, such that the neutral position is the
5307 center of the staff. Use property @code{neutral-direction} to control
5308 what happens if a custos is typeset on the neutral position itself.
5309 By default, this property is set to @code{-1}, such that the appendage
5310 will point downwards. If set to @code{1}, the appendage will point
5311 upwards. Other values such as @code{0} are reserved for future
5312 extensions and should not be used.
5316 Internals: @internalsref{Custos}
5318 Examples: @inputfileref{input/regression,custos.ly}.
5322 @subsection Divisiones
5328 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5329 `division') is a staff context symbol that is used to structure
5330 Gregorian music into phrases and sections. The musical meaning of
5331 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5332 can be characterized as short, medium and long pause, somewhat like
5333 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5334 a chant, but is also frequently used within a single
5335 antiphonal/responsorial chant to mark the end of each section.
5339 To use divisiones, include the file @code{gregorian-init.ly}. It
5340 contains definitions that you can apply by just inserting
5341 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5342 and @code{\finalis} at proper places in the input. Some editions use
5343 @emph{virgula} or @emph{caesura} instead of divisio minima.
5344 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5347 @lilypondfile[notexidoc]{divisiones.ly}
5351 @cindex @code{\virgula}
5353 @cindex @code{\caesura}
5355 @cindex @code{\divisioMinima}
5356 @code{\divisioMinima},
5357 @cindex @code{\divisioMaior}
5358 @code{\divisioMaior},
5359 @cindex @code{\divisioMaxima}
5360 @code{\divisioMaxima},
5361 @cindex @code{\finalis}
5366 In this manual: @ref{Breath marks}.
5368 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5370 Examples: @inputfileref{input/test,divisiones.ly}
5373 @subsection Ligatures
5377 @c TODO: Should double check if I recalled things correctly when I wrote
5378 @c down the following paragraph by heart.
5380 In musical terminology, a ligature is a coherent graphical symbol that
5381 represents at least two distinct notes. Ligatures originally appeared
5382 in the manuscripts of Gregorian chant notation roughly since the 9th
5383 century as an allusion to the accent symbols of greek lyric poetry to
5384 denote ascending or descending sequences of notes. Both, the shape
5385 and the exact meaning of ligatures changed tremendously during the
5386 following centuries: In early notation, ligatures were used for
5387 monophonic tunes (Gregorian chant) and very soon denoted also the way
5388 of performance in the sense of articulation. With upcoming
5389 multiphony, the need for a metric system arised, since multiple voices
5390 of a piece have to be synchronized some way. New notation systems
5391 were invented that used the manifold shapes of ligatures to now denote
5392 rhythmical patterns (e.g. black mensural notation, mannered notation,
5393 ars nova). With the invention of the metric system of the white
5394 mensural notation, the need for ligatures to denote such patterns
5395 disappeared. Nevertheless, ligatures were still in use in the
5396 mensural system for a couple of decades until they finally disappeared
5397 during the late 16th / early 17th century. Still, ligatures have
5398 survived in contemporary editions of Gregorian chant such as the
5399 Editio Vaticana from 1905/08.
5403 Syntactically, ligatures are simply enclosed by @code{\[} and
5404 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5405 additional input syntax specific for this particular type of ligature.
5406 By default, the @internalsref{LigatureBracket} engraver just puts a
5407 square bracket above the ligature:
5409 @lilypond[raggedright,verbatim]
5411 \notes \transpose c c' {
5419 To select a specific style of ligatures, a proper ligature engraver
5420 has to be added to the @internalsref{Voice} context, as explained in
5421 the following subsections. Only white mensural ligatures
5422 are supported with certain limitations. Support for Editio Vaticana
5423 will be added in the future.
5426 * White mensural ligatures::
5427 * Gregorian square neumes ligatures::
5430 @node White mensural ligatures
5431 @subsubsection White mensural ligatures
5433 @cindex Mensural ligatures
5434 @cindex White mensural ligatures
5436 There is limited support for white mensural ligatures. The
5437 implementation is still experimental; it may output strange
5438 warnings or even crash in some cases or produce weird results on more
5443 To engrave white mensural ligatures, in the paper block the
5444 @internalsref{Mensural_ligature_engraver} has to be put into the
5445 @internalsref{Voice} context, and remove the
5446 @internalsref{Ligature_bracket_engraver}:
5452 \remove Ligature_bracket_engraver
5453 \consists Mensural_ligature_engraver
5458 There is no additional input language to describe the shape of a
5459 white mensural ligature. The shape is rather determined solely from
5460 the pitch and duration of the enclosed notes. While this approach may
5461 take a new user a while to get accustomed, it has the great advantage
5462 that the full musical information of the ligature is known internally.
5463 This is not only required for correct MIDI output, but also allows for
5464 automatic transcription of the ligatures.
5469 \property Score.timing = ##f
5470 \property Score.defaultBarType = "empty"
5471 \property Voice.NoteHead \set #'style = #'neo_mensural
5472 \property Staff.TimeSignature \set #'style = #'neo_mensural
5474 \[ g\longa c\breve a\breve f\breve d'\longa \]
5476 \[ e1 f1 a\breve g\longa \]
5478 @lilypond[raggedright]
5480 \notes \transpose c c' {
5481 \property Score.timing = ##f
5482 \property Score.defaultBarType = "empty"
5483 \property Voice.NoteHead \set #'style = #'neo_mensural
5484 \property Staff.TimeSignature \set #'style = #'neo_mensural
5486 \[ g\longa c\breve a\breve f\breve d'\longa \]
5488 \[ e1 f1 a\breve g\longa \]
5493 \remove Ligature_bracket_engraver
5494 \consists Mensural_ligature_engraver
5500 Without replacing @internalsref{Ligature_bracket_engraver} with
5501 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5504 @lilypond[raggedright]
5506 \notes \transpose c c' {
5507 \property Score.timing = ##f
5508 \property Score.defaultBarType = "empty"
5509 \property Voice.NoteHead \set #'style = #'neo_mensural
5510 \property Staff.TimeSignature \set #'style = #'neo_mensural
5512 \[ g\longa c\breve a\breve f\breve d'\longa \]
5514 \[ e1 f1 a\breve g\longa \]
5520 @node Gregorian square neumes ligatures
5521 @subsubsection Gregorian square neumes ligatures
5523 @cindex Square neumes ligatures
5524 @cindex Gregorian square neumes ligatures
5526 Gregorian square neumes notation (following the style of the Editio
5527 Vaticana) is under heavy development, but not yet really usable for
5528 production purposes. Core ligatures can already be typeset, but
5529 essential issues for serious typesetting are still under development,
5530 such as (among others) horizontal alignment of multiple ligatures,
5531 lyrics alignment and proper accidentals handling. Still, this section
5532 gives a sneak preview of what Gregorian chant may look like once it
5535 The following table contains the extended neumes table of the 2nd
5536 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5537 1983 by the monks of Solesmes.
5539 @multitable @columnfractions .4 .2 .2 .2
5542 @b{Neuma aut@*Neumarum Elementa} @tab
5543 @b{Figurae@*Rectae} @tab
5544 @b{Figurae@*Liquescentes Auctae} @tab
5545 @b{Figurae@*Liquescentes Deminutae}
5547 @c TODO: \paper block is identical in all of the below examples.
