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[]{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[]{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{stopAppoggiaturaMusic}. 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}.
3338 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}
3342 The definition of lyrics mode is too complex.
3346 @node The Lyrics context
3347 @subsection The Lyrics context
3349 Lyrics are printed by interpreting them in a @internalsref{LyricsVoice} context:
3351 \context LyricsVoice \lyrics @dots{}
3354 @cindex automatic syllable durations
3355 @cindex @code{\lyricsto}
3356 @cindex lyrics and melodies
3358 This will place the lyrics according to the durations that were
3359 entered. The lyrics can also be aligned under a given melody
3360 automatically. In this case, it is no longer necessary to enter the
3361 correct duration for each syllable. This is achieved by combining the
3362 melody and the lyrics with the @code{\lyricsto} expression:
3364 \lyricsto @var{name} \new LyricsVoice @dots{}
3367 This aligns the lyrics to the
3369 notes of the @internalsref{Voice} context called @var{name}, which has
3370 to exist. Therefore, normally the @code{Voice} is specified first, and
3371 then the lyrics are specified with @code{\lyricsto}.
3373 For different or more complex orderings, the best way is to setup the
3374 hierarchy of staves and lyrics first, e.g.
3376 \context ChoirStaff \notes <<
3377 \context LyricsVoice = sopranoLyrics @{ s1 @}
3378 \context Voice = soprano @{ @emph{music} @}
3379 \context LyricsVoice = tenor @{ s1 @}
3380 \context Voice = tenorLyrics @{ @emph{music} @}
3383 and then combine the appropriate melodies and lyric lines:
3385 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3389 The final input would resemble
3392 << \context ChoirStaff \notes << @emph{setup the music} >>
3393 \lyricsto "soprano" @emph{etc}
3394 \lyricsto "alto" @emph{etc}
3400 The @code{\lyricsto} command detects melismata: it only puts one
3401 syllable under a tied or slurred group of notes. If you want to force
3402 an unslurred group of notes to be a melisma, then insert
3403 @code{\melisma} after the first note of the group, and
3404 @code{\melismaEnd} after the last one, e.g.
3406 @lilypond[relative=1,raggedright,fragment,verbatim]
3407 << \context Voice = "lala" { \time 3/4
3413 \lyricsto "lala" \new LyricsVoice \lyrics {
3418 In addition, notes are considered a melisma if they are manually
3419 beamed, and automatic beaming (see @ref{Setting automatic beam
3420 behavior}) is switched off. The criteria for deciding melismata
3421 can be tuned with the property @code{melismaBusyProperties}. See
3422 @internalsref{Melisma_engraver} for more information.
3424 When multiple stanzas are put on the same melody, it can happen that
3425 two stanzas have melismata in different locations. This can be
3426 remedied by switching off melismata for one
3427 @internalsref{LyricsVoice}. This is achieved by setting
3428 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3429 in @inputfileref{input/regression,lyric-combine-new.ly}.
3432 @cindex choral score
3434 A complete example of a SATB score setup is in the file
3435 @inputfileref{input/template,satb.ly}.
3440 @code{\melisma}, @code{\melismaEnd}
3441 @cindex @code{\melismaEnd}
3442 @cindex @code{\melisma}
3446 Internals: Music expressions: @internalsref{LyricCombineMusic},
3447 Contexts: @internalsref{LyricsVoice}, @internalsref{Melisma_engraver}.
3449 Examples: @inputfileref{input/template,satb.ly},
3450 @inputfileref{input/regression,lyric-combine-new.ly}.
3454 Melismata are not detected automatically, and extender lines must be
3458 For proper processing of extender lines, the
3459 @internalsref{LyricsVoice} and @internalsref{Voice} should be
3460 linked. This can be achieved either by using @code{\lyricsto} or by
3461 setting corresponding names for both contexts. The latter is explained
3462 in @ref{More stanzas}.
3465 @subsection More stanzas
3467 @cindex phrasing, in lyrics
3470 The lyrics should be aligned with the note heads of the melody. To
3471 achieve this, each line of lyrics should be marked to correspond with
3472 the melodic line. This is done automatically when @code{\lyricsto},
3473 but it can also be done manually.
3475 To this end, give the @internalsref{Voice} context an identity:
3477 \context Voice = duet @{
3482 Then set the @internalsref{LyricsVoice} contexts to names starting with
3483 that identity followed by a dash. In the preceding example, the
3484 @internalsref{Voice} identity is @code{duet}, so the identities of the
3485 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3487 \context LyricsVoice = "duet-1" @{
3488 Hi, my name is bert. @}
3489 \context LyricsVoice = "duet-2" @{
3490 Ooooo, ch\'e -- ri, je t'aime. @}
3493 The complete example is shown here:
3494 @lilypond[raggedright,verbatim]
3496 << \notes \relative c'' \context Voice = duet { \time 3/4
3498 \lyrics << \lyricsto "duet" \new LyricsVoice {
3499 \property LyricsVoice . stanza = "1"
3500 Hi, my name is bert. }
3501 \lyricsto "duet" \new LyricsVoice {
3502 \property LyricsVoice . stanza = "2"
3503 Ooooo, ch\'e -- ri, je t'aime. }
3508 @cindex stanza number
3509 @cindex singer's names
3510 @cindex name of singer
3512 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3515 \property LyricsVoice . stanza = "Bert"
3517 \property LyricsVoice . stanza = "Ernie"
3520 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3521 prevent @code{LyricsVoice.stanza} being interpreted as a single
3524 Names of the singers should be added using @code{LyricsVoice
3525 . vocalName} and @code{LyricsVoice . vocNam}, analogous to instrument
3526 annotations for staves.
3528 To make empty spaces in lyrics, use @code{\skip}.
3533 Internals: Layout objects @internalsref{LyricText}
3534 @internalsref{VocalName}. Music expressions:
3535 @internalsref{LyricEvent}.
3541 Input for lyrics introduces a syntactical ambiguity:
3548 is interpreted as assigning a string identifier @code{\foo} such that
3549 it contains @code{"bar"}. However, it could also be interpreted as
3550 making or a music identifier @code{\foo} containing the syllable
3551 `bar'. The force the latter interpretation, use
3561 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3562 for a given voice in a part of music. It also may denote the pitch
3563 range that a musical instrument is capable of playing. Most musical
3564 instruments have their ambitus standardized (or at least there is
3565 agreement upon the minimal ambitus of a particular type of
3566 instrument), such that a composer or arranger of a piece of music can
3567 easily meet the ambitus constraints of the targeted instrument.
3568 However, the ambitus of the human voice depends on individual
3569 physiological state, including education and training of the voice.
3570 Therefore, a singer potentially has to check for each piece of music
3571 if the ambitus of that piece meets his individual capabilities. This
3572 is why the ambitus of a piece may be of particular value to vocal
3575 The ambitus is typically notated on a per-voice basis at the very
3576 beginning of a piece, e.g. nearby the initial clef or time signature of
3577 each staff. The range is graphically specified by two noteheads, that
3578 represent the minimum and maximum pitch. Some publishers use a textual
3579 notation: they put the range in words in front of the corresponding
3580 staff. LilyPond only supports the graphical ambitus notation.
3582 To apply, add the @internalsref{Ambitus_engraver} to the
3583 @internalsref{Voice} context, i.e.
3589 \consists Ambitus_engraver
3594 This results in the following output:
3595 @lilypond[raggedright]
3596 upper = \notes \relative c {
3599 as'' c e2 bes f cis d4 e f2 g
3601 lower = \notes \relative c {
3604 e'4 b g a c es fis a cis b a g f e d2
3607 \context ChoirStaff {
3609 \new Staff { \upper }
3610 \new Staff { \lower }
3616 \consists Ambitus_engraver
3622 If you have multiple voices in a single staff, and you want a single
3623 ambitus per staff rather than per each voice, then add the
3624 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3625 rather than to the @internalsref{Voice} context.
3627 It is possible to tune individual ambituses for multiple voices on a
3628 single staff, for example by erasing or shifting them horizontally. An
3629 example is in @inputfileref{input/test,ambitus-mixed.ly}
3633 Internals: @internalsref{Ambitus}
3635 Examples: @inputfileref{input/regression,ambitus.ly},
3636 @inputfileref{input/test,ambitus-mixed.ly}.
3640 There is no collision handling in the case of multiple per-voice
3646 Tablature notation is used for notating music for plucked string
3647 instruments. It notates pitches not by using note heads, but by
3648 indicating on which string and fret a note must be played. LilyPond
3649 offers limited support for tablature.
3652 * Tablatures basic::
3653 * Non-guitar tablatures::
3656 @node Tablatures basic
3657 @subsection Tablatures basic
3658 @cindex Tablatures basic
3660 The string number associated to a note is given as a backslash
3661 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3662 string. By default, string 1 is the highest one, and the tuning
3663 defaults to the standard guitar tuning (with 6 strings). The notes
3664 are printed as tablature, by using @internalsref{TabStaff} and
3665 @internalsref{TabVoice} contexts:
3667 @lilypond[fragment,verbatim]
3668 \notes \context TabStaff {
3676 When no string is specified, the first string that does not give a
3677 fret number less than @code{minimumFret} is selected. The default
3678 value for @code{minimumFret} is 0:
3682 e8 fis gis a b cis' dis' e'
3683 \property TabStaff.minimumFret = #8
3684 e8 fis gis a b cis' dis' e'
3689 e8 fis gis a b cis' dis' e'
3690 \property TabStaff.minimumFret = #8
3691 e8 fis gis a b cis' dis' e'
3694 \context StaffGroup <<
3695 \context Staff { \clef "G_8" \frag }
3696 \context TabStaff { \frag }
3703 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3704 @internalsref{StringNumberEvent}.
3708 Chords are not handled in a special way, and hence the automatic
3709 string selector may easily select the same string to two notes in a
3713 @node Non-guitar tablatures
3714 @subsection Non-guitar tablatures
3715 @cindex Non-guitar tablatures
3717 You can change the number of strings, by setting the number of lines
3718 in the @internalsref{TabStaff}.
3720 You can change the tuning of the strings. A string tuning is given as
3721 a Scheme list with one integer number for each string, the number
3722 being the pitch (measured in semitones relative to central C) of an
3723 open string. The numbers specified for @code{stringTuning} are the
3724 numbers of semitones to subtract or add, starting the specified pitch
3725 by default middle C, in string order. Thus, the notes are e, a, d, and
3728 @lilypond[fragment,verbatim]
3729 \context TabStaff <<
3730 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3733 a,4 c' a e' e c' a e'
3738 It is possible to change the Scheme function to format the tablature
3739 note text. The default is @code{fret-number-tablature-format}, which
3740 uses the fret number. For instruments that do not use this notation,
3741 you can create a special tablature formatting function. This function
3742 takes three argument: string number, string tuning and note pitch.
3746 No guitar special effects have been implemented.
3751 @section Chord names
3754 LilyPond has support for both printing chord names. Chords may be
3755 entered in musical chord notation, i.e. @code{< .. >}, but they can
3756 also be entered by name. Internally, the chords are represented as a
3757 set of pitches, so they can be transposed:
3760 @lilypond[verbatim,raggedright]
3761 twoWays = \notes \transpose c c' {
3771 << \context ChordNames \twoWays
3772 \context Voice \twoWays >> }
3775 This example also shows that the chord printing routines do not try to
3776 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3782 * Printing chord names::
3787 @subsection Chords mode
3790 Chord mode is a mode where you can input sets of pitches using common
3791 names. It is introduced by the keyword @code{\chords}.
3792 In chords mode, a chord is entered by the root, which is entered
3793 like a common pitch:
3794 @lilypond[fragment,verbatim,quote,relative=1]
3795 \chords { es4. d8 c2 }
3800 Other chords may be entered by suffixing a colon, and introducing a
3801 modifier, and optionally, a number:
3803 @lilypond[fragment,verbatim,quote]
3804 \chords { e1:m e1:7 e1:m7 }
3806 The first number following the root is taken to be the `type' of the
3807 chord, thirds are added to the root until it reaches the specified
3809 @lilypond[fragment,verbatim]
3810 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3813 @cindex root of chord
3814 @cindex additions, in chords
3815 @cindex removals, in chords
3817 More complex chords may also be constructed adding separate steps
3818 to a chord. Additions are added after the number following
3819 the colon, and are separated by dots:
3821 @lilypond[verbatim,fragment,quote]
3822 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3824 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3826 @lilypond[verbatim,fragment,quote]
3827 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3829 Removals are specified similarly, and are introduced by a caret. They
3830 must come after the additions:
3831 @lilypond[verbatim,fragment]
3832 \chords { c^3 c:7^5 c:9^3.5 }
3835 Modifiers can be used to change pitches. The following modifiers are
3839 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3841 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3844 is the augmented chord. This modifier raises the 5th step.
3846 is the major 7th chord. This modifier raises the 7th step if present.
3848 is the suspended 4th or 2nd. This modifier removes the 3rd
3849 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3852 Modifiers can be mixed with additions:
3853 @lilypond[verbatim,fragment]
3854 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3857 @cindex modifiers, in chords.
3864 Since an unaltered 11 does not sound good when combined with an
3865 unaltered 13, the 11 is removed in this case (unless it is added
3868 @lilypond[fragment,verbatim]
3869 \chords { c:13 c:13.11 c:m13 }
3874 An inversion (putting one pitch of the chord on the bottom), as well
3875 as bass notes, can be specified by appending
3876 @code{/}@var{pitch} to the chord:
3877 @lilypond[fragment,verbatim,center]
3878 \chords { c1 c/g c/f }
3882 A bass note can be added instead of transposed out of the chord,
3883 by using @code{/+}@var{pitch}.
3885 @lilypond[fragment,verbatim,center]
3886 \chords { c1 c/+g c/+f }
3889 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3890 of the commands continue to work, for example, @code{r} and
3891 @code{\skip} can be used to insert rests and spaces, and
3892 @code{\property} may be used to change various settings.
3898 Each step can only be present in a chord once. The following
3899 simply produces the augmented chord, since @code{5+} is interpreted
3902 @lilypond[verbatim,fragment]
3903 \chords { c:5.5-.5+ }
3907 @node Printing chord names
3908 @subsection Printing chord names
3910 @cindex printing chord names
3914 For displaying printed chord names, use the @internalsref{ChordNames} context.
3915 The chords may be entered either using the notation
3916 described above, or directly using @code{<} and @code{>}:
3918 @lilypond[verbatim,raggedright]
3920 \chords {a1 b c} <d' f' a'> <e' g' b'>
3924 \context ChordNames \scheme
3925 \context Staff \scheme
3930 You can make the chord changes stand out by setting
3931 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3932 display chord names when there is a change in the chords scheme and at
3933 the start of a new line:
3935 @lilypond[verbatim,linewidth=9\cm]
3937 c1:m c:m \break c:m c:m d
3941 \context ChordNames {
3942 \property ChordNames.chordChanges = ##t
3944 \context Staff \transpose c c' \scheme
3949 The default chord name layout is a system for Jazz music, proposed by
3950 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3951 following properties:
3954 @cindex chordNameExceptions
3955 @item chordNameExceptions
3956 This is a list that contains the chords that have special formatting.
3958 @inputfileref{input/regression,chord-name-exceptions.ly}.
3959 @cindex exceptions, chord names.
3962 @cindex majorSevenSymbol
3963 @item majorSevenSymbol
3964 This property contains the markup object used for the 7th step, when
3965 it is major. Predefined options are @code{whiteTriangleMarkup} and
3966 @code{blackTriangleMarkup}. See
3967 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3969 @cindex chordNameSeparator
3970 @item chordNameSeparator
3971 Different parts of a chord name are normally separated by a
3972 slash. By setting @code{chordNameSeparator}, you can specify other
3974 @lilypond[fragment,verbatim]
3975 \context ChordNames \chords {
3977 \property ChordNames.chordNameSeparator
3978 = \markup { \typewriter "|" }
3982 @cindex chordRootNamer
3983 @item chordRootNamer
3984 The root of a chord is usually printed as a letter with an optional
3985 alteration. The transformation from pitch to letter is done by this
3986 function. Special note names (for example, the German ``H'' for a
3987 B-chord) can be produced by storing a new function in this property.
3989 The pre-defined variables @code{\germanChords},
3990 @code{\semiGermanChords} set these variables.
3993 @cindex chordNoteNamer
3994 @item chordNoteNamer
3995 The default is to print single pitch, e.g. the bass note, using the
3996 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3997 to a specialized function to change this behavior. For example, the
3998 base can be printed in lower case.
