@c Note: -*-texinfo-*- @c @c A menu is needed before every deeper *section nesting of @node's; run @c M-x texinfo-all-menus-update @c to automagically fill in these menus before saving changes @c @c FIXME: singular vs. plural: Beams/Beam @node Notation manual @chapter Notation manual @html @end html @menu * Note entry:: * Easier music entry:: * Staff notation:: * Polyphony:: * Beaming:: * Accidentals:: * Expressive marks:: * Articulations:: * Fingering instructions:: * Repeats:: * Rhythmic music:: * Piano music:: * Vocal music:: * Tablatures:: * Chord names:: * Writing parts:: * Ancient notation :: * Contemporary notation:: * Tuning output:: * Global layout:: * Sound:: @end menu @c FIXME: Note entry vs Music entry at top level menu is confusing. @node Note entry @section Note entry @cindex Note entry @menu * Notes:: * Pitches:: * Chromatic alterations:: * Chords:: * Rests:: * Skips:: * Durations:: * Ties:: * Automatic note splitting :: * Tuplets:: * Easy Notation note heads :: @end menu @node Notes @subsection Notes A note is printed by specifying its pitch and then its duration. @footnote{Notes constitute the most basic elements of LilyPond input, but they do not form valid input on their own without a @code{\score} block. However, for the sake of brevity and simplicity we will generally omit @code{\score} blocks and @code{\paper} declarations in this manual.} @lilypond[fragment,verbatim] cis'4 d'8 e'16 c'16 @end lilypond @node Pitches @subsection Pitches @cindex Pitch names @cindex Note specification @cindex pitches @cindex entering notes The most common syntax for pitch entry is used in @code{\chords} and @code{\notes} mode. In Note and Chord mode, pitches may be designated by names. The notes are specified by the letters @code{a} through @code{g}, while the octave is formed with notes ranging from @code{c} to @code{b}. The pitch @code{c} is an octave below middle C and the letters span the octave above that C. @lilypond[fragment,verbatim] \clef bass a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c'' @end lilypond @cindex note names, Dutch A sharp is formed by adding @code{-is} to the end of a pitch name and a flat is formed by adding @code{-es}. Double sharps and double flats are obtained by adding @code{-isis} or @code{-eses}. These default names are the Dutch note names. In Dutch, @code{aes} is contracted to @code{as} in Dutch, but both forms are accepted. Similarly, both @code{es} and @code{ees} are accepted. There are predefined sets of note names for various other languages. To use them, include the language specific init file. For example: @code{\include "english.ly"}. The available language files and the note names they define are: @anchor{note name} @anchor{note names} @example Note Names sharp flat nederlands.ly c d e f g a bes b -is -es english.ly c d e f g a bf b -s/-sharp -f/-flat deutsch.ly c d e f g a b h -is -es norsk.ly c d e f g a b h -iss/-is -ess/-es svenska.ly c d e f g a b h -iss -ess italiano.ly do re mi fa sol la sib si -d -b catalan.ly do re mi fa sol la sib si -d/-s -b espanol.ly do re mi fa sol la sib si -s -b @end example @cindex @code{'} @cindex @code{,} The optional octave specification takes the form of a series of single quote (`@code{'}') characters or a series of comma (`@code{,}') characters. Each @code{'} raises the pitch by one octave; each @code{,} lowers the pitch by an octave. @lilypond[fragment,verbatim,center] c' c'' es' g' as' gisis' ais' @end lilypond The verbose syntax for pitch specification is @cindex @code{\pitch} @example \pitch @var{scmpitch} @end example where @var{scmpitch} is a Scheme object of the @code{Pitch} type. @seealso @internalsref{NoteEvent}, @internalsref{NoteHead} @node Chromatic alterations @subsection Chromatic alterations Normally accidentals are printed automatically, but you may also print them manually. A reminder accidental @cindex reminder accidental @cindex @code{?} can be forced by adding an exclamation mark @code{!} after the pitch. A cautionary accidental @cindex cautionary accidental @cindex parenthesized accidental (an accidental within parentheses) can be obtained by adding the question mark `@code{?}' after the pitch. @lilypond[fragment,verbatim] cis' cis' cis'! cis'? @end lilypond The automatic production of accidentals can be tuned in many ways. For more information, refer to @ref{Accidentals}. @node Chords @subsection Chords A chord is formed by a enclosing a set of pitches in @code{<<} and @code{>>}. A chord may be followed by a duration, and a set of articulations, just like simple notes. Additionally, fingerings and articulations may be attached to individual pitches of the chord: @lilypond[singleline,verbatim,relative 1] <> @end lilypond @node Rests @subsection Rests @cindex Rests Rests are entered like notes, with the note name @code{r}. @lilypond[singleline,verbatim] r1 r2 r4 r8 @end lilypond Whole bar rests, centered in middle of the bar, are specified using @code{R} (capital R); see @ref{Multi measure rests}. See also @seeinternals{Rest}. For some music, you may wish to explicitly specify the rest's vertical position. This can be achieved by entering a note with the @code{\rest} keyword appended. Rest collision testing will leave these rests alone. @lilypond[singleline,verbatim] a'4\rest d'4\rest @end lilypond @seealso @internalsref{RestEvent}, @internalsref{Rest} @c FIXME: naming. @node Skips @subsection Skips @cindex Skip @cindex Invisible rest @cindex Space note An invisible rest (also called a `skip') can be entered like a note with note name `@code{s}' or with @code{\skip @var{duration}}: @lilypond[singleline,verbatim] a2 s4 a4 \skip 1 a4 @end lilypond The @code{s} syntax is only available in Note mode and Chord mode. In other situations, you should use the @code{\skip} command, which will work outside of those two modes: @lilypond[singleline,verbatim] \score { \context Staff < { \time 4/8 \skip 2 \time 4/4 } \notes\relative c'' { a2 a1 } > } @end lilypond The skip command is merely an empty musical placeholder. It does not produce any output, not even transparent output. @seealso @internalsref{SkipEvent} @node Durations @subsection Durations @cindex duration @cindex @code{\duration} In Note, Chord, and Lyrics mode, durations are designated by numbers and dots: durations are entered as their reciprocal values. For example, a quarter note is entered using a @code{4} (since it is a 1/4 note), while a half note is entered using a @code{2} (since it is a 1/2 note). For notes longer than a whole you must use variables. @c FIXME: what is an identifier? I do not think it's been introduced yet. @c and if it has, I obviously skipped that part. - Graham @example c'\breve c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64 r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r64 @end example @lilypond[noindent] \score { \notes \relative c'' { a\breve \autoBeamOff a1 a2 a4 a8 a16 a32 a64 a64 r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r64 } \paper { \translator { \StaffContext \remove "Clef_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \consists "Pitch_squash_engraver" } } } @end lilypond If the duration is omitted then it is set to the previously entered duration. Default for the first note is a quarter note. The duration can be followed by dots (`@code{.}') in order to obtain dotted note lengths: @cindex @code{.} @lilypond[fragment,verbatim,center] a' b' c''8 b' a'4 a'4. b'4.. c'8. @end lilypond @cindex @code{r} @cindex @code{s} You can alter the length of duration by a fraction @var{N/M} appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This will not affect the appearance of the notes or rests produced. @lilypond[fragment,verbatim] a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4 @end lilypond Durations can also be produced through GUILE extension mechanism. @lilypond[verbatim,fragment] c'\duration #(ly:make-duration 2 1) @end lilypond @refbugs Dot placement for chords is not perfect. In some cases, dots overlap: @lilypond[] <>4. @end lilypond @node Ties @subsection Ties @cindex Tie @cindex ties @cindex @code{~} A tie connects two adjacent note heads of the same pitch. The tie in effect extends the length of a note. Ties should not be confused with slurs, which indicate articulation, or phrasing slurs, which indicate musical phrasing. A tie is entered using the tilde symbol `@code{~}'. @lilypond[fragment,verbatim,center] e' ~ e' <> ~ <> @end lilypond When a tie is applied to a chord, all note heads whose pitches match are connected. When no note heads match, no ties will be created. In its meaning a tie is just a way of extending a note duration, similar to the augmentation dot: the following example are two ways of notating exactly the same concept. @c @lilypond[fragment, singleline,quote] \time 3/4 c'2. c'2 ~ c'4 @end lilypond If you need to tie notes over bars, it may be easier to use automatic note splitting (See @ref{Automatic note splitting}). @seealso @internalsref{TieEvent}, @internalsref{NewTieEvent}, @internalsref{Tie}, @ref{Automatic note splitting}. If you want less ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}. @refbugs Tieing only a subset of the note heads of a pair of chords is not supported in a simple way. It can be achieved by moving the tie-engraver into the @internalsref{Thread} context and turning on and off ties per @internalsref{Thread}. Switching staves when a tie is active, will produce a horizontal tie on the first note. Formatting of ties is a difficult subject. The results are often not optimal results. @node Tuplets @subsection Tuplets @cindex tuplets @cindex triplets @cindex @code{\times} Tuplets are made out of a music expression by multiplying all durations with a fraction. @cindex @code{\times} @example \times @var{fraction} @var{musicexpr} @end example The duration of @var{musicexpr} will be multiplied by the fraction. In the sheet music, the fraction's denominator will be printed over the notes, optionally with a bracket. The most common tuplet is the triplet in which 3 notes have the length of 2, so the notes are 2/3 of their written length: @lilypond[fragment,verbatim,center] g'4 \times 2/3 {c'4 c' c'} d'4 d'4 @end lilypond The property @code{tupletSpannerDuration} specifies how long each bracket should last. With this, you can make lots of tuplets while typing @code{\times} only once, saving lots of typing. @lilypond[fragment, relative, singleline, verbatim] \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4) \times 2/3 { c'8 c c c c c } @end lilypond The format of the number is determined by the property @code{tupletNumberFormatFunction}. The default prints only the denominator, but if it is set to the Scheme function @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed instead. @cindex @code{tupletNumberFormatFunction} @cindex tuplet formatting @seealso @seeinternals{TupletBracket}, @seeinternals{TimeScaledMusic}. @refbugs Nested tuplets are not formatted automatically. In this case, outer tuplet brackets should be moved manually. @node Easy Notation note heads @subsection Easy Notation note heads @cindex easy notation @cindex Hal Leonard The `easyplay' note head includes a note name inside the head. It is used in music aimed at beginners. @lilypond[singleline,verbatim,26pt] \score { \notes { c'2 e'4 f' | g'1 } \paper { \translator { \EasyNotation } } } @end lilypond The @code{EasyNotation} variable overrides a @internalsref{Score} context. You probably will want to print it with magnification or a large font size to make it more readable. To print with magnification, you must create a DVI file (with @file{ly2dvi}) and then enlarge it with something like @file{dvips -x 2000 file.dvi}. See @file{man dvips} for details. To print with a larger font, see @ref{Font Size}. @cindex Xdvi @cindex ghostscript If you view the result with Xdvi, then staff lines will show through the letters. Printing the PostScript file obtained with ly2dvi does produce the correct result. @node Easier music entry @section Easier music entry @cindex Music entry When entering music it is easy to introduce errors. This section deals with tricks and features of the input language that help when entering music, and find and correct mistakes. Some features of the input language ease entering music, for example the use of variables (for splitting up large pieces of music), and unfolded repeats for writing repetitive parts. They are described in other sections (see @ref{Repeats} and @ref{Assignments}), since they are not especially aimed at easing entry It is also possible to use external programs, for example GUI interfaces, or MIDI transcription programs, to enter or edit music. Refer to the website for more information. Finally, there are tools make debugging easier, by linking the input file and the output shown on screen. See @ref{Point and click} for more information. @menu * Relative octaves:: * Bar check:: * Skipping corrected music:: @end menu @node Relative octaves @subsection Relative octaves @cindex Relative @cindex relative octave specification Octaves are specified by adding @code{'} and @code{,} to pitch names. When you copy existing music, it is easy to accidentally put a pitch in the wrong octave and hard to find such an error. The relative octave mode prevents these errors @cindex @code{\relative} @example \relative @var{startpitch} @var{musicexpr} @end example The octave of notes that appear in @var{musicexpr} are calculated as follows: If no octave changing marks are used, the basic interval between this and the last note is always taken to be a fourth or less (This distance is determined without regarding alterations; a @code{fisis} following a @code{ceses} will be put above the @code{ceses}) The octave changing marks @code{'} and @code{,} can be added to raise or lower the pitch by an extra octave. Upon entering relative mode, an absolute starting pitch must be specified that will act as the predecessor of the first note of @var{musicexpr}. Entering music that changes octave frequently is easy in relative mode. @lilypond[fragment,singleline,verbatim,center] \relative c'' { b c d c b c bes a } @end lilypond And octave changing marks are used for intervals greater than a fourth. @lilypond[fragment,verbatim,center] \relative c'' { c g c f, c' a, e'' } @end lilypond If the preceding item is a chord, the first note of the chord is used to determine the first note of the next chord. However, other notes within the second chord are determined by looking at the immediately preceding note. @lilypond[fragment,verbatim,center] \relative c' { c <> <> <> } @end lilypond @cindex @code{\notes} The pitch after the @code{\relative} contains a note name. To parse the pitch as a note name, you have to be in note mode, so there must be a surrounding @code{\notes} keyword (which is not shown here). The relative conversion will not affect @code{\transpose}, @code{\chords} or @code{\relative} sections in its argument. If you want to use relative within transposed music, you must place an additional @code{\relative} inside the @code{\transpose}. @node Bar check @subsection Bar check @cindex Bar check @cindex bar check @cindex @code{barCheckSynchronize} @cindex @code{|} Whenever a bar check is encountered during interpretation, a warning message is issued if it does not fall at a measure boundary. This can help find errors in the input. Depending on the value of @code{barCheckSynchronize}, the beginning of the measure will be relocated. A bar check is entered using the bar symbol, `@code{|}'. @example \time 3/4 c2 e4 | g2. @end example @cindex skipTypesetting Failed bar checks are caused by entering incorrect durations. Incorrect durations often completely garble up the score, especially if it is polyphonic, so you should start correcting the score by scanning for failed bar checks and incorrect durations. To speed up this process, you can use @code{skipTypesetting}, described in the next section. @node Skipping corrected music @subsection Skipping corrected music The property @code{Score.skipTypesetting} can be used to switch on and off typesetting completely during the interpretation phase. When typesetting is switched off, the music is processed much more quickly. This can be used to skip over the parts of a score that have already been checked for errors. @lilypond[fragment,singleline,verbatim] \relative c'' { c8 d \property Score.skipTypesetting = ##t e f g a g c, f e d \property Score.skipTypesetting = ##f c d b bes a g c2 } @end lilypond @node Automatic note splitting @subsection Automatic note splitting Long notes can be converted automatically to tied notes. This is done by replacing the @internalsref{Note_heads_engraver} by the @internalsref{Completion_heads_engraver}. @example \paper @{ \translator @{ \ThreadContext \remove "Note_heads_engraver" \consists "Completion_heads_engraver" @} @} @end example For example, @example \time 2/4 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 @end example @lilypond[noindent] \score{ \notes\relative c'{ \time 2/4 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 } \paper { \translator { \ThreadContext \remove "Note_heads_engraver" \consists "Completion_heads_engraver" } } } @end lilypond This engraver splits all running notes at the bar line, and inserts ties. One of its uses is to debug complex scores: if the measures are not entirely filled, then the ties exactly show how much each measure is off. @refbugs Not all durations (especially those containing tuplets) can be represented exactly; the engraver will not insert tuplets. @node Staff notation @section Staff notation This section describes with music notation that occurs on staff level, such as keys, clefs and time signatures. @cindex Staff notation @menu * Staff symbol:: * Key signature:: * Clef:: * Ottava brackets:: * Time signature:: * Unmetered music:: * Bar lines:: @end menu @node Staff symbol @subsection Staff symbol @cindex adjusting staff symbol @cindex StaffSymbol, using \property @cindex staff lines, setting number of Notes, dynamic signs, etc. are grouped with a set of horizontal lines, into a staff (plural `staves'). In our system, these lines are drawn using a separate graphical object called staff symbol. This object is created whenever a @internalsref{Staff} context is created. The appearance of the staff symbol cannot be changed by using @code{\override} or @code{\set}. At the moment that @code{\property Staff} is interpreted, a @internalsref{Staff} context is made, and the @internalsref{StaffSymbol} is created before any @code{\override} is effective. Properties can be changed in a @code{\translator} definition, or by using @code{\outputproperty}. @refbugs If a staff is ended halfway a piece, the staff symbol may not end exactly on the barline. @node Key signature @subsection Key signature @cindex Key @cindex @code{\key} The key signature indicates the scale in which a piece is played. It is denoted by a set of alterations (flats or sharps) at the start of the staff. @syntax Setting or changing the key signature is done with the @code{\key} command. @example @code{\key} @var{pitch} @var{type} @end example @cindex @code{\minor} @cindex @code{\major} @cindex @code{\minor} @cindex @code{\ionian} @cindex @code{\locrian} @cindex @code{\aeolian} @cindex @code{\mixolydian} @cindex @code{\lydian} @cindex @code{\phrygian} @cindex @code{\dorian} Here, @var{type} should be @code{\major} or @code{\minor} to get @var{pitch}-major or @var{pitch}-minor, respectively. The standard mode names @code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and @code{\dorian} are also defined. This command sets the context property @internalsref{Staff}.