3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
15 * Easier music entry::
22 * Fingering instructions::
31 * Contemporary notation::
37 @c FIXME: Note entry vs Music entry at top level menu is confusing.
43 This chapter describes all the different types of notation supported
44 by LilyPond. It is intended as a reference for users that are already
45 somewhat familiar with using LilyPond.
51 * Chromatic alterations::
59 * Easy Notation note heads ::
67 A note is printed by specifying its pitch and then its duration:
68 @footnote{Notes constitute the most basic elements of LilyPond input,
69 but they do not form valid input on their own without a @code{\score}
70 block. However, for the sake of brevity and simplicity we will
71 generally omit @code{\score} blocks and @code{\paper} declarations in
74 @lilypond[fragment,verbatim]
83 @cindex Note specification
85 @cindex entering notes
87 The most common syntax for pitch entry is used in @code{\chords} and
88 @code{\notes} mode. In Note and Chord mode, pitches may be designated
89 by names. The notes are specified by the letters @code{a} through
90 @code{g}, while the octave is formed with notes ranging from @code{c}
91 to @code{b}. The pitch @code{c} is an octave below middle C and the
92 letters span the octave above that C:
94 @lilypond[fragment,verbatim]
96 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
99 @cindex note names, Dutch
101 A sharp is formed by adding @code{-is} to the end of a pitch name and
102 a flat is formed by adding @code{-es}. Double sharps and double flats
103 are obtained by adding @code{-isis} or @code{-eses}. These
104 names are the Dutch note names. In Dutch, @code{aes} is contracted to
105 @code{as} in Dutch, but both forms are accepted. Similarly, both
106 @code{es} and @code{ees} are accepted.
108 There are predefined sets of note names for various other languages.
109 To use them, include the language specific init file. For
110 example: @code{\include "english.ly"}. The available language files
111 and the note names they define are:
116 Note Names sharp flat
117 nederlands.ly c d e f g a bes b -is -es
118 english.ly c d e f g a bf b -s/-sharp -f/-flat
119 deutsch.ly c d e f g a b h -is -es
120 norsk.ly c d e f g a b h -iss/-is -ess/-es
121 svenska.ly c d e f g a b h -iss -ess
122 italiano.ly do re mi fa sol la sib si -d -b
123 catalan.ly do re mi fa sol la sib si -d/-s -b
124 espanol.ly do re mi fa sol la sib si -s -b
133 The optional octave specification takes the form of a series of
134 single quote (`@code{'}') characters or a series of comma
135 (`@code{,}') characters. Each @code{'} raises the pitch by one
136 octave; each @code{,} lowers the pitch by an octave:
138 @lilypond[fragment,verbatim,center]
139 c' c'' es' g' as' gisis' ais'
143 There is also a verbose syntax for pitch specification:
146 @cindex @code{\pitch}
148 \pitch @var{scmpitch}
152 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
156 Notes can be hidden and unhidden with the following commands:
158 @cindex @code{\hideNotes}
160 @cindex @code{\unHideNotes}
167 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
169 @node Chromatic alterations
170 @subsection Chromatic alterations
172 Normally accidentals are printed automatically, but you may also
173 print them manually. A reminder accidental
174 @cindex reminder accidental
176 can be forced by adding an exclamation mark @code{!}
177 after the pitch. A cautionary accidental
178 @cindex cautionary accidental
179 @cindex parenthesized accidental
180 (an accidental within parentheses) can be obtained by adding the
181 question mark `@code{?}' after the pitch:
183 @lilypond[fragment,verbatim]
184 cis' cis' cis'! cis'?
188 The automatic production of accidentals can be tuned in many
189 ways. For more information, refer to @ref{Accidentals}.
194 A chord is formed by a enclosing a set of pitches in @code{<} and
195 @code{>}. A chord may be followed by a duration, and a set of
196 articulations, just like simple notes.
206 Rests are entered like notes, with the note name @code{r}:
208 @lilypond[singleline,verbatim]
212 Whole bar rests, centered in middle of the bar,
213 must be done with multi measure rests. They are discussed in
214 @ref{Multi measure rests}.
217 A rest's vertical position may be explicitly specified by entering a
218 note with the @code{\rest} keyword appended. This makes manual
219 formatting in polyphonic music easier. Rest collision testing will
220 leave these rests alone:
222 @lilypond[singleline,verbatim]
228 @internalsref{RestEvent}, and @internalsref{Rest}.
235 @cindex Invisible rest
238 An invisible rest (also called a `skip') can be entered like a note
239 with note name `@code{s}' or with @code{\skip @var{duration}}:
241 @lilypond[singleline,verbatim]
245 The @code{s} syntax is only available in Note mode and Chord mode. In
246 other situations, you should use the @code{\skip} command:
248 @lilypond[singleline,verbatim]
251 { \time 4/8 \skip 2 \time 4/4 }
252 \notes\relative c'' { a2 a1 }
257 The skip command is merely an empty musical placeholder. It does not
258 produce any output, not even transparent output.
262 @internalsref{SkipEvent}.
267 @subsection Durations
271 @cindex @code{\duration}
274 In Note, Chord, and Lyrics mode, durations are designated by numbers
275 and dots: durations are entered as their reciprocal values. For example,
276 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
277 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
278 longer than a whole you must use variables:
280 @c FIXME: what is an identifier? I do not think it's been introduced yet.
281 @c and if it has, I obviously skipped that part. - Graham
285 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
287 r1 r2 r4 r8 r16 r32 r64 r64
292 \notes \relative c'' {
294 a1 a2 a4 a8 a16 a32 a64 a64
296 r1 r2 r4 r8 r16 r32 r64 r64
301 \remove "Clef_engraver"
302 \remove "Staff_symbol_engraver"
303 \remove "Time_signature_engraver"
304 \consists "Pitch_squash_engraver"
311 If the duration is omitted then it is set to the previously entered
312 duration. The default for the first note is a quarter note. The duration
313 can be followed by dots (`@code{.}') in order to obtain dotted note
317 @lilypond[fragment,verbatim,center]
318 a' b' c''8 b' a'4 a'4. b'4.. c'8.
323 You can alter the length of duration by a fraction @var{N/M}
324 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
325 will not affect the appearance of the notes or rests produced.
326 In the following example, the first three notes take up exactly two
328 @lilypond[fragment,relative 2,verbatim]
330 a4*2/3 gis4*2/3 a4*2/3
334 Durations can also be produced using the verbose syntax
335 @code{\duration @var{Scheme object}}:
336 @lilypond[verbatim,fragment]
337 c'\duration #(ly:make-duration 4 1)
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 @internalsref{Dots}, and @internalsref{DotColumn}.
361 In dense chords, dots can overlap.
366 Whenever a note is found, a
367 @internalsref{Stem} object is created automatically. For whole notes
368 and rests, stem objects are also created, but in those cases, the stem
373 @cindex @code{\stemUp}
375 @cindex @code{\stemDown}
377 @cindex @code{\stemBoth}
388 A tie connects two adjacent note heads of the same pitch. The tie in
389 effect extends the length of a note. Ties should not be confused with
390 slurs, which indicate articulation, or phrasing slurs, which indicate
391 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
393 @lilypond[fragment,verbatim,center]
394 e' ~ e' <c' e' g'> ~ <c' e' g'>
397 When a tie is applied to a chord, all note heads whose pitches match
398 are connected. When no note heads match, no ties will be created.
400 In its meaning a tie is just a way of extending a note duration, similar
401 to the augmentation dot; in the following example there are two ways of
402 notating exactly the same concept:
404 @lilypond[fragment, singleline,quote]
405 \time 3/4 c'2. c'2 ~ c'4
407 If you need to tie a lot of notes over bars, it may be easier to use automatic
408 note splitting (See @ref{Automatic note splitting}).
413 @cindex @code{\tieUp}
415 @cindex @code{\tieDown}
417 @cindex @code{\tieBoth}
419 @cindex @code{\tieDotted}
421 @cindex @code{\tieSolid}
426 @internalsref{TieEvent}, @internalsref{NewTieEvent},
427 @internalsref{Tie}, and @ref{Automatic note splitting}.
430 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
434 Tieing only a subset of the note heads of a pair of chords is not
435 supported in a simple way. It can be achieved by moving the
436 tie-engraver into the @internalsref{Thread} context and turning on and
437 off ties per @internalsref{Thread}.
439 Switching staves when a tie is active, will not produce a slanted tie.
441 Formatting of ties is a difficult subject. The results are often not
451 @cindex @code{\times}
453 Tuplets are made out of a music expression by multiplying all durations
456 @cindex @code{\times}
458 \times @var{fraction} @var{musicexpr}
461 The duration of @var{musicexpr} will be multiplied by the fraction.
462 In the sheet music, the fraction's denominator will be printed over
463 the notes, optionally with a bracket. The most common tuplet is the
464 triplet in which 3 notes have the length of 2, so the notes are 2/3
465 of their written length:
467 @lilypond[fragment,verbatim,center]
468 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
471 The property @code{tupletSpannerDuration} specifies how long each
472 bracket should last. With this, you can make lots of tuplets while
473 typing @code{\times} only once, saving lots of typing. In the next
474 example, there are two triplets shown, while @code{\times} was only
477 @lilypond[fragment, relative, singleline, verbatim]
478 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
479 \times 2/3 { c'8 c c c c c }
482 The format of the number is determined by the property
483 @code{tupletNumberFormatFunction}. The default prints only the
484 denominator, but if it is set to the Scheme function
485 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
489 @cindex @code{tupletNumberFormatFunction}
490 @cindex tuplet formatting
495 @cindex @code{\tupletUp}
497 @cindex @code{\tupletDown}
499 @cindex @code{\tupletBoth}
504 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
508 Nested tuplets are not formatted automatically. In this case, outer
509 tuplet brackets should be moved manually.
511 @node Easy Notation note heads
512 @subsection Easy Notation note heads
514 @cindex easy notation
517 The `easy play' note head includes a note name inside the head. It is
518 used in music aimed at beginners:
520 @lilypond[singleline,verbatim,26pt]
522 \notes { c'2 e'4 f' | g'1 }
523 \paper { \translator { \EasyNotation } }
527 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
528 You probably will want to print it with magnification or a
529 large font size to make it more readable. To print with
530 magnification, you must create a DVI file (with @file{lilypond}) and
531 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
532 See the @code{dvips} documentation for more details. To print with a
533 larger font, see @ref{Font Size}.
539 If you view the result with Xdvi, then staff lines will show through
540 the letters. Printing the PostScript file obtained does produce the
544 @node Easier music entry
545 @section Easier music entry
548 When entering music it is easy to introduce errors. This section deals
549 with tricks and features of the input language that help when entering
550 music, and find and correct mistakes. Some features of the input
551 language ease entering music, but also have other applications. They
552 are not described in this section.
554 It is also possible to use external programs, for example GUI
555 interfaces, or MIDI transcription programs, to enter or edit
556 music. Refer to the website for more information. Finally, there are
557 tools make debugging easier, by linking the input file and the output
558 shown on screen. See @ref{Point and click} for more information.
565 * Skipping corrected music::
566 * Automatic note splitting ::
572 @node Relative octaves
573 @subsection Relative octaves
575 @cindex relative octave specification
577 Octaves are specified by adding @code{'} and @code{,} to pitch names.
578 When you copy existing music, it is easy to accidentally put a pitch
579 in the wrong octave and hard to find such an error. The relative
580 octave mode prevents these errors: a single error puts the rest of the
581 piece off by one octave:
583 @cindex @code{\relative}
585 \relative @var{startpitch} @var{musicexpr}
588 The octave of notes that appear in @var{musicexpr} are calculated as
589 follows: If no octave changing marks are used, the basic interval
590 between this and the last note is always taken to be a fourth or less
591 (; this distance is determined without regarding alterations: a
592 @code{fisis} following a @code{ceses} will be put above the
595 The octave changing marks @code{'} and @code{,} can be added to raise
596 or lower the pitch by an extra octave. Upon entering relative mode,
597 an absolute starting pitch must be specified that will act as the
598 predecessor of the first note of @var{musicexpr}.
600 Here is the relative mode shown in action:
601 @lilypond[fragment,singleline,verbatim,center]
607 Octave changing marks are used for intervals greater than a fourth:
608 @lilypond[fragment,verbatim,center]
613 If the preceding item is a chord, the first note of the chord is used
614 to determine the first note of the next chord:
616 @lilypond[fragment,verbatim,center]
623 @cindex @code{\notes}
625 The pitch after the @code{\relative} contains a note name. To parse
626 the pitch as a note name, you have to be in note mode, so there must
627 be a surrounding @code{\notes} keyword (which is not
630 The relative conversion will not affect @code{\transpose},
631 @code{\chords} or @code{\relative} sections in its argument. If you
632 want to use relative within transposed music, you must place an
633 additional @code{\relative} inside the @code{\transpose}.
636 @subsection Octave check
639 Octave checks make octave errors easier to correct.
645 This checks that @var{pitch} (without octave) yields @var{pitch} (with
646 octave) in \relative mode. If not, a warning is printed, and the
647 octave is corrected, for example, the first check is passed
648 successfully. The second check fails with an error message. The
649 octave is adjusted so the following notes are in the correct octave
660 The octave of a note following an octave check is determined with
661 respect to the note preceding it. In the next fragment, the last note
662 is a @code{a'}, above central C. Hence, the @code{\octave} check may
663 be deleted without changing the meaning of the piece.
665 @lilypond[verbatim,fragment]
676 @subsection Bar check
680 @cindex @code{barCheckSynchronize}
683 Bar checks help detect errors in the durations. A bar check is
684 entered using the bar symbol, `@code{|}'. Whenever it is encountered
685 during interpretation, it should fall on a measure boundary. If it
686 does not, a warning is printed. Depending on the value of
687 @code{barCheckSynchronize}, the beginning of the measure will be
690 In the next example, the second bar check will signal an error:
692 \time 3/4 c2 e4 | g2 |
697 @cindex skipTypesetting
699 Failed bar checks are caused by entering incorrect
700 durations. Incorrect durations often completely garble up the score,
701 especially if it is polyphonic, so you should start correcting the
702 score by scanning for failed bar checks and incorrect durations. To
703 speed up this process, you can use @code{skipTypesetting}, described
706 @node Skipping corrected music
707 @subsection Skipping corrected music
709 The property @code{Score.skipTypesetting} can be used to switch on and
710 off typesetting completely during the interpretation phase. When
711 typesetting is switched off, the music is processed much more quickly.
712 This can be used to skip over the parts of a score that have already
713 been checked for errors:
715 @lilypond[fragment,singleline,verbatim]
717 \property Score.skipTypesetting = ##t
719 \property Score.skipTypesetting = ##f
723 @node Automatic note splitting
724 @subsection Automatic note splitting
726 Long notes can be converted automatically to tied notes. This is done
727 by replacing the @internalsref{Note_heads_engraver} by the
728 @internalsref{Completion_heads_engraver}:
731 \paper @{ \translator @{
733 \remove "Note_heads_engraver"
734 \consists "Completion_heads_engraver"
738 which will make long notes tied in the following example:
741 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
748 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
750 \paper { \translator {
752 \remove "Note_heads_engraver"
753 \consists "Completion_heads_engraver"
758 This engraver splits all running notes at the bar line, and inserts
759 ties. One of its uses is to debug complex scores: if the measures are
760 not entirely filled, then the ties exactly show how much each measure
765 Not all durations (especially those containing tuplets) can be
766 represented exactly; the engraver will not insert tuplets.
772 @section Staff notation
774 This section describes music notation that occurs on staff level,
775 such as keys, clefs and time signatures.
777 @cindex Staff notation
791 @subsection Staff symbol
793 @cindex adjusting staff symbol
794 @cindex StaffSymbol, using \property
796 Notes, dynamic signs, etc. are grouped
797 with a set of horizontal lines, into a staff (plural `staves'). In our
798 system, these lines are drawn using a separate layout object called
802 @cindex staff lines, setting number of
803 @cindex staff lines, setting thickness of
804 @cindex thickness of staff lines, setting
805 @cindex number of staff lines, setting
807 This object is created whenever a @internalsref{Staff} context is
808 created. The appearance of the staff symbol cannot be changed by
809 using @code{\override} or @code{\set}. At the moment that
810 @code{\property Staff} is interpreted, a @internalsref{Staff} context
811 is made, and the @internalsref{StaffSymbol} is created before any
812 @code{\override} is effective. Properties can be changed in a
813 @code{\translator} definition, or by using @code{\outputproperty}.
817 If a staff is ended halfway a piece, the staff symbol may not end
818 exactly on the barline.
822 @subsection Key signature
823 @cindex Key signature
827 The key signature indicates the scale in which a piece is played. It
828 is denoted by a set of alterations (flats or sharps) at the start of
831 WARNING! The key signature only changes the output, not the music
832 itself. An F-sharp in the key of D major is still an F-sharp, not
833 an F -- you must type @code{fis}, not @code{f}. If you don't modify
834 a pitch with @code{-is} or @code{-es}, LilyPond will assume that
835 you want a natural note. See this example:
846 \score{ \notes { \relative c'{
856 Setting or changing the key signature is done with the @code{\key}
859 @code{\key} @var{pitch} @var{type}
862 @cindex @code{\minor}
863 @cindex @code{\major}
864 @cindex @code{\minor}
865 @cindex @code{\ionian}
866 @cindex @code{\locrian}
867 @cindex @code{\aeolian}
868 @cindex @code{\mixolydian}
869 @cindex @code{\lydian}
870 @cindex @code{\phrygian}
871 @cindex @code{\dorian}
873 Here, @var{type} should be @code{\major} or @code{\minor} to get
874 @var{pitch}-major or @var{pitch}-minor, respectively.
875 The standard mode names @code{\ionian},
876 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
877 @code{\phrygian}, and @code{\dorian} are also defined.
879 This command sets the context property
880 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
881 can be specified by setting this property directly.
885 The ordering of a key cancellation is wrong when it is combined with
886 repeat bar lines. The cancellation is also printed after a line break.
890 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
892 @cindex @code{keySignature}
899 The clef indicates which lines of the staff correspond to which
904 The clef can be set or changed with the @code{\clef} command:
905 @lilypond[fragment,verbatim]
906 \key f\major c''2 \clef alto g'2
909 Supported clef-names include:
910 @c Moved standard clefs to the top /MB
914 @item treble, violin, G, G2
927 G clef on 1st line, so-called French violin clef
932 @cindex mezzosoprano clef
935 @cindex baritone clef
938 @cindex varbaritone clef
947 By adding @code{_8} or @code{^8} to the clef name, the clef is
948 transposed one octave down or up, respectively. Argument @var{clefname}
949 must be enclosed in quotes when it contains underscores or digits. For
953 @cindex choral tenor clef
954 @lilypond[verbatim,fragment,relative]
958 This command is equivalent to setting @code{clefGlyph},
959 @code{clefPosition} (which controls the Y position of the clef),
960 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
961 when any of these properties are changed.
965 The object for this symbol is @internalsref{Clef}.
969 @node Ottava brackets
970 @subsection Ottava brackets
972 ``Ottava'' brackets introduce an extra transposition of an octave for
973 the staff. They are created by invoking the function
974 @code{set-octavation}:
980 @lilypond[verbatim,fragment]
989 Internally the @code{set-octavation} function sets the properties
990 @code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
994 @internalsref{OttavaSpanner}.
998 @code{set-octavation} will get confused when clef changes happen
999 during an octavation bracket.
1001 @node Time signature
1002 @subsection Time signature
1003 @cindex Time signature
1005 @cindex @code{\time}
1007 Time signature indicates the metrum of a piece: a regular pattern of
1008 strong and weak beats. It is denoted by a fraction at the start of the
1013 The time signature is set or changed by the @code{\time}
1015 @lilypond[fragment,verbatim]
1016 \time 2/4 c'2 \time 3/4 c'2.
1019 The symbol that is printed can be customized with the @code{style}
1020 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1021 2/2 time. There are many more options for its layout. See
1022 @inputfileref{input/test,time.ly} for more examples.
1025 This command sets the property @code{timeSignatureFraction},
1026 @code{beatLength} and @code{measureLength} in the @code{Timing}
1027 context, which is normally aliased to @internalsref{Score}. The
1028 property @code{measureLength} determines where bar lines should be
1029 inserted, and how automatic beams should be generated. Changing the
1030 value of @code{timeSignatureFraction} also causes the symbol to be
1033 More options are available through the Scheme function
1034 @code{set-time-signature}. In combination with the
1035 @internalsref{Measure_grouping_engraver}, it will create
1036 @internalsref{MeasureGrouping} signs. Such signs ease reading
1037 rhythmically complex modern music. In the following example, the 9/8
1038 measure is subdivided in 2, 2, 2 and 3. This is passed to
1039 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1042 \score { \notes \relative c'' {
1043 #(set-time-signature 9 8 '(2 2 2 3))
1044 g8[ g] d[ d] g[ g] a8[( bes g]) |
1045 #(set-time-signature 5 8 '(3 2))
1050 \translator { \StaffContext
1051 \consists "Measure_grouping_engraver"
1057 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1062 Automatic beaming does not use measure grouping specified with
1063 @code{set-time-signature}.
1065 @node Partial measures
1066 @subsection Partial measures
1069 @cindex partial measure
1070 @cindex measure, partial
1071 @cindex shorten measures
1072 @cindex @code{\partial}
1074 Partial measures, for example in upsteps, are entered using the
1075 @code{\partial} command:
1076 @lilypond[fragment,verbatim]
1077 \partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
1080 The syntax for this command is
1082 \partial @var{duration}
1084 This is internally translated into
1086 \property Timing.measurePosition = -@var{length of duration}
1089 The property @code{measurePosition} contains a rational number
1090 indicating how much of the measure has passed at this point.
1092 @node Unmetered music
1093 @subsection Unmetered music
1095 Bar lines and bar numbers are calculated automatically. For unmetered
1096 music (e.g. cadenzas), this is not desirable. By setting
1097 @code{Score.timing} to false, this automatic timing can be switched
1103 @cindex @code{\cadenzaOn}
1105 @cindex @code{\cadenzaOff}
1109 @subsection Bar lines
1113 @cindex measure lines
1117 Bar lines delimit measures, but are also used to indicate repeats.
1118 Normally, they are inserted automatically. Line breaks may only
1124 of barlines can be forced with the @code{\bar} command:
1125 @lilypond[relative=1,fragment,verbatim]
1129 The following bar types are available:
1130 @lilypond[fragment, relative, singleline, verbatim]
1142 In scores with many staves, a @code{\bar} command in one staff is
1143 automatically applied to all staves. The resulting bar lines are
1144 connected between different staves of a @internalsref{StaffGroup}:
1146 @lilypond[fragment, verbatim]
1147 << \context StaffGroup <<
1151 \new Staff { \clef bass c4 g e g } >>
1152 \new Staff { \clef bass c2 c2 } >>
1156 The command @code{\bar @var{bartype}} is a short cut for doing
1157 @code{\property Score.whichBar = @var{bartype}} Whenever
1158 @code{whichBar} is set to a string, a bar line of that type is
1159 created. At the start of a measure it is set to
1160 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1161 to override default measure bars.
1163 Property @code{whichBar} can also be set directly, using @code{\property}
1164 or @code{\bar}. These settings take precedence over the automatic
1165 @code{whichBar} settings.
1168 @cindex repeatCommands
1169 @cindex defaultBarType
1171 You are encouraged to use @code{\repeat} for repetitions. See
1181 The bar line objects that are created at @internalsref{Staff} level
1182 are called @internalsref{BarLine}, the bar lines that span staves are
1183 @internalsref{SpanBar}s.
1185 @cindex bar lines at start of system
1186 @cindex start of system
1188 The barlines at the start of each system are
1189 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1190 @internalsref{SystemStartBracket}. They are spanner objects and
1191 typically must be tuned from a @code{\translator} block.