4003 There are also two other chord name schemes implemented: an alternate
4004 Jazz chord notation, and a systematic scheme called Banter chords. The
4005 alternate jazz notation is also shown on the chart in @ref{Chord name
4006 chart}. Turning on these styles is described in the input file
4007 @inputfileref{input/test,chord-names-jazz.ly}.
4011 @cindex chords, jazz
4016 @cindex @code{\germanChords}
4017 @code{\germanChords},
4018 @cindex @code{\semiGermanChords}
4019 @code{\semiGermanChords}.
4026 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4027 @inputfileref{input/regression,chord-name-exceptions.ly},
4028 @inputfileref{input/test,chord-names-jazz.ly},
4029 @inputfileref{input/test,chord-names-german.ly}.
4031 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4036 Chord names are determined solely from the list of pitches. Chord
4037 inversions are not identified, and neither are added bass notes. This
4038 may result in strange chord names when chords are entered with the
4039 @code{< .. >} syntax.
4044 @node Orchestral music
4045 @section Orchestral music
4047 @cindex Writing parts
4049 Orchestral music involves some special notation, both in the full
4050 score and the individual parts. This section explains how to tackle
4051 some common problems in orchestral music.
4056 * Multiple staff contexts::
4059 * Instrument names::
4061 * Multi measure rests::
4062 * Automatic part combining::
4064 * Different editions from one source::
4065 * Sound output for transposing instruments::
4068 @node Multiple staff contexts
4069 @subsection Multiple staff contexts
4071 Polyphonic scores consist of many staves. These staves can be
4072 constructed in three different ways:
4074 @item The group is started with a brace at the left. This is done with the
4075 @internalsref{GrandStaff} context.
4076 @item The group is started with a bracket. This is done with the
4077 @internalsref{StaffGroup} context
4078 @item The group is started with a vertical line. This is the default
4082 @cindex Staff, multiple
4083 @cindex bracket, vertical
4084 @cindex brace, vertical
4091 @node Rehearsal marks
4092 @subsection Rehearsal marks
4093 @cindex Rehearsal marks
4095 @cindex @code{\mark}
4097 To print a rehearsal mark, use the @code{\mark} command:
4098 @lilypond[fragment,verbatim]
4109 (The letter I is skipped in accordance with engraving traditions.)
4111 The mark is incremented automatically if you use @code{\mark
4112 \default}, but you can also use an integer argument to set the mark
4113 manually. The value to use is stored in the property
4114 @code{rehearsalMark}.
4116 The style is defined by the property @code{markFormatter}. It is a
4117 function taking the current mark (an integer) and the current context
4118 as argument. It should return a markup object. In the following
4119 example, @code{markFormatter} is set to a canned procedure. After a
4120 few measures, it is set to function that produces a boxed number.
4122 @lilypond[verbatim,fragment,relative=1]
4123 \property Score.markFormatter = #format-mark-numbers
4126 \property Score.markFormatter
4127 = #(lambda (mark context)
4128 (make-bold-markup (make-box-markup (number->string mark))))
4133 The file @file{scm/translation-functions.scm} contains the definitions
4134 of @code{format-mark-numbers} (the default format) and
4135 @code{format-mark-letters}. They can be used as inspiration for other
4136 formatting functions.
4139 @cindex coda on bar line
4140 @cindex segno on bar line
4141 @cindex fermata on bar line
4142 @cindex bar lines, symbols on
4144 The @code{\mark} command can also be used to put signs like coda,
4145 segno and fermatas on a barline. Use @code{\markup} to
4146 to access the appropriate symbol:
4148 @lilypond[fragment,verbatim,relative=1]
4149 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4153 In this case, during line breaks, marks must also be printed at the
4154 end of the line, and not at the beginning. Use the following to force
4157 \property Score.RehearsalMark \override
4158 #'break-visibility = #begin-of-line-invisible
4164 @cindex barlines, putting symbols on
4168 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4170 Init files: @file{scm/translation-functions.scm} contains the
4171 definition of @code{format-mark-numbers} and
4172 @code{format-mark-letters}. They can be used as inspiration for other
4173 formatting functions.
4175 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4176 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4180 @subsection Bar numbers
4184 @cindex measure numbers
4185 @cindex currentBarNumber
4187 Bar numbers are printed by default at the start of the line. The
4188 number itself is stored in the
4189 @code{currentBarNumber} property,
4190 which is normally updated automatically for every measure.
4192 Bar numbers can be typeset at regular intervals instead of at the
4193 beginning of each line. This is illustrated in the following example,
4194 whose source is available as
4195 @inputfileref{input/test,bar-number-regular-interval.ly}:
4197 @lilypondfile[]{bar-number-regular-interval.ly}
4202 Internals: @internalsref{BarNumber}.
4204 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4205 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4209 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4210 there is one at the top. To solve this, the
4211 @code{padding} property of @internalsref{BarNumber} can be
4212 used to position the number correctly.
4214 @node Instrument names
4215 @subsection Instrument names
4217 In an orchestral score, instrument names are printed left side of the
4220 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4221 and @internalsref{Staff}.@code{instr}. This will print a string before
4222 the start of the staff. For the first start, @code{instrument} is
4223 used, for the next ones @code{instr} is used:
4226 @lilypond[verbatim,raggedright]
4227 \property Staff.instrument = "ploink " { c''4 }
4231 You can also use markup texts to construct more complicated instrument
4235 @lilypond[fragment,verbatim,raggedright]
4237 \property Staff.instrument = \markup {
4238 \column < "Clarinetti"
4240 \smaller \musicglyph #"accidentals--1"
4251 Internals: @internalsref{InstrumentName}.
4255 When you put a name on a grand staff or piano staff the width of the
4256 brace is not taken into account. You must add extra spaces to the end of
4257 the name to avoid a collision.
4260 @subsection Transpose
4262 @cindex transposition of pitches
4263 @cindex @code{\transpose}
4265 A music expression can be transposed with @code{\transpose}. The syntax
4268 \transpose @var{from} @var{to} @var{musicexpr}
4271 This means that @var{musicexpr} is transposed by the interval between
4272 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4273 is changed to @code{to}.
4276 For example, consider a piece written in the key of D major. If
4277 this piece is a little too low for its performer, it can be
4278 transposed up to E major with
4280 \tranpose d e @dots{}
4283 Consider a part written for violin (a C instrument). If
4284 this part is to be played on the A clarinet, the following
4285 transposition will produce the appropriate part
4288 \transpose a c @dots{}
4291 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4292 inside a @code{\notes} section. @code{\transpose} distinguishes
4293 between enharmonic pitches: both @code{\transpose c cis} or
4294 @code{\transpose c des} will transpose up half a tone. The first
4295 version will print sharps and the second version will print flats:
4297 @lilypond[raggedright,verbatim]
4298 mus =\notes { \key d \major cis d fis g }
4299 \score { \notes \context Staff {
4302 \transpose c g' \mus
4303 \transpose c f' \mus
4310 Internals: @internalsref{TransposedMusic}, and
4311 @internalsref{UntransposableMusic}.
4315 If you want to use both @code{\transpose} and @code{\relative}, then
4316 you must put @code{\transpose} outside of @code{\relative}, since
4317 @code{\relative} will have no effect music that appears inside a
4323 @node Multi measure rests
4324 @subsection Multi measure rests
4325 @cindex multi measure rests
4326 @cindex Rests, multi measure
4330 Multi measure rests are entered using `@code{R}'. It is specifically
4331 meant for full bar rests and for entering parts: the rest can expand
4332 to fill a score with rests, or it can be printed as a single
4333 multimeasure rest. This expansion is controlled by the property
4334 @code{Score.skipBars}. If this is set to true, empty measures will not
4335 be expanded, and the appropriate number is added automatically:
4337 @lilypond[fragment,verbatim]
4338 \time 4/4 r1 | R1 | R1*2
4339 \property Score.skipBars = ##t R1*17 R1*4
4342 The @code{1} in @code{R1} is similar to the duration notation used for
4343 notes. Hence, for time signatures other than 4/4, you must enter other
4344 durations. This can be done with augmentation dots or fractions:
4346 @lilypond[fragment,verbatim]
4347 \property Score.skipBars = ##t
4355 An @code{R} spanning a single measure is printed as either a whole rest
4356 or a breve, centered in the measure regardless of the time signature.
4358 @cindex text on multi-measure rest
4359 @cindex script on multi-measure rest
4360 @cindex fermata on multi-measure rest
4362 Texts can be added to multi-measure rests by using the
4363 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4364 replaced. If you need both texts and the number, you must add the
4365 number by hand. A variable (@code{\fermataMarkup}) is provided for
4369 @lilypond[verbatim,fragment]
4371 R2._\markup { "Ad lib" }
4375 If you want to have a text on the left end of a multi-measure rest,
4376 attach the text to a zero-length skip note, i.e.
4384 @cindex whole rests for a full measure
4388 Internals: @internalsref{MultiMeasureRestEvent},
4389 @internalsref{MultiMeasureTextEvent},
4390 @internalsref{MultiMeasureRestMusicGroup}, and
4391 @internalsref{MultiMeasureRest}.
4393 The layout object @internalsref{MultiMeasureRestNumber} is for the
4394 default number, and @internalsref{MultiMeasureRestText} for user
4399 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4400 over multi-measure rests.
4402 @cindex condensing rests
4404 There is no way to automatically condense multiple rests into a single
4405 multimeasure rest. Multi measure rests do not take part in rest
4408 Be careful when entering multimeasure rests followed by whole
4409 notes. The following will enter two notes lasting four measures each:
4413 When @code{skipBars} is set, then the result will look OK, but the
4414 bar numbering will be off.
4416 @node Automatic part combining
4417 @subsection Automatic part combining
4418 @cindex automatic part combining
4419 @cindex part combiner
4422 Automatic part combining is used to merge two parts of music onto a
4423 staff. It is aimed at typesetting orchestral scores. When the two
4424 parts are identical for a period of time, only one is shown. In
4425 places where the two parts differ, they are typeset as separate
4426 voices, and stem directions are set automatically. Also, solo and
4427 @emph{a due} parts are identified and can be marked.
4431 The syntax for part combining is
4434 \partcombine @var{musicexpr1} @var{musicexpr2}
4437 The music expressions will be interpreted as @internalsref{Voice}
4440 The following example demonstrates the basic functionality of the part
4441 combiner: putting parts on one staff, and setting stem directions and
4444 @lilypond[verbatim,raggedright,fragment,relative=1]
4445 \new Staff \partcombine
4454 The first @code{g} appears only once, although it was
4455 specified twice (once in each part). Stem, slur and tie directions are
4456 set automatically, depending whether there is a solo or unisono. The
4457 first part (with context called @code{one}) always gets up stems, and
4458 `solo', while the second (called @code{two}) always gets down stems and
4461 If you just want the merging parts, and not the textual markings, you
4462 may set the property @var{soloADue} to false:
4464 @lilypond[verbatim,raggedright,fragment]
4466 \property Staff.soloADue = ##f
4478 Internals: @internalsref{PartCombineMusic},
4479 @internalsref{SoloOneEvent}, and
4480 @internalsref{SoloTwoEvent}, and
4481 @internalsref{UnisonoEvent}.
4485 In @code{soloADue} mode, when the two voices play the same notes on and
4486 off, the part combiner may typeset @code{a2} more than once in a
4492 @subsection Hiding staves
4494 @cindex Frenched scores
4495 @cindex Hiding staves
4497 In orchestral scores, staff lines that only have rests are usually
4498 removed. This saves some space. This style is called `French Score'.
4499 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4500 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4501 switched on by default. When these line of these contexts turn out
4502 empty after the line-breaking process, they are removed.
4504 For normal staves, a specialized @internalsref{Staff} context is
4505 available, which does the same: staves containing nothing (or only
4506 multi measure rests) are removed. The context definition is stored in
4507 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4508 in this example disappears in the second line:
4513 \notes \relative c' <<
4514 \new Staff { e4 f g a \break c1 }
4515 \new Staff { c4 d e f \break R1 }
4519 \translator { \RemoveEmptyStaffContext }
4524 The first page shows all staffs in full. If they should be removed
4525 from the first page too, set @code{remove-first} to false
4526 in @internalsref{RemoveEmptyVerticalGroup}.
4528 @node Different editions from one source
4529 @subsection Different editions from one source
4531 The @code{\tag} command marks music expressions with a name. These
4532 tagged expressions can be filtered out later. With this mechanism it
4533 is possible to make different versions of the same music source.
4535 In the following example, we see two versions of a piece of music, one
4536 for the full score, and one with cue notes for the instrumental part:
4544 \property Voice.fontSize = #-1
4552 The same can be applied to articulations, texts, etc.: they are
4555 -\tag #@var{your-tag}
4557 to an articulation, for example,
4562 This defines a note with a conditional fingering indication.
4564 By applying the @code{remove-tag} function, tagged expressions can be
4565 filtered. For example,
4569 \apply #(remove-tag 'score) @var{the music}
4570 \apply #(remove-tag 'part) @var{the music}
4575 @lilypondfile[]{tag-filter.ly}
4577 The argument of the @code{\tag} command should be a symbol, or a list
4578 of symbols, for example,
4580 \tag #'(original-part transposed-part) @dots{}
4585 Examples: @inputfileref{input/regression,tag-filter.ly}
4588 @node Sound output for transposing instruments
4589 @subsection Sound output for transposing instruments
4591 When you want to make a MIDI file from a score containing transposed
4592 and untransposed instruments, you have to instruct LilyPond the pitch
4593 offset (in semitones) for the transposed instruments. This is done
4594 using the @code{transposing} property. It does not affect printed
4597 @cindex @code{transposing}
4600 \property Staff.instrument = #"Cl. in B-flat"
4601 \property Staff.transposing = #-2
4605 @node Ancient notation
4606 @section Ancient notation
4608 @cindex Vaticana, Editio
4609 @cindex Medicaea, Editio
4614 @c [TODO: write more comprehensive introduction on ancient notation]
4616 Support for ancient notation is still under heavy development.
4617 Regardless of all of the current limitations (see the bugs section
4618 below for details), it includes features for mensural
4619 notation and Gregorian Chant notation. There is also limited support
4620 for figured bass notation.
4622 Many graphical objects provide a @code{style} property, see
4623 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4624 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4625 signatures}. By manipulating such a grob property, the typographical
4626 appearance of the affected graphical objects can be accomodated for a
4627 specific notation flavour without need for introducing any new
4631 Other aspects of ancient notation can not that easily be expressed as
4632 in terms of just changing a style property of a graphical object.
4633 Therefore, some notational concepts are introduced specifically for
4634 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4635 @ref{Ligatures}, and @ref{Figured bass}.
4639 * Ancient note heads::
4640 * Ancient accidentals::
4644 * Ancient time signatures::
4649 * Vaticana style contexts::
4652 If this all is way too much of documentation for you, and you just
4653 want to dive into typesetting without worrying too much about the
4654 details on how to customize a context, then you may have a look at the
4655 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4656 set up predefined style-specific voice and staff contexts, and
4657 directly go ahead with the note entry.
4661 Ligatures need special spacing that has not yet been implemented. As
4662 a result, there is too much space between ligatures most of the time,
4663 and line breaking often is unsatisfactory. Also, lyrics do not
4664 correctly align with ligatures.
4666 Accidentals must not be printed within a ligature, but instead need to
4667 be collected and printed in front of it.
4669 Augmentum dots within ligatures are not handled correctly.
4672 @node Ancient note heads
4673 @subsection Ancient note heads
4679 For ancient notation, a note head style other than the @code{default}
4680 style may be chosen. This is accomplished by setting the @code{style}
4681 property of the NoteHead object to the desired value (@code{baroque},
4682 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4683 differs from the @code{default} style only in using a square shape for
4684 @code{\breve} note heads. The @code{neo_mensural} style differs from
4685 the @code{baroque} style in that it uses rhomboidal heads for whole
4686 notes and all smaller durations. Stems are centered on the note
4687 heads. This style is in particular useful when transcribing mensural
4688 music, e.g. for the incipit. The @code{mensural} style finally
4689 produces note heads that mimick the look of note heads in historic
4690 printings of the 16th century.
4692 The following example demonstrates the @code{neo_mensural} style:
4694 @lilypond[fragment,raggedright,verbatim]
4695 \property Voice.NoteHead \set #'style = #'neo_mensural
4696 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4699 When typesetting a piece in Gregorian Chant notation, a Gregorian
4700 ligature engraver will automatically select the proper note heads,
4701 such there is no need to explicitly set the note head style. Still,
4702 the note head style can be set e.g. to @code{vaticana_punctum} to
4703 produce punctum neumes. Similarly, a mensural ligature engraver is
4704 used to automatically assemble mensural ligatures. See
4705 @ref{Ligatures} for how ligature engravers work.
