2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automagically fill in these menus before saving changes
8 @c FIXME: singular vs. plural: Beams/Beam
12 @chapter Notation manual
14 This chapter describes all the different types of notation supported
15 by LilyPond. It is intended as a reference for users that are already
16 somewhat familiar with using LilyPond.
20 * Easier music entry::
34 * Contemporary notation::
42 @c FIXME: Note entry vs Music entry at top level menu is confusing.
48 The basic elements of any piece of music are the notes. This section
49 is about basic notation elements notes, rests and related constructs,
50 such as stems, tuplets and ties.
55 * Chromatic alterations::
70 A note is printed by specifying its pitch and then its duration:
71 @footnote{Notes constitute the most basic elements of LilyPond input,
72 but they do not form valid input on their own without a @code{\score}
73 block. However, for the sake of brevity and simplicity we will
74 generally omit @code{\score} blocks and @code{\paper} declarations in
77 @lilypond[fragment,verbatim]
86 @cindex Note specification
88 @cindex entering notes
90 The most common syntax for pitch entry is used in @code{\chords} and
91 @code{\notes} mode. In Note and Chord mode, pitches may be designated
92 by names. The notes are specified by the letters @code{a} through
93 @code{g}, while the octave is formed with notes ranging from @code{c}
94 to @code{b}. The pitch @code{c} is an octave below middle C and the
95 letters span the octave above that C:
97 @lilypond[fragment,verbatim]
99 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
102 @cindex note names, Dutch
104 A sharp is formed by adding @code{-is} to the end of a pitch name and
105 a flat is formed by adding @code{-es}. Double sharps and double flats
106 are obtained by adding @code{-isis} or @code{-eses}. These
107 names are the Dutch note names. In Dutch, @code{aes} is contracted to
108 @code{as}, but both forms are accepted. Similarly, both
109 @code{es} and @code{ees} are accepted.
111 Half-flats and half-sharps are formed by adding @code{-eh} and
112 @code{-ih}; the following is a series of Cs with increasing pitches:
114 @cindex quarter tones
115 @cindex semi-flats, semi-sharps
117 @lilypond[verbatim,relative=2]
129 There are predefined sets of note names for various other languages.
130 To use them, include the language specific init file. For
131 example: @code{\include "english.ly"}. The available language files
132 and the note names they define are:
137 Note Names sharp flat
138 nederlands.ly c d e f g a bes b -is -es
139 english.ly c d e f g a bf b -s/-sharp -f/-flat
141 deutsch.ly c d e f g a b h -is -es
142 norsk.ly c d e f g a b h -iss/-is -ess/-es
143 svenska.ly c d e f g a b h -iss -ess
144 italiano.ly do re mi fa sol la sib si -d -b
145 catalan.ly do re mi fa sol la sib si -d/-s -b
146 espanol.ly do re mi fa sol la sib si -s -b
155 The optional octave specification takes the form of a series of
156 single quote (`@code{'}') characters or a series of comma
157 (`@code{,}') characters. Each @code{'} raises the pitch by one
158 octave; each @code{,} lowers the pitch by an octave:
160 @lilypond[fragment,verbatim,center]
161 c' c'' es' g' as' gisis' ais'
167 Notes can be hidden and unhidden with the following commands:
169 @cindex @code{\hideNotes}
171 @cindex @code{\unHideNotes}
177 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
179 @node Chromatic alterations
180 @subsection Chromatic alterations
182 Normally accidentals are printed automatically, but you may also
183 print them manually. A reminder accidental
184 @cindex reminder accidental
186 can be forced by adding an exclamation mark @code{!}
187 after the pitch. A cautionary accidental
188 @cindex cautionary accidental
189 @cindex parenthesized accidental
190 (i.e. an accidental within parentheses) can be obtained by adding the
191 question mark `@code{?}' after the pitch:
193 @lilypond[fragment,verbatim]
194 cis' cis' cis'! cis'?
198 The automatic production of accidentals can be tuned in many
199 ways. For more information, refer to @ref{Accidentals}.
204 A chord is formed by a enclosing a set of pitches in @code{<} and
205 @code{>}. A chord may be followed by a duration, and a set of
206 articulations, just like simple notes.
216 Rests are entered like notes, with the note name @code{r}:
218 @lilypond[raggedright,verbatim]
222 Whole bar rests, centered in middle of the bar,
223 must be done with multi measure rests. They are discussed in
224 @ref{Multi measure rests}.
227 A rest's vertical position may be explicitly specified by entering a
228 note with the @code{\rest} keyword appended. This makes manual
229 formatting in polyphonic music easier. Rest collision testing will
230 leave these rests alone:
232 @lilypond[raggedright,verbatim]
238 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
245 @cindex Invisible rest
248 An invisible rest (also called a `skip') can be entered like a note
249 with note name `@code{s}' or with @code{\skip @var{duration}}:
251 @lilypond[raggedright,verbatim]
255 The @code{s} syntax is only available in note mode and chord mode. In
256 other situations, you should use the @code{\skip} command:
258 @lilypond[raggedright,verbatim]
261 { \time 4/8 \skip 2 \time 4/4 }
262 \notes\relative c'' { a2 a1 }
267 The skip command is merely an empty musical placeholder. It does not
268 produce any output, not even transparent output.
270 The @code{s} skip command does create @internalsref{Staff} and
271 @internalsref{Voice} when necessary, similar to note and rest
272 commands. For example, the following results in an empty staff.
274 @lilypond[raggedright,verbatim]
275 \score { \notes { s4 } }
278 The same fragment using @code{\skip} results in an empty page.
282 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
287 @subsection Durations
293 In Note, Chord, and Lyrics mode, durations are designated by numbers
294 and dots: durations are entered as their reciprocal values. For example,
295 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
296 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
297 longer than a whole you must use variables:
301 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \notes \relative c'' {
310 a1 a2 a4 a8 a16 a32 a64 a64
312 r1 r2 r4 r8 r16 r32 r64 r64
317 \remove "Clef_engraver"
318 \override StaffSymbol #'transparent = ##t
319 \override TimeSignature #'transparent = ##t
320 \consists "Pitch_squash_engraver"
327 If the duration is omitted then it is set to the previously entered
328 duration. The default for the first note is a quarter note. The duration
329 can be followed by dots (`@code{.}') in order to obtain dotted note
333 @lilypond[fragment,verbatim,center]
334 a' b' c''8 b' a'4 a'4. b'4.. c'8.
339 You can alter the length of duration by a fraction @var{N/M}
340 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
341 will not affect the appearance of the notes or rests produced.
342 In the following example, the first three notes take up exactly two
344 @lilypond[fragment,relative=2,verbatim]
346 a4*2/3 gis4*2/3 a4*2/3
353 Dots are normally moved up to avoid staff lines, except in polyphonic
354 situations. The following commands may be used to force a particular
357 @cindex @code{\dotsUp}
359 @cindex @code{\dotsDown}
361 @cindex @code{\dotsBoth}
366 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
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,raggedright,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 In this manual: @ref{Automatic note splitting}.
432 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
433 @internalsref{Tie} @c
435 Examples: if you want less ties created for a chord, see
436 @inputfileref{input/test,tie-sparse.ly}.
438 For tying only a subset of the note heads of a pair of chords, see
439 @inputfileref{input/regression,tie-chord-partial.ly}.
444 Switching staves when a tie is active will not produce a slanted tie.
446 Formatting of ties is a difficult subject. The results are often not
456 @cindex @code{\times}
458 Tuplets are made out of a music expression by multiplying all durations
461 @cindex @code{\times}
463 \times @var{fraction} @var{musicexpr}
467 The duration of @var{musicexpr} will be multiplied by the fraction.
468 The fraction's denominator will be printed over the notes, optionally
469 with a bracket. The most common tuplet is the triplet in which 3
470 notes have the length of 2, so the notes are 2/3 of their written
473 @lilypond[fragment,verbatim,center]
474 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
477 The property @code{tupletSpannerDuration} specifies how long each
478 bracket should last. With this, you can make lots of tuplets while
479 typing @code{\times} only once, saving lots of typing. In the next
480 example, there are two triplets shown, while @code{\times} was only
483 @lilypond[fragment,relative,raggedright,verbatim]
484 \set tupletSpannerDuration = #(ly:make-moment 1 4)
485 \times 2/3 { c'8 c c c c c }
488 The format of the number is determined by the property
489 @code{tupletNumberFormatFunction}. The default prints only the
490 denominator, but if it is set to the Scheme function
491 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
495 @cindex @code{tupletNumberFormatFunction}
496 @cindex tuplet formatting
501 @cindex @code{\tupletUp}
503 @cindex @code{\tupletDown}
505 @cindex @code{\tupletBoth}
510 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
512 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
516 Nested tuplets are not formatted automatically. In this case, outer
517 tuplet brackets should be moved manually, which is demonstrated in
518 @inputfileref{input/regression,tuplet-nest.ly}.
522 @node Easier music entry
523 @section Easier music entry
526 When entering music it is easy to introduce errors. This section deals
527 with tricks and features of the input language that were added solely
528 to help entering music, and find and correct mistakes.
530 It is also possible to use external programs, for example GUI
531 interfaces, or MIDI transcription programs, to enter or edit
532 music. Refer to the website for more information. Finally, there are
533 tools make debugging easier, by linking the input file and the output
534 shown on screen. See @ref{Point and click} for more information.
541 * Skipping corrected music::
542 * Automatic note splitting::
548 @node Relative octaves
549 @subsection Relative octaves
551 @cindex relative octave specification
553 Octaves are specified by adding @code{'} and @code{,} to pitch names.
554 When you copy existing music, it is easy to accidentally put a pitch
555 in the wrong octave and hard to find such an error. The relative
556 octave mode prevents these errors: a single error puts the rest of the
557 piece off by one octave:
559 @cindex @code{\relative}
561 \relative @var{startpitch} @var{musicexpr}
564 The octave of notes that appear in @var{musicexpr} are calculated as
565 follows: If no octave changing marks are used, the basic interval
566 between this and the last note is always taken to be a fourth or less
567 (; this distance is determined without regarding alterations: a
568 @code{fisis} following a @code{ceses} will be put above the
571 The octave changing marks @code{'} and @code{,} can be added to raise
572 or lower the pitch by an extra octave. Upon entering relative mode,
573 an absolute starting pitch must be specified that will act as the
574 predecessor of the first note of @var{musicexpr}.
576 Here is the relative mode shown in action:
577 @lilypond[fragment,raggedright,verbatim,center]
583 Octave changing marks are used for intervals greater than a fourth:
584 @lilypond[fragment,verbatim,center]
589 If the preceding item is a chord, the first note of the chord is used
590 to determine the first note of the next chord:
592 @lilypond[fragment,verbatim,center]
599 @cindex @code{\notes}
601 The pitch after the @code{\relative} contains a note name. To parse
602 the pitch as a note name, you have to be in note mode, so there must
603 be a surrounding @code{\notes} keyword (which is not
606 The relative conversion will not affect @code{\transpose},
607 @code{\chords} or @code{\relative} sections in its argument. If you
608 want to use relative within transposed music, you must place an
609 additional @code{\relative} inside the @code{\transpose}.
612 @subsection Octave check
615 Octave checks make octave errors easier to correct: a note may be
616 followed by @code{=}@var{quotes} which indicates what its absolute
617 octave should be. In the following example,
619 \relative c'' @{ c='' b=' d,='' @}
623 @c take care with @code, adds confusing quotes.
624 the d will generate a warning, because a d'' is expected, but a d' is
625 found. In the output, the octave is corrected this and the following
630 There is also a syntax that is separate from the notes.
635 This checks that @var{pitch} (without octave) yields @var{pitch} (with
636 octave) in \relative mode. If not, a warning is printed, and the
637 octave is corrected, for example, the first check is passed
638 successfully. The second check fails with an error message. The
639 octave is adjusted so the following notes are in the correct octave
650 The octave of a note following an octave check is determined with
651 respect to the note preceding it. In the next fragment, the last note
652 is a @code{a'}, above central C. Hence, the @code{\octave} check may
653 be deleted without changing the meaning of the piece.
655 @lilypond[verbatim,fragment]
664 @subsection Bar check
668 @cindex @code{barCheckSynchronize}
671 Bar checks help detect errors in the durations. A bar check is
672 entered using the bar symbol, `@code{|}'. Whenever it is encountered
673 during interpretation, it should fall on a measure boundary. If it
674 does not, a warning is printed. Depending on the value of
675 @code{barCheckSynchronize}, the beginning of the measure will be
678 In the next example, the second bar check will signal an error:
680 \time 3/4 c2 e4 | g2 |
683 Bar checks can also be used in lyrics, for example
688 Twin -- kle | Twin -- kle
693 @cindex skipTypesetting
695 Failed bar checks are caused by entering incorrect
696 durations. Incorrect durations often completely garble up the score,
697 especially if it is polyphonic, so you should start correcting the
698 score by scanning for failed bar checks and incorrect durations. To
699 speed up this process, you can use @code{skipTypesetting}, described
702 @node Skipping corrected music
703 @subsection Skipping corrected music
705 The property @code{Score.skipTypesetting} can be used to switch on and
706 off typesetting completely during the interpretation phase. When
707 typesetting is switched off, the music is processed much more quickly.
708 This can be used to skip over the parts of a score that have already
709 been checked for errors:
711 @lilypond[fragment,raggedright,verbatim]
713 \set Score.skipTypesetting = ##t
715 \set Score.skipTypesetting = ##f
719 @node Automatic note splitting
720 @subsection Automatic note splitting
722 Long notes can be converted automatically to tied notes. This is done
723 by replacing the @internalsref{Note_heads_engraver} by the
724 @internalsref{Completion_heads_engraver}.
725 In the following examples, notes crossing the barline are split and tied.
728 @lilypond[noindent,verbatim,relative=1]
730 \remove "Note_heads_engraver"
731 \consists "Completion_heads_engraver"
733 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
737 This engraver splits all running notes at the bar line, and inserts
738 ties. One of its uses is to debug complex scores: if the measures are
739 not entirely filled, then the ties exactly show how much each measure
744 Not all durations (especially those containing tuplets) can be
745 represented exactly; the engraver will not insert tuplets.
749 Examples: @inputfileref{input/regression,completion-heads.ly}.
751 Internals: @internalsref{Completion_heads_engraver}.
755 @section Staff notation
757 This section describes music notation that occurs on staff level,
758 such as keys, clefs and time signatures.
760 @cindex Staff notation
774 @subsection Staff symbol
776 @cindex adjusting staff symbol
778 Notes, dynamic signs, etc. are grouped
779 with a set of horizontal lines, into a staff (plural `staves'). In our
780 system, these lines are drawn using a separate layout object called
784 @cindex staff lines, setting number of
785 @cindex staff lines, setting thickness of
786 @cindex thickness of staff lines, setting
787 @cindex number of staff lines, setting
791 Internals: @internalsref{StaffSymbol}.
793 Examples: @inputfileref{input/test,staff-lines.ly},
794 @inputfileref{input/test,staff-size.ly}.
798 If a staff is ended halfway a piece, the staff symbol may not end
799 exactly on the barline.
803 @subsection Key signature
804 @cindex Key signature
808 The key signature indicates the scale in which a piece is played. It
809 is denoted by a set of alterations (flats or sharps) at the start of
814 Setting or changing the key signature is done with the @code{\key}
817 @code{\key} @var{pitch} @var{type}
820 @cindex @code{\minor}
821 @cindex @code{\major}
822 @cindex @code{\minor}
823 @cindex @code{\ionian}
824 @cindex @code{\locrian}
825 @cindex @code{\aeolian}
826 @cindex @code{\mixolydian}
827 @cindex @code{\lydian}
828 @cindex @code{\phrygian}
829 @cindex @code{\dorian}
831 Here, @var{type} should be @code{\major} or @code{\minor} to get
832 @var{pitch}-major or @var{pitch}-minor, respectively.
833 The standard mode names @code{\ionian},
834 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
835 @code{\phrygian}, and @code{\dorian} are also defined.
837 This command sets the context property
838 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
839 can be specified by setting this property directly.
841 Accidentals and key signatures often confuse new users, because
842 unaltered notes get natural signs depending on the keysignature. The
843 tutorial explains why this is so in @ref{More about pitches}.
847 The ordering of a key cancellation is wrong when it is combined with
848 repeat bar lines. The cancellation is also printed after a line break.
852 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
854 @cindex @code{keySignature}
861 The clef indicates which lines of the staff correspond to which
866 The clef can be set or changed with the @code{\clef} command:
867 @lilypond[fragment,verbatim]
868 \key f\major c''2 \clef alto g'2
871 Supported clef-names include:
872 @c Moved standard clefs to the top /MB
876 @item treble, violin, G, G2
889 G clef on 1st line, so-called French violin clef
894 @cindex mezzosoprano clef
897 @cindex baritone clef
900 @cindex varbaritone clef
909 By adding @code{_8} or @code{^8} to the clef name, the clef is
910 transposed one octave down or up, respectively, and @code{_15} and
911 @code{^15} transposes by two octaves. The argument @var{clefname}
912 must be enclosed in quotes when it contains underscores or digits. For
916 @cindex choral tenor clef
917 @lilypond[verbatim,fragment,relative]
921 This command is equivalent to setting @code{clefGlyph},
922 @code{clefPosition} (which controls the Y position of the clef),
923 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
924 when any of these properties are changed.
928 Internals: the object for this symbol is @internalsref{Clef}.
932 @node Ottava brackets
933 @subsection Ottava brackets
935 ``Ottava'' brackets introduce an extra transposition of an octave for
936 the staff. They are created by invoking the function
937 @code{set-octavation}:
943 @lilypond[verbatim,fragment]
952 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
953 (for 15ma) as arguments. Internally the function sets the properties
954 @code{ottavation} (eg. to @code{"8va"}) and
955 @code{centralCPosition}. For overriding the text of the bracket, set
956 @code{ottavation} after invoking @code{set-octavation}, i.e.,
960 \set Staff.ottavation = #"8"
965 Internals: @internalsref{OttavaBracket}.
967 Examples: @inputfileref{input/regression,ottava.ly},
968 @inputfileref{input/regression,ottava-broken.ly}.
972 @code{set-octavation} will get confused when clef changes happen
973 during an octavation bracket.
976 @subsection Time signature
977 @cindex Time signature
981 Time signature indicates the metrum of a piece: a regular pattern of
982 strong and weak beats. It is denoted by a fraction at the start of the
987 The time signature is set or changed by the @code{\time}
989 @lilypond[fragment,verbatim]
990 \time 2/4 c'2 \time 3/4 c'2.
993 The symbol that is printed can be customized with the @code{style}
994 property. Setting it to @code{#'()} uses fraction style for 4/4 and
995 2/2 time. There are many more options for its layout. See
996 @inputfileref{input/test,time.ly} for more examples.
999 This command sets the property @code{timeSignatureFraction},
1000 @code{beatLength} and @code{measureLength} in the @code{Timing}
1001 context, which is normally aliased to @internalsref{Score}. The
1002 property @code{measureLength} determines where bar lines should be
1003 inserted, and how automatic beams should be generated. Changing the
1004 value of @code{timeSignatureFraction} also causes the symbol to be
1007 More options are available through the Scheme function
1008 @code{set-time-signature}. In combination with the
1009 @internalsref{Measure_grouping_engraver}, it will create
1010 @internalsref{MeasureGrouping} signs. Such signs ease reading
1011 rhythmically complex modern music. In the following example, the 9/8
1012 measure is subdivided in 2, 2, 2 and 3. This is passed to
1013 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1016 \score { \notes \relative c'' {
1017 #(set-time-signature 9 8 '(2 2 2 3))
1018 g8[ g] d[ d] g[ g] a8[( bes g]) |
1019 #(set-time-signature 5 8 '(3 2))
1024 \translator { \StaffContext
1025 \consists "Measure_grouping_engraver"
1031 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1036 Automatic beaming does not use measure grouping specified with
1037 @code{set-time-signature}.
1039 @node Partial measures
1040 @subsection Partial measures
1043 @cindex partial measure
1044 @cindex measure, partial
1045 @cindex shorten measures
1046 @cindex @code{\partial}
1048 Partial measures, for example in upsteps, are entered using the
1049 @code{\partial} command:
1050 @lilypond[fragment,verbatim,relative=1]
1051 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1054 The syntax for this command is
1056 \partial @var{duration}
1058 This is internally translated into
1060 \set Timing.measurePosition = -@var{length of duration}
1063 The property @code{measurePosition} contains a rational number
1064 indicating how much of the measure has passed at this point.
1066 @node Unmetered music
1067 @subsection Unmetered music
1069 Bar lines and bar numbers are calculated automatically. For unmetered
1070 music (e.g. cadenzas), this is not desirable. By setting
1071 @code{Score.timing} to false, this automatic timing can be switched
1077 @cindex @code{\cadenzaOn}
1079 @cindex @code{\cadenzaOff}
1083 @subsection Bar lines
1087 @cindex measure lines
1091 Bar lines delimit measures, but are also used to indicate repeats.
1092 Normally, they are inserted automatically. Line breaks may only
1098 of barlines can be forced with the @code{\bar} command:
1100 @lilypond[relative=1,fragment,verbatim]
1104 The following bar types are available:
1105 @lilypond[fragment,relative,raggedright,verbatim]
1118 For allowing linebreaks, there is a special command,
1122 This will insert an invisible barline, and allow linebreaks at this
1125 In scores with many staves, a @code{\bar} command in one staff is
1126 automatically applied to all staves. The resulting bar lines are
1127 connected between different staves of a @internalsref{StaffGroup}:
1129 @lilypond[fragment,verbatim]
1130 << \context StaffGroup <<
1134 \new Staff { \clef bass c4 g e g } >>
1135 \new Staff { \clef bass c2 c2 } >>
1139 The command @code{\bar @var{bartype}} is a short cut for doing
1140 @code{\set Score.whichBar = @var{bartype}} Whenever
1141 @code{whichBar} is set to a string, a bar line of that type is
1142 created. At the start of a measure it is set to
1143 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1144 to override default measure bars.
1146 Property @code{whichBar} can also be set directly, using @code{\set}
1147 or @code{\bar}. These settings take precedence over the automatic
1148 @code{whichBar} settings.
1151 @cindex repeatCommands
1152 @cindex defaultBarType
1154 You are encouraged to use @code{\repeat} for repetitions. See
1161 In this manual: @ref{Repeats}.
1164 Internals: the bar line objects that are created at
1165 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1166 lines that span staves are @internalsref{SpanBar}s.
1168 @cindex bar lines at start of system
1169 @cindex start of system
1171 The barlines at the start of each system are
1172 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1173 @internalsref{SystemStartBracket}. Only one of these types is created
1174 in every context, and that type is determined by the property
1175 @code{systemStartDelimiter}.
1177 Examples: @inputfileref{input/test,bar-lines.ly},
1183 The easiest way to enter fragments with more than one voice on a staff
1184 is to split chords using the separator @code{\\}. You can use it for
1185 small, short-lived voices or for single chords:
1187 @lilypond[verbatim,fragment]
1188 \context Staff \relative c'' {
1189 c4 << { f d e } \\ { b c2 } >>
1190 c4 << g' \\ b, \\ f' \\ d >>
1194 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1195 voices are sometimes called "layers" other notation packages}
1197 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1198 each of these contexts, vertical direction of slurs, stems, etc. is set
1201 @cindex @code{\voiceOne}
1202 @cindex @code{\voiceFour}
1204 This can also be done by instantiating @internalsref{Voice} contexts
1205 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1206 a stem directions and horizontal shift for each part:
1209 @lilypond[raggedright,verbatim]
1211 \context Staff << \new Voice { \voiceOne cis2 b }
1212 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1213 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1217 The command @code{\oneVoice} will revert back to the normal setting.
1218 @cindex @code{\oneVoice}
1221 Normally, note heads with a different number of dots are not merged, but
1222 when the object property @code{merge-differently-dotted} is set in
1223 the @internalsref{NoteCollision} object, they are merged:
1224 @lilypond[verbatim,fragment,raggedright]
1225 \relative c'' \context Voice << {
1227 \override Staff.NoteCollision
1228 #'merge-differently-dotted = ##t
1230 } \\ { g8.[ f16] g8.[ f16] }
1234 Similarly, you can merge half note heads with eighth notes, by setting
1235 @code{merge-differently-headed}:
1236 @lilypond[fragment,relative=2,verbatim]
1239 \override Staff.NoteCollision
1240 #'merge-differently-headed = ##t
1241 c8 c4. } \\ { c2 c2 } >>
1244 LilyPond also vertically shifts rests that are opposite of a stem:
1247 @lilypond[raggedright,fragment,verbatim]
1248 \context Voice << c''4 \\ r4 >>
1256 @cindex @code{\oneVoice}
1258 @cindex @code{\voiceOne}
1260 @cindex @code{\voiceTwo}
1262 @cindex @code{\voiceThree}
1264 @cindex @code{\voiceFour}
1268 The following commands specify in what chords of the current voice
1269 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1270 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1273 @cindex @code{\shiftOn}
1275 @cindex @code{\shiftOnn}
1277 @cindex @code{\shiftOnnn}
1279 @cindex @code{\shiftOff}
1286 Internals: the objects responsible for resolving collisions are
1287 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1289 Examples: See also example files
1290 @inputfileref{input/regression,collision-dots.ly},
1291 @inputfileref{input/regression,collision-head-chords.ly},
1292 @inputfileref{input/regression,collision-heads.ly},
1293 @inputfileref{input/regression,collision-mesh.ly}, and
1294 @inputfileref{input/regression,collisions.ly}.
