@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 FIXME: singular vs. plural: Beams/Beam @macro refbugs @strong{BUGS} @end macro @c .{Reference Manual} @node Reference Manual @chapter Reference Manual @html @end html This document describes GNU LilyPond and its input format. The last revision of this document was made for LilyPond 1.4.1. It supposes a passing familiarity with how LilyPond input works. New users are encouraged to study the tutorial first. @menu * Note entry:: * Easier music entry:: * Staff notation:: * Polyphony:: * Beaming:: * Accidentals:: * Expressive marks:: * Ornaments:: * Repeats:: * Rhythmic music:: * Piano music:: * Tablatures:: * Chords:: * Writing parts:: * Ancient notation :: * Tuning output:: * Global layout:: * Sound:: @end menu @c FIXME: Note entry vs Music entry at top level menu is confusing. @c . {Note entry} @node Note entry @section Note entry @cindex Note entry The most basic forms of music are notes. Notes on their own don't form valid input, but for the sake of brevity we omit @code{\score} blocks and @code{\paper} declarations. @menu * Notes:: * Pitches:: * Chromatic alterations:: * Rests:: * Skips:: * Durations:: * Ties:: * Automatic note splitting :: * Tuplets:: * Easy Notation note heads :: @end menu @c . {Notes} @node Notes @subsection Notes A note is printed by specifying its pitch, and then its duration. @lilypond[fragment,verbatim] cis'4 d'8 e'16 c'16 @end lilypond @c . {Pitches} @node Pitches @subsection Pitches @cindex Pitch names @cindex Note specification @cindex pitches @cindex entering notes The verbose syntax for pitch specification is @cindex @code{\pitch} @example \pitch @var{scmpitch} @end example @var{scmpitch} is a pitch scheme object. In Note and Chord mode, pitches may be designated by names. The default names are the Dutch note names. The notes are specified by the letters @code{a} through @code{g} (where the octave is formed by 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. @cindex note names, Dutch In 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}. @code{aes} and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but both forms are accepted. LilyPond has predefined sets of note names for various other languages. To use them, simply include the language specific init file. For example: @code{\include "english.ly"}. The available language files and the names they define are: @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 @node Chromatic alterations @subsection Chromatic alterations Normally, accidentals are printed automatically, but you may force accidentals in the following ways: 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 i.e., an accidental within parentheses can be obtained by adding the question mark `@code{?}' after the pitch. The automatic production of accidentals can be tuned in many ways. Refer to @ref{Accidentals} for more information. @c . {Rests} @node Rests @subsection Rests @cindex Rests A rest is entered like a note, with note name `@code{r}': @lilypond[singleline,verbatim] r1 r2 r4 r8 @end lilypond Whole bar rests centered in the bar are specified using @code{R}, see @ref{Multi measure rests}. See also @seeinternals{Rest}. For polyphonic music, it can be convenient to specify the rest position directly. You can do that by entering a note, with the keyword @code{\rest} appended, e.g. Rest collisions will leave these rests alone. @lilypond[singleline,verbatim] a'4\rest d'4\rest @end lilypond @c . {Skips} @c FIXME: naming. @node Skips @subsection Skips @cindex Skip @cindex Invisible rest @cindex Space note An invisible rest, or 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, and it is only available in Note mode and Chord mode. @c FIXME: in lyrics mode, we have " " and _ In Lyrics mode, you can use `@code{" "}' and `@code{_}': @lilypond[singleline,verbatim] < \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di } \notes\relative c'' { a2 a4 a a2 a4 a } > @end lilypond The unabbreviated `@code{\skip} @var{duration}' also works outside of note mode: @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 a empty musical placeholder. It does not produce any output, not even transparent output. @c . {Durations} @node Durations @subsection Durations @cindex duration @cindex @code{\duration} In Note, Chord, and Lyrics mode, durations may be designated by numbers and dots: durations are entered as their reciprocal values. For notes longer than a whole you must use identifiers. @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[] \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 previous duration entered. At the start of parsing a quarter note is assumed. The duration can be followed by dots (`@code{.}') to obtain dotted note lengths. @cindex @code{.