@code{keySignature}. Non-standard key signatures can be specified by setting this property directly. @refbugs The ordering of a key restoration (alterations that change back to natural) is wrong when combined with a repeat barline. @seealso @internalsref{KeyChangeEvent}, @internalsref{KeySignature}. @cindex @code{keySignature} @node Clef @subsection Clef @cindex @code{\clef} The clef indicates which lines of the staff correspond to which pitches. @syntax The clef can be set or changed with the @code{\clef} command: @lilypond[fragment,verbatim] \key f\major c''2 \clef alto g'2 @end lilypond Supported clef-names include @c Moved standard clefs to the top /MB @table @code @item treble, violin, G, G2 G clef on 2nd line @item alto, C C clef on 3rd line @item tenor C clef on 4th line @item bass, F F clef on 4th line @item french G clef on 1st line, so-called French violin clef @item soprano C clef on 1st line @item mezzosoprano C clef on 2nd line @item baritone C clef on 5th line @item varbaritone F clef on 3rd line @item subbass F clef on 5th line @item percussion percussion clef @end table By adding @code{_8} or @code{^8} to the clef name, the clef is transposed one octave down or up, respectively. @var{clefname} must be enclosed in quotes when it contains underscores or digits. For example, @example \clef "G_8" @end example This command is equivalent to setting @code{clefGlyph}, @code{clefPosition} (which controls the Y position of the clef), @code{centralCPosition} and @code{clefOctavation}. A clef is printed when any of these properties are changed. @seealso The object for this symbol is @internalsref{Clef}. @node Ottava brackets @subsection Ottava brackets ``Ottava'' brackets introduce an extra transposition of an octave for the staff. They are created by invoking the function @code{set-octavation} @cindex ottava @cindex 15ma @cindex octavation @lilypond[verbatim,fragment] \relative c''' { a2 b #(set-octavation 1) a b #(set-octavation 0) a b } @end lilypond Internally the @code{set-octavation} sets @code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition} properties. @seealso @internalsref{OttavaBracket} @refbugs @code{set-octavation} will get confused when clef changes happen during an octavation bracket. @node Time signature @subsection Time signature @cindex Time signature @cindex meter @cindex @code{\time} Time signature indicates the metrum of a piece: a regular pattern of strong and weak beats. It is denoted by a fraction at the start of the staff. @syntax The time signature is set or changed by the @code{\time} command. @lilypond[fragment,verbatim] \time 2/4 c'2 \time 3/4 c'2. @end lilypond The actual symbol that is printed can be customized with the @code{style} property. Setting it to @code{#'()} uses fraction style for 4/4 and 2/2 time. There are many more options for its layout. See @inputfileref{input/test,time.ly} for more examples. This command sets the property @code{timeSignatureFraction}, @code{beatLength} and @code{measureLength} in the @code{Timing} context, which is normally aliased to @internalsref{Score}. The property @code{timeSignatureFraction} determines where bar lines should be inserted, and how automatic beams should be generated. Changing the value of @code{timeSignatureFraction} also causes the symbol to be printed. More options are available through the Scheme function @code{set-time-signature}. In combination with the @internalsref{Measure_grouping_engraver}, it will create @internalsref{MeasureGrouping} signs. Such signs ease reading rhythmically complex modern music. In the following example, the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to @code{set-time-signature} as the third argument @code{(2 2 2 3)}. @lilypond[verbatim] \score { \notes \relative c'' { #(set-time-signature 9 8 '(2 2 2 3)) g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) | #(set-time-signature 5 8 '(3 2)) a4. g4 } \paper { raggedright = ##t \translator { \StaffContext \consists "Measure_grouping_engraver" }}} @end lilypond @seealso @internalsref{TimeSignature}, @internalsref{Timing_engraver}. @refbugs Automatic beaming does not use measure grouping specified with @code{set-time-signature}. @subsection Partial @cindex Partial @cindex anacrusis @cindex upbeat @cindex partial measure @cindex measure, partial @cindex shorten measures @cindex @code{\partial} Partial measures, for example in upbeats, are entered using the @code{\partial} command: @lilypond[fragment,verbatim] \partial 16*5 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1 @end lilypond The syntax for this command is @example \partial @var{duration} @end example This is internally translated into @example \property Timing.measurePosition = -@var{length of duration} @end example @cindex @code{|} The property @code{measurePosition} contains a rational number indicating how much of the measure has passed at this point. @node Unmetered music @subsection Unmetered music Bar lines and bar numbers are calculated automatically. For unmetered music (e.g. cadenzas), this is not desirable. By setting @code{Score.timing} to false, this automatic timing can be switched off. @node Bar lines @subsection Bar lines @cindex Bar lines @cindex @code{\bar} @cindex measure lines @cindex repeat bars Bar lines delimit measures, but are also used to indicate repeats. Line breaks may only happen on barlines. @syntax Bar lines are inserted automatically. Special types of barlines can be forced with the @code{\bar} command: @lilypond[relative=1,fragment,verbatim] c4 \bar "|:" c4 @end lilypond The following bar types are available @lilypond[fragment, relative, singleline, verbatim] c4 \bar "|" c \bar "" c \bar "|:" c \bar "||" c \bar ":|" c \bar ".|" c \bar ".|." c \bar "|." @end lilypond In scores with many staves, the barlines are automatically placed at top level, and they are connected between different staves of a @internalsref{StaffGroup}: @lilypond[fragment, verbatim] < \context StaffGroup < \context Staff = up { e'4 d' \bar "||" f' e' } \context Staff = down { \clef bass c4 g e g } > \context Staff = pedal { \clef bass c2 c2 } > @end lilypond The command @code{\bar @var{bartype}} is a short cut for doing @code{\property Score.whichBar = @var{bartype}} Whenever @code{whichBar} is set to a string, a bar line of that type is created. @code{whichBar} is usually set automatically: at the start of a measure it is set to @code{defaultBarType}. The contents of @code{repeatCommands} is used to override default measure bars. @code{whichBar} can also be set directly, using @code{\property} or @code{\bar }. These settings take precedence over the automatic @code{whichBar} settings. @cindex whichBar @cindex repeatCommands @cindex defaultBarType You are encouraged to use @code{\repeat} for repetitions. See @ref{Repeats}. @seealso @ref{Repeats}. The bar line objects that are created at @internalsref{Staff} level are called @internalsref{BarLine}, the bar lines that span staffs are @internalsref{SpanBar}s. @node Polyphony @section Polyphony @cindex polyphony The easiest way to enter fragments with more than one voice on a staff is to split chords using the separator @code{\\}. You can use it for small, short-lived voices or for single chords: @lilypond[verbatim,fragment] \context Voice = VA \relative c'' { c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d' > } @end lilypond The separator causes @internalsref{Voice} contexts to be instantiated, bearing the names @code{"1"}, @code{"2"}, etc. In each of these contexts, vertical direction of slurs, stems, etc. are set appropriately. This can also be done by instantiating @internalsref{Voice} contexts by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions and horizontal shift for each part. @c @lilypond[singleline, verbatim] \relative c'' \context Staff < \context Voice = VA { \voiceOne cis2 b } \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 } \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } > @end lilypond Normally, note heads with a different number of dots are not merged, but when the object property @code{merge-differently-dotted} is set in the @internalsref{NoteCollision} object, they are: @lilypond[verbatim,fragment,singleline] \relative c' \context Voice < { g8 g8 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t g8 g8 } \\ { g8.-[ f16-] g8.-[ f16-] } > @end lilypond Similarly, you can merge half note heads with eighth notes, by setting @code{merge-differently-headed}: @lilypond[fragment, relative=2,verbatim] \context Voice < { c8 c4. \property Staff.NoteCollision \override #'merge-differently-headed = ##t c8 c4. } \\ { c2 c2 } > @end lilypond LilyPond also vertically shifts rests that are opposite of a stem. @lilypond[singleline,fragment,verbatim] \context Voice < c''4 \\ r4 > @end lilypond @seealso The objects responsible for resolving collisions are @internalsref{NoteCollision} and @internalsref{RestCollision}. See also example files @inputfileref{input/regression,collision-dots.ly}, @inputfileref{input/regression,collision-head-chords.ly}, @inputfileref{input/regression,collision-heads.ly}, @inputfileref{input/regression,collision-mesh.ly}, and @inputfileref{input/regression,collisions.ly}. @refbugs Resolving collisions is a intricate subject, and only a few situations are handled. When LilyPond cannot cope, the @code{force-hshift} property of the @internalsref{NoteColumn} object and pitched rests can be used to override typesetting decisions. @node Beaming @section Beaming Beams are used to group short notes into chunks that are aligned with the metrum. They are inserted automatically in most cases. @lilypond[fragment,verbatim, relative=2] \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8 @end lilypond When these automatic decisions are not good enough, beaming can be entered explicitly. It is also possible to define beaming patterns that differ from the defaults. @seealso @internalsref{Beam}. @cindex Automatic beams @subsection Manual beams @cindex beams, manual @cindex @code{]} @cindex @code{[} In some cases it may be necessary to override the automatic beaming algorithm. For example, the auto beamer will not beam over rests or bar lines, If you want that, specify the begin and end point manually using @code{[} and @code{]}. @lilypond[fragment,relative,verbatim] \context Staff { r4 r8-[ g' a r8-] r8 g-[ | a-] r8 } @end lilypond @cindex @code{stemLeftBeamCount} Normally, beaming patterns within a beam are determined automatically. When this mechanism fouls up, the properties @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can be used to control the beam subdivision on a stem. If either property is set, its value will be used only once, and then it is erased. @lilypond[fragment,relative,verbatim] \context Staff { f8-[ r16 f g a-] f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-] } @end lilypond @cindex @code{stemRightBeamCount} The property @code{subdivideBeams} can be set in order to subdivide all 16th or shorter beams at beat positions. This accomplishes the same effect as twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount}, but it take less typing. @lilypond[relative=1,verbatim,noindent] c16-[ c c c c c c c-] \property Voice.subdivideBeams = ##t c16-[ c c c c c c c-] c32-[ c c c c c c c c c c c c c c c-] \property Score.beatLength = #(ly:make-moment 1 8) c32-[ c c c c c c c c c c c c c c c-] @end lilypond @cindex subdivideBeams Kneed beams are inserted automatically, when a large gap is detected between the note heads. This behavior can be tuned through the object property @code{auto-knee-gap}. @cindex beams, kneed @cindex kneed beams @cindex auto-knee-gap @refbugs @cindex hara kiri Automatically kneed beams cannot be used together with Hara Kiri staves. @menu * Setting automatic beam behavior :: @end menu @ignore @no de Beam typography @sub section Beam typography One of the strong points of LilyPond is how beams are formatted. Beams are quantized, meaning that the left and right endpoints beams start exactly on staff lines. Without quantization, small wedges of white space appear between the beam and staff line, and this looks untidy. Beams are also slope-damped: melodies that go up or down should also have beams that go up or down, but the slope of the beams should be less than the slope of the notes themselves. Some beams should be horizontal. These are so-called concave beams. [TODO: some pictures.] @end ignore @node Setting automatic beam behavior @subsection Setting automatic beam behavior @cindex @code{autoBeamSettings} @cindex @code{(end * * * *)} @cindex @code{(begin * * * *)} @cindex automatic beams, tuning @cindex tuning automatic beaming [TODO: use \applycontext] In normal time signatures, automatic beams can start on any note but can only end in a few positions within the measure: beams can end on a beat, or at durations specified by the properties in @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings} are defined in @file{scm/auto-beam.scm}. The value of @code{autoBeamSettings} is changed using @code{\override} and unset using @code{\revert}: @example \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur} \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) @end example Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines whether the rule applies to begin or end-points. The quantity @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{* *}' designates notes of any length), @var{N}/@var{M} refers to a time signature (wildcards, `@code{* *}' may be entered to designate all time signatures). For example, if automatic beams should end on every quarter note, use the following: @example \property Voice.autoBeamSettings \override #'(end * * * *) = #(ly:make-moment 1 4) @end example Since the duration of a quarter note is 1/4 of a whole note, it is entered as @code{(ly:make-moment 1 4)}. The same syntax can be used to specify beam starting points. In this example, automatic beams can only end on a dotted quarter note. @example \property Voice.autoBeamSettings \override #'(end * * * *) = #(ly:make-moment 3 8) @end example In 4/4 time signature, this means that automatic beams could end only on 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times 3/8 has passed within the measure). Rules can also be restricted to specific time signatures. A rule that should only be applied in @var{N}/@var{M} time signature is formed by replacing the second asterisks by @var{N} and @var{M}. For example, a rule for 6/8 time exclusively looks like @example \property Voice.autoBeamSettings \override #'(begin * * 6 8) = ... @end example If a rule should be to applied only to certain types of beams, use the first pair of asterisks. Beams are classified according to the shortest note they contain. For a beam ending rule that only applies to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 * *)}. If a score ends while an automatic beam has not been ended and is still accepting notes, this last beam will not be typeset at all. @cindex automatic beam generation @cindex autobeam @cindex @code{Voice.autoBeaming} @cindex lyrics For melodies that have lyrics, you may want to switch off automatic beaming. This is done by setting @code{Voice.autoBeaming} to @code{#f}. @refbugs It is not possible to specify beaming parameters for beams with mixed durations, that differ from the beaming parameters of all separate durations, i.e., you will have to specify manual beams to get: @lilypond[singleline,fragment,relative,noverbatim,quote] \property Voice.autoBeamSettings \override #'(end * * * *) = #(ly:make-moment 3 8) \time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8 c c4 @end lilypond It is not possible to specify beaming parameters that act differently in different parts of a measure. This means that it is not possible to use automatic beaming in irregular meters such as @code{5/8}. @node Accidentals @section Accidentals @cindex Accidentals This section describes how to change the way that LilyPond automatically inserts accidentals before the running notes. @menu * Using the predefined accidental variables:: * Customized accidental rules:: @end menu @node Using the predefined accidental variables @subsection Using the predefined accidental variables The constructs for describing the accidental typesetting rules are quite hairy, so non-experts should stick to the variables defined in @file{ly/property-init.ly}. @cindex @file{property-init.ly} The variables set properties in the ``Current'' context (see @ref{Context properties}). This means that the variables should normally be added right after the creation of the context in which the accidental typesetting described by the variable is to take effect. For example, if you want to use piano-accidentals in a piano staff then issue @code{\pianoAccidentals} first thing after the creation of the piano staff: @example \score @{ \notes \relative c'' < \context Staff = sa @{ cis4 d e2 @} \context GrandStaff < \pianoAccidentals \context Staff = sb @{ cis4 d e2 @} \context Staff = sc @{ es2 c @} > \context Staff = sd @{ es2 c @} > @} @end example @lilypond[singleline] \score { \notes \relative c'' < \context Staff = sa { cis4 d e2 } \context GrandStaff < \pianoAccidentals \context Staff = sb { cis4 d e2 } \context Staff = sc { es2 c } > \context Staff = sd { es2 c } > \paper { \translator { \StaffContext minimumVerticalExtent = #'(-4.0 . 4.0) } } } @end lilypond The variables are: @table @code @item \defaultAccidentals @cindex @code{\defaultAccidentals} This is the default typesetting behaviour. It should correspond to 18th century common practice: Accidentals are remembered to the end of the measure in which they occur and only on their own octave. @item \voiceAccidentals @cindex @code{\voiceAccidentals} @c The normal behaviour is to remember the accidentals on Staff-level. This variable, however, typesets accidentals individually for each voice. Apart from that the rule is similar to @code{\defaultAccidentals}. This leads to some weird and often unwanted results because accidentals from one voice do not get cancelled in other voices: @lilypond[singleline,relative,fragment,verbatim,quote] \context Staff < \voiceAccidentals < { es g } \\ { c, e } > > @end lilypond Hence you should only use @code{\voiceAccidentals} if the voices are to be read solely by individual musicians. If the staff is to be used by one musician (e.g., a conductor) then you use @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries} instead. @item \modernAccidentals @cindex @code{\modernAccidentals} This rule corresponds to the common practice in the 20th century. The rule is more complex than @code{\defaultAccidentals}. You get all the same accidentals, but temporary accidentals also get cancelled in other octaves. Further more, in the same octave, they also get cancelled in the following measure: @lilypond[singleline,fragment,verbatim] \modernAccidentals cis' c'' cis'2 | c'' c' @end lilypond @item \modernCautionaries @cindex @code{\modernCautionaries} This rule is similar to @code{\modernAccidentals}, but the ``extra'' accidentals (the ones not typeset by @code{\defaultAccidentals}) are typeset as cautionary accidentals (i.e. in reduced size): @lilypond[singleline,fragment,verbatim] \modernCautionaries cis' c'' cis'2 | c'' c' @end lilypond @cindex @code{\modernVoiceAccidentals} @item \modernVoiceAccidentals is used for multivoice accidentals to be read both by musicians playing one voice and musicians playing all voices. Accidentals are typeset for each voice, but they @emph{are} cancelled across voices in the same @internalsref{Staff}. @cindex @code{\modernVoiceCautionaries} @item \modernVoiceCautionaries is the same as @code{\modernVoiceAccidentals}, but with the extra accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset as cautionaries. Even though all accidentals typeset by @code{\defaultAccidentals} @emph{are} typeset by this variable then some of them are typeset as cautionaries. @item \pianoAccidentals @cindex @code{\pianoAccidentals} 20th century practice for piano notation. Very similar to @code{\modernAccidentals} but accidentals also get cancelled across the staves in the same @internalsref{GrandStaff} or @internalsref{PianoStaff}. @item \pianoCautionaries @cindex @code{\pianoCautionaries} As @code{\pianoAccidentals} but with the extra accidentals typeset as cautionaries. @item \noResetKey @cindex @code{\noResetKey} Same as @code{\defaultAccidentals} but with accidentals lasting ``forever'' and not only until the next measure: @lilypond[singleline,fragment,verbatim,relative] \noResetKey c1 cis cis c @end lilypond @item \forgetAccidentals @cindex @code{\forgetAccidentals} This is sort of the opposite of @code{\noResetKey}: Accidentals are not remembered at all - and hence all accidentals are typeset relative to the key signature, regardless of what was before in the music: @lilypond[singleline,fragment,verbatim,relative] \forgetAccidentals \key d\major c4 c cis cis d d dis dis @end lilypond @end table @node Customized accidental rules @subsection Customized accidental rules This section must be considered gurus-only, and hence it must be sufficient with a short description of the system and a reference to the internal documentation. The algorithm tries several different rules, and uses the rule that gives the highest number of accidentals. Each rule consists of @table @var @item context: In which context is the rule applied. For example, if @var{context} is @internalsref{Score} then all staves share accidentals, and if @var{context} is @internalsref{Staff} then all voices in the same staff share accidentals, but staves do not. @item octavation: Whether the accidental changes all octaves or only the current octave. @item lazyness: Over how many barlines the accidental lasts. If @var{lazyness} is @code{-1} then the accidental is forget immediately, and if @var{lazyness} is @code{#t} then the accidental lasts forever. [TODO: should use +infinity for this case?] @end table @seealso @internalsref{Accidental_engraver}, @internalsref{Accidental}, @internalsref{AccidentalPlacement}. @refbugs Currently the simultaneous notes are considered to be entered in sequential mode. This means that in a chord the accidentals are typeset as if the notes in the chord happened one at a time - in the order in which they appear in the input file. This is only a problem when there are simultaneous notes whose accidentals depend on each other. The problem only occurs when using non-default accidentals. In the default scheme, accidentals only depend on other accidentals with the same pitch on the same staff, so no conflicts possible. This example shows two examples of the same music giving different accidentals depending on the order in which the notes occur in the input file: @lilypond[singleline,fragment,verbatim] \property Staff.autoAccidentals = #'( Staff (any-octave . 0) ) cis'4 <> r2 | cis'4 <> r2 | <> r | <> r | @end lilypond This problem can be solved by manually inserting @code{!} and @code{?