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
16 @c .{Reference Manual}
18 @node Reference Manual
19 @chapter Reference Manual
22 <!--- @@WEB-TITLE@@=Reference Manual --->
25 This document describes GNU LilyPond and its input format. The last
26 revision of this document was made for LilyPond 1.4.1. It supposes a
27 passing familiarity with how LilyPond input works. New users are
28 encouraged to study the tutorial first.
33 * Easier music entry::
53 @c FIXME: Note entry vs Music entry at top level menu is confusing.
59 The most basic forms of music are notes. Notes on their own don't
60 form valid input, but for the sake of brevity we omit @code{\score}
61 blocks and @code{\paper} declarations.
67 * Chromatic alterations::
72 * Automatic note splitting ::
74 * Easy Notation note heads ::
82 A note is printed by specifying its pitch, and then its duration.
83 @lilypond[fragment,verbatim]
92 @cindex Note specification
94 @cindex entering notes
96 The verbose syntax for pitch specification is
100 \pitch @var{scmpitch}
103 @var{scmpitch} is a pitch scheme object.
105 In Note and Chord mode, pitches may be designated by names. The default
106 names are the Dutch note names. The notes are specified by the letters
107 @code{a} through @code{g} (where the octave is formed by notes ranging
108 from @code{c} to @code{b}). The pitch @code{c} is an octave below
109 middle C and the letters span the octave above that C.
111 @cindex note names, Dutch
113 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
114 name and a flat is formed by adding @code{-es}. Double sharps and double
115 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
116 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
117 both forms are accepted.
119 LilyPond has predefined sets of note names for various other languages.
120 To use them, simply include the language specific init file. For
121 example: @code{\include "english.ly"}. The available language files and
122 the names they define are:
125 Note Names sharp flat
126 nederlands.ly c d e f g a bes b -is -es
127 english.ly c d e f g a bf b -s/-sharp -f/-flat
128 deutsch.ly c d e f g a b h -is -es
129 norsk.ly c d e f g a b h -iss/-is -ess/-es
130 svenska.ly c d e f g a b h -iss -ess
131 italiano.ly do re mi fa sol la sib si -d -b
132 catalan.ly do re mi fa sol la sib si -d/-s -b
133 espanol.ly do re mi fa sol la sib si -s -b
142 The optional octave specification takes the form of a series of
143 single quote (`@code{'}') characters or a series of comma
144 (`@code{,}') characters. Each @code{'} raises the pitch by one
145 octave; each @code{,} lowers the pitch by an octave.
147 @lilypond[fragment,verbatim,center]
148 c' c'' es' g' as' gisis' ais'
151 @node Chromatic alterations
152 @subsection Chromatic alterations
154 Normally, accidentals are printed automatically, but you may force
155 accidentals in the following ways: A reminder accidental
156 @cindex reminder accidental
158 can be forced by adding an exclamation mark @code{!} after the pitch. A
159 cautionary accidental,
160 @cindex cautionary accidental
161 @cindex parenthesized accidental
162 i.e., an accidental within parentheses can be obtained by adding the
163 question mark `@code{?}' after the pitch.
165 The automatic production of accidentals can be tuned in many
166 ways. Refer to @ref{Accidentals} for more information.
173 A rest is entered like a note, with note name `@code{r}':
175 @lilypond[singleline,verbatim]
179 Whole bar rests centered in the bar are specified using @code{R}, see
180 @ref{Multi measure rests}. See also @seeinternals{Rest}.
182 For polyphonic music, it can be convenient to specify the rest position
183 directly. You can do that by entering a note, with the keyword
184 @code{\rest} appended, e.g. Rest collisions will leave these rests alone.
186 @lilypond[singleline,verbatim]
196 @cindex Invisible rest
199 An invisible rest, or skip, can be entered like a note with note name
200 @code{s}, or with @code{\skip @var{duration}}:
202 @lilypond[singleline,verbatim]
206 The @code{s} syntax is only available in Note mode and Chord mode.
207 In other situations, you should use the @code{\skip} command, and it is
208 only available in Note mode and Chord mode.
210 @c FIXME: in lyrics mode, we have " " and _
212 In Lyrics mode, you can use `@code{" "}' and `@code{_}':
213 @lilypond[singleline,verbatim]
215 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
216 \notes\relative c'' { a2 a4 a a2 a4 a }
220 The unabbreviated `@code{\skip} @var{duration}' also works outside of
223 @lilypond[singleline,verbatim]
226 { \time 4/8 \skip 2 \time 4/4 }
227 \notes\relative c'' { a2 a1 }
232 The skip command is merely a empty musical placeholder. It does not
233 produce any output, not even transparent output.
238 @subsection Durations
242 @cindex @code{\duration}
245 In Note, Chord, and Lyrics mode, durations may be designated by numbers
246 and dots: durations are entered as their reciprocal values. For notes
247 longer than a whole you must use identifiers.
251 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
253 r1 r2 r4 r8 r16 r32 r64 r64
259 \notes \relative c'' {
261 a1 a2 a4 a8 a16 a32 a64 a64
263 r1 r2 r4 r8 r16 r32 r64 r64
268 \remove "Clef_engraver"
269 \remove "Staff_symbol_engraver"
270 \remove "Time_signature_engraver"
271 \consists "Pitch_squash_engraver"
278 If the duration is omitted then it is set to the previous duration
279 entered. At the start of parsing a quarter note is assumed. The
280 duration can be followed by dots (`@code{.}') to obtain dotted note
284 @lilypond[fragment,verbatim,center]
290 You can alter the length of duration by a fraction @var{N/M} by
291 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
292 will not affect the appearance of the notes or rests produced.
294 Durations can also be produced through GUILE extension mechanism.
295 @lilypond[verbatim,fragment]
296 c\duration #(make-duration 2 1)
307 A tie connects two adjacent note heads of the same pitch. The tie in
308 effect extends the length of a note. A tie is entered with @code{~}.
310 @lilypond[fragment,verbatim,center]
311 e' ~ e' <c' e' g'> ~ <c' e' g'>
314 When ties are used with chords, all note heads whose pitches match are
315 connected. Ties are indicated using the tilde symbol `@code{~}'. If
316 you try to tie together chords which have no common pitches then no
317 ties will be created.
319 If you want less ties created for a chord, you can set
320 @code{Voice.sparseTies} to true. In this case, a single tie is used
321 for every tied chord.
322 @lilypond[fragment,verbatim,center]
323 \property Voice.sparseTies = ##t
324 <c' e' g'> ~ <c' e' g'>
327 In its meaning a tie is just a way of extending a note duration, similar
328 to the augmentation dot: the following example are two ways of notating
329 exactly the same concept.
331 @lilypond[fragment, singleline]
332 \time 3/4 c'2. c'2 ~ c'4
334 Ties should not be confused with slurs, which indicate articulation,
335 and phrasing slurs, which indicate musical phrasing.
337 See also @seeinternals{Tie}.
342 At present, the tie is represented as a separate event, temporally
343 located in between the notes. Tieing only a subset of the note heads
344 of a chord is not supported in a simple way. It can be achieved by
345 moving the tie-engraver into the Thread context and turning on and off
348 @node Automatic note splitting
349 @subsection Automatic note splitting
350 @c FIXME: This subsection doesn't belong in @ref{Note entry}.
352 There is a facility for automatically converting long notes to tied
353 notes. This is done by replacing the @code{Note_heads_engraver} by the
354 @code{Completion_heads_engraver}.
356 @lilypond[verbatim,center]
358 \notes\relative c'{ \time 2/4
359 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
363 \remove "Note_heads_engraver"
364 \consists "Completion_heads_engraver"
368 This engraver splits all running notes at the bar line, and inserts
369 ties. One of its uses is to debug complex scores: if the measures are
370 not entirely filled, then the ties exactly show how much each measure
375 Not all durations (especially those containing tuplets) can be
376 represented exactly; the engraver will not insert tuplets.
383 @cindex @code{\times}
385 Tuplets are made out of a music expression by multiplying all duration
388 @cindex @code{\times}
390 \times @var{fraction} @var{musicexpr}
393 The duration of @var{musicexpr} will be multiplied by the fraction.
394 In print, the fraction's denominator will be printed over the notes,
395 optionally with a bracket. The most common tuplet is the triplet in
396 which 3 notes have the length of 2, so the notes are 2/3 of
397 their written length:
399 @lilypond[fragment,verbatim,center]
400 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
403 The property @code{tupletSpannerDuration} specifies how long each bracket
404 should last. With this, you can make lots of tuplets while typing
405 @code{\times} only once, thus saving typing work.
407 @lilypond[fragment, relative, singleline, verbatim]
408 \property Voice.tupletSpannerDuration = #(make-moment 1 4)
409 \times 2/3 { c'8 c c c c c }
412 The format of the number is determined by the property
413 @code{tupletNumberFormatFunction}. The default prints only the
414 denominator, but if you set it to the Scheme function
415 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
419 @cindex @code{tupletNumberFormatFunction}
420 @cindex tuplet formatting
422 See also @seeinternals{TupletBracket}.
426 Nested tuplets are not formatted automatically. In this case, outer
427 tuplet brackets should be moved automatically.
429 @node Easy Notation note heads
430 @subsection Easy Notation note heads
432 @cindex easy notation
435 A entirely different type of note head is the "easyplay" note head: a
436 note head that includes a note name. It is used in some publications by
437 Hal-Leonard Inc. music publishers.
439 @lilypond[singleline,verbatim,26pt]
441 \notes { c'2 e'4 f' | g'1 }
442 \paper { \translator { \EasyNotation } }
446 Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
447 probably will want to print it with magnification or a large font size to make it more
454 If you view the result with Xdvi, then staff lines will show through
455 the letters. Printing the postscript file obtained with ly2dvi does
456 produce the correct result.
459 @node Easier music entry
460 @section Easier music entry
466 * Skipping corrected music::
469 When entering music with LilyPond, it is easy to introduce errors. This
470 section deals with tricks and features that help you enter music, and
471 find and correct mistakes.
474 @node Relative octaves
475 @subsection Relative octaves
477 @cindex relative octave specification
479 Octaves are specified by adding @code{'} and @code{,} to pitch names.
480 When you copy existing music, it is easy to accidentally put a pitch in
481 the wrong octave and hard to find such an error. To prevent these
482 errors, LilyPond features octave entry.
484 @cindex @code{\relative}
486 \relative @var{startpitch} @var{musicexpr}
489 The octave of notes that appear in @var{musicexpr} are calculated as
490 follows: If no octave changing marks are used, the basic interval
491 between this and the last note is always taken to be a fourth or less
492 (This distance is determined without regarding alterations; a
493 @code{fisis} following a @code{ceses} will be put above the
496 The octave changing marks @code{'} and @code{,} can be added to raise or
497 lower the pitch by an extra octave. Upon entering relative mode, an
498 absolute starting pitch must be specified that will act as the
499 predecessor of the first note of @var{musicexpr}.
501 Entering music that changes octave frequently is easy in relative mode.
502 @lilypond[fragment,singleline,verbatim,center]
508 And octave changing marks are used for intervals greater than a fourth.
509 @lilypond[fragment,verbatim,center]
514 If the preceding item is a chord, the first note of the chord is used
515 to determine the first note of the next chord. However, other notes
516 within the second chord are determined by looking at the immediately
519 @lilypond[fragment,verbatim,center]
526 @cindex @code{\notes}
528 The pitch after the @code{\relative} contains a note name. To parse
529 the pitch as a note name, you have to be in note mode, so there must
530 be a surrounding @code{\notes} keyword (which is not
533 The relative conversion will not affect @code{\transpose},
534 @code{\chords} or @code{\relative} sections in its argument. If you
535 want to use relative within transposed music, you must place an
536 additional @code{\relative} inside the @code{\transpose}.
541 @subsection Bar check
545 @cindex @code{barCheckSynchronize}
549 Whenever a bar check is encountered during interpretation, a warning
550 message is issued if it doesn't fall at a measure boundary. This can
551 help you find errors in the input. Depending on the value of
552 @code{barCheckSynchronize}, the beginning of the measure will be
553 relocated, so this can also be used to shorten measures.
555 A bar check is entered using the bar symbol, @code{|}:
557 \time 3/4 c2 e4 | g2.
562 @cindex skipTypesetting
564 Failed bar checks are most often caused by entering incorrect
565 durations. Incorrect durations often completely garble up the score,
566 especially if it is polyphonic, so you should start correcting the score
567 by scanning for failed bar checks and incorrect durations. To speed up
568 this process, you can use @code{skipTypesetting} (See @ref{Skipping
571 @c . {Point and click}
572 @node Point and click
573 @subsection Point and click
575 Point and click lets you find notes in the input by clicking on them in
576 the Xdvi window. This makes it very easy to find input that causes some
577 error in the sheet music.
579 To use it, you need the following software
583 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,plain
584 Xdvi} version 22.36 or newer.
586 Note that most @TeX{} distributions ship with xdvik, which is a
587 different and less well maintained program. To find out which xdvi you
588 are running, try @code{xdvi --version} or @code{xdvi.bin --version}.
589 @item Emacs. Emacs is an extensible text-editor It is available from
590 @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
594 Xdvi must be configured to find the @TeX{} fonts and music
595 fonts. Refer to the Xdvi documentation for more information.