1299 Resolving collisions is a intricate subject, and only a few situations
1300 are handled. When LilyPond cannot cope, the @code{force-hshift}
1301 property of the @internalsref{NoteColumn} object and pitched rests can
1302 be used to override typesetting decisions.
1304 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1305 note, and a downstem half note, the 8th note gets the wrong offset.
1307 There is no support for clusters where the same note occurs with
1308 different accidentals in the same chord. In this case, it is
1309 recommended to use enharmonic transcription, or to use special cluster
1310 notation (see @ref{Clusters}).
1315 Beams are used to group short notes into chunks that are aligned with
1316 the metrum. They are inserted automatically in most cases:
1318 @lilypond[fragment,verbatim,relative=2]
1319 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1322 When these automatic decisions are not good enough, beaming can be
1323 entered explicitly. It is also possible to define beaming patterns
1324 that differ from the defaults.
1328 Internals: @internalsref{Beam}.
1331 @cindex Automatic beams
1334 * Setting automatic beam behavior::
1338 @subsection Manual beams
1339 @cindex beams, manual
1343 In some cases it may be necessary to override the automatic beaming
1344 algorithm. For example, the auto beamer will not put beams over rests
1345 or bar lines. Such beams are specified by manually: the begin and end
1346 point are marked with @code{[} and @code{]}:
1348 @lilypond[fragment,relative,verbatim]
1350 r4 r8[ g' a r8] r8 g[ | a] r8
1354 @cindex @code{stemLeftBeamCount}
1356 Normally, beaming patterns within a beam are determined automatically.
1357 When this mechanism fouls up, the properties
1358 @code{stemLeftBeamCount} and @code{stemRightBeamCount} can
1359 be used to control the beam subdivision on a stem. If either property
1360 is set, its value will be used only once, and then it is erased:
1362 @lilypond[fragment,relative,verbatim]
1365 f8[ r16 \set stemLeftBeamCount = #1 f g a]
1368 @cindex @code{stemRightBeamCount}
1371 The property @code{subdivideBeams} can be set in order to subdivide
1372 all 16th or shorter beams at beat positions, as defined by the
1373 @code{beatLength} property. This accomplishes the same effect as
1374 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1375 but it take less typing:
1378 @lilypond[relative=1,verbatim,noindent]
1380 \set subdivideBeams = ##t
1382 \set Score.beatLength = #(ly:make-moment 1 8)
1385 @cindex subdivideBeams
1387 Kneed beams are inserted automatically, when a large gap is detected
1388 between the note heads. This behavior can be tuned through the object
1389 property @code{auto-knee-gap}.
1391 Normally, line breaks are forbidden when beams cross bar lines. This
1392 behavior can be changed by setting @code{allowBeamBreak}.
1394 @cindex @code{allowBeamBreak}
1395 @cindex beams and line breaks
1397 @cindex beams, kneed
1399 @cindex auto-knee-gap
1405 @cindex Frenched staves
1407 Automatically kneed beams cannot be used together with hidden staves.
1412 @node Setting automatic beam behavior
1413 @subsection Setting automatic beam behavior
1415 @cindex @code{autoBeamSettings}
1416 @cindex @code{(end * * * *)}
1417 @cindex @code{(begin * * * *)}
1418 @cindex automatic beams, tuning
1419 @cindex tuning automatic beaming
1421 @c [TODO: use \applycontext]
1423 In normal time signatures, automatic beams can start on any note but can
1424 only end in a few positions within the measure: beams can end on a beat,
1425 or at durations specified by the properties in
1426 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1427 are defined in @file{scm/auto-beam.scm}.
1429 The value of @code{autoBeamSettings} is changed with two functions:
1431 #(override-auto-beam-setting
1432 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1434 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1436 Here, @var{be} is the symbol @code{begin} or @code{end}. It determines
1437 whether the rule applies to begin or end-points. The quantity
1438 @var{p}/@var{q} refers to the length of the beamed notes (and `@code{*
1439 *}' designates notes of any length), @var{n}/@var{M} refers to a time
1440 signature (wildcards `@code{* *}' may be entered to designate all time
1441 signatures), @var{a}/@var{b} is a duration. By default, this command
1442 changes settings for the current voice. It is also possible to adjust
1443 settings at higher contexts, by adding a @var{context} argument.
1445 For example, if automatic beams should end on every quarter note, use
1448 #(override-auto-beam-setting '(end * * * *) 1 4)
1450 Since the duration of a quarter note is 1/4 of a whole note, it is
1451 entered as @code{(ly:make-moment 1 4)}.
1453 The same syntax can be used to specify beam starting points. In this
1454 example, automatic beams can only end on a dotted quarter note:
1456 #(override-auto-beam-setting '(end * * * *) 3 8)
1458 In 4/4 time signature, this means that automatic beams could end only on
1459 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1460 3/8, has passed within the measure).
1462 Rules can also be restricted to specific time signatures. A rule that
1463 should only be applied in @var{N}/@var{M} time signature is formed by
1464 replacing the second asterisks by @var{N} and @var{M}. For example, a
1465 rule for 6/8 time exclusively looks like
1467 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1470 If a rule should be to applied only to certain types of beams, use the
1471 first pair of asterisks. Beams are classified according to the
1472 shortest note they contain. For a beam ending rule that only applies
1473 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1476 If a score ends while an automatic beam has not been ended and is still
1477 accepting notes, this last beam will not be typeset at all.
1479 @cindex automatic beam generation
1481 @cindex @code{autoBeaming}
1484 For melodies that have lyrics, you may want to switch off
1485 automatic beaming. This is done by setting @code{autoBeaming} to
1490 @cindex @code{\autoBeamOff}
1491 @code{\autoBeamOff},
1492 @cindex @code{\autoBeamOn}
1498 The rules for ending a beam depend on the shortest note in a beam.
1499 So, while it is possible to have different ending rules for eight
1500 beams and sixteenth beams, a beam that contains both eight and
1501 sixteenth notes will use the rules for the sixteenth beam.
1503 In the example below, the autobeamer makes eight beams and sixteenth
1504 end at 3 eights; the third beam can only be corrected by specifying
1507 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1508 #(override-auto-beam-setting '(end * * * *) 3 8)
1509 % rather show case where it goes wrong
1510 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1511 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1513 It is not possible to specify beaming parameters that act differently in
1514 different parts of a measure. This means that it is not possible to use
1515 automatic beaming in irregular meters such as @code{5/8}.
1518 @section Accidentals
1521 This section describes how to change the way that accidentals are
1522 inserted automatically before the running notes.
1526 * Using the predefined accidental variables::
1527 * Customized accidental rules::
1530 @node Using the predefined accidental variables
1531 @subsection Using the predefined accidental variables
1533 The constructs for describing the accidental typesetting rules are
1534 quite hairy, so non-experts should stick to the variables
1535 defined in @file{ly/property-init.ly}.
1536 @cindex @file{property-init.ly}
1538 The variables set properties in the ``@code{Current}'' context (see
1539 @ref{Context properties}). This means that the variables should
1540 normally be added right after the creation of the context in which the
1541 accidental typesetting described by the variable is to take
1542 effect. For example, if you want to use piano-accidentals in a piano
1543 staff, then issue @code{\pianoAccidentals} first thing after the
1544 creation of the piano staff:
1547 \notes \relative c'' <<
1548 \new Staff @{ cis4 d e2 @}
1549 \context GrandStaff <<
1551 \new Staff @{ cis4 d e2 @}
1552 \new Staff @{ es2 c @}
1554 \new Staff @{ es2 c @}
1558 @lilypond[raggedright]
1560 \notes \relative c'' <<
1561 \new Staff { cis4 d e2 }
1562 \context GrandStaff <<
1564 \new Staff { cis4 d e2 }
1565 \new Staff { es2 c }
1567 \new Staff { es2 c }
1572 minimumVerticalExtent = #'(-4.0 . 4.0)
1580 @item \defaultAccidentals
1581 @cindex @code{\defaultAccidentals}
1582 This is the default typesetting behaviour. It should correspond
1583 to 18th century common practice: Accidentals are
1584 remembered to the end of the measure in which they occur and
1585 only on their own octave.
1587 @item \voiceAccidentals
1588 @cindex @code{\voiceAccidentals}
1590 The normal behaviour is to
1591 remember the accidentals on Staff-level. This variable, however,
1592 typesets accidentals individually for each voice. Apart from that the
1593 rule is similar to @code{\defaultAccidentals}.
1595 This leads to some weird and often unwanted results
1596 because accidentals from one voice do not get cancelled in other
1598 @lilypond[raggedright,relative,fragment,verbatim,quote]
1606 Hence you should only use @code{\voiceAccidentals} if the voices
1607 are to be read solely by individual musicians. If the staff is to be
1608 used by one musician (e.g. a conductor) then you use
1609 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1612 @item \modernAccidentals
1613 @cindex @code{\modernAccidentals}
1614 This rule corresponds to the common practice in the 20th
1616 The rule is more complex than @code{\defaultAccidentals}.
1617 You get all the same accidentals, but temporary
1618 accidentals also get cancelled in other octaves. Furthermore,
1619 in the same octave, they also get cancelled in the following measure:
1620 @lilypond[raggedright,fragment,verbatim]
1622 cis' c'' cis'2 | c'' c'
1625 @item \modernCautionaries
1626 @cindex @code{\modernCautionaries}
1627 This rule is similar to @code{\modernAccidentals}, but the
1628 ``extra'' accidentals (the ones not typeset by
1629 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1630 They are printed in reduced size or with parentheses:
1631 @lilypond[raggedright,fragment,verbatim]
1633 cis' c'' cis'2 | c'' c'
1636 @cindex @code{\modernVoiceAccidentals}
1637 @item \modernVoiceAccidentals
1638 is used for multivoice accidentals to be read both by musicians
1639 playing one voice and musicians playing all voices. Accidentals are
1640 typeset for each voice, but they @emph{are} cancelled across voices in
1641 the same @internalsref{Staff}.
1643 @cindex @code{\modernVoiceCautionaries}
1644 @item \modernVoiceCautionaries
1645 is the same as @code{\modernVoiceAccidentals}, but with the extra
1646 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1647 as cautionaries. Even though all accidentals typeset by
1648 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1649 some of them are typeset as cautionaries.
1651 @item \pianoAccidentals
1652 @cindex @code{\pianoAccidentals}
1653 20th century practice for piano notation. Very similar to
1654 @code{\modernAccidentals} but accidentals also get cancelled
1655 across the staves in the same @internalsref{GrandStaff} or
1656 @internalsref{PianoStaff}.
1658 @item \pianoCautionaries
1659 @cindex @code{\pianoCautionaries}
1660 As @code{\pianoAccidentals} but with the extra accidentals
1661 typeset as cautionaries.
1664 @cindex @code{\noResetKey}
1665 Same as @code{\defaultAccidentals} but with accidentals lasting
1666 ``forever'' and not only until the next measure:
1667 @lilypond[raggedright,fragment,verbatim,relative]
1672 @item \forgetAccidentals
1673 @cindex @code{\forgetAccidentals}
1674 This is sort of the opposite of @code{\noResetKey}: Accidentals
1675 are not remembered at all---and hence all accidentals are
1676 typeset relative to the key signature, regardless of what was
1677 before in the music:
1678 @lilypond[raggedright,fragment,verbatim,relative]
1680 \key d\major c4 c cis cis d d dis dis
1684 @node Customized accidental rules
1685 @subsection Customized accidental rules
1687 For determining when to print an accidental, several different rules
1688 are tried. The rule that gives the highest number of accidentals is
1689 used. Each rule consists of
1692 In which context is the rule applied. For example, if
1693 @var{context} is @internalsref{Score} then all staves share
1694 accidentals, and if @var{context} is @internalsref{Staff} then all
1695 voices in the same staff share accidentals, but staves do not.
1698 Whether the accidental changes all octaves or only the current
1699 octave. Valid choices are
1703 This is the default algorithm. Accidentals are typeset if the note changes
1704 the accidental of that note in that octave. Accidentals lasts to the end of the measure
1705 and then as many measures as specified in the value. I.e. 1 means to the end
1706 of next measure, -1 means to the end of previous measure (that is: no duration at all), etc. #t means forever.
1708 Accidentals are typeset if the note is different from
1709 the previous note on the same pitch in any octave. The value has same meaning as in
1715 Over how many barlines the accidental lasts.
1716 If @var{lazyness} is @code{-1} then the accidental is forget
1717 immediately, and if @var{lazyness} is @code{#t} then the accidental
1724 @cindex @code{\defaultAccidentals}
1725 @code{\defaultAccidentals},
1726 @cindex @code{\voiceAccidentals}
1727 @code{\voiceAccidentals},
1728 @cindex @code{\modernAccidentals}
1729 @code{\modernAccidentals},
1730 @cindex @code{\modernCautionaries}
1731 @code{\modernCautionaries},
1732 @cindex @code{\modernVoiceAccidentals}
1733 @code{\modernVoiceAccidentals},
1734 @cindex @code{\modernVoiceCautionaries}
1735 @code{\modernVoiceCautionaries},
1736 @cindex @code{\pianoAccidentals}
1737 @code{\pianoAccidentals},
1738 @cindex @code{\pianoCautionaries}
1739 @code{\pianoCautionaries},
1740 @cindex @code{\noResetKey}
1742 @cindex @code{\forgetAccidentals}
1743 @code{\forgetAccidentals}.
1747 Internals: @internalsref{Accidental_engraver},
1748 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1753 Currently the simultaneous notes are considered to be entered in
1754 sequential mode. This means that in a chord the accidentals are
1755 typeset as if the notes in the chord happened once at a time - in the
1756 order in which they appear in the input file.
1758 This is only a problem when there are simultaneous notes whose
1759 accidentals depend on each other. The problem only occurs when using
1760 non-default accidentals. In the default scheme, accidentals only
1761 depend on other accidentals with the same pitch on the same staff, so
1762 no conflicts possible.
1764 This example shows two examples of the same music giving different
1765 accidentals depending on the order in which the notes occur in the
1768 @lilypond[raggedright,fragment,verbatim]
1769 \set Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1770 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1771 | <cis' c''> r | <c'' cis'> r |
1774 This problem can be solved by manually inserting @code{!} and @code{?}
1775 for the problematic notes.
1777 @node Expressive marks
1778 @section Expressive marks
1781 @c todo: should change ordering
1782 @c where to put text spanners, metronome marks,
1791 * Analysis brackets::
1793 * Fingering instructions::
1804 A slur indicates that notes are to be played bound or @emph{legato}.
1808 They are entered using parentheses:
1809 @lilypond[relative=1,fragment,verbatim,center]
1810 f( g)( a) a8 b( a4 g2 f4)
1815 @c TODO: should explain that ^( and _( set directions
1816 @c should set attachments with ^ and _ ?
1818 Slurs avoid crossing stems, and are generally attached to note heads.
1819 However, in some situations with beams, slurs may be attached to stem
1820 ends. If you want to override this layout you can do this through the
1821 object property @code{attachment} of @internalsref{Slur} in
1822 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1823 the attachment type of the left and right end points:
1825 @lilypond[fragment,relative,verbatim]
1827 \override Stem #'length = #5.5
1829 \override Slur #'attachment = #'(stem . stem)
1833 If a slur would strike through a stem or beam, the slur will be moved
1834 away upward or downward. If this happens, attaching the slur to the
1835 stems might look better:
1837 @lilypond[fragment,relative,verbatim]
1840 \override Slur #'attachment = #'(stem . stem)
1847 @cindex @code{\slurUp}
1849 @cindex @code{\slurDown}
1851 @cindex @code{\slurBoth}
1853 @cindex @code{\slurDotted}
1855 @cindex @code{\slurSolid}
1860 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1865 Producing nice slurs is a difficult problem, and LilyPond currently
1866 uses a simple, empiric method to produce slurs. In some cases, its
1870 @cindex Adjusting slurs
1872 @node Phrasing slurs
1873 @subsection Phrasing slurs
1875 @cindex phrasing slurs
1876 @cindex phrasing marks
1878 A phrasing slur (or phrasing mark) connects chords and is used to
1879 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1882 @lilypond[fragment,verbatim,center,relative]
1883 \time 6/4 c'\( d( e) f( e) d\)
1886 Typographically, the phrasing slur behaves almost exactly like a
1887 normal slur. However, they are treated as different objects. A
1888 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1889 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1890 @code{\phrasingSlurBoth}.
1892 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1893 will only affect normal slurs and not phrasing slurs.
1897 @cindex @code{\phrasingSlurUp}
1898 @code{\phrasingSlurUp},
1899 @cindex @code{\phrasingSlurDown}
1900 @code{\phrasingSlurDown},
1901 @cindex @code{\phrasingSlurBoth}
1902 @code{\phrasingSlurBoth}.
1906 Internals: see also @internalsref{PhrasingSlur}, and
1907 @internalsref{PhrasingSlurEvent}.
1911 Phrasing slurs have the same limitations in their formatting as normal
1912 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1915 @subsection Breath marks
1917 Breath marks are entered using @code{\breathe}:
1920 @lilypond[fragment,relative,verbatim]
1924 The glyph of the breath mark can be tweaked by overriding the
1925 @code{text} property of the @code{BreathingSign} layout object with
1926 any markup text. For example,
1927 @lilypond[fragment,verbatim,relative]
1929 \override BreathingSign #'text
1930 = #(make-musicglyph-markup "scripts-rvarcomma")
1937 Internals: @internalsref{BreathingSign},
1938 @internalsref{BreathingSignEvent}.
1940 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1943 @node Metronome marks
1944 @subsection Metronome marks
1947 @cindex beats per minute
1948 @cindex metronome marking
1950 Metronome settings can be entered as follows:
1952 \tempo @var{duration} = @var{perminute}
1955 In the MIDI output, they are interpreted as a tempo change, and in the
1956 paper output, a metronome marking is printed:
1957 @cindex @code{\tempo}
1958 @lilypond[fragment,verbatim]
1964 Internals: @internalsref{MetronomeChangeEvent}.
1969 @subsection Text spanners
1970 @cindex Text spanners
1972 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1973 are written as texts, and extended over many measures with dotted
1974 lines. You can create such texts using text spanners: attach
1975 @code{\startTextSpan} and @code{\stopTextSpan} to the
1976 start and ending note of the spanner.
1978 The string to be printed, as well as the style, is set through object
1981 @lilypond[fragment,relative,verbatim]
1983 \override TextSpanner #'direction = #-1
1984 \override TextSpanner #'edge-text = #'("rall " . "")
1985 c2\startTextSpan b c\stopTextSpan a }
1991 Internals @internalsref{TextSpanEvent},
1992 @internalsref{TextSpanner}.
1994 Examples: @inputfileref{input/regression,text-spanner.ly}.
1997 @node Analysis brackets
1998 @subsection Analysis brackets
2000 @cindex phrasing brackets
2001 @cindex musicological analysis
2002 @cindex note grouping bracket
2004 Brackets are used in musical analysis to indicate structure in musical
2005 pieces. LilyPond supports a simple form of nested horizontal brackets.
2006 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2007 @internalsref{Staff} context. A bracket is started with
2008 @code{\startGroup} and closed with @code{\stopGroup}:
2010 @lilypond[raggedright,verbatim]
2011 \score { \notes \relative c'' {
2012 c4\startGroup\startGroup
2015 c4\stopGroup\stopGroup
2017 \paper { \translator {
2018 \StaffContext \consists "Horizontal_bracket_engraver"
2024 Internals: @internalsref{HorizontalBracket},
2025 @internalsref{NoteGroupingEvent}.
2027 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2031 @subsection Articulations
2032 @cindex Articulations
2034 @cindex articulations
2038 A variety of symbols can appear above and below notes to indicate
2039 different characteristics of the performance. They are added to a note
2040 by adding a dash and the character signifying the
2041 articulation. They are demonstrated here:
2043 @lilypondfile[]{script-abbreviations.ly}
2045 The meanings of these shorthands can be changed: see
2046 @file{ly/script-init.ly} for examples.
2049 The script is automatically placed, but if you need to force
2050 directions, you can use @code{_} to force them down, or @code{^} to
2052 @lilypond[fragment,verbatim]
2056 Other symbols can be added using the syntax
2057 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2058 can be forced up or down using @code{^} and @code{_},
2061 @lilypond[verbatim,fragment,relative=2]
2062 c\fermata c^\fermata c_\fermata
2069 @cindex staccatissimo
2078 @cindex organ pedal marks
2087 @cindex prallmordent
2091 @cindex thumb marking
2096 @lilypondfile[]{script-chart.ly}
2101 @cindex @code{\scriptUp}
2103 @cindex @code{\scriptDown}
2105 @cindex @code{\scriptBoth}
2110 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2114 These note ornaments appear in the printed output but have no
2115 effect on the MIDI rendering of the music.
2118 @node Fingering instructions
2119 @subsection Fingering instructions
2123 Fingering instructions can be entered using
2125 @var{note}-@var{digit}
2127 For finger changes, use markup texts:
2129 @lilypond[verbatim,raggedright,fragment]
2130 c'4-1 c'4-2 c'4-3 c'4-4
2131 c'^\markup { \fontsize #-3 \number "2-3" }
2134 @cindex finger change
2139 You can use the thumb-script to indicate that a note should be
2140 played with the thumb (e.g. in cello music):
2142 @lilypond[verbatim,raggedright,fragment]
2143 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2144 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2147 Fingerings for chords can also be added to individual notes
2148 of the chord by adding them after the pitches:
2149 @lilypond[verbatim,raggedright,fragment,relative=1]
2150 < c-1 e-2 g-3 b-5 > 4
2154 In this case, setting @code{fingeringOrientations} will put fingerings next
2157 @lilypond[verbatim,raggedright,fragment,relative=1]
2158 \set fingeringOrientations = #'(left down)
2159 <c-1 es-2 g-4 bes-5 > 4
2160 \set fingeringOrientations = #'(up right down)
2161 <c-1 es-2 g-4 bes-5 > 4
2164 By using single note chords, fingering instructions can be put close
2165 to note heads in monophonic music.
2169 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2171 Examples: @inputfileref{input/regression,finger-chords.ly}.
2174 @subsection Text scripts
2175 @cindex Text scripts
2177 @cindex text items, non-empty
2178 @cindex non-empty texts
2180 It is possible to place arbitrary strings of text or markup text (see
2181 @ref{Text markup}) above or below notes by using a string:
2182 @code{c^"text"}. By default, these indications do not influence the
2183 note spacing, but by using the command @code{\fatText}, the widths
2184 will be taken into account:
2186 @lilypond[fragment,raggedright,verbatim] \relative c' {
2187 c4^"longtext" \fatText c4_"longlongtext" c4 }
2190 It is possible to use @TeX{} commands in the strings, but this should
2191 be avoided because the exact dimensions of the string can then no
2196 @cindex @code{\fatText}
2198 @cindex @code{\emptyText}
2203 In this manual: @ref{Text markup}.
2205 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2211 @subsection Grace notes
2214 @c should have blurb about accaciatura / appogiatura
2216 @cindex @code{\grace}
2220 Grace notes are ornaments that are written out. The most common ones
2221 are acciaccatura, which should be played as very short. It is denoted
2222 by a slurred small note with a slashed stem. The appoggiatura is a
2223 grace note that takes a fixed fraction of the main note, is and
2224 denoted as a slurred note in small print without a slash.
2225 They are entered with the commands @code{\acciaccatura} and
2226 @code{\appoggiatura}, as demonstrated in the following example:
2229 @cindex appoggiatura
2230 @cindex acciaccatura
2232 @lilypond[relative=2,verbatim,fragment]
2233 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2234 \acciaccatura { g16[ f] } e4
2237 Both are special forms of the @code{\grace} command. By prefixing this
2238 keyword to a music expression, a new one is formed, which will be
2239 printed in a smaller font and takes up no logical time in a measure.
2240 @lilypond[relative=2,verbatim,fragment]
2242 \grace { c16[ d16] } c2 c4
2246 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2247 @code{\grace} command does not start a slur.
2249 Internally, timing for grace notes is done using a second, `grace'
2250 time. Every point in time consists of two rational numbers: one
2251 denotes the logical time, one denotes the grace timing. The above
2252 example is shown here with timing tuples:
2254 @lilypond[raggedright]
2257 c4 \grace c16 c4 \grace {
2260 \new Lyrics \lyrics {
2263 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2264 \markup { (\fraction 1 4 , 0 ) } 4
2266 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2267 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2269 \markup { ( \fraction 2 4 , 0 ) }
2274 The placement of grace notes is synchronized between different staves.
2275 In the following example, there are two sixteenth graces notes for
2276 every eighth grace note:
2278 @lilypond[relative=2,verbatim,fragment]
2279 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2280 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2285 If you want to end a note with a grace, then the standard trick
2286 is to put the grace notes after a ``space note'', e.g.
