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::
35 * Tuning spanning contexts::
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::
61 * Easy Notation note heads::
69 A note is printed by specifying its pitch and then its duration:
70 @footnote{Notes constitute the most basic elements of LilyPond input,
71 but they do not form valid input on their own without a @code{\score}
72 block. However, for the sake of brevity and simplicity we will
73 generally omit @code{\score} blocks and @code{\paper} declarations in
76 @lilypond[fragment,verbatim]
85 @cindex Note specification
87 @cindex entering notes
89 The most common syntax for pitch entry is used in @code{\chords} and
90 @code{\notes} mode. In Note and Chord mode, pitches may be designated
91 by names. The notes are specified by the letters @code{a} through
92 @code{g}, while the octave is formed with notes ranging from @code{c}
93 to @code{b}. The pitch @code{c} is an octave below middle C and the
94 letters span the octave above that C:
96 @lilypond[fragment,verbatim]
98 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
101 @cindex note names, Dutch
103 A sharp is formed by adding @code{-is} to the end of a pitch name and
104 a flat is formed by adding @code{-es}. Double sharps and double flats
105 are obtained by adding @code{-isis} or @code{-eses}. These
106 names are the Dutch note names. In Dutch, @code{aes} is contracted to
107 @code{as}, but both forms are accepted. Similarly, both
108 @code{es} and @code{ees} are accepted.
110 Half-flats and half-sharps are formed by adding @code{-eh} and
111 @code{-ih}; the following is a series of Cs with increasing pitches:
113 @cindex quarter tones
114 @cindex semi-flats, semi-sharps
116 @lilypond[verbatim,relative 2]
128 There are predefined sets of note names for various other languages.
129 To use them, include the language specific init file. For
130 example: @code{\include "english.ly"}. The available language files
131 and the note names they define are:
136 Note Names sharp flat
137 nederlands.ly c d e f g a bes b -is -es
138 english.ly c d e f g a bf b -s/-sharp -f/-flat
140 deutsch.ly c d e f g a b h -is -es
141 norsk.ly c d e f g a b h -iss/-is -ess/-es
142 svenska.ly c d e f g a b h -iss -ess
143 italiano.ly do re mi fa sol la sib si -d -b
144 catalan.ly do re mi fa sol la sib si -d/-s -b
145 espanol.ly do re mi fa sol la sib si -s -b
154 The optional octave specification takes the form of a series of
155 single quote (`@code{'}') characters or a series of comma
156 (`@code{,}') characters. Each @code{'} raises the pitch by one
157 octave; each @code{,} lowers the pitch by an octave:
159 @lilypond[fragment,verbatim,center]
160 c' c'' es' g' as' gisis' ais'
166 Notes can be hidden and unhidden with the following commands:
168 @cindex @code{\hideNotes}
170 @cindex @code{\unHideNotes}
180 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
182 @node Chromatic alterations
183 @subsection Chromatic alterations
185 Normally accidentals are printed automatically, but you may also
186 print them manually. A reminder accidental
187 @cindex reminder accidental
189 can be forced by adding an exclamation mark @code{!}
190 after the pitch. A cautionary accidental
191 @cindex cautionary accidental
192 @cindex parenthesized accidental
193 (an accidental within parentheses) can be obtained by adding the
194 question mark `@code{?}' after the pitch:
196 @lilypond[fragment,verbatim]
197 cis' cis' cis'! cis'?
201 The automatic production of accidentals can be tuned in many
202 ways. For more information, refer to @ref{Accidentals}.
207 A chord is formed by a enclosing a set of pitches in @code{<} and
208 @code{>}. A chord may be followed by a duration, and a set of
209 articulations, just like simple notes.
219 Rests are entered like notes, with the note name @code{r}:
221 @lilypond[singleline,verbatim]
225 Whole bar rests, centered in middle of the bar,
226 must be done with multi measure rests. They are discussed in
227 @ref{Multi measure rests}.
230 A rest's vertical position may be explicitly specified by entering a
231 note with the @code{\rest} keyword appended. This makes manual
232 formatting in polyphonic music easier. Rest collision testing will
233 leave these rests alone:
235 @lilypond[singleline,verbatim]
241 @internalsref{RestEvent}, and @internalsref{Rest}.
248 @cindex Invisible rest
251 An invisible rest (also called a `skip') can be entered like a note
252 with note name `@code{s}' or with @code{\skip @var{duration}}:
254 @lilypond[singleline,verbatim]
258 The @code{s} syntax is only available in Note mode and Chord mode. In
259 other situations, you should use the @code{\skip} command:
261 @lilypond[singleline,verbatim]
264 { \time 4/8 \skip 2 \time 4/4 }
265 \notes\relative c'' { a2 a1 }
270 The skip command is merely an empty musical placeholder. It does not
271 produce any output, not even transparent output.
275 @internalsref{SkipEvent}.
280 @subsection Durations
286 In Note, Chord, and Lyrics mode, durations are designated by numbers
287 and dots: durations are entered as their reciprocal values. For example,
288 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
289 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
290 longer than a whole you must use variables:
292 @c FIXME: what is an identifier? I do not think it's been introduced yet.
293 @c and if it has, I obviously skipped that part. - Graham
297 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
299 r1 r2 r4 r8 r16 r32 r64 r64
304 \notes \relative c'' {
306 a1 a2 a4 a8 a16 a32 a64 a64
308 r1 r2 r4 r8 r16 r32 r64 r64
313 \remove "Clef_engraver"
314 \remove "Staff_symbol_engraver"
315 \remove "Time_signature_engraver"
316 \consists "Pitch_squash_engraver"
323 If the duration is omitted then it is set to the previously entered
324 duration. The default for the first note is a quarter note. The duration
325 can be followed by dots (`@code{.}') in order to obtain dotted note
329 @lilypond[fragment,verbatim,center]
330 a' b' c''8 b' a'4 a'4. b'4.. c'8.
335 You can alter the length of duration by a fraction @var{N/M}
336 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
337 will not affect the appearance of the notes or rests produced.
338 In the following example, the first three notes take up exactly two
340 @lilypond[fragment,relative 2,verbatim]
342 a4*2/3 gis4*2/3 a4*2/3
349 Dots are normally moved up to avoid staff lines, except in polyphonic
350 situations. The following commands may be used to force a particular
353 @cindex @code{\dotsUp}
355 @cindex @code{\dotsDown}
357 @cindex @code{\dotsBoth}
362 @internalsref{Dots}, and @internalsref{DotColumn}.
366 In dense chords, dots can overlap.
371 Whenever a note is found, a @internalsref{Stem} object is created
372 automatically. For whole notes and rests, they are also created but
377 @cindex @code{\stemUp}
379 @cindex @code{\stemDown}
381 @cindex @code{\stemBoth}
392 A tie connects two adjacent note heads of the same pitch. The tie in
393 effect extends the length of a note. Ties should not be confused with
394 slurs, which indicate articulation, or phrasing slurs, which indicate
395 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
397 @lilypond[fragment,verbatim,center]
398 e' ~ e' <c' e' g'> ~ <c' e' g'>
401 When a tie is applied to a chord, all note heads whose pitches match
402 are connected. When no note heads match, no ties will be created.
404 In its meaning a tie is just a way of extending a note duration, similar
405 to the augmentation dot; in the following example there are two ways of
406 notating exactly the same concept:
408 @lilypond[fragment, singleline,quote]
409 \time 3/4 c'2. c'2 ~ c'4
411 If you need to tie a lot of notes over bars, it may be easier to use automatic
412 note splitting (See @ref{Automatic note splitting}).
417 @cindex @code{\tieUp}
419 @cindex @code{\tieDown}
421 @cindex @code{\tieBoth}
423 @cindex @code{\tieDotted}
425 @cindex @code{\tieSolid}
430 @internalsref{TieEvent}, @internalsref{NewTieEvent},
431 @internalsref{Tie}, and @ref{Automatic note splitting}.
434 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
437 For tying only a subset of the note heads of a pair of chords, see
438 @inputfileref{input/regression,tie-chord-partial.ly}.
443 Switching staves when a tie is active will not produce a slanted tie.
445 Formatting of ties is a difficult subject. The results are often not
455 @cindex @code{\times}
457 Tuplets are made out of a music expression by multiplying all durations
460 @cindex @code{\times}
462 \times @var{fraction} @var{musicexpr}
466 The duration of @var{musicexpr} will be multiplied by the fraction.
467 The fraction's denominator will be printed over the notes, optionally
468 with a bracket. The most common tuplet is the triplet in which 3
469 notes have the length of 2, so the notes are 2/3 of their written
472 @lilypond[fragment,verbatim,center]
473 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
476 The property @code{tupletSpannerDuration} specifies how long each
477 bracket should last. With this, you can make lots of tuplets while
478 typing @code{\times} only once, saving lots of typing. In the next
479 example, there are two triplets shown, while @code{\times} was only
482 @lilypond[fragment, relative, singleline, verbatim]
483 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
484 \times 2/3 { c'8 c c c c c }
487 The format of the number is determined by the property
488 @code{tupletNumberFormatFunction}. The default prints only the
489 denominator, but if it is set to the Scheme function
490 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
494 @cindex @code{tupletNumberFormatFunction}
495 @cindex tuplet formatting
500 @cindex @code{\tupletUp}
502 @cindex @code{\tupletDown}
504 @cindex @code{\tupletBoth}
509 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
513 Nested tuplets are not formatted automatically. In this case, outer
514 tuplet brackets should be moved manually.
516 @node Easy Notation note heads
517 @subsection Easy Notation note heads
519 @cindex easy notation
522 The `easy play' note head includes a note name inside the head. It is
523 used in music aimed at beginners:
525 @lilypond[singleline,verbatim,26pt]
527 \notes { c'2 e'4 f' | g'1 }
528 \paper { \translator { \EasyNotation } }
532 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
533 You probably will want to print it with magnification or a
534 large font size to make it more readable. To print with
535 magnification, you must create a DVI file (with @file{lilypond}) and
536 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
537 See the @code{dvips} documentation for more details. To print with a
538 larger font, see @ref{Font Size}.
544 If you view the result with Xdvi, then staff lines will show through
545 the letters. Printing the PostScript file obtained does produce the
549 @node Easier music entry
550 @section Easier music entry
553 When entering music it is easy to introduce errors. This section deals
554 with tricks and features of the input language that were added solely
555 to help entering music, and find and correct mistakes.
557 It is also possible to use external programs, for example GUI
558 interfaces, or MIDI transcription programs, to enter or edit
559 music. Refer to the website for more information. Finally, there are
560 tools make debugging easier, by linking the input file and the output
561 shown on screen. See @ref{Point and click} for more information.
568 * Skipping corrected music::
569 * Automatic note splitting::
575 @node Relative octaves
576 @subsection Relative octaves
578 @cindex relative octave specification
580 Octaves are specified by adding @code{'} and @code{,} to pitch names.
581 When you copy existing music, it is easy to accidentally put a pitch
582 in the wrong octave and hard to find such an error. The relative
583 octave mode prevents these errors: a single error puts the rest of the
584 piece off by one octave:
586 @cindex @code{\relative}
588 \relative @var{startpitch} @var{musicexpr}
591 The octave of notes that appear in @var{musicexpr} are calculated as
592 follows: If no octave changing marks are used, the basic interval
593 between this and the last note is always taken to be a fourth or less
594 (; this distance is determined without regarding alterations: a
595 @code{fisis} following a @code{ceses} will be put above the
598 The octave changing marks @code{'} and @code{,} can be added to raise
599 or lower the pitch by an extra octave. Upon entering relative mode,
600 an absolute starting pitch must be specified that will act as the
601 predecessor of the first note of @var{musicexpr}.
603 Here is the relative mode shown in action:
604 @lilypond[fragment,singleline,verbatim,center]
610 Octave changing marks are used for intervals greater than a fourth:
611 @lilypond[fragment,verbatim,center]
616 If the preceding item is a chord, the first note of the chord is used
617 to determine the first note of the next chord:
619 @lilypond[fragment,verbatim,center]
626 @cindex @code{\notes}
628 The pitch after the @code{\relative} contains a note name. To parse
629 the pitch as a note name, you have to be in note mode, so there must
630 be a surrounding @code{\notes} keyword (which is not
633 The relative conversion will not affect @code{\transpose},
634 @code{\chords} or @code{\relative} sections in its argument. If you
635 want to use relative within transposed music, you must place an
636 additional @code{\relative} inside the @code{\transpose}.
639 @subsection Octave check
642 Octave checks make octave errors easier to correct.
648 This checks that @var{pitch} (without octave) yields @var{pitch} (with
649 octave) in \relative mode. If not, a warning is printed, and the
650 octave is corrected, for example, the first check is passed
651 successfully. The second check fails with an error message. The
652 octave is adjusted so the following notes are in the correct octave
663 The octave of a note following an octave check is determined with
664 respect to the note preceding it. In the next fragment, the last note
665 is a @code{a'}, above central C. Hence, the @code{\octave} check may
666 be deleted without changing the meaning of the piece.
668 @lilypond[verbatim,fragment]
677 @subsection Bar check
681 @cindex @code{barCheckSynchronize}
684 Bar checks help detect errors in the durations. A bar check is
685 entered using the bar symbol, `@code{|}'. Whenever it is encountered
686 during interpretation, it should fall on a measure boundary. If it
687 does not, a warning is printed. Depending on the value of
688 @code{barCheckSynchronize}, the beginning of the measure will be
691 In the next example, the second bar check will signal an error:
693 \time 3/4 c2 e4 | g2 |
696 Bar checks can also be used in lyrics, for example
701 Twin -- kle | Twin -- kle
706 @cindex skipTypesetting
708 Failed bar checks are caused by entering incorrect
709 durations. Incorrect durations often completely garble up the score,
710 especially if it is polyphonic, so you should start correcting the
711 score by scanning for failed bar checks and incorrect durations. To
712 speed up this process, you can use @code{skipTypesetting}, described
715 @node Skipping corrected music
716 @subsection Skipping corrected music
718 The property @code{Score.skipTypesetting} can be used to switch on and
719 off typesetting completely during the interpretation phase. When
720 typesetting is switched off, the music is processed much more quickly.
721 This can be used to skip over the parts of a score that have already
722 been checked for errors:
724 @lilypond[fragment,singleline,verbatim]
726 \property Score.skipTypesetting = ##t
728 \property Score.skipTypesetting = ##f
732 @node Automatic note splitting
733 @subsection Automatic note splitting
735 Long notes can be converted automatically to tied notes. This is done
736 by replacing the @internalsref{Note_heads_engraver} by the
737 @internalsref{Completion_heads_engraver}:
740 \paper @{ \translator @{
742 \remove "Note_heads_engraver"
743 \consists "Completion_heads_engraver"
747 which will make long notes tied in the following example:
750 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
757 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
759 \paper { \translator {
761 \remove "Note_heads_engraver"
762 \consists "Completion_heads_engraver"
767 This engraver splits all running notes at the bar line, and inserts
768 ties. One of its uses is to debug complex scores: if the measures are
769 not entirely filled, then the ties exactly show how much each measure
774 Not all durations (especially those containing tuplets) can be
775 represented exactly; the engraver will not insert tuplets.
781 @section Staff notation
783 This section describes music notation that occurs on staff level,
784 such as keys, clefs and time signatures.
786 @cindex Staff notation
800 @subsection Staff symbol
802 @cindex adjusting staff symbol
803 @cindex StaffSymbol, using \property
805 Notes, dynamic signs, etc. are grouped
806 with a set of horizontal lines, into a staff (plural `staves'). In our
807 system, these lines are drawn using a separate layout object called
811 @cindex staff lines, setting number of
812 @cindex staff lines, setting thickness of
813 @cindex thickness of staff lines, setting
814 @cindex number of staff lines, setting
816 This object is created whenever a @internalsref{Staff} context is
817 created. To change its appearance, use the @code{\with} command,
818 described in @ref{Tuning spanning contexts}.
823 @internalsref{StaffSymbol}, @inputfileref{input/test,staff-lines.ly},
824 @inputfileref{input/test,staff-size.ly}, @ref{Tuning spanning contexts}.
828 If a staff is ended halfway a piece, the staff symbol may not end
829 exactly on the barline.
833 @subsection Key signature
834 @cindex Key signature
838 The key signature indicates the scale in which a piece is played. It
839 is denoted by a set of alterations (flats or sharps) at the start of
844 Setting or changing the key signature is done with the @code{\key}
847 @code{\key} @var{pitch} @var{type}
850 @cindex @code{\minor}
851 @cindex @code{\major}
852 @cindex @code{\minor}
853 @cindex @code{\ionian}
854 @cindex @code{\locrian}
855 @cindex @code{\aeolian}
856 @cindex @code{\mixolydian}
857 @cindex @code{\lydian}
858 @cindex @code{\phrygian}
859 @cindex @code{\dorian}
861 Here, @var{type} should be @code{\major} or @code{\minor} to get
862 @var{pitch}-major or @var{pitch}-minor, respectively.
863 The standard mode names @code{\ionian},
864 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
865 @code{\phrygian}, and @code{\dorian} are also defined.
867 This command sets the context property
868 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
869 can be specified by setting this property directly.
871 Accidentals and key signatures often confuse new users, because
872 unaltered notes get natural signs depending on the keysignature. The
873 tutorial explains why this is so in @ref{More about pitches}.
877 The ordering of a key cancellation is wrong when it is combined with
878 repeat bar lines. The cancellation is also printed after a line break.
882 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
884 @cindex @code{keySignature}
891 The clef indicates which lines of the staff correspond to which
896 The clef can be set or changed with the @code{\clef} command:
897 @lilypond[fragment,verbatim]
898 \key f\major c''2 \clef alto g'2
901 Supported clef-names include:
902 @c Moved standard clefs to the top /MB
906 @item treble, violin, G, G2
919 G clef on 1st line, so-called French violin clef
924 @cindex mezzosoprano clef
927 @cindex baritone clef
930 @cindex varbaritone clef
939 By adding @code{_8} or @code{^8} to the clef name, the clef is
940 transposed one octave down or up, respectively, and @code{_15} and
941 @code{^15} transposes by two octaves. The argument @var{clefname}
942 must be enclosed in quotes when it contains underscores or digits. For
946 @cindex choral tenor clef
947 @lilypond[verbatim,fragment,relative]
951 This command is equivalent to setting @code{clefGlyph},
952 @code{clefPosition} (which controls the Y position of the clef),
953 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
954 when any of these properties are changed.
958 The object for this symbol is @internalsref{Clef}.
962 @node Ottava brackets
963 @subsection Ottava brackets
965 ``Ottava'' brackets introduce an extra transposition of an octave for
966 the staff. They are created by invoking the function
967 @code{set-octavation}:
973 @lilypond[verbatim,fragment]
982 Internally the @code{set-octavation} function sets the properties
983 @code{ottavation} (eg. to @code{"8va"}) and
984 @code{centralCPosition}. The function also takes arguments -1 (for 8va
985 bassa) and 2 (for 15ma).
987 @internalsref{OttavaSpanner}.
991 @code{set-octavation} will get confused when clef changes happen
992 during an octavation bracket.
995 @subsection Time signature
996 @cindex Time signature
1000 Time signature indicates the metrum of a piece: a regular pattern of
1001 strong and weak beats. It is denoted by a fraction at the start of the
1006 The time signature is set or changed by the @code{\time}
1008 @lilypond[fragment,verbatim]
1009 \time 2/4 c'2 \time 3/4 c'2.
1012 The symbol that is printed can be customized with the @code{style}
1013 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1014 2/2 time. There are many more options for its layout. See
1015 @inputfileref{input/test,time.ly} for more examples.
1018 This command sets the property @code{timeSignatureFraction},
1019 @code{beatLength} and @code{measureLength} in the @code{Timing}
1020 context, which is normally aliased to @internalsref{Score}. The
1021 property @code{measureLength} determines where bar lines should be
1022 inserted, and how automatic beams should be generated. Changing the
1023 value of @code{timeSignatureFraction} also causes the symbol to be
1026 More options are available through the Scheme function
1027 @code{set-time-signature}. In combination with the
1028 @internalsref{Measure_grouping_engraver}, it will create
1029 @internalsref{MeasureGrouping} signs. Such signs ease reading
1030 rhythmically complex modern music. In the following example, the 9/8
1031 measure is subdivided in 2, 2, 2 and 3. This is passed to
1032 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1035 \score { \notes \relative c'' {
1036 #(set-time-signature 9 8 '(2 2 2 3))
1037 g8[ g] d[ d] g[ g] a8[( bes g]) |
1038 #(set-time-signature 5 8 '(3 2))
1043 \translator { \StaffContext
1044 \consists "Measure_grouping_engraver"
1050 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1055 Automatic beaming does not use measure grouping specified with
1056 @code{set-time-signature}.
1058 @node Partial measures
1059 @subsection Partial measures
1062 @cindex partial measure
1063 @cindex measure, partial
1064 @cindex shorten measures
1065 @cindex @code{\partial}
1067 Partial measures, for example in upsteps, are entered using the
1068 @code{\partial} command:
1069 @lilypond[fragment,verbatim,relative 1]
1070 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1073 The syntax for this command is
1075 \partial @var{duration}
1077 This is internally translated into
1079 \property Timing.measurePosition = -@var{length of duration}
1082 The property @code{measurePosition} contains a rational number
1083 indicating how much of the measure has passed at this point.
1085 @node Unmetered music
1086 @subsection Unmetered music
1088 Bar lines and bar numbers are calculated automatically. For unmetered
1089 music (e.g. cadenzas), this is not desirable. By setting
1090 @code{Score.timing} to false, this automatic timing can be switched
1096 @cindex @code{\cadenzaOn}
1098 @cindex @code{\cadenzaOff}
1102 @subsection Bar lines
1106 @cindex measure lines
1110 Bar lines delimit measures, but are also used to indicate repeats.
1111 Normally, they are inserted automatically. Line breaks may only
1117 of barlines can be forced with the @code{\bar} command:
1119 @lilypond[relative=1,fragment,verbatim]
1123 The following bar types are available:
1124 @lilypond[fragment, relative, singleline, verbatim]
1135 For allowing linebreaks, there is a special command,
1139 This will insert an invisible barline, and allow linebreaks at this
1142 In scores with many staves, a @code{\bar} command in one staff is
1143 automatically applied to all staves. The resulting bar lines are
1144 connected between different staves of a @internalsref{StaffGroup}:
1146 @lilypond[fragment, verbatim]
1147 << \context StaffGroup <<
1151 \new Staff { \clef bass c4 g e g } >>
1152 \new Staff { \clef bass c2 c2 } >>
1156 The command @code{\bar @var{bartype}} is a short cut for doing
1157 @code{\property Score.whichBar = @var{bartype}} Whenever
1158 @code{whichBar} is set to a string, a bar line of that type is
1159 created. At the start of a measure it is set to
1160 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1161 to override default measure bars.
1163 Property @code{whichBar} can also be set directly, using @code{\property}
1164 or @code{\bar}. These settings take precedence over the automatic
1165 @code{whichBar} settings.
1168 @cindex repeatCommands
1169 @cindex defaultBarType
1171 You are encouraged to use @code{\repeat} for repetitions. See
1181 The bar line objects that are created at @internalsref{Staff} level
1182 are called @internalsref{BarLine}, the bar lines that span staves are
1183 @internalsref{SpanBar}s.
1185 @cindex bar lines at start of system
1186 @cindex start of system
1188 The barlines at the start of each system are
1189 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1190 @internalsref{SystemStartBracket}. Only one of these types is created
1191 in every context, and that type is determined by the property
1192 @code{systemStartDelimiter}. They are spanner objects and therefore
1193 the objects, as well as @code{systemStartDelimiter} must be set from a
1194 @code{\translator} block (see @ref{Defining contexts}) or using
1195 @code{\with} (see @code{Tuning spanning contexts}).