} for the problematic notes. @node Expressive marks @section Expressive marks @menu * Slurs :: * Phrasing slurs:: * Breath marks:: * Metronome marks:: * Text spanners:: * Analysis brackets:: @end menu @node Slurs @subsection Slurs @cindex Slurs A slur indicates that notes are to be played bound or @emph{legato}. @syntax They are entered using parentheses: @lilypond[fragment,verbatim,center] f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-) <>2-( <>2-) @end lilypond @c TODO: should explain that ^( and _( set directions @c should set attachments with ^ and _ ? Slurs avoid crossing stems, and are generally attached to note heads. However, in some situations with beams, slurs may be attached to stem ends. If you want to override this layout you can do this through the object property @code{attachment} of @internalsref{Slur} in @internalsref{Voice} context. Its value is a pair of symbols, specifying the attachment type of the left and right end points. @lilypond[fragment,relative,verbatim] \slurUp \property Voice.Stem \set #'length = #5.5 g'8-(g g4-) \property Voice.Slur \set #'attachment = #'(stem . stem) g8-( g g4-) @end lilypond If a slur would strike through a stem or beam, the slur will be moved away upward or downward. If this happens, attaching the slur to the stems might look better: @lilypond[fragment,relative,verbatim] \stemUp \slurUp d32-( d'4 d8..-) \property Voice.Slur \set #'attachment = #'(stem . stem) d,32-( d'4 d8..-) @end lilypond @seealso @seeinternals{Slur}, @internalsref{SlurEvent}. @refbugs Producing nice slurs is a difficult problem, and LilyPond currently uses a simple, empiric method to produce slurs. In some cases, the results of this method are ugly. @cindex Adjusting slurs @node Phrasing slurs @subsection Phrasing slurs @cindex phrasing slurs @cindex phrasing marks A phrasing slur (or phrasing mark) connects chords and is used to indicate a musical sentence. It is started using @code{\(} and @code{\)} respectively. @lilypond[fragment,verbatim,center,relative] \time 6/4 c'-\( d-( e-) f-( e-) d-\) @end lilypond Typographically, the phrasing slur behaves almost exactly like a normal slur. However, they are treated as different objects. A @code{\slurUp} will have no effect on a phrasing slur; instead, you should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and @code{\phrasingSlurBoth}. The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth} will only affect normal slurs and not phrasing slurs. @seealso See also @internalsref{PhrasingSlur}, @internalsref{PhrasingSlurEvent}. @refbugs Phrasing slurs have the same limitations in their formatting as normal slurs. @node Breath marks @subsection Breath marks Breath marks are entered using @code{\breathe}. @lilypond[fragment,relative] c'4 \breathe d4 @end lilypond The glyph of the breath mark can be tweaked by overriding the @code{text} property of the @code{BreathingSign} grob with the name of any glyph of @ref{The Feta font}. For example, @lilypond[fragment,verbatim,relative] c'4 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma" \breathe d4 @end lilypond @seealso @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, @inputfileref{input/regression,breathing-sign.ly}. @node Metronome marks @subsection Metronome marks @cindex Tempo @cindex beats per minute @cindex metronome marking Metronome settings can be entered as follows: @example \tempo @var{duration} = @var{perminute} @end example In the MIDI output, they are interpreted as a tempo change, and in the paper output, a metronome marking is printed @cindex @code{\tempo} @lilypond[fragment,verbatim] \tempo 8.=120 c''1 @end lilypond @seealso @internalsref{TempoEvent} @node Text spanners @subsection Text spanners @cindex Text spanners Some performance indications, e.g. @i{rallentando} or @i{accelerando}, are written as texts, and extended over many measures with dotted lines. You can create such texts using text spanners: attach @code{\startTextSpan} and @code{\stopTextSpan} to the start and ending note of the spanner. The string to be printed, as well as the style, is set through object properties. @lilypond[fragment,relative,verbatim] \relative c' { c1 \property Voice.TextSpanner \set #'direction = #-1 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "") c2-\startTextSpan b c-\stopTextSpan a } @end lilypond @seealso @internalsref{TextSpanEvent}, @internalsref{TextSpanner}, @inputfileref{input/regression,text-spanner.ly}. @node Analysis brackets @subsection Analysis brackets @cindex brackets @cindex phrasing brackets @cindex musicological analysis @cindex note grouping bracket Brackets are used in musical analysis to indicate structure in musical pieces. LilyPond supports a simple form of nested horizontal brackets. To use this, add the @internalsref{Horizontal_bracket_engraver} to @internalsref{Staff} context. A bracket is started with @code{\startGroup} and closed with @code{\stopGroup}. @lilypond[singleline,verbatim] \score { \notes \relative c'' { c4-\startGroup-\startGroup c4-\stopGroup c4-\startGroup c4-\stopGroup-\stopGroup } \paper { \translator { \StaffContext \consists "Horizontal_bracket_engraver" }}} @end lilypond @seealso @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, @inputfileref{input/regression,note-group-bracket.ly}. @refbugs Bracket endings should be angled/slanted. (TODO) @node Articulations @section Articulations @cindex Articulations @cindex articulations @cindex scripts @cindex ornaments A variety of symbols can appear above and below notes to indicate different characteristics of the performance. They are added to a note by adding a dash and the character signifying the articulation. They are demonstrated here. @lilypondfile[notexidoc]{script-abbreviations.ly} The script is automatically placed, but if you need to force directions, you can use @code{_} to force them down, or @code{^} to put them up: @lilypond[fragment, verbatim] c''4^^ c''4_^ @end lilypond Other symbols can be added using the syntax @var{note}@code{-\}@var{name}. Again, they can be forced up or down using @code{^} and @code{_}. @cindex accent @cindex marcato @cindex staccatissimo @cindex fermata @cindex stopped @cindex staccato @cindex portato @cindex tenuto @cindex upbow @cindex downbow @cindex foot marks @cindex organ pedal marks @cindex turn @cindex open @cindex flageolet @cindex reverseturn @cindex trill @cindex prall @cindex mordent @cindex prallprall @cindex prallmordent @cindex prall, up @cindex prall, down @cindex mordent @cindex thumb marking @cindex segno @cindex coda @cindex varcoda @lilypondfile[notexidoc]{script-chart.ly} @seealso @internalsref{ScriptEvent}, @internalsref{Script}. @refbugs All of these note ornaments appear in the printed output but have no effect on the MIDI rendering of the music. @node Fingering instructions @section Fingering instructions @cindex fingering Fingering instructions can be entered using @example @var{note}-@var{digit} @end example For finger changes, use markup texts: @c @lilypond[verbatim, singleline, fragment] c'4-1 c'4-2 c'4-3 c'4-4 c'^\markup { \fontsize #-3 \number "2-3" } @end lilypond @cindex finger change @cindex scripts @cindex superscript @cindex subscript @lilypond[verbatim,singleline,fragment,relative=1] << c-1 e-2 g-3 b-5 >> 4 \property Voice.fingerHorizontalDirection = #LEFT << c-1 es-3 g-5 >> 4 \property Voice.fingerHorizontalDirection = #RIGHT << c-1 e-2 g-3 b-5 >>4 \property Voice.fingerHorizontalDirection = #LEFT << c_1 e-2 g-3 b^5 >>4 @end lilypond @seealso @internalsref{FingerEvent} and @internalsref{Fingering}. @menu * Text scripts:: * Grace notes:: * Glissando :: * Dynamics:: @end menu @node Text scripts @subsection Text scripts @cindex Text scripts It is possible to place arbitrary strings of text or markup text (see @ref{Text markup}) above or below notes by using a string: @code{c^"text"}. By default, these indications do not influence the note spacing, but by using the command @code{\fatText}, the widths will be taken into account. @c @lilypond[fragment,singleline,verbatim] \relative c' { c4^"longtext" \fatText c4_"longlongtext" c4 } @end lilypond It is possible to use @TeX{} commands in the strings, but this should be avoided because it makes it impossible for LilyPond to compute the exact length of the string, which may lead to collisions. Also, @TeX{} commands will not work with direct PostScript output. @seealso @internalsref{TextScriptEvent}, @internalsref{TextScript}, @ref{Text markup}. @node Grace notes @subsection Grace notes @cindex @code{\grace} @cindex ornaments @cindex grace notes Grace notes are ornaments that are written out @lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace { [c16 d16] } c4 @end lilypond In normal notation, grace notes take up no logical time in a measure. Such an idea is practical for normal notation, but is not strict enough to put it into a program. The model that LilyPond uses for grace notes internally is that all timing is done in two steps: Every point in musical time consists of two rational numbers: one denotes the logical time, one denotes the grace timing. The above example is shown here with timing tuples. @lilypond[] \score { \notes \relative c''{ c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace { c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)" } \paper { linewidth = 8.\cm } } @end lilypond The placement of these grace notes is synchronized between different staves. @lilypond[relative=2,verbatim,fragment] < \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 } \context Staff = SB { c'4 \grace { g8 b } c4 } > @end lilypond Unbeamed eighth notes and shorter by default have a slash through the stem. This can be controlled with object property @code{stroke-style} of @internalsref{Stem}. For proper matching of override and reverts of such properties, it is necessary to use a Scheme function. The following fragment overrides the default formatting Grace style stems. @example #(add-to-grace-init "Voice" 'Stem 'stroke-style '()) @end example The @code{\override} is carefully matched with a @code{\revert}. @cindex slash @cindex grace slash @lilypond[fragment,verbatim] \relative c'' \context Voice { \grace c8 c4 \grace { c16-[ c16-] } c4 \grace { \property Voice.Stem \override #'stroke-style = #'() c16 \property Voice.Stem \revert #'stroke-style } c4 } @end lilypond If you want to end a note with a grace note, then the standard trick is to put the grace notes before a phantom ``space note'', e.g. @lilypond[fragment,verbatim, relative=2] \context Voice { < { d1^\trill ( } { s2 \grace { c16-[ d-] } } > )c4 } @end lilypond A @code{\grace} section has some default values, and LilyPond will use those default values unless you specify otherwise inside the @code{\grace} section. For example, if you specify \slurUp @emph{before} your @code{\grace} section, a slur which starts inside the @code{\grace} will not be forced up, even if the slur ends outside of the @code{\grace}. Note the difference between the first and second bars in this example: @lilypond[fragment,verbatim] \relative c'' \context Voice { \slurUp \grace { a4-( } ) a4 a4-( a2-) \slurBoth \grace { \slurUp a4-( } ) a4 a4-( a2-) \slurBoth } @end lilypond @seealso @internalsref{GraceMusic}. @refbugs Grace notes cannot be used in the smallest size (@file{paper11.ly}). Grace note synchronization can also lead to surprises. Staff notation, such as key signatures, barlines, etc. are also synchronized. Take care when you mix staves with grace notes and staves without. @lilypond[relative=2,verbatim,fragment] < \context Staff = SA { e4 \bar "|:" \grace c16 d4 } \context Staff = SB { c4 \bar "|:" d4 } > @end lilypond Grace sections should only be used within sequential music expressions. Nesting, juxtaposing, or ending sequential music with a grace section is not supported, and might produce crashes or other errors. Overriding settings for grace music using @code{add-to-grace-init} cannot be done in a modular way. @node Glissando @subsection Glissando @cindex Glissando @cindex @code{\glissando} A glissando is a smooth change in pitch. It is denoted by a line or a wavy line between two notes. @syntax A glissando line can be requested by attaching a @code{\glissando} to a note: @lilypond[fragment,relative,verbatim] c'-\glissando c' @end lilypond @seealso @internalsref{Glissando}, @internalsref{GlissandoEvent}. @refbugs Printing of an additional text (such as @emph{gliss.}) must be done manually. @node Dynamics @subsection Dynamics @cindex Dynamics @cindex @code{\ppp} @cindex @code{\pp} @cindex @code{\p} @cindex @code{\mp} @cindex @code{\mf} @cindex @code{\f} @cindex @code{\ff} @cindex @code{\fff} @cindex @code{\ffff} @cindex @code{\fp} @cindex @code{\sf} @cindex @code{\sff} @cindex @code{\sp} @cindex @code{\spp} @cindex @code{\sfz} @cindex @code{\rfz} Absolute dynamic marks are specified using an variable after a note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}. @lilypond[verbatim,singleline,fragment,relative] c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff c2-\sf c-\rfz @end lilypond @cindex @code{\cr} @cindex @code{\rc} @cindex @code{\decr} @cindex @code{\rced} @cindex @code{\<} @cindex @code{\>} @cindex @code{\"!} A crescendo mark is started with @code{\cr} and terminated with @code{\endcr}, and decrescendi similarly with @code{\decr} and @code{\enddecr}. There are also shorthands for these marks. A crescendo can be started with @code{\<} and a decrescendo can be started with @code{\>}. Either one can be terminated with @code{\!}. Because these marks are bound to notes, if you must use spacer notes if multiple marks during one note are needed. @lilypond[fragment,verbatim,center,quote] c''-\< c''-\! d''-\decr e''-\rced < f''1 { s4 s4-\< s4-\! \> s4-\! } > @end lilypond This may give rise to very short hairpins. Use @code{minimum-length} in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for example: @example \property Staff.Hairpin \override #'minimum-length = #5 @end example You can also use a text saying @emph{cresc.} instead of hairpins. Here is an example how to do it: @lilypond[fragment,relative=2,verbatim] c4 \cresc c4 \endcresc c4 @end lilypond @cindex crescendo @cindex decrescendo You can also supply your own texts: @lilypond[fragment,relative,verbatim] \context Voice { \property Voice.crescendoText = "cresc. poco" \property Voice.crescendoSpanner = #'dashed-line a'2-\mf-\< a a a-\! } @end lilypond @cindex diminuendo @seealso @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, @internalsref{AbsoluteDynamicEvent}. Dynamics are objects of @internalsref{DynamicText} and @internalsref{Hairpin}. Vertical positioning of these symbols is handled by the @internalsref{DynamicLineSpanner} object. If you want to adjust padding or vertical direction of the dynamics, you must set properties for the @internalsref{DynamicLineSpanner} object. Predefined variables to set the vertical direction are @code{\dynamicUp} and @code{\dynamicDown}. @cindex direction, of dynamics @cindex @code{\dynamicDown} @cindex @code{\dynamicUp} @node Repeats @section Repeats @cindex repeats @cindex @code{\repeat} Repetition is a central concept in music, and multiple notations exist for repetitions. In LilyPond, most of these notations can be captured in a uniform syntax. One of the advantages is, all these repetitions can be rendered in MIDI accurately. The following types of repetition are supported: @table @code @item unfold Repeated music is fully written (played) out. Useful for MIDI output, and entering repetitive music. @item volta This is the normal notation: Repeats are not written out, but alternative endings (voltas) are printed, left to right. @ignore @item fold Alternative endings are written stacked. This has limited use but may be used to typeset two lines of lyrics in songs with repeats, see @inputfileref{input,star-spangled-banner.ly}. @end ignore @item tremolo Make tremolo beams. @item percent Make beat or measure repeats. These look like percent signs. @end table @menu * Repeat syntax:: * Repeats and MIDI:: * Manual repeat commands:: * Tremolo repeats:: * Tremolo subdivisions:: * Measure repeats:: @end menu @node Repeat syntax @subsection Repeat syntax @syntax LilyPond has one syntactic construct for specifying different types of repeats. The syntax is @example \repeat @var{variant} @var{repeatcount} @var{repeatbody} @end example If you have alternative endings, you may add @cindex @code{\alternative} @example \alternative @code{@{} @var{alternative1} @var{alternative2} @var{alternative3} @dots{} @code{@}} @end example where each @var{alternative} is a music expression. If you do not give enough alternatives for all of the repeats, then the first alternative is assumed to be played more than once. Normal notation repeats are used like this: @lilypond[fragment,verbatim] c'1 \repeat volta 2 { c'4 d' e' f' } \repeat volta 2 { f' e' d' c' } @end lilypond With alternative endings: @lilypond[fragment,verbatim] c'1 \repeat volta 2 {c'4 d' e' f'} \alternative { {d'2 d'} {f' f} } @end lilypond @lilypond[fragment,verbatim] \context Staff { \relative c' { \partial 4 \repeat volta 4 { e | c2 d2 | e2 f2 | } \alternative { { g4 g g } { a | a a a a | b2. } } } } @end lilypond @refbugs If you do a nested repeat like @example \repeat @dots{} \repeat @dots{} \alternative @end example @noindent then it is ambiguous to which @code{\repeat} the @code{\alternative} belongs. This ambiguity is resolved by always having the @code{\alternative} belong to the inner @code{\repeat}. For clarity, it is advisable to use braces in such situations. @cindex ambiguity @node Repeats and MIDI @subsection Repeats and MIDI @cindex expanding repeats For instructions on how to unfold repeats for MIDI output, see the example file @inputfileref{input/test,unfold-all-repeats.ly}. @refbugs Timing information is not remembered at the start of an alternative, so you have to reset timing information after a repeat, e.g. using a bar-check (See @ref{Bar check}), setting @code{Score.measurePosition} or entering @code{\partial}. Similarly, slurs or ties are also not repeated. @node Manual repeat commands @subsection Manual repeat commands @cindex @code{repeatCommands} The property @code{repeatCommands} can be used to control the layout of repeats. Its value is a Scheme list of repeat commands, where each repeat command can be @table @code @item 'start-repeat Print a |: bar line @item 'end-repeat Print a :| bar line @item (volta . @var{text}) Print a volta bracket saying @var{text}. The text can be specified as a text string or as a markup text, see @ref{Text markup}. Do not forget to change the font, as the default number font does not contain alphabetic characters. @item (volta . #f) Stop a running volta bracket @end table @lilypond[verbatim, fragment] c''4 \property Score.repeatCommands = #'((volta "93") end-repeat) c''4 c''4 \property Score.repeatCommands = #'((volta #f)) c''4 c''4 @end lilypond @seealso @internalsref{VoltaBracket}, @internalsref{RepeatedMusic}, @internalsref{VoltaRepeatedMusic}, @internalsref{UnfoldedRepeatedMusic} @internalsref{FoldedRepeatedMusic}. @node Tremolo repeats @subsection Tremolo repeats @cindex tremolo beams To place tremolo marks between notes, use @code{\repeat} with tremolo style. @lilypond[verbatim,center,singleline] \score { \context Voice \notes\relative c' { \repeat "tremolo" 8 { c16 d16 } \repeat "tremolo" 4 { c16 d16 } \repeat "tremolo" 2 { c16 d16 } \repeat "tremolo" 4 c16 } } @end lilypond @seealso Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are @internalsref{StemTremolo}. @internalsref{TremoloEvent}. @refbugs The single stem tremolo @emph{must} be entered without @code{@{} and @code{@}}. @node Tremolo subdivisions @subsection Tremolo subdivisions @cindex tremolo marks @cindex @code{tremoloFlags} Tremolo marks can be printed on a single note by adding `@code{:}[@var{length}]' after the note. The length must be at least 8. A @var{length} value of 8 gives one line across the note stem. If the length is omitted, then then the last value (stored in @code{Voice.tremoloFlags}) is used. @lilypond[verbatim,fragment,center] c'2:8 c':32 | c': c': | @end lilypond @c [TODO : stok is te kort bij 32en] @refbugs Tremolos in this style do not carry over into the MIDI output. @node Measure repeats @subsection Measure repeats @cindex percent repeats @cindex measure repeats In the @code{percent} style, a note pattern can be repeated. It is printed once, and then the pattern is replaced with a special sign. Patterns of a one and two measures are replaced by percent-like signs, patterns that divide the measure length are replaced by slashes. @lilypond[verbatim,singleline] \context Voice { \repeat "percent" 4 { c'4 } \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 } } @end lilypond @seealso @internalsref{RepeatSlash}, @internalsref{PercentRepeat}, @internalsref{PercentRepeatedMusic}, and @internalsref{DoublePercentRepeat}. @refbugs Single measure and double measure percent-repeats cannot be nested. @node Rhythmic music @section Rhythmic music Sometimes you might want to show only the rhythm of a melody. This can be done with the rhythmic staff. All pitches of notes on such a staff are squashed, and the staff itself has a single line: @lilypond[fragment,relative,verbatim] \context RhythmicStaff { \time 4/4 c4 e8 f g2 | r4 g r2 | g1:32 | r1 | } @end lilypond @menu * Percussion staves:: * Percussion midi output:: @end menu @node Percussion staves @subsection Percussion staves @cindex percussion @cindex drums To typeset more than one piece of percussion to be played by the same musician one typically uses a multiline staff where each staff position refers to a specific piece of percussion. @syntax Percussion staves are typeset with help of a set of Scheme functions. The system is based on the general MIDI drum-pitches. Include @file{ly/drumpitch-init.ly} to use drum pitches. This file defines the pitches from the Scheme variable @code{drum-pitch-names}, the definition of which can be read in @file{scm/drums.scm}. Each piece of percussion has a full name and an abbreviated name, and both the full name or the abbreviation may be used in input files. To typeset the music on a staff apply the function @code{drums->paper} to the percussion music. This function takes a list of percussion instrument names, notehead scripts and staff positions (that is: pitches relative to the C-clef) and transforms the input music by moving the pitch, changing the notehead and (optionally) adding a script: @c @lilypond[singleline,verbatim,quote] \include "drumpitch-init.ly" up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat } down = \notes { bassdrum4 snare8 bd r bd sn4 } \score { \apply #(drums->paper 'drums) \context Staff < \clef percussion \context Voice = up { \voiceOne \up } \context Voice = down { \voiceTwo \down } > } @end lilypond In the above example the music was transformed using the list @code{'drums}. Currently the following lists are defined in @file{scm/drums.scm}: @table @code @item 'drums To typeset a typical drum kit on a five-line staff. @lilypond[noindent] \include "drumpitch-init.ly" nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc bd sn ss tomh tommh tomml toml tomfh tomfl } mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 } \score { < \apply #(drums->paper 'drums) \context Staff < \clef percussion \mus > \context Lyrics \nam > \paper { linewidth = 100.0\mm \translator { \StaffContext \remove Bar_engraver \remove Time_signature_engraver minimumVerticalExtent = #'(-4.0 . 