3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
39 @c FIXME: Note entry vs Music entry at top level menu is confusing.
45 The basic elements of any piece of music are the notes. This section
46 is about basic notation elements notes, rests and related constructs,
47 such as stems, tuplets and ties.
52 * Chromatic alterations::
60 * Easy Notation note heads::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative 2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (an accidental within parentheses) can be obtained by adding the
189 question mark `@code{?}' after the pitch:
191 @lilypond[fragment,verbatim]
192 cis' cis' cis'! cis'?
196 The automatic production of accidentals can be tuned in many
197 ways. For more information, refer to @ref{Accidentals}.
202 A chord is formed by a enclosing a set of pitches in @code{<} and
203 @code{>}. A chord may be followed by a duration, and a set of
204 articulations, just like simple notes.
214 Rests are entered like notes, with the note name @code{r}:
216 @lilypond[singleline,verbatim]
220 Whole bar rests, centered in middle of the bar,
221 must be done with multi measure rests. They are discussed in
222 @ref{Multi measure rests}.
225 A rest's vertical position may be explicitly specified by entering a
226 note with the @code{\rest} keyword appended. This makes manual
227 formatting in polyphonic music easier. Rest collision testing will
228 leave these rests alone:
230 @lilypond[singleline,verbatim]
236 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
243 @cindex Invisible rest
246 An invisible rest (also called a `skip') can be entered like a note
247 with note name `@code{s}' or with @code{\skip @var{duration}}:
249 @lilypond[singleline,verbatim]
253 The @code{s} syntax is only available in Note mode and Chord mode. In
254 other situations, you should use the @code{\skip} command:
256 @lilypond[singleline,verbatim]
259 { \time 4/8 \skip 2 \time 4/4 }
260 \notes\relative c'' { a2 a1 }
265 The skip command is merely an empty musical placeholder. It does not
266 produce any output, not even transparent output.
270 Internals: @internalsref{SkipEvent}.
275 @subsection Durations
281 In Note, Chord, and Lyrics mode, durations are designated by numbers
282 and dots: durations are entered as their reciprocal values. For example,
283 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
284 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
285 longer than a whole you must use variables:
287 @c FIXME: what is an identifier? I do not think it's been introduced yet.
288 @c and if it has, I obviously skipped that part. - Graham
292 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
294 r1 r2 r4 r8 r16 r32 r64 r64
299 \notes \relative c'' {
301 a1 a2 a4 a8 a16 a32 a64 a64
303 r1 r2 r4 r8 r16 r32 r64 r64
308 \remove "Clef_engraver"
309 \remove "Staff_symbol_engraver"
310 \remove "Time_signature_engraver"
311 \consists "Pitch_squash_engraver"
318 If the duration is omitted then it is set to the previously entered
319 duration. The default for the first note is a quarter note. The duration
320 can be followed by dots (`@code{.}') in order to obtain dotted note
324 @lilypond[fragment,verbatim,center]
325 a' b' c''8 b' a'4 a'4. b'4.. c'8.
330 You can alter the length of duration by a fraction @var{N/M}
331 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
332 will not affect the appearance of the notes or rests produced.
333 In the following example, the first three notes take up exactly two
335 @lilypond[fragment,relative 2,verbatim]
337 a4*2/3 gis4*2/3 a4*2/3
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
362 Whenever a note is found, a @internalsref{Stem} object is created
363 automatically. For whole notes and rests, they are also created but
368 @cindex @code{\stemUp}
370 @cindex @code{\stemDown}
372 @cindex @code{\stemBoth}
383 A tie connects two adjacent note heads of the same pitch. The tie in
384 effect extends the length of a note. Ties should not be confused with
385 slurs, which indicate articulation, or phrasing slurs, which indicate
386 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
388 @lilypond[fragment,verbatim,center]
389 e' ~ e' <c' e' g'> ~ <c' e' g'>
392 When a tie is applied to a chord, all note heads whose pitches match
393 are connected. When no note heads match, no ties will be created.
395 In its meaning a tie is just a way of extending a note duration, similar
396 to the augmentation dot; in the following example there are two ways of
397 notating exactly the same concept:
399 @lilypond[fragment, singleline,quote]
400 \time 3/4 c'2. c'2 ~ c'4
402 If you need to tie a lot of notes over bars, it may be easier to use automatic
403 note splitting (See @ref{Automatic note splitting}).
408 @cindex @code{\tieUp}
410 @cindex @code{\tieDown}
412 @cindex @code{\tieBoth}
414 @cindex @code{\tieDotted}
416 @cindex @code{\tieSolid}
421 In this manual: @ref{Automatic note splitting}.
423 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
426 Examples: if you want less ties created for a chord, see
427 @inputfileref{input/test,tie-sparse.ly}.
429 For tying only a subset of the note heads of a pair of chords, see
430 @inputfileref{input/regression,tie-chord-partial.ly}.
435 Switching staves when a tie is active will not produce a slanted tie.
437 Formatting of ties is a difficult subject. The results are often not
447 @cindex @code{\times}
449 Tuplets are made out of a music expression by multiplying all durations
452 @cindex @code{\times}
454 \times @var{fraction} @var{musicexpr}
458 The duration of @var{musicexpr} will be multiplied by the fraction.
459 The fraction's denominator will be printed over the notes, optionally
460 with a bracket. The most common tuplet is the triplet in which 3
461 notes have the length of 2, so the notes are 2/3 of their written
464 @lilypond[fragment,verbatim,center]
465 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
468 The property @code{tupletSpannerDuration} specifies how long each
469 bracket should last. With this, you can make lots of tuplets while
470 typing @code{\times} only once, saving lots of typing. In the next
471 example, there are two triplets shown, while @code{\times} was only
474 @lilypond[fragment, relative, singleline, verbatim]
475 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
476 \times 2/3 { c'8 c c c c c }
479 The format of the number is determined by the property
480 @code{tupletNumberFormatFunction}. The default prints only the
481 denominator, but if it is set to the Scheme function
482 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
486 @cindex @code{tupletNumberFormatFunction}
487 @cindex tuplet formatting
492 @cindex @code{\tupletUp}
494 @cindex @code{\tupletDown}
496 @cindex @code{\tupletBoth}
501 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
503 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
507 Nested tuplets are not formatted automatically. In this case, outer
508 tuplet brackets should be moved manually, which is demonstrated in
509 @inputfileref{input/regression,tuplet-nest.ly}.
514 @node Easy Notation note heads
515 @subsection Easy Notation note heads
517 @cindex easy notation
520 The `easy play' note head includes a note name inside the head. It is
521 used in music aimed at beginners:
523 @lilypond[singleline,verbatim,26pt]
525 \notes { c'2 e'4 f' | g'1 }
526 \paper { \translator { \EasyNotation } }
530 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
531 You probably will want to print it with magnification or a
532 large font size to make it more readable. To print with
533 magnification, you must create a DVI file (with @file{lilypond}) and
534 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
535 See the @code{dvips} documentation for more details. To print with a
536 larger font, see @ref{Font Size}.
542 If you view the result with Xdvi, then staff lines will show through
543 the letters. Printing the PostScript file obtained does produce the
547 @node Easier music entry
548 @section Easier music entry
551 When entering music it is easy to introduce errors. This section deals
552 with tricks and features of the input language that were added solely
553 to help entering music, and find and correct mistakes.
555 It is also possible to use external programs, for example GUI
556 interfaces, or MIDI transcription programs, to enter or edit
557 music. Refer to the website for more information. Finally, there are
558 tools make debugging easier, by linking the input file and the output
559 shown on screen. See @ref{Point and click} for more information.
566 * Skipping corrected music::
567 * Automatic note splitting::
573 @node Relative octaves
574 @subsection Relative octaves
576 @cindex relative octave specification
578 Octaves are specified by adding @code{'} and @code{,} to pitch names.
579 When you copy existing music, it is easy to accidentally put a pitch
580 in the wrong octave and hard to find such an error. The relative
581 octave mode prevents these errors: a single error puts the rest of the
582 piece off by one octave:
584 @cindex @code{\relative}
586 \relative @var{startpitch} @var{musicexpr}
589 The octave of notes that appear in @var{musicexpr} are calculated as
590 follows: If no octave changing marks are used, the basic interval
591 between this and the last note is always taken to be a fourth or less
592 (; this distance is determined without regarding alterations: a
593 @code{fisis} following a @code{ceses} will be put above the
596 The octave changing marks @code{'} and @code{,} can be added to raise
597 or lower the pitch by an extra octave. Upon entering relative mode,
598 an absolute starting pitch must be specified that will act as the
599 predecessor of the first note of @var{musicexpr}.
601 Here is the relative mode shown in action:
602 @lilypond[fragment,singleline,verbatim,center]
608 Octave changing marks are used for intervals greater than a fourth:
609 @lilypond[fragment,verbatim,center]
614 If the preceding item is a chord, the first note of the chord is used
615 to determine the first note of the next chord:
617 @lilypond[fragment,verbatim,center]
624 @cindex @code{\notes}
626 The pitch after the @code{\relative} contains a note name. To parse
627 the pitch as a note name, you have to be in note mode, so there must
628 be a surrounding @code{\notes} keyword (which is not
631 The relative conversion will not affect @code{\transpose},
632 @code{\chords} or @code{\relative} sections in its argument. If you
633 want to use relative within transposed music, you must place an
634 additional @code{\relative} inside the @code{\transpose}.
637 @subsection Octave check
640 Octave checks make octave errors easier to correct: a note may be
641 followed by @code{=}@var{quotes} which indicates what its absolute
642 octave should be. In the following example,
644 \relative c'' @{ c='' b=' d,='' @}
648 @c take care with @code, adds confusing quotes.
649 the d will generate a warning, because a d'' is expected, but a d' is
650 found. In the output, the octave is corrected this and the following
655 There is also a syntax that is separate from the notes.
660 This checks that @var{pitch} (without octave) yields @var{pitch} (with
661 octave) in \relative mode. If not, a warning is printed, and the
662 octave is corrected, for example, the first check is passed
663 successfully. The second check fails with an error message. The
664 octave is adjusted so the following notes are in the correct octave
675 The octave of a note following an octave check is determined with
676 respect to the note preceding it. In the next fragment, the last note
677 is a @code{a'}, above central C. Hence, the @code{\octave} check may
678 be deleted without changing the meaning of the piece.
680 @lilypond[verbatim,fragment]
689 @subsection Bar check
693 @cindex @code{barCheckSynchronize}
696 Bar checks help detect errors in the durations. A bar check is
697 entered using the bar symbol, `@code{|}'. Whenever it is encountered
698 during interpretation, it should fall on a measure boundary. If it
699 does not, a warning is printed. Depending on the value of
700 @code{barCheckSynchronize}, the beginning of the measure will be
703 In the next example, the second bar check will signal an error:
705 \time 3/4 c2 e4 | g2 |
708 Bar checks can also be used in lyrics, for example
713 Twin -- kle | Twin -- kle
718 @cindex skipTypesetting
720 Failed bar checks are caused by entering incorrect
721 durations. Incorrect durations often completely garble up the score,
722 especially if it is polyphonic, so you should start correcting the
723 score by scanning for failed bar checks and incorrect durations. To
724 speed up this process, you can use @code{skipTypesetting}, described
727 @node Skipping corrected music
728 @subsection Skipping corrected music
730 The property @code{Score.skipTypesetting} can be used to switch on and
731 off typesetting completely during the interpretation phase. When
732 typesetting is switched off, the music is processed much more quickly.
733 This can be used to skip over the parts of a score that have already
734 been checked for errors:
736 @lilypond[fragment,singleline,verbatim]
738 \property Score.skipTypesetting = ##t
740 \property Score.skipTypesetting = ##f
744 @node Automatic note splitting
745 @subsection Automatic note splitting
747 Long notes can be converted automatically to tied notes. This is done
748 by replacing the @internalsref{Note_heads_engraver} by the
749 @internalsref{Completion_heads_engraver}:
752 \paper @{ \translator @{
754 \remove "Note_heads_engraver"
755 \consists "Completion_heads_engraver"
759 which will make long notes tied in the following example:
762 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
769 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
771 \paper { \translator {
773 \remove "Note_heads_engraver"
774 \consists "Completion_heads_engraver"
779 This engraver splits all running notes at the bar line, and inserts
780 ties. One of its uses is to debug complex scores: if the measures are
781 not entirely filled, then the ties exactly show how much each measure
786 Not all durations (especially those containing tuplets) can be
787 represented exactly; the engraver will not insert tuplets.
793 @section Staff notation
795 This section describes music notation that occurs on staff level,
796 such as keys, clefs and time signatures.
798 @cindex Staff notation
812 @subsection Staff symbol
814 @cindex adjusting staff symbol
815 @cindex StaffSymbol, using \property
817 Notes, dynamic signs, etc. are grouped
818 with a set of horizontal lines, into a staff (plural `staves'). In our
819 system, these lines are drawn using a separate layout object called
823 @cindex staff lines, setting number of
824 @cindex staff lines, setting thickness of
825 @cindex thickness of staff lines, setting
826 @cindex number of staff lines, setting
830 Internals: @internalsref{StaffSymbol},
832 Examples: @inputfileref{input/test,staff-lines.ly},
833 @inputfileref{input/test,staff-size.ly}
837 If a staff is ended halfway a piece, the staff symbol may not end
838 exactly on the barline.
842 @subsection Key signature
843 @cindex Key signature
847 The key signature indicates the scale in which a piece is played. It
848 is denoted by a set of alterations (flats or sharps) at the start of
853 Setting or changing the key signature is done with the @code{\key}
856 @code{\key} @var{pitch} @var{type}
859 @cindex @code{\minor}
860 @cindex @code{\major}
861 @cindex @code{\minor}
862 @cindex @code{\ionian}
863 @cindex @code{\locrian}
864 @cindex @code{\aeolian}
865 @cindex @code{\mixolydian}
866 @cindex @code{\lydian}
867 @cindex @code{\phrygian}
868 @cindex @code{\dorian}
870 Here, @var{type} should be @code{\major} or @code{\minor} to get
871 @var{pitch}-major or @var{pitch}-minor, respectively.
872 The standard mode names @code{\ionian},
873 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
874 @code{\phrygian}, and @code{\dorian} are also defined.
876 This command sets the context property
877 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
878 can be specified by setting this property directly.
880 Accidentals and key signatures often confuse new users, because
881 unaltered notes get natural signs depending on the keysignature. The
882 tutorial explains why this is so in @ref{More about pitches}.
886 The ordering of a key cancellation is wrong when it is combined with
887 repeat bar lines. The cancellation is also printed after a line break.
891 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
893 @cindex @code{keySignature}
900 The clef indicates which lines of the staff correspond to which
905 The clef can be set or changed with the @code{\clef} command:
906 @lilypond[fragment,verbatim]
907 \key f\major c''2 \clef alto g'2
910 Supported clef-names include:
911 @c Moved standard clefs to the top /MB
915 @item treble, violin, G, G2
928 G clef on 1st line, so-called French violin clef
933 @cindex mezzosoprano clef
936 @cindex baritone clef
939 @cindex varbaritone clef
948 By adding @code{_8} or @code{^8} to the clef name, the clef is
949 transposed one octave down or up, respectively, and @code{_15} and
950 @code{^15} transposes by two octaves. The argument @var{clefname}
951 must be enclosed in quotes when it contains underscores or digits. For
955 @cindex choral tenor clef
956 @lilypond[verbatim,fragment,relative]
960 This command is equivalent to setting @code{clefGlyph},
961 @code{clefPosition} (which controls the Y position of the clef),
962 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
963 when any of these properties are changed.
967 Internals: the object for this symbol is @internalsref{Clef}.
971 @node Ottava brackets
972 @subsection Ottava brackets
974 ``Ottava'' brackets introduce an extra transposition of an octave for
975 the staff. They are created by invoking the function
976 @code{set-octavation}:
982 @lilypond[verbatim,fragment]
991 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
992 (for 15ma) as arguments. Internally the function sets the properties
993 @code{ottavation} (eg. to @code{"8va"}) and
994 @code{centralCPosition}. For overriding the text of the bracket, set
995 @code{ottavation} after invoking @code{set-octavation}, i.e.,
999 \property Staff.ottavation = #"8"
1004 Internals: @internalsref{OttavaSpanner}.
1006 Examples: @inputfileref{input/regression,ottava.ly},
1007 @inputfileref{input/regression,ottava-broken.ly}.
1011 @code{set-octavation} will get confused when clef changes happen
1012 during an octavation bracket.
1014 @node Time signature
1015 @subsection Time signature
1016 @cindex Time signature
1018 @cindex @code{\time}
1020 Time signature indicates the metrum of a piece: a regular pattern of
1021 strong and weak beats. It is denoted by a fraction at the start of the
1026 The time signature is set or changed by the @code{\time}
1028 @lilypond[fragment,verbatim]
1029 \time 2/4 c'2 \time 3/4 c'2.
1032 The symbol that is printed can be customized with the @code{style}
1033 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1034 2/2 time. There are many more options for its layout. See
1035 @inputfileref{input/test,time.ly} for more examples.
1038 This command sets the property @code{timeSignatureFraction},
1039 @code{beatLength} and @code{measureLength} in the @code{Timing}
1040 context, which is normally aliased to @internalsref{Score}. The
1041 property @code{measureLength} determines where bar lines should be
1042 inserted, and how automatic beams should be generated. Changing the
1043 value of @code{timeSignatureFraction} also causes the symbol to be
1046 More options are available through the Scheme function
1047 @code{set-time-signature}. In combination with the
1048 @internalsref{Measure_grouping_engraver}, it will create
1049 @internalsref{MeasureGrouping} signs. Such signs ease reading
1050 rhythmically complex modern music. In the following example, the 9/8
1051 measure is subdivided in 2, 2, 2 and 3. This is passed to
1052 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1055 \score { \notes \relative c'' {
1056 #(set-time-signature 9 8 '(2 2 2 3))
1057 g8[ g] d[ d] g[ g] a8[( bes g]) |
1058 #(set-time-signature 5 8 '(3 2))
1063 \translator { \StaffContext
1064 \consists "Measure_grouping_engraver"
1070 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1075 Automatic beaming does not use measure grouping specified with
1076 @code{set-time-signature}.
1078 @node Partial measures
1079 @subsection Partial measures
1082 @cindex partial measure
1083 @cindex measure, partial
1084 @cindex shorten measures
1085 @cindex @code{\partial}
1087 Partial measures, for example in upsteps, are entered using the
1088 @code{\partial} command:
1089 @lilypond[fragment,verbatim,relative 1]
1090 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1093 The syntax for this command is
1095 \partial @var{duration}
1097 This is internally translated into
1099 \property Timing.measurePosition = -@var{length of duration}
1102 The property @code{measurePosition} contains a rational number
1103 indicating how much of the measure has passed at this point.
1105 @node Unmetered music
1106 @subsection Unmetered music
1108 Bar lines and bar numbers are calculated automatically. For unmetered
1109 music (e.g. cadenzas), this is not desirable. By setting
1110 @code{Score.timing} to false, this automatic timing can be switched
1116 @cindex @code{\cadenzaOn}
1118 @cindex @code{\cadenzaOff}
1122 @subsection Bar lines
1126 @cindex measure lines
1130 Bar lines delimit measures, but are also used to indicate repeats.
1131 Normally, they are inserted automatically. Line breaks may only
1137 of barlines can be forced with the @code{\bar} command:
1139 @lilypond[relative=1,fragment,verbatim]
1143 The following bar types are available:
1144 @lilypond[fragment, relative, singleline, verbatim]
1157 For allowing linebreaks, there is a special command,
1161 This will insert an invisible barline, and allow linebreaks at this
1164 In scores with many staves, a @code{\bar} command in one staff is
1165 automatically applied to all staves. The resulting bar lines are
1166 connected between different staves of a @internalsref{StaffGroup}:
1168 @lilypond[fragment, verbatim]
1169 << \context StaffGroup <<
1173 \new Staff { \clef bass c4 g e g } >>
1174 \new Staff { \clef bass c2 c2 } >>
1178 The command @code{\bar @var{bartype}} is a short cut for doing
1179 @code{\property Score.whichBar = @var{bartype}} Whenever
1180 @code{whichBar} is set to a string, a bar line of that type is
1181 created. At the start of a measure it is set to
1182 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1183 to override default measure bars.
1185 Property @code{whichBar} can also be set directly, using @code{\property}
1186 or @code{\bar}. These settings take precedence over the automatic
1187 @code{whichBar} settings.
1190 @cindex repeatCommands
1191 @cindex defaultBarType
1193 You are encouraged to use @code{\repeat} for repetitions. See
1200 In this manual: @ref{Repeats}.
1203 Internals: the bar line objects that are created at
1204 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1205 lines that span staves are @internalsref{SpanBar}s.
1207 @cindex bar lines at start of system
1208 @cindex start of system
1210 The barlines at the start of each system are
1211 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1212 @internalsref{SystemStartBracket}. Only one of these types is created
1213 in every context, and that type is determined by the property
1214 @code{systemStartDelimiter}.
1216 Examples: @inputfileref{input/test,bar-lines.ly},
1222 The easiest way to enter fragments with more than one voice on a staff
1223 is to split chords using the separator @code{\\}. You can use it for
1224 small, short-lived voices or for single chords:
1226 @lilypond[verbatim,fragment]
1227 \context Staff \relative c'' {
1228 c4 << { f d e } \\ { b c2 } >>
1229 c4 << g' \\ b, \\ f' \\ d >>
1233 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1234 voices are sometimes called "layers" other notation packages}
1236 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1237 each of these contexts, vertical direction of slurs, stems, etc. is set
1240 @cindex @code{\voiceOne}
1241 @cindex @code{\voiceFour}
1243 This can also be done by instantiating @internalsref{Voice} contexts
1244 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1245 a stem directions and horizontal shift for each part:
1248 @lilypond[singleline, verbatim]
1250 \context Staff << \new Voice { \voiceOne cis2 b }
1251 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1252 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1256 The command @code{\oneVoice} will revert back to the normal setting.
1257 @cindex @code{\oneVoice}
1260 Normally, note heads with a different number of dots are not merged, but
1261 when the object property @code{merge-differently-dotted} is set in
1262 the @internalsref{NoteCollision} object, they are merged:
1263 @lilypond[verbatim,fragment,singleline]
1264 \relative c'' \context Voice << {
1266 \property Staff.NoteCollision \override
1267 #'merge-differently-dotted = ##t
1269 } \\ { g8.[ f16] g8.[ f16] }
1273 Similarly, you can merge half note heads with eighth notes, by setting
1274 @code{merge-differently-headed}:
1275 @lilypond[fragment, relative=2,verbatim]
1278 \property Staff.NoteCollision
1279 \override #'merge-differently-headed = ##t
1280 c8 c4. } \\ { c2 c2 } >>
1283 LilyPond also vertically shifts rests that are opposite of a stem:
1286 @lilypond[singleline,fragment,verbatim]
1287 \context Voice << c''4 \\ r4 >>
1295 @cindex @code{\oneVoice}
1297 @cindex @code{\voiceOne}
1299 @cindex @code{\voiceTwo}
1301 @cindex @code{\voiceThree}
1303 @cindex @code{\voiceFour}
1307 The following commands specify in what chords of the current voice
1308 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1309 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1312 @cindex @code{\shiftOn}
1314 @cindex @code{\shiftOnn}
1316 @cindex @code{\shiftOnnn}
1318 @cindex @code{\shiftOff}
1325 Internals: the objects responsible for resolving collisions are
1326 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1328 Examples: See also example files
1329 @inputfileref{input/regression,collision-dots.ly},
1330 @inputfileref{input/regression,collision-head-chords.ly},
1331 @inputfileref{input/regression,collision-heads.ly},
1332 @inputfileref{input/regression,collision-mesh.ly}, and
1333 @inputfileref{input/regression,collisions.ly}.
1338 Resolving collisions is a intricate subject, and only a few situations
1339 are handled. When LilyPond cannot cope, the @code{force-hshift}
1340 property of the @internalsref{NoteColumn} object and pitched rests can
1341 be used to override typesetting decisions.
1343 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1344 note, and a downstem half note, the 8th note gets the wrong offset.
1346 There is no support for clusters where the same note occurs with
1347 different accidentals in the same chord. In this case, it is
1348 recommended to use enharmonic transcription, or to use special cluster
1349 notation (see @ref{Clusters}).