1202 The easiest way to enter fragments with more than one voice on a staff
1203 is to split chords using the separator @code{\\}. You can use it for
1204 small, short-lived voices or for single chords:
1206 @lilypond[verbatim,fragment]
1207 \context Staff \relative c'' {
1208 c4 << { f d e } \\ { b c2 } >>
1209 c4 << g' \\ b, \\ f' \\ d >>
1213 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1214 voices are sometimes called "layers" other notation packages}
1216 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1217 each of these contexts, vertical direction of slurs, stems, etc. is set
1220 This can also be done by instantiating @internalsref{Voice} contexts
1221 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1222 a stem directions and horizontal shift for each part:
1225 @lilypond[singleline, verbatim]
1227 \context Staff << \new Voice { \voiceOne cis2 b }
1228 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1229 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1232 Normally, note heads with a different number of dots are not merged, but
1233 when the object property @code{merge-differently-dotted} is set in
1234 the @internalsref{NoteCollision} object, they are merged:
1235 @lilypond[verbatim,fragment,singleline]
1236 \relative c'' \context Voice << {
1238 \property Staff.NoteCollision \override
1239 #'merge-differently-dotted = ##t
1241 } \\ { g8.[ f16] g8.[ f16] }
1245 Similarly, you can merge half note heads with eighth notes, by setting
1246 @code{merge-differently-headed}:
1247 @lilypond[fragment, relative=2,verbatim]
1250 \property Staff.NoteCollision
1251 \override #'merge-differently-headed = ##t
1252 c8 c4. } \\ { c2 c2 } >>
1255 LilyPond also vertically shifts rests that are opposite of a stem:
1258 @lilypond[singleline,fragment,verbatim]
1259 \context Voice << c''4 \\ r4 >>
1267 @cindex @code{\oneVoice}
1269 @cindex @code{\voiceOne}
1271 @cindex @code{\voiceTwo}
1273 @cindex @code{\voiceThree}
1275 @cindex @code{\voiceFour}
1278 The following commands specify in what chords of the current voice
1279 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1280 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1283 @cindex @code{\shiftOn}
1285 @cindex @code{\shiftOnn}
1287 @cindex @code{\shiftOnnn}
1289 @cindex @code{\shiftOff}
1296 The objects responsible for resolving collisions are
1297 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1298 also example files @inputfileref{input/regression,collision-dots.ly},
1299 @inputfileref{input/regression,collision-head-chords.ly},
1300 @inputfileref{input/regression,collision-heads.ly},
1301 @inputfileref{input/regression,collision-mesh.ly}, and
1302 @inputfileref{input/regression,collisions.ly}.
1307 Resolving collisions is a intricate subject, and only a few situations
1308 are handled. When LilyPond cannot cope, the @code{force-hshift}
1309 property of the @internalsref{NoteColumn} object and pitched rests can
1310 be used to override typesetting decisions.
1312 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1313 note, and a downstem half note, the 8th note gets the wrong offset.
1318 Beams are used to group short notes into chunks that are aligned with
1319 the metrum. They are inserted automatically in most cases:
1321 @lilypond[fragment,verbatim, relative=2]
1322 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1325 When these automatic decisions are not good enough, beaming can be
1326 entered explicitly. It is also possible to define beaming patterns
1327 that differ from the defaults.
1331 @internalsref{Beam}.
1334 @cindex Automatic beams
1335 @subsection Manual beams
1336 @cindex beams, manual
1340 In some cases it may be necessary to override the automatic beaming
1341 algorithm. For example, the auto beamer will not put beams over rests
1342 or bar lines. Such beams are specified by manually: the begin and end
1343 point are marked with @code{[} and @code{]}:
1345 @lilypond[fragment,relative,verbatim]
1347 r4 r8[ g' a r8] r8 g[ | a] r8
1351 @cindex @code{stemLeftBeamCount}
1353 Normally, beaming patterns within a beam are determined automatically.
1354 When this mechanism fouls up, the properties
1355 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1356 be used to control the beam subdivision on a stem. If either property
1357 is set, its value will be used only once, and then it is erased.
1359 @lilypond[fragment,relative,verbatim]
1362 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1365 @cindex @code{stemRightBeamCount}
1368 The property @code{subdivideBeams} can be set in order to subdivide
1369 all 16th or shorter beams at beat positions, as defined by the
1370 @code{beatLength} property . This accomplishes the same effect as
1371 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1372 but it take less typing:
1375 @lilypond[relative=1,verbatim,noindent]
1377 \property Voice.subdivideBeams = ##t
1379 \property Score.beatLength = #(ly:make-moment 1 8)
1382 @cindex subdivideBeams
1384 Kneed beams are inserted automatically, when a large gap is detected
1385 between the note heads. This behavior can be tuned through the object
1386 property @code{auto-knee-gap}.
1388 Normally, line breaks are forbidden when beams cross bar lines. This
1389 behavior can be changed by setting @code{allowBeamBreak}.
1391 @cindex @code{allowBeamBreak}
1392 @cindex beams and line breaks
1394 @cindex beams, kneed
1396 @cindex auto-knee-gap
1402 @cindex Frenched staves
1404 Automatically kneed beams cannot be used together with hidden staves.
1409 * Setting automatic beam behavior::
1413 @no de Beam typography
1414 @sub section Beam typography
1416 One of the strong points of LilyPond is how beams are formatted. Beams
1417 are quantized, meaning that the left and right endpoints beams start
1418 exactly on staff lines. Without quantization, small wedges of white
1419 space appear between the beam and staff line, and this looks untidy.
1421 Beams are also slope-damped: melodies that go up or down should also
1422 have beams that go up or down, but the slope of the beams should be
1423 less than the slope of the notes themselves.
1425 Some beams should be horizontal. These are so-called concave beams.
1427 [TODO: some pictures.]
1431 @node Setting automatic beam behavior
1432 @subsection Setting automatic beam behavior
1434 @cindex @code{autoBeamSettings}
1435 @cindex @code{(end * * * *)}
1436 @cindex @code{(begin * * * *)}
1437 @cindex automatic beams, tuning
1438 @cindex tuning automatic beaming
1440 @c [TODO: use \applycontext]
1442 In normal time signatures, automatic beams can start on any note but can
1443 only end in a few positions within the measure: beams can end on a beat,
1444 or at durations specified by the properties in
1445 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1446 are defined in @file{scm/auto-beam.scm}.
1448 The value of @code{autoBeamSettings} is changed using
1449 @code{\override} and restored with @code{\revert}:
1451 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1452 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1454 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1455 whether the rule applies to begin or end-points. The quantity
1456 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1457 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1458 signature (wildcards, `@code{* *}' may be entered to designate all time
1461 For example, if automatic beams should end on every quarter note, use
1464 \property Voice.autoBeamSettings \override
1465 #'(end * * * *) = #(ly:make-moment 1 4)
1467 Since the duration of a quarter note is 1/4 of a whole note, it is
1468 entered as @code{(ly:make-moment 1 4)}.
1470 The same syntax can be used to specify beam starting points. In this
1471 example, automatic beams can only end on a dotted quarter note:
1473 \property Voice.autoBeamSettings \override
1474 #'(end * * * *) = #(ly:make-moment 3 8)
1476 In 4/4 time signature, this means that automatic beams could end only on
1477 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1478 3/8 has passed within the measure).
1480 Rules can also be restricted to specific time signatures. A rule that
1481 should only be applied in @var{N}/@var{M} time signature is formed by
1482 replacing the second asterisks by @var{N} and @var{M}. For example, a
1483 rule for 6/8 time exclusively looks like
1485 \property Voice.autoBeamSettings \override
1486 #'(begin * * 6 8) = ...
1489 If a rule should be to applied only to certain types of beams, use the
1490 first pair of asterisks. Beams are classified according to the
1491 shortest note they contain. For a beam ending rule that only applies
1492 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1495 If a score ends while an automatic beam has not been ended and is still
1496 accepting notes, this last beam will not be typeset at all.
1498 @cindex automatic beam generation
1500 @cindex @code{Voice.autoBeaming}
1503 For melodies that have lyrics, you may want to switch off
1504 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1509 @cindex @code{\autoBeamOff}
1510 @code{\autoBeamOff},
1511 @cindex @code{\autoBeamOn}
1517 The rules for ending a beam depend on the shortest note in a beam.
1518 So, while it is possible to have different ending rules for eight
1519 beams and sixteenth beams, a beam that contains both eight and
1520 sixteenth notes will use the rules for the sixteenth beam.
1522 In the example below, the autobeamer makes eight beams and sixteenth
1523 end at 3 eights; the third beam can only be corrected by specifying
1526 @lilypond[singleline,fragment,relative,noverbatim,quote]
1527 \property Voice.autoBeamSettings
1528 \override #'(end * * * *) = #(ly:make-moment 3 8)
1529 % rather show case where it goes wrong
1530 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1531 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1533 It is not possible to specify beaming parameters that act differently in
1534 different parts of a measure. This means that it is not possible to use
1535 automatic beaming in irregular meters such as @code{5/8}.
1538 @section Accidentals
1541 This section describes how to change the way that accidentals are
1542 inserted automatically before the running notes.
1546 * Using the predefined accidental variables::
1547 * Customized accidental rules::
1550 @node Using the predefined accidental variables
1551 @subsection Using the predefined accidental variables
1553 The constructs for describing the accidental typesetting rules are
1554 quite hairy, so non-experts should stick to the variables
1555 defined in @file{ly/property-init.ly}.
1556 @cindex @file{property-init.ly}
1558 The variables set properties in the ``@code{Current}'' context (see
1559 @ref{Context properties}). This means that the variables should
1560 normally be added right after the creation of the context in which the
1561 accidental typesetting described by the variable is to take
1562 effect. For example, if you want to use piano-accidentals in a piano
1563 staff then issue @code{\pianoAccidentals} first thing after the
1564 creation of the piano staff:
1567 \notes \relative c'' <<
1568 \new Staff @{ cis4 d e2 @}
1569 \context GrandStaff <<
1571 \new Staff @{ cis4 d e2 @}
1572 \new Staff @{ es2 c @}
1574 \new Staff @{ es2 c @}
1578 @lilypond[singleline]
1580 \notes \relative c'' <<
1581 \new Staff { cis4 d e2 }
1582 \context GrandStaff <<
1584 \new Staff { cis4 d e2 }
1585 \new Staff { es2 c }
1587 \new Staff { es2 c }
1592 minimumVerticalExtent = #'(-4.0 . 4.0)
1600 @item \defaultAccidentals
1601 @cindex @code{\defaultAccidentals}
1602 This is the default typesetting behaviour. It should correspond
1603 to 18th century common practice: Accidentals are
1604 remembered to the end of the measure in which they occur and
1605 only on their own octave.
1607 @item \voiceAccidentals
1608 @cindex @code{\voiceAccidentals}
1610 The normal behaviour is to
1611 remember the accidentals on Staff-level. This variable, however,
1612 typesets accidentals individually for each voice. Apart from that the
1613 rule is similar to @code{\defaultAccidentals}.
1615 This leads to some weird and often unwanted results
1616 because accidentals from one voice do not get cancelled in other
1618 @lilypond[singleline,relative,fragment,verbatim,quote]
1626 Hence you should only use @code{\voiceAccidentals} if the voices
1627 are to be read solely by individual musicians. If the staff is to be
1628 used by one musician (e.g. a conductor) then you use
1629 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1632 @item \modernAccidentals
1633 @cindex @code{\modernAccidentals}
1634 This rule corresponds to the common practice in the 20th
1636 The rule is more complex than @code{\defaultAccidentals}.
1637 You get all the same accidentals, but temporary
1638 accidentals also get cancelled in other octaves. Furthermore,
1639 in the same octave, they also get cancelled in the following measure:
1640 @lilypond[singleline,fragment,verbatim]
1642 cis' c'' cis'2 | c'' c'
1645 @item \modernCautionaries
1646 @cindex @code{\modernCautionaries}
1647 This rule is similar to @code{\modernAccidentals}, but the
1648 ``extra'' accidentals (the ones not typeset by
1649 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1650 They are printed in reduced size or with parentheses:
1651 @lilypond[singleline,fragment,verbatim]
1653 cis' c'' cis'2 | c'' c'
1656 @cindex @code{\modernVoiceAccidentals}
1657 @item \modernVoiceAccidentals
1658 is used for multivoice accidentals to be read both by musicians
1659 playing one voice and musicians playing all voices. Accidentals are
1660 typeset for each voice, but they @emph{are} cancelled across voices in
1661 the same @internalsref{Staff}.
1663 @cindex @code{\modernVoiceCautionaries}
1664 @item \modernVoiceCautionaries
1665 is the same as @code{\modernVoiceAccidentals}, but with the extra
1666 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1667 as cautionaries. Even though all accidentals typeset by
1668 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1669 some of them are typeset as cautionaries.
1671 @item \pianoAccidentals
1672 @cindex @code{\pianoAccidentals}
1673 20th century practice for piano notation. Very similar to
1674 @code{\modernAccidentals} but accidentals also get cancelled
1675 across the staves in the same @internalsref{GrandStaff} or
1676 @internalsref{PianoStaff}.
1678 @item \pianoCautionaries
1679 @cindex @code{\pianoCautionaries}
1680 As @code{\pianoAccidentals} but with the extra accidentals
1681 typeset as cautionaries.
1684 @cindex @code{\noResetKey}
1685 Same as @code{\defaultAccidentals} but with accidentals lasting
1686 ``forever'' and not only until the next measure:
1687 @lilypond[singleline,fragment,verbatim,relative]
1692 @item \forgetAccidentals
1693 @cindex @code{\forgetAccidentals}
1694 This is sort of the opposite of @code{\noResetKey}: Accidentals
1695 are not remembered at all---and hence all accidentals are
1696 typeset relative to the key signature, regardless of what was
1697 before in the music:
1698 @lilypond[singleline,fragment,verbatim,relative]
1700 \key d\major c4 c cis cis d d dis dis
1704 @node Customized accidental rules
1705 @subsection Customized accidental rules
1707 For determining when to print an accidental, several different rules
1708 are tried. The rule that gives the highest number of accidentals is
1709 used. Each rule consists of
1712 In which context is the rule applied. For example, if
1713 @var{context} is @internalsref{Score} then all staves share
1714 accidentals, and if @var{context} is @internalsref{Staff} then all
1715 voices in the same staff share accidentals, but staves do not.
1717 Whether the accidental changes all octaves or only the current
1720 Over how many barlines the accidental lasts.
1721 If @var{lazyness} is @code{-1} then the accidental is forget
1722 immediately, and if @var{lazyness} is @code{#t} then the accidental
1725 @c [TODO: should use +infinity for this case?]
1731 @cindex @code{\defaultAccidentals}
1732 @code{\defaultAccidentals},
1733 @cindex @code{\voiceAccidentals}
1734 @code{\voiceAccidentals},
1735 @cindex @code{\modernAccidentals}
1736 @code{\modernAccidentals},
1737 @cindex @code{\modernCautionaries}
1738 @code{\modernCautionaries},
1739 @cindex @code{\modernVoiceAccidentals}
1740 @code{\modernVoiceAccidentals},
1741 @cindex @code{\modernVoiceCautionaries}
1742 @code{\modernVoiceCautionaries},
1743 @cindex @code{\pianoAccidentals}
1744 @code{\pianoAccidentals},
1745 @cindex @code{\pianoCautionaries}
1746 @code{\pianoCautionaries},
1747 @cindex @code{\noResetKey}
1749 @cindex @code{\forgetAccidentals}
1750 @code{\forgetAccidentals}.
1754 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1755 @internalsref{AccidentalPlacement}.
1760 Currently the simultaneous notes are considered to be entered in
1761 sequential mode. This means that in a chord the accidentals are
1762 typeset as if the notes in the chord happened once at a time - in the
1763 order in which they appear in the input file.
1765 This is only a problem when there are simultaneous notes whose
1766 accidentals depend on each other. The problem only occurs when using
1767 non-default accidentals. In the default scheme, accidentals only
1768 depend on other accidentals with the same pitch on the same staff, so
1769 no conflicts possible.
1771 This example shows two examples of the same music giving different
1772 accidentals depending on the order in which the notes occur in the
1775 @lilypond[singleline,fragment,verbatim]
1776 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1777 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1778 | <cis' c''> r | <c'' cis'> r |
1781 This problem can be solved by manually inserting @code{!} and @code{?}
1782 for the problematic notes.
1784 @node Expressive marks
1785 @section Expressive marks
1788 @c todo: should change ordering
1789 @c where to put text spanners, metronome marks,
1798 * Analysis brackets::
1800 * Fingering instructions::
1811 A slur indicates that notes are to be played bound or @emph{legato}.
1815 They are entered using parentheses:
1816 @lilypond[relative 1,fragment,verbatim,center]
1817 f( g)( a) a8 b( a4 g2 f4)
1822 @c TODO: should explain that ^( and _( set directions
1823 @c should set attachments with ^ and _ ?
1825 Slurs avoid crossing stems, and are generally attached to note heads.
1826 However, in some situations with beams, slurs may be attached to stem
1827 ends. If you want to override this layout you can do this through the
1828 object property @code{attachment} of @internalsref{Slur} in
1829 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1830 the attachment type of the left and right end points:
1832 @lilypond[fragment,relative,verbatim]
1834 \property Voice.Stem \set #'length = #5.5
1836 \property Voice.Slur \set #'attachment = #'(stem . stem)
1840 If a slur would strike through a stem or beam, the slur will be moved
1841 away upward or downward. If this happens, attaching the slur to the
1842 stems might look better:
1844 @lilypond[fragment,relative,verbatim]
1847 \property Voice.Slur \set #'attachment = #'(stem . stem)
1854 @cindex @code{\slurUp}
1856 @cindex @code{\slurDown}
1858 @cindex @code{\slurBoth}
1860 @cindex @code{\slurDotted}
1862 @cindex @code{\slurSolid}
1867 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1872 Producing nice slurs is a difficult problem, and LilyPond currently
1873 uses a simple, empiric method to produce slurs. In some cases, its
1877 @cindex Adjusting slurs
1879 @node Phrasing slurs
1880 @subsection Phrasing slurs
1882 @cindex phrasing slurs
1883 @cindex phrasing marks
1885 A phrasing slur (or phrasing mark) connects chords and is used to
1886 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1889 @lilypond[fragment,verbatim,center,relative]
1890 \time 6/4 c'\( d( e) f( e) d\)
1893 Typographically, the phrasing slur behaves almost exactly like a
1894 normal slur. However, they are treated as different objects. A
1895 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1896 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1897 @code{\phrasingSlurBoth}.
1899 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1900 will only affect normal slurs and not phrasing slurs.
1904 @cindex @code{\phrasingSlurUp}
1905 @code{\phrasingSlurUp},
1906 @cindex @code{\phrasingSlurDown}
1907 @code{\phrasingSlurDown},
1908 @cindex @code{\phrasingSlurBoth}
1909 @code{\phrasingSlurBoth},
1913 See also @internalsref{PhrasingSlur}, and
1914 @internalsref{PhrasingSlurEvent}.
1918 Phrasing slurs have the same limitations in their formatting as normal
1919 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1922 @subsection Breath marks
1924 Breath marks are entered using @code{\breathe}:
1927 @lilypond[fragment,relative,verbatim]
1931 The glyph of the breath mark can be tweaked by overriding the
1932 @code{text} property of the @code{BreathingSign} layout object with
1933 any markup text. For example,
1934 @lilypond[fragment,verbatim,relative]
1936 \property Voice.BreathingSign \override #'text
1937 = #(make-musicglyph-markup "scripts-rvarcomma")
1944 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1945 @inputfileref{input/regression,breathing-sign.ly}.
1948 @node Metronome marks
1949 @subsection Metronome marks
1952 @cindex beats per minute
1953 @cindex metronome marking
1955 Metronome settings can be entered as follows:
1957 \tempo @var{duration} = @var{perminute}
1960 In the MIDI output, they are interpreted as a tempo change, and in the
1961 paper output, a metronome marking is printed:
1962 @cindex @code{\tempo}
1963 @lilypond[fragment,verbatim]
1969 @internalsref{MetronomeChangeEvent}.
1974 @subsection Text spanners
1975 @cindex Text spanners
1977 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1978 are written as texts, and extended over many measures with dotted
1979 lines. You can create such texts using text spanners: attach
1980 @code{\startTextSpan} and @code{\stopTextSpan} to the
1981 start and ending note of the spanner.
1983 The string to be printed, as well as the style, is set through object
1986 @lilypond[fragment,relative,verbatim]
1988 \property Voice.TextSpanner \set #'direction = #-1
1989 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1990 c2\startTextSpan b c\stopTextSpan a }
1996 @internalsref{TextSpanEvent},
1997 @internalsref{TextSpanner}, and
1998 @inputfileref{input/regression,text-spanner.ly}.
2001 @node Analysis brackets
2002 @subsection Analysis brackets
2004 @cindex phrasing brackets
2005 @cindex musicological analysis
2006 @cindex note grouping bracket
2008 Brackets are used in musical analysis to indicate structure in musical
2009 pieces. LilyPond supports a simple form of nested horizontal brackets.
2010 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2011 @internalsref{Staff} context. A bracket is started with
2012 @code{\startGroup} and closed with @code{\stopGroup}:
2014 @lilypond[singleline,verbatim]
2015 \score { \notes \relative c'' {
2016 c4\startGroup\startGroup
2019 c4\stopGroup\stopGroup
2021 \paper { \translator {
2022 \StaffContext \consists "Horizontal_bracket_engraver"
2028 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
2029 @inputfileref{input/regression,note-group-bracket.ly}.
2033 @subsection Articulations
2034 @cindex Articulations
2036 @cindex articulations
2040 A variety of symbols can appear above and below notes to indicate
2041 different characteristics of the performance. They are added to a note
2042 by adding a dash and the character signifying the
2043 articulation. They are demonstrated here:
2045 @lilypondfile[notexidoc]{script-abbreviations.ly}
2047 The meanings of these shorthands can be changed: see
2048 @file{ly/script-init.ly} for examples.
2051 The script is automatically placed, but if you need to force
2052 directions, you can use @code{_} to force them down, or @code{^} to
2054 @lilypond[fragment, verbatim]
2058 Other symbols can be added using the syntax
2059 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2060 can be forced up or down using @code{^} and @code{_},
2063 @lilypond[verbatim,fragment,relative 2]
2064 c\fermata c^\fermata c_\fermata
2071 @cindex staccatissimo
2080 @cindex organ pedal marks
2089 @cindex prallmordent
2093 @cindex thumb marking
2098 @lilypondfile[notexidoc]{script-chart.ly}
2103 @cindex @code{\scriptUp}
2105 @cindex @code{\scriptDown}
2107 @cindex @code{\scriptBoth}
2112 @internalsref{ScriptEvent}, and @internalsref{Script}.
2116 These note ornaments appear in the printed output but have no
2117 effect on the MIDI rendering of the music.
2120 @node Fingering instructions
2121 @subsection Fingering instructions
2125 Fingering instructions can be entered using
2127 @var{note}-@var{digit}
2129 For finger changes, use markup texts:
2131 @lilypond[verbatim, singleline, fragment]
2132 c'4-1 c'4-2 c'4-3 c'4-4
2133 c'^\markup { \fontsize #-3 \number "2-3" }
2136 @cindex finger change
2141 You can use the thumb-script to indicate that a note should be
2142 played with your thumb (used in cello music):
2144 @lilypond[verbatim, singleline, fragment]
2145 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2146 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2149 Fingerings for chords can also be added to individual notes
2150 of the chord by adding them after the pitches:
2151 @lilypond[verbatim,singleline,fragment,relative=1]
2152 < c-1 e-2 g-3 b-5 > 4
2155 Setting @code{fingeringOrientations} will put fingerings next
2158 @lilypond[verbatim,singleline,fragment,relative=1]
2159 \property Voice.fingeringOrientations = #'(left down)
2160 <c-1 es-2 g-4 bes-5 > 4
2161 \property Voice.fingeringOrientations = #'(up right down)
2162 <c-1 es-2 g-4 bes-5 > 4
2167 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2171 @subsection Text scripts
2172 @cindex Text scripts
2174 It is possible to place arbitrary strings of text or markup text (see
2175 @ref{Text markup}) above or below notes by using a string:
2176 @code{c^"text"}. By default, these indications do not influence the
2177 note spacing, but by using the command @code{\fatText}, the widths
2178 will be taken into account:
2180 @lilypond[fragment,singleline,verbatim] \relative c' {
2181 c4^"longtext" \fatText c4_"longlongtext" c4 }
2184 It is possible to use @TeX{} commands in the strings, but this should
2185 be avoided because the exact dimensions of the string can then no
2191 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2197 @subsection Grace notes
2200 @c should have blurb about accaciatura / appogiatura
2202 @cindex @code{\grace}
2206 Grace notes are ornaments that are written out. The most common ones
2207 are acciaccatura, which should be played as very short. It is denoted
2208 by a slurred small note with a slashed stem. The appoggiatura is a
2209 grace note that takes a fixed fraction of the main note, is and
2210 denoted as a slurred note in small print without a slash.