4710 @ref{Percussion staves} use note head styles of their own that are
4711 frequently used in contemporary music notation.
4713 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4714 overview over all available note head styles.
4717 @node Ancient accidentals
4718 @subsection Ancient accidentals
4724 Use the @code{style} property of grob @internalsref{Accidental} to
4725 select ancient accidentals. Supported styles are
4726 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4728 @lilypond[raggedright,staffsize=26]
4736 { " " \musicglyph #"accidentals-vaticana-1"
4737 " " \musicglyph #"accidentals-vaticana0" }
4741 { " " \musicglyph #"accidentals-medicaea-1" }
4745 { " " \musicglyph #"accidentals-hufnagel-1" }
4749 { " " \musicglyph #"accidentals-mensural-1"
4750 " " \musicglyph #"accidentals-mensural1" }
4759 \remove "Bar_number_engraver"
4763 \remove "Clef_engraver"
4764 \remove "Key_engraver"
4765 \remove "Time_signature_engraver"
4766 \remove "Staff_symbol_engraver"
4767 minimumVerticalExtent = ##f
4773 As shown, not all accidentals are supported by each style. When
4774 trying to access an unsupported accidental, LilyPond will switch to a
4775 different style, as demonstrated in
4776 @inputfileref{input/test,ancient-accidentals.ly}.
4778 Similarly to local accidentals, the style of the key signature can be
4779 controlled by the @code{style} property of the
4780 @internalsref{KeySignature} grob.
4784 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4785 @ref{Accidentals} give a general introduction into the use of
4786 accidentals. @ref{Key signature} gives a general introduction into
4787 the use of key signatures.
4789 Internals: @internalsref{KeySignature}
4791 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4794 @subsection Ancient rests
4800 Use the @code{style} property of grob @internalsref{Rest} to select
4801 ancient accidentals. Supported styles are @code{classical},
4802 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4803 from the @code{default} style only in that the quarter rest looks like
4804 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4805 well for e.g. the incipit of a transcribed mensural piece of music.
4806 The @code{mensural} style finally mimicks the appearance of rests as
4807 in historic prints of the 16th century.
4809 The following example demonstrates the @code{neo_mensural} style:
4811 @lilypond[fragment,raggedright,verbatim]
4812 \property Voice.Rest \set #'style = #'neo_mensural
4813 r\longa r\breve r1 r2 r4 r8 r16
4816 There are no 32th and 64th rests specifically for the mensural or
4817 neo-mensural style. Instead, the rests from the default style will be
4818 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4821 There are no rests in Gregorian Chant notation; instead, it uses
4826 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4830 @subsection Ancient clefs
4836 LilyPond supports a variety of clefs, many of them ancient.
4838 The following table shows all ancient clefs that are supported via the
4839 @code{\clef} command. Some of the clefs use the same glyph, but
4840 differ only with respect to the line they are printed on. In such
4841 cases, a trailing number in the name is used to enumerate these clefs.
4842 Still, you can manually force a clef glyph to be typeset on an
4843 arbitrary line, as described in @ref{Clef}. The note printed to the
4844 right side of each clef in the example column denotes the @code{c'}
4845 with respect to that clef.
4847 @multitable @columnfractions .3 .3 .3 .1
4851 @b{Description} @tab
4852 @b{Supported Clefs} @tab
4856 @code{clefs-neo_mensural_c} @tab
4857 modern style mensural C clef @tab
4858 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4859 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4860 @lilypond[relative,notime]
4861 \property Staff.TimeSignature \set #'transparent = ##t
4862 \clef "neo_mensural_c2" c
4866 @code{clefs-petrucci_c1}
4867 @code{clefs-petrucci_c2}
4868 @code{clefs-petrucci_c3}
4869 @code{clefs-petrucci_c4}
4870 @code{clefs-petrucci_c5}
4873 petrucci style mensural C clefs, for use on different stafflines
4874 (the examples shows the 2nd staffline C clef).
4884 @lilypond[relative,notime]
4885 \property Staff.TimeSignature \set #'transparent = ##t
4886 \clef "petrucci_c2" c
4890 @code{clefs-petrucci_f} @tab
4891 petrucci style mensural F clef @tab
4892 @code{petrucci_f} @tab
4893 @lilypond[relative,notime]
4894 \property Staff.TimeSignature \set #'transparent = ##t
4895 \clef "petrucci_f" c
4899 @code{clefs-petrucci_g} @tab
4900 petrucci style mensural G clef @tab
4901 @code{petrucci_g} @tab
4902 @lilypond[relative,notime]
4903 \property Staff.TimeSignature \set #'transparent = ##t
4904 \clef "petrucci_g" c
4908 @code{clefs-mensural_c} @tab
4909 historic style mensural C clef @tab
4910 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4911 @code{mensural_c4} @tab
4912 @lilypond[relative,notime]
4913 \property Staff.TimeSignature \set #'transparent = ##t
4914 \clef "mensural_c2" c
4918 @code{clefs-mensural_f} @tab
4919 historic style mensural F clef @tab
4920 @code{mensural_f} @tab
4921 @lilypond[relative,notime]
4922 \property Staff.TimeSignature \set #'transparent = ##t
4923 \clef "mensural_f" c
4927 @code{clefs-mensural_g} @tab
4928 historic style mensural G clef @tab
4929 @code{mensural_g} @tab
4930 @lilypond[relative,notime]
4931 \property Staff.TimeSignature \set #'transparent = ##t
4932 \clef "mensural_g" c
4936 @code{clefs-vaticana_do} @tab
4937 Editio Vaticana style do clef @tab
4938 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4939 @lilypond[relative,notime]
4940 \property Staff.StaffSymbol \set #'line-count = #4
4941 \property Staff.TimeSignature \set #'transparent = ##t
4942 \clef "vaticana_do2" c
4946 @code{clefs-vaticana_fa} @tab
4947 Editio Vaticana style fa clef @tab
4948 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4949 @lilypond[relative,notime]
4950 \property Staff.StaffSymbol \set #'line-count = #4
4951 \property Staff.TimeSignature \set #'transparent = ##t
4952 \clef "vaticana_fa2" c
4956 @code{clefs-medicaea_do} @tab
4957 Editio Medicaea style do clef @tab
4958 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4959 @lilypond[relative,notime]
4960 \property Staff.StaffSymbol \set #'line-count = #4
4961 \property Staff.TimeSignature \set #'transparent = ##t
4962 \clef "medicaea_do2" c
4966 @code{clefs-medicaea_fa} @tab
4967 Editio Medicaea style fa clef @tab
4968 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4969 @lilypond[relative,notime]
4970 \property Staff.StaffSymbol \set #'line-count = #4
4971 \property Staff.TimeSignature \set #'transparent = ##t
4972 \clef "medicaea_fa2" c
4976 @code{clefs-hufnagel_do} @tab
4977 historic style hufnagel do clef @tab
4978 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4979 @lilypond[relative,notime]
4980 \property Staff.StaffSymbol \set #'line-count = #4
4981 \property Staff.TimeSignature \set #'transparent = ##t
4982 \clef "hufnagel_do2" c
4986 @code{clefs-hufnagel_fa} @tab
4987 historic style hufnagel fa clef @tab
4988 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4989 @lilypond[relative,notime]
4990 \property Staff.StaffSymbol \set #'line-count = #4
4991 \property Staff.TimeSignature \set #'transparent = ##t
4992 \clef "hufnagel_fa2" c
4996 @code{clefs-hufnagel_do_fa} @tab
4997 historic style hufnagel combined do/fa clef @tab
4998 @code{hufnagel_do_fa} @tab
4999 @lilypond[relative,notime]
5000 \property Staff.TimeSignature \set #'transparent = ##t
5001 \clef "hufnagel_do_fa" c
5006 @c --- This should go somewhere else: ---
5007 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5010 @c @code{percussion}
5012 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5014 @c @item modern style tab clef (glyph: @code{clefs-tab})
5019 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5021 @emph{Modern style} means ``as is typeset in contemporary editions of
5022 transcribed mensural music''.
5024 @emph{Petrucci style} means ``inspired by printings published by the
5025 famous engraver Petrucci (1466-1539)''.
5027 @emph{Historic style} means ``as was typeset or written in historic
5028 editions (other than those of Petrucci)''.
5030 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5032 Petrucci used C clefs with differently balanced left-side vertical
5033 beams, depending on which staffline it is printed.
5037 In this manual: for the percussion clef, see @ref{Percussion staves}.
5038 For the @code{TAB} clef, see @ref{Tablatures}.
5040 Internals: for modern clefs, see @ref{Clef}.
5044 The mensural g clef is temporarily mapped to the Petrucci g clef,
5045 until a new mensural g clef will have been implemented.
5050 @subsection Ancient flags
5056 Use the @code{flag-style} property of grob @internalsref{Stem} to
5057 select ancient flags. Besides the @code{default} flag style,
5058 only @code{mensural} style is supported:
5060 @lilypond[fragment,raggedright,verbatim]
5061 \property Voice.Stem \set #'flag-style = #'mensural
5062 \property Voice.Stem \set #'thickness = #1.0
5063 \property Voice.NoteHead \set #'style = #'mensural
5065 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
5066 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5069 Note that the innermost flare of each mensural flag always is
5070 vertically aligned with a staff line. If you do not like this
5071 behaviour, you can set the @code{adjust-if-on-staffline} property of
5072 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5073 of the end of each flare is different between notes on staff lines and
5074 notes between staff lines:
5076 @lilypond[fragment,raggedright]
5077 \property Voice.Stem \set #'flag-style = #'mensural
5078 \property Voice.Stem \set #'thickness = #1.0
5079 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5080 \property Voice.NoteHead \set #'style = #'mensural
5082 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
5083 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5086 There is no particular flag style for neo-mensural notation. Hence,
5087 when typesetting e.g. the incipit of a transcibed piece of mensural
5088 music, the default flag style should be used. There are no flags in
5089 Gregorian Chant notation.
5092 @node Ancient time signatures
5093 @subsection Ancient time signatures
5095 @cindex time signatures
5099 There is limited support for mensural time signatures. The
5100 glyphs are hard-wired to particular time fractions. In other words,
5101 to get a particular mensural signature glyph with the @code{\time n/m}
5102 command, @code{n} and @code{m} have to be chosen according to the
5108 \property Score.timing = ##f
5109 \property Score.barAlways = ##t
5110 s_\markup { "$\\backslash$time 4/4" }
5111 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5113 s_\markup { "$\\backslash$time 2/2" }
5114 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5116 s_\markup { "$\\backslash$time 6/4" }
5117 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5119 s_\markup { "$\\backslash$time 6/8" }
5120 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5122 s_\markup { "$\\backslash$time 3/2" }
5123 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5125 s_\markup { "$\\backslash$time 3/4" }
5126 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5128 s_\markup { "$\\backslash$time 9/4" }
5129 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5131 s_\markup { "$\\backslash$time 9/8" }
5132 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5134 s_\markup { "$\\backslash$time 4/8" }
5135 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5137 s_\markup { "$\\backslash$time 2/4" }
5138 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5146 \remove Staff_symbol_engraver
5147 \remove Clef_engraver
5148 \remove Time_signature_engraver
5154 Use the @code{style} property of grob @internalsref{TimeSignature} to
5155 select ancient time signatures. Supported styles are
5156 @code{neo_mensural} and @code{mensural}. The above table uses the
5157 @code{neo_mensural} style. This style is appropriate e.g. for the
5158 incipit of transcriptions of mensural pieces. The @code{mensural}
5159 style mimicks the look of historical printings of the 16th century.
5161 @inputfileref{input/test,time.ly} gives an overview over all available
5162 ancient and modern styles.
5166 Internals: @ref{Time signature} gives a general introduction into the use of time
5171 Mensural signature glyphs are mapped to time fractions in a
5172 hard-wired way. This mapping is sensible, but still arbitrary: given
5173 a mensural time signature, the time fraction represents a modern meter
5174 that usually will be a good choice when transcribing a mensural piece
5175 of music. For a particular piece of mensural music, however, the
5176 mapping may be unsatisfactory. In particular, the mapping assumes a
5177 fixed transcription of durations (e.g. brevis = half note in 2/2,
5178 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5179 are not at all accessible through the @code{\time} command.
5181 Mensural time signatures are supported typographically, but not yet
5182 musically. The internal representation of durations is
5183 based on a purely binary system; a ternary division such as 1 brevis =
5184 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5185 prolatione maiori) is not correctly handled: event times in ternary
5186 modes will be badly computed, resulting e.g. in horizontally
5187 misaligned note heads, and bar checks are likely to erroneously fail.
5189 The syntax and semantics of the @code{\time} command for mensural
5190 music is subject to change.
5193 @subsection Custodes
5198 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5199 symbol that appears at the end of a staff. It anticipates the pitch
5200 of the first note(s) of the following line and thus helps the player
5201 or singer to manage line breaks during performance, thus enhancing
5202 readability of a score.
5204 Custodes were frequently used in music notation until the 17th
5205 century. Nowadays, they have survived only in a few particular forms
5206 of musical notation such as contemporary editions of Gregorian chant
5207 like the @emph{editio vaticana}. There are different custos glyphs
5208 used in different flavours of notational style.
5212 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5213 @internalsref{Staff} context when declaring the @code{\paper} block,
5214 as shown in the following example:
5220 \consists Custos_engraver
5221 Custos \override #'style = #'mensural
5226 The result looks like this:
5232 \property Staff.Custos \set #'style = #'mensural
5239 \consists Custos_engraver
5246 The custos glyph is selected by the @code{style} property. The styles
5247 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5248 @code{mensural}. They are demonstrated in the following fragment:
5258 { " " \musicglyph #"custodes-vaticana-u0" }
5262 { " " \musicglyph #"custodes-medicaea-u0" }
5266 { " " \musicglyph #"custodes-hufnagel-u0" }
5270 { " " \musicglyph #"custodes-mensural-u0" }
5279 \remove "Bar_number_engraver"
5283 \remove "Clef_engraver"
5284 \remove "Key_engraver"
5285 \remove "Time_signature_engraver"
5286 \remove "Staff_symbol_engraver"
5287 minimumVerticalExtent = ##f
5293 If the boolean property @code{adjust-if-on-staffline} is set to
5294 @code{#t} (which it is by default), lily typesets slightly different
5295 variants of the custos glyph, depending on whether the custos, is
5296 typeset on or between stafflines. The glyph will
5297 optically fit well into the staff, with the appendage on the right of
5298 the custos always ending at the same vertical position between two
5299 stafflines regardless of the pitch. If you set
5300 @code{adjust-if-on-staffline} to @code{#f}, then
5301 a compromise between both forms is used.
5303 Just like stems can be attached to noteheads in two directions
5304 @emph{up} and @emph{down}, each custos glyph is available with its
5305 appendage pointing either up or down. If the pitch of a custos is
5306 above a selectable position, the appendage will point downwards; if
5307 the pitch is below this position, the appendage will point upwards.
5308 Use property @code{neutral-position} to select this position. By
5309 default, it is set to @code{0}, such that the neutral position is the
5310 center of the staff. Use property @code{neutral-direction} to control
5311 what happens if a custos is typeset on the neutral position itself.
5312 By default, this property is set to @code{-1}, such that the appendage
5313 will point downwards. If set to @code{1}, the appendage will point
5314 upwards. Other values such as @code{0} are reserved for future
5315 extensions and should not be used.
5319 Internals: @internalsref{Custos}
5321 Examples: @inputfileref{input/regression,custos.ly}.
5325 @subsection Divisiones
5331 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5332 `division') is a staff context symbol that is used to structure
5333 Gregorian music into phrases and sections. The musical meaning of
5334 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5335 can be characterized as short, medium and long pause, somewhat like
5336 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5337 a chant, but is also frequently used within a single
5338 antiphonal/responsorial chant to mark the end of each section.
5342 To use divisiones, include the file @code{gregorian-init.ly}. It
5343 contains definitions that you can apply by just inserting
5344 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5345 and @code{\finalis} at proper places in the input. Some editions use
5346 @emph{virgula} or @emph{caesura} instead of divisio minima.