1198 The easiest way to enter fragments with more than one voice on a staff
1199 is to split chords using the separator @code{\\}. You can use it for
1200 small, short-lived voices or for single chords:
1202 @lilypond[verbatim,fragment]
1203 \context Staff \relative c'' {
1204 c4 << { f d e } \\ { b c2 } >> c4 << g' \\ b, \\ f' \\ d >>
1208 The separator causes @internalsref{Voice} contexts to be
1210 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1211 contexts, vertical direction of slurs, stems, etc. is set
1214 This can also be done by instantiating @internalsref{Voice} contexts
1215 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1216 a stem directions and horizontal shift for each part:
1219 @lilypond[singleline, verbatim]
1221 \context Staff << \new Voice { \voiceOne cis2 b }
1222 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1223 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1226 Normally, note heads with a different number of dots are not merged, but
1227 when the object property @code{merge-differently-dotted} is set in
1228 the @internalsref{NoteCollision} object, they are merged:
1229 @lilypond[verbatim,fragment,singleline]
1230 \relative c'' \context Voice << {
1232 \property Staff.NoteCollision \override
1233 #'merge-differently-dotted = ##t
1235 } \\ { g8.[ f16] g8.[ f16] }
1239 Similarly, you can merge half note heads with eighth notes, by setting
1240 @code{merge-differently-headed}:
1241 @lilypond[fragment, relative=2,verbatim]
1244 \property Staff.NoteCollision
1245 \override #'merge-differently-headed = ##t
1246 c8 c4. } \\ { c2 c2 } >>
1249 LilyPond also vertically shifts rests that are opposite of a stem:
1252 @lilypond[singleline,fragment,verbatim]
1253 \context Voice << c''4 \\ r4 >>
1261 @cindex @code{\oneVoice}
1263 @cindex @code{\voiceOne}
1265 @cindex @code{\voiceTwo}
1267 @cindex @code{\voiceThree}
1269 @cindex @code{\voiceFour}
1272 The following commands specify in what chords of the current voice
1273 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1274 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1277 @cindex @code{\shiftOn}
1279 @cindex @code{\shiftOnn}
1281 @cindex @code{\shiftOnnn}
1283 @cindex @code{\shiftOff}
1290 The objects responsible for resolving collisions are
1291 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1292 also example files @inputfileref{input/regression,collision-dots.ly},
1293 @inputfileref{input/regression,collision-head-chords.ly},
1294 @inputfileref{input/regression,collision-heads.ly},
1295 @inputfileref{input/regression,collision-mesh.ly}, and
1296 @inputfileref{input/regression,collisions.ly}.
1301 Resolving collisions is a intricate subject, and only a few situations
1302 are handled. When LilyPond cannot cope, the @code{force-hshift}
1303 property of the @internalsref{NoteColumn} object and pitched rests can
1304 be used to override typesetting decisions.
1306 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1307 note, and a downstem half note, the 8th note gets the wrong offset.
1312 Beams are used to group short notes into chunks that are aligned with
1313 the metrum. They are inserted automatically in most cases:
1315 @lilypond[fragment,verbatim, relative=2]
1316 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1319 When these automatic decisions are not good enough, beaming can be
1320 entered explicitly. It is also possible to define beaming patterns
1321 that differ from the defaults.
1325 @internalsref{Beam}.
1328 @cindex Automatic beams
1329 @subsection Manual beams
1330 @cindex beams, manual
1334 In some cases it may be necessary to override the automatic beaming
1335 algorithm. For example, the auto beamer will not put beams over rests
1336 or bar lines. Such beams are specified by manually: the begin and end
1337 point are marked with @code{[} and @code{]}:
1339 @lilypond[fragment,relative,verbatim]
1341 r4 r8[ g' a r8] r8 g[ | a] r8
1345 @cindex @code{stemLeftBeamCount}
1347 Normally, beaming patterns within a beam are determined automatically.
1348 When this mechanism fouls up, the properties
1349 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1350 be used to control the beam subdivision on a stem. If either property
1351 is set, its value will be used only once, and then it is erased.
1353 @lilypond[fragment,relative,verbatim]
1356 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1359 @cindex @code{stemRightBeamCount}
1362 The property @code{subdivideBeams} can be set in order to subdivide
1363 all 16th or shorter beams at beat positions, as defined by the
1364 @code{beatLength} property . This accomplishes the same effect as
1365 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1366 but it take less typing:
1369 @lilypond[relative=1,verbatim,noindent]
1371 \property Voice.subdivideBeams = ##t
1373 \property Score.beatLength = #(ly:make-moment 1 8)
1376 @cindex subdivideBeams
1378 Kneed beams are inserted automatically, when a large gap is detected
1379 between the note heads. This behavior can be tuned through the object
1380 property @code{auto-knee-gap}.
1382 Normally, line breaks are forbidden when beams cross bar lines. This
1383 behavior can be changed by setting @code{allowBeamBreak}.
1385 @cindex @code{allowBeamBreak}
1386 @cindex beams and line breaks
1388 @cindex beams, kneed
1390 @cindex auto-knee-gap
1396 @cindex Frenched staves
1398 Automatically kneed beams cannot be used together with hidden staves.
1403 * Setting automatic beam behavior ::
1407 @no de Beam typography
1408 @sub section Beam typography
1410 One of the strong points of LilyPond is how beams are formatted. Beams
1411 are quantized, meaning that the left and right endpoints beams start
1412 exactly on staff lines. Without quantization, small wedges of white
1413 space appear between the beam and staff line, and this looks untidy.
1415 Beams are also slope-damped: melodies that go up or down should also
1416 have beams that go up or down, but the slope of the beams should be
1417 less than the slope of the notes themselves.
1419 Some beams should be horizontal. These are so-called concave beams.
1421 [TODO: some pictures.]
1425 @node Setting automatic beam behavior
1426 @subsection Setting automatic beam behavior
1428 @cindex @code{autoBeamSettings}
1429 @cindex @code{(end * * * *)}
1430 @cindex @code{(begin * * * *)}
1431 @cindex automatic beams, tuning
1432 @cindex tuning automatic beaming
1434 @c [TODO: use \applycontext]
1436 In normal time signatures, automatic beams can start on any note but can
1437 only end in a few positions within the measure: beams can end on a beat,
1438 or at durations specified by the properties in
1439 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1440 are defined in @file{scm/auto-beam.scm}.
1442 The value of @code{autoBeamSettings} is changed using
1443 @code{\override} and restored with @code{\revert}:
1445 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1446 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1448 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1449 whether the rule applies to begin or end-points. The quantity
1450 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1451 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1452 signature (wildcards, `@code{* *}' may be entered to designate all time
1455 For example, if automatic beams should end on every quarter note, use
1458 \property Voice.autoBeamSettings \override
1459 #'(end * * * *) = #(ly:make-moment 1 4)
1461 Since the duration of a quarter note is 1/4 of a whole note, it is
1462 entered as @code{(ly:make-moment 1 4)}.
1464 The same syntax can be used to specify beam starting points. In this
1465 example, automatic beams can only end on a dotted quarter note:
1467 \property Voice.autoBeamSettings \override
1468 #'(end * * * *) = #(ly:make-moment 3 8)
1470 In 4/4 time signature, this means that automatic beams could end only on
1471 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1472 3/8 has passed within the measure).
1474 Rules can also be restricted to specific time signatures. A rule that
1475 should only be applied in @var{N}/@var{M} time signature is formed by
1476 replacing the second asterisks by @var{N} and @var{M}. For example, a
1477 rule for 6/8 time exclusively looks like
1479 \property Voice.autoBeamSettings \override
1480 #'(begin * * 6 8) = ...
1483 If a rule should be to applied only to certain types of beams, use the
1484 first pair of asterisks. Beams are classified according to the
1485 shortest note they contain. For a beam ending rule that only applies
1486 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1489 If a score ends while an automatic beam has not been ended and is still
1490 accepting notes, this last beam will not be typeset at all.
1492 @cindex automatic beam generation
1494 @cindex @code{Voice.autoBeaming}
1497 For melodies that have lyrics, you may want to switch off
1498 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1503 @cindex @code{\autoBeamOff}
1504 @code{\autoBeamOff},
1505 @cindex @code{\autoBeamOn}
1511 The rules for ending a beam depend on the shortest note in a beam.
1512 So, while it is possible to have different ending rules for eight
1513 beams and sixteenth beams, a beam that contains both eight and
1514 sixteenth notes will use the rules for the sixteenth beam.
1516 In the example below, the autobeamer makes eight beams and sixteenth
1517 end at 3 eights; the third beam can only be corrected by specifying
1520 @lilypond[singleline,fragment,relative,noverbatim,quote]
1521 \property Voice.autoBeamSettings
1522 \override #'(end * * * *) = #(ly:make-moment 3 8)
1523 % rather show case where it goes wrong
1524 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1525 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1527 It is not possible to specify beaming parameters that act differently in
1528 different parts of a measure. This means that it is not possible to use
1529 automatic beaming in irregular meters such as @code{5/8}.
1532 @section Accidentals
1535 This section describes how to change the way that accidentals are
1536 inserted automatically before the running notes.
1540 * Using the predefined accidental variables::
1541 * Customized accidental rules::
1544 @node Using the predefined accidental variables
1545 @subsection Using the predefined accidental variables
1547 The constructs for describing the accidental typesetting rules are
1548 quite hairy, so non-experts should stick to the variables
1549 defined in @file{ly/property-init.ly}.
1550 @cindex @file{property-init.ly}
1552 The variables set properties in the ``@code{Current}'' context (see
1553 @ref{Context properties}). This means that the variables should
1554 normally be added right after the creation of the context in which the
1555 accidental typesetting described by the variable is to take
1556 effect. For example, if you want to use piano-accidentals in a piano
1557 staff then issue @code{\pianoAccidentals} first thing after the
1558 creation of the piano staff:
1561 \notes \relative c'' <<
1562 \new Staff @{ cis4 d e2 @}
1563 \context GrandStaff <<
1565 \new Staff @{ cis4 d e2 @}
1566 \new Staff @{ es2 c @}
1568 \new Staff @{ es2 c @}
1572 @lilypond[singleline]
1574 \notes \relative c'' <<
1575 \new Staff { cis4 d e2 }
1576 \context GrandStaff <<
1578 \new Staff { cis4 d e2 }
1579 \new Staff { es2 c }
1581 \new Staff { es2 c }
1586 minimumVerticalExtent = #'(-4.0 . 4.0)
1594 @item \defaultAccidentals
1595 @cindex @code{\defaultAccidentals}
1596 This is the default typesetting behaviour. It should correspond
1597 to 18th century common practice: Accidentals are
1598 remembered to the end of the measure in which they occur and
1599 only on their own octave.
1601 @item \voiceAccidentals
1602 @cindex @code{\voiceAccidentals}
1604 The normal behaviour is to
1605 remember the accidentals on Staff-level. This variable, however,
1606 typesets accidentals individually for each voice. Apart from that the
1607 rule is similar to @code{\defaultAccidentals}.
1609 This leads to some weird and often unwanted results
1610 because accidentals from one voice do not get cancelled in other
1612 @lilypond[singleline,relative,fragment,verbatim,quote]
1620 Hence you should only use @code{\voiceAccidentals} if the voices
1621 are to be read solely by individual musicians. If the staff is to be
1622 used by one musician (e.g. a conductor) then you use
1623 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1626 @item \modernAccidentals
1627 @cindex @code{\modernAccidentals}
1628 This rule corresponds to the common practice in the 20th
1630 The rule is more complex than @code{\defaultAccidentals}.
1631 You get all the same accidentals, but temporary
1632 accidentals also get cancelled in other octaves. Furthermore,
1633 in the same octave, they also get cancelled in the following measure:
1634 @lilypond[singleline,fragment,verbatim]
1636 cis' c'' cis'2 | c'' c'
1639 @item \modernCautionaries
1640 @cindex @code{\modernCautionaries}
1641 This rule is similar to @code{\modernAccidentals}, but the
1642 ``extra'' accidentals (the ones not typeset by
1643 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1644 They are printed in reduced size or with parentheses:
1645 @lilypond[singleline,fragment,verbatim]
1647 cis' c'' cis'2 | c'' c'
1650 @cindex @code{\modernVoiceAccidentals}
1651 @item \modernVoiceAccidentals
1652 is used for multivoice accidentals to be read both by musicians
1653 playing one voice and musicians playing all voices. Accidentals are
1654 typeset for each voice, but they @emph{are} cancelled across voices in
1655 the same @internalsref{Staff}.
1657 @cindex @code{\modernVoiceCautionaries}
1658 @item \modernVoiceCautionaries
1659 is the same as @code{\modernVoiceAccidentals}, but with the extra
1660 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1661 as cautionaries. Even though all accidentals typeset by
1662 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1663 some of them are typeset as cautionaries.
1665 @item \pianoAccidentals
1666 @cindex @code{\pianoAccidentals}
1667 20th century practice for piano notation. Very similar to
1668 @code{\modernAccidentals} but accidentals also get cancelled
1669 across the staves in the same @internalsref{GrandStaff} or
1670 @internalsref{PianoStaff}.
1672 @item \pianoCautionaries
1673 @cindex @code{\pianoCautionaries}
1674 As @code{\pianoAccidentals} but with the extra accidentals
1675 typeset as cautionaries.
1678 @cindex @code{\noResetKey}
1679 Same as @code{\defaultAccidentals} but with accidentals lasting
1680 ``forever'' and not only until the next measure:
1681 @lilypond[singleline,fragment,verbatim,relative]
1686 @item \forgetAccidentals
1687 @cindex @code{\forgetAccidentals}
1688 This is sort of the opposite of @code{\noResetKey}: Accidentals
1689 are not remembered at all---and hence all accidentals are
1690 typeset relative to the key signature, regardless of what was
1691 before in the music:
1692 @lilypond[singleline,fragment,verbatim,relative]
1694 \key d\major c4 c cis cis d d dis dis
1698 @node Customized accidental rules
1699 @subsection Customized accidental rules
1701 This section must be considered gurus-only, and hence it must be
1702 sufficient with a short description of the system and a reference to
1703 the internal documentation.
1705 The algorithm tries several different rules, and uses the rule
1706 that gives the highest number of accidentals. Each rule consists of
1709 In which context is the rule applied. For example, if
1710 @var{context} is @internalsref{Score} then all staves share
1711 accidentals, and if @var{context} is @internalsref{Staff} then all
1712 voices in the same staff share accidentals, but staves do not.
1714 Whether the accidental changes all octaves or only the current
1717 Over how many barlines the accidental lasts.
1718 If @var{lazyness} is @code{-1} then the accidental is forget
1719 immediately, and if @var{lazyness} is @code{#t} then the accidental
1722 @c [TODO: should use +infinity for this case?]
1728 @cindex @code{\defaultAccidentals}
1729 @code{\defaultAccidentals},
1730 @cindex @code{\voiceAccidentals}
1731 @code{\voiceAccidentals},
1732 @cindex @code{\modernAccidentals}
1733 @code{\modernAccidentals},
1734 @cindex @code{\modernCautionaries}
1735 @code{\modernCautionaries},
1736 @cindex @code{\modernVoiceAccidentals}
1737 @code{\modernVoiceAccidentals},
1738 @cindex @code{\modernVoiceCautionaries}
1739 @code{\modernVoiceCautionaries},
1740 @cindex @code{\pianoAccidentals}
1741 @code{\pianoAccidentals},
1742 @cindex @code{\pianoCautionaries}
1743 @code{\pianoCautionaries},
1744 @cindex @code{\noResetKey}
1746 @cindex @code{\forgetAccidentals}
1747 @code{\forgetAccidentals}.
1751 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1752 @internalsref{AccidentalPlacement}.
1757 Currently the simultaneous notes are considered to be entered in
1758 sequential mode. This means that in a chord the accidentals are
1759 typeset as if the notes in the chord happened once at a time - in the
1760 order in which they appear in the input file.
1762 This is only a problem when there are simultaneous notes whose
1763 accidentals depend on each other. The problem only occurs when using
1764 non-default accidentals. In the default scheme, accidentals only
1765 depend on other accidentals with the same pitch on the same staff, so
1766 no conflicts possible.
1768 This example shows two examples of the same music giving different
1769 accidentals depending on the order in which the notes occur in the
1772 @lilypond[singleline,fragment,verbatim]
1773 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1774 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1775 | <cis' c''> r | <c'' cis'> r |
1778 This problem can be solved by manually inserting @code{!} and @code{?}
1779 for the problematic notes.
1781 @node Expressive marks
1782 @section Expressive marks
1790 * Analysis brackets::
1797 A slur indicates that notes are to be played bound or @emph{legato}.
1801 They are entered using parentheses:
1802 @lilypond[fragment,verbatim,center]
1803 f'( g')( a') a'8[ b'(] a'4 g'2 f'4)
1808 @c TODO: should explain that ^( and _( set directions
1809 @c should set attachments with ^ and _ ?
1811 Slurs avoid crossing stems, and are generally attached to note heads.
1812 However, in some situations with beams, slurs may be attached to stem
1813 ends. If you want to override this layout you can do this through the
1814 object property @code{attachment} of @internalsref{Slur} in
1815 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1816 the attachment type of the left and right end points:
1818 @lilypond[fragment,relative,verbatim]
1820 \property Voice.Stem \set #'length = #5.5
1822 \property Voice.Slur \set #'attachment = #'(stem . stem)
1826 If a slur would strike through a stem or beam, the slur will be moved
1827 away upward or downward. If this happens, attaching the slur to the
1828 stems might look better:
1830 @lilypond[fragment,relative,verbatim]
1833 \property Voice.Slur \set #'attachment = #'(stem . stem)
1840 @cindex @code{\slurUp}
1842 @cindex @code{\slurDown}
1844 @cindex @code{\slurBoth}
1846 @cindex @code{\slurDotted}
1848 @cindex @code{\slurSolid}
1853 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1858 Producing nice slurs is a difficult problem, and LilyPond currently
1859 uses a simple, empiric method to produce slurs. In some cases, its
1863 @cindex Adjusting slurs
1865 @node Phrasing slurs
1866 @subsection Phrasing slurs
1868 @cindex phrasing slurs
1869 @cindex phrasing marks
1871 A phrasing slur (or phrasing mark) connects chords and is used to
1872 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1875 @lilypond[fragment,verbatim,center,relative]
1876 \time 6/4 c'\( d( e) f( e) d\)
1879 Typographically, the phrasing slur behaves almost exactly like a
1880 normal slur. However, they are treated as different objects. A
1881 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1882 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1883 @code{\phrasingSlurBoth}.
1885 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1886 will only affect normal slurs and not phrasing slurs.
1890 @cindex @code{\phrasingSlurUp}
1891 @code{\phrasingSlurUp},
1892 @cindex @code{\phrasingSlurDown}
1893 @code{\phrasingSlurDown},
1894 @cindex @code{\phrasingSlurBoth}
1895 @code{\phrasingSlurBoth},
1899 See also @internalsref{PhrasingSlur}, and
1900 @internalsref{PhrasingSlurEvent}.
1904 Phrasing slurs have the same limitations in their formatting as normal
1905 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1908 @subsection Breath marks
1910 Breath marks are entered using @code{\breathe}:
1913 @lilypond[fragment,relative,verbatim]
1917 The glyph of the breath mark can be tweaked by overriding the
1918 @code{text} property of the @code{BreathingSign} layout object with
1919 any markup text. For example,
1920 @lilypond[fragment,verbatim,relative]
1922 \property Voice.BreathingSign \override #'text
1923 = #(make-musicglyph-markup "scripts-rvarcomma")
1930 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1931 @inputfileref{input/regression,breathing-sign.ly}.
1934 @node Metronome marks
1935 @subsection Metronome marks
1938 @cindex beats per minute
1939 @cindex metronome marking
1941 Metronome settings can be entered as follows:
1943 \tempo @var{duration} = @var{perminute}
1946 In the MIDI output, they are interpreted as a tempo change, and in the
1947 paper output, a metronome marking is printed:
1948 @cindex @code{\tempo}
1949 @lilypond[fragment,verbatim]
1955 @internalsref{MetronomeChangeEvent}.
1960 @subsection Text spanners
1961 @cindex Text spanners
1963 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1964 are written as texts, and extended over many measures with dotted
1965 lines. You can create such texts using text spanners: attach
1966 @code{\startTextSpan} and @code{\stopTextSpan} to the
1967 start and ending note of the spanner.
1969 The string to be printed, as well as the style, is set through object
1972 @lilypond[fragment,relative,verbatim]
1974 \property Voice.TextSpanner \set #'direction = #-1
1975 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1976 c2\startTextSpan b c\stopTextSpan a }
1982 @internalsref{TextSpanEvent},
1983 @internalsref{TextSpanner}, and
1984 @inputfileref{input/regression,text-spanner.ly}.
1987 @node Analysis brackets
1988 @subsection Analysis brackets
1990 @cindex phrasing brackets
1991 @cindex musicological analysis
1992 @cindex note grouping bracket
1994 Brackets are used in musical analysis to indicate structure in musical
1995 pieces. LilyPond supports a simple form of nested horizontal brackets.
1996 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1997 @internalsref{Staff} context. A bracket is started with
1998 @code{\startGroup} and closed with @code{\stopGroup}:
2000 @lilypond[singleline,verbatim]
2001 \score { \notes \relative c'' {
2002 c4\startGroup\startGroup
2005 c4\stopGroup\stopGroup
2007 \paper { \translator {
2008 \StaffContext \consists "Horizontal_bracket_engraver"
2014 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
2015 @inputfileref{input/regression,note-group-bracket.ly}.
2019 @section Articulations
2020 @cindex Articulations
2022 @cindex articulations
2026 A variety of symbols can appear above and below notes to indicate
2027 different characteristics of the performance. They are added to a note
2028 by adding a dash and the character signifying the
2029 articulation. They are demonstrated here:
2031 @lilypondfile[notexidoc]{script-abbreviations.ly}
2033 The meanings of these shorthands can be changed: see
2034 @file{ly/script-init.ly} for examples.
2037 The script is automatically placed, but if you need to force
2038 directions, you can use @code{_} to force them down, or @code{^} to
2040 @lilypond[fragment, verbatim]
2044 Other symbols can be added using the syntax
2045 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2046 can be forced up or down using @code{^} and @code{_},
2049 @lilypond[verbatim,fragment,relative 2]
2050 c\fermata c^\fermata c_\fermata
2057 @cindex staccatissimo
2066 @cindex organ pedal marks
2075 @cindex prallmordent
2079 @cindex thumb marking
2084 @lilypondfile[notexidoc]{script-chart.ly}
2089 @cindex @code{\scriptUp}
2091 @cindex @code{\scriptDown}
2093 @cindex @code{\scriptBoth}
2098 @internalsref{ScriptEvent}, and @internalsref{Script}.
2102 All of these note ornaments appear in the printed output but have no
2103 effect on the MIDI rendering of the music.
2106 @node Fingering instructions
2107 @section Fingering instructions
2111 Fingering instructions can be entered using
2113 @var{note}-@var{digit}
2115 For finger changes, use markup texts:
2117 @lilypond[verbatim, singleline, fragment]
2118 c'4-1 c'4-2 c'4-3 c'4-4
2119 c'^\markup { \fontsize #-3 \number "2-3" }
2122 @cindex finger change
2127 You can use the thumb-script to indicate that a note should be
2128 played with your thumb (used in cello music):
2130 @lilypond[verbatim, singleline, fragment]
2131 <a' a''-3>8(_\thumb[ <b' b''-3>)_\thumb
2132 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb]
2135 Fingerings for chords can also be added to individual notes
2136 of the chord by adding them after the pitches:
2137 @lilypond[verbatim,singleline,fragment,relative=1]
2138 < c-1 e-2 g-3 b-5 > 4
2141 Setting @code{fingeringOrientations} will put fingerings next
2144 @lilypond[verbatim,singleline,fragment,relative=1]
2145 \property Voice.fingeringOrientations = #'(left down)
2146 <c-1 es-2 g-4 bes-5 > 4
2147 \property Voice.fingeringOrientations = #'(up right down)
2148 <c-1 es-2 g-4 bes-5 > 4
2153 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2164 @subsection Text scripts
2165 @cindex Text scripts
2167 It is possible to place arbitrary strings of text or markup text (see
2168 @ref{Text markup}) above or below notes by using a string:
2169 @code{c^"text"}. By default, these indications do not influence the
2170 note spacing, but by using the command @code{\fatText}, the widths
2171 will be taken into account:
2173 @lilypond[fragment,singleline,verbatim] \relative c' {
2174 c4^"longtext" \fatText c4_"longlongtext" c4 }
2177 It is possible to use @TeX{} commands in the strings, but this should
2178 be avoided because the exact dimensions of the string can then no
2184 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2190 @subsection Grace notes
2193 @c should have blurb about accaciatura / appogiatura
2195 @cindex @code{\grace}
2199 Grace notes are ornaments that are written out. The most common ones
2200 are acciaccatura, which should be played as very short. It is denoted
2201 by a slurred small note with a slashed stem. The appoggiatura is a
2202 grace note that takes a fixed fraction of the main note, is and
2203 denoted as a slurred note in small print without a slash.