2211 They are entered with the commands @code{\acciaccatura} and
2212 @code{\appoggiatura}, as demonstrated in the following example:
2215 @cindex appoggiatura
2216 @cindex acciaccatura
2218 @lilypond[relative=2,verbatim,fragment]
2219 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2220 \acciaccatura { g16[ f] } e4
2223 Both are special forms of the @code{\grace} command. By prefixing this
2224 keyword to a music expression, a new one is formed, which will be
2225 printed in a smaller font and takes up no logical time in a measure.
2226 @lilypond[relative=2,verbatim,fragment]
2228 \grace { c16[ d16] } c2 c4
2232 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2233 @code{\grace} command does not start a slur.
2235 Internally, timing for grace notes is done using a second, `grace'
2236 time. Every point in time consists of two rational numbers: one
2237 denotes the logical time, one denotes the grace timing. The above
2238 example is shown here with timing tuples:
2240 @lilypond[singleline]
2243 c4 \grace c16 c4 \grace {
2246 \new Lyrics \lyrics {
2249 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2250 \markup { (\fraction 1 4 , 0 ) } 4
2252 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2253 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2255 \markup { ( \fraction 2 4 , 0 ) }
2260 The placement of grace notes is synchronized between different staves.
2261 In the following example, there are two sixteenth graces notes for
2262 every eighth grace note:
2264 @lilypond[relative=2,verbatim,fragment]
2265 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2266 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2271 If you want to end a note with a grace, then the standard trick
2272 is to put the grace notes after a ``space note'', e.g.
2273 @lilypond[fragment,verbatim, relative=2]
2276 { s2 \grace { c16[ d] } } >>
2282 By adjusting the duration of the skip note (here it is a half-note),
2283 the space between the main-note and the grace is adjusted.
2286 A @code{\grace} section will introduce special typesetting settings,
2287 for example, to produce smaller type, and set directions. Hence, when
2288 introducing layout tweaks, they should be inside the grace section,
2290 @lilypond[fragment,verbatim,relative 1]
2293 \property Voice.Stem \override #'direction = #-1
2295 \property Voice.Stem \revert #'direction
2302 The overrides should also be reverted inside the grace section.
2304 If the layout of grace sections must be changed throughout the music,
2305 then this can be accomplished through the function
2306 @code{add-grace-property}. The following example
2307 undefines the Stem direction grace section, so stems do not always
2312 #(add-grace-property "Voice" Stem direction '())
2318 Another option is to change the variables @code{startGraceMusic},
2319 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2320 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2321 @code{stopAppoggiaturaMstuic}. More information is in the file
2322 @file{ly/grace-init.ly}
2327 @internalsref{GraceMusic}.
2331 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
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.
2350 Overriding settings cannot be done in separate styles for appoggiatura
2355 @subsection Glissando
2358 @cindex @code{\glissando}
2360 A glissando is a smooth change in pitch. It is denoted by a line or a
2361 wavy line between two notes.
2365 A glissando line can be requested by attaching a @code{\glissando} to
2368 @lilypond[fragment,relative,verbatim]
2374 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2379 Adding additional texts (such as @emph{gliss.}) is not supported.
2383 @subsection Dynamics
2396 @cindex @code{\ffff}
2406 Absolute dynamic marks are specified using an variable after a
2407 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2408 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2409 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2410 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2412 @lilypond[verbatim,singleline,fragment,relative]
2413 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2419 @cindex @code{\decr}
2420 @cindex @code{\rced}
2427 A crescendo mark is started with @code{\<} and terminated with
2428 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2429 with @code{\!}. Because these marks are bound to notes, if you must
2430 use spacer notes if multiple marks during one note are needed:
2432 @lilypond[fragment,verbatim,center,quote]
2433 c''\< c''\! d''\decr e''\rced
2434 << f''1 { s4 s4\< s4\! \> s4\! } >>
2436 This may give rise to very short hairpins. Use @code{minimum-length}
2437 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2441 \property Staff.Hairpin \override #'minimum-length = #5
2444 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2445 is an example how to do it:
2447 @lilypond[fragment,relative=2,verbatim]
2448 c4 \cresc c4 c c c \endcresc c4
2454 You can also supply your own texts:
2455 @lilypond[fragment,relative,verbatim]
2457 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2458 \property Voice.crescendoSpanner = #'dashed-line
2468 @cindex @code{\dynamicUp}
2470 @cindex @code{\dynamicDown}
2471 @code{\dynamicDown},
2472 @cindex @code{\dynamicBoth}
2473 @code{\dynamicBoth}.
2475 @cindex direction, of dynamics
2479 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2480 @internalsref{AbsoluteDynamicEvent}.
2482 Dynamics are objects of @internalsref{DynamicText} and
2483 @internalsref{Hairpin}. Vertical positioning of these symbols is
2484 handled by the @internalsref{DynamicLineSpanner} object.
2486 If you want to adjust padding or vertical direction of the dynamics, you
2487 must set properties for the @internalsref{DynamicLineSpanner} object.
2495 @cindex @code{\repeat}
2498 Repetition is a central concept in music, and multiple notations exist
2499 for repetitions. In LilyPond, most of these notations can be captured
2500 in a uniform syntax. One of the advantages is that they can be
2501 rendered in MIDI accurately.
2503 The following types of repetition are supported:
2507 Repeated music is fully written (played) out. Useful for MIDI
2508 output, and entering repetitive music.
2511 This is the normal notation: Repeats are not written out, but
2512 alternative endings (voltas) are printed, left to right.
2516 Alternative endings are written stacked. This has limited use but may be
2517 used to typeset two lines of lyrics in songs with repeats, see
2518 @inputfileref{input,star-spangled-banner.ly}.
2526 Make beat or measure repeats. These look like percent signs.
2532 * Repeats and MIDI::
2533 * Manual repeat commands::
2535 * Tremolo subdivisions::
2540 @subsection Repeat syntax
2544 LilyPond has one syntactic construct for specifying different types of
2545 repeats. The syntax is
2548 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2551 If you have alternative endings, you may add
2552 @cindex @code{\alternative}
2554 \alternative @code{@{} @var{alternative1}
2556 @var{alternative3} @dots{} @code{@}}
2558 where each @var{alternative} is a music expression. If you do not
2559 give enough alternatives for all of the repeats, then the first
2560 alternative is assumed to be played more than once.
2562 Normal notation repeats are used like this:
2563 @lilypond[fragment,verbatim,relative 1]
2565 \repeat volta 2 { c4 d e f }
2566 \repeat volta 2 { f e d c }
2569 With alternative endings:
2570 @lilypond[fragment,verbatim,relative 1]
2572 \repeat volta 2 {c4 d e f}
2573 \alternative { {d2 d} {f f,} }
2577 @lilypond[fragment,verbatim,relative 1]
2580 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2581 \alternative { { g4 g g } { a | a a a a | b2. } }
2587 If you do a nested repeat like
2596 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2597 belongs. This ambiguity is resolved by always having the
2598 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2599 it is advisable to use braces in such situations.
2602 @node Repeats and MIDI
2603 @subsection Repeats and MIDI
2605 @cindex expanding repeats
2607 For instructions on how to unfold repeats for MIDI output, see the
2608 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2613 Timing information is not remembered at the start of an alternative,
2614 so after a repeat timing information must be reset by hand, for
2615 example by setting @code{Score.measurePosition} or entering
2616 @code{\partial}. Similarly, slurs or ties are also not repeated.
2619 @node Manual repeat commands
2620 @subsection Manual repeat commands
2622 @cindex @code{repeatCommands}
2624 The property @code{repeatCommands} can be used to control the layout of
2625 repeats. Its value is a Scheme list of repeat commands, where each repeat
2629 @item the symbol @code{start-repeat},
2630 which prints a @code{|:} bar line,
2631 @item the symbol @code{end-repeat},
2632 which prints a @code{:|} bar line,
2633 @item the list @code{(volta @var{text})},
2634 which prints a volta bracket saying @var{text}: The text can be specified as
2635 a text string or as a markup text, see @ref{Text markup}. Do not
2636 forget to change the font, as the default number font does not contain
2637 alphabetic characters. Or,
2638 @item the list @code{(volta #f)}, which
2639 stops a running volta bracket:
2642 @lilypond[verbatim, fragment,relative 2]
2644 \property Score.repeatCommands = #'((volta "93") end-repeat)
2646 \property Score.repeatCommands = #'((volta #f))
2653 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2654 @internalsref{VoltaRepeatedMusic},
2655 @internalsref{UnfoldedRepeatedMusic}, and
2656 @internalsref{FoldedRepeatedMusic}.
2658 @node Tremolo repeats
2659 @subsection Tremolo repeats
2660 @cindex tremolo beams
2662 To place tremolo marks between notes, use @code{\repeat} with tremolo
2664 @lilypond[verbatim,singleline]
2666 \context Voice \notes\relative c' {
2667 \repeat "tremolo" 8 { c16 d16 }
2668 \repeat "tremolo" 4 { c16 d16 }
2669 \repeat "tremolo" 2 { c16 d16 }
2674 Tremolo marks can also be put on a single note. In this case, the
2675 note should not be surrounded by braces.
2676 @lilypond[verbatim,singleline]
2677 \repeat "tremolo" 4 c16
2680 A similar mechanism is the tremolo subdivision, described in
2681 @ref{Tremolo subdivisions}.
2685 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2687 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2688 tremolos are @internalsref{StemTremolo}s. The music expression is
2689 @internalsref{TremoloEvent},
2691 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2692 @inputfileref{input/regression,stem-tremolo.ly}.
2694 @node Tremolo subdivisions
2695 @subsection Tremolo subdivisions
2696 @cindex tremolo marks
2697 @cindex @code{tremoloFlags}
2699 Tremolo marks can be printed on a single note by adding
2700 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2701 A @var{length} value of 8 gives one line across the note stem. If the
2702 length is omitted, then then the last value (stored in
2703 @code{Voice.tremoloFlags}) is used:
2705 @lilypond[verbatim,fragment,center]
2706 c'2:8 c':32 | c': c': |
2709 @c [TODO : stok is te kort bij 32en]
2713 Tremolos in this style do not carry over into the MIDI output.
2717 In this manual: @ref{Tremolo repeats}.
2719 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2721 @node Measure repeats
2722 @subsection Measure repeats
2724 @cindex percent repeats
2725 @cindex measure repeats
2727 In the @code{percent} style, a note pattern can be repeated. It is
2728 printed once, and then the pattern is replaced with a special sign.
2729 Patterns of a one and two measures are replaced by percent-like signs,
2730 patterns that divide the measure length are replaced by slashes:
2732 @lilypond[verbatim,singleline]
2733 \context Voice { \repeat "percent" 4 { c'4 }
2734 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2740 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2741 @internalsref{PercentRepeatedMusic}, and
2742 @internalsref{DoublePercentRepeat}.
2746 @node Rhythmic music
2747 @section Rhythmic music
2749 Sometimes you might want to show only the rhythm of a melody. This
2750 can be done with the rhythmic staff. All pitches of notes on such a
2751 staff are squashed, and the staff itself has a single line:
2753 @lilypond[fragment,relative,verbatim]
2754 \context RhythmicStaff {
2756 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2761 * Percussion staves::
2762 * Percussion MIDI output::
2765 @node Percussion staves
2766 @subsection Percussion staves
2770 A percussion part for more than one instrument typically uses a
2771 multiline staff where each position in the staff refers to one piece
2776 Percussion staves are typeset with help of a set of Scheme
2777 functions. The system is based on the general MIDI drum-pitches.
2778 Include @file{drumpitch-init.ly} to use drum pitches. This file
2779 defines the pitches from the Scheme variable @code{drum-pitch-names},
2780 the definition of which can be read in @file{scm/drums.scm}. Each
2781 piece of percussion has a full name and an abbreviated name, and either
2782 the full name or the abbreviation may be used in input files.
2784 To typeset the music on a staff apply the function @code{drums->paper}
2785 to the percussion music. This function takes a list of percussion
2786 instrument names, notehead scripts and staff positions (that is:
2787 pitches relative to the C-clef) and transforms the input
2788 music by moving the pitch, changing the notehead and (optionally)
2791 @lilypond[singleline,verbatim,quote]
2792 \include "drumpitch-init.ly"
2793 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2794 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2796 \apply #(drums->paper 'drums) \context Staff <<
2798 \new Voice { \voiceOne \up }
2799 \new Voice { \voiceTwo \down }
2804 In the above example the music was transformed using the list @code{'drums}.
2805 The following lists are defined in @file{scm/drums.scm}:
2808 to typeset a typical drum kit on a five-line staff:
2811 \include "drumpitch-init.ly"
2812 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2813 bd sn ss tomh tommh tomml toml tomfh tomfl }
2814 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2815 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2818 \apply #(drums->paper 'drums) \context Staff <<
2822 \context Lyrics \nam
2825 linewidth = 100.0\mm
2828 \remove Bar_engraver
2829 \remove Time_signature_engraver
2830 minimumVerticalExtent = #'(-4.0 . 5.0)
2834 \remove Stem_engraver
2840 The drum scheme supports six different toms. When there fewer toms, simply
2841 select the toms that produce the desired result, i.e. to get toms on
2842 the three middle lines you use @code{tommh}, @code{tomml} and
2845 Because general MIDI does not contain rimshots the sidestick is used
2846 for this purpose instead.
2848 to typeset timbales on a two line staff:
2850 @lilypond[singleline]
2851 \include "drumpitch-init.ly"
2852 nam = \lyrics { timh ssh timl ssl cb }
2853 mus = \notes { timh ssh timl ssl cb s16 }
2856 \apply #(drums->paper 'timbales) \context Staff <<
2860 \context Lyrics \nam
2865 \remove Bar_engraver
2866 \remove Time_signature_engraver
2867 StaffSymbol \override #'line-count = #2
2868 StaffSymbol \override #'staff-space = #2
2869 minimumVerticalExtent = #'(-3.0 . 4.0)
2873 \remove Stem_engraver
2880 to typeset congas on a two line staff:
2882 @lilypond[singleline]
2883 \include "drumpitch-init.ly"
2884 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2885 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2888 \apply #(drums->paper 'congas) \context Staff <<
2892 \context Lyrics \nam
2897 \remove Bar_engraver
2898 \remove Time_signature_engraver
2899 StaffSymbol \override #'line-count = #2
2900 StaffSymbol \override #'staff-space = #2
2901 minimumVerticalExtent = #'(-3.0 . 4.0)
2905 \remove Stem_engraver
2911 to typeset bongos on a two line staff:
2913 @lilypond[singleline]
2914 \include "drumpitch-init.ly"
2915 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2916 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2919 \apply #(drums->paper 'bongos) \context Staff <<
2923 \context Lyrics \nam
2928 \remove Bar_engraver
2929 \remove Time_signature_engraver
2930 StaffSymbol \override #'line-count = #2
2931 StaffSymbol \override #'staff-space = #2
2932 minimumVerticalExtent = #'(-3.0 . 4.0)
2936 \remove Stem_engraver
2942 to typeset all kinds of simple percussion on one line staves:
2943 @lilypond[singleline]
2944 \include "drumpitch-init.ly"
2945 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2946 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2949 \apply #(drums->paper 'percussion) \context Staff <<
2953 \context Lyrics \nam
2958 \remove Bar_engraver
2959 \remove Time_signature_engraver
2960 StaffSymbol \override #'line-count = #1
2961 minimumVerticalExtent = #'(-2.0 . 3.0)
2965 \remove Stem_engraver
2972 If you do not like any of the predefined lists you can define your own
2973 list at the top of your file:
2975 @lilypond[singleline, verbatim]
2976 #(set-drum-kit 'mydrums `(
2977 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2978 (snare default #f ,(ly:make-pitch 0 1 0))
2979 (hihat cross #f ,(ly:make-pitch 0 5 0))
2980 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2981 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2983 \include "drumpitch-init.ly"
2984 up = \notes { hh8 hh hh hh hhp4 hhp }
2985 down = \notes { bd4 sn bd toml8 toml }
2987 \apply #(drums->paper 'mydrums) \context Staff <<
2989 \new Voice { \voiceOne \up }
2990 \new Voice { \voiceTwo \down }
2995 To use a modified existing list, one can prepend modifications to the
2999 #(set-drum-kit 'mydrums (append `(
3000 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3001 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3002 ) (get-drum-kit 'drums)))
3005 You can easily combine percussion notation with pitched notation.
3006 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
3007 names, so you will have to reinclude @file{nederlands.ly} after the
3008 drum-pattern-definitions to enter normal notes:
3010 @lilypond[singleline,verbatim]
3011 \include "drumpitch-init.ly"
3012 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3013 down = \notes { bassdrum4 snare8 bd r bd sn4 }
3014 \include "nederlands.ly"
3015 bass = \notes \transpose c c,, { a4. e8 r e g e }
3018 \apply #(drums->paper 'drums) \new Staff <<
3020 \new Voice { \voiceOne \up }
3021 \new Voice { \voiceTwo \down }
3023 \new Staff { \clef "F_8" \bass }
3028 @node Percussion MIDI output
3029 @subsection Percussion MIDI output
3031 In order to produce correct MIDI output you need to produce two score
3032 blocks---one for the paper and one for the MIDI output. To use the
3033 percussion channel you set the property @code{instrument} to
3034 @code{'drums}. Because the drum-pitches themselves are similar to the
3035 general MIDI pitches all you have to do is to insert the voices with
3036 none of the scheme functions to get the correct MIDI output:
3040 \apply #(drums->paper 'mydrums) \context Staff <<
3049 \property Staff.instrument = #'drums
3059 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3060 temporary implementation.
3064 @section Piano music
3066 Piano staves are two normal staves coupled with a brace. The staves
3067 are largely independent, but sometimes voices can cross between the
3068 two staves. The same notation is also used for harps and other key
3069 instruments. The @internalsref{PianoStaff} is especially built to
3070 handle this cross-staffing behavior. In this section we discuss the
3071 @internalsref{PianoStaff} and some other pianistic peculiarities.
3075 * Automatic staff changes::
3076 * Manual staff switches::
3079 * Staff switch lines::
3084 There is no support for putting chords across staves. You can get
3085 this result by increasing the length of the stem in the lower stave so
3086 it reaches the stem in the upper stave, or vice versa. An example is
3087 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3089 Dynamics are not centered, but kludges do exist. See
3090 @inputfileref{input/template,piano-dynamics.ly}.
3092 @cindex cross staff stem
3093 @cindex stem, cross staff
3096 @c fixme: should have hyperlinks as well.
3102 @node Automatic staff changes
3103 @subsection Automatic staff changes
3104 @cindex Automatic staff changes
3106 Voices can switch automatically between the top and the bottom
3107 staff. The syntax for this is
3109 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3111 The two staffs of the piano staff must be named @code{up} and
3114 The autochanger switches on basis of pitch (central C is the turning
3115 point), and it looks ahead skipping over rests to switch in
3116 advance. Here is a practical example:
3118 @lilypond[verbatim,singleline,quote]
3119 \score { \notes \context PianoStaff <<
3120 \context Staff = "up" {
3121 \autochange Staff \context Voice = VA << \relative c' {
3122 g4 a b c d r4 a g } >> }
3123 \context Staff = "down" {
3130 In this example, spacer rests are used to prevent the bottom staff from
3131 terminating too soon.
3136 @internalsref{AutoChangeMusic}.
3140 The staff switches often do not end up in optimal places. For high
3141 quality output, staff switches should be specified manually.
3144 @node Manual staff switches
3145 @subsection Manual staff switches
3147 @cindex manual staff switches
3148 @cindex staff switch, manual
3150 Voices can be switched between staves manually, using the following command:
3152 \change Staff = @var{staffname} @var{music}
3156 The string @var{staffname} is the name of the staff. It switches the
3157 current voice from its current staff to the Staff called
3158 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3167 Pianos have pedals that alter the way sound are produced. Generally, a
3168 piano has three pedals, sustain, una corda, and sostenuto.
3172 Piano pedal instruction can be expressed by attaching
3173 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3174 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3177 @lilypond[fragment,verbatim]
3178 c'4\sustainDown c'4\sustainUp
3181 What is printed can be modified by setting @code{pedal@var{X}Strings},
3182 where @var{X} is one of the pedal types: @code{Sustain},
3183 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3184 documentation of @internalsref{SustainPedal} for more information.
3186 Pedals can also be indicated by a sequence of brackets, by setting the
3187 @code{pedalSustainStyle} property to @code{bracket} objects:
3189 @lilypond[fragment,verbatim]
3190 \property Staff.pedalSustainStyle = #'bracket
3191 c''4\sustainDown d''4 e''4
3192 a'4\sustainUp\sustainDown
3193 f'4 g'4 a'4\sustainUp
3196 A third style of pedal notation is a mixture of text and brackets,
3197 obtained by setting @code{pedal-type} to @code{mixed}:
3199 @lilypond[fragment,verbatim]
3200 \property Staff.pedalSustainStyle = #'mixed
3201 c''4\sustainDown d''4 e''4
3202 c'4\sustainUp\sustainDown
3203 f'4 g'4 a'4\sustainUp
3206 The default `*Ped' style for sustain and damper pedals corresponds to
3207 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3208 for a sostenuto pedal:
3210 @lilypond[fragment,verbatim]
3211 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3214 For fine-tuning of the appearance of a pedal bracket, the properties
3215 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3216 @code{PianoPedalBracket} objects (see
3217 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3218 bracket may be extended to the end of the note head:
3220 @lilypond[fragment,verbatim]
3221 \property Staff.PianoPedalBracket \override
3222 #'shorten-pair = #'(0 . -1.0)
3223 c''4\sostenutoDown d''4 e''4 c'4
3224 f'4 g'4 a'4\sostenutoUp
3228 @subsection Arpeggio
3231 @cindex broken arpeggio
3232 @cindex @code{\arpeggio}
3234 You can specify an arpeggio sign on a chord by attaching an
3235 @code{\arpeggio} to a chord:
3238 @lilypond[fragment,relative,verbatim]
3242 When an arpeggio crosses staves, you attach an arpeggio to the chords
3243 in both staves, and set
3244 @internalsref{PianoStaff}.@code{connectArpeggios}:
3246 @lilypond[fragment,relative,verbatim]
3247 \context PianoStaff <<
3248 \property PianoStaff.connectArpeggios = ##t
3249 \new Staff { <c' e g c>\arpeggio }
3250 \new Staff { \clef bass <c,, e g>\arpeggio }
3254 The direction of the arpeggio is sometimes denoted by adding an
3255 arrowhead to the wiggly line. This can be typeset by setting
3256 @code{arpeggio-direction}:
3258 @lilypond[fragment,relative,verbatim]
3260 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3262 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3267 A square bracket on the left indicates that the player should not
3268 arpeggiate the chord. To draw these brackets, set the
3269 @code{molecule-callback} property of @code{Arpeggio} or
3270 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3271 @code{\arpeggio} statements within the chords as before:
3273 @lilypond[fragment,relative,verbatim]
3274 \property PianoStaff.Arpeggio \override
3275 #'molecule-callback = \arpeggioBracket
3281 @cindex @code{\arpeggioBracket}
3282 @code{\arpeggioBracket},
3283 @cindex @code{\arpeggio}
3288 @internalsref{ArpeggioEvent} music expressions lead to
3289 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3290 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3294 It is not possible to mix connected arpeggios and unconnected
3295 arpeggios in one @internalsref{PianoStaff} at the same time.
3297 @node Staff switch lines
3298 @subsection Staff switch lines
3301 @cindex follow voice
3302 @cindex staff switching
3305 @cindex @code{followVoice}
3307 Whenever a voice switches to another staff a line connecting the notes
3308 can be printed automatically. This is enabled if the property
3309 @code{PianoStaff.followVoice} is set to true:
3311 @lilypond[fragment,relative,verbatim]
3312 \context PianoStaff <<
3313 \property PianoStaff.followVoice = ##t
3314 \context Staff \context Voice {
3319 \context Staff=two { \clef bass \skip 1*2 }
3323 The associated object is @internalsref{VoiceFollower}.
3327 @cindex @code{\showStaffSwitch}
3328 @code{\showStaffSwitch},
3329 @cindex @code{\hideStaffSwitch}
3330 @code{\hideStaffSwitch}.