5347 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5350 @lilypondfile[]{divisiones.ly}
5354 @cindex @code{\virgula}
5356 @cindex @code{\caesura}
5358 @cindex @code{\divisioMinima}
5359 @code{\divisioMinima},
5360 @cindex @code{\divisioMaior}
5361 @code{\divisioMaior},
5362 @cindex @code{\divisioMaxima}
5363 @code{\divisioMaxima},
5364 @cindex @code{\finalis}
5369 In this manual: @ref{Breath marks}.
5371 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5373 Examples: @inputfileref{input/test,divisiones.ly}
5376 @subsection Ligatures
5380 @c TODO: Should double check if I recalled things correctly when I wrote
5381 @c down the following paragraph by heart.
5383 In musical terminology, a ligature is a coherent graphical symbol that
5384 represents at least two distinct notes. Ligatures originally appeared
5385 in the manuscripts of Gregorian chant notation roughly since the 9th
5386 century as an allusion to the accent symbols of greek lyric poetry to
5387 denote ascending or descending sequences of notes. Both, the shape
5388 and the exact meaning of ligatures changed tremendously during the
5389 following centuries: In early notation, ligatures were used for
5390 monophonic tunes (Gregorian chant) and very soon denoted also the way
5391 of performance in the sense of articulation. With upcoming
5392 multiphony, the need for a metric system arised, since multiple voices
5393 of a piece have to be synchronized some way. New notation systems
5394 were invented that used the manifold shapes of ligatures to now denote
5395 rhythmical patterns (e.g. black mensural notation, mannered notation,
5396 ars nova). With the invention of the metric system of the white
5397 mensural notation, the need for ligatures to denote such patterns
5398 disappeared. Nevertheless, ligatures were still in use in the
5399 mensural system for a couple of decades until they finally disappeared
5400 during the late 16th / early 17th century. Still, ligatures have
5401 survived in contemporary editions of Gregorian chant such as the
5402 Editio Vaticana from 1905/08.
5406 Syntactically, ligatures are simply enclosed by @code{\[} and
5407 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5408 additional input syntax specific for this particular type of ligature.
5409 By default, the @internalsref{LigatureBracket} engraver just puts a
5410 square bracket above the ligature:
5412 @lilypond[raggedright,verbatim]
5414 \notes \transpose c c' {
5422 To select a specific style of ligatures, a proper ligature engraver
5423 has to be added to the @internalsref{Voice} context, as explained in
5424 the following subsections. Only white mensural ligatures
5425 are supported with certain limitations. Support for Editio Vaticana
5426 will be added in the future.
5429 * White mensural ligatures::
5430 * Gregorian square neumes ligatures::
5433 @node White mensural ligatures
5434 @subsubsection White mensural ligatures
5436 @cindex Mensural ligatures
5437 @cindex White mensural ligatures
5439 There is limited support for white mensural ligatures. The
5440 implementation is still experimental; it may output strange
5441 warnings or even crash in some cases or produce weird results on more
5446 To engrave white mensural ligatures, in the paper block the
5447 @internalsref{Mensural_ligature_engraver} has to be put into the
5448 @internalsref{Voice} context, and remove the
5449 @internalsref{Ligature_bracket_engraver}:
5455 \remove Ligature_bracket_engraver
5456 \consists Mensural_ligature_engraver
5461 There is no additional input language to describe the shape of a
5462 white mensural ligature. The shape is rather determined solely from
5463 the pitch and duration of the enclosed notes. While this approach may
5464 take a new user a while to get accustomed, it has the great advantage
5465 that the full musical information of the ligature is known internally.
5466 This is not only required for correct MIDI output, but also allows for
5467 automatic transcription of the ligatures.
5472 \property Score.timing = ##f
5473 \property Score.defaultBarType = "empty"
5474 \property Voice.NoteHead \set #'style = #'neo_mensural
5475 \property Staff.TimeSignature \set #'style = #'neo_mensural
5477 \[ g\longa c\breve a\breve f\breve d'\longa \]
5479 \[ e1 f1 a\breve g\longa \]
5481 @lilypond[raggedright]
5483 \notes \transpose c c' {
5484 \property Score.timing = ##f
5485 \property Score.defaultBarType = "empty"
5486 \property Voice.NoteHead \set #'style = #'neo_mensural
5487 \property Staff.TimeSignature \set #'style = #'neo_mensural
5489 \[ g\longa c\breve a\breve f\breve d'\longa \]
5491 \[ e1 f1 a\breve g\longa \]
5496 \remove Ligature_bracket_engraver
5497 \consists Mensural_ligature_engraver
5503 Without replacing @internalsref{Ligature_bracket_engraver} with
5504 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5507 @lilypond[raggedright]
5509 \notes \transpose c c' {
5510 \property Score.timing = ##f
5511 \property Score.defaultBarType = "empty"
5512 \property Voice.NoteHead \set #'style = #'neo_mensural
5513 \property Staff.TimeSignature \set #'style = #'neo_mensural
5515 \[ g\longa c\breve a\breve f\breve d'\longa \]
5517 \[ e1 f1 a\breve g\longa \]
5523 @node Gregorian square neumes ligatures
5524 @subsubsection Gregorian square neumes ligatures
5526 @cindex Square neumes ligatures
5527 @cindex Gregorian square neumes ligatures
5529 Gregorian square neumes notation (following the style of the Editio
5530 Vaticana) is under heavy development, but not yet really usable for
5531 production purposes. Core ligatures can already be typeset, but
5532 essential issues for serious typesetting are still under development,
5533 such as (among others) horizontal alignment of multiple ligatures,
5534 lyrics alignment and proper accidentals handling. Still, this section
5535 gives a sneak preview of what Gregorian chant may look like once it
5538 The following table contains the extended neumes table of the 2nd
5539 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5540 1983 by the monks of Solesmes.
5542 @multitable @columnfractions .4 .2 .2 .2
5545 @b{Neuma aut@*Neumarum Elementa} @tab
5546 @b{Figurae@*Rectae} @tab
5547 @b{Figurae@*Liquescentes Auctae} @tab
5548 @b{Figurae@*Liquescentes Deminutae}
5550 @c TODO: \paper block is identical in all of the below examples.
5551 @c Therefore, it should somehow be included rather than duplicated all
5554 @c why not make identifiers in ly/engraver-init.ly? --hwn
5556 @c Because it's just used to typeset plain notes without
5557 @c a staff for demonstration purposes rather than something
5558 @c special of Gregorian chant notation. --jr
5563 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5564 \include "gregorian-init.ly"
5566 \notes \transpose c c' {
5569 \noBreak s^\markup {"a"} \noBreak
5571 % Punctum Inclinatum
5573 \noBreak s^\markup {"b"}
5579 \remove "Bar_number_engraver"
5583 \remove "Clef_engraver"
5584 \remove "Key_engraver"
5585 StaffSymbol \set #'transparent = ##t
5586 \remove "Time_signature_engraver"
5587 \remove "Bar_engraver"
5588 minimumVerticalExtent = ##f
5592 \remove Ligature_bracket_engraver
5593 \consists Vaticana_ligature_engraver
5594 NoteHead \set #'style = #'vaticana_punctum
5595 Stem \set #'transparent = ##t
5601 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5602 \include "gregorian-init.ly"
5604 \notes \transpose c c' {
5605 % Punctum Auctum Ascendens
5606 \[ \auctum \ascendens b \]
5607 \noBreak s^\markup {"c"} \noBreak
5609 % Punctum Auctum Descendens
5610 \[ \auctum \descendens b \]
5611 \noBreak s^\markup {"d"} \noBreak
5613 % Punctum Inclinatum Auctum
5614 \[ \inclinatum \auctum b \]
5615 \noBreak s^\markup {"e"}
5621 \remove "Bar_number_engraver"
5625 \remove "Clef_engraver"
5626 \remove "Key_engraver"
5627 StaffSymbol \set #'transparent = ##t
5628 \remove "Time_signature_engraver"
5629 \remove "Bar_engraver"
5630 minimumVerticalExtent = ##f
5634 \remove Ligature_bracket_engraver
5635 \consists Vaticana_ligature_engraver
5636 NoteHead \set #'style = #'vaticana_punctum
5637 Stem \set #'transparent = ##t
5643 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5644 \include "gregorian-init.ly"
5646 \notes \transpose c c' {
5647 % Punctum Inclinatum Parvum
5648 \[ \inclinatum \deminutum b \]
5649 \noBreak s^\markup {"f"}
5655 \remove "Bar_number_engraver"
5659 \remove "Clef_engraver"
5660 \remove "Key_engraver"
5661 StaffSymbol \set #'transparent = ##t
5662 \remove "Time_signature_engraver"
5663 \remove "Bar_engraver"
5664 minimumVerticalExtent = ##f
5668 \remove Ligature_bracket_engraver
5669 \consists Vaticana_ligature_engraver
5670 NoteHead \set #'style = #'vaticana_punctum
5671 Stem \set #'transparent = ##t
5680 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5681 \include "gregorian-init.ly"
5683 \notes \transpose c c' {
5686 \noBreak s^\markup {"g"}
5692 \remove "Bar_number_engraver"
5696 \remove "Clef_engraver"
5697 \remove "Key_engraver"
5698 StaffSymbol \set #'transparent = ##t
5699 \remove "Time_signature_engraver"
5700 \remove "Bar_engraver"
5701 minimumVerticalExtent = ##f
5705 \remove Ligature_bracket_engraver
5706 \consists Vaticana_ligature_engraver
5707 NoteHead \set #'style = #'vaticana_punctum
5708 Stem \set #'transparent = ##t
5717 @code{3. Apostropha vel Stropha}
5719 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5720 \include "gregorian-init.ly"
5722 \notes \transpose c c' {
5725 \noBreak s^\markup {"h"}
5731 \remove "Bar_number_engraver"
5735 \remove "Clef_engraver"
5736 \remove "Key_engraver"
5737 StaffSymbol \set #'transparent = ##t
5738 \remove "Time_signature_engraver"
5739 \remove "Bar_engraver"
5740 minimumVerticalExtent = ##f
5744 \remove Ligature_bracket_engraver
5745 \consists Vaticana_ligature_engraver
5746 NoteHead \set #'style = #'vaticana_punctum
5747 Stem \set #'transparent = ##t
5753 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5754 \include "gregorian-init.ly"
5756 \notes \transpose c c' {
5758 \[ \stropha \auctum b \]
5759 \noBreak s^\markup {"i"}
5765 \remove "Bar_number_engraver"
5769 \remove "Clef_engraver"
5770 \remove "Key_engraver"
5771 StaffSymbol \set #'transparent = ##t
5772 \remove "Time_signature_engraver"
5773 \remove "Bar_engraver"
5774 minimumVerticalExtent = ##f
5778 \remove Ligature_bracket_engraver
5779 \consists Vaticana_ligature_engraver
5780 NoteHead \set #'style = #'vaticana_punctum
5781 Stem \set #'transparent = ##t
5791 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5792 \include "gregorian-init.ly"
5794 \notes \transpose c c' {
5797 \noBreak s^\markup {"j"}
5803 \remove "Bar_number_engraver"
5807 \remove "Clef_engraver"
5808 \remove "Key_engraver"
5809 StaffSymbol \set #'transparent = ##t
5810 \remove "Time_signature_engraver"
5811 \remove "Bar_engraver"
5812 minimumVerticalExtent = ##f
5816 \remove Ligature_bracket_engraver
5817 \consists Vaticana_ligature_engraver
5818 NoteHead \set #'style = #'vaticana_punctum
5819 Stem \set #'transparent = ##t
5828 @code{5. Clivis vel Flexa}
5830 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5831 \include "gregorian-init.ly"
5833 \notes \transpose c c' {
5842 \remove "Bar_number_engraver"
5846 \remove "Clef_engraver"
5847 \remove "Key_engraver"
5848 StaffSymbol \set #'transparent = ##t
5849 \remove "Time_signature_engraver"
5850 \remove "Bar_engraver"
5851 minimumVerticalExtent = ##f
5855 \remove Ligature_bracket_engraver
5856 \consists Vaticana_ligature_engraver
5857 NoteHead \set #'style = #'vaticana_punctum
5858 Stem \set #'transparent = ##t
5864 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5865 \include "gregorian-init.ly"
5867 \notes \transpose c c' {
5868 % Clivis Aucta Descendens
5869 \[ b \flexa \auctum \descendens g \]
5870 \noBreak s^\markup {"l"} \noBreak
5872 % Clivis Aucta Ascendens
5873 \[ b \flexa \auctum \ascendens g \]
5874 \noBreak s^\markup {"m"}
5880 \remove "Bar_number_engraver"
5884 \remove "Clef_engraver"
5885 \remove "Key_engraver"
5886 StaffSymbol \set #'transparent = ##t
5887 \remove "Time_signature_engraver"
5888 \remove "Bar_engraver"
5889 minimumVerticalExtent = ##f
5893 \remove Ligature_bracket_engraver
5894 \consists Vaticana_ligature_engraver
5895 NoteHead \set #'style = #'vaticana_punctum
5896 Stem \set #'transparent = ##t
5902 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5903 \include "gregorian-init.ly"
5905 \notes \transpose c c' {
5907 \[ b \flexa \deminutum g \]
5914 \remove "Bar_number_engraver"
5918 \remove "Clef_engraver"
5919 \remove "Key_engraver"
5920 StaffSymbol \set #'transparent = ##t
5921 \remove "Time_signature_engraver"
5922 \remove "Bar_engraver"
5923 minimumVerticalExtent = ##f
5927 \remove Ligature_bracket_engraver
5928 \consists Vaticana_ligature_engraver
5929 NoteHead \set #'style = #'vaticana_punctum
5930 Stem \set #'transparent = ##t
5937 @code{6. Podatus vel Pes}
5939 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5940 \include "gregorian-init.ly"
5942 \notes \transpose c c' {
5951 \remove "Bar_number_engraver"
5955 \remove "Clef_engraver"
5956 \remove "Key_engraver"
5957 StaffSymbol \set #'transparent = ##t
5958 \remove "Time_signature_engraver"
5959 \remove "Bar_engraver"
5960 minimumVerticalExtent = ##f
5964 \remove Ligature_bracket_engraver
5965 \consists Vaticana_ligature_engraver
5966 NoteHead \set #'style = #'vaticana_punctum
5967 Stem \set #'transparent = ##t
5973 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5974 \include "gregorian-init.ly"
5976 \notes \transpose c c' {
5977 % Pes Auctus Descendens
5978 \[ g \pes \auctum \descendens b \]
5979 \noBreak s^\markup {"p"} \noBreak
5981 % Pes Auctus Ascendens
5982 \[ g \pes \auctum \ascendens b \]
5983 \noBreak s^\markup {"q"}
5989 \remove "Bar_number_engraver"
5993 \remove "Clef_engraver"
5994 \remove "Key_engraver"
5995 StaffSymbol \set #'transparent = ##t
5996 \remove "Time_signature_engraver"
5997 \remove "Bar_engraver"
5998 minimumVerticalExtent = ##f
6002 \remove Ligature_bracket_engraver
6003 \consists Vaticana_ligature_engraver
6004 NoteHead \set #'style = #'vaticana_punctum
6005 Stem \set #'transparent = ##t
6011 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6012 \include "gregorian-init.ly"
6014 \notes \transpose c c' {
6016 \[ g \pes \deminutum b \]
6023 \remove "Bar_number_engraver"
6027 \remove "Clef_engraver"
6028 \remove "Key_engraver"
6029 StaffSymbol \set #'transparent = ##t
6030 \remove "Time_signature_engraver"
6031 \remove "Bar_engraver"
6032 minimumVerticalExtent = ##f
6036 \remove Ligature_bracket_engraver
6037 \consists Vaticana_ligature_engraver
6038 NoteHead \set #'style = #'vaticana_punctum
6039 Stem \set #'transparent = ##t
6046 @code{7. Pes Quassus}
6048 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6049 \include "gregorian-init.ly"