2204 They are entered with the commands @code{\acciaccatura} and
2205 @code{\appoggiatura}, as demonstrated in the following example:
2208 @cindex appoggiatura
2209 @cindex acciaccatura
2211 @lilypond[relative=2,verbatim,fragment]
2212 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2213 \acciaccatura { g16 f } e4
2216 Both are special forms of the @code{\grace} command. By prefixing this
2217 keyword to a music expression, a new one is formed, which will be
2218 printed in a smaller font and takes up no logical time in a measure.
2219 @lilypond[relative=2,verbatim,fragment]
2220 c4 \grace c16 c4 \grace {
2223 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2224 @code{\grace} command does not start a slur.
2226 Internally, timing for grace notes is done using a second, `grace'
2227 time. Every point in time consists of two rational numbers: one
2228 denotes the logical time, one denotes the grace timing. The above
2229 example is shown here with timing tuples:
2231 @lilypond[singleline]
2234 c4 \grace c16 c4 \grace {
2237 \new Lyrics \lyrics {
2240 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2241 \markup { (\fraction 1 4 , 0 ) } 4
2243 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2244 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2246 \markup { ( \fraction 2 4 , 0 ) }
2251 The placement of grace notes is synchronized between different staves.
2252 In the following example, there are two sixteenth graces notes for
2253 every eighth grace note:
2255 @lilypond[relative=2,verbatim,fragment]
2256 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2257 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2262 If you want to end a note with a grace note, then the standard trick
2263 is to put the grace notes before a phantom ``space note'', e.g.
2264 @lilypond[fragment,verbatim, relative=2]
2267 { s2 \grace { c16[ d] } } >>
2273 By adjusting the duration of the skip note (here it is a half-note),
2274 the space between the main-note and the grace is adjusted.
2277 A @code{\grace} section will introduce special typesetting settings,
2278 for example, to produce smaller type, and set directions. Hence, when
2279 introducing layout tweaks, they should be inside the grace section,
2281 @lilypond[fragment,verbatim,relative 2]
2284 \property Voice.Stem \override #'direction = #-1
2286 \property Voice.Stem \revert #'direction
2293 The overrides should also be reverted inside the grace section.
2295 If the layout of grace sections must be changed throughout the music,
2296 then this can be accomplished through the function
2297 @code{add-grace-property}. The following example
2298 undefines the Stem direction grace section, so stems do not always
2303 #(add-grace-property "Voice" Stem direction '())
2309 Another option is to change the variables @code{startGraceMusic},
2310 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2311 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2312 @code{stopAppoggiaturaMstuic}. More information is in the file
2313 @file{ly/grace-init.ly}
2318 @internalsref{GraceMusic}.
2322 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2324 A score that starts with an @code{\grace} section needs an explicit
2325 @code{\context Voice} declaration, otherwise the main note and grace
2326 note end up on different staves.
2328 Grace note synchronization can also lead to surprises. Staff notation,
2329 such as key signatures, barlines, etc. are also synchronized. Take
2330 care when you mix staves with grace notes and staves without, for example,
2332 @lilypond[relative=2,verbatim,fragment]
2333 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2334 \new Staff { c4 \bar "|:" d4 } >>
2337 Grace sections should only be used within sequential music
2338 expressions. Nesting or juxtaposing grace sections is not supported,
2339 and might produce crashes or other errors.
2341 Overriding settings cannot be done in separate styles for appoggiatura
2346 @subsection Glissando
2349 @cindex @code{\glissando}
2351 A glissando is a smooth change in pitch. It is denoted by a line or a
2352 wavy line between two notes.
2356 A glissando line can be requested by attaching a @code{\glissando} to
2359 @lilypond[fragment,relative,verbatim]
2365 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2370 Additional texts (such as @emph{gliss.}) is not supported.
2374 @subsection Dynamics
2387 @cindex @code{\ffff}
2397 Absolute dynamic marks are specified using an variable after a
2398 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2399 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2400 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2401 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2403 @lilypond[verbatim,singleline,fragment,relative]
2404 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2410 @cindex @code{\decr}
2411 @cindex @code{\rced}
2418 A crescendo mark is started with @code{\<} and terminated with
2419 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2420 with @code{\!}. Because these marks are bound to notes, if you must
2421 use spacer notes if multiple marks during one note are needed:
2423 @lilypond[fragment,verbatim,center,quote]
2424 c''\< c''\! d''\decr e''\rced
2425 << f''1 { s4 s4\< s4\! \> s4\! } >>
2427 This may give rise to very short hairpins. Use @code{minimum-length}
2428 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2432 \property Staff.Hairpin \override #'minimum-length = #5
2435 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2436 is an example how to do it:
2438 @lilypond[fragment,relative=2,verbatim]
2439 c4 \cresc c4 c c c \endcresc c4
2445 You can also supply your own texts:
2446 @lilypond[fragment,relative,verbatim]
2448 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2449 \property Voice.crescendoSpanner = #'dashed-line
2459 @cindex @code{\dynamicUp}
2461 @cindex @code{\dynamicDown}
2462 @code{\dynamicDown},
2463 @cindex @code{\dynamicBoth}
2464 @code{\dynamicBoth}.
2466 @cindex direction, of dynamics
2470 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2471 @internalsref{AbsoluteDynamicEvent}.
2473 Dynamics are objects of @internalsref{DynamicText} and
2474 @internalsref{Hairpin}. Vertical positioning of these symbols is
2475 handled by the @internalsref{DynamicLineSpanner} object.
2477 If you want to adjust padding or vertical direction of the dynamics, you
2478 must set properties for the @internalsref{DynamicLineSpanner} object.
2486 @cindex @code{\repeat}
2489 Repetition is a central concept in music, and multiple notations exist
2490 for repetitions. In LilyPond, most of these notations can be captured
2491 in a uniform syntax. One of the advantages is, all these repetitions
2492 can be rendered in MIDI accurately.
2494 The following types of repetition are supported:
2498 Repeated music is fully written (played) out. Useful for MIDI
2499 output, and entering repetitive music.
2502 This is the normal notation: Repeats are not written out, but
2503 alternative endings (voltas) are printed, left to right.
2507 Alternative endings are written stacked. This has limited use but may be
2508 used to typeset two lines of lyrics in songs with repeats, see
2509 @inputfileref{input,star-spangled-banner.ly}.
2516 Make beat or measure repeats. These look like percent signs.
2522 * Repeats and MIDI::
2523 * Manual repeat commands::
2525 * Tremolo subdivisions::
2530 @subsection Repeat syntax
2534 LilyPond has one syntactic construct for specifying different types of
2535 repeats. The syntax is
2538 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2541 If you have alternative endings, you may add
2542 @cindex @code{\alternative}
2544 \alternative @code{@{} @var{alternative1}
2546 @var{alternative3} @dots{} @code{@}}
2548 where each @var{alternative} is a music expression. If you do not
2549 give enough alternatives for all of the repeats, then the first
2550 alternative is assumed to be played more than once.
2552 Normal notation repeats are used like this:
2553 @lilypond[fragment,verbatim]
2555 \repeat volta 2 { c'4 d' e' f' }
2556 \repeat volta 2 { f' e' d' c' }
2559 With alternative endings:
2560 @lilypond[fragment,verbatim]
2562 \repeat volta 2 {c'4 d' e' f'}
2563 \alternative { {d'2 d'} {f' f} }
2567 @lilypond[fragment,verbatim]
2571 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2572 \alternative { { g4 g g } { a | a a a a | b2. } }
2579 If you do a nested repeat like
2588 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2589 belongs. This ambiguity is resolved by always having the
2590 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2591 it is advisable to use braces in such situations.
2594 @node Repeats and MIDI
2595 @subsection Repeats and MIDI
2597 @cindex expanding repeats
2599 For instructions on how to unfold repeats for MIDI output, see the
2600 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2605 Timing information is not remembered at the start of an alternative,
2606 so after a repeat timing information must be reset by hand, for
2607 example by setting @code{Score.measurePosition} or entering
2608 @code{\partial}. Similarly, slurs or ties are also not repeated.
2611 @node Manual repeat commands
2612 @subsection Manual repeat commands
2614 @cindex @code{repeatCommands}
2616 The property @code{repeatCommands} can be used to control the layout of
2617 repeats. Its value is a Scheme list of repeat commands, where each repeat
2621 @item the symbol @code{start-repeat},
2622 which prints a @code{|:} bar line,
2623 @item the symbol @code{end-repeat},
2624 which prints a @code{:|} bar line,
2625 @item the list @code{(volta @var{text})},
2626 which prints a volta bracket saying @var{text}: The text can be specified as
2627 a text string or as a markup text, see @ref{Text markup}. Do not
2628 forget to change the font, as the default number font does not contain
2629 alphabetic characters. Or,
2630 @item the list @code{(volta #f)}, which
2631 stops a running volta bracket:
2634 @lilypond[verbatim, fragment]
2636 \property Score.repeatCommands = #'((volta "93") end-repeat)
2638 \property Score.repeatCommands = #'((volta #f))
2645 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2646 @internalsref{VoltaRepeatedMusic},
2647 @internalsref{UnfoldedRepeatedMusic}, and
2648 @internalsref{FoldedRepeatedMusic}.
2650 @node Tremolo repeats
2651 @subsection Tremolo repeats
2652 @cindex tremolo beams
2654 To place tremolo marks between notes, use @code{\repeat} with tremolo
2656 @lilypond[verbatim,center,singleline]
2658 \context Voice \notes\relative c' {
2659 \repeat "tremolo" 8 { c16 d16 }
2660 \repeat "tremolo" 4 { c16 d16 }
2661 \repeat "tremolo" 2 { c16 d16 }
2662 \repeat "tremolo" 4 c16
2669 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2670 are @internalsref{StemTremolo}s. The music expression is
2671 @internalsref{TremoloEvent}.
2676 The single stem tremolo must be entered without @code{@{} and
2679 @node Tremolo subdivisions
2680 @subsection Tremolo subdivisions
2681 @cindex tremolo marks
2682 @cindex @code{tremoloFlags}
2684 Tremolo marks can be printed on a single note by adding
2685 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2686 A @var{length} value of 8 gives one line across the note stem. If the
2687 length is omitted, then then the last value (stored in
2688 @code{Voice.tremoloFlags}) is used:
2690 @lilypond[verbatim,fragment,center]
2691 c'2:8 c':32 | c': c': |
2694 @c [TODO : stok is te kort bij 32en]
2698 Tremolos in this style do not carry over into the MIDI output.
2701 @node Measure repeats
2702 @subsection Measure repeats
2704 @cindex percent repeats
2705 @cindex measure repeats
2707 In the @code{percent} style, a note pattern can be repeated. It is
2708 printed once, and then the pattern is replaced with a special sign.
2709 Patterns of a one and two measures are replaced by percent-like signs,
2710 patterns that divide the measure length are replaced by slashes:
2712 @lilypond[verbatim,singleline]
2713 \context Voice { \repeat "percent" 4 { c'4 }
2714 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2720 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2721 @internalsref{PercentRepeatedMusic}, and
2722 @internalsref{DoublePercentRepeat}.
2726 @node Rhythmic music
2727 @section Rhythmic music
2729 Sometimes you might want to show only the rhythm of a melody. This
2730 can be done with the rhythmic staff. All pitches of notes on such a
2731 staff are squashed, and the staff itself has a single line:
2733 @lilypond[fragment,relative,verbatim]
2734 \context RhythmicStaff {
2736 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2741 * Percussion staves::
2742 * Percussion MIDI output::
2745 @node Percussion staves
2746 @subsection Percussion staves
2750 A percussion part for more than one instrument typically uses a
2751 multiline staff where each position in the staff refers to one piece
2756 Percussion staves are typeset with help of a set of Scheme
2757 functions. The system is based on the general MIDI drum-pitches.
2758 Include @file{drumpitch-init.ly} to use drum pitches. This file
2759 defines the pitches from the Scheme variable @code{drum-pitch-names},
2760 the definition of which can be read in @file{scm/drums.scm}. Each
2761 piece of percussion has a full name and an abbreviated name, and either
2762 the full name or the abbreviation may be used in input files.
2764 To typeset the music on a staff apply the function @code{drums->paper}
2765 to the percussion music. This function takes a list of percussion
2766 instrument names, notehead scripts and staff positions (that is:
2767 pitches relative to the C-clef) and transforms the input
2768 music by moving the pitch, changing the notehead and (optionally)
2771 @lilypond[singleline,verbatim,quote]
2772 \include "drumpitch-init.ly"
2773 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2774 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2776 \apply #(drums->paper 'drums) \context Staff <<
2778 \new Voice { \voiceOne \up }
2779 \new Voice { \voiceTwo \down }
2784 In the above example the music was transformed using the list @code{'drums}.
2785 The following lists are defined in @file{scm/drums.scm}:
2788 to typeset a typical drum kit on a five-line staff:
2791 \include "drumpitch-init.ly"
2792 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2793 bd sn ss tomh tommh tomml toml tomfh tomfl }
2794 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2795 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2798 \apply #(drums->paper 'drums) \context Staff <<
2802 \context Lyrics \nam
2805 linewidth = 100.0\mm
2808 \remove Bar_engraver
2809 \remove Time_signature_engraver
2810 minimumVerticalExtent = #'(-4.0 . 5.0)
2814 \remove Stem_engraver
2820 The drum scheme supports six different toms. When there fewer toms, simply
2821 select the toms that produce the desired result, i.e. to get toms on
2822 the three middle lines you use @code{tommh}, @code{tomml} and
2825 Because general MIDI does not contain rimshots the sidestick is used
2826 for this purpose instead.
2828 to typeset timbales on a two line staff:
2830 @lilypond[singleline]
2831 \include "drumpitch-init.ly"
2832 nam = \lyrics { timh ssh timl ssl cb }
2833 mus = \notes { timh ssh timl ssl cb s16 }
2836 \apply #(drums->paper 'timbales) \context Staff <<
2840 \context Lyrics \nam
2845 \remove Bar_engraver
2846 \remove Time_signature_engraver
2847 StaffSymbol \override #'line-count = #2
2848 StaffSymbol \override #'staff-space = #2
2849 minimumVerticalExtent = #'(-3.0 . 4.0)
2853 \remove Stem_engraver
2860 to typeset congas on a two line staff:
2862 @lilypond[singleline]
2863 \include "drumpitch-init.ly"
2864 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2865 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2868 \apply #(drums->paper 'congas) \context Staff <<
2872 \context Lyrics \nam
2877 \remove Bar_engraver
2878 \remove Time_signature_engraver
2879 StaffSymbol \override #'line-count = #2
2880 StaffSymbol \override #'staff-space = #2
2881 minimumVerticalExtent = #'(-3.0 . 4.0)
2885 \remove Stem_engraver
2891 to typeset bongos on a two line staff:
2893 @lilypond[singleline]
2894 \include "drumpitch-init.ly"
2895 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2896 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2899 \apply #(drums->paper 'bongos) \context Staff <<
2903 \context Lyrics \nam
2908 \remove Bar_engraver
2909 \remove Time_signature_engraver
2910 StaffSymbol \override #'line-count = #2
2911 StaffSymbol \override #'staff-space = #2
2912 minimumVerticalExtent = #'(-3.0 . 4.0)
2916 \remove Stem_engraver
2922 to typeset all kinds of simple percussion on one line staves:
2923 @lilypond[singleline]
2924 \include "drumpitch-init.ly"
2925 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2926 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2929 \apply #(drums->paper 'percussion) \context Staff <<
2933 \context Lyrics \nam
2938 \remove Bar_engraver
2939 \remove Time_signature_engraver
2940 StaffSymbol \override #'line-count = #1
2941 minimumVerticalExtent = #'(-2.0 . 3.0)
2945 \remove Stem_engraver
2952 If you do not like any of the predefined lists you can define your own
2953 list at the top of your file:
2955 @lilypond[singleline, verbatim]
2956 #(set-drum-kit 'mydrums `(
2957 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2958 (snare default #f ,(ly:make-pitch 0 1 0))
2959 (hihat cross #f ,(ly:make-pitch 0 5 0))
2960 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2961 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2963 \include "drumpitch-init.ly"
2964 up = \notes { hh8 hh hh hh hhp4 hhp }
2965 down = \notes { bd4 sn bd toml8 toml }
2967 \apply #(drums->paper 'mydrums) \context Staff <<
2969 \new Voice { \voiceOne \up }
2970 \new Voice { \voiceTwo \down }
2975 To use a modified existing list, one can prepend modifications to the
2979 #(set-drum-kit 'mydrums (append `(
2980 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2981 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2982 ) (get-drum-kit 'drums)))
2985 You can easily combine percussion notation with pitched notation.
2986 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2987 names, so you will have to reinclude @file{nederlands.ly} after the
2988 drum-pattern-definitions to enter normal notes:
2990 @lilypond[singleline,verbatim]
2991 \include "drumpitch-init.ly"
2992 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2993 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2994 \include "nederlands.ly"
2995 bass = \notes \transpose c c,, { a4. e8 r e g e }
2998 \apply #(drums->paper 'drums) \new Staff <<
3000 \new Voice { \voiceOne \up }
3001 \new Voice { \voiceTwo \down }
3003 \new Staff { \clef "F_8" \bass }
3008 @node Percussion MIDI output
3009 @subsection Percussion MIDI output
3011 In order to produce correct MIDI output you need to produce two score
3012 blocks---one for the paper and one for the MIDI output. To use the
3013 percussion channel you set the property @code{instrument} to
3014 @code{'drums}. Because the drum-pitches themselves are similar to the
3015 general MIDI pitches all you have to do is to insert the voices with
3016 none of the scheme functions to get the correct MIDI output:
3020 \apply #(drums->paper 'mydrums) \context Staff <<
3029 \property Staff.instrument = #'drums
3038 This scheme is a temporary implementation.
3042 @section Piano music
3044 Piano staves are two normal staves coupled with a brace. The staves
3045 are largely independent, but sometimes voices can cross between the
3046 two staves. The same notation is also used for harps and other key
3047 instruments. The @internalsref{PianoStaff} is especially built to
3048 handle this cross-staffing behavior. In this section we discuss the
3049 @internalsref{PianoStaff} and some other pianistic peculiarities.
3053 * Automatic staff changes::
3054 * Manual staff switches::
3057 * Staff switch lines::
3062 There is no support for putting chords across staves. You can get
3063 this result by increasing the length of the stem in the lower stave so
3064 it reaches the stem in the upper stave, or vice versa. An example is
3065 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
3067 Dynamics are not centered, but kludges do exist. See
3068 @inputfileref{input/template,piano-dynamics.ly}.
3070 @cindex cross staff stem
3071 @cindex stem, cross staff
3074 @c fixme: should have hyperlinks as well.
3080 @node Automatic staff changes
3081 @subsection Automatic staff changes
3082 @cindex Automatic staff changes
3084 Voices can switch automatically between the top and the bottom
3085 staff. The syntax for this is
3087 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3089 The two staffs of the piano staff must be named @code{up} and
3092 The autochanger switches on basis of pitch (central C is the turning
3093 point), and it looks ahead skipping over rests to switch in
3094 advance. Here is a practical example:
3096 @lilypond[verbatim,singleline,quote]
3097 \score { \notes \context PianoStaff <<
3098 \context Staff = "up" {
3099 \autochange Staff \context Voice = VA << \relative c' {
3100 g4 a b c d r4 a g } >> }
3101 \context Staff = "down" {
3108 In this example, spacer rests are used to prevent the bottom staff from
3109 terminating too soon.
3114 @internalsref{AutoChangeMusic}.
3118 The staff switches often do not end up in optimal places. For high
3119 quality output staff switches should be specified manually.
3123 @node Manual staff switches
3124 @subsection Manual staff switches
3126 @cindex manual staff switches
3127 @cindex staff switch, manual
3129 Voices can be switched between staves manually, using the following command:
3131 \translator Staff = @var{staffname} @var{music}
3135 The string @var{staffname} is the name of the staff. It switches the
3136 current voice from its current staff to the Staff called
3137 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3145 Pianos have pedals that alter the way sound are produced. Generally, a
3146 piano has three pedals, sustain, una corda, and sostenuto.
3150 Piano pedal instruction can be expressed by attaching
3151 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3152 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3155 @lilypond[fragment,verbatim]
3156 c'4\sustainDown c'4\sustainUp
3159 What is printed can be modified by setting @code{pedal@var{X}Strings},
3160 where @var{X} is one of the pedal types: @code{Sustain},
3161 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3162 documentation of @internalsref{SustainPedal} for more information.
3164 Pedals can also be indicated by a sequence of brackets, by setting the
3165 @code{pedalSustainStyle} property to @code{bracket} objects:
3167 @lilypond[fragment,verbatim]
3168 \property Staff.pedalSustainStyle = #'bracket
3169 c''4\sustainDown d''4 e''4
3170 a'4\sustainUp\sustainDown
3171 f'4 g'4 a'4\sustainUp
3174 A third style of pedal notation is a mixture of text and brackets,
3175 obtained by setting @code{pedal-type} to @code{mixed}:
3177 @lilypond[fragment,verbatim]
3178 \property Staff.pedalSustainStyle = #'mixed
3179 c''4\sustainDown d''4 e''4
3180 c'4\sustainUp\sustainDown
3181 f'4 g'4 a'4\sustainUp
3184 The default `*Ped' style for sustain and damper pedals corresponds to
3185 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3186 for a sostenuto pedal:
3188 @lilypond[fragment,verbatim]
3189 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3192 For fine-tuning of the appearance of a pedal bracket, the properties
3193 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3194 @code{PianoPedalBracket} objects (, see the detailed documentation of
3195 @internalsref{PianoPedalBracket},) can be modified. For example, the bracket
3196 may be extended to the end of the note head:
3198 @lilypond[fragment,verbatim]
3199 \property Staff.PianoPedalBracket \override
3200 #'shorten-pair = #'(0 . -1.0)
3201 c''4\sostenutoDown d''4 e''4 c'4
3202 f'4 g'4 a'4\sostenutoUp
3206 @subsection Arpeggio
3209 @cindex broken arpeggio
3210 @cindex @code{\arpeggio}
3212 You can specify an arpeggio sign on a chord by attaching an
3213 @code{\arpeggio} to a chord:
3216 @lilypond[fragment,relative,verbatim]
3220 When an arpeggio crosses staves, you attach an arpeggio to the chords
3221 in both staves, and set
3222 @internalsref{PianoStaff}.@code{connectArpeggios}:
3224 @lilypond[fragment,relative,verbatim]
3225 \context PianoStaff <<
3226 \property PianoStaff.connectArpeggios = ##t
3227 \new Staff { <c' e g c>\arpeggio }
3228 \new Staff { \clef bass <c,, e g>\arpeggio }
3232 The direction of the arpeggio is sometimes denoted by adding an
3233 arrowhead to the wiggly line. This can be typeset by setting
3234 @code{arpeggio-direction}:
3236 @lilypond[fragment,relative,verbatim]
3238 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3240 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3245 A square bracket on the left indicates that the player should not
3246 arpeggiate the chord. To draw these brackets, set the
3247 @code{molecule-callback} property of @code{Arpeggio} or
3248 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3249 @code{\arpeggio} statements within the chords as before:
3251 @lilypond[fragment,relative,verbatim]
3252 \property PianoStaff.Arpeggio \override
3253 #'molecule-callback = \arpeggioBracket
3259 @cindex @code{\arpeggioBracket}
3260 @code{\arpeggioBracket},
3261 @cindex @code{\arpeggio}
3266 @internalsref{ArpeggioEvent} expression lead to
3267 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3268 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3272 It is not possible to mix connected arpeggios and unconnected
3273 arpeggios in one @internalsref{PianoStaff} at the same time.
3275 @node Staff switch lines
3276 @subsection Staff switch lines
3279 @cindex follow voice
3280 @cindex staff switching
3283 @cindex @code{followVoice}
3285 Whenever a voice switches to another staff a line connecting the notes
3286 can be printed automatically. This is enabled if the property
3287 @code{PianoStaff.followVoice} is set to true:
3289 @lilypond[fragment,relative,verbatim]
3290 \context PianoStaff <<
3291 \property PianoStaff.followVoice = ##t
3292 \context Staff \context Voice {
3294 \translator Staff=two
3297 \context Staff=two { \clef bass \skip 1*2 }
3301 The associated object is @internalsref{VoiceFollower}.
3305 @cindex @code{\showStaffSwitch}
3306 @code{\showStaffSwitch},
3307 @cindex @code{\hideStaffSwitch}
3308 @code{\hideStaffSwitch}.