1354 Beams are used to group short notes into chunks that are aligned with
1355 the metrum. They are inserted automatically in most cases:
1357 @lilypond[fragment,verbatim, relative=2]
1358 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1361 When these automatic decisions are not good enough, beaming can be
1362 entered explicitly. It is also possible to define beaming patterns
1363 that differ from the defaults.
1367 Internals: @internalsref{Beam}.
1370 @cindex Automatic beams
1371 @subsection Manual beams
1372 @cindex beams, manual
1376 In some cases it may be necessary to override the automatic beaming
1377 algorithm. For example, the auto beamer will not put beams over rests
1378 or bar lines. Such beams are specified by manually: the begin and end
1379 point are marked with @code{[} and @code{]}:
1381 @lilypond[fragment,relative,verbatim]
1383 r4 r8[ g' a r8] r8 g[ | a] r8
1387 @cindex @code{stemLeftBeamCount}
1389 Normally, beaming patterns within a beam are determined automatically.
1390 When this mechanism fouls up, the properties
1391 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1392 be used to control the beam subdivision on a stem. If either property
1393 is set, its value will be used only once, and then it is erased.
1395 @lilypond[fragment,relative,verbatim]
1398 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1401 @cindex @code{stemRightBeamCount}
1404 The property @code{subdivideBeams} can be set in order to subdivide
1405 all 16th or shorter beams at beat positions, as defined by the
1406 @code{beatLength} property . This accomplishes the same effect as
1407 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1408 but it take less typing:
1411 @lilypond[relative=1,verbatim,noindent]
1413 \property Voice.subdivideBeams = ##t
1415 \property Score.beatLength = #(ly:make-moment 1 8)
1418 @cindex subdivideBeams
1420 Kneed beams are inserted automatically, when a large gap is detected
1421 between the note heads. This behavior can be tuned through the object
1422 property @code{auto-knee-gap}.
1424 Normally, line breaks are forbidden when beams cross bar lines. This
1425 behavior can be changed by setting @code{allowBeamBreak}.
1427 @cindex @code{allowBeamBreak}
1428 @cindex beams and line breaks
1430 @cindex beams, kneed
1432 @cindex auto-knee-gap
1438 @cindex Frenched staves
1440 Automatically kneed beams cannot be used together with hidden staves.
1445 * Setting automatic beam behavior::
1449 @no de Beam typography
1450 @sub section Beam typography
1452 One of the strong points of LilyPond is how beams are formatted. Beams
1453 are quantized, meaning that the left and right endpoints beams start
1454 exactly on staff lines. Without quantization, small wedges of white
1455 space appear between the beam and staff line, and this looks untidy.
1457 Beams are also slope-damped: melodies that go up or down should also
1458 have beams that go up or down, but the slope of the beams should be
1459 less than the slope of the notes themselves.
1461 Some beams should be horizontal. These are so-called concave beams.
1463 [TODO: some pictures.]
1467 @node Setting automatic beam behavior
1468 @subsection Setting automatic beam behavior
1470 @cindex @code{autoBeamSettings}
1471 @cindex @code{(end * * * *)}
1472 @cindex @code{(begin * * * *)}
1473 @cindex automatic beams, tuning
1474 @cindex tuning automatic beaming
1476 @c [TODO: use \applycontext]
1478 In normal time signatures, automatic beams can start on any note but can
1479 only end in a few positions within the measure: beams can end on a beat,
1480 or at durations specified by the properties in
1481 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1482 are defined in @file{scm/auto-beam.scm}.
1484 The value of @code{autoBeamSettings} is changed using
1485 @code{\override} and restored with @code{\revert}:
1487 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1488 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1490 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1491 whether the rule applies to begin or end-points. The quantity
1492 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1493 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1494 signature (wildcards, `@code{* *}' may be entered to designate all time
1497 For example, if automatic beams should end on every quarter note, use
1500 \property Voice.autoBeamSettings \override
1501 #'(end * * * *) = #(ly:make-moment 1 4)
1503 Since the duration of a quarter note is 1/4 of a whole note, it is
1504 entered as @code{(ly:make-moment 1 4)}.
1506 The same syntax can be used to specify beam starting points. In this
1507 example, automatic beams can only end on a dotted quarter note:
1509 \property Voice.autoBeamSettings \override
1510 #'(end * * * *) = #(ly:make-moment 3 8)
1512 In 4/4 time signature, this means that automatic beams could end only on
1513 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1514 3/8 has passed within the measure).
1516 Rules can also be restricted to specific time signatures. A rule that
1517 should only be applied in @var{N}/@var{M} time signature is formed by
1518 replacing the second asterisks by @var{N} and @var{M}. For example, a
1519 rule for 6/8 time exclusively looks like
1521 \property Voice.autoBeamSettings \override
1522 #'(begin * * 6 8) = ...
1525 If a rule should be to applied only to certain types of beams, use the
1526 first pair of asterisks. Beams are classified according to the
1527 shortest note they contain. For a beam ending rule that only applies
1528 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1531 If a score ends while an automatic beam has not been ended and is still
1532 accepting notes, this last beam will not be typeset at all.
1534 @cindex automatic beam generation
1536 @cindex @code{Voice.autoBeaming}
1539 For melodies that have lyrics, you may want to switch off
1540 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1545 @cindex @code{\autoBeamOff}
1546 @code{\autoBeamOff},
1547 @cindex @code{\autoBeamOn}
1553 The rules for ending a beam depend on the shortest note in a beam.
1554 So, while it is possible to have different ending rules for eight
1555 beams and sixteenth beams, a beam that contains both eight and
1556 sixteenth notes will use the rules for the sixteenth beam.
1558 In the example below, the autobeamer makes eight beams and sixteenth
1559 end at 3 eights; the third beam can only be corrected by specifying
1562 @lilypond[singleline,fragment,relative,noverbatim,quote]
1563 \property Voice.autoBeamSettings
1564 \override #'(end * * * *) = #(ly:make-moment 3 8)
1565 % rather show case where it goes wrong
1566 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1567 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1569 It is not possible to specify beaming parameters that act differently in
1570 different parts of a measure. This means that it is not possible to use
1571 automatic beaming in irregular meters such as @code{5/8}.
1574 @section Accidentals
1577 This section describes how to change the way that accidentals are
1578 inserted automatically before the running notes.
1582 * Using the predefined accidental variables::
1583 * Customized accidental rules::
1586 @node Using the predefined accidental variables
1587 @subsection Using the predefined accidental variables
1589 The constructs for describing the accidental typesetting rules are
1590 quite hairy, so non-experts should stick to the variables
1591 defined in @file{ly/property-init.ly}.
1592 @cindex @file{property-init.ly}
1594 The variables set properties in the ``@code{Current}'' context (see
1595 @ref{Context properties}). This means that the variables should
1596 normally be added right after the creation of the context in which the
1597 accidental typesetting described by the variable is to take
1598 effect. For example, if you want to use piano-accidentals in a piano
1599 staff then issue @code{\pianoAccidentals} first thing after the
1600 creation of the piano staff:
1603 \notes \relative c'' <<
1604 \new Staff @{ cis4 d e2 @}
1605 \context GrandStaff <<
1607 \new Staff @{ cis4 d e2 @}
1608 \new Staff @{ es2 c @}
1610 \new Staff @{ es2 c @}
1614 @lilypond[singleline]
1616 \notes \relative c'' <<
1617 \new Staff { cis4 d e2 }
1618 \context GrandStaff <<
1620 \new Staff { cis4 d e2 }
1621 \new Staff { es2 c }
1623 \new Staff { es2 c }
1628 minimumVerticalExtent = #'(-4.0 . 4.0)
1636 @item \defaultAccidentals
1637 @cindex @code{\defaultAccidentals}
1638 This is the default typesetting behaviour. It should correspond
1639 to 18th century common practice: Accidentals are
1640 remembered to the end of the measure in which they occur and
1641 only on their own octave.
1643 @item \voiceAccidentals
1644 @cindex @code{\voiceAccidentals}
1646 The normal behaviour is to
1647 remember the accidentals on Staff-level. This variable, however,
1648 typesets accidentals individually for each voice. Apart from that the
1649 rule is similar to @code{\defaultAccidentals}.
1651 This leads to some weird and often unwanted results
1652 because accidentals from one voice do not get cancelled in other
1654 @lilypond[singleline,relative,fragment,verbatim,quote]
1662 Hence you should only use @code{\voiceAccidentals} if the voices
1663 are to be read solely by individual musicians. If the staff is to be
1664 used by one musician (e.g. a conductor) then you use
1665 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1668 @item \modernAccidentals
1669 @cindex @code{\modernAccidentals}
1670 This rule corresponds to the common practice in the 20th
1672 The rule is more complex than @code{\defaultAccidentals}.
1673 You get all the same accidentals, but temporary
1674 accidentals also get cancelled in other octaves. Furthermore,
1675 in the same octave, they also get cancelled in the following measure:
1676 @lilypond[singleline,fragment,verbatim]
1678 cis' c'' cis'2 | c'' c'
1681 @item \modernCautionaries
1682 @cindex @code{\modernCautionaries}
1683 This rule is similar to @code{\modernAccidentals}, but the
1684 ``extra'' accidentals (the ones not typeset by
1685 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1686 They are printed in reduced size or with parentheses:
1687 @lilypond[singleline,fragment,verbatim]
1689 cis' c'' cis'2 | c'' c'
1692 @cindex @code{\modernVoiceAccidentals}
1693 @item \modernVoiceAccidentals
1694 is used for multivoice accidentals to be read both by musicians
1695 playing one voice and musicians playing all voices. Accidentals are
1696 typeset for each voice, but they @emph{are} cancelled across voices in
1697 the same @internalsref{Staff}.
1699 @cindex @code{\modernVoiceCautionaries}
1700 @item \modernVoiceCautionaries
1701 is the same as @code{\modernVoiceAccidentals}, but with the extra
1702 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1703 as cautionaries. Even though all accidentals typeset by
1704 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1705 some of them are typeset as cautionaries.
1707 @item \pianoAccidentals
1708 @cindex @code{\pianoAccidentals}
1709 20th century practice for piano notation. Very similar to
1710 @code{\modernAccidentals} but accidentals also get cancelled
1711 across the staves in the same @internalsref{GrandStaff} or
1712 @internalsref{PianoStaff}.
1714 @item \pianoCautionaries
1715 @cindex @code{\pianoCautionaries}
1716 As @code{\pianoAccidentals} but with the extra accidentals
1717 typeset as cautionaries.
1720 @cindex @code{\noResetKey}
1721 Same as @code{\defaultAccidentals} but with accidentals lasting
1722 ``forever'' and not only until the next measure:
1723 @lilypond[singleline,fragment,verbatim,relative]
1728 @item \forgetAccidentals
1729 @cindex @code{\forgetAccidentals}
1730 This is sort of the opposite of @code{\noResetKey}: Accidentals
1731 are not remembered at all---and hence all accidentals are
1732 typeset relative to the key signature, regardless of what was
1733 before in the music:
1734 @lilypond[singleline,fragment,verbatim,relative]
1736 \key d\major c4 c cis cis d d dis dis
1740 @node Customized accidental rules
1741 @subsection Customized accidental rules
1743 For determining when to print an accidental, several different rules
1744 are tried. The rule that gives the highest number of accidentals is
1745 used. Each rule consists of
1748 In which context is the rule applied. For example, if
1749 @var{context} is @internalsref{Score} then all staves share
1750 accidentals, and if @var{context} is @internalsref{Staff} then all
1751 voices in the same staff share accidentals, but staves do not.
1753 Whether the accidental changes all octaves or only the current
1756 Over how many barlines the accidental lasts.
1757 If @var{lazyness} is @code{-1} then the accidental is forget
1758 immediately, and if @var{lazyness} is @code{#t} then the accidental
1761 @c [TODO: should use +infinity for this case?]
1767 @cindex @code{\defaultAccidentals}
1768 @code{\defaultAccidentals},
1769 @cindex @code{\voiceAccidentals}
1770 @code{\voiceAccidentals},
1771 @cindex @code{\modernAccidentals}
1772 @code{\modernAccidentals},
1773 @cindex @code{\modernCautionaries}
1774 @code{\modernCautionaries},
1775 @cindex @code{\modernVoiceAccidentals}
1776 @code{\modernVoiceAccidentals},
1777 @cindex @code{\modernVoiceCautionaries}
1778 @code{\modernVoiceCautionaries},
1779 @cindex @code{\pianoAccidentals}
1780 @code{\pianoAccidentals},
1781 @cindex @code{\pianoCautionaries}
1782 @code{\pianoCautionaries},
1783 @cindex @code{\noResetKey}
1785 @cindex @code{\forgetAccidentals}
1786 @code{\forgetAccidentals}.
1790 Internals: @internalsref{Accidental_engraver},
1791 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1796 Currently the simultaneous notes are considered to be entered in
1797 sequential mode. This means that in a chord the accidentals are
1798 typeset as if the notes in the chord happened once at a time - in the
1799 order in which they appear in the input file.
1801 This is only a problem when there are simultaneous notes whose
1802 accidentals depend on each other. The problem only occurs when using
1803 non-default accidentals. In the default scheme, accidentals only
1804 depend on other accidentals with the same pitch on the same staff, so
1805 no conflicts possible.
1807 This example shows two examples of the same music giving different
1808 accidentals depending on the order in which the notes occur in the
1811 @lilypond[singleline,fragment,verbatim]
1812 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1813 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1814 | <cis' c''> r | <c'' cis'> r |
1817 This problem can be solved by manually inserting @code{!} and @code{?}
1818 for the problematic notes.
1820 @node Expressive marks
1821 @section Expressive marks
1824 @c todo: should change ordering
1825 @c where to put text spanners, metronome marks,
1834 * Analysis brackets::
1836 * Fingering instructions::
1847 A slur indicates that notes are to be played bound or @emph{legato}.
1851 They are entered using parentheses:
1852 @lilypond[relative 1,fragment,verbatim,center]
1853 f( g)( a) a8 b( a4 g2 f4)
1858 @c TODO: should explain that ^( and _( set directions
1859 @c should set attachments with ^ and _ ?
1861 Slurs avoid crossing stems, and are generally attached to note heads.
1862 However, in some situations with beams, slurs may be attached to stem
1863 ends. If you want to override this layout you can do this through the
1864 object property @code{attachment} of @internalsref{Slur} in
1865 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1866 the attachment type of the left and right end points:
1868 @lilypond[fragment,relative,verbatim]
1870 \property Voice.Stem \set #'length = #5.5
1872 \property Voice.Slur \set #'attachment = #'(stem . stem)
1876 If a slur would strike through a stem or beam, the slur will be moved
1877 away upward or downward. If this happens, attaching the slur to the
1878 stems might look better:
1880 @lilypond[fragment,relative,verbatim]
1883 \property Voice.Slur \set #'attachment = #'(stem . stem)
1890 @cindex @code{\slurUp}
1892 @cindex @code{\slurDown}
1894 @cindex @code{\slurBoth}
1896 @cindex @code{\slurDotted}
1898 @cindex @code{\slurSolid}
1903 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1908 Producing nice slurs is a difficult problem, and LilyPond currently
1909 uses a simple, empiric method to produce slurs. In some cases, its
1913 @cindex Adjusting slurs
1915 @node Phrasing slurs
1916 @subsection Phrasing slurs
1918 @cindex phrasing slurs
1919 @cindex phrasing marks
1921 A phrasing slur (or phrasing mark) connects chords and is used to
1922 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1925 @lilypond[fragment,verbatim,center,relative]
1926 \time 6/4 c'\( d( e) f( e) d\)
1929 Typographically, the phrasing slur behaves almost exactly like a
1930 normal slur. However, they are treated as different objects. A
1931 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1932 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1933 @code{\phrasingSlurBoth}.
1935 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1936 will only affect normal slurs and not phrasing slurs.
1940 @cindex @code{\phrasingSlurUp}
1941 @code{\phrasingSlurUp},
1942 @cindex @code{\phrasingSlurDown}
1943 @code{\phrasingSlurDown},
1944 @cindex @code{\phrasingSlurBoth}
1945 @code{\phrasingSlurBoth},
1949 Internals: see also @internalsref{PhrasingSlur}, and
1950 @internalsref{PhrasingSlurEvent}.
1954 Phrasing slurs have the same limitations in their formatting as normal
1955 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1958 @subsection Breath marks
1960 Breath marks are entered using @code{\breathe}:
1963 @lilypond[fragment,relative,verbatim]
1967 The glyph of the breath mark can be tweaked by overriding the
1968 @code{text} property of the @code{BreathingSign} layout object with
1969 any markup text. For example,
1970 @lilypond[fragment,verbatim,relative]
1972 \property Voice.BreathingSign \override #'text
1973 = #(make-musicglyph-markup "scripts-rvarcomma")
1980 Internals: @internalsref{BreathingSign},
1981 @internalsref{BreathingSignEvent}
1983 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1986 @node Metronome marks
1987 @subsection Metronome marks
1990 @cindex beats per minute
1991 @cindex metronome marking
1993 Metronome settings can be entered as follows:
1995 \tempo @var{duration} = @var{perminute}
1998 In the MIDI output, they are interpreted as a tempo change, and in the
1999 paper output, a metronome marking is printed:
2000 @cindex @code{\tempo}
2001 @lilypond[fragment,verbatim]
2007 Internals: @internalsref{MetronomeChangeEvent}.
2012 @subsection Text spanners
2013 @cindex Text spanners
2015 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2016 are written as texts, and extended over many measures with dotted
2017 lines. You can create such texts using text spanners: attach
2018 @code{\startTextSpan} and @code{\stopTextSpan} to the
2019 start and ending note of the spanner.
2021 The string to be printed, as well as the style, is set through object
2024 @lilypond[fragment,relative,verbatim]
2026 \property Voice.TextSpanner \set #'direction = #-1
2027 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
2028 c2\startTextSpan b c\stopTextSpan a }
2034 Internals @internalsref{TextSpanEvent},
2035 @internalsref{TextSpanner}.
2037 Examples: @inputfileref{input/regression,text-spanner.ly}.
2040 @node Analysis brackets
2041 @subsection Analysis brackets
2043 @cindex phrasing brackets
2044 @cindex musicological analysis
2045 @cindex note grouping bracket
2047 Brackets are used in musical analysis to indicate structure in musical
2048 pieces. LilyPond supports a simple form of nested horizontal brackets.
2049 To use this, add the @internalsref{Horizontal_bracket_engraver} to
2050 @internalsref{Staff} context. A bracket is started with
2051 @code{\startGroup} and closed with @code{\stopGroup}:
2053 @lilypond[singleline,verbatim]
2054 \score { \notes \relative c'' {
2055 c4\startGroup\startGroup
2058 c4\stopGroup\stopGroup
2060 \paper { \translator {
2061 \StaffContext \consists "Horizontal_bracket_engraver"
2067 Internals: @internalsref{HorizontalBracket},
2068 @internalsref{NoteGroupingEvent}
2070 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2074 @subsection Articulations
2075 @cindex Articulations
2077 @cindex articulations
2081 A variety of symbols can appear above and below notes to indicate
2082 different characteristics of the performance. They are added to a note
2083 by adding a dash and the character signifying the
2084 articulation. They are demonstrated here:
2086 @lilypondfile[notexidoc]{script-abbreviations.ly}
2088 The meanings of these shorthands can be changed: see
2089 @file{ly/script-init.ly} for examples.
2092 The script is automatically placed, but if you need to force
2093 directions, you can use @code{_} to force them down, or @code{^} to
2095 @lilypond[fragment, verbatim]
2099 Other symbols can be added using the syntax
2100 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2101 can be forced up or down using @code{^} and @code{_},
2104 @lilypond[verbatim,fragment,relative 2]
2105 c\fermata c^\fermata c_\fermata
2112 @cindex staccatissimo
2121 @cindex organ pedal marks
2130 @cindex prallmordent
2134 @cindex thumb marking
2139 @lilypondfile[notexidoc]{script-chart.ly}
2144 @cindex @code{\scriptUp}
2146 @cindex @code{\scriptDown}
2148 @cindex @code{\scriptBoth}
2153 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2157 These note ornaments appear in the printed output but have no
2158 effect on the MIDI rendering of the music.
2161 @node Fingering instructions
2162 @subsection Fingering instructions
2166 Fingering instructions can be entered using
2168 @var{note}-@var{digit}
2170 For finger changes, use markup texts:
2172 @lilypond[verbatim, singleline, fragment]
2173 c'4-1 c'4-2 c'4-3 c'4-4
2174 c'^\markup { \fontsize #-3 \number "2-3" }
2177 @cindex finger change
2182 You can use the thumb-script to indicate that a note should be
2183 played with your thumb (used in cello music):
2185 @lilypond[verbatim, singleline, fragment]
2186 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2187 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2190 Fingerings for chords can also be added to individual notes
2191 of the chord by adding them after the pitches:
2192 @lilypond[verbatim,singleline,fragment,relative=1]
2193 < c-1 e-2 g-3 b-5 > 4
2196 Setting @code{fingeringOrientations} will put fingerings next
2199 @lilypond[verbatim,singleline,fragment,relative=1]
2200 \property Voice.fingeringOrientations = #'(left down)
2201 <c-1 es-2 g-4 bes-5 > 4
2202 \property Voice.fingeringOrientations = #'(up right down)
2203 <c-1 es-2 g-4 bes-5 > 4
2208 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2212 @subsection Text scripts
2213 @cindex Text scripts
2215 @cindex text items, non-empty
2216 @cindex non-empty texts
2218 It is possible to place arbitrary strings of text or markup text (see
2219 @ref{Text markup}) above or below notes by using a string:
2220 @code{c^"text"}. By default, these indications do not influence the
2221 note spacing, but by using the command @code{\fatText}, the widths
2222 will be taken into account:
2224 @lilypond[fragment,singleline,verbatim] \relative c' {
2225 c4^"longtext" \fatText c4_"longlongtext" c4 }
2228 It is possible to use @TeX{} commands in the strings, but this should
2229 be avoided because the exact dimensions of the string can then no
2234 @refcommand{fatText}, @refcommand{emptyText}.
2239 In this manual: @ref{Text markup}.
2241 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2247 @subsection Grace notes
2250 @c should have blurb about accaciatura / appogiatura
2252 @cindex @code{\grace}
2256 Grace notes are ornaments that are written out. The most common ones
2257 are acciaccatura, which should be played as very short. It is denoted
2258 by a slurred small note with a slashed stem. The appoggiatura is a
2259 grace note that takes a fixed fraction of the main note, is and
2260 denoted as a slurred note in small print without a slash.
2261 They are entered with the commands @code{\acciaccatura} and
2262 @code{\appoggiatura}, as demonstrated in the following example:
2265 @cindex appoggiatura
2266 @cindex acciaccatura
2268 @lilypond[relative=2,verbatim,fragment]
2269 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2270 \acciaccatura { g16[ f] } e4
2273 Both are special forms of the @code{\grace} command. By prefixing this
2274 keyword to a music expression, a new one is formed, which will be
2275 printed in a smaller font and takes up no logical time in a measure.
2276 @lilypond[relative=2,verbatim,fragment]
2278 \grace { c16[ d16] } c2 c4
2282 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2283 @code{\grace} command does not start a slur.
2285 Internally, timing for grace notes is done using a second, `grace'
2286 time. Every point in time consists of two rational numbers: one
2287 denotes the logical time, one denotes the grace timing. The above
2288 example is shown here with timing tuples:
2290 @lilypond[singleline]
2293 c4 \grace c16 c4 \grace {
2296 \new Lyrics \lyrics {
2299 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2300 \markup { (\fraction 1 4 , 0 ) } 4
2302 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2303 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2305 \markup { ( \fraction 2 4 , 0 ) }
2310 The placement of grace notes is synchronized between different staves.
2311 In the following example, there are two sixteenth graces notes for
2312 every eighth grace note:
2314 @lilypond[relative=2,verbatim,fragment]
2315 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2316 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2321 If you want to end a note with a grace, then the standard trick
2322 is to put the grace notes after a ``space note'', e.g.
2323 @lilypond[fragment,verbatim, relative=2]
2326 { s2 \grace { c16[ d] } } >>
2332 By adjusting the duration of the skip note (here it is a half-note),
2333 the space between the main-note and the grace is adjusted.