597 To use point-and-click, add one of these lines to the top of your .ly
600 #(set! point-and-click line-location)
603 In the emacs startup file (usually @file{~/.emacs}), add the following
608 Make sure that the environment variable @code{XEDITOR} is set to
610 emacsclient --no-wait +%l %f
613 When viewing, Control-Mousebutton 1 will take you to the originating
614 spot in the @file{.ly} file. Control-Mousebutton 2 will show all
617 If you use Emacs version 21, then you can make emacs jump to the exact
618 spot (and not just the line) on a click, you must enable column
619 positioning. At the top of the @code{ly} file, replace the
620 @code{set!} line with the following line
622 #(set! point-and-click line-column-location)
624 Set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}.
626 If you correct large files with point-and-click, be sure to start
627 correcting at the end of the file. When you start at the top, and
628 insert one line, all following locations will be off by a line.
633 When you convert the @TeX{} file to PostScript using @code{dvips}, it
634 will complain about not finding @code{src:X:Y} files. These complaints
635 are harmless, and can be ignored.
637 @node Skipping corrected music
638 @subsection Skipping corrected music
640 The property @code{Score.skipTypesetting} can be used to switch on and
641 off typesetting completely during the interpretation phase. When
642 typesetting is switched off, the music is processed much more quickly.
643 You can use this to skip over the parts of a score that you have already
646 @lilypond[fragment,singleline,verbatim]
648 \property Score.skipTypesetting = ##t
650 \property Score.skipTypesetting = ##f
658 @section Staff notation
660 This section deals with music notation that occurs on staff level,
661 such as keys, clefs and time signatures.
663 @cindex Staff notation
675 @subsection Key signature
680 Setting or changing the key signature is done with the @code{\key}
683 @code{\key} @var{pitch} @var{type}
686 @cindex @code{\minor}
687 @cindex @code{\major}
688 @cindex @code{\minor}
689 @cindex @code{\ionian}
690 @cindex @code{\locrian}
691 @cindex @code{\aeolian}
692 @cindex @code{\mixolydian}
693 @cindex @code{\lydian}
694 @cindex @code{\phrygian}
695 @cindex @code{\dorian}
697 Here, @var{type} should be @code{\major} or @code{\minor} to get
698 @var{pitch}-major or @var{pitch}-minor, respectively.
699 The standard mode names @code{\ionian},
700 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
701 @code{\phrygian}, and @code{\dorian} are also defined.
703 This command sets the context property @code{Staff.keySignature}.
704 Non-standard key signatures can be specified by setting this property
707 The printed signature is a @internalsref{KeySignature} grob, typically
708 created in @internalsref{Staff} context.
710 @cindex @code{keySignature}
717 The clef can be set or changed with the @code{\clef} command:
718 @lilypond[fragment,verbatim]
719 \key f\major c''2 \clef alto g'2
722 Supported clef-names include
723 @c Moved standard clefs to the top /MB
725 @item treble, violin, G, G2
734 G clef on 1st line, so-called French violin clef
749 By adding @code{_8} or @code{^8} to the clef name, the clef is
750 transposed one octave down or up, respectively. Note that you have to
751 enclose @var{clefname} in quotes if you use underscores or digits in the
757 The grob for this symbol is @internalsref{Clef}.
760 This command is equivalent to setting @code{clefGlyph},
761 @code{clefPosition} (which controls the Y position of the clef),
762 @code{centralCPosition} and @code{clefOctavation}. A clef is created
763 when any of these properties are changed.
766 @c . {Time signature}
768 @subsection Time signature
769 @cindex Time signature
773 The time signature is set or changed by the @code{\time}
775 @lilypond[fragment,verbatim]
776 \time 2/4 c'2 \time 3/4 c'2.
779 The actual symbol that's printed can be customized with the @code{style}
780 property. Setting it to @code{#'()} uses fraction style for 4/4 and
784 The grob for this symbol is @internalsref{TimeSignature}. There are
785 many more options for its layout. They are selected through the
786 @code{style} grob property. See @file{input/test/time.ly} for more
789 This command sets the property @code{timeSignatureFraction},
790 @code{beatLength} and @code{measureLength}. The property
791 @code{timeSignatureFraction} determine where bar lines should be
792 inserted, and how automatic beams should be generated. Changing the
793 value of @code{timeSignatureFraction} also causes a time signature
794 symbol to be printed.
801 @cindex partial measure
802 @cindex measure, partial
803 @cindex shorten measures
804 @cindex @code{\partial}
806 Partial measures, for example in upbeats, are entered using the
807 @code{\partial} command:
808 @lilypond[fragment,verbatim]
809 \partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
812 The syntax for this command is
814 \partial @var{duration}
816 This is internally translated into
818 \property Score.measurePosition = -@var{length of duration}
821 The property @code{measurePosition} contains a rational number
822 indicating how much of the measure has passed at this point.
825 @node Unmetered music
826 @subsection Unmetered music
828 Bar lines and bar numbers are calculated automatically. For unmetered
829 music (e.g. cadenzas), this is not desirable. The commands
830 @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
833 @lilypond[fragment,relative,singleline,verbatim]
841 The property @code{Score.timing} can be used to switch off this
846 @subsection Bar lines
850 @cindex measure lines
853 Bar lines are inserted automatically, but if you need a special type
854 of barline, you can force one using the @code{\bar} command:
855 @lilypond[fragment,verbatim] c4 \bar "|:" c4
858 The following bar types are available
859 @lilypond[fragment, relative, singleline, verbatim]
871 You are encouraged to use @code{\repeat} for repetitions. See
874 In scores with many staffs, the barlines are automatically placed at
875 top level, and they are connected between different staffs of a
876 @internalsref{StaffGroup}:
877 @lilypond[fragment, verbatim]
878 < \context StaffGroup <
879 \context Staff = up { e'4 d'
882 \context Staff = down { \clef bass c4 g e g } >
883 \context Staff = pedal { \clef bass c2 c2 } >
886 The grobs that are created at @internalsref{Staff} level. The name is
887 @internalsref{BarLine}.
889 The command @code{\bar @var{bartype}} is a short cut for
890 doing @code{\property Score.whichBar = @var{bartype}}
891 Whenever @code{whichBar} is set to a string, a bar line of that type is
892 created. @code{whichBar} is usually set automatically: at the start of
893 a measure it is set to @code{defaultBarType}. The contents of
894 @code{repeatCommands} is used to override default measure bars.
896 @code{whichBar} can also be set directly, using @code{\property} or
897 @code{\bar }. These settings take precedence over the automatic
898 @code{whichBar} settings.
901 @cindex Bar_line_engraver
903 @cindex repeatCommands
904 @cindex defaultBarType
913 The easiest way to enter such fragments with more than one voice on a
914 staff is to split chords using the separator @code{\\}. You can use
915 it for small, short-lived voices (make a chord of voices) or for
918 @lilypond[verbatim,fragment]
919 \context Voice = VA \relative c'' {
920 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
924 The separator causes @internalsref{Voice} contexts to be instantiated,
925 bearing the names @code{"1"}, @code{"2"}, etc.
927 Sometimes, it is necessary to instantiate these contexts by hand: For
928 Instantiate a separate Voice context for each part, and use
929 @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
930 and horizontal shift for each part.
933 @lilypond[singleline, verbatim]
935 \context Staff < \context Voice = VA { \voiceOne cis2 b }
936 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
937 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
940 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
941 ties, slurs and stems, and set shift directions.
943 If you want more than four voices, you can also manually set
944 horizontal shifts and stem directions, as is shown in the following example:
945 @lilypond[fragment, verbatim]
946 \context Staff \notes\relative c''<
953 \context Voice=three {
954 \shiftOnn \stemUp ais
956 \context Voice=four {
957 \shiftOnnn \stemUp fis
963 Normally, note heads with a different number of dots are not merged, but
964 if you set the grob property @code{merge-differently-dotted}, they are:
965 @lilypond[verbatim,fragment,singleline]
968 \property Staff.NoteCollision \override
969 #'merge-differently-dotted = ##t
971 } \\ { [g'8. f16] [g'8. f'16] }
975 Similarly, you can merge half note heads with eighth notes, by setting
976 @code{merge-differently-headed}:
977 @lilypond[fragment, relative=2,verbatim]
980 \property Staff.NoteCollision
981 \override #'merge-differently-headed = ##t
982 c8 c4. } \\ { c2 c2 } >
985 LilyPond also vertically shifts rests that are opposite of a stem.
987 @lilypond[singleline,fragment,verbatim]
988 \context Voice < c''4 \\ r4 >
991 See also @internalsref{NoteCollision} and @internalsref{RestCollision}
995 Resolving collisions is a very intricate subject, and LilyPond only
996 handles a few situations. When it can not cope, you are advised to use
997 @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched
998 rests to override typesetting decisions.
1003 Beams are used to group short notes into chunks that are aligned with
1004 the metrum. They are inserted automatically in most cases.
1006 @lilypond[fragment,verbatim, relative=2]
1007 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1010 If you're not satisfied with the automatic beaming, you can enter the
1011 beams explicitly. If you have beaming patterns that differ from the
1012 defaults, you can also set the patterns for automatic beamer.
1014 See also @internalsref{Beam}.
1017 @cindex Automatic beams
1018 @subsection Manual beams
1019 @cindex beams, manual
1023 In some cases it may be necessary to override LilyPond's automatic
1024 beaming algorithm. For example, the auto beamer will not beam over
1025 rests or bar lines, If you want that, specify the begin and end point
1026 manually using a @code{[} before the first beamed note and a @code{]}
1027 after the last note:
1029 @lilypond[fragment,relative,verbatim]
1031 r4 [r8 g' a r8] r8 [g | a] r8
1035 @cindex @code{stemLeftBeamCount}
1037 Normally, beaming patterns within a beam are determined automatically.
1038 When this mechanism fouls up, the properties
1039 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1040 be used to control the beam subdivision on a stem. If you set either
1041 property, its value will be used only once, and then it is erased.
1043 @lilypond[fragment,relative,verbatim]
1046 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1049 @cindex @code{stemRightBeamCount}
1052 The property @code{subdivideBeams} can be set in order to subdivide
1053 all 16th or shorter beams at beat positions. This accomplishes the
1054 same effect as twiddling with @code{stemLeftBeamCount} and
1055 @code{stemRightBeamCount}, but it take less typing.
1060 \property Voice.subdivideBeams = ##t
1062 [c32 c c c c c c c c c c c c c c c]
1063 \property Score.beatLength = #(make-moment 1 8)
1064 [c32 c c c c c c c c c c c c c c c]
1068 \notes \relative c' {
1070 \property Voice.subdivideBeams = ##t
1072 [c32 c c c c c c c c c c c c c c c]
1073 \property Score.beatLength = #(make-moment 1 8)
1074 [c32 c c c c c c c c c c c c c c c]
1078 @cindex subdivideBeams
1080 Kneed beams are inserted automatically, when a large gap between two
1081 adjacent beamed notes is detected. This behavior can be tuned through
1082 the grob property @code{auto-knee-gap}.
1084 @cindex beams, kneed
1086 @cindex auto-knee-gap
1090 @c TODO -> why this ref? Document?
1091 @cindex @code{neutral-direction}
1095 Auto knee beams can not be used together with hara kiri staffs.
1098 * Setting automatic beam behavior ::
1102 @no de Beam typography
1103 @sub section Beam typography
1105 One of the strong points of LilyPond is how beams are formatted. Beams
1106 are quantized, meaning that the left and right endpoints beams start
1107 exactly on staff lines. Without quantization, small wedges of white
1108 space appear between the beam and staff line, and this looks untidy.
1110 Beams are also slope-damped: melodies that go up or down should also
1111 have beams that go up or down, but the slope of the beams should be
1112 less than the slope of the notes themselves.
1114 Some beams should be horizontal. These are so-called concave beams.
1116 [TODO: some pictures.]
1119 @c . {Automatic beams}
1120 @node Setting automatic beam behavior
1121 @subsection Setting automatic beam behavior
1123 @cindex @code{autoBeamSettings}
1124 @cindex @code{(end * * * *)}
1125 @cindex @code{(begin * * * *)}
1126 @cindex automatic beams, tuning
1127 @cindex tuning automatic beaming
1129 In normal time signatures, automatic beams can start on any note but can
1130 only end in a few positions within the measure: beams can end on a beat,
1131 or at durations specified by the properties in
1132 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1133 are defined in @file{scm/auto-beam.scm}.
1135 The value of @code{autoBeamSettings} is changed using
1136 @code{\override} and unset using @code{\revert}:
1138 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1139 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1141 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1142 whether the rule applies to begin or end-points. The quantity
1143 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1144 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1145 signature (wildcards, `@code{* *}' may be entered to designate all time
1148 For example, if you want automatic beams to end on every quarter note,
1149 you can use the following:
1151 \property Voice.autoBeamSettings \override
1152 #'(end * * * *) = #(make-moment 1 4)
1154 Since the duration of a quarter note is 1/4 of a whole note, it is
1155 entered as @code{(make-moment 1 4)}.
1157 The same syntax can be used to specify beam starting points. In this
1158 example, automatic beams can only end on a dotted quarter note.
1160 \property Voice.autoBeamSettings \override
1161 #'(end * * * *) = #(make-moment 3 8)
1163 In 4/4 time signature, this means that automatic beams could end only on
1164 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1165 3/8 has passed within the measure).
1167 You can also restrict rules to specific time signatures. A rule that
1168 should only be applied in @var{N}/@var{M} time signature is formed by
1169 replacing the second asterisks by @var{N} and @var{M}. For example, a
1170 rule for 6/8 time exclusively looks like
1172 \property Voice.autoBeamSettings \override
1173 #'(begin * * 6 8) = ...