5548 @c Therefore, it should somehow be included rather than duplicated all
5551 @c why not make identifiers in ly/engraver-init.ly? --hwn
5553 @c Because it's just used to typeset plain notes without
5554 @c a staff for demonstration purposes rather than something
5555 @c special of Gregorian chant notation. --jr
5560 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5561 \include "gregorian-init.ly"
5563 \notes \transpose c c' {
5566 \noBreak s^\markup {"a"} \noBreak
5568 % Punctum Inclinatum
5570 \noBreak s^\markup {"b"}
5576 \remove "Bar_number_engraver"
5580 \remove "Clef_engraver"
5581 \remove "Key_engraver"
5582 StaffSymbol \set #'transparent = ##t
5583 \remove "Time_signature_engraver"
5584 \remove "Bar_engraver"
5585 minimumVerticalExtent = ##f
5589 \remove Ligature_bracket_engraver
5590 \consists Vaticana_ligature_engraver
5591 NoteHead \set #'style = #'vaticana_punctum
5592 Stem \set #'transparent = ##t
5598 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5599 \include "gregorian-init.ly"
5601 \notes \transpose c c' {
5602 % Punctum Auctum Ascendens
5603 \[ \auctum \ascendens b \]
5604 \noBreak s^\markup {"c"} \noBreak
5606 % Punctum Auctum Descendens
5607 \[ \auctum \descendens b \]
5608 \noBreak s^\markup {"d"} \noBreak
5610 % Punctum Inclinatum Auctum
5611 \[ \inclinatum \auctum b \]
5612 \noBreak s^\markup {"e"}
5618 \remove "Bar_number_engraver"
5622 \remove "Clef_engraver"
5623 \remove "Key_engraver"
5624 StaffSymbol \set #'transparent = ##t
5625 \remove "Time_signature_engraver"
5626 \remove "Bar_engraver"
5627 minimumVerticalExtent = ##f
5631 \remove Ligature_bracket_engraver
5632 \consists Vaticana_ligature_engraver
5633 NoteHead \set #'style = #'vaticana_punctum
5634 Stem \set #'transparent = ##t
5640 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5641 \include "gregorian-init.ly"
5643 \notes \transpose c c' {
5644 % Punctum Inclinatum Parvum
5645 \[ \inclinatum \deminutum b \]
5646 \noBreak s^\markup {"f"}
5652 \remove "Bar_number_engraver"
5656 \remove "Clef_engraver"
5657 \remove "Key_engraver"
5658 StaffSymbol \set #'transparent = ##t
5659 \remove "Time_signature_engraver"
5660 \remove "Bar_engraver"
5661 minimumVerticalExtent = ##f
5665 \remove Ligature_bracket_engraver
5666 \consists Vaticana_ligature_engraver
5667 NoteHead \set #'style = #'vaticana_punctum
5668 Stem \set #'transparent = ##t
5677 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5678 \include "gregorian-init.ly"
5680 \notes \transpose c c' {
5683 \noBreak s^\markup {"g"}
5689 \remove "Bar_number_engraver"
5693 \remove "Clef_engraver"
5694 \remove "Key_engraver"
5695 StaffSymbol \set #'transparent = ##t
5696 \remove "Time_signature_engraver"
5697 \remove "Bar_engraver"
5698 minimumVerticalExtent = ##f
5702 \remove Ligature_bracket_engraver
5703 \consists Vaticana_ligature_engraver
5704 NoteHead \set #'style = #'vaticana_punctum
5705 Stem \set #'transparent = ##t
5714 @code{3. Apostropha vel Stropha}
5716 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5717 \include "gregorian-init.ly"
5719 \notes \transpose c c' {
5722 \noBreak s^\markup {"h"}
5728 \remove "Bar_number_engraver"
5732 \remove "Clef_engraver"
5733 \remove "Key_engraver"
5734 StaffSymbol \set #'transparent = ##t
5735 \remove "Time_signature_engraver"
5736 \remove "Bar_engraver"
5737 minimumVerticalExtent = ##f
5741 \remove Ligature_bracket_engraver
5742 \consists Vaticana_ligature_engraver
5743 NoteHead \set #'style = #'vaticana_punctum
5744 Stem \set #'transparent = ##t
5750 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5751 \include "gregorian-init.ly"
5753 \notes \transpose c c' {
5755 \[ \stropha \auctum b \]
5756 \noBreak s^\markup {"i"}
5762 \remove "Bar_number_engraver"
5766 \remove "Clef_engraver"
5767 \remove "Key_engraver"
5768 StaffSymbol \set #'transparent = ##t
5769 \remove "Time_signature_engraver"
5770 \remove "Bar_engraver"
5771 minimumVerticalExtent = ##f
5775 \remove Ligature_bracket_engraver
5776 \consists Vaticana_ligature_engraver
5777 NoteHead \set #'style = #'vaticana_punctum
5778 Stem \set #'transparent = ##t
5788 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5789 \include "gregorian-init.ly"
5791 \notes \transpose c c' {
5794 \noBreak s^\markup {"j"}
5800 \remove "Bar_number_engraver"
5804 \remove "Clef_engraver"
5805 \remove "Key_engraver"
5806 StaffSymbol \set #'transparent = ##t
5807 \remove "Time_signature_engraver"
5808 \remove "Bar_engraver"
5809 minimumVerticalExtent = ##f
5813 \remove Ligature_bracket_engraver
5814 \consists Vaticana_ligature_engraver
5815 NoteHead \set #'style = #'vaticana_punctum
5816 Stem \set #'transparent = ##t
5825 @code{5. Clivis vel Flexa}
5827 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5828 \include "gregorian-init.ly"
5830 \notes \transpose c c' {
5839 \remove "Bar_number_engraver"
5843 \remove "Clef_engraver"
5844 \remove "Key_engraver"
5845 StaffSymbol \set #'transparent = ##t
5846 \remove "Time_signature_engraver"
5847 \remove "Bar_engraver"
5848 minimumVerticalExtent = ##f
5852 \remove Ligature_bracket_engraver
5853 \consists Vaticana_ligature_engraver
5854 NoteHead \set #'style = #'vaticana_punctum
5855 Stem \set #'transparent = ##t
5861 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5862 \include "gregorian-init.ly"
5864 \notes \transpose c c' {
5865 % Clivis Aucta Descendens
5866 \[ b \flexa \auctum \descendens g \]
5867 \noBreak s^\markup {"l"} \noBreak
5869 % Clivis Aucta Ascendens
5870 \[ b \flexa \auctum \ascendens g \]
5871 \noBreak s^\markup {"m"}
5877 \remove "Bar_number_engraver"
5881 \remove "Clef_engraver"
5882 \remove "Key_engraver"
5883 StaffSymbol \set #'transparent = ##t
5884 \remove "Time_signature_engraver"
5885 \remove "Bar_engraver"
5886 minimumVerticalExtent = ##f
5890 \remove Ligature_bracket_engraver
5891 \consists Vaticana_ligature_engraver
5892 NoteHead \set #'style = #'vaticana_punctum
5893 Stem \set #'transparent = ##t
5899 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5900 \include "gregorian-init.ly"
5902 \notes \transpose c c' {
5904 \[ b \flexa \deminutum g \]
5911 \remove "Bar_number_engraver"
5915 \remove "Clef_engraver"
5916 \remove "Key_engraver"
5917 StaffSymbol \set #'transparent = ##t
5918 \remove "Time_signature_engraver"
5919 \remove "Bar_engraver"
5920 minimumVerticalExtent = ##f
5924 \remove Ligature_bracket_engraver
5925 \consists Vaticana_ligature_engraver
5926 NoteHead \set #'style = #'vaticana_punctum
5927 Stem \set #'transparent = ##t
5934 @code{6. Podatus vel Pes}
5936 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5937 \include "gregorian-init.ly"
5939 \notes \transpose c c' {
5948 \remove "Bar_number_engraver"
5952 \remove "Clef_engraver"
5953 \remove "Key_engraver"
5954 StaffSymbol \set #'transparent = ##t
5955 \remove "Time_signature_engraver"
5956 \remove "Bar_engraver"
5957 minimumVerticalExtent = ##f
5961 \remove Ligature_bracket_engraver
5962 \consists Vaticana_ligature_engraver
5963 NoteHead \set #'style = #'vaticana_punctum
5964 Stem \set #'transparent = ##t
5970 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5971 \include "gregorian-init.ly"
5973 \notes \transpose c c' {
5974 % Pes Auctus Descendens
5975 \[ g \pes \auctum \descendens b \]
5976 \noBreak s^\markup {"p"} \noBreak
5978 % Pes Auctus Ascendens
5979 \[ g \pes \auctum \ascendens b \]
5980 \noBreak s^\markup {"q"}
5986 \remove "Bar_number_engraver"
5990 \remove "Clef_engraver"
5991 \remove "Key_engraver"
5992 StaffSymbol \set #'transparent = ##t
5993 \remove "Time_signature_engraver"
5994 \remove "Bar_engraver"
5995 minimumVerticalExtent = ##f
5999 \remove Ligature_bracket_engraver
6000 \consists Vaticana_ligature_engraver
6001 NoteHead \set #'style = #'vaticana_punctum
6002 Stem \set #'transparent = ##t
6008 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6009 \include "gregorian-init.ly"
6011 \notes \transpose c c' {
6013 \[ g \pes \deminutum b \]
6020 \remove "Bar_number_engraver"
6024 \remove "Clef_engraver"
6025 \remove "Key_engraver"
6026 StaffSymbol \set #'transparent = ##t
6027 \remove "Time_signature_engraver"
6028 \remove "Bar_engraver"
6029 minimumVerticalExtent = ##f
6033 \remove Ligature_bracket_engraver
6034 \consists Vaticana_ligature_engraver
6035 NoteHead \set #'style = #'vaticana_punctum
6036 Stem \set #'transparent = ##t
6043 @code{7. Pes Quassus}
6045 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6046 \include "gregorian-init.ly"
6048 \notes \transpose c c' {
6050 \[ \oriscus g \pes \virga b \]
6057 \remove "Bar_number_engraver"
6061 \remove "Clef_engraver"
6062 \remove "Key_engraver"
6063 StaffSymbol \set #'transparent = ##t
6064 \remove "Time_signature_engraver"
6065 \remove "Bar_engraver"
6066 minimumVerticalExtent = ##f
6070 \remove Ligature_bracket_engraver
6071 \consists Vaticana_ligature_engraver
6072 NoteHead \set #'style = #'vaticana_punctum
6073 Stem \set #'transparent = ##t
6079 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6080 \include "gregorian-init.ly"
6082 \notes \transpose c c' {
6083 % Pes Quassus Auctus Descendens
6084 \[ \oriscus g \pes \auctum \descendens b \]
6091 \remove "Bar_number_engraver"
6095 \remove "Clef_engraver"
6096 \remove "Key_engraver"
6097 StaffSymbol \set #'transparent = ##t
6098 \remove "Time_signature_engraver"
6099 \remove "Bar_engraver"
6100 minimumVerticalExtent = ##f
6104 \remove Ligature_bracket_engraver
6105 \consists Vaticana_ligature_engraver