2336 A @code{\grace} section will introduce special typesetting settings,
2337 for example, to produce smaller type, and set directions. Hence, when
2338 introducing layout tweaks, they should be inside the grace section,
2340 @lilypond[fragment,verbatim,relative 1]
2343 \property Voice.Stem \override #'direction = #-1
2345 \property Voice.Stem \revert #'direction
2352 The overrides should also be reverted inside the grace section.
2354 If the layout of grace sections must be changed throughout the music,
2355 then this can be accomplished through the function
2356 @code{add-grace-property}. The following example
2357 undefines the Stem direction grace section, so stems do not always
2362 #(add-grace-property "Voice" Stem direction '())
2368 Another option is to change the variables @code{startGraceMusic},
2369 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2370 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2371 @code{stopAppoggiaturaMstuic}. More information is in the file
2372 @file{ly/grace-init.ly}
2377 Internals: @internalsref{GraceMusic}.
2381 A score that starts with an @code{\grace} section needs an explicit
2382 @code{\context Voice} declaration, otherwise the main note and grace
2383 note end up on different staves.
2385 Grace note synchronization can also lead to surprises. Staff notation,
2386 such as key signatures, barlines, etc. are also synchronized. Take
2387 care when you mix staves with grace notes and staves without, for example,
2389 @lilypond[relative=2,verbatim,fragment]
2390 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2391 \new Staff { c4 \bar "|:" d4 } >>
2394 Grace sections should only be used within sequential music
2395 expressions. Nesting or juxtaposing grace sections is not supported,
2396 and might produce crashes or other errors.
2400 @subsection Glissando
2403 @cindex @code{\glissando}
2405 A glissando is a smooth change in pitch. It is denoted by a line or a
2406 wavy line between two notes.
2410 A glissando line can be requested by attaching a @code{\glissando} to
2413 @lilypond[fragment,relative,verbatim]
2419 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2424 Adding additional texts (such as @emph{gliss.}) is not supported.
2428 @subsection Dynamics
2441 @cindex @code{\ffff}
2451 Absolute dynamic marks are specified using an variable after a
2452 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2453 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2454 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2455 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2457 @lilypond[verbatim,singleline,fragment,relative]
2458 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2464 @cindex @code{\decr}
2465 @cindex @code{\rced}
2472 A crescendo mark is started with @code{\<} and terminated with
2473 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2474 with @code{\!}. Because these marks are bound to notes, if you must
2475 use spacer notes if multiple marks during one note are needed:
2477 @lilypond[fragment,verbatim,center,quote]
2478 c''\< c''\! d''\decr e''\rced
2479 << f''1 { s4 s4\< s4\! \> s4\! } >>
2481 This may give rise to very short hairpins. Use @code{minimum-length}
2482 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2486 \property Staff.Hairpin \override #'minimum-length = #5
2489 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2490 is an example how to do it:
2492 @lilypond[fragment,relative=2,verbatim]
2493 c4 \cresc c4 c c c \endcresc c4
2499 You can also supply your own texts:
2500 @lilypond[fragment,relative,verbatim]
2502 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2503 \property Voice.crescendoSpanner = #'dashed-line
2513 @cindex @code{\dynamicUp}
2515 @cindex @code{\dynamicDown}
2516 @code{\dynamicDown},
2517 @cindex @code{\dynamicBoth}
2518 @code{\dynamicBoth}.
2520 @cindex direction, of dynamics
2524 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2525 @internalsref{AbsoluteDynamicEvent}.
2527 Dynamics are objects of @internalsref{DynamicText} and
2528 @internalsref{Hairpin}. Vertical positioning of these symbols is
2529 handled by the @internalsref{DynamicLineSpanner} object.
2531 If you want to adjust padding or vertical direction of the dynamics, you
2532 must set properties for the @internalsref{DynamicLineSpanner} object.
2540 @cindex @code{\repeat}
2543 Repetition is a central concept in music, and multiple notations exist
2544 for repetitions. In LilyPond, most of these notations can be captured
2545 in a uniform syntax. One of the advantages is that they can be
2546 rendered in MIDI accurately.
2548 The following types of repetition are supported:
2552 Repeated music is fully written (played) out. Useful for MIDI
2553 output, and entering repetitive music.
2556 This is the normal notation: Repeats are not written out, but
2557 alternative endings (voltas) are printed, left to right.
2561 Alternative endings are written stacked. This has limited use but may be
2562 used to typeset two lines of lyrics in songs with repeats, see
2563 @inputfileref{input,star-spangled-banner.ly}.
2571 Make beat or measure repeats. These look like percent signs.
2577 * Repeats and MIDI::
2578 * Manual repeat commands::
2580 * Tremolo subdivisions::
2585 @subsection Repeat syntax
2589 LilyPond has one syntactic construct for specifying different types of
2590 repeats. The syntax is
2593 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2596 If you have alternative endings, you may add
2597 @cindex @code{\alternative}
2599 \alternative @code{@{} @var{alternative1}
2601 @var{alternative3} @dots{} @code{@}}
2603 where each @var{alternative} is a music expression. If you do not
2604 give enough alternatives for all of the repeats, then the first
2605 alternative is assumed to be played more than once.
2607 Normal notation repeats are used like this:
2608 @lilypond[fragment,verbatim,relative 1]
2610 \repeat volta 2 { c4 d e f }
2611 \repeat volta 2 { f e d c }
2614 With alternative endings:
2615 @lilypond[fragment,verbatim,relative 1]
2617 \repeat volta 2 {c4 d e f}
2618 \alternative { {d2 d} {f f,} }
2622 @lilypond[fragment,verbatim,relative 1]
2625 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2626 \alternative { { g4 g g } { a | a a a a | b2. } }
2632 If you do a nested repeat like
2641 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2642 belongs. This ambiguity is resolved by always having the
2643 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2644 it is advisable to use braces in such situations.
2647 @node Repeats and MIDI
2648 @subsection Repeats and MIDI
2650 @cindex expanding repeats
2652 For instructions on how to unfold repeats for MIDI output, see the
2653 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2658 Timing information is not remembered at the start of an alternative,
2659 so after a repeat timing information must be reset by hand, for
2660 example by setting @code{Score.measurePosition} or entering
2661 @code{\partial}. Similarly, slurs or ties are also not repeated.
2664 @node Manual repeat commands
2665 @subsection Manual repeat commands
2667 @cindex @code{repeatCommands}
2669 The property @code{repeatCommands} can be used to control the layout of
2670 repeats. Its value is a Scheme list of repeat commands, where each repeat
2674 @item the symbol @code{start-repeat},
2675 which prints a @code{|:} bar line,
2676 @item the symbol @code{end-repeat},
2677 which prints a @code{:|} bar line,
2678 @item the list @code{(volta @var{text})},
2679 which prints a volta bracket saying @var{text}: The text can be specified as
2680 a text string or as a markup text, see @ref{Text markup}. Do not
2681 forget to change the font, as the default number font does not contain
2682 alphabetic characters. Or,
2683 @item the list @code{(volta #f)}, which
2684 stops a running volta bracket:
2687 @lilypond[verbatim, fragment,relative 2]
2689 \property Score.repeatCommands = #'((volta "93") end-repeat)
2691 \property Score.repeatCommands = #'((volta #f))
2698 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2699 @internalsref{VoltaRepeatedMusic},
2700 @internalsref{UnfoldedRepeatedMusic}, and
2701 @internalsref{FoldedRepeatedMusic}.
2703 @node Tremolo repeats
2704 @subsection Tremolo repeats
2705 @cindex tremolo beams
2707 To place tremolo marks between notes, use @code{\repeat} with tremolo
2709 @lilypond[verbatim,singleline]
2711 \context Voice \notes\relative c' {
2712 \repeat "tremolo" 8 { c16 d16 }
2713 \repeat "tremolo" 4 { c16 d16 }
2714 \repeat "tremolo" 2 { c16 d16 }
2719 Tremolo marks can also be put on a single note. In this case, the
2720 note should not be surrounded by braces.
2721 @lilypond[verbatim,singleline]
2722 \repeat "tremolo" 4 c16
2725 A similar mechanism is the tremolo subdivision, described in
2726 @ref{Tremolo subdivisions}.
2730 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2732 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2733 tremolos are @internalsref{StemTremolo}s. The music expression is
2734 @internalsref{TremoloEvent},
2736 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2737 @inputfileref{input/regression,stem-tremolo.ly}.
2739 @node Tremolo subdivisions
2740 @subsection Tremolo subdivisions
2741 @cindex tremolo marks
2742 @cindex @code{tremoloFlags}
2744 Tremolo marks can be printed on a single note by adding
2745 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2746 A @var{length} value of 8 gives one line across the note stem. If the
2747 length is omitted, then then the last value (stored in
2748 @code{Voice.tremoloFlags}) is used:
2750 @lilypond[verbatim,fragment,center]
2751 c'2:8 c':32 | c': c': |
2754 @c [TODO : stok is te kort bij 32en]
2758 Tremolos in this style do not carry over into the MIDI output.
2762 In this manual: @ref{Tremolo repeats}.
2764 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2766 @node Measure repeats
2767 @subsection Measure repeats
2769 @cindex percent repeats
2770 @cindex measure repeats
2772 In the @code{percent} style, a note pattern can be repeated. It is
2773 printed once, and then the pattern is replaced with a special sign.
2774 Patterns of a one and two measures are replaced by percent-like signs,
2775 patterns that divide the measure length are replaced by slashes:
2777 @lilypond[verbatim,singleline]
2778 \context Voice { \repeat "percent" 4 { c'4 }
2779 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2785 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2786 @internalsref{PercentRepeatedMusic}, and
2787 @internalsref{DoublePercentRepeat}.
2791 @node Rhythmic music
2792 @section Rhythmic music
2794 Sometimes you might want to show only the rhythm of a melody. This
2795 can be done with the rhythmic staff. All pitches of notes on such a
2796 staff are squashed, and the staff itself has a single line:
2798 @lilypond[fragment,relative,verbatim]
2799 \context RhythmicStaff {
2801 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2807 Internals: @internalsref{RhythmicStaff}.
2809 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2813 * Percussion staves::
2814 * Percussion MIDI output::
2817 @node Percussion staves
2818 @subsection Percussion staves
2822 A percussion part for more than one instrument typically uses a
2823 multiline staff where each position in the staff refers to one piece
2828 Percussion staves are typeset with help of a set of Scheme
2829 functions. The system is based on the general MIDI drum-pitches.
2830 Include @file{drumpitch-init.ly} to use drum pitches. This file
2831 defines the pitches from the Scheme variable @code{drum-pitch-names},
2832 the definition of which can be read in @file{scm/drums.scm}. Each
2833 piece of percussion has a full name and an abbreviated name, and either
2834 the full name or the abbreviation may be used in input files.
2836 To typeset the music on a staff apply the function @code{drums->paper}
2837 to the percussion music. This function takes a list of percussion
2838 instrument names, notehead scripts and staff positions (that is:
2839 pitches relative to the C-clef) and transforms the input
2840 music by moving the pitch, changing the notehead and (optionally)
2843 @lilypond[singleline,verbatim,quote]
2844 \include "drumpitch-init.ly"
2845 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2846 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2848 \apply #(drums->paper 'drums) \context Staff <<
2850 \new Voice { \voiceOne \up }
2851 \new Voice { \voiceTwo \down }
2856 In the above example the music was transformed using the list @code{'drums}.
2857 The following lists are defined in @file{scm/drums.scm}:
2860 to typeset a typical drum kit on a five-line staff:
2863 \include "drumpitch-init.ly"
2864 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2865 bd sn ss tomh tommh tomml toml tomfh tomfl }
2866 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2867 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2870 \apply #(drums->paper 'drums) \context Staff <<
2874 \context Lyrics \nam
2877 linewidth = 100.0\mm
2880 \remove Bar_engraver
2881 \remove Time_signature_engraver
2882 minimumVerticalExtent = #'(-4.0 . 5.0)
2886 \remove Stem_engraver
2892 The drum scheme supports six different toms. When there fewer toms, simply
2893 select the toms that produce the desired result, i.e. to get toms on
2894 the three middle lines you use @code{tommh}, @code{tomml} and
2897 Because general MIDI does not contain rimshots the sidestick is used
2898 for this purpose instead.
2900 to typeset timbales on a two line staff:
2902 @lilypond[singleline]
2903 \include "drumpitch-init.ly"
2904 nam = \lyrics { timh ssh timl ssl cb }
2905 mus = \notes { timh ssh timl ssl cb s16 }
2908 \apply #(drums->paper 'timbales) \context Staff <<
2912 \context Lyrics \nam
2917 \remove Bar_engraver
2918 \remove Time_signature_engraver
2919 StaffSymbol \override #'line-count = #2
2920 StaffSymbol \override #'staff-space = #2
2921 minimumVerticalExtent = #'(-3.0 . 4.0)
2925 \remove Stem_engraver
2932 to typeset congas on a two line staff:
2934 @lilypond[singleline]
2935 \include "drumpitch-init.ly"
2936 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2937 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2940 \apply #(drums->paper 'congas) \context Staff <<
2944 \context Lyrics \nam
2949 \remove Bar_engraver
2950 \remove Time_signature_engraver
2951 StaffSymbol \override #'line-count = #2
2952 StaffSymbol \override #'staff-space = #2
2953 minimumVerticalExtent = #'(-3.0 . 4.0)
2957 \remove Stem_engraver
2963 to typeset bongos on a two line staff:
2965 @lilypond[singleline]
2966 \include "drumpitch-init.ly"
2967 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2968 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2971 \apply #(drums->paper 'bongos) \context Staff <<
2975 \context Lyrics \nam
2980 \remove Bar_engraver
2981 \remove Time_signature_engraver
2982 StaffSymbol \override #'line-count = #2
2983 StaffSymbol \override #'staff-space = #2
2984 minimumVerticalExtent = #'(-3.0 . 4.0)
2988 \remove Stem_engraver
2994 to typeset all kinds of simple percussion on one line staves:
2995 @lilypond[singleline]
2996 \include "drumpitch-init.ly"
2997 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2998 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3001 \apply #(drums->paper 'percussion) \context Staff <<
3005 \context Lyrics \nam
3010 \remove Bar_engraver
3011 \remove Time_signature_engraver
3012 StaffSymbol \override #'line-count = #1
3013 minimumVerticalExtent = #'(-2.0 . 3.0)
3017 \remove Stem_engraver
3024 If you do not like any of the predefined lists you can define your own
3025 list at the top of your file:
3027 @lilypond[singleline, verbatim]
3028 #(set-drum-kit 'mydrums `(
3029 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3030 (snare default #f ,(ly:make-pitch 0 1 0))
3031 (hihat cross #f ,(ly:make-pitch 0 5 0))
3032 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
3033 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3035 \include "drumpitch-init.ly"
3036 up = \notes { hh8 hh hh hh hhp4 hhp }
3037 down = \notes { bd4 sn bd toml8 toml }
3039 \apply #(drums->paper 'mydrums) \context Staff <<
3041 \new Voice { \voiceOne \up }
3042 \new Voice { \voiceTwo \down }
3047 To use a modified existing list, one can prepend modifications to the
3051 #(set-drum-kit 'mydrums (append `(
3052 (bassdrum default #f ,(ly:make-pitch -1 2 0))
3053 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
3054 ) (get-drum-kit 'drums)))
3057 You can easily combine percussion notation with pitched notation.
3058 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
3059 names, so you will have to reinclude @file{nederlands.ly} after the
3060 drum-pattern-definitions to enter normal notes:
3062 @lilypond[singleline,verbatim]
3063 \include "drumpitch-init.ly"
3064 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3065 down = \notes { bassdrum4 snare8 bd r bd sn4 }
3066 \include "nederlands.ly"
3067 bass = \notes \transpose c c,, { a4. e8 r e g e }
3070 \apply #(drums->paper 'drums) \new Staff <<
3072 \new Voice { \voiceOne \up }
3073 \new Voice { \voiceTwo \down }
3075 \new Staff { \clef "F_8" \bass }
3080 @node Percussion MIDI output
3081 @subsection Percussion MIDI output
3083 In order to produce correct MIDI output you need to produce two score
3084 blocks---one for the paper and one for the MIDI output. To use the
3085 percussion channel you set the property @code{instrument} to
3086 @code{'drums}. Because the drum-pitches themselves are similar to the
3087 general MIDI pitches all you have to do is to insert the voices with
3088 none of the scheme functions to get the correct MIDI output:
3092 \apply #(drums->paper 'mydrums) \context Staff <<
3101 \property Staff.instrument = #'drums
3111 Chords entered with @code{< @dots{} >} do not work. This scheme is a
3112 temporary implementation.
3116 @section Piano music
3118 Piano staves are two normal staves coupled with a brace. The staves
3119 are largely independent, but sometimes voices can cross between the
3120 two staves. The same notation is also used for harps and other key
3121 instruments. The @internalsref{PianoStaff} is especially built to
3122 handle this cross-staffing behavior. In this section we discuss the
3123 @internalsref{PianoStaff} and some other pianistic peculiarities.
3127 * Automatic staff changes::
3128 * Manual staff switches::
3131 * Staff switch lines::
3136 There is no support for putting chords across staves. You can get
3137 this result by increasing the length of the stem in the lower stave so
3138 it reaches the stem in the upper stave, or vice versa. An example is
3139 included with the distribution as
3140 @inputfileref{input/test,stem-cross-staff.ly}.
3142 Dynamics are not centered, but kludges do exist. See
3143 @inputfileref{input/template,piano-dynamics.ly}.
3145 @cindex cross staff stem
3146 @cindex stem, cross staff
3149 @c fixme: should have hyperlinks as well.
3155 @node Automatic staff changes
3156 @subsection Automatic staff changes
3157 @cindex Automatic staff changes
3159 Voices can switch automatically between the top and the bottom
3160 staff. The syntax for this is
3162 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
3164 The two staffs of the piano staff must be named @code{up} and
3167 The autochanger switches on basis of pitch (central C is the turning
3168 point), and it looks ahead skipping over rests to switch in
3169 advance. Here is a practical example:
3171 @lilypond[verbatim,singleline,quote]
3172 \score { \notes \context PianoStaff <<
3173 \context Staff = "up" {
3174 \autochange Staff \context Voice = VA << \relative c' {
3175 g4 a b c d r4 a g } >> }
3176 \context Staff = "down" {
3183 In this example, spacer rests are used to prevent the bottom staff from
3184 terminating too soon.
3189 In this manual: @ref{Manual staff switches}
3191 Internals: @internalsref{AutoChangeMusic}.
3197 The staff switches often do not end up in optimal places. For high
3198 quality output, staff switches should be specified manually.
3201 @node Manual staff switches
3202 @subsection Manual staff switches
3204 @cindex manual staff switches
3205 @cindex staff switch, manual
3207 Voices can be switched between staves manually, using the following command:
3209 \change Staff = @var{staffname} @var{music}
3213 The string @var{staffname} is the name of the staff. It switches the
3214 current voice from its current staff to the Staff called
3215 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3224 Pianos have pedals that alter the way sound are produced. Generally, a
3225 piano has three pedals, sustain, una corda, and sostenuto.
3229 Piano pedal instruction can be expressed by attaching
3230 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3231 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3234 @lilypond[fragment,verbatim]
3235 c'4\sustainDown c'4\sustainUp
3238 What is printed can be modified by setting @code{pedal@var{X}Strings},
3239 where @var{X} is one of the pedal types: @code{Sustain},
3240 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3241 documentation of @internalsref{SustainPedal} for more information.
3243 Pedals can also be indicated by a sequence of brackets, by setting the
3244 @code{pedalSustainStyle} property to @code{bracket} objects:
3246 @lilypond[fragment,verbatim]
3247 \property Staff.pedalSustainStyle = #'bracket
3248 c''4\sustainDown d''4 e''4
3249 a'4\sustainUp\sustainDown
3250 f'4 g'4 a'4\sustainUp
3253 A third style of pedal notation is a mixture of text and brackets,
3254 obtained by setting @code{pedal-type} to @code{mixed}:
3256 @lilypond[fragment,verbatim]
3257 \property Staff.pedalSustainStyle = #'mixed
3258 c''4\sustainDown d''4 e''4
3259 c'4\sustainUp\sustainDown
3260 f'4 g'4 a'4\sustainUp
3263 The default `*Ped' style for sustain and damper pedals corresponds to
3264 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3265 for a sostenuto pedal:
3267 @lilypond[fragment,verbatim]
3268 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3271 For fine-tuning of the appearance of a pedal bracket, the properties
3272 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3273 @code{PianoPedalBracket} objects (see
3274 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3275 bracket may be extended to the end of the note head:
3277 @lilypond[fragment,verbatim]
3278 \property Staff.PianoPedalBracket \override
3279 #'shorten-pair = #'(0 . -1.0)
3280 c''4\sostenutoDown d''4 e''4 c'4
3281 f'4 g'4 a'4\sostenutoUp
3285 @subsection Arpeggio
3288 @cindex broken arpeggio
3289 @cindex @code{\arpeggio}
3291 You can specify an arpeggio sign on a chord by attaching an
3292 @code{\arpeggio} to a chord:
3295 @lilypond[fragment,relative,verbatim]
3299 When an arpeggio crosses staves, you attach an arpeggio to the chords
3300 in both staves, and set
3301 @internalsref{PianoStaff}.@code{connectArpeggios}:
3303 @lilypond[fragment,relative,verbatim]
3304 \context PianoStaff <<
3305 \property PianoStaff.connectArpeggios = ##t
3306 \new Staff { <c' e g c>\arpeggio }
3307 \new Staff { \clef bass <c,, e g>\arpeggio }
3311 The direction of the arpeggio is sometimes denoted by adding an
3312 arrowhead to the wiggly line. This can be typeset by setting
3313 @code{arpeggio-direction}:
3315 @lilypond[fragment,relative,verbatim]
3317 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3319 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3324 A square bracket on the left indicates that the player should not
3325 arpeggiate the chord. To draw these brackets, set the
3326 @code{molecule-callback} property of @code{Arpeggio} or
3327 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3328 @code{\arpeggio} statements within the chords as before:
3330 @lilypond[fragment,relative,verbatim]
3331 \property PianoStaff.Arpeggio \override
3332 #'molecule-callback = \arpeggioBracket
3338 @cindex @code{\arpeggioBracket}
3339 @code{\arpeggioBracket},
3340 @cindex @code{\arpeggio}
3345 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3346 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3347 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3351 It is not possible to mix connected arpeggios and unconnected
3352 arpeggios in one @internalsref{PianoStaff} at the same time.
3354 @node Staff switch lines
3355 @subsection Staff switch lines
3358 @cindex follow voice
3359 @cindex staff switching
3362 @cindex @code{followVoice}
3364 Whenever a voice switches to another staff a line connecting the notes
3365 can be printed automatically. This is enabled if the property
3366 @code{PianoStaff.followVoice} is set to true:
3368 @lilypond[fragment,relative,verbatim]
3369 \context PianoStaff <<
3370 \property PianoStaff.followVoice = ##t
3371 \context Staff \context Voice {
3376 \context Staff=two { \clef bass \skip 1*2 }
3380 The associated object is @internalsref{VoiceFollower}.
3384 @cindex @code{\showStaffSwitch}
3385 @code{\showStaffSwitch},
3386 @cindex @code{\hideStaffSwitch}
3387 @code{\hideStaffSwitch}.
3391 @section Vocal music
3393 This section discusses how to enter and print lyrics.
3397 * The Lyrics context::
3402 @node Entering lyrics
3403 @subsection Entering lyrics
3407 @cindex @code{\lyrics}
3410 Lyrics are entered in a special input mode. This mode is is introduced
3411 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3412 punctuation and accents without any hassle. Syllables are entered like
3413 notes, but with pitches replaced by text. For example,
3415 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3418 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3419 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3420 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3421 any 8-bit character with ASCII code over 127, or a two-character
3422 combination of a backslash followed by one of @code{`}, @code{'},
3423 @code{"}, or @code{^}.
3425 Subsequent characters of a word can be any character that is not a digit
3426 and not white space. One important consequence of this is that a word
3427 can end with @code{@}}. The following example is usually a bug. The
3428 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3430 \lyrics @{ twinkle@}
3433 @cindex @code{\property}, in @code{\lyrics}
3434 Similarly, a period following a alphabetic sequence, is included in the
3435 resulting string. As a consequence, spaces must be inserted around
3436 @code{\property} commands:
3438 \property Lyrics . LyricText \set #'font-shape = #'italic
3442 @cindex spaces, in lyrics
3443 @cindex quotes, in lyrics
3445 Any @code{_} character which appears in an unquoted word is converted
3446 to a space. This provides a mechanism for introducing spaces into words
3447 without using quotes. Quoted words can also be used in Lyrics mode to
3448 specify words that cannot be written with the above rules:
3451 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3455 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3460 These will be attached to the end of the first syllable.