} @lilypond[fragment,verbatim,center] 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} by 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. Durations can also be produced through GUILE extension mechanism. @lilypond[verbatim,fragment] c\duration #(make-duration 2 1) @end lilypond @refbugs Dot placement for chords is not perfect. In some cases, dots overlap: @lilypond[] \context Voice { } @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. A tie is entered with @code{~}. @lilypond[fragment,verbatim,center] e' ~ e' ~ @end lilypond When ties are used with chords, all note heads whose pitches match are connected. Ties are indicated using the tilde symbol `@code{~}'. If you try to tie together chords which have no common pitches then no ties will be created. If you want less ties created for a chord, you can set @code{Voice.sparseTies} to true. In this case, a single tie is used for every tied chord. @lilypond[fragment,verbatim,center] \property Voice.sparseTies = ##t ~ @end lilypond 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] \time 3/4 c'2. c'2 ~ c'4 @end lilypond Ties should not be confused with slurs, which indicate articulation, and phrasing slurs, which indicate musical phrasing. See also @seeinternals{Tie}. @refbugs At present, the tie is represented as a separate event, temporally located in between the notes. Tieing only a subset of the note heads of a chord is not supported in a simple way. It can be achieved by moving the tie-engraver into the Thread context and turning on and off ties per Thread. Switching staffs when a tie is active will not work. @node Automatic note splitting @subsection Automatic note splitting @c FIXME: This subsection doesn't belong in @ref{Note entry}. There is a facility for automatically converting long notes to tied notes. This is done by replacing the @code{Note_heads_engraver} by the @code{Completion_heads_engraver}. @lilypond[verbatim,center] \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 Tuplets @subsection Tuplets @cindex tuplets @cindex triplets @cindex @code{\times} Tuplets are made out of a music expression by multiplying all duration 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 print, 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, thus saving typing work. @lilypond[fragment, relative, singleline, verbatim] \property Voice.tupletSpannerDuration = #(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 you set it to the Scheme function @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den} instead. @cindex @code{tupletNumberFormatFunction} @cindex tuplet formatting See also @seeinternals{TupletBracket}. @refbugs Nested tuplets are not formatted automatically. In this case, outer tuplet brackets should be moved automatically. @node Easy Notation note heads @subsection Easy Notation note heads @cindex easy notation @cindex Hal Leonard A entirely different type of note head is the "easyplay" note head: a note head that includes a note name. It is used in some publications by Hal-Leonard Inc. music publishers. @lilypond[singleline,verbatim,26pt] \score { \notes { c'2 e'4 f' | g'1 } \paper { \translator { \EasyNotation } } } @end lilypond Note that @code{EasyNotation} overrides a @internalsref{Score} context. You probably will want to print it with magnification or a large font size to make it more readable. @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 @menu * Graphical interfaces:: * Relative octaves:: * Bar check:: * Point and click:: * Skipping corrected music:: @end menu When entering music with LilyPond, it is easy to introduce errors. This section deals with tricks and features that help you enter music, and find and correct mistakes. @node Graphical interfaces @subsection Graphical interfaces @cindex GUI @cindex graphical interface @cindex sequencer @cindex RoseGarden @cindex Denemo @cindex NoteEdit @cindex MIDI One way to avoid entering notes using the keyboard is to use a graphical user interface. The following programs are known to have a lilypond export option: @itemize @bullet @item Denemo was once intended as a LilyPond graphical user interface. It run on Gnome/GTK. @quotation @uref{http://denemo.sourceforge.net/} @end quotation @item Noteedit, a graphical score editor that runs under KDE/Qt. @quotation @uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html,} @end quotation @item RoseGarden was once the inspiration for naming LilyPond. Nowadays it has been rewritten from scratch and supports LilyPond export as of version 0.1.6. @quotation @uref{http://rosegarden.sf.net/} @end quotation @end itemize Another option is to enter the music using your favorite MIDI sequencer, and then import it using midi2ly. midi2ly is described in @ref{Invoking midi2ly}. @c . {Relative} @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. To prevent these errors, LilyPond features octave entry. @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}. @c . {Bar check} @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 doesn't fall at a measure boundary. This can help you find errors in the input. Depending on the value of @code{barCheckSynchronize}, the beginning of the measure will be relocated, so this can also be used to shorten measures. 