2287 @lilypond[fragment,verbatim,relative=2]
2290 { s2 \grace { c16[ d] } } >>
2296 By adjusting the duration of the skip note (here it is a half-note),
2297 the space between the main-note and the grace is adjusted.
2300 A @code{\grace} section will introduce special typesetting settings,
2301 for example, to produce smaller type, and set directions. Hence, when
2302 introducing layout tweaks, they should be inside the grace section,
2304 @lilypond[fragment,verbatim,relative=1]
2307 \override Stem #'direction = #-1
2309 \revert Stem #'direction
2316 The overrides should also be reverted inside the grace section.
2318 If the layout of grace sections must be changed throughout the music,
2319 then this can be accomplished through the function
2320 @code{add-grace-property}. The following example
2321 undefines the Stem direction grace section, so stems do not always
2326 #(add-grace-property "Voice" Stem direction '())
2332 Another option is to change the variables @code{startGraceMusic},
2333 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2334 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2335 @code{stopAppoggiaturaMusic}. More information is in the file
2336 @file{ly/grace-init.ly}.
2341 Internals: @internalsref{GraceMusic}.
2345 A score that starts with an @code{\grace} section needs an explicit
2346 @code{\context Voice} declaration, otherwise the main note and grace
2347 note end up on different staves.
2349 Grace note synchronization can also lead to surprises. Staff notation,
2350 such as key signatures, barlines, etc. are also synchronized. Take
2351 care when you mix staves with grace notes and staves without, for example,
2353 @lilypond[relative=2,verbatim,fragment]
2354 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2355 \new Staff { c4 \bar "|:" d4 } >>
2358 Grace sections should only be used within sequential music
2359 expressions. Nesting or juxtaposing grace sections is not supported,
2360 and might produce crashes or other errors.
2364 @subsection Glissando
2367 @cindex @code{\glissando}
2369 A glissando is a smooth change in pitch. It is denoted by a line or a
2370 wavy line between two notes.
2374 A glissando line can be requested by attaching a @code{\glissando} to
2377 @lilypond[fragment,relative,verbatim]
2383 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2388 Adding additional texts (such as @emph{gliss.}) is not supported.
2392 @subsection Dynamics
2405 @cindex @code{\ffff}
2415 Absolute dynamic marks are specified using an variable after a
2416 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2417 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2418 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2419 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2421 @lilypond[verbatim,raggedright,fragment,relative]
2422 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2428 @cindex @code{\decr}
2429 @cindex @code{\rced}
2436 A crescendo mark is started with @code{\<} and terminated with
2437 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2438 with @code{\!}. Because these marks are bound to notes, if you must
2439 use spacer notes if multiple marks during one note are needed:
2441 @lilypond[fragment,verbatim,center,quote]
2442 c''\< c''\! d''\decr e''\rced
2443 << f''1 { s4 s4\< s4\! \> s4\! } >>
2445 This may give rise to very short hairpins. Use @code{minimum-length}
2446 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2450 \override Staff.Hairpin #'minimum-length = #5
2453 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2454 is an example how to do it:
2456 @lilypond[fragment,relative=2,verbatim]
2457 c4 \cresc c4 c c c \endcresc c4
2463 You can also supply your own texts:
2464 @lilypond[fragment,relative,verbatim]
2466 \set crescendoText = \markup { \italic "cresc. poco" }
2467 \set crescendoSpanner = #'dashed-line
2477 @cindex @code{\dynamicUp}
2479 @cindex @code{\dynamicDown}
2480 @code{\dynamicDown},
2481 @cindex @code{\dynamicBoth}
2482 @code{\dynamicBoth}.
2484 @cindex direction, of dynamics
2488 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2489 @internalsref{AbsoluteDynamicEvent}.
2491 Dynamics are objects of @internalsref{DynamicText} and
2492 @internalsref{Hairpin}. Vertical positioning of these symbols is
2493 handled by the @internalsref{DynamicLineSpanner} object.
2495 If you want to adjust padding or vertical direction of the dynamics, you
2496 must set properties for the @internalsref{DynamicLineSpanner} object.
2504 @cindex @code{\repeat}
2507 Repetition is a central concept in music, and multiple notations exist
2508 for repetitions. In LilyPond, most of these notations can be captured
2509 in a uniform syntax. One of the advantages is that they can be
2510 rendered in MIDI accurately.
2512 The following types of repetition are supported:
2516 Repeated music is fully written (played) out. Useful for MIDI
2517 output, and entering repetitive music.
2520 This is the normal notation: Repeats are not written out, but
2521 alternative endings (voltas) are printed, left to right.
2525 Alternative endings are written stacked. This has limited use but may be
2526 used to typeset two lines of lyrics in songs with repeats, see
2527 @inputfileref{input,star-spangled-banner.ly}.
2535 Make beat or measure repeats. These look like percent signs.
2541 * Repeats and MIDI::
2542 * Manual repeat commands::
2544 * Tremolo subdivisions::
2549 @subsection Repeat syntax
2553 LilyPond has one syntactic construct for specifying different types of
2554 repeats. The syntax is
2557 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2560 If you have alternative endings, you may add
2561 @cindex @code{\alternative}
2563 \alternative @code{@{} @var{alternative1}
2565 @var{alternative3} @dots{} @code{@}}
2567 where each @var{alternative} is a music expression. If you do not
2568 give enough alternatives for all of the repeats, then the first
2569 alternative is assumed to be played more than once.
2571 Normal notation repeats are used like this:
2572 @lilypond[fragment,verbatim,relative=1]
2574 \repeat volta 2 { c4 d e f }
2575 \repeat volta 2 { f e d c }
2578 With alternative endings:
2579 @lilypond[fragment,verbatim,relative=1]
2581 \repeat volta 2 {c4 d e f}
2582 \alternative { {d2 d} {f f,} }
2586 @lilypond[fragment,verbatim,relative=1]
2589 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2590 \alternative { { g4 g g } { a | a a a a | b2. } }
2596 If you do a nested repeat like
2605 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2606 belongs. This ambiguity is resolved by always having the
2607 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2608 it is advisable to use braces in such situations.
2611 @node Repeats and MIDI
2612 @subsection Repeats and MIDI
2614 @cindex expanding repeats
2616 For instructions on how to unfold repeats for MIDI output, see the
2617 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2622 Timing information is not remembered at the start of an alternative,
2623 so after a repeat timing information must be reset by hand, for
2624 example by setting @code{Score.measurePosition} or entering
2625 @code{\partial}. Similarly, slurs or ties are also not repeated.
2628 @node Manual repeat commands
2629 @subsection Manual repeat commands
2631 @cindex @code{repeatCommands}
2633 The property @code{repeatCommands} can be used to control the layout of
2634 repeats. Its value is a Scheme list of repeat commands, where each repeat
2638 @item the symbol @code{start-repeat},
2639 which prints a @code{|:} bar line,
2640 @item the symbol @code{end-repeat},
2641 which prints a @code{:|} bar line,
2642 @item the list @code{(volta @var{text})},
2643 which prints a volta bracket saying @var{text}: The text can be specified as
2644 a text string or as a markup text, see @ref{Text markup}. Do not
2645 forget to change the font, as the default number font does not contain
2646 alphabetic characters. Or,
2647 @item the list @code{(volta #f)}, which
2648 stops a running volta bracket:
2651 @lilypond[verbatim,fragment,relative=2]
2653 \set Score.repeatCommands = #'((volta "93") end-repeat)
2655 \set Score.repeatCommands = #'((volta #f))
2662 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2663 @internalsref{VoltaRepeatedMusic},
2664 @internalsref{UnfoldedRepeatedMusic}, and
2665 @internalsref{FoldedRepeatedMusic}.
2667 @node Tremolo repeats
2668 @subsection Tremolo repeats
2669 @cindex tremolo beams
2671 To place tremolo marks between notes, use @code{\repeat} with tremolo
2673 @lilypond[verbatim,raggedright]
2675 \context Voice \notes\relative c' {
2676 \repeat "tremolo" 8 { c16 d16 }
2677 \repeat "tremolo" 4 { c16 d16 }
2678 \repeat "tremolo" 2 { c16 d16 }
2683 Tremolo marks can also be put on a single note. In this case, the
2684 note should not be surrounded by braces.
2685 @lilypond[verbatim,raggedright]
2686 \repeat "tremolo" 4 c16
2689 A similar mechanism is the tremolo subdivision, described in
2690 @ref{Tremolo subdivisions}.
2694 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2696 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2697 tremolos are @internalsref{StemTremolo}s. The music expression is
2698 @internalsref{TremoloEvent}.
2700 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2701 @inputfileref{input/regression,stem-tremolo.ly}.
2703 @node Tremolo subdivisions
2704 @subsection Tremolo subdivisions
2705 @cindex tremolo marks
2706 @cindex @code{tremoloFlags}
2708 Tremolo marks can be printed on a single note by adding
2709 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2710 A @var{length} value of 8 gives one line across the note stem. If the
2711 length is omitted, then then the last value (stored in
2712 @code{tremoloFlags}) is used:
2714 @lilypond[verbatim,fragment,center]
2715 c'2:8 c':32 | c': c': |
2718 @c [TODO : stok is te kort bij 32en]
2722 Tremolos in this style do not carry over into the MIDI output.
2726 In this manual: @ref{Tremolo repeats}.
2728 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2730 @node Measure repeats
2731 @subsection Measure repeats
2733 @cindex percent repeats
2734 @cindex measure repeats
2736 In the @code{percent} style, a note pattern can be repeated. It is
2737 printed once, and then the pattern is replaced with a special sign.
2738 Patterns of a one and two measures are replaced by percent-like signs,
2739 patterns that divide the measure length are replaced by slashes:
2741 @lilypond[verbatim,raggedright]
2742 \context Voice { \repeat "percent" 4 { c'4 }
2743 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2749 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2750 @internalsref{PercentRepeatedMusic}, and
2751 @internalsref{DoublePercentRepeat}.
2755 @node Rhythmic music
2756 @section Rhythmic music
2760 * Showing melody rhythms::
2761 * Entering percussion::
2762 * Percussion staves::
2766 @node Showing melody rhythms
2767 @subsection Showing melody rhythms
2769 Sometimes you might want to show only the rhythm of a melody. This
2770 can be done with the rhythmic staff. All pitches of notes on such a
2771 staff are squashed, and the staff itself has a single line:
2773 @lilypond[fragment,relative,verbatim]
2774 \context RhythmicStaff {
2776 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2782 Internals: @internalsref{RhythmicStaff}.
2784 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2787 @node Entering percussion
2788 @subsection Entering percussion
2795 Percussion notes may be entered in @code{\drums} mode, which is
2796 similar to @code{notes}. Each piece of percussion has a full name and
2797 an abbreviated name, and both be used in input files:
2799 @lilypond[raggedright]
2800 \drums { hihat4 hh4 }
2803 The complete list of drum names is in the init file
2804 @file{ly/drumpitch-init.ly}.
2805 @c TODO: properly document this.
2809 Internals: @internalsref{DrumNoteEvent}.
2811 @node Percussion staves
2812 @subsection Percussion staves
2816 A percussion part for more than one instrument typically uses a
2817 multiline staff where each position in the staff refers to one piece
2821 To typeset the music, the notes must be interpreted in a
2822 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2825 @lilypond[raggedright,verbatim,quote]
2826 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2827 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2830 << \new DrumVoice { \voiceOne \up }
2831 \new DrumVoice { \voiceTwo \down }
2835 There are also other layout possibilities. To use these, set the
2836 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2837 The following variables have been predefined:
2841 is the default. It typesets a typical drum kit on a five-line staff
2844 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2845 bd sn ss tomh tommh tomml toml tomfh tomfl }
2846 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2847 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2849 << \new DrumStaff\with {
2850 \remove Bar_engraver
2851 \remove Time_signature_engraver
2852 \override Stem #'transparent = ##t
2853 \override Stem #'Y-extent-callback = ##f
2854 minimumVerticalExtent = #'(-4.0 . 5.0)
2856 \context Lyrics \nam
2859 %% need to do this, because of indented @itemize
2861 \translator { \ScoreContext
2862 \override BarNumber #'transparent =##T
2866 The drum scheme supports six different toms. When there fewer toms, simply
2867 select the toms that produce the desired result, i.e. to get toms on
2868 the three middle lines you use @code{tommh}, @code{tomml} and
2871 @item timbales-style
2872 to typeset timbales on a two line staff:
2874 @lilypond[raggedright]
2875 nam = \lyrics { timh ssh timl ssl cb }
2876 mus = \drums { timh ssh timl ssl cb s16 }
2879 \context DrumStaff \with {
2880 \remove Bar_engraver
2881 \remove Time_signature_engraver
2882 \override Stem #'transparent = ##t
2883 \override Stem #'Y-extent-callback = ##f
2884 \override StaffSymbol #'line-count = #2
2885 \override StaffSymbol #'staff-space = #2
2886 minimumVerticalExtent = #'(-3.0 . 4.0)
2887 drumStyleTable = #timbales-style
2889 \context Lyrics \nam
2894 to typeset congas on a two line staff:
2896 @lilypond[raggedright]
2897 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2898 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2901 \context DrumStaff\with {
2902 \remove Bar_engraver
2903 \remove Time_signature_engraver
2904 drumStyleTable = #congas-style
2905 \override StaffSymbol #'line-count = #2
2907 %% this sucks; it will lengthen stems.
2908 \override StaffSymbol #'staff-space = #2
2909 \override Stem #'transparent = ##t
2910 \override Stem #'Y-extent-callback = ##f
2912 \context Lyrics \nam
2917 to typeset bongos on a two line staff:
2919 @lilypond[raggedright]
2920 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2921 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2924 \context DrumStaff\with {
2925 \remove Bar_engraver
2926 \remove Time_signature_engraver
2927 \override StaffSymbol #'line-count = #2
2928 drumStyleTable = #bongos-style
2930 %% this sucks; it will lengthen stems.
2931 \override StaffSymbol #'staff-space = #2
2932 \override Stem #'transparent = ##t
2933 \override Stem #'Y-extent-callback = ##f
2935 \context Lyrics \nam
2940 @item percussion-style
2941 to typeset all kinds of simple percussion on one line staves:
2942 @lilypond[raggedright]
2943 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2944 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2947 \context DrumStaff\with{
2948 \remove Bar_engraver
2949 drumStyleTable = #percussion-style
2950 \override StaffSymbol #'line-count = #1
2951 \remove Time_signature_engraver
2952 \override Stem #'transparent = ##t
2953 \override Stem #'Y-extent-callback = ##f
2955 \context Lyrics \nam
2961 If you do not like any of the predefined lists you can define your own
2962 list at the top of your file:
2964 @lilypond[raggedright,verbatim]
2966 (bassdrum default #f -1)
2967 (snare default #f 0)
2969 (pedalhihat xcircle "stopped" 2)
2970 (lowtom diamond #f 3)
2972 up = \drums { hh8 hh hh hh hhp4 hhp }
2973 down = \drums { bd4 sn bd toml8 toml }
2976 \set DrumStaff.drumStyleTable
2977 = #(alist->hash-table mydrums)
2978 \new DrumVoice { \voiceOne \up }
2979 \new DrumVoice { \voiceTwo \down }
2987 Init files: @file{ly/drumpitch-init.ly}.
2989 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
2993 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2994 work for @internalsref{DrumVoices}.
2996 Because general MIDI does not contain rimshots the sidestick is used
2997 for this purpose instead.
3000 @section Piano music
3002 Piano staves are two normal staves coupled with a brace. The staves
3003 are largely independent, but sometimes voices can cross between the
3004 two staves. The same notation is also used for harps and other key
3005 instruments. The @internalsref{PianoStaff} is especially built to
3006 handle this cross-staffing behavior. In this section we discuss the
3007 @internalsref{PianoStaff} and some other pianistic peculiarities.
3011 * Automatic staff changes::
3012 * Manual staff switches::
3015 * Staff switch lines::
3020 There is no support for putting chords across staves. You can get
3021 this result by increasing the length of the stem in the lower stave so
3022 it reaches the stem in the upper stave, or vice versa. An example is
3023 included with the distribution as
3024 @inputfileref{input/test,stem-cross-staff.ly}.
3026 Dynamics are not centered, but kludges do exist. See
3027 @inputfileref{input/template,piano-dynamics.ly}.
3029 @cindex cross staff stem
3030 @cindex stem, cross staff
3033 @c fixme: should have hyperlinks as well.
3039 @node Automatic staff changes
3040 @subsection Automatic staff changes
3041 @cindex Automatic staff changes
3043 Voices can switch automatically between the top and the bottom
3044 staff. The syntax for this is
3046 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3048 The two staffs of the piano staff must be named @code{up} and
3051 The autochanger switches on basis of pitch (central C is the turning
3052 point), and it looks ahead skipping over rests to switch in
3053 advance. Here is a practical example:
3055 @lilypond[verbatim,raggedright,quote]
3056 \score { \notes \context PianoStaff <<
3057 \context Staff = "up" {
3058 \autochange \new Voice \relative c' {
3059 g4 a b c d r4 a g } }
3060 \context Staff = "down" {
3067 In this example, spacer rests are used to prevent the bottom staff from
3068 terminating too soon.
3073 In this manual: @ref{Manual staff switches}.
3075 Internals: @internalsref{AutoChangeMusic}.
3081 The staff switches often do not end up in optimal places. For high
3082 quality output, staff switches should be specified manually.
3086 @node Manual staff switches
3087 @subsection Manual staff switches
3089 @cindex manual staff switches
3090 @cindex staff switch, manual
3092 Voices can be switched between staves manually, using the following command:
3094 \change Staff = @var{staffname} @var{music}
3098 The string @var{staffname} is the name of the staff. It switches the
3099 current voice from its current staff to the Staff called
3100 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3109 Pianos have pedals that alter the way sound are produced. Generally, a
3110 piano has three pedals, sustain, una corda, and sostenuto.
3114 Piano pedal instruction can be expressed by attaching
3115 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3116 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3119 @lilypond[fragment,verbatim]
3120 c'4\sustainDown c'4\sustainUp
3123 What is printed can be modified by setting @code{pedal@var{X}Strings},
3124 where @var{X} is one of the pedal types: @code{Sustain},
3125 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3126 documentation of @internalsref{SustainPedal} for more information.
3128 Pedals can also be indicated by a sequence of brackets, by setting the
3129 @code{pedalSustainStyle} property to @code{bracket} objects:
3131 @lilypond[fragment,verbatim]
3132 \set Staff.pedalSustainStyle = #'bracket
3133 c''4\sustainDown d''4 e''4
3134 a'4\sustainUp\sustainDown
3135 f'4 g'4 a'4\sustainUp
3138 A third style of pedal notation is a mixture of text and brackets,
3139 obtained by setting the @code{pedalSustainStyle} style property to
3142 @lilypond[fragment,verbatim]
3143 \set Staff.pedalSustainStyle = #'mixed
3144 c''4\sustainDown d''4 e''4
3145 c'4\sustainUp\sustainDown
3146 f'4 g'4 a'4\sustainUp
3149 The default `*Ped' style for sustain and damper pedals corresponds to
3150 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3153 @lilypond[fragment,verbatim]
3154 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3157 For fine-tuning of the appearance of a pedal bracket, the properties
3158 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3159 @code{PianoPedalBracket} objects (see
3160 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3161 bracket may be extended to the end of the note head:
3163 @lilypond[fragment,verbatim]
3164 \override Staff.PianoPedalBracket
3165 #'shorten-pair = #'(0 . -1.0)
3166 c''4\sostenutoDown d''4 e''4 c'4
3167 f'4 g'4 a'4\sostenutoUp
3171 @subsection Arpeggio
3174 @cindex broken arpeggio
3175 @cindex @code{\arpeggio}
3177 You can specify an arpeggio sign on a chord by attaching an
3178 @code{\arpeggio} to a chord:
3181 @lilypond[fragment,relative,verbatim]
3185 When an arpeggio crosses staves, you attach an arpeggio to the chords
3186 in both staves, and set
3187 @internalsref{PianoStaff}.@code{connectArpeggios}:
3189 @lilypond[fragment,relative,verbatim]
3190 \context PianoStaff <<
3191 \set PianoStaff.connectArpeggios = ##t
3192 \new Staff { <c' e g c>\arpeggio }
3193 \new Staff { \clef bass <c,, e g>\arpeggio }
3197 The direction of the arpeggio is sometimes denoted by adding an
3198 arrowhead to the wiggly line. This can be typeset by setting
3199 @code{arpeggio-direction}:
3201 @lilypond[fragment,relative,verbatim]
3203 \override Arpeggio #'arpeggio-direction = #1
3205 \override Arpeggio #'arpeggio-direction = #-1
3210 A square bracket on the left indicates that the player should not
3211 arpeggiate the chord. To draw these brackets, set the
3212 @code{print-function} property of @code{Arpeggio} or
3213 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3214 @code{\arpeggio} statements within the chords as before:
3216 @lilypond[fragment,relative,verbatim]
3217 \override PianoStaff.Arpeggio
3218 #'print-function = \arpeggioBracket
3224 @cindex @code{\arpeggioBracket}
3225 @code{\arpeggioBracket},
3226 @cindex @code{\arpeggio}
3231 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3232 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3233 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3237 It is not possible to mix connected arpeggios and unconnected
3238 arpeggios in one @internalsref{PianoStaff} at the same time.
3240 @node Staff switch lines
3241 @subsection Staff switch lines
3244 @cindex follow voice
3245 @cindex staff switching
3248 @cindex @code{followVoice}
3250 Whenever a voice switches to another staff a line connecting the notes
3251 can be printed automatically. This is enabled if the property
3252 @code{PianoStaff.followVoice} is set to true:
3254 @lilypond[fragment,relative,verbatim]
3255 \context PianoStaff <<
3256 \set PianoStaff.followVoice = ##t
3257 \context Staff \context Voice {
3262 \context Staff=two { \clef bass \skip 1*2 }
3266 The associated object is @internalsref{VoiceFollower}.
3270 @cindex @code{\showStaffSwitch}
3271 @code{\showStaffSwitch},
3272 @cindex @code{\hideStaffSwitch}
3273 @code{\hideStaffSwitch}.
3277 @section Vocal music
3279 This section discusses how to enter and print lyrics.
3283 * The Lyrics context::
3288 @node Entering lyrics
3289 @subsection Entering lyrics
3293 @cindex @code{\lyrics}
3296 Lyrics are entered in a special input mode. This mode is is introduced
3297 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3298 punctuation and accents without any hassle. Syllables are entered like
3299 notes, but with pitches replaced by text. For example,
3301 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3304 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3305 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3306 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3307 any 8-bit character with ASCII code over 127, or a two-character
3308 combination of a backslash followed by one of @code{`}, @code{'},
3309 @code{"}, or @code{^}.
3311 Subsequent characters of a word can be any character that is not a digit
3312 and not white space. One important consequence of this is that a word
3313 can end with @code{@}}. The following example is usually a bug. The
3314 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3316 \lyrics @{ twinkle@}
3319 @cindex @code{\property}, in @code{\lyrics}
3320 Similarly, a period following a alphabetic sequence, is included in
3321 the resulting string. As a consequence, spaces must be inserted around
3324 \override Score . LyricText #'font-shape = #'italic
3328 @cindex spaces, in lyrics
3329 @cindex quotes, in lyrics
3331 Any @code{_} character which appears in an unquoted word is converted
3332 to a space. This provides a mechanism for introducing spaces into words
3333 without using quotes. Quoted words can also be used in Lyrics mode to
3334 specify words that cannot be written with the above rules:
3337 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3341 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3346 These will be attached to the end of the first syllable.
3348 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3349 as a separate word between syllables. The hyphen will have variable
3350 length depending on the space between the syllables and it will be
3351 centered between the syllables.
3356 When a lyric is sung over many notes (this is called a melisma), this is
3357 indicated with a horizontal line centered between a syllable and the
3358 next one. Such a line is called an extender line, and it is entered as
3363 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3364 @internalsref{ExtenderEvent}.
3366 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3370 The definition of lyrics mode is too complex.
3374 @node The Lyrics context
3375 @subsection The Lyrics context
3377 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context:
3379 \context Lyrics \lyrics @dots{}
3382 @cindex automatic syllable durations
3383 @cindex @code{\lyricsto}
3384 @cindex lyrics and melodies
3386 This will place the lyrics according to the durations that were
3387 entered. The lyrics can also be aligned under a given melody
3388 automatically. In this case, it is no longer necessary to enter the
3389 correct duration for each syllable. This is achieved by combining the
3390 melody and the lyrics with the @code{\lyricsto} expression:
3392 \lyricsto @var{name} \new Lyrics @dots{}
3395 This aligns the lyrics to the
3397 notes of the @internalsref{Voice} context called @var{name}, which has
3398 to exist. Therefore, normally the @code{Voice} is specified first, and
3399 then the lyrics are specified with @code{\lyricsto}.