5.0) } \translator { \VoiceContext \remove Stem_engraver } } } @end lilypond The drum scheme supports six different toms. When there fewer toms, simply select the toms that produce the desired result, i.e., to get toms on the three middle lines you use @code{tommh}, @code{tomml} and @code{tomfh}. Because general MIDI does not contain rimshots the sidestick is used for this purpose instead. @item 'timbales To typeset timbales on a two line staff. @lilypond[singleline] \include "drumpitch-init.ly" nam = \lyrics { timh ssh timl ssl cb } mus = \notes { timh ssh timl ssl cb s16 } \score { < \apply #(drums->paper 'timbales) \context Staff < \clef percussion \mus > \context Lyrics \nam > \paper { \translator { \StaffContext \remove Bar_engraver \remove Time_signature_engraver StaffSymbol \override #'line-count = #2 StaffSymbol \override #'staff-space = #2 minimumVerticalExtent = #'(-3.0 . 4.0) } \translator { \VoiceContext \remove Stem_engraver } } } @end lilypond @item 'congas To typeset congas on a two line staff. @lilypond[singleline] \include "drumpitch-init.ly" nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl } mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 } \score { < \apply #(drums->paper 'congas) \context Staff < \clef percussion \mus > \context Lyrics \nam > \paper { \translator { \StaffContext \remove Bar_engraver \remove Time_signature_engraver StaffSymbol \override #'line-count = #2 StaffSymbol \override #'staff-space = #2 minimumVerticalExtent = #'(-3.0 . 4.0) } \translator { \VoiceContext \remove Stem_engraver } } } @end lilypond @item 'bongos To typeset bongos on a two line staff. @lilypond[singleline] \include "drumpitch-init.ly" nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl } mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 } \score { < \apply #(drums->paper 'bongos) \context Staff < \clef percussion \mus > \context Lyrics \nam > \paper { \translator { \StaffContext \remove Bar_engraver \remove Time_signature_engraver StaffSymbol \override #'line-count = #2 StaffSymbol \override #'staff-space = #2 minimumVerticalExtent = #'(-3.0 . 4.0) } \translator { \VoiceContext \remove Stem_engraver } } } @end lilypond @item 'percussion To typeset all kinds of simple percussion on one line staves. @lilypond[singleline] \include "drumpitch-init.ly" nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc } mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 } \score { < \apply #(drums->paper 'percussion) \context Staff < \clef percussion \mus > \context Lyrics \nam > \paper { \translator { \StaffContext \remove Bar_engraver \remove Time_signature_engraver StaffSymbol \override #'line-count = #1 minimumVerticalExtent = #'(-2.0 . 3.0) } \translator { \VoiceContext \remove Stem_engraver } } } @end lilypond @end table If you do not like any of the predefined lists you can define your own list at the top of your file: @lilypond[singleline, verbatim] #(define mydrums `( (bassdrum default #f ,(ly:make-pitch -1 2 0)) (snare default #f ,(ly:make-pitch 0 1 0)) (hihat cross #f ,(ly:make-pitch 0 5 0)) (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0)) (lowtom diamond #f ,(ly:make-pitch -1 6 0)) )) \include "drumpitch-init.ly" up = \notes { hh8 hh hh hh hhp4 hhp } down = \notes { bd4 sn bd toml8 toml } \score { \apply #(drums->paper 'mydrums) \context Staff < \clef percussion \context Voice = up { \voiceOne \up } \context Voice = down { \voiceTwo \down } > } @end lilypond To use a modified existing list, one can prepend modifications to the the existing list: @example #(define mydrums (append `( (bassdrum default #f ,(ly:make-pitch -1 2 0)) (lowtom diamond #f ,(ly:make-pitch -1 6 0)) ) drums )) @end example The file @file{drumpitch-init.ly} replaces the normal pitch names, so you have to reinclude @file{nederlands.ly} after the drum-pattern-definitions to enter normal notes. @c @lilypond[singleline,verbatim] \include "drumpitch-init.ly" up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat } down = \notes { bassdrum4 snare8 bd r bd sn4 } \include "nederlands.ly" bass = \notes \transpose c c,, { a4. e8 r e g e } \score { < \apply #(drums->paper 'drums) \context Staff = drums < \clef percussion \context Voice = up { \voiceOne \up } \context Voice = down { \voiceTwo \down } > \context Staff = bass { \clef "F_8" \bass } > } @end lilypond @node Percussion midi output @subsection Percussion midi output In order to produce correct midi output you need to produce two score blocks---one for the paper and one for the midi output. To use the percussion channel you set the property @code{instrument} to @code{'drums}. Because the drum-pitches themself are similar to the general midi pitches all you have to do is to insert the voices with none of the scheme functions to get the correct midi output: @example \score @{ \apply #(drums->paper 'mydrums) \context Staff < \clef percussion @{ \up @} \\ @{ \down @} > \paper@{@} @} \score @{ \context Staff < \property Staff.instrument = #'drums \up \down > \midi@{@} @} @end example @refbugs This scheme is to be considered a temporary implementation. @node Piano music @section Piano music Piano staves are two normal staves coupled with a brace. The staves are largely independent, but sometimes voices can cross between the two staves. The same notation is also used for harps and other key instruments. The @internalsref{PianoStaff} is especially built to handle this cross-staffing behavior. In this section we discuss the @internalsref{PianoStaff} and some other pianistic peculiarities. @menu * Automatic staff changes:: * Manual staff switches:: * Pedals:: * Arpeggio:: * Staff switch lines:: @end menu @refbugs There is no support for putting chords across staves. You can get this result by increasing the length of the stem in the lower stave so it reaches the stem in the upper stave, or vice versa. An example is included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}. Dynamics are not centered, but kludges do exist. See @inputfileref{input/templates,piano-dynamics.ly}. @cindex cross staff stem @cindex stem, cross staff @c fixme: should have hyperlinks as well. @node Automatic staff changes @subsection Automatic staff changes @cindex Automatic staff changes Voices can switch automatically between the top and the bottom staff. The syntax for this is @example \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @} @end example The autochanger switches on basis of pitch (central C is the turning point), and it looks ahead skipping over rests to switch rests in advance. Here is a practical example: @lilypond[verbatim,singleline,quote] \score { \notes \context PianoStaff < \context Staff = "up" { \autochange Staff \context Voice = VA < \relative c' { g4 a b c d r4 a g } > } \context Staff = "down" { \clef bass s1*2 } > } @end lilypond Spacer rests are used to prevent the bottom staff from terminating too soon. @refbugs The staff switches often do not end up in optimal places. For high quality output staff switches should be specified manually. @node Manual staff switches @subsection Manual staff switches @cindex manual staff switches @cindex staff switch, manual Voices can be switched between staves manually, using the following command: @example \translator Staff = @var{staffname} @var{music} @end example The string @var{staffname} is the name of the staff. It switches the current voice from its current staff to the Staff called @var{staffname}. Typically @var{staffname} is @code{"up"} or @code{"down"}. @node Pedals @subsection Pedals @cindex Pedals Pianos have pedals that alter the way sound are produced. Generally, a piano has three pedals, sustain, una corda, and sostenuto. @syntax Piano pedal instruction can be expressed by attaching @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda}, @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a note or chord. The symbols that are printed can be modified by setting @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types: Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of @internalsref{SustainPedal} for more information. Pedals can also be indicated by a sequence of brackets, by setting the @code{pedal-type} property of @internalsref{SustainPedal} objects: @lilypond[fragment,verbatim] \property Staff.SustainPedal \override #'pedal-type = #'bracket c''4-\sustainDown d''4 e''4 a'4-\sustainUp-\sustainDown f'4 g'4 a'4-\sustainUp @end lilypond A third style of pedal notation is a mixture of text and brackets, obtained by setting @code{pedal-type} to @code{mixed}: @lilypond[fragment,verbatim] \property Staff.SustainPedal \override #'pedal-type = #'mixed c''4-\sustainDown d''4 e''4 c'4-\sustainUp-\sustainDown f'4 g'4 a'4-\sustainUp @end lilypond The default `*Ped' style for sustain and damper pedals corresponds to @code{\pedal-type = #'text}. However, @code{mixed} is the default style for a sostenuto pedal: @lilypond[fragment,verbatim] c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp @end lilypond For fine-tuning of the appearance of a pedal bracket, the properties @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of @code{PianoPedalBracket} objects (see the detailed documentation of @internalsref{PianoPedalBracket}) can be modified. For example, the bracket may be extended to the end of the note head. @lilypond[fragment,verbatim] \property Staff.PianoPedalBracket \override #'shorten-pair = #'(0 . -1.0) c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp @end lilypond @node Arpeggio @subsection Arpeggio @cindex Arpeggio @cindex broken arpeggio @cindex @code{\arpeggio} You can specify an arpeggio sign on a chord by attaching an @code{\arpeggio} to a chord. @lilypond[fragment,relative,verbatim] <>-\arpeggio @end lilypond When an arpeggio crosses staves in piano music, you attach an arpeggio to the chords in both staves, and set @internalsref{PianoStaff}.@code{connectArpeggios}. @lilypond[fragment,relative,verbatim] \context PianoStaff < \property PianoStaff.connectArpeggios = ##t \context Voice = one { <>-\arpeggio } \context Voice = other { \clef bass <>-\arpeggio } > @end lilypond This command creates @internalsref{Arpeggio} objects. Cross staff arpeggios are @internalsref{PianoStaff}.@internalsref{Arpeggio}. The direction of the arpeggio is sometimes denoted by adding an arrowhead to the wiggly line. This can be typeset by setting @code{arpeggio-direction}. @lilypond[fragment,relative,verbatim] \context Voice { \property Voice.Arpeggio \set #'arpeggio-direction = #1 <>-\arpeggio \property Voice.Arpeggio \set #'arpeggio-direction = #-1 <>-\arpeggio } @end lilypond A square bracket on the left indicates that the player should not arpeggiate the chord. To draw these brackets, set the @code{molecule-callback} property of @code{Arpeggio} or @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use @code{\arpeggio} statements within the chords as before. @lilypond[fragment,relative,verbatim] \property PianoStaff.Arpeggio \override #'molecule-callback = \arpeggioBracket <>-\arpeggio @end lilypond @refbugs It is not possible to mix connected arpeggios and unconnected arpeggios in one @internalsref{PianoStaff} at the same time. @node Staff switch lines @subsection Staff switch lines @cindex follow voice @cindex staff switching @cindex cross staff @cindex @code{followVoice} Whenever a voice switches to another staff a line connecting the notes can be printed automatically. This is enabled if the property @code{PianoStaff.followVoice} is set to true: @lilypond[fragment,relative,verbatim] \context PianoStaff < \property PianoStaff.followVoice = ##t \context Staff \context Voice { c1 \translator Staff=two b2 a } \context Staff=two { \clef bass \skip 1*2 } > @end lilypond The associated object is @internalsref{VoiceFollower}. @node Vocal music @section Vocal music For a discussion of how to put lyrics into a score, see section @code{Printing lyrics} in the tutorial. @cindex context variables @cindex setting context variables An interpretation context has variables that tune its behavior. These variables are also called @emph{properties}. The @code{autoBeaming} variable in a @code{Staff} controls whether 8th and shorter notes are beamed automatically. Setting the variable to @code{##f}, which is the boolean value @var{false}, turns it off. This will create an extender, which is a line that extends over the entire duration of the lyric. This line will run all the way to the start of the next lyric, so you may want to shorten it by using a blank lyric (using @code{_}). @cindex lyric mode @cindex @code{\lyrics} To get them printed, you must do two things: indicate that lyrics are entered with @code{\lyrics}, and indicate that this type of music must be interpreted as texts (and not notes). This is done with @code{\context Lyrics}. You can enter lyrics in a special input mode of LilyPond. This mode is called Lyrics mode, and it is introduced by the keyword @code{\lyrics}. In this mode you can enter lyrics, with punctuation and accents without any hassle. Syllables are entered like notes, but with pitches replaced by text. For example, @example Twin- kle twin- kle @end example You can use ordinary hyphens at the end of a syllable, i.e. @example soft- ware @end example but then the hyphen will be attached to the end of the first syllable. If you want them centered between syllables you can use the special `@code{-}@code{-}' lyric as a separate word between syllables. The hyphen will have variable length depending on the space between the syllables and it will be centered between the syllables. Normally the notes that you enter are transformed into note heads. Note heads alone make no sense. They need surrounding information: a key signature, a clef, staff lines, etc. They need @emph{context}. In LilyPond, these symbols are created by objects called `interpretation contexts'. Interpretation contexts exist for generating notation (`notation context') and for generating sound (`performance context'). These objects only exist while LilyPond is executing. For lyrics, the command @example \context Lyrics @end example must be used to interpret a set of syllables as lyrics. @cindex context @cindex interpretation context @cindex notation context The melody and the lyrics can be combined with the @code{\addlyrics}: @example \addlyrics \notes \relative c' @dots{} \context Lyrics \lyrics @dots{} @end example [TODO: Move lyrics section from tutorial to here?] See also the sections on @ref{Slurs} and @ref{Breath marks}. [TODO: Move slurs / breath marks section to here?] [TODO: Write subsection upon usage of ChoirStaff.] @menu * More stanzas:: * Ambitus:: @end menu @node More stanzas @subsection More stanzas @cindex phrasing If you have multiple stanzas printed underneath each other, the vertical groups of syllables should be aligned around punctuation. LilyPond can do this if you tell it which lyric lines belong to which melody. We show how you can do this by showing how you could print a frivolous fragment of a fictional Sesame Street duet. @lilypond[singleline,verbatim] \score { \addlyrics \notes \relative c'' \context Voice = duet { \time 3/4 g2 e4 a2 f4 g2. } \lyrics \context Lyrics < \context LyricsVoice = "duet-1" { \property LyricsVoice . stanza = "Bert" Hi, my name is bert. } \context LyricsVoice = "duet-2" { \property LyricsVoice . stanza = "Ernie" Ooooo, ch\'e -- ri, je t'aime. } > } @end lilypond To this end, give the Voice context an identity, and set the LyricsVoice to a name starting with that identity followed by a dash. In the following example, the Voice identity is @code{duet}, @example \context Voice = duet @{ \time 3/4 g2 e4 a2 f4 g2. @} @end example and the identities of the LyricsVoices are @code{duet-1} and @code{duet-2}. @example \context LyricsVoice = "duet-1" @{ Hi, my name is bert. @} \context LyricsVoice = "duet-2" @{ Ooooo, ch\'e -- ri, je t'aime. @} @end example The convention for naming @code{LyricsVoice} and @code{Voice} must also be used to get melismata on rests correct. We add the names of the singers. This can be done by setting @code{LyricsVoice.Stanza} (for the first system) and @code{LyricsVoice.stz} for the following systems. You must surround dots with spaces in @code{\lyrics} mode. @example \property LyricsVoice . stanza = "Bert" @dots{} \property LyricsVoice . stanza = "Ernie" @end example For entering quotes in Lyrics mode, use the following @example "\"God\"" is "`King'" @end example You can use empty syllables, e.g. @code{_4} or @code{" "4} to enter lyrics. This can confuse the LilyPond -- for example, this might put (empty) lyrics under rests. To remedy this, use @code{\skip}. @refbugs @cindex ambiguity Input for lyrics introduces a syntactical ambiguity: @example foo = bar @end example @noindent is interpreted as assigning a string identifier @code{\foo} such that it contains @code{"bar"}. However, it could also be interpreted as making or a music identifier @code{\foo} containing the syllable `bar'. The force the latter interpretation, use @example foo = \lyrics bar @end example @node Ambitus @subsection Ambitus @cindex ambitus The term @emph{ambitus} denotes a range of pitches for a given voice in a part of music. It also may denote the pitch range that a musical instrument is capable of playing. Most musical instruments have their ambitus standardized (or at least there is agreement upon the minimal ambitus of a particular type of instrument), such that a composer or arranger of a piece of music can easily meet the ambitus constraints of the targeted instrument. However, the ambitus of the human voice depends on individual physiological state, including education and training of the voice. Therefore, a singer potentially has to check for each piece of music if the ambitus of that piece meets his individual capabilities. This is why the ambitus of a piece may be of particular value to vocal performers. The ambitus is typically notated on a per-voice basis at the very beginning of a piece, e.g. nearby the initial clef or time signature of each staff. The range is graphically specified by two noteheads, that represent the minimum and maximum pitch. Some publishers use a textual notation: they put the range in words in front of the corresponding staff. Lilypond currently only supports the graphical ambitus notation. To apply, add the @internalsref{Ambitus_engraver} to the @internalsref{Voice} context, i.e. @example \paper @{ \translator @{ \VoiceContext \consists Ambitus_engraver @} @} @end example For example, @lilypond[singleline] upper = \notes \relative c { \clef "treble" \key c \minor as'' c e2 bes f cis d4 e f2 g } lower = \notes \relative c { \clef "treble" \key e \major e'4 b g a c es fis a cis b a g f e d2 } \score { \context ChoirStaff { < \context Staff = one { \upper } \context Staff = three { \lower } > } \paper { \translator { \VoiceContext \consists Ambitus_engraver } } } @end lilypond @seealso @internalsref{Ambitus}, @inputfileref{input/regression,ambitus.ly}. @node Tablatures @section Tablatures Tablature notation is used for notating music for plucked string instruments. It notates pitches not by using note heads, but by indicating on which string