1176 If you want a rule to apply to certain types of beams, you can use the
1177 first pair of asterisks. Beams are classified according to the shortest
1178 note they contain. For a beam ending rule that only applies to beams
1179 with 32nd notes (and no shorter notes), you would use @code{(end 1
1183 @c Automatic beams can not be put on the last note in a score.
1185 If a score ends while an automatic beam has not been ended and is still
1186 accepting notes, this last beam will not be typeset at all.
1188 @cindex automatic beam generation
1190 @cindex @code{Voice.autoBeaming}
1193 For melodies that have lyrics, you may want to switch off
1194 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1200 It is not possible to specify beaming parameters for beams with mixed
1201 durations, that differ from the beaming parameters of all separate
1202 durations, i.e., you'll have to specify manual beams to get:
1203 @lilypond[fragment,singleline,relative]
1204 \property Voice.autoBeamSettings
1205 \override #'(end * * * *) = #(make-moment 3 8)
1206 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1209 It is not possible to specify beaming parameters that act differently in
1210 different parts of a measure. This means that it is not possible to use
1211 automatic beaming in irregular meters such as @code{5/8}.
1214 @section Accidentals
1216 This section describes how to change the way that LilyPond automatically
1217 inserts accidentals before the running notes.
1220 * Using the predefined accidental macros::
1221 * Defining your own accidental typesettings::
1224 @node Using the predefined accidental macros
1225 @subsection Using the predefined accidental macros
1226 The constructs for describing the accidental typesetting rules are
1227 quite hairy, so non-experts should stick to the macros defined in
1228 @file{ly/property-init.ly}.
1229 @cindex @file{property-init.ly}
1231 The normal way of using the macros is to enter the macro name right after the
1232 creation of the context in which the accidental typesetting described
1233 by the macro is to take effect. I.e. if you want to use
1234 piano-accidentals in a pianostaff then you issue
1235 @code{\pianoAccidentals} first thing after the creation of the piano
1239 \notes \relative c'' <
1240 \context Staff = sa @{ cis4 d e2 @}
1241 \context GrandStaff <
1243 \context Staff = sb @{ cis4 d e2 @}
1244 \context Staff = sc @{ es2 c @}
1246 \context Staff = sd @{ es2 c @}
1250 @lilypond[singleline]
1252 \notes \relative c'' <
1253 \context Staff = sa { cis4 d e2 }
1254 \context GrandStaff <
1256 \context Staff = sb { cis4 d e2 }
1257 \context Staff = sc { es2 c }
1259 \context Staff = sd { es2 c }
1264 minimumVerticalExtent = #'(-4.0 . 4.0)
1272 @item \defaultAccidentals
1273 @cindex @code{\defaultAccidentals}
1274 This is the default typesetting behaviour. It should correspond
1275 to 18th century common practice: Accidentals are
1276 remembered to the end of the measure in which they occur and
1277 only on their own octave.
1279 @item \voiceAccidentals
1280 @cindex @code{\voiceAccidentals}
1281 The normal behaviour is to remember the accidentals on
1283 This macro, however, typesets accidentals individually for each
1285 Apart from that the rule is similar to
1286 @code{\defaultAccidentals}.
1288 Warning: This leads to some weird and often unwanted results
1289 because accidentals from one voice DO NOT get cancelled in other
1291 @lilypond[singleline,relative,fragment,verbatim]
1294 \context Voice=va { \voiceOne es g }
1295 \context Voice=vb { \voiceTwo c, e }
1298 Hence you should only use @code{\voiceAccidentals}
1299 if the voices are to be read solely by
1300 individual musicians. if the staff should be readable also
1301 by one musician/conductor then you should use
1302 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1305 @item \modernAccidentals
1306 @cindex @code{\modernAccidentals}
1307 This rule should correspond to the common practice in the 20th
1309 The rule is a bit more complex than @code{\defaultAccidentals}:
1310 You get all the same accidentals, but temporary
1311 accidentals also get cancelled in other octaves. Further more,
1312 in the same octave, they also get cancelled in the following measure:
1313 @lilypond[singleline,fragment,verbatim]
1315 cis' c'' cis'2 | c'' c'
1318 @item \modernCautionaries
1319 @cindex @code{\modernCautionaries}
1320 This rule is similar to @code{\modernAccidentals}, but the
1321 ``extra'' accidentals (the ones not typeset by
1322 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1323 (i.e. in reduced size):
1324 @lilypond[singleline,fragment,verbatim]
1326 cis' c'' cis'2 | c'' c'
1329 @item \modernVoiceAccidentals
1330 @cindex @code{\modernVoiceAccidentals}
1331 Multivoice accidentals to be read both by musicians playing one voice
1332 and musicians playing all voices.
1334 Accidentals are typeset for each voice, but they ARE cancelled
1335 across voices in the same @internalsref{Staff}.
1337 @item \modernVoiceCautionaries
1338 @cindex @code{\modernVoiceCautionaries}
1339 The same as @code{\modernVoiceAccidentals}, but with the
1340 extra accidentals (the ones not typeset by
1341 @code{\voiceAccidentals}) typeset as cautionaries.
1342 Notice that even though all accidentals typeset by
1343 @code{\defaultAccidentals} ARE typeset by this macro then some
1344 of them are typeset as cautionaries.
1346 @item \pianoAccidentals
1347 @cindex @code{\pianoAccidentals}
1348 20th century practice for piano notation. Very similar to
1349 @code{\modernAccidentals} but accidentals also get cancelled
1350 across the staves in the same @internalsref{GrandStaff} or
1351 @internalsref{PianoStaff}.
1353 @item \pianoCautionaries
1354 @cindex @code{\pianoCautionaries}
1355 As @code{\pianoAccidentals} but with the extra accidentals
1356 typeset as cationaries.
1359 @cindex @code{\noResetKey}
1360 Same as @code{\defaultAccidentals} but with accidentals lasting
1361 ``forever'' and not only until the next measure:
1362 @lilypond[singleline,fragment,verbatim,relative]
1367 @item \forgetAccidentals
1368 @cindex @code{\forgetAccidentals}
1369 This is sort of the opposite of @code{\noResetKey}: Accidentals
1370 are not remembered at all - and hence all accidentals are
1371 typeset relative to the key signature, regardless of what was
1372 before in the music:
1373 @lilypond[singleline,fragment,verbatim,relative]
1375 \key d\major c4 c cis cis d d dis dis
1379 @node Defining your own accidental typesettings
1380 @subsection Defining your own accidental typesettings
1382 This section must be considered gurus-only, and hence it must be
1383 sufficient with a short description of the system and a reference to
1384 the internal documentation.
1386 The idea of the algorithm is to try several different rules and then
1387 use the rule that gives the highest number of accidentals.
1388 Each rule cosists of
1391 In which context is the rule applied. I.e. if context is
1392 @internalsref{Score} then all staves share accidentals, and if
1393 context is @internalsref{Staff} then all voices in the same
1394 staff share accidentals, but staves don't - like normally.
1396 Whether the accidental changes all octaves or only the current
1399 Over how many barlines the accidental lasts.
1400 If lazyness is @code{-1} then the accidental is forget
1401 immidiately, and if lazyness is @code{#t} then the accidental
1405 As described in the internal documentation of
1406 @reng{Accidental_engraver}, the properties @code{autoAccidentals} and
1407 @code{autoCautionaries} contain lists of rule descriptions. Notice
1408 that the contexts must be listed from in to out - that is
1409 @internalsref{Thread} before @internalsref{Voice},
1410 @internalsref{Voice} before @internalsref{Staff}, etc.
1411 see the macros in @file{ly/property-init.ly} for examples of how the
1416 Currently the simultaneous notes are considered to be entered in
1417 sequential mode. This means that in a chord the accidentals are
1418 typeset as if the notes in the chord happened one at a time - in the
1419 order in which they appear in the input file.
1421 Of course this is only a problem when you have simultainous notes
1422 which accidentals should depend on each other.
1423 Notice that the problem only occurs when using non-default accidentals
1424 - as the default accidentals only depend on other accidentals on the
1425 same staff and same pitch and hence cannot depend on other
1428 This example shows two examples of the same music giving different
1429 accidentals depending on the order in which the notes occur in the
1432 @lilypond[singleline,fragment,verbatim]
1433 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1434 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
1437 The only solution is to manually insert the problematic
1438 accidentals using @code{!} and @code{?}.
1440 @node Expressive marks
1441 @section Expressive marks
1456 A slur indicates that notes are to be played bound or @emph{legato}.
1457 They are entered using parentheses:
1458 @lilypond[fragment,verbatim,center]
1459 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1462 See also @seeinternals{Slur}.
1464 Slurs avoid crossing stems, and are generally attached to note heads.
1465 However, in some situations with beams, slurs may be attached to stem
1466 ends. If you want to override this layout you can do this through the
1467 grob-property @code{attachment} of @internalsref{Slur} in
1468 @internalsref{Voice} context It's value is a pair of symbols, specifying
1469 the attachment type of the left and right end points.
1471 @lilypond[fragment,relative,verbatim]
1473 \property Voice.Stem \set #'length = #5.5
1475 \property Voice.Slur \set #'attachment = #'(stem . stem)
1479 If a slur would strike through a stem or beam, the slur will be moved
1480 away upward or downward. If this happens, attaching the slur to the
1481 stems might look better:
1483 @lilypond[fragment,relative,verbatim]
1486 \property Voice.Slur \set #'attachment = #'(stem . stem)
1491 Similarly, the curvature of a slur is adjusted to stay clear of note
1492 heads and stems. When that would increase the curvature too much, the
1493 slur is reverted to its default shape. The threshold for this
1494 decision is in @internalsref{Slur}'s grob-property @code{beautiful}.
1495 It is loosely related to the enclosed area between the slur and the
1496 notes. Usually, the default setting works well, but in some cases you
1497 may prefer a curved slur when LilyPond decides for a vertically moved
1498 one. You can indicate this preference by increasing the
1499 @code{beautiful} value:
1501 @lilyp ond[verbatim,singleline,relative]
1503 c16( a' f' a a f a, )c,
1504 c( a' f' a a f d, )c
1505 \property Voice.Slur \override #'beautiful = #5.0
1506 c( a' f' a a f d, )c
1512 Producing nice slurs is a difficult problem, and LilyPond currently
1513 uses a simple, empiric method to produce slurs. In some cases, the
1514 results of this method are ugly.
1517 This is reflected by the
1518 @code{beautiful} property, which it is an arbitrary parameter in the
1519 slur formatter. Useful values can only be determined by trial and
1523 @cindex Adjusting slurs
1525 @node Phrasing slurs
1526 @subsection Phrasing slurs
1528 @cindex phrasing slurs
1529 @cindex phrasing marks
1531 A phrasing slur (or phrasing mark) connects chords and is used to
1532 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1535 @lilypond[fragment,verbatim,center,relative]
1536 \time 6/4 c' \( d () e f () e \) d
1539 Typographically, the phrasing slur behaves almost exactly like a normal
1540 slur. See also @seeinternals{PhrasingSlur}.
1544 @subsection Breath marks
1546 Breath marks are entered using @code{\breathe}. See also
1547 @seeinternals{BreathingSign}.
1549 @lilypond[fragment,relative]
1558 @cindex beats per minute
1559 @cindex metronome marking
1561 Metronome settings can be entered as follows:
1563 @cindex @code{\tempo}
1565 \tempo @var{duration} = @var{perminute}
1568 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1573 The tempo setting is not printed, but is only used in the MIDI
1574 output. You can trick lily into producing a metronome mark,
1575 though. Details are in @ref{Text markup}.
1580 @subsection Text spanners
1581 @cindex Text spanners
1583 Some textual indications, e.g. rallentando or accelerando, often extend
1584 over many measures. This is indicated by following the text with a
1585 dotted line. You can create such texts using text spanners. The syntax
1588 \spanrequest \start "text"
1589 \spanrequest \stop "text"
1591 LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically
1592 in @internalsref{Voice} context). The string to be printed, as well as the
1593 style is set through grob properties.
1595 An application---or rather, a hack---is to fake octavation indications.
1596 @lilypond[fragment,relative,verbatim]
1597 \relative c' { a''' b c a
1598 \property Voice.TextSpanner \set #'type = #'dotted-line
1599 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1600 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1601 \property Staff.centralCPosition = #-13
1602 a\spanrequest \start "text" b c a \spanrequest \stop "text" }
1620 @subsection Articulations
1621 @cindex Articulations
1623 @cindex articulations
1627 A variety of symbols can appear above and below notes to indicate
1628 different characteristics of the performance. They are added to a note
1629 by adding a dash and the the character signifying the
1630 articulation. They are demonstrated here.
1631 @lilypond[singleline]
1633 \notes \context Voice {
1634 \property Voice.TextScript \set #'font-family = #'typewriter
1635 \property Voice.TextScript \set #'font-shape = #'upright
1641 c''4-^_"c-\\^{ }" s4
1646 The script is automatically placed, but if you need to force
1647 directions, you can use @code{_} to force them down, or @code{^} to
1649 @lilypond[fragment, verbatim]
1654 Other symbols can be added using the syntax
1655 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1656 using @code{^} and @code{_}.