3401 For different or more complex orderings, the best way is to setup the
3402 hierarchy of staves and lyrics first, e.g.
3404 \context ChoirStaff \notes <<
3405 \context Lyrics = sopranoLyrics @{ s1 @}
3406 \context Voice = soprano @{ @emph{music} @}
3407 \context Lyrics = tenor @{ s1 @}
3408 \context Voice = tenorLyrics @{ @emph{music} @}
3411 and then combine the appropriate melodies and lyric lines:
3413 \lyricsto "soprano" \new Lyrics @emph{the lyrics}
3417 The final input would resemble
3420 << \context ChoirStaff \notes << @emph{setup the music} >>
3421 \lyricsto "soprano" @emph{etc}
3422 \lyricsto "alto" @emph{etc}
3428 The @code{\lyricsto} command detects melismata: it only puts one
3429 syllable under a tied or slurred group of notes. If you want to force
3430 an unslurred group of notes to be a melisma, then insert
3431 @code{\melisma} after the first note of the group, and
3432 @code{\melismaEnd} after the last one, e.g.
3434 @lilypond[relative=1,raggedright,fragment,verbatim]
3435 << \context Voice = "lala" { \time 3/4
3441 \lyricsto "lala" \new Lyrics \lyrics {
3446 In addition, notes are considered a melisma if they are manually
3447 beamed, and automatic beaming (see @ref{Setting automatic beam
3448 behavior}) is switched off. The criteria for deciding melismata
3449 can be tuned with the property @code{melismaBusyProperties}. See
3450 @internalsref{Melisma_engraver} for more information.
3452 When multiple stanzas are put on the same melody, it can happen that
3453 two stanzas have melismata in different locations. This can be
3454 remedied by switching off melismata for one
3455 @internalsref{Lyrics}. This is achieved by setting
3456 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3457 in @inputfileref{input/regression,lyric-combine-new.ly}.
3460 @cindex choral score
3462 A complete example of a SATB score setup is in the file
3463 @inputfileref{input/template,satb.ly}.
3468 @code{\melisma}, @code{\melismaEnd}
3469 @cindex @code{\melismaEnd}
3470 @cindex @code{\melisma}
3474 Internals: Music expressions: @internalsref{LyricCombineMusic},
3475 Contexts: @internalsref{Lyrics}, @internalsref{Melisma_engraver}.
3477 Examples: @inputfileref{input/template,satb.ly},
3478 @inputfileref{input/regression,lyric-combine-new.ly}.
3482 Melismata are not detected automatically, and extender lines must be
3486 For proper processing of extender lines, the
3487 @internalsref{Lyrics} and @internalsref{Voice} should be
3488 linked. This can be achieved either by using @code{\lyricsto} or by
3489 setting corresponding names for both contexts. The latter is explained
3490 in @ref{More stanzas}.
3493 @subsection More stanzas
3495 @cindex phrasing, in lyrics
3498 The lyrics should be aligned with the note heads of the melody. To
3499 achieve this, each line of lyrics should be marked to correspond with
3500 the melodic line. This is done automatically when @code{\lyricsto},
3501 but it can also be done manually.
3503 To this end, give the @internalsref{Voice} context an identity:
3505 \context Voice = duet @{
3510 Then set the @internalsref{Lyrics} contexts to names starting with
3511 that identity followed by a dash. In the preceding example, the
3512 @internalsref{Voice} identity is @code{duet}, so the identities of the
3513 @internalsref{Lyrics}s are marked @code{duet-1} and @code{duet-2}:
3515 \context Lyrics = "duet-1" @{
3516 Hi, my name is bert. @}
3517 \context Lyrics = "duet-2" @{
3518 Ooooo, ch\'e -- ri, je t'aime. @}
3521 The complete example is shown here:
3522 @lilypond[raggedright,verbatim]
3524 << \notes \relative c'' \context Voice = duet { \time 3/4
3526 \lyrics << \lyricsto "duet" \new Lyrics {
3528 \set vocName = "Bert"
3529 Hi, my name is bert. }
3530 \lyricsto "duet" \new Lyrics {
3532 \set vocName = "Ernie"
3533 Ooooo, ch\'e -- ri, je t'aime.
3539 @cindex stanza number
3540 @cindex singer's names
3541 @cindex name of singer
3543 Stanza numbers can be added by setting @code{stanza}, e.g.
3551 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3552 prevent @code{stanza} being interpreted as a single
3555 This example also demonstrates how names of the singers can be added
3556 using @code{vocalName} analogous to instrument annotations for staves.
3557 A short version may be entered as @code{vocNam}.
3559 To make empty spaces in lyrics, use @code{\skip}.
3564 Internals: Layout objects @internalsref{LyricText} and
3565 @internalsref{VocalName}. Music expressions:
3566 @internalsref{LyricEvent}.
3572 Input for lyrics introduces a syntactical ambiguity:
3579 is interpreted as assigning a string identifier @code{\foo} such that
3580 it contains @code{"bar"}. However, it could also be interpreted as
3581 making or a music identifier @code{\foo} containing the syllable
3582 `bar'. The force the latter interpretation, use
3592 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3593 for a given voice in a part of music. It also may denote the pitch
3594 range that a musical instrument is capable of playing. Most musical
3595 instruments have their ambitus standardized (or at least there is
3596 agreement upon the minimal ambitus of a particular type of
3597 instrument), such that a composer or arranger of a piece of music can
3598 easily meet the ambitus constraints of the targeted instrument.
3599 However, the ambitus of the human voice depends on individual
3600 physiological state, including education and training of the voice.
3601 Therefore, a singer potentially has to check for each piece of music
3602 if the ambitus of that piece meets his individual capabilities. This
3603 is why the ambitus of a piece may be of particular value to vocal
3606 The ambitus is typically notated on a per-voice basis at the very
3607 beginning of a piece, e.g. nearby the initial clef or time signature of
3608 each staff. The range is graphically specified by two noteheads, that
3609 represent the minimum and maximum pitch. Some publishers use a textual
3610 notation: they put the range in words in front of the corresponding
3611 staff. LilyPond only supports the graphical ambitus notation.
3613 To apply, add the @internalsref{Ambitus_engraver} to the
3614 @internalsref{Voice} context, i.e.
3620 \consists Ambitus_engraver
3625 This results in the following output:
3627 @lilypond[raggedright]
3628 upper = \notes \relative c {
3631 as'' c e2 bes f cis d4 e f2 g
3633 lower = \notes \relative c {
3636 e'4 b g a c es fis a cis b a g f e d2
3639 \context ChoirStaff {
3641 \new Staff { \upper }
3642 \new Staff { \lower }
3648 \consists Ambitus_engraver
3654 If you have multiple voices in a single staff, and you want a single
3655 ambitus per staff rather than per each voice, then add the
3656 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3657 rather than to the @internalsref{Voice} context.
3659 It is possible to tune individual ambituses for multiple voices on a
3660 single staff, for example by erasing or shifting them horizontally. An
3661 example is in @inputfileref{input/test,ambitus-mixed.ly}.
3665 Internals: @internalsref{Ambitus}.
3667 Examples: @inputfileref{input/regression,ambitus.ly},
3668 @inputfileref{input/test,ambitus-mixed.ly}.
3672 There is no collision handling in the case of multiple per-voice
3678 Tablature notation is used for notating music for plucked string
3679 instruments. It notates pitches not by using note heads, but by
3680 indicating on which string and fret a note must be played. LilyPond
3681 offers limited support for tablature.
3684 * Tablatures basic::
3685 * Non-guitar tablatures::
3688 @node Tablatures basic
3689 @subsection Tablatures basic
3690 @cindex Tablatures basic
3692 The string number associated to a note is given as a backslash
3693 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3694 string. By default, string 1 is the highest one, and the tuning
3695 defaults to the standard guitar tuning (with 6 strings). The notes
3696 are printed as tablature, by using @internalsref{TabStaff} and
3697 @internalsref{TabVoice} contexts:
3699 @lilypond[fragment,verbatim]
3700 \notes \context TabStaff {
3708 When no string is specified, the first string that does not give a
3709 fret number less than @code{minimumFret} is selected. The default
3710 value for @code{minimumFret} is 0:
3714 e8 fis gis a b cis' dis' e'
3715 \set TabStaff.minimumFret = #8
3716 e8 fis gis a b cis' dis' e'
3721 e8 fis gis a b cis' dis' e'
3722 \set TabStaff.minimumFret = #8
3723 e8 fis gis a b cis' dis' e'
3726 \context StaffGroup <<
3727 \context Staff { \clef "G_8" \frag }
3728 \context TabStaff { \frag }
3735 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3736 @internalsref{StringNumberEvent}.
3740 Chords are not handled in a special way, and hence the automatic
3741 string selector may easily select the same string to two notes in a
3745 @node Non-guitar tablatures
3746 @subsection Non-guitar tablatures
3747 @cindex Non-guitar tablatures
3749 You can change the number of strings, by setting the number of lines
3750 in the @internalsref{TabStaff}.
3752 You can change the tuning of the strings. A string tuning is given as
3753 a Scheme list with one integer number for each string, the number
3754 being the pitch (measured in semitones relative to central C) of an
3755 open string. The numbers specified for @code{stringTuning} are the
3756 numbers of semitones to subtract or add, starting the specified pitch
3757 by default middle C, in string order. Thus, the notes are e, a, d, and
3760 @lilypond[fragment,verbatim]
3761 \context TabStaff <<
3762 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
3765 a,4 c' a e' e c' a e'
3770 It is possible to change the Scheme function to format the tablature
3771 note text. The default is @code{fret-number-tablature-format}, which
3772 uses the fret number. For instruments that do not use this notation,
3773 you can create a special tablature formatting function. This function
3774 takes three argument: string number, string tuning and note pitch.
3778 No guitar special effects have been implemented.
3783 @section Chord names
3786 LilyPond has support for both printing chord names. Chords may be
3787 entered in musical chord notation, i.e. @code{< .. >}, but they can
3788 also be entered by name. Internally, the chords are represented as a
3789 set of pitches, so they can be transposed:
3792 @lilypond[verbatim,raggedright]
3793 twoWays = \notes \transpose c c' {
3803 << \context ChordNames \twoWays
3804 \context Voice \twoWays >> }
3807 This example also shows that the chord printing routines do not try to
3808 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3814 * Printing chord names::
3819 @subsection Chords mode
3822 Chord mode is a mode where you can input sets of pitches using common
3823 names. It is introduced by the keyword @code{\chords}.
3824 In chords mode, a chord is entered by the root, which is entered
3825 like a common pitch:
3826 @lilypond[fragment,verbatim,quote,relative=1]
3827 \chords { es4. d8 c2 }
3832 Other chords may be entered by suffixing a colon, and introducing a
3833 modifier, and optionally, a number:
3835 @lilypond[fragment,verbatim,quote]
3836 \chords { e1:m e1:7 e1:m7 }
3838 The first number following the root is taken to be the `type' of the
3839 chord, thirds are added to the root until it reaches the specified
3841 @lilypond[fragment,verbatim]
3842 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3845 @cindex root of chord
3846 @cindex additions, in chords
3847 @cindex removals, in chords
3849 More complex chords may also be constructed adding separate steps
3850 to a chord. Additions are added after the number following
3851 the colon, and are separated by dots:
3853 @lilypond[verbatim,fragment,quote]
3854 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3856 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3858 @lilypond[verbatim,fragment,quote]
3859 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3861 Removals are specified similarly, and are introduced by a caret. They
3862 must come after the additions:
3863 @lilypond[verbatim,fragment]
3864 \chords { c^3 c:7^5 c:9^3.5 }
3867 Modifiers can be used to change pitches. The following modifiers are
3871 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3873 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3876 is the augmented chord. This modifier raises the 5th step.
3878 is the major 7th chord. This modifier raises the 7th step if present.
3880 is the suspended 4th or 2nd. This modifier removes the 3rd
3881 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3884 Modifiers can be mixed with additions:
3885 @lilypond[verbatim,fragment]
3886 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3889 @cindex modifiers, in chords.
3896 Since an unaltered 11 does not sound good when combined with an
3897 unaltered 13, the 11 is removed in this case (unless it is added
3900 @lilypond[fragment,verbatim]
3901 \chords { c:13 c:13.11 c:m13 }
3906 An inversion (putting one pitch of the chord on the bottom), as well
3907 as bass notes, can be specified by appending
3908 @code{/}@var{pitch} to the chord:
3909 @lilypond[fragment,verbatim,center]
3910 \chords { c1 c/g c/f }
3914 A bass note can be added instead of transposed out of the chord,
3915 by using @code{/+}@var{pitch}.
3917 @lilypond[fragment,verbatim,center]
3918 \chords { c1 c/+g c/+f }
3921 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3922 of the commands continue to work, for example, @code{r} and
3923 @code{\skip} can be used to insert rests and spaces, and property
3924 commands may be used to change various settings.
3930 Each step can only be present in a chord once. The following
3931 simply produces the augmented chord, since @code{5+} is interpreted
3934 @lilypond[verbatim,fragment]
3935 \chords { c:5.5-.5+ }
3939 @node Printing chord names
3940 @subsection Printing chord names
3942 @cindex printing chord names
3946 For displaying printed chord names, use the @internalsref{ChordNames} context.
3947 The chords may be entered either using the notation
3948 described above, or directly using @code{<} and @code{>}:
3950 @lilypond[verbatim,raggedright]
3952 \chords {a1 b c} <d' f' a'> <e' g' b'>
3956 \context ChordNames \scheme
3957 \context Staff \scheme
3962 You can make the chord changes stand out by setting
3963 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3964 display chord names when there is a change in the chords scheme and at
3965 the start of a new line:
3967 @lilypond[verbatim,linewidth=9\cm]
3969 c1:m c:m \break c:m c:m d
3973 \context ChordNames {
3974 \set chordChanges = ##t
3976 \context Staff \transpose c c' \scheme
3981 The default chord name layout is a system for Jazz music, proposed by
3982 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3983 following properties:
3986 @cindex chordNameExceptions
3987 @item chordNameExceptions
3988 This is a list that contains the chords that have special formatting.
3990 @inputfileref{input/regression,chord-name-exceptions.ly}.
3991 @cindex exceptions, chord names.
3994 @cindex majorSevenSymbol
3995 @item majorSevenSymbol
3996 This property contains the markup object used for the 7th step, when
3997 it is major. Predefined options are @code{whiteTriangleMarkup} and
3998 @code{blackTriangleMarkup}. See
3999 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4001 @cindex chordNameSeparator
4002 @item chordNameSeparator
4003 Different parts of a chord name are normally separated by a
4004 slash. By setting @code{chordNameSeparator}, you can specify other
4006 @lilypond[fragment,verbatim]
4007 \context ChordNames \chords {
4009 \set chordNameSeparator
4010 = \markup { \typewriter "|" }
4014 @cindex chordRootNamer
4015 @item chordRootNamer
4016 The root of a chord is usually printed as a letter with an optional
4017 alteration. The transformation from pitch to letter is done by this
4018 function. Special note names (for example, the German ``H'' for a
4019 B-chord) can be produced by storing a new function in this property.
4021 The pre-defined variables @code{\germanChords},
4022 @code{\semiGermanChords} set these variables.
4025 @cindex chordNoteNamer
4026 @item chordNoteNamer
4027 The default is to print single pitch, e.g. the bass note, using the
4028 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4029 to a specialized function to change this behavior. For example, the
4030 base can be printed in lower case.
4035 There are also two other chord name schemes implemented: an alternate
4036 Jazz chord notation, and a systematic scheme called Banter chords. The
4037 alternate jazz notation is also shown on the chart in @ref{Chord name
4038 chart}. Turning on these styles is described in the input file
4039 @inputfileref{input/test,chord-names-jazz.ly}.
4043 @cindex chords, jazz
4048 @cindex @code{\germanChords}
4049 @code{\germanChords},
4050 @cindex @code{\semiGermanChords}
4051 @code{\semiGermanChords}.
4058 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4059 @inputfileref{input/regression,chord-name-exceptions.ly},
4060 @inputfileref{input/test,chord-names-jazz.ly},
4061 @inputfileref{input/test,chord-names-german.ly}.
4063 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4068 Chord names are determined solely from the list of pitches. Chord
4069 inversions are not identified, and neither are added bass notes. This
4070 may result in strange chord names when chords are entered with the
4071 @code{< .. >} syntax.
4076 @node Orchestral music
4077 @section Orchestral music
4079 @cindex Writing parts
4081 Orchestral music involves some special notation, both in the full
4082 score and the individual parts. This section explains how to tackle
4083 some common problems in orchestral music.
4088 * Multiple staff contexts::
4091 * Instrument names::
4093 * Multi measure rests::
4094 * Automatic part combining::
4096 * Different editions from one source::
4097 * Sound output for transposing instruments::
4100 @node Multiple staff contexts
4101 @subsection Multiple staff contexts
4103 Polyphonic scores consist of many staves. These staves can be
4104 constructed in three different ways:
4106 @item The group is started with a brace at the left. This is done with the
4107 @internalsref{GrandStaff} context.
4108 @item The group is started with a bracket. This is done with the
4109 @internalsref{StaffGroup} context
4110 @item The group is started with a vertical line. This is the default
4114 @cindex Staff, multiple
4115 @cindex bracket, vertical
4116 @cindex brace, vertical
4123 @node Rehearsal marks
4124 @subsection Rehearsal marks
4125 @cindex Rehearsal marks
4127 @cindex @code{\mark}
4129 To print a rehearsal mark, use the @code{\mark} command:
4130 @lilypond[fragment,verbatim]
4141 (The letter I is skipped in accordance with engraving traditions.)
4143 The mark is incremented automatically if you use @code{\mark
4144 \default}, but you can also use an integer argument to set the mark
4145 manually. The value to use is stored in the property
4146 @code{rehearsalMark}.
4148 The style is defined by the property @code{markFormatter}. It is a
4149 function taking the current mark (an integer) and the current context
4150 as argument. It should return a markup object. In the following
4151 example, @code{markFormatter} is set to a canned procedure. After a
4152 few measures, it is set to function that produces a boxed number.
4154 @lilypond[verbatim,fragment,relative=1]
4155 \set Score.markFormatter = #format-mark-numbers
4158 \set Score.markFormatter
4159 = #(lambda (mark context)
4160 (make-bold-markup (make-box-markup (number->string mark))))
4165 The file @file{scm/translation-functions.scm} contains the definitions
4166 of @code{format-mark-numbers} (the default format) and
4167 @code{format-mark-letters}. They can be used as inspiration for other
4168 formatting functions.
4171 @cindex coda on bar line
4172 @cindex segno on bar line
4173 @cindex fermata on bar line
4174 @cindex bar lines, symbols on
4176 The @code{\mark} command can also be used to put signs like coda,
4177 segno and fermatas on a barline. Use @code{\markup} to
4178 to access the appropriate symbol:
4180 @lilypond[fragment,verbatim,relative=1]
4181 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4185 In this case, during line breaks, marks must also be printed at the
4186 end of the line, and not at the beginning. Use the following to force
4189 \override Score.RehearsalMark
4190 #'break-visibility = #begin-of-line-invisible
4196 @cindex barlines, putting symbols on
4200 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4202 Init files: @file{scm/translation-functions.scm} contains the
4203 definition of @code{format-mark-numbers} and
4204 @code{format-mark-letters}. They can be used as inspiration for other
4205 formatting functions.
4207 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4208 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4212 @subsection Bar numbers
4216 @cindex measure numbers
4217 @cindex currentBarNumber
4219 Bar numbers are printed by default at the start of the line. The
4220 number itself is stored in the
4221 @code{currentBarNumber} property,
4222 which is normally updated automatically for every measure.
4224 Bar numbers can be typeset at regular intervals instead of at the
4225 beginning of each line. This is illustrated in the following example,
4226 whose source is available as
4227 @inputfileref{input/test,bar-number-regular-interval.ly}:
4229 @lilypondfile[]{bar-number-regular-interval.ly}
4234 Internals: @internalsref{BarNumber}.
4236 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4237 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4241 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4242 there is one at the top. To solve this, the
4243 @code{padding} property of @internalsref{BarNumber} can be
4244 used to position the number correctly.
4246 @node Instrument names
4247 @subsection Instrument names
4249 In an orchestral score, instrument names are printed left side of the
4252 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4253 and @internalsref{Staff}.@code{instr}. This will print a string before
4254 the start of the staff. For the first start, @code{instrument} is
4255 used, for the next ones @code{instr} is used:
4258 @lilypond[verbatim,raggedright]
4259 \set Staff.instrument = "ploink " { c''4 }
4263 You can also use markup texts to construct more complicated instrument
4267 @lilypond[fragment,verbatim,raggedright]
4269 \set Staff.instrument = \markup {
4270 \column < "Clarinetti"
4283 Internals: @internalsref{InstrumentName}.
4287 When you put a name on a grand staff or piano staff the width of the
4288 brace is not taken into account. You must add extra spaces to the end of
4289 the name to avoid a collision.
4292 @subsection Transpose
4294 @cindex transposition of pitches
4295 @cindex @code{\transpose}
4297 A music expression can be transposed with @code{\transpose}. The syntax
4300 \transpose @var{from} @var{to} @var{musicexpr}
4303 This means that @var{musicexpr} is transposed by the interval between
4304 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4305 is changed to @code{to}.
4308 For example, consider a piece written in the key of D major. If
4309 this piece is a little too low for its performer, it can be
4310 transposed up to E major with
4312 \tranpose d e @dots{}
4315 Consider a part written for violin (a C instrument). If
4316 this part is to be played on the A clarinet, the following
4317 transposition will produce the appropriate part
4320 \transpose a c @dots{}
4323 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4324 inside a @code{\notes} section. @code{\transpose} distinguishes
4325 between enharmonic pitches: both @code{\transpose c cis} or
4326 @code{\transpose c des} will transpose up half a tone. The first
4327 version will print sharps and the second version will print flats:
4329 @lilypond[raggedright,verbatim]
4330 mus =\notes { \key d \major cis d fis g }
4331 \score { \notes \context Staff {
4334 \transpose c g' \mus
4335 \transpose c f' \mus
4342 Internals: @internalsref{TransposedMusic}, and
4343 @internalsref{UntransposableMusic}.
4347 If you want to use both @code{\transpose} and @code{\relative}, then
4348 you must put @code{\transpose} outside of @code{\relative}, since
4349 @code{\relative} will have no effect music that appears inside a
4355 @node Multi measure rests
4356 @subsection Multi measure rests
4357 @cindex multi measure rests
4358 @cindex Rests, multi measure
4362 Multi measure rests are entered using `@code{R}'. It is specifically
4363 meant for full bar rests and for entering parts: the rest can expand
4364 to fill a score with rests, or it can be printed as a single
4365 multimeasure rest. This expansion is controlled by the property
4366 @code{Score.skipBars}. If this is set to true, empty measures will not
4367 be expanded, and the appropriate number is added automatically:
4369 @lilypond[fragment,verbatim]
4370 \time 4/4 r1 | R1 | R1*2
4371 \set Score.skipBars = ##t R1*17 R1*4
4374 The @code{1} in @code{R1} is similar to the duration notation used for
4375 notes. Hence, for time signatures other than 4/4, you must enter other
4376 durations. This can be done with augmentation dots or fractions:
4378 @lilypond[fragment,verbatim]
4379 \set Score.skipBars = ##t
4387 An @code{R} spanning a single measure is printed as either a whole rest
4388 or a breve, centered in the measure regardless of the time signature.
4390 @cindex text on multi-measure rest
4391 @cindex script on multi-measure rest
4392 @cindex fermata on multi-measure rest
4394 Texts can be added to multi-measure rests by using the
4395 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4396 replaced. If you need both texts and the number, you must add the
4397 number by hand. A variable (@code{\fermataMarkup}) is provided for
4401 @lilypond[verbatim,fragment]
4403 R2._\markup { "Ad lib" }
4407 If you want to have a text on the left end of a multi-measure rest,
4408 attach the text to a zero-length skip note, i.e.
4416 @cindex whole rests for a full measure
4420 Internals: @internalsref{MultiMeasureRestEvent},
4421 @internalsref{MultiMeasureTextEvent},
4422 @internalsref{MultiMeasureRestMusicGroup}, and
4423 @internalsref{MultiMeasureRest}.
4425 The layout object @internalsref{MultiMeasureRestNumber} is for the
4426 default number, and @internalsref{MultiMeasureRestText} for user
4431 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4432 over multi-measure rests.
4434 @cindex condensing rests
4436 There is no way to automatically condense multiple rests into a single
4437 multimeasure rest. Multi measure rests do not take part in rest
4440 Be careful when entering multimeasure rests followed by whole
4441 notes. The following will enter two notes lasting four measures each:
4445 When @code{skipBars} is set, then the result will look OK, but the
4446 bar numbering will be off.