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 most often 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} (See @ref{Skipping corrected music})). @c . {Point and click} @node Point and click @subsection Point and click @cindex poind and click Point and click lets you find notes in the input by clicking on them in the Xdvi window. This makes it very easy to find input that causes some error in the sheet music. To use it, you need the following software @itemize @bullet @item A dvi viewer that supports src specials. @itemize @bullet @item Xdvi, version 22.36 or newer. Available from @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}. Note that most @TeX{} distributions ship with xdvik, which is always a few versions behind the official Xdvi. To find out which xdvi you are running, try @code{xdvi -version} or @code{xdvi.bin -version}. @item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or newer. Enable option @emph{Inverse search} in the menu @emph{Settings}. @cindex Xdvi @cindex KDVI @cindex KDE @end itemize @item An editor with a client/server interface (or a lightweight GUI editor). @cindex editor @itemize @bullet @item Emacs. Emacs is an extensible text-editor. It is available from @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use column location. @c move this elsewhere? LilyPond also comes with support files for emacs: lilypond-mode for emacs provides indentation, syntax coloring and handy compile short-cuts. If lilypond-mode is not installed on your platform, then refer to the installation instructions for more information @cindex emacs @cindex emacs mode @cindex lilypond-mode for emacs @cindex syntax coloring @item XEmacs. Xemacs is very similar to emacs. @cindex XEmacs @item NEdit. NEdit runs under Windows, and Unix. It is available from @uref{http://www.nedit.org}. @cindex NEdit @item GVim. GVim is a GUI variant of VIM, the popular VI clone. It is available from @uref{http://www.vim.org}. @cindex GVim @cindex Vim @end itemize @end itemize Xdvi must be configured to find the @TeX{} fonts and music fonts. Refer to the Xdvi documentation for more information. To use point-and-click, add one of these lines to the top of your .ly file. @example #(set-point-and-click! 'line) @end example @cindex line-location When viewing, Control-Mousebutton 1 will take you to the originating spot in the @file{.ly} file. Control-Mousebutton 2 will show all clickable boxes. If you correct large files with point-and-click, be sure to start correcting at the end of the file. When you start at the top, and insert one line, all following locations will be off by a line. @cindex Emacs For using point-and-click with emacs, add the following In your emacs startup file (usually @file{~/.emacs}), @example (server-start) @end example Make sure that the environment variable @var{XEDITOR} is set to @example emacsclient --no-wait +%l %f @end example @cindex @var{XEDITOR} If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f} For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or use this argument with xdvi's @code{-editor} option. @cindex NEdit For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or use this argument with xdvi's @code{-editor} option. If can also make your editor jump to the exact location of the note you clicked. This is only supported on Emacs. Users of version 20 must apply the patch @file{emacsclient.patch}. Users of version 21 must apply @file{server.el.patch} (version 21.2 and earlier). At the top of the @code{ly} file, replace the @code{set!} line with the following line, @example #(set-point-and-click! 'line-column) @end example @cindex line-colomn-location and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}. @refbugs When you convert the @TeX{} file to PostScript using @code{dvips}, it will complain about not finding @code{src:X:Y} files. These complaints are harmless, and can be ignored. @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. You can use this to skip over the parts of a score that you have already 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 Staff notation @section Staff notation This section deals with music notation that occurs on staff level, such as keys, clefs and time signatures. @cindex Staff notation @menu * Staff symbol:: * Key signature:: * Clef:: * 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 The lines of the staff symbol are formed by the @internalsref{StaffSymbol} grob. This grob is created at the moment that their context is created. You can not change the appearance of the staff symbol by using @code{\override} or @code{\set}. At the moment that @code{\property Staff} is interpreted, a Staff context is made, and the StaffSymbol is created before any @code{\override} is effective. You can deal with this either overriding properties in a @code{\translator} definition, or by using @code{\outputproperty}. @refbugs If you end a staff half way a piece, the staff symbol may not end exactly on the barline. @c . {Key} @node Key signature @subsection Key signature @cindex Key @cindex @code{\key} 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 @code{Staff.keySignature}. Non-standard key signatures can be specified by setting this property directly. The printed signature is a @internalsref{KeySignature} grob, typically created in @internalsref{Staff} context. @cindex @code{keySignature} @c . {Clef} @node Clef @subsection Clef @cindex @code{\clef} 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. Note that you have to enclose @var{clefname} in quotes if you use underscores or digits in the name. For example, @example \clef "G_8" @end example The grob for this symbol is @internalsref{Clef}. 