1660 @cindex staccatissimo
1668 @cindex organ pedal marks
1677 @cindex prallmordent
1681 @cindex thumb marking
1688 \property Score.LyricText \override #'font-family =#'typewriter
1689 \property Score.LyricText \override #'font-shape = #'upright
1690 \context Staff \notes {
1691 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1692 c''-\stopped c''-\staccato c''-\tenuto c''-\upbow
1693 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1694 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1695 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1696 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1697 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1698 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1700 \context Lyrics \lyrics {
1701 accent__ marcato__ staccatissimo__ fermata
1702 stopped__ staccato__ tenuto__ upbow
1703 downbow__ lheel__ rheel__ ltoe
1704 rtoe__ turn__ open__ flageolet
1705 reverseturn__ trill__ prall__ mordent
1706 prallprall__ prallmordent__ uprall__ downprall
1707 upmordent__ downmordent__ pralldown__ prallup__
1708 lineprall__ thumb__ segno__ coda
1712 linewidth = 5.875\in
1721 Fingering instructions can also be entered in this shorthand. For
1722 finger changes, use markup texts:
1724 @lilypond[verbatim, singleline, fragment]
1725 c'4-1 c'4-2 c'4-3 c'4-4
1730 @cindex @code{\script}
1735 See also @seeinternals{Script} and @seeinternals{Fingering}.
1739 All of these note ornaments appear in the printed output but have no
1740 effect on the MIDI rendering of the music.
1742 Unfortunately, there is no support for adding fingering instructions or
1743 ornaments to individual note heads. Some hacks exist, though. See
1744 @file{input/test/script-horizontal.ly}.
1749 @subsection Text scripts
1750 @cindex Text scripts
1752 In addition, it is possible to place arbitrary strings of text or markup
1753 text (see @ref{Text markup}) above or below notes by using a string:
1756 By default, these indications do not influence the note spacing, but
1757 by using the command @code{\fatText}, the widths will be taken into
1760 @lilypond[fragment,singleline,verbatim] \relative c' {
1761 c4^"longtext" \fatText c4_"longlongtext" c4 }
1764 It is possible to use @TeX{} commands in the strings, but this should be
1765 avoided because it makes it impossible for LilyPond to compute the
1766 exact length of the string, which may lead to collisions. Also, @TeX{}
1767 commands won't work with direct PostScript output (see @ref{PostScript
1770 Text scripts are created in form of @internalsref{TextScript} grobs, in
1771 @internalsref{Voice} context.
1773 @ref{Text markup} describes how to change the font or access
1774 special symbols in text scripts.
1779 @subsection Grace notes
1783 @cindex @code{\grace}
1787 Grace notes are ornaments are written out ornaments
1788 @lilypond[relative=2,verbatim,ifragment]
1789 c4 \grace c16 c4 \grace { [c16 d16] } c4
1792 In normal notation, grace notes are supposed to take up no logical
1793 time in a measure. Such an idea is practical for normal notation, but
1794 is not strict enough to put it into a program. The model that LilyPond
1795 uses for grace notes internally is that all timing is done in two
1798 Every point in musical time consists of two rational numbers: one
1799 denotes the logical time, one denotes the grace timing. The above
1800 example is shown here with timing tuples.
1803 \score { \notes \relative c''{
1804 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
1805 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
1807 \paper { linewidth = 8.\cm }
1811 The advantage of this approach is that you can use almost any lilypond
1812 construction together with grace notes, for example slurs and clef
1813 changes may appear halfway in between grace notes:
1815 @lilypond[relative=2,verbatim,fragment]
1816 c4 \grace { [ c16 c, \clef bass c, b(] } )c4
1819 The placement of these grace notes is synchronized between different
1820 staffs, using this grace timing.
1822 @lilypond[relative=2,verbatim,fragment]
1823 < \context Staff = SA { e4 \grace { c16 d e f } e4 }
1824 \context Staff = SB { c4 \grace { g8 b } c4 } >
1828 Unbeamed eighth notes and shorter by default have a slash through the
1829 stem. This can be controlled with grob property @code{flag-style} of
1830 @internalsref{Stem}. The change in formatting is accomplished by
1831 inserting @code{\startGraceMusic} before handling the grace notes, and
1832 @code{\stopGraceMusic} after finishing the grace notes. You can add to
1833 these definitions to globally change grace note formatting. The
1834 standard definitions are in @file{ly/grace-init.ly}.
1837 @lilypond[fragment,verbatim]
1838 \relative c'' \context Voice {
1839 \grace c8 c4 \grace { [c16 c16] } c4
1841 \property Voice.Stem \override #'flag-style = #'()
1843 \property Voice.Stem \revert #'flag-style
1850 Grace note synchronization can also lead to surprises. Staff notation,
1851 such as key signatures, barlines, etc. are also synchronized. Take
1852 care when you mix staffs with grace notes and staffs without.
1854 @lilypond[relative=2,verbatim,fragment]
1855 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
1856 \context Staff = SB { c4 \bar "|:" d4 } >
1859 Grace sections should only be used within sequential music
1860 expressions. Nesting, juxtaposing, or ending sequential music with a
1861 grace section is not supported, and might produce crashes or other
1873 @subsection Glissando
1876 @cindex @code{\glissando}
1878 A glissando line can be requested by attaching a @code{\glissando} to
1881 @lilypond[fragment,relative,verbatim]
1887 Printing of an additional text (such as @emph{gliss.}) must be done
1888 manually. See also @seeinternals{Glissando}.
1894 @subsection Dynamics
1907 @cindex @code{\ffff}
1917 Absolute dynamic marks are specified using an identifier after a
1918 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
1919 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
1920 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
1921 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
1923 @lilypond[verbatim,singleline,fragment,relative]
1924 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
1930 @cindex @code{\decr}
1931 @cindex @code{\rced}
1937 A crescendo mark is started with @code{\cr} and terminated with
1938 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
1939 started with @code{\decr} and terminated with @code{\rced}. There are
1940 also shorthands for these marks. A crescendo can be started with
1941 @code{\<} and a decrescendo can be started with @code{\>}. Either one
1942 can be terminated with @code{\!}. Note that @code{\!} must go before
1943 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
1944 after the last note. Because these marks are bound to notes, if you
1945 want several marks during one note, you have to use spacer notes.
1947 @lilypond[fragment,verbatim,center]
1948 c'' \< \! c'' d'' \decr e'' \rced
1949 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
1952 You can also use a text saying @emph{cresc.} instead of hairpins. Here
1953 is an example how to do it:
1955 @lilypond[fragment,relative=2,verbatim]
1956 c4 \cresc c4 \endcresc c4
1963 You can also supply your own texts:
1964 @lilypond[fragment,relative,verbatim]
1966 \property Voice.crescendoText = "cresc. poco"
1967 \property Voice.crescendoSpanner = #'dashed-line
1974 Dynamics are grobs of @internalsref{DynamicText} and
1975 @internalsref{Hairpin}. Vertical positioning of these symbols is
1976 handled by the @internalsref{DynamicLineSpanner} grob. If you want to
1977 adjust padding or vertical direction of the dynamics, you must set
1978 properties for the @internalsref{DynamicLineSpanner} grob. Predefined
1979 identifiers to set the vertical direction are \dynamicUp and
1982 @cindex direction, of dynamics
1983 @cindex @code{\dynamicDown}
1984 @cindex @code{\dynamicUp}
1992 @cindex @code{\repeat}
1994 To specify repeats, use the @code{\repeat} keyword. Since repeats
1995 should work differently when played or printed, there are a few
1996 different variants of repeats.
2000 Repeated music is fully written (played) out. Useful for MIDI
2001 output, and entering repetitive music.
2004 This is the normal notation: Repeats are not written out, but
2005 alternative endings (voltas) are printed, left to right.
2008 Alternative endings are written stacked. This has limited use but may be
2009 used to typeset two lines of lyrics in songs with repeats, see
2010 @file{input/star-spangled-banner.ly}.
2016 Make beat or measure repeats. These look like percent signs.
2022 * Repeats and MIDI::
2023 * Manual repeat commands::
2025 * Tremolo subdivisions::
2030 @subsection Repeat syntax
2032 The syntax for repeats is
2035 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2038 If you have alternative endings, you may add
2039 @cindex @code{\alternative}
2041 \alternative @code{@{} @var{alternative1}
2043 @var{alternative3} @dots{} @code{@}}
2045 where each @var{alternative} is a music expression.
2047 Normal notation repeats are used like this:
2048 @lilypond[fragment,verbatim]
2050 \repeat volta 2 { c'4 d' e' f' }
2051 \repeat volta 2 { f' e' d' c' }
2054 With alternative endings:
2055 @lilypond[fragment,verbatim]
2057 \repeat volta 2 {c'4 d' e' f'}
2058 \alternative { {d'2 d'} {f' f} }
2061 Folded repeats look like this:
2064 @lilypond[fragment,verbatim]
2066 \repeat fold 2 {c'4 d' e' f'}
2067 \alternative { {d'2 d'} {f' f} }
2071 If you don't give enough alternatives for all of the repeats, then
2072 the first alternative is assumed to be repeated often enough to equal
2073 the specified number of repeats.
2075 @lilypond[fragment,verbatim]
2079 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2080 \alternative { { g4 g g } { a | a a a a | b2. } }
2085 @node Repeats and MIDI
2086 @subsection Repeats and MIDI
2088 @cindex expanding repeats
2090 For instructions on how to unfoldi repeats for MIDI output, see
2091 the example file @file{input/test/unfold-all-repeats.ly}.
2096 Notice that timing information is not remembered at the start of an
2097 alternative, so you have to reset timing information after a repeat,
2098 e.g. using a bar-check (See @ref{Bar check}), setting
2099 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
2100 are also not repeated.
2102 It is possible to nest @code{\repeat}s, although this probably is only
2103 meaningful for unfolded repeats.
2105 Folded repeats offer little more over simultaneous music.
2107 @node Manual repeat commands
2108 @subsection Manual repeat commands
2110 @cindex @code{repeatCommands}
2112 The property @code{repeatCommands} can be used to control the layout of
2113 repeats. Its value is a Scheme list of repeat commands, where each repeat
2121 @item (volta . @var{text})
2122 Print a volta bracket saying @var{text}.
2124 Stop a running volta bracket
2127 @lilypond[verbatim, fragment]
2129 \property Score.repeatCommands = #'((volta "93") end-repeat)
2131 \property Score.repeatCommands = #'((volta #f))
2136 Repeats brackets are @internalsref{VoltaBracket} grobs.
2138 @node Tremolo repeats
2139 @subsection Tremolo repeats
2140 @cindex tremolo beams
2142 To place tremolo marks between notes, use @code{\repeat} with tremolo
2144 @lilypond[verbatim,center,singleline]
2146 \context Voice \notes\relative c' {
2147 \repeat "tremolo" 8 { c16 d16 }
2148 \repeat "tremolo" 4 { c16 d16 }
2149 \repeat "tremolo" 2 { c16 d16 }
2150 \repeat "tremolo" 4 c16
2155 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are
2156 @internalsref{StemTremolo}. The single stem tremolo @emph{must} be
2157 entered without @code{@{} and @code{@}}.
2161 Only powers of two and undotted notes are supported repeat counts.
2163 @node Tremolo subdivisions
2164 @subsection Tremolo subdivisions
2165 @cindex tremolo marks
2166 @cindex @code{tremoloFlags}
2168 Tremolo marks can be printed on a single note by adding
2169 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2170 A @var{length} value of 8 gives one line across the note stem. If the
2171 length is omitted, then then the last value (stored in
2172 @code{Voice.tremoloFlags}) is used.
2174 @lilypond[verbatim,fragment,center]
2175 c'2:8 c':32 | c': c': |
2181 Tremolos in this style do not carry over into the MIDI output.
2184 @node Measure repeats
2185 @subsection Measure repeats
2187 @cindex percent repeats
2188 @cindex measure repeats
2190 In the @code{percent} style, a note pattern can be repeated. It is
2191 printed once, and then the pattern is replaced with a special sign.
2192 Patterns of a one and two measures are replaced by percent-like signs,
2193 patterns that divide the measure length are replaced by slashes.
2195 @lilypond[verbatim,singleline]
2196 \context Voice { \repeat "percent" 4 { c'4 }
2197 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2201 The signs are represented by these grobs: @internalsref{RepeatSlash} and
2202 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
2206 You can not nest percent repeats, e.g. by filling in the first measure
2207 with slashes, and repeating that measure with percents.
2209 @node Rhythmic music
2210 @section Rhythmic music
2212 Sometimes you might want to show only the rhythm of a melody. This can
2213 be done with the rhythmic staff. All pitches of notes on such a staff
2214 are squashed, and the staff itself looks has a single staff line:
2216 @lilypond[fragment,relative,verbatim]
2217 \context RhythmicStaff {
2219 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2224 * Percussion staves::
2227 @node Percussion staves
2228 @subsection Percussion staves
2231 To typeset more than one piece of percussion to be played by the same
2232 musician one typically uses a multiline staff where each staff
2233 position refers to a specific piece of percussion.
2235 LilyPond is shipped with a bunch of scheme functions which allows you
2236 to do this fairly easily.
2238 The system is based on the general midi drum-pitches.
2239 In order to use the drum pitches you include
2240 @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
2241 variable @code{drum-pitch-names} - which definition can be read in
2242 @file{scm/drums.scm}. You see that each piece of percussion has a full
2243 name and an abbreviated name - and you may freely select whether to
2244 refer to the full name or the abbreviation in your music definition.