6051 \notes \transpose c c' {
6053 \[ \oriscus g \pes \virga b \]
6060 \remove "Bar_number_engraver"
6064 \remove "Clef_engraver"
6065 \remove "Key_engraver"
6066 StaffSymbol \set #'transparent = ##t
6067 \remove "Time_signature_engraver"
6068 \remove "Bar_engraver"
6069 minimumVerticalExtent = ##f
6073 \remove Ligature_bracket_engraver
6074 \consists Vaticana_ligature_engraver
6075 NoteHead \set #'style = #'vaticana_punctum
6076 Stem \set #'transparent = ##t
6082 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6083 \include "gregorian-init.ly"
6085 \notes \transpose c c' {
6086 % Pes Quassus Auctus Descendens
6087 \[ \oriscus g \pes \auctum \descendens b \]
6094 \remove "Bar_number_engraver"
6098 \remove "Clef_engraver"
6099 \remove "Key_engraver"
6100 StaffSymbol \set #'transparent = ##t
6101 \remove "Time_signature_engraver"
6102 \remove "Bar_engraver"
6103 minimumVerticalExtent = ##f
6107 \remove Ligature_bracket_engraver
6108 \consists Vaticana_ligature_engraver
6109 NoteHead \set #'style = #'vaticana_punctum
6110 Stem \set #'transparent = ##t
6118 @code{8. Quilisma Pes}
6120 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6121 \include "gregorian-init.ly"
6123 \notes \transpose c c' {
6125 \[ \quilisma g \pes b \]
6132 \remove "Bar_number_engraver"
6136 \remove "Clef_engraver"
6137 \remove "Key_engraver"
6138 StaffSymbol \set #'transparent = ##t
6139 \remove "Time_signature_engraver"
6140 \remove "Bar_engraver"
6141 minimumVerticalExtent = ##f
6145 \remove Ligature_bracket_engraver
6146 \consists Vaticana_ligature_engraver
6147 NoteHead \set #'style = #'vaticana_punctum
6148 Stem \set #'transparent = ##t
6154 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6155 \include "gregorian-init.ly"
6157 \notes \transpose c c' {
6158 % Quilisma Pes Auctus Descendens
6159 \[ \quilisma g \pes \auctum \descendens b \]
6166 \remove "Bar_number_engraver"
6170 \remove "Clef_engraver"
6171 \remove "Key_engraver"
6172 StaffSymbol \set #'transparent = ##t
6173 \remove "Time_signature_engraver"
6174 \remove "Bar_engraver"
6175 minimumVerticalExtent = ##f
6179 \remove Ligature_bracket_engraver
6180 \consists Vaticana_ligature_engraver
6181 NoteHead \set #'style = #'vaticana_punctum
6182 Stem \set #'transparent = ##t
6190 @code{9. Podatus Initio Debilis}
6192 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6193 \include "gregorian-init.ly"
6195 \notes \transpose c c' {
6196 % Pes Initio Debilis
6197 \[ \deminutum g \pes b \]
6204 \remove "Bar_number_engraver"
6208 \remove "Clef_engraver"
6209 \remove "Key_engraver"
6210 StaffSymbol \set #'transparent = ##t
6211 \remove "Time_signature_engraver"
6212 \remove "Bar_engraver"
6213 minimumVerticalExtent = ##f
6217 \remove Ligature_bracket_engraver
6218 \consists Vaticana_ligature_engraver
6219 NoteHead \set #'style = #'vaticana_punctum
6220 Stem \set #'transparent = ##t
6226 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6227 \include "gregorian-init.ly"
6229 \notes \transpose c c' {
6230 % Pes Auctus Descendens Initio Debilis
6231 \[ \deminutum g \pes \auctum \descendens b \]
6238 \remove "Bar_number_engraver"
6242 \remove "Clef_engraver"
6243 \remove "Key_engraver"
6244 StaffSymbol \set #'transparent = ##t
6245 \remove "Time_signature_engraver"
6246 \remove "Bar_engraver"
6247 minimumVerticalExtent = ##f
6251 \remove Ligature_bracket_engraver
6252 \consists Vaticana_ligature_engraver
6253 NoteHead \set #'style = #'vaticana_punctum
6254 Stem \set #'transparent = ##t
6264 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6265 \include "gregorian-init.ly"
6267 \notes \transpose c c' {
6269 \[ a \pes b \flexa g \]
6276 \remove "Bar_number_engraver"
6280 \remove "Clef_engraver"
6281 \remove "Key_engraver"
6282 StaffSymbol \set #'transparent = ##t
6283 \remove "Time_signature_engraver"
6284 \remove "Bar_engraver"
6285 minimumVerticalExtent = ##f
6289 \remove Ligature_bracket_engraver
6290 \consists Vaticana_ligature_engraver
6291 NoteHead \set #'style = #'vaticana_punctum
6292 Stem \set #'transparent = ##t
6298 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6299 \include "gregorian-init.ly"
6301 \notes \transpose c c' {
6302 % Torculus Auctus Descendens
6303 \[ a \pes b \flexa \auctum \descendens g \]
6310 \remove "Bar_number_engraver"
6314 \remove "Clef_engraver"
6315 \remove "Key_engraver"
6316 StaffSymbol \set #'transparent = ##t
6317 \remove "Time_signature_engraver"
6318 \remove "Bar_engraver"
6319 minimumVerticalExtent = ##f
6323 \remove Ligature_bracket_engraver
6324 \consists Vaticana_ligature_engraver
6325 NoteHead \set #'style = #'vaticana_punctum
6326 Stem \set #'transparent = ##t
6332 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6333 \include "gregorian-init.ly"
6335 \notes \transpose c c' {
6336 % Torculus Deminutus
6337 \[ a \pes b \flexa \deminutum g \]
6344 \remove "Bar_number_engraver"
6348 \remove "Clef_engraver"
6349 \remove "Key_engraver"
6350 StaffSymbol \set #'transparent = ##t
6351 \remove "Time_signature_engraver"
6352 \remove "Bar_engraver"
6353 minimumVerticalExtent = ##f
6357 \remove Ligature_bracket_engraver
6358 \consists Vaticana_ligature_engraver
6359 NoteHead \set #'style = #'vaticana_punctum
6360 Stem \set #'transparent = ##t
6367 @code{11. Torculus Initio Debilis}
6369 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6370 \include "gregorian-init.ly"
6372 \notes \transpose c c' {
6373 % Torculus Initio Debilis
6374 \[ \deminutum a \pes b \flexa g \]
6381 \remove "Bar_number_engraver"
6385 \remove "Clef_engraver"
6386 \remove "Key_engraver"
6387 StaffSymbol \set #'transparent = ##t
6388 \remove "Time_signature_engraver"
6389 \remove "Bar_engraver"
6390 minimumVerticalExtent = ##f
6394 \remove Ligature_bracket_engraver
6395 \consists Vaticana_ligature_engraver
6396 NoteHead \set #'style = #'vaticana_punctum
6397 Stem \set #'transparent = ##t
6403 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6404 \include "gregorian-init.ly"
6406 \notes \transpose c c' {
6407 % Torculus Auctus Descendens Initio Debilis
6408 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6415 \remove "Bar_number_engraver"
6419 \remove "Clef_engraver"
6420 \remove "Key_engraver"
6421 StaffSymbol \set #'transparent = ##t
6422 \remove "Time_signature_engraver"
6423 \remove "Bar_engraver"
6424 minimumVerticalExtent = ##f
6428 \remove Ligature_bracket_engraver
6429 \consists Vaticana_ligature_engraver
6430 NoteHead \set #'style = #'vaticana_punctum
6431 Stem \set #'transparent = ##t
6437 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6438 \include "gregorian-init.ly"
6440 \notes \transpose c c' {
6441 % Torculus Deminutus Initio Debilis
6442 \[ \deminutum a \pes b \flexa \deminutum g \]
6449 \remove "Bar_number_engraver"
6453 \remove "Clef_engraver"
6454 \remove "Key_engraver"
6455 StaffSymbol \set #'transparent = ##t
6456 \remove "Time_signature_engraver"
6457 \remove "Bar_engraver"
6458 minimumVerticalExtent = ##f
6462 \remove Ligature_bracket_engraver
6463 \consists Vaticana_ligature_engraver
6464 NoteHead \set #'style = #'vaticana_punctum
6465 Stem \set #'transparent = ##t
6472 @code{12. Porrectus}
6474 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6475 \include "gregorian-init.ly"
6477 \notes \transpose c c' {
6479 \[ a \flexa g \pes b \]
6486 \remove "Bar_number_engraver"
6490 \remove "Clef_engraver"
6491 \remove "Key_engraver"
6492 StaffSymbol \set #'transparent = ##t
6493 \remove "Time_signature_engraver"
6494 \remove "Bar_engraver"
6495 minimumVerticalExtent = ##f
6499 \remove Ligature_bracket_engraver
6500 \consists Vaticana_ligature_engraver
6501 NoteHead \set #'style = #'vaticana_punctum
6502 Stem \set #'transparent = ##t
6508 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6509 \include "gregorian-init.ly"
6511 \notes \transpose c c' {
6512 % Porrectus Auctus Descendens
6513 \[ a \flexa g \pes \auctum \descendens b \]
6520 \remove "Bar_number_engraver"
6524 \remove "Clef_engraver"
6525 \remove "Key_engraver"
6526 StaffSymbol \set #'transparent = ##t
6527 \remove "Time_signature_engraver"
6528 \remove "Bar_engraver"
6529 minimumVerticalExtent = ##f
6533 \remove Ligature_bracket_engraver
6534 \consists Vaticana_ligature_engraver
6535 NoteHead \set #'style = #'vaticana_punctum
6536 Stem \set #'transparent = ##t
6542 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6543 \include "gregorian-init.ly"
6545 \notes \transpose c c' {
6546 % Porrectus Deminutus
6547 \[ a \flexa g \pes \deminutum b \]
6554 \remove "Bar_number_engraver"
6558 \remove "Clef_engraver"
6559 \remove "Key_engraver"
6560 StaffSymbol \set #'transparent = ##t
6561 \remove "Time_signature_engraver"
6562 \remove "Bar_engraver"
6563 minimumVerticalExtent = ##f
6567 \remove Ligature_bracket_engraver
6568 \consists Vaticana_ligature_engraver
6569 NoteHead \set #'style = #'vaticana_punctum
6570 Stem \set #'transparent = ##t
6579 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6580 \include "gregorian-init.ly"
6582 \notes \transpose c c' {
6584 \[ \virga b \inclinatum a \inclinatum g \]
6591 \remove "Bar_number_engraver"
6595 \remove "Clef_engraver"
6596 \remove "Key_engraver"
6597 StaffSymbol \set #'transparent = ##t
6598 \remove "Time_signature_engraver"
6599 \remove "Bar_engraver"
6600 minimumVerticalExtent = ##f
6604 \remove Ligature_bracket_engraver
6605 \consists Vaticana_ligature_engraver
6606 NoteHead \set #'style = #'vaticana_punctum
6607 Stem \set #'transparent = ##t
6613 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6614 \include "gregorian-init.ly"
6616 \notes \transpose c c' {
6618 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6625 \remove "Bar_number_engraver"
6629 \remove "Clef_engraver"
6630 \remove "Key_engraver"
6631 StaffSymbol \set #'transparent = ##t
6632 \remove "Time_signature_engraver"
6633 \remove "Bar_engraver"
6634 minimumVerticalExtent = ##f
6638 \remove Ligature_bracket_engraver
6639 \consists Vaticana_ligature_engraver
6640 NoteHead \set #'style = #'vaticana_punctum
6641 Stem \set #'transparent = ##t
6647 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6648 \include "gregorian-init.ly"
6650 \notes \transpose c c' {
6651 % Climacus Deminutus
6652 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6659 \remove "Bar_number_engraver"
6663 \remove "Clef_engraver"
6664 \remove "Key_engraver"
6665 StaffSymbol \set #'transparent = ##t
6666 \remove "Time_signature_engraver"
6667 \remove "Bar_engraver"
6668 minimumVerticalExtent = ##f
6672 \remove Ligature_bracket_engraver
6673 \consists Vaticana_ligature_engraver
6674 NoteHead \set #'style = #'vaticana_punctum
6675 Stem \set #'transparent = ##t
6682 @code{14. Scandicus}
6684 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6685 \include "gregorian-init.ly"
6687 \notes \transpose c c' {
6689 \[ g \pes a \virga b \]
6696 \remove "Bar_number_engraver"
6700 \remove "Clef_engraver"
6701 \remove "Key_engraver"
6702 StaffSymbol \set #'transparent = ##t
6703 \remove "Time_signature_engraver"
6704 \remove "Bar_engraver"
6705 minimumVerticalExtent = ##f
6709 \remove Ligature_bracket_engraver
6710 \consists Vaticana_ligature_engraver
6711 NoteHead \set #'style = #'vaticana_punctum
6712 Stem \set #'transparent = ##t
6718 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6719 \include "gregorian-init.ly"
6721 \notes \transpose c c' {
6722 % Scandicus Auctus Descendens
6723 \[ g \pes a \pes \auctum \descendens b \]
6730 \remove "Bar_number_engraver"
6734 \remove "Clef_engraver"
6735 \remove "Key_engraver"
6736 StaffSymbol \set #'transparent = ##t
6737 \remove "Time_signature_engraver"
6738 \remove "Bar_engraver"
6739 minimumVerticalExtent = ##f
6743 \remove Ligature_bracket_engraver
6744 \consists Vaticana_ligature_engraver
6745 NoteHead \set #'style = #'vaticana_punctum
6746 Stem \set #'transparent = ##t
6752 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6753 \include "gregorian-init.ly"
6755 \notes \transpose c c' {
6756 % Scandicus Deminutus
6757 \[ g \pes a \pes \deminutum b \]
6764 \remove "Bar_number_engraver"
6768 \remove "Clef_engraver"
6769 \remove "Key_engraver"
6770 StaffSymbol \set #'transparent = ##t
6771 \remove "Time_signature_engraver"
6772 \remove "Bar_engraver"
6773 minimumVerticalExtent = ##f
6777 \remove Ligature_bracket_engraver
6778 \consists Vaticana_ligature_engraver
6779 NoteHead \set #'style = #'vaticana_punctum
6780 Stem \set #'transparent = ##t
6789 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6790 \include "gregorian-init.ly"
6792 \notes \transpose c c' {
6794 \[ g \oriscus a \pes \virga b \]
6801 \remove "Bar_number_engraver"
6805 \remove "Clef_engraver"
6806 \remove "Key_engraver"
6807 StaffSymbol \set #'transparent = ##t
6808 \remove "Time_signature_engraver"
6809 \remove "Bar_engraver"
6810 minimumVerticalExtent = ##f
6814 \remove Ligature_bracket_engraver
6815 \consists Vaticana_ligature_engraver
6816 NoteHead \set #'style = #'vaticana_punctum
6817 Stem \set #'transparent = ##t
6823 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6824 \include "gregorian-init.ly"
6826 \notes \transpose c c' {
6827 % Salicus Auctus Descendens
6828 \[ g \oriscus a \pes \auctum \descendens b \]
6835 \remove "Bar_number_engraver"
6839 \remove "Clef_engraver"
6840 \remove "Key_engraver"
6841 StaffSymbol \set #'transparent = ##t
6842 \remove "Time_signature_engraver"
6843 \remove "Bar_engraver"
6844 minimumVerticalExtent = ##f
6848 \remove Ligature_bracket_engraver
6849 \consists Vaticana_ligature_engraver
6850 NoteHead \set #'style = #'vaticana_punctum
6851 Stem \set #'transparent = ##t
6861 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6862 \include "gregorian-init.ly"
6864 \notes \transpose c c' {
6866 \[ \stropha b \stropha b \stropha a \]
6873 \remove "Bar_number_engraver"
6877 \remove "Clef_engraver"
6878 \remove "Key_engraver"
6879 StaffSymbol \set #'transparent = ##t
6880 \remove "Time_signature_engraver"
6881 \remove "Bar_engraver"
6882 minimumVerticalExtent = ##f
6886 \remove Ligature_bracket_engraver
6887 \consists Vaticana_ligature_engraver
6888 NoteHead \set #'style = #'vaticana_punctum
6889 Stem \set #'transparent = ##t
6901 Unlike most other neumes notation systems, the input language for
6902 neumes does not necessarily reflect directly the typographical
6903 appearance, but is designed to solely focuse on musical meaning. For
6904 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6905 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6906 a Porrectus with a curved flexa shape and only a single Punctum head.
6907 There is no command to explicitly typeset the curved flexa shape; the
6908 decision of when to typeset a curved flexa shape is purely taken from
6909 the musical input. The idea of this approach is to separate the
6910 musical aspects of the input from the notation style of the output.