6106 NoteHead \set #'style = #'vaticana_punctum
6107 Stem \set #'transparent = ##t
6115 @code{8. Quilisma Pes}
6117 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6118 \include "gregorian-init.ly"
6120 \notes \transpose c c' {
6122 \[ \quilisma g \pes b \]
6129 \remove "Bar_number_engraver"
6133 \remove "Clef_engraver"
6134 \remove "Key_engraver"
6135 StaffSymbol \set #'transparent = ##t
6136 \remove "Time_signature_engraver"
6137 \remove "Bar_engraver"
6138 minimumVerticalExtent = ##f
6142 \remove Ligature_bracket_engraver
6143 \consists Vaticana_ligature_engraver
6144 NoteHead \set #'style = #'vaticana_punctum
6145 Stem \set #'transparent = ##t
6151 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6152 \include "gregorian-init.ly"
6154 \notes \transpose c c' {
6155 % Quilisma Pes Auctus Descendens
6156 \[ \quilisma g \pes \auctum \descendens b \]
6163 \remove "Bar_number_engraver"
6167 \remove "Clef_engraver"
6168 \remove "Key_engraver"
6169 StaffSymbol \set #'transparent = ##t
6170 \remove "Time_signature_engraver"
6171 \remove "Bar_engraver"
6172 minimumVerticalExtent = ##f
6176 \remove Ligature_bracket_engraver
6177 \consists Vaticana_ligature_engraver
6178 NoteHead \set #'style = #'vaticana_punctum
6179 Stem \set #'transparent = ##t
6187 @code{9. Podatus Initio Debilis}
6189 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6190 \include "gregorian-init.ly"
6192 \notes \transpose c c' {
6193 % Pes Initio Debilis
6194 \[ \deminutum g \pes b \]
6201 \remove "Bar_number_engraver"
6205 \remove "Clef_engraver"
6206 \remove "Key_engraver"
6207 StaffSymbol \set #'transparent = ##t
6208 \remove "Time_signature_engraver"
6209 \remove "Bar_engraver"
6210 minimumVerticalExtent = ##f
6214 \remove Ligature_bracket_engraver
6215 \consists Vaticana_ligature_engraver
6216 NoteHead \set #'style = #'vaticana_punctum
6217 Stem \set #'transparent = ##t
6223 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6224 \include "gregorian-init.ly"
6226 \notes \transpose c c' {
6227 % Pes Auctus Descendens Initio Debilis
6228 \[ \deminutum g \pes \auctum \descendens b \]
6235 \remove "Bar_number_engraver"
6239 \remove "Clef_engraver"
6240 \remove "Key_engraver"
6241 StaffSymbol \set #'transparent = ##t
6242 \remove "Time_signature_engraver"
6243 \remove "Bar_engraver"
6244 minimumVerticalExtent = ##f
6248 \remove Ligature_bracket_engraver
6249 \consists Vaticana_ligature_engraver
6250 NoteHead \set #'style = #'vaticana_punctum
6251 Stem \set #'transparent = ##t
6261 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6262 \include "gregorian-init.ly"
6264 \notes \transpose c c' {
6266 \[ a \pes b \flexa g \]
6273 \remove "Bar_number_engraver"
6277 \remove "Clef_engraver"
6278 \remove "Key_engraver"
6279 StaffSymbol \set #'transparent = ##t
6280 \remove "Time_signature_engraver"
6281 \remove "Bar_engraver"
6282 minimumVerticalExtent = ##f
6286 \remove Ligature_bracket_engraver
6287 \consists Vaticana_ligature_engraver
6288 NoteHead \set #'style = #'vaticana_punctum
6289 Stem \set #'transparent = ##t
6295 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6296 \include "gregorian-init.ly"
6298 \notes \transpose c c' {
6299 % Torculus Auctus Descendens
6300 \[ a \pes b \flexa \auctum \descendens g \]
6307 \remove "Bar_number_engraver"
6311 \remove "Clef_engraver"
6312 \remove "Key_engraver"
6313 StaffSymbol \set #'transparent = ##t
6314 \remove "Time_signature_engraver"
6315 \remove "Bar_engraver"
6316 minimumVerticalExtent = ##f
6320 \remove Ligature_bracket_engraver
6321 \consists Vaticana_ligature_engraver
6322 NoteHead \set #'style = #'vaticana_punctum
6323 Stem \set #'transparent = ##t
6329 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6330 \include "gregorian-init.ly"
6332 \notes \transpose c c' {
6333 % Torculus Deminutus
6334 \[ a \pes b \flexa \deminutum g \]
6341 \remove "Bar_number_engraver"
6345 \remove "Clef_engraver"
6346 \remove "Key_engraver"
6347 StaffSymbol \set #'transparent = ##t
6348 \remove "Time_signature_engraver"
6349 \remove "Bar_engraver"
6350 minimumVerticalExtent = ##f
6354 \remove Ligature_bracket_engraver
6355 \consists Vaticana_ligature_engraver
6356 NoteHead \set #'style = #'vaticana_punctum
6357 Stem \set #'transparent = ##t
6364 @code{11. Torculus Initio Debilis}
6366 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6367 \include "gregorian-init.ly"
6369 \notes \transpose c c' {
6370 % Torculus Initio Debilis
6371 \[ \deminutum a \pes b \flexa g \]
6378 \remove "Bar_number_engraver"
6382 \remove "Clef_engraver"
6383 \remove "Key_engraver"
6384 StaffSymbol \set #'transparent = ##t
6385 \remove "Time_signature_engraver"
6386 \remove "Bar_engraver"
6387 minimumVerticalExtent = ##f
6391 \remove Ligature_bracket_engraver
6392 \consists Vaticana_ligature_engraver
6393 NoteHead \set #'style = #'vaticana_punctum
6394 Stem \set #'transparent = ##t
6400 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6401 \include "gregorian-init.ly"
6403 \notes \transpose c c' {
6404 % Torculus Auctus Descendens Initio Debilis
6405 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6412 \remove "Bar_number_engraver"
6416 \remove "Clef_engraver"
6417 \remove "Key_engraver"
6418 StaffSymbol \set #'transparent = ##t
6419 \remove "Time_signature_engraver"
6420 \remove "Bar_engraver"
6421 minimumVerticalExtent = ##f
6425 \remove Ligature_bracket_engraver
6426 \consists Vaticana_ligature_engraver
6427 NoteHead \set #'style = #'vaticana_punctum
6428 Stem \set #'transparent = ##t
6434 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6435 \include "gregorian-init.ly"
6437 \notes \transpose c c' {
6438 % Torculus Deminutus Initio Debilis
6439 \[ \deminutum a \pes b \flexa \deminutum g \]
6446 \remove "Bar_number_engraver"
6450 \remove "Clef_engraver"
6451 \remove "Key_engraver"
6452 StaffSymbol \set #'transparent = ##t
6453 \remove "Time_signature_engraver"
6454 \remove "Bar_engraver"
6455 minimumVerticalExtent = ##f
6459 \remove Ligature_bracket_engraver
6460 \consists Vaticana_ligature_engraver
6461 NoteHead \set #'style = #'vaticana_punctum
6462 Stem \set #'transparent = ##t
6469 @code{12. Porrectus}
6471 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6472 \include "gregorian-init.ly"
6474 \notes \transpose c c' {
6476 \[ a \flexa g \pes b \]
6483 \remove "Bar_number_engraver"
6487 \remove "Clef_engraver"
6488 \remove "Key_engraver"
6489 StaffSymbol \set #'transparent = ##t
6490 \remove "Time_signature_engraver"
6491 \remove "Bar_engraver"
6492 minimumVerticalExtent = ##f
6496 \remove Ligature_bracket_engraver
6497 \consists Vaticana_ligature_engraver
6498 NoteHead \set #'style = #'vaticana_punctum
6499 Stem \set #'transparent = ##t
6505 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6506 \include "gregorian-init.ly"
6508 \notes \transpose c c' {
6509 % Porrectus Auctus Descendens
6510 \[ a \flexa g \pes \auctum \descendens b \]
6517 \remove "Bar_number_engraver"
6521 \remove "Clef_engraver"
6522 \remove "Key_engraver"
6523 StaffSymbol \set #'transparent = ##t
6524 \remove "Time_signature_engraver"
6525 \remove "Bar_engraver"
6526 minimumVerticalExtent = ##f
6530 \remove Ligature_bracket_engraver
6531 \consists Vaticana_ligature_engraver
6532 NoteHead \set #'style = #'vaticana_punctum
6533 Stem \set #'transparent = ##t
6539 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6540 \include "gregorian-init.ly"
6542 \notes \transpose c c' {
6543 % Porrectus Deminutus
6544 \[ a \flexa g \pes \deminutum b \]
6551 \remove "Bar_number_engraver"
6555 \remove "Clef_engraver"
6556 \remove "Key_engraver"
6557 StaffSymbol \set #'transparent = ##t
6558 \remove "Time_signature_engraver"
6559 \remove "Bar_engraver"
6560 minimumVerticalExtent = ##f
6564 \remove Ligature_bracket_engraver
6565 \consists Vaticana_ligature_engraver
6566 NoteHead \set #'style = #'vaticana_punctum
6567 Stem \set #'transparent = ##t
6576 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6577 \include "gregorian-init.ly"
6579 \notes \transpose c c' {
6581 \[ \virga b \inclinatum a \inclinatum g \]
6588 \remove "Bar_number_engraver"
6592 \remove "Clef_engraver"
6593 \remove "Key_engraver"
6594 StaffSymbol \set #'transparent = ##t
6595 \remove "Time_signature_engraver"
6596 \remove "Bar_engraver"
6597 minimumVerticalExtent = ##f
6601 \remove Ligature_bracket_engraver
6602 \consists Vaticana_ligature_engraver
6603 NoteHead \set #'style = #'vaticana_punctum
6604 Stem \set #'transparent = ##t
6610 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6611 \include "gregorian-init.ly"
6613 \notes \transpose c c' {
6615 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6622 \remove "Bar_number_engraver"
6626 \remove "Clef_engraver"
6627 \remove "Key_engraver"
6628 StaffSymbol \set #'transparent = ##t
6629 \remove "Time_signature_engraver"
6630 \remove "Bar_engraver"
6631 minimumVerticalExtent = ##f
6635 \remove Ligature_bracket_engraver
6636 \consists Vaticana_ligature_engraver
6637 NoteHead \set #'style = #'vaticana_punctum
6638 Stem \set #'transparent = ##t
6644 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6645 \include "gregorian-init.ly"
6647 \notes \transpose c c' {
6648 % Climacus Deminutus
6649 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6656 \remove "Bar_number_engraver"
6660 \remove "Clef_engraver"
6661 \remove "Key_engraver"
6662 StaffSymbol \set #'transparent = ##t
6663 \remove "Time_signature_engraver"
6664 \remove "Bar_engraver"