2246 To typeset the music on a staff you apply the scheme function
2247 @code{drums->paper} to the percussion music. This function takes a
2248 list of percussion instrument names, notehead scripts and staff
2249 positions (that is: pitches relative to the C-clef) and uses this to
2250 transform the input music by moving the pitch, changing the notehead
2251 and (optionally) adding a script:
2252 @lilypond[singleline,verbatim]
2253 \include "drumpitch-init.ly"
2254 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2255 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2257 \apply #(drums->paper 'drums) \context Staff <
2259 \context Voice = up { \voiceOne \up }
2260 \context Voice = down { \voiceTwo \down }
2265 In the above example the music was transformed using the list @code{'drums}.
2266 Currently the following lists are defined in @file{scm/drums.scm}:
2269 To typeset a typical drum kit on a five line staff.
2271 \include "drumpitch-init.ly"
2272 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2273 bd sn ss tomh tommh tomml toml tomfh tomfl }
2274 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2275 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2278 \apply #(drums->paper 'drums) \context Staff <
2282 \context Lyrics \nam
2287 \remove Bar_engraver
2288 \remove Time_signature_engraver
2289 minimumVerticalExtent = #'(-4.0 . 5.0)
2293 \remove Stem_engraver
2298 Notice that the scheme supports six different toms.
2299 If you are using fewer toms then you simply select the toms that produce
2300 the desired result - i.e. to get toms on the three middle lines you
2301 use @code{tommh}, @code{tomml} and @code{tomfh}.
2303 Because the general midi contain no rimshots we use the sidestick for
2304 this purpose instead.
2306 To typeset timbales on a two line staff.
2307 @lilypond[singleline]
2308 \include "drumpitch-init.ly"
2309 nam = \lyrics { timh ssh timl ssl cb }
2310 mus = \notes { timh ssh timl ssl cb s16 }
2313 \apply #(drums->paper 'timbales) \context Staff <
2317 \context Lyrics \nam
2322 \remove Bar_engraver
2323 \remove Time_signature_engraver
2324 StaffSymbol \override #'line-count = #2
2325 StaffSymbol \override #'staff-space = #2
2326 minimumVerticalExtent = #'(-3.0 . 4.0)
2330 \remove Stem_engraver
2337 To typeset congas on a two line staff.
2338 @lilypond[singleline]
2339 \include "drumpitch-init.ly"
2340 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2341 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2344 \apply #(drums->paper 'congas) \context Staff <
2348 \context Lyrics \nam
2353 \remove Bar_engraver
2354 \remove Time_signature_engraver
2355 StaffSymbol \override #'line-count = #2
2356 StaffSymbol \override #'staff-space = #2
2357 minimumVerticalExtent = #'(-3.0 . 4.0)
2361 \remove Stem_engraver
2367 To typeset bongos on a two line staff.
2368 @lilypond[singleline]
2369 \include "drumpitch-init.ly"
2370 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2371 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2374 \apply #(drums->paper 'bongos) \context Staff <
2378 \context Lyrics \nam
2383 \remove Bar_engraver
2384 \remove Time_signature_engraver
2385 StaffSymbol \override #'line-count = #2
2386 StaffSymbol \override #'staff-space = #2
2387 minimumVerticalExtent = #'(-3.0 . 4.0)
2391 \remove Stem_engraver
2397 To typeset all kinds of simple percussion on one line staves.
2398 @lilypond[singleline]
2399 \include "drumpitch-init.ly"
2400 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2401 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2404 \apply #(drums->paper 'percussion) \context Staff <
2408 \context Lyrics \nam
2413 \remove Bar_engraver
2414 \remove Time_signature_engraver
2415 StaffSymbol \override #'line-count = #1
2416 minimumVerticalExtent = #'(-2.0 . 3.0)
2420 \remove Stem_engraver
2427 If you don't like any of the predefined lists you can define your own
2428 list at the top of your file:
2430 @lilypond[singleline, verbatim]
2432 (bassdrum default #f ,(make-pitch -1 2 0))
2433 (snare default #f ,(make-pitch 0 1 0))
2434 (hihat cross #f ,(make-pitch 0 5 0))
2435 (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0))
2436 (lowtom diamond #f ,(make-pitch -1 6 0))
2438 \include "drumpitch-init.ly"
2439 up = \notes { hh8 hh hh hh hhp4 hhp }
2440 down = \notes { bd4 sn bd toml8 toml }
2442 \apply #(drums->paper 'mydrums) \context Staff <
2444 \context Voice = up { \voiceOne \up }
2445 \context Voice = down { \voiceTwo \down }
2450 To use a modified existing list instead of building your own from
2451 scratch you can append your modifications to the start of the existing
2455 #(define mydrums (append `(
2456 (bassdrum default #f ,(make-pitch -1 2 0))
2457 (lowtom diamond #f ,(make-pitch -1 6 0))
2461 @c FIXME: Too many levels of headers when using subsubsections.
2462 @c Perhaps junk subsection ``Percussion staves''
2463 @subsubsection Percussion staves with normal staves
2464 When you include @file{drumpitch-init.ly} then the default pitches
2465 are overridden so that you after the inclusion cannot use the common
2466 dutch pitch names anymore. Hence you might wan't to reinclude
2467 @file{nederlands.ly} after the drum-pattern-definitions:
2468 @lilypond[singleline,verbatim]
2469 \include "drumpitch-init.ly"
2470 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2471 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2472 \include "nederlands.ly"
2473 bass = \notes \transpose c, { a4. e8 r e g e }
2476 \apply #(drums->paper 'drums) \context Staff = drums <
2478 \context Voice = up { \voiceOne \up }
2479 \context Voice = down { \voiceTwo \down }
2481 \context Staff = bass { \clef "F_8" \bass }
2486 @subsubsection Percussion midi output
2487 In order to produce correct midi output you need to produce two score
2488 blocks - one for the paper and one for the midi.
2489 To use the percussion channel you set the property @code{instrument}
2490 to @code{'drums}. Because the drum-pitches themself are similar to the
2491 general midi pitches all you have to do is to insert the voices with
2492 none of the scheme functions to get the correct midi output:
2496 \apply #(drums->paper 'mydrums) \context Staff <
2498 \context Voice = up @{ \voiceOne \up @}
2499 \context Voice = down @{ \voiceTwo \down @}
2505 \property Staff.instrument = #'drums
2514 This scheme is to be considered a temporary implementation. Even
2515 though the scheme will probably keep on working then the future might
2516 bring some other way of typesetting drums, and probably
2517 there will be made no great efforts in keeping things downwards
2522 @section Piano music
2524 Piano music is an odd type of notation. Piano staves are two normal
2525 staves coupled with a brace. The staves are largely independent, but
2526 sometimes voices can cross between the two staves. The
2527 @internalsref{PianoStaff} is especially built to handle this cross-staffing
2528 behavior. In this section we discuss the @internalsref{PianoStaff} and some
2529 other pianistic peculiarities.
2532 * Automatic staff changes::
2533 * Manual staff switches::
2536 * Voice follower lines::
2540 @c . {Automatic staff changes}
2541 @node Automatic staff changes
2542 @subsection Automatic staff changes
2543 @cindex Automatic staff changes
2545 Voices can switch automatically between the top and the bottom
2546 staff. The syntax for this is
2548 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2550 The autochanger switches on basis of pitch (central C is the turning
2551 point), and it looks ahead skipping over rests to switch rests in
2552 advance. Here is a practical example:
2554 @lilypond[verbatim,singleline]
2555 \score { \notes \context PianoStaff <
2556 \context Staff = "up" {
2557 \autochange Staff \context Voice = VA < \relative c' {
2558 g4 a b c d r4 a g } > }
2559 \context Staff = "down" {
2564 Spacer rests are used to prevent the bottom staff from
2565 terminating too soon.
2568 @node Manual staff switches
2569 @subsection Manual staff switches
2571 @cindex manual staff switches
2572 @cindex staff switch, manual
2574 Voices can be switched between staves manually, using the following command:
2576 \translator Staff = @var{staffname} @var{music}
2578 The string @var{staffname} is the name of the staff. It switches the
2579 current voice from its current staff to the Staff called
2580 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2588 Piano pedal instruction can be expressed using
2589 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2590 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
2592 These identifiers are shorthands for spanner commands of the types
2593 @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}:
2595 @lilypond[fragment,verbatim]
2596 c''4 \spanrequest \start "Sustain" c''4
2597 c''4 \spanrequest \stop "Sustain"
2600 The symbols that are printed can be modified by setting
2601 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2602 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
2603 @rgrob{SustainPedal}, for example, for more information.
2605 Pedals can also be indicated by a sequence of brackets, by setting the
2606 @code{pedal-type} property of SustainPedal grobs:
2608 @lilypond[fragment,verbatim]
2609 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2610 c''4 \sustainDown d''4 e''4 a'4
2611 \sustainUp \sustainDown
2612 f'4 g'4 a'4 \sustainUp
2615 A third style of pedal notation is a mixture of text and brackets,
2616 obtained by setting @code{pedal-type} to @code{mixed}:
2618 @lilypond[fragment,verbatim]
2619 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2620 c''4 \sustainDown d''4 e''4 c'4
2621 \sustainUp \sustainDown
2622 f'4 g'4 a'4 \sustainUp
2625 The default '*Ped' style for sustain and damper pedals corresponds to
2626 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2627 for a sostenuto pedal:
2629 @lilypond[fragment,verbatim]
2630 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2633 For fine-tuning of the appearance of a pedal bracket, the properties
2634 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2635 @code{PianoPedalBracket} grobs (see the detailed documentation of
2636 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2637 may be extended to the end of the note head.
2639 @lilypond[fragment,verbatim]
2640 \property Staff.PianoPedalBracket \override
2641 #'shorten-pair = #'(0 . -1.0)
2642 c''4 \sostenutoDown d''4 e''4 c'4
2643 f'4 g'4 a'4 \sostenutoUp
2650 @subsection Arpeggio
2653 @cindex broken arpeggio
2654 @cindex @code{\arpeggio}
2656 You can specify an arpeggio sign on a chord by attaching an
2657 @code{\arpeggio} to a note of the chord.
2660 @lilypond[fragment,relative,verbatim]
2661 \context Voice <c\arpeggio e g c>
2664 When an arpeggio crosses staves in piano music, you attach an arpeggio
2665 to the chords in both staves, and set
2666 @code{PianoStaff.connectArpeggios}.
2668 @lilypond[fragment,relative,verbatim]
2669 \context PianoStaff <
2670 \property PianoStaff.connectArpeggios = ##t
2671 \context Voice = one { <c'\arpeggio e g c> }
2672 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2676 This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios
2677 are @code{PianoStaff.Arpeggio}.
2679 To add an arrow head to explicitly specify the direction of the
2680 arpeggio, you should set the arpeggio grob property
2681 @code{arpeggio-direction}.
2683 @lilypond[fragment,relative,verbatim]
2685 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2687 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2692 A square bracket on the left indicates that the player should not
2693 arpeggiate the chord. To draw these brackets, set the
2694 @code{molecule-callback} property of @code{Arpeggio} or
2695 @code{PianoStaff.Arpeggio} grobs to @code{\arpeggioBracket}, and use
2696 @code{\arpeggio} statements within the chords as before.
2698 @lilypond[fragment,relative,verbatim]
2699 \context PianoStaff <
2700 \property PianoStaff.connectArpeggios = ##t
2701 \property PianoStaff.Arpeggio \override
2702 #'molecule-callback = \arpeggioBracket
2703 \context Voice = one { <c'\arpeggio e g c> }
2704 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2711 It is not possible to mix connected arpeggios and unconnected
2712 arpeggios in one PianoStaff at the same time.
2716 @node Voice follower lines
2717 @subsection Voice follower lines
2719 @cindex follow voice
2720 @cindex staff switching
2723 @cindex @code{followVoice}
2725 Whenever a voice switches to another staff a line connecting the notes
2726 can be printed automatically. This is enabled if the property
2727 @code{PianoStaff.followVoice} is set to true:
2729 @lilypond[fragment,relative,verbatim]
2730 \context PianoStaff <
2731 \property PianoStaff.followVoice = ##t
2732 \context Staff \context Voice {
2734 \translator Staff=two
2737 \context Staff=two {\clef bass \skip 1*2 }
2741 The associated grob is @internalsref{VoiceFollower}.
2747 Tablature notation is used music for plucked string instruments. It
2748 notates pitches not by using note heads, but by indicating on which
2749 string and fret a note must be played. LilyPond offers limited
2750 support for tablature, by abusing the fingering system.
2753 * Tablatures basic::
2754 * Non-guitar tablatures::
2755 * Tablature in addition to normal staff::
2758 @node Tablatures basic
2759 @subsection Tablatures basic
2760 @cindex Tablatures basic
2762 Tablature can be typeset with Lilypond by using the
2763 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
2764 tablature is a recent feature in Lilypond, most of the guitar special
2765 effects such as hammer, pull, bend are not yet supported.
2767 With the @internalsref{TabStaff}, the string number associated to a note
2768 is given though the fingering mechanism, e.g. @code{c4-3} for a C
2769 quarter on the third string. The string 1 is the lowest one, and the
2770 tuning defaults to the standard guitar tuning (with 6 strings).
2772 @lilypond[fragment,verbatim]
2775 \property Staff.Stem \override #'direction = #1
2784 @node Non-guitar tablatures
2785 @subsection Non-guitar tablatures
2786 @cindex Non-guitar tablatures
2788 There are many ways to customize Lilypond tablatures.
2790 First you can change the number of strings, by setting the number of
2791 lines in the @internalsref{TabStaff}. You can change the strings
2792 tuning. A string tuning is given as a Scheme list with one integer
2793 number for each string, the number being the pitch of an open string.