6911 This way, the same input can be reused to typeset the same music in a
6912 different style of Gregorian chant notation such as Hufnagel (also
6913 known as German gothic neumes) or Medicaea (kind of a very simple
6914 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6915 engraver and Medicaea ligature engraver will have been implemented, it
6916 will be as simple as replacing the ligature engraver in the
6917 @internalsref{Voice} context to get the desired notation style from
6920 The following table shows the code fragments that produce the
6921 ligatures in the above neumes table. The letter in the first column
6922 in each line of the below table indicates to which ligature in the
6923 above table it refers. The second column gives the name of the
6924 ligature. The third column shows the code fragment that produces this
6925 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6927 @multitable @columnfractions .1 .4 .5
6941 Punctum Inclinatum @tab
6942 @code{\[ \inclinatum b \]}
6946 Punctum Auctum Ascendens @tab
6947 @code{\[ \auctum \ascendens b \]}
6951 Punctum Auctum Descendens @tab
6952 @code{\[ \auctum \descendens b \]}
6956 Punctum Inclinatum Auctum @tab
6957 @code{\[ \inclinatum \auctum b \]}
6961 Punctum Inclinatum Parvum @tab
6962 @code{\[ \inclinatum \deminutum b \]}
6967 @code{\[ \virga b \]}
6972 @code{\[ \stropha b \]}
6977 @code{\[ \stropha \auctum b \]}
6982 @code{\[ \oriscus b \]}
6986 Clivis vel Flexa @tab
6987 @code{\[ b \flexa g \]}
6991 Clivis Aucta Descendens @tab
6992 @code{\[ b \flexa \auctum \descendens g \]}
6996 Clivis Aucta Ascendens @tab
6997 @code{\[ b \flexa \auctum \ascendens g \]}
7002 @code{\[ b \flexa \deminutum g \]}
7006 Podatus vel Pes @tab
7007 @code{\[ g \pes b \]}
7011 Pes Auctus Descendens @tab
7012 @code{\[ g \pes \auctum \descendens b \]}
7016 Pes Auctus Ascendens @tab
7017 @code{\[ g \pes \auctum \ascendens b \]}
7022 @code{\[ g \pes \deminutum b \]}
7027 @code{\[ \oriscus g \pes \virga b \]}
7031 Pes Quassus Auctus Descendens @tab
7032 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7037 @code{\[ \quilisma g \pes b \]}
7041 Quilisma Pes Auctus Descendens @tab
7042 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7046 Pes Initio Debilis @tab
7047 @code{\[ \deminutum g \pes b \]}
7051 Pes Auctus Descendens Initio Debilis @tab
7052 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7057 @code{\[ a \pes b \flexa g \]}
7061 Torculus Auctus Descendens @tab
7062 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7066 Torculus Deminutus @tab
7067 @code{\[ a \pes b \flexa \deminutum g \]}
7071 Torculus Initio Debilis @tab
7072 @code{\[ \deminutum a \pes b \flexa g \]}
7076 Torculus Auctus Descendens Initio Debilis @tab
7077 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7081 Torculus Deminutus Initio Debilis @tab
7082 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7087 @code{\[ a \flexa g \pes b \]}
7091 Porrectus Auctus Descendens @tab
7092 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7096 Porrectus Deminutus @tab
7097 @code{\[ a \flexa g \pes \deminutum b \]}
7102 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7106 Climacus Auctus @tab
7107 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7111 Climacus Deminutus @tab
7112 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7117 @code{\[ g \pes a \virga b \]}
7121 Scandicus Auctus Descendens @tab
7122 @code{\[ g \pes a \pes \auctum \descendens b \]}
7126 Scandicus Deminutus @tab
7127 @code{\[ g \pes a \pes \deminutum b \]}
7132 @code{\[ g \oriscus a \pes \virga b \]}
7136 Salicus Auctus Descendens @tab
7137 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7142 @code{\[ \stropha b \stropha b \stropha a \]}
7148 The following head prefixes are supported:
7150 @cindex @code{\virga}
7152 @cindex @code{\stropha}
7154 @cindex @code{\inclinatum}
7156 @cindex @code{\auctum}
7158 @cindex @code{\descendens}
7160 @cindex @code{\ascendens}
7162 @cindex @code{\oriscus}
7164 @cindex @code{\quilisma}
7166 @cindex @code{\deminutum}
7169 Head prefixes can be accumulated, though restrictions apply. For
7170 example, either @code{\descendens} or @code{\ascendens} can be applied
7171 to a head, but not both to the same head.
7174 @cindex @code{\flexa}
7175 Two adjacent heads can be tied together with the @code{\pes} and
7176 @code{\flexa} infix commands for a rising and falling line of melody,
7181 Trigonus: apply equal spacing, regardless of pitch.
7184 @subsection Figured bass
7186 @cindex Basso continuo
7188 @c TODO: musicological blurb about FB
7192 LilyPond has limited support for figured bass:
7194 @lilypond[verbatim,fragment]
7196 \context Voice \notes { \clef bass dis4 c d ais}
7197 \context FiguredBass
7199 < 6 >4 < 7 >8 < 6+ [_!] >
7205 The support for figured bass consists of two parts: there is an input
7206 mode, introduced by @code{\figures}, where you can enter bass figures
7207 as numbers, and there is a context called @internalsref{FiguredBass} that
7208 takes care of making @internalsref{BassFigure} objects.
7210 In figures input mode, a group of bass figures is delimited by
7211 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7216 \context FiguredBass
7220 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7227 \context FiguredBass
7228 \figures { <4- 6+ 7!> }
7231 Spaces or dashes may be inserted by using @code{_}. Brackets are
7232 introduced with @code{[} and @code{]}:
7238 \context FiguredBass
7239 \figures { < [4 6] 8 [_! 12]> }
7242 Although the support for figured bass may superficially resemble chord
7243 support, it works much simpler. The @code{\figures} mode simply
7244 stores the numbers , and @internalsref{FiguredBass} context prints
7245 them as entered. There is no conversion to pitches, and no
7246 realizations of the bass are played in the MIDI file.
7248 Internally, the code produces markup texts. You can use any of the
7249 markup text properties to override formatting. For example, the
7250 vertical spacing of the figures may be set with @code{baseline-skip}.
7254 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7255 and @internalsref{FiguredBass} context.
7259 Slash notation for alterations is not supported.
7262 @node Vaticana style contexts
7263 @subsection Vaticana style contexts
7265 @cindex VaticanaVoiceContext
7266 @cindex VaticanaStaffContext
7268 The predefined @code{VaticanaVoiceContext} and
7269 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7270 Gregorian Chant in the style of the Editio Vaticana. These contexts
7271 initialize all relevant context properties and grob properties to
7272 proper values. With these contexts, you can immediately go ahead
7273 entering the chant, as the following short excerpt demonstrates:
7275 @lilypond[raggedright,verbatim,noindent]
7276 \include "gregorian-init.ly"
7279 \context VaticanaVoice = "cantus" {
7280 \property Score.BarNumber \set #'transparent = ##t
7282 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7283 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7284 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7287 \lyricsto "cantus" \new LyricsVoice \lyrics {
7288 San- ctus, San- ctus, San- ctus
7294 @node Contemporary notation
7295 @section Contemporary notation
7297 In the 20th century, composers have greatly expanded the musical
7298 vocabulary. With this expansion, many innovations in musical notation
7299 have been tried. The book by Stone (1980) gives a comprehensive
7300 overview (see @ref{Literature list}). In general, the use of new,
7301 innovative notation makes a piece harder to understand and perform and
7302 its use should therefore be avoided if possible. For this reason,
7303 support for contemporary notation in LilyPond is limited.
7312 @subsection Clusters
7316 In musical terminology, a @emph{cluster} denotes a range of
7317 simultaneously sounding pitches that may change over time. The set of
7318 available pitches to apply usually depends on the accoustic source.
7319 Thus, in piano music, a cluster typically consists of a continous range
7320 of the semitones as provided by the piano's fixed set of a chromatic
7321 scale. In choral music, each singer of the choir typically may sing an
7322 arbitrary pitch within the cluster's range that is not bound to any
7323 diatonic, chromatic or other scale. In electronic music, a cluster
7324 (theoretically) may even cover a continuous range of pitches, thus
7325 resulting in coloured noise, such as pink noise.
7327 Clusters can be denoted in the context of ordinary staff notation by
7328 engraving simple geometrical shapes that replace ordinary notation of
7329 notes. Ordinary notes as musical events specify starting time and
7330 duration of pitches; however, the duration of a note is expressed by the
7331 shape of the note head rather than by the horizontal graphical extent of
7332 the note symbol. In contrast, the shape of a cluster geometrically
7333 describes the development of a range of pitches (vertical extent) over
7334 time (horizontal extent). Still, the geometrical shape of a cluster
7335 covers the area in wich any single pitch contained in the cluster would
7336 be notated as an ordinary note. From this point of view, it is
7337 reasonable to specify a cluster as the envelope of a set of notes.
7341 A cluster is engraved as the envelope of a set of
7342 cluster-notes. Cluster notes are created by applying the function
7343 @code{notes-to-clusters} to a sequence of chords, e.g.
7345 @lilypond[relative=1,verbatim]
7346 \apply #notes-to-clusters { <c e > <b f'> }
7349 The following example (from
7350 @inputfileref{input/regression,cluster.ly}) shows what the result
7353 @lilypondfile[]{cluster.ly}
7355 By default, @internalsref{Cluster_spanner_engraver} is in the
7356 @internalsref{Voice} context. This allows putting ordinary notes and
7357 clusters together in the same staff, even simultaneously. In such a
7358 case no attempt is made to automatically avoid collisions between
7359 ordinary notes and clusters.
7363 Internals: @internalsref{ClusterSpanner},
7364 @internalsref{ClusterSpannerBeacon},
7365 @internalsref{Cluster_spanner_engraver}, and
7366 @internalsref{ClusterNoteEvent}.
7368 Examples: @inputfileref{input/regression,cluster.ly}.
7372 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7373 accurately. Use @code{<g a>8 <e a>8} instead.
7378 @subsection Fermatas
7384 Contemporary music notation frequently uses special fermata symbols to
7385 indicate fermatas of differing lengths.
7389 The following are supported
7391 @lilypond[raggedright]
7393 << \addlyrics \notes {
7413 \context LyricsVoice \lyrics {
7414 "shortfermata" "fermata" "longfermata" "verylongfermata"
7419 See @ref{Articulations} for general instructions how to apply scripts
7420 such as fermatas to a @code{\notes@{@}} block.
7423 @node Special notation
7424 @section Special notation
7428 * Easy Notation note heads::
7432 @subsection Balloon help
7434 Elements of notation can be marked and named with the help of a square
7435 balloon. The primary purpose of this feature is to explain notation.
7437 The following example demonstrates its use.
7439 @lilypond[verbatim,fragment,raggedright,relative=1]
7442 #(add-balloon-text 'NoteHead "heads, or tails?"
7448 The function @code{add-balloon-text} takes the name of a grob, the
7449 label to print and where to put the label relative to the object. In
7450 the above example, the text ``heads or tails?'' ends 3 spaces below
7454 @cindex notation, explaining
7458 Internals: @internalsref{text-balloon-interface}
7460 Examples: @inputfileref{input/regression,balloon.ly}
7462 @node Easy Notation note heads
7463 @subsection Easy Notation note heads
7465 @cindex easy notation
7468 The `easy play' note head includes a note name inside the head. It is
7469 used in music aimed at beginners:
7471 @lilypond[raggedright,verbatim,staffsize=26]
7473 \notes { c'2 e'4 f' | g'1 }
7474 \paper { \translator { \EasyNotation } }
7478 The @code{EasyNotation} variable overrides a @internalsref{Score}
7479 context. To make the letters readable, it has to be printed in a
7480 large font size. To print with a larger font, see @ref{Font Size}.
7485 If you view the result with Xdvi, then staff lines may show through
7486 the letters. Printing the PostScript file obtained does produce the
7492 @section Tuning output
7494 There are situations where default layout decisions are not
7495 sufficient. In this section we discuss ways to override these
7498 Formatting is internally done by manipulating so called objects
7499 (graphic objects). Each object carries with it a set of properties
7500 (object or layout properties) specific to that object. For example, a
7501 stem object has properties that specify its direction, length and
7504 The most direct way of tuning the output is by altering the values of
7505 these properties. There are two ways of doing that: first, you can
7506 temporarily change the definition of one type of object, thus
7507 affecting a whole set of objects. Second, you can select one specific
7508 object, and set a layout property in that object.
7510 Do not confuse layout properties with translation
7511 properties. Translation properties always use a mixed caps style
7512 naming, and are manipulated using @code{\property}:
7514 \property Context.propertyName = @var{value}
7517 Layout properties are use Scheme style variable naming, i.e. lower
7518 case words separated with dashes. They are symbols, and should always
7519 be quoted using @code{#'}. For example, this could be an imaginary
7520 layout property name:
7522 #'layout-property-name
7527 The introduction of the @ref{Technical manual} gives a more in-depth
7528 treatment of the difference between translation and layout.
7532 * Constructing a tweak::
7540 @node Tuning objects
7541 @subsection Tuning objects
7543 @cindex object description
7545 The definition of an object is a list of default object
7546 properties. For example, the definition of the Stem object (available
7547 in @file{scm/define-grobs.scm}), includes the following definitions
7548 for @internalsref{Stem}:
7552 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7553 (Y-extent-callback . ,Stem::height)
7558 Adding variables on top of this existing definition overrides the
7559 system default, and alters the resulting appearance of the layout
7565 Changing a variable for only one object is commonly achieved with
7569 \once \property @var{context}.@var{objectname}
7570 \override @var{symbol} = @var{value}
7572 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7573 and @var{objectname} is a string and @var{value} is a Scheme expression.
7574 This command applies a setting only during one moment in the score.
7576 In the following example, only one @internalsref{Stem} object is
7577 changed from its original setting:
7579 @lilypond[verbatim,fragment,relative=1]
7581 \once \property Voice.Stem \set #'thickness = #4
7585 @cindex @code{\once}
7587 For changing more objects, the same command, without @code{\once} can
7590 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7592 This command adds @code{@var{symbol} = @var{value}} to the definition
7593 of @var{objectname} in the context @var{context}, and this definition
7594 stays in place until it is removed.
7596 An existing definition may be removed by the following command:
7599 \property @var{context}.@var{objectname} \revert @var{symbol}
7602 All @code{\override} and @code{\revert} commands should be balanced.
7603 The @code{\set} shorthand performs a revert followed by an override,
7604 and is often more convenient to use
7607 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7611 @lilypond[verbatim,quote]
7612 c'4 \property Voice.Stem \override #'thickness = #4.0
7614 c'4 \property Voice.Stem \revert #'thickness
7618 The following example gives exactly the same result as the previous
7619 one (assuming the system default for stem thickness is 1.3):
7621 @lilypond[verbatim,quote]
7622 c'4 \property Voice.Stem \set #'thickness = #4.0
7624 c'4 \property Voice.Stem \set #'thickness = #1.3
7628 Reverting a setting which was not set in the first place has no
7629 effect. However, if the setting was set as a system default, this may
7630 remove the default value, and this may give surprising results,
7631 including crashes. In other words, @code{\override} and
7632 @code{\revert} must be carefully balanced. The following are examples
7633 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7637 a clumsy but correct form:
7639 \override \revert \override \revert \override \revert
7643 shorter version of the same:
7645 \override \set \set \revert
7649 a short form, using only @code{\set}. This requires you to know the
7652 \set \set \set \set @var{to default value}
7656 if there is no default (i.e. by default, the object property is unset),
7659 \set \set \set \revert
7663 The object description is an Scheme association list. Since a Scheme
7664 list is a singly linked list, we can treat it as a stack, and
7665 @code{\override} and @code{\revert} are push and pop operations. The
7666 association list is stored in a normal context property, hence
7668 \property Voice.NoteHead = #'()
7670 will effectively erase @internalsref{NoteHead}s from the current
7671 @internalsref{Voice}. Typically, this will blank the object. However,
7672 this mechanism should not be used: it may cause crashes or other
7677 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7678 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7679 @internalsref{All-layout-objects}.
7684 The backend is not very strict in type-checking object properties.
7685 Cyclic references in Scheme values for properties cause hangs and/or
7686 crashes. Reverting properties that are system defaults may also lead
7689 A property tweak of modifies a local copy of the object definition.
7690 After such a tweak, the definition is independent of the objects in
7691 enclosing contexts. For example
7693 @lilypond[verbatim,fragment]
7694 \property Voice.Stem \set #'direction = #UP
7696 \property Staff.Stem \set #'thickness = #4.0
7701 In this fragment, @code{direction} is tweaked. As a result, the
7702 current @internalsref{Voice} gets a private version of the
7703 @internalsref{Stem} object. The following tweak modifies the
7704 definition at @internalsref{Staff} level. Since it a different
7705 definition, the thickness of the first @code{d'} is unaffected. For
7706 the third note, a new Voice is created, which inherits the new
7707 definition, including the changed thickness, but excluding the new
7713 * Constructing a tweak::
7719 @node Constructing a tweak
7720 @subsection Constructing a tweak
7723 @cindex internal documentation
7724 @cindex finding graphical objects
7725 @cindex graphical object descriptions
7727 @cindex @code{\override}
7729 @cindex internal documentation
7733 Three pieces of information are required to use @code{\override} and
7734 @code{\set}: the name of the layout object, the context and the name
7735 of the property. We demonstrate how to glean this information from
7736 the notation manual and the generated documentation.