3462 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3463 as a separate word between syllables. The hyphen will have variable
3464 length depending on the space between the syllables and it will be
3465 centered between the syllables.
3470 When a lyric is sung over many notes (this is called a melisma), this is
3471 indicated with a horizontal line centered between a syllable and the
3472 next one. Such a line is called an extender line, and it is entered as
3477 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3478 @internalsref{ExtenderEvent}.
3482 The definition of lyrics mode is too complex.
3484 @node The Lyrics context
3485 @subsection The Lyrics context
3487 Lyrics are printed by interpreting them in @internalsref{LyricsVoice} context:
3489 \context LyricsVoice \lyrics @dots{}
3492 @cindex automatic syllable durations
3493 @cindex @code{\lyricsto}
3494 @cindex lyrics and melodies
3496 This will place the lyrics according to the durations that were
3497 entered. The lyrics can also be aligned under a given melody
3498 automatically. In this case, it is no longer necessary to enter the
3499 correct duration for each syllable. This is achieved by combining the
3500 melody and the lyrics with the @code{\lyricsto} expression:
3502 \lyricsto @var{name} \new LyricsVoice @dots{}
3505 This aligns the lyrics to the notes of the @internalsref{Voice}
3506 context called @var{name}, which has to exist. Therefore, normally
3507 the @code{Voice} is specified first, and then the lyrics are specified
3508 with @code{\lyricsto}.
3510 For different or more complex orderings, the best way is to setup the
3511 hierarchy of staves and lyrics first, e.g.
3513 \context ChoirStaff \notes <<
3514 \context LyricsVoice = sopranoLyrics @{ s1 @}
3515 \context Voice = soprano @{ @emph{music} @}
3516 \context LyricsVoice = tenor @{ s1 @}
3517 \context Voice = tenorLyrics @{ @emph{music} @}
3520 and then combine the appropriate melodies and lyric lines:
3522 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3525 An example is in @inputfileref{input/template,satb.ly}.
3527 When multiple stanzas are put on the same melody, it can happen that
3528 two stanzas have melismata in different locations. This can be
3529 remedied by switching off melismata for one
3530 @internalsref{LyricsVoice}. This is achieved by setting
3531 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3532 in @inputfileref{input/regression,lyric-combine-new.ly}.
3536 @cindex choral score
3538 A complete example of a SATB score setup is in the file
3539 @inputfileref{input/template,satb.ly}.
3543 Internals: @internalsref{LyricCombineMusic}, @internalsref{Lyrics}
3545 Examples: @inputfileref{input/template,satb.ly},
3546 @inputfileref{input/regression,lyric-combine-new.ly}.
3550 Melismata are not detected automatically, and must be inserted by hand.
3554 @subsection More stanzas
3556 @cindex phrasing, in lyrics
3559 The lyrics should be aligned with the note heads of the melody. To
3560 achieve this, each line of lyrics should be marked to correspond with
3563 To this end, give the @internalsref{Voice} context an identity:
3565 \context Voice = duet @{
3570 Then set the @internalsref{LyricsVoice} contexts to names starting with
3571 that identity followed by a dash. In the preceding example, the
3572 @internalsref{Voice} identity is @code{duet}, so the identities of the
3573 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3575 \context LyricsVoice = "duet-1" @{
3576 Hi, my name is bert. @}
3577 \context LyricsVoice = "duet-2" @{
3578 Ooooo, ch\'e -- ri, je t'aime. @}
3581 The complete example is shown here:
3582 @lilypond[singleline,verbatim]
3584 << \notes \relative c'' \context Voice = duet { \time 3/4
3586 \lyrics << \lyricsto "duet" \new LyricsVoice {
3587 \property LyricsVoice . stanza = "1"
3588 Hi, my name is bert. }
3589 \lyricsto "duet" \new LyricsVoice {
3590 \property LyricsVoice . stanza = "2"
3591 Ooooo, ch\'e -- ri, je t'aime. }
3596 @cindex stanza number
3597 @cindex singer's names
3598 @cindex name of singer
3600 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3603 \property LyricsVoice . stanza = "Bert"
3605 \property LyricsVoice . stanza = "Ernie"
3608 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3609 prevent @code{LyricsVoice.stanza} being interpreted as a single
3612 Names of the singers should be added using @code{LyricsVoice
3613 . instrument} and @code{LyricsVoice . instr}, analogous to instrument
3614 annotations for staves.
3616 To make empty spaces in lyrics, use @code{\skip}.
3624 Input for lyrics introduces a syntactical ambiguity:
3631 is interpreted as assigning a string identifier @code{\foo} such that
3632 it contains @code{"bar"}. However, it could also be interpreted as
3633 making or a music identifier @code{\foo} containing the syllable
3634 `bar'. The force the latter interpretation, use
3644 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3645 for a given voice in a part of music. It also may denote the pitch
3646 range that a musical instrument is capable of playing. Most musical
3647 instruments have their ambitus standardized (or at least there is
3648 agreement upon the minimal ambitus of a particular type of
3649 instrument), such that a composer or arranger of a piece of music can
3650 easily meet the ambitus constraints of the targeted instrument.
3651 However, the ambitus of the human voice depends on individual
3652 physiological state, including education and training of the voice.
3653 Therefore, a singer potentially has to check for each piece of music
3654 if the ambitus of that piece meets his individual capabilities. This
3655 is why the ambitus of a piece may be of particular value to vocal
3658 The ambitus is typically notated on a per-voice basis at the very
3659 beginning of a piece, e.g. nearby the initial clef or time signature of
3660 each staff. The range is graphically specified by two noteheads, that
3661 represent the minimum and maximum pitch. Some publishers use a textual
3662 notation: they put the range in words in front of the corresponding
3663 staff. LilyPond only supports the graphical ambitus notation.
3665 To apply, add the @internalsref{Ambitus_engraver} to the
3666 @internalsref{Voice} context, i.e.
3672 \consists Ambitus_engraver
3677 This results in the following output:
3678 @lilypond[singleline]
3679 upper = \notes \relative c {
3682 as'' c e2 bes f cis d4 e f2 g
3684 lower = \notes \relative c {
3687 e'4 b g a c es fis a cis b a g f e d2
3690 \context ChoirStaff {
3692 \new Staff { \upper }
3693 \new Staff { \lower }
3699 \consists Ambitus_engraver
3705 If you have multiple voices in a single staff, and you want a single
3706 ambitus per staff rather than per each voice, then add the
3707 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3708 rather than to the @internalsref{Voice} context.
3710 It is possible to tune individual ambituses for multiple voices on a
3711 single staff, for example by erasing or shifting them horizontally. An
3712 example is in @inputfileref{input/test,ambitus-mixed.ly}
3716 Internals: @internalsref{Ambitus}
3718 Examples: @inputfileref{input/regression,ambitus.ly},
3719 @inputfileref{input/test,ambitus-mixed.ly}.
3723 There is no collision handling in the case of multiple per-voice
3729 Tablature notation is used for notating music for plucked string
3730 instruments. It notates pitches not by using note heads, but by
3731 indicating on which string and fret a note must be played. LilyPond
3732 offers limited support for tablature.
3735 * Tablatures basic::
3736 * Non-guitar tablatures::
3739 @node Tablatures basic
3740 @subsection Tablatures basic
3741 @cindex Tablatures basic
3743 The string number associated to a note is given as a backslash
3744 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3745 string. By default, string 1 is the highest one, and the tuning
3746 defaults to the standard guitar tuning (with 6 strings). The notes
3747 are printed as tablature, by using @internalsref{TabStaff} and
3748 @internalsref{TabVoice} contexts:
3750 @lilypond[fragment,verbatim]
3751 \notes \context TabStaff {
3759 When no string is specified, the first string that does not give a
3760 fret number less than @code{minimumFret} is selected. The default
3761 value for @code{minimumFret} is 0:
3765 e8 fis gis a b cis' dis' e'
3766 \property TabStaff.minimumFret = #8
3767 e8 fis gis a b cis' dis' e'
3772 e8 fis gis a b cis' dis' e'
3773 \property TabStaff.minimumFret = #8
3774 e8 fis gis a b cis' dis' e'
3777 \context StaffGroup <<
3778 \context Staff { \clef "G_8" \frag }
3779 \context TabStaff { \frag }
3786 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3787 @internalsref{StringNumberEvent}.
3791 Chords are not handled in a special way, and hence the automatic
3792 string selector may easily select the same string to two notes in a
3796 @node Non-guitar tablatures
3797 @subsection Non-guitar tablatures
3798 @cindex Non-guitar tablatures
3800 You can change the number of strings, by setting the number of lines
3801 in the @internalsref{TabStaff}.
3803 You can change the tuning of the strings. A string tuning is given as
3804 a Scheme list with one integer number for each string, the number
3805 being the pitch (measured in semitones relative to central C) of an
3806 open string. The numbers specified for @code{stringTuning} are the
3807 numbers of semitones to subtract or add, starting the specified pitch
3808 by default middle C, in string order. Thus, the notes are e, a, d, and
3811 @lilypond[fragment,verbatim]
3812 \context TabStaff <<
3813 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3816 a,4 c' a e' e c' a e'
3821 It is possible to change the Scheme function to format the tablature
3822 note text. The default is @code{fret-number-tablature-format}, which
3823 uses the fret number. For instruments that do not use this notation,
3824 you can create a special tablature formatting function. This function
3825 takes three argument: string number, string tuning and note pitch.
3829 No guitar special effects have been implemented.
3834 @section Chord names
3837 LilyPond has support for both printing chord names. Chords may be
3838 entered in musical chord notation, i.e. @code{< .. >}, but they can
3839 also be entered by name. Internally, the chords are represented as a
3840 set of pitches, so they can be transposed:
3843 @lilypond[verbatim,singleline]
3844 twoWays = \notes \transpose c c' {
3854 << \context ChordNames \twoWays
3855 \context Voice \twoWays >> }
3858 This example also shows that the chord printing routines do not try to
3859 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3865 * Printing chord names::
3870 @subsection Chords mode
3873 Chord mode is a mode where you can input sets of pitches using common
3874 names. It is introduced by the keyword @code{\chords}.
3875 In chords mode, a chord is entered by the root, which is entered
3876 like a common pitch:
3877 @lilypond[fragment,verbatim,quote, relative=1]
3878 \chords { es4. d8 c2 }
3883 Other chords may be entered by suffixing a colon, and introducing a
3884 modifier, and optionally, a number:
3886 @lilypond[fragment,verbatim,quote]
3887 \chords { e1:m e1:7 e1:m7 }
3889 The first number following the root is taken to be the `type' of the
3890 chord, thirds are added to the root until it reaches the specified
3892 @lilypond[fragment,verbatim]
3893 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3896 @cindex root of chord
3897 @cindex additions, in chords
3898 @cindex removals, in chords
3900 More complex chords may also be constructed adding separate steps
3901 to a chord. Additions are added after the number following
3902 the colon, and are separated by dots:
3904 @lilypond[verbatim,fragment,quote]
3905 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3907 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3909 @lilypond[verbatim,fragment,quote]
3910 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3912 Removals are specified similarly, and are introduced by a caret. They
3913 must come after the additions:
3914 @lilypond[verbatim,fragment]
3915 \chords { c^3 c:7^5 c:9^3.5 }
3918 Modifiers can be used to change pitches. The following modifiers are
3922 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3924 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3927 is the augmented chord. This modifier raises the 5th step.
3929 is the major 7th chord. This modifier raises the 7th step if present.
3931 is the suspended 4th or 2nd. This modifier removes the 3rd
3932 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3935 Modifiers can be mixed with additions:
3936 @lilypond[verbatim,fragment]
3937 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3940 @cindex modifiers, in chords.
3947 Since an unaltered 11 does not sound good when combined with an
3948 unaltered 13, the 11 is removed in this case (unless it is added
3951 @lilypond[fragment,verbatim]
3952 \chords { c:13 c:13.11 c:m13 }
3957 An inversion (putting one pitch of the chord on the bottom), as well
3958 as bass notes, can be specified by appending
3959 @code{/}@var{pitch} to the chord:
3960 @lilypond[fragment,verbatim,center]
3961 \chords { c1 c/g c/f }
3965 A bass note can be added instead of transposed out of the chord,
3966 by using @code{/+}@var{pitch}.
3968 @lilypond[fragment,verbatim,center]
3969 \chords { c1 c/+g c/+f }
3972 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3973 of the commands continue to work, for example, @code{r} and
3974 @code{\skip} can be used to insert rests and spaces, and
3975 @code{\property} may be used to change various settings.
3981 Each step can only be present in a chord once. The following
3982 simply produces the augmented chord, since @code{5+} is interpreted
3985 @lilypond[verbatim,fragment]
3986 \chords { c:5.5-.5+ }
3990 @node Printing chord names
3991 @subsection Printing chord names
3993 @cindex printing chord names
3997 For displaying printed chord names, use the @internalsref{ChordNames} context.
3998 The chords may be entered either using the notation
3999 described above, or directly using @code{<} and @code{>}:
4001 @lilypond[verbatim,singleline]
4003 \chords {a1 b c} <d' f' a'> <e' g' b'>
4007 \context ChordNames \scheme
4008 \context Staff \scheme
4013 You can make the chord changes stand out by setting
4014 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4015 display chord names when there is a change in the chords scheme and at
4016 the start of a new line:
4018 @lilypond[verbatim, linewidth=9cm]
4020 c1:m c:m \break c:m c:m d
4024 \context ChordNames {
4025 \property ChordNames.chordChanges = ##t
4027 \context Staff \transpose c c' \scheme
4032 The default chord name layout is a system for Jazz music, proposed by
4033 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4034 following properties:
4037 @cindex chordNameExceptions
4038 @item chordNameExceptions
4039 This is a list that contains the chords that have special formatting.
4041 @inputfileref{input/regression,chord-name-exceptions.ly}.
4042 @cindex exceptions, chord names.
4045 @cindex majorSevenSymbol
4046 @item majorSevenSymbol
4047 This property contains the markup object used for the 7th step, when
4048 it is major. Predefined options are @code{whiteTriangleMarkup} and
4049 @code{blackTriangleMarkup}. See
4050 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4052 @cindex chordNameSeparator
4053 @item chordNameSeparator
4054 Different parts of a chord name are normally separated by a
4055 slash. By setting @code{chordNameSeparator}, you can specify other
4057 @lilypond[fragment,verbatim]
4058 \context ChordNames \chords {
4060 \property ChordNames.chordNameSeparator
4061 = \markup { \typewriter "|" }
4065 @cindex chordRootNamer
4066 @item chordRootNamer
4067 The root of a chord is usually printed as a letter with an optional
4068 alteration. The transformation from pitch to letter is done by this
4069 function. Special note names (for example, the German ``H'' for a
4070 B-chord) can be produced by storing a new function in this property.
4072 The pre-defined variables @code{\germanChords},
4073 @code{\semiGermanChords} set these variables.
4076 @cindex chordNoteNamer
4077 @item chordNoteNamer
4078 The default is to print single pitch, e.g. the bass note, using the
4079 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4080 to a specialized function to change this behavior. For example, the
4081 base can be printed in lower case.
4086 There are also two other chord name schemes implemented: an alternate
4087 Jazz chord notation, and a systematic scheme called Banter chords. The
4088 alternate jazz notation is also shown on the chart in @ref{Chord name
4089 chart}. Turning on these styles is described in the input file
4090 @inputfileref{input/test,chord-names-jazz.ly}.
4094 @cindex chords, jazz
4099 @cindex @code{\germanChords}
4100 @code{\germanChords},
4101 @cindex @code{\semiGermanChords}
4102 @code{\semiGermanChords}.
4109 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4110 @inputfileref{input/regression,chord-name-exceptions.ly},
4111 @inputfileref{input/test,chord-names-jazz.ly},
4112 @inputfileref{input/test,chord-names-german.ly}.
4114 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4119 Chord names are determined solely from the list of pitches. Chord
4120 inversions are not identified, and neither are added bass notes. This
4121 may result in strange chord names when chords are entered with the
4122 @code{< .. >} syntax.
4127 @node Orchestral music
4128 @section Orchestral music
4130 @cindex Writing parts
4132 Orchestral music involves some special notation, both in the full
4133 score and the individual parts. This section explains how to tackle
4134 some common problems in orchestral music.
4139 * Multiple staff contexts::
4142 * Instrument names::
4144 * Multi measure rests::
4145 * Automatic part combining::
4147 * Different editions from one source::
4148 * Sound output for transposing instruments::
4151 @node Multiple staff contexts
4152 @subsection Multiple staff contexts
4154 Polyphonic scores consist of many staves. These staves can be
4155 constructed in three different ways:
4157 @item The group is started with a brace at the left. This is done with the
4158 @internalsref{GrandStaff} context.
4159 @item The group is started with a bracket. This is done with the
4160 @internalsref{StaffGroup} context
4161 @item The group is started with a vertical line. This is the default
4165 @cindex Staff, multiple
4166 @cindex bracket, vertical
4167 @cindex brace, vertical
4174 @node Rehearsal marks
4175 @subsection Rehearsal marks
4176 @cindex Rehearsal marks
4178 @cindex @code{\mark}
4180 To print a rehearsal mark, use the @code{\mark} command:
4181 @lilypond[fragment,verbatim]
4192 (The letter I is skipped in accordance with engraving traditions.)
4194 The mark is incremented automatically if you use @code{\mark
4195 \default}, but you can also use an integer argument to set the mark
4196 manually. The value to use is stored in the property
4197 @code{rehearsalMark}.
4199 The style is defined by the property @code{markFormatter}. It is a
4200 function taking the current mark (an integer) and the current context
4201 as argument. It should return a markup object. In the following
4202 example, @code{markFormatter} is set to a canned procedure. After a
4203 few measures, it is set to function that produces a boxed number.
4205 @lilypond[verbatim,fragment,relative 1]
4206 \property Score.markFormatter = #format-mark-numbers
4209 \property Score.markFormatter
4210 = #(lambda (mark context)
4211 (make-bold-markup (make-box-markup (number->string mark))))
4216 The file @file{scm/translation-functions.scm} contains the definitions
4217 of @code{format-mark-numbers} (the default format) and
4218 @code{format-mark-letters}. They can be used as inspiration for other
4219 formatting functions.
4222 @cindex coda on bar line
4223 @cindex segno on bar line
4224 @cindex fermata on bar line
4225 @cindex bar lines, symbols on
4227 The @code{\mark} command can also be used to put signs like coda,
4228 segno and fermatas on a barline. Use @code{\markup} to
4229 to access the appropriate symbol:
4231 @lilypond[fragment,verbatim,relative=1]
4232 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4236 In this case, during line breaks, marks must also be printed at the
4237 end of the line, and not at the beginning. Use the following to force
4240 \property Score.RehearsalMark \override
4241 #'break-visibility = #begin-of-line-invisible
4247 @cindex barlines, putting symbols on
4251 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4253 Init files: @file{scm/translation-functions.scm} contains the
4254 definition of @code{format-mark-numbers} and
4255 @code{format-mark-letters}. They can be used as inspiration for other
4256 formatting functions.
4258 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4259 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4263 @subsection Bar numbers
4267 @cindex measure numbers
4268 @cindex currentBarNumber
4270 Bar numbers are printed by default at the start of the line. The
4271 number itself is stored in the
4272 @code{currentBarNumber} property,
4273 which is normally updated automatically for every measure.
4275 Bar numbers can be typeset at regular intervals instead of at the
4276 beginning of each line. This is illustrated in the following example,
4277 whose source is available as
4278 @inputfileref{input/test,bar-number-regular-interval.ly}:
4280 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4285 Internals: @internalsref{BarNumber}.
4287 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4288 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4292 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4293 there is one at the top. To solve this, the
4294 @code{padding} property of @internalsref{BarNumber} can be
4295 used to position the number correctly.
4297 @node Instrument names
4298 @subsection Instrument names
4300 In an orchestral score, instrument names are printed left side of the
4303 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4304 and @internalsref{Staff}.@code{instr}. This will print a string before
4305 the start of the staff. For the first start, @code{instrument} is
4306 used, for the next ones @code{instr} is used:
4309 @lilypond[verbatim,singleline]
4310 \property Staff.instrument = "ploink " { c''4 }
4314 You can also use markup texts to construct more complicated instrument
4318 @lilypond[fragment,verbatim,singleline]
4320 \property Staff.instrument = \markup {
4321 \column < "Clarinetti"
4323 \smaller \musicglyph #"accidentals--1"
4334 Internals: @internalsref{InstrumentName}.
4338 When you put a name on a grand staff or piano staff the width of the
4339 brace is not taken into account. You must add extra spaces to the end of
4340 the name to avoid a collision.
4343 @subsection Transpose
4345 @cindex transposition of pitches
4346 @cindex @code{\transpose}
4348 A music expression can be transposed with @code{\transpose}. The syntax
4351 \transpose @var{from} @var{to} @var{musicexpr}
4354 This means that @var{musicexpr} is transposed by the interval
4355 between the pitches @var{from} and @var{to}.
4356 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4357 inside a @code{\notes} section.
4359 @code{\transpose} distinguishes between enharmonic pitches: both
4360 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4361 half a tone. The first version will print sharps and the second
4362 version will print flats:
4364 @lilypond[singleline, verbatim]
4365 mus =\notes { \key d \major cis d fis g }
4366 \score { \notes \context Staff {
4369 \transpose c g' \mus
4370 \transpose c f' \mus
4377 Internals: @internalsref{TransposedMusic}, and
4378 @internalsref{UntransposableMusic}.
4382 If you want to use both @code{\transpose} and @code{\relative}, then
4383 you must put @code{\transpose} outside of @code{\relative}, since
4384 @code{\relative} will have no effect music that appears inside a
4390 @node Multi measure rests
4391 @subsection Multi measure rests
4392 @cindex multi measure rests
4393 @cindex Rests, multi measure
4397 Multi measure rests are entered using `@code{R}'. It is specifically
4398 meant for full bar rests and for entering parts: the rest can expand
4399 to fill a score with rests, or it can be printed as a single
4400 multimeasure rest. This expansion is controlled by the property
4401 @code{Score.skipBars}. If this is set to true, empty measures will not
4402 be expanded, and the appropriate number is added automatically:
4404 @lilypond[fragment,verbatim]
4405 \time 4/4 r1 | R1 | R1*2
4406 \property Score.skipBars = ##t R1*17 R1*4
4409 The @code{1} in @code{R1} is similar to the duration notation used for
4410 notes. Hence, for time signatures other than 4/4, you must enter other
4411 durations. This can be done with augmentation dots or fractions:
4413 @lilypond[fragment,verbatim]
4414 \property Score.skipBars = ##t
4422 An @code{R} spanning a single measure is printed as either a whole rest
4423 or a breve, centered in the measure regardless of the time signature.
4425 @cindex text on multi-measure rest
4426 @cindex script on multi-measure rest
4427 @cindex fermata on multi-measure rest
4429 Texts can be added to multi-measure rests by using the
4430 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4431 replaced. If you need both texts and the number, you must add the
4432 number by hand. A variable (@code{\fermataMarkup}) is provided for
4436 @lilypond[verbatim,fragment]
4438 R2._\markup { "Ad lib" }
4442 If you want to have a text on the left end of a multi-measure rest,
4443 attach the text to a zero-length skip note, i.e.
4451 @cindex whole rests for a full measure
4455 Internals: @internalsref{MultiMeasureRestEvent},
4456 @internalsref{MultiMeasureTextEvent},
4457 @internalsref{MultiMeasureRestMusicGroup}, and
4458 @internalsref{MultiMeasureRest}.
4460 The layout object @internalsref{MultiMeasureRestNumber} is for the
4461 default number, and @internalsref{MultiMeasureRestText} for user
4466 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4467 over multi-measure rests.
4469 @cindex condensing rests
4471 There is no way to automatically condense multiple rests into a single
4472 multimeasure rest. Multi measure rests do not take part in rest
4475 Be careful when entering multimeasure rests followed by whole
4476 notes. The following will enter two notes lasting four measures each:
4480 When @code{skipBars} is set, then the result will look OK, but the
4481 bar numbering will be off.
4483 @node Automatic part combining
4484 @subsection Automatic part combining
4485 @cindex automatic part combining
4486 @cindex part combiner
4489 Automatic part combining is used to merge two parts of music onto a
4490 staff. It is aimed at typesetting orchestral scores. When the two
4491 parts are identical for a period of time, only one is shown. In
4492 places where the two parts differ, they are typeset as separate
4493 voices, and stem directions are set automatically. Also, solo and
4494 @emph{a due} parts are identified and can be marked.