4448 @node Automatic part combining
4449 @subsection Automatic part combining
4450 @cindex automatic part combining
4451 @cindex part combiner
4454 Automatic part combining is used to merge two parts of music onto a
4455 staff. It is aimed at typesetting orchestral scores. When the two
4456 parts are identical for a period of time, only one is shown. In
4457 places where the two parts differ, they are typeset as separate
4458 voices, and stem directions are set automatically. Also, solo and
4459 @emph{a due} parts are identified and can be marked.
4463 The syntax for part combining is
4466 \partcombine @var{musicexpr1} @var{musicexpr2}
4469 The music expressions will be interpreted as @internalsref{Voice} contexts.
4471 The following example demonstrates the basic functionality of the part
4472 combiner: putting parts on one staff, and setting stem directions and
4475 @lilypond[verbatim,raggedright,fragment,relative=1]
4476 \new Staff \partcombine
4485 The first @code{g} appears only once, although it was
4486 specified twice (once in each part). Stem, slur and tie directions are
4487 set automatically, depending whether there is a solo or unisono. The
4488 first part (with context called @code{one}) always gets up stems, and
4489 `solo', while the second (called @code{two}) always gets down stems and
4492 If you just want the merging parts, and not the textual markings, you
4493 may set the property @var{soloADue} to false:
4495 @lilypond[verbatim,raggedright,fragment]
4497 \set Staff.soloADue = ##f
4509 Internals: @internalsref{PartCombineMusic},
4510 @internalsref{SoloOneEvent}, and
4511 @internalsref{SoloTwoEvent}, and
4512 @internalsref{UnisonoEvent}.
4516 In @code{soloADue} mode, when the two voices play the same notes on and
4517 off, the part combiner may typeset @code{a2} more than once in a
4520 @code{\partcombine} can not be inside @code{\times}.
4525 @subsection Hiding staves
4527 @cindex Frenched scores
4528 @cindex Hiding staves
4530 In orchestral scores, staff lines that only have rests are usually
4531 removed. This saves some space. This style is called `French Score'.
4532 For @internalsref{Lyrics}, @internalsref{Lyrics},
4533 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4534 switched on by default. When these line of these contexts turn out
4535 empty after the line-breaking process, they are removed.
4537 For normal staves, a specialized @internalsref{Staff} context is
4538 available, which does the same: staves containing nothing (or only
4539 multi measure rests) are removed. The context definition is stored in
4540 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4541 in this example disappears in the second line:
4546 \notes \relative c' <<
4547 \new Staff { e4 f g a \break c1 }
4548 \new Staff { c4 d e f \break R1 }
4552 \translator { \RemoveEmptyStaffContext }
4557 The first page shows all staffs in full. If they should be removed
4558 from the first page too, set @code{remove-first} to false
4559 in @internalsref{RemoveEmptyVerticalGroup}.
4561 @node Different editions from one source
4562 @subsection Different editions from one source
4564 The @code{\tag} command marks music expressions with a name. These
4565 tagged expressions can be filtered out later. With this mechanism it
4566 is possible to make different versions of the same music source.
4568 In the following example, we see two versions of a piece of music, one
4569 for the full score, and one with cue notes for the instrumental part:
4585 The same can be applied to articulations, texts, etc.: they are
4588 -\tag #@var{your-tag}
4590 to an articulation, for example,
4595 This defines a note with a conditional fingering indication.
4597 By applying the @code{remove-tag} function, tagged expressions can be
4598 filtered. For example,
4602 \apply #(remove-tag 'score) @var{the music}
4603 \apply #(remove-tag 'part) @var{the music}
4608 @lilypondfile[]{tag-filter.ly}
4610 The argument of the @code{\tag} command should be a symbol, or a list
4611 of symbols, for example,
4613 \tag #'(original-part transposed-part) @dots{}
4618 Examples: @inputfileref{input/regression,tag-filter.ly}.
4621 @node Sound output for transposing instruments
4622 @subsection Sound output for transposing instruments
4624 When you want to make a MIDI file from a score containing transposed
4625 and untransposed instruments, you have to instruct LilyPond the pitch
4626 offset (in semitones) for the transposed instruments. This is done
4627 using the @code{transposing} property. It does not affect printed
4630 @cindex @code{transposing}
4633 \set Staff.instrument = #"Cl. in B-flat"
4634 \set Staff.transposing = #-2
4638 @node Ancient notation
4639 @section Ancient notation
4641 @cindex Vaticana, Editio
4642 @cindex Medicaea, Editio
4647 @c [TODO: write more comprehensive introduction on ancient notation]
4649 Support for ancient notation is still under heavy development.
4650 Regardless of all of the current limitations (see the bugs section
4651 below for details), it includes features for mensural
4652 notation and Gregorian Chant notation. There is also limited support
4653 for figured bass notation.
4655 Many graphical objects provide a @code{style} property, see
4656 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4657 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4658 signatures}. By manipulating such a grob property, the typographical
4659 appearance of the affected graphical objects can be accomodated for a
4660 specific notation flavour without need for introducing any new
4664 Other aspects of ancient notation can not that easily be expressed as
4665 in terms of just changing a style property of a graphical object.
4666 Therefore, some notational concepts are introduced specifically for
4667 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4668 @ref{Ligatures}, and @ref{Figured bass}.
4672 * Ancient note heads::
4673 * Ancient accidentals::
4677 * Ancient time signatures::
4682 * Vaticana style contexts::
4685 If this all is way too much of documentation for you, and you just
4686 want to dive into typesetting without worrying too much about the
4687 details on how to customize a context, then you may have a look at the
4688 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4689 set up predefined style-specific voice and staff contexts, and
4690 directly go ahead with the note entry.
4694 Ligatures need special spacing that has not yet been implemented. As
4695 a result, there is too much space between ligatures most of the time,
4696 and line breaking often is unsatisfactory. Also, lyrics do not
4697 correctly align with ligatures.
4699 Accidentals must not be printed within a ligature, but instead need to
4700 be collected and printed in front of it.
4702 Augmentum dots within ligatures are not handled correctly.
4705 @node Ancient note heads
4706 @subsection Ancient note heads
4712 For ancient notation, a note head style other than the @code{default}
4713 style may be chosen. This is accomplished by setting the @code{style}
4714 property of the NoteHead object to the desired value (@code{baroque},
4715 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4716 differs from the @code{default} style only in using a square shape for
4717 @code{\breve} note heads. The @code{neo_mensural} style differs from
4718 the @code{baroque} style in that it uses rhomboidal heads for whole
4719 notes and all smaller durations. Stems are centered on the note
4720 heads. This style is in particular useful when transcribing mensural
4721 music, e.g. for the incipit. The @code{mensural} style finally
4722 produces note heads that mimick the look of note heads in historic
4723 printings of the 16th century.
4725 The following example demonstrates the @code{neo_mensural} style:
4727 @lilypond[fragment,raggedright,verbatim]
4728 \override NoteHead #'style = #'neo_mensural
4729 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4732 When typesetting a piece in Gregorian Chant notation, a Gregorian
4733 ligature engraver will automatically select the proper note heads,
4734 such there is no need to explicitly set the note head style. Still,
4735 the note head style can be set e.g. to @code{vaticana_punctum} to
4736 produce punctum neumes. Similarly, a mensural ligature engraver is
4737 used to automatically assemble mensural ligatures. See
4738 @ref{Ligatures} for how ligature engravers work.
4743 @ref{Percussion staves} use note head styles of their own that are
4744 frequently used in contemporary music notation.
4746 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4747 overview over all available note head styles.
4750 @node Ancient accidentals
4751 @subsection Ancient accidentals
4757 Use the @code{style} property of grob @internalsref{Accidental} to
4758 select ancient accidentals. Supported styles are
4759 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4761 @lilypond[raggedright,staffsize=26]
4769 { " " \musicglyph #"accidentals-vaticana-1"
4770 " " \musicglyph #"accidentals-vaticana0" }
4774 { " " \musicglyph #"accidentals-medicaea-1" }
4778 { " " \musicglyph #"accidentals-hufnagel-1" }
4782 { " " \musicglyph #"accidentals-mensural-1"
4783 " " \musicglyph #"accidentals-mensural1" }
4792 \remove "Bar_number_engraver"
4796 \remove "Clef_engraver"
4797 \remove "Key_engraver"
4798 \remove "Time_signature_engraver"
4799 \remove "Staff_symbol_engraver"
4800 minimumVerticalExtent = ##f
4806 As shown, not all accidentals are supported by each style. When
4807 trying to access an unsupported accidental, LilyPond will switch to a
4808 different style, as demonstrated in
4809 @inputfileref{input/test,ancient-accidentals.ly}.
4811 Similarly to local accidentals, the style of the key signature can be
4812 controlled by the @code{style} property of the
4813 @internalsref{KeySignature} grob.
4817 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4818 @ref{Accidentals} give a general introduction into the use of
4819 accidentals. @ref{Key signature} gives a general introduction into
4820 the use of key signatures.
4822 Internals: @internalsref{KeySignature}.
4824 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4827 @subsection Ancient rests
4833 Use the @code{style} property of grob @internalsref{Rest} to select
4834 ancient accidentals. Supported styles are @code{classical},
4835 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4836 from the @code{default} style only in that the quarter rest looks like
4837 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4838 well for e.g. the incipit of a transcribed mensural piece of music.
4839 The @code{mensural} style finally mimicks the appearance of rests as
4840 in historic prints of the 16th century.
4842 The following example demonstrates the @code{neo_mensural} style:
4844 @lilypond[fragment,raggedright,verbatim]
4845 \override Rest #'style = #'neo_mensural
4846 r\longa r\breve r1 r2 r4 r8 r16
4849 There are no 32th and 64th rests specifically for the mensural or
4850 neo-mensural style. Instead, the rests from the default style will be
4851 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4854 There are no rests in Gregorian Chant notation; instead, it uses
4859 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4863 @subsection Ancient clefs
4869 LilyPond supports a variety of clefs, many of them ancient.
4871 The following table shows all ancient clefs that are supported via the
4872 @code{\clef} command. Some of the clefs use the same glyph, but
4873 differ only with respect to the line they are printed on. In such
4874 cases, a trailing number in the name is used to enumerate these clefs.
4875 Still, you can manually force a clef glyph to be typeset on an
4876 arbitrary line, as described in @ref{Clef}. The note printed to the
4877 right side of each clef in the example column denotes the @code{c'}
4878 with respect to that clef.
4880 @multitable @columnfractions .3 .3 .3 .1
4884 @b{Description} @tab
4885 @b{Supported Clefs} @tab
4889 @code{clefs-neo_mensural_c} @tab
4890 modern style mensural C clef @tab
4891 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4892 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4893 @lilypond[relative,notime]
4894 \override Staff.TimeSignature #'transparent = ##t
4895 \clef "neo_mensural_c2" c
4899 @code{clefs-petrucci_c1}
4900 @code{clefs-petrucci_c2}
4901 @code{clefs-petrucci_c3}
4902 @code{clefs-petrucci_c4}
4903 @code{clefs-petrucci_c5}
4906 petrucci style mensural C clefs, for use on different stafflines
4907 (the examples shows the 2nd staffline C clef).
4917 @lilypond[relative,notime]
4918 \override Staff.TimeSignature #'transparent = ##t
4919 \clef "petrucci_c2" c
4923 @code{clefs-petrucci_f} @tab
4924 petrucci style mensural F clef @tab
4925 @code{petrucci_f} @tab
4926 @lilypond[relative,notime]
4927 \override Staff.TimeSignature #'transparent = ##t
4928 \clef "petrucci_f" c
4932 @code{clefs-petrucci_g} @tab
4933 petrucci style mensural G clef @tab
4934 @code{petrucci_g} @tab
4935 @lilypond[relative,notime]
4936 \override Staff.TimeSignature #'transparent = ##t
4937 \clef "petrucci_g" c
4941 @code{clefs-mensural_c} @tab
4942 historic style mensural C clef @tab
4943 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4944 @code{mensural_c4} @tab
4945 @lilypond[relative,notime]
4946 \override Staff.TimeSignature #'transparent = ##t
4947 \clef "mensural_c2" c
4951 @code{clefs-mensural_f} @tab
4952 historic style mensural F clef @tab
4953 @code{mensural_f} @tab
4954 @lilypond[relative,notime]
4955 \override Staff.TimeSignature #'transparent = ##t
4956 \clef "mensural_f" c
4960 @code{clefs-mensural_g} @tab
4961 historic style mensural G clef @tab
4962 @code{mensural_g} @tab
4963 @lilypond[relative,notime]
4964 \override Staff.TimeSignature #'transparent = ##t
4965 \clef "mensural_g" c
4969 @code{clefs-vaticana_do} @tab
4970 Editio Vaticana style do clef @tab
4971 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4972 @lilypond[relative,notime]
4973 \override Staff.StaffSymbol #'line-count = #4
4974 \override Staff.TimeSignature #'transparent = ##t
4975 \clef "vaticana_do2" c
4979 @code{clefs-vaticana_fa} @tab
4980 Editio Vaticana style fa clef @tab
4981 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4982 @lilypond[relative,notime]
4983 \override Staff.StaffSymbol #'line-count = #4
4984 \override Staff.TimeSignature #'transparent = ##t
4985 \clef "vaticana_fa2" c
4989 @code{clefs-medicaea_do} @tab
4990 Editio Medicaea style do clef @tab
4991 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4992 @lilypond[relative,notime]
4993 \override Staff.StaffSymbol #'line-count = #4
4994 \override Staff.TimeSignature #'transparent = ##t
4995 \clef "medicaea_do2" c
4999 @code{clefs-medicaea_fa} @tab
5000 Editio Medicaea style fa clef @tab
5001 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5002 @lilypond[relative,notime]
5003 \override Staff.StaffSymbol #'line-count = #4
5004 \override Staff.TimeSignature #'transparent = ##t
5005 \clef "medicaea_fa2" c
5009 @code{clefs-hufnagel_do} @tab
5010 historic style hufnagel do clef @tab
5011 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5012 @lilypond[relative,notime]
5013 \override Staff.StaffSymbol #'line-count = #4
5014 \override Staff.TimeSignature #'transparent = ##t
5015 \clef "hufnagel_do2" c
5019 @code{clefs-hufnagel_fa} @tab
5020 historic style hufnagel fa clef @tab
5021 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5022 @lilypond[relative,notime]
5023 \override Staff.StaffSymbol #'line-count = #4
5024 \override Staff.TimeSignature #'transparent = ##t
5025 \clef "hufnagel_fa2" c
5029 @code{clefs-hufnagel_do_fa} @tab
5030 historic style hufnagel combined do/fa clef @tab
5031 @code{hufnagel_do_fa} @tab
5032 @lilypond[relative,notime]
5033 \override Staff.TimeSignature #'transparent = ##t
5034 \clef "hufnagel_do_fa" c
5039 @c --- This should go somewhere else: ---
5040 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5043 @c @code{percussion}
5045 @c @lilypond{\override Staff.TimeSignature #'transparent = ##t \clef "percussion" c'}
5047 @c @item modern style tab clef (glyph: @code{clefs-tab})
5052 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \override Staff.TimeSignature #'transparent = ##t \clef "tab" c'}
5054 @emph{Modern style} means ``as is typeset in contemporary editions of
5055 transcribed mensural music''.
5057 @emph{Petrucci style} means ``inspired by printings published by the
5058 famous engraver Petrucci (1466-1539)''.
5060 @emph{Historic style} means ``as was typeset or written in historic
5061 editions (other than those of Petrucci)''.
5063 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5065 Petrucci used C clefs with differently balanced left-side vertical
5066 beams, depending on which staffline it is printed.
5070 In this manual: for the percussion clef, see @ref{Percussion staves}.
5071 For the @code{TAB} clef, see @ref{Tablatures}.
5073 Internals: for modern clefs, see @ref{Clef}.
5077 The mensural g clef is temporarily mapped to the Petrucci g clef,
5078 until a new mensural g clef will have been implemented.
5083 @subsection Ancient flags
5089 Use the @code{flag-style} property of grob @internalsref{Stem} to
5090 select ancient flags. Besides the @code{default} flag style,
5091 only @code{mensural} style is supported:
5093 @lilypond[fragment,raggedright,verbatim]
5094 \override Stem #'flag-style = #'mensural
5095 \override Stem #'thickness = #1.0
5096 \override NoteHead #'style = #'mensural
5098 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
5099 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5102 Note that the innermost flare of each mensural flag always is
5103 vertically aligned with a staff line. If you do not like this
5104 behaviour, you can set the @code{adjust-if-on-staffline} property of
5105 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5106 of the end of each flare is different between notes on staff lines and
5107 notes between staff lines:
5109 @lilypond[fragment,raggedright]
5110 \override Stem #'flag-style = #'mensural
5111 \override Stem #'thickness = #1.0
5112 \override Stem #'adjust-if-on-staffline = ##f
5113 \override NoteHead #'style = #'mensural
5115 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
5116 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5119 There is no particular flag style for neo-mensural notation. Hence,
5120 when typesetting e.g. the incipit of a transcibed piece of mensural
5121 music, the default flag style should be used. There are no flags in
5122 Gregorian Chant notation.
5125 @node Ancient time signatures
5126 @subsection Ancient time signatures
5128 @cindex time signatures
5132 There is limited support for mensural time signatures. The
5133 glyphs are hard-wired to particular time fractions. In other words,
5134 to get a particular mensural signature glyph with the @code{\time n/m}
5135 command, @code{n} and @code{m} have to be chosen according to the
5141 \set Score.timing = ##f
5142 \set Score.barAlways = ##t
5143 s_\markup { "$\\backslash$time 4/4" }
5144 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5146 s_\markup { "$\\backslash$time 2/2" }
5147 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5149 s_\markup { "$\\backslash$time 6/4" }
5150 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5152 s_\markup { "$\\backslash$time 6/8" }
5153 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5155 s_\markup { "$\\backslash$time 3/2" }
5156 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5158 s_\markup { "$\\backslash$time 3/4" }
5159 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5161 s_\markup { "$\\backslash$time 9/4" }
5162 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5164 s_\markup { "$\\backslash$time 9/8" }
5165 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5167 s_\markup { "$\\backslash$time 4/8" }
5168 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5170 s_\markup { "$\\backslash$time 2/4" }
5171 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5179 \remove Staff_symbol_engraver
5180 \remove Clef_engraver
5181 \remove Time_signature_engraver
5187 Use the @code{style} property of grob @internalsref{TimeSignature} to
5188 select ancient time signatures. Supported styles are
5189 @code{neo_mensural} and @code{mensural}. The above table uses the
5190 @code{neo_mensural} style. This style is appropriate e.g. for the
5191 incipit of transcriptions of mensural pieces. The @code{mensural}
5192 style mimicks the look of historical printings of the 16th century.
5194 @inputfileref{input/test,time.ly} gives an overview over all available
5195 ancient and modern styles.
5199 Internals: @ref{Time signature} gives a general introduction into the use of time
5204 Mensural signature glyphs are mapped to time fractions in a
5205 hard-wired way. This mapping is sensible, but still arbitrary: given
5206 a mensural time signature, the time fraction represents a modern meter
5207 that usually will be a good choice when transcribing a mensural piece
5208 of music. For a particular piece of mensural music, however, the
5209 mapping may be unsatisfactory. In particular, the mapping assumes a
5210 fixed transcription of durations (e.g. brevis = half note in 2/2,
5211 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5212 are not at all accessible through the @code{\time} command.
5214 Mensural time signatures are supported typographically, but not yet
5215 musically. The internal representation of durations is
5216 based on a purely binary system; a ternary division such as 1 brevis =
5217 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5218 prolatione maiori) is not correctly handled: event times in ternary
5219 modes will be badly computed, resulting e.g. in horizontally
5220 misaligned note heads, and bar checks are likely to erroneously fail.
5222 The syntax and semantics of the @code{\time} command for mensural
5223 music is subject to change.
5226 @subsection Custodes
5231 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5232 symbol that appears at the end of a staff. It anticipates the pitch
5233 of the first note(s) of the following line and thus helps the player
5234 or singer to manage line breaks during performance, thus enhancing
5235 readability of a score.
5237 Custodes were frequently used in music notation until the 17th
5238 century. Nowadays, they have survived only in a few particular forms
5239 of musical notation such as contemporary editions of Gregorian chant
5240 like the @emph{editio vaticana}. There are different custos glyphs
5241 used in different flavours of notational style.
5245 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5246 @internalsref{Staff} context when declaring the @code{\paper} block,
5247 as shown in the following example:
5253 \consists Custos_engraver
5254 Custos \override #'style = #'mensural
5259 The result looks like this:
5265 \override Staff.Custos #'style = #'mensural
5272 \consists Custos_engraver
5279 The custos glyph is selected by the @code{style} property. The styles
5280 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5281 @code{mensural}. They are demonstrated in the following fragment:
5291 { " " \musicglyph #"custodes-vaticana-u0" }
5295 { " " \musicglyph #"custodes-medicaea-u0" }
5299 { " " \musicglyph #"custodes-hufnagel-u0" }
5303 { " " \musicglyph #"custodes-mensural-u0" }
5312 \remove "Bar_number_engraver"
5316 \remove "Clef_engraver"
5317 \remove "Key_engraver"
5318 \remove "Time_signature_engraver"
5319 \remove "Staff_symbol_engraver"
5320 minimumVerticalExtent = ##f
5326 If the boolean property @code{adjust-if-on-staffline} is set to
5327 @code{#t} (which it is by default), lily typesets slightly different
5328 variants of the custos glyph, depending on whether the custos, is
5329 typeset on or between stafflines. The glyph will
5330 optically fit well into the staff, with the appendage on the right of
5331 the custos always ending at the same vertical position between two
5332 stafflines regardless of the pitch. If you set
5333 @code{adjust-if-on-staffline} to @code{#f}, then
5334 a compromise between both forms is used.
5336 Just like stems can be attached to noteheads in two directions
5337 @emph{up} and @emph{down}, each custos glyph is available with its
5338 appendage pointing either up or down. If the pitch of a custos is
5339 above a selectable position, the appendage will point downwards; if
5340 the pitch is below this position, the appendage will point upwards.
5341 Use property @code{neutral-position} to select this position. By
5342 default, it is set to @code{0}, such that the neutral position is the
5343 center of the staff. Use property @code{neutral-direction} to control
5344 what happens if a custos is typeset on the neutral position itself.
5345 By default, this property is set to @code{-1}, such that the appendage
5346 will point downwards. If set to @code{1}, the appendage will point
5347 upwards. Other values such as @code{0} are reserved for future
5348 extensions and should not be used.
5352 Internals: @internalsref{Custos}.
5354 Examples: @inputfileref{input/regression,custos.ly}.
5358 @subsection Divisiones
5364 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5365 `division') is a staff context symbol that is used to structure
5366 Gregorian music into phrases and sections. The musical meaning of
5367 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5368 can be characterized as short, medium and long pause, somewhat like
5369 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5370 a chant, but is also frequently used within a single
5371 antiphonal/responsorial chant to mark the end of each section.
5375 To use divisiones, include the file @code{gregorian-init.ly}. It
5376 contains definitions that you can apply by just inserting
5377 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5378 and @code{\finalis} at proper places in the input. Some editions use
5379 @emph{virgula} or @emph{caesura} instead of divisio minima.
5380 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5383 @lilypondfile[]{divisiones.ly}
5387 @cindex @code{\virgula}
5389 @cindex @code{\caesura}
5391 @cindex @code{\divisioMinima}
5392 @code{\divisioMinima},
5393 @cindex @code{\divisioMaior}
5394 @code{\divisioMaior},
5395 @cindex @code{\divisioMaxima}
5396 @code{\divisioMaxima},
5397 @cindex @code{\finalis}
5402 In this manual: @ref{Breath marks}.
5404 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
5406 Examples: @inputfileref{input/test,divisiones.ly}.
5409 @subsection Ligatures
5413 @c TODO: Should double check if I recalled things correctly when I wrote
5414 @c down the following paragraph by heart.
5416 In musical terminology, a ligature is a coherent graphical symbol that
5417 represents at least two distinct notes. Ligatures originally appeared
5418 in the manuscripts of Gregorian chant notation roughly since the 9th
5419 century as an allusion to the accent symbols of greek lyric poetry to
5420 denote ascending or descending sequences of notes. Both, the shape
5421 and the exact meaning of ligatures changed tremendously during the
5422 following centuries: In early notation, ligatures were used for
5423 monophonic tunes (Gregorian chant) and very soon denoted also the way
5424 of performance in the sense of articulation. With upcoming
5425 multiphony, the need for a metric system arised, since multiple voices
5426 of a piece have to be synchronized some way. New notation systems
5427 were invented that used the manifold shapes of ligatures to now denote
5428 rhythmical patterns (e.g. black mensural notation, mannered notation,
5429 ars nova). With the invention of the metric system of the white
5430 mensural notation, the need for ligatures to denote such patterns
5431 disappeared. Nevertheless, ligatures were still in use in the
5432 mensural system for a couple of decades until they finally disappeared
5433 during the late 16th / early 17th century. Still, ligatures have
5434 survived in contemporary editions of Gregorian chant such as the
5435 Editio Vaticana from 1905/08.
5439 Syntactically, ligatures are simply enclosed by @code{\[} and
5440 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5441 additional input syntax specific for this particular type of ligature.