7738 The generated documentation is a set of HTML pages which should be
7739 included if you installed a binary distribution, typically in
7740 @file{/usr/share/doc/lilypond}. They are also available on the web:
7741 go to the @uref{http://lilypond.org,LilyPond website}, click
7742 ``Documentation'', select the correct version, and click then
7743 ``Program reference.'' It is advisable to bookmark the local HTML
7744 files. They will load faster than the ones on the web. If you use the
7745 version from the web, you must check whether the documentation matches
7746 the program version: it is generated from the definitions that the
7747 program uses, and therefore it is strongly tied to the LilyPond
7751 @c [TODO: revise for new site.]
7753 Suppose we want to move the fingering indication in the fragment below:
7755 @lilypond[relative=2,verbatim]
7761 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7762 instructions}), you will notice that there is written:
7767 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7774 In other words, the fingerings once entered, are internally stored as
7775 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7776 layout object is created for every @code{FingerEvent}.
7778 The Fingering object has a number of different functions, and each of
7779 those is captured in an interface. The interfaces are listed under
7780 @internalsref{Fingering} in the program reference.
7784 The @code{Fingering} object has a fixed size
7785 (@internalsref{item-interface}), the symbol is a piece of text
7786 (@internalsref{text-interface}), whose font can be set
7787 (@internalsref{font-interface}). It is centered horizontally
7788 (@internalsref{self-alignment-interface}), it is placed next to other
7789 objects (@internalsref{side-position-interface}) vertically, and its
7790 placement is coordinated with other scripts
7791 (@internalsref{text-script-interface}). It also has the standard
7792 @internalsref{grob-interface} (grob stands for Graphical object)
7794 @cindex graphical object
7795 @cindex layout object
7796 @cindex object, layout
7797 with all the variables that come with
7798 it. Finally, it denotes a fingering instruction, so it has
7799 @internalsref{finger-interface}.
7801 For the vertical placement, we have to look under
7802 @code{side-position-interface}:
7804 @code{side-position-interface}
7806 Position a victim object (this one) next to other objects (the
7807 support). In this case, the property @code{direction} signifies where to put the
7808 victim object relative to the support (left or right, up or down?)
7813 below this description, the variable @code{padding} is described as
7817 (dimension, in staff space)
7819 add this much extra space between objects that are next to each
7820 other. Default value: @code{0.6}
7824 By increasing the value of @code{padding}, we can move away the
7825 fingering. The following command inserts 3 staff spaces of white
7826 between the note and the fingering:
7828 \once \property Voice.Fingering \set #'padding = #3
7831 Inserting this command before the Fingering object is created,
7832 i.e. before @code{c2}, yields the following result:
7834 @lilypond[relative=2,fragment,verbatim]
7835 \once \property Voice.Fingering
7842 The context name @code{Voice} in the example above can be determined
7843 as follows. In the documentation for @internalsref{Fingering}, it says
7845 Fingering grobs are created by: @internalsref{Fingering_engraver}
7848 Clicking @code{Fingering_engraver} shows the documentation of
7849 the module responsible for interpreting the fingering instructions and
7850 translating them to a @code{Fingering} object. Such a module is called
7851 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7854 Fingering_engraver is part of contexts: Voice
7856 so tuning the settings for Fingering should be done with
7858 \property Voice.Fingering \set @dots{}
7861 Of course, the tweak may also done in a larger context than
7862 @code{Voice}, for example, @internalsref{Staff} or
7863 @internalsref{Score}.
7867 Internals: the program reference also contains alphabetical lists of
7868 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7869 @internalsref{Music-expressions}, so you can also find which objects
7870 to tweak by browsing the internals document.
7874 @subsection Applyoutput
7876 The most versatile way of tuning an object is @code{\applyoutput}. Its
7879 \applyoutput @var{proc}
7883 where @var{proc} is a Scheme function, taking three arguments.
7885 When interpreted, the function @var{proc} is called for every layout
7886 object found in the context, with the following arguments:
7888 @item the layout object itself,
7889 @item the context where the layout object was created, and
7890 @item the context where @code{\applyoutput} is processed.
7894 In addition, the cause of the layout object, i.e. the music
7895 expression or object that was responsible for creating it, is in the
7896 object property @code{cause}. For example, for a note head, this is a
7897 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7898 this is a @internalsref{NoteHead} object.
7900 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7903 (define (blanker grob grob-origin context)
7904 (if (and (memq (ly:get-grob-property grob 'interfaces)
7905 note-head-interface)
7906 (eq? (ly:get-grob-property grob 'staff-position) 0))
7908 (ly:set-grob-property! grob 'transparent #t)))
7913 @node Font selection
7914 @subsection Font selection
7916 The most common thing to change about the appearance of fonts is their
7917 size. The font size of any context can be easily changed by setting
7918 the @code{fontSize} property for that context. Its value is a number:
7919 negative numbers make the font smaller, positive numbers larger. An
7920 example is given below:
7922 @lilypond[fragment,relative=1,verbatim,quote]
7923 c4 c4 \property Voice.fontSize = #-1
7926 This command will set @code{font-size} (see below), and does
7927 not change the size of variable symbols, such as beams or slurs.
7929 One of the uses of @code{fontSize} is to get smaller symbols for cue
7930 notes. An elaborate example of those is in
7931 @inputfileref{input/test,cue-notes.ly}.
7933 @cindex magnification
7936 The font used for printing a object can be selected by setting
7937 @code{font-name}, e.g.
7939 \property Staff.TimeSignature
7940 \set #'font-name = #"cmr17"
7944 Any font can be used, as long as it is available to @TeX{}. Possible
7945 fonts include foreign fonts or fonts that do not belong to the
7946 Computer Modern font family. The size of fonts selected in this way
7947 can be changed with the @code{font-magnification} property. For
7948 example, @code{2.0} blows up all letters by a factor 2 in both
7952 @cindex font magnification
7954 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7955 can also be adjusted with a more fine-grained mechanism. By setting
7956 the object properties described below, you can select a different font;
7957 all three mechanisms work for every object that supports
7958 @code{font-interface}:
7963 is a symbol indicating the general class of the typeface. Supported are
7964 @code{roman} (Computer Modern), @code{braces} (for piano staff
7965 braces), @code{music} (the standard music font, including ancient
7966 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7969 is a symbol indicating the shape of the font, there are typically several
7970 font shapes available for each font family. Choices are @code{italic},
7971 @code{caps} and @code{upright}.
7974 is a symbol indicating the series of the font. There are typically several
7975 font series for each font family and shape. Choices are @code{medium}
7980 For any of these properties, the value @code{*} (i.e. the symbol
7981 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7982 to override default setting, which are always present. For example:
7984 \property Lyrics . LyricText \override #'font-series = #'bold
7985 \property Lyrics . LyricText \override #'font-family = #'typewriter
7986 \property Lyrics . LyricText \override #'font-shape = #'*
7989 @cindex @code{font-style}
7991 The font size is set by modifying the @code{font-size} property. Its
7992 value is a number indicating the size relative to the standard size.
7993 Each step up is an increase of approximately 12% of the font size. Six
7994 steps is exactly a factor two. The Scheme function @code{magstep}
7995 converts a @code{font-size} number to a scaling factor.
7997 LilyPond has fonts in different design sizes: the music fonts for
7998 smaller sizes are chubbier, while the text fonts are relatively wider.
7999 Font size changes are achieved by scaling the design size that is
8000 closest to the desired size.
8002 The @code{font-size} mechanism does not work for fonts selected
8003 through @code{font-name}. These may be scaled with
8004 @code{font-magnification}.
8008 The following commands set @code{fontSize} for the current voice.
8010 @cindex @code{\tiny}
8012 @cindex @code{\small}
8014 @cindex @code{\normalsize}
8019 Init files: @file{ly/declarations-init.ly} contains hints how new
8020 fonts may be added to LilyPond.
8024 There is no style sheet provided for other fonts besides the @TeX{}
8025 Computer Modern family.
8027 @cindex font selection
8028 @cindex font magnification
8029 @cindex @code{font-interface}
8033 @subsection Text markup
8038 @cindex typeset text
8040 LilyPond has an internal mechanism to typeset texts. You can access it
8041 with the keyword @code{\markup}. Within markup mode, you can enter texts
8042 similar to lyrics: simply enter them, surrounded by spaces:
8045 @lilypond[verbatim,fragment,relative=1]
8046 c1^\markup { hello }
8047 c1_\markup { hi there }
8048 c1^\markup { hi \bold there, is \italic anyone home? }
8051 @cindex font switching
8053 The markup in the example demonstrates font switching commands. The
8054 command @code{\bold} and @code{\italic} only apply to the first
8055 following word; enclose a set of texts with braces to apply a command
8058 \markup @{ \bold @{ hi there @} @}
8062 For clarity, you can also do this for single arguments, e.g.
8065 \markup { is \italic { anyone } home }
8068 @cindex font size, texts
8075 * Common text markup commands::
8076 * Markup construction in scheme::
8077 * Markup command definition::
8080 @node Common text markup commands
8081 @subsubsection Common text markup commands
8084 The following size commands set absolute sizes:
8086 @cindex @code{\teeny}
8087 @cindex @code{\tiny}
8088 @cindex @code{\small}
8089 @cindex @code{\large}
8090 @cindex @code{\huge}
8100 You can also make letter larger or smaller relative to their neighbors,
8101 with the commands @code{\larger} and @code{\smaller}.
8105 @cindex font style, for texts
8106 @cindex @code{\bold}
8107 @cindex @code{\dynamic}
8108 @cindex @code{\number}
8109 @cindex @code{\italic}
8111 The following font change commands are defined:
8114 changes to the font used in dynamic signs. This font does not
8115 contain all characters of the alphabet, so when producing ``piu f'',
8116 the ``piu'' should be done in a different font.
8120 changes to the font used in time signatures. It only contains
8121 numbers and a few punctuation marks.
8123 changes @code{font-shape} to @code{italic}.
8125 changes @code{font-series} to @code{bold}.
8128 @cindex raising text
8129 @cindex lowering text
8131 @cindex translating text
8134 @cindex @code{\super}
8136 Raising and lowering texts can be done with @code{\super} and
8139 @lilypond[verbatim,fragment,relative=1]
8140 c1^\markup { E "=" mc \super "2" }
8143 @cindex @code{\raise}
8145 If you want to give an explicit amount for lowering or raising, use
8146 @code{\raise}. This command takes a Scheme valued first argument, and
8147 a markup object as second argument:
8149 @lilypond[verbatim,fragment,relative=1,quote]
8150 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8152 The argument to @code{\raise} is the vertical displacement amount,
8153 measured in (global) staff spaces. @code{\raise} and @code{\super}
8154 raise objects in relation to their surrounding markups. They cannot be
8155 used to move a single text up or down, when it is above or below a
8156 note, since the mechanism that positions it next to the note cancels
8157 any vertical shift. For vertical positioning, use the @code{padding}
8158 and/or @code{extra-offset} properties.
8160 Other commands taking single arguments include
8163 @item \bracket, \hbracket
8164 Bracket the argument markup with normal and horizontal brackets
8168 @cindex @code{\musicglyph}
8169 This is converted to a musical symbol, e.g. @code{\musicglyph
8170 #"accidentals-0"} will select the natural sign from the music font.
8171 See @ref{The Feta font} for a complete listing of the possible glyphs.
8174 This produces a single character, e.g. @code{\char #65} produces the
8177 @item \note @var{duration} @var{dir}
8178 @cindex @code{\note}
8180 This produces a note with a stem pointing in @var{dir} direction, with
8181 the @var{duration} for the note head type and augmentation dots. For
8182 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8183 a shortened down stem.
8185 @item \hspace #@var{amount}
8186 @cindex @code{\hspace}
8187 This produces a invisible object taking horizontal space.
8189 \markup @{ A \hspace #2.0 B @}
8191 will put extra space between A and B, on top of the space that is
8192 normally inserted before elements on a line.
8194 @item \fontsize #@var{size}
8195 @cindex @code{\fontsize}
8196 This sets the relative font size, eg.
8198 A \fontsize #2 @{ B C @} D
8202 This will enlarge the B and the C by two steps.
8203 @item \translate #(cons @var{x} @var{y})
8205 This translates an object. Its first argument is a cons of numbers
8207 A \translate #(cons 2 -3) @{ B C @} D
8209 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8210 surroundings. This command cannot be used to move isolated scripts
8211 vertically, for the same reason that @code{\raise} cannot be used for
8214 @item \magnify #@var{mag}
8215 @cindex @code{\magnify}
8216 This sets the font magnification for the its argument. In the following
8217 example, the middle A will be 10% larger:
8219 A \magnify #1.1 @{ A @} A
8223 @item \override #(@var{key} . @var{value})
8224 @cindex @code{\override}
8225 This overrides a formatting property for its argument. The argument
8226 should be a key/value pair, e.g.
8228 m \override #'(font-family . math) m m
8232 In markup mode you can compose expressions, similar to mathematical
8233 expressions, XML documents and music expressions. The braces group
8234 notes into horizontal lines. Other types of lists also exist: you can
8235 stack expressions grouped with @code{<}, and @code{>} vertically with
8236 the command @code{\column}. Similarly, @code{\center} aligns texts by
8239 @lilypond[verbatim,fragment,relative=1]
8240 c1^\markup { \column < a bbbb c > }
8241 c1^\markup { \center < a bbbb c > }
8242 c1^\markup { \line < a b c > }
8246 Markups can be stored in variables, and these variables
8247 may be attached to notes, like
8249 allegro = \markup { \bold \large { Allegro } }
8250 \notes { a^\allegro b c d }
8254 Some objects have alignment procedures of their own, which cancel out
8255 any effects of alignments applied to their markup arguments as a
8256 whole. For example, the @internalsref{RehearsalMark} is horizontally
8257 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8258 effect. Similarly, whole texts over notes cannot be moved vertically
8259 with @code{\raise}. For moving and aligning complete objects, grob
8260 properties should be used.
8264 Internals: @internalsref{Markup-functions} contains a complete list of
8265 all markup commands.
8267 Init files: @file{scm/new-markup.scm}.
8275 Text layout is ultimately done by @TeX{}, which does kerning of
8276 letters. LilyPond does not account for kerning, so texts will be
8277 spaced slightly too wide.
8279 Syntax errors for markup mode are confusing.
8281 Markup texts cannot be used in the titling of the @code{\header}
8282 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8287 * Markup construction in scheme::
8288 * Markup command definition::
8291 @node Markup construction in scheme
8292 @subsubsection Markup construction in scheme
8294 @cindex defining markup commands
8296 The @code{markup} macro builds markup expressions in Scheme while
8297 providing a LilyPond-like syntax. For example,
8299 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
8300 #:bigger #:line ("foo" "bar" "baz")))
8306 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
8307 \bigger @{ foo bar baz @} >
8311 This example exposes the main translation rules between regular
8312 LilyPond markup syntax and scheme markup syntax, which are summed up
8314 @multitable @columnfractions .5 .5
8315 @item @b{LilyPond} @tab @b{Scheme}
8316 @item @code{\command} @tab @code{#:command}
8317 @item @code{\variable} @tab @code{variable}
8318 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
8319 @item @code{\center < ... >} @tab @code{#:center ( ... )}
8320 @item @code{string} @tab @code{"string"}
8321 @item @code{#scheme-arg} @tab @code{scheme-arg}
8324 Besides, the whole scheme language is accessible inside the
8325 @code{markup} macro: thus, one may use function calls inside
8326 @code{markup} in order to manipulate character strings for
8327 instance. This proves useful when defining new markup commands (see
8328 @ref{Markup command definition}).
8332 One can not feed the @code{#:line} (resp @code{#:center},
8333 @code{#:column}) command with a variable or the result of a function
8336 (markup #:line (fun-that-returns-markups))
8338 is illegal. One should use the @code{make-line-markup} (resp
8339 @code{make-center-markup}, @code{make-column-markup}) function
8342 (markup (make-line-markup (fun-that-returns-markups)))
8345 @node Markup command definition
8346 @subsubsection Markup command definition
8348 New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
8350 (def-markup-command (@emph{command-name} @emph{paper} @emph{props} @emph{arg1} @emph{arg2} ...) (@emph{arg1-type?} @emph{arg2-type?} ...)