and fret a note must be played. LilyPond offers limited support for tablature. @menu * Tablatures basic:: * Non-guitar tablatures:: @end menu @node Tablatures basic @subsection Tablatures basic @cindex Tablatures basic The string number associated to a note is given as a backslash followed by a number, e.g. @code{c4\3} for a C quarter on the third string. By default, string 1 is the highest one, and the tuning defaults to the standard guitar tuning (with 6 strings). The notes are printed as tablature, by using @internalsref{TabStaff} and @internalsref{TabVoice} contexts. @lilypond[fragment,verbatim] \notes \context TabStaff { a,4\5 c'\2 a\3 e'\1 e\4 c'\2 a\3 e'\1 } @end lilypond If you do not specify a string number then one is selected automatically: the first string that does not give a fret number less than @code{minimumFret} is selected. The default value for @code{minimumFret} is 0. @example e8 fis gis a b cis' dis' e' \property TabStaff.minimumFret = #8 e8 fis gis a b cis' dis' e' @end example @lilypond[noindent] frag = \notes { \key e \major e8 fis gis a b cis' dis' e' \property TabStaff.minimumFret = #8 e8 fis gis a b cis' dis' e' } \score { \context StaffGroup < \context Staff { \clef "G_8" \frag } \context TabStaff { \frag } > } @end lilypond @seealso @internalsref{TabStaff}, @internalsref{TabVoice}, and @internalsref{StringNumberEvent}. @refbugs Chords are not handled in a special way, and hence the automatic string selector may easily select the same string to two notes in a chord. @node Non-guitar tablatures @subsection Non-guitar tablatures @cindex Non-guitar tablatures You can change the number of strings, by setting the number of lines in the @internalsref{TabStaff} (the @code{line-count} property of @internalsref{TabStaff} can only be changed using @code{\outputproperty}, for more information, see @ref{Tuning objects}. You can change the tuning of the strings. A string tuning is given as a Scheme list with one integer number for each string, the number being the pitch (measured in semitones relative to central C) of an open string. The numbers specified for @code{stringTuning} are the numbers of semitones to subtract or add, starting the specified pitch by default middle C, in string order: thus the notes are e, a, d, and g. @lilypond[fragment,verbatim] \context TabStaff < \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property TabStaff.stringTunings = #'(-5 -10 -15 -20) \notes { a,4 c' a e' e c' a e' } > @end lilypond It is possible to change the Scheme function to format the tablature note text. The default is @code{fret-number-tablature-format}, which uses the fret number. For instruments that do not use this notation, you can create a special tablature formatting function. This function takes three argument: the string number, the string tuning and the note pitch. @refbugs As tablature is a recent feature, most of the guitar special effects such as bend are not yet supported. @node Chord names @section Chord names @cindex Chords LilyPond has support for both entering and printing named chords. These chords are internally represented as a set of pitches. Therefore they can be entered by name and printed as notes, entered as notes and printed as chord names, or (the most common case) entered them by name, and print them as name. The following fragment shows these options: @lilypond[verbatim,singleline] twoWays = \notes \transpose c c' { \chords { c1 f:sus4 bes/f } <> <> <> } \score { < \context ChordNames \twoWays \context Voice \twoWays > } @end lilypond This example also shows that the chord printing routines do not try to be intelligent. The chord @code{f bes d}, is not interpreted as an inversion. @menu * Chords mode:: * Printing chord names:: @end menu @node Chords mode @subsection Chords mode @cindex Chords mode Chord mode is a mode where you can input sets of pitches using common names. It is introduced by the keyword @code{\chords}. In chords mode, a chord is entered by the root, which is entered like a common pitch, for example, @lilypond[fragment,verbatim,quote, relative=1] \chords { es4. d8 c2 } @end lilypond @cindex chord entry @cindex chord mode Other chords may be entered by suffixing a colon, and introducing a modifier, and optionally, a number, for example @c @lilypond[fragment,verbatim,quote] \chords { e1:m e1:7 e1:m7 } @end lilypond The first number following the root is taken to be the `type' of the chord, thirds are added to the root until it reaches the specified number, for example. @lilypond[fragment,verbatim] \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 } @end lilypond @cindex root of chord @cindex additions, in chords @cindex removals, in chords More complex chords may also be constructed adding separate steps to a chord. Additions are added after the number following the colon, and are separated by dots. For example @c @lilypond[verbatim,fragment,quote] \chords { c:5.6 c:3.7.8 c:3.6.13 } @end lilypond Chord steps can be altered by suffixing a @code{-} or @code{+} sign to the number, for example: @lilypond[verbatim,fragment,quote] \chords { c:7+ c:5+.3- c:3-.5-.7- } @end lilypond Removals are specified similarly, and are introduced by a caret. They must come after the additions. @lilypond[verbatim,fragment] \chords { c^3 c:7^5 c:9^3.5 } @end lilypond Modifiers can be used to change pitches. The following modifiers are supported @table @code @item m is the minor chord. This modifier lowers the 3rd and (if present) the 7th step. @item dim is the diminished chord. This modifier lowers the 3rd, 5th and (if present) the 7th step @item aug is the augmented chord. This modifier raises the 5th step. @item maj is the major 7th chord. This modifier raises the 7th step if present. @item sus is the suspended 4th or 2nd. This modifier removes the 3rd step. Append either @code{2} or @code{4} to add the 2nd or 4th step to the chord. @end table Modifiers can be mixed with additions. @lilypond[verbatim,fragment] \chords { c:sus4 c:7sus4 c:dim7 c:m6 } @end lilypond @cindex modifiers, in chords. @cindex @code{aug} @cindex @code{dim} @cindex @code{maj} @cindex @code{sus} @cindex @code{m} Since the unaltered 11 does sound well when combined with the unaltered 3, the 11 is removed in this case, unless it is added explicitly). For example, @lilypond[fragment,verbatim] \chords { c:13 c:13.11 c:m13 } @end lilypond @cindex @code{/} An inversion (putting one pitch of the chord on the bottom), as well as bass notes, can be specified by appending @code{/}@var{pitch} to the chord. @lilypond[fragment,verbatim,center] \chords { c1 c/g c/f } @end lilypond @cindex @code{/+} If you do not want to remove the bass note from the chord, but rather add the note, then you can use @code{/+}@var{pitch}. @lilypond[fragment,verbatim,center] \chords { c1 c/+g c/+f } @end lilypond Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most of the commands continue to work, for example, @code{r} and @code{\skip} can be used to insert rests and spaces, and @code{\property} may be used to change various settings. @refbugs Each step can only be present in a chord once. The following simply produces the augmented chord, since @code{5+} is interpreted last. @cindex clusters @lilypond[verbatim,fragment] \chords { c:5.5-.5+ } @end lilypond In chord mode, dashes and carets are used to indicate chord additions and subtractions, so articulation scripts cannot be entered. @node Printing chord names @subsection Printing chord names @cindex printing chord names @cindex chord names @cindex chords For displaying printed chord names, use the @internalsref{ChordNames} context. The chords may be entered either using the notation described above, or directly using @code{<<} and @code{>>}. @lilypond[verbatim,singleline] scheme = \notes { \chords {a1 b c} <> <> } \score { \notes< \context ChordNames \scheme \context Staff \scheme > } @end lilypond You can make the chord changes stand out by setting @internalsref{ChordNames}.@code{chordChanges} to true. This will only display chord names when there is a change in the chords scheme and at the start of a new line. @lilypond[verbatim] scheme = \chords { c1:m c:m \break c:m c:m d } \score { \notes < \context ChordNames { \property ChordNames.chordChanges = ##t \scheme } \context Staff \transpose c c' \scheme > \paper{linewidth= 9.\cm} } @end lilypond The default chord name layout is a system for Jazz music, proposed by Klaus Ignatzek (See @ref{Literature}). The Ignatzek chord name formatting can be tuned in a number of ways through the following properties: @table @code @cindex chordNameExceptions @item chordNameExceptions This is a list that contains the chords that have special formatting. For an example, see @inputfileref{input/regression,chord-name-exceptions.ly}. @cindex exceptions, chord names. @cindex majorSevenSymbol @item majorSevenSymbol This property contains the markup object used for the 7th step, when it is major. Predefined options are @code{whiteTriangleMarkup} and @code{blackTriangleMarkup}. See @inputfileref{input/regression,chord-name-major7.ly} for an example. @cindex chordNameSeparator @item chordNameSeparator Different parts of a chord name are normally separated by a slash. By setting @code{chordNameSeparator}, you can specify other separators, e.g. @lilypond[fragment,verbatim] \context ChordNames \chords { c:7sus4 \property ChordNames.chordNameSeparator = \markup { "|" } c:7sus4 } @end lilypond @cindex chordRootNamer @item chordRootNamer The root of a chord is usually printed as a letter with an optional alteration. The transformation from pitch to letter is done by this function. Special note names (for example, the German ``H'' for a B-chord) can be produced by storing a new function in this property. @cindex chordNoteNamer @item chordNoteNamer The default is to print single notes (as for instance the bass note) using the @code{chordRootNamer}. However, by setting this function to a non-null value you can specify a different function. I.e. you could use letters in lower case for the base note. @end table @seealso @inputfileref{input/regression,chord-name-major7.ly}, @inputfileref{input/regression,chord-name-exceptions.ly}, @inputfileref{input/test,chord-names-german.ly}, @file{scm/chords-ignatzek.scm}, @file{scm/chord-entry.scm} @refbugs Chord names are determined solely from the list of pitches. Chord inversions are not identified, and neither are added bass notes. This may result in strange chord names when chords are entered with the @code{<< .. >>} syntax. @node Writing parts @section Writing parts Orchestral music involves some special notation, both in the full score and the individual parts. This section explains how to tackle some common problems in orchestral music. @menu * Rehearsal marks:: * Bar numbers:: * Instrument names:: * Transpose:: * Multi measure rests:: * Automatic part combining:: * Frenched scores:: * Sound output for transposing instruments:: @end menu @node Rehearsal marks @subsection Rehearsal marks @cindex Rehearsal marks @cindex mark @cindex @code{\mark} To print a rehearsal mark, use the @code{\mark} command. @lilypond[fragment,verbatim] \relative c'' { c1 \mark "A" c1 \mark "B" c1 \mark "12" c1 \mark "13" c1 } @end lilypond The mark is incremented automatically if you use @code{\mark \default}. The value to use is stored in the property @code{rehearsalMark} is used and automatically incremented. The @code{\mark} command can also be used to put signs like coda, segno and fermatas on a barline. Use @code{\markup} to to access the appropriate symbol. @lilypond[fragment,verbatim,relative=1] c1 \mark \markup { \musicglyph #"scripts-ufermata" } c1 @end lilypond In this case, during line breaks, marks must also be printed at the end of the line, and not at the beginning. Use the following to force that behavior @example \property Score.RehearsalMark \override #'break-visibility = #begin-of-line-invisible @end example See @inputfileref{input/test,boxed-molecule.ly}. for putting boxes around the marks. @cindex fermatas @cindex coda @cindex segno @cindex barlines, putting symbols on @seealso @internalsref{MarkEvent}, @internalsref{RehearsalMark}, @inputfileref{input/test,boxed-molecule.ly}. @node Bar numbers @subsection Bar numbers @cindex bar numbers @cindex measure numbers @cindex currentBarNumber Bar numbers are printed by default at the start of the line. The number itself is stored in the @code{currentBarNumber} property, which is normally updated automatically for every measure. Bar numbers can be typeset at regular intervals instead of at the beginning of each line. This is illustrated in the following example, whose source is available as @inputfileref{input/test,bar-number-every-fifth.ly} @lilypondfile[notexidoc]{bar-number-every-fifth.ly} The start of that numbering can also be reset, as demonstrated in @inputfileref{input/test,bar-number-every-5-reset.ly}. @lilypondfile[notexidoc]{bar-number-every-5-reset.ly} @seealso @internalsref{BarNumber}. @inputfileref{input/test,bar-number-every-5-reset.ly}. @inputfileref{input/test,bar-number-every-fifth.ly} @refbugs Bar numbers can collide with the @internalsref{StaffGroup} bracket, if there is one at the top. To solve this, You have to twiddle with the @internalsref{padding} property of @internalsref{BarNumber} if your score starts with a @internalsref{StaffGroup}. @node Instrument names @subsection Instrument names In an orchestral score, instrument names are printed left of the staffs. This can be achieved by setting @internalsref{Staff}.@code{instrument} and @internalsref{Staff}.@code{instr}. This will print a string before the start of the staff. For the first start, @code{instrument} is used, for the next ones @code{instr} is used. @lilypond[verbatim,singleline] \property Staff.instrument = "ploink " { c''4 } @end lilypond You can also use markup texts to construct more complicated instrument names. @lilypond[fragment,verbatim,singleline] \notes \context Staff = treble { \property Staff.instrument = \markup { \column << "Clarinetti" { "in B" \smaller \musicglyph #"accidentals--1" } >> } { c''1 } } @end lilypond @seealso @internalsref{InstrumentName} @refbugs When you put a name on a grand staff or piano staff the width of the brace is not taken into account. You must add extra spaces to the end of the name to avoid a collision. @node Transpose @subsection Transpose @cindex Transpose @cindex transposition of pitches @cindex @code{\transpose} A music expression can be transposed with @code{\transpose}. The syntax is @example \transpose @var{from} @var{to} @var{musicexpr} @end example This means that @var{musicexpr} is transposed by the interval between @var{from} and @var{to}. @code{\transpose} distinguishes between enharmonic pitches: both @code{\transpose c cis} or @code{\transpose c des} will transpose up half a tone. The first version will print sharps and the second version will print flats. @lilypond[singleline, verbatim] mus =\notes { \key d \major cis d fis g } \score { \notes \context Staff { \clef "F" \mus \clef "G" \transpose c g' \mus \transpose c f' \mus }} @end lilypond @seealso @internalsref{TransposedMusic}, @internalsref{UntransposableMusic}. @refbugs If you want to use both @code{\transpose} and @code{\relative}, then you must put @code{\transpose} outside of @code{\relative}, since @code{\relative} will have no effect music that appears inside a @code{\transpose}. @node Multi measure rests @subsection Multi measure rests @cindex Multi measure rests @cindex @code{R} Multi measure rests are entered using `@code{R}'. It is specifically meant for full bar rests and for entering parts: the rest can expand to fill a score with rests, or it can be printed as a single multimeasure rest. This expansion is controlled by the property @code{Score.skipBars}. If this is set to true, Lily will not expand empty measures, and the appropriate number is added automatically. @lilypond[fragment,verbatim] \time 4/4 r1 | R1 | R1*2 \property Score.skipBars = ##t R1*17 R1*4 @end lilypond The @code{1} in @code{R1} is similar to the duration notation used for notes. Hence, for time signatures other than 4/4, you must enter other durations. This can be done with augmentation dots or fractions: @lilypond[fragment,verbatim] \property Score.skipBars = ##t \time 3/4 R2. | R2.*2 \time 13/8 R1*13/8 R1*13/8*12 @end lilypond A @code{R} spanning a single measure is printed as a whole rest centered in the measure (or a breve when the measure lasts longer than two whole notes), regardless of the time signature. @cindex text on multi-measure rest @cindex script on multi-measure rest @cindex fermata on multi-measure rest Texts can be added to multi-measure rests by using the @var{note}-@code{markup} syntax. In this case, the number is replaced. If you need both texts and the number, you must add the number by hand. A variable (@code{\fermataMarkup}) is provided for adding fermatas. @lilypond[verbatim,fragment] \time 3/4 R2._\markup { "Ad lib" } R2.^\fermataMarkup @end lilypond @cindex whole rests for a full measure @seealso @internalsref{MultiMeasureRestEvent}, @internalsref{MultiMeasureTextEvent}, @internalsref{MultiMeasureRestMusicGroup}, @internalsref{MultiMeasureRest}. The graphical object @internalsref{MultiMeasureRestNumber} is for the default number, and @internalsref{MultiMeasureRestText} for user specified texts. @refbugs It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers over multi-measure rests. @cindex condensing rests There is no way to automatically condense multiple rests into a single multimeasure rest. Multi measure rests do not take part in rest collisions. Be careful when entering multimeasure rests followed by whole notes, @example R1*4 cis cis @end example will enter two notes lasting four measures each. When @code{skipBars} is set, then the result will look OK6, but the bar numbering will be off. @node Automatic part combining @subsection Automatic part combining @cindex automatic part combining @cindex part combiner Automatic part combining is used to merge two parts of music onto a staff. It is aimed at typesetting orchestral scores. When the two parts are identical for a period of time, only one is shown. In places where the two parts differ, they are typeset as separate voices, and stem directions are set automatically. Also, solo and @emph{a due} parts are identified and can be marked. @syntax The syntax for part combining is @example \partcombine @var{context} @var{musicexpr1} @var{musicexpr2} @end example where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be combined into one context of type @var{context}. The music expressions must be interpreted by contexts whose names should start with @code{one} and @code{two}. The following example demonstrates the basic functionality of the part combiner: putting parts on one staff, and setting stem directions and polyphony. @lilypond[verbatim,singleline,fragment] \context Staff < \context Voice=one \partcombine Voice \context Thread=one \relative c'' { g a-( b-) r } \context Thread=two \relative c'' { g r4 r f } > @end lilypond The first @code{g} appears only once, although it was specified twice (once in each part). Stem, slur and tie directions are set automatically, depending whether there is a solo or unisono. The first part (with context called @code{one}) always gets up stems, and `solo', while the second (called @code{two}) always gets down stems and `Solo II'. If you just want the merging parts, and not the textual markings, you may set the property @var{soloADue} to false. @lilypond[verbatim,singleline,fragment] \context Staff < \property Staff.soloADue = ##f \context Voice=one \partcombine Voice \context Thread=one \relative c'' { b4 a c g } \context Thread=two \relative c'' { d,2 a4 g' } > @end lilypond @seealso @internalsref{PartCombineMusic}, @internalsref{Thread_devnull_engraver}, @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}. @refbugs The syntax for naming contexts in inconsistent with the syntax for combining stanzas. In @code{soloADue} mode, when the two voices play the same notes on and off, the part combiner may typeset @code{a2} more than once in a measure. @lilypond[fragment,singleline] \context Staff < \context Voice=one \partcombine Voice \context Thread=one \relative c'' { c b c b c a c a } \context Thread=two \relative c'' { b b b b f a f a } > @end lilypond The part combiner is slated to be rewritten [TODO: explain why] . @cindex @code{Thread_devnull_engraver} @cindex @code{Voice_engraver} @cindex @code{A2_engraver} @node Frenched scores @subsection Frenched scores In orchestral scores, staff lines that only have rests are usually removed. This saves some space. This style is called `French Score'. @syntax This is supported through the @code{FrenchStaff}. This staff is removed when it turns out empty (or containing multimeasure rests) after the line-breaking process. For @internalsref{Lyrics}, @internalsref{LyricsVoice}, @internalsref{ChordNames} and @internalsref{FiguredBass}, this is switched on by default. For normal staffs, it is available as a specialized @internalsref{Staff} context, with the name variable @code{\FrenchStaffContext}. Observe how the second staff in this example disappears in the second line. @lilypond[verbatim] \score { \notes \relative c' < \context Staff = SA { e4 f g a \break c1 } \context Staff = SB { c4 d e f \break R1 } > \paper { linewidth = 6.