6665 minimumVerticalExtent = ##f
6669 \remove Ligature_bracket_engraver
6670 \consists Vaticana_ligature_engraver
6671 NoteHead \set #'style = #'vaticana_punctum
6672 Stem \set #'transparent = ##t
6679 @code{14. Scandicus}
6681 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6682 \include "gregorian-init.ly"
6684 \notes \transpose c c' {
6686 \[ g \pes a \virga b \]
6693 \remove "Bar_number_engraver"
6697 \remove "Clef_engraver"
6698 \remove "Key_engraver"
6699 StaffSymbol \set #'transparent = ##t
6700 \remove "Time_signature_engraver"
6701 \remove "Bar_engraver"
6702 minimumVerticalExtent = ##f
6706 \remove Ligature_bracket_engraver
6707 \consists Vaticana_ligature_engraver
6708 NoteHead \set #'style = #'vaticana_punctum
6709 Stem \set #'transparent = ##t
6715 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6716 \include "gregorian-init.ly"
6718 \notes \transpose c c' {
6719 % Scandicus Auctus Descendens
6720 \[ g \pes a \pes \auctum \descendens b \]
6727 \remove "Bar_number_engraver"
6731 \remove "Clef_engraver"
6732 \remove "Key_engraver"
6733 StaffSymbol \set #'transparent = ##t
6734 \remove "Time_signature_engraver"
6735 \remove "Bar_engraver"
6736 minimumVerticalExtent = ##f
6740 \remove Ligature_bracket_engraver
6741 \consists Vaticana_ligature_engraver
6742 NoteHead \set #'style = #'vaticana_punctum
6743 Stem \set #'transparent = ##t
6749 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6750 \include "gregorian-init.ly"
6752 \notes \transpose c c' {
6753 % Scandicus Deminutus
6754 \[ g \pes a \pes \deminutum b \]
6761 \remove "Bar_number_engraver"
6765 \remove "Clef_engraver"
6766 \remove "Key_engraver"
6767 StaffSymbol \set #'transparent = ##t
6768 \remove "Time_signature_engraver"
6769 \remove "Bar_engraver"
6770 minimumVerticalExtent = ##f
6774 \remove Ligature_bracket_engraver
6775 \consists Vaticana_ligature_engraver
6776 NoteHead \set #'style = #'vaticana_punctum
6777 Stem \set #'transparent = ##t
6786 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6787 \include "gregorian-init.ly"
6789 \notes \transpose c c' {
6791 \[ g \oriscus a \pes \virga b \]
6798 \remove "Bar_number_engraver"
6802 \remove "Clef_engraver"
6803 \remove "Key_engraver"
6804 StaffSymbol \set #'transparent = ##t
6805 \remove "Time_signature_engraver"
6806 \remove "Bar_engraver"
6807 minimumVerticalExtent = ##f
6811 \remove Ligature_bracket_engraver
6812 \consists Vaticana_ligature_engraver
6813 NoteHead \set #'style = #'vaticana_punctum
6814 Stem \set #'transparent = ##t
6820 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6821 \include "gregorian-init.ly"
6823 \notes \transpose c c' {
6824 % Salicus Auctus Descendens
6825 \[ g \oriscus a \pes \auctum \descendens b \]
6832 \remove "Bar_number_engraver"
6836 \remove "Clef_engraver"
6837 \remove "Key_engraver"
6838 StaffSymbol \set #'transparent = ##t
6839 \remove "Time_signature_engraver"
6840 \remove "Bar_engraver"
6841 minimumVerticalExtent = ##f
6845 \remove Ligature_bracket_engraver
6846 \consists Vaticana_ligature_engraver
6847 NoteHead \set #'style = #'vaticana_punctum
6848 Stem \set #'transparent = ##t
6858 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6859 \include "gregorian-init.ly"
6861 \notes \transpose c c' {
6863 \[ \stropha b \stropha b \stropha a \]
6870 \remove "Bar_number_engraver"
6874 \remove "Clef_engraver"
6875 \remove "Key_engraver"
6876 StaffSymbol \set #'transparent = ##t
6877 \remove "Time_signature_engraver"
6878 \remove "Bar_engraver"
6879 minimumVerticalExtent = ##f
6883 \remove Ligature_bracket_engraver
6884 \consists Vaticana_ligature_engraver
6885 NoteHead \set #'style = #'vaticana_punctum
6886 Stem \set #'transparent = ##t
6898 Unlike most other neumes notation systems, the input language for
6899 neumes does not necessarily reflect directly the typographical
6900 appearance, but is designed to solely focuse on musical meaning. For
6901 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6902 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6903 a Porrectus with a curved flexa shape and only a single Punctum head.
6904 There is no command to explicitly typeset the curved flexa shape; the
6905 decision of when to typeset a curved flexa shape is purely taken from
6906 the musical input. The idea of this approach is to separate the
6907 musical aspects of the input from the notation style of the output.
6908 This way, the same input can be reused to typeset the same music in a
6909 different style of Gregorian chant notation such as Hufnagel (also
6910 known as German gothic neumes) or Medicaea (kind of a very simple
6911 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6912 engraver and Medicaea ligature engraver will have been implemented, it
6913 will be as simple as replacing the ligature engraver in the
6914 @internalsref{Voice} context to get the desired notation style from
6917 The following table shows the code fragments that produce the
6918 ligatures in the above neumes table. The letter in the first column
6919 in each line of the below table indicates to which ligature in the
6920 above table it refers. The second column gives the name of the
6921 ligature. The third column shows the code fragment that produces this
6922 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6924 @multitable @columnfractions .1 .4 .5
6938 Punctum Inclinatum @tab
6939 @code{\[ \inclinatum b \]}
6943 Punctum Auctum Ascendens @tab
6944 @code{\[ \auctum \ascendens b \]}
6948 Punctum Auctum Descendens @tab
6949 @code{\[ \auctum \descendens b \]}
6953 Punctum Inclinatum Auctum @tab
6954 @code{\[ \inclinatum \auctum b \]}
6958 Punctum Inclinatum Parvum @tab
6959 @code{\[ \inclinatum \deminutum b \]}
6964 @code{\[ \virga b \]}
6969 @code{\[ \stropha b \]}
6974 @code{\[ \stropha \auctum b \]}
6979 @code{\[ \oriscus b \]}
6983 Clivis vel Flexa @tab
6984 @code{\[ b \flexa g \]}
6988 Clivis Aucta Descendens @tab
6989 @code{\[ b \flexa \auctum \descendens g \]}
6993 Clivis Aucta Ascendens @tab
6994 @code{\[ b \flexa \auctum \ascendens g \]}
6999 @code{\[ b \flexa \deminutum g \]}
7003 Podatus vel Pes @tab
7004 @code{\[ g \pes b \]}
7008 Pes Auctus Descendens @tab
7009 @code{\[ g \pes \auctum \descendens b \]}
7013 Pes Auctus Ascendens @tab
7014 @code{\[ g \pes \auctum \ascendens b \]}
7019 @code{\[ g \pes \deminutum b \]}
7024 @code{\[ \oriscus g \pes \virga b \]}
7028 Pes Quassus Auctus Descendens @tab
7029 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7034 @code{\[ \quilisma g \pes b \]}
7038 Quilisma Pes Auctus Descendens @tab
7039 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7043 Pes Initio Debilis @tab
7044 @code{\[ \deminutum g \pes b \]}
7048 Pes Auctus Descendens Initio Debilis @tab
7049 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7054 @code{\[ a \pes b \flexa g \]}
7058 Torculus Auctus Descendens @tab
7059 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7063 Torculus Deminutus @tab
7064 @code{\[ a \pes b \flexa \deminutum g \]}
7068 Torculus Initio Debilis @tab
7069 @code{\[ \deminutum a \pes b \flexa g \]}
7073 Torculus Auctus Descendens Initio Debilis @tab
7074 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7078 Torculus Deminutus Initio Debilis @tab
7079 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7084 @code{\[ a \flexa g \pes b \]}
7088 Porrectus Auctus Descendens @tab
7089 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7093 Porrectus Deminutus @tab
7094 @code{\[ a \flexa g \pes \deminutum b \]}
7099 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7103 Climacus Auctus @tab
7104 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7108 Climacus Deminutus @tab
7109 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7114 @code{\[ g \pes a \virga b \]}
7118 Scandicus Auctus Descendens @tab
7119 @code{\[ g \pes a \pes \auctum \descendens b \]}
7123 Scandicus Deminutus @tab
7124 @code{\[ g \pes a \pes \deminutum b \]}
7129 @code{\[ g \oriscus a \pes \virga b \]}
7133 Salicus Auctus Descendens @tab
7134 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7139 @code{\[ \stropha b \stropha b \stropha a \]}
7145 The following head prefixes are supported:
7147 @cindex @code{\virga}
7149 @cindex @code{\stropha}
7151 @cindex @code{\inclinatum}
7153 @cindex @code{\auctum}
7155 @cindex @code{\descendens}
7157 @cindex @code{\ascendens}
7159 @cindex @code{\oriscus}
7161 @cindex @code{\quilisma}
7163 @cindex @code{\deminutum}
7166 Head prefixes can be accumulated, though restrictions apply. For
7167 example, either @code{\descendens} or @code{\ascendens} can be applied
7168 to a head, but not both to the same head.
7171 @cindex @code{\flexa}
7172 Two adjacent heads can be tied together with the @code{\pes} and
7173 @code{\flexa} infix commands for a rising and falling line of melody,
7178 Trigonus: apply equal spacing, regardless of pitch.
7181 @subsection Figured bass
7183 @cindex Basso continuo
7185 @c TODO: musicological blurb about FB
7189 LilyPond has limited support for figured bass:
7191 @lilypond[verbatim,fragment]
7193 \context Voice \notes { \clef bass dis4 c d ais}
7194 \context FiguredBass
7196 < 6 >4 < 7 >8 < 6+ [_!] >
7202 The support for figured bass consists of two parts: there is an input
7203 mode, introduced by @code{\figures}, where you can enter bass figures
7204 as numbers, and there is a context called @internalsref{FiguredBass} that
7205 takes care of making @internalsref{BassFigure} objects.