2795 Finally, it is possible to change the Scheme function to format the
2796 tablature note text. The default is @var{fret-number-tablature-format},
2797 which uses the fret number, but for some instruments that may not use
2798 this notation, just create your own tablature-format function. This
2799 function takes three argument: the string number, the string tuning and
2803 @node Tablature in addition to normal staff
2804 @subsection Tablature in addition to normal staff
2805 @cindex Tablature in addition to normal staff
2807 It is possible to typeset both tablature and a "normal" staff, as
2808 commonly done in many parts.
2810 A common trick for that is to put the notes in a variables, and to hide
2811 the fingering information (which correspond to the string number) for
2820 \context StaffGroup <
2822 % Hide fingering number
2823 \property Staff.Fingering \override #'transparent = ##t
2828 \property Staff.Stem \override #'direction = #1
2842 LilyPond has support for both entering and printing chords.
2843 @lilypond[verbatim,singleline]
2844 twoWays = \notes \transpose c'' {
2854 < \context ChordNames \twoWays
2855 \context Voice \twoWays > }
2858 This example also shows that the chord printing routines do not try to
2859 be intelligent. If you enter @code{f bes d}, it does not interpret
2860 this as an inversion.
2862 As you can see chords really are a set of pitches. They are internally
2863 stored as simultaneous music expressions. This means you can enter
2864 chords by name and print them as notes, enter them as notes and print
2865 them as chord names, or (the most common case) enter them by name, and
2870 * Printing named chords::
2875 @subsection Chords mode
2878 Chord mode is a mode where you can input sets of pitches using common
2879 names. It is introduced by the keyword @code{\chords}. It is similar
2880 to note mode, but words are also looked up in a chord modifier table
2881 (containing @code{maj}, @code{dim}, etc). Dashes and carets are used
2882 to indicate chord additions and subtractions, so articulation scripts
2883 can not be entered in Chord mode.
2885 Throughout these examples, chords have been shifted around the staff
2886 using @code{\transpose}.
2888 @lilypond[fragment,verbatim]
2892 c:9 c:9-.5+.7+ c:3-.5-
2902 The second type of modifier that may appear after the @code{:} is a
2903 named modifier. Named modifiers are listed in the file
2904 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
2905 @code{min} which lower the 3rd half a step, `@code{aug}' which
2906 raises the 5th, `@code{dim}' which lowers the 5th,
2907 `@code{maj}' which adds a raised 7th, and `@code{sus}'
2908 which replaces the 5th with a 4th.
2910 @lilypond[fragment,verbatim]
2913 c1:m c:min7 c:maj c:aug c:dim c:sus
2919 Chord subtractions are used to eliminate notes from a chord. The
2920 notes to be subtracted are listed after a @code{^} character,
2923 @lilypond[fragment,verbatim,center]
2932 Chord inversions can be specified by appending `@code{/}' and the name
2933 of a single note to a chord. In a chord inversion, the inverted note is
2934 transposed down until it is the lowest note in the chord. If the note
2935 is not in the chord, a warning will be printed.
2937 @lilypond[fragment,verbatim,center]
2947 Bass notes can be added by `@code{/+}' and
2948 the name of a single note to a chord. This has the effect of
2949 adding the specified note to the chord, lowered by an octave,
2950 so it becomes the lowest note in the chord.
2952 @lilypond[fragment,verbatim,center]
2961 The formal syntax for named chords is as follows:
2963 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
2966 @var{tonic} should be the tonic note of the chord, and @var{duration} is
2967 the chord duration in the usual notation. There are two kinds of
2968 modifiers. One type is formed by @emph{chord additions}. Additions are
2969 obtained by listing intervals separated by dots. An interval is written
2970 by its number with an optional @code{+} or @code{-} to indicate raising
2971 or lowering by half a step. Chord additions have two effects: they adds
2972 the specified interval and all lower odd numbered intervals to the
2973 chord, and they may lower or raise the specified interval.
2978 Implementation details are gory. For example @code{c:4} not only adds
2979 a fourth, but also removes the third.
2982 @c . {Printing named chords}
2983 @node Printing named chords
2984 @subsection Printing named chords
2986 @cindex printing chord names
2990 For displaying printed chord names, use the @internalsref{ChordNames} context.
2991 The chords may be entered either using the notation described above, or
2992 directly using simultaneous music.
2994 @lilypond[verbatim,singleline]
2996 \chords {a1 b c} <d f g> <e g b>
3000 \context ChordNames \scheme
3001 \context Staff \transpose c'' \scheme
3006 You can make the chord changes stand out by setting
3007 @code{ChordNames.chordChanges} to true. This will only display chord
3008 names when there's a change in the chords scheme and at the start of a
3013 c1:m c:m \break c:m c:m d
3017 \context ChordNames {
3018 \property ChordNames.chordChanges = ##t
3020 \context Staff \transpose c'' \scheme
3022 \paper{linewidth= 9.\cm}
3026 LilyPond examines chords specified as lists of notes to determine a name
3027 to give the chord. LilyPond will not try to identify chord inversions or
3028 an added bass note, which may result in strange chord names when chords
3029 are entered as a list of pitches:
3031 @lilypond[verbatim,center,singleline]
3040 \context ChordNames \scheme
3041 \context Staff \scheme
3047 By default, a chord name system proposed by Harald Banter (See
3048 @ref{Literature}) is used. The system is very regular and predictable.
3049 Typical American style chord names may be selected by setting the
3050 @code{style} property of the @code{ChordNames.ChordName} grob to
3051 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
3053 Routines that determine the names to be printed are written in Scheme,
3054 and may be customized by the user. The code can be found in
3055 @file{scm/chord-name.scm}. Here's an example showing the differences in
3059 @c maybe just junk verbatim option?
3060 @lilypond[verbatim,singleline]
3070 \context ChordNames = banter \scheme
3071 \context ChordNames = american {
3072 \property ChordNames.ChordName \override
3073 #'style = #'american \scheme }
3074 \context ChordNames = jazz {
3075 \property ChordNames.ChordName \override
3076 #'style = #'jazz \scheme }
3077 \context Staff \transpose c'' \scheme
3084 @section Writing parts
3086 Orchestral music involves some special notation, both in the full score,
3087 as in the individual parts. This section explains how to tackle common
3088 problems in orchestral music.
3095 * Instrument names::
3097 * Multi measure rests::
3098 * Automatic part combining::
3099 * Hara kiri staves::
3100 * Sound output for transposing instruments::
3103 @c . {Rehearsal marks}
3104 @node Rehearsal marks
3105 @subsection Rehearsal marks
3106 @cindex Rehearsal marks
3108 @cindex @code{\mark}
3110 To print a rehearsal mark, use the @code{\mark} command.
3111 @lilypond[fragment,verbatim]
3118 c1 \mark #'(music "scripts-segno")
3123 As you can see, the mark is incremented automatically if you use
3124 @code{\mark \default}. The value to use is stored in the property
3125 @code{rehearsalMark} is used and automatically incremented. The grob
3126 is @internalsref{RehearsalMark} in @internalsref{Score} context. See
3127 @code{input/test/boxed-molecule.ly} if you need boxes around the
3131 @subsection Bar numbers
3135 @cindex measure numbers
3136 @cindex currentBarNumber
3138 Bar numbers are printed by default at the start of the line. The
3139 number itself is a property that can be set by modifying the
3140 @code{currentBarNumber} property, i.e.
3142 \property Score.currentBarNumber = #217
3145 If you want boxed bar numbers, see the example file
3146 @code{input/test/boxed-molecule.ly}.
3148 See also @seeinternals{BarNumber}.
3152 Printing bar numbers at regular intervals is not implemented.
3153 Barnumbers can collide with the StaffGroup, if there is one at the
3154 top. To solve this, You have to twiddle with the
3155 @internalsref{padding} property of @internalsref{BarNumber} if your
3156 score starts with a @internalsref{StaffGroup}.
3158 @node Instrument names
3159 @subsection Instrument names
3161 In scores, the instrument name is printed before the staff. This can
3162 be done by setting @code{Staff.instrument} and
3163 @code{Staff.instr}. This will print a string before the start of the
3164 staff. For the first start, @code{instrument} is used, for the next
3165 ones @code{instr} is used.
3167 @lilypond[verbatim,singleline]
3168 \property Staff.instrument = "ploink " { c''4 }
3171 You can also use markup texts to construct more complicated instrument
3175 @lilypond[verbatim,singleline]
3177 '((font-relative-size . -2 ) (music "accidentals--1")))
3180 \property Staff.instrument = #`((kern . 0.5) (lines
3181 "2 Clarinetti" (columns " (B" ,text-flat ")")))
3189 When you put a name on a grand staff or piano staff the width of the
3190 brace is not taken into account. You must add extra spaces to the end of
3191 the name to avoid a collision.
3194 @subsection Transpose
3196 @cindex transposition of pitches
3197 @cindex @code{\transpose}
3199 A music expression can be transposed with @code{\transpose}. The syntax
3202 \transpose @var{pitch} @var{musicexpr}
3205 This means that middle C in @var{musicexpr} is transposed to
3208 @code{\transpose} distinguishes between enharmonic pitches: both
3209 @code{\transpose cis'} or @code{\transpose des'} will transpose up half
3210 a tone. The first version will print sharps and the second version
3213 @lilypond[singleline, verbatim]
3214 mus =\notes { \key d \major cis d fis g }
3215 \score { \notes \context Staff {
3223 If you want to use both @code{\transpose} and @code{\relative}, then
3224 you must use @code{\transpose} first. @code{\relative} will have no
3225 effect music that appears inside a @code{\transpose}.
3227 @c . {Multi measure rests}
3228 @node Multi measure rests
3229 @subsection Multi measure rests
3230 @cindex Multi measure rests
3234 Multi measure rests are entered using `@code{R}'. It is specifically
3235 meant for full bar rests and for entering parts: the rest can expand to
3237 rests, or it can be printed as a single multimeasure rest This expansion
3238 is controlled by the property @code{Score.skipBars}. If this is set to true,
3239 Lily will not expand empty measures, and the appropriate number is added
3242 @lilypond[fragment,verbatim]
3243 \time 3/4 r2. | R2. | R2.*2
3244 \property Score.skipBars = ##t R2.*17 R2.*4
3247 Notice that the @code{R2.} is printed as a whole rest, centered in the
3250 @cindex whole rests for a full measure
3252 The grob for this object is @internalsref{MultiMeasureRest}.
3256 Currently, there is no way to automatically condense multiple rests
3257 into a single multimeasure rest. Multi measure rests do not take part
3260 @cindex condensing rests
3262 @node Automatic part combining
3263 @subsection Automatic part combining
3264 @cindex automatic part combining
3265 @cindex part combiner
3268 Automatic part combining is used to merge two parts of music onto a
3269 staff in an intelligent way. It is aimed primarily at typesetting
3270 orchestral scores. When the two parts are identical for a period of
3271 time, only one is shown. In places where the two parts differ, they
3272 are typeset as separate voices, and stem directions are set
3273 automatically. Also, solo and @emph{a due} parts can be identified
3276 The syntax for part combining is
3279 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3281 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3282 combined into one context of type @var{context}. The music expressions
3283 must be interpreted by contexts whose names should start with @code{one}
3286 The most useful function of the part combiner is to combine parts into
3287 one voice, as common for wind parts in orchestral scores:
3289 @lilypond[verbatim,singleline,fragment]
3291 \context Voice=one \partcombine Voice
3292 \context Thread=one \relative c'' {
3295 \context Thread=two \relative c'' {
3301 Notice that the first @code{g} appears only once, although it was
3302 specified twice (once in each part). Stem, slur and tie directions are
3303 set automatically, depending whether there is a solo or unisono. The
3304 first part (with context called @code{one}) always gets up stems, and
3305 `solo', while the second (called @code{two}) always gets down stems and
3308 If you just want the merging parts, and not the textual markings, you
3309 may set the property @var{soloADue} to false.
3311 @lilypond[verbatim,singleline,fragment]
3313 \property Staff.soloADue = ##f
3314 \context Voice=one \partcombine Voice
3315 \context Thread=one \relative c'' {
3318 \context Thread=two \relative c'' {
3324 There are a number of other properties that you can use to tweak the
3325 behavior of part combining, refer to the automatically generated
3326 documentation of @reng{Thread_devnull_engraver} and
3327 @reng{Voice_devnull_engraver}. Look at the documentation of the
3328 responsible engravers, @code{Thread_devnull_engraver},
3329 @code{Voice_devnull_engraver} and @code{A2_engraver}.
3333 In @code{soloADue} mode, when the two voices play the same notes on and
3334 off, the part combiner may typeset @code{a2} more than once in a
3337 @lilypond[fragment,singleline]
3339 \context Voice=one \partcombine Voice
3340 \context Thread=one \relative c'' {
3343 \context Thread=two \relative c'' {
3349 @cindex @code{Thread_devnull_engraver}
3350 @cindex @code{Voice_engraver}
3351 @cindex @code{A2_engraver}
3353 @node Hara kiri staves
3354 @subsection Hara kiri staves
3356 In orchestral scores, staff lines that only have rests are usually removed.
3357 This saves some space. LilyPond also supports this through the hara
3358 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
3359 the Japanese Samourai warriors.} staff. This staff commits suicide when
3360 it finds itself to be empty after the line-breaking process. It will
3361 not disappear when it contains normal rests, you must use multi measure
3364 The hara kiri staff is specialized version of the @internalsref{Staff}
3365 context. It is available as the context identifier
3366 @code{\HaraKiriStaffContext}. Observe how the second staff in this
3367 example disappears in the second line.