\cm \translator { \FrenchStaffContext } } } @end lilypond @node Sound output for transposing instruments @subsection Sound output for transposing instruments When you want to make a MIDI file from a score containing transposed and untransposed instruments, you have to instruct LilyPond the pitch offset (in semitones) for the transposed instruments. This is done using the @code{transposing} property. It does not affect printed output. @cindex @code{transposing} @example \property Staff.instrument = #"Cl. in B-flat" \property Staff.transposing = #-2 @end example @node Ancient notation @section Ancient notation @cindex Vaticana, Editio @cindex Medicaea, Editio @cindex hufnagel @cindex Petrucci @cindex mensural [TODO: write introduction on ancient notation] @menu * Ancient note heads:: * Ancient clefs :: * Custodes:: * Divisiones:: * Ligatures:: * Figured bass:: @end menu @node Ancient note heads @subsection Ancient note heads To get a longa note head, you have to use mensural note heads. This is accomplished by setting the @code{style} property of the NoteHead object to @code{mensural}. There is also a note head style @code{baroque} which gives mensural note heads for @code{\longa} and @code{\breve} but standard note heads for shorter notes. @lilypond[fragment,singleline,verbatim] \property Voice.NoteHead \set #'style = #'mensural a'\longa @end lilypond @node Ancient clefs @subsection Ancient clefs LilyPond supports a variety of clefs, many of them ancient. For modern clefs, see section @ref{Clef}. For the percussion clef, see section @ref{Percussion staves}. For the @code{TAB} clef, see section @ref{Tablatures}. The following table shows all ancient clefs that are supported via the @code{\clef} command. Some of the clefs use the same glyph, but differ only with respect to the line they are printed on. In such cases, a trailing number in the name is used to enumerate these clefs. Still, you can manually force a clef glyph to be typeset on an arbitrary line, as described in section @ref{Clef}. The note printed to the right side of each clef in the example column denotes the @code{c'} with respect to that clef. @multitable @columnfractions .3 .3 .3 .1 @item @b{Glyph Name} @tab @b{Description} @tab @b{Supported Clefs} @tab @b{Example} @item @code{clefs-neo_mensural_c} @tab modern style mensural C clef @tab @code{neo_mensural_c1}, @code{neo_mensural_c2}, @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab @lilypond[relative 0, notime] \property Staff.TimeSignature \set #'transparent = ##t \clef "neo_mensural_c2" c @end lilypond @item @code{clefs-petrucci_c1} @code{clefs-petrucci_c2} @code{clefs-petrucci_c3} @code{clefs-petrucci_c4} @code{clefs-petrucci_c5} @tab petrucci style mensural C clefs, for use on different stafflines (the examples shows the 2nd staffline C clef). @tab @code{petrucci_c1} @code{petrucci_c2} @code{petrucci_c3} @code{petrucci_c4} @code{petrucci_c5} @tab @lilypond[relative 0, notime] \property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c2" c @end lilypond @item @code{clefs-petrucci_f} @tab petrucci style mensural F clef @tab @code{petrucci_f} @tab @lilypond[relative 0, notime] \property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_f" c @end lilypond @item @code{clefs-petrucci_g} @tab petrucci style mensural G clef @tab @code{petrucci_g} @tab @lilypond[relative 0, notime] \property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_g" c @end lilypond @item @code{clefs-mensural_c'} @tab historic style mensural C clef @tab @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3}, @code{mensural_c4} @tab @lilypond[relative 0, notime] \property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_c2" c @end lilypond @item @code{clefs-mensural_f} @tab historic style mensural F clef @tab @code{mensural_f} @tab @lilypond[relative 0, notime] \property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_f" c @end lilypond @item @code{clefs-mensural_g} @tab historic style mensural G clef @tab @code{mensural_g} @tab @lilypond[relative 0, notime] \property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_g" c @end lilypond @item @code{clefs-vaticana_do} @tab Editio Vaticana style do clef @tab @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab @lilypond[relative 0, notime] \context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_do2" c @end lilypond @item @code{clefs-vaticana_fa} @tab Editio Vaticana style fa clef @tab @code{vaticana_fa1}, @code{vaticana_fa2} @tab @lilypond[relative 0, notime] \context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_fa2" c @end lilypond @item @code{clefs-medicaea_do} @tab Editio Medicaea style do clef @tab @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab @lilypond[relative 0, notime] \context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_do2" c @end lilypond @item @code{clefs-medicaea_fa} @tab Editio Medicaea style fa clef @tab @code{medicaea_fa1}, @code{medicaea_fa2} @tab @lilypond[relative 0, notime] \context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_fa2" c @end lilypond @item @code{clefs-hufnagel_do} @tab historic style hufnagel do clef @tab @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab @lilypond[relative 0, notime] \context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do2" c @end lilypond @item @code{clefs-hufnagel_fa} @tab historic style hufnagel fa clef @tab @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab @lilypond[relative 0, notime] \context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_fa2" c @end lilypond @item @code{clefs-hufnagel_do_fa} @tab historic style hufnagel combined do/fa clef @tab @code{hufnagel_do_fa} @tab @lilypond[relative 0, notime] \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do_fa" c @end lilypond @end multitable @c --- This should go somewhere else: --- @c @item modern style percussion clef (glyph: @code{clefs-percussion}) @c @c Supported clefs: @c @code{percussion} @c @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'} @c @c @item modern style tab clef (glyph: @code{clefs-tab}) @c @c Supported clefs: @c @code{tab} @c @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'} @emph{Modern style} means ``as is typeset in contemporary editions of transcribed mensural music''. @emph{Petrucci style} means ``inspired by printings published by the famous engraver Petrucci (1466-1539)''. @emph{Historic style} means ``as was typeset or written in historic editions (other than those of Petrucci)''. @emph{Editio XXX style} means ``as is/was printed in Editio XXX''. Petrucci used C clefs with differently balanced left-side vertical beams, depending on which staffline it is printed. @node Custodes @subsection Custodes @cindex custos @cindex custodes A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a symbol that appears at the end of a staff. It anticipates the pitch of the first note(s) of the following line and thus helps the player or singer to manage line breaks during performance, thus enhancing readability of a score. Custodes were frequently used in music notation until the 17th century. Nowadays, they have survived only in a few particular forms of musical notation such as contemporary editions of Gregorian chant like the @emph{editio vaticana}. There are different custos glyphs used in different flavours of notational style. For typesetting custodes, just put a @internalsref{Custos_engraver} into the @internalsref{Staff} context when declaring the @code{\paper} block, as shown in the following example. @example \paper @{ \translator @{ \StaffContext \consists Custos_engraver Custos \override #'style = #'mensural @} @} @end example The result looks like this: @lilypond \score { \notes { a'1 \property Staff.Custos \set #'style = #'mensural \break g' } \paper { \translator { \StaffContext \consists Custos_engraver } linewidth = 4.0\cm } } @end lilypond The custos glyph is selected by the @code{style} property. The styles supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and @code{mensural}. They are demonstrated in the following fragment: @lilypond \score { \notes { \fatText s ^\markup { \column << "vaticana" { " " \musicglyph #"custodes-vaticana-u0" } >> \column << "medicaea" { " " \musicglyph #"custodes-medicaea-u0" } >> \column << "hufnagel" { " " \musicglyph #"custodes-hufnagel-u0" } >> \column << "mensural" { " " \musicglyph #"custodes-mensural-u0" } >> } } \paper { raggedright = ##t interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator{ \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Time_signature_engraver" \remove "Staff_symbol_engraver" minimumVerticalExtent = ##f } } } @end lilypond If the boolean property @code{adjust-if-on-staffline} is set to @code{#t} (which it is by default), lily typesets slightly different variants of the custos glyph, depending on whether the custos, is typeset on or between stafflines. The glyph will optically fit well into the staff, with the appendage on the right of the custos always ending at the same vertical position between two stafflines regardless of the pitch. If you set @code{adjust-if-on-staffline} to @code{#f}, then a compromise between both forms is used. Just like stems can be attached to noteheads in two directions @emph{up} and @emph{down}, each custos glyph is available with its appendage pointing either up or down. If the pitch of a custos is above a selectable position, the appendage will point downwards; if the pitch is below this position, the appendage will point upwards. Use property @code{neutral-position} to select this position. By default, it is set to @code{0}, such that the neutral position is the center of the staff. Use property @code{neutral-direction} to control what happens if a custos is typeset on the neutral position itself. By default, this property is set to @code{-1}, such that the appendage will point downwards. If set to @code{1}, the appendage will point upwards. Other values such as @code{0} are reserved for future extensions and should not be used. @seealso @internalsref{Custos}, @inputfileref{input/test,custos-style.ly} and @inputfileref{input/regression,custos.ly}. @node Divisiones @subsection Divisiones @cindex divisio @cindex divisiones @cindex finalis A @emph{divisio} (plural: @emph{divisiones}; latin word for `division') is a staff context symbol that is used to structure Gregorian music into phrases and sections. The musical meaning of @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima} can be characterized as short, medium and long pause, somewhat like @ref{Breath marks}. The @emph{finalis} sign not only marks the end of a chant, but is also frequently used within a single antiphonal/responsorial chant to mark the end of each section. @syntax To use divisiones, include the file @code{gregorian-init.ly}. It contains definitions that you can apply by just inserting @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima}, and @code{\finalis} at proper places in the input. Some editions use @emph{virgula} or @emph{caesura} instead of divisio minima. Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and @code{\caesura}. @lilypondfile[notexidoc]{divisiones.ly} @seealso @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, @inputfileref{input/test,divisiones.ly}, @ref{Breath marks}. @node Ligatures @subsection Ligatures @cindex Ligatures @c TODO: Should double check if I recalled things correctly when I wrote @c down the following paragraph by heart. In musical terminology, a ligature is a coherent graphical symbol that represents at least two different notes. Ligatures originally appeared in the manuscripts of Gregorian chant notation roughly since the 9th century as an allusion to the accent symbols of greek lyric poetry to denote ascending or descending sequences of notes. Both, the shape and the exact meaning of ligatures changed tremendously during the following centuries: In early notation, ligatures where used for monophonic tunes (Gregorian chant) and very soon denoted also the way of performance in the sense of articulation. With upcoming multiphony, the need for a metric system arised, since multiple voices of a piece have to be synchronized some way. New notation systems were invented that used the manifold shapes of ligatures to now denote rhythmical patterns (e.g. black mensural notation, mannered notation, ars nova). With the invention of the metric system of the white mensural notation, the need for ligatures to denote such patterns disappeared. Nevertheless, ligatures were still in use in the mensural system for a couple of decades until they finally disappeared during the late 16th / early 17th century. Still, ligatures have survived in contemporary editions of Gregorian chant such as the Editio Vaticana from 1905/08. @syntax Syntactically, ligatures are simply enclosed by @code{\[} and @code{\]}. Some ligature styles (such as Editio Vaticana) may need additional input syntax specific for this particular type of ligature. By default, the @internalsref{LigatureBracket} engraver just puts a square bracket above the ligature. @lilypond[singleline,verbatim] \score { \notes \transpose c c' { \[ g c a f d' \] a g f \[ e f a g \] } } @end lilypond To select a specific style of ligatures, a proper ligature engraver has to be added to the @internalsref{Voice} context, as explained in the following subsections. Currently, only white mensural ligatures are supported with certain limitations. Support for Editio Vaticana will be added in the future. @menu * White mensural ligatures:: * Gregorian square neumes ligatures:: @end menu @node White mensural ligatures @subsubsection White mensural ligatures @cindex Mensural ligatures @cindex White mensural ligatures There is limited support for white mensural ligatures. The implementation is still experimental; it currently may output strange warnings or even crash in some cases or produce weird results on more complex ligatures. To engrave white mensural ligatures, in the paper block the @internalsref{Mensural_ligature_engraver} has to be put into the @internalsref{Voice} context, and remove the @internalsref{Ligature_bracket_engraver}: @example \paper @{ \translator @{ \VoiceContext \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver @} @} @end example There is no additional input language to describe the shape of a white mensural ligature. The shape is rather determined solely from the pitch and duration of the enclosed notes. While this approach may take a new user a while to get accustomed, it has the great advantage that the full musical information of the ligature is known internally. This is not only required for correct MIDI output, but also allows for automatic transcription of the ligatures. Example: @example \property Score.timing = ##f \property Score.defaultBarType = "empty" \property Voice.NoteHead \set #'style = #'neo_mensural \property Staff.TimeSignature \set #'style = #'neo_mensural \clef "petrucci_g" \[ g\longa c\breve a\breve f\breve d'\longa \] s4 \[ e1 f1 a\breve g\longa \] @end example @lilypond[singleline] \score { \notes \transpose c c' { \property Score.timing = ##f \property Score.defaultBarType = "empty" \property Voice.NoteHead \set #'style = #'neo_mensural \property Staff.TimeSignature \set #'style = #'neo_mensural \clef "petrucci_g" \[ g\longa c\breve a\breve f\breve d'\longa \] s4 \[ e1 f1 a\breve g\longa \] } \paper { \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Mensural_ligature_engraver } } } @end lilypond Without replacing @internalsref{Ligature_bracket_engraver} with @internalsref{Mensural_ligature_engraver}, the same music transcribes to the following: @lilypond[singleline] \score { \notes \transpose c c' { \property Score.timing = ##f \property Score.defaultBarType = "empty" \property Voice.NoteHead \set #'style = #'neo_mensural \property Staff.TimeSignature \set #'style = #'neo_mensural \clef "petrucci_g" \[ g\longa c\breve a\breve f\breve d'\longa \] s4 \[ e1 f1 a\breve g\longa \] } } @end lilypond @node Gregorian square neumes ligatures @subsubsection Gregorian square neumes ligatures @cindex Square neumes ligatures @cindex Gregorian square neumes ligatures Gregorian square neumes notation (following the style of the Editio Vaticana) is under heavy development, but not yet really usable for production purposes. Core ligatures can already be typeset, but essential issues for serious typesetting are still under development, such as (among others) horizontal alignment of multiple ligatures, lyrics alignment and proper accidentals handling. Still, this section gives a sneak preview of what Gregorian chant may look like once it will work. The following table contains the extended neumes table of the 2nd volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes. @multitable @columnfractions .4 .2 .2 .2 @item @b{Neuma aut@*Neumarum Elementa} @tab @b{Figurae@*Rectae} @tab @b{Figurae@*Liquescentes Auctae} @tab @b{Figurae@*Liquescentes Deminutae} @c TODO: \paper block is identical in all of the below examples. @c Therefore, it should somehow be included rather than duplicated all @c the time. --jr @c why not make identifiers in ly/engraver-init.ly? --hwn @item @code{1. Punctum} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Punctum \[ b \] \noBreak s^\markup {"a"} \noBreak % Punctum Inclinatum \[ \inclinatum b \] \noBreak s^\markup {"b"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Punctum Auctum Ascendens \[ \auctum \ascendens b \] \noBreak s^\markup {"c"} \noBreak % Punctum Auctum Descendens \[ \auctum \descendens b \] \noBreak s^\markup {"d"} \noBreak % Punctum Inclinatum Auctum \[ \inclinatum \auctum b \] \noBreak s^\markup {"e"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Punctum Inclinatum Parvum \[ \inclinatum \deminutum b \] \noBreak s^\markup {"f"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @item @code{2. Virga} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Virga \[ \virga b \] \noBreak s^\markup {"g"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @tab @item @code{3. Apostropha vel Stropha} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Stropha \[ \stropha b \] \noBreak s^\markup {"h"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Stropha Aucta \[ \stropha \auctum b \] \noBreak s^\markup {"i"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @item @code{4. Oriscus} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Oriscus \[ \oriscus b \] \noBreak s^\markup {"j"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @tab @item @code{5. Clivis vel Flexa} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Clivis vel Flexa \[ b \flexa g \] s^\markup {"k"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Clivis Aucta Descendens \[ b \flexa \auctum \descendens g \] \noBreak s^\markup {"l"} \noBreak % Clivis Aucta Ascendens \[ b \flexa \auctum \ascendens g \] \noBreak s^\markup {"m"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Cephalicus \[ b \flexa \deminutum g \] s^\markup {"n"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @item @code{6. Podatus vel Pes} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Podatus vel Pes \[ g \pes b \] s^\markup {"o"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Pes Auctus Descendens \[ g \pes \auctum \descendens b \] \noBreak s^\markup {"p"} \noBreak % Pes Auctus Ascendens \[ g \pes \auctum \ascendens b \] \noBreak s^\markup {"q"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Epiphonus \[ g \pes \deminutum b \] s^\markup {"r"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @item @code{7. Pes Quassus} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Pes Quassus \[ \oriscus g \pes \virga b \] s^\markup {"s"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Pes Quassus Auctus Descendens \[ \oriscus g \pes \auctum \descendens b \] s^\markup {"t"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @item @code{8. Quilisma Pes} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Quilisma Pes \[ \quilisma g \pes b \] s^\markup {"u"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Quilisma Pes Auctus Descendens \[ \quilisma g \pes \auctum \descendens b \] s^\markup {"v"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @item @code{9. Podatus Initio Debilis} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Pes Initio Debilis \[ \deminutum g \pes b \] s^\markup {"w"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Pes Auctus Descendens Initio Debilis \[ \deminutum g \pes \auctum \descendens b \] s^\markup {"x"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @item @code{10. Torculus} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Torculus \[ a \pes b \flexa g \] s^\markup {"y"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Torculus Auctus Descendens \[ a \pes b \flexa \auctum \descendens g \] s^\markup {"z"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Torculus Deminutus \[ a \pes b \flexa \deminutum g \] s^\markup {"A"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @item @code{11. Torculus Initio Debilis} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Torculus Initio Debilis \[ \deminutum a \pes b \flexa g \] s^\markup {"B"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Torculus Auctus Descendens Initio Debilis \[ \deminutum a \pes b \flexa \auctum \descendens g \] s^\markup {"C"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Torculus Deminutus Initio Debilis \[ \deminutum a \pes b \flexa \deminutum g \] s^\markup {"D"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @item @code{12. Porrectus} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Porrectus \[ a \flexa g \pes b \] s^\markup {"E"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Porrectus Auctus Descendens \[ a \flexa g \pes \auctum \descendens b \] s^\markup {"F"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Porrectus Deminutus \[ a \flexa g \pes \deminutum b \] s^\markup {"G"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @item @code{13. Climacus} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Climacus \[ \virga b \inclinatum a \inclinatum g \] s^\markup {"H"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Climacus Auctus \[ \virga b \inclinatum a \inclinatum \auctum g \] s^\markup {"I"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Climacus Deminutus \[ \virga b \inclinatum a \inclinatum \deminutum g \] s^\markup {"J"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @item @code{14. Scandicus} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Scandicus \[ g \pes a \virga b \] s^\markup {"K"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Scandicus Auctus Descendens \[ g \pes a \pes \auctum \descendens b \] s^\markup {"L"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Scandicus Deminutus \[ g \pes a \pes \deminutum b \] s^\markup {"M"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @item @code{15. Salicus} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Salicus \[ g \oriscus a \pes \virga b \] s^\markup {"N"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Salicus Auctus Descendens \[ g \oriscus a \pes \auctum \descendens b \] s^\markup {"O"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @item @code{16. Trigomus} @tab @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm] \include "gregorian-init.ly" \score { \notes \transpose c c' { % Trigonus \[ \stropha b \stropha b \stropha a \] s^\markup {"P"} } \paper { interscoreline = 1 \translator { \ScoreContext \remove "Bar_number_engraver" } \translator { \StaffContext \remove "Clef_engraver" \remove "Key_engraver" \remove "Staff_symbol_engraver" \remove "Time_signature_engraver" \remove "Bar_engraver" minimumVerticalExtent = ##f } \translator { \VoiceContext \remove Ligature_bracket_engraver \consists Vaticana_ligature_engraver NoteHead \set #'style = #'vaticana_punctum Stem \set #'transparent = ##t } } } @end lilypond @tab @tab @end multitable Unlike most other neumes notation systems, the input language for neumes does not necessarily reflect directly the typographical appearance, but is designed to solely focuse on musical meaning. For example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces a torculus with a curved flexa shape and only a single Punctum head. There is no command to explicitly typeset the curved flexa shape; the decision of when to typeset a curved flexa shape is purely taken from the musical input. The idea of this approach is to separate the musical aspects of the input from the notation style of the output. This way, the same input can be reused to typeset the same music in a different style of Gregorian chant notation such as Hufnagel (also known as German gothic neumes) or Medicaea (kind of a very simple forerunner of the Editio Vaticana). As soon as Hufnagel ligature engraver and Medicaea ligature engraver will have been implemented, it will be as simple as replacing the ligature engraver in the VoiceContext to get the desired notation style from the same input. The following table shows the code fragments that produce the ligatures in the above neumes table. The letter in the first column in each line of the below table indicates to which ligature in the above table it refers. The second column gives the name of the ligature. The third column shows the code fragment that produces this ligature, using @code{g}, @code{a} and @code{b} as example pitches. @multitable @columnfractions .1 .4 .5 @item @b{#} @tab @b{Name} @tab @b{Input Language} @item a @tab Punctum @tab @code{\[ b \]} @item b @tab Punctum Inclinatum @tab @code{\[ \inclinatum b \]} @item c @tab Punctum Auctum Ascendens @tab @code{\[ \auctum \ascendens b \]} @item d @tab Punctum Auctum Descendens @tab @code{\[ \auctum \descendens b \]} @item e @tab Punctum Inclinatum Auctum @tab @code{\[ \inclinatum \auctum b \]} @item f @tab Punctum Inclinatum Parvum @tab @code{\[ \inclinatum \deminutum b \]} @item g @tab Virga @tab @code{\[ \virga b \]} @item h @tab Stropha @tab @code{\[ \stropha b \]} @item i @tab Stropha Aucta @tab @code{\[ \stropha \auctum b \]} @item j @tab Oriscus @tab @code{\[ \oriscus b \]} @item k @tab Clivis vel Flexa @tab @code{\[ b \flexa g \]} @item l @tab Clivis Aucta Descendens @tab @code{\[ b \flexa \auctum \descendens g \]} @item m @tab Clivis Aucta Ascendens @tab @code{\[ b \flexa \auctum \ascendens g \]} @item n @tab Cephalicus @tab @code{\[ b \flexa \deminutum g \]} @item o @tab Podatus vel Pes @tab @code{\[ g \pes b \]} @item p @tab Pes Auctus Descendens @tab @code{\[ g \pes \auctum \descendens b \]} @item q @tab Pes Auctus Ascendens @tab @code{\[ g \pes \auctum \ascendens b \]} @item r @tab Epiphonus @tab @code{\[ g \pes \deminutum b \]} @item s @tab Pes Quassus @tab @code{\[ \oriscus g \pes \virga b \]} @item t @tab Pes Quassus Auctus Descendens @tab @code{\[ \oriscus g \pes \auctum \descendens b \]} @item u @tab Quilisma Pes @tab @code{\[ \quilisma g \pes b \]} @item v @tab Quilisma Pes Auctus Descendens @tab @code{\[ \quilisma g \pes \auctum \descendens b \]} @item w @tab Pes Initio Debilis @tab @code{\[ \deminutum g \pes b \]} @item x @tab Pes Auctus Descendens Initio Debilis @tab @code{\[ \deminutum g \pes \auctum \descendens b \]} @item y @tab Torculus @tab @code{\[ a \pes b \flexa g \]} @item z @tab Torculus Auctus Descendens @tab @code{\[ a \pes b \flexa \auctum \descendens g \]} @item A @tab Torculus Deminutus @tab @code{\[ a \pes b \flexa \deminutum g \]} @item B @tab Torculus Initio Debilis @tab @code{\[ \deminutum a \pes b \flexa g \]} @item C @tab Torculus Auctus Descendens Initio Debilis @tab @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]} @item D @tab Torculus Deminutus Initio Debilis @tab @code{\[ \deminutum a \pes b \flexa \deminutum g \]} @item E @tab Porrectus @tab @code{\[ a \flexa g \pes b \]} @item F @tab Porrectus Auctus Descendens @tab @code{\[ a \flexa g \pes \auctum \descendens b \]} @item G @tab Porrectus Deminutus @tab @code{\[ a \flexa g \pes \deminutum b \]} @item H @tab Climacus @tab @code{\[ \virga b \inclinatum a \inclinatum g \]} @item I @tab Climacus Auctus @tab @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]} @item J @tab Climacus Deminutus @tab @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]} @item K @tab Scandicus @tab @code{\[ g \pes a \virga b \]} @item L @tab Scandicus Auctus Descendens @tab @code{\[ g \pes a \pes \auctum \descendens b \]} @item M @tab Scandicus Deminutus @tab @code{\[ g \pes a \pes \deminutum b \]} @item N @tab Salicus @tab @code{\[ g \oriscus a \pes \virga b \]} @item O @tab Salicus Auctus Descendens @tab @code{\[ g \oriscus a \pes \auctum \descendens b \]} @item P @tab Trigonus @tab @code{\[ \stropha b \stropha b \stropha a \]} @end multitable @refbugs Use special heads for lower/upper head of Pes only when heads are stacked. Scandicus Deminutus: Punctum Auctum Ascendens overlaps with Semivocalis head; this looks awful. Trigonus: apply equal spacing, regardless of pitch. @node Figured bass @subsection Figured bass @cindex Basso continuo @c TODO: musicological blurb about FB @syntax LilyPond has limited support for figured bass: @lilypond[verbatim,fragment] < \context Voice \notes { \clef bass dis4 c d ais} \context FiguredBass \figures { < 6 >4 < 7 >8 < 6+ [_!] > < 6 >4 <6 5 [3+] > } > @end lilypond The support for figured bass consists of two parts: there is an input mode, introduced by @code{\figures}, where you can enter bass figures as numbers, and there is a context called @internalsref{FiguredBass} that takes care of making @internalsref{BassFigure} objects. In figures input mode, a group of bass figures is delimited by @code{<} and @code{>}. The duration is entered after the @code{>}. @example <4 6> @end example @lilypond[fragment] \context FiguredBass \figures { <4 6> } @end lilypond Accidentals are added to the numbers if you alterate them by appending @code{-}, @code{!} and @code{+}. @example <4- 6+ 7!> @end example @lilypond[fragment] \context FiguredBass \figures { <4- 6+ 7!> } @end lilypond Spaces or dashes may be inserted by using @code{_}. Brackets are introduced with @code{[} and @code{]}. @example < [4 6] 8 [_ 12]> @end example @lilypond[fragment] \context FiguredBass \figures { < [4 6] 8 [_ 12]> } @end lilypond Although the support for figured bass may superficially resemble chord support, it works much simpler. The @code{\figures} mode simply stores the numbers , and @internalsref{FiguredBass} context prints them as entered. There is no conversion to pitches, and no realizations of the bass are played in the MIDI file. Internally, the code produces markup texts. You can use any of the markup text properties to override formatting. For example, the vertical spacing of the figures may be set with @code{baseline-skip}. @seealso @internalsref{BassFigureEvent} music, @internalsref{BassFigure} grob, @internalsref{FiguredBass} context @refbugs Slash notation for alterations is not supported. @node Contemporary notation @section Contemporary notation In the 20th century, composers have greatly expanded the musical vocabulary. With this expansion, many innovations in musical notation have been tried. For a comprehensive overview, refer to @cite{Stone 1980} (see @ref{Literature}). In general, the use of new, innovative notation makes a piece harder to understand and perform and its use should therefore be avoided if possible. For this reason, support for contemporary notation in LilyPond is limited. @menu * Clusters:: * Fermatas:: @end menu @node Clusters @subsection Clusters @cindex cluster In musical terminology, a @emph{cluster} denotes a range of simultaneously sounding pitches that may change over time. The set of available pitches to apply usually depends on the accoustic source. Thus, in piano music, a cluster typically consists of a continous range of the semitones as provided by the piano's fixed set of a chromatic scale. In choral music, each singer of the choir typically may sing an arbitrary pitch within the cluster's range that is not bound to any diatonic, chromatic or other scale. In electronic music, a cluster (theoretically) may even cover a continuous range of pitches, thus resulting in coloured noise, such as pink noise. Clusters can be denoted in the context of ordinary staff notation by engraving simple geometrical shapes that replace ordinary notation of notes. Ordinary notes as musical events specify starting time and duration of pitches; however, the duration of a note is expressed by the shape of the note head rather than by the horizontal graphical extent of the note symbol. In contrast, the shape of a cluster geometrically describes the development of a range of pitches (vertical extent) over time (horizontal extent). Still, the geometrical shape of a cluster covers the area in wich any single pitch contained in the cluster would be notated as an ordinary note. From this point of view, it is reasonable to specify a cluster as the envelope of a set of notes. @syntax A cluster is engraved as the envelope of a set of notes. The starting note is marked with @code{\startCluster}, and the ending note with @code{\stopCluster}, e.g., @example c4-\startCluster ... f4-\stopCluster @end example The following example (from @inputfileref{input/regression,cluster.ly}) shows what the result looks like. @lilypondfile[notexidoc]{cluster.ly} By default, @internalsref{Cluster_engraver} is in the @internalsref{Voice} context. This allows putting ordinary notes and clusters together in the same staff, even simultaneously. In such a case no attempt is made to automatically avoid collisions between ordinary notes and clusters. @seealso @internalsref{Cluster}, @inputfileref{input/regression,cluster.ly}, @internalsref{Cluster_engraver}, @internalsref{ClusterEvent}. @refbugs When a cluster is active, note heads must be switched off manually using @code{\hideNotes}. Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed accurately. Use @code{<>8 <>8} instead. @node Fermatas @subsection Fermatas @cindex fermatas Contemporary music notation frequently uses special fermata symbols to indicate fermatas of differing lengths. @syntax The following are supported @lilypond[singleline] \score { < \notes { \fatText b' ^\shortfermata _\shortfermata r b' ^\fermata _\fermata r b' ^\longfermata _\longfermata r b' ^\verylongfermata _\verylongfermata r } \context Lyrics \lyrics { "shortfermata" "fermata" "longfermata" "verylongfermata" } > } @end lilypond See @ref{Articulations} for general instructions how to apply scripts such as fermatas to a @code{\notes@{@}} block. @node Tuning output @section Tuning output There are situations where default layout decisions are not sufficient. In this section we discuss ways to override these defaults. Formatting is internally done by manipulating so called objects (graphic objects). Each object carries with it a set of properties (object properties) specific to that object. For example, a stem object has properties that specify its direction, length and thickness. The most direct way of tuning the output is by altering the values of these properties. There are two ways of doing that: first, you can temporarily change the definition of one type of object, thus affecting a whole set of objects. Second, you can select one specific object, and set a object property in that object. @menu * Tuning objects :: * Applyoutput:: * Outputproperty:: * Font selection:: * Text markup:: @end menu @node Tuning objects @subsection Tuning objects @cindex object description The definition of an object is actually a list of default object properties. For example, the definition of the Stem object (available in @file{scm/grob-description.scm}), includes the following definitions for @internalsref{Stem} @example (thickness . 1.3) (beamed-lengths . (0.0 2.5 2.0 1.5)) (Y-extent-callback . ,Stem::height) @var{...} @end example By adding variables on top of these existing definitions, the system defaults is overriden, and the appearance of a graphical objects is altered. @syntax Changing a variable for only one object is commonly achieved with @code{\once}: @example \once \property @var{context}.@var{grobname} \override @var{symbol} = @var{value} @end example Here @var{symbol} is a Scheme expression of symbol type, @var{context} and @var{grobname} is a string and @var{value} is a Scheme expression. This command applies a setting only during one moment in the score. In the following example, only one @internalsref{Stem} object is changed from its original setting: @lilypond[verbatim, fragment, relative=1] c4 \once \property Voice.Stem \set #'thickness = #4 c4 c4 @end lilypond @cindex @code{\once} For changing more objects, the same command, without @code{\once} can be used. @example \property @var{context}.@var{grobname} \override @var{symbol} = @var{value} @end example This command adds @code{@var{symbol} = @var{value}} to the definition of @var{grobname} in the context @var{context}, and this definition stays in place until it is removed. An existing definition may be removed by the following command @c @example \property @var{context}.@var{grobname} \revert @var{symbol} @end example @c All @code{\override} and @code{\revert} commands should be balanced. The @code{\set} shorthand, performs a revert followed by an override, and is often more convenient to use @example \property @var{context}.@var{grobname} \set @var{symbol} = @var{value} @end example Some examples: @lilypond[verbatim,quote] c'4 \property Voice.Stem \override #'thickness = #4.0 c'4 c'4 \property Voice.Stem \revert #'thickness c'4 @end lilypond The following example gives exactly the same result as the previous one (assuming the system default for stem thickness is 1.3). @c @lilypond[verbatim,quote] c'4 \property Voice.Stem \set #'thickness = #4.0 c'4 c'4 \property Voice.Stem \set #'thickness = #1.3 c'4 @end lilypond Reverting a setting which was not set in the first place has no effect. However, if the setting was set as a system default, this may remove the default value, and this may give surprising results, including crashes. In other words, @code{\override} and @code{\revert} must be carefully balanced. These are examples of correct nesting of @code{\override}, @code{\set}, @code{\revert}. A clumsy but correct form: @example \override \revert \override \revert \override \revert @end example Shorter version of the same: @example \override \set \set \revert @end example A short form, using only @code{\set}. This requires you to know the default value: @example \set \set \set \set @var{to default value} @end example If there is no default (i.e. by default, the object property is unset), then you can use @example \set \set \set \revert @end example For the digirati, the object description is an Scheme association list. Since a Scheme list is a singly linked list, we can treat it as a stack, and @code{\override} and @code{\revert} are push and pop operations. The association list is stored in a normal context property, hence @example \property Voice.NoteHead = #'() @end example will effectively erase @internalsref{NoteHead}s from the current @internalsref{Voice}. However, this mechanism is not guaranteed to work, and may cause crashes or other anomalous behavior. @seealso @internalsref{OverrideProperty}, @internalsref{RevertProperty}, @internalsref{PropertySet}, @internalsref{backend properties}, @internalsref{All Graphical Objects}. @refbugs The backend is not very strict in type-checking object properties. Cyclic references in @var{value} cause hangs and/or crashes. Similarly, reverting properties that are system defaults may also lead to crashes. @node Applyoutput @subsection Applyoutput The most versatile way of tuning object is @code{\applyoutput}. Its syntax is @example \applyoutput @var{proc} @end example where @var{proc} is a Scheme function, taking four arguments. When interpreted, the function @var{proc} is called for every grob found in the context, with the following arguments: @itemize @bullet @item the grob itself @item the context where the grob was created @item the context where @code{\applyoutput} is processed. @end itemize In addition, the cause of the grob, i.e. the music expression or object that was responsible for creating the object, is in the object property @code{cause}. For example, for a note head, this is a @internalsref{NoteHead} event, and for a @internalsref{Stem} object, this is a @internalsref{NoteHead} object. @node Outputproperty @subsection Outputproperty @cindex \outputproperty Another way of tuning objects is the more arcane @code{\outputproperty} feature. The syntax is as follows: @example \outputproperty @var{predicate} @var{symbol} = @var{value} @end example Here @code{predicate} is a Scheme function taking an object argument, and returning a boolean. This statement is processed by the @code{Output_property_engraver}. It instructs the engraver to feed all objects that it sees to @var{predicate}. Whenever the predicate returns true, the object property @var{symbol} will be set to @var{value}. You will need to combine this statement with @code{\context} to select the appropriate context to apply this to. @inputfileref{input/regression,output-property.ly} shows an example of the use of @code{\outputproperty}. @refbugs If possible, avoid this feature: the semantics are not very clean, and the syntax and semantics are up for rewrite. @node Font selection @subsection Font selection The most common thing to change about the appearance of fonts is their size. The font size of any context can be easily changed by setting the @code{fontSize} property for that context: @c @lilypond[fragment,relative=1,verbatim,quote] c4 c4 \property Voice.fontSize = #-1 f4 g4 @end lilypond This command will set @code{font-relative-size} (see below), and does not change the size of variable symbols, such as beams or slurs. You can use this command to get smaller symbol for cue notes, but that involves some more subtleties. An elaborate example of those is in @inputfileref{input/test,cue-notes.ly}. @cindex magnification The size of the font may be scaled with the object property @code{font-magnification}. For example, @code{2.0} blows up all letters by a factor 2 in both directions. @cindex cue notes @cindex font size @cindex size @cindex symbol size @cindex glyph size The font used for printing a object can be selected by setting @code{font-name}, e.g. @example \property Staff.TimeSignature \set #'font-name = #"cmr17" @end example You may use any font which is available to @TeX{}, such as foreign fonts or fonts that do not belong to the Computer Modern font family. Font selection for the standard fonts, @TeX{}'s Computer Modern fonts, can