4498 The syntax for part combining is
4501 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4503 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4504 combined into one context of type @var{context}. The music expressions
4505 must be interpreted by contexts whose names should start with @code{one}
4508 The following example demonstrates the basic functionality of the part
4509 combiner: putting parts on one staff, and setting stem directions and
4512 @lilypond[verbatim,singleline,fragment]
4514 \context Voice=one \partcombine Voice
4515 \context Thread=one \relative c'' {
4518 \context Thread=two \relative c'' {
4524 The first @code{g} appears only once, although it was
4525 specified twice (once in each part). Stem, slur and tie directions are
4526 set automatically, depending whether there is a solo or unisono. The
4527 first part (with context called @code{one}) always gets up stems, and
4528 `solo', while the second (called @code{two}) always gets down stems and
4531 If you just want the merging parts, and not the textual markings, you
4532 may set the property @var{soloADue} to false:
4534 @lilypond[verbatim,singleline,fragment]
4536 \property Staff.soloADue = ##f
4537 \context Voice=one \partcombine Voice
4538 \context Thread=one \relative c'' {
4541 \context Thread=two \relative c'' {
4549 Internals: @internalsref{PartCombineMusic},
4550 @internalsref{Thread_devnull_engraver}, and
4551 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4555 The syntax for naming contexts in inconsistent with the syntax for
4558 In @code{soloADue} mode, when the two voices play the same notes on and
4559 off, the part combiner may typeset @code{a2} more than once in a
4562 @lilypond[fragment,singleline]
4564 \context Voice=one \partcombine Voice
4565 \context Thread=one \relative c'' {
4568 \context Thread=two \relative c'' {
4574 The part combiner is rather buggy, and it will be replaced by a better
4575 mechanism in the near future.
4577 @cindex @code{Thread_devnull_engraver}
4578 @cindex @code{Voice_engraver}
4579 @cindex @code{A2_engraver}
4582 @subsection Hiding staves
4584 @cindex Frenched scores
4585 @cindex Hiding staves
4587 In orchestral scores, staff lines that only have rests are usually
4588 removed. This saves some space. This style is called `French Score'.
4589 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4590 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4591 switched on by default. When these line of these contexts turn out
4592 empty after the line-breaking process, they are removed.
4594 For normal staves, a specialized @internalsref{Staff} context is
4595 available, which does the same: staves containing nothing (or only
4596 multi measure rests) are removed. The context definition is stored in
4597 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4598 in this example disappears in the second line:
4603 \notes \relative c' <<
4604 \new Staff { e4 f g a \break c1 }
4605 \new Staff { c4 d e f \break R1 }
4609 \translator { \RemoveEmptyStaffContext }
4614 The first page shows all staffs in full. If they should be removed
4615 from the first page too, set @code{remove-first} to false
4616 in @internalsref{RemoveEmptyVerticalGroup}.
4618 @node Different editions from one source
4619 @subsection Different editions from one source
4621 The @code{\tag} command marks music expressions with a name. These
4622 tagged expressions can be filtered out later. With this mechanism it
4623 is possible to make different versions of the same music source.
4625 In the following example, we see two versions of a piece of music, one
4626 for the full score, and one with cue notes for the instrumental part:
4634 \property Voice.fontSize = #-1
4642 The same can be applied to articulations, texts, etc.: they are
4645 -\tag #@var{your-tag}
4647 to an articulation, for example,
4652 This defines a note with a conditional fingering indication.
4654 By applying the @code{remove-tag} function, tagged expressions can be
4655 filtered. For example,
4659 \apply #(remove-tag 'score) @var{the music}
4660 \apply #(remove-tag 'part) @var{the music}
4665 @lilypondfile[notexidoc]{tag-filter.ly}
4667 The argument of the @code{\tag} command should be a symbol, or a list
4668 of symbols, for example,
4670 \tag #'(original-part transposed-part) @dots{}
4675 Examples: @inputfileref{input/regression,tag-filter.ly}
4678 @node Sound output for transposing instruments
4679 @subsection Sound output for transposing instruments
4681 When you want to make a MIDI file from a score containing transposed
4682 and untransposed instruments, you have to instruct LilyPond the pitch
4683 offset (in semitones) for the transposed instruments. This is done
4684 using the @code{transposing} property. It does not affect printed
4687 @cindex @code{transposing}
4690 \property Staff.instrument = #"Cl. in B-flat"
4691 \property Staff.transposing = #-2
4695 @node Ancient notation
4696 @section Ancient notation
4698 @cindex Vaticana, Editio
4699 @cindex Medicaea, Editio
4704 @c [TODO: write more comprehensive introduction on ancient notation]
4706 Support for ancient notation is still under heavy development.
4707 Regardless of all of the current limitations (see the bugs section
4708 below for details), it includes features for mensural
4709 notation and Gregorian Chant notation. There is also limited support
4710 for figured bass notation.
4712 Many graphical objects provide a @code{style} property, see
4713 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4714 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4715 signatures}. By manipulating such a grob property, the typographical
4716 appearance of the affected graphical objects can be accomodated for a
4717 specific notation flavour without need for introducing any new
4721 Other aspects of ancient notation can not that easily be expressed as
4722 in terms of just changing a style property of a graphical object.
4723 Therefore, some notational concepts are introduced specifically for
4724 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4725 @ref{Ligatures}, and @ref{Figured bass}.
4729 * Ancient note heads::
4730 * Ancient accidentals::
4734 * Ancient time signatures::
4739 * Vaticana style contexts::
4742 If this all is way too much of documentation for you, and you just
4743 want to dive into typesetting without worrying too much about the
4744 details on how to customize a context, then you may have a look at the
4745 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4746 set up predefined style-specific voice and staff contexts, and
4747 directly go ahead with the note entry.
4751 Ligatures need special spacing that has not yet been implemented. As
4752 a result, there is too much space between ligatures most of the time,
4753 and line breaking often is unsatisfactory. Also, lyrics do not
4754 correctly align with ligatures.
4756 Accidentals must not be printed within a ligature, but instead need to
4757 be collected and printed in front of it.
4759 Augmentum dots within ligatures are not handled correctly.
4762 @node Ancient note heads
4763 @subsection Ancient note heads
4769 For ancient notation, a note head style other than the @code{default}
4770 style may be chosen. This is accomplished by setting the @code{style}
4771 property of the NoteHead object to the desired value (@code{baroque},
4772 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4773 differs from the @code{default} style only in using a square shape for
4774 @code{\breve} note heads. The @code{neo_mensural} style differs from
4775 the @code{baroque} style in that it uses rhomboidal heads for whole
4776 notes and all smaller durations. Stems are centered on the note
4777 heads. This style is in particular useful when transcribing mensural
4778 music, e.g. for the incipit. The @code{mensural} style finally
4779 produces note heads that mimick the look of note heads in historic
4780 printings of the 16th century.
4782 The following example demonstrates the @code{neo_mensural} style:
4784 @lilypond[fragment,singleline,verbatim]
4785 \property Voice.NoteHead \set #'style = #'neo_mensural
4786 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4789 When typesetting a piece in Gregorian Chant notation, a Gregorian
4790 ligature engraver will automatically select the proper note heads,
4791 such there is no need to explicitly set the note head style. Still,
4792 the note head style can be set e.g. to @code{vaticana_punctum} to
4793 produce punctum neumes. Similarly, a mensural ligature engraver is
4794 used to automatically assemble mensural ligatures. See
4795 @ref{Ligatures} for how ligature engravers work.
4800 @ref{Percussion staves} use note head styles of their own that are
4801 frequently used in contemporary music notation.
4803 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4804 overview over all available note head styles.
4807 @node Ancient accidentals
4808 @subsection Ancient accidentals
4814 Use the @code{style} property of grob @internalsref{Accidental} to
4815 select ancient accidentals. Supported styles are
4816 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4818 @lilypond[singleline,26pt]
4826 { " " \musicglyph #"accidentals-vaticana-1"
4827 " " \musicglyph #"accidentals-vaticana0" }
4831 { " " \musicglyph #"accidentals-medicaea-1" }
4835 { " " \musicglyph #"accidentals-hufnagel-1" }
4839 { " " \musicglyph #"accidentals-mensural-1"
4840 " " \musicglyph #"accidentals-mensural1" }
4849 \remove "Bar_number_engraver"
4853 \remove "Clef_engraver"
4854 \remove "Key_engraver"
4855 \remove "Time_signature_engraver"
4856 \remove "Staff_symbol_engraver"
4857 minimumVerticalExtent = ##f
4863 As shown, not all accidentals are supported by each style. When
4864 trying to access an unsupported accidental, LilyPond will switch to a
4865 different style, as demonstrated in
4866 @inputfileref{input/test,ancient-accidentals.ly}.
4868 Similarly to local accidentals, the style of the key signature can be
4869 controlled by the @code{style} property of the
4870 @internalsref{KeySignature} grob.
4874 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4875 @ref{Accidentals} give a general introduction into the use of
4876 accidentals. @ref{Key signature} gives a general introduction into
4877 the use of key signatures.
4879 Internals: @internalsref{KeySignature}
4881 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4884 @subsection Ancient rests
4890 Use the @code{style} property of grob @internalsref{Rest} to select
4891 ancient accidentals. Supported styles are @code{classical},
4892 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4893 from the @code{default} style only in that the quarter rest looks like
4894 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4895 well for e.g. the incipit of a transcribed mensural piece of music.
4896 The @code{mensural} style finally mimicks the appearance of rests as
4897 in historic prints of the 16th century.
4899 The following example demonstrates the @code{neo_mensural} style:
4901 @lilypond[fragment,singleline,verbatim]
4902 \property Voice.Rest \set #'style = #'neo_mensural
4903 r\longa r\breve r1 r2 r4 r8 r16
4906 There are no 32th and 64th rests specifically for the mensural or
4907 neo-mensural style. Instead, the rests from the default style will be
4908 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4911 There are no rests in Gregorian Chant notation; instead, it uses
4916 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4920 @subsection Ancient clefs
4926 LilyPond supports a variety of clefs, many of them ancient.
4928 The following table shows all ancient clefs that are supported via the
4929 @code{\clef} command. Some of the clefs use the same glyph, but
4930 differ only with respect to the line they are printed on. In such
4931 cases, a trailing number in the name is used to enumerate these clefs.
4932 Still, you can manually force a clef glyph to be typeset on an
4933 arbitrary line, as described in @ref{Clef}. The note printed to the
4934 right side of each clef in the example column denotes the @code{c'}
4935 with respect to that clef.
4937 @multitable @columnfractions .3 .3 .3 .1
4941 @b{Description} @tab
4942 @b{Supported Clefs} @tab
4946 @code{clefs-neo_mensural_c} @tab
4947 modern style mensural C clef @tab
4948 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4949 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4950 @lilypond[relative 0, notime]
4951 \property Staff.TimeSignature \set #'transparent = ##t
4952 \clef "neo_mensural_c2" c
4956 @code{clefs-petrucci_c1}
4957 @code{clefs-petrucci_c2}
4958 @code{clefs-petrucci_c3}
4959 @code{clefs-petrucci_c4}
4960 @code{clefs-petrucci_c5}
4963 petrucci style mensural C clefs, for use on different stafflines
4964 (the examples shows the 2nd staffline C clef).
4974 @lilypond[relative 0, notime]
4975 \property Staff.TimeSignature \set #'transparent = ##t
4976 \clef "petrucci_c2" c
4980 @code{clefs-petrucci_f} @tab
4981 petrucci style mensural F clef @tab
4982 @code{petrucci_f} @tab
4983 @lilypond[relative 0, notime]
4984 \property Staff.TimeSignature \set #'transparent = ##t
4985 \clef "petrucci_f" c
4989 @code{clefs-petrucci_g} @tab
4990 petrucci style mensural G clef @tab
4991 @code{petrucci_g} @tab
4992 @lilypond[relative 0, notime]
4993 \property Staff.TimeSignature \set #'transparent = ##t
4994 \clef "petrucci_g" c
4998 @code{clefs-mensural_c} @tab
4999 historic style mensural C clef @tab
5000 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
5001 @code{mensural_c4} @tab
5002 @lilypond[relative 0, notime]
5003 \property Staff.TimeSignature \set #'transparent = ##t
5004 \clef "mensural_c2" c
5008 @code{clefs-mensural_f} @tab
5009 historic style mensural F clef @tab
5010 @code{mensural_f} @tab
5011 @lilypond[relative 0, notime]
5012 \property Staff.TimeSignature \set #'transparent = ##t
5013 \clef "mensural_f" c
5017 @code{clefs-mensural_g} @tab
5018 historic style mensural G clef @tab
5019 @code{mensural_g} @tab
5020 @lilypond[relative 0, notime]
5021 \property Staff.TimeSignature \set #'transparent = ##t
5022 \clef "mensural_g" c
5026 @code{clefs-vaticana_do} @tab
5027 Editio Vaticana style do clef @tab
5028 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
5029 @lilypond[relative 0, notime]
5030 \property Staff.StaffSymbol \set #'line-count = #4
5031 \property Staff.TimeSignature \set #'transparent = ##t
5032 \clef "vaticana_do2" c
5036 @code{clefs-vaticana_fa} @tab
5037 Editio Vaticana style fa clef @tab
5038 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
5039 @lilypond[relative 0, notime]
5040 \property Staff.StaffSymbol \set #'line-count = #4
5041 \property Staff.TimeSignature \set #'transparent = ##t
5042 \clef "vaticana_fa2" c
5046 @code{clefs-medicaea_do} @tab
5047 Editio Medicaea style do clef @tab
5048 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
5049 @lilypond[relative 0, notime]
5050 \property Staff.StaffSymbol \set #'line-count = #4
5051 \property Staff.TimeSignature \set #'transparent = ##t
5052 \clef "medicaea_do2" c
5056 @code{clefs-medicaea_fa} @tab
5057 Editio Medicaea style fa clef @tab
5058 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
5059 @lilypond[relative 0, notime]
5060 \property Staff.StaffSymbol \set #'line-count = #4
5061 \property Staff.TimeSignature \set #'transparent = ##t
5062 \clef "medicaea_fa2" c
5066 @code{clefs-hufnagel_do} @tab
5067 historic style hufnagel do clef @tab
5068 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
5069 @lilypond[relative 0, notime]
5070 \property Staff.StaffSymbol \set #'line-count = #4
5071 \property Staff.TimeSignature \set #'transparent = ##t
5072 \clef "hufnagel_do2" c
5076 @code{clefs-hufnagel_fa} @tab
5077 historic style hufnagel fa clef @tab
5078 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5079 @lilypond[relative 0, notime]
5080 \property Staff.StaffSymbol \set #'line-count = #4
5081 \property Staff.TimeSignature \set #'transparent = ##t
5082 \clef "hufnagel_fa2" c
5086 @code{clefs-hufnagel_do_fa} @tab
5087 historic style hufnagel combined do/fa clef @tab
5088 @code{hufnagel_do_fa} @tab
5089 @lilypond[relative 0, notime]
5090 \property Staff.TimeSignature \set #'transparent = ##t
5091 \clef "hufnagel_do_fa" c
5096 @c --- This should go somewhere else: ---
5097 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5100 @c @code{percussion}
5102 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5104 @c @item modern style tab clef (glyph: @code{clefs-tab})
5109 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5111 @emph{Modern style} means ``as is typeset in contemporary editions of
5112 transcribed mensural music''.
5114 @emph{Petrucci style} means ``inspired by printings published by the
5115 famous engraver Petrucci (1466-1539)''.
5117 @emph{Historic style} means ``as was typeset or written in historic
5118 editions (other than those of Petrucci)''.
5120 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5122 Petrucci used C clefs with differently balanced left-side vertical
5123 beams, depending on which staffline it is printed.
5127 In this manual: for the percussion clef, see @ref{Percussion staves}.
5128 For the @code{TAB} clef, see @ref{Tablatures}.
5130 Internals: for modern clefs, see @ref{Clef}.
5135 @subsection Ancient flags
5141 Use the @code{flag-style} property of grob @internalsref{Stem} to
5142 select ancient flags. Besides the @code{default} flag style,
5143 only @code{mensural} style is supported:
5145 @lilypond[fragment,singleline,verbatim]
5146 \property Voice.Stem \set #'flag-style = #'mensural
5147 \property Voice.Stem \set #'thickness = #1.0
5148 \property Voice.NoteHead \set #'style = #'mensural
5150 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5151 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5154 Note that the innermost flare of each mensural flag always is
5155 vertically aligned with a staff line. If you do not like this
5156 behaviour, you can set the @code{adjust-if-on-staffline} property of
5157 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5158 of the end of each flare is different between notes on staff lines and
5159 notes between staff lines:
5161 @lilypond[fragment,singleline]
5162 \property Voice.Stem \set #'flag-style = #'mensural
5163 \property Voice.Stem \set #'thickness = #1.0
5164 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5165 \property Voice.NoteHead \set #'style = #'mensural
5167 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
5168 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5171 There is no particular flag style for neo-mensural notation. Hence,
5172 when typesetting e.g. the incipit of a transcibed piece of mensural
5173 music, the default flag style should be used. There are no flags in
5174 Gregorian Chant notation.
5177 @node Ancient time signatures
5178 @subsection Ancient time signatures
5180 @cindex time signatures
5184 There is limited support for mensural time signatures. The
5185 glyphs are hard-wired to particular time fractions. In other words,
5186 to get a particular mensural signature glyph with the @code{\time n/m}
5187 command, @code{n} and @code{m} have to be chosen according to the
5193 \property Score.timing = ##f
5194 \property Score.barAlways = ##t
5195 s_\markup { "$\\backslash$time 4/4" }
5196 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5198 s_\markup { "$\\backslash$time 2/2" }
5199 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5201 s_\markup { "$\\backslash$time 6/4" }
5202 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5204 s_\markup { "$\\backslash$time 6/8" }
5205 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5207 s_\markup { "$\\backslash$time 3/2" }
5208 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5210 s_\markup { "$\\backslash$time 3/4" }
5211 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5213 s_\markup { "$\\backslash$time 9/4" }
5214 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5216 s_\markup { "$\\backslash$time 9/8" }
5217 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5219 s_\markup { "$\\backslash$time 4/8" }
5220 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5222 s_\markup { "$\\backslash$time 2/4" }
5223 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5231 \remove Staff_symbol_engraver
5232 \remove Clef_engraver
5233 \remove Time_signature_engraver
5239 Use the @code{style} property of grob @internalsref{TimeSignature} to
5240 select ancient time signatures. Supported styles are
5241 @code{neo_mensural} and @code{mensural}. The above table uses the
5242 @code{neo_mensural} style. This style is appropriate e.g. for the
5243 incipit of transcriptions of mensural pieces. The @code{mensural}
5244 style mimicks the look of historical printings of the 16th century.
5246 @inputfileref{input/test,time.ly} gives an overview over all available
5247 ancient and modern styles.
5251 Internals: @ref{Time signature} gives a general introduction into the use of time
5256 Mensural signature glyphs are mapped to time fractions in a
5257 hard-wired way. This mapping is sensible, but still arbitrary: given
5258 a mensural time signature, the time fraction represents a modern meter
5259 that usually will be a good choice when transcribing a mensural piece
5260 of music. For a particular piece of mensural music, however, the
5261 mapping may be unsatisfactory. In particular, the mapping assumes a
5262 fixed transcription of durations (e.g. brevis = half note in 2/2,
5263 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5264 are not at all accessible through the @code{\time} command.
5266 Mensural time signatures are supported typographically, but not yet
5267 musically. The internal representation of durations is
5268 based on a purely binary system; a ternary division such as 1 brevis =
5269 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5270 prolatione maiori) is not correctly handled: event times in ternary
5271 modes will be badly computed, resulting e.g. in horizontally
5272 misaligned note heads, and bar checks are likely to erroneously fail.
5274 The syntax and semantics of the @code{\time} command for mensural
5275 music is subject to change.
5278 @subsection Custodes
5283 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5284 symbol that appears at the end of a staff. It anticipates the pitch
5285 of the first note(s) of the following line and thus helps the player
5286 or singer to manage line breaks during performance, thus enhancing
5287 readability of a score.
5289 Custodes were frequently used in music notation until the 17th
5290 century. Nowadays, they have survived only in a few particular forms
5291 of musical notation such as contemporary editions of Gregorian chant
5292 like the @emph{editio vaticana}. There are different custos glyphs
5293 used in different flavours of notational style.
5297 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5298 @internalsref{Staff} context when declaring the @code{\paper} block,
5299 as shown in the following example:
5305 \consists Custos_engraver
5306 Custos \override #'style = #'mensural
5311 The result looks like this:
5317 \property Staff.Custos \set #'style = #'mensural
5324 \consists Custos_engraver
5331 The custos glyph is selected by the @code{style} property. The styles
5332 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5333 @code{mensural}. They are demonstrated in the following fragment:
5343 { " " \musicglyph #"custodes-vaticana-u0" }
5347 { " " \musicglyph #"custodes-medicaea-u0" }
5351 { " " \musicglyph #"custodes-hufnagel-u0" }
5355 { " " \musicglyph #"custodes-mensural-u0" }
5364 \remove "Bar_number_engraver"
5368 \remove "Clef_engraver"
5369 \remove "Key_engraver"
5370 \remove "Time_signature_engraver"
5371 \remove "Staff_symbol_engraver"
5372 minimumVerticalExtent = ##f
5378 If the boolean property @code{adjust-if-on-staffline} is set to
5379 @code{#t} (which it is by default), lily typesets slightly different
5380 variants of the custos glyph, depending on whether the custos, is
5381 typeset on or between stafflines. The glyph will
5382 optically fit well into the staff, with the appendage on the right of
5383 the custos always ending at the same vertical position between two
5384 stafflines regardless of the pitch. If you set
5385 @code{adjust-if-on-staffline} to @code{#f}, then
5386 a compromise between both forms is used.
5388 Just like stems can be attached to noteheads in two directions
5389 @emph{up} and @emph{down}, each custos glyph is available with its
5390 appendage pointing either up or down. If the pitch of a custos is
5391 above a selectable position, the appendage will point downwards; if
5392 the pitch is below this position, the appendage will point upwards.
5393 Use property @code{neutral-position} to select this position. By
5394 default, it is set to @code{0}, such that the neutral position is the
5395 center of the staff. Use property @code{neutral-direction} to control
5396 what happens if a custos is typeset on the neutral position itself.
5397 By default, this property is set to @code{-1}, such that the appendage
5398 will point downwards. If set to @code{1}, the appendage will point
5399 upwards. Other values such as @code{0} are reserved for future
5400 extensions and should not be used.
5404 Internals: @internalsref{Custos}
5406 Examples: @inputfileref{input/regression,custos.ly}.
5410 @subsection Divisiones
5416 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5417 `division') is a staff context symbol that is used to structure
5418 Gregorian music into phrases and sections. The musical meaning of
5419 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5420 can be characterized as short, medium and long pause, somewhat like
5421 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5422 a chant, but is also frequently used within a single
5423 antiphonal/responsorial chant to mark the end of each section.
5427 To use divisiones, include the file @code{gregorian-init.ly}. It
5428 contains definitions that you can apply by just inserting
5429 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5430 and @code{\finalis} at proper places in the input. Some editions use
5431 @emph{virgula} or @emph{caesura} instead of divisio minima.
5432 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5435 @lilypondfile[notexidoc]{divisiones.ly}
5439 @cindex @code{\virgula}
5441 @cindex @code{\caesura}
5443 @cindex @code{\divisioMinima}
5444 @code{\divisioMinima},
5445 @cindex @code{\divisioMaior}
5446 @code{\divisioMaior},
5447 @cindex @code{\divisioMaxima}
5448 @code{\divisioMaxima},
5449 @cindex @code{\finalis}
5454 In this manual: @ref{Breath marks}.
5456 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5458 Examples: @inputfileref{input/test,divisiones.ly}
5461 @subsection Ligatures
5465 @c TODO: Should double check if I recalled things correctly when I wrote
5466 @c down the following paragraph by heart.