3334 @section Vocal music
3336 This section discusses how to enter and print lyrics.
3340 * The Lyrics context::
3345 @node Entering lyrics
3346 @subsection Entering lyrics
3350 @cindex @code{\lyrics}
3353 Lyrics are entered in a special input mode. This mode is is introduced
3354 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3355 punctuation and accents without any hassle. Syllables are entered like
3356 notes, but with pitches replaced by text. For example,
3358 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3361 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3362 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3363 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3364 any 8-bit character with ASCII code over 127, or a two-character
3365 combination of a backslash followed by one of @code{`}, @code{'},
3366 @code{"}, or @code{^}.
3368 Subsequent characters of a word can be any character that is not a digit
3369 and not white space. One important consequence of this is that a word
3370 can end with @code{@}}. The following example is usually a bug. The
3371 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3373 \lyrics @{ twinkle@}
3376 @cindex @code{\property}, in @code{\lyrics}
3377 Similarly, a period following a alphabetic sequence, is included in the
3378 resulting string. As a consequence, spaces must be inserted around
3379 @code{\property} commands:
3381 \property Lyrics . LyricText \set #'font-shape = #'italic
3385 @cindex spaces, in lyrics
3386 @cindex quotes, in lyrics
3388 Any @code{_} character which appears in an unquoted word is converted
3389 to a space. This provides a mechanism for introducing spaces into words
3390 without using quotes. Quoted words can also be used in Lyrics mode to
3391 specify words that cannot be written with the above rules:
3394 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3398 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3403 These will be attached to the end of the first syllable.
3405 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3406 as a separate word between syllables. The hyphen will have variable
3407 length depending on the space between the syllables and it will be
3408 centered between the syllables.
3413 When a lyric is sung over many notes (this is called a melisma), this is
3414 indicated with a horizontal line centered between a syllable and the
3415 next one. Such a line is called an extender line, and it is entered as
3420 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3421 @internalsref{ExtenderEvent}.
3425 The definition of lyrics mode is too complex.
3427 @node The Lyrics context
3428 @subsection The Lyrics context
3430 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3432 \context Lyrics \lyrics @dots{}
3435 @cindex automatic syllable durations
3436 @cindex @code{\addlyrics}
3437 @cindex lyrics and melodies
3439 This will place the lyrics according to the durations that were
3440 entered. The lyrics can also be aligned under a given melody
3441 automatically. In this case, it is no longer necessary to enter the
3442 correct duration for each syllable. This is achieved by combining the
3443 melody and the lyrics with the @code{\addlyrics} expression:
3447 \context Lyrics @dots{}
3450 @cindex staff order, with @code{\addlyrics}
3452 Normally, this will put the lyrics below the staff. For different or
3453 more complex orderings, the best way is to setup the hierarchy of
3454 staves and lyrics first, e.g.
3456 \context ChoirStaff \notes <<
3457 \context Lyrics = sopr @{ s1 @}
3458 \context Staff = soprStaff @{ s1 @}
3459 \context Lyrics = tenor @{ s1 @}
3460 \context Staff = tenorStaff @{ s1 @}
3463 and then combine the appropriate melodies and lyric lines:
3466 \context Staff = soprStaff @emph{the music}
3467 \context Lyrics = sopr @emph{the lyrics}
3470 putting both together, you would get
3472 \context ChoirStaff \notes <<
3473 \context Lyrics = @dots{}
3474 \context Staff = @dots{}
3480 @cindex choral score
3482 A complete example of a SATB score setup is in the file
3483 @inputfileref{input/template,satb.ly}.
3487 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3488 @inputfileref{input/template,satb.ly}.
3492 @code{\addlyrics} is not automatic enough: melismata are not detected
3493 automatically, and melismata are not stopped when they hit a rest. A
3494 melisma on the last note in a melody is not printed.
3498 @subsection More stanzas
3501 @cindex phrasing, in lyrics
3504 The lyrics should be aligned with the note heads of the melody. To
3505 achieve this, each line of lyrics should be marked to correspond with
3508 To this end, give the @internalsref{Voice} context an identity:
3510 \context Voice = duet @{
3515 Then set the @internalsref{LyricsVoice} contexts to names starting with
3516 that identity followed by a dash. In the preceding example, the
3517 @internalsref{Voice} identity is @code{duet}, so the identities of the
3518 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3520 \context LyricsVoice = "duet-1" @{
3521 Hi, my name is bert. @}
3522 \context LyricsVoice = "duet-2" @{
3523 Ooooo, ch\'e -- ri, je t'aime. @}
3526 The complete example is shown here:
3527 @lilypond[singleline,verbatim]
3530 \notes \relative c'' \context Voice = duet { \time 3/4
3532 \lyrics \context Lyrics <<
3533 \context LyricsVoice = "duet-1" {
3534 \property LyricsVoice . stanza = "Bert"
3535 Hi, my name is bert. }
3536 \context LyricsVoice = "duet-2" {
3537 \property LyricsVoice . stanza = "Ernie"
3538 Ooooo, ch\'e -- ri, je t'aime. }
3543 @cindex stanza number
3544 @cindex singer's names
3545 @cindex name of singer
3547 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3550 \property LyricsVoice . stanza = "Bert"
3552 \property LyricsVoice . stanza = "Ernie"
3555 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3556 prevent @code{LyricsVoice.stanza} being interpreted as a single
3559 Names of the singers should be added using @code{LyricsVoice
3560 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3561 annotations for staves.
3563 To make empty spaces in lyrics, use @code{\skip}.
3571 Input for lyrics introduces a syntactical ambiguity:
3578 is interpreted as assigning a string identifier @code{\foo} such that
3579 it contains @code{"bar"}. However, it could also be interpreted as
3580 making or a music identifier @code{\foo} containing the syllable
3581 `bar'. The force the latter interpretation, use
3591 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3592 for a given voice in a part of music. It also may denote the pitch
3593 range that a musical instrument is capable of playing. Most musical
3594 instruments have their ambitus standardized (or at least there is
3595 agreement upon the minimal ambitus of a particular type of
3596 instrument), such that a composer or arranger of a piece of music can
3597 easily meet the ambitus constraints of the targeted instrument.
3598 However, the ambitus of the human voice depends on individual
3599 physiological state, including education and training of the voice.
3600 Therefore, a singer potentially has to check for each piece of music
3601 if the ambitus of that piece meets his individual capabilities. This
3602 is why the ambitus of a piece may be of particular value to vocal
3605 The ambitus is typically notated on a per-voice basis at the very
3606 beginning of a piece, e.g. nearby the initial clef or time signature of
3607 each staff. The range is graphically specified by two noteheads, that
3608 represent the minimum and maximum pitch. Some publishers use a textual
3609 notation: they put the range in words in front of the corresponding
3610 staff. LilyPond only supports the graphical ambitus notation.
3612 To apply, add the @internalsref{Ambitus_engraver} to the
3613 @internalsref{Voice} context, i.e.
3619 \consists Ambitus_engraver
3624 This results in the following output:
3625 @lilypond[singleline]
3626 upper = \notes \relative c {
3629 as'' c e2 bes f cis d4 e f2 g
3631 lower = \notes \relative c {
3634 e'4 b g a c es fis a cis b a g f e d2
3637 \context ChoirStaff {
3639 \new Staff { \upper }
3640 \new Staff { \lower }
3646 \consists Ambitus_engraver
3652 If you have multiple voices in a single staff, and you want a single
3653 ambitus per staff rather than per each voice, then add the
3654 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3655 rather than to the @internalsref{Voice} context.
3657 It is possible to tune individual ambituses for multiple voices on a
3658 single staff, for example by erasing or shifting them horizontally. An
3659 example is in @inputfileref{input/test,ambitus-mixed.ly}
3663 @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly},
3664 @inputfileref{input/test,ambitus-mixed.ly}.
3668 There is no collision handling in the case of multiple per-voice
3674 Tablature notation is used for notating music for plucked string
3675 instruments. It notates pitches not by using note heads, but by
3676 indicating on which string and fret a note must be played. LilyPond
3677 offers limited support for tablature.
3680 * Tablatures basic::
3681 * Non-guitar tablatures::
3684 @node Tablatures basic
3685 @subsection Tablatures basic
3686 @cindex Tablatures basic
3688 The string number associated to a note is given as a backslash
3689 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3690 string. By default, string 1 is the highest one, and the tuning
3691 defaults to the standard guitar tuning (with 6 strings). The notes
3692 are printed as tablature, by using @internalsref{TabStaff} and
3693 @internalsref{TabVoice} contexts:
3695 @lilypond[fragment,verbatim]
3696 \notes \context TabStaff {
3702 When no string is specified, the first string that does not give a
3703 fret number less than @code{minimumFret} is selected. The default
3704 value for @code{minimumFret} is 0:
3708 e8 fis gis a b cis' dis' e'
3709 \property TabStaff.minimumFret = #8
3710 e8 fis gis a b cis' dis' e'
3715 e8 fis gis a b cis' dis' e'
3716 \property TabStaff.minimumFret = #8
3717 e8 fis gis a b cis' dis' e'
3720 \context StaffGroup <<
3721 \context Staff { \clef "G_8" \frag }
3722 \context TabStaff { \frag }
3729 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3730 @internalsref{StringNumberEvent}.
3734 Chords are not handled in a special way, and hence the automatic
3735 string selector may easily select the same string to two notes in a
3739 @node Non-guitar tablatures
3740 @subsection Non-guitar tablatures
3741 @cindex Non-guitar tablatures
3743 You can change the number of strings, by setting the number of lines
3744 in the @internalsref{TabStaff}. For more information, see @ref{Tuning
3745 spanning contexts}).
3747 You can change the tuning of the strings. A string tuning is given as
3748 a Scheme list with one integer number for each string, the number
3749 being the pitch (measured in semitones relative to central C) of an
3750 open string. The numbers specified for @code{stringTuning} are the
3751 numbers of semitones to subtract or add, starting the specified pitch
3752 by default middle C, in string order. Thus, the notes are e, a, d, and
3755 @lilypond[fragment,verbatim]
3756 \context TabStaff <<
3758 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface)
3760 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3763 a,4 c' a e' e c' a e'
3768 It is possible to change the Scheme function to format the tablature
3769 note text. The default is @code{fret-number-tablature-format}, which
3770 uses the fret number. For instruments that do not use this notation,
3771 you can create a special tablature formatting function. This function
3772 takes three argument: string number, string tuning and note pitch.
3776 No guitar special effects have been implemented.
3781 @section Chord names
3784 LilyPond has support for both printing chord names. Chords may be
3785 entered in musical chord notation, i.e. @code{< .. >}, but they can
3786 also be entered by name. Internally, the chords are represented as a
3787 set of pitches, so they can be transposed:
3790 @lilypond[verbatim,singleline]
3791 twoWays = \notes \transpose c c' {
3801 << \context ChordNames \twoWays
3802 \context Voice \twoWays >> }
3805 This example also shows that the chord printing routines do not try to
3806 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3812 * Printing chord names::
3817 @subsection Chords mode
3820 Chord mode is a mode where you can input sets of pitches using common
3821 names. It is introduced by the keyword @code{\chords}.
3822 In chords mode, a chord is entered by the root, which is entered
3823 like a common pitch:
3824 @lilypond[fragment,verbatim,quote, relative=1]
3825 \chords { es4. d8 c2 }
3830 Other chords may be entered by suffixing a colon, and introducing a
3831 modifier, and optionally, a number:
3833 @lilypond[fragment,verbatim,quote]
3834 \chords { e1:m e1:7 e1:m7 }
3836 The first number following the root is taken to be the `type' of the
3837 chord, thirds are added to the root until it reaches the specified
3839 @lilypond[fragment,verbatim]
3840 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3843 @cindex root of chord
3844 @cindex additions, in chords
3845 @cindex removals, in chords
3847 More complex chords may also be constructed adding separate steps
3848 to a chord. Additions are added after the number following
3849 the colon, and are separated by dots:
3851 @lilypond[verbatim,fragment,quote]
3852 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3854 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3856 @lilypond[verbatim,fragment,quote]
3857 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3859 Removals are specified similarly, and are introduced by a caret. They
3860 must come after the additions:
3861 @lilypond[verbatim,fragment]
3862 \chords { c^3 c:7^5 c:9^3.5 }
3865 Modifiers can be used to change pitches. The following modifiers are
3869 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3871 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3874 is the augmented chord. This modifier raises the 5th step.
3876 is the major 7th chord. This modifier raises the 7th step if present.
3878 is the suspended 4th or 2nd. This modifier removes the 3rd
3879 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3882 Modifiers can be mixed with additions:
3883 @lilypond[verbatim,fragment]
3884 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3887 @cindex modifiers, in chords.
3894 Since an unaltered 11 does not sound good when combined with an
3895 unaltered 13, the 11 is removed in this case (unless it is added
3898 @lilypond[fragment,verbatim]
3899 \chords { c:13 c:13.11 c:m13 }
3904 An inversion (putting one pitch of the chord on the bottom), as well
3905 as bass notes, can be specified by appending
3906 @code{/}@var{pitch} to the chord:
3907 @lilypond[fragment,verbatim,center]
3908 \chords { c1 c/g c/f }
3912 A bass note can be added instead of transposed out of the chord,
3913 by using @code{/+}@var{pitch}.
3915 @lilypond[fragment,verbatim,center]
3916 \chords { c1 c/+g c/+f }
3919 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3920 of the commands continue to work, for example, @code{r} and
3921 @code{\skip} can be used to insert rests and spaces, and
3922 @code{\property} may be used to change various settings.
3928 Each step can only be present in a chord once. The following
3929 simply produces the augmented chord, since @code{5+} is interpreted
3932 @lilypond[verbatim,fragment]
3933 \chords { c:5.5-.5+ }
3937 @node Printing chord names
3938 @subsection Printing chord names
3940 @cindex printing chord names
3944 For displaying printed chord names, use the @internalsref{ChordNames} context.
3945 The chords may be entered either using the notation
3946 described above, or directly using @code{<} and @code{>}:
3948 @lilypond[verbatim,singleline]
3950 \chords {a1 b c} <d' f' a'> <e' g' b'>
3954 \context ChordNames \scheme
3955 \context Staff \scheme
3960 You can make the chord changes stand out by setting
3961 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3962 display chord names when there is a change in the chords scheme and at
3963 the start of a new line:
3965 @lilypond[verbatim, linewidth=9cm]
3967 c1:m c:m \break c:m c:m d
3971 \context ChordNames {
3972 \property ChordNames.chordChanges = ##t
3974 \context Staff \transpose c c' \scheme
3979 The default chord name layout is a system for Jazz music, proposed by
3980 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3981 following properties:
3984 @cindex chordNameExceptions
3985 @item chordNameExceptions
3986 This is a list that contains the chords that have special formatting.
3988 @inputfileref{input/regression,chord-name-exceptions.ly}.
3989 @cindex exceptions, chord names.
3992 @cindex majorSevenSymbol
3993 @item majorSevenSymbol
3994 This property contains the markup object used for the 7th step, when
3995 it is major. Predefined options are @code{whiteTriangleMarkup} and
3996 @code{blackTriangleMarkup}. See
3997 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3999 @cindex chordNameSeparator
4000 @item chordNameSeparator
4001 Different parts of a chord name are normally separated by a
4002 slash. By setting @code{chordNameSeparator}, you can specify other
4004 @lilypond[fragment,verbatim]
4005 \context ChordNames \chords {
4007 \property ChordNames.chordNameSeparator
4008 = \markup { \typewriter "|" }
4012 @cindex chordRootNamer
4013 @item chordRootNamer
4014 The root of a chord is usually printed as a letter with an optional
4015 alteration. The transformation from pitch to letter is done by this
4016 function. Special note names (for example, the German ``H'' for a
4017 B-chord) can be produced by storing a new function in this property.
4019 The pre-defined variables @code{\germanChords},
4020 @code{\semiGermanChords} set these variables.
4023 @cindex chordNoteNamer
4024 @item chordNoteNamer
4025 The default is to print single pitch, e.g. the bass note, using the
4026 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4027 to a specialized function to change this behavior. For example, the
4028 base can be printed in lower case.
4033 There are also two other chord name schemes implemented: an alternate
4034 Jazz chord notation, and a systematic scheme called Banter chords. The
4035 alternate jazz notation is also shown on the chart in @ref{Chord name
4036 chart}. Turning on these styles is described in the input file
4037 @inputfileref{input/test,chord-names-jazz.ly}.
4041 @cindex chords, jazz
4046 @cindex @code{\germanChords}
4047 @code{\germanChords},
4048 @cindex @code{\semiGermanChords}
4049 @code{\semiGermanChords}.
4056 @inputfileref{input/regression,chord-name-major7.ly},
4057 @inputfileref{input/regression,chord-name-exceptions.ly},
4058 @inputfileref{input/test,chord-names-jazz.ly},
4059 @inputfileref{input/test,chord-names-german.ly},
4060 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4065 Chord names are determined solely from the list of pitches. Chord
4066 inversions are not identified, and neither are added bass notes. This
4067 may result in strange chord names when chords are entered with the
4068 @code{< .. >} syntax.
4073 @node Orchestral music
4074 @section Orchestral music
4076 @cindex Writing parts
4078 Orchestral music involves some special notation, both in the full
4079 score and the individual parts. This section explains how to tackle
4080 some common problems in orchestral music.
4085 * Multiple staff contexts::
4088 * Instrument names::
4090 * Multi measure rests::
4091 * Automatic part combining::
4093 * Different editions from one source::
4094 * Sound output for transposing instruments::
4097 @node Multiple staff contexts
4098 @subsection Multiple staff contexts
4100 Polyphonic scores consist of many staves. These staves can be
4101 constructed in three different ways:
4103 @item The group is started with a brace at the left. This is done with the
4104 @internalsref{GrandStaff} context.
4105 @item The group is started with a bracket. This is done with the
4106 @internalsref{StaffGroup} context
4107 @item The group is started with a vertical line. This is the default
4111 @cindex Staff, multiple
4112 @cindex bracket, vertical
4113 @cindex brace, vertical
4120 @node Rehearsal marks
4121 @subsection Rehearsal marks
4122 @cindex Rehearsal marks
4124 @cindex @code{\mark}
4126 To print a rehearsal mark, use the @code{\mark} command:
4127 @lilypond[fragment,verbatim]
4137 The mark is incremented automatically if you use @code{\mark
4138 \default}. The value to use is stored in the property
4139 @code{rehearsalMark} is used and automatically incremented.
4141 The @code{\mark} command can also be used to put signs like coda,
4142 segno and fermatas on a barline. Use @code{\markup} to
4143 to access the appropriate symbol:
4145 @lilypond[fragment,verbatim,relative=1]
4146 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4150 In this case, during line breaks,
4151 marks must also be printed at the end of the line, and not at the
4152 beginning. Use the following to force that behavior:
4154 \property Score.RehearsalMark \override
4155 #'break-visibility = #begin-of-line-invisible
4158 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4164 @cindex barlines, putting symbols on
4168 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4169 @inputfileref{input/test,boxed-molecule.ly}.
4173 @subsection Bar numbers
4177 @cindex measure numbers
4178 @cindex currentBarNumber
4180 Bar numbers are printed by default at the start of the line. The
4181 number itself is stored in the
4182 @code{currentBarNumber} property,
4183 which is normally updated automatically for every measure.
4185 Bar numbers can be typeset at regular intervals instead of at the
4186 beginning of each line. This is illustrated in the following example,
4187 whose source is available as
4188 @inputfileref{input/test,bar-number-regular-interval.ly}:
4190 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4195 @internalsref{BarNumber},
4196 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4197 @inputfileref{input/test,bar-number-regular-interval.ly}.
4201 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4202 there is one at the top. To solve this, the
4203 @code{padding} property of @internalsref{BarNumber} can be
4204 used to position the number correctly.
4206 @node Instrument names
4207 @subsection Instrument names
4209 In an orchestral score, instrument names are printed left side of the
4212 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4213 and @internalsref{Staff}.@code{instr}. This will print a string before
4214 the start of the staff. For the first start, @code{instrument} is
4215 used, for the next ones @code{instr} is used:
4218 @lilypond[verbatim,singleline]
4219 \property Staff.instrument = "ploink " { c''4 }
4223 You can also use markup texts to construct more complicated instrument
4227 @lilypond[fragment,verbatim,singleline]
4229 \property Staff.instrument = \markup {
4230 \column < "Clarinetti"
4232 \smaller \musicglyph #"accidentals--1"
4243 @internalsref{InstrumentName}.
4247 When you put a name on a grand staff or piano staff the width of the
4248 brace is not taken into account. You must add extra spaces to the end of
4249 the name to avoid a collision.
4252 @subsection Transpose
4254 @cindex transposition of pitches
4255 @cindex @code{\transpose}
4257 A music expression can be transposed with @code{\transpose}. The syntax
4260 \transpose @var{from} @var{to} @var{musicexpr}
4263 This means that @var{musicexpr} is transposed by the interval
4264 between @var{from} and @var{to}.
4266 @code{\transpose} distinguishes between enharmonic pitches: both
4267 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4268 half a tone. The first version will print sharps and the second
4269 version will print flats:
4271 @lilypond[singleline, verbatim]
4272 mus =\notes { \key d \major cis d fis g }
4273 \score { \notes \context Staff {
4276 \transpose c g' \mus
4277 \transpose c f' \mus
4283 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4287 If you want to use both @code{\transpose} and @code{\relative}, then
4288 you must put @code{\transpose} outside of @code{\relative}, since
4289 @code{\relative} will have no effect music that appears inside a
4295 @node Multi measure rests
4296 @subsection Multi measure rests
4297 @cindex multi measure rests
4298 @cindex Rests, multi measure
4302 Multi measure rests are entered using `@code{R}'. It is specifically
4303 meant for full bar rests and for entering parts: the rest can expand
4304 to fill a score with rests, or it can be printed as a single
4305 multimeasure rest. This expansion is controlled by the property
4306 @code{Score.skipBars}. If this is set to true, empty measures will not
4307 be expanded, and the appropriate number is added automatically:
4309 @lilypond[fragment,verbatim]
4310 \time 4/4 r1 | R1 | R1*2
4311 \property Score.skipBars = ##t R1*17 R1*4
4314 The @code{1} in @code{R1} is similar to the duration notation used for
4315 notes. Hence, for time signatures other than 4/4, you must enter other
4316 durations. This can be done with augmentation dots or fractions:
4318 @lilypond[fragment,verbatim]
4319 \property Score.skipBars = ##t
4327 An @code{R} spanning a single measure is printed as either a whole rest
4328 or a breve, centered in the measure regardless of the time signature.
4330 @cindex text on multi-measure rest
4331 @cindex script on multi-measure rest
4332 @cindex fermata on multi-measure rest
4334 Texts can be added to multi-measure rests by using the
4335 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4336 replaced. If you need both texts and the number, you must add the
4337 number by hand. A variable (@code{\fermataMarkup}) is provided for
4341 @lilypond[verbatim,fragment]
4343 R2._\markup { "Ad lib" }
4347 If you want to have a text on the left end of a multi-measure rest,
4348 attach the text to a zero-length skip note, i.e.
4356 @cindex whole rests for a full measure
4360 @internalsref{MultiMeasureRestEvent},
4361 @internalsref{MultiMeasureTextEvent},
4362 @internalsref{MultiMeasureRestMusicGroup}, and
4363 @internalsref{MultiMeasureRest}.
4365 The layout object @internalsref{MultiMeasureRestNumber} is for the
4366 default number, and @internalsref{MultiMeasureRestText} for user
4371 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4372 over multi-measure rests.
4374 @cindex condensing rests
4376 There is no way to automatically condense multiple rests into a single
4377 multimeasure rest. Multi measure rests do not take part in rest
4380 Be careful when entering multimeasure rests followed by whole
4381 notes. The following will enter two notes lasting four measures each:
4385 When @code{skipBars} is set, then the result will look OK, but the
4386 bar numbering will be off.
4388 @node Automatic part combining
4389 @subsection Automatic part combining
4390 @cindex automatic part combining
4391 @cindex part combiner
4394 Automatic part combining is used to merge two parts of music onto a
4395 staff. It is aimed at typesetting orchestral scores. When the two
4396 parts are identical for a period of time, only one is shown. In
4397 places where the two parts differ, they are typeset as separate
4398 voices, and stem directions are set automatically. Also, solo and
4399 @emph{a due} parts are identified and can be marked.