also be adjusted with a more fine-grained mechanism. By setting the object properties described below, you can select a different font. All three mechanisms work for every object that supports @code{font-interface}. @table @code @item font-family A symbol indicating the general class of the typeface. Supported are @code{roman} (Computer Modern), @code{braces} (for piano staff braces), @code{music} (the standard music font, including ancient glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}. @item font-shape A symbol indicating the shape of the font, there are typically several font shapes available for each font family. Choices are @code{italic}, @code{caps} and @code{upright} @item font-series A symbol indicating the series of the font. There are typically several font series for each font family and shape. Choices are @code{medium} and @code{bold}. @item font-relative-size A number indicating the size relative the standard size. For example, with 20pt staff height, relative size -1 corresponds to 16pt staff height, and relative size +1 corresponds to 23 pt staff height. There are small differences in design between fonts designed for different sizes, hence @code{font-relative-size} is preferred over @code{font-magnification} for changing font sizes. @item font-design-size A number indicating the design size of the font. This is a feature of the Computer Modern Font: each point size has a slightly different design. Smaller design sizes are relatively wider, which enhances readability. @end table For any of these properties, the value @code{*} (i.e. the symbol @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used to override default setting, which are always present. For example: @example \property Lyrics.LyricText \override #'font-series = #'bold \property Lyrics.LyricText \override #'font-family = #'typewriter \property Lyrics.LyricText \override #'font-shape = #'* @end example @cindex @code{font-style} @refbugs Relative size is not linked to any real size. There is no style sheet provided for other fonts besides the @TeX{} family, and the style sheet cannot be modified easily. @cindex font selection @cindex font magnification @cindex @code{font-interface} @node Text markup @subsection Text markup @cindex text markup @cindex markup text @cindex typeset text LilyPond has an internal mechanism to typeset texts. You can access it with the keyword @code{\markup}. Within markup mode, you can enter texts similar to lyrics: simply enter them, surrounded by spaces. @cindex markup @lilypond[verbatim,fragment,relative=1] c1^\markup { hello } c1_\markup { hi there } c1^\markup { hi \bold there, is \italic anyone home? } @end lilypond @cindex font switching The line of the example demonstrates font switching commands. The command only apply to the first following word; enclose a set of texts with braces to apply a command to more words. @example \markup @{ \bold @{ hi there @} @} @end example For clarity, you can also do this for single arguments, e.g. @example \markup @{ is \italic @{ anyone @} home @} @end example @cindex font size, texts The following size commands set abolute sizes @cindex \teeny @cindex \tiny @cindex \small @cindex \large @cindex \huge @table @code @item \teeny @item \tiny @item \small @item \large @item \huge @end table You can also make letter larger or smaller relative to their neighbors, with the commands @code{\larger} and @code{\smaller}. @cindex smaller @cindex larger @cindex font style, for texts @cindex \bold @cindex \dynamic @cindex \number @cindex \italic The following font change commands are defined: @table @code @item \dynamic This changes to the font used for dynamic signs. This font does not contain all characters of the alphabet, so when producing ``piu f'', the ``piu'' should be done in a different font. @item \number This changes to the font used for time signatures. It only contains numbers and a few punctuation marks. @item \italic Changes @code{font-shape} to @code{italic} @item \bold Changes @code{font-series} to @code{bold} @end table @cindex raising text @cindex lowering text @cindex moving text @cindex translating text @cindex \sub @cindex \super Raising and lowering texts can be done with @code{\super} and @code{\sub}. @lilypond[verbatim,fragment,relative=1] c1^\markup { E "=" mc \super "2" } @end lilypond @cindex \raise If you want to give an explicit amount for lowering or raising, use @code{\raise}. This command takes a Scheme valued first argument, and a markup object as second argument @c @lilypond[verbatim,fragment,relative=1,quote] c1^\markup { C \small \raise #1.0 \bold { "9/7+" }} @end lilypond The argument to @code{\raise} is the vertical displacement amount, measured in (global) staff spaces. Other commands taking single arguments include @table @code @item \bracket, \hbracket Bracket the argument markup with normal and horizontal brackets respectively. @item \musicglyph @cindex \musicglyph This is converted to a musical symbol, e.g. @code{\musicglyph #"accidentals-0"} will select the natural sign from the music font. See @ref{The Feta font} for a complete listing of the possible glyphs. @item \char This produces a single character, e.g. @code{\char #65} produces the letter 'A'. @item \hspace #@var{amount} @cindex \hspace This produces a invisible object taking horizontal space. @example \markup @{ A \hspace #2.0 B @} @end example will put extra space between A and B, on top of the space that is normally inserted before elements on a line. @item \fontsize #@var{size} @cindex \fontsize This sets the relative font size, eg. @example A \fontsize #2 @{ B C @} D @end example This will enlarge the B and the C by two steps. @item \translate #(cons @var{x} @var{y}) @cindex \translate This translates an object. Its first argument is a cons of numbers @example A \translate #(cons 2 -3) @{ B C @} D @end example This moves `B C' 2 spaces to the right, and 3 down. @item \magnify #@var{mag} @cindex \magnify This sets the font magnification for the its argument. In the following example, the middle A will be 10% larger. @example A \magnify #1.1 @{ A @} A @end example @item \override #(@var{key} . @var{value}) @cindex \override This overrides a formatting property for its argument. The argument should be a key/value pair, e.g. @example m \override #'(font-family . math) m m @end example @end table In markup mode you can compose expressions, similar to mathematical expressions, XML documents and music expressions. The braces group notes into horizontal lines. Other types of lists also exist: you can stack expressions grouped with @code{<<}, and @code{>>} vertically with the command @code{\column}. Similarly, @code{\center} aligns texts by their center lines. @lilypond[verbatim,fragment,relative=1] c1^\markup { \column << a bbbb c >> } c1^\markup { \center << a bbbb c >> } c1^\markup { \line << a b c >> } @end lilypond The markup mechanism is extensible. Refer to @file{scm/new-markup.scm} for more information on extending the markup mode. @seealso @internalsref{Markup functions}, @file{scm/new-markup.scm} @refbugs @cindex kerning Text layout is ultimately done by @TeX{}, which does kerning of letters. LilyPond does not account for kerning, so texts will be spaced slightly too wide. Syntax errors for markup mode are confusing. @node Global layout @section Global layout The global layout determined by three factors: the page layout, the line breaks and the spacing. These all influence each other. The choice of spacing determines how densely each system of music is set, which influences where line breaks breaks are chosen, and thus ultimately how many pages a piece of music takes. In this section, the algorithm for spacing music is explained, and how spacing can be tuned. Globally spoken, this procedure happens in three steps: first, flexible distances (``springs'') are chosen, based on durations. All possible line breaking combination are tried, and the one with the best results---a layout that has uniform density and requires as little stretching or cramping as possible---is chosen. When the score is processed by @TeX{}, each page is filled with systems, and page breaks are chosen whenever the page gets full. @menu * Vertical spacing:: * Horizontal spacing:: * Font Size:: * Line breaking:: * Page layout:: @end menu @node Vertical spacing @subsection Vertical spacing @cindex vertical spacing @cindex distance between staves @cindex staff distance @cindex between staves, distance @cindex staffs per page The height of each system is determined automatically by lilypond, to keep systems from bumping into each other, some minimum distances are set. By changing these, you can put staves closer together, and thus put more systems onto one page. Normally staves are stacked vertically. To make staves maintain a distance, their vertical size is padded. This is done with the property @code{minimumVerticalExtent}. It takes a pair of numbers, so if you want to make it smaller from its, then you could set @example \property Staff.minimumVerticalExtent = #'(-4 . 4) @end example This sets the vertical size of the current staff to 4 staff-space on either side of the center staff line. The argument of @code{minimumVerticalExtent} is interpreted as an interval, where the center line is the 0, so the first number is generally negative. The staff can be made larger at the bottom by setting it to @code{(-6 . 4)}. The piano staves are handled a little differently: to make cross-staff beaming work correctly, it necessary that the distance between staves is fixed beforehand. This is also done with a @internalsref{VerticalAlignment} object, created in @internalsref{PianoStaff}. In this object the distance between the staves is fixed by setting @code{forced-distance}. If you want to override this, use a @code{\translator} block as follows: @example \translator @{ \PianoStaffContext VerticalAlignment \override #'forced-distance = #9 @} @end example This would bring the staves together at a distance of 9 staff spaces, measured from the center line of each staff. @seealso Vertical aligment of staves is handled by the @internalsref{VerticalAlignment} object. @node Horizontal spacing @subsection Horizontal Spacing The spacing engine translates differences in durations into stretchable distances (``springs'') of differing lengths. Longer durations get more space, shorter durations get less. The shortest durations get a fixed amount of space (which is controlled by @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object). The longer the duration, the more space it gets: doubling a duration adds a fixed amount (this amount is controlled by @code{spacing-increment}) of space to the note. For example, the following piece contains lots of half, quarter and 8th notes, the eighth note is followed by 1 note head width (NHW). The quarter note is followed by 2 NHW, the half by 3 NHW, etc. @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4 @end lilypond Normally, @code{shortest-duration-space} is set to 1.2, which is the width of a note head, and @code{shortest-duration-space} is set to 2.0, meaning that the shortest note gets 2 NHW (2 times @code{shortest-duration-space}) of space. For normal notes, this space is always counted from the left edge of the symbol, so the shortest notes are generally followed by one NHW of space. If one would follow the above procedure exactly, then adding a single 32th note to a score that uses 8th and 16th notes, would widen up the entire score a lot. The shortest note is no longer a 16th, but a 32nd, thus adding 2 noteheads of space to every note. To prevent this, the shortest duration for spacing is not the shortest note in the score, but the most commonly found shortest note. Notes that are even shorter this are followed by a space that is proportonial to their duration relative to the common shortest note. So if we were to add only a few 16th notes to the example above, they would be followed by half a NHW: @lilypond[fragment, verbatim, relative=2] c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4 @end lilypond The most common shortest duration is determined as follows: in every measure, the shortest duration is determined. The most common short duration, is taken as the basis for the spacing, with the stipulation that this shortest duration should always be equal to or shorter than 1/8th note. The shortest duration is printed when you run lilypond with @code{--verbose}. These durations may also be customized. If you set the @code{common-shortest-duration} in @internalsref{SpacingSpanner}, then this sets the base duration for spacing. The maximum duration for this base (normally 1/8th), is set through @code{base-shortest-duration}. @cindex @code{common-shortest-duration} @cindex @code{base-shortest-duration} @cindex @code{stem-spacing-correction} @cindex @code{spacing} In the introduction it was explained that stem directions influence spacing. This is controlled with @code{stem-spacing-correction} property in @internalsref{NoteSpacing}, which are generated for every @internalsref{Voice} context. The @code{StaffSpacing} object (generated at @internalsref{Staff} context) contains the same property for controlling the stem/barline spacing. The following example shows these corrections, once with default settings, and once with exaggerated corrections. @lilypond \score { \notes { c'4 e''4 e'4 b'4 | b'4 e''4 b'4 e''4| \property Staff.NoteSpacing \override #'stem-spacing-correction = #1.5 \property Staff.StaffSpacing \override #'stem-spacing-correction = #1.5 c'4 e''4 e'4 b'4 | b'4 e''4 b'4 e''4| } \paper { raggedright = ##t } } @end lilypond @cindex SpacingSpanner, overriding properties Properties of the @internalsref{SpacingSpanner} must be overriden from the @code{\paper} block, since the @internalsref{SpacingSpanner} is created before any @code{\property} statements are interpreted. @example \paper @{ \translator @{ \ScoreContext SpacingSpanner \override #'spacing-increment = #3.0 @} @} @end example @seealso @internalsref{SpacingSpanner}, @internalsref{NoteSpacing}, @internalsref{StaffSpacing}, @internalsref{SeparationItem}, @internalsref{SeparatingGroupSpanner}. @refbugs Spacing is determined on a score wide basis. If you have a score that changes its character (measured in durations) halfway during the score, the part containing the longer durations will be spaced too widely. There is no convenient mechanism to manually override spacing. @node Font Size @subsection Font size @cindex font size, setting @cindex staff size, setting @cindex @code{paper} file The Feta font provides musical symbols at seven different sizes. These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and 26 point. The point size of a font is the height of the corresponding staff (excluding line thicknesses). Definitions for these sizes are the files @file{paperSZ.ly}, where @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of these files, the variables @code{paperEleven}, @code{paperThirteen}, @code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix} are defined respectively. The default @code{\paper} block is also set. These files should be imported at toplevel, i.e. @example \include "paper26.ly" \score @{ ... @} @end example The font definitions are generated using a Scheme function. For more details, see the file @file{scm/font.scm}. @node Line breaking @subsection Line breaking @cindex line breaks @cindex breaking lines Line breaks are normally computed automatically. They are chosen such that lines look neither cramped nor loose, and that consecutive lines have similar density. Occasionally you might want to override the automatic breaks; you can do this by specifying @code{\break}. This will force a line break at this point. Line breaks can only occur at places where there are bar lines. If you want to have a line break where there is no bar line, you can force an invisible bar line by entering @code{\bar ""}. Similarly, @code{\noBreak} forbids a line break at a point. @cindex regular line breaks @cindex four bar music. If you want linebreaks at regular intervals, you can use the following: @example < \repeat unfold 7 @{ s1 * 4 \break @} @emph{the real music} > @end example This makes the following 28 measures (assuming 4/4 time) be broken every 4 measures. @seealso @internalsref{BreakEvent} @node Page layout @subsection Page layout @cindex page breaks @cindex breaking pages @cindex @code{indent} @cindex @code{linewidth} The most basic settings influencing the spacing are @code{indent} and @code{linewidth}. They are set in the @code{\paper} block. They control the indentation of the first line of music, and the lengths of the lines. If @code{raggedright} is set to true in the @code{\paper} block, then the lines are justified at their natural length. This useful for short fragments, and for checking how tight the natural spacing is. @cindex page layout @cindex vertical spacing The page layout process happens outside the LilyPond formatting engine: variables controlling page layout are passed to the output, and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds to the following variables in the @code{\paper} block. The variable @code{textheight} sets the total height of the music on each page. The spacing between systems is controlled with @code{interscoreline}, its default is 16pt. The distance between the score lines will stretch in order to fill the full page @code{interscorelinefill} is set to a positive number. In that case @code{interscoreline} specifies the minimum spacing. @cindex @code{textheight} @cindex @code{interscoreline} @cindex @code{interscorelinefill} If the variable @code{lastpagefill} is defined, @c fixme: this should only be done if lastpagefill == #t systems are evenly distributed vertically on the last page. This might produce ugly results in case there are not enough systems on the last page. The @command{lilypond-book} command ignores @code{lastpagefill}. See @ref{lilypond-book manual} for more information. @cindex @code{lastpagefill} Page breaks are normally computed by @TeX{}, so they are not under direct control of LilyPond. However, you can insert a commands into the @file{.tex} output to instruct @TeX{} where to break pages. This is done by setting the @code{between-systems-strings} on the @internalsref{NonMusicalPaperColumn} where the system is broken. An example is shown in @inputfileref{input/regression,between-systems.ly}. @cindex paper size @cindex page size @cindex @code{papersize} To change the paper size, you must first set the @code{papersize} paper variable variable. Set it to the strings @code{a4}, @code{letter}, or @code{legal}. After this specification, you must set the font as described above. If you want the default font, then use the 20 point font. @example \paper@{ papersize = "a4" @} \include "paper16.ly" @end example The file @code{paper16.ly} will now include a file named @file{a4.ly}, which will set the paper variables @code{hsize} and @code{vsize} (used by Lilypond and @code{ly2dvi}) @seealso @ref{Invoking ly2dvi}, @inputfileref{input/regression,between-systems.ly}, @internalsref{NonMusicalPaperColumn}. @refbugs There is no concept of page breaking, which makes it difficult to choose sensible page breaks in multi-page pieces. @node Sound @section Sound @cindex Sound Entered music can also be converted to MIDI output. The performance is good enough for proof-hearing the music for errors. Ties, dynamics and tempo changes are interpreted. Dynamic marks, crescendi and decrescendi translate into MIDI volume levels. Dynamic marks translate to a fixed fraction of the available MIDI volume range, crescendi and decrescendi make the volume vary linearly between their two extremities. The fractions be adjusted by @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context. For each type of MIDI instrument, a volume range can be defined. This gives you basic equalizer control, which can enhance the quality of the MIDI output remarkably. The equalizer can be controlled by setting @code{instrumentEqualizer}. @refbugs Many musically interesting effects, such as swing, articulation, slurring, etc., are not translated to MIDI. @menu * MIDI block:: * MIDI instrument names:: @end menu @node MIDI block @subsection MIDI block @cindex MIDI block The MIDI block is analogous to the paper block, but it is somewhat simpler. The @code{\midi} block can contain: @cindex MIDI block @itemize @bullet @item a @code{\tempo} definition @item context definitions @end itemize Assignments in the @code{\midi} block are not allowed. @cindex context definition Context definitions follow precisely the same syntax as within the \paper block. Translation modules for sound are called performers. The contexts for MIDI output are defined in @file{ly/performer-init.ly}. @node MIDI instrument names @subsection MIDI instrument names @cindex instrument names @cindex @code{Staff.midiInstrument} @cindex @code{Staff.instrument} The MIDI instrument name is set by the @code{Staff.midiInstrument} property or, if that property is not set, the @code{Staff.instrument} property. The instrument name should be chosen from the list in @ref{MIDI instruments}. @refbugs If the selected string does not exactly match, then LilyPond uses the default (Grand Piano). It is not possible to select an instrument by number.