5442 By default, the @internalsref{LigatureBracket} engraver just puts a
5443 square bracket above the ligature:
5445 @lilypond[raggedright,verbatim]
5447 \notes \transpose c c' {
5455 To select a specific style of ligatures, a proper ligature engraver
5456 has to be added to the @internalsref{Voice} context, as explained in
5457 the following subsections. Only white mensural ligatures
5458 are supported with certain limitations. Support for Editio Vaticana
5459 will be added in the future.
5462 * White mensural ligatures::
5463 * Gregorian square neumes ligatures::
5466 @node White mensural ligatures
5467 @subsubsection White mensural ligatures
5469 @cindex Mensural ligatures
5470 @cindex White mensural ligatures
5472 There is limited support for white mensural ligatures. The
5473 implementation is still experimental; it may output strange
5474 warnings or even crash in some cases or produce weird results on more
5479 To engrave white mensural ligatures, in the paper block the
5480 @internalsref{Mensural_ligature_engraver} has to be put into the
5481 @internalsref{Voice} context, and remove the
5482 @internalsref{Ligature_bracket_engraver}:
5488 \remove Ligature_bracket_engraver
5489 \consists Mensural_ligature_engraver
5494 There is no additional input language to describe the shape of a
5495 white mensural ligature. The shape is rather determined solely from
5496 the pitch and duration of the enclosed notes. While this approach may
5497 take a new user a while to get accustomed, it has the great advantage
5498 that the full musical information of the ligature is known internally.
5499 This is not only required for correct MIDI output, but also allows for
5500 automatic transcription of the ligatures.
5505 \set Score.timing = ##f
5506 \set Score.defaultBarType = "empty"
5507 \override NoteHead #'style = #'neo_mensural
5508 \override Staff.TimeSignature #'style = #'neo_mensural
5510 \[ g\longa c\breve a\breve f\breve d'\longa \]
5512 \[ e1 f1 a\breve g\longa \]
5514 @lilypond[raggedright]
5516 \notes \transpose c c' {
5517 \set Score.timing = ##f
5518 \set Score.defaultBarType = "empty"
5519 \override NoteHead #'style = #'neo_mensural
5520 \override Staff.TimeSignature #'style = #'neo_mensural
5522 \[ g\longa c\breve a\breve f\breve d'\longa \]
5524 \[ e1 f1 a\breve g\longa \]
5529 \remove Ligature_bracket_engraver
5530 \consists Mensural_ligature_engraver
5536 Without replacing @internalsref{Ligature_bracket_engraver} with
5537 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5540 @lilypond[raggedright]
5542 \notes \transpose c c' {
5543 \set Score.timing = ##f
5544 \set Score.defaultBarType = "empty"
5545 \override NoteHead #'style = #'neo_mensural
5546 \override Staff.TimeSignature #'style = #'neo_mensural
5548 \[ g\longa c\breve a\breve f\breve d'\longa \]
5550 \[ e1 f1 a\breve g\longa \]
5556 @node Gregorian square neumes ligatures
5557 @subsubsection Gregorian square neumes ligatures
5559 @cindex Square neumes ligatures
5560 @cindex Gregorian square neumes ligatures
5562 Gregorian square neumes notation (following the style of the Editio
5563 Vaticana) is under heavy development, but not yet really usable for
5564 production purposes. Core ligatures can already be typeset, but
5565 essential issues for serious typesetting are still under development,
5566 such as (among others) horizontal alignment of multiple ligatures,
5567 lyrics alignment and proper accidentals handling. Still, this section
5568 gives a sneak preview of what Gregorian chant may look like once it
5571 The following table contains the extended neumes table of the 2nd
5572 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5573 1983 by the monks of Solesmes.
5575 @multitable @columnfractions .4 .2 .2 .2
5578 @b{Neuma aut@*Neumarum Elementa} @tab
5579 @b{Figurae@*Rectae} @tab
5580 @b{Figurae@*Liquescentes Auctae} @tab
5581 @b{Figurae@*Liquescentes Deminutae}
5583 @c TODO: \paper block is identical in all of the below examples.
5584 @c Therefore, it should somehow be included rather than duplicated all
5587 @c why not make identifiers in ly/engraver-init.ly? --hwn
5589 @c Because it's just used to typeset plain notes without
5590 @c a staff for demonstration purposes rather than something
5591 @c special of Gregorian chant notation. --jr
5596 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5597 \include "gregorian-init.ly"
5599 \notes \transpose c c' {
5602 \noBreak s^\markup {"a"} \noBreak
5604 % Punctum Inclinatum
5606 \noBreak s^\markup {"b"}
5612 \remove "Bar_number_engraver"
5616 \remove "Clef_engraver"
5617 \remove "Key_engraver"
5618 \override StaffSymbol #'transparent = ##t
5619 \remove "Time_signature_engraver"
5620 \remove "Bar_engraver"
5621 minimumVerticalExtent = ##f
5625 \remove Ligature_bracket_engraver
5626 \consists Vaticana_ligature_engraver
5627 \override NoteHead #'style = #'vaticana_punctum
5628 \override Stem #'transparent = ##t
5634 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5635 \include "gregorian-init.ly"
5637 \notes \transpose c c' {
5638 % Punctum Auctum Ascendens
5639 \[ \auctum \ascendens b \]
5640 \noBreak s^\markup {"c"} \noBreak
5642 % Punctum Auctum Descendens
5643 \[ \auctum \descendens b \]
5644 \noBreak s^\markup {"d"} \noBreak
5646 % Punctum Inclinatum Auctum
5647 \[ \inclinatum \auctum b \]
5648 \noBreak s^\markup {"e"}
5654 \remove "Bar_number_engraver"
5658 \remove "Clef_engraver"
5659 \remove "Key_engraver"
5660 \override StaffSymbol #'transparent = ##t
5661 \remove "Time_signature_engraver"
5662 \remove "Bar_engraver"
5663 minimumVerticalExtent = ##f
5667 \remove Ligature_bracket_engraver
5668 \consists Vaticana_ligature_engraver
5669 \override NoteHead #'style = #'vaticana_punctum
5670 \override Stem #'transparent = ##t
5676 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5677 \include "gregorian-init.ly"
5679 \notes \transpose c c' {
5680 % Punctum Inclinatum Parvum
5681 \[ \inclinatum \deminutum b \]
5682 \noBreak s^\markup {"f"}
5688 \remove "Bar_number_engraver"
5692 \remove "Clef_engraver"
5693 \remove "Key_engraver"
5694 \override StaffSymbol #'transparent = ##t
5695 \remove "Time_signature_engraver"
5696 \remove "Bar_engraver"
5697 minimumVerticalExtent = ##f
5701 \remove Ligature_bracket_engraver
5702 \consists Vaticana_ligature_engraver
5703 \override NoteHead #'style = #'vaticana_punctum
5704 \override Stem #'transparent = ##t
5713 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5714 \include "gregorian-init.ly"
5716 \notes \transpose c c' {
5719 \noBreak s^\markup {"g"}
5725 \remove "Bar_number_engraver"
5729 \remove "Clef_engraver"
5730 \remove "Key_engraver"
5731 \override StaffSymbol #'transparent = ##t
5732 \remove "Time_signature_engraver"
5733 \remove "Bar_engraver"
5734 minimumVerticalExtent = ##f
5738 \remove Ligature_bracket_engraver
5739 \consists Vaticana_ligature_engraver
5740 \override NoteHead #'style = #'vaticana_punctum
5741 \override Stem #'transparent = ##t
5750 @code{3. Apostropha vel Stropha}
5752 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5753 \include "gregorian-init.ly"
5755 \notes \transpose c c' {
5758 \noBreak s^\markup {"h"}
5764 \remove "Bar_number_engraver"
5768 \remove "Clef_engraver"
5769 \remove "Key_engraver"
5770 \override StaffSymbol #'transparent = ##t
5771 \remove "Time_signature_engraver"
5772 \remove "Bar_engraver"
5773 minimumVerticalExtent = ##f
5777 \remove Ligature_bracket_engraver
5778 \consists Vaticana_ligature_engraver
5779 \override NoteHead #'style = #'vaticana_punctum
5780 \override Stem #'transparent = ##t
5786 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5787 \include "gregorian-init.ly"
5789 \notes \transpose c c' {
5791 \[ \stropha \auctum b \]
5792 \noBreak s^\markup {"i"}
5798 \remove "Bar_number_engraver"
5802 \remove "Clef_engraver"
5803 \remove "Key_engraver"
5804 \override StaffSymbol #'transparent = ##t
5805 \remove "Time_signature_engraver"
5806 \remove "Bar_engraver"
5807 minimumVerticalExtent = ##f
5811 \remove Ligature_bracket_engraver
5812 \consists Vaticana_ligature_engraver
5813 \override NoteHead #'style = #'vaticana_punctum
5814 \override Stem #'transparent = ##t
5824 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5825 \include "gregorian-init.ly"
5827 \notes \transpose c c' {
5830 \noBreak s^\markup {"j"}
5836 \remove "Bar_number_engraver"
5840 \remove "Clef_engraver"
5841 \remove "Key_engraver"
5842 \override StaffSymbol #'transparent = ##t
5843 \remove "Time_signature_engraver"
5844 \remove "Bar_engraver"
5845 minimumVerticalExtent = ##f
5849 \remove Ligature_bracket_engraver
5850 \consists Vaticana_ligature_engraver
5851 \override NoteHead #'style = #'vaticana_punctum
5852 \override Stem #'transparent = ##t
5861 @code{5. Clivis vel Flexa}
5863 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5864 \include "gregorian-init.ly"
5866 \notes \transpose c c' {
5875 \remove "Bar_number_engraver"
5879 \remove "Clef_engraver"
5880 \remove "Key_engraver"
5881 \override StaffSymbol #'transparent = ##t
5882 \remove "Time_signature_engraver"
5883 \remove "Bar_engraver"
5884 minimumVerticalExtent = ##f
5888 \remove Ligature_bracket_engraver
5889 \consists Vaticana_ligature_engraver
5890 \override NoteHead #'style = #'vaticana_punctum
5891 \override Stem #'transparent = ##t
5897 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5898 \include "gregorian-init.ly"
5900 \notes \transpose c c' {
5901 % Clivis Aucta Descendens
5902 \[ b \flexa \auctum \descendens g \]
5903 \noBreak s^\markup {"l"} \noBreak
5905 % Clivis Aucta Ascendens
5906 \[ b \flexa \auctum \ascendens g \]
5907 \noBreak s^\markup {"m"}
5913 \remove "Bar_number_engraver"
5917 \remove "Clef_engraver"
5918 \remove "Key_engraver"
5919 \override StaffSymbol #'transparent = ##t
5920 \remove "Time_signature_engraver"
5921 \remove "Bar_engraver"
5922 minimumVerticalExtent = ##f
5926 \remove Ligature_bracket_engraver
5927 \consists Vaticana_ligature_engraver
5928 \override NoteHead #'style = #'vaticana_punctum
5929 \override Stem #'transparent = ##t
5935 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5936 \include "gregorian-init.ly"
5938 \notes \transpose c c' {
5940 \[ b \flexa \deminutum g \]
5947 \remove "Bar_number_engraver"
5951 \remove "Clef_engraver"
5952 \remove "Key_engraver"
5953 \override StaffSymbol #'transparent = ##t
5954 \remove "Time_signature_engraver"
5955 \remove "Bar_engraver"
5956 minimumVerticalExtent = ##f
5960 \remove Ligature_bracket_engraver
5961 \consists Vaticana_ligature_engraver
5962 \override NoteHead #'style = #'vaticana_punctum
5963 \override Stem #'transparent = ##t
5970 @code{6. Podatus vel Pes}
5972 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5973 \include "gregorian-init.ly"
5975 \notes \transpose c c' {
5984 \remove "Bar_number_engraver"
5988 \remove "Clef_engraver"
5989 \remove "Key_engraver"
5990 \override StaffSymbol #'transparent = ##t
5991 \remove "Time_signature_engraver"
5992 \remove "Bar_engraver"
5993 minimumVerticalExtent = ##f
5997 \remove Ligature_bracket_engraver
5998 \consists Vaticana_ligature_engraver
5999 \override NoteHead #'style = #'vaticana_punctum
6000 \override Stem #'transparent = ##t
6006 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6007 \include "gregorian-init.ly"
6009 \notes \transpose c c' {
6010 % Pes Auctus Descendens
6011 \[ g \pes \auctum \descendens b \]
6012 \noBreak s^\markup {"p"} \noBreak
6014 % Pes Auctus Ascendens
6015 \[ g \pes \auctum \ascendens b \]
6016 \noBreak s^\markup {"q"}
6022 \remove "Bar_number_engraver"
6026 \remove "Clef_engraver"
6027 \remove "Key_engraver"
6028 \override StaffSymbol #'transparent = ##t
6029 \remove "Time_signature_engraver"
6030 \remove "Bar_engraver"
6031 minimumVerticalExtent = ##f
6035 \remove Ligature_bracket_engraver
6036 \consists Vaticana_ligature_engraver
6037 \override NoteHead #'style = #'vaticana_punctum
6038 \override Stem #'transparent = ##t
6044 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6045 \include "gregorian-init.ly"
6047 \notes \transpose c c' {
6049 \[ g \pes \deminutum b \]
6056 \remove "Bar_number_engraver"
6060 \remove "Clef_engraver"
6061 \remove "Key_engraver"
6062 \override StaffSymbol #'transparent = ##t
6063 \remove "Time_signature_engraver"
6064 \remove "Bar_engraver"
6065 minimumVerticalExtent = ##f
6069 \remove Ligature_bracket_engraver
6070 \consists Vaticana_ligature_engraver
6071 \override NoteHead #'style = #'vaticana_punctum
6072 \override Stem #'transparent = ##t
6079 @code{7. Pes Quassus}
6081 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6082 \include "gregorian-init.ly"
6084 \notes \transpose c c' {
6086 \[ \oriscus g \pes \virga b \]
6093 \remove "Bar_number_engraver"
6097 \remove "Clef_engraver"
6098 \remove "Key_engraver"
6099 \override StaffSymbol #'transparent = ##t
6100 \remove "Time_signature_engraver"
6101 \remove "Bar_engraver"
6102 minimumVerticalExtent = ##f
6106 \remove Ligature_bracket_engraver
6107 \consists Vaticana_ligature_engraver
6108 \override NoteHead #'style = #'vaticana_punctum
6109 \override Stem #'transparent = ##t
6115 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6116 \include "gregorian-init.ly"
6118 \notes \transpose c c' {
6119 % Pes Quassus Auctus Descendens
6120 \[ \oriscus g \pes \auctum \descendens b \]
6127 \remove "Bar_number_engraver"
6131 \remove "Clef_engraver"
6132 \remove "Key_engraver"
6133 \override StaffSymbol #'transparent = ##t
6134 \remove "Time_signature_engraver"
6135 \remove "Bar_engraver"
6136 minimumVerticalExtent = ##f
6140 \remove Ligature_bracket_engraver
6141 \consists Vaticana_ligature_engraver
6142 \override NoteHead #'style = #'vaticana_punctum
6143 \override Stem #'transparent = ##t
6151 @code{8. Quilisma Pes}
6153 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6154 \include "gregorian-init.ly"
6156 \notes \transpose c c' {
6158 \[ \quilisma g \pes b \]
6165 \remove "Bar_number_engraver"
6169 \remove "Clef_engraver"
6170 \remove "Key_engraver"
6171 \override StaffSymbol #'transparent = ##t
6172 \remove "Time_signature_engraver"
6173 \remove "Bar_engraver"
6174 minimumVerticalExtent = ##f
6178 \remove Ligature_bracket_engraver
6179 \consists Vaticana_ligature_engraver
6180 \override NoteHead #'style = #'vaticana_punctum
6181 \override Stem #'transparent = ##t
6187 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6188 \include "gregorian-init.ly"
6190 \notes \transpose c c' {
6191 % Quilisma Pes Auctus Descendens
6192 \[ \quilisma g \pes \auctum \descendens b \]
6199 \remove "Bar_number_engraver"
6203 \remove "Clef_engraver"
6204 \remove "Key_engraver"
6205 \override StaffSymbol #'transparent = ##t
6206 \remove "Time_signature_engraver"
6207 \remove "Bar_engraver"
6208 minimumVerticalExtent = ##f
6212 \remove Ligature_bracket_engraver
6213 \consists Vaticana_ligature_engraver
6214 \override NoteHead #'style = #'vaticana_punctum
6215 \override Stem #'transparent = ##t
6223 @code{9. Podatus Initio Debilis}
6225 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6226 \include "gregorian-init.ly"
6228 \notes \transpose c c' {
6229 % Pes Initio Debilis
6230 \[ \deminutum g \pes b \]
6237 \remove "Bar_number_engraver"
6241 \remove "Clef_engraver"
6242 \remove "Key_engraver"
6243 \override StaffSymbol #'transparent = ##t
6244 \remove "Time_signature_engraver"
6245 \remove "Bar_engraver"
6246 minimumVerticalExtent = ##f
6250 \remove Ligature_bracket_engraver
6251 \consists Vaticana_ligature_engraver
6252 \override NoteHead #'style = #'vaticana_punctum
6253 \override Stem #'transparent = ##t
6259 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6260 \include "gregorian-init.ly"
6262 \notes \transpose c c' {
6263 % Pes Auctus Descendens Initio Debilis
6264 \[ \deminutum g \pes \auctum \descendens b \]
6271 \remove "Bar_number_engraver"
6275 \remove "Clef_engraver"
6276 \remove "Key_engraver"
6277 \override StaffSymbol #'transparent = ##t
6278 \remove "Time_signature_engraver"
6279 \remove "Bar_engraver"
6280 minimumVerticalExtent = ##f
6284 \remove Ligature_bracket_engraver
6285 \consists Vaticana_ligature_engraver
6286 \override NoteHead #'style = #'vaticana_punctum
6287 \override Stem #'transparent = ##t
6297 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6298 \include "gregorian-init.ly"
6300 \notes \transpose c c' {
6302 \[ a \pes b \flexa g \]
6309 \remove "Bar_number_engraver"
6313 \remove "Clef_engraver"
6314 \remove "Key_engraver"
6315 \override StaffSymbol #'transparent = ##t
6316 \remove "Time_signature_engraver"
6317 \remove "Bar_engraver"
6318 minimumVerticalExtent = ##f
6322 \remove Ligature_bracket_engraver
6323 \consists Vaticana_ligature_engraver
6324 \override NoteHead #'style = #'vaticana_punctum
6325 \override Stem #'transparent = ##t
6331 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6332 \include "gregorian-init.ly"
6334 \notes \transpose c c' {
6335 % Torculus Auctus Descendens
6336 \[ a \pes b \flexa \auctum \descendens g \]
6343 \remove "Bar_number_engraver"
6347 \remove "Clef_engraver"
6348 \remove "Key_engraver"
6349 \override StaffSymbol #'transparent = ##t
6350 \remove "Time_signature_engraver"
6351 \remove "Bar_engraver"
6352 minimumVerticalExtent = ##f
6356 \remove Ligature_bracket_engraver
6357 \consists Vaticana_ligature_engraver
6358 \override NoteHead #'style = #'vaticana_punctum
6359 \override Stem #'transparent = ##t
6365 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6366 \include "gregorian-init.ly"
6368 \notes \transpose c c' {
6369 % Torculus Deminutus
6370 \[ a \pes b \flexa \deminutum g \]
6377 \remove "Bar_number_engraver"
6381 \remove "Clef_engraver"
6382 \remove "Key_engraver"
6383 \override StaffSymbol #'transparent = ##t
6384 \remove "Time_signature_engraver"
6385 \remove "Bar_engraver"
6386 minimumVerticalExtent = ##f
6390 \remove Ligature_bracket_engraver
6391 \consists Vaticana_ligature_engraver
6392 \override NoteHead #'style = #'vaticana_punctum
6393 \override Stem #'transparent = ##t
6400 @code{11. Torculus Initio Debilis}
6402 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6403 \include "gregorian-init.ly"
6405 \notes \transpose c c' {
6406 % Torculus Initio Debilis
6407 \[ \deminutum a \pes b \flexa g \]
6414 \remove "Bar_number_engraver"
6418 \remove "Clef_engraver"
6419 \remove "Key_engraver"
6420 \override StaffSymbol #'transparent = ##t
6421 \remove "Time_signature_engraver"
6422 \remove "Bar_engraver"
6423 minimumVerticalExtent = ##f
6427 \remove Ligature_bracket_engraver
6428 \consists Vaticana_ligature_engraver
6429 \override NoteHead #'style = #'vaticana_punctum
6430 \override Stem #'transparent = ##t
6436 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6437 \include "gregorian-init.ly"
6439 \notes \transpose c c' {
6440 % Torculus Auctus Descendens Initio Debilis
6441 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6448 \remove "Bar_number_engraver"
6452 \remove "Clef_engraver"
6453 \remove "Key_engraver"
6454 \override StaffSymbol #'transparent = ##t
6455 \remove "Time_signature_engraver"
6456 \remove "Bar_engraver"
6457 minimumVerticalExtent = ##f
6461 \remove Ligature_bracket_engraver
6462 \consists Vaticana_ligature_engraver
6463 \override NoteHead #'style = #'vaticana_punctum
6464 \override Stem #'transparent = ##t
6470 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6471 \include "gregorian-init.ly"
6473 \notes \transpose c c' {
6474 % Torculus Deminutus Initio Debilis
6475 \[ \deminutum a \pes b \flexa \deminutum g \]
6482 \remove "Bar_number_engraver"
6486 \remove "Clef_engraver"
6487 \remove "Key_engraver"
6488 \override StaffSymbol #'transparent = ##t
6489 \remove "Time_signature_engraver"
6490 \remove "Bar_engraver"
6491 minimumVerticalExtent = ##f
6495 \remove Ligature_bracket_engraver
6496 \consists Vaticana_ligature_engraver
6497 \override NoteHead #'style = #'vaticana_punctum
6498 \override Stem #'transparent = ##t
6505 @code{12. Porrectus}
6507 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6508 \include "gregorian-init.ly"
6510 \notes \transpose c c' {
6512 \[ a \flexa g \pes b \]
6519 \remove "Bar_number_engraver"
6523 \remove "Clef_engraver"
6524 \remove "Key_engraver"
6525 \override StaffSymbol #'transparent = ##t
6526 \remove "Time_signature_engraver"
6527 \remove "Bar_engraver"
6528 minimumVerticalExtent = ##f
6532 \remove Ligature_bracket_engraver
6533 \consists Vaticana_ligature_engraver
6534 \override NoteHead #'style = #'vaticana_punctum
6535 \override Stem #'transparent = ##t
6541 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6542 \include "gregorian-init.ly"
6544 \notes \transpose c c' {
6545 % Porrectus Auctus Descendens
6546 \[ a \flexa g \pes \auctum \descendens b \]
6553 \remove "Bar_number_engraver"
6557 \remove "Clef_engraver"
6558 \remove "Key_engraver"
6559 \override StaffSymbol #'transparent = ##t
6560 \remove "Time_signature_engraver"
6561 \remove "Bar_engraver"
6562 minimumVerticalExtent = ##f
6566 \remove Ligature_bracket_engraver
6567 \consists Vaticana_ligature_engraver
6568 \override NoteHead #'style = #'vaticana_punctum
6569 \override Stem #'transparent = ##t
6575 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6576 \include "gregorian-init.ly"
6578 \notes \transpose c c' {
6579 % Porrectus Deminutus
6580 \[ a \flexa g \pes \deminutum b \]
6587 \remove "Bar_number_engraver"
6591 \remove "Clef_engraver"
6592 \remove "Key_engraver"
6593 \override StaffSymbol #'transparent = ##t
6594 \remove "Time_signature_engraver"
6595 \remove "Bar_engraver"
6596 minimumVerticalExtent = ##f
6600 \remove Ligature_bracket_engraver
6601 \consists Vaticana_ligature_engraver
6602 \override NoteHead #'style = #'vaticana_punctum
6603 \override Stem #'transparent = ##t
6612 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6613 \include "gregorian-init.ly"
6615 \notes \transpose c c' {
6617 \[ \virga b \inclinatum a \inclinatum g \]
6624 \remove "Bar_number_engraver"
6628 \remove "Clef_engraver"
6629 \remove "Key_engraver"
6630 \override StaffSymbol #'transparent = ##t
6631 \remove "Time_signature_engraver"
6632 \remove "Bar_engraver"
6633 minimumVerticalExtent = ##f
6637 \remove Ligature_bracket_engraver
6638 \consists Vaticana_ligature_engraver
6639 \override NoteHead #'style = #'vaticana_punctum
6640 \override Stem #'transparent = ##t
6646 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6647 \include "gregorian-init.ly"
6649 \notes \transpose c c' {
6651 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6658 \remove "Bar_number_engraver"
6662 \remove "Clef_engraver"
6663 \remove "Key_engraver"
6664 \override StaffSymbol #'transparent = ##t
6665 \remove "Time_signature_engraver"
6666 \remove "Bar_engraver"
6667 minimumVerticalExtent = ##f
6671 \remove Ligature_bracket_engraver
6672 \consists Vaticana_ligature_engraver
6673 \override NoteHead #'style = #'vaticana_punctum
6674 \override Stem #'transparent = ##t
6680 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6681 \include "gregorian-init.ly"
6683 \notes \transpose c c' {
6684 % Climacus Deminutus
6685 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6692 \remove "Bar_number_engraver"
6696 \remove "Clef_engraver"
6697 \remove "Key_engraver"
6698 \override StaffSymbol #'transparent = ##t
6699 \remove "Time_signature_engraver"
6700 \remove "Bar_engraver"
6701 minimumVerticalExtent = ##f
6705 \remove Ligature_bracket_engraver
6706 \consists Vaticana_ligature_engraver
6707 \override NoteHead #'style = #'vaticana_punctum
6708 \override Stem #'transparent = ##t
6715 @code{14. Scandicus}
6717 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6718 \include "gregorian-init.ly"
6720 \notes \transpose c c' {
6722 \[ g \pes a \virga b \]
6729 \remove "Bar_number_engraver"
6733 \remove "Clef_engraver"
6734 \remove "Key_engraver"
6735 \override StaffSymbol #'transparent = ##t
6736 \remove "Time_signature_engraver"
6737 \remove "Bar_engraver"
6738 minimumVerticalExtent = ##f
6742 \remove Ligature_bracket_engraver
6743 \consists Vaticana_ligature_engraver
6744 \override NoteHead #'style = #'vaticana_punctum
6745 \override Stem #'transparent = ##t
6751 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6752 \include "gregorian-init.ly"
6754 \notes \transpose c c' {
6755 % Scandicus Auctus Descendens
6756 \[ g \pes a \pes \auctum \descendens b \]
6763 \remove "Bar_number_engraver"
6767 \remove "Clef_engraver"
6768 \remove "Key_engraver"
6769 \override StaffSymbol #'transparent = ##t
6770 \remove "Time_signature_engraver"
6771 \remove "Bar_engraver"
6772 minimumVerticalExtent = ##f
6776 \remove Ligature_bracket_engraver
6777 \consists Vaticana_ligature_engraver
6778 \override NoteHead #'style = #'vaticana_punctum
6779 \override Stem #'transparent = ##t
6785 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6786 \include "gregorian-init.ly"
6788 \notes \transpose c c' {
6789 % Scandicus Deminutus
6790 \[ g \pes a \pes \deminutum b \]
6797 \remove "Bar_number_engraver"
6801 \remove "Clef_engraver"
6802 \remove "Key_engraver"
6803 \override StaffSymbol #'transparent = ##t
6804 \remove "Time_signature_engraver"
6805 \remove "Bar_engraver"
6806 minimumVerticalExtent = ##f
6810 \remove Ligature_bracket_engraver
6811 \consists Vaticana_ligature_engraver
6812 \override NoteHead #'style = #'vaticana_punctum
6813 \override Stem #'transparent = ##t
6822 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6823 \include "gregorian-init.ly"
6825 \notes \transpose c c' {
6827 \[ g \oriscus a \pes \virga b \]
6834 \remove "Bar_number_engraver"
6838 \remove "Clef_engraver"
6839 \remove "Key_engraver"
6840 \override StaffSymbol #'transparent = ##t
6841 \remove "Time_signature_engraver"
6842 \remove "Bar_engraver"
6843 minimumVerticalExtent = ##f
6847 \remove Ligature_bracket_engraver
6848 \consists Vaticana_ligature_engraver
6849 \override NoteHead #'style = #'vaticana_punctum
6850 \override Stem #'transparent = ##t
6856 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6857 \include "gregorian-init.ly"
6859 \notes \transpose c c' {
6860 % Salicus Auctus Descendens
6861 \[ g \oriscus a \pes \auctum \descendens b \]
6868 \remove "Bar_number_engraver"
6872 \remove "Clef_engraver"
6873 \remove "Key_engraver"
6874 \override StaffSymbol #'transparent = ##t
6875 \remove "Time_signature_engraver"
6876 \remove "Bar_engraver"
6877 minimumVerticalExtent = ##f
6881 \remove Ligature_bracket_engraver
6882 \consists Vaticana_ligature_engraver
6883 \override NoteHead #'style = #'vaticana_punctum
6884 \override Stem #'transparent = ##t
6894 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6895 \include "gregorian-init.ly"
6897 \notes \transpose c c' {
6899 \[ \stropha b \stropha b \stropha a \]
6906 \remove "Bar_number_engraver"
6910 \remove "Clef_engraver"
6911 \remove "Key_engraver"
6912 \override StaffSymbol #'transparent = ##t
6913 \remove "Time_signature_engraver"
6914 \remove "Bar_engraver"
6915 minimumVerticalExtent = ##f
6919 \remove Ligature_bracket_engraver
6920 \consists Vaticana_ligature_engraver
6921 \override NoteHead #'style = #'vaticana_punctum
6922 \override Stem #'transparent = ##t
6934 Unlike most other neumes notation systems, the input language for
6935 neumes does not necessarily reflect directly the typographical
6936 appearance, but is designed to solely focuse on musical meaning. For
6937 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6938 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6939 a Porrectus with a curved flexa shape and only a single Punctum head.