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 created when any of these properties are changed. @c . {Time signature} @node Time signature @subsection Time signature @cindex Time signature @cindex meter @cindex @code{\time} 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's printed can be customized with the @code{style} property. Setting it to @code{#'()} uses fraction style for 4/4 and 2/2 time. The grob for this symbol is @internalsref{TimeSignature}. There are many more options for its layout. They are selected through the @code{style} grob property. See @file{input/test/time.ly} for more examples. This command sets the property @code{timeSignatureFraction}, @code{beatLength} and @code{measureLength}. The property @code{timeSignatureFraction} determine where bar lines should be inserted, and how automatic beams should be generated. Changing the value of @code{timeSignatureFraction} also causes a time signature symbol to be printed. @c . {Partial} @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 4* 5/16 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 Score.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. The commands @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the timing information: @lilypond[fragment,relative,singleline,verbatim] c'2. \cadenzaOn c2 \cadenzaOff c4 c4 c4 @end lilypond The property @code{Score.timing} can be used to switch off this automatic timing @c . {Bar lines} @node Bar lines @subsection Bar lines @cindex Bar lines @cindex @code{\bar} @cindex measure lines @cindex repeat bars Bar lines are inserted automatically, but if you need a special type of barline, you can force one using the @code{\bar} command: @lilypond[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 You are encouraged to use @code{\repeat} for repetitions. See @ref{Repeats}. In scores with many staffs, the barlines are automatically placed at top level, and they are connected between different staffs 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 grobs that are created at @internalsref{Staff} level. The name is @internalsref{BarLine}. 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 Bar_line_engraver @cindex whichBar @cindex repeatCommands @cindex defaultBarType @c . {Polyphony} @node Polyphony @section Polyphony @cindex polyphony The easiest way to enter such 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 (make a chord of 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. Sometimes, it is necessary to instantiate these contexts by hand: For Instantiate a separate Voice context for each part, and use @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 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions ties, slurs and stems, and set shift directions. If you want more than four voices, you can also manually set horizontal shifts and stem directions, as is shown in the following example: @lilypond[fragment, verbatim] \context Staff \notes\relative c''< \context Voice=one { \shiftOff \stemUp e4 } \context Voice=two { \shiftOn \stemUp cis } \context Voice=three { \shiftOnn \stemUp ais } \context Voice=four { \shiftOnnn \stemUp fis } > @end lilypond Normally, note heads with a different number of dots are not merged, but if you set the grob property @code{merge-differently-dotted}, they are: @lilypond[verbatim,fragment,singleline] \context Voice < { g'8 g'8 \property Staff.NoteCollision \override #'merge-differently-dotted = ##t g'8 g'8 } \\ { [g'8. f16] [g'8. f'16] } > @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 See also @internalsref{NoteCollision} and @internalsref{RestCollision} @refbugs Resolving collisions is a very intricate subject, and LilyPond only handles a few situations. When it can not cope, you are advised to use @code{force-hshift} of the @internalsref{NoteColumn} grob and pitched rests 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 If you're not satisfied with the automatic beaming, you can enter the beams explicitly. If you have beaming patterns that differ from the defaults, you can also set the patterns for automatic beamer. See also @internalsref{Beam}. @c . {Manual beams} @cindex Automatic beams @subsection Manual beams @cindex beams, manual @cindex @code{]} @cindex @code{[} In some cases it may be necessary to override LilyPond's 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 a @code{[} before the first beamed note and a @code{]} after the last note: @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 you set either property, 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. @example [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 = #(make-moment 1 8) [c32 c c c c c c c c c c c c c c c] @end example @lilypond[] \score { \notes \relative c' { [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 = #(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 between two adjacent beamed notes is detected. This