7207 In figures input mode, a group of bass figures is delimited by
7208 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7213 \context FiguredBass
7217 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7224 \context FiguredBass
7225 \figures { <4- 6+ 7!> }
7228 Spaces or dashes may be inserted by using @code{_}. Brackets are
7229 introduced with @code{[} and @code{]}:
7235 \context FiguredBass
7236 \figures { < [4 6] 8 [_! 12]> }
7239 Although the support for figured bass may superficially resemble chord
7240 support, it works much simpler. The @code{\figures} mode simply
7241 stores the numbers , and @internalsref{FiguredBass} context prints
7242 them as entered. There is no conversion to pitches, and no
7243 realizations of the bass are played in the MIDI file.
7245 Internally, the code produces markup texts. You can use any of the
7246 markup text properties to override formatting. For example, the
7247 vertical spacing of the figures may be set with @code{baseline-skip}.
7251 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7252 and @internalsref{FiguredBass} context.
7256 Slash notation for alterations is not supported.
7259 @node Vaticana style contexts
7260 @subsection Vaticana style contexts
7262 @cindex VaticanaVoiceContext
7263 @cindex VaticanaStaffContext
7265 The predefined @code{VaticanaVoiceContext} and
7266 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7267 Gregorian Chant in the style of the Editio Vaticana. These contexts
7268 initialize all relevant context properties and grob properties to
7269 proper values. With these contexts, you can immediately go ahead
7270 entering the chant, as the following short excerpt demonstrates:
7272 @lilypond[raggedright,verbatim,noindent]
7273 \include "gregorian-init.ly"
7276 \context VaticanaVoice = "cantus" {
7277 \property Score.BarNumber \set #'transparent = ##t
7279 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7280 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7281 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7284 \lyricsto "cantus" \new LyricsVoice \lyrics {
7285 San- ctus, San- ctus, San- ctus
7291 @node Contemporary notation
7292 @section Contemporary notation
7294 In the 20th century, composers have greatly expanded the musical
7295 vocabulary. With this expansion, many innovations in musical notation
7296 have been tried. The book by Stone (1980) gives a comprehensive
7297 overview (see @ref{Literature list}). In general, the use of new,
7298 innovative notation makes a piece harder to understand and perform and
7299 its use should therefore be avoided if possible. For this reason,
7300 support for contemporary notation in LilyPond is limited.
7309 @subsection Clusters
7313 In musical terminology, a @emph{cluster} denotes a range of
7314 simultaneously sounding pitches that may change over time. The set of
7315 available pitches to apply usually depends on the accoustic source.
7316 Thus, in piano music, a cluster typically consists of a continous range
7317 of the semitones as provided by the piano's fixed set of a chromatic
7318 scale. In choral music, each singer of the choir typically may sing an
7319 arbitrary pitch within the cluster's range that is not bound to any
7320 diatonic, chromatic or other scale. In electronic music, a cluster
7321 (theoretically) may even cover a continuous range of pitches, thus
7322 resulting in coloured noise, such as pink noise.
7324 Clusters can be denoted in the context of ordinary staff notation by
7325 engraving simple geometrical shapes that replace ordinary notation of
7326 notes. Ordinary notes as musical events specify starting time and
7327 duration of pitches; however, the duration of a note is expressed by the
7328 shape of the note head rather than by the horizontal graphical extent of
7329 the note symbol. In contrast, the shape of a cluster geometrically
7330 describes the development of a range of pitches (vertical extent) over
7331 time (horizontal extent). Still, the geometrical shape of a cluster
7332 covers the area in wich any single pitch contained in the cluster would
7333 be notated as an ordinary note. From this point of view, it is
7334 reasonable to specify a cluster as the envelope of a set of notes.
7338 A cluster is engraved as the envelope of a set of
7339 cluster-notes. Cluster notes are created by applying the function
7340 @code{notes-to-clusters} to a sequence of chords, e.g.
7342 @lilypond[relative=1,verbatim]
7343 \apply #notes-to-clusters { <c e > <b f'> }
7346 The following example (from
7347 @inputfileref{input/regression,cluster.ly}) shows what the result
7350 @lilypondfile[notexidoc]{cluster.ly}
7352 By default, @internalsref{Cluster_spanner_engraver} is in the
7353 @internalsref{Voice} context. This allows putting ordinary notes and
7354 clusters together in the same staff, even simultaneously. In such a
7355 case no attempt is made to automatically avoid collisions between
7356 ordinary notes and clusters.
7360 Internals: @internalsref{ClusterSpanner},
7361 @internalsref{ClusterSpannerBeacon},
7362 @internalsref{Cluster_spanner_engraver}, and
7363 @internalsref{ClusterNoteEvent}.
7365 Examples: @inputfileref{input/regression,cluster.ly}.
7369 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7370 accurately. Use @code{<g a>8 <e a>8} instead.
7375 @subsection Fermatas
7381 Contemporary music notation frequently uses special fermata symbols to
7382 indicate fermatas of differing lengths.
7386 The following are supported
7388 @lilypond[raggedright]
7390 << \addlyrics \notes {
7410 \context LyricsVoice \lyrics {
7411 "shortfermata" "fermata" "longfermata" "verylongfermata"
7416 See @ref{Articulations} for general instructions how to apply scripts
7417 such as fermatas to a @code{\notes@{@}} block.
7420 @node Special notation
7421 @section Special notation
7425 * Easy Notation note heads::
7429 @subsection Balloon help
7431 Elements of notation can be marked and named with the help of a square
7432 balloon. The primary purpose of this feature is to explain notation.
7434 The following example demonstrates its use.
7436 @lilypond[verbatim,fragment,raggedright,relative=1]
7439 #(add-balloon-text 'NoteHead "heads, or tails?"
7445 The function @code{add-balloon-text} takes the name of a grob, the
7446 label to print and where to put the label relative to the object. In
7447 the above example, the text ``heads or tails?'' ends 3 spaces below
7451 @cindex notation, explaining
7455 Internals: @internalsref{text-balloon-interface}
7457 Examples: @inputfileref{input/regression,balloon.ly}
7459 @node Easy Notation note heads
7460 @subsection Easy Notation note heads
7462 @cindex easy notation
7465 The `easy play' note head includes a note name inside the head. It is
7466 used in music aimed at beginners:
7468 @lilypond[raggedright,verbatim,staffsize=26]
7470 \notes { c'2 e'4 f' | g'1 }
7471 \paper { \translator { \EasyNotation } }
7475 The @code{EasyNotation} variable overrides a @internalsref{Score}
7476 context. To make the letters readable, it has to be printed in a
7477 large font size. To print with a larger font, see @ref{Font Size}.
7482 If you view the result with Xdvi, then staff lines may show through
7483 the letters. Printing the PostScript file obtained does produce the
7489 @section Tuning output
7491 There are situations where default layout decisions are not
7492 sufficient. In this section we discuss ways to override these
7495 Formatting is internally done by manipulating so called objects
7496 (graphic objects). Each object carries with it a set of properties
7497 (object or layout properties) specific to that object. For example, a
7498 stem object has properties that specify its direction, length and
7501 The most direct way of tuning the output is by altering the values of
7502 these properties. There are two ways of doing that: first, you can
7503 temporarily change the definition of one type of object, thus
7504 affecting a whole set of objects. Second, you can select one specific
7505 object, and set a layout property in that object.
7507 Do not confuse layout properties with translation
7508 properties. Translation properties always use a mixed caps style
7509 naming, and are manipulated using @code{\property}:
7511 \property Context.propertyName = @var{value}
7514 Layout properties are use Scheme style variable naming, i.e. lower
7515 case words separated with dashes. They are symbols, and should always
7516 be quoted using @code{#'}. For example, this could be an imaginary
7517 layout property name:
7519 #'layout-property-name
7524 The introduction of the @ref{Technical manual} gives a more in-depth
7525 treatment of the difference between translation and layout.
7529 * Constructing a tweak::
7537 @node Tuning objects
7538 @subsection Tuning objects
7540 @cindex object description
7542 The definition of an object is a list of default object
7543 properties. For example, the definition of the Stem object (available
7544 in @file{scm/define-grobs.scm}), includes the following definitions
7545 for @internalsref{Stem}:
7549 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7550 (Y-extent-callback . ,Stem::height)
7555 Adding variables on top of this existing definition overrides the
7556 system default, and alters the resulting appearance of the layout
7562 Changing a variable for only one object is commonly achieved with
7566 \once \property @var{context}.@var{objectname}
7567 \override @var{symbol} = @var{value}
7569 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7570 and @var{objectname} is a string and @var{value} is a Scheme expression.
7571 This command applies a setting only during one moment in the score.
7573 In the following example, only one @internalsref{Stem} object is
7574 changed from its original setting:
7576 @lilypond[verbatim,fragment,relative=1]
7578 \once \property Voice.Stem \set #'thickness = #4
7582 @cindex @code{\once}
7584 For changing more objects, the same command, without @code{\once} can
7587 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7589 This command adds @code{@var{symbol} = @var{value}} to the definition
7590 of @var{objectname} in the context @var{context}, and this definition
7591 stays in place until it is removed.