3371 \notes \relative c' <
3372 \context Staff = SA { e4 f g a \break c1 }
3373 \context Staff = SB { c4 d e f \break R1 }
3377 \translator { \HaraKiriStaffContext }
3383 @node Sound output for transposing instruments
3384 @subsection Sound output for transposing instruments
3386 When you want to make a MIDI file from a score containing transposed
3387 and untransposed instruments, you have to instruct LilyPond the pitch
3388 offset (in semitones) for the transposed instruments. This is done
3389 using the @code{transposing} property. It does not affect printed
3392 @cindex @code{transposing}
3395 \property Staff.instrument = #"Cl. in B-flat"
3396 \property Staff.transposing = #-2
3402 @node Ancient notation
3403 @section Ancient notation
3406 * Ancient note heads::
3413 @node Ancient note heads
3414 @subsection Ancient note heads
3416 To get a longa note head, you have to use mensural note heads. This
3417 is accomplished by setting the @code{style} property of the
3418 NoteHead grob to @code{mensural}. There is also a note head style
3419 @code{baroque} which gives mensural note heads for @code{\longa} and
3420 @code{\breve} but standard note heads for shorter notes.
3422 @lilypond[fragment,singleline,verbatim]
3423 \property Voice.NoteHead \set #'style = #'mensural
3424 \property Voice.NoteHead \set #'font-family = #'ancient
3429 @subsection Custodes
3434 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
3435 staff context symbol that appears at the end of a staff line. It
3436 anticipates the pitch of the first note(s) of the following line and
3437 thus helps the player or singer to manage line breaks during
3438 performance, thus enhancing readability of a score.
3443 \property Staff.Custos \set #'style = #'mensural
3448 \consists Custos_engraver
3454 Custodes were frequently used in music notation until the 17th century.
3455 There were different appearances for different notation styles.
3456 Nowadays, they have survived only in special forms of musical notation
3457 such as via the @emph{editio vaticana} dating back to the beginning of
3460 For typesetting custodes, just put a @code{Custos_engraver} into the
3461 @internalsref{Staff} context when declaring the @code{\paper} block. In this
3462 block, you can also globally control the appearance of the custos symbol
3463 by setting the custos @code{style} property. Currently supported styles
3464 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
3471 \consists Custos_engraver
3472 Custos \override #'style = #'mensural
3477 The property can also be set locally, for example in a @code{\notes}
3482 \property Staff.Custos \override #'style = #'vaticana
3483 c'1 d' e' d' \break c' d' e' d'
3488 @subsection Ancient clefs
3490 LilyPond supports a variety of clefs, many of them ancient. These can
3491 be selected from the @code{ancient} font family, by setting
3492 @code{Staff.clefGlyph}) to one of the following values
3501 @item clefs-vaticana_do
3502 Editio Vaticana style do clef
3503 @item clefs-vaticana_fa
3504 Editio Vaticana style fa clef
3505 @item clefs-medicaea_do
3506 Editio Medicaea style do clef
3507 @item clefs-medicaea_fa
3508 Editio Medicaea style fa clef
3509 @item clefs-mensural1_c
3510 modern style mensural C clef
3511 @item clefs-mensural2_c
3512 historic style small mensural C clef
3513 @item clefs-mensural3_c
3514 historic style big mensural C clef
3515 @item clefs-mensural1_f
3516 historic style traditional mensural F clef
3517 @item clefs-mensural2_f
3518 historic style new mensural F clef
3519 @item clefs-mensural_g
3520 historic style mensural G clef
3521 @item clefs-hufnagel_do
3522 historic style hufnagel do clef
3523 @item clefs-hufnagel_fa
3524 historic style hufnagel fa clef
3525 @item clefs-hufnagel_do_fa
3526 historic style hufnagel combined do/fa clef
3527 @item clefs-percussion
3528 modern style percussion clef
3531 @emph{Modern style} means ``as is typeset in current editions.''
3532 @emph{Historic style} means ``as was typeset or written in contemporary
3533 historic editions''. @emph{Editio XXX style} means ``as is/was printed in
3536 @cindex Vaticana, Editio
3537 @cindex Medicaea, Editio
3538 @cindex hufnagel clefs
3542 @subsection Figured bass
3544 @cindex Basso continuo
3546 LilyPond has limited support for figured bass:
3548 @lilypond[verbatim,fragment]
3550 \context FiguredBass
3555 \context Voice { c4 g8 }
3559 The support for figured bass consists of two parts: there is an input
3560 mode, introduced by @code{\figures}, where you can enter bass figures
3561 as numbers, and there is a context called @internalsref{FiguredBass}
3562 that takes care of making @internalsref{BassFigure} grobs.
3564 In figures input mode, a group of bass figures is delimited by
3565 @code{<} and @code{>}. The duration is entered after the @code{>}.
3570 \context FiguredBass
3574 Accidentals are added to the numbers if you alterate them by
3575 appending @code{-}, @code{!} and @code{+}.
3581 \context FiguredBass
3582 \figures { <4- 6+ 7!> }
3585 Spaces or dashes may be inserted by using @code{_}. Brackets are
3586 introduced with @code{[} and @code{]}.
3592 \context FiguredBass
3593 \figures { < [4 6] 8 [_ 12]> }
3596 Although the support for figured bass may superficially resemble chord
3597 support, it works much simpler: in figured bass simply stores the
3598 numbers, and then prints the numbers you entered. There is no
3599 conversion to pitches, and no realizations of the bass are played in
3603 @c . {Tuning output}
3605 @section Tuning output
3607 LilyPond tries to take as much formatting as possible out of your
3608 hands. Nevertheless, there are situations where it needs some help, or
3609 where you want to override its decisions. In this section we discuss
3610 ways to do just that.
3612 Formatting is internally done by manipulating so called grobs (graphic
3613 objects). Each grob carries with it a set of properties (grob
3614 properties) specific to that object. For example, a stem grob has
3615 properties that specify its direction, length and thickness.
3617 The most direct way of tuning the output is by altering the values of
3618 these properties. There are two ways of doing that: first, you can
3619 temporarily change the definition of a certain type of grob, thus
3620 affecting a whole set of objects. Second, you can select one specific
3621 object, and set a grob property in that object.
3624 * Tuning groups of grobs ::
3625 * Tuning per grob ::
3630 @node Tuning groups of grobs
3631 @subsection Tuning groups of grobs
3633 @cindex grob description
3637 A grob definition is a Scheme association list, that is stored in a
3638 context property. By assigning to that property (using plain
3639 @code{\property}), you can change the resulting grobs.
3641 @lilypond[verbatim, fragment]
3642 c'4 \property Voice.Stem = #'()
3645 The @code{\property} assignment effectively empties the definition of
3646 the Stem object. One of the effects is that the recipe of how it should be
3647 printed is erased, with the effect of rendering it invisible. The above
3648 assignment is available as a standard identifier, for the case that you
3652 \property Voice.Stem = \turnOff
3659 This mechanism is fairly crude, since you can only set, but not modify,
3660 the definition of a grob. For this reason, there is a more advanced
3663 The definition of a grob is actually a list of default grob
3664 properties. For example, the definition of the Stem grob (available in
3665 @file{scm/grob-description.scm}), defines the following values for
3670 (beamed-lengths . (0.0 2.5 2.0 1.5))
3671 (Y-extent-callback . ,Stem::height)
3675 You can add a property on top of the existing definition, or remove a
3676 property, thus overriding the system defaults:
3678 c'4 \property Voice.Stem \override #'thickness = #4.0
3679 c'4 \property Voice.Stem \revert #'thickness
3682 You should balance @code{\override} and @code{\revert}. If that's too
3683 much work, you can use the @code{\set} shorthand. It performs a revert
3684 followed by an override. The following example gives exactly the same
3685 result as the previous one.
3687 c'4 \property Voice.Stem \set #'thickness = #4.0
3688 c'4 \property Voice.Stem \set #'thickness = #0.8
3691 If you use @code{\set}, you must explicitly restore the default.
3694 Formally the syntax for these constructions is
3696 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
3697 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
3698 \property @var{context}.@var{grobname} \revert @var{symbol}
3700 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
3701 and @var{grobname} are strings and @var{value} is a Scheme expression.
3704 If you revert a setting which was not set in the first place, then it
3705 has no effect. However, if the setting was set as a system default, it
3706 may remove the default value, and this may give surprising results,
3707 including crashes. In other words, @code{\override} and @code{\revert},
3708 must be carefully balanced.
3710 These are examples of correct nesting of @code{\override}, @code{\set},
3713 A clumsy but correct form:
3715 \override \revert \override \revert \override \revert
3718 Shorter version of the same:
3720 \override \set \set \revert
3723 A short form, using only @code{\set}. This requires you to know the
3726 \set \set \set \set @var{to default value}
3729 If there is no default (i.e. by default, the grob property is unset),
3732 \set \set \set \revert
3735 For the digirati, the grob description is an Scheme association
3736 list. Since a Scheme list is a singly linked list, we can treat it as a
3737 stack, and @code{\override} and @code{\revert} are just push and pop
3738 operations. This pushing and popping is also used for overriding
3739 automatic beaming settings.
3743 LilyPond will hang or crash if @var{value} contains cyclic references.
3744 The backend is not very strict in type-checking grob properties. If you
3745 @code{\revert} properties that are expected to be set by default,
3749 @cindex adjusting staff symbol
3750 @cindex StaffSymbol, using \property
3751 @cindex staff lines, setting number of
3753 Some grobs are created at the moment that their context is created. An
3754 example of such a grob is the staff itself (i.e. the horizontal lines).
3755 You can not change the appearance of the staff symbol by manipulating
3756 @code{\property Staff.StaffSymbol}. At the moment that @code{\property
3757 Staff} is interpreted, a Staff context is made, and the StaffSymbol is
3758 created before any @code{\override} is effective. You can deal with this
3759 either overriding properties in a @code{\translator} definition, or by
3760 using @code{\outputproperty}.
3765 @node Tuning per grob
3766 @subsection Tuning per grob
3768 @cindex \outputproperty
3770 A second way of tuning grobs is the more arcane @code{\outputproperty}
3771 feature. The syntax is as follows:
3773 \outputproperty @var{predicate} @var{symbol} = @var{value}
3775 Here @code{predicate} is a Scheme function taking a grob argument, and
3776 returning a boolean. This statement is processed by the
3777 @code{Output_property_engraver}. It instructs the engraver to feed all
3778 grobs that it sees to @var{predicate}. Whenever the predicate returns
3779 true, the grob property @var{symbol} will be set to @var{value}.
3781 You will need to combine this statement with @code{\context} to select
3782 the appropriate context to apply this to.
3784 Here are some random examples.
3787 In the following example, all note heads occurring at current staff
3788 level, are shifted up and right by setting their @code{extra-offset}
3791 @lilypond[fragment,verbatim,singleline]
3793 \context Staff \outputproperty
3794 #(make-type-checker 'note-head-interface)
3795 #'extra-offset = #'(0.5 . 0.75)
3799 @cindex @code{extra-offset}
3801 In this example, the predicate checks the @code{text} grob property, to
3802 shift only the `m.d.' text, but not the fingering instruction "2".
3803 @lilypond[verbatim,singleline]
3804 #(define (make-text-checker text)
3805 (lambda (grob) (equal? text (ly-get-grob-property grob 'text))))
3808 \notes\relative c''' {
3809 \property Voice.Stem \set #'direction = #1
3810 \outputproperty #(make-text-checker "m.d.")
3811 #'extra-offset = #'(-3.5 . -4.5)
3819 If possible, avoid this feature: the semantics are not very clean, and
3820 the syntax and semantics are up for rewrite.
3825 @node Font selection
3826 @subsection Font selection
3828 The most common thing to change about the appearance of fonts is
3829 their size. The font size of a @internalsref{Voice},
3830 @internalsref{Staff} or @internalsref{Thread} context, can be easily
3831 changed by setting the @code{fontSize} property for that context:
3832 @lilypond[fragment,relative=1]
3833 c4 c4 \property Voice.fontSize = #-1
3836 This command will not change the size of variable symbols, such as
3837 beams or slurs. You can use this command to get smaller symbol for
3838 cue notes, but that involves some more subtleties. An elaborate
3839 example of those is in @file{input/test/cue-notes.ly}.
3845 The font used for printing a grob can be selected by setting
3846 @code{font-name}, e.g.
3848 \property Staff.TimeSignature
3849 \set #'font-name = #"cmr17"
3851 You may use any font which is available to @TeX{}, such as foreign
3852 fonts or fonts that do not belong to the Computer Modern font family.
3853 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
3854 can also be adjusted with a more fine-grained mechanism. By setting
3855 the grob properties described below, you can select a different font.
3856 All three mechanisms work for every grob that supports
3857 @code{font-interface}.
3861 A symbol indicating the general class of the typeface. Supported are
3862 @code{roman} (Computer Modern), @code{braces} (for piano staff
3863 braces), @code{music} (the standard music font), @code{ancient} (the
3864 ancient notation font) @code{dynamic} (font for dynamic signs) and
3868 A symbol indicating the shape of the font, there are typically several
3869 font shapes available for each font family. Choices are @code{italic},
3870 @code{caps} and @code{upright}
3873 A symbol indicating the series of the font. There are typically several
3874 font series for each font family and shape. Choices are @code{medium}
3877 @item font-relative-size
3878 A number indicating the size relative the standard size. For example,
3879 with 20pt staff height, relative size -1 corresponds to 16pt staff
3880 height, and relative size +1 corresponds to 23 pt staff height.