5468 In musical terminology, a ligature is a coherent graphical symbol that
5469 represents at least two distinct notes. Ligatures originally appeared
5470 in the manuscripts of Gregorian chant notation roughly since the 9th
5471 century as an allusion to the accent symbols of greek lyric poetry to
5472 denote ascending or descending sequences of notes. Both, the shape
5473 and the exact meaning of ligatures changed tremendously during the
5474 following centuries: In early notation, ligatures were used for
5475 monophonic tunes (Gregorian chant) and very soon denoted also the way
5476 of performance in the sense of articulation. With upcoming
5477 multiphony, the need for a metric system arised, since multiple voices
5478 of a piece have to be synchronized some way. New notation systems
5479 were invented that used the manifold shapes of ligatures to now denote
5480 rhythmical patterns (e.g. black mensural notation, mannered notation,
5481 ars nova). With the invention of the metric system of the white
5482 mensural notation, the need for ligatures to denote such patterns
5483 disappeared. Nevertheless, ligatures were still in use in the
5484 mensural system for a couple of decades until they finally disappeared
5485 during the late 16th / early 17th century. Still, ligatures have
5486 survived in contemporary editions of Gregorian chant such as the
5487 Editio Vaticana from 1905/08.
5491 Syntactically, ligatures are simply enclosed by @code{\[} and
5492 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5493 additional input syntax specific for this particular type of ligature.
5494 By default, the @internalsref{LigatureBracket} engraver just puts a
5495 square bracket above the ligature:
5497 @lilypond[singleline,verbatim]
5499 \notes \transpose c c' {
5507 To select a specific style of ligatures, a proper ligature engraver
5508 has to be added to the @internalsref{Voice} context, as explained in
5509 the following subsections. Only white mensural ligatures
5510 are supported with certain limitations. Support for Editio Vaticana
5511 will be added in the future.
5514 * White mensural ligatures::
5515 * Gregorian square neumes ligatures::
5518 @node White mensural ligatures
5519 @subsubsection White mensural ligatures
5521 @cindex Mensural ligatures
5522 @cindex White mensural ligatures
5524 There is limited support for white mensural ligatures. The
5525 implementation is still experimental; it may output strange
5526 warnings or even crash in some cases or produce weird results on more
5531 To engrave white mensural ligatures, in the paper block the
5532 @internalsref{Mensural_ligature_engraver} has to be put into the
5533 @internalsref{Voice} context, and remove the
5534 @internalsref{Ligature_bracket_engraver}:
5540 \remove Ligature_bracket_engraver
5541 \consists Mensural_ligature_engraver
5546 There is no additional input language to describe the shape of a
5547 white mensural ligature. The shape is rather determined solely from
5548 the pitch and duration of the enclosed notes. While this approach may
5549 take a new user a while to get accustomed, it has the great advantage
5550 that the full musical information of the ligature is known internally.
5551 This is not only required for correct MIDI output, but also allows for
5552 automatic transcription of the ligatures.
5557 \property Score.timing = ##f
5558 \property Score.defaultBarType = "empty"
5559 \property Voice.NoteHead \set #'style = #'neo_mensural
5560 \property Staff.TimeSignature \set #'style = #'neo_mensural
5562 \[ g\longa c\breve a\breve f\breve d'\longa \]
5564 \[ e1 f1 a\breve g\longa \]
5566 @lilypond[singleline]
5568 \notes \transpose c c' {
5569 \property Score.timing = ##f
5570 \property Score.defaultBarType = "empty"
5571 \property Voice.NoteHead \set #'style = #'neo_mensural
5572 \property Staff.TimeSignature \set #'style = #'neo_mensural
5574 \[ g\longa c\breve a\breve f\breve d'\longa \]
5576 \[ e1 f1 a\breve g\longa \]
5581 \remove Ligature_bracket_engraver
5582 \consists Mensural_ligature_engraver
5588 Without replacing @internalsref{Ligature_bracket_engraver} with
5589 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5592 @lilypond[singleline]
5594 \notes \transpose c c' {
5595 \property Score.timing = ##f
5596 \property Score.defaultBarType = "empty"
5597 \property Voice.NoteHead \set #'style = #'neo_mensural
5598 \property Staff.TimeSignature \set #'style = #'neo_mensural
5600 \[ g\longa c\breve a\breve f\breve d'\longa \]
5602 \[ e1 f1 a\breve g\longa \]
5608 @node Gregorian square neumes ligatures
5609 @subsubsection Gregorian square neumes ligatures
5611 @cindex Square neumes ligatures
5612 @cindex Gregorian square neumes ligatures
5614 Gregorian square neumes notation (following the style of the Editio
5615 Vaticana) is under heavy development, but not yet really usable for
5616 production purposes. Core ligatures can already be typeset, but
5617 essential issues for serious typesetting are still under development,
5618 such as (among others) horizontal alignment of multiple ligatures,
5619 lyrics alignment and proper accidentals handling. Still, this section
5620 gives a sneak preview of what Gregorian chant may look like once it
5623 The following table contains the extended neumes table of the 2nd
5624 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5625 1983 by the monks of Solesmes.
5627 @multitable @columnfractions .4 .2 .2 .2
5630 @b{Neuma aut@*Neumarum Elementa} @tab
5631 @b{Figurae@*Rectae} @tab
5632 @b{Figurae@*Liquescentes Auctae} @tab
5633 @b{Figurae@*Liquescentes Deminutae}
5635 @c TODO: \paper block is identical in all of the below examples.
5636 @c Therefore, it should somehow be included rather than duplicated all
5639 @c why not make identifiers in ly/engraver-init.ly? --hwn
5641 @c Because it's just used to typeset plain notes without
5642 @c a staff for demonstration purposes rather than something
5643 @c special of Gregorian chant notation. --jr
5648 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5649 \include "gregorian-init.ly"
5651 \notes \transpose c c' {
5654 \noBreak s^\markup {"a"} \noBreak
5656 % Punctum Inclinatum
5658 \noBreak s^\markup {"b"}
5664 \remove "Bar_number_engraver"
5668 \remove "Clef_engraver"
5669 \remove "Key_engraver"
5670 StaffSymbol \set #'transparent = ##t
5671 \remove "Time_signature_engraver"
5672 \remove "Bar_engraver"
5673 minimumVerticalExtent = ##f
5677 \remove Ligature_bracket_engraver
5678 \consists Vaticana_ligature_engraver
5679 NoteHead \set #'style = #'vaticana_punctum
5680 Stem \set #'transparent = ##t
5686 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5687 \include "gregorian-init.ly"
5689 \notes \transpose c c' {
5690 % Punctum Auctum Ascendens
5691 \[ \auctum \ascendens b \]
5692 \noBreak s^\markup {"c"} \noBreak
5694 % Punctum Auctum Descendens
5695 \[ \auctum \descendens b \]
5696 \noBreak s^\markup {"d"} \noBreak
5698 % Punctum Inclinatum Auctum
5699 \[ \inclinatum \auctum b \]
5700 \noBreak s^\markup {"e"}
5706 \remove "Bar_number_engraver"
5710 \remove "Clef_engraver"
5711 \remove "Key_engraver"
5712 StaffSymbol \set #'transparent = ##t
5713 \remove "Time_signature_engraver"
5714 \remove "Bar_engraver"
5715 minimumVerticalExtent = ##f
5719 \remove Ligature_bracket_engraver
5720 \consists Vaticana_ligature_engraver
5721 NoteHead \set #'style = #'vaticana_punctum
5722 Stem \set #'transparent = ##t
5728 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5729 \include "gregorian-init.ly"
5731 \notes \transpose c c' {
5732 % Punctum Inclinatum Parvum
5733 \[ \inclinatum \deminutum b \]
5734 \noBreak s^\markup {"f"}
5740 \remove "Bar_number_engraver"
5744 \remove "Clef_engraver"
5745 \remove "Key_engraver"
5746 StaffSymbol \set #'transparent = ##t
5747 \remove "Time_signature_engraver"
5748 \remove "Bar_engraver"
5749 minimumVerticalExtent = ##f
5753 \remove Ligature_bracket_engraver
5754 \consists Vaticana_ligature_engraver
5755 NoteHead \set #'style = #'vaticana_punctum
5756 Stem \set #'transparent = ##t
5765 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5766 \include "gregorian-init.ly"
5768 \notes \transpose c c' {
5771 \noBreak s^\markup {"g"}
5777 \remove "Bar_number_engraver"
5781 \remove "Clef_engraver"
5782 \remove "Key_engraver"
5783 StaffSymbol \set #'transparent = ##t
5784 \remove "Time_signature_engraver"
5785 \remove "Bar_engraver"
5786 minimumVerticalExtent = ##f
5790 \remove Ligature_bracket_engraver
5791 \consists Vaticana_ligature_engraver
5792 NoteHead \set #'style = #'vaticana_punctum
5793 Stem \set #'transparent = ##t
5802 @code{3. Apostropha vel Stropha}
5804 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5805 \include "gregorian-init.ly"
5807 \notes \transpose c c' {
5810 \noBreak s^\markup {"h"}
5816 \remove "Bar_number_engraver"
5820 \remove "Clef_engraver"
5821 \remove "Key_engraver"
5822 StaffSymbol \set #'transparent = ##t
5823 \remove "Time_signature_engraver"
5824 \remove "Bar_engraver"
5825 minimumVerticalExtent = ##f
5829 \remove Ligature_bracket_engraver
5830 \consists Vaticana_ligature_engraver
5831 NoteHead \set #'style = #'vaticana_punctum
5832 Stem \set #'transparent = ##t
5838 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5839 \include "gregorian-init.ly"
5841 \notes \transpose c c' {
5843 \[ \stropha \auctum b \]
5844 \noBreak s^\markup {"i"}
5850 \remove "Bar_number_engraver"
5854 \remove "Clef_engraver"
5855 \remove "Key_engraver"
5856 StaffSymbol \set #'transparent = ##t
5857 \remove "Time_signature_engraver"
5858 \remove "Bar_engraver"
5859 minimumVerticalExtent = ##f
5863 \remove Ligature_bracket_engraver
5864 \consists Vaticana_ligature_engraver
5865 NoteHead \set #'style = #'vaticana_punctum
5866 Stem \set #'transparent = ##t
5876 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5877 \include "gregorian-init.ly"
5879 \notes \transpose c c' {
5882 \noBreak s^\markup {"j"}
5888 \remove "Bar_number_engraver"
5892 \remove "Clef_engraver"
5893 \remove "Key_engraver"
5894 StaffSymbol \set #'transparent = ##t
5895 \remove "Time_signature_engraver"
5896 \remove "Bar_engraver"
5897 minimumVerticalExtent = ##f
5901 \remove Ligature_bracket_engraver
5902 \consists Vaticana_ligature_engraver
5903 NoteHead \set #'style = #'vaticana_punctum
5904 Stem \set #'transparent = ##t
5913 @code{5. Clivis vel Flexa}
5915 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5916 \include "gregorian-init.ly"
5918 \notes \transpose c c' {
5927 \remove "Bar_number_engraver"
5931 \remove "Clef_engraver"
5932 \remove "Key_engraver"
5933 StaffSymbol \set #'transparent = ##t
5934 \remove "Time_signature_engraver"
5935 \remove "Bar_engraver"
5936 minimumVerticalExtent = ##f
5940 \remove Ligature_bracket_engraver
5941 \consists Vaticana_ligature_engraver
5942 NoteHead \set #'style = #'vaticana_punctum
5943 Stem \set #'transparent = ##t
5949 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5950 \include "gregorian-init.ly"
5952 \notes \transpose c c' {
5953 % Clivis Aucta Descendens
5954 \[ b \flexa \auctum \descendens g \]
5955 \noBreak s^\markup {"l"} \noBreak
5957 % Clivis Aucta Ascendens
5958 \[ b \flexa \auctum \ascendens g \]
5959 \noBreak s^\markup {"m"}
5965 \remove "Bar_number_engraver"
5969 \remove "Clef_engraver"
5970 \remove "Key_engraver"
5971 StaffSymbol \set #'transparent = ##t
5972 \remove "Time_signature_engraver"
5973 \remove "Bar_engraver"
5974 minimumVerticalExtent = ##f
5978 \remove Ligature_bracket_engraver
5979 \consists Vaticana_ligature_engraver
5980 NoteHead \set #'style = #'vaticana_punctum
5981 Stem \set #'transparent = ##t
5987 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5988 \include "gregorian-init.ly"
5990 \notes \transpose c c' {
5992 \[ b \flexa \deminutum g \]
5999 \remove "Bar_number_engraver"
6003 \remove "Clef_engraver"
6004 \remove "Key_engraver"
6005 StaffSymbol \set #'transparent = ##t
6006 \remove "Time_signature_engraver"
6007 \remove "Bar_engraver"
6008 minimumVerticalExtent = ##f
6012 \remove Ligature_bracket_engraver
6013 \consists Vaticana_ligature_engraver
6014 NoteHead \set #'style = #'vaticana_punctum
6015 Stem \set #'transparent = ##t
6022 @code{6. Podatus vel Pes}
6024 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6025 \include "gregorian-init.ly"
6027 \notes \transpose c c' {
6036 \remove "Bar_number_engraver"
6040 \remove "Clef_engraver"
6041 \remove "Key_engraver"
6042 StaffSymbol \set #'transparent = ##t
6043 \remove "Time_signature_engraver"
6044 \remove "Bar_engraver"
6045 minimumVerticalExtent = ##f
6049 \remove Ligature_bracket_engraver
6050 \consists Vaticana_ligature_engraver
6051 NoteHead \set #'style = #'vaticana_punctum
6052 Stem \set #'transparent = ##t
6058 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
6059 \include "gregorian-init.ly"
6061 \notes \transpose c c' {
6062 % Pes Auctus Descendens
6063 \[ g \pes \auctum \descendens b \]
6064 \noBreak s^\markup {"p"} \noBreak
6066 % Pes Auctus Ascendens
6067 \[ g \pes \auctum \ascendens b \]
6068 \noBreak s^\markup {"q"}
6074 \remove "Bar_number_engraver"
6078 \remove "Clef_engraver"
6079 \remove "Key_engraver"
6080 StaffSymbol \set #'transparent = ##t
6081 \remove "Time_signature_engraver"
6082 \remove "Bar_engraver"
6083 minimumVerticalExtent = ##f
6087 \remove Ligature_bracket_engraver
6088 \consists Vaticana_ligature_engraver
6089 NoteHead \set #'style = #'vaticana_punctum
6090 Stem \set #'transparent = ##t
6096 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6097 \include "gregorian-init.ly"
6099 \notes \transpose c c' {
6101 \[ g \pes \deminutum b \]
6108 \remove "Bar_number_engraver"
6112 \remove "Clef_engraver"
6113 \remove "Key_engraver"
6114 StaffSymbol \set #'transparent = ##t
6115 \remove "Time_signature_engraver"
6116 \remove "Bar_engraver"
6117 minimumVerticalExtent = ##f
6121 \remove Ligature_bracket_engraver
6122 \consists Vaticana_ligature_engraver
6123 NoteHead \set #'style = #'vaticana_punctum
6124 Stem \set #'transparent = ##t
6131 @code{7. Pes Quassus}
6133 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6134 \include "gregorian-init.ly"
6136 \notes \transpose c c' {
6138 \[ \oriscus g \pes \virga b \]
6145 \remove "Bar_number_engraver"
6149 \remove "Clef_engraver"
6150 \remove "Key_engraver"
6151 StaffSymbol \set #'transparent = ##t
6152 \remove "Time_signature_engraver"
6153 \remove "Bar_engraver"
6154 minimumVerticalExtent = ##f
6158 \remove Ligature_bracket_engraver
6159 \consists Vaticana_ligature_engraver
6160 NoteHead \set #'style = #'vaticana_punctum
6161 Stem \set #'transparent = ##t
6167 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6168 \include "gregorian-init.ly"
6170 \notes \transpose c c' {
6171 % Pes Quassus Auctus Descendens
6172 \[ \oriscus g \pes \auctum \descendens b \]
6179 \remove "Bar_number_engraver"
6183 \remove "Clef_engraver"
6184 \remove "Key_engraver"
6185 StaffSymbol \set #'transparent = ##t
6186 \remove "Time_signature_engraver"
6187 \remove "Bar_engraver"
6188 minimumVerticalExtent = ##f
6192 \remove Ligature_bracket_engraver
6193 \consists Vaticana_ligature_engraver
6194 NoteHead \set #'style = #'vaticana_punctum
6195 Stem \set #'transparent = ##t
6203 @code{8. Quilisma Pes}
6205 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6206 \include "gregorian-init.ly"
6208 \notes \transpose c c' {
6210 \[ \quilisma g \pes b \]
6217 \remove "Bar_number_engraver"
6221 \remove "Clef_engraver"
6222 \remove "Key_engraver"
6223 StaffSymbol \set #'transparent = ##t
6224 \remove "Time_signature_engraver"
6225 \remove "Bar_engraver"
6226 minimumVerticalExtent = ##f
6230 \remove Ligature_bracket_engraver
6231 \consists Vaticana_ligature_engraver
6232 NoteHead \set #'style = #'vaticana_punctum
6233 Stem \set #'transparent = ##t
6239 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6240 \include "gregorian-init.ly"
6242 \notes \transpose c c' {
6243 % Quilisma Pes Auctus Descendens
6244 \[ \quilisma g \pes \auctum \descendens b \]
6251 \remove "Bar_number_engraver"
6255 \remove "Clef_engraver"
6256 \remove "Key_engraver"
6257 StaffSymbol \set #'transparent = ##t
6258 \remove "Time_signature_engraver"
6259 \remove "Bar_engraver"
6260 minimumVerticalExtent = ##f
6264 \remove Ligature_bracket_engraver
6265 \consists Vaticana_ligature_engraver
6266 NoteHead \set #'style = #'vaticana_punctum
6267 Stem \set #'transparent = ##t
6275 @code{9. Podatus Initio Debilis}
6277 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6278 \include "gregorian-init.ly"
6280 \notes \transpose c c' {
6281 % Pes Initio Debilis
6282 \[ \deminutum g \pes b \]
6289 \remove "Bar_number_engraver"
6293 \remove "Clef_engraver"
6294 \remove "Key_engraver"
6295 StaffSymbol \set #'transparent = ##t
6296 \remove "Time_signature_engraver"
6297 \remove "Bar_engraver"
6298 minimumVerticalExtent = ##f
6302 \remove Ligature_bracket_engraver
6303 \consists Vaticana_ligature_engraver
6304 NoteHead \set #'style = #'vaticana_punctum
6305 Stem \set #'transparent = ##t
6311 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6312 \include "gregorian-init.ly"
6314 \notes \transpose c c' {
6315 % Pes Auctus Descendens Initio Debilis
6316 \[ \deminutum g \pes \auctum \descendens b \]
6323 \remove "Bar_number_engraver"
6327 \remove "Clef_engraver"
6328 \remove "Key_engraver"
6329 StaffSymbol \set #'transparent = ##t
6330 \remove "Time_signature_engraver"
6331 \remove "Bar_engraver"
6332 minimumVerticalExtent = ##f
6336 \remove Ligature_bracket_engraver
6337 \consists Vaticana_ligature_engraver
6338 NoteHead \set #'style = #'vaticana_punctum
6339 Stem \set #'transparent = ##t
6349 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6350 \include "gregorian-init.ly"
6352 \notes \transpose c c' {
6354 \[ a \pes b \flexa g \]
6361 \remove "Bar_number_engraver"
6365 \remove "Clef_engraver"
6366 \remove "Key_engraver"
6367 StaffSymbol \set #'transparent = ##t
6368 \remove "Time_signature_engraver"
6369 \remove "Bar_engraver"
6370 minimumVerticalExtent = ##f
6374 \remove Ligature_bracket_engraver
6375 \consists Vaticana_ligature_engraver
6376 NoteHead \set #'style = #'vaticana_punctum
6377 Stem \set #'transparent = ##t
6383 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6384 \include "gregorian-init.ly"
6386 \notes \transpose c c' {
6387 % Torculus Auctus Descendens
6388 \[ a \pes b \flexa \auctum \descendens g \]
6395 \remove "Bar_number_engraver"
6399 \remove "Clef_engraver"
6400 \remove "Key_engraver"
6401 StaffSymbol \set #'transparent = ##t
6402 \remove "Time_signature_engraver"
6403 \remove "Bar_engraver"
6404 minimumVerticalExtent = ##f
6408 \remove Ligature_bracket_engraver
6409 \consists Vaticana_ligature_engraver
6410 NoteHead \set #'style = #'vaticana_punctum
6411 Stem \set #'transparent = ##t
6417 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6418 \include "gregorian-init.ly"
6420 \notes \transpose c c' {
6421 % Torculus Deminutus
6422 \[ a \pes b \flexa \deminutum g \]
6429 \remove "Bar_number_engraver"
6433 \remove "Clef_engraver"
6434 \remove "Key_engraver"
6435 StaffSymbol \set #'transparent = ##t
6436 \remove "Time_signature_engraver"
6437 \remove "Bar_engraver"
6438 minimumVerticalExtent = ##f
6442 \remove Ligature_bracket_engraver
6443 \consists Vaticana_ligature_engraver
6444 NoteHead \set #'style = #'vaticana_punctum
6445 Stem \set #'transparent = ##t
6452 @code{11. Torculus Initio Debilis}
6454 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6455 \include "gregorian-init.ly"
6457 \notes \transpose c c' {
6458 % Torculus Initio Debilis
6459 \[ \deminutum a \pes b \flexa g \]
6466 \remove "Bar_number_engraver"
6470 \remove "Clef_engraver"
6471 \remove "Key_engraver"
6472 StaffSymbol \set #'transparent = ##t
6473 \remove "Time_signature_engraver"
6474 \remove "Bar_engraver"
6475 minimumVerticalExtent = ##f
6479 \remove Ligature_bracket_engraver
6480 \consists Vaticana_ligature_engraver
6481 NoteHead \set #'style = #'vaticana_punctum
6482 Stem \set #'transparent = ##t
6488 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6489 \include "gregorian-init.ly"
6491 \notes \transpose c c' {
6492 % Torculus Auctus Descendens Initio Debilis
6493 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6500 \remove "Bar_number_engraver"
6504 \remove "Clef_engraver"
6505 \remove "Key_engraver"
6506 StaffSymbol \set #'transparent = ##t
6507 \remove "Time_signature_engraver"
6508 \remove "Bar_engraver"
6509 minimumVerticalExtent = ##f
6513 \remove Ligature_bracket_engraver
6514 \consists Vaticana_ligature_engraver
6515 NoteHead \set #'style = #'vaticana_punctum
6516 Stem \set #'transparent = ##t
6522 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6523 \include "gregorian-init.ly"
6525 \notes \transpose c c' {
6526 % Torculus Deminutus Initio Debilis
6527 \[ \deminutum a \pes b \flexa \deminutum g \]
6534 \remove "Bar_number_engraver"
6538 \remove "Clef_engraver"
6539 \remove "Key_engraver"
6540 StaffSymbol \set #'transparent = ##t
6541 \remove "Time_signature_engraver"
6542 \remove "Bar_engraver"
6543 minimumVerticalExtent = ##f
6547 \remove Ligature_bracket_engraver
6548 \consists Vaticana_ligature_engraver
6549 NoteHead \set #'style = #'vaticana_punctum
6550 Stem \set #'transparent = ##t
6557 @code{12. Porrectus}
6559 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6560 \include "gregorian-init.ly"
6562 \notes \transpose c c' {
6564 \[ a \flexa g \pes b \]
6571 \remove "Bar_number_engraver"
6575 \remove "Clef_engraver"
6576 \remove "Key_engraver"
6577 StaffSymbol \set #'transparent = ##t
6578 \remove "Time_signature_engraver"
6579 \remove "Bar_engraver"
6580 minimumVerticalExtent = ##f
6584 \remove Ligature_bracket_engraver
6585 \consists Vaticana_ligature_engraver
6586 NoteHead \set #'style = #'vaticana_punctum
6587 Stem \set #'transparent = ##t
6593 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6594 \include "gregorian-init.ly"
6596 \notes \transpose c c' {
6597 % Porrectus Auctus Descendens
6598 \[ a \flexa g \pes \auctum \descendens b \]
6605 \remove "Bar_number_engraver"
6609 \remove "Clef_engraver"
6610 \remove "Key_engraver"
6611 StaffSymbol \set #'transparent = ##t
6612 \remove "Time_signature_engraver"
6613 \remove "Bar_engraver"
6614 minimumVerticalExtent = ##f
6618 \remove Ligature_bracket_engraver
6619 \consists Vaticana_ligature_engraver
6620 NoteHead \set #'style = #'vaticana_punctum
6621 Stem \set #'transparent = ##t
6627 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6628 \include "gregorian-init.ly"
6630 \notes \transpose c c' {
6631 % Porrectus Deminutus
6632 \[ a \flexa g \pes \deminutum b \]
6639 \remove "Bar_number_engraver"
6643 \remove "Clef_engraver"
6644 \remove "Key_engraver"
6645 StaffSymbol \set #'transparent = ##t
6646 \remove "Time_signature_engraver"
6647 \remove "Bar_engraver"
6648 minimumVerticalExtent = ##f
6652 \remove Ligature_bracket_engraver
6653 \consists Vaticana_ligature_engraver
6654 NoteHead \set #'style = #'vaticana_punctum
6655 Stem \set #'transparent = ##t
6664 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6665 \include "gregorian-init.ly"
6667 \notes \transpose c c' {
6669 \[ \virga b \inclinatum a \inclinatum g \]
6676 \remove "Bar_number_engraver"
6680 \remove "Clef_engraver"
6681 \remove "Key_engraver"
6682 StaffSymbol \set #'transparent = ##t
6683 \remove "Time_signature_engraver"
6684 \remove "Bar_engraver"
6685 minimumVerticalExtent = ##f
6689 \remove Ligature_bracket_engraver
6690 \consists Vaticana_ligature_engraver
6691 NoteHead \set #'style = #'vaticana_punctum
6692 Stem \set #'transparent = ##t
6698 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6699 \include "gregorian-init.ly"
6701 \notes \transpose c c' {
6703 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6710 \remove "Bar_number_engraver"
6714 \remove "Clef_engraver"
6715 \remove "Key_engraver"
6716 StaffSymbol \set #'transparent = ##t
6717 \remove "Time_signature_engraver"
6718 \remove "Bar_engraver"
6719 minimumVerticalExtent = ##f
6723 \remove Ligature_bracket_engraver
6724 \consists Vaticana_ligature_engraver
6725 NoteHead \set #'style = #'vaticana_punctum
6726 Stem \set #'transparent = ##t
6732 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6733 \include "gregorian-init.ly"
6735 \notes \transpose c c' {
6736 % Climacus Deminutus
6737 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6744 \remove "Bar_number_engraver"
6748 \remove "Clef_engraver"
6749 \remove "Key_engraver"
6750 StaffSymbol \set #'transparent = ##t
6751 \remove "Time_signature_engraver"
6752 \remove "Bar_engraver"
6753 minimumVerticalExtent = ##f
6757 \remove Ligature_bracket_engraver
6758 \consists Vaticana_ligature_engraver
6759 NoteHead \set #'style = #'vaticana_punctum
6760 Stem \set #'transparent = ##t
6767 @code{14. Scandicus}
6769 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6770 \include "gregorian-init.ly"
6772 \notes \transpose c c' {
6774 \[ g \pes a \virga b \]
6781 \remove "Bar_number_engraver"
6785 \remove "Clef_engraver"
6786 \remove "Key_engraver"
6787 StaffSymbol \set #'transparent = ##t
6788 \remove "Time_signature_engraver"
6789 \remove "Bar_engraver"
6790 minimumVerticalExtent = ##f
6794 \remove Ligature_bracket_engraver
6795 \consists Vaticana_ligature_engraver
6796 NoteHead \set #'style = #'vaticana_punctum
6797 Stem \set #'transparent = ##t
6803 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6804 \include "gregorian-init.ly"
6806 \notes \transpose c c' {
6807 % Scandicus Auctus Descendens
6808 \[ g \pes a \pes \auctum \descendens b \]
6815 \remove "Bar_number_engraver"
6819 \remove "Clef_engraver"
6820 \remove "Key_engraver"
6821 StaffSymbol \set #'transparent = ##t
6822 \remove "Time_signature_engraver"
6823 \remove "Bar_engraver"
6824 minimumVerticalExtent = ##f
6828 \remove Ligature_bracket_engraver
6829 \consists Vaticana_ligature_engraver
6830 NoteHead \set #'style = #'vaticana_punctum
6831 Stem \set #'transparent = ##t
6837 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6838 \include "gregorian-init.ly"
6840 \notes \transpose c c' {
6841 % Scandicus Deminutus
6842 \[ g \pes a \pes \deminutum b \]
6849 \remove "Bar_number_engraver"
6853 \remove "Clef_engraver"
6854 \remove "Key_engraver"
6855 StaffSymbol \set #'transparent = ##t
6856 \remove "Time_signature_engraver"
6857 \remove "Bar_engraver"
6858 minimumVerticalExtent = ##f
6862 \remove Ligature_bracket_engraver
6863 \consists Vaticana_ligature_engraver
6864 NoteHead \set #'style = #'vaticana_punctum
6865 Stem \set #'transparent = ##t
6874 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6875 \include "gregorian-init.ly"
6877 \notes \transpose c c' {
6879 \[ g \oriscus a \pes \virga b \]
6886 \remove "Bar_number_engraver"
6890 \remove "Clef_engraver"
6891 \remove "Key_engraver"
6892 StaffSymbol \set #'transparent = ##t
6893 \remove "Time_signature_engraver"
6894 \remove "Bar_engraver"
6895 minimumVerticalExtent = ##f
6899 \remove Ligature_bracket_engraver
6900 \consists Vaticana_ligature_engraver
6901 NoteHead \set #'style = #'vaticana_punctum
6902 Stem \set #'transparent = ##t
6908 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6909 \include "gregorian-init.ly"
6911 \notes \transpose c c' {
6912 % Salicus Auctus Descendens
6913 \[ g \oriscus a \pes \auctum \descendens b \]
6920 \remove "Bar_number_engraver"
6924 \remove "Clef_engraver"
6925 \remove "Key_engraver"
6926 StaffSymbol \set #'transparent = ##t
6927 \remove "Time_signature_engraver"
6928 \remove "Bar_engraver"
6929 minimumVerticalExtent = ##f
6933 \remove Ligature_bracket_engraver
6934 \consists Vaticana_ligature_engraver
6935 NoteHead \set #'style = #'vaticana_punctum
6936 Stem \set #'transparent = ##t
6946 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6947 \include "gregorian-init.ly"
6949 \notes \transpose c c' {
6951 \[ \stropha b \stropha b \stropha a \]
6958 \remove "Bar_number_engraver"
6962 \remove "Clef_engraver"
6963 \remove "Key_engraver"
6964 StaffSymbol \set #'transparent = ##t
6965 \remove "Time_signature_engraver"
6966 \remove "Bar_engraver"
6967 minimumVerticalExtent = ##f
6971 \remove Ligature_bracket_engraver
6972 \consists Vaticana_ligature_engraver
6973 NoteHead \set #'style = #'vaticana_punctum
6974 Stem \set #'transparent = ##t
6986 Unlike most other neumes notation systems, the input language for
6987 neumes does not necessarily reflect directly the typographical
6988 appearance, but is designed to solely focuse on musical meaning. For
6989 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6990 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6991 a Porrectus with a curved flexa shape and only a single Punctum head.