7593 An existing definition may be removed by the following command:
7596 \property @var{context}.@var{objectname} \revert @var{symbol}
7599 All @code{\override} and @code{\revert} commands should be balanced.
7600 The @code{\set} shorthand performs a revert followed by an override,
7601 and is often more convenient to use
7604 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7608 @lilypond[verbatim,quote]
7609 c'4 \property Voice.Stem \override #'thickness = #4.0
7611 c'4 \property Voice.Stem \revert #'thickness
7615 The following example gives exactly the same result as the previous
7616 one (assuming the system default for stem thickness is 1.3):
7618 @lilypond[verbatim,quote]
7619 c'4 \property Voice.Stem \set #'thickness = #4.0
7621 c'4 \property Voice.Stem \set #'thickness = #1.3
7625 Reverting a setting which was not set in the first place has no
7626 effect. However, if the setting was set as a system default, this may
7627 remove the default value, and this may give surprising results,
7628 including crashes. In other words, @code{\override} and
7629 @code{\revert} must be carefully balanced. The following are examples
7630 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7634 a clumsy but correct form:
7636 \override \revert \override \revert \override \revert
7640 shorter version of the same:
7642 \override \set \set \revert
7646 a short form, using only @code{\set}. This requires you to know the
7649 \set \set \set \set @var{to default value}
7653 if there is no default (i.e. by default, the object property is unset),
7656 \set \set \set \revert
7660 The object description is an Scheme association list. Since a Scheme
7661 list is a singly linked list, we can treat it as a stack, and
7662 @code{\override} and @code{\revert} are push and pop operations. The
7663 association list is stored in a normal context property, hence
7665 \property Voice.NoteHead = #'()
7667 will effectively erase @internalsref{NoteHead}s from the current
7668 @internalsref{Voice}. Typically, this will blank the object. However,
7669 this mechanism should not be used: it may cause crashes or other
7674 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7675 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7676 @internalsref{All-layout-objects}.
7681 The backend is not very strict in type-checking object properties.
7682 Cyclic references in Scheme values for properties cause hangs and/or
7683 crashes. Reverting properties that are system defaults may also lead
7686 A property tweak of modifies a local copy of the object definition.
7687 After such a tweak, the definition is independent of the objects in
7688 enclosing contexts. For example
7690 @lilypond[verbatim,fragment]
7691 \property Voice.Stem \set #'direction = #UP
7693 \property Staff.Stem \set #'thickness = #4.0
7698 In this fragment, @code{direction} is tweaked. As a result, the
7699 current @internalsref{Voice} gets a private version of the
7700 @internalsref{Stem} object. The following tweak modifies the
7701 definition at @internalsref{Staff} level. Since it a different
7702 definition, the thickness of the first @code{d'} is unaffected. For
7703 the third note, a new Voice is created, which inherits the new
7704 definition, including the changed thickness, but excluding the new
7710 * Constructing a tweak::
7716 @node Constructing a tweak
7717 @subsection Constructing a tweak
7720 @cindex internal documentation
7721 @cindex finding graphical objects
7722 @cindex graphical object descriptions
7724 @cindex @code{\override}
7726 @cindex internal documentation
7730 Three pieces of information are required to use @code{\override} and
7731 @code{\set}: the name of the layout object, the context and the name
7732 of the property. We demonstrate how to glean this information from
7733 the notation manual and the generated documentation.
7735 The generated documentation is a set of HTML pages which should be
7736 included if you installed a binary distribution, typically in
7737 @file{/usr/share/doc/lilypond}. They are also available on the web:
7738 go to the @uref{http://lilypond.org,LilyPond website}, click
7739 ``Documentation'', select the correct version, and click then
7740 ``Program reference.'' It is advisable to bookmark the local HTML
7741 files. They will load faster than the ones on the web. If you use the
7742 version from the web, you must check whether the documentation matches
7743 the program version: it is generated from the definitions that the
7744 program uses, and therefore it is strongly tied to the LilyPond
7748 @c [TODO: revise for new site.]
7750 Suppose we want to move the fingering indication in the fragment below:
7752 @lilypond[relative=2,verbatim]
7758 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7759 instructions}), you will notice that there is written:
7764 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7771 In other words, the fingerings once entered, are internally stored as
7772 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7773 layout object is created for every @code{FingerEvent}.
7775 The Fingering object has a number of different functions, and each of
7776 those is captured in an interface. The interfaces are listed under
7777 @internalsref{Fingering} in the program reference.
7781 The @code{Fingering} object has a fixed size
7782 (@internalsref{item-interface}), the symbol is a piece of text
7783 (@internalsref{text-interface}), whose font can be set
7784 (@internalsref{font-interface}). It is centered horizontally
7785 (@internalsref{self-alignment-interface}), it is placed next to other
7786 objects (@internalsref{side-position-interface}) vertically, and its
7787 placement is coordinated with other scripts
7788 (@internalsref{text-script-interface}). It also has the standard
7789 @internalsref{grob-interface} (grob stands for Graphical object)
7791 @cindex graphical object
7792 @cindex layout object
7793 @cindex object, layout
7794 with all the variables that come with
7795 it. Finally, it denotes a fingering instruction, so it has
7796 @internalsref{finger-interface}.
7798 For the vertical placement, we have to look under
7799 @code{side-position-interface}:
7801 @code{side-position-interface}
7803 Position a victim object (this one) next to other objects (the
7804 support). In this case, the property @code{direction} signifies where to put the
7805 victim object relative to the support (left or right, up or down?)
7810 below this description, the variable @code{padding} is described as
7814 (dimension, in staff space)
7816 add this much extra space between objects that are next to each
7817 other. Default value: @code{0.6}
7821 By increasing the value of @code{padding}, we can move away the
7822 fingering. The following command inserts 3 staff spaces of white
7823 between the note and the fingering:
7825 \once \property Voice.Fingering \set #'padding = #3
7828 Inserting this command before the Fingering object is created,
7829 i.e. before @code{c2}, yields the following result:
7831 @lilypond[relative=2,fragment,verbatim]
7832 \once \property Voice.Fingering
7839 The context name @code{Voice} in the example above can be determined
7840 as follows. In the documentation for @internalsref{Fingering}, it says
7842 Fingering grobs are created by: @internalsref{Fingering_engraver}
7845 Clicking @code{Fingering_engraver} shows the documentation of
7846 the module responsible for interpreting the fingering instructions and
7847 translating them to a @code{Fingering} object. Such a module is called
7848 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7851 Fingering_engraver is part of contexts: Voice
7853 so tuning the settings for Fingering should be done with
7855 \property Voice.Fingering \set @dots{}
7858 Of course, the tweak may also done in a larger context than
7859 @code{Voice}, for example, @internalsref{Staff} or
7860 @internalsref{Score}.
7864 Internals: the program reference also contains alphabetical lists of
7865 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7866 @internalsref{Music-expressions}, so you can also find which objects
7867 to tweak by browsing the internals document.
7871 @subsection Applyoutput
7873 The most versatile way of tuning an object is @code{\applyoutput}. Its
7876 \applyoutput @var{proc}
7880 where @var{proc} is a Scheme function, taking three arguments.
7882 When interpreted, the function @var{proc} is called for every layout
7883 object found in the context, with the following arguments:
7885 @item the layout object itself,
7886 @item the context where the layout object was created, and
7887 @item the context where @code{\applyoutput} is processed.
7891 In addition, the cause of the layout object, i.e. the music
7892 expression or object that was responsible for creating it, is in the
7893 object property @code{cause}. For example, for a note head, this is a
7894 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7895 this is a @internalsref{NoteHead} object.
7897 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7900 (define (blanker grob grob-origin context)
7901 (if (and (memq (ly:get-grob-property grob 'interfaces)
7902 note-head-interface)
7903 (eq? (ly:get-grob-property grob 'staff-position) 0))
7905 (ly:set-grob-property! grob 'transparent #t)))
7910 @node Font selection
7911 @subsection Font selection
7913 The most common thing to change about the appearance of fonts is their
7914 size. The font size of any context can be easily changed by setting
7915 the @code{fontSize} property for that context. Its value is a number:
7916 negative numbers make the font smaller, positive numbers larger. An
7917 example is given below:
7919 @lilypond[fragment,relative=1,verbatim,quote]
7920 c4 c4 \property Voice.fontSize = #-1
7923 This command will set @code{font-size} (see below), and does
7924 not change the size of variable symbols, such as beams or slurs.
7926 One of the uses of @code{fontSize} is to get smaller symbols for cue
7927 notes. An elaborate example of those is in
7928 @inputfileref{input/test,cue-notes.ly}.
7930 @cindex magnification
7933 The font used for printing a object can be selected by setting
7934 @code{font-name}, e.g.
7936 \property Staff.TimeSignature
7937 \set #'font-name = #"cmr17"
7941 Any font can be used, as long as it is available to @TeX{}. Possible
7942 fonts include foreign fonts or fonts that do not belong to the
7943 Computer Modern font family. The size of fonts selected in this way
7944 can be changed with the @code{font-magnification} property. For
7945 example, @code{2.0} blows up all letters by a factor 2 in both
7949 @cindex font magnification
7951 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7952 can also be adjusted with a more fine-grained mechanism. By setting
7953 the object properties described below, you can select a different font;
7954 all three mechanisms work for every object that supports
7955 @code{font-interface}:
7960 is a symbol indicating the general class of the typeface. Supported are
7961 @code{roman} (Computer Modern), @code{braces} (for piano staff
7962 braces), @code{music} (the standard music font, including ancient
7963 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7966 is a symbol indicating the shape of the font, there are typically several
7967 font shapes available for each font family. Choices are @code{italic},
7968 @code{caps} and @code{upright}.
7971 is a symbol indicating the series of the font. There are typically several
7972 font series for each font family and shape. Choices are @code{medium}
7977 For any of these properties, the value @code{*} (i.e. the symbol
7978 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7979 to override default setting, which are always present. For example:
7981 \property Lyrics . LyricText \override #'font-series = #'bold
7982 \property Lyrics . LyricText \override #'font-family = #'typewriter
7983 \property Lyrics . LyricText \override #'font-shape = #'*
7986 @cindex @code{font-style}
7988 The font size is set by modifying the @code{font-size} property. Its
7989 value is a number indicating the size relative to the standard size.
7990 Each step up is an increase of approximately 12% of the font size. Six
7991 steps is exactly a factor two. The Scheme function @code{magstep}
7992 converts a @code{font-size} number to a scaling factor.