3312 @section Vocal music
3314 This section discusses how to enter and print lyrics.
3318 * The Lyrics context::
3323 @node Entering lyrics
3324 @subsection Entering lyrics
3328 @cindex @code{\lyrics}
3331 Lyrics are entered in a special input mode. This mode is is introduced
3332 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3333 punctuation and accents without any hassle. Syllables are entered like
3334 notes, but with pitches replaced by text. For example,
3336 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3339 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3340 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3341 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3342 any 8-bit character with ASCII code over 127, or a two-character
3343 combination of a backslash followed by one of @code{`}, @code{'},
3344 @code{"}, or @code{^}.
3346 Subsequent characters of a word can be any character that is not a digit
3347 and not white space. One important consequence of this is that a word
3348 can end with @code{@}}. The following example is usually a bug. The
3349 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3351 \lyrics @{ twinkle@}
3354 @cindex @code{\property}, in @code{\lyrics}
3355 Similarly, a period following a alphabetic sequence, is included in the
3356 resulting string. As a consequence, spaces must be inserted around
3357 @code{\property} commands:
3359 \property Lyrics . LyricText \set #'font-shape = #'italic
3363 @cindex spaces, in lyrics
3364 @cindex quotes, in lyrics
3366 Any @code{_} character which appears in an unquoted word is converted
3367 to a space. This provides a mechanism for introducing spaces into words
3368 without using quotes. Quoted words can also be used in Lyrics mode to
3369 specify words that cannot be written with the above rules:
3372 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3376 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3381 These will be attached to the end of the first syllable.
3383 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3384 as a separate word between syllables. The hyphen will have variable
3385 length depending on the space between the syllables and it will be
3386 centered between the syllables.
3391 When a lyric is sung over many notes (this is called a melisma), this is
3392 indicated with a horizontal line centered between a syllable and the
3393 next one. Such a line is called an extender line, and it is entered as
3398 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3399 @internalsref{ExtenderEvent}.
3403 The definition of lyrics mode is too complex.
3405 @node The Lyrics context
3406 @subsection The Lyrics context
3408 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3410 \context Lyrics \lyrics @dots{}
3413 @cindex automatic syllable durations
3414 @cindex @code{\addlyrics}
3415 @cindex lyrics and melodies
3417 This will place the lyrics according to the durations that were
3418 entered. The lyrics can also be aligned under a given melody
3419 automatically. In this case, it is no longer necessary to enter the
3420 correct duration for each syllable. This is achieved by combining the
3421 melody and the lyrics with the @code{\addlyrics} expression:
3425 \context Lyrics @dots{}
3428 @cindex staff order, with @code{\addlyrics}
3430 Normally, this will put the lyrics below the staff. For different or
3431 more complex orderings, the best way is to setup the hierarchy of
3432 staves and lyrics first, e.g.
3434 \context ChoirStaff \notes <<
3435 \new Lyrics @{ s1 @}
3437 \new Lyrics @{ s1 @}
3441 and then combine the appropriate melodies and lyric lines:
3444 \new Staff @emph{the music}
3445 \new Lyrics @emph{the lyrics}
3448 putting both together, you would get
3450 \context ChoirStaff \notes <<
3458 @cindex choral score
3460 A complete example of a SATB score setup is in the file
3461 @inputfileref{input/template,satb.ly}.
3465 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3466 @inputfileref{input/template,satb.ly}.
3470 @code{\addlyrics} is not automatic enough: melismata are not detected
3471 automatically, and melismata are not stopped when they hit a rest. A
3472 melisma on the last note in a melody is not printed.
3476 @subsection More stanzas
3479 @cindex phrasing, in lyrics
3481 When multiple stanzas are printed underneath each other, the vertical
3482 groups of syllables should be aligned around punctuation. This can be
3483 done automatically when corresponding lyric lines and melodies are
3486 To this end, give the @internalsref{Voice} context an identity:
3488 \context Voice = duet @{
3493 Then set the @internalsref{LyricsVoice} contexts to names starting with
3494 that identity followed by a dash. In the preceding example, the
3495 @internalsref{Voice} identity is @code{duet}, so the identities of the
3496 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3498 \context LyricsVoice = "duet-1" @{
3499 Hi, my name is bert. @}
3500 \context LyricsVoice = "duet-2" @{
3501 Ooooo, ch\'e -- ri, je t'aime. @}
3503 The convention for naming @internalsref{LyricsVoice} and
3504 @internalsref{Voice} must also be used to get melismata correct in
3505 conjunction with rests.
3507 The complete example is shown here:
3508 @lilypond[singleline,verbatim]
3511 \notes \relative c'' \context Voice = duet { \time 3/4
3513 \lyrics \context Lyrics <<
3514 \context LyricsVoice = "duet-1" {
3515 \property LyricsVoice . stanza = "Bert"
3516 Hi, my name is bert. }
3517 \context LyricsVoice = "duet-2" {
3518 \property LyricsVoice . stanza = "Ernie"
3519 Ooooo, ch\'e -- ri, je t'aime. }
3524 Stanza numbers, or the names of the singers can be added by setting
3525 @code{LyricsVoice.Stanza} (for the first system) and
3526 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3527 surrounded with spaces in @code{\lyrics} mode:
3530 \property LyricsVoice . stanza = "Bert"
3532 \property LyricsVoice . stanza = "Ernie"
3535 To make empty spaces in lyrics, use @code{\skip}.
3543 Input for lyrics introduces a syntactical ambiguity:
3550 is interpreted as assigning a string identifier @code{\foo} such that
3551 it contains @code{"bar"}. However, it could also be interpreted as
3552 making or a music identifier @code{\foo} containing the syllable
3553 `bar'. The force the latter interpretation, use
3563 The term @emph{ambitus} denotes a range of pitches for a given voice in
3564 a part of music. It also may denote the pitch range that a musical
3565 instrument is capable of playing. Most musical instruments have their
3566 ambitus standardized (or at least there is agreement upon the minimal
3567 ambitus of a particular type of instrument), such that a composer or
3568 arranger of a piece of music can easily meet the ambitus constraints of
3569 the targeted instrument. However, the ambitus of the human voice
3570 depends on individual physiological state, including education and
3571 training of the voice. Therefore, a singer potentially has to check for
3572 each piece of music if the ambitus of that piece meets his individual
3573 capabilities. This is why the ambitus of a piece may be of particular
3574 value to vocal performers.
3576 The ambitus is typically notated on a per-voice basis at the very
3577 beginning of a piece, e.g. nearby the initial clef or time signature of
3578 each staff. The range is graphically specified by two noteheads, that
3579 represent the minimum and maximum pitch. Some publishers use a textual
3580 notation: they put the range in words in front of the corresponding
3581 staff. LilyPond only supports the graphical ambitus notation.
3583 To apply, add the @internalsref{Ambitus_engraver} to the
3584 @internalsref{Voice} context, i.e.
3590 \consists Ambitus_engraver
3597 @lilypond[singleline]
3598 upper = \notes \relative c {
3601 as'' c e2 bes f cis d4 e f2 g
3603 lower = \notes \relative c {
3606 e'4 b g a c es fis a cis b a g f e d2
3609 \context ChoirStaff {
3611 \new Staff { \upper }
3612 \new Staff { \lower }
3618 \consists Ambitus_engraver
3624 If you have multiple voices in a single staff, and you want a single
3625 ambitus per staff rather than per each voice, then add the
3626 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3627 rather than to the @internalsref{Voice} context.
3629 If you have a score with multiple staves and you want the ambitus to
3630 appear only in some of the staves, then you have to declare a new
3631 context type derived from the @internalsref{Voice} context or
3632 @internalsref{Staff} context. The derived context must consist of the
3633 @internalsref{Ambitus_engraver} and it must be accepted by a proper
3634 parent context, in the below example the @internalsref{Staff} context
3635 or @internalsref{Score} context, respectively. The original context
3636 and the derived context can then be used in parallel in the same
3639 @lilypond[singleline]
3640 voiceA = \notes \transpose c c'' {
3643 voiceB = \notes \transpose c c' {
3644 e4 f g2 g8 a g f e4 c
3647 \context ChoirStaff <<
3649 \new VoiceWithAmbitus { \stemUp \voiceA }
3650 \new VoiceWithAmbitus { \stemDown \voiceB }
3652 \new StaffWithAmbitus <<
3653 \new Voice { \stemUp \voiceA }
3654 \new Voice { \stemDown \voiceB }
3657 \new Voice { \stemUp \voiceA }
3658 \new Voice { \stemDown \voiceB }
3665 \name "VoiceWithAmbitus"
3667 \consists Ambitus_engraver
3671 \name "StaffWithAmbitus"
3673 \consists Ambitus_engraver
3677 \accepts "VoiceWithAmbitus"
3681 \accepts "StaffWithAmbitus"
3690 @internalsref{Ambitus}, and @inputfileref{input/regression,ambitus.ly}.
3694 There is no collision handling in the case of multiple per-voice
3695 ambitus. To avoid collision, multiple ambitus in a single staff
3696 should be printed horizontally one after the other rather than on top
3697 of each other in the same horizontal position.
3702 Tablature notation is used for notating music for plucked string
3703 instruments. It notates pitches not by using note heads, but by
3704 indicating on which string and fret a note must be played. LilyPond
3705 offers limited support for tablature.
3708 * Tablatures basic::
3709 * Non-guitar tablatures::
3712 @node Tablatures basic
3713 @subsection Tablatures basic
3714 @cindex Tablatures basic
3716 The string number associated to a note is given as a backslash
3717 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3718 string. By default, string 1 is the highest one, and the tuning
3719 defaults to the standard guitar tuning (with 6 strings). The notes
3720 are printed as tablature, by using @internalsref{TabStaff} and
3721 @internalsref{TabVoice} contexts:
3723 @lilypond[fragment,verbatim]
3724 \notes \context TabStaff {
3730 When no string is specified, the first string that does not give a
3731 fret number less than @code{minimumFret} is selected. The default
3732 value for @code{minimumFret} is 0:
3736 e8 fis gis a b cis' dis' e'
3737 \property TabStaff.minimumFret = #8
3738 e8 fis gis a b cis' dis' e'
3743 e8 fis gis a b cis' dis' e'
3744 \property TabStaff.minimumFret = #8
3745 e8 fis gis a b cis' dis' e'
3748 \context StaffGroup <<
3749 \context Staff { \clef "G_8" \frag }
3750 \context TabStaff { \frag }
3757 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3758 @internalsref{StringNumberEvent}.
3762 Chords are not handled in a special way, and hence the automatic
3763 string selector may easily select the same string to two notes in a
3767 @node Non-guitar tablatures
3768 @subsection Non-guitar tablatures
3769 @cindex Non-guitar tablatures
3771 You can change the number of strings, by setting the number of lines
3772 in the @internalsref{TabStaff} (the @code{line-count} property of
3773 @internalsref{TabStaff} can only be changed using
3774 @code{\outputproperty}, for more information, see @ref{Tuning
3777 You can change the tuning of the strings. A string tuning is given as
3778 a Scheme list with one integer number for each string, the number
3779 being the pitch (measured in semitones relative to central C) of an
3780 open string. The numbers specified for @code{stringTuning} are the
3781 numbers of semitones to subtract or add, starting the specified pitch
3782 by default middle C, in string order. Thus, the notes are e, a, d, and
3785 @lilypond[fragment,verbatim]
3786 \context TabStaff <<
3788 \outputproperty #(make-type-checker 'staff-symbol-interface)
3790 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3793 a,4 c' a e' e c' a e'
3798 It is possible to change the Scheme function to format the tablature
3799 note text. The default is @code{fret-number-tablature-format}, which
3800 uses the fret number. For instruments that do not use this notation,
3801 you can create a special tablature formatting function. This function
3802 takes three argument: string number, string tuning and note pitch.
3806 Most of the guitar special effects such as bend have not been
3812 @section Chord names
3815 LilyPond has support for both printing chord names. Chords may be
3816 entered in musical chord notation, i.e. @code{< .. >}, but they can
3817 also be entered by name. Internally, the chords are represented as a
3818 set of pitches, so they can be transposed:
3821 @lilypond[verbatim,singleline]
3822 twoWays = \notes \transpose c c' {
3832 << \context ChordNames \twoWays
3833 \context Voice \twoWays >> }
3836 This example also shows that the chord printing routines do not try to
3837 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3843 * Printing chord names::
3848 @subsection Chords mode
3851 Chord mode is a mode where you can input sets of pitches using common
3852 names. It is introduced by the keyword @code{\chords}.
3853 In chords mode, a chord is entered by the root, which is entered
3854 like a common pitch:
3855 @lilypond[fragment,verbatim,quote, relative=1]
3856 \chords { es4. d8 c2 }
3861 Other chords may be entered by suffixing a colon, and introducing a
3862 modifier, and optionally, a number:
3864 @lilypond[fragment,verbatim,quote]
3865 \chords { e1:m e1:7 e1:m7 }
3867 The first number following the root is taken to be the `type' of the
3868 chord, thirds are added to the root until it reaches the specified
3870 @lilypond[fragment,verbatim]
3871 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3874 @cindex root of chord
3875 @cindex additions, in chords
3876 @cindex removals, in chords
3878 More complex chords may also be constructed adding separate steps
3879 to a chord. Additions are added after the number following
3880 the colon, and are separated by dots:
3882 @lilypond[verbatim,fragment,quote]
3883 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3885 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3887 @lilypond[verbatim,fragment,quote]
3888 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3890 Removals are specified similarly, and are introduced by a caret. They
3891 must come after the additions:
3892 @lilypond[verbatim,fragment]
3893 \chords { c^3 c:7^5 c:9^3.5 }
3896 Modifiers can be used to change pitches. The following modifiers are
3900 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3902 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3905 is the augmented chord. This modifier raises the 5th step.
3907 is the major 7th chord. This modifier raises the 7th step if present.
3909 is the suspended 4th or 2nd. This modifier removes the 3rd
3910 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3913 Modifiers can be mixed with additions:
3914 @lilypond[verbatim,fragment]
3915 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3918 @cindex modifiers, in chords.
3925 Since an unaltered 11 does not sound good when combined with an
3926 unaltered 13, the 11 is removed in this case (, unless it is added
3928 @lilypond[fragment,verbatim]
3929 \chords { c:13 c:13.11 c:m13 }
3934 An inversion (putting one pitch of the chord on the bottom), as well
3935 as bass notes, can be specified by appending
3936 @code{/}@var{pitch} to the chord:
3937 @lilypond[fragment,verbatim,center]
3938 \chords { c1 c/g c/f }
3942 A bass note can be added instead of transposed out of the chord,
3943 by using @code{/+}@var{pitch}.
3945 @lilypond[fragment,verbatim,center]
3946 \chords { c1 c/+g c/+f }
3949 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3950 of the commands continue to work, for example, @code{r} and
3951 @code{\skip} can be used to insert rests and spaces, and
3952 @code{\property} may be used to change various settings.
3958 Each step can only be present in a chord once. The following
3959 simply produces the augmented chord, since @code{5+} is interpreted
3962 @lilypond[verbatim,fragment]
3963 \chords { c:5.5-.5+ }
3967 @node Printing chord names
3968 @subsection Printing chord names
3970 @cindex printing chord names
3974 For displaying printed chord names, use the @internalsref{ChordNames} context.
3975 The chords may be entered either using the notation
3976 described above, or directly using @code{<} and @code{>}:
3978 @lilypond[verbatim,singleline]
3980 \chords {a1 b c} <d' f' a'> <e' g' b'>
3984 \context ChordNames \scheme
3985 \context Staff \scheme
3990 You can make the chord changes stand out by setting
3991 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3992 display chord names when there is a change in the chords scheme and at
3993 the start of a new line:
3995 @lilypond[verbatim, linewidth=9cm]
3997 c1:m c:m \break c:m c:m d
4001 \context ChordNames {
4002 \property ChordNames.chordChanges = ##t
4004 \context Staff \transpose c c' \scheme
4009 The default chord name layout is a system for Jazz music, proposed by
4010 Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
4011 following properties:
4014 @cindex chordNameExceptions
4015 @item chordNameExceptions
4016 This is a list that contains the chords that have special formatting.
4018 @inputfileref{input/regression,chord-name-exceptions.ly}.
4019 @cindex exceptions, chord names.
4022 @cindex majorSevenSymbol
4023 @item majorSevenSymbol
4024 This property contains the markup object used for the 7th step, when
4025 it is major. Predefined options are @code{whiteTriangleMarkup} and
4026 @code{blackTriangleMarkup}. See
4027 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4029 @cindex chordNameSeparator
4030 @item chordNameSeparator
4031 Different parts of a chord name are normally separated by a
4032 slash. By setting @code{chordNameSeparator}, you can specify other
4034 @lilypond[fragment,verbatim]
4035 \context ChordNames \chords {
4037 \property ChordNames.chordNameSeparator
4038 = \markup { \typewriter "|" }
4042 @cindex chordRootNamer
4043 @item chordRootNamer
4044 The root of a chord is usually printed as a letter with an optional
4045 alteration. The transformation from pitch to letter is done by this
4046 function. Special note names (for example, the German ``H'' for a
4047 B-chord) can be produced by storing a new function in this property.
4049 @cindex chordNoteNamer
4050 @item chordNoteNamer
4051 The default is to print single pitch, e.g. the bass note, using the
4052 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4053 to a specialized function to change this behavior. For example, the
4054 base can be printed in lower case.
4059 There are also two other chord name schemes implemented: an alternate
4060 Jazz chord notation, and a systematic scheme called Banter chords. The
4061 alternate jazz notation is also shown on the chart in @ref{Chord name
4062 chart}. Turning on these styles is described in the input file
4063 @inputfileref{input/test/,chord-names-jazz.ly}.
4067 @cindex chords, jazz
4072 @cindex @code{\germanChords}
4073 @code{\germanChords},
4074 @cindex @code{\semiGermanChords}
4075 @code{\semiGermanChords}.
4082 @inputfileref{input/regression,chord-name-major7.ly},
4083 @inputfileref{input/regression,chord-name-exceptions.ly},
4084 @inputfileref{input/test,chord-names-jazz.ly},
4085 @inputfileref{input/test,chord-names-german.ly},
4086 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4091 Chord names are determined solely from the list of pitches. Chord
4092 inversions are not identified, and neither are added bass notes. This
4093 may result in strange chord names when chords are entered with the
4094 @code{< .. >} syntax.
4099 @node Orchestral music
4100 @section Orchestral music
4102 @cindex Writing parts
4104 Orchestral music involves some special notation, both in the full
4105 score and the individual parts. This section explains how to tackle
4106 some common problems in orchestral music.
4111 * Multiple staff contexts::
4114 * Instrument names::
4116 * Multi measure rests::
4117 * Automatic part combining::
4119 * Different editions from one source::
4120 * Sound output for transposing instruments::
4123 @node Multiple staff contexts
4124 @subsection Multiple staff contexts
4126 Polyphonic scores consist of many staves. These staves can be
4127 constructed in three different ways:
4129 @item The group is started with a brace at the left. This is done with the
4130 @internalsref{GrandStaff} context.
4131 @item The group is started with a bracket. This is done with the
4132 @internalsref{StaffGroup} context
4133 @item The group is started with a vertical line. This is the default
4137 @cindex Staff, multiple
4138 @cindex bracket, vertical
4139 @cindex brace, vertical
4146 @node Rehearsal marks
4147 @subsection Rehearsal marks
4148 @cindex Rehearsal marks
4150 @cindex @code{\mark}
4152 To print a rehearsal mark, use the @code{\mark} command:
4153 @lilypond[fragment,verbatim]
4163 The mark is incremented automatically if you use @code{\mark
4164 \default}. The value to use is stored in the property
4165 @code{rehearsalMark} is used and automatically incremented.
4167 The @code{\mark} command can also be used to put signs like coda,
4168 segno and fermatas on a barline. Use @code{\markup} to
4169 to access the appropriate symbol:
4171 @lilypond[fragment,verbatim,relative=1]
4172 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4176 In this case, during line breaks,
4177 marks must also be printed at the end of the line, and not at the
4178 beginning. Use the following to force that behavior:
4180 \property Score.RehearsalMark \override
4181 #'break-visibility = #begin-of-line-invisible
4184 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4190 @cindex barlines, putting symbols on
4194 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4195 @inputfileref{input/test,boxed-molecule.ly}.
4199 @subsection Bar numbers
4203 @cindex measure numbers
4204 @cindex currentBarNumber
4206 Bar numbers are printed by default at the start of the line. The
4207 number itself is stored in the
4208 @code{currentBarNumber} property,
4209 which is normally updated automatically for every measure.
4211 Bar numbers can be typeset at regular intervals instead of at the
4212 beginning of each line. This is illustrated in the following example,
4213 whose source is available as
4214 @inputfileref{input/test,bar-number-regular-interval.ly}:
4216 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4221 @internalsref{BarNumber},
4222 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4223 @inputfileref{input/test,bar-number-regular-interval.ly}.
4227 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4228 there is one at the top. To solve this, the
4229 @code{padding} property of @internalsref{BarNumber} can be
4230 used to position the number correctly.
4232 @node Instrument names
4233 @subsection Instrument names
4235 In an orchestral score, instrument names are printed left side of the
4238 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4239 and @internalsref{Staff}.@code{instr}. This will print a string before
4240 the start of the staff. For the first start, @code{instrument} is
4241 used, for the next ones @code{instr} is used:
4243 @lilypond[verbatim,singleline]
4244 \property Staff.instrument = "ploink " { c''4 }
4247 You can also use markup texts to construct more complicated instrument
4250 @lilypond[fragment,verbatim,singleline]
4252 \property Staff.instrument = \markup {
4253 \column < "Clarinetti"
4255 \smaller \musicglyph #"accidentals--1"
4266 @internalsref{InstrumentName}.
4270 When you put a name on a grand staff or piano staff the width of the
4271 brace is not taken into account. You must add extra spaces to the end of
4272 the name to avoid a collision.
4275 @subsection Transpose
4277 @cindex transposition of pitches
4278 @cindex @code{\transpose}
4280 A music expression can be transposed with @code{\transpose}. The syntax
4283 \transpose @var{from} @var{to} @var{musicexpr}
4286 This means that @var{musicexpr} is transposed by the interval
4287 between @var{from} and @var{to}.
4289 @code{\transpose} distinguishes between enharmonic pitches: both
4290 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4291 half a tone. The first version will print sharps and the second
4292 version will print flats:
4294 @lilypond[singleline, verbatim]
4295 mus =\notes { \key d \major cis d fis g }
4296 \score { \notes \context Staff {
4299 \transpose c g' \mus
4300 \transpose c f' \mus
4306 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4310 If you want to use both @code{\transpose} and @code{\relative}, then
4311 you must put @code{\transpose} outside of @code{\relative}, since
4312 @code{\relative} will have no effect music that appears inside a
4318 @node Multi measure rests
4319 @subsection Multi measure rests
4320 @cindex multi measure rests
4321 @cindex Rests, multi measure
4325 Multi measure rests are entered using `@code{R}'. It is specifically
4326 meant for full bar rests and for entering parts: the rest can expand to
4327 fill a score with rests, or it can be printed as a single multimeasure
4328 rest. This expansion is controlled by the property
4329 @code{Score.skipBars}. If this is set to true, Lily will not expand
4330 empty measures, and the appropriate number is added automatically:
4332 @lilypond[fragment,verbatim]
4333 \time 4/4 r1 | R1 | R1*2
4334 \property Score.skipBars = ##t R1*17 R1*4
4337 The @code{1} in @code{R1} is similar to the duration notation used for
4338 notes. Hence, for time signatures other than 4/4, you must enter other
4339 durations. This can be done with augmentation dots or fractions:
4341 @lilypond[fragment,verbatim]
4342 \property Score.skipBars = ##t
4350 An @code{R} spanning a single measure is printed as either a whole rest
4351 or a breve, centered in the measure regardless of the time signature.
4353 @cindex text on multi-measure rest
4354 @cindex script on multi-measure rest
4355 @cindex fermata on multi-measure rest
4357 Texts can be added to multi-measure rests by using the
4358 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4359 replaced. If you need both texts and the number, you must add the
4360 number by hand. A variable (@code{\fermataMarkup}) is provided for
4364 @lilypond[verbatim,fragment]
4366 R2._\markup { "Ad lib" }
4371 @cindex whole rests for a full measure
4375 @internalsref{MultiMeasureRestEvent},
4376 @internalsref{MultiMeasureTextEvent},
4377 @internalsref{MultiMeasureRestMusicGroup}, and
4378 @internalsref{MultiMeasureRest}.