4403 The syntax for part combining is
4406 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4408 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4409 combined into one context of type @var{context}. The music expressions
4410 must be interpreted by contexts whose names should start with @code{one}
4413 The following example demonstrates the basic functionality of the part
4414 combiner: putting parts on one staff, and setting stem directions and
4417 @lilypond[verbatim,singleline,fragment]
4419 \context Voice=one \partcombine Voice
4420 \context Thread=one \relative c'' {
4423 \context Thread=two \relative c'' {
4429 The first @code{g} appears only once, although it was
4430 specified twice (once in each part). Stem, slur and tie directions are
4431 set automatically, depending whether there is a solo or unisono. The
4432 first part (with context called @code{one}) always gets up stems, and
4433 `solo', while the second (called @code{two}) always gets down stems and
4436 If you just want the merging parts, and not the textual markings, you
4437 may set the property @var{soloADue} to false:
4439 @lilypond[verbatim,singleline,fragment]
4441 \property Staff.soloADue = ##f
4442 \context Voice=one \partcombine Voice
4443 \context Thread=one \relative c'' {
4446 \context Thread=two \relative c'' {
4454 @internalsref{PartCombineMusic},
4455 @internalsref{Thread_devnull_engraver}, and
4456 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4460 The syntax for naming contexts in inconsistent with the syntax for
4463 In @code{soloADue} mode, when the two voices play the same notes on and
4464 off, the part combiner may typeset @code{a2} more than once in a
4467 @lilypond[fragment,singleline]
4469 \context Voice=one \partcombine Voice
4470 \context Thread=one \relative c'' {
4473 \context Thread=two \relative c'' {
4479 The part combiner is rather buggy, and it will be replaced by a better
4480 mechanism in the near future.
4482 @cindex @code{Thread_devnull_engraver}
4483 @cindex @code{Voice_engraver}
4484 @cindex @code{A2_engraver}
4487 @subsection Hiding staves
4489 @cindex Frenched scores
4490 @cindex Hiding staves
4492 In orchestral scores, staff lines that only have rests are usually
4493 removed. This saves some space. This style is called `French Score'.
4494 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4495 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4496 switched on by default. When these line of these contexts turn out
4497 empty after the line-breaking process, they are removed.
4499 For normal staves, a specialized @internalsref{Staff} context is
4500 available, which does the same: staves containing nothing (or only
4501 multi measure rests) are removed. The context definition is stored in
4502 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4503 in this example disappears in the second line:
4508 \notes \relative c' <<
4509 \new Staff { e4 f g a \break c1 }
4510 \new Staff { c4 d e f \break R1 }
4514 \translator { \RemoveEmptyStaffContext }
4519 The first page shows all staffs in full. If they should be removed
4520 from the first page too, set @code{remove-first} to false
4521 in @internalsref{RemoveEmptyVerticalGroup}.
4523 @node Different editions from one source
4524 @subsection Different editions from one source
4526 The @code{\tag} command marks music expressions with a name. These
4527 tagged expressions can be filtered out later. With this mechanism it
4528 is possible to make different versions of the same music source.
4530 In the following example, we see two versions of a piece of music, one
4531 for the full score, and one with cue notes for the instrumental part:
4539 \property Voice.fontSize = #-1
4547 The same can be applied to articulations, texts, etc.: they are
4550 -\tag #@var{your-tag}
4552 to an articulation, for example,
4557 This defines a note with a conditional fingering indication.
4559 By applying the @code{remove-tag} function, tagged expressions can be
4560 filtered. For example,
4564 \apply #(remove-tag 'score) @var{the music}
4565 \apply #(remove-tag 'part) @var{the music}
4570 @lilypondfile[notexidoc]{tag-filter.ly}
4572 The argument of the @code{\tag} command should be a symbol, or a list
4573 of symbols, for example,
4575 \tag #'(original-part transposed-part) @dots{}
4580 @inputfileref{input/regression,tag-filter.ly}
4583 @node Sound output for transposing instruments
4584 @subsection Sound output for transposing instruments
4586 When you want to make a MIDI file from a score containing transposed
4587 and untransposed instruments, you have to instruct LilyPond the pitch
4588 offset (in semitones) for the transposed instruments. This is done
4589 using the @code{transposing} property. It does not affect printed
4592 @cindex @code{transposing}
4595 \property Staff.instrument = #"Cl. in B-flat"
4596 \property Staff.transposing = #-2
4600 @node Ancient notation
4601 @section Ancient notation
4603 @cindex Vaticana, Editio
4604 @cindex Medicaea, Editio
4609 @c [TODO: write more comprehensive introduction on ancient notation]
4611 Support for ancient notation is still under heavy development.
4612 Regardless of all of the current limitations (see the bugs section
4613 below for details), it includes features for mensural
4614 notation and Gregorian Chant notation. There is also limited support
4615 for figured bass notation.
4617 Many graphical objects provide a @code{style} property, see
4618 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4619 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4620 signatures}. By manipulating such a grob property, the typographical
4621 appearance of the affected graphical objects can be accomodated for a
4622 specific notation flavour without need for introducing any new
4626 Other aspects of ancient notation can not that easily be expressed as
4627 in terms of just changing a style property of a graphical object.
4628 Therefore, some notational concepts are introduced specifically for
4629 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4630 @ref{Ligatures}, and @ref{Figured bass}.
4634 * Ancient note heads::
4635 * Ancient accidentals::
4639 * Ancient time signatures::
4644 * Vaticana style contexts::
4647 If this all is way too much of documentation for you, and you just
4648 want to dive into typesetting without worrying too much about the
4649 details on how to customize a context, then you may have a look at the
4650 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4651 set up predefined style-specific voice and staff contexts, and
4652 directly go ahead with the note entry.
4656 Ligatures need special spacing that has not yet been implemented. As
4657 a result, there is too much space between ligatures most of the time,
4658 and line breaking often is unsatisfactory. Also, lyrics do not
4659 correctly align with ligatures.
4661 Accidentals must not be printed within a ligature, but instead need to
4662 be collected and printed in front of it.
4664 Augmentum dots within ligatures are not handled correctly.
4667 @node Ancient note heads
4668 @subsection Ancient note heads
4674 For ancient notation, a note head style other than the @code{default}
4675 style may be chosen. This is accomplished by setting the @code{style}
4676 property of the NoteHead object to the desired value (@code{baroque},
4677 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4678 differs from the @code{default} style only in using a square shape for
4679 @code{\breve} note heads. The @code{neo_mensural} style differs from
4680 the @code{baroque} style in that it uses rhomboidal heads for whole
4681 notes and all smaller durations. Stems are centered on the note
4682 heads. This style is in particular useful when transcribing mensural
4683 music, e.g. for the incipit. The @code{mensural} style finally
4684 produces note heads that mimick the look of note heads in historic
4685 printings of the 16th century.
4687 The following example demonstrates the @code{neo_mensural} style:
4689 @lilypond[fragment,singleline,verbatim]
4690 \property Voice.NoteHead \set #'style = #'neo_mensural
4691 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4694 When typesetting a piece in Gregorian Chant notation, a Gregorian
4695 ligature engraver will automatically select the proper note heads,
4696 such there is no need to explicitly set the note head style. Still,
4697 the note head style can be set e.g. to @code{vaticana_punctum} to
4698 produce punctum neumes. Similarly, a mensural ligature engraver is
4699 used to automatically assemble mensural ligatures. See
4700 @ref{Ligatures} for how ligature engravers work.
4704 @inputfileref{input/regression,note-head-style.ly} gives an overview
4705 over all available note head styles.
4707 @ref{Percussion staves} use note head styles of their own that are
4708 frequently used in contemporary music notation.
4710 @node Ancient accidentals
4711 @subsection Ancient accidentals
4717 Use the @code{style} property of grob @internalsref{Accidental} to
4718 select ancient accidentals. Supported styles are
4719 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4721 @lilypond[singleline,26pt]
4729 { " " \musicglyph #"accidentals-vaticana-1"
4730 " " \musicglyph #"accidentals-vaticana0" }
4734 { " " \musicglyph #"accidentals-medicaea-1" }
4738 { " " \musicglyph #"accidentals-hufnagel-1" }
4742 { " " \musicglyph #"accidentals-mensural-1"
4743 " " \musicglyph #"accidentals-mensural1" }
4752 \remove "Bar_number_engraver"
4756 \remove "Clef_engraver"
4757 \remove "Key_engraver"
4758 \remove "Time_signature_engraver"
4759 \remove "Staff_symbol_engraver"
4760 minimumVerticalExtent = ##f
4766 As shown, not all accidentals are supported by each style. When
4767 trying to access an unsupported accidental, LilyPond will switch to a
4768 different style, as demonstrated in
4769 @inputfileref{input/test,ancient-accidentals.ly}.
4771 Similarly to local accidentals, the style of the key signature can be
4772 controlled by the @code{style} property of the
4773 @internalsref{KeySignature} grob.
4777 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4778 a general introduction into the use of accidentals. @ref{Key
4779 signature} gives a general introduction into the use of key
4784 @subsection Ancient rests
4790 Use the @code{style} property of grob @internalsref{Rest} to select
4791 ancient accidentals. Supported styles are @code{classical},
4792 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4793 from the @code{default} style only in that the quarter rest looks like
4794 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4795 well for e.g. the incipit of a transcribed mensural piece of music.
4796 The @code{mensural} style finally mimicks the appearance of rests as
4797 in historic prints of the 16th century.
4799 The following example demonstrates the @code{neo_mensural} style:
4801 @lilypond[fragment,singleline,verbatim]
4802 \property Voice.Rest \set #'style = #'neo_mensural
4803 r\longa r\breve r1 r2 r4 r8 r16
4806 There are no 32th and 64th rests specifically for the mensural or
4807 neo-mensural style. Instead, the rests from the default style will be
4808 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4811 There are no rests in Gregorian Chant notation; instead, it uses
4816 @ref{Rests} gives a general introduction into the use of rests.
4820 @subsection Ancient clefs
4826 LilyPond supports a variety of clefs, many of them ancient.
4828 The following table shows all ancient clefs that are supported via the
4829 @code{\clef} command. Some of the clefs use the same glyph, but
4830 differ only with respect to the line they are printed on. In such
4831 cases, a trailing number in the name is used to enumerate these clefs.
4832 Still, you can manually force a clef glyph to be typeset on an
4833 arbitrary line, as described in @ref{Clef}. The note printed to the
4834 right side of each clef in the example column denotes the @code{c'}
4835 with respect to that clef.
4837 @multitable @columnfractions .3 .3 .3 .1
4841 @b{Description} @tab
4842 @b{Supported Clefs} @tab
4846 @code{clefs-neo_mensural_c} @tab
4847 modern style mensural C clef @tab
4848 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4849 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4850 @lilypond[relative 0, notime]
4851 \property Staff.TimeSignature \set #'transparent = ##t
4852 \clef "neo_mensural_c2" c
4856 @code{clefs-petrucci_c1}
4857 @code{clefs-petrucci_c2}
4858 @code{clefs-petrucci_c3}
4859 @code{clefs-petrucci_c4}
4860 @code{clefs-petrucci_c5}
4863 petrucci style mensural C clefs, for use on different stafflines
4864 (the examples shows the 2nd staffline C clef).
4874 @lilypond[relative 0, notime]
4875 \property Staff.TimeSignature \set #'transparent = ##t
4876 \clef "petrucci_c2" c
4880 @code{clefs-petrucci_f} @tab
4881 petrucci style mensural F clef @tab
4882 @code{petrucci_f} @tab
4883 @lilypond[relative 0, notime]
4884 \property Staff.TimeSignature \set #'transparent = ##t
4885 \clef "petrucci_f" c
4889 @code{clefs-petrucci_g} @tab
4890 petrucci style mensural G clef @tab
4891 @code{petrucci_g} @tab
4892 @lilypond[relative 0, notime]
4893 \property Staff.TimeSignature \set #'transparent = ##t
4894 \clef "petrucci_g" c
4898 @code{clefs-mensural_c} @tab
4899 historic style mensural C clef @tab
4900 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4901 @code{mensural_c4} @tab
4902 @lilypond[relative 0, notime]
4903 \property Staff.TimeSignature \set #'transparent = ##t
4904 \clef "mensural_c2" c
4908 @code{clefs-mensural_f} @tab
4909 historic style mensural F clef @tab
4910 @code{mensural_f} @tab
4911 @lilypond[relative 0, notime]
4912 \property Staff.TimeSignature \set #'transparent = ##t
4913 \clef "mensural_f" c
4917 @code{clefs-mensural_g} @tab
4918 historic style mensural G clef @tab
4919 @code{mensural_g} @tab
4920 @lilypond[relative 0, notime]
4921 \property Staff.TimeSignature \set #'transparent = ##t
4922 \clef "mensural_g" c
4926 @code{clefs-vaticana_do} @tab
4927 Editio Vaticana style do clef @tab
4928 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4929 @lilypond[relative 0, notime]
4931 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4932 \property Staff.TimeSignature \set #'transparent = ##t
4933 \clef "vaticana_do2" c
4937 @code{clefs-vaticana_fa} @tab
4938 Editio Vaticana style fa clef @tab
4939 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4940 @lilypond[relative 0, notime]
4942 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4943 \property Staff.TimeSignature \set #'transparent = ##t
4944 \clef "vaticana_fa2" c
4948 @code{clefs-medicaea_do} @tab
4949 Editio Medicaea style do clef @tab
4950 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4951 @lilypond[relative 0, notime]
4953 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4954 \property Staff.TimeSignature \set #'transparent = ##t
4955 \clef "medicaea_do2" c
4959 @code{clefs-medicaea_fa} @tab
4960 Editio Medicaea style fa clef @tab
4961 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4962 @lilypond[relative 0, notime]
4964 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4965 \property Staff.TimeSignature \set #'transparent = ##t
4966 \clef "medicaea_fa2" c
4970 @code{clefs-hufnagel_do} @tab
4971 historic style hufnagel do clef @tab
4972 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4973 @lilypond[relative 0, notime]
4975 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4976 \property Staff.TimeSignature \set #'transparent = ##t
4977 \clef "hufnagel_do2" c
4981 @code{clefs-hufnagel_fa} @tab
4982 historic style hufnagel fa clef @tab
4983 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4984 @lilypond[relative 0, notime]
4986 \applyoutput #(outputproperty-compatibility (make-type-checker 'staff-symbol-interface) 'line-count 4)
4987 \property Staff.TimeSignature \set #'transparent = ##t
4988 \clef "hufnagel_fa2" c
4992 @code{clefs-hufnagel_do_fa} @tab
4993 historic style hufnagel combined do/fa clef @tab
4994 @code{hufnagel_do_fa} @tab
4995 @lilypond[relative 0, notime]
4996 \property Staff.TimeSignature \set #'transparent = ##t
4997 \clef "hufnagel_do_fa" c
5002 @c --- This should go somewhere else: ---
5003 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5006 @c @code{percussion}
5008 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5010 @c @item modern style tab clef (glyph: @code{clefs-tab})
5015 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5017 @emph{Modern style} means ``as is typeset in contemporary editions of
5018 transcribed mensural music''.
5020 @emph{Petrucci style} means ``inspired by printings published by the
5021 famous engraver Petrucci (1466-1539)''.
5023 @emph{Historic style} means ``as was typeset or written in historic
5024 editions (other than those of Petrucci)''.
5026 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5028 Petrucci used C clefs with differently balanced left-side vertical
5029 beams, depending on which staffline it is printed.
5033 For modern clefs, see @ref{Clef}. For the percussion clef, see
5034 @ref{Percussion staves}. For the @code{TAB} clef, see
5039 @subsection Ancient flags
5045 Use the @code{flag-style} property of grob @internalsref{Stem} to
5046 select ancient flags. Besides the @code{default} flag style,
5047 only @code{mensural} style is supported:
5049 @lilypond[fragment,singleline,verbatim]
5050 \property Voice.Stem \set #'flag-style = #'mensural
5051 \property Voice.Stem \set #'thickness = #1.0
5052 \property Voice.NoteHead \set #'style = #'mensural
5054 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
5055 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5058 Note that the innermost flare of each mensural flag always is
5059 vertically aligned with a staff line. If you do not like this
5060 behaviour, you can set the @code{adjust-if-on-staffline} property of
5061 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5062 of the end of each flare is different between notes on staff lines and
5063 notes between staff lines:
5065 @lilypond[fragment,singleline]
5066 \property Voice.Stem \set #'flag-style = #'mensural
5067 \property Voice.Stem \set #'thickness = #1.0
5068 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5069 \property Voice.NoteHead \set #'style = #'mensural
5071 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
5072 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5075 There is no particular flag style for neo-mensural notation. Hence,
5076 when typesetting e.g. the incipit of a transcibed piece of mensural
5077 music, the default flag style should be used. There are no flags in
5078 Gregorian Chant notation.
5081 @node Ancient time signatures
5082 @subsection Ancient time signatures
5084 @cindex time signatures
5088 There is limited support for mensural time signatures. The
5089 glyphs are hard-wired to particular time fractions. In other words,
5090 to get a particular mensural signature glyph with the @code{\time n/m}
5091 command, @code{n} and @code{m} have to be chosen according to the
5097 \property Score.timing = ##f
5098 \property Score.barAlways = ##t
5099 s_\markup { "$\\backslash$time 4/4" }
5100 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
5102 s_\markup { "$\\backslash$time 2/2" }
5103 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
5105 s_\markup { "$\\backslash$time 6/4" }
5106 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
5108 s_\markup { "$\\backslash$time 6/8" }
5109 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
5111 s_\markup { "$\\backslash$time 3/2" }
5112 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
5114 s_\markup { "$\\backslash$time 3/4" }
5115 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
5117 s_\markup { "$\\backslash$time 9/4" }
5118 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
5120 s_\markup { "$\\backslash$time 9/8" }
5121 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
5123 s_\markup { "$\\backslash$time 4/8" }
5124 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
5126 s_\markup { "$\\backslash$time 2/4" }
5127 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
5135 \remove Staff_symbol_engraver
5136 \remove Clef_engraver
5137 \remove Time_signature_engraver
5143 Use the @code{style} property of grob @internalsref{TimeSignature} to
5144 select ancient time signatures. Supported styles are
5145 @code{neo_mensural} and @code{mensural}. The above table uses the
5146 @code{neo_mensural} style. This style is appropriate e.g. for the
5147 incipit of transcriptions of mensural pieces. The @code{mensural}
5148 style mimicks the look of historical printings of the 16th century.
5150 @inputfileref{input/test,time.ly} gives an overview over all available
5151 ancient and modern styles.
5155 @ref{Time signature} gives a general introduction into the use of time
5160 Mensural signature glyphs are mapped to time fractions in a
5161 hard-wired way. This mapping is sensible, but still arbitrary: given
5162 a mensural time signature, the time fraction represents a modern meter
5163 that usually will be a good choice when transcribing a mensural piece
5164 of music. For a particular piece of mensural music, however, the
5165 mapping may be unsatisfactory. In particular, the mapping assumes a
5166 fixed transcription of durations (e.g. brevis = half note in 2/2,
5167 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5168 are not at all accessible through the @code{\time} command.
5170 Mensural time signatures are supported typographically, but not yet
5171 musically. The internal representation of durations is
5172 based on a purely binary system; a ternary division such as 1 brevis =
5173 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5174 prolatione maiori) is not correctly handled: event times in ternary
5175 modes will be badly computed, resulting e.g. in horizontally
5176 misaligned note heads, and bar checks are likely to erroneously fail.
5178 The syntax and semantics of the @code{\time} command for mensural
5179 music is subject to change.
5182 @subsection Custodes
5187 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5188 symbol that appears at the end of a staff. It anticipates the pitch
5189 of the first note(s) of the following line and thus helps the player
5190 or singer to manage line breaks during performance, thus enhancing
5191 readability of a score.
5193 Custodes were frequently used in music notation until the 17th
5194 century. Nowadays, they have survived only in a few particular forms
5195 of musical notation such as contemporary editions of Gregorian chant
5196 like the @emph{editio vaticana}. There are different custos glyphs
5197 used in different flavours of notational style.
5201 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5202 @internalsref{Staff} context when declaring the @code{\paper} block,
5203 as shown in the following example:
5209 \consists Custos_engraver
5210 Custos \override #'style = #'mensural
5215 The result looks like this:
5221 \property Staff.Custos \set #'style = #'mensural
5228 \consists Custos_engraver
5235 The custos glyph is selected by the @code{style} property. The styles
5236 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5237 @code{mensural}. They are demonstrated in the following fragment:
5247 { " " \musicglyph #"custodes-vaticana-u0" }
5251 { " " \musicglyph #"custodes-medicaea-u0" }
5255 { " " \musicglyph #"custodes-hufnagel-u0" }
5259 { " " \musicglyph #"custodes-mensural-u0" }
5268 \remove "Bar_number_engraver"
5272 \remove "Clef_engraver"
5273 \remove "Key_engraver"
5274 \remove "Time_signature_engraver"
5275 \remove "Staff_symbol_engraver"
5276 minimumVerticalExtent = ##f
5282 If the boolean property @code{adjust-if-on-staffline} is set to
5283 @code{#t} (which it is by default), lily typesets slightly different
5284 variants of the custos glyph, depending on whether the custos, is
5285 typeset on or between stafflines. The glyph will
5286 optically fit well into the staff, with the appendage on the right of
5287 the custos always ending at the same vertical position between two
5288 stafflines regardless of the pitch. If you set
5289 @code{adjust-if-on-staffline} to @code{#f}, then
5290 a compromise between both forms is used.
5292 Just like stems can be attached to noteheads in two directions
5293 @emph{up} and @emph{down}, each custos glyph is available with its
5294 appendage pointing either up or down. If the pitch of a custos is
5295 above a selectable position, the appendage will point downwards; if
5296 the pitch is below this position, the appendage will point upwards.
5297 Use property @code{neutral-position} to select this position. By
5298 default, it is set to @code{0}, such that the neutral position is the
5299 center of the staff. Use property @code{neutral-direction} to control
5300 what happens if a custos is typeset on the neutral position itself.
5301 By default, this property is set to @code{-1}, such that the appendage
5302 will point downwards. If set to @code{1}, the appendage will point
5303 upwards. Other values such as @code{0} are reserved for future
5304 extensions and should not be used.
5308 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5312 @subsection Divisiones
5318 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5319 `division') is a staff context symbol that is used to structure
5320 Gregorian music into phrases and sections. The musical meaning of
5321 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5322 can be characterized as short, medium and long pause, somewhat like
5323 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5324 a chant, but is also frequently used within a single
5325 antiphonal/responsorial chant to mark the end of each section.
5329 To use divisiones, include the file @code{gregorian-init.ly}. It
5330 contains definitions that you can apply by just inserting
5331 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5332 and @code{\finalis} at proper places in the input. Some editions use
5333 @emph{virgula} or @emph{caesura} instead of divisio minima.
5334 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5337 @lilypondfile[notexidoc]{divisiones.ly}
5341 @cindex @code{\virgula}
5343 @cindex @code{\caesura}
5345 @cindex @code{\divisioMinima}
5346 @code{\divisioMinima},
5347 @cindex @code{\divisioMaior}
5348 @code{\divisioMaior},
5349 @cindex @code{\divisioMaxima}
5350 @code{\divisioMaxima},
5351 @cindex @code{\finalis}
5356 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5357 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5360 @subsection Ligatures
5364 @c TODO: Should double check if I recalled things correctly when I wrote
5365 @c down the following paragraph by heart.
5367 In musical terminology, a ligature is a coherent graphical symbol that
5368 represents at least two distinct notes. Ligatures originally appeared
5369 in the manuscripts of Gregorian chant notation roughly since the 9th
5370 century as an allusion to the accent symbols of greek lyric poetry to
5371 denote ascending or descending sequences of notes. Both, the shape
5372 and the exact meaning of ligatures changed tremendously during the
5373 following centuries: In early notation, ligatures were used for
5374 monophonic tunes (Gregorian chant) and very soon denoted also the way
5375 of performance in the sense of articulation. With upcoming
5376 multiphony, the need for a metric system arised, since multiple voices
5377 of a piece have to be synchronized some way. New notation systems
5378 were invented that used the manifold shapes of ligatures to now denote
5379 rhythmical patterns (e.g. black mensural notation, mannered notation,
5380 ars nova). With the invention of the metric system of the white
5381 mensural notation, the need for ligatures to denote such patterns
5382 disappeared. Nevertheless, ligatures were still in use in the
5383 mensural system for a couple of decades until they finally disappeared
5384 during the late 16th / early 17th century. Still, ligatures have
5385 survived in contemporary editions of Gregorian chant such as the
5386 Editio Vaticana from 1905/08.
5390 Syntactically, ligatures are simply enclosed by @code{\[} and
5391 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5392 additional input syntax specific for this particular type of ligature.