6940 There is no command to explicitly typeset the curved flexa shape; the
6941 decision of when to typeset a curved flexa shape is purely taken from
6942 the musical input. The idea of this approach is to separate the
6943 musical aspects of the input from the notation style of the output.
6944 This way, the same input can be reused to typeset the same music in a
6945 different style of Gregorian chant notation such as Hufnagel (also
6946 known as German gothic neumes) or Medicaea (kind of a very simple
6947 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6948 engraver and Medicaea ligature engraver will have been implemented, it
6949 will be as simple as replacing the ligature engraver in the
6950 @internalsref{Voice} context to get the desired notation style from
6953 The following table shows the code fragments that produce the
6954 ligatures in the above neumes table. The letter in the first column
6955 in each line of the below table indicates to which ligature in the
6956 above table it refers. The second column gives the name of the
6957 ligature. The third column shows the code fragment that produces this
6958 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6960 @multitable @columnfractions .1 .4 .5
6974 Punctum Inclinatum @tab
6975 @code{\[ \inclinatum b \]}
6979 Punctum Auctum Ascendens @tab
6980 @code{\[ \auctum \ascendens b \]}
6984 Punctum Auctum Descendens @tab
6985 @code{\[ \auctum \descendens b \]}
6989 Punctum Inclinatum Auctum @tab
6990 @code{\[ \inclinatum \auctum b \]}
6994 Punctum Inclinatum Parvum @tab
6995 @code{\[ \inclinatum \deminutum b \]}
7000 @code{\[ \virga b \]}
7005 @code{\[ \stropha b \]}
7010 @code{\[ \stropha \auctum b \]}
7015 @code{\[ \oriscus b \]}
7019 Clivis vel Flexa @tab
7020 @code{\[ b \flexa g \]}
7024 Clivis Aucta Descendens @tab
7025 @code{\[ b \flexa \auctum \descendens g \]}
7029 Clivis Aucta Ascendens @tab
7030 @code{\[ b \flexa \auctum \ascendens g \]}
7035 @code{\[ b \flexa \deminutum g \]}
7039 Podatus vel Pes @tab
7040 @code{\[ g \pes b \]}
7044 Pes Auctus Descendens @tab
7045 @code{\[ g \pes \auctum \descendens b \]}
7049 Pes Auctus Ascendens @tab
7050 @code{\[ g \pes \auctum \ascendens b \]}
7055 @code{\[ g \pes \deminutum b \]}
7060 @code{\[ \oriscus g \pes \virga b \]}
7064 Pes Quassus Auctus Descendens @tab
7065 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7070 @code{\[ \quilisma g \pes b \]}
7074 Quilisma Pes Auctus Descendens @tab
7075 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7079 Pes Initio Debilis @tab
7080 @code{\[ \deminutum g \pes b \]}
7084 Pes Auctus Descendens Initio Debilis @tab
7085 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7090 @code{\[ a \pes b \flexa g \]}
7094 Torculus Auctus Descendens @tab
7095 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7099 Torculus Deminutus @tab
7100 @code{\[ a \pes b \flexa \deminutum g \]}
7104 Torculus Initio Debilis @tab
7105 @code{\[ \deminutum a \pes b \flexa g \]}
7109 Torculus Auctus Descendens Initio Debilis @tab
7110 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7114 Torculus Deminutus Initio Debilis @tab
7115 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7120 @code{\[ a \flexa g \pes b \]}
7124 Porrectus Auctus Descendens @tab
7125 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7129 Porrectus Deminutus @tab
7130 @code{\[ a \flexa g \pes \deminutum b \]}
7135 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7139 Climacus Auctus @tab
7140 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7144 Climacus Deminutus @tab
7145 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7150 @code{\[ g \pes a \virga b \]}
7154 Scandicus Auctus Descendens @tab
7155 @code{\[ g \pes a \pes \auctum \descendens b \]}
7159 Scandicus Deminutus @tab
7160 @code{\[ g \pes a \pes \deminutum b \]}
7165 @code{\[ g \oriscus a \pes \virga b \]}
7169 Salicus Auctus Descendens @tab
7170 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7175 @code{\[ \stropha b \stropha b \stropha a \]}
7181 The following head prefixes are supported:
7183 @cindex @code{\virga}
7185 @cindex @code{\stropha}
7187 @cindex @code{\inclinatum}
7189 @cindex @code{\auctum}
7191 @cindex @code{\descendens}
7193 @cindex @code{\ascendens}
7195 @cindex @code{\oriscus}
7197 @cindex @code{\quilisma}
7199 @cindex @code{\deminutum}
7202 Head prefixes can be accumulated, though restrictions apply. For
7203 example, either @code{\descendens} or @code{\ascendens} can be applied
7204 to a head, but not both to the same head.
7207 @cindex @code{\flexa}
7208 Two adjacent heads can be tied together with the @code{\pes} and
7209 @code{\flexa} infix commands for a rising and falling line of melody,
7214 Trigonus: apply equal spacing, regardless of pitch.
7217 @subsection Figured bass
7219 @cindex Basso continuo
7221 @c TODO: musicological blurb about FB
7225 LilyPond has limited support for figured bass:
7227 @lilypond[verbatim,fragment]
7229 \context Voice \notes { \clef bass dis4 c d ais}
7230 \context FiguredBass
7232 < 6 >4 < 7 >8 < 6+ [_!] >
7238 The support for figured bass consists of two parts: there is an input
7239 mode, introduced by @code{\figures}, where you can enter bass figures
7240 as numbers, and there is a context called @internalsref{FiguredBass} that
7241 takes care of making @internalsref{BassFigure} objects.
7243 In figures input mode, a group of bass figures is delimited by
7244 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7249 \context FiguredBass
7253 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7260 \context FiguredBass
7261 \figures { <4- 6+ 7!> }
7264 Spaces or dashes may be inserted by using @code{_}. Brackets are
7265 introduced with @code{[} and @code{]}:
7271 \context FiguredBass
7272 \figures { < [4 6] 8 [_! 12]> }
7275 Although the support for figured bass may superficially resemble chord
7276 support, it works much simpler. The @code{\figures} mode simply
7277 stores the numbers , and @internalsref{FiguredBass} context prints
7278 them as entered. There is no conversion to pitches, and no
7279 realizations of the bass are played in the MIDI file.
7281 Internally, the code produces markup texts. You can use any of the
7282 markup text properties to override formatting. For example, the
7283 vertical spacing of the figures may be set with @code{baseline-skip}.
7287 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7288 and @internalsref{FiguredBass} context.
7292 Slash notation for alterations is not supported.
7295 @node Vaticana style contexts
7296 @subsection Vaticana style contexts
7298 @cindex VaticanaVoiceContext
7299 @cindex VaticanaStaffContext
7301 The predefined @code{VaticanaVoiceContext} and
7302 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7303 Gregorian Chant in the style of the Editio Vaticana. These contexts
7304 initialize all relevant context properties and grob properties to
7305 proper values. With these contexts, you can immediately go ahead
7306 entering the chant, as the following short excerpt demonstrates:
7308 @lilypond[raggedright,verbatim,noindent]
7309 \include "gregorian-init.ly"
7312 \context VaticanaVoice = "cantus" {
7313 \override Score.BarNumber #'transparent = ##t
7315 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7316 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7317 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7320 \lyricsto "cantus" \new Lyrics \lyrics {
7321 San- ctus, San- ctus, San- ctus
7327 @node Contemporary notation
7328 @section Contemporary notation
7330 In the 20th century, composers have greatly expanded the musical
7331 vocabulary. With this expansion, many innovations in musical notation
7332 have been tried. The book by Stone (1980) gives a comprehensive
7333 overview (see @ref{Literature list}). In general, the use of new,
7334 innovative notation makes a piece harder to understand and perform and
7335 its use should therefore be avoided if possible. For this reason,
7336 support for contemporary notation in LilyPond is limited.
7345 @subsection Clusters
7349 In musical terminology, a @emph{cluster} denotes a range of
7350 simultaneously sounding pitches that may change over time. The set of
7351 available pitches to apply usually depends on the accoustic source.
7352 Thus, in piano music, a cluster typically consists of a continous range
7353 of the semitones as provided by the piano's fixed set of a chromatic
7354 scale. In choral music, each singer of the choir typically may sing an
7355 arbitrary pitch within the cluster's range that is not bound to any
7356 diatonic, chromatic or other scale. In electronic music, a cluster
7357 (theoretically) may even cover a continuous range of pitches, thus
7358 resulting in coloured noise, such as pink noise.
7360 Clusters can be denoted in the context of ordinary staff notation by
7361 engraving simple geometrical shapes that replace ordinary notation of
7362 notes. Ordinary notes as musical events specify starting time and
7363 duration of pitches; however, the duration of a note is expressed by the
7364 shape of the note head rather than by the horizontal graphical extent of
7365 the note symbol. In contrast, the shape of a cluster geometrically
7366 describes the development of a range of pitches (vertical extent) over
7367 time (horizontal extent). Still, the geometrical shape of a cluster
7368 covers the area in wich any single pitch contained in the cluster would
7369 be notated as an ordinary note. From this point of view, it is
7370 reasonable to specify a cluster as the envelope of a set of notes.
7374 A cluster is engraved as the envelope of a set of
7375 cluster-notes. Cluster notes are created by applying the function
7376 @code{notes-to-clusters} to a sequence of chords, e.g.
7378 @lilypond[relative=1,verbatim]
7379 \apply #notes-to-clusters { <c e > <b f'> }
7382 The following example (from
7383 @inputfileref{input/regression,cluster.ly}) shows what the result
7386 @lilypondfile[]{cluster.ly}
7388 By default, @internalsref{Cluster_spanner_engraver} is in the
7389 @internalsref{Voice} context. This allows putting ordinary notes and
7390 clusters together in the same staff, even simultaneously. In such a
7391 case no attempt is made to automatically avoid collisions between
7392 ordinary notes and clusters.
7396 Internals: @internalsref{ClusterSpanner},
7397 @internalsref{ClusterSpannerBeacon},
7398 @internalsref{Cluster_spanner_engraver}, and
7399 @internalsref{ClusterNoteEvent}.
7401 Examples: @inputfileref{input/regression,cluster.ly}.
7405 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7406 accurately. Use @code{<g a>8 <e a>8} instead.
7411 @subsection Fermatas
7417 Contemporary music notation frequently uses special fermata symbols to
7418 indicate fermatas of differing lengths.
7422 The following are supported
7424 @lilypond[raggedright]
7426 << \addlyrics \notes {
7446 \context Lyrics \lyrics {
7447 "shortfermata" "fermata" "longfermata" "verylongfermata"
7452 See @ref{Articulations} for general instructions how to apply scripts
7453 such as fermatas to a @code{\notes@{@}} block.
7456 @node Special notation
7457 @section Special notation
7461 * Easy Notation note heads::
7465 @subsection Balloon help
7467 Elements of notation can be marked and named with the help of a square
7468 balloon. The primary purpose of this feature is to explain notation.
7470 The following example demonstrates its use.
7472 @lilypond[verbatim,fragment,raggedright,relative=1]
7475 #(add-balloon-text 'NoteHead "heads, or tails?"
7481 The function @code{add-balloon-text} takes the name of a grob, the
7482 label to print and where to put the label relative to the object. In
7483 the above example, the text ``heads or tails?'' ends 3 spaces below
7487 @cindex notation, explaining
7491 Internals: @internalsref{text-balloon-interface}.
7493 Examples: @inputfileref{input/regression,balloon.ly}.
7495 @node Easy Notation note heads
7496 @subsection Easy Notation note heads
7498 @cindex easy notation
7501 The `easy play' note head includes a note name inside the head. It is
7502 used in music aimed at beginners:
7504 @lilypond[raggedright,verbatim,staffsize=26]
7506 \notes { c'2 e'4 f' | g'1 }
7507 \paper { \translator { \EasyNotation } }
7511 The @code{EasyNotation} variable overrides a @internalsref{Score} @c
7512 context. To make the letters readable, it has to be printed in a
7513 large font size. To print with a larger font, see @ref{Font Size}.
7518 If you view the result with Xdvi, then staff lines may show through
7519 the letters. Printing the PostScript file obtained does produce the
7525 @section Tuning output
7527 There are situations where default layout decisions are not
7528 sufficient. In this section we discuss ways to override these
7531 Formatting is internally done by manipulating so called objects
7532 (graphic objects). Each object carries with it a set of properties
7533 (object or layout properties) specific to that object. For example, a
7534 stem object has properties that specify its direction, length and
7537 The most direct way of tuning the output is by altering the values of
7538 these properties. There are two ways of doing that: first, you can
7539 temporarily change the definition of one type of object, thus
7540 affecting a whole set of objects. Second, you can select one specific
7541 object, and set a layout property in that object.
7543 Do not confuse layout properties with translation
7544 properties. Translation properties always use a mixed caps style
7545 naming, and are manipulated using @code{\set} and @code{\unset}:
7547 \set Context.propertyName = @var{value}
7550 Layout properties are use Scheme style variable naming, i.e. lower
7551 case words separated with dashes. They are symbols, and should always
7552 be quoted using @code{#'}. For example, this could be an imaginary
7553 layout property name:
7555 #'layout-property-name
7560 The introduction of the @ref{Technical manual} gives a more in-depth
7561 treatment of the difference between translation and layout.
7565 * Constructing a tweak::
7572 @node Tuning objects
7573 @subsection Tuning objects
7575 @cindex object description
7577 The definition of an object is a list of default object
7578 properties. For example, the definition of the Stem object (available
7579 in @file{scm/define-grobs.scm}), includes the following definitions
7580 for @internalsref{Stem}:
7584 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7585 (Y-extent-callback . ,Stem::height)
7590 Adding variables on top of this existing definition overrides the
7591 system default, and alters the resulting appearance of the layout
7597 Changing a variable for only one object is commonly achieved with
7601 \once \override @var{context}.@var{objectname}
7602 @var{symbol} = @var{value}
7604 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7605 and @var{objectname} is a string and @var{value} is a Scheme expression.
7606 This command applies a setting only during one moment in the score.
7608 In the following example, only one @internalsref{Stem} object is
7609 changed from its original setting:
7611 @lilypond[verbatim,fragment,relative=1]
7613 \once \override Voice.Stem #'thickness = #4
7617 @cindex @code{\once}
7619 For changing more objects, the same command, without @code{\once} can
7622 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
7624 This command adds @code{@var{symbol} = @var{value}} to the definition
7625 of @var{objectname} in the context @var{context}, and this definition
7626 stays in place until it is removed.
7628 An existing definition may be removed by the following command:
7631 \property @var{context}.@var{objectname} \revert @var{symbol}
7636 @lilypond[verbatim,quote]
7637 c'4 \override Stem #'thickness = #4.0
7639 c'4 \revert Stem #'thickness
7643 The following example gives exactly the same result as the previous
7644 one (assuming the system default for stem thickness is 1.3):
7646 @lilypond[verbatim,quote]
7647 c'4 \override Stem #'thickness = #4.0
7649 c'4 \override Stem #'thickness = #1.3
7653 Reverting a setting which was not set in the first place has no
7659 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7660 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7661 @internalsref{All-layout-objects}.
7666 The backend is not very strict in type-checking object properties.
7667 Cyclic references in Scheme values for properties can cause hangs
7671 * Constructing a tweak::
7677 @node Constructing a tweak
7678 @subsection Constructing a tweak
7681 @cindex internal documentation
7682 @cindex finding graphical objects
7683 @cindex graphical object descriptions
7685 @cindex @code{\override}
7687 @cindex internal documentation
7691 Three pieces of information are required to use @code{\override} and
7692 @code{\set}: the name of the layout object, the context and the name
7693 of the property. We demonstrate how to glean this information from
7694 the notation manual and the generated documentation.
7696 The generated documentation is a set of HTML pages which should be
7697 included if you installed a binary distribution, typically in
7698 @file{/usr/share/doc/lilypond}. They are also available on the web:
7699 go to the @uref{http://lilypond.org,LilyPond website}, click
7700 ``Documentation'', select the correct version, and click then
7701 ``Program reference.'' It is advisable to bookmark the local HTML
7702 files. They will load faster than the ones on the web. If you use the
7703 version from the web, you must check whether the documentation matches
7704 the program version: it is generated from the definitions that the
7705 program uses, and therefore it is strongly tied to the LilyPond
7709 @c [TODO: revise for new site.]
7711 Suppose we want to move the fingering indication in the fragment below:
7713 @lilypond[relative=2,verbatim]
7719 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7720 instructions}), you will notice that there is written:
7725 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7732 In other words, the fingerings once entered, are internally stored as
7733 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7734 layout object is created for every @code{FingerEvent}.
7736 The Fingering object has a number of different functions, and each of
7737 those is captured in an interface. The interfaces are listed under
7738 @internalsref{Fingering} in the program reference.
7742 The @code{Fingering} object has a fixed size
7743 (@internalsref{item-interface}), the symbol is a piece of text
7744 (@internalsref{text-interface}), whose font can be set
7745 (@internalsref{font-interface}). It is centered horizontally
7746 (@internalsref{self-alignment-interface}), it is placed next to other
7747 objects (@internalsref{side-position-interface}) vertically, and its
7748 placement is coordinated with other scripts
7749 (@internalsref{text-script-interface}). It also has the standard
7750 @internalsref{grob-interface} (grob stands for Graphical object)
7752 @cindex graphical object
7753 @cindex layout object
7754 @cindex object, layout
7755 with all the variables that come with
7756 it. Finally, it denotes a fingering instruction, so it has
7757 @internalsref{finger-interface}.
7759 For the vertical placement, we have to look under
7760 @code{side-position-interface}:
7762 @code{side-position-interface}
7764 Position a victim object (this one) next to other objects (the
7765 support). In this case, the property @code{direction} signifies where to put the
7766 victim object relative to the support (left or right, up or down?)
7771 below this description, the variable @code{padding} is described as
7775 (dimension, in staff space)
7777 add this much extra space between objects that are next to each
7778 other. Default value: @code{0.6}
7782 By increasing the value of @code{padding}, we can move away the
7783 fingering. The following command inserts 3 staff spaces of white
7784 between the note and the fingering:
7786 \once \override Fingering #'padding = #3
7789 Inserting this command before the Fingering object is created,
7790 i.e. before @code{c2}, yields the following result:
7792 @lilypond[relative=2,fragment,verbatim]
7793 \once \override Fingering
7800 The context name @code{Voice} in the example above can be determined
7801 as follows. In the documentation for @internalsref{Fingering}, it says
7803 Fingering grobs are created by: @internalsref{Fingering_engraver} @c
7806 Clicking @code{Fingering_engraver} shows the documentation of
7807 the module responsible for interpreting the fingering instructions and
7808 translating them to a @code{Fingering} object. Such a module is called
7809 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7812 Fingering_engraver is part of contexts: Voice
7814 so tuning the settings for Fingering should be done with
7816 \override Fingering @dots{}
7819 Of course, the tweak may also done in a larger context than
7820 @code{Voice}, for example, @internalsref{Staff} or
7821 @internalsref{Score}.
7825 Internals: the program reference also contains alphabetical lists of
7826 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7827 @internalsref{Music-expressions}, so you can also find which objects
7828 to tweak by browsing the internals document.
7832 @subsection Applyoutput
7834 The most versatile way of tuning an object is @code{\applyoutput}. Its
7837 \applyoutput @var{proc}
7841 where @var{proc} is a Scheme function, taking three arguments.