4380 The layout object @internalsref{MultiMeasureRestNumber} is for the
4381 default number, and @internalsref{MultiMeasureRestText} for user
4386 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4387 over multi-measure rests.
4389 @cindex condensing rests
4391 There is no way to automatically condense multiple rests into a single
4392 multimeasure rest. Multi measure rests do not take part in rest
4395 Be careful when entering multimeasure rests followed by whole notes,
4399 will enter two notes lasting four measures each. When @code{skipBars}
4400 is set, then the result will look OK, but the bar numbering will be
4403 @node Automatic part combining
4404 @subsection Automatic part combining
4405 @cindex automatic part combining
4406 @cindex part combiner
4409 Automatic part combining is used to merge two parts of music onto a
4410 staff. It is aimed at typesetting orchestral scores. When the two
4411 parts are identical for a period of time, only one is shown. In
4412 places where the two parts differ, they are typeset as separate
4413 voices, and stem directions are set automatically. Also, solo and
4414 @emph{a due} parts are identified and can be marked.
4418 The syntax for part combining is
4421 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4423 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4424 combined into one context of type @var{context}. The music expressions
4425 must be interpreted by contexts whose names should start with @code{one}
4428 The following example demonstrates the basic functionality of the part
4429 combiner: putting parts on one staff, and setting stem directions and
4432 @lilypond[verbatim,singleline,fragment]
4434 \context Voice=one \partcombine Voice
4435 \context Thread=one \relative c'' {
4438 \context Thread=two \relative c'' {
4444 The first @code{g} appears only once, although it was
4445 specified twice (once in each part). Stem, slur and tie directions are
4446 set automatically, depending whether there is a solo or unisono. The
4447 first part (with context called @code{one}) always gets up stems, and
4448 `solo', while the second (called @code{two}) always gets down stems and
4451 If you just want the merging parts, and not the textual markings, you
4452 may set the property @var{soloADue} to false:
4454 @lilypond[verbatim,singleline,fragment]
4456 \property Staff.soloADue = ##f
4457 \context Voice=one \partcombine Voice
4458 \context Thread=one \relative c'' {
4461 \context Thread=two \relative c'' {
4469 @internalsref{PartCombineMusic},
4470 @internalsref{Thread_devnull_engraver}, and
4471 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4475 The syntax for naming contexts in inconsistent with the syntax for
4478 In @code{soloADue} mode, when the two voices play the same notes on and
4479 off, the part combiner may typeset @code{a2} more than once in a
4482 @lilypond[fragment,singleline]
4484 \context Voice=one \partcombine Voice
4485 \context Thread=one \relative c'' {
4488 \context Thread=two \relative c'' {
4494 The part combiner is rather buggy, and it will be replaced by a better
4495 mechanism in the near future.
4497 @cindex @code{Thread_devnull_engraver}
4498 @cindex @code{Voice_engraver}
4499 @cindex @code{A2_engraver}
4502 @subsection Hiding staves
4504 @cindex Frenched scores
4505 @cindex Hiding staves
4507 In orchestral scores, staff lines that only have rests are usually
4508 removed. This saves some space. This style is called `French Score'.
4509 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4510 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4511 switched on by default. When these line of these contexts turn out
4512 empty after the line-breaking process, they are removed.
4514 For normal staves, a specialized @internalsref{Staff} context is
4515 available, which does the same: staves containing nothing (or only
4516 multi measure rests) are removed. The context definition is stored in
4517 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4518 in this example disappears in the second line:
4523 \notes \relative c' <<
4524 \new Staff { e4 f g a \break c1 }
4525 \new Staff { c4 d e f \break R1 }
4529 \translator { \RemoveEmptyStaffContext }
4534 In orchestral scores, the first page usually shows all staffs in
4535 full. To prevent empty staffs from being discarded from the first
4536 page, set @code{remove-first} to false in
4537 @internalsref{RemoveEmptyVerticalGroup}.
4539 @node Different editions from one source
4540 @subsection Different editions from one source
4542 The @code{\tag} command marks music expressions with a name. These
4543 tagged expressions can be filtered out later. With this mechanism it
4544 is possible to make different versions of the same music source.
4546 In the following example, we see two versions of a piece of music, one
4547 for the full score, and one with cue notes for the instrumental part:
4555 \property Voice.fontSize = #-1
4563 The same can be applied to articulations, texts, etc.: they are
4566 -\tag #@var{your-tag}
4568 to an articulation, for example,
4573 This defines a note with a conditional fingering indication.
4575 By applying the @code{remove-tag} function, tagged expressions can be
4576 filtered. For example,
4580 \apply #(remove-tag 'score) @var{the music}
4581 \apply #(remove-tag 'part) @var{the music}
4586 @lilypondfile[notexidoc]{tag-filter.ly}
4588 The argument of the @code{\tag} command should be a symbol, or a list
4589 of symbols, for example,
4591 \tag #'(original-part transposed-part) @dots{}
4596 @inputfileref{input/regression,tag-filter.ly}
4599 @node Sound output for transposing instruments
4600 @subsection Sound output for transposing instruments
4602 When you want to make a MIDI file from a score containing transposed
4603 and untransposed instruments, you have to instruct LilyPond the pitch
4604 offset (in semitones) for the transposed instruments. This is done
4605 using the @code{transposing} property. It does not affect printed
4608 @cindex @code{transposing}
4611 \property Staff.instrument = #"Cl. in B-flat"
4612 \property Staff.transposing = #-2
4616 @node Ancient notation
4617 @section Ancient notation
4619 @cindex Vaticana, Editio
4620 @cindex Medicaea, Editio
4625 @c [TODO: write more comprehensive introduction on ancient notation]
4627 Support for ancient notation is still under heavy development.
4628 Regardless of all of the current limitations (see the bugs section
4629 below for details), it includes features for mensural
4630 notation and Gregorian Chant notation. There is also limited support
4631 for figured bass notation.
4633 Many graphical objects provide a @code{style} property, see
4634 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4635 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4636 signatures}. By manipulating such a grob property, the typographical
4637 appearance of the affected graphical objects can be accomodated for a
4638 specific notation flavour without need for introducing any new
4642 Other aspects of ancient notation can not that easily be expressed as
4643 in terms of just changing a style property of a graphical object.
4644 Therefore, some notational concepts are introduced specifically for
4645 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4646 @ref{Ligatures}, and @ref{Figured bass}.
4650 * Ancient note heads::
4651 * Ancient accidentals::
4655 * Ancient time signatures::
4660 * Vaticana style contexts::
4663 If this all is way too much of documentation for you, and you just
4664 want to dive into typesetting without worrying too much about the
4665 details on how to customize a context, then you may have a look at the
4666 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4667 set up predefined style-specific voice and staff contexts, and
4668 directly go ahead with the note entry.
4672 Ligatures need special spacing that has not yet been implemented. As
4673 a result, there is too much space between ligatures most of the time,
4674 and line breaking often is unsatisfactory. Also, lyrics do not
4675 correctly align with ligatures.
4677 Accidentals must not be printed within a ligature, but instead need to
4678 be collected and printed in front of it.
4680 Augmentum dots within ligatures are not handled correctly.
4683 @node Ancient note heads
4684 @subsection Ancient note heads
4690 For ancient notation, a note head style other than the @code{default}
4691 style may be chosen. This is accomplished by setting the @code{style}
4692 property of the NoteHead object to the desired value (@code{baroque},
4693 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4694 differs from the @code{default} style only in using a square shape for
4695 @code{\breve} note heads. The @code{neo_mensural} style differs from
4696 the @code{baroque} style in that it uses rhomboidal heads for whole
4697 notes and all smaller durations. Stems are centered on the note
4698 heads. This style is in particular useful when transcribing mensural
4699 music, e.g. for the incipit. The @code{mensural} style finally
4700 produces note heads that mimick the look of note heads in historic
4701 printings of the 16th century.
4703 The following example demonstrates the @code{neo_mensural} style:
4705 @lilypond[fragment,singleline,verbatim]
4706 \property Voice.NoteHead \set #'style = #'neo_mensural
4707 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4710 When typesetting a piece in Gregorian Chant notation, a Gregorian
4711 ligature engraver will automatically select the proper note heads,
4712 such there is no need to explicitly set the note head style. Still,
4713 the note head style can be set e.g. to @code{vaticana_punctum} to
4714 produce punctum neumes. Similarly, a mensural ligature engraver is
4715 used to automatically assemble mensural ligatures. See
4716 @ref{Ligatures} for how ligature engravers work.
4720 @inputfileref{input/regression,note-head-style.ly} gives an overview
4721 over all available note head styles.
4723 @ref{Percussion staves} use note head styles of their own that are
4724 frequently used in contemporary music notation.
4726 @node Ancient accidentals
4727 @subsection Ancient accidentals
4733 Use the @code{style} property of grob @internalsref{Accidental} to
4734 select ancient accidentals. Supported styles are
4735 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4737 @lilypond[singleline,26pt]
4745 { " " \musicglyph #"accidentals-vaticana-1"
4746 " " \musicglyph #"accidentals-vaticana0" }
4750 { " " \musicglyph #"accidentals-medicaea-1" }
4754 { " " \musicglyph #"accidentals-hufnagel-1" }
4758 { " " \musicglyph #"accidentals-mensural-1"
4759 " " \musicglyph #"accidentals-mensural1" }
4768 \remove "Bar_number_engraver"
4772 \remove "Clef_engraver"
4773 \remove "Key_engraver"
4774 \remove "Time_signature_engraver"
4775 \remove "Staff_symbol_engraver"
4776 minimumVerticalExtent = ##f
4782 As shown, not all accidentals are supported by each style. When
4783 trying to access an unsupported accidental, LilyPond will switch to a
4784 different style, as demonstrated in
4785 @inputfileref{input/test,ancient-accidentals.ly}.
4787 Similarly to local accidentals, the style of the key signature can be
4788 controlled by the @code{style} property of the
4789 @internalsref{KeySignature} grob.
4793 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4794 a general introduction into the use of accidentals. @ref{Key
4795 signature} gives a general introduction into the use of key
4800 @subsection Ancient rests
4806 Use the @code{style} property of grob @internalsref{Rest} to select
4807 ancient accidentals. Supported styles are @code{classical},
4808 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4809 from the @code{default} style only in that the quarter rest looks like
4810 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4811 well for e.g. the incipit of a transcribed mensural piece of music.
4812 The @code{mensural} style finally mimicks the appearance of rests as
4813 in historic prints of the 16th century.
4815 The following example demonstrates the @code{neo_mensural} style:
4817 @lilypond[fragment,singleline,verbatim]
4818 \property Voice.Rest \set #'style = #'neo_mensural
4819 r\longa r\breve r1 r2 r4 r8 r16
4822 There are no 32th and 64th rests specifically for the mensural or
4823 neo-mensural style. Instead, the rests from the default style will be
4824 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4827 There are no rests in Gregorian Chant notation; instead, it uses
4832 @ref{Rests} gives a general introduction into the use of rests.
4836 @subsection Ancient clefs
4842 LilyPond supports a variety of clefs, many of them ancient.
4844 The following table shows all ancient clefs that are supported via the
4845 @code{\clef} command. Some of the clefs use the same glyph, but
4846 differ only with respect to the line they are printed on. In such
4847 cases, a trailing number in the name is used to enumerate these clefs.
4848 Still, you can manually force a clef glyph to be typeset on an
4849 arbitrary line, as described in @ref{Clef}. The note printed to the
4850 right side of each clef in the example column denotes the @code{c'}
4851 with respect to that clef.
4853 @multitable @columnfractions .3 .3 .3 .1
4857 @b{Description} @tab
4858 @b{Supported Clefs} @tab
4862 @code{clefs-neo_mensural_c} @tab
4863 modern style mensural C clef @tab
4864 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4865 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4866 @lilypond[relative 0, notime]
4867 \property Staff.TimeSignature \set #'transparent = ##t
4868 \clef "neo_mensural_c2" c
4872 @code{clefs-petrucci_c1}
4873 @code{clefs-petrucci_c2}
4874 @code{clefs-petrucci_c3}
4875 @code{clefs-petrucci_c4}
4876 @code{clefs-petrucci_c5}
4879 petrucci style mensural C clefs, for use on different stafflines
4880 (the examples shows the 2nd staffline C clef).
4890 @lilypond[relative 0, notime]
4891 \property Staff.TimeSignature \set #'transparent = ##t
4892 \clef "petrucci_c2" c
4896 @code{clefs-petrucci_f} @tab
4897 petrucci style mensural F clef @tab
4898 @code{petrucci_f} @tab
4899 @lilypond[relative 0, notime]
4900 \property Staff.TimeSignature \set #'transparent = ##t
4901 \clef "petrucci_f" c
4905 @code{clefs-petrucci_g} @tab
4906 petrucci style mensural G clef @tab
4907 @code{petrucci_g} @tab
4908 @lilypond[relative 0, notime]
4909 \property Staff.TimeSignature \set #'transparent = ##t
4910 \clef "petrucci_g" c
4914 @code{clefs-mensural_c} @tab
4915 historic style mensural C clef @tab
4916 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4917 @code{mensural_c4} @tab
4918 @lilypond[relative 0, notime]
4919 \property Staff.TimeSignature \set #'transparent = ##t
4920 \clef "mensural_c2" c
4924 @code{clefs-mensural_f} @tab
4925 historic style mensural F clef @tab
4926 @code{mensural_f} @tab
4927 @lilypond[relative 0, notime]
4928 \property Staff.TimeSignature \set #'transparent = ##t
4929 \clef "mensural_f" c
4933 @code{clefs-mensural_g} @tab
4934 historic style mensural G clef @tab
4935 @code{mensural_g} @tab
4936 @lilypond[relative 0, notime]
4937 \property Staff.TimeSignature \set #'transparent = ##t
4938 \clef "mensural_g" c
4942 @code{clefs-vaticana_do} @tab
4943 Editio Vaticana style do clef @tab
4944 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4945 @lilypond[relative 0, notime]
4947 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4948 \property Staff.TimeSignature \set #'transparent = ##t
4949 \clef "vaticana_do2" c
4953 @code{clefs-vaticana_fa} @tab
4954 Editio Vaticana style fa clef @tab
4955 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4956 @lilypond[relative 0, notime]
4958 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4959 \property Staff.TimeSignature \set #'transparent = ##t
4960 \clef "vaticana_fa2" c
4964 @code{clefs-medicaea_do} @tab
4965 Editio Medicaea style do clef @tab
4966 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4967 @lilypond[relative 0, notime]
4969 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4970 \property Staff.TimeSignature \set #'transparent = ##t
4971 \clef "medicaea_do2" c
4975 @code{clefs-medicaea_fa} @tab
4976 Editio Medicaea style fa clef @tab
4977 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4978 @lilypond[relative 0, notime]
4980 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4981 \property Staff.TimeSignature \set #'transparent = ##t
4982 \clef "medicaea_fa2" c
4986 @code{clefs-hufnagel_do} @tab
4987 historic style hufnagel do clef @tab
4988 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4989 @lilypond[relative 0, notime]
4991 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4992 \property Staff.TimeSignature \set #'transparent = ##t
4993 \clef "hufnagel_do2" c
4997 @code{clefs-hufnagel_fa} @tab
4998 historic style hufnagel fa clef @tab
4999 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5000 @lilypond[relative 0, notime]
5002 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
5003 \property Staff.TimeSignature \set #'transparent = ##t
5004 \clef "hufnagel_fa2" c
5008 @code{clefs-hufnagel_do_fa} @tab
5009 historic style hufnagel combined do/fa clef @tab
5010 @code{hufnagel_do_fa} @tab
5011 @lilypond[relative 0, notime]
5012 \property Staff.TimeSignature \set #'transparent = ##t
5013 \clef "hufnagel_do_fa" c
5018 @c --- This should go somewhere else: ---
5019 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5022 @c @code{percussion}
5024 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5026 @c @item modern style tab clef (glyph: @code{clefs-tab})
5031 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5033 @emph{Modern style} means ``as is typeset in contemporary editions of
5034 transcribed mensural music''.
5036 @emph{Petrucci style} means ``inspired by printings published by the
5037 famous engraver Petrucci (1466-1539)''.
5039 @emph{Historic style} means ``as was typeset or written in historic
5040 editions (other than those of Petrucci)''.
5042 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5044 Petrucci used C clefs with differently balanced left-side vertical
5045 beams, depending on which staffline it is printed.
5049 For modern clefs, see @ref{Clef}. For the percussion clef, see
5050 @ref{Percussion staves}. For the @code{TAB} clef, see
5055 @subsection Ancient flags
5061 Use the @code{flag-style} property of grob @internalsref{Stem} to
5062 select ancient flags. Besides the @code{default} flag style,
5063 only @code{mensural} style is supported:
5065 @lilypond[fragment,singleline,verbatim]
5066 \property Voice.Stem \set #'flag-style = #'mensural
5067 \property Voice.Stem \set #'thickness = #1.0
5068 \property Voice.NoteHead \set #'style = #'mensural
5070 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
5071 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5074 Note that the innermost flare of each mensural flag always is
5075 vertically aligned with a staff line. If you do not like this
5076 behaviour, you can set the @code{adjust-if-on-staffline} property of
5077 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5078 of the end of each flare is different between notes on staff lines and
5079 notes between staff lines:
5081 @lilypond[fragment,singleline]
5082 \property Voice.Stem \set #'flag-style = #'mensural
5083 \property Voice.Stem \set #'thickness = #1.0
5084 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5085 \property Voice.NoteHead \set #'style = #'mensural
5087 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
5088 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5091 There is no particular flag style for neo-mensural notation. Hence,
5092 when typesetting e.g. the incipit of a transcibed piece of mensural
5093 music, the default flag style should be used. There are no flags in
5094 Gregorian Chant notation.
5097 @node Ancient time signatures
5098 @subsection Ancient time signatures
5100 @cindex time signatures
5104 There is limited support for mensural time signatures. The
5105 glyphs are hard-wired to particular time fractions. In other words,
5106 to get a particular mensural signature glyph with the @code{\time n/m}
5107 command, @code{n} and @code{m} have to be chosen according to the
5113 \property Score.timing = ##f
5114 \property Score.barAlways = ##t
5115 s_\markup { "$\\backslash$time 4/4" }
5116 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
5118 s_\markup { "$\\backslash$time 2/2" }
5119 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
5121 s_\markup { "$\\backslash$time 6/4" }
5122 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
5124 s_\markup { "$\\backslash$time 6/8" }
5125 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
5127 s_\markup { "$\\backslash$time 3/2" }
5128 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
5130 s_\markup { "$\\backslash$time 3/4" }
5131 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
5133 s_\markup { "$\\backslash$time 9/4" }
5134 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
5136 s_\markup { "$\\backslash$time 9/8" }
5137 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
5139 s_\markup { "$\\backslash$time 4/8" }
5140 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
5142 s_\markup { "$\\backslash$time 2/4" }
5143 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
5151 \remove Staff_symbol_engraver
5152 \remove Clef_engraver
5153 \remove Time_signature_engraver
5159 Use the @code{style} property of grob @internalsref{TimeSignature} to
5160 select ancient time signatures. Supported styles are
5161 @code{neo_mensural} and @code{mensural}. The above table uses the
5162 @code{neo_mensural} style. This style is appropriate e.g. for the
5163 incipit of transcriptions of mensural pieces. The @code{mensural}
5164 style mimicks the look of historical printings of the 16th century.
5166 @inputfileref{input/test,time.ly} gives an overview over all available
5167 ancient and modern styles.
5171 @ref{Time signature} gives a general introduction into the use of time
5176 Mensural signature glyphs are mapped to time fractions in a
5177 hard-wired way. This mapping is sensible, but still arbitrary: given
5178 a mensural time signature, the time fraction represents a modern meter
5179 that usually will be a good choice when transcribing a mensural piece
5180 of music. For a particular piece of mensural music, however, the
5181 mapping may be unsatisfactory. In particular, the mapping assumes a
5182 fixed transcription of durations (e.g. brevis = half note in 2/2,
5183 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5184 are not at all accessible through the @code{\time} command.
5186 Mensural time signatures are supported typographically, but not yet
5187 musically. The internal representation of durations is
5188 based on a purely binary system; a ternary division such as 1 brevis =
5189 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5190 prolatione maiori) is not correctly handled: event times in ternary
5191 modes will be badly computed, resulting e.g. in horizontally
5192 misaligned note heads, and bar checks are likely to erroneously fail.
5194 The syntax and semantics of the @code{\time} command for mensural
5195 music is subject to change.
5198 @subsection Custodes
5203 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5204 symbol that appears at the end of a staff. It anticipates the pitch
5205 of the first note(s) of the following line and thus helps the player
5206 or singer to manage line breaks during performance, thus enhancing
5207 readability of a score.
5209 Custodes were frequently used in music notation until the 17th
5210 century. Nowadays, they have survived only in a few particular forms
5211 of musical notation such as contemporary editions of Gregorian chant
5212 like the @emph{editio vaticana}. There are different custos glyphs
5213 used in different flavours of notational style.
5217 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5218 @internalsref{Staff} context when declaring the @code{\paper} block,
5219 as shown in the following example:
5225 \consists Custos_engraver
5226 Custos \override #'style = #'mensural
5231 The result looks like this:
5237 \property Staff.Custos \set #'style = #'mensural
5244 \consists Custos_engraver
5251 The custos glyph is selected by the @code{style} property. The styles
5252 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5253 @code{mensural}. They are demonstrated in the following fragment:
5263 { " " \musicglyph #"custodes-vaticana-u0" }
5267 { " " \musicglyph #"custodes-medicaea-u0" }
5271 { " " \musicglyph #"custodes-hufnagel-u0" }
5275 { " " \musicglyph #"custodes-mensural-u0" }
5284 \remove "Bar_number_engraver"
5288 \remove "Clef_engraver"
5289 \remove "Key_engraver"
5290 \remove "Time_signature_engraver"
5291 \remove "Staff_symbol_engraver"
5292 minimumVerticalExtent = ##f
5298 If the boolean property @code{adjust-if-on-staffline} is set to
5299 @code{#t} (which it is by default), lily typesets slightly different
5300 variants of the custos glyph, depending on whether the custos, is
5301 typeset on or between stafflines. The glyph will
5302 optically fit well into the staff, with the appendage on the right of
5303 the custos always ending at the same vertical position between two
5304 stafflines regardless of the pitch. If you set
5305 @code{adjust-if-on-staffline} to @code{#f}, then
5306 a compromise between both forms is used.
5308 Just like stems can be attached to noteheads in two directions
5309 @emph{up} and @emph{down}, each custos glyph is available with its
5310 appendage pointing either up or down. If the pitch of a custos is
5311 above a selectable position, the appendage will point downwards; if
5312 the pitch is below this position, the appendage will point upwards.
5313 Use property @code{neutral-position} to select this position. By
5314 default, it is set to @code{0}, such that the neutral position is the
5315 center of the staff. Use property @code{neutral-direction} to control
5316 what happens if a custos is typeset on the neutral position itself.
5317 By default, this property is set to @code{-1}, such that the appendage
5318 will point downwards. If set to @code{1}, the appendage will point
5319 upwards. Other values such as @code{0} are reserved for future
5320 extensions and should not be used.
5324 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5328 @subsection Divisiones
5334 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5335 `division') is a staff context symbol that is used to structure
5336 Gregorian music into phrases and sections. The musical meaning of
5337 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5338 can be characterized as short, medium and long pause, somewhat like
5339 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5340 a chant, but is also frequently used within a single
5341 antiphonal/responsorial chant to mark the end of each section.
5345 To use divisiones, include the file @code{gregorian-init.ly}. It
5346 contains definitions that you can apply by just inserting
5347 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5348 and @code{\finalis} at proper places in the input. Some editions use
5349 @emph{virgula} or @emph{caesura} instead of divisio minima.
5350 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5353 @lilypondfile[notexidoc]{divisiones.ly}
5357 @cindex @code{\virgula}
5359 @cindex @code{\caesura}
5361 @cindex @code{\divisioMinima}
5362 @code{\divisioMinima},
5363 @cindex @code{\divisioMaior}
5364 @code{\divisioMaior},
5365 @cindex @code{\divisioMaxima}
5366 @code{\divisioMaxima},
5367 @cindex @code{\finalis}
5372 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5373 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5376 @subsection Ligatures
5380 @c TODO: Should double check if I recalled things correctly when I wrote
5381 @c down the following paragraph by heart.