5393 By default, the @internalsref{LigatureBracket} engraver just puts a
5394 square bracket above the ligature:
5396 @lilypond[singleline,verbatim]
5398 \notes \transpose c c' {
5406 To select a specific style of ligatures, a proper ligature engraver
5407 has to be added to the @internalsref{Voice} context, as explained in
5408 the following subsections. Only white mensural ligatures
5409 are supported with certain limitations. Support for Editio Vaticana
5410 will be added in the future.
5413 * White mensural ligatures::
5414 * Gregorian square neumes ligatures::
5417 @node White mensural ligatures
5418 @subsubsection White mensural ligatures
5420 @cindex Mensural ligatures
5421 @cindex White mensural ligatures
5423 There is limited support for white mensural ligatures. The
5424 implementation is still experimental; it may output strange
5425 warnings or even crash in some cases or produce weird results on more
5430 To engrave white mensural ligatures, in the paper block the
5431 @internalsref{Mensural_ligature_engraver} has to be put into the
5432 @internalsref{Voice} context, and remove the
5433 @internalsref{Ligature_bracket_engraver}:
5439 \remove Ligature_bracket_engraver
5440 \consists Mensural_ligature_engraver
5445 There is no additional input language to describe the shape of a
5446 white mensural ligature. The shape is rather determined solely from
5447 the pitch and duration of the enclosed notes. While this approach may
5448 take a new user a while to get accustomed, it has the great advantage
5449 that the full musical information of the ligature is known internally.
5450 This is not only required for correct MIDI output, but also allows for
5451 automatic transcription of the ligatures.
5456 \property Score.timing = ##f
5457 \property Score.defaultBarType = "empty"
5458 \property Voice.NoteHead \set #'style = #'neo_mensural
5459 \property Staff.TimeSignature \set #'style = #'neo_mensural
5461 \[ g\longa c\breve a\breve f\breve d'\longa \]
5463 \[ e1 f1 a\breve g\longa \]
5465 @lilypond[singleline]
5467 \notes \transpose c c' {
5468 \property Score.timing = ##f
5469 \property Score.defaultBarType = "empty"
5470 \property Voice.NoteHead \set #'style = #'neo_mensural
5471 \property Staff.TimeSignature \set #'style = #'neo_mensural
5473 \[ g\longa c\breve a\breve f\breve d'\longa \]
5475 \[ e1 f1 a\breve g\longa \]
5480 \remove Ligature_bracket_engraver
5481 \consists Mensural_ligature_engraver
5487 Without replacing @internalsref{Ligature_bracket_engraver} with
5488 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5491 @lilypond[singleline]
5493 \notes \transpose c c' {
5494 \property Score.timing = ##f
5495 \property Score.defaultBarType = "empty"
5496 \property Voice.NoteHead \set #'style = #'neo_mensural
5497 \property Staff.TimeSignature \set #'style = #'neo_mensural
5499 \[ g\longa c\breve a\breve f\breve d'\longa \]
5501 \[ e1 f1 a\breve g\longa \]
5507 @node Gregorian square neumes ligatures
5508 @subsubsection Gregorian square neumes ligatures
5510 @cindex Square neumes ligatures
5511 @cindex Gregorian square neumes ligatures
5513 Gregorian square neumes notation (following the style of the Editio
5514 Vaticana) is under heavy development, but not yet really usable for
5515 production purposes. Core ligatures can already be typeset, but
5516 essential issues for serious typesetting are still under development,
5517 such as (among others) horizontal alignment of multiple ligatures,
5518 lyrics alignment and proper accidentals handling. Still, this section
5519 gives a sneak preview of what Gregorian chant may look like once it
5522 The following table contains the extended neumes table of the 2nd
5523 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5524 1983 by the monks of Solesmes.
5526 @multitable @columnfractions .4 .2 .2 .2
5529 @b{Neuma aut@*Neumarum Elementa} @tab
5530 @b{Figurae@*Rectae} @tab
5531 @b{Figurae@*Liquescentes Auctae} @tab
5532 @b{Figurae@*Liquescentes Deminutae}
5534 @c TODO: \paper block is identical in all of the below examples.
5535 @c Therefore, it should somehow be included rather than duplicated all
5538 @c why not make identifiers in ly/engraver-init.ly? --hwn
5540 @c Because it's just used to typeset plain notes without
5541 @c a staff for demonstration purposes rather than something
5542 @c special of Gregorian chant notation. --jr
5547 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5548 \include "gregorian-init.ly"
5550 \notes \transpose c c' {
5553 \noBreak s^\markup {"a"} \noBreak
5555 % Punctum Inclinatum
5557 \noBreak s^\markup {"b"}
5563 \remove "Bar_number_engraver"
5567 \remove "Clef_engraver"
5568 \remove "Key_engraver"
5569 StaffSymbol \set #'transparent = ##t
5570 \remove "Time_signature_engraver"
5571 \remove "Bar_engraver"
5572 minimumVerticalExtent = ##f
5576 \remove Ligature_bracket_engraver
5577 \consists Vaticana_ligature_engraver
5578 NoteHead \set #'style = #'vaticana_punctum
5579 Stem \set #'transparent = ##t
5585 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5586 \include "gregorian-init.ly"
5588 \notes \transpose c c' {
5589 % Punctum Auctum Ascendens
5590 \[ \auctum \ascendens b \]
5591 \noBreak s^\markup {"c"} \noBreak
5593 % Punctum Auctum Descendens
5594 \[ \auctum \descendens b \]
5595 \noBreak s^\markup {"d"} \noBreak
5597 % Punctum Inclinatum Auctum
5598 \[ \inclinatum \auctum b \]
5599 \noBreak s^\markup {"e"}
5605 \remove "Bar_number_engraver"
5609 \remove "Clef_engraver"
5610 \remove "Key_engraver"
5611 StaffSymbol \set #'transparent = ##t
5612 \remove "Time_signature_engraver"
5613 \remove "Bar_engraver"
5614 minimumVerticalExtent = ##f
5618 \remove Ligature_bracket_engraver
5619 \consists Vaticana_ligature_engraver
5620 NoteHead \set #'style = #'vaticana_punctum
5621 Stem \set #'transparent = ##t
5627 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5628 \include "gregorian-init.ly"
5630 \notes \transpose c c' {
5631 % Punctum Inclinatum Parvum
5632 \[ \inclinatum \deminutum b \]
5633 \noBreak s^\markup {"f"}
5639 \remove "Bar_number_engraver"
5643 \remove "Clef_engraver"
5644 \remove "Key_engraver"
5645 StaffSymbol \set #'transparent = ##t
5646 \remove "Time_signature_engraver"
5647 \remove "Bar_engraver"
5648 minimumVerticalExtent = ##f
5652 \remove Ligature_bracket_engraver
5653 \consists Vaticana_ligature_engraver
5654 NoteHead \set #'style = #'vaticana_punctum
5655 Stem \set #'transparent = ##t
5664 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5665 \include "gregorian-init.ly"
5667 \notes \transpose c c' {
5670 \noBreak s^\markup {"g"}
5676 \remove "Bar_number_engraver"
5680 \remove "Clef_engraver"
5681 \remove "Key_engraver"
5682 StaffSymbol \set #'transparent = ##t
5683 \remove "Time_signature_engraver"
5684 \remove "Bar_engraver"
5685 minimumVerticalExtent = ##f
5689 \remove Ligature_bracket_engraver
5690 \consists Vaticana_ligature_engraver
5691 NoteHead \set #'style = #'vaticana_punctum
5692 Stem \set #'transparent = ##t
5701 @code{3. Apostropha vel Stropha}
5703 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5704 \include "gregorian-init.ly"
5706 \notes \transpose c c' {
5709 \noBreak s^\markup {"h"}
5715 \remove "Bar_number_engraver"
5719 \remove "Clef_engraver"
5720 \remove "Key_engraver"
5721 StaffSymbol \set #'transparent = ##t
5722 \remove "Time_signature_engraver"
5723 \remove "Bar_engraver"
5724 minimumVerticalExtent = ##f
5728 \remove Ligature_bracket_engraver
5729 \consists Vaticana_ligature_engraver
5730 NoteHead \set #'style = #'vaticana_punctum
5731 Stem \set #'transparent = ##t
5737 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5738 \include "gregorian-init.ly"
5740 \notes \transpose c c' {
5742 \[ \stropha \auctum b \]
5743 \noBreak s^\markup {"i"}
5749 \remove "Bar_number_engraver"
5753 \remove "Clef_engraver"
5754 \remove "Key_engraver"
5755 StaffSymbol \set #'transparent = ##t
5756 \remove "Time_signature_engraver"
5757 \remove "Bar_engraver"
5758 minimumVerticalExtent = ##f
5762 \remove Ligature_bracket_engraver
5763 \consists Vaticana_ligature_engraver
5764 NoteHead \set #'style = #'vaticana_punctum
5765 Stem \set #'transparent = ##t
5775 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5776 \include "gregorian-init.ly"
5778 \notes \transpose c c' {
5781 \noBreak s^\markup {"j"}
5787 \remove "Bar_number_engraver"
5791 \remove "Clef_engraver"
5792 \remove "Key_engraver"
5793 StaffSymbol \set #'transparent = ##t
5794 \remove "Time_signature_engraver"
5795 \remove "Bar_engraver"
5796 minimumVerticalExtent = ##f
5800 \remove Ligature_bracket_engraver
5801 \consists Vaticana_ligature_engraver
5802 NoteHead \set #'style = #'vaticana_punctum
5803 Stem \set #'transparent = ##t
5812 @code{5. Clivis vel Flexa}
5814 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5815 \include "gregorian-init.ly"
5817 \notes \transpose c c' {
5826 \remove "Bar_number_engraver"
5830 \remove "Clef_engraver"
5831 \remove "Key_engraver"
5832 StaffSymbol \set #'transparent = ##t
5833 \remove "Time_signature_engraver"
5834 \remove "Bar_engraver"
5835 minimumVerticalExtent = ##f
5839 \remove Ligature_bracket_engraver
5840 \consists Vaticana_ligature_engraver
5841 NoteHead \set #'style = #'vaticana_punctum
5842 Stem \set #'transparent = ##t
5848 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5849 \include "gregorian-init.ly"
5851 \notes \transpose c c' {
5852 % Clivis Aucta Descendens
5853 \[ b \flexa \auctum \descendens g \]
5854 \noBreak s^\markup {"l"} \noBreak
5856 % Clivis Aucta Ascendens
5857 \[ b \flexa \auctum \ascendens g \]
5858 \noBreak s^\markup {"m"}
5864 \remove "Bar_number_engraver"
5868 \remove "Clef_engraver"
5869 \remove "Key_engraver"
5870 StaffSymbol \set #'transparent = ##t
5871 \remove "Time_signature_engraver"
5872 \remove "Bar_engraver"
5873 minimumVerticalExtent = ##f
5877 \remove Ligature_bracket_engraver
5878 \consists Vaticana_ligature_engraver
5879 NoteHead \set #'style = #'vaticana_punctum
5880 Stem \set #'transparent = ##t
5886 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5887 \include "gregorian-init.ly"
5889 \notes \transpose c c' {
5891 \[ b \flexa \deminutum g \]
5898 \remove "Bar_number_engraver"
5902 \remove "Clef_engraver"
5903 \remove "Key_engraver"
5904 StaffSymbol \set #'transparent = ##t
5905 \remove "Time_signature_engraver"
5906 \remove "Bar_engraver"
5907 minimumVerticalExtent = ##f
5911 \remove Ligature_bracket_engraver
5912 \consists Vaticana_ligature_engraver
5913 NoteHead \set #'style = #'vaticana_punctum
5914 Stem \set #'transparent = ##t
5921 @code{6. Podatus vel Pes}
5923 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5924 \include "gregorian-init.ly"
5926 \notes \transpose c c' {
5935 \remove "Bar_number_engraver"
5939 \remove "Clef_engraver"
5940 \remove "Key_engraver"
5941 StaffSymbol \set #'transparent = ##t
5942 \remove "Time_signature_engraver"
5943 \remove "Bar_engraver"
5944 minimumVerticalExtent = ##f
5948 \remove Ligature_bracket_engraver
5949 \consists Vaticana_ligature_engraver
5950 NoteHead \set #'style = #'vaticana_punctum
5951 Stem \set #'transparent = ##t
5957 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5958 \include "gregorian-init.ly"
5960 \notes \transpose c c' {
5961 % Pes Auctus Descendens
5962 \[ g \pes \auctum \descendens b \]
5963 \noBreak s^\markup {"p"} \noBreak
5965 % Pes Auctus Ascendens
5966 \[ g \pes \auctum \ascendens b \]
5967 \noBreak s^\markup {"q"}
5973 \remove "Bar_number_engraver"
5977 \remove "Clef_engraver"
5978 \remove "Key_engraver"
5979 StaffSymbol \set #'transparent = ##t
5980 \remove "Time_signature_engraver"
5981 \remove "Bar_engraver"
5982 minimumVerticalExtent = ##f
5986 \remove Ligature_bracket_engraver
5987 \consists Vaticana_ligature_engraver
5988 NoteHead \set #'style = #'vaticana_punctum
5989 Stem \set #'transparent = ##t
5995 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5996 \include "gregorian-init.ly"
5998 \notes \transpose c c' {
6000 \[ g \pes \deminutum b \]
6007 \remove "Bar_number_engraver"
6011 \remove "Clef_engraver"
6012 \remove "Key_engraver"
6013 StaffSymbol \set #'transparent = ##t
6014 \remove "Time_signature_engraver"
6015 \remove "Bar_engraver"
6016 minimumVerticalExtent = ##f
6020 \remove Ligature_bracket_engraver
6021 \consists Vaticana_ligature_engraver
6022 NoteHead \set #'style = #'vaticana_punctum
6023 Stem \set #'transparent = ##t
6030 @code{7. Pes Quassus}
6032 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6033 \include "gregorian-init.ly"
6035 \notes \transpose c c' {
6037 \[ \oriscus g \pes \virga b \]
6044 \remove "Bar_number_engraver"
6048 \remove "Clef_engraver"
6049 \remove "Key_engraver"
6050 StaffSymbol \set #'transparent = ##t
6051 \remove "Time_signature_engraver"
6052 \remove "Bar_engraver"
6053 minimumVerticalExtent = ##f
6057 \remove Ligature_bracket_engraver
6058 \consists Vaticana_ligature_engraver
6059 NoteHead \set #'style = #'vaticana_punctum
6060 Stem \set #'transparent = ##t
6066 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6067 \include "gregorian-init.ly"
6069 \notes \transpose c c' {
6070 % Pes Quassus Auctus Descendens
6071 \[ \oriscus g \pes \auctum \descendens b \]
6078 \remove "Bar_number_engraver"
6082 \remove "Clef_engraver"
6083 \remove "Key_engraver"
6084 StaffSymbol \set #'transparent = ##t
6085 \remove "Time_signature_engraver"
6086 \remove "Bar_engraver"
6087 minimumVerticalExtent = ##f
6091 \remove Ligature_bracket_engraver
6092 \consists Vaticana_ligature_engraver
6093 NoteHead \set #'style = #'vaticana_punctum
6094 Stem \set #'transparent = ##t
6102 @code{8. Quilisma Pes}
6104 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6105 \include "gregorian-init.ly"
6107 \notes \transpose c c' {
6109 \[ \quilisma g \pes b \]
6116 \remove "Bar_number_engraver"
6120 \remove "Clef_engraver"
6121 \remove "Key_engraver"
6122 StaffSymbol \set #'transparent = ##t
6123 \remove "Time_signature_engraver"
6124 \remove "Bar_engraver"
6125 minimumVerticalExtent = ##f
6129 \remove Ligature_bracket_engraver
6130 \consists Vaticana_ligature_engraver
6131 NoteHead \set #'style = #'vaticana_punctum
6132 Stem \set #'transparent = ##t
6138 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6139 \include "gregorian-init.ly"
6141 \notes \transpose c c' {
6142 % Quilisma Pes Auctus Descendens
6143 \[ \quilisma g \pes \auctum \descendens b \]
6150 \remove "Bar_number_engraver"
6154 \remove "Clef_engraver"
6155 \remove "Key_engraver"
6156 StaffSymbol \set #'transparent = ##t
6157 \remove "Time_signature_engraver"
6158 \remove "Bar_engraver"
6159 minimumVerticalExtent = ##f
6163 \remove Ligature_bracket_engraver
6164 \consists Vaticana_ligature_engraver
6165 NoteHead \set #'style = #'vaticana_punctum
6166 Stem \set #'transparent = ##t
6174 @code{9. Podatus Initio Debilis}
6176 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6177 \include "gregorian-init.ly"
6179 \notes \transpose c c' {
6180 % Pes Initio Debilis
6181 \[ \deminutum g \pes b \]
6188 \remove "Bar_number_engraver"
6192 \remove "Clef_engraver"
6193 \remove "Key_engraver"
6194 StaffSymbol \set #'transparent = ##t
6195 \remove "Time_signature_engraver"
6196 \remove "Bar_engraver"
6197 minimumVerticalExtent = ##f
6201 \remove Ligature_bracket_engraver
6202 \consists Vaticana_ligature_engraver
6203 NoteHead \set #'style = #'vaticana_punctum
6204 Stem \set #'transparent = ##t
6210 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6211 \include "gregorian-init.ly"
6213 \notes \transpose c c' {
6214 % Pes Auctus Descendens Initio Debilis
6215 \[ \deminutum g \pes \auctum \descendens b \]
6222 \remove "Bar_number_engraver"
6226 \remove "Clef_engraver"
6227 \remove "Key_engraver"
6228 StaffSymbol \set #'transparent = ##t
6229 \remove "Time_signature_engraver"
6230 \remove "Bar_engraver"
6231 minimumVerticalExtent = ##f
6235 \remove Ligature_bracket_engraver
6236 \consists Vaticana_ligature_engraver
6237 NoteHead \set #'style = #'vaticana_punctum
6238 Stem \set #'transparent = ##t
6248 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6249 \include "gregorian-init.ly"
6251 \notes \transpose c c' {
6253 \[ a \pes b \flexa g \]
6260 \remove "Bar_number_engraver"
6264 \remove "Clef_engraver"
6265 \remove "Key_engraver"
6266 StaffSymbol \set #'transparent = ##t
6267 \remove "Time_signature_engraver"
6268 \remove "Bar_engraver"
6269 minimumVerticalExtent = ##f
6273 \remove Ligature_bracket_engraver
6274 \consists Vaticana_ligature_engraver
6275 NoteHead \set #'style = #'vaticana_punctum
6276 Stem \set #'transparent = ##t
6282 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6283 \include "gregorian-init.ly"
6285 \notes \transpose c c' {
6286 % Torculus Auctus Descendens
6287 \[ a \pes b \flexa \auctum \descendens g \]
6294 \remove "Bar_number_engraver"
6298 \remove "Clef_engraver"
6299 \remove "Key_engraver"
6300 StaffSymbol \set #'transparent = ##t
6301 \remove "Time_signature_engraver"
6302 \remove "Bar_engraver"
6303 minimumVerticalExtent = ##f
6307 \remove Ligature_bracket_engraver
6308 \consists Vaticana_ligature_engraver
6309 NoteHead \set #'style = #'vaticana_punctum
6310 Stem \set #'transparent = ##t
6316 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6317 \include "gregorian-init.ly"
6319 \notes \transpose c c' {
6320 % Torculus Deminutus
6321 \[ a \pes b \flexa \deminutum g \]
6328 \remove "Bar_number_engraver"
6332 \remove "Clef_engraver"
6333 \remove "Key_engraver"
6334 StaffSymbol \set #'transparent = ##t
6335 \remove "Time_signature_engraver"
6336 \remove "Bar_engraver"
6337 minimumVerticalExtent = ##f
6341 \remove Ligature_bracket_engraver
6342 \consists Vaticana_ligature_engraver
6343 NoteHead \set #'style = #'vaticana_punctum
6344 Stem \set #'transparent = ##t
6351 @code{11. Torculus Initio Debilis}
6353 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6354 \include "gregorian-init.ly"
6356 \notes \transpose c c' {
6357 % Torculus Initio Debilis
6358 \[ \deminutum a \pes b \flexa g \]
6365 \remove "Bar_number_engraver"
6369 \remove "Clef_engraver"
6370 \remove "Key_engraver"
6371 StaffSymbol \set #'transparent = ##t
6372 \remove "Time_signature_engraver"
6373 \remove "Bar_engraver"
6374 minimumVerticalExtent = ##f
6378 \remove Ligature_bracket_engraver
6379 \consists Vaticana_ligature_engraver
6380 NoteHead \set #'style = #'vaticana_punctum
6381 Stem \set #'transparent = ##t
6387 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6388 \include "gregorian-init.ly"
6390 \notes \transpose c c' {
6391 % Torculus Auctus Descendens Initio Debilis
6392 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6399 \remove "Bar_number_engraver"
6403 \remove "Clef_engraver"
6404 \remove "Key_engraver"
6405 StaffSymbol \set #'transparent = ##t
6406 \remove "Time_signature_engraver"
6407 \remove "Bar_engraver"
6408 minimumVerticalExtent = ##f
6412 \remove Ligature_bracket_engraver
6413 \consists Vaticana_ligature_engraver
6414 NoteHead \set #'style = #'vaticana_punctum
6415 Stem \set #'transparent = ##t
6421 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6422 \include "gregorian-init.ly"
6424 \notes \transpose c c' {
6425 % Torculus Deminutus Initio Debilis
6426 \[ \deminutum a \pes b \flexa \deminutum g \]
6433 \remove "Bar_number_engraver"
6437 \remove "Clef_engraver"
6438 \remove "Key_engraver"
6439 StaffSymbol \set #'transparent = ##t
6440 \remove "Time_signature_engraver"
6441 \remove "Bar_engraver"
6442 minimumVerticalExtent = ##f
6446 \remove Ligature_bracket_engraver
6447 \consists Vaticana_ligature_engraver
6448 NoteHead \set #'style = #'vaticana_punctum
6449 Stem \set #'transparent = ##t
6456 @code{12. Porrectus}
6458 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6459 \include "gregorian-init.ly"
6461 \notes \transpose c c' {
6463 \[ a \flexa g \pes b \]
6470 \remove "Bar_number_engraver"
6474 \remove "Clef_engraver"
6475 \remove "Key_engraver"
6476 StaffSymbol \set #'transparent = ##t
6477 \remove "Time_signature_engraver"
6478 \remove "Bar_engraver"
6479 minimumVerticalExtent = ##f
6483 \remove Ligature_bracket_engraver
6484 \consists Vaticana_ligature_engraver
6485 NoteHead \set #'style = #'vaticana_punctum
6486 Stem \set #'transparent = ##t
6492 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6493 \include "gregorian-init.ly"
6495 \notes \transpose c c' {
6496 % Porrectus Auctus Descendens
6497 \[ a \flexa g \pes \auctum \descendens b \]
6504 \remove "Bar_number_engraver"
6508 \remove "Clef_engraver"
6509 \remove "Key_engraver"
6510 StaffSymbol \set #'transparent = ##t
6511 \remove "Time_signature_engraver"
6512 \remove "Bar_engraver"
6513 minimumVerticalExtent = ##f
6517 \remove Ligature_bracket_engraver
6518 \consists Vaticana_ligature_engraver
6519 NoteHead \set #'style = #'vaticana_punctum
6520 Stem \set #'transparent = ##t
6526 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6527 \include "gregorian-init.ly"
6529 \notes \transpose c c' {
6530 % Porrectus Deminutus
6531 \[ a \flexa g \pes \deminutum b \]
6538 \remove "Bar_number_engraver"
6542 \remove "Clef_engraver"
6543 \remove "Key_engraver"
6544 StaffSymbol \set #'transparent = ##t
6545 \remove "Time_signature_engraver"
6546 \remove "Bar_engraver"
6547 minimumVerticalExtent = ##f
6551 \remove Ligature_bracket_engraver
6552 \consists Vaticana_ligature_engraver
6553 NoteHead \set #'style = #'vaticana_punctum
6554 Stem \set #'transparent = ##t
6563 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6564 \include "gregorian-init.ly"
6566 \notes \transpose c c' {
6568 \[ \virga b \inclinatum a \inclinatum g \]
6575 \remove "Bar_number_engraver"
6579 \remove "Clef_engraver"
6580 \remove "Key_engraver"
6581 StaffSymbol \set #'transparent = ##t
6582 \remove "Time_signature_engraver"
6583 \remove "Bar_engraver"
6584 minimumVerticalExtent = ##f
6588 \remove Ligature_bracket_engraver
6589 \consists Vaticana_ligature_engraver
6590 NoteHead \set #'style = #'vaticana_punctum
6591 Stem \set #'transparent = ##t
6597 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6598 \include "gregorian-init.ly"
6600 \notes \transpose c c' {
6602 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6609 \remove "Bar_number_engraver"
6613 \remove "Clef_engraver"
6614 \remove "Key_engraver"
6615 StaffSymbol \set #'transparent = ##t
6616 \remove "Time_signature_engraver"
6617 \remove "Bar_engraver"
6618 minimumVerticalExtent = ##f
6622 \remove Ligature_bracket_engraver
6623 \consists Vaticana_ligature_engraver
6624 NoteHead \set #'style = #'vaticana_punctum
6625 Stem \set #'transparent = ##t
6631 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6632 \include "gregorian-init.ly"
6634 \notes \transpose c c' {
6635 % Climacus Deminutus
6636 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6643 \remove "Bar_number_engraver"
6647 \remove "Clef_engraver"
6648 \remove "Key_engraver"
6649 StaffSymbol \set #'transparent = ##t
6650 \remove "Time_signature_engraver"
6651 \remove "Bar_engraver"
6652 minimumVerticalExtent = ##f
6656 \remove Ligature_bracket_engraver
6657 \consists Vaticana_ligature_engraver
6658 NoteHead \set #'style = #'vaticana_punctum
6659 Stem \set #'transparent = ##t
6666 @code{14. Scandicus}
6668 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6669 \include "gregorian-init.ly"
6671 \notes \transpose c c' {
6673 \[ g \pes a \virga b \]
6680 \remove "Bar_number_engraver"
6684 \remove "Clef_engraver"
6685 \remove "Key_engraver"
6686 StaffSymbol \set #'transparent = ##t
6687 \remove "Time_signature_engraver"
6688 \remove "Bar_engraver"
6689 minimumVerticalExtent = ##f
6693 \remove Ligature_bracket_engraver
6694 \consists Vaticana_ligature_engraver
6695 NoteHead \set #'style = #'vaticana_punctum
6696 Stem \set #'transparent = ##t
6702 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6703 \include "gregorian-init.ly"
6705 \notes \transpose c c' {
6706 % Scandicus Auctus Descendens
6707 \[ g \pes a \pes \auctum \descendens b \]
6714 \remove "Bar_number_engraver"
6718 \remove "Clef_engraver"
6719 \remove "Key_engraver"
6720 StaffSymbol \set #'transparent = ##t
6721 \remove "Time_signature_engraver"
6722 \remove "Bar_engraver"
6723 minimumVerticalExtent = ##f
6727 \remove Ligature_bracket_engraver
6728 \consists Vaticana_ligature_engraver
6729 NoteHead \set #'style = #'vaticana_punctum
6730 Stem \set #'transparent = ##t
6736 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6737 \include "gregorian-init.ly"
6739 \notes \transpose c c' {
6740 % Scandicus Deminutus
6741 \[ g \pes a \pes \deminutum b \]
6748 \remove "Bar_number_engraver"
6752 \remove "Clef_engraver"
6753 \remove "Key_engraver"
6754 StaffSymbol \set #'transparent = ##t
6755 \remove "Time_signature_engraver"
6756 \remove "Bar_engraver"
6757 minimumVerticalExtent = ##f
6761 \remove Ligature_bracket_engraver
6762 \consists Vaticana_ligature_engraver
6763 NoteHead \set #'style = #'vaticana_punctum
6764 Stem \set #'transparent = ##t
6773 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6774 \include "gregorian-init.ly"
6776 \notes \transpose c c' {
6778 \[ g \oriscus a \pes \virga b \]
6785 \remove "Bar_number_engraver"
6789 \remove "Clef_engraver"
6790 \remove "Key_engraver"
6791 StaffSymbol \set #'transparent = ##t
6792 \remove "Time_signature_engraver"
6793 \remove "Bar_engraver"
6794 minimumVerticalExtent = ##f
6798 \remove Ligature_bracket_engraver
6799 \consists Vaticana_ligature_engraver
6800 NoteHead \set #'style = #'vaticana_punctum
6801 Stem \set #'transparent = ##t
6807 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6808 \include "gregorian-init.ly"
6810 \notes \transpose c c' {
6811 % Salicus Auctus Descendens
6812 \[ g \oriscus a \pes \auctum \descendens b \]
6819 \remove "Bar_number_engraver"
6823 \remove "Clef_engraver"
6824 \remove "Key_engraver"
6825 StaffSymbol \set #'transparent = ##t
6826 \remove "Time_signature_engraver"
6827 \remove "Bar_engraver"
6828 minimumVerticalExtent = ##f
6832 \remove Ligature_bracket_engraver
6833 \consists Vaticana_ligature_engraver
6834 NoteHead \set #'style = #'vaticana_punctum
6835 Stem \set #'transparent = ##t
6845 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6846 \include "gregorian-init.ly"
6848 \notes \transpose c c' {
6850 \[ \stropha b \stropha b \stropha a \]
6857 \remove "Bar_number_engraver"
6861 \remove "Clef_engraver"
6862 \remove "Key_engraver"
6863 StaffSymbol \set #'transparent = ##t
6864 \remove "Time_signature_engraver"
6865 \remove "Bar_engraver"
6866 minimumVerticalExtent = ##f
6870 \remove Ligature_bracket_engraver
6871 \consists Vaticana_ligature_engraver
6872 NoteHead \set #'style = #'vaticana_punctum
6873 Stem \set #'transparent = ##t
6885 Unlike most other neumes notation systems, the input language for
6886 neumes does not necessarily reflect directly the typographical
6887 appearance, but is designed to solely focuse on musical meaning. For
6888 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6889 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6890 a Porrectus with a curved flexa shape and only a single Punctum head.