3882 @item font-design-size
3883 A number indicating the design size of the font.
3885 This is a feature of the Computer Modern Font: each point size has a
3886 slightly different design. Smaller design sizes are relatively wider,
3887 which enhances readability.
3890 For any of these properties, the value @code{*} (i.e. the @emph{symbol},
3891 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
3892 to override default setting, which are always present. For example:
3894 \property Lyrics . LyricText \override #'font-series = #'bold
3895 \property Lyrics . LyricText \override #'font-family = #'typewriter
3896 \property Lyrics . LyricText \override #'font-shape = #'*
3899 @cindex @code{font-style}
3901 There are also pre-cooked font selection qualifiers. These are
3902 selected through the grob property @code{font-style}. For example,
3903 the style @code{finger} selects family @code{number} and relative size
3904 @code{-3}. Styles available include @code{volta}, @code{finger},
3905 @code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
3906 @code{large}, @code{Large} and @code{dynamic}. The style sheets and
3907 tables for selecting fonts are located in @file{scm/font.scm}. Refer
3908 to this file for more information.
3910 @cindex magnification
3912 The size of the font may be scaled with the grob property
3913 @code{font-magnification}. For example, @code{2.0} blows up all
3914 letters by a factor 2 in both directions.
3918 Relative size is not linked to any real size.
3920 There is no style sheet provided for other fonts besides the @TeX{}
3921 family, and the style sheet can not be modified easiyl.
3923 @cindex font selection
3924 @cindex font magnification
3925 @cindex @code{font-interface}
3929 @subsection Text markup
3933 LilyPond has an internal mechanism to typeset texts. You can
3934 form text markup expressions by composing scheme expressions
3935 in the following way.
3937 @lilypond[verbatim, singleline]
3942 c^#'(italic "italic")
3943 d_#'((bold italic) "ff")
3945 f_#'(lines "one" (bold "two"))
3946 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
3950 Normally, the Scheme markup text is stored in the @code{text} property
3951 of a grob. Formally, it is defined as follows:
3954 text: string | (head? text+)
3955 head: markup | (markup+)
3956 markup-item: property | abbrev
3957 property: (@var{key} . @var{value})
3958 abbrev: @code{columns lines roman music bold italic named super sub}
3959 @code{overstrike text finger volta timesig mmrest mark script}
3960 @code{large Large dynamic}
3963 The markup is broken down and converted into a list of grob properties,
3964 which are prepended to the property list. The @var{key}-@var{value}
3965 pair is a grob property. A list of properties available is included in
3966 the generated documentation for @rint{Text_interface}.
3968 The following abbreviations are defined:
3971 horizontal mode: set all text on one line (default)
3973 vertical mode: set every text on a new line
3977 selects the Feta font (the standard font for music notation glyphs),
3978 and uses named lookup
3985 lookup by character name
3987 plain text lookup (by character value)
3993 the next text or character overstrikes this one
3995 select fingering number fontstyle
3997 select volta number fontstyle
3999 select time signature number fontstyle
4001 select multi measure rest number fontstyle
4003 select mark number fontstyle
4005 select scriptsize roman fontstyle
4007 select large roman fontstyle
4009 select Large roman fontstyle
4011 select dynamics fontstyle
4015 @cindex metronome mark
4017 One practical application of complicated markup is to fake a metronome
4021 #(define note '(columns
4022 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
4023 #(define eight-note `(columns ,note ((kern . -0.1)
4024 (music ((raise . 3.5) "flags-u3")))))
4025 #(define dotted-eight-note
4026 `(columns ,eight-note (music "dots-dot")))
4029 \notes\relative c'' {
4030 a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64")
4036 TextScript \override #'font-shape = #'upright
4044 The syntax and semantics of markup texts are not clean, and both
4045 syntax and semantics are slated for a rewrite.
4048 @section Global layout
4050 The global layout determined by three factors: the page layout, the
4051 line breaks and the spacing. These all influence each other: The
4052 choice of spacing determines how densely each system of music is set,
4053 whree line breaks breaks are chosen, and thus ultimately how many
4054 pages a piece of music takes. In this section we will explain how the
4055 lilypond spacing engine works, and how you can tune its results.
4057 Globally spoken, this procedure happens in three steps: first,
4058 flexible distances (``springs'') are chosen, based on durations. All
4059 possible line breaking combination are tried, and the one with the
4060 best results---a layout that has uniform density and requires as
4061 little stretching or cramping as possible---is chosen. When the score
4062 is processed by @TeX{}, page are filled with systems, and page breaks
4063 are chosen whenever the page gets full.
4075 The spacing engine translates differences in durations into
4076 stretchable distances (``springs'') of differing lengths. Longer
4077 durations get more space, shorter durations get less. The basis for
4078 assigning spaces to durations, is that the shortest durations get a
4079 fixed amount of space, and the longer durations get more: doubling a
4080 duration adds a fixed amount of space to the note.
4082 For example, the following piece contains lots of half, quarter and
4083 8th notes, the eighth note is followed by 1 note head width. The The
4084 quarter note is followed by 2 NHW, the half by 3 NHW, etc.
4085 @lilypond[fragment, verbatim, relative=1]
4086 c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
4089 These two amounts of space are @code{shortest-duration-space}
4090 @code{spacing-increment}, grob properties of
4091 @internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
4092 set to 1.2, which is the width of a note head, and
4093 @code{shortest-duration-space} is set to 2.0, meaning that the
4094 shortest note gets 2 noteheads of space. For normal notes, this space
4095 is always counted from the left edge of the symbol, so the short notes
4096 in a score is generally followed by one note head width of space.
4098 If one would follow the above procedure exactly, then adding a single
4099 32th note to a score that uses 8th and 16th notes, would widen up the
4100 entire score a lot. The shortest note is no longer a 16th, but a 64th,
4101 thus adding 2 noteheads of space to every note. To prevent this, the
4102 shortest duration for spacing is not the shortest note in the score,
4103 but the most commonly found shortest note. Notes that are even
4104 shorter this are followed by a space that is proportonial to their
4105 duration relative to the common shortest note. So if we were to add
4106 only a few 16th notes to the example above, they would be followed by
4109 @lilypond[fragment, verbatim, relative=1]
4110 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
4113 The most common shortest duration is determined as follows: in every
4114 measure, the shortest duration is determined. The most common short
4115 duration, is taken as the basis for the spacing, with the stipulation
4116 that this shortest duration should always be equal to or shorter than
4117 1/8th note. The shortest duration is printed when you run lilypond
4118 with @code{--verbose}. These durations may also be customized. If you
4119 set the @code{common-shortest-duration} in
4120 @internalsref{SpacingSpanner}, then this sets the base duration for
4121 spacing. The maximum duration for this base (normally 1/8th), is set
4122 through @code{base-shortest-duration}.
4124 @cindex @code{common-shortest-duration}
4125 @cindex @code{base-shortest-duration}
4126 @cindex @code{stem-spacing-correction}
4127 @cindex @code{spacing}
4129 In the introduction it was explained that stem directions influence
4130 spacing. This is controlled with @code{stem-spacing-correction} in
4131 @internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the
4132 same property for controlling the stem/barline spacing. In the
4133 following example shows these corrections, once with default settings,
4134 and once with exaggerated corrections.
4140 \property Staff.NoteSpacing \override #'stem-spacing-correction
4142 \property Staff.StaffSpacing \override #'stem-spacing-correction
4147 \paper { linewidth = -1. } }
4154 Spacing is determined on a score wide basis. If you have a score that
4155 changes its character (measured in durations) half way during the
4156 score, the part containing the longer durations will be spaced too
4159 Generating optically pleasing spacing is black magic. LilyPond tries
4160 to deal with a number of frequent cases. Here is an example that is
4161 not handled correctly, due to the combination of chord collisions and
4166 \context PianoStaff \notes \transpose c''' <
4167 \context Staff = up { s1 }
4168 \context Staff = down { [c8 c \translator Staff=up <c d> c
4169 \translator Staff=down c c c] }
4171 \paper { linewidth = -1 }
4178 @subsection Font size
4179 @cindex font size, setting
4180 @cindex staff size, setting
4181 @cindex @code{paper} file
4183 The Feta font provides musical symbols at seven different sizes.
4184 These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
4185 point, and 26 point. The point size of a font is the height of the
4186 five lines in a staff when displayed in the font.
4188 Definitions for these sizes are the files @file{paperSZ.ly}, where
4189 @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
4190 of these files, the identifiers @code{paperEleven},
4191 @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
4192 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
4193 are defined respectively. The default @code{\paper} block is also
4194 set. These files should be imported at toplevel, i.e.
4196 \include "paper26.ly"
4200 The font definitions are generated using a Scheme function. For more
4201 details, see the file @file{scm/font.scm}.
4206 @subsection Line breaking
4209 @cindex breaking lines
4211 Line breaks are normally computed automatically. They are chosen such
4212 that it looks neither cramped nor loose, and that consecutive lines have
4215 Occasionally you might want to override the automatic breaks; you can
4216 do this by specifying @code{\break}. This will force a line break at
4217 this point. Line breaks can only occur at places where there are bar
4218 lines. If you want to have a line break where there is no bar line,
4219 you can force an invisible bar line by entering @code{\bar
4220 ""}. Similarly, @code{\noBreak} forbids a line break at a certain
4223 If you want linebreaks at regular intervals, you can use the following:
4225 < \repeat 7 unfold @{ s1 * 4 \break @}
4229 This makes the following 28 measures (assuming 4/4 time) be broken every
4233 @subsection Page layout
4236 @cindex breaking pages
4238 @cindex @code{indent}
4239 @cindex @code{linewidth}
4241 The most basic settings influencing the spacing are @code{linewidth}
4242 and @code{indent}, both set in the @code{\paper} block. They control
4243 the indentation of the first line of music, and the lengths of the
4244 lines. If @code{linewidth} set to a negative value, a single
4245 unjustified line is produced. A similar effect for scores that are
4246 longer than one line, can be produced by setting @code{raggedright} to
4247 true in the @code{\paper} block.
4251 The page layout process happens outside lilypond. Ly2dvi sets page
4252 layout instructions. Ly2dvi responds to the following variables in the
4253 @code{\paper} block. The variable @code{textheight} sets the total
4254 height of the music on each page. The spacing between systems is
4255 controlled with @code{interscoreline}, its default is 16pt.
4256 The distance between the score lines will stretch in order to fill the
4257 full page @code{interscorelinefill} is set to a positive number. In
4258 that case @code{interscoreline} specifies the minimum spacing.
4260 @cindex @code{textheight}
4261 @cindex @code{interscoreline}
4262 @cindex @code{interscorelinefill}
4264 Page breaks are normally computed by @TeX{}, so they are not under
4265 direct control of LilyPond. However, you can insert a commands into
4266 the @file{.tex} output to instruct @TeX{} where to break pages. You
4267 can insert a @code{\newpage} from within lilypond. This is done by
4268 setting the @code{between-systems-strings} on the
4269 @internalsref{NonMusicalPaperColumn} where the system is broken.
4273 @cindex @code{papersize}
4275 To change the paper size, you must first set the
4276 @code{papersize} paper variable variable. Set it to
4277 the strings @code{a4}, @code{letter}, or @code{legal}. After this
4278 specification, you must set the font as described above. If you want
4279 the default font, then use the 20 point font.
4282 \paper@{ papersize = "a4" @}
4283 \include "paper16.ly"
4286 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
4287 will set the paper variables @code{hsize} and @code{vsize} (used by
4288 Lilypond and @code{ly2dvi})
4298 LilyPond can produce MIDI output. The performance lacks lots of
4299 interesting effects, such as swing, articulation, slurring, etc., but it
4300 is good enough for proof-hearing the music you have entered. Ties,
4301 dynamics and tempo changes are interpreted.
4303 Dynamic marks, crescendi and decrescendi translate into MIDI volume
4304 levels. Dynamic marks translate to a fixed fraction of the available
4305 MIDI volume range, crescendi and decrescendi make the the volume vary
4306 linearly between their two extremities. The fractions be adjusted by
4307 overriding the @code{absolute-volume-alist} defined in
4308 @file{scm/midi.scm}.
4310 For each type of musical instrument (that MIDI supports), a volume range
4311 can be defined. This gives you basic equalizer control, which can
4312 enhance the quality of the MIDI output remarkably. You can add
4313 instruments and ranges or change the default settings by overriding the
4314 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
4316 Both loudness controls are combined to produce the final MIDI volume.
4322 * MIDI instrument names::
4327 @subsection MIDI block
4331 The MIDI block is analogous to the paper block, but it is somewhat
4332 simpler. The @code{\midi} block can contain:
4336 @item a @code{\tempo} definition
4337 @item context definitions
4340 Assignments in the @code{\midi} block are not allowed.
4344 @cindex context definition
4346 Context definitions follow precisely the same syntax as within the
4347 \paper block. Translation modules for sound are called performers.
4348 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
4351 @node MIDI instrument names
4352 @subsection MIDI instrument names
4354 @cindex instrument names
4355 @cindex @code{Staff.midiInstrument}
4356 @cindex @code{Staff.instrument}
4358 The MIDI instrument name is set by the @code{Staff.midiInstrument}
4359 property or, if that property is not set, the @code{Staff.instrument}
4360 property. The instrument name should be chosen from the list in
4361 @ref{MIDI instruments}.
4365 If the selected string does not exactly match, then LilyPond uses the
4366 default (Grand Piano). It is not possible to select an instrument by