5383 In musical terminology, a ligature is a coherent graphical symbol that
5384 represents at least two distinct notes. Ligatures originally appeared
5385 in the manuscripts of Gregorian chant notation roughly since the 9th
5386 century as an allusion to the accent symbols of greek lyric poetry to
5387 denote ascending or descending sequences of notes. Both, the shape
5388 and the exact meaning of ligatures changed tremendously during the
5389 following centuries: In early notation, ligatures were used for
5390 monophonic tunes (Gregorian chant) and very soon denoted also the way
5391 of performance in the sense of articulation. With upcoming
5392 multiphony, the need for a metric system arised, since multiple voices
5393 of a piece have to be synchronized some way. New notation systems
5394 were invented that used the manifold shapes of ligatures to now denote
5395 rhythmical patterns (e.g. black mensural notation, mannered notation,
5396 ars nova). With the invention of the metric system of the white
5397 mensural notation, the need for ligatures to denote such patterns
5398 disappeared. Nevertheless, ligatures were still in use in the
5399 mensural system for a couple of decades until they finally disappeared
5400 during the late 16th / early 17th century. Still, ligatures have
5401 survived in contemporary editions of Gregorian chant such as the
5402 Editio Vaticana from 1905/08.
5406 Syntactically, ligatures are simply enclosed by @code{\[} and
5407 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5408 additional input syntax specific for this particular type of ligature.
5409 By default, the @internalsref{LigatureBracket} engraver just puts a
5410 square bracket above the ligature:
5412 @lilypond[singleline,verbatim]
5414 \notes \transpose c c' {
5422 To select a specific style of ligatures, a proper ligature engraver
5423 has to be added to the @internalsref{Voice} context, as explained in
5424 the following subsections. Only white mensural ligatures
5425 are supported with certain limitations. Support for Editio Vaticana
5426 will be added in the future.
5429 * White mensural ligatures::
5430 * Gregorian square neumes ligatures::
5433 @node White mensural ligatures
5434 @subsubsection White mensural ligatures
5436 @cindex Mensural ligatures
5437 @cindex White mensural ligatures
5439 There is limited support for white mensural ligatures. The
5440 implementation is still experimental; it may output strange
5441 warnings or even crash in some cases or produce weird results on more
5446 To engrave white mensural ligatures, in the paper block the
5447 @internalsref{Mensural_ligature_engraver} has to be put into the
5448 @internalsref{Voice} context, and remove the
5449 @internalsref{Ligature_bracket_engraver}:
5455 \remove Ligature_bracket_engraver
5456 \consists Mensural_ligature_engraver
5461 There is no additional input language to describe the shape of a
5462 white mensural ligature. The shape is rather determined solely from
5463 the pitch and duration of the enclosed notes. While this approach may
5464 take a new user a while to get accustomed, it has the great advantage
5465 that the full musical information of the ligature is known internally.
5466 This is not only required for correct MIDI output, but also allows for
5467 automatic transcription of the ligatures.
5472 \property Score.timing = ##f
5473 \property Score.defaultBarType = "empty"
5474 \property Voice.NoteHead \set #'style = #'neo_mensural
5475 \property Staff.TimeSignature \set #'style = #'neo_mensural
5477 \[ g\longa c\breve a\breve f\breve d'\longa \]
5479 \[ e1 f1 a\breve g\longa \]
5481 @lilypond[singleline]
5483 \notes \transpose c c' {
5484 \property Score.timing = ##f
5485 \property Score.defaultBarType = "empty"
5486 \property Voice.NoteHead \set #'style = #'neo_mensural
5487 \property Staff.TimeSignature \set #'style = #'neo_mensural
5489 \[ g\longa c\breve a\breve f\breve d'\longa \]
5491 \[ e1 f1 a\breve g\longa \]
5496 \remove Ligature_bracket_engraver
5497 \consists Mensural_ligature_engraver
5503 Without replacing @internalsref{Ligature_bracket_engraver} with
5504 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5507 @lilypond[singleline]
5509 \notes \transpose c c' {
5510 \property Score.timing = ##f
5511 \property Score.defaultBarType = "empty"
5512 \property Voice.NoteHead \set #'style = #'neo_mensural
5513 \property Staff.TimeSignature \set #'style = #'neo_mensural
5515 \[ g\longa c\breve a\breve f\breve d'\longa \]
5517 \[ e1 f1 a\breve g\longa \]
5523 @node Gregorian square neumes ligatures
5524 @subsubsection Gregorian square neumes ligatures
5526 @cindex Square neumes ligatures
5527 @cindex Gregorian square neumes ligatures
5529 Gregorian square neumes notation (following the style of the Editio
5530 Vaticana) is under heavy development, but not yet really usable for
5531 production purposes. Core ligatures can already be typeset, but
5532 essential issues for serious typesetting are still under development,
5533 such as (among others) horizontal alignment of multiple ligatures,
5534 lyrics alignment and proper accidentals handling. Still, this section
5535 gives a sneak preview of what Gregorian chant may look like once it
5538 The following table contains the extended neumes table of the 2nd
5539 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5540 1983 by the monks of Solesmes.
5542 @multitable @columnfractions .4 .2 .2 .2
5545 @b{Neuma aut@*Neumarum Elementa} @tab
5546 @b{Figurae@*Rectae} @tab
5547 @b{Figurae@*Liquescentes Auctae} @tab
5548 @b{Figurae@*Liquescentes Deminutae}
5550 @c TODO: \paper block is identical in all of the below examples.
5551 @c Therefore, it should somehow be included rather than duplicated all
5554 @c why not make identifiers in ly/engraver-init.ly? --hwn
5556 @c Because it's just used to typeset plain notes without
5557 @c a staff for demonstration purposes rather than something
5558 @c special of Gregorian chant notation. --jr
5563 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5564 \include "gregorian-init.ly"
5566 \notes \transpose c c' {
5569 \noBreak s^\markup {"a"} \noBreak
5571 % Punctum Inclinatum
5573 \noBreak s^\markup {"b"}
5579 \remove "Bar_number_engraver"
5583 \remove "Clef_engraver"
5584 \remove "Key_engraver"
5585 StaffSymbol \set #'transparent = ##t
5586 \remove "Time_signature_engraver"
5587 \remove "Bar_engraver"
5588 minimumVerticalExtent = ##f
5592 \remove Ligature_bracket_engraver
5593 \consists Vaticana_ligature_engraver
5594 NoteHead \set #'style = #'vaticana_punctum
5595 Stem \set #'transparent = ##t
5601 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5602 \include "gregorian-init.ly"
5604 \notes \transpose c c' {
5605 % Punctum Auctum Ascendens
5606 \[ \auctum \ascendens b \]
5607 \noBreak s^\markup {"c"} \noBreak
5609 % Punctum Auctum Descendens
5610 \[ \auctum \descendens b \]
5611 \noBreak s^\markup {"d"} \noBreak
5613 % Punctum Inclinatum Auctum
5614 \[ \inclinatum \auctum b \]
5615 \noBreak s^\markup {"e"}
5621 \remove "Bar_number_engraver"
5625 \remove "Clef_engraver"
5626 \remove "Key_engraver"
5627 StaffSymbol \set #'transparent = ##t
5628 \remove "Time_signature_engraver"
5629 \remove "Bar_engraver"
5630 minimumVerticalExtent = ##f
5634 \remove Ligature_bracket_engraver
5635 \consists Vaticana_ligature_engraver
5636 NoteHead \set #'style = #'vaticana_punctum
5637 Stem \set #'transparent = ##t
5643 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5644 \include "gregorian-init.ly"
5646 \notes \transpose c c' {
5647 % Punctum Inclinatum Parvum
5648 \[ \inclinatum \deminutum b \]
5649 \noBreak s^\markup {"f"}
5655 \remove "Bar_number_engraver"
5659 \remove "Clef_engraver"
5660 \remove "Key_engraver"
5661 StaffSymbol \set #'transparent = ##t
5662 \remove "Time_signature_engraver"
5663 \remove "Bar_engraver"
5664 minimumVerticalExtent = ##f
5668 \remove Ligature_bracket_engraver
5669 \consists Vaticana_ligature_engraver
5670 NoteHead \set #'style = #'vaticana_punctum
5671 Stem \set #'transparent = ##t
5680 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5681 \include "gregorian-init.ly"
5683 \notes \transpose c c' {
5686 \noBreak s^\markup {"g"}
5692 \remove "Bar_number_engraver"
5696 \remove "Clef_engraver"
5697 \remove "Key_engraver"
5698 StaffSymbol \set #'transparent = ##t
5699 \remove "Time_signature_engraver"
5700 \remove "Bar_engraver"
5701 minimumVerticalExtent = ##f
5705 \remove Ligature_bracket_engraver
5706 \consists Vaticana_ligature_engraver
5707 NoteHead \set #'style = #'vaticana_punctum
5708 Stem \set #'transparent = ##t
5717 @code{3. Apostropha vel Stropha}
5719 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5720 \include "gregorian-init.ly"
5722 \notes \transpose c c' {
5725 \noBreak s^\markup {"h"}
5731 \remove "Bar_number_engraver"
5735 \remove "Clef_engraver"
5736 \remove "Key_engraver"
5737 StaffSymbol \set #'transparent = ##t
5738 \remove "Time_signature_engraver"
5739 \remove "Bar_engraver"
5740 minimumVerticalExtent = ##f
5744 \remove Ligature_bracket_engraver
5745 \consists Vaticana_ligature_engraver
5746 NoteHead \set #'style = #'vaticana_punctum
5747 Stem \set #'transparent = ##t
5753 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5754 \include "gregorian-init.ly"
5756 \notes \transpose c c' {
5758 \[ \stropha \auctum b \]
5759 \noBreak s^\markup {"i"}
5765 \remove "Bar_number_engraver"
5769 \remove "Clef_engraver"
5770 \remove "Key_engraver"
5771 StaffSymbol \set #'transparent = ##t
5772 \remove "Time_signature_engraver"
5773 \remove "Bar_engraver"
5774 minimumVerticalExtent = ##f
5778 \remove Ligature_bracket_engraver
5779 \consists Vaticana_ligature_engraver
5780 NoteHead \set #'style = #'vaticana_punctum
5781 Stem \set #'transparent = ##t
5791 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5792 \include "gregorian-init.ly"
5794 \notes \transpose c c' {
5797 \noBreak s^\markup {"j"}
5803 \remove "Bar_number_engraver"
5807 \remove "Clef_engraver"
5808 \remove "Key_engraver"
5809 StaffSymbol \set #'transparent = ##t
5810 \remove "Time_signature_engraver"
5811 \remove "Bar_engraver"
5812 minimumVerticalExtent = ##f
5816 \remove Ligature_bracket_engraver
5817 \consists Vaticana_ligature_engraver
5818 NoteHead \set #'style = #'vaticana_punctum
5819 Stem \set #'transparent = ##t
5828 @code{5. Clivis vel Flexa}
5830 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5831 \include "gregorian-init.ly"
5833 \notes \transpose c c' {
5842 \remove "Bar_number_engraver"
5846 \remove "Clef_engraver"
5847 \remove "Key_engraver"
5848 StaffSymbol \set #'transparent = ##t
5849 \remove "Time_signature_engraver"
5850 \remove "Bar_engraver"
5851 minimumVerticalExtent = ##f
5855 \remove Ligature_bracket_engraver
5856 \consists Vaticana_ligature_engraver
5857 NoteHead \set #'style = #'vaticana_punctum
5858 Stem \set #'transparent = ##t
5864 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5865 \include "gregorian-init.ly"
5867 \notes \transpose c c' {
5868 % Clivis Aucta Descendens
5869 \[ b \flexa \auctum \descendens g \]
5870 \noBreak s^\markup {"l"} \noBreak
5872 % Clivis Aucta Ascendens
5873 \[ b \flexa \auctum \ascendens g \]
5874 \noBreak s^\markup {"m"}
5880 \remove "Bar_number_engraver"
5884 \remove "Clef_engraver"
5885 \remove "Key_engraver"
5886 StaffSymbol \set #'transparent = ##t
5887 \remove "Time_signature_engraver"
5888 \remove "Bar_engraver"
5889 minimumVerticalExtent = ##f
5893 \remove Ligature_bracket_engraver
5894 \consists Vaticana_ligature_engraver
5895 NoteHead \set #'style = #'vaticana_punctum
5896 Stem \set #'transparent = ##t
5902 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5903 \include "gregorian-init.ly"
5905 \notes \transpose c c' {
5907 \[ b \flexa \deminutum g \]
5914 \remove "Bar_number_engraver"
5918 \remove "Clef_engraver"
5919 \remove "Key_engraver"
5920 StaffSymbol \set #'transparent = ##t
5921 \remove "Time_signature_engraver"
5922 \remove "Bar_engraver"
5923 minimumVerticalExtent = ##f
5927 \remove Ligature_bracket_engraver
5928 \consists Vaticana_ligature_engraver
5929 NoteHead \set #'style = #'vaticana_punctum
5930 Stem \set #'transparent = ##t
5937 @code{6. Podatus vel Pes}
5939 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5940 \include "gregorian-init.ly"
5942 \notes \transpose c c' {
5951 \remove "Bar_number_engraver"
5955 \remove "Clef_engraver"
5956 \remove "Key_engraver"
5957 StaffSymbol \set #'transparent = ##t
5958 \remove "Time_signature_engraver"
5959 \remove "Bar_engraver"
5960 minimumVerticalExtent = ##f
5964 \remove Ligature_bracket_engraver
5965 \consists Vaticana_ligature_engraver
5966 NoteHead \set #'style = #'vaticana_punctum
5967 Stem \set #'transparent = ##t
5973 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5974 \include "gregorian-init.ly"
5976 \notes \transpose c c' {
5977 % Pes Auctus Descendens
5978 \[ g \pes \auctum \descendens b \]
5979 \noBreak s^\markup {"p"} \noBreak
5981 % Pes Auctus Ascendens
5982 \[ g \pes \auctum \ascendens b \]
5983 \noBreak s^\markup {"q"}
5989 \remove "Bar_number_engraver"
5993 \remove "Clef_engraver"
5994 \remove "Key_engraver"
5995 StaffSymbol \set #'transparent = ##t
5996 \remove "Time_signature_engraver"
5997 \remove "Bar_engraver"
5998 minimumVerticalExtent = ##f
6002 \remove Ligature_bracket_engraver
6003 \consists Vaticana_ligature_engraver
6004 NoteHead \set #'style = #'vaticana_punctum
6005 Stem \set #'transparent = ##t
6011 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6012 \include "gregorian-init.ly"
6014 \notes \transpose c c' {
6016 \[ g \pes \deminutum b \]
6023 \remove "Bar_number_engraver"
6027 \remove "Clef_engraver"
6028 \remove "Key_engraver"
6029 StaffSymbol \set #'transparent = ##t
6030 \remove "Time_signature_engraver"
6031 \remove "Bar_engraver"
6032 minimumVerticalExtent = ##f
6036 \remove Ligature_bracket_engraver
6037 \consists Vaticana_ligature_engraver
6038 NoteHead \set #'style = #'vaticana_punctum
6039 Stem \set #'transparent = ##t
6046 @code{7. Pes Quassus}
6048 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6049 \include "gregorian-init.ly"
6051 \notes \transpose c c' {
6053 \[ \oriscus g \pes \virga b \]
6060 \remove "Bar_number_engraver"
6064 \remove "Clef_engraver"
6065 \remove "Key_engraver"
6066 StaffSymbol \set #'transparent = ##t
6067 \remove "Time_signature_engraver"
6068 \remove "Bar_engraver"
6069 minimumVerticalExtent = ##f
6073 \remove Ligature_bracket_engraver
6074 \consists Vaticana_ligature_engraver
6075 NoteHead \set #'style = #'vaticana_punctum
6076 Stem \set #'transparent = ##t
6082 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6083 \include "gregorian-init.ly"
6085 \notes \transpose c c' {
6086 % Pes Quassus Auctus Descendens
6087 \[ \oriscus g \pes \auctum \descendens b \]
6094 \remove "Bar_number_engraver"
6098 \remove "Clef_engraver"
6099 \remove "Key_engraver"
6100 StaffSymbol \set #'transparent = ##t
6101 \remove "Time_signature_engraver"
6102 \remove "Bar_engraver"
6103 minimumVerticalExtent = ##f
6107 \remove Ligature_bracket_engraver
6108 \consists Vaticana_ligature_engraver
6109 NoteHead \set #'style = #'vaticana_punctum
6110 Stem \set #'transparent = ##t
6118 @code{8. Quilisma Pes}
6120 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6121 \include "gregorian-init.ly"
6123 \notes \transpose c c' {
6125 \[ \quilisma g \pes b \]
6132 \remove "Bar_number_engraver"
6136 \remove "Clef_engraver"
6137 \remove "Key_engraver"
6138 StaffSymbol \set #'transparent = ##t
6139 \remove "Time_signature_engraver"
6140 \remove "Bar_engraver"
6141 minimumVerticalExtent = ##f
6145 \remove Ligature_bracket_engraver
6146 \consists Vaticana_ligature_engraver
6147 NoteHead \set #'style = #'vaticana_punctum
6148 Stem \set #'transparent = ##t
6154 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6155 \include "gregorian-init.ly"
6157 \notes \transpose c c' {
6158 % Quilisma Pes Auctus Descendens
6159 \[ \quilisma g \pes \auctum \descendens b \]
6166 \remove "Bar_number_engraver"
6170 \remove "Clef_engraver"
6171 \remove "Key_engraver"
6172 StaffSymbol \set #'transparent = ##t
6173 \remove "Time_signature_engraver"
6174 \remove "Bar_engraver"
6175 minimumVerticalExtent = ##f
6179 \remove Ligature_bracket_engraver
6180 \consists Vaticana_ligature_engraver
6181 NoteHead \set #'style = #'vaticana_punctum
6182 Stem \set #'transparent = ##t
6190 @code{9. Podatus Initio Debilis}
6192 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6193 \include "gregorian-init.ly"
6195 \notes \transpose c c' {
6196 % Pes Initio Debilis
6197 \[ \deminutum g \pes b \]
6204 \remove "Bar_number_engraver"
6208 \remove "Clef_engraver"
6209 \remove "Key_engraver"
6210 StaffSymbol \set #'transparent = ##t
6211 \remove "Time_signature_engraver"
6212 \remove "Bar_engraver"
6213 minimumVerticalExtent = ##f
6217 \remove Ligature_bracket_engraver
6218 \consists Vaticana_ligature_engraver
6219 NoteHead \set #'style = #'vaticana_punctum
6220 Stem \set #'transparent = ##t
6226 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6227 \include "gregorian-init.ly"
6229 \notes \transpose c c' {
6230 % Pes Auctus Descendens Initio Debilis
6231 \[ \deminutum g \pes \auctum \descendens b \]
6238 \remove "Bar_number_engraver"
6242 \remove "Clef_engraver"
6243 \remove "Key_engraver"
6244 StaffSymbol \set #'transparent = ##t
6245 \remove "Time_signature_engraver"
6246 \remove "Bar_engraver"
6247 minimumVerticalExtent = ##f
6251 \remove Ligature_bracket_engraver
6252 \consists Vaticana_ligature_engraver
6253 NoteHead \set #'style = #'vaticana_punctum
6254 Stem \set #'transparent = ##t
6264 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6265 \include "gregorian-init.ly"
6267 \notes \transpose c c' {
6269 \[ a \pes b \flexa g \]
6276 \remove "Bar_number_engraver"
6280 \remove "Clef_engraver"
6281 \remove "Key_engraver"
6282 StaffSymbol \set #'transparent = ##t
6283 \remove "Time_signature_engraver"
6284 \remove "Bar_engraver"
6285 minimumVerticalExtent = ##f
6289 \remove Ligature_bracket_engraver
6290 \consists Vaticana_ligature_engraver
6291 NoteHead \set #'style = #'vaticana_punctum
6292 Stem \set #'transparent = ##t
6298 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6299 \include "gregorian-init.ly"
6301 \notes \transpose c c' {
6302 % Torculus Auctus Descendens
6303 \[ a \pes b \flexa \auctum \descendens g \]
6310 \remove "Bar_number_engraver"
6314 \remove "Clef_engraver"
6315 \remove "Key_engraver"
6316 StaffSymbol \set #'transparent = ##t
6317 \remove "Time_signature_engraver"
6318 \remove "Bar_engraver"
6319 minimumVerticalExtent = ##f
6323 \remove Ligature_bracket_engraver
6324 \consists Vaticana_ligature_engraver
6325 NoteHead \set #'style = #'vaticana_punctum
6326 Stem \set #'transparent = ##t
6332 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6333 \include "gregorian-init.ly"
6335 \notes \transpose c c' {
6336 % Torculus Deminutus
6337 \[ a \pes b \flexa \deminutum g \]
6344 \remove "Bar_number_engraver"
6348 \remove "Clef_engraver"
6349 \remove "Key_engraver"
6350 StaffSymbol \set #'transparent = ##t
6351 \remove "Time_signature_engraver"
6352 \remove "Bar_engraver"
6353 minimumVerticalExtent = ##f
6357 \remove Ligature_bracket_engraver
6358 \consists Vaticana_ligature_engraver
6359 NoteHead \set #'style = #'vaticana_punctum
6360 Stem \set #'transparent = ##t
6367 @code{11. Torculus Initio Debilis}
6369 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6370 \include "gregorian-init.ly"
6372 \notes \transpose c c' {
6373 % Torculus Initio Debilis
6374 \[ \deminutum a \pes b \flexa g \]
6381 \remove "Bar_number_engraver"
6385 \remove "Clef_engraver"
6386 \remove "Key_engraver"
6387 StaffSymbol \set #'transparent = ##t
6388 \remove "Time_signature_engraver"
6389 \remove "Bar_engraver"
6390 minimumVerticalExtent = ##f
6394 \remove Ligature_bracket_engraver
6395 \consists Vaticana_ligature_engraver
6396 NoteHead \set #'style = #'vaticana_punctum
6397 Stem \set #'transparent = ##t
6403 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6404 \include "gregorian-init.ly"
6406 \notes \transpose c c' {
6407 % Torculus Auctus Descendens Initio Debilis
6408 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6415 \remove "Bar_number_engraver"
6419 \remove "Clef_engraver"
6420 \remove "Key_engraver"
6421 StaffSymbol \set #'transparent = ##t
6422 \remove "Time_signature_engraver"
6423 \remove "Bar_engraver"
6424 minimumVerticalExtent = ##f
6428 \remove Ligature_bracket_engraver
6429 \consists Vaticana_ligature_engraver
6430 NoteHead \set #'style = #'vaticana_punctum
6431 Stem \set #'transparent = ##t
6437 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6438 \include "gregorian-init.ly"
6440 \notes \transpose c c' {
6441 % Torculus Deminutus Initio Debilis
6442 \[ \deminutum a \pes b \flexa \deminutum g \]
6449 \remove "Bar_number_engraver"
6453 \remove "Clef_engraver"
6454 \remove "Key_engraver"
6455 StaffSymbol \set #'transparent = ##t
6456 \remove "Time_signature_engraver"
6457 \remove "Bar_engraver"
6458 minimumVerticalExtent = ##f
6462 \remove Ligature_bracket_engraver
6463 \consists Vaticana_ligature_engraver
6464 NoteHead \set #'style = #'vaticana_punctum
6465 Stem \set #'transparent = ##t
6472 @code{12. Porrectus}
6474 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6475 \include "gregorian-init.ly"
6477 \notes \transpose c c' {
6479 \[ a \flexa g \pes b \]
6486 \remove "Bar_number_engraver"
6490 \remove "Clef_engraver"
6491 \remove "Key_engraver"
6492 StaffSymbol \set #'transparent = ##t
6493 \remove "Time_signature_engraver"
6494 \remove "Bar_engraver"
6495 minimumVerticalExtent = ##f
6499 \remove Ligature_bracket_engraver
6500 \consists Vaticana_ligature_engraver
6501 NoteHead \set #'style = #'vaticana_punctum
6502 Stem \set #'transparent = ##t
6508 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6509 \include "gregorian-init.ly"
6511 \notes \transpose c c' {
6512 % Porrectus Auctus Descendens
6513 \[ a \flexa g \pes \auctum \descendens b \]
6520 \remove "Bar_number_engraver"
6524 \remove "Clef_engraver"
6525 \remove "Key_engraver"
6526 StaffSymbol \set #'transparent = ##t
6527 \remove "Time_signature_engraver"
6528 \remove "Bar_engraver"
6529 minimumVerticalExtent = ##f
6533 \remove Ligature_bracket_engraver
6534 \consists Vaticana_ligature_engraver
6535 NoteHead \set #'style = #'vaticana_punctum
6536 Stem \set #'transparent = ##t
6542 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6543 \include "gregorian-init.ly"
6545 \notes \transpose c c' {
6546 % Porrectus Deminutus
6547 \[ a \flexa g \pes \deminutum b \]
6554 \remove "Bar_number_engraver"
6558 \remove "Clef_engraver"
6559 \remove "Key_engraver"
6560 StaffSymbol \set #'transparent = ##t
6561 \remove "Time_signature_engraver"
6562 \remove "Bar_engraver"
6563 minimumVerticalExtent = ##f
6567 \remove Ligature_bracket_engraver
6568 \consists Vaticana_ligature_engraver
6569 NoteHead \set #'style = #'vaticana_punctum
6570 Stem \set #'transparent = ##t
6579 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6580 \include "gregorian-init.ly"
6582 \notes \transpose c c' {
6584 \[ \virga b \inclinatum a \inclinatum g \]
6591 \remove "Bar_number_engraver"
6595 \remove "Clef_engraver"
6596 \remove "Key_engraver"
6597 StaffSymbol \set #'transparent = ##t
6598 \remove "Time_signature_engraver"
6599 \remove "Bar_engraver"
6600 minimumVerticalExtent = ##f
6604 \remove Ligature_bracket_engraver
6605 \consists Vaticana_ligature_engraver
6606 NoteHead \set #'style = #'vaticana_punctum
6607 Stem \set #'transparent = ##t
6613 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6614 \include "gregorian-init.ly"
6616 \notes \transpose c c' {
6618 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6625 \remove "Bar_number_engraver"
6629 \remove "Clef_engraver"
6630 \remove "Key_engraver"
6631 StaffSymbol \set #'transparent = ##t
6632 \remove "Time_signature_engraver"
6633 \remove "Bar_engraver"
6634 minimumVerticalExtent = ##f
6638 \remove Ligature_bracket_engraver
6639 \consists Vaticana_ligature_engraver
6640 NoteHead \set #'style = #'vaticana_punctum
6641 Stem \set #'transparent = ##t
6647 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6648 \include "gregorian-init.ly"
6650 \notes \transpose c c' {
6651 % Climacus Deminutus
6652 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6659 \remove "Bar_number_engraver"
6663 \remove "Clef_engraver"
6664 \remove "Key_engraver"
6665 StaffSymbol \set #'transparent = ##t
6666 \remove "Time_signature_engraver"
6667 \remove "Bar_engraver"
6668 minimumVerticalExtent = ##f
6672 \remove Ligature_bracket_engraver
6673 \consists Vaticana_ligature_engraver
6674 NoteHead \set #'style = #'vaticana_punctum
6675 Stem \set #'transparent = ##t
6682 @code{14. Scandicus}
6684 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6685 \include "gregorian-init.ly"
6687 \notes \transpose c c' {
6689 \[ g \pes a \virga b \]
6696 \remove "Bar_number_engraver"
6700 \remove "Clef_engraver"
6701 \remove "Key_engraver"
6702 StaffSymbol \set #'transparent = ##t
6703 \remove "Time_signature_engraver"
6704 \remove "Bar_engraver"
6705 minimumVerticalExtent = ##f
6709 \remove Ligature_bracket_engraver
6710 \consists Vaticana_ligature_engraver
6711 NoteHead \set #'style = #'vaticana_punctum
6712 Stem \set #'transparent = ##t
6718 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6719 \include "gregorian-init.ly"
6721 \notes \transpose c c' {
6722 % Scandicus Auctus Descendens
6723 \[ g \pes a \pes \auctum \descendens b \]
6730 \remove "Bar_number_engraver"
6734 \remove "Clef_engraver"
6735 \remove "Key_engraver"
6736 StaffSymbol \set #'transparent = ##t
6737 \remove "Time_signature_engraver"
6738 \remove "Bar_engraver"
6739 minimumVerticalExtent = ##f
6743 \remove Ligature_bracket_engraver
6744 \consists Vaticana_ligature_engraver
6745 NoteHead \set #'style = #'vaticana_punctum
6746 Stem \set #'transparent = ##t
6752 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6753 \include "gregorian-init.ly"
6755 \notes \transpose c c' {
6756 % Scandicus Deminutus
6757 \[ g \pes a \pes \deminutum b \]
6764 \remove "Bar_number_engraver"
6768 \remove "Clef_engraver"
6769 \remove "Key_engraver"
6770 StaffSymbol \set #'transparent = ##t
6771 \remove "Time_signature_engraver"
6772 \remove "Bar_engraver"
6773 minimumVerticalExtent = ##f
6777 \remove Ligature_bracket_engraver
6778 \consists Vaticana_ligature_engraver
6779 NoteHead \set #'style = #'vaticana_punctum
6780 Stem \set #'transparent = ##t
6789 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6790 \include "gregorian-init.ly"
6792 \notes \transpose c c' {
6794 \[ g \oriscus a \pes \virga b \]
6801 \remove "Bar_number_engraver"
6805 \remove "Clef_engraver"
6806 \remove "Key_engraver"
6807 StaffSymbol \set #'transparent = ##t
6808 \remove "Time_signature_engraver"
6809 \remove "Bar_engraver"
6810 minimumVerticalExtent = ##f
6814 \remove Ligature_bracket_engraver
6815 \consists Vaticana_ligature_engraver
6816 NoteHead \set #'style = #'vaticana_punctum
6817 Stem \set #'transparent = ##t
6823 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6824 \include "gregorian-init.ly"
6826 \notes \transpose c c' {
6827 % Salicus Auctus Descendens
6828 \[ g \oriscus a \pes \auctum \descendens b \]
6835 \remove "Bar_number_engraver"
6839 \remove "Clef_engraver"
6840 \remove "Key_engraver"
6841 StaffSymbol \set #'transparent = ##t
6842 \remove "Time_signature_engraver"
6843 \remove "Bar_engraver"
6844 minimumVerticalExtent = ##f
6848 \remove Ligature_bracket_engraver
6849 \consists Vaticana_ligature_engraver
6850 NoteHead \set #'style = #'vaticana_punctum
6851 Stem \set #'transparent = ##t
6861 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6862 \include "gregorian-init.ly"
6864 \notes \transpose c c' {
6866 \[ \stropha b \stropha b \stropha a \]
6873 \remove "Bar_number_engraver"
6877 \remove "Clef_engraver"
6878 \remove "Key_engraver"
6879 StaffSymbol \set #'transparent = ##t
6880 \remove "Time_signature_engraver"
6881 \remove "Bar_engraver"
6882 minimumVerticalExtent = ##f
6886 \remove Ligature_bracket_engraver
6887 \consists Vaticana_ligature_engraver
6888 NoteHead \set #'style = #'vaticana_punctum
6889 Stem \set #'transparent = ##t
6901 Unlike most other neumes notation systems, the input language for
6902 neumes does not necessarily reflect directly the typographical
6903 appearance, but is designed to solely focuse on musical meaning. For
6904 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6905 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6906 a Porrectus with a curved flexa shape and only a single Punctum head.