7994 LilyPond has fonts in different design sizes: the music fonts for
7995 smaller sizes are chubbier, while the text fonts are relatively wider.
7996 Font size changes are achieved by scaling the design size that is
7997 closest to the desired size.
7999 The @code{font-size} mechanism does not work for fonts selected
8000 through @code{font-name}. These may be scaled with
8001 @code{font-magnification}.
8005 The following commands set @code{fontSize} for the current voice.
8007 @cindex @code{\tiny}
8009 @cindex @code{\small}
8011 @cindex @code{\normalsize}
8016 Init files: @file{ly/declarations-init.ly} contains hints how new
8017 fonts may be added to LilyPond.
8021 There is no style sheet provided for other fonts besides the @TeX{}
8022 Computer Modern family.
8024 @cindex font selection
8025 @cindex font magnification
8026 @cindex @code{font-interface}
8030 @subsection Text markup
8035 @cindex typeset text
8037 LilyPond has an internal mechanism to typeset texts. You can access it
8038 with the keyword @code{\markup}. Within markup mode, you can enter texts
8039 similar to lyrics: simply enter them, surrounded by spaces:
8042 @lilypond[verbatim,fragment,relative=1]
8043 c1^\markup { hello }
8044 c1_\markup { hi there }
8045 c1^\markup { hi \bold there, is \italic anyone home? }
8048 @cindex font switching
8050 The markup in the example demonstrates font switching commands. The
8051 command @code{\bold} and @code{\italic} only apply to the first
8052 following word; enclose a set of texts with braces to apply a command
8055 \markup @{ \bold @{ hi there @} @}
8059 For clarity, you can also do this for single arguments, e.g.
8061 \markup @{ is \italic @{ anyone @} home @}
8064 @cindex font size, texts
8066 The following size commands set absolute sizes:
8068 @cindex @code{\teeny}
8069 @cindex @code{\tiny}
8070 @cindex @code{\small}
8071 @cindex @code{\large}
8072 @cindex @code{\huge}
8082 You can also make letter larger or smaller relative to their neighbors,
8083 with the commands @code{\larger} and @code{\smaller}.
8087 @cindex font style, for texts
8088 @cindex @code{\bold}
8089 @cindex @code{\dynamic}
8090 @cindex @code{\number}
8091 @cindex @code{\italic}
8093 The following font change commands are defined:
8096 changes to the font used in dynamic signs. This font does not
8097 contain all characters of the alphabet, so when producing ``piu f'',
8098 the ``piu'' should be done in a different font.
8102 changes to the font used in time signatures. It only contains
8103 numbers and a few punctuation marks.
8105 changes @code{font-shape} to @code{italic}.
8107 changes @code{font-series} to @code{bold}.
8110 @cindex raising text
8111 @cindex lowering text
8113 @cindex translating text
8116 @cindex @code{\super}
8118 Raising and lowering texts can be done with @code{\super} and
8121 @lilypond[verbatim,fragment,relative=1]
8122 c1^\markup { E "=" mc \super "2" }
8125 @cindex @code{\raise}
8127 If you want to give an explicit amount for lowering or raising, use
8128 @code{\raise}. This command takes a Scheme valued first argument, and
8129 a markup object as second argument:
8131 @lilypond[verbatim,fragment,relative=1,quote]
8132 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8134 The argument to @code{\raise} is the vertical displacement amount,
8135 measured in (global) staff spaces. @code{\raise} and @code{\super}
8136 raise objects in relation to their surrounding markups. They cannot be
8137 used to move a single text up or down, when it is above or below a
8138 note, since the mechanism that positions it next to the note cancels
8139 any vertical shift. For vertical positioning, use the @code{padding}
8140 and/or @code{extra-offset} properties.
8142 Other commands taking single arguments include
8145 @item \bracket, \hbracket
8146 Bracket the argument markup with normal and horizontal brackets
8150 @cindex @code{\musicglyph}
8151 This is converted to a musical symbol, e.g. @code{\musicglyph
8152 #"accidentals-0"} will select the natural sign from the music font.
8153 See @ref{The Feta font} for a complete listing of the possible glyphs.
8156 This produces a single character, e.g. @code{\char #65} produces the
8159 @item \note @var{duration} @var{dir}
8160 @cindex @code{\note}
8162 This produces a note with a stem pointing in @var{dir} direction, with
8163 the @var{duration} for the note head type and augmentation dots. For
8164 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8165 a shortened down stem.
8167 @item \hspace #@var{amount}
8168 @cindex @code{\hspace}
8169 This produces a invisible object taking horizontal space.
8171 \markup @{ A \hspace #2.0 B @}
8173 will put extra space between A and B, on top of the space that is
8174 normally inserted before elements on a line.
8176 @item \fontsize #@var{size}
8177 @cindex @code{\fontsize}
8178 This sets the relative font size, eg.
8180 A \fontsize #2 @{ B C @} D
8184 This will enlarge the B and the C by two steps.
8185 @item \translate #(cons @var{x} @var{y})
8187 This translates an object. Its first argument is a cons of numbers
8189 A \translate #(cons 2 -3) @{ B C @} D
8191 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8192 surroundings. This command cannot be used to move isolated scripts
8193 vertically, for the same reason that @code{\raise} cannot be used for
8196 @item \magnify #@var{mag}
8197 @cindex @code{\magnify}
8198 This sets the font magnification for the its argument. In the following
8199 example, the middle A will be 10% larger:
8201 A \magnify #1.1 @{ A @} A
8205 @item \override #(@var{key} . @var{value})
8206 @cindex @code{\override}
8207 This overrides a formatting property for its argument. The argument
8208 should be a key/value pair, e.g.
8210 m \override #'(font-family . math) m m
8214 In markup mode you can compose expressions, similar to mathematical
8215 expressions, XML documents and music expressions. The braces group
8216 notes into horizontal lines. Other types of lists also exist: you can
8217 stack expressions grouped with @code{<}, and @code{>} vertically with
8218 the command @code{\column}. Similarly, @code{\center} aligns texts by
8221 @lilypond[verbatim,fragment,relative=1]
8222 c1^\markup { \column < a bbbb c > }
8223 c1^\markup { \center < a bbbb c > }
8224 c1^\markup { \line < a b c > }
8228 Markups can be stored in variables, and these variables
8229 may be attached to notes, like
8231 allegro = \markup { \bold \large { Allegro } }
8232 \notes { a^\allegro b c d }
8235 The markup mechanism is extensible. Refer to
8236 @file{scm/new-markup.scm} for more information.
8239 Some objects have alignment procedures of their own, which cancel out
8240 any effects of alignments applied to their markup arguments as a
8241 whole. For example, the @internalsref{RehearsalMark} is horizontally
8242 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8243 effect. Similarly, whole texts over notes cannot be moved vertically
8244 with @code{\raise}. For moving and aligning complete objects, grob
8245 properties should be used.
8249 Internals: @internalsref{Markup-functions} contains a complete list of
8250 all markup commands.
8252 Init files: @file{scm/new-markup.scm}.
8259 Text layout is ultimately done by @TeX{}, which does kerning of
8260 letters. LilyPond does not account for kerning, so texts will be
8261 spaced slightly too wide.
8263 Syntax errors for markup mode are confusing.
8265 Markup texts cannot be used in the titling of the @code{\header}
8266 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8275 @section Global layout
8277 The global layout determined by three factors: the page layout, the
8278 line breaks and the spacing. These all influence each other. The
8279 choice of spacing determines how densely each system of music is set,
8280 which influences where line breaks breaks are chosen, and thus
8281 ultimately how many pages a piece of music takes. This section
8282 explains how to tune the algorithm for spacing.
8284 Globally spoken, this procedure happens in three steps: first,
8285 flexible distances (``springs'') are chosen, based on durations. All
8286 possible line breaking combination are tried, and the one with the
8287 best results---a layout that has uniform density and requires as
8288 little stretching or cramping as possible---is chosen. When the score
8289 is processed by @TeX{}, each page is filled with systems, and page breaks
8290 are chosen whenever the page gets full.
8295 * Vertical spacing::
8296 * Horizontal spacing::
8303 @node Vertical spacing
8304 @subsection Vertical spacing
8306 @cindex vertical spacing
8307 @cindex distance between staves
8308 @cindex staff distance
8309 @cindex between staves, distance
8310 @cindex staffs per page
8311 @cindex space between staves
8313 The height of each system is determined automatically by LilyPond, to
8314 keep systems from bumping into each other, some minimum distances are
8315 set. By changing these, you can put staves closer together, and thus
8316 put more systems onto one page.
8318 Normally staves are stacked vertically. To make
8319 staves maintain a distance, their vertical size is padded. This is
8320 done with the property @code{minimumVerticalExtent}. It takes a pair
8321 of numbers, so if you want to make it smaller from its, then you could
8324 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8326 This sets the vertical size of the current staff to 4 staff spaces on
8327 either side of the center staff line. The argument of
8328 @code{minimumVerticalExtent} is interpreted as an interval, where the
8329 center line is the 0, so the first number is generally negative. The
8330 staff can be made larger at the bottom by setting it to @code{(-6
8333 The piano staves are handled a little differently: to make cross-staff
8334 beaming work correctly, it is necessary that the distance between staves
8335 is fixed beforehand. This is also done with a
8336 @internalsref{VerticalAlignment} object, created in
8337 @internalsref{PianoStaff}. In this object the distance between the
8338 staves is fixed by setting @code{forced-distance}. If you want to
8339 override this, use a @code{\translator} block as follows:
8343 VerticalAlignment \override #'forced-distance = #9
8346 This would bring the staves together at a distance of 9 staff spaces,
8347 measured from the center line of each staff.
8351 Internals: Vertical alignment of staves is handled by the
8352 @internalsref{VerticalAlignment} object.