8353 @emph{argi}: i@emph{th} command argument
8354 @emph{argi-type?}: a type predicate for the i@emph{th} argument
8355 @emph{paper}: the `paper' definition
8356 @emph{props}: a list of alists, containing all active properties.
8359 As a simple example, we show how to add a @code{\smallcaps} command,
8360 which selects @TeX{}'s small caps font. Normally, we could select the
8361 small caps font as follows:
8364 \markup { \override #'(font-shape . caps) Text-in-caps }
8367 This selects the caps font by setting the @code{font-shape} property to
8368 @code{#'caps} for interpreting @code{Text-in-caps}.
8370 To make the above available as @code{\smallcaps} command, we have to
8371 define a function using @code{def-markup-command}. The command should
8372 take a single argument, of markup type. Therefore, the start of the
8373 definition should read
8375 (def-markup-command (smallcaps paper props argument) (markup?)
8380 What follows is the content of the command: we should interpret
8381 the @code{argument} as a markup, i.e.
8384 (interpret-markup paper @dots{} argument)
8388 This interpretation should add @code{'(font-shape . caps)} to the active
8389 properties, so we substitute the the following for the @dots{} in the
8393 (cons (list '(font-shape . caps) ) props)
8397 The variable @code{props} is a list of alists, and we prepend to it by
8398 consing a list with the extra setting.
8400 However, suppose that we are using a font that does not have a
8401 small-caps variant. In that case, we have to fake the small caps font,
8402 by setting a string in upcase, with the first letter a little larger.
8404 The @code{smallcaps} command first splits its string argument into
8405 tokens separated by spaces (@code{(string-split str #\Space)}); for
8406 each token, a markup is built with the first letter made large and
8407 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
8408 second markup built with the following letters made tiny and upcased
8409 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
8410 introduces a space between markups on a line, the second markup is
8411 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
8412 the markups built for each token are put in a line
8413 (@code{(make-line-markup ...)}). Finally, the resulting markup is
8414 passed to the @code{interpret-markup} function, with the @code{paper}
8415 and @code{props} arguments.
8418 #(def-markup-command (smallcaps paper props str) (string?)
8419 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8420 (interpret-markup paper props
8423 (if (= (string-length s) 0)
8425 (markup #:large (string-upcase (substring s 0 1))
8426 #:translate (cons -0.6 0)
8427 #:tiny (string-upcase (substring s 1)))))
8428 (string-split str #\Space)))))
8431 Finally, suppose that we are typesetting a recitative in an opera, and
8432 we would like to define a command that will show character names in a
8433 custom manner. Names should be printed with small caps and translated a
8434 bit to the left and top. We will define a @code{\character} command
8435 that takes into account the needed translation, and uses the newly
8436 defined @code{\smallcaps} command:
8439 #(def-markup-command (character paper props name) (string?)
8440 "Print the character name in small caps, translated to the left and
8441 top. Syntax: \\character #\"name\""
8442 (interpret-markup paper props
8443 (markup "" #:translate (cons -4 2) #:smallcaps name)))
8446 There is one complication that needs explanation: texts above and below
8447 the staff are moved vertically to be at a certain distance (the
8448 @code{padding} property) from the staff and the notes. To make sure
8449 that this mechanism does not annihilate the vertical effect of our
8450 @code{#:translate}, we add an empty string (@code{""}) before the
8451 translated text. Now the @code{""} will be put above the notes, and the
8452 @code{name} is moved in relation to that empty string. The net effect is
8453 that the text is moved to the upper left.
8455 The final result is as follows:
8459 c''^\markup \character #"Cleopatra"
8460 e'^\markup \character #"Giulio Cesare"
8465 @lilypond[raggedright]
8466 #(def-markup-command (smallcaps paper props str) (string?)
8467 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8468 (interpret-markup paper props
8471 (if (= (string-length s) 0)
8473 (markup #:large (string-upcase (substring s 0 1))
8474 #:translate (cons -0.6 0)
8475 #:tiny (string-upcase (substring s 1)))))
8476 (string-split str #\Space)))))
8478 #(def-markup-command (character paper props name) (string?)
8479 "Print the character name in small caps, translated to the left and
8480 top. Syntax: \\character #\"name\""
8481 (interpret-markup paper props
8482 (markup "" #:translate (cons -4 0) #:smallcaps name)))
8486 c''^\markup \character #"Cleopatra"
8487 e'^\markup \character #"Giulio Cesare"
8495 @section Global layout
8497 The global layout determined by three factors: the page layout, the
8498 line breaks and the spacing. These all influence each other. The
8499 choice of spacing determines how densely each system of music is set,
8500 which influences where line breaks breaks are chosen, and thus
8501 ultimately how many pages a piece of music takes. This section
8502 explains how to tune the algorithm for spacing.
8504 Globally spoken, this procedure happens in three steps: first,
8505 flexible distances (``springs'') are chosen, based on durations. All
8506 possible line breaking combination are tried, and the one with the
8507 best results---a layout that has uniform density and requires as
8508 little stretching or cramping as possible---is chosen. When the score
8509 is processed by @TeX{}, each page is filled with systems, and page breaks
8510 are chosen whenever the page gets full.
8515 * Vertical spacing::
8516 * Horizontal spacing::
8523 @node Vertical spacing
8524 @subsection Vertical spacing
8526 @cindex vertical spacing
8527 @cindex distance between staves
8528 @cindex staff distance
8529 @cindex between staves, distance
8530 @cindex staffs per page
8531 @cindex space between staves
8533 The height of each system is determined automatically by LilyPond, to
8534 keep systems from bumping into each other, some minimum distances are
8535 set. By changing these, you can put staves closer together, and thus
8536 put more systems onto one page.
8538 Normally staves are stacked vertically. To make
8539 staves maintain a distance, their vertical size is padded. This is
8540 done with the property @code{minimumVerticalExtent}. It takes a pair
8541 of numbers, so if you want to make it smaller from its, then you could
8544 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8546 This sets the vertical size of the current staff to 4 staff spaces on
8547 either side of the center staff line. The argument of
8548 @code{minimumVerticalExtent} is interpreted as an interval, where the
8549 center line is the 0, so the first number is generally negative. The
8550 staff can be made larger at the bottom by setting it to @code{(-6
8553 The piano staves are handled a little differently: to make cross-staff
8554 beaming work correctly, it is necessary that the distance between staves
8555 is fixed beforehand. This is also done with a
8556 @internalsref{VerticalAlignment} object, created in
8557 @internalsref{PianoStaff}. In this object the distance between the
8558 staves is fixed by setting @code{forced-distance}. If you want to
8559 override this, use a @code{\translator} block as follows:
8563 VerticalAlignment \override #'forced-distance = #9
8566 This would bring the staves together at a distance of 9 staff spaces,
8567 measured from the center line of each staff.
8571 Internals: Vertical alignment of staves is handled by the
8572 @internalsref{VerticalAlignment} object.
8576 @node Horizontal spacing
8577 @subsection Horizontal Spacing
8579 The spacing engine translates differences in durations into
8580 stretchable distances (``springs'') of differing lengths. Longer
8581 durations get more space, shorter durations get less. The shortest
8582 durations get a fixed amount of space (which is controlled by
8583 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8584 The longer the duration, the more space it gets: doubling a
8585 duration adds a fixed amount (this amount is controlled by
8586 @code{spacing-increment}) of space to the note.
8588 For example, the following piece contains lots of half, quarter and
8589 8th notes, the eighth note is followed by 1 note head width (NHW).
8590 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8591 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8595 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8596 width of a note head, and @code{shortest-duration-space} is set to
8597 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8598 @code{shortest-duration-space}) of space. For normal notes, this space
8599 is always counted from the left edge of the symbol, so the shortest
8600 notes are generally followed by one NHW of space.
8602 If one would follow the above procedure exactly, then adding a single
8603 32th note to a score that uses 8th and 16th notes, would widen up the
8604 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8605 thus adding 1 NHW to every note. To prevent this, the
8606 shortest duration for spacing is not the shortest note in the score,
8607 but the most commonly found shortest note. Notes that are even
8608 shorter this are followed by a space that is proportional to their
8609 duration relative to the common shortest note. So if we were to add
8610 only a few 16th notes to the example above, they would be followed by
8613 @lilypond[fragment,verbatim,relative=2]
8614 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8617 The most common shortest duration is determined as follows: in every
8618 measure, the shortest duration is determined. The most common short
8619 duration, is taken as the basis for the spacing, with the stipulation
8620 that this shortest duration should always be equal to or shorter than
8621 1/8th note. The shortest duration is printed when you run lilypond
8622 with @code{--verbose}. These durations may also be customized. If you
8623 set the @code{common-shortest-duration} in
8624 @internalsref{SpacingSpanner}, then this sets the base duration for
8625 spacing. The maximum duration for this base (normally 1/8th), is set
8626 through @code{base-shortest-duration}.
8628 @cindex @code{common-shortest-duration}
8629 @cindex @code{base-shortest-duration}
8630 @cindex @code{stem-spacing-correction}
8631 @cindex @code{spacing}
8633 In the introduction it was explained that stem directions influence
8634 spacing. This is controlled with @code{stem-spacing-correction}
8635 property in @internalsref{NoteSpacing}, which are generated for every
8636 @internalsref{Voice} context. The @code{StaffSpacing} object
8637 (generated at @internalsref{Staff} context) contains the same property
8638 for controlling the stem/barline spacing. The following example
8639 shows these corrections, once with default settings, and once with
8640 exaggerated corrections:
8646 \property Staff.NoteSpacing \override #'stem-spacing-correction
8648 \property Staff.StaffSpacing \override #'stem-spacing-correction
8653 \paper { raggedright = ##t } }
8656 @cindex SpacingSpanner, overriding properties
8658 Properties of the @internalsref{SpacingSpanner} must be overridden
8659 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8660 created before any @code{\property} statements are interpreted.
8662 \paper @{ \translator @{
8664 SpacingSpanner \override #'spacing-increment = #3.0
8671 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8672 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8673 @internalsref{SeparatingGroupSpanner}.
8677 Spacing is determined on a score wide basis. If you have a score that
8678 changes its character (measured in durations) halfway during the
8679 score, the part containing the longer durations will be spaced too
8682 There is no convenient mechanism to manually override spacing.
8687 @subsection Font size
8688 @cindex font size, setting
8689 @cindex staff size, setting
8690 @cindex @code{paper} file
8692 The Feta font provides musical symbols at eight seven different
8693 sizes. Each font is tuned for a different staff size: at smaller sizes
8694 the font gets heavier, to match the relatively heavier staff lines.
8695 The recommended font sizes are listed in the following table:
8697 @multitable @columnfractions .25 .25 .25 .25
8700 @tab @b{staff height (pt)}
8701 @tab @b{staff height (mm)}
8743 @c modern rental material ?
8747 These fonts are available in any sizes. The context property
8748 @code{fontSize} and the layout property @code{staff-space} (in
8749 @internalsref{StaffSymbol}) can be used to tune size for individual
8750 staffs. The size of individual staffs are relative to the global size,
8751 which can be set in the following manner:
8754 #(set-global-staff-size 14)
8757 This sets the global default size to 14pt staff height, and scales all
8763 @subsection Line breaking
8766 @cindex breaking lines
8768 Line breaks are normally computed automatically. They are chosen such
8769 that lines look neither cramped nor loose, and that consecutive lines
8770 have similar density.
8772 Occasionally you might want to override the automatic breaks; you can
8773 do this by specifying @code{\break}. This will force a line break at
8774 this point. Line breaks can only occur at places where there are bar
8775 lines. If you want to have a line break where there is no bar line,
8776 you can force an invisible bar line by entering @code{\bar
8777 ""}. Similarly, @code{\noBreak} forbids a line break at a
8781 @cindex regular line breaks
8782 @cindex four bar music.
8784 For linebreaks at regular intervals use @code{\break} separated by
8785 skips and repeated with @code{\repeat}:
8787 << \repeat unfold 7 @{
8788 s1 \noBreak s1 \noBreak
8789 s1 \noBreak s1 \break @}
8790 @emph{the real music}
8795 This makes the following 28 measures (assuming 4/4 time) be broken every
8796 4 measures, and only there.
8800 @code{\break}, @code{\noBreak}
8801 @cindex @code{\break}
8802 @cindex @code{\noBreak}
8806 Internals: @internalsref{BreakEvent}.
8810 @subsection Page layout
8813 @cindex breaking pages
8815 @cindex @code{indent}
8816 @cindex @code{linewidth}
8818 The most basic settings influencing the spacing are @code{indent} and
8819 @code{linewidth}. They are set in the @code{\paper} block. They
8820 control the indentation of the first line of music, and the lengths of
8823 If @code{raggedright} is set to true in the @code{\paper}
8824 block, then the lines are justified at their natural length. This
8825 useful for short fragments, and for checking how tight the natural
8829 @cindex vertical spacing
8831 The page layout process happens outside the LilyPond formatting
8832 engine: variables controlling page layout are passed to the output,
8833 and are further interpreted by @code{lilypond} wrapper program. It
8834 responds to the following variables in the @code{\paper} block. The
8835 variable @code{textheight} sets the total height of the music on each
8836 page. The spacing between systems is controlled with
8837 @code{interscoreline}, its default is 16pt. The distance between the
8838 score lines will stretch in order to fill the full page
8839 @code{interscorelinefill} is set to a positive number. In that case
8840 @code{interscoreline} specifies the minimum spacing.
8842 @cindex @code{textheight}
8843 @cindex @code{interscoreline}
8844 @cindex @code{interscorelinefill}
8846 If the variable @code{lastpagefill} is defined,
8847 @c fixme: this should only be done if lastpagefill= #t
8848 systems are evenly distributed vertically on the last page. This
8849 might produce ugly results in case there are not enough systems on the
8850 last page. The @command{lilypond-book} command ignores
8851 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8854 @cindex @code{lastpagefill}
8856 Page breaks are normally computed by @TeX{}, so they are not under
8857 direct control of LilyPond. However, you can insert a commands into
8858 the @file{.tex} output to instruct @TeX{} where to break pages. This
8859 is done by setting the @code{between-systems-strings} on the
8860 @internalsref{NonMusicalPaperColumn} where the system is broken.
8861 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8862 The predefined command @code{\newpage} also does this.
8866 @cindex @code{papersize}
8868 To change the paper size, use the following Scheme code:
8871 #(set-paper-size "a4")
8878 @cindex @code{\newpage}
8884 In this manual @ref{Invoking lilypond}
8886 Examples: @inputfileref{input/regression,between-systems.ly}
8888 Internals: @internalsref{NonMusicalPaperColumn}.
8892 LilyPond has no concept of page layout, which makes it difficult to
8893 reliably choose page breaks in longer pieces.
8902 Entered music can also be converted to MIDI output. The performance
8903 is good enough for proof-hearing the music for errors.
8905 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8906 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8907 marks translate to a fixed fraction of the available MIDI volume
8908 range, crescendi and decrescendi make the volume vary linearly between
8909 their two extremities. The fractions can be adjusted by
8910 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8911 For each type of MIDI instrument, a volume range can be defined. This
8912 gives a basic equalizer control, which can enhance the quality of
8913 the MIDI output remarkably. The equalizer can be controlled by
8914 setting @code{instrumentEqualizer}.
8918 Many musically interesting effects, such as swing, articulation,
8919 slurring, etc., are not translated to MIDI.
8921 Since slurs are not interpreted, @code{\lyricsto} and
8922 @code{\addlyrics} sections will be interpreted wrongly.
8924 The MIDI output allocates a channel for each Staff, and one for global
8925 settings. Hence, the MIDI file should not have more than 15 staves
8926 (or 14 if you do not use drums).
8931 * MIDI instrument names::
8936 @subsection MIDI block
8940 The MIDI block is analogous to the paper block, but it is somewhat
8941 simpler. The @code{\midi} block can contain:
8945 @item a @code{\tempo} definition, and
8946 @item context definitions.
8949 Assignments in the @code{\midi} block are not allowed.
8951 A number followed by a period is interpreted as a real number, so
8952 for setting the tempo for dotted notes, an extra space should be
8953 inserted, for example:
8956 \midi @{ \tempo 4 . = 120 @}
8960 @cindex context definition
8962 Context definitions follow precisely the same syntax as within the
8963 \paper block. Translation modules for sound are called performers.
8964 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8967 @node MIDI instrument names
8968 @subsection MIDI instrument names
8970 @cindex instrument names
8971 @cindex @code{Staff.midiInstrument}
8973 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8974 property. The instrument name should be chosen from the list in
8975 @ref{MIDI instruments}.
8979 If the selected string does not exactly match, then the default is
8980 used, which is the Grand Piano.