6891 There is no command to explicitly typeset the curved flexa shape; the
6892 decision of when to typeset a curved flexa shape is purely taken from
6893 the musical input. The idea of this approach is to separate the
6894 musical aspects of the input from the notation style of the output.
6895 This way, the same input can be reused to typeset the same music in a
6896 different style of Gregorian chant notation such as Hufnagel (also
6897 known as German gothic neumes) or Medicaea (kind of a very simple
6898 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6899 engraver and Medicaea ligature engraver will have been implemented, it
6900 will be as simple as replacing the ligature engraver in the
6901 @internalsref{Voice} context to get the desired notation style from
6904 The following table shows the code fragments that produce the
6905 ligatures in the above neumes table. The letter in the first column
6906 in each line of the below table indicates to which ligature in the
6907 above table it refers. The second column gives the name of the
6908 ligature. The third column shows the code fragment that produces this
6909 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6911 @multitable @columnfractions .1 .4 .5
6925 Punctum Inclinatum @tab
6926 @code{\[ \inclinatum b \]}
6930 Punctum Auctum Ascendens @tab
6931 @code{\[ \auctum \ascendens b \]}
6935 Punctum Auctum Descendens @tab
6936 @code{\[ \auctum \descendens b \]}
6940 Punctum Inclinatum Auctum @tab
6941 @code{\[ \inclinatum \auctum b \]}
6945 Punctum Inclinatum Parvum @tab
6946 @code{\[ \inclinatum \deminutum b \]}
6951 @code{\[ \virga b \]}
6956 @code{\[ \stropha b \]}
6961 @code{\[ \stropha \auctum b \]}
6966 @code{\[ \oriscus b \]}
6970 Clivis vel Flexa @tab
6971 @code{\[ b \flexa g \]}
6975 Clivis Aucta Descendens @tab
6976 @code{\[ b \flexa \auctum \descendens g \]}
6980 Clivis Aucta Ascendens @tab
6981 @code{\[ b \flexa \auctum \ascendens g \]}
6986 @code{\[ b \flexa \deminutum g \]}
6990 Podatus vel Pes @tab
6991 @code{\[ g \pes b \]}
6995 Pes Auctus Descendens @tab
6996 @code{\[ g \pes \auctum \descendens b \]}
7000 Pes Auctus Ascendens @tab
7001 @code{\[ g \pes \auctum \ascendens b \]}
7006 @code{\[ g \pes \deminutum b \]}
7011 @code{\[ \oriscus g \pes \virga b \]}
7015 Pes Quassus Auctus Descendens @tab
7016 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7021 @code{\[ \quilisma g \pes b \]}
7025 Quilisma Pes Auctus Descendens @tab
7026 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7030 Pes Initio Debilis @tab
7031 @code{\[ \deminutum g \pes b \]}
7035 Pes Auctus Descendens Initio Debilis @tab
7036 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7041 @code{\[ a \pes b \flexa g \]}
7045 Torculus Auctus Descendens @tab
7046 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7050 Torculus Deminutus @tab
7051 @code{\[ a \pes b \flexa \deminutum g \]}
7055 Torculus Initio Debilis @tab
7056 @code{\[ \deminutum a \pes b \flexa g \]}
7060 Torculus Auctus Descendens Initio Debilis @tab
7061 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7065 Torculus Deminutus Initio Debilis @tab
7066 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7071 @code{\[ a \flexa g \pes b \]}
7075 Porrectus Auctus Descendens @tab
7076 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7080 Porrectus Deminutus @tab
7081 @code{\[ a \flexa g \pes \deminutum b \]}
7086 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7090 Climacus Auctus @tab
7091 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7095 Climacus Deminutus @tab
7096 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7101 @code{\[ g \pes a \virga b \]}
7105 Scandicus Auctus Descendens @tab
7106 @code{\[ g \pes a \pes \auctum \descendens b \]}
7110 Scandicus Deminutus @tab
7111 @code{\[ g \pes a \pes \deminutum b \]}
7116 @code{\[ g \oriscus a \pes \virga b \]}
7120 Salicus Auctus Descendens @tab
7121 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7126 @code{\[ \stropha b \stropha b \stropha a \]}
7132 The following head prefixes are supported:
7134 @cindex @code{\virga}
7136 @cindex @code{\stropha}
7138 @cindex @code{\inclinatum}
7140 @cindex @code{\auctum}
7142 @cindex @code{\descendens}
7144 @cindex @code{\ascendens}
7146 @cindex @code{\oriscus}
7148 @cindex @code{\quilisma}
7150 @cindex @code{\deminutum}
7153 Head prefixes can be accumulated, though restrictions apply. For
7154 example, either @code{\descendens} or @code{\ascendens} can be applied
7155 to a head, but not both to the same head.
7158 @cindex @code{\flexa}
7159 Two adjacent heads can be tied together with the @code{\pes} and
7160 @code{\flexa} infix commands for a rising and falling line of melody,
7165 Trigonus: apply equal spacing, regardless of pitch.
7168 @subsection Figured bass
7170 @cindex Basso continuo
7172 @c TODO: musicological blurb about FB
7176 LilyPond has limited support for figured bass:
7178 @lilypond[verbatim,fragment]
7180 \context Voice \notes { \clef bass dis4 c d ais}
7181 \context FiguredBass
7183 < 6 >4 < 7 >8 < 6+ [_!] >
7189 The support for figured bass consists of two parts: there is an input
7190 mode, introduced by @code{\figures}, where you can enter bass figures
7191 as numbers, and there is a context called @internalsref{FiguredBass} that
7192 takes care of making @internalsref{BassFigure} objects.
7194 In figures input mode, a group of bass figures is delimited by
7195 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7200 \context FiguredBass
7204 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7211 \context FiguredBass
7212 \figures { <4- 6+ 7!> }
7215 Spaces or dashes may be inserted by using @code{_}. Brackets are
7216 introduced with @code{[} and @code{]}:
7222 \context FiguredBass
7223 \figures { < [4 6] 8 [_! 12]> }
7226 Although the support for figured bass may superficially resemble chord
7227 support, it works much simpler. The @code{\figures} mode simply
7228 stores the numbers , and @internalsref{FiguredBass} context prints
7229 them as entered. There is no conversion to pitches, and no
7230 realizations of the bass are played in the MIDI file.
7232 Internally, the code produces markup texts. You can use any of the
7233 markup text properties to override formatting. For example, the
7234 vertical spacing of the figures may be set with @code{baseline-skip}.
7238 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7239 and @internalsref{FiguredBass} context.
7243 Slash notation for alterations is not supported.
7246 @node Vaticana style contexts
7247 @subsection Vaticana style contexts
7249 @cindex VaticanaVoiceContext
7250 @cindex VaticanaStaffContext
7252 The predefined @code{VaticanaVoiceContext} and
7253 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7254 Gregorian Chant in the style of the Editio Vaticana. These contexts
7255 initialize all relevant context properties and grob properties to
7256 proper values. With these contexts, you can immediately go ahead
7257 entering the chant, as the following short excerpt demonstrates:
7259 @lilypond[raggedright,verbatim,noindent]
7260 \include "gregorian-init.ly"
7263 \context VaticanaVoice {
7264 \property Score.BarNumber \set #'transparent = ##t
7266 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7267 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7268 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7271 \context Lyrics \lyrics {
7272 San- ctus, San- ctus, San- ctus
7277 @node Contemporary notation
7278 @section Contemporary notation
7280 In the 20th century, composers have greatly expanded the musical
7281 vocabulary. With this expansion, many innovations in musical notation
7282 have been tried. The book by Stone (1980) gives a comprehensive
7283 overview (see @ref{Literature list}). In general, the use of new,
7284 innovative notation makes a piece harder to understand and perform and
7285 its use should therefore be avoided if possible. For this reason,
7286 support for contemporary notation in LilyPond is limited.
7295 @subsection Clusters
7299 In musical terminology, a @emph{cluster} denotes a range of
7300 simultaneously sounding pitches that may change over time. The set of
7301 available pitches to apply usually depends on the accoustic source.
7302 Thus, in piano music, a cluster typically consists of a continous range
7303 of the semitones as provided by the piano's fixed set of a chromatic
7304 scale. In choral music, each singer of the choir typically may sing an
7305 arbitrary pitch within the cluster's range that is not bound to any
7306 diatonic, chromatic or other scale. In electronic music, a cluster
7307 (theoretically) may even cover a continuous range of pitches, thus
7308 resulting in coloured noise, such as pink noise.
7310 Clusters can be denoted in the context of ordinary staff notation by
7311 engraving simple geometrical shapes that replace ordinary notation of
7312 notes. Ordinary notes as musical events specify starting time and
7313 duration of pitches; however, the duration of a note is expressed by the
7314 shape of the note head rather than by the horizontal graphical extent of
7315 the note symbol. In contrast, the shape of a cluster geometrically
7316 describes the development of a range of pitches (vertical extent) over
7317 time (horizontal extent). Still, the geometrical shape of a cluster
7318 covers the area in wich any single pitch contained in the cluster would
7319 be notated as an ordinary note. From this point of view, it is
7320 reasonable to specify a cluster as the envelope of a set of notes.
7324 A cluster is engraved as the envelope of a set of
7325 cluster-notes. Cluster notes are created by applying the function
7326 @code{notes-to-clusters} to a sequence of chords, e.g.
7328 @lilypond[relative 1,verbatim]
7329 \apply #notes-to-clusters { <c e > <b f'> }
7332 The following example (from
7333 @inputfileref{input/regression,cluster.ly}) shows what the result
7336 @lilypondfile[notexidoc]{cluster.ly}
7338 By default, @internalsref{Cluster_spanner_engraver} is in the
7339 @internalsref{Voice} context. This allows putting ordinary notes and
7340 clusters together in the same staff, even simultaneously. In such a
7341 case no attempt is made to automatically avoid collisions between
7342 ordinary notes and clusters.
7346 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7347 @inputfileref{input/regression,cluster.ly},
7348 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7352 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7353 accurately. Use @code{<g a>8 <e a>8} instead.
7358 @subsection Fermatas
7364 Contemporary music notation frequently uses special fermata symbols to
7365 indicate fermatas of differing lengths.
7369 The following are supported
7371 @lilypond[singleline]
7373 << \addlyrics \notes {
7393 \context Lyrics \lyrics {
7394 "shortfermata" "fermata" "longfermata" "verylongfermata"
7399 See @ref{Articulations} for general instructions how to apply scripts
7400 such as fermatas to a @code{\notes@{@}} block.
7403 @section Tuning output
7405 There are situations where default layout decisions are not
7406 sufficient. In this section we discuss ways to override these
7409 Formatting is internally done by manipulating so called objects
7410 (graphic objects). Each object carries with it a set of properties
7411 (object or layout properties) specific to that object. For example, a
7412 stem object has properties that specify its direction, length and
7415 The most direct way of tuning the output is by altering the values of
7416 these properties. There are two ways of doing that: first, you can
7417 temporarily change the definition of one type of object, thus
7418 affecting a whole set of objects. Second, you can select one specific
7419 object, and set a layout property in that object.
7421 Do not confuse layout properties with translation
7422 properties. Translation properties always use a mixed caps style
7423 naming, and are manipulated using @code{\property}:
7425 \property Context.propertyName = @var{value}
7427 Layout properties are use Scheme style variable naming, i.e. lower
7428 case words separated with dashes. They are symbols, and should always
7429 be quoted using @code{#'}. For example, this could be an imaginary
7430 layout property name:
7432 #'layout-property-name
7441 @node Tuning objects
7442 @subsection Tuning objects
7444 @cindex object description
7446 The definition of an object is a list of default object
7447 properties. For example, the definition of the Stem object (available
7448 in @file{scm/define-grobs.scm}), includes the following definitions
7449 for @internalsref{Stem}:
7453 (beamed-lengths . (0.0 2.5 2.0 1.5))
7454 (Y-extent-callback . ,Stem::height)
7459 Adding variables on top of this existing definition overrides the
7460 system default, and alters the resulting appearance of the layout
7466 Changing a variable for only one object is commonly achieved with
7470 \once \property @var{context}.@var{objectname}
7471 \override @var{symbol} = @var{value}
7473 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7474 and @var{objectname} is a string and @var{value} is a Scheme expression.
7475 This command applies a setting only during one moment in the score.
7477 In the following example, only one @internalsref{Stem} object is
7478 changed from its original setting:
7480 @lilypond[verbatim, fragment, relative=1]
7482 \once \property Voice.Stem \set #'thickness = #4
7486 @cindex @code{\once}
7488 For changing more objects, the same command, without @code{\once} can
7491 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7493 This command adds @code{@var{symbol} = @var{value}} to the definition
7494 of @var{objectname} in the context @var{context}, and this definition
7495 stays in place until it is removed.
7497 An existing definition may be removed by the following command:
7500 \property @var{context}.@var{objectname} \revert @var{symbol}
7503 All @code{\override} and @code{\revert} commands should be balanced.
7504 The @code{\set} shorthand performs a revert followed by an override,
7505 and is often more convenient to use
7508 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7512 @lilypond[verbatim,quote]
7513 c'4 \property Voice.Stem \override #'thickness = #4.0
7515 c'4 \property Voice.Stem \revert #'thickness
7519 The following example gives exactly the same result as the previous
7520 one (assuming the system default for stem thickness is 1.3):
7522 @lilypond[verbatim,quote]
7523 c'4 \property Voice.Stem \set #'thickness = #4.0
7525 c'4 \property Voice.Stem \set #'thickness = #1.3
7529 Reverting a setting which was not set in the first place has no
7530 effect. However, if the setting was set as a system default, this may
7531 remove the default value, and this may give surprising results,
7532 including crashes. In other words, @code{\override} and
7533 @code{\revert} must be carefully balanced. The following are examples
7534 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7538 a clumsy but correct form:
7540 \override \revert \override \revert \override \revert
7544 shorter version of the same:
7546 \override \set \set \revert
7550 a short form, using only @code{\set}. This requires you to know the
7553 \set \set \set \set @var{to default value}
7557 if there is no default (i.e. by default, the object property is unset),
7560 \set \set \set \revert
7564 The object description is an Scheme association list. Since a Scheme
7565 list is a singly linked list, we can treat it as a stack, and
7566 @code{\override} and @code{\revert} are push and pop operations. The
7567 association list is stored in a normal context property, hence
7569 \property Voice.NoteHead = #'()
7571 will effectively erase @internalsref{NoteHead}s from the current
7572 @internalsref{Voice}. Typically, this will blank the object. However,
7573 this mechanism should not be used: it may cause crashes or other
7578 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7579 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7580 @internalsref{All-layout-objects}.
7585 The backend is not very strict in type-checking object properties.
7586 Cyclic references in Scheme values for properties cause hangs and/or
7587 crashes. Reverting properties that are system defaults may also lead
7590 A property tweak of modifies a local copy of the object definition.
7591 After such a tweak, the definition is independent of the objects in
7592 enclosing contexts. For example
7595 \property Voice.Stem \set #'neutral-direction = #1
7597 \property Staff.Stem \set #'thickness = #4.0
7602 In this fragment, @code{neutral-direction} is tweaked. As a result,
7603 the current @internalsref{Voice} gets a private version of the
7604 @internalsref{Stem} object. The following tweak modifies the
7605 definition at @internalsref{Staff} level. Since it a different
7606 definition, the thickness of the @code{b'16} is unaffected. For the
7607 third note, a new Voice is created, which inherits the new definition,
7608 including the changed thickness, but excluding the new neutral
7612 @node Tuning spanning contexts
7613 @section Tuning spanning contexts
7615 Certain objects, for example, the staff symbol, are constructed before
7616 any @code{\property} statements are executed. Therefore, they must be
7617 tuned with a different mechanism. This mechanism is @code{\with}. The
7618 syntax is as follows
7622 @var{property-settings}
7626 These statements comes between @code{\new} or @code{\context} and the
7627 music to be interpreted. @var{property-settings} may be any type of
7628 @code{\property} command. The following example shows how a staff is
7629 created with bigger spaces:
7631 @lilypond[relative=1,fragment]
7632 << \new Staff { c4 es4 g2 }
7634 StaffSymbol \set #'staff-space = #(magstep 1.5)
7643 @code{\with} has no effect for already existing contexts. @code{\with}
7644 can not be used for @internalsref{Score} contexts.
7648 * Constructing a tweak::
7654 @node Constructing a tweak
7655 @subsection Constructing a tweak
7658 @cindex internal documentation
7659 @cindex finding graphical objects
7660 @cindex graphical object descriptions
7662 @cindex @code{\override}
7664 @cindex internal documentation
7668 Three pieces of information are required to use @code{\override} and
7669 @code{\set}: the name of the layout object, the context and the name
7670 of the property. We demonstrate how to glean this information from
7671 the notation manual and the generated documentation.
7673 The generated documentation is a set of HTML pages which should be
7674 included if you installed a binary distribution, typically in
7675 @file{/usr/share/doc/lilypond}. They are also available on the web:
7676 go to the @uref{http://lilypond.org,LilyPond website}, click
7677 ``Documentation'', select the correct version, and click then
7678 ``Program reference.'' It is advisable to bookmark the local HTML
7679 files. They will load faster than the ones on the web. If you use the
7680 version from the web, you must check whether the documentation matches
7681 the program version: it is generated from the definitions that the
7682 program uses, and therefore it is strongly tied to the LilyPond
7686 @c [TODO: revise for new site.]
7688 Suppose we want to move the fingering indication in the fragment below:
7690 @lilypond[relative=2,verbatim]
7696 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7697 instructions}), you will notice that there is written:
7702 @internalsref{FingerEvent} and @internalsref{Fingering}.
7709 In other words, the fingerings once entered, are internally stored as
7710 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7711 layout object is created for every @code{FingerEvent}.
7713 The Fingering object has a number of different functions, and each of
7714 those is captured in an interface. The interfaces are listed under
7715 @internalsref{Fingering} in the program reference.