7843 When interpreted, the function @var{proc} is called for every layout
7844 object found in the context, with the following arguments:
7846 @item the layout object itself,
7847 @item the context where the layout object was created, and
7848 @item the context where @code{\applyoutput} is processed.
7852 In addition, the cause of the layout object, i.e. the music
7853 expression or object that was responsible for creating it, is in the
7854 object property @code{cause}. For example, for a note head, this is a
7855 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7856 this is a @internalsref{NoteHead} object.
7858 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7861 (define (blanker grob grob-origin context)
7862 (if (and (memq (ly:get-grob-property grob 'interfaces)
7863 note-head-interface)
7864 (eq? (ly:get-grob-property grob 'staff-position) 0))
7866 (ly:set-grob-property! grob 'transparent #t)))
7871 @node Font selection
7872 @subsection Font selection
7874 The most common thing to change about the appearance of fonts is their
7875 size. The font size of any context can be easily changed by setting
7876 the @code{fontSize} property for that context. Its value is a number:
7877 negative numbers make the font smaller, positive numbers larger. An
7878 example is given below:
7880 @lilypond[fragment,relative=1,verbatim,quote]
7881 c4 c4 \set fontSize = #-1
7884 This command will set @code{font-size} (see below), and does
7885 not change the size of variable symbols, such as beams or slurs.
7887 One of the uses of @code{fontSize} is to get smaller symbols for cue
7888 notes. An elaborate example of those is in
7889 @inputfileref{input/test,cue-notes.ly}.
7891 @cindex magnification
7894 The font used for printing a object can be selected by setting
7895 @code{font-name}, e.g.
7897 \override Staff.TimeSignature
7898 #'font-name = #"cmr17"
7902 Any font can be used, as long as it is available to @TeX{}. Possible
7903 fonts include foreign fonts or fonts that do not belong to the
7904 Computer Modern font family. The size of fonts selected in this way
7905 can be changed with the @code{font-magnification} property. For
7906 example, @code{2.0} blows up all letters by a factor 2 in both
7910 @cindex font magnification
7912 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7913 can also be adjusted with a more fine-grained mechanism. By setting
7914 the object properties described below, you can select a different font;
7915 all three mechanisms work for every object that supports
7916 @code{font-interface}:
7921 is a symbol indicating the general class of the typeface. Supported are
7922 @code{roman} (Computer Modern), @code{braces} (for piano staff
7923 braces), @code{music} (the standard music font, including ancient
7924 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7927 is a symbol indicating the shape of the font, there are typically several
7928 font shapes available for each font family. Choices are @code{italic},
7929 @code{caps} and @code{upright}.
7932 is a symbol indicating the series of the font. There are typically several
7933 font series for each font family and shape. Choices are @code{medium}
7938 For any of these properties, the value @code{*} (i.e. the symbol
7939 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7940 to override default setting, which are always present. For example:
7942 \override Lyrics .LyricText #'font-series = #'bold
7943 \override Lyrics .LyricText #'font-family = #'typewriter
7944 \override Lyrics .LyricText #'font-shape = #'*
7947 @cindex @code{font-style}
7949 The font size is set by modifying the @code{font-size} property. Its
7950 value is a number indicating the size relative to the standard size.
7951 Each step up is an increase of approximately 12% of the font size. Six
7952 steps is exactly a factor two. The Scheme function @code{magstep}
7953 converts a @code{font-size} number to a scaling factor.
7955 LilyPond has fonts in different design sizes: the music fonts for
7956 smaller sizes are chubbier, while the text fonts are relatively wider.
7957 Font size changes are achieved by scaling the design size that is
7958 closest to the desired size.
7960 The @code{font-size} mechanism does not work for fonts selected
7961 through @code{font-name}. These may be scaled with
7962 @code{font-magnification}.
7966 The following commands set @code{fontSize} for the current voice.
7968 @cindex @code{\tiny}
7970 @cindex @code{\small}
7972 @cindex @code{\normalsize}
7977 Init files: @file{ly/declarations-init.ly} contains hints how new
7978 fonts may be added to LilyPond.
7982 There is no style sheet provided for other fonts besides the @TeX{}
7983 Computer Modern family.
7985 @cindex font selection
7986 @cindex font magnification
7987 @cindex @code{font-interface}
7991 @section Text markup
7996 @cindex typeset text
7998 LilyPond has an internal mechanism to typeset texts. You can access it
7999 with the keyword @code{\markup}. Within markup mode, you can enter texts
8000 similar to lyrics: simply enter them, surrounded by spaces:
8003 @lilypond[verbatim,fragment,relative=1]
8004 c1^\markup { hello }
8005 c1_\markup { hi there }
8006 c1^\markup { hi \bold there, is \italic anyone home? }
8009 @cindex font switching
8011 The markup in the example demonstrates font switching commands. The
8012 command @code{\bold} and @code{\italic} only apply to the first
8013 following word; enclose a set of texts with braces to apply a command
8016 \markup @{ \bold @{ hi there @} @}
8020 For clarity, you can also do this for single arguments, e.g.
8023 \markup { is \italic { anyone } home }
8026 @cindex font size, texts
8029 In markup mode you can compose expressions, similar to mathematical
8030 expressions, XML documents and music expressions. The braces group
8031 notes into horizontal lines. Other types of lists also exist: you can
8032 stack expressions grouped with @code{<}, and @code{>} vertically with
8033 the command @code{\column}. Similarly, @code{\center} aligns texts by
8036 @lilypond[verbatim,fragment,relative=1]
8037 c1^\markup { \column < a bbbb c > }
8038 c1^\markup { \center < a bbbb c > }
8039 c1^\markup { \line < a b c > }
8043 Markups can be stored in variables, and these variables
8044 may be attached to notes, like
8046 allegro = \markup { \bold \large { Allegro } }
8047 \notes { a^\allegro b c d }
8051 Some objects have alignment procedures of their own, which cancel out
8052 any effects of alignments applied to their markup arguments as a
8053 whole. For example, the @internalsref{RehearsalMark} is horizontally
8054 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8055 effect. Similarly, whole texts over notes cannot be moved vertically
8056 with @code{\raise}. For moving and aligning complete objects, grob
8057 properties should be used.
8063 Init files: @file{scm/new-markup.scm}.
8068 Text layout is ultimately done by @TeX{}, which does kerning of
8069 letters. LilyPond does not account for kerning, so texts will be
8070 spaced slightly too wide.
8072 Syntax errors for markup mode are confusing.
8074 Markup texts cannot be used in the titling of the @code{\header}
8075 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8081 * Overview of text markup commands::
8082 * Markup construction in scheme::
8083 * Markup command definition::
8086 @node Overview of text markup commands
8087 @subsection Overview of text markup commands
8089 @include markup-commands.tely
8091 @node Markup construction in scheme
8092 @subsection Markup construction in scheme
8094 @cindex defining markup commands
8096 The @code{markup} macro builds markup expressions in Scheme while
8097 providing a LilyPond-like syntax. For example,
8099 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
8100 #:bigger #:line ("foo" "bar" "baz")))
8106 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
8107 \bigger @{ foo bar baz @} >
8111 This example exposes the main translation rules between regular
8112 LilyPond markup syntax and scheme markup syntax, which are summed up
8114 @multitable @columnfractions .5 .5
8115 @item @b{LilyPond} @tab @b{Scheme}
8116 @item @code{\command} @tab @code{#:command}
8117 @item @code{\variable} @tab @code{variable}
8118 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
8119 @item @code{\center < ... >} @tab @code{#:center ( ... )}
8120 @item @code{string} @tab @code{"string"}
8121 @item @code{#scheme-arg} @tab @code{scheme-arg}
8124 Besides, the whole scheme language is accessible inside the
8125 @code{markup} macro: thus, one may use function calls inside
8126 @code{markup} in order to manipulate character strings for
8127 instance. This proves useful when defining new markup commands (see
8128 @ref{Markup command definition}).
8132 One can not feed the @code{#:line} (resp @code{#:center},
8133 @code{#:column}) command with a variable or the result of a function
8136 (markup #:line (fun-that-returns-markups))
8138 is illegal. One should use the @code{make-line-markup} (resp
8139 @code{make-center-markup}, @code{make-column-markup}) function
8142 (markup (make-line-markup (fun-that-returns-markups)))
8145 @node Markup command definition
8146 @subsection Markup command definition
8148 New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
8150 (def-markup-command (@var{command-name} @var{paper} @var{props} @var{arg1} @var{arg2} ...)
8151 (@var{arg1-type?} @var{arg2-type?} ...)
8154 @var{argi}: i@var{th} command argument
8155 @var{argi-type?}: a type predicate for the i@var{th} argument
8156 @var{paper}: the `paper' definition
8157 @var{props}: a list of alists, containing all active properties.
8160 As a simple example, we show how to add a @code{\smallcaps} command,
8161 which selects @TeX{}'s small caps font. Normally, we could select the
8162 small caps font as follows:
8165 \markup { \override #'(font-shape . caps) Text-in-caps }
8168 This selects the caps font by setting the @code{font-shape} property to
8169 @code{#'caps} for interpreting @code{Text-in-caps}.
8171 To make the above available as @code{\smallcaps} command, we have to
8172 define a function using @code{def-markup-command}. The command should
8173 take a single argument, of markup type. Therefore, the start of the
8174 definition should read
8176 (def-markup-command (smallcaps paper props argument) (markup?)
8181 What follows is the content of the command: we should interpret
8182 the @code{argument} as a markup, i.e.
8185 (interpret-markup paper @dots{} argument)
8189 This interpretation should add @code{'(font-shape . caps)} to the active
8190 properties, so we substitute the the following for the @dots{} in the
8194 (cons (list '(font-shape . caps) ) props)
8198 The variable @code{props} is a list of alists, and we prepend to it by
8199 consing a list with the extra setting.
8201 However, suppose that we are using a font that does not have a
8202 small-caps variant. In that case, we have to fake the small caps font,
8203 by setting a string in upcase, with the first letter a little larger:
8206 #(def-markup-command (smallcaps paper props str) (string?)
8207 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8208 (interpret-markup paper props
8211 (if (= (string-length s) 0)
8213 (markup #:large (string-upcase (substring s 0 1))
8214 #:translate (cons -0.6 0)
8215 #:tiny (string-upcase (substring s 1)))))
8216 (string-split str #\Space)))))
8219 The @code{smallcaps} command first splits its string argument into
8220 tokens separated by spaces (@code{(string-split str #\Space)}); for
8221 each token, a markup is built with the first letter made large and
8222 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
8223 second markup built with the following letters made tiny and upcased
8224 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
8225 introduces a space between markups on a line, the second markup is
8226 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
8227 the markups built for each token are put in a line
8228 (@code{(make-line-markup ...)}). Finally, the resulting markup is
8229 passed to the @code{interpret-markup} function, with the @code{paper}
8230 and @code{props} arguments.
8232 Finally, suppose that we are typesetting a recitative in an opera, and
8233 we would like to define a command that will show character names in a
8234 custom manner. Names should be printed with small caps and translated a
8235 bit to the left and top. We will define a @code{\character} command
8236 that takes into account the needed translation, and uses the newly
8237 defined @code{\smallcaps} command:
8240 #(def-markup-command (character paper props name) (string?)
8241 "Print the character name in small caps, translated to the left and
8242 top. Syntax: \\character #\"name\""
8243 (interpret-markup paper props
8244 (markup "" #:translate (cons -4 2) #:smallcaps name)))
8247 There is one complication that needs explanation: texts above and below
8248 the staff are moved vertically to be at a certain distance (the
8249 @code{padding} property) from the staff and the notes. To make sure
8250 that this mechanism does not annihilate the vertical effect of our
8251 @code{#:translate}, we add an empty string (@code{""}) before the
8252 translated text. Now the @code{""} will be put above the notes, and the
8253 @code{name} is moved in relation to that empty string. The net effect is
8254 that the text is moved to the upper left.
8256 The final result is as follows:
8260 c''^\markup \character #"Cleopatra"
8261 e'^\markup \character #"Giulio Cesare"
8266 @lilypond[raggedright]
8267 #(def-markup-command (smallcaps paper props str) (string?)
8268 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8269 (interpret-markup paper props
8272 (if (= (string-length s) 0)
8274 (markup #:large (string-upcase (substring s 0 1))
8275 #:translate (cons -0.6 0)
8276 #:tiny (string-upcase (substring s 1)))))
8277 (string-split str #\Space)))))
8279 #(def-markup-command (character paper props name) (string?)
8280 "Print the character name in small caps, translated to the left and
8281 top. Syntax: \\character #\"name\""
8282 (interpret-markup paper props
8283 (markup "" #:translate (cons -4 0) #:smallcaps name)))
8287 c''^\markup \character #"Cleopatra"
8288 e'^\markup \character #"Giulio Cesare"
8296 @section Global layout
8298 The global layout determined by three factors: the page layout, the
8299 line breaks and the spacing. These all influence each other. The
8300 choice of spacing determines how densely each system of music is set,
8301 which influences where line breaks breaks are chosen, and thus
8302 ultimately how many pages a piece of music takes. This section
8303 explains how to tune the algorithm for spacing.
8305 Globally spoken, this procedure happens in three steps: first,
8306 flexible distances (``springs'') are chosen, based on durations. All
8307 possible line breaking combination are tried, and the one with the
8308 best results---a layout that has uniform density and requires as
8309 little stretching or cramping as possible---is chosen. When the score
8310 is processed by @TeX{}, each page is filled with systems, and page breaks
8311 are chosen whenever the page gets full.
8316 * Vertical spacing::
8317 * Horizontal spacing::
8324 @node Vertical spacing
8325 @subsection Vertical spacing
8327 @cindex vertical spacing
8328 @cindex distance between staves
8329 @cindex staff distance
8330 @cindex between staves, distance
8331 @cindex staffs per page
8332 @cindex space between staves
8334 The height of each system is determined automatically by LilyPond, to
8335 keep systems from bumping into each other, some minimum distances are
8336 set. By changing these, you can put staves closer together, and thus
8337 put more systems onto one page.
8339 Normally staves are stacked vertically. To make
8340 staves maintain a distance, their vertical size is padded. This is
8341 done with the property @code{minimumVerticalExtent}. It takes a pair
8342 of numbers, so if you want to make it smaller from its, then you could
8345 \set Staff.minimumVerticalExtent = #'(-4 . 4)
8347 This sets the vertical size of the current staff to 4 staff spaces on
8348 either side of the center staff line. The argument of
8349 @code{minimumVerticalExtent} is interpreted as an interval, where the
8350 center line is the 0, so the first number is generally negative. The
8351 staff can be made larger at the bottom by setting it to @code{(-6
8354 The piano staves are handled a little differently: to make cross-staff
8355 beaming work correctly, it is necessary that the distance between staves
8356 is fixed beforehand. This is also done with a
8357 @internalsref{VerticalAlignment} object, created in
8358 @internalsref{PianoStaff}. In this object the distance between the
8359 staves is fixed by setting @code{forced-distance}. If you want to
8360 override this, use a @code{\translator} block as follows:
8364 VerticalAlignment \override #'forced-distance = #9
8367 This would bring the staves together at a distance of 9 staff spaces,
8368 measured from the center line of each staff.
8372 Internals: Vertical alignment of staves is handled by the
8373 @internalsref{VerticalAlignment} object.
8377 @node Horizontal spacing
8378 @subsection Horizontal Spacing
8380 The spacing engine translates differences in durations into
8381 stretchable distances (``springs'') of differing lengths. Longer
8382 durations get more space, shorter durations get less. The shortest
8383 durations get a fixed amount of space (which is controlled by
8384 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8385 The longer the duration, the more space it gets: doubling a
8386 duration adds a fixed amount (this amount is controlled by
8387 @code{spacing-increment}) of space to the note.
8389 For example, the following piece contains lots of half, quarter and
8390 8th notes, the eighth note is followed by 1 note head width (NHW).
8391 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8392 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8396 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8397 width of a note head, and @code{shortest-duration-space} is set to
8398 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8399 @code{shortest-duration-space}) of space. For normal notes, this space
8400 is always counted from the left edge of the symbol, so the shortest
8401 notes are generally followed by one NHW of space.
8403 If one would follow the above procedure exactly, then adding a single
8404 32th note to a score that uses 8th and 16th notes, would widen up the
8405 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8406 thus adding 1 NHW to every note. To prevent this, the
8407 shortest duration for spacing is not the shortest note in the score,
8408 but the most commonly found shortest note. Notes that are even
8409 shorter this are followed by a space that is proportional to their
8410 duration relative to the common shortest note. So if we were to add
8411 only a few 16th notes to the example above, they would be followed by
8414 @lilypond[fragment,verbatim,relative=2]
8415 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8418 The most common shortest duration is determined as follows: in every
8419 measure, the shortest duration is determined. The most common short
8420 duration, is taken as the basis for the spacing, with the stipulation
8421 that this shortest duration should always be equal to or shorter than
8422 1/8th note. The shortest duration is printed when you run lilypond
8423 with @code{--verbose}. These durations may also be customized. If you
8424 set the @code{common-shortest-duration} in
8425 @internalsref{SpacingSpanner}, then this sets the base duration for
8426 spacing. The maximum duration for this base (normally 1/8th), is set
8427 through @code{base-shortest-duration}.
8429 @cindex @code{common-shortest-duration}
8430 @cindex @code{base-shortest-duration}
8431 @cindex @code{stem-spacing-correction}
8432 @cindex @code{spacing}
8434 In the introduction it was explained that stem directions influence
8435 spacing. This is controlled with @code{stem-spacing-correction}
8436 property in @internalsref{NoteSpacing}, which are generated for every
8437 @internalsref{Voice} context. The @code{StaffSpacing} object
8438 (generated at @internalsref{Staff} context) contains the same property
8439 for controlling the stem/barline spacing. The following example
8440 shows these corrections, once with default settings, and once with
8441 exaggerated corrections:
8447 \override Staff.NoteSpacing #'stem-spacing-correction
8449 \override Staff.StaffSpacing #'stem-spacing-correction
8454 \paper { raggedright = ##t } }
8457 @cindex SpacingSpanner, overriding properties
8459 Properties of the @internalsref{SpacingSpanner} must be overridden
8460 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8461 created before any property commands are interpreted.
8463 \paper @{ \translator @{
8465 SpacingSpanner \override #'spacing-increment = #3.0
8472 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8473 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8474 @internalsref{SeparatingGroupSpanner}.
8478 Spacing is determined on a score wide basis. If you have a score that
8479 changes its character (measured in durations) halfway during the
8480 score, the part containing the longer durations will be spaced too
8483 There is no convenient mechanism to manually override spacing.
8488 @subsection Font size
8489 @cindex font size, setting
8490 @cindex staff size, setting
8491 @cindex @code{paper} file
8493 The Feta font provides musical symbols at eight seven different
8494 sizes. Each font is tuned for a different staff size: at smaller sizes
8495 the font gets heavier, to match the relatively heavier staff lines.
8496 The recommended font sizes are listed in the following table:
8498 @multitable @columnfractions .25 .25 .25 .25
8501 @tab @b{staff height (pt)}
8502 @tab @b{staff height (mm)}
8544 @c modern rental material ?
8548 These fonts are available in any sizes. The context property
8549 @code{fontSize} and the layout property @code{staff-space} (in
8550 @internalsref{StaffSymbol}) can be used to tune size for individual
8551 staffs. The size of individual staffs are relative to the global size,
8552 which can be set in the following manner:
8555 #(set-global-staff-size 14)
8558 This sets the global default size to 14pt staff height, and scales all
8564 @subsection Line breaking
8567 @cindex breaking lines
8569 Line breaks are normally computed automatically. They are chosen such
8570 that lines look neither cramped nor loose, and that consecutive lines
8571 have similar density.
8573 Occasionally you might want to override the automatic breaks; you can
8574 do this by specifying @code{\break}. This will force a line break at
8575 this point. Line breaks can only occur at places where there are bar
8576 lines. If you want to have a line break where there is no bar line,
8577 you can force an invisible bar line by entering @code{\bar
8578 ""}. Similarly, @code{\noBreak} forbids a line break at a
8582 @cindex regular line breaks
8583 @cindex four bar music.
8585 For linebreaks at regular intervals use @code{\break} separated by
8586 skips and repeated with @code{\repeat}:
8588 << \repeat unfold 7 @{
8589 s1 \noBreak s1 \noBreak
8590 s1 \noBreak s1 \break @}
8591 @emph{the real music}
8596 This makes the following 28 measures (assuming 4/4 time) be broken every
8597 4 measures, and only there.
8601 @code{\break}, @code{\noBreak}
8602 @cindex @code{\break}
8603 @cindex @code{\noBreak}
8607 Internals: @internalsref{BreakEvent}.
8611 @subsection Page layout
8614 @cindex breaking pages
8616 @cindex @code{indent}
8617 @cindex @code{linewidth}
8619 The most basic settings influencing the spacing are @code{indent} and
8620 @code{linewidth}. They are set in the @code{\paper} block. They
8621 control the indentation of the first line of music, and the lengths of
8624 If @code{raggedright} is set to true in the @code{\paper}
8625 block, then the lines are justified at their natural length. This
8626 useful for short fragments, and for checking how tight the natural
8630 @cindex vertical spacing
8632 The page layout process happens outside the LilyPond formatting
8633 engine: variables controlling page layout are passed to the output,
8634 and are further interpreted by @code{lilypond} wrapper program. It
8635 responds to the following variables in the @code{\paper} block. The
8636 variable @code{textheight} sets the total height of the music on each
8637 page. The spacing between systems is controlled with
8638 @code{interscoreline}, its default is 16pt. The distance between the
8639 score lines will stretch in order to fill the full page
8640 @code{interscorelinefill} is set to a positive number. In that case
8641 @code{interscoreline} specifies the minimum spacing.
8643 @cindex @code{textheight}
8644 @cindex @code{interscoreline}
8645 @cindex @code{interscorelinefill}
8647 If the variable @code{lastpagefill} is defined,
8648 @c fixme: this should only be done if lastpagefill= #t
8649 systems are evenly distributed vertically on the last page. This
8650 might produce ugly results in case there are not enough systems on the
8651 last page. The @command{lilypond-book} command ignores
8652 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8655 @cindex @code{lastpagefill}
8657 Page breaks are normally computed by @TeX{}, so they are not under
8658 direct control of LilyPond. However, you can insert a commands into
8659 the @file{.tex} output to instruct @TeX{} where to break pages. This
8660 is done by setting the @code{between-systems-strings} on the
8661 @internalsref{NonMusicalPaperColumn} where the system is broken.
8662 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8663 The predefined command @code{\newpage} also does this.
8667 @cindex @code{papersize}
8669 To change the paper size, use the following Scheme code:
8672 #(set-paper-size "a4")
8679 @cindex @code{\newpage}
8685 In this manual: @ref{Invoking lilypond}.
8687 Examples: @inputfileref{input/regression,between-systems.ly}.
8689 Internals: @internalsref{NonMusicalPaperColumn}.
8693 LilyPond has no concept of page layout, which makes it difficult to
8694 reliably choose page breaks in longer pieces.
8703 Entered music can also be converted to MIDI output. The performance
8704 is good enough for proof-hearing the music for errors.
8706 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8707 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8708 marks translate to a fixed fraction of the available MIDI volume
8709 range, crescendi and decrescendi make the volume vary linearly between
8710 their two extremities. The fractions can be adjusted by
8711 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8712 For each type of MIDI instrument, a volume range can be defined. This
8713 gives a basic equalizer control, which can enhance the quality of
8714 the MIDI output remarkably. The equalizer can be controlled by
8715 setting @code{instrumentEqualizer}.
8719 Many musically interesting effects, such as swing, articulation,
8720 slurring, etc., are not translated to MIDI.
8722 Since slurs are not interpreted, @code{\lyricsto} and
8723 @code{\addlyrics} sections will be interpreted wrongly.
8725 The MIDI output allocates a channel for each Staff, and one for global
8726 settings. Hence, the MIDI file should not have more than 15 staves
8727 (or 14 if you do not use drums).
8732 * MIDI instrument names::
8737 @subsection MIDI block
8741 The MIDI block is analogous to the paper block, but it is somewhat
8742 simpler. The @code{\midi} block can contain:
8746 @item a @code{\tempo} definition, and
8747 @item context definitions.
8750 Assignments in the @code{\midi} block are not allowed.
8752 A number followed by a period is interpreted as a real number, so
8753 for setting the tempo for dotted notes, an extra space should be
8754 inserted, for example:
8757 \midi @{ \tempo 4 . = 120 @}
8761 @cindex context definition
8763 Context definitions follow precisely the same syntax as within the
8764 \paper block. Translation modules for sound are called performers.
8765 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8768 @node MIDI instrument names
8769 @subsection MIDI instrument names
8771 @cindex instrument names
8772 @cindex @code{Staff.midiInstrument}
8774 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8775 property. The instrument name should be chosen from the list in
8776 @ref{MIDI instruments}.
8780 If the selected string does not exactly match, then the default is
8781 used, which is the Grand Piano.