6907 There is no command to explicitly typeset the curved flexa shape; the
6908 decision of when to typeset a curved flexa shape is purely taken from
6909 the musical input. The idea of this approach is to separate the
6910 musical aspects of the input from the notation style of the output.
6911 This way, the same input can be reused to typeset the same music in a
6912 different style of Gregorian chant notation such as Hufnagel (also
6913 known as German gothic neumes) or Medicaea (kind of a very simple
6914 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6915 engraver and Medicaea ligature engraver will have been implemented, it
6916 will be as simple as replacing the ligature engraver in the
6917 @internalsref{Voice} context to get the desired notation style from
6920 The following table shows the code fragments that produce the
6921 ligatures in the above neumes table. The letter in the first column
6922 in each line of the below table indicates to which ligature in the
6923 above table it refers. The second column gives the name of the
6924 ligature. The third column shows the code fragment that produces this
6925 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6927 @multitable @columnfractions .1 .4 .5
6941 Punctum Inclinatum @tab
6942 @code{\[ \inclinatum b \]}
6946 Punctum Auctum Ascendens @tab
6947 @code{\[ \auctum \ascendens b \]}
6951 Punctum Auctum Descendens @tab
6952 @code{\[ \auctum \descendens b \]}
6956 Punctum Inclinatum Auctum @tab
6957 @code{\[ \inclinatum \auctum b \]}
6961 Punctum Inclinatum Parvum @tab
6962 @code{\[ \inclinatum \deminutum b \]}
6967 @code{\[ \virga b \]}
6972 @code{\[ \stropha b \]}
6977 @code{\[ \stropha \auctum b \]}
6982 @code{\[ \oriscus b \]}
6986 Clivis vel Flexa @tab
6987 @code{\[ b \flexa g \]}
6991 Clivis Aucta Descendens @tab
6992 @code{\[ b \flexa \auctum \descendens g \]}
6996 Clivis Aucta Ascendens @tab
6997 @code{\[ b \flexa \auctum \ascendens g \]}
7002 @code{\[ b \flexa \deminutum g \]}
7006 Podatus vel Pes @tab
7007 @code{\[ g \pes b \]}
7011 Pes Auctus Descendens @tab
7012 @code{\[ g \pes \auctum \descendens b \]}
7016 Pes Auctus Ascendens @tab
7017 @code{\[ g \pes \auctum \ascendens b \]}
7022 @code{\[ g \pes \deminutum b \]}
7027 @code{\[ \oriscus g \pes \virga b \]}
7031 Pes Quassus Auctus Descendens @tab
7032 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7037 @code{\[ \quilisma g \pes b \]}
7041 Quilisma Pes Auctus Descendens @tab
7042 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7046 Pes Initio Debilis @tab
7047 @code{\[ \deminutum g \pes b \]}
7051 Pes Auctus Descendens Initio Debilis @tab
7052 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7057 @code{\[ a \pes b \flexa g \]}
7061 Torculus Auctus Descendens @tab
7062 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7066 Torculus Deminutus @tab
7067 @code{\[ a \pes b \flexa \deminutum g \]}
7071 Torculus Initio Debilis @tab
7072 @code{\[ \deminutum a \pes b \flexa g \]}
7076 Torculus Auctus Descendens Initio Debilis @tab
7077 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7081 Torculus Deminutus Initio Debilis @tab
7082 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7087 @code{\[ a \flexa g \pes b \]}
7091 Porrectus Auctus Descendens @tab
7092 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7096 Porrectus Deminutus @tab
7097 @code{\[ a \flexa g \pes \deminutum b \]}
7102 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7106 Climacus Auctus @tab
7107 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7111 Climacus Deminutus @tab
7112 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7117 @code{\[ g \pes a \virga b \]}
7121 Scandicus Auctus Descendens @tab
7122 @code{\[ g \pes a \pes \auctum \descendens b \]}
7126 Scandicus Deminutus @tab
7127 @code{\[ g \pes a \pes \deminutum b \]}
7132 @code{\[ g \oriscus a \pes \virga b \]}
7136 Salicus Auctus Descendens @tab
7137 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7142 @code{\[ \stropha b \stropha b \stropha a \]}
7148 The following head prefixes are supported:
7150 @cindex @code{\virga}
7152 @cindex @code{\stropha}
7154 @cindex @code{\inclinatum}
7156 @cindex @code{\auctum}
7158 @cindex @code{\descendens}
7160 @cindex @code{\ascendens}
7162 @cindex @code{\oriscus}
7164 @cindex @code{\quilisma}
7166 @cindex @code{\deminutum}
7169 Head prefixes can be accumulated, though restrictions apply. For
7170 example, either @code{\descendens} or @code{\ascendens} can be applied
7171 to a head, but not both to the same head.
7174 @cindex @code{\flexa}
7175 Two adjacent heads can be tied together with the @code{\pes} and
7176 @code{\flexa} infix commands for a rising and falling line of melody,
7181 Trigonus: apply equal spacing, regardless of pitch.
7184 @subsection Figured bass
7186 @cindex Basso continuo
7188 @c TODO: musicological blurb about FB
7192 LilyPond has limited support for figured bass:
7194 @lilypond[verbatim,fragment]
7196 \context Voice \notes { \clef bass dis4 c d ais}
7197 \context FiguredBass
7199 < 6 >4 < 7 >8 < 6+ [_!] >
7205 The support for figured bass consists of two parts: there is an input
7206 mode, introduced by @code{\figures}, where you can enter bass figures
7207 as numbers, and there is a context called @internalsref{FiguredBass} that
7208 takes care of making @internalsref{BassFigure} objects.
7210 In figures input mode, a group of bass figures is delimited by
7211 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7216 \context FiguredBass
7220 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7227 \context FiguredBass
7228 \figures { <4- 6+ 7!> }
7231 Spaces or dashes may be inserted by using @code{_}. Brackets are
7232 introduced with @code{[} and @code{]}:
7238 \context FiguredBass
7239 \figures { < [4 6] 8 [_! 12]> }
7242 Although the support for figured bass may superficially resemble chord
7243 support, it works much simpler. The @code{\figures} mode simply
7244 stores the numbers , and @internalsref{FiguredBass} context prints
7245 them as entered. There is no conversion to pitches, and no
7246 realizations of the bass are played in the MIDI file.
7248 Internally, the code produces markup texts. You can use any of the
7249 markup text properties to override formatting. For example, the
7250 vertical spacing of the figures may be set with @code{baseline-skip}.
7254 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7255 and @internalsref{FiguredBass} context.
7259 Slash notation for alterations is not supported.
7262 @node Vaticana style contexts
7263 @subsection Vaticana style contexts
7265 @cindex VaticanaVoiceContext
7266 @cindex VaticanaStaffContext
7268 The predefined @code{VaticanaVoiceContext} and
7269 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7270 Gregorian Chant in the style of the Editio Vaticana. These contexts
7271 initialize all relevant context properties and grob properties to
7272 proper values. With these contexts, you can immediately go ahead
7273 entering the chant, as the following short excerpt demonstrates:
7275 @lilypond[raggedright,verbatim,noindent]
7276 \include "gregorian-init.ly"
7279 \context VaticanaVoice {
7280 \property Score.BarNumber \set #'transparent = ##t
7282 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7283 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7284 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7287 \context Lyrics \lyrics {
7288 San- ctus, San- ctus, San- ctus
7293 @node Contemporary notation
7294 @section Contemporary notation
7296 In the 20th century, composers have greatly expanded the musical
7297 vocabulary. With this expansion, many innovations in musical notation
7298 have been tried. For a comprehensive overview, refer to @cite{Stone
7299 1980} (see @ref{Literature}). In general, the use of new, innovative
7300 notation makes a piece harder to understand and perform and its use
7301 should therefore be avoided if possible. For this reason, support for
7302 contemporary notation in LilyPond is limited.
7311 @subsection Clusters
7315 In musical terminology, a @emph{cluster} denotes a range of
7316 simultaneously sounding pitches that may change over time. The set of
7317 available pitches to apply usually depends on the accoustic source.
7318 Thus, in piano music, a cluster typically consists of a continous range
7319 of the semitones as provided by the piano's fixed set of a chromatic
7320 scale. In choral music, each singer of the choir typically may sing an
7321 arbitrary pitch within the cluster's range that is not bound to any
7322 diatonic, chromatic or other scale. In electronic music, a cluster
7323 (theoretically) may even cover a continuous range of pitches, thus
7324 resulting in coloured noise, such as pink noise.
7326 Clusters can be denoted in the context of ordinary staff notation by
7327 engraving simple geometrical shapes that replace ordinary notation of
7328 notes. Ordinary notes as musical events specify starting time and
7329 duration of pitches; however, the duration of a note is expressed by the
7330 shape of the note head rather than by the horizontal graphical extent of
7331 the note symbol. In contrast, the shape of a cluster geometrically
7332 describes the development of a range of pitches (vertical extent) over
7333 time (horizontal extent). Still, the geometrical shape of a cluster
7334 covers the area in wich any single pitch contained in the cluster would
7335 be notated as an ordinary note. From this point of view, it is
7336 reasonable to specify a cluster as the envelope of a set of notes.
7340 A cluster is engraved as the envelope of a set of
7341 cluster-notes. Cluster notes are created by applying the function
7342 @code{notes-to-clusters} to a sequence of chords, e.g.
7344 @lilypond[relative 1,verbatim]
7345 \apply #notes-to-clusters { <c e > <b f'> }
7348 The following example (from
7349 @inputfileref{input/regression,cluster.ly}) shows what the result
7352 @lilypondfile[notexidoc]{cluster.ly}
7354 By default, @internalsref{Cluster_spanner_engraver} is in the
7355 @internalsref{Voice} context. This allows putting ordinary notes and
7356 clusters together in the same staff, even simultaneously. In such a
7357 case no attempt is made to automatically avoid collisions between
7358 ordinary notes and clusters.
7362 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7363 @inputfileref{input/regression,cluster.ly},
7364 @internalsref{Cluster_spanner_engraver}, and @internalsref{ClusterNoteEvent}.
7368 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7369 accurately. Use @code{<g a>8 <e a>8} instead.
7374 @subsection Fermatas
7380 Contemporary music notation frequently uses special fermata symbols to
7381 indicate fermatas of differing lengths.
7385 The following are supported
7387 @lilypond[singleline]
7389 << \addlyrics \notes {
7409 \context Lyrics \lyrics {
7410 "shortfermata" "fermata" "longfermata" "verylongfermata"
7415 See @ref{Articulations} for general instructions how to apply scripts
7416 such as fermatas to a @code{\notes@{@}} block.
7419 @section Tuning output
7421 There are situations where default layout decisions are not
7422 sufficient. In this section we discuss ways to override these
7425 Formatting is internally done by manipulating so called objects
7426 (graphic objects). Each object carries with it a set of properties
7427 (object or layout properties) specific to that object. For example, a
7428 stem object has properties that specify its direction, length and
7431 The most direct way of tuning the output is by altering the values of
7432 these properties. There are two ways of doing that: first, you can
7433 temporarily change the definition of one type of object, thus
7434 affecting a whole set of objects. Second, you can select one specific
7435 object, and set a layout property in that object.
7437 Do not confuse layout properties with translation
7438 properties. Translation properties always use a mixed caps style
7439 naming, and are manipulated using @code{\property}:
7441 \property Context.propertyName = @var{value}
7443 Layout properties are use Scheme style variable naming, i.e. lower
7444 case words separated with dashes. They are symbols, and should always
7445 be quoted using @code{#'}. For example, this could be an imaginary
7446 layout property name:
7448 #'layout-property-name
7453 * Constructing a tweak::
7462 @node Tuning objects
7463 @subsection Tuning objects
7465 @cindex object description
7467 The definition of an object is a list of default object
7468 properties. For example, the definition of the Stem object (available
7469 in @file{scm/define-grobs.scm}), includes the following definitions
7470 for @internalsref{Stem}:
7474 (beamed-lengths . (0.0 2.5 2.0 1.5))
7475 (Y-extent-callback . ,Stem::height)
7480 Adding variables on top of this existing definition overrides the
7481 system default, and alters the resulting appearance of the layout
7487 Changing a variable for only one object is commonly achieved with
7491 \once \property @var{context}.@var{objectname}
7492 \override @var{symbol} = @var{value}
7494 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7495 and @var{objectname} is a string and @var{value} is a Scheme expression.
7496 This command applies a setting only during one moment in the score.
7498 In the following example, only one @internalsref{Stem} object is
7499 changed from its original setting:
7501 @lilypond[verbatim, fragment, relative=1]
7503 \once \property Voice.Stem \set #'thickness = #4
7507 @cindex @code{\once}
7509 For changing more objects, the same command, without @code{\once} can
7512 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7514 This command adds @code{@var{symbol} = @var{value}} to the definition
7515 of @var{objectname} in the context @var{context}, and this definition
7516 stays in place until it is removed.
7518 An existing definition may be removed by the following command:
7521 \property @var{context}.@var{objectname} \revert @var{symbol}
7524 All @code{\override} and @code{\revert} commands should be balanced.
7525 The @code{\set} shorthand performs a revert followed by an override,
7526 and is often more convenient to use
7529 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7533 @lilypond[verbatim,quote]
7534 c'4 \property Voice.Stem \override #'thickness = #4.0
7536 c'4 \property Voice.Stem \revert #'thickness
7540 The following example gives exactly the same result as the previous
7541 one (assuming the system default for stem thickness is 1.3):
7543 @lilypond[verbatim,quote]
7544 c'4 \property Voice.Stem \set #'thickness = #4.0
7546 c'4 \property Voice.Stem \set #'thickness = #1.3
7550 Reverting a setting which was not set in the first place has no
7551 effect. However, if the setting was set as a system default, this may
7552 remove the default value, and this may give surprising results,
7553 including crashes. In other words, @code{\override} and
7554 @code{\revert} must be carefully balanced. The following are examples
7555 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7559 a clumsy but correct form:
7561 \override \revert \override \revert \override \revert
7565 shorter version of the same:
7567 \override \set \set \revert
7571 a short form, using only @code{\set}. This requires you to know the
7574 \set \set \set \set @var{to default value}
7578 if there is no default (i.e. by default, the object property is unset),
7581 \set \set \set \revert
7585 For the digirati, the object description is an Scheme association
7586 list. Since a Scheme list is a singly linked list, we can treat it as
7587 a stack, and @code{\override} and @code{\revert} are push and pop
7588 operations. The association list is stored in a normal context
7591 \property Voice.NoteHead = #'()
7593 will effectively erase @internalsref{NoteHead}s from the current
7594 @internalsref{Voice}. However, this mechanism is not guaranteed to
7595 work, and may cause crashes or other anomalous behavior.
7599 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7600 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7601 @internalsref{All-layout-objects}.
7606 The backend is not very strict in type-checking object properties.
7607 Cyclic references in @var{value} cause hangs and/or crashes.
7608 Similarly, reverting properties that are system defaults may also lead
7611 @node Constructing a tweak
7612 @subsection Constructing a tweak
7615 @cindex internal documentation
7616 @cindex finding graphical objects
7617 @cindex graphical object descriptions
7619 @cindex @code{\override}
7621 @cindex internal documentation
7625 Three pieces of information are required to use @code{\override} and
7626 @code{\set}: the name of the layout object, the context and the name
7627 of the property. We demonstrate how to glean this information from
7628 the notation manual and the generated documentation.
7630 The generated documentation is a set of HTML pages which should be
7631 included if you installed a binary distribution, typically in
7632 @file{/usr/share/doc/lilypond}. They are also available on the web:
7633 go to the @uref{http://lilypond.org,LilyPond website}, click
7634 ``Documentation'', and then ``Program reference'' on the side bar. It
7635 is advisable to bookmark either the local HTML files if possible. They
7636 will load faster than the ones on the web. If you use the version
7637 from the web, you must check whether the documentation matches the
7638 program version: the documentation is generated from the definitions
7639 that the program uses, and therefore it is strongly tied to the
7643 @c [TODO: revise for new site.]
7645 Suppose we want to move the fingering indication in the fragment below:
7647 @lilypond[relative=2,verbatim]
7653 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7654 instructions}), you will notice that there is written:
7659 @internalsref{FingerEvent} and @internalsref{Fingering}.
7663 In other words, the fingerings once entered, are internally stored as
7664 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7665 layout object is created for every @code{FingerEvent}.
7667 The Fingering object has a number of different functions, and each of
7668 those is captured in an interface, when we look up
7669 @internalsref{Fingering} in the generated documentation.
7673 The @code{Fingering} object has a fixed size
7674 (@internalsref{item-interface}), the symbol is a piece of text
7675 (@internalsref{text-interface}), whose font can be set
7676 (@internalsref{font-interface}). It is centered horizontally
7677 (@internalsref{self-alignment-interface}), it is placed next to other
7678 objects (@internalsref{side-position-interface}) vertically, and its
7679 placement is coordinated with other scripts
7680 (@internalsref{text-script-interface}). It also has the standard
7681 @internalsref{grob-interface} (grob stands for Graphical object)
7683 @cindex graphical object
7684 @cindex layout object
7685 @cindex object, layout
7686 with all the variables that come with
7687 it. Finally, it denotes a fingering instruction, so it has
7688 @internalsref{finger-interface}.