8356 @node Horizontal spacing
8357 @subsection Horizontal Spacing
8359 The spacing engine translates differences in durations into
8360 stretchable distances (``springs'') of differing lengths. Longer
8361 durations get more space, shorter durations get less. The shortest
8362 durations get a fixed amount of space (which is controlled by
8363 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8364 The longer the duration, the more space it gets: doubling a
8365 duration adds a fixed amount (this amount is controlled by
8366 @code{spacing-increment}) of space to the note.
8368 For example, the following piece contains lots of half, quarter and
8369 8th notes, the eighth note is followed by 1 note head width (NHW).
8370 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8371 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8375 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8376 width of a note head, and @code{shortest-duration-space} is set to
8377 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8378 @code{shortest-duration-space}) of space. For normal notes, this space
8379 is always counted from the left edge of the symbol, so the shortest
8380 notes are generally followed by one NHW of space.
8382 If one would follow the above procedure exactly, then adding a single
8383 32th note to a score that uses 8th and 16th notes, would widen up the
8384 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8385 thus adding 1 NHW to every note. To prevent this, the
8386 shortest duration for spacing is not the shortest note in the score,
8387 but the most commonly found shortest note. Notes that are even
8388 shorter this are followed by a space that is proportional to their
8389 duration relative to the common shortest note. So if we were to add
8390 only a few 16th notes to the example above, they would be followed by
8393 @lilypond[fragment,verbatim,relative=2]
8394 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8397 The most common shortest duration is determined as follows: in every
8398 measure, the shortest duration is determined. The most common short
8399 duration, is taken as the basis for the spacing, with the stipulation
8400 that this shortest duration should always be equal to or shorter than
8401 1/8th note. The shortest duration is printed when you run lilypond
8402 with @code{--verbose}. These durations may also be customized. If you
8403 set the @code{common-shortest-duration} in
8404 @internalsref{SpacingSpanner}, then this sets the base duration for
8405 spacing. The maximum duration for this base (normally 1/8th), is set
8406 through @code{base-shortest-duration}.
8408 @cindex @code{common-shortest-duration}
8409 @cindex @code{base-shortest-duration}
8410 @cindex @code{stem-spacing-correction}
8411 @cindex @code{spacing}
8413 In the introduction it was explained that stem directions influence
8414 spacing. This is controlled with @code{stem-spacing-correction}
8415 property in @internalsref{NoteSpacing}, which are generated for every
8416 @internalsref{Voice} context. The @code{StaffSpacing} object
8417 (generated at @internalsref{Staff} context) contains the same property
8418 for controlling the stem/barline spacing. The following example
8419 shows these corrections, once with default settings, and once with
8420 exaggerated corrections:
8426 \property Staff.NoteSpacing \override #'stem-spacing-correction
8428 \property Staff.StaffSpacing \override #'stem-spacing-correction
8433 \paper { raggedright = ##t } }
8436 @cindex SpacingSpanner, overriding properties
8438 Properties of the @internalsref{SpacingSpanner} must be overridden
8439 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8440 created before any @code{\property} statements are interpreted.
8442 \paper @{ \translator @{
8444 SpacingSpanner \override #'spacing-increment = #3.0
8451 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8452 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8453 @internalsref{SeparatingGroupSpanner}.
8457 Spacing is determined on a score wide basis. If you have a score that
8458 changes its character (measured in durations) halfway during the
8459 score, the part containing the longer durations will be spaced too
8462 There is no convenient mechanism to manually override spacing.
8467 @subsection Font size
8468 @cindex font size, setting
8469 @cindex staff size, setting
8470 @cindex @code{paper} file
8472 The Feta font provides musical symbols at eight seven different
8473 sizes. Each font is tuned for a different staff size: at smaller sizes
8474 the font gets heavier, to match the relatively heavier staff lines.
8475 The recommended font sizes are listed in the following table:
8477 @multitable @columnfractions .25 .25 .25 .25
8480 @tab @b{staff height (pt)}
8481 @tab @b{staff height (mm)}
8523 @c modern rental material ?
8527 These fonts are available in any sizes. The context property
8528 @code{fontSize} and the layout property @code{staff-space} (in
8529 @internalsref{StaffSymbol}) can be used to tune size for individual
8530 staffs. The size of individual staffs are relative to the global size,
8531 which can be set in the following manner:
8534 #(set-global-staff-size 14)
8537 This sets the global default size to 14pt staff height, and scales all
8543 @subsection Line breaking
8546 @cindex breaking lines
8548 Line breaks are normally computed automatically. They are chosen such
8549 that lines look neither cramped nor loose, and that consecutive lines
8550 have similar density.
8552 Occasionally you might want to override the automatic breaks; you can
8553 do this by specifying @code{\break}. This will force a line break at
8554 this point. Line breaks can only occur at places where there are bar
8555 lines. If you want to have a line break where there is no bar line,
8556 you can force an invisible bar line by entering @code{\bar
8557 ""}. Similarly, @code{\noBreak} forbids a line break at a
8561 @cindex regular line breaks
8562 @cindex four bar music.
8564 For linebreaks at regular intervals use @code{\break} separated by
8565 skips and repeated with @code{\repeat}:
8567 << \repeat unfold 7 @{
8568 s1 \noBreak s1 \noBreak
8569 s1 \noBreak s1 \break @}
8570 @emph{the real music}
8575 This makes the following 28 measures (assuming 4/4 time) be broken every
8576 4 measures, and only there.
8580 @code{\break}, @code{\noBreak}
8581 @cindex @code{\break}
8582 @cindex @code{\noBreak}
8586 Internals: @internalsref{BreakEvent}.
8590 @subsection Page layout
8593 @cindex breaking pages
8595 @cindex @code{indent}
8596 @cindex @code{linewidth}
8598 The most basic settings influencing the spacing are @code{indent} and
8599 @code{linewidth}. They are set in the @code{\paper} block. They
8600 control the indentation of the first line of music, and the lengths of
8603 If @code{raggedright} is set to true in the @code{\paper}
8604 block, then the lines are justified at their natural length. This
8605 useful for short fragments, and for checking how tight the natural
8609 @cindex vertical spacing
8611 The page layout process happens outside the LilyPond formatting
8612 engine: variables controlling page layout are passed to the output,
8613 and are further interpreted by @code{lilypond} wrapper program. It
8614 responds to the following variables in the @code{\paper} block. The
8615 variable @code{textheight} sets the total height of the music on each
8616 page. The spacing between systems is controlled with
8617 @code{interscoreline}, its default is 16pt. The distance between the
8618 score lines will stretch in order to fill the full page
8619 @code{interscorelinefill} is set to a positive number. In that case
8620 @code{interscoreline} specifies the minimum spacing.
8622 @cindex @code{textheight}
8623 @cindex @code{interscoreline}
8624 @cindex @code{interscorelinefill}
8626 If the variable @code{lastpagefill} is defined,
8627 @c fixme: this should only be done if lastpagefill= #t
8628 systems are evenly distributed vertically on the last page. This
8629 might produce ugly results in case there are not enough systems on the
8630 last page. The @command{lilypond-book} command ignores
8631 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8634 @cindex @code{lastpagefill}
8636 Page breaks are normally computed by @TeX{}, so they are not under
8637 direct control of LilyPond. However, you can insert a commands into
8638 the @file{.tex} output to instruct @TeX{} where to break pages. This
8639 is done by setting the @code{between-systems-strings} on the
8640 @internalsref{NonMusicalPaperColumn} where the system is broken.
8641 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8642 The predefined command @code{\newpage} also does this.
8646 @cindex @code{papersize}
8648 To change the paper size, use the following Scheme code:
8651 #(set-paper-size "a4")
8658 @cindex @code{\newpage}
8664 In this manual @ref{Invoking lilypond}
8666 Examples: @inputfileref{input/regression,between-systems.ly}
8668 Internals: @internalsref{NonMusicalPaperColumn}.
8672 LilyPond has no concept of page layout, which makes it difficult to
8673 reliably choose page breaks in longer pieces.
8682 Entered music can also be converted to MIDI output. The performance
8683 is good enough for proof-hearing the music for errors.
8685 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8686 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8687 marks translate to a fixed fraction of the available MIDI volume
8688 range, crescendi and decrescendi make the volume vary linearly between
8689 their two extremities. The fractions can be adjusted by
8690 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8691 For each type of MIDI instrument, a volume range can be defined. This
8692 gives a basic equalizer control, which can enhance the quality of
8693 the MIDI output remarkably. The equalizer can be controlled by
8694 setting @code{instrumentEqualizer}.
8698 Many musically interesting effects, such as swing, articulation,
8699 slurring, etc., are not translated to MIDI.
8701 Since slurs are not interpreted, @code{\lyricsto} and
8702 @code{\addlyrics} sections will be interpreted wrongly.
8704 The MIDI output allocates a channel for each Staff, and one for global
8705 settings. Hence, the MIDI file should not have more than 15 staves
8706 (or 14 if you do not use drums).
8711 * MIDI instrument names::
8716 @subsection MIDI block
8720 The MIDI block is analogous to the paper block, but it is somewhat
8721 simpler. The @code{\midi} block can contain:
8725 @item a @code{\tempo} definition, and
8726 @item context definitions.
8729 Assignments in the @code{\midi} block are not allowed.
8731 A number followed by a period is interpreted as a real number, so
8732 for setting the tempo for dotted notes, an extra space should be
8733 inserted, for example:
8736 \midi @{ \tempo 4 . = 120 @}
8740 @cindex context definition
8742 Context definitions follow precisely the same syntax as within the
8743 \paper block. Translation modules for sound are called performers.
8744 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8747 @node MIDI instrument names
8748 @subsection MIDI instrument names
8750 @cindex instrument names
8751 @cindex @code{Staff.midiInstrument}
8753 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8754 property. The instrument name should be chosen from the list in
8755 @ref{MIDI instruments}.
8759 If the selected string does not exactly match, then the default is
8760 used, which is the Grand Piano.