6992 There is no command to explicitly typeset the curved flexa shape; the
6993 decision of when to typeset a curved flexa shape is purely taken from
6994 the musical input. The idea of this approach is to separate the
6995 musical aspects of the input from the notation style of the output.
6996 This way, the same input can be reused to typeset the same music in a
6997 different style of Gregorian chant notation such as Hufnagel (also
6998 known as German gothic neumes) or Medicaea (kind of a very simple
6999 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
7000 engraver and Medicaea ligature engraver will have been implemented, it
7001 will be as simple as replacing the ligature engraver in the
7002 @internalsref{Voice} context to get the desired notation style from
7005 The following table shows the code fragments that produce the
7006 ligatures in the above neumes table. The letter in the first column
7007 in each line of the below table indicates to which ligature in the
7008 above table it refers. The second column gives the name of the
7009 ligature. The third column shows the code fragment that produces this
7010 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7012 @multitable @columnfractions .1 .4 .5
7026 Punctum Inclinatum @tab
7027 @code{\[ \inclinatum b \]}
7031 Punctum Auctum Ascendens @tab
7032 @code{\[ \auctum \ascendens b \]}
7036 Punctum Auctum Descendens @tab
7037 @code{\[ \auctum \descendens b \]}
7041 Punctum Inclinatum Auctum @tab
7042 @code{\[ \inclinatum \auctum b \]}
7046 Punctum Inclinatum Parvum @tab
7047 @code{\[ \inclinatum \deminutum b \]}
7052 @code{\[ \virga b \]}
7057 @code{\[ \stropha b \]}
7062 @code{\[ \stropha \auctum b \]}
7067 @code{\[ \oriscus b \]}
7071 Clivis vel Flexa @tab
7072 @code{\[ b \flexa g \]}
7076 Clivis Aucta Descendens @tab
7077 @code{\[ b \flexa \auctum \descendens g \]}
7081 Clivis Aucta Ascendens @tab
7082 @code{\[ b \flexa \auctum \ascendens g \]}
7087 @code{\[ b \flexa \deminutum g \]}
7091 Podatus vel Pes @tab
7092 @code{\[ g \pes b \]}
7096 Pes Auctus Descendens @tab
7097 @code{\[ g \pes \auctum \descendens b \]}
7101 Pes Auctus Ascendens @tab
7102 @code{\[ g \pes \auctum \ascendens b \]}
7107 @code{\[ g \pes \deminutum b \]}
7112 @code{\[ \oriscus g \pes \virga b \]}
7116 Pes Quassus Auctus Descendens @tab
7117 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7122 @code{\[ \quilisma g \pes b \]}
7126 Quilisma Pes Auctus Descendens @tab
7127 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7131 Pes Initio Debilis @tab
7132 @code{\[ \deminutum g \pes b \]}
7136 Pes Auctus Descendens Initio Debilis @tab
7137 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7142 @code{\[ a \pes b \flexa g \]}
7146 Torculus Auctus Descendens @tab
7147 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7151 Torculus Deminutus @tab
7152 @code{\[ a \pes b \flexa \deminutum g \]}
7156 Torculus Initio Debilis @tab
7157 @code{\[ \deminutum a \pes b \flexa g \]}
7161 Torculus Auctus Descendens Initio Debilis @tab
7162 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7166 Torculus Deminutus Initio Debilis @tab
7167 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7172 @code{\[ a \flexa g \pes b \]}
7176 Porrectus Auctus Descendens @tab
7177 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7181 Porrectus Deminutus @tab
7182 @code{\[ a \flexa g \pes \deminutum b \]}
7187 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7191 Climacus Auctus @tab
7192 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7196 Climacus Deminutus @tab
7197 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7202 @code{\[ g \pes a \virga b \]}
7206 Scandicus Auctus Descendens @tab
7207 @code{\[ g \pes a \pes \auctum \descendens b \]}
7211 Scandicus Deminutus @tab
7212 @code{\[ g \pes a \pes \deminutum b \]}
7217 @code{\[ g \oriscus a \pes \virga b \]}
7221 Salicus Auctus Descendens @tab
7222 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7227 @code{\[ \stropha b \stropha b \stropha a \]}
7233 The following head prefixes are supported:
7235 @cindex @code{\virga}
7237 @cindex @code{\stropha}
7239 @cindex @code{\inclinatum}
7241 @cindex @code{\auctum}
7243 @cindex @code{\descendens}
7245 @cindex @code{\ascendens}
7247 @cindex @code{\oriscus}
7249 @cindex @code{\quilisma}
7251 @cindex @code{\deminutum}
7254 Head prefixes can be accumulated, though restrictions apply. For
7255 example, either @code{\descendens} or @code{\ascendens} can be applied
7256 to a head, but not both to the same head.
7259 @cindex @code{\flexa}
7260 Two adjacent heads can be tied together with the @code{\pes} and
7261 @code{\flexa} infix commands for a rising and falling line of melody,
7266 Trigonus: apply equal spacing, regardless of pitch.
7269 @subsection Figured bass
7271 @cindex Basso continuo
7273 @c TODO: musicological blurb about FB
7277 LilyPond has limited support for figured bass:
7279 @lilypond[verbatim,fragment]
7281 \context Voice \notes { \clef bass dis4 c d ais}
7282 \context FiguredBass
7284 < 6 >4 < 7 >8 < 6+ [_!] >
7290 The support for figured bass consists of two parts: there is an input
7291 mode, introduced by @code{\figures}, where you can enter bass figures
7292 as numbers, and there is a context called @internalsref{FiguredBass} that
7293 takes care of making @internalsref{BassFigure} objects.
7295 In figures input mode, a group of bass figures is delimited by
7296 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7301 \context FiguredBass
7305 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7312 \context FiguredBass
7313 \figures { <4- 6+ 7!> }
7316 Spaces or dashes may be inserted by using @code{_}. Brackets are
7317 introduced with @code{[} and @code{]}:
7323 \context FiguredBass
7324 \figures { < [4 6] 8 [_! 12]> }
7327 Although the support for figured bass may superficially resemble chord
7328 support, it works much simpler. The @code{\figures} mode simply
7329 stores the numbers , and @internalsref{FiguredBass} context prints
7330 them as entered. There is no conversion to pitches, and no
7331 realizations of the bass are played in the MIDI file.
7333 Internally, the code produces markup texts. You can use any of the
7334 markup text properties to override formatting. For example, the
7335 vertical spacing of the figures may be set with @code{baseline-skip}.
7339 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7340 and @internalsref{FiguredBass} context.
7344 Slash notation for alterations is not supported.
7347 @node Vaticana style contexts
7348 @subsection Vaticana style contexts
7350 @cindex VaticanaVoiceContext
7351 @cindex VaticanaStaffContext
7353 The predefined @code{VaticanaVoiceContext} and
7354 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7355 Gregorian Chant in the style of the Editio Vaticana. These contexts
7356 initialize all relevant context properties and grob properties to
7357 proper values. With these contexts, you can immediately go ahead
7358 entering the chant, as the following short excerpt demonstrates:
7360 @lilypond[raggedright,verbatim,noindent]
7361 \include "gregorian-init.ly"
7364 \context VaticanaVoice {
7365 \property Score.BarNumber \set #'transparent = ##t
7367 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7368 \[ f( \pes a c' c' \pes d') \] c' \divisioMinima \break
7369 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g) \] f \divisioMinima
7372 \lyricsto "" \new LyricsVoice \lyrics {
7373 San- ctus, San- ctus, San- ctus
7379 @node Contemporary notation
7380 @section Contemporary notation
7382 In the 20th century, composers have greatly expanded the musical
7383 vocabulary. With this expansion, many innovations in musical notation
7384 have been tried. The book by Stone (1980) gives a comprehensive
7385 overview (see @ref{Literature list}). In general, the use of new,
7386 innovative notation makes a piece harder to understand and perform and
7387 its use should therefore be avoided if possible. For this reason,
7388 support for contemporary notation in LilyPond is limited.
7397 @subsection Clusters
7401 In musical terminology, a @emph{cluster} denotes a range of
7402 simultaneously sounding pitches that may change over time. The set of
7403 available pitches to apply usually depends on the accoustic source.
7404 Thus, in piano music, a cluster typically consists of a continous range
7405 of the semitones as provided by the piano's fixed set of a chromatic
7406 scale. In choral music, each singer of the choir typically may sing an
7407 arbitrary pitch within the cluster's range that is not bound to any
7408 diatonic, chromatic or other scale. In electronic music, a cluster
7409 (theoretically) may even cover a continuous range of pitches, thus
7410 resulting in coloured noise, such as pink noise.
7412 Clusters can be denoted in the context of ordinary staff notation by
7413 engraving simple geometrical shapes that replace ordinary notation of
7414 notes. Ordinary notes as musical events specify starting time and
7415 duration of pitches; however, the duration of a note is expressed by the
7416 shape of the note head rather than by the horizontal graphical extent of
7417 the note symbol. In contrast, the shape of a cluster geometrically
7418 describes the development of a range of pitches (vertical extent) over
7419 time (horizontal extent). Still, the geometrical shape of a cluster
7420 covers the area in wich any single pitch contained in the cluster would
7421 be notated as an ordinary note. From this point of view, it is
7422 reasonable to specify a cluster as the envelope of a set of notes.
7426 A cluster is engraved as the envelope of a set of
7427 cluster-notes. Cluster notes are created by applying the function
7428 @code{notes-to-clusters} to a sequence of chords, e.g.
7430 @lilypond[relative 1,verbatim]
7431 \apply #notes-to-clusters { <c e > <b f'> }
7434 The following example (from
7435 @inputfileref{input/regression,cluster.ly}) shows what the result
7438 @lilypondfile[notexidoc]{cluster.ly}
7440 By default, @internalsref{Cluster_spanner_engraver} is in the
7441 @internalsref{Voice} context. This allows putting ordinary notes and
7442 clusters together in the same staff, even simultaneously. In such a
7443 case no attempt is made to automatically avoid collisions between
7444 ordinary notes and clusters.
7448 Internals: @internalsref{ClusterSpanner},
7449 @internalsref{ClusterSpannerBeacon},
7450 @internalsref{Cluster_spanner_engraver}, and
7451 @internalsref{ClusterNoteEvent}.
7453 Examples: @inputfileref{input/regression,cluster.ly}.
7457 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7458 accurately. Use @code{<g a>8 <e a>8} instead.
7463 @subsection Fermatas
7469 Contemporary music notation frequently uses special fermata symbols to
7470 indicate fermatas of differing lengths.
7474 The following are supported
7476 @lilypond[singleline]
7478 << \addlyrics \notes {
7498 \context Lyrics \lyrics {
7499 "shortfermata" "fermata" "longfermata" "verylongfermata"
7504 See @ref{Articulations} for general instructions how to apply scripts
7505 such as fermatas to a @code{\notes@{@}} block.
7508 @section Tuning output
7510 There are situations where default layout decisions are not
7511 sufficient. In this section we discuss ways to override these
7514 Formatting is internally done by manipulating so called objects
7515 (graphic objects). Each object carries with it a set of properties
7516 (object or layout properties) specific to that object. For example, a
7517 stem object has properties that specify its direction, length and
7520 The most direct way of tuning the output is by altering the values of
7521 these properties. There are two ways of doing that: first, you can
7522 temporarily change the definition of one type of object, thus
7523 affecting a whole set of objects. Second, you can select one specific
7524 object, and set a layout property in that object.
7526 Do not confuse layout properties with translation
7527 properties. Translation properties always use a mixed caps style
7528 naming, and are manipulated using @code{\property}:
7530 \property Context.propertyName = @var{value}
7533 Layout properties are use Scheme style variable naming, i.e. lower
7534 case words separated with dashes. They are symbols, and should always
7535 be quoted using @code{#'}. For example, this could be an imaginary
7536 layout property name:
7538 #'layout-property-name
7543 The introduction of the @ref{Technical manual} gives a more in-depth
7544 treatment of the difference between translation and layout.
7548 * Constructing a tweak::
7556 @node Tuning objects
7557 @subsection Tuning objects
7559 @cindex object description
7561 The definition of an object is a list of default object
7562 properties. For example, the definition of the Stem object (available
7563 in @file{scm/define-grobs.scm}), includes the following definitions
7564 for @internalsref{Stem}:
7568 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7569 (Y-extent-callback . ,Stem::height)
7574 Adding variables on top of this existing definition overrides the
7575 system default, and alters the resulting appearance of the layout
7581 Changing a variable for only one object is commonly achieved with
7585 \once \property @var{context}.@var{objectname}
7586 \override @var{symbol} = @var{value}
7588 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7589 and @var{objectname} is a string and @var{value} is a Scheme expression.
7590 This command applies a setting only during one moment in the score.
7592 In the following example, only one @internalsref{Stem} object is
7593 changed from its original setting:
7595 @lilypond[verbatim, fragment, relative=1]
7597 \once \property Voice.Stem \set #'thickness = #4
7601 @cindex @code{\once}
7603 For changing more objects, the same command, without @code{\once} can
7606 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7608 This command adds @code{@var{symbol} = @var{value}} to the definition
7609 of @var{objectname} in the context @var{context}, and this definition
7610 stays in place until it is removed.
7612 An existing definition may be removed by the following command:
7615 \property @var{context}.@var{objectname} \revert @var{symbol}
7618 All @code{\override} and @code{\revert} commands should be balanced.
7619 The @code{\set} shorthand performs a revert followed by an override,
7620 and is often more convenient to use
7623 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7627 @lilypond[verbatim,quote]
7628 c'4 \property Voice.Stem \override #'thickness = #4.0
7630 c'4 \property Voice.Stem \revert #'thickness
7634 The following example gives exactly the same result as the previous
7635 one (assuming the system default for stem thickness is 1.3):
7637 @lilypond[verbatim,quote]
7638 c'4 \property Voice.Stem \set #'thickness = #4.0
7640 c'4 \property Voice.Stem \set #'thickness = #1.3
7644 Reverting a setting which was not set in the first place has no
7645 effect. However, if the setting was set as a system default, this may
7646 remove the default value, and this may give surprising results,
7647 including crashes. In other words, @code{\override} and
7648 @code{\revert} must be carefully balanced. The following are examples
7649 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7653 a clumsy but correct form:
7655 \override \revert \override \revert \override \revert
7659 shorter version of the same:
7661 \override \set \set \revert
7665 a short form, using only @code{\set}. This requires you to know the
7668 \set \set \set \set @var{to default value}
7672 if there is no default (i.e. by default, the object property is unset),
7675 \set \set \set \revert
7679 The object description is an Scheme association list. Since a Scheme
7680 list is a singly linked list, we can treat it as a stack, and
7681 @code{\override} and @code{\revert} are push and pop operations. The
7682 association list is stored in a normal context property, hence
7684 \property Voice.NoteHead = #'()
7686 will effectively erase @internalsref{NoteHead}s from the current
7687 @internalsref{Voice}. Typically, this will blank the object. However,
7688 this mechanism should not be used: it may cause crashes or other
7693 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7694 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7695 @internalsref{All-layout-objects}.
7700 The backend is not very strict in type-checking object properties.
7701 Cyclic references in Scheme values for properties cause hangs and/or
7702 crashes. Reverting properties that are system defaults may also lead
7705 A property tweak of modifies a local copy of the object definition.
7706 After such a tweak, the definition is independent of the objects in
7707 enclosing contexts. For example
7710 \property Voice.Stem \set #'neutral-direction = #1
7712 \property Staff.Stem \set #'thickness = #4.0
7717 In this fragment, @code{neutral-direction} is tweaked. As a result,
7718 the current @internalsref{Voice} gets a private version of the
7719 @internalsref{Stem} object. The following tweak modifies the
7720 definition at @internalsref{Staff} level. Since it a different
7721 definition, the thickness of the @code{b'16} is unaffected. For the
7722 third note, a new Voice is created, which inherits the new definition,
7723 including the changed thickness, but excluding the new neutral
7729 * Constructing a tweak::
7735 @node Constructing a tweak
7736 @subsection Constructing a tweak
7739 @cindex internal documentation
7740 @cindex finding graphical objects
7741 @cindex graphical object descriptions
7743 @cindex @code{\override}
7745 @cindex internal documentation
7749 Three pieces of information are required to use @code{\override} and
7750 @code{\set}: the name of the layout object, the context and the name
7751 of the property. We demonstrate how to glean this information from
7752 the notation manual and the generated documentation.
7754 The generated documentation is a set of HTML pages which should be
7755 included if you installed a binary distribution, typically in
7756 @file{/usr/share/doc/lilypond}. They are also available on the web:
7757 go to the @uref{http://lilypond.org,LilyPond website}, click
7758 ``Documentation'', select the correct version, and click then
7759 ``Program reference.'' It is advisable to bookmark the local HTML
7760 files. They will load faster than the ones on the web. If you use the
7761 version from the web, you must check whether the documentation matches
7762 the program version: it is generated from the definitions that the
7763 program uses, and therefore it is strongly tied to the LilyPond
7767 @c [TODO: revise for new site.]
7769 Suppose we want to move the fingering indication in the fragment below:
7771 @lilypond[relative=2,verbatim]
7777 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7778 instructions}), you will notice that there is written:
7783 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7790 In other words, the fingerings once entered, are internally stored as
7791 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7792 layout object is created for every @code{FingerEvent}.
7794 The Fingering object has a number of different functions, and each of
7795 those is captured in an interface. The interfaces are listed under
7796 @internalsref{Fingering} in the program reference.
7800 The @code{Fingering} object has a fixed size
7801 (@internalsref{item-interface}), the symbol is a piece of text
7802 (@internalsref{text-interface}), whose font can be set
7803 (@internalsref{font-interface}). It is centered horizontally
7804 (@internalsref{self-alignment-interface}), it is placed next to other
7805 objects (@internalsref{side-position-interface}) vertically, and its
7806 placement is coordinated with other scripts
7807 (@internalsref{text-script-interface}). It also has the standard
7808 @internalsref{grob-interface} (grob stands for Graphical object)
7810 @cindex graphical object
7811 @cindex layout object
7812 @cindex object, layout
7813 with all the variables that come with
7814 it. Finally, it denotes a fingering instruction, so it has
7815 @internalsref{finger-interface}.