7690 For the vertical placement, we have to look under
7691 @code{side-position-interface}:
7693 @code{side-position-interface}
7695 Position a victim object (this one) next to other objects (the
7696 support). In this case, the direction signifies where to put the
7697 victim object relative to the support (left or right, up or down?)
7702 below this description, the variable @code{padding} is described as
7706 (dimension, in staff space)
7708 add this much extra space between objects that are next to each
7709 other. Default value: @code{0.6}
7713 By increasing the value of @code{padding}, we can move away the
7714 fingering. The following command inserts 3 staff spaces of white
7715 between the note and the fingering:
7717 \once \property Voice.Fingering \set #'padding = #3
7720 Inserting this command before the Fingering object is created,
7721 i.e. before @code{c2}, yields the following result:
7723 @lilypond[relative=2,fragment,verbatim]
7724 \once \property Voice.Fingering
7731 The context name @code{Voice} in the example above can be determined
7732 as follows. In the documentation for @internalsref{Fingering}, it says
7734 Fingering grobs are created by: @internalsref{Fingering_engraver}
7737 Clicking @code{Fingering_engraver} shows the documentation of
7738 the module responsible for interpreting the fingering instructions and
7739 translating them to a @code{Fingering} object. Such a module is called
7740 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7743 Fingering_engraver is part of contexts: Voice
7745 so tuning the settings for Fingering should be done with
7747 \property Voice.Fingering \set @dots{}
7750 Of course, the tweak may also done in a larger context than
7751 @code{Voice}, for example, @internalsref{Staff} or
7752 @internalsref{Score}.
7754 The internals document also contains alphabetical lists of
7755 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7756 @internalsref{Music-expressions}, so you can also find which objects to
7757 tweak by browsing the internals document.
7761 @subsection Applyoutput
7763 The most versatile way of tuning an object is @code{\applyoutput}. Its
7766 \applyoutput @var{proc}
7770 where @var{proc} is a Scheme function, taking four arguments.
7772 When interpreted, the function @var{proc} is called for every layout object found
7773 in the context, with the following arguments:
7775 @item the layout object itself,
7776 @item the context where the layout object was created, and
7777 @item the context where @code{\applyoutput} is processed.
7780 In addition, the cause of the layout object, i.e. the music
7781 expression or object that was responsible for creating it, is in the
7782 object property @code{cause}. For example, for a note head, this is a
7783 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7784 this is a @internalsref{NoteHead} object.
7787 @node Outputproperty
7788 @subsection Outputproperty
7790 @cindex @code{\outputproperty}
7792 Another way of tuning objects is the more arcane @code{\outputproperty}
7793 feature. The syntax is as follows:
7795 \outputproperty @var{predicate} @var{symbol} = @var{value}
7797 Here @code{predicate} is a Scheme function taking an object argument, and
7798 returning a boolean. This statement is processed by the
7799 @code{Output_property_engraver}. It instructs the engraver to feed all
7800 objects that it sees to @var{predicate}. Whenever the predicate returns
7801 true, the object property @var{symbol} will be set to @var{value}.
7803 You will need to combine this statement with @code{\context} to select
7804 the appropriate context to apply this to.
7805 @inputfileref{input/regression,output-property.ly} shows an example of
7806 the use of @code{\outputproperty}.
7810 This command is slated for removal. Please use the
7811 @code{\applyoutput} command, see @ref{Applyoutput}.
7814 @node Font selection
7815 @subsection Font selection
7817 The most common thing to change about the appearance of fonts is their
7818 size. The font size of any context can be easily changed by setting
7819 the @code{fontSize} property for that context. Its value is an
7820 integer: negative numbers make the font smaller, positive numbers
7821 larger. An example is given below:
7823 @lilypond[fragment,relative=1,verbatim,quote]
7824 c4 c4 \property Voice.fontSize = #-1
7827 This command will set @code{font-relative-size} (see below), and does
7828 not change the size of variable symbols, such as beams or slurs.
7831 One of the uses of @code{fontSize} is to get smaller symbol for cue
7832 notes. An elaborate example of those is in
7833 @inputfileref{input/test,cue-notes.ly}.
7835 @cindex magnification
7837 The size of the font may be scaled with the object property
7838 @code{font-magnification}. For example, @code{2.0} blows up all
7839 letters by a factor 2 in both directions.
7848 The font used for printing a object can be selected by setting
7849 @code{font-name}, e.g.
7851 \property Staff.TimeSignature
7852 \set #'font-name = #"cmr17"
7856 Any font can be used, as long as it is available to @TeX{}. Possible
7857 fonts include foreign fonts or fonts that do not belong to the
7858 Computer Modern font family.
7860 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7861 can also be adjusted with a more fine-grained mechanism. By setting
7862 the object properties described below, you can select a different font;
7863 all three mechanisms work for every object that supports
7864 @code{font-interface}:
7868 is a symbol indicating the general class of the typeface. Supported are
7869 @code{roman} (Computer Modern), @code{braces} (for piano staff
7870 braces), @code{music} (the standard music font, including ancient
7871 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7874 is a symbol indicating the shape of the font, there are typically several
7875 font shapes available for each font family. Choices are @code{italic},
7876 @code{caps} and @code{upright}.
7879 is a symbol indicating the series of the font. There are typically several
7880 font series for each font family and shape. Choices are @code{medium}
7883 @item font-relative-size
7884 is a number indicating the size relative the standard size. For example,
7885 with 20pt staff height, relative size -1 corresponds to 16pt staff
7886 height, and relative size +1 corresponds to 23 pt staff height.
7888 There are small differences in design between fonts designed for
7889 different sizes, hence @code{font-relative-size} is preferred over
7890 @code{font-magnification} for changing font sizes.
7893 @item font-design-size
7894 is a number indicating the design size of the font.
7896 This is a feature of the Computer Modern Font: each point size has a
7897 slightly different design. Smaller design sizes are relatively wider,
7898 which enhances readability.
7901 For any of these properties, the value @code{*} (i.e. the symbol
7902 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7903 to override default setting, which are always present. For example:
7905 \property Lyrics . LyricText \override #'font-series = #'bold
7906 \property Lyrics . LyricText \override #'font-family = #'typewriter
7907 \property Lyrics . LyricText \override #'font-shape = #'*
7910 @cindex @code{font-style}
7914 The following commands set @code{fontSize} for the current voice.
7916 @cindex @code{\tiny}
7918 @cindex @code{\small}
7920 @cindex @code{\normalsize}
7925 Relative size is not linked to any real size.
7927 There is no style sheet provided for other fonts besides the @TeX{}
7928 family, and the style sheet cannot be modified easily.
7930 @cindex font selection
7931 @cindex font magnification
7932 @cindex @code{font-interface}
7936 @subsection Text markup
7941 @cindex typeset text
7943 LilyPond has an internal mechanism to typeset texts. You can access it
7944 with the keyword @code{\markup}. Within markup mode, you can enter texts
7945 similar to lyrics: simply enter them, surrounded by spaces:
7948 @lilypond[verbatim,fragment,relative=1]
7949 c1^\markup { hello }
7950 c1_\markup { hi there }
7951 c1^\markup { hi \bold there, is \italic anyone home? }
7954 @cindex font switching
7956 The markup in the example demonstrates font switching commands. The
7957 command @code{\bold} and @code{\italic} only apply to the first
7958 following word; enclose a set of texts with braces to apply a command
7961 \markup @{ \bold @{ hi there @} @}
7965 For clarity, you can also do this for single arguments, e.g.
7967 \markup @{ is \italic @{ anyone @} home @}
7970 @cindex font size, texts
7972 The following size commands set absolute sizes:
7974 @cindex @code{\teeny}
7975 @cindex @code{\tiny}
7976 @cindex @code{\small}
7977 @cindex @code{\large}
7978 @cindex @code{\huge}
7988 You can also make letter larger or smaller relative to their neighbors,
7989 with the commands @code{\larger} and @code{\smaller}.
7993 @cindex font style, for texts
7994 @cindex @code{\bold}
7995 @cindex @code{\dynamic}
7996 @cindex @code{\number}
7997 @cindex @code{\italic}
7999 The following font change commands are defined:
8002 changes to the font used in dynamic signs. This font does not
8003 contain all characters of the alphabet, so when producing ``piu f'',
8004 the ``piu'' should be done in a different font.
8008 changes to the font used in time signatures. It only contains
8009 numbers and a few punctuation marks.
8011 changes @code{font-shape} to @code{italic}.
8013 changes @code{font-series} to @code{bold}.
8016 @cindex raising text
8017 @cindex lowering text
8019 @cindex translating text
8022 @cindex @code{\super}
8024 Raising and lowering texts can be done with @code{\super} and
8027 @lilypond[verbatim,fragment,relative=1]
8028 c1^\markup { E "=" mc \super "2" }
8031 @cindex @code{\raise}
8033 If you want to give an explicit amount for lowering or raising, use
8034 @code{\raise}. This command takes a Scheme valued first argument, and
8035 a markup object as second argument:
8037 @lilypond[verbatim,fragment,relative=1,quote]
8038 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8040 The argument to @code{\raise} is the vertical displacement amount,
8041 measured in (global) staff spaces. @code{\raise} and @code{\super}
8042 raise objects in relation to their surrounding markups. They cannot be
8043 used to move a single text up or down, when it is above or below a
8044 note, since the mechanism that positions it next to the note cancels
8045 any vertical shift. For vertical positioning, use the @code{padding}
8046 and/or @code{extra-offset} properties.
8048 Other commands taking single arguments include
8051 @item \bracket, \hbracket
8052 Bracket the argument markup with normal and horizontal brackets
8056 @cindex @code{\musicglyph}
8057 This is converted to a musical symbol, e.g. @code{\musicglyph
8058 #"accidentals-0"} will select the natural sign from the music font.
8059 See @ref{The Feta font} for a complete listing of the possible glyphs.
8061 This produces a single character, e.g. @code{\char #65} produces the
8064 @item \note @var{log} @var{dots} @var{dir}
8065 @cindex @code{\note}
8067 This produces a note with a stem pointing in @var{dir} direction, with
8068 duration log @var{log} and @var{dots} augmentation dots. The duration
8069 log is the negative 2-logarithm of the duration denominator. For
8070 example, a quarter note has log 2, an eighth note 3 and a breve has
8073 @item \hspace #@var{amount}
8074 @cindex @code{\hspace}
8075 This produces a invisible object taking horizontal space.
8077 \markup @{ A \hspace #2.0 B @}
8079 will put extra space between A and B, on top of the space that is
8080 normally inserted before elements on a line.
8082 @item \fontsize #@var{size}
8083 @cindex @code{\fontsize}
8084 This sets the relative font size, eg.
8086 A \fontsize #2 @{ B C @} D
8090 This will enlarge the B and the C by two steps.
8091 @item \translate #(cons @var{x} @var{y})
8093 This translates an object. Its first argument is a cons of numbers
8095 A \translate #(cons 2 -3) @{ B C @} D
8097 This moves `B C' 2 spaces to the right, and 3 down.
8099 @item \magnify #@var{mag}
8100 @cindex @code{\magnify}
8101 This sets the font magnification for the its argument. In the following
8102 example, the middle A will be 10% larger:
8104 A \magnify #1.1 @{ A @} A
8108 @item \override #(@var{key} . @var{value})
8109 @cindex @code{\override}
8110 This overrides a formatting property for its argument. The argument
8111 should be a key/value pair, e.g.
8113 m \override #'(font-family . math) m m
8117 In markup mode you can compose expressions, similar to mathematical
8118 expressions, XML documents and music expressions. The braces group
8119 notes into horizontal lines. Other types of lists also exist: you can
8120 stack expressions grouped with @code{<}, and @code{>} vertically with
8121 the command @code{\column}. Similarly, @code{\center} aligns texts by
8124 @lilypond[verbatim,fragment,relative=1]
8125 c1^\markup { \column < a bbbb c > }
8126 c1^\markup { \center < a bbbb c > }
8127 c1^\markup { \line < a b c > }
8130 The markup mechanism is extensible. Refer to
8131 @file{scm/new-markup.scm} for more information.
8137 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
8144 Text layout is ultimately done by @TeX{}, which does kerning of
8145 letters. LilyPond does not account for kerning, so texts will be
8146 spaced slightly too wide.
8148 Syntax errors for markup mode are confusing.
8150 Markup texts cannot be used in the titling of the @code{\header}
8151 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8158 @section Global layout
8160 The global layout determined by three factors: the page layout, the
8161 line breaks and the spacing. These all influence each other. The
8162 choice of spacing determines how densely each system of music is set,
8163 which influences where line breaks breaks are chosen, and thus
8164 ultimately how many pages a piece of music takes. In this section, the
8165 algorithm for spacing music is explained, and how spacing can be
8168 Globally spoken, this procedure happens in three steps: first,
8169 flexible distances (``springs'') are chosen, based on durations. All
8170 possible line breaking combination are tried, and the one with the
8171 best results---a layout that has uniform density and requires as
8172 little stretching or cramping as possible---is chosen. When the score
8173 is processed by @TeX{}, each page is filled with systems, and page breaks
8174 are chosen whenever the page gets full.
8179 * Vertical spacing::
8180 * Horizontal spacing::
8187 @node Vertical spacing
8188 @subsection Vertical spacing
8190 @cindex vertical spacing
8191 @cindex distance between staves
8192 @cindex staff distance
8193 @cindex between staves, distance
8194 @cindex staffs per page
8195 @cindex space between staves
8197 The height of each system is determined automatically by LilyPond, to
8198 keep systems from bumping into each other, some minimum distances are
8199 set. By changing these, you can put staves closer together, and thus
8200 put more systems onto one page.
8202 Normally staves are stacked vertically. To make
8203 staves maintain a distance, their vertical size is padded. This is
8204 done with the property @code{minimumVerticalExtent}. It takes a pair
8205 of numbers, so if you want to make it smaller from its, then you could
8208 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8210 This sets the vertical size of the current staff to 4 staff-space on
8211 either side of the center staff line. The argument of
8212 @code{minimumVerticalExtent} is interpreted as an interval, where the
8213 center line is the 0, so the first number is generally negative. The
8214 staff can be made larger at the bottom by setting it to @code{(-6
8217 The piano staves are handled a little differently: to make cross-staff
8218 beaming work correctly, it is necessary that the distance between staves
8219 is fixed beforehand. This is also done with a
8220 @internalsref{VerticalAlignment} object, created in
8221 @internalsref{PianoStaff}. In this object the distance between the
8222 staves is fixed by setting @code{forced-distance}. If you want to
8223 override this, use a @code{\translator} block as follows:
8227 VerticalAlignment \override #'forced-distance = #9
8230 This would bring the staves together at a distance of 9 staff spaces,
8231 measured from the center line of each staff.
8235 Vertical alignment of staves is handled by the
8236 @internalsref{VerticalAlignment} object.
8240 @node Horizontal spacing
8241 @subsection Horizontal Spacing
8243 The spacing engine translates differences in durations into
8244 stretchable distances (``springs'') of differing lengths. Longer
8245 durations get more space, shorter durations get less. The shortest
8246 durations get a fixed amount of space (which is controlled by
8247 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8248 /The longer the duration, the more space it gets: doubling a
8249 duration adds a fixed amount (this amount is controlled by
8250 @code{spacing-increment}) of space to the note.
8252 For example, the following piece contains lots of half, quarter and
8253 8th notes, the eighth note is followed by 1 note head width (NHW).
8254 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8255 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8259 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8260 width of a note head, and @code{shortest-duration-space} is set to
8261 2.0, meaning that the shortest note gets 2 NHW (2 times
8262 @code{shortest-duration-space}) of space. For normal notes, this space
8263 is always counted from the left edge of the symbol, so the shortest
8264 notes are generally followed by one NHW of space.
8266 If one would follow the above procedure exactly, then adding a single
8267 32th note to a score that uses 8th and 16th notes, would widen up the
8268 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8269 thus adding 2 noteheads of space to every note. To prevent this, the
8270 shortest duration for spacing is not the shortest note in the score,
8271 but the most commonly found shortest note. Notes that are even
8272 shorter this are followed by a space that is proportonial to their
8273 duration relative to the common shortest note. So if we were to add
8274 only a few 16th notes to the example above, they would be followed by
8277 @lilypond[fragment, verbatim, relative=2]
8278 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8281 The most common shortest duration is determined as follows: in every
8282 measure, the shortest duration is determined. The most common short
8283 duration, is taken as the basis for the spacing, with the stipulation
8284 that this shortest duration should always be equal to or shorter than
8285 1/8th note. The shortest duration is printed when you run lilypond
8286 with @code{--verbose}. These durations may also be customized. If you
8287 set the @code{common-shortest-duration} in
8288 @internalsref{SpacingSpanner}, then this sets the base duration for
8289 spacing. The maximum duration for this base (normally 1/8th), is set
8290 through @code{base-shortest-duration}.
8292 @cindex @code{common-shortest-duration}
8293 @cindex @code{base-shortest-duration}
8294 @cindex @code{stem-spacing-correction}
8295 @cindex @code{spacing}
8297 In the introduction it was explained that stem directions influence
8298 spacing. This is controlled with @code{stem-spacing-correction}
8299 property in @internalsref{NoteSpacing}, which are generated for every
8300 @internalsref{Voice} context. The @code{StaffSpacing} object
8301 (generated at @internalsref{Staff} context) contains the same property
8302 for controlling the stem/barline spacing. The following example
8303 shows these corrections, once with default settings, and once with
8304 exaggerated corrections:
8310 \property Staff.NoteSpacing \override #'stem-spacing-correction
8312 \property Staff.StaffSpacing \override #'stem-spacing-correction
8317 \paper { raggedright = ##t } }
8320 @cindex SpacingSpanner, overriding properties
8322 Properties of the @internalsref{SpacingSpanner} must be overridden
8323 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8324 created before any @code{\property} statements are interpreted.
8326 \paper @{ \translator @{
8328 SpacingSpanner \override #'spacing-increment = #3.0
8335 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8336 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8337 @internalsref{SeparatingGroupSpanner}.
8341 Spacing is determined on a score wide basis. If you have a score that
8342 changes its character (measured in durations) halfway during the
8343 score, the part containing the longer durations will be spaced too
8346 There is no convenient mechanism to manually override spacing.
8351 @subsection Font size
8352 @cindex font size, setting
8353 @cindex staff size, setting
8354 @cindex @code{paper} file
8356 The Feta font provides musical symbols at seven different sizes.
8357 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8358 26 point. The point size of a font is the height of the corresponding
8359 staff (excluding line thicknesses).
8361 Definitions for these sizes are the files @file{paperSZ.ly}, where
8362 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8363 of these files, the variables @code{paperEleven},
8364 @code{paperThirteen}, @code{paperSixteen},
8365 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8366 are defined respectively. The default @code{\paper} block is also
8367 set. These files should be imported at toplevel, i.e.
8369 \include "paper26.ly"
8373 The default font size settings for each staff heights are generated
8374 from the 20pt style sheet. For more details, see the file
8375 @file{scm/font.scm}.
8379 @subsection Line breaking
8382 @cindex breaking lines
8384 Line breaks are normally computed automatically. They are chosen such
8385 that lines look neither cramped nor loose, and that consecutive lines
8386 have similar density.
8388 Occasionally you might want to override the automatic breaks; you can
8389 do this by specifying @code{\break}. This will force a line break at
8390 this point. Line breaks can only occur at places where there are bar
8391 lines. If you want to have a line break where there is no bar line,
8392 you can force an invisible bar line by entering @code{\bar
8393 ""}. Similarly, @code{\noBreak} forbids a line break at a
8397 @cindex regular line breaks
8398 @cindex four bar music.
8400 For linebreaks at regular intervals use @code{\break} separated by
8401 skips and repeated with @code{\repeat}:
8403 << \repeat unfold 7 @{ s1 * 4 \break @}
8404 @emph{the real music}
8409 This makes the following 28 measures (assuming 4/4 time) be broken every
8414 @internalsref{BreakEvent}.
8418 @subsection Page layout
8421 @cindex breaking pages
8423 @cindex @code{indent}
8424 @cindex @code{linewidth}
8426 The most basic settings influencing the spacing are @code{indent} and
8427 @code{linewidth}. They are set in the @code{\paper} block. They
8428 control the indentation of the first line of music, and the lengths of
8431 If @code{raggedright} is set to true in the @code{\paper}
8432 block, then the lines are justified at their natural length. This
8433 useful for short fragments, and for checking how tight the natural
8437 @cindex vertical spacing
8439 The page layout process happens outside the LilyPond formatting
8440 engine: variables controlling page layout are passed to the output,
8441 and are further interpreted by @code{lilypond} wrapper program. It
8442 responds to the following variables in the @code{\paper} block. The
8443 variable @code{textheight} sets the total height of the music on each
8444 page. The spacing between systems is controlled with
8445 @code{interscoreline}, its default is 16pt. The distance between the
8446 score lines will stretch in order to fill the full page
8447 @code{interscorelinefill} is set to a positive number. In that case
8448 @code{interscoreline} specifies the minimum spacing.
8450 @cindex @code{textheight}
8451 @cindex @code{interscoreline}
8452 @cindex @code{interscorelinefill}
8454 If the variable @code{lastpagefill} is defined,
8455 @c fixme: this should only be done if lastpagefill == #t
8456 systems are evenly distributed vertically on the last page. This
8457 might produce ugly results in case there are not enough systems on the
8458 last page. The @command{lilypond-book} command ignores
8459 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8462 @cindex @code{lastpagefill}
8464 Page breaks are normally computed by @TeX{}, so they are not under
8465 direct control of LilyPond. However, you can insert a commands into
8466 the @file{.tex} output to instruct @TeX{} where to break pages. This
8467 is done by setting the @code{between-systems-strings} on the
8468 @internalsref{NonMusicalPaperColumn} where the system is broken.
8469 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8470 The predefined command @code{\newpage} also does this.
8474 @cindex @code{papersize}
8476 To change the paper size, you must first set the @code{papersize} paper
8477 variable variable as in the example below. Set it to
8478 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8479 specification, you must set the font as described above. If you want
8480 the default font, then use the 20 point font.
8483 \paper@{ papersize = "a4" @}
8484 \include "paper16.ly"
8487 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8488 will set the paper variables @code{hsize} and @code{vsize} (used by
8489 @code{lilypond-book} and @code{lilypond}).
8494 @cindex @code{\newpage}
8500 @ref{Invoking lilypond},
8501 @inputfileref{input/regression,between-systems.ly}, and
8502 @internalsref{NonMusicalPaperColumn}.
8506 LilyPond has no concept of page layout, which makes it difficult to
8507 reliably choose page breaks in longer pieces.
8516 Entered music can also be converted to MIDI output. The performance
8517 is good enough for proof-hearing the music for errors.
8519 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8520 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8521 marks translate to a fixed fraction of the available MIDI volume
8522 range, crescendi and decrescendi make the volume vary linearly between
8523 their two extremities. The fractions can be adjusted by
8524 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8525 For each type of MIDI instrument, a volume range can be defined. This
8526 gives a basic equalizer control, which can enhance the quality of
8527 the MIDI output remarkably. The equalizer can be controlled by
8528 setting @code{instrumentEqualizer}.
8532 Many musically interesting effects, such as swing, articulation,
8533 slurring, etc., are not translated to MIDI.
8538 * MIDI instrument names::
8543 @subsection MIDI block
8547 The MIDI block is analogous to the paper block, but it is somewhat
8548 simpler. The @code{\midi} block can contain:
8552 @item a @code{\tempo} definition, and
8553 @item context definitions.
8556 Assignments in the @code{\midi} block are not allowed.
8558 A number followed by a period is interpreted as a real number, so
8559 for setting the tempo for dotted notes, an extra space should be
8560 inserted, for example:
8563 \midi @{ \tempo 4 . = 120 @}
8567 @cindex context definition
8569 Context definitions follow precisely the same syntax as within the
8570 \paper block. Translation modules for sound are called performers.
8571 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8574 @node MIDI instrument names
8575 @subsection MIDI instrument names
8577 @cindex instrument names
8578 @cindex @code{Staff.midiInstrument}
8579 @cindex @code{Staff.instrument}
8581 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8582 property or, if that property is not set, the @code{Staff.instrument}
8583 property. The instrument name should be chosen from the list in
8584 @ref{MIDI instruments}.
8588 If the selected string does not exactly match, then LilyPond uses the
8589 default (Grand Piano). It is not possible to select an instrument by