behavior can be tuned through the grob property @code{auto-knee-gap}. @cindex beams, kneed @cindex kneed beams @cindex auto-knee-gap @cindex hara kiri @c TODO -> why this ref? Document? @cindex @code{neutral-direction} @refbugs Auto knee beams can not be used together with hara kiri staffs. [TODO from bugs] The Automatic beamer does not put @strong{unfinished} beams on the last notes of a score. Formatting of ties is a difficult subject. LilyPond often does not give optimal results. @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 @c . {Automatic beams} @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 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 you want automatic beams to end on every quarter note, you can use the following: @example \property Voice.autoBeamSettings \override #'(end * * * *) = #(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{(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 * * * *) = #(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). You can also restrict rules 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 you want a rule to apply to certain types of beams, you can 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), you would use @code{(end 1 32 * *)}. @c not true @c Automatic beams can not be put on the last note in a score. 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'll have to specify manual beams to get: @lilypond[singleline,fragment,relative,noverbatim] \property Voice.autoBeamSettings \override #'(end * * * *) = #(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 macros:: * Defining your own accidental typesettings:: @end menu @node Using the predefined accidental macros @subsection Using the predefined accidental macros The constructs for describing the accidental typesetting rules are quite hairy, so non-experts should stick to the macros defined in @file{ly/property-init.ly}. @cindex @file{property-init.ly} The macros operate on the ``Current'' context (see @ref{Context properties}). This means that the macros shuold normally be invoked right after the creation of the context in which the accidental typesetting described by the macro is to take effect. I.e. if you want to use piano-accidentals in a pianostaff then you 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 macros 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} The normal behaviour is to remember the accidentals on Staff-level. This macro, however, typesets accidentals individually for each voice. Apart from that the rule is similar to @code{\defaultAccidentals}. Warning: 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] \context Staff < \voiceAccidentals \context Voice=va { \voiceOne es g } \context Voice=vb { \voiceTwo 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 should be readable also by one musician/conductor then you should use @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries} instead. @item \modernAccidentals @cindex @code{\modernAccidentals} This rule should correspond to the common practice in the 20th century. The rule is a bit 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 @item \modernVoiceAccidentals @cindex @code{\modernVoiceAccidentals} Multivoice accidentals to be read both by musicians playing one voice and musicians playing all voices. Accidentals are typeset for each voice, but they ARE cancelled across voices in the same @internalsref{Staff}. @item \modernVoiceCautionaries @cindex @code{\modernVoiceCautionaries} The same as @code{\modernVoiceAccidentals}, but with the extra accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset as cautionaries. Notice that even though all accidentals typeset by @code{\defaultAccidentals} ARE typeset by this macro 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 cationaries. @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 Defining your own accidental typesettings @subsection Defining your own accidental typesettings 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 idea of the algorithm is to try several different rules and then use the rule that gives the highest number of accidentals. Each rule cosists of @table @asis @item Context: In which context is the rule applied. I.e. if context is @internalsref{Score} then all staves share accidentals, and if context is @internalsref{Staff} then all voices in the same staff share accidentals, but staves don't - like normally. @item Octavation: Whether the accidental changes all octaves or only the current octave. @item Lazyness: Over how many barlines the accidental lasts. If lazyness is @code{-1} then the accidental is forget immidiately, and if lazyness is @code{#t} then the accidental lasts forever. @end table As described in the internal documentation of @reng{Accidental_engraver}, the properties @code{autoAccidentals} and @code{autoCautionaries} contain lists of rule descriptions. Notice that the contexts must be listed from in to out - that is @internalsref{Thread} before @internalsref{Voice}, @internalsref{Voice} before @internalsref{Staff}, etc. see the macros in @file{ly/property-init.ly} for examples of how the properties are set. @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. Of course this is only a problem when you have simultainous notes which accidentals should depend on each other. Notice that the problem only occurs when using non-default accidentals - as the default accidentals only depend on other accidentals on the same staff and same pitch and hence cannot depend on other simultainous notes. 