7817 For the vertical placement, we have to look under
7818 @code{side-position-interface}:
7820 @code{side-position-interface}
7822 Position a victim object (this one) next to other objects (the
7823 support). In this case, the property @code{direction} signifies where to put the
7824 victim object relative to the support (left or right, up or down?)
7829 below this description, the variable @code{padding} is described as
7833 (dimension, in staff space)
7835 add this much extra space between objects that are next to each
7836 other. Default value: @code{0.6}
7840 By increasing the value of @code{padding}, we can move away the
7841 fingering. The following command inserts 3 staff spaces of white
7842 between the note and the fingering:
7844 \once \property Voice.Fingering \set #'padding = #3
7847 Inserting this command before the Fingering object is created,
7848 i.e. before @code{c2}, yields the following result:
7850 @lilypond[relative=2,fragment,verbatim]
7851 \once \property Voice.Fingering
7858 The context name @code{Voice} in the example above can be determined
7859 as follows. In the documentation for @internalsref{Fingering}, it says
7861 Fingering grobs are created by: @internalsref{Fingering_engraver}
7864 Clicking @code{Fingering_engraver} shows the documentation of
7865 the module responsible for interpreting the fingering instructions and
7866 translating them to a @code{Fingering} object. Such a module is called
7867 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7870 Fingering_engraver is part of contexts: Voice
7872 so tuning the settings for Fingering should be done with
7874 \property Voice.Fingering \set @dots{}
7877 Of course, the tweak may also done in a larger context than
7878 @code{Voice}, for example, @internalsref{Staff} or
7879 @internalsref{Score}.
7883 Internals: the program reference also contains alphabetical lists of
7884 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7885 @internalsref{Music-expressions}, so you can also find which objects
7886 to tweak by browsing the internals document.
7890 @subsection Applyoutput
7892 The most versatile way of tuning an object is @code{\applyoutput}. Its
7895 \applyoutput @var{proc}
7899 where @var{proc} is a Scheme function, taking three arguments.
7901 When interpreted, the function @var{proc} is called for every layout
7902 object found in the context, with the following arguments:
7904 @item the layout object itself,
7905 @item the context where the layout object was created, and
7906 @item the context where @code{\applyoutput} is processed.
7910 In addition, the cause of the layout object, i.e. the music
7911 expression or object that was responsible for creating it, is in the
7912 object property @code{cause}. For example, for a note head, this is a
7913 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7914 this is a @internalsref{NoteHead} object.
7916 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7919 (define (blanker grob grob-origin context)
7920 (if (and (memq (ly:get-grob-property grob 'interfaces)
7921 note-head-interface)
7922 (eq? (ly:get-grob-property grob 'staff-position) 0))
7924 (ly:set-grob-property! grob 'transparent #t)))
7929 @node Font selection
7930 @subsection Font selection
7932 The most common thing to change about the appearance of fonts is their
7933 size. The font size of any context can be easily changed by setting
7934 the @code{fontSize} property for that context. Its value is a number:
7935 negative numbers make the font smaller, positive numbers larger. An
7936 example is given below:
7938 @lilypond[fragment,relative=1,verbatim,quote]
7939 c4 c4 \property Voice.fontSize = #-1
7942 This command will set @code{font-size} (see below), and does
7943 not change the size of variable symbols, such as beams or slurs.
7945 One of the uses of @code{fontSize} is to get smaller symbols for cue
7946 notes. An elaborate example of those is in
7947 @inputfileref{input/test,cue-notes.ly}.
7949 @cindex magnification
7952 The font used for printing a object can be selected by setting
7953 @code{font-name}, e.g.
7955 \property Staff.TimeSignature
7956 \set #'font-name = #"cmr17"
7960 Any font can be used, as long as it is available to @TeX{}. Possible
7961 fonts include foreign fonts or fonts that do not belong to the
7962 Computer Modern font family. The size of fonts selected in this way
7963 can be changed with the @code{font-magnification} property. For
7964 example, @code{2.0} blows up all letters by a factor 2 in both
7968 @cindex font magnification
7970 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7971 can also be adjusted with a more fine-grained mechanism. By setting
7972 the object properties described below, you can select a different font;
7973 all three mechanisms work for every object that supports
7974 @code{font-interface}:
7979 is a symbol indicating the general class of the typeface. Supported are
7980 @code{roman} (Computer Modern), @code{braces} (for piano staff
7981 braces), @code{music} (the standard music font, including ancient
7982 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7985 is a symbol indicating the shape of the font, there are typically several
7986 font shapes available for each font family. Choices are @code{italic},
7987 @code{caps} and @code{upright}.
7990 is a symbol indicating the series of the font. There are typically several
7991 font series for each font family and shape. Choices are @code{medium}
7996 For any of these properties, the value @code{*} (i.e. the symbol
7997 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7998 to override default setting, which are always present. For example:
8000 \property Lyrics . LyricText \override #'font-series = #'bold
8001 \property Lyrics . LyricText \override #'font-family = #'typewriter
8002 \property Lyrics . LyricText \override #'font-shape = #'*
8005 @cindex @code{font-style}
8007 The font size is set by modifying the @code{font-size} property. Its
8008 value is a number indicating the size relative to the standard size.
8009 Each step up is an increase of approximately 12% of the font size. Six
8010 steps is exactly a factor two. The Scheme function @code{magstep}
8011 converts a @code{font-size} number to a scaling factor.
8013 LilyPond has fonts in different design sizes: the music fonts for
8014 smaller sizes are chubbier, while the text fonts are relatively wider.
8015 Font size changes are achieved by scaling the design size that is
8016 closest to the desired size.
8018 The @code{font-size} mechanism does not work for fonts selected
8019 through @code{font-name}. These may be scaled with
8020 @code{font-magnification}.
8024 The following commands set @code{fontSize} for the current voice.
8026 @cindex @code{\tiny}
8028 @cindex @code{\small}
8030 @cindex @code{\normalsize}
8035 Init files: @file{ly/paper20.ly} contains hints how new fonts may be
8040 There is no style sheet provided for other fonts besides the @TeX{}
8041 Computer Modern family.
8043 @cindex font selection
8044 @cindex font magnification
8045 @cindex @code{font-interface}
8049 @subsection Text markup
8054 @cindex typeset text
8056 LilyPond has an internal mechanism to typeset texts. You can access it
8057 with the keyword @code{\markup}. Within markup mode, you can enter texts
8058 similar to lyrics: simply enter them, surrounded by spaces:
8061 @lilypond[verbatim,fragment,relative=1]
8062 c1^\markup { hello }
8063 c1_\markup { hi there }
8064 c1^\markup { hi \bold there, is \italic anyone home? }
8067 @cindex font switching
8069 The markup in the example demonstrates font switching commands. The
8070 command @code{\bold} and @code{\italic} only apply to the first
8071 following word; enclose a set of texts with braces to apply a command
8074 \markup @{ \bold @{ hi there @} @}
8078 For clarity, you can also do this for single arguments, e.g.
8080 \markup @{ is \italic @{ anyone @} home @}
8083 @cindex font size, texts
8085 The following size commands set absolute sizes:
8087 @cindex @code{\teeny}
8088 @cindex @code{\tiny}
8089 @cindex @code{\small}
8090 @cindex @code{\large}
8091 @cindex @code{\huge}
8101 You can also make letter larger or smaller relative to their neighbors,
8102 with the commands @code{\larger} and @code{\smaller}.
8106 @cindex font style, for texts
8107 @cindex @code{\bold}
8108 @cindex @code{\dynamic}
8109 @cindex @code{\number}
8110 @cindex @code{\italic}
8112 The following font change commands are defined:
8115 changes to the font used in dynamic signs. This font does not
8116 contain all characters of the alphabet, so when producing ``piu f'',
8117 the ``piu'' should be done in a different font.
8121 changes to the font used in time signatures. It only contains
8122 numbers and a few punctuation marks.
8124 changes @code{font-shape} to @code{italic}.
8126 changes @code{font-series} to @code{bold}.
8129 @cindex raising text
8130 @cindex lowering text
8132 @cindex translating text
8135 @cindex @code{\super}
8137 Raising and lowering texts can be done with @code{\super} and
8140 @lilypond[verbatim,fragment,relative=1]
8141 c1^\markup { E "=" mc \super "2" }
8144 @cindex @code{\raise}
8146 If you want to give an explicit amount for lowering or raising, use
8147 @code{\raise}. This command takes a Scheme valued first argument, and
8148 a markup object as second argument:
8150 @lilypond[verbatim,fragment,relative=1,quote]
8151 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8153 The argument to @code{\raise} is the vertical displacement amount,
8154 measured in (global) staff spaces. @code{\raise} and @code{\super}
8155 raise objects in relation to their surrounding markups. They cannot be
8156 used to move a single text up or down, when it is above or below a
8157 note, since the mechanism that positions it next to the note cancels
8158 any vertical shift. For vertical positioning, use the @code{padding}
8159 and/or @code{extra-offset} properties.
8161 Other commands taking single arguments include
8164 @item \bracket, \hbracket
8165 Bracket the argument markup with normal and horizontal brackets
8169 @cindex @code{\musicglyph}
8170 This is converted to a musical symbol, e.g. @code{\musicglyph
8171 #"accidentals-0"} will select the natural sign from the music font.
8172 See @ref{The Feta font} for a complete listing of the possible glyphs.
8175 This produces a single character, e.g. @code{\char #65} produces the
8178 @item \note @var{duration} @var{dir}
8179 @cindex @code{\note}
8181 This produces a note with a stem pointing in @var{dir} direction, with
8182 the @var{duration} for the note head type and augmentation dots. For
8183 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8184 a shortened down stem.
8186 @item \hspace #@var{amount}
8187 @cindex @code{\hspace}
8188 This produces a invisible object taking horizontal space.
8190 \markup @{ A \hspace #2.0 B @}
8192 will put extra space between A and B, on top of the space that is
8193 normally inserted before elements on a line.
8195 @item \fontsize #@var{size}
8196 @cindex @code{\fontsize}
8197 This sets the relative font size, eg.
8199 A \fontsize #2 @{ B C @} D
8203 This will enlarge the B and the C by two steps.
8204 @item \translate #(cons @var{x} @var{y})
8206 This translates an object. Its first argument is a cons of numbers
8208 A \translate #(cons 2 -3) @{ B C @} D
8210 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8211 surroundings. This command cannot be used to move isolated scripts
8212 vertically, for the same reason that @code{\raise} cannot be used for
8215 @item \magnify #@var{mag}
8216 @cindex @code{\magnify}
8217 This sets the font magnification for the its argument. In the following
8218 example, the middle A will be 10% larger:
8220 A \magnify #1.1 @{ A @} A
8224 @item \override #(@var{key} . @var{value})
8225 @cindex @code{\override}
8226 This overrides a formatting property for its argument. The argument
8227 should be a key/value pair, e.g.
8229 m \override #'(font-family . math) m m
8233 In markup mode you can compose expressions, similar to mathematical
8234 expressions, XML documents and music expressions. The braces group
8235 notes into horizontal lines. Other types of lists also exist: you can
8236 stack expressions grouped with @code{<}, and @code{>} vertically with
8237 the command @code{\column}. Similarly, @code{\center} aligns texts by
8240 @lilypond[verbatim,fragment,relative=1]
8241 c1^\markup { \column < a bbbb c > }
8242 c1^\markup { \center < a bbbb c > }
8243 c1^\markup { \line < a b c > }
8247 Markups can be stored in variables, and these variables
8248 may be attached to notes, like
8250 allegro = \markup { \bold \large { Allegro } }
8251 \notes { a^\allegro b c d }
8254 The markup mechanism is extensible. Refer to
8255 @file{scm/new-markup.scm} for more information.
8258 Some objects have alignment procedures of their own, which cancel out
8259 any effects of alignments applied to their markup arguments as a
8260 whole. For example, the @internalsref{RehearsalMark} is horizontally
8261 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8262 effect. Similarly, whole texts over notes cannot be moved vertically
8263 with @code{\raise}. For moving and aligning complete objects, grob
8264 properties should be used.
8268 Internals: @internalsref{Markup-functions} contains a complete list of
8269 all markup commands.
8271 Init files: @file{scm/new-markup.scm}.
8278 Text layout is ultimately done by @TeX{}, which does kerning of
8279 letters. LilyPond does not account for kerning, so texts will be
8280 spaced slightly too wide.
8282 Syntax errors for markup mode are confusing.
8284 Markup texts cannot be used in the titling of the @code{\header}
8285 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8294 @section Global layout
8296 The global layout determined by three factors: the page layout, the
8297 line breaks and the spacing. These all influence each other. The
8298 choice of spacing determines how densely each system of music is set,
8299 which influences where line breaks breaks are chosen, and thus
8300 ultimately how many pages a piece of music takes. This section
8301 explains how to tune the algorithm for spacing.
8303 Globally spoken, this procedure happens in three steps: first,
8304 flexible distances (``springs'') are chosen, based on durations. All
8305 possible line breaking combination are tried, and the one with the
8306 best results---a layout that has uniform density and requires as
8307 little stretching or cramping as possible---is chosen. When the score
8308 is processed by @TeX{}, each page is filled with systems, and page breaks
8309 are chosen whenever the page gets full.
8314 * Vertical spacing::
8315 * Horizontal spacing::
8322 @node Vertical spacing
8323 @subsection Vertical spacing
8325 @cindex vertical spacing
8326 @cindex distance between staves
8327 @cindex staff distance
8328 @cindex between staves, distance
8329 @cindex staffs per page
8330 @cindex space between staves
8332 The height of each system is determined automatically by LilyPond, to
8333 keep systems from bumping into each other, some minimum distances are
8334 set. By changing these, you can put staves closer together, and thus
8335 put more systems onto one page.
8337 Normally staves are stacked vertically. To make
8338 staves maintain a distance, their vertical size is padded. This is
8339 done with the property @code{minimumVerticalExtent}. It takes a pair
8340 of numbers, so if you want to make it smaller from its, then you could
8343 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8345 This sets the vertical size of the current staff to 4 staff spaces on
8346 either side of the center staff line. The argument of
8347 @code{minimumVerticalExtent} is interpreted as an interval, where the
8348 center line is the 0, so the first number is generally negative. The
8349 staff can be made larger at the bottom by setting it to @code{(-6
8352 The piano staves are handled a little differently: to make cross-staff
8353 beaming work correctly, it is necessary that the distance between staves
8354 is fixed beforehand. This is also done with a
8355 @internalsref{VerticalAlignment} object, created in
8356 @internalsref{PianoStaff}. In this object the distance between the
8357 staves is fixed by setting @code{forced-distance}. If you want to
8358 override this, use a @code{\translator} block as follows:
8362 VerticalAlignment \override #'forced-distance = #9
8365 This would bring the staves together at a distance of 9 staff spaces,
8366 measured from the center line of each staff.
8370 Internals: Vertical alignment of staves is handled by the
8371 @internalsref{VerticalAlignment} object.
8375 @node Horizontal spacing
8376 @subsection Horizontal Spacing
8378 The spacing engine translates differences in durations into
8379 stretchable distances (``springs'') of differing lengths. Longer
8380 durations get more space, shorter durations get less. The shortest
8381 durations get a fixed amount of space (which is controlled by
8382 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8383 /The longer the duration, the more space it gets: doubling a
8384 duration adds a fixed amount (this amount is controlled by
8385 @code{spacing-increment}) of space to the note.
8387 For example, the following piece contains lots of half, quarter and
8388 8th notes, the eighth note is followed by 1 note head width (NHW).
8389 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8390 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8394 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8395 width of a note head, and @code{shortest-duration-space} is set to
8396 2.0, meaning that the shortest note gets 2 NHW (2 times
8397 @code{shortest-duration-space}) of space. For normal notes, this space
8398 is always counted from the left edge of the symbol, so the shortest
8399 notes are generally followed by one NHW of space.
8401 If one would follow the above procedure exactly, then adding a single
8402 32th note to a score that uses 8th and 16th notes, would widen up the
8403 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8404 thus adding 1 NHW to every note. To prevent this, the
8405 shortest duration for spacing is not the shortest note in the score,
8406 but the most commonly found shortest note. Notes that are even
8407 shorter this are followed by a space that is proportional to their
8408 duration relative to the common shortest note. So if we were to add
8409 only a few 16th notes to the example above, they would be followed by
8412 @lilypond[fragment, verbatim, relative=2]
8413 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8416 The most common shortest duration is determined as follows: in every
8417 measure, the shortest duration is determined. The most common short
8418 duration, is taken as the basis for the spacing, with the stipulation
8419 that this shortest duration should always be equal to or shorter than
8420 1/8th note. The shortest duration is printed when you run lilypond
8421 with @code{--verbose}. These durations may also be customized. If you
8422 set the @code{common-shortest-duration} in
8423 @internalsref{SpacingSpanner}, then this sets the base duration for
8424 spacing. The maximum duration for this base (normally 1/8th), is set
8425 through @code{base-shortest-duration}.
8427 @cindex @code{common-shortest-duration}
8428 @cindex @code{base-shortest-duration}
8429 @cindex @code{stem-spacing-correction}
8430 @cindex @code{spacing}
8432 In the introduction it was explained that stem directions influence
8433 spacing. This is controlled with @code{stem-spacing-correction}
8434 property in @internalsref{NoteSpacing}, which are generated for every
8435 @internalsref{Voice} context. The @code{StaffSpacing} object
8436 (generated at @internalsref{Staff} context) contains the same property
8437 for controlling the stem/barline spacing. The following example
8438 shows these corrections, once with default settings, and once with
8439 exaggerated corrections:
8445 \property Staff.NoteSpacing \override #'stem-spacing-correction
8447 \property Staff.StaffSpacing \override #'stem-spacing-correction
8452 \paper { raggedright = ##t } }
8455 @cindex SpacingSpanner, overriding properties
8457 Properties of the @internalsref{SpacingSpanner} must be overridden
8458 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8459 created before any @code{\property} statements are interpreted.
8461 \paper @{ \translator @{
8463 SpacingSpanner \override #'spacing-increment = #3.0
8470 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8471 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8472 @internalsref{SeparatingGroupSpanner}.
8476 Spacing is determined on a score wide basis. If you have a score that
8477 changes its character (measured in durations) halfway during the
8478 score, the part containing the longer durations will be spaced too
8481 There is no convenient mechanism to manually override spacing.
8486 @subsection Font size
8487 @cindex font size, setting
8488 @cindex staff size, setting
8489 @cindex @code{paper} file
8491 The Feta font provides musical symbols at eight seven different
8492 sizes. Each font is tuned for a different staff size: at smaller sizes
8493 the font gets heavier, to match the relatively heavier staff lines.
8494 The recommended font sizes are listed in the following table:
8496 @multitable @columnfractions .25 .25 .25 .25
8499 @tab @b{staff height (pt)}
8500 @tab @b{staff height (mm)}
8542 @c modern rental material ?
8546 These fonts are available in any sizes. The context property
8547 @code{fontSize} and the layout property @code{staff-space} (in
8548 @internalsref{StaffSymbol}) can be used to tune size for individual
8549 staffs. The size of individual staffs are relative to the global size,
8550 which can be set in the following manner:
8553 #(set-staff-size 14)
8556 This sets the global default size to 14pt staff height, and scales all
8562 @subsection Line breaking
8565 @cindex breaking lines
8567 Line breaks are normally computed automatically. They are chosen such
8568 that lines look neither cramped nor loose, and that consecutive lines
8569 have similar density.
8571 Occasionally you might want to override the automatic breaks; you can
8572 do this by specifying @code{\break}. This will force a line break at
8573 this point. Line breaks can only occur at places where there are bar
8574 lines. If you want to have a line break where there is no bar line,
8575 you can force an invisible bar line by entering @code{\bar
8576 ""}. Similarly, @code{\noBreak} forbids a line break at a
8580 @cindex regular line breaks
8581 @cindex four bar music.
8583 For linebreaks at regular intervals use @code{\break} separated by
8584 skips and repeated with @code{\repeat}:
8586 << \repeat unfold 7 @{
8587 s1 \noBreak s1 \noBreak
8588 s1 \noBreak s1 \break @}
8589 @emph{the real music}
8594 This makes the following 28 measures (assuming 4/4 time) be broken every
8595 4 measures, and only there.
8599 @code{\break}, @code{\noBreak}
8600 @cindex @code{\break}
8601 @cindex @code{\noBreak}
8605 Internals: @internalsref{BreakEvent}.
8609 @subsection Page layout
8612 @cindex breaking pages
8614 @cindex @code{indent}
8615 @cindex @code{linewidth}
8617 The most basic settings influencing the spacing are @code{indent} and
8618 @code{linewidth}. They are set in the @code{\paper} block. They
8619 control the indentation of the first line of music, and the lengths of
8622 If @code{raggedright} is set to true in the @code{\paper}
8623 block, then the lines are justified at their natural length. This
8624 useful for short fragments, and for checking how tight the natural
8628 @cindex vertical spacing
8630 The page layout process happens outside the LilyPond formatting
8631 engine: variables controlling page layout are passed to the output,
8632 and are further interpreted by @code{lilypond} wrapper program. It
8633 responds to the following variables in the @code{\paper} block. The
8634 variable @code{textheight} sets the total height of the music on each
8635 page. The spacing between systems is controlled with
8636 @code{interscoreline}, its default is 16pt. The distance between the
8637 score lines will stretch in order to fill the full page
8638 @code{interscorelinefill} is set to a positive number. In that case
8639 @code{interscoreline} specifies the minimum spacing.
8641 @cindex @code{textheight}
8642 @cindex @code{interscoreline}
8643 @cindex @code{interscorelinefill}
8645 If the variable @code{lastpagefill} is defined,
8646 @c fixme: this should only be done if lastpagefill == #t
8647 systems are evenly distributed vertically on the last page. This
8648 might produce ugly results in case there are not enough systems on the
8649 last page. The @command{lilypond-book} command ignores
8650 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8653 @cindex @code{lastpagefill}
8655 Page breaks are normally computed by @TeX{}, so they are not under
8656 direct control of LilyPond. However, you can insert a commands into
8657 the @file{.tex} output to instruct @TeX{} where to break pages. This
8658 is done by setting the @code{between-systems-strings} on the
8659 @internalsref{NonMusicalPaperColumn} where the system is broken.
8660 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8661 The predefined command @code{\newpage} also does this.
8665 @cindex @code{papersize}
8667 To change the paper size, use the following Scheme code:
8670 #(set-paper-size "a4")
8677 @cindex @code{\newpage}
8683 In this manual @ref{Invoking lilypond}
8685 Examples: @inputfileref{input/regression,between-systems.ly}
8687 Internals: @internalsref{NonMusicalPaperColumn}.
8691 LilyPond has no concept of page layout, which makes it difficult to
8692 reliably choose page breaks in longer pieces.
8701 Entered music can also be converted to MIDI output. The performance
8702 is good enough for proof-hearing the music for errors.
8704 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8705 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8706 marks translate to a fixed fraction of the available MIDI volume
8707 range, crescendi and decrescendi make the volume vary linearly between
8708 their two extremities. The fractions can be adjusted by
8709 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8710 For each type of MIDI instrument, a volume range can be defined. This
8711 gives a basic equalizer control, which can enhance the quality of
8712 the MIDI output remarkably. The equalizer can be controlled by
8713 setting @code{instrumentEqualizer}.
8717 Many musically interesting effects, such as swing, articulation,
8718 slurring, etc., are not translated to MIDI.
8723 * MIDI instrument names::
8728 @subsection MIDI block
8732 The MIDI block is analogous to the paper block, but it is somewhat
8733 simpler. The @code{\midi} block can contain:
8737 @item a @code{\tempo} definition, and
8738 @item context definitions.
8741 Assignments in the @code{\midi} block are not allowed.
8743 A number followed by a period is interpreted as a real number, so
8744 for setting the tempo for dotted notes, an extra space should be
8745 inserted, for example:
8748 \midi @{ \tempo 4 . = 120 @}
8752 @cindex context definition
8754 Context definitions follow precisely the same syntax as within the
8755 \paper block. Translation modules for sound are called performers.
8756 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8759 @node MIDI instrument names
8760 @subsection MIDI instrument names
8762 @cindex instrument names
8763 @cindex @code{Staff.midiInstrument}
8765 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8766 property. The instrument name should be chosen from the list in
8767 @ref{MIDI instruments}.
8771 If the selected string does not exactly match, then the default is
8772 used, which is the Grand Piano.