7719 The @code{Fingering} object has a fixed size
7720 (@internalsref{item-interface}), the symbol is a piece of text
7721 (@internalsref{text-interface}), whose font can be set
7722 (@internalsref{font-interface}). It is centered horizontally
7723 (@internalsref{self-alignment-interface}), it is placed next to other
7724 objects (@internalsref{side-position-interface}) vertically, and its
7725 placement is coordinated with other scripts
7726 (@internalsref{text-script-interface}). It also has the standard
7727 @internalsref{grob-interface} (grob stands for Graphical object)
7729 @cindex graphical object
7730 @cindex layout object
7731 @cindex object, layout
7732 with all the variables that come with
7733 it. Finally, it denotes a fingering instruction, so it has
7734 @internalsref{finger-interface}.
7736 For the vertical placement, we have to look under
7737 @code{side-position-interface}:
7739 @code{side-position-interface}
7741 Position a victim object (this one) next to other objects (the
7742 support). In this case, the property @code{direction} signifies where to put the
7743 victim object relative to the support (left or right, up or down?)
7748 below this description, the variable @code{padding} is described as
7752 (dimension, in staff space)
7754 add this much extra space between objects that are next to each
7755 other. Default value: @code{0.6}
7759 By increasing the value of @code{padding}, we can move away the
7760 fingering. The following command inserts 3 staff spaces of white
7761 between the note and the fingering:
7763 \once \property Voice.Fingering \set #'padding = #3
7766 Inserting this command before the Fingering object is created,
7767 i.e. before @code{c2}, yields the following result:
7769 @lilypond[relative=2,fragment,verbatim]
7770 \once \property Voice.Fingering
7777 The context name @code{Voice} in the example above can be determined
7778 as follows. In the documentation for @internalsref{Fingering}, it says
7780 Fingering grobs are created by: @internalsref{Fingering_engraver}
7783 Clicking @code{Fingering_engraver} shows the documentation of
7784 the module responsible for interpreting the fingering instructions and
7785 translating them to a @code{Fingering} object. Such a module is called
7786 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7789 Fingering_engraver is part of contexts: Voice
7791 so tuning the settings for Fingering should be done with
7793 \property Voice.Fingering \set @dots{}
7796 Of course, the tweak may also done in a larger context than
7797 @code{Voice}, for example, @internalsref{Staff} or
7798 @internalsref{Score}.
7802 The program reference also contains alphabetical lists of
7803 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7804 @internalsref{Music-expressions}, so you can also find which objects to
7805 tweak by browsing the internals document.
7809 @subsection Applyoutput
7811 The most versatile way of tuning an object is @code{\applyoutput}. Its
7814 \applyoutput @var{proc}
7818 where @var{proc} is a Scheme function, taking three arguments.
7820 When interpreted, the function @var{proc} is called for every layout
7821 object found in the context, with the following arguments:
7823 @item the layout object itself,
7824 @item the context where the layout object was created, and
7825 @item the context where @code{\applyoutput} is processed.
7829 In addition, the cause of the layout object, i.e. the music
7830 expression or object that was responsible for creating it, is in the
7831 object property @code{cause}. For example, for a note head, this is a
7832 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7833 this is a @internalsref{NoteHead} object.
7835 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7838 (define (blanker grob grob-origin context)
7839 (if (and (memq (ly:get-grob-property grob 'interfaces)
7840 note-head-interface)
7841 (eq? (ly:get-grob-property grob 'staff-position) 0))
7843 (ly:set-grob-property! grob 'transparent #t)))
7848 @node Font selection
7849 @subsection Font selection
7851 The most common thing to change about the appearance of fonts is their
7852 size. The font size of any context can be easily changed by setting
7853 the @code{fontSize} property for that context. Its value is a number:
7854 negative numbers make the font smaller, positive numbers larger. An
7855 example is given below:
7857 @lilypond[fragment,relative=1,verbatim,quote]
7858 c4 c4 \property Voice.fontSize = #-1
7861 This command will set @code{font-size} (see below), and does
7862 not change the size of variable symbols, such as beams or slurs.
7864 One of the uses of @code{fontSize} is to get smaller symbols for cue
7865 notes. An elaborate example of those is in
7866 @inputfileref{input/test,cue-notes.ly}.
7868 @cindex magnification
7871 The font used for printing a object can be selected by setting
7872 @code{font-name}, e.g.
7874 \property Staff.TimeSignature
7875 \set #'font-name = #"cmr17"
7879 Any font can be used, as long as it is available to @TeX{}. Possible
7880 fonts include foreign fonts or fonts that do not belong to the
7881 Computer Modern font family. The size of fonts selected in this way
7882 can be changed with the @code{font-magnification} property. For
7883 example, @code{2.0} blows up all letters by a factor 2 in both
7887 @cindex font magnification
7889 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7890 can also be adjusted with a more fine-grained mechanism. By setting
7891 the object properties described below, you can select a different font;
7892 all three mechanisms work for every object that supports
7893 @code{font-interface}:
7898 is a symbol indicating the general class of the typeface. Supported are
7899 @code{roman} (Computer Modern), @code{braces} (for piano staff
7900 braces), @code{music} (the standard music font, including ancient
7901 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7904 is a symbol indicating the shape of the font, there are typically several
7905 font shapes available for each font family. Choices are @code{italic},
7906 @code{caps} and @code{upright}.
7909 is a symbol indicating the series of the font. There are typically several
7910 font series for each font family and shape. Choices are @code{medium}
7915 For any of these properties, the value @code{*} (i.e. the symbol
7916 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7917 to override default setting, which are always present. For example:
7919 \property Lyrics . LyricText \override #'font-series = #'bold
7920 \property Lyrics . LyricText \override #'font-family = #'typewriter
7921 \property Lyrics . LyricText \override #'font-shape = #'*
7924 @cindex @code{font-style}
7926 The font size is set by modifying the @code{font-size} property. Its
7927 value is a number indicating the size relative to the standard size.
7928 Each step up is an increase of approximately 12% of the font size. Six
7929 steps is exactly a factor two. The Scheme function @code{magstep}
7930 converts a @code{font-size} number to a scaling factor.
7932 LilyPond has fonts in different design sizes: the music fonts for
7933 smaller sizes are chubbier, while the text fonts are relatively wider.
7934 Font size changes are achieved by scaling the design size that is
7935 closest to the desired size.
7937 The @code{font-size} mechanism does not work for fonts selected
7938 through @code{font-name}. These may be scaled with
7939 @code{font-magnification}.
7943 The following commands set @code{fontSize} for the current voice.
7945 @cindex @code{\tiny}
7947 @cindex @code{\small}
7949 @cindex @code{\normalsize}
7954 @file{ly/paper20.ly} contains hints how new fonts may be added to
7959 There is no style sheet provided for other fonts besides the @TeX{}
7962 @cindex font selection
7963 @cindex font magnification
7964 @cindex @code{font-interface}
7968 @subsection Text markup
7973 @cindex typeset text
7975 LilyPond has an internal mechanism to typeset texts. You can access it
7976 with the keyword @code{\markup}. Within markup mode, you can enter texts
7977 similar to lyrics: simply enter them, surrounded by spaces:
7980 @lilypond[verbatim,fragment,relative=1]
7981 c1^\markup { hello }
7982 c1_\markup { hi there }
7983 c1^\markup { hi \bold there, is \italic anyone home? }
7986 @cindex font switching
7988 The markup in the example demonstrates font switching commands. The
7989 command @code{\bold} and @code{\italic} only apply to the first
7990 following word; enclose a set of texts with braces to apply a command
7993 \markup @{ \bold @{ hi there @} @}
7997 For clarity, you can also do this for single arguments, e.g.
7999 \markup @{ is \italic @{ anyone @} home @}
8002 @cindex font size, texts
8004 The following size commands set absolute sizes:
8006 @cindex @code{\teeny}
8007 @cindex @code{\tiny}
8008 @cindex @code{\small}
8009 @cindex @code{\large}
8010 @cindex @code{\huge}
8020 You can also make letter larger or smaller relative to their neighbors,
8021 with the commands @code{\larger} and @code{\smaller}.
8025 @cindex font style, for texts
8026 @cindex @code{\bold}
8027 @cindex @code{\dynamic}
8028 @cindex @code{\number}
8029 @cindex @code{\italic}
8031 The following font change commands are defined:
8034 changes to the font used in dynamic signs. This font does not
8035 contain all characters of the alphabet, so when producing ``piu f'',
8036 the ``piu'' should be done in a different font.
8040 changes to the font used in time signatures. It only contains
8041 numbers and a few punctuation marks.
8043 changes @code{font-shape} to @code{italic}.
8045 changes @code{font-series} to @code{bold}.
8048 @cindex raising text
8049 @cindex lowering text
8051 @cindex translating text
8054 @cindex @code{\super}
8056 Raising and lowering texts can be done with @code{\super} and
8059 @lilypond[verbatim,fragment,relative=1]
8060 c1^\markup { E "=" mc \super "2" }
8063 @cindex @code{\raise}
8065 If you want to give an explicit amount for lowering or raising, use
8066 @code{\raise}. This command takes a Scheme valued first argument, and
8067 a markup object as second argument:
8069 @lilypond[verbatim,fragment,relative=1,quote]
8070 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8072 The argument to @code{\raise} is the vertical displacement amount,
8073 measured in (global) staff spaces. @code{\raise} and @code{\super}
8074 raise objects in relation to their surrounding markups. They cannot be
8075 used to move a single text up or down, when it is above or below a
8076 note, since the mechanism that positions it next to the note cancels
8077 any vertical shift. For vertical positioning, use the @code{padding}
8078 and/or @code{extra-offset} properties.
8080 Other commands taking single arguments include
8083 @item \bracket, \hbracket
8084 Bracket the argument markup with normal and horizontal brackets
8088 @cindex @code{\musicglyph}
8089 This is converted to a musical symbol, e.g. @code{\musicglyph
8090 #"accidentals-0"} will select the natural sign from the music font.
8091 See @ref{The Feta font} for a complete listing of the possible glyphs.
8093 This produces a single character, e.g. @code{\char #65} produces the
8096 @item \note @var{log} @var{dots} @var{dir}
8097 @cindex @code{\note}
8099 This produces a note with a stem pointing in @var{dir} direction, with
8100 duration log @var{log} and @var{dots} augmentation dots. The duration
8101 log is the negative 2-logarithm of the duration denominator. For
8102 example, a quarter note has log 2, an eighth note 3 and a breve has
8105 @item \hspace #@var{amount}
8106 @cindex @code{\hspace}
8107 This produces a invisible object taking horizontal space.
8109 \markup @{ A \hspace #2.0 B @}
8111 will put extra space between A and B, on top of the space that is
8112 normally inserted before elements on a line.
8114 @item \fontsize #@var{size}
8115 @cindex @code{\fontsize}
8116 This sets the relative font size, eg.
8118 A \fontsize #2 @{ B C @} D
8122 This will enlarge the B and the C by two steps.
8123 @item \translate #(cons @var{x} @var{y})
8125 This translates an object. Its first argument is a cons of numbers
8127 A \translate #(cons 2 -3) @{ B C @} D
8129 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8130 surroundings. This command cannot be used to move isolated scripts
8131 vertically, for the same reason that @code{\raise} cannot be used for
8134 @item \magnify #@var{mag}
8135 @cindex @code{\magnify}
8136 This sets the font magnification for the its argument. In the following
8137 example, the middle A will be 10% larger:
8139 A \magnify #1.1 @{ A @} A
8143 @item \override #(@var{key} . @var{value})
8144 @cindex @code{\override}
8145 This overrides a formatting property for its argument. The argument
8146 should be a key/value pair, e.g.
8148 m \override #'(font-family . math) m m
8152 In markup mode you can compose expressions, similar to mathematical
8153 expressions, XML documents and music expressions. The braces group
8154 notes into horizontal lines. Other types of lists also exist: you can
8155 stack expressions grouped with @code{<}, and @code{>} vertically with
8156 the command @code{\column}. Similarly, @code{\center} aligns texts by
8159 @lilypond[verbatim,fragment,relative=1]
8160 c1^\markup { \column < a bbbb c > }
8161 c1^\markup { \center < a bbbb c > }
8162 c1^\markup { \line < a b c > }
8165 Markups can be stored in variables, and these variables
8166 may be attached to notes, like
8168 allegro = \markup { \bold \large { Allegro } }
8169 \notes { a^\allegro b c d }
8172 The markup mechanism is extensible. Refer to
8173 @file{scm/new-markup.scm} for more information.
8178 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
8185 Text layout is ultimately done by @TeX{}, which does kerning of
8186 letters. LilyPond does not account for kerning, so texts will be
8187 spaced slightly too wide.
8189 Syntax errors for markup mode are confusing.
8191 Markup texts cannot be used in the titling of the @code{\header}
8192 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8199 @section Global layout
8201 The global layout determined by three factors: the page layout, the
8202 line breaks and the spacing. These all influence each other. The
8203 choice of spacing determines how densely each system of music is set,
8204 which influences where line breaks breaks are chosen, and thus
8205 ultimately how many pages a piece of music takes. This section
8206 explains how to tune the algorithm for spacing.
8208 Globally spoken, this procedure happens in three steps: first,
8209 flexible distances (``springs'') are chosen, based on durations. All
8210 possible line breaking combination are tried, and the one with the
8211 best results---a layout that has uniform density and requires as
8212 little stretching or cramping as possible---is chosen. When the score
8213 is processed by @TeX{}, each page is filled with systems, and page breaks
8214 are chosen whenever the page gets full.
8219 * Vertical spacing::
8220 * Horizontal spacing::
8227 @node Vertical spacing
8228 @subsection Vertical spacing
8230 @cindex vertical spacing
8231 @cindex distance between staves
8232 @cindex staff distance
8233 @cindex between staves, distance
8234 @cindex staffs per page
8235 @cindex space between staves
8237 The height of each system is determined automatically by LilyPond, to
8238 keep systems from bumping into each other, some minimum distances are
8239 set. By changing these, you can put staves closer together, and thus
8240 put more systems onto one page.
8242 Normally staves are stacked vertically. To make
8243 staves maintain a distance, their vertical size is padded. This is
8244 done with the property @code{minimumVerticalExtent}. It takes a pair
8245 of numbers, so if you want to make it smaller from its, then you could
8248 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8250 This sets the vertical size of the current staff to 4 staff spaces on
8251 either side of the center staff line. The argument of
8252 @code{minimumVerticalExtent} is interpreted as an interval, where the
8253 center line is the 0, so the first number is generally negative. The
8254 staff can be made larger at the bottom by setting it to @code{(-6
8257 The piano staves are handled a little differently: to make cross-staff
8258 beaming work correctly, it is necessary that the distance between staves
8259 is fixed beforehand. This is also done with a
8260 @internalsref{VerticalAlignment} object, created in
8261 @internalsref{PianoStaff}. In this object the distance between the
8262 staves is fixed by setting @code{forced-distance}. If you want to
8263 override this, use a @code{\translator} block as follows:
8267 VerticalAlignment \override #'forced-distance = #9
8270 This would bring the staves together at a distance of 9 staff spaces,
8271 measured from the center line of each staff.
8275 Vertical alignment of staves is handled by the
8276 @internalsref{VerticalAlignment} object.
8280 @node Horizontal spacing
8281 @subsection Horizontal Spacing
8283 The spacing engine translates differences in durations into
8284 stretchable distances (``springs'') of differing lengths. Longer
8285 durations get more space, shorter durations get less. The shortest
8286 durations get a fixed amount of space (which is controlled by
8287 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8288 /The longer the duration, the more space it gets: doubling a
8289 duration adds a fixed amount (this amount is controlled by
8290 @code{spacing-increment}) of space to the note.
8292 For example, the following piece contains lots of half, quarter and
8293 8th notes, the eighth note is followed by 1 note head width (NHW).
8294 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8295 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8299 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8300 width of a note head, and @code{shortest-duration-space} is set to
8301 2.0, meaning that the shortest note gets 2 NHW (2 times
8302 @code{shortest-duration-space}) of space. For normal notes, this space
8303 is always counted from the left edge of the symbol, so the shortest
8304 notes are generally followed by one NHW of space.
8306 If one would follow the above procedure exactly, then adding a single
8307 32th note to a score that uses 8th and 16th notes, would widen up the
8308 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8309 thus adding 1 NHW to every note. To prevent this, the
8310 shortest duration for spacing is not the shortest note in the score,
8311 but the most commonly found shortest note. Notes that are even
8312 shorter this are followed by a space that is proportional to their
8313 duration relative to the common shortest note. So if we were to add
8314 only a few 16th notes to the example above, they would be followed by
8317 @lilypond[fragment, verbatim, relative=2]
8318 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8321 The most common shortest duration is determined as follows: in every
8322 measure, the shortest duration is determined. The most common short
8323 duration, is taken as the basis for the spacing, with the stipulation
8324 that this shortest duration should always be equal to or shorter than
8325 1/8th note. The shortest duration is printed when you run lilypond
8326 with @code{--verbose}. These durations may also be customized. If you
8327 set the @code{common-shortest-duration} in
8328 @internalsref{SpacingSpanner}, then this sets the base duration for
8329 spacing. The maximum duration for this base (normally 1/8th), is set
8330 through @code{base-shortest-duration}.
8332 @cindex @code{common-shortest-duration}
8333 @cindex @code{base-shortest-duration}
8334 @cindex @code{stem-spacing-correction}
8335 @cindex @code{spacing}
8337 In the introduction it was explained that stem directions influence
8338 spacing. This is controlled with @code{stem-spacing-correction}
8339 property in @internalsref{NoteSpacing}, which are generated for every
8340 @internalsref{Voice} context. The @code{StaffSpacing} object
8341 (generated at @internalsref{Staff} context) contains the same property
8342 for controlling the stem/barline spacing. The following example
8343 shows these corrections, once with default settings, and once with
8344 exaggerated corrections:
8350 \property Staff.NoteSpacing \override #'stem-spacing-correction
8352 \property Staff.StaffSpacing \override #'stem-spacing-correction
8357 \paper { raggedright = ##t } }
8360 @cindex SpacingSpanner, overriding properties
8362 Properties of the @internalsref{SpacingSpanner} must be overridden
8363 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8364 created before any @code{\property} statements are interpreted.
8366 \paper @{ \translator @{
8368 SpacingSpanner \override #'spacing-increment = #3.0
8375 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8376 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8377 @internalsref{SeparatingGroupSpanner}.
8381 Spacing is determined on a score wide basis. If you have a score that
8382 changes its character (measured in durations) halfway during the
8383 score, the part containing the longer durations will be spaced too
8386 There is no convenient mechanism to manually override spacing.
8391 @subsection Font size
8392 @cindex font size, setting
8393 @cindex staff size, setting
8394 @cindex @code{paper} file
8396 The Feta font provides musical symbols at seven different sizes.
8397 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8398 26 point. The point size of a font is the height of the corresponding
8399 staff (excluding line thicknesses).
8401 Definitions for these sizes are the files @file{paperSZ.ly}, where
8402 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8403 of these files, the variables @code{paperEleven},
8404 @code{paperThirteen}, @code{paperSixteen},
8405 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8406 are defined respectively. The default @code{\paper} block is also
8407 set. These files should be imported at toplevel, i.e.
8409 \include "paper26.ly"
8413 The default font size settings for each staff heights are generated
8414 from the 20pt style sheet. For more details, see the file
8415 @file{scm/font.scm}.
8419 @subsection Line breaking
8422 @cindex breaking lines
8424 Line breaks are normally computed automatically. They are chosen such
8425 that lines look neither cramped nor loose, and that consecutive lines
8426 have similar density.
8428 Occasionally you might want to override the automatic breaks; you can
8429 do this by specifying @code{\break}. This will force a line break at
8430 this point. Line breaks can only occur at places where there are bar
8431 lines. If you want to have a line break where there is no bar line,
8432 you can force an invisible bar line by entering @code{\bar
8433 ""}. Similarly, @code{\noBreak} forbids a line break at a
8437 @cindex regular line breaks
8438 @cindex four bar music.
8440 For linebreaks at regular intervals use @code{\break} separated by
8441 skips and repeated with @code{\repeat}:
8443 << \repeat unfold 7 @{ s1 * 4 \break @}
8444 @emph{the real music}
8449 This makes the following 28 measures (assuming 4/4 time) be broken every
8454 @internalsref{BreakEvent}.
8458 @subsection Page layout
8461 @cindex breaking pages
8463 @cindex @code{indent}
8464 @cindex @code{linewidth}
8466 The most basic settings influencing the spacing are @code{indent} and
8467 @code{linewidth}. They are set in the @code{\paper} block. They
8468 control the indentation of the first line of music, and the lengths of
8471 If @code{raggedright} is set to true in the @code{\paper}
8472 block, then the lines are justified at their natural length. This
8473 useful for short fragments, and for checking how tight the natural
8477 @cindex vertical spacing
8479 The page layout process happens outside the LilyPond formatting
8480 engine: variables controlling page layout are passed to the output,
8481 and are further interpreted by @code{lilypond} wrapper program. It
8482 responds to the following variables in the @code{\paper} block. The
8483 variable @code{textheight} sets the total height of the music on each
8484 page. The spacing between systems is controlled with
8485 @code{interscoreline}, its default is 16pt. The distance between the
8486 score lines will stretch in order to fill the full page
8487 @code{interscorelinefill} is set to a positive number. In that case
8488 @code{interscoreline} specifies the minimum spacing.
8490 @cindex @code{textheight}
8491 @cindex @code{interscoreline}
8492 @cindex @code{interscorelinefill}
8494 If the variable @code{lastpagefill} is defined,
8495 @c fixme: this should only be done if lastpagefill == #t
8496 systems are evenly distributed vertically on the last page. This
8497 might produce ugly results in case there are not enough systems on the
8498 last page. The @command{lilypond-book} command ignores
8499 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8502 @cindex @code{lastpagefill}
8504 Page breaks are normally computed by @TeX{}, so they are not under
8505 direct control of LilyPond. However, you can insert a commands into
8506 the @file{.tex} output to instruct @TeX{} where to break pages. This
8507 is done by setting the @code{between-systems-strings} on the
8508 @internalsref{NonMusicalPaperColumn} where the system is broken.
8509 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8510 The predefined command @code{\newpage} also does this.
8514 @cindex @code{papersize}
8516 To change the paper size, you must first set the @code{papersize} paper
8517 variable variable as in the example below. Set it to
8518 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8519 specification, you must set the font as described above. If you want
8520 the default font, then use the 20 point font.
8523 \paper@{ papersize = "a4" @}
8524 \include "paper16.ly"
8527 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8528 will set the paper variables @code{hsize} and @code{vsize} (used by
8529 @code{lilypond-book} and @code{lilypond}).
8534 @cindex @code{\newpage}
8540 @ref{Invoking lilypond},
8541 @inputfileref{input/regression,between-systems.ly}, and
8542 @internalsref{NonMusicalPaperColumn}.
8546 LilyPond has no concept of page layout, which makes it difficult to
8547 reliably choose page breaks in longer pieces.
8556 Entered music can also be converted to MIDI output. The performance
8557 is good enough for proof-hearing the music for errors.
8559 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8560 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8561 marks translate to a fixed fraction of the available MIDI volume
8562 range, crescendi and decrescendi make the volume vary linearly between
8563 their two extremities. The fractions can be adjusted by
8564 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8565 For each type of MIDI instrument, a volume range can be defined. This
8566 gives a basic equalizer control, which can enhance the quality of
8567 the MIDI output remarkably. The equalizer can be controlled by
8568 setting @code{instrumentEqualizer}.
8572 Many musically interesting effects, such as swing, articulation,
8573 slurring, etc., are not translated to MIDI.
8578 * MIDI instrument names::
8583 @subsection MIDI block
8587 The MIDI block is analogous to the paper block, but it is somewhat
8588 simpler. The @code{\midi} block can contain:
8592 @item a @code{\tempo} definition, and
8593 @item context definitions.
8596 Assignments in the @code{\midi} block are not allowed.
8598 A number followed by a period is interpreted as a real number, so
8599 for setting the tempo for dotted notes, an extra space should be
8600 inserted, for example:
8603 \midi @{ \tempo 4 . = 120 @}
8607 @cindex context definition
8609 Context definitions follow precisely the same syntax as within the
8610 \paper block. Translation modules for sound are called performers.
8611 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8614 @node MIDI instrument names
8615 @subsection MIDI instrument names
8617 @cindex instrument names
8618 @cindex @code{Staff.midiInstrument}
8620 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8621 property. The instrument name should be chosen from the list in
8622 @ref{MIDI instruments}.
8626 If the selected string does not exactly match, then the default is
8627 used, which is the Grand Piano.