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 The only solution is to manually insert the problematic accidentals using @code{!} and @code{?}. @node Expressive marks @section Expressive marks @c . {Slurs} @menu * Slurs :: * Phrasing slurs:: * Breath marks:: * Tempo:: * Text spanners:: @end menu @node Slurs @subsection Slurs @cindex Slurs A slur indicates that notes are to be played bound or @emph{legato}. They are entered using parentheses: @lilypond[fragment,verbatim,center] f'()g'()a' [a'8 b'(] a'4 g'2 )f'4 @end lilypond See also @seeinternals{Slur}. 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 grob-property @code{attachment} of @internalsref{Slur} in @internalsref{Voice} context It's 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 @ignore Similarly, the curvature of a slur is adjusted to stay clear of note heads and stems. When that would increase the curvature too much, the slur is reverted to its default shape. The threshold for this decision is in @internalsref{Slur}'s grob-property @code{beautiful}. It is loosely related to the enclosed area between the slur and the notes. Usually, the default setting works well, but in some cases you may prefer a curved slur when LilyPond decides for a vertically moved one. You can indicate this preference by increasing the @code{beautiful} value: @lilyp ond[verbatim,singleline,relative] \stemDown \slurUp c16( a' f' a a f a, )c, c( a' f' a a f d, )c \property Voice.Slur \override #'beautiful = #5.0 c( a' f' a a f d, )c @end lilypond @end ignore @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. @ignore This is reflected by the @code{beautiful} property, which it is an arbitrary parameter in the slur formatter. Useful values can only be determined by trial and error. @end ignore @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. See also @seeinternals{PhrasingSlur}. @node Breath marks @subsection Breath marks Breath marks are entered using @code{\breathe}. See also @seeinternals{BreathingSign}. @lilypond[fragment,relative] c'4 \breathe d4 @end lilypond @c . {Tempo} @node Tempo @subsection Tempo @cindex Tempo @cindex beats per minute @cindex metronome marking Metronome settings can be entered as follows: @cindex @code{\tempo} @example \tempo @var{duration} = @var{perminute} @end example For example, @code{\tempo 4 = 76} requests output with 76 quarter notes per minute. @refbugs The tempo setting is not printed, but is only used in the MIDI output. You can trick lily into producing a metronome mark, though. Details are in @ref{Text markup}. @node Text spanners @subsection Text spanners @cindex Text spanners Some textual indications, e.g. rallentando or accelerando, often extend over many measures. This is indicated by following the text with a dotted line. You can create such texts using text spanners. The syntax is as follows: @example \spanrequest \start "text" \spanrequest \stop "text" @end example LilyPond will respond by creating a @internalsref{TextSpanner} grob (typically in @internalsref{Voice} context). The string to be printed, as well as the style is set through grob properties. An application---or rather, a hack---is to fake octavation indications. @lilypond[fragment,relative,verbatim] \relative c' { a''' b c a \property Voice.TextSpanner \set #'type = #'dotted-line \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5) \property Voice.TextSpanner \set #'edge-text = #'("8va " . "") \property Staff.centralCPosition = #-13 a\spanrequest \start "text" b c a \spanrequest \stop "text" } @end lilypond @c . {Ornaments} @node Ornaments @section Ornaments @cindex Ornaments @menu * Articulations:: * Text scripts:: * Grace notes:: * Glissando :: * Dynamics:: @end menu @c . {Articulation} @node Articulations @subsection 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 the character signifying the articulation. They are demonstrated here. @lilypond[singleline] \score { \notes \context Voice { \property Voice.TextScript \set #'font-family = #'typewriter \property Voice.TextScript \set #'font-shape = #'upright c''4-._"c-." s4 c''4--_"c-{}-" s4 c''4-+_"c-+" s4 c''4-|_"c-|" s4 c''4->_"c->" s4 c''4-^_"c-\\^{ }" s4 c''4-__"c-\_" s4 } } @end lilypond 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 @lilypond[] \score { < \property Score.LyricText \override #'font-family =#'typewriter \property Score.LyricText \override #'font-shape = #'upright \context Staff \notes { c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata c''-\stopped c''-\staccato c''-\tenuto c''-\portato c''-\upbow c''-\downbow c''^\lheel c''-\rheel c''^\ltoe c''-\rtoe c''-\turn c''-\open c''-\flageolet c''-\reverseturn c''-\trill c''-\prall c''-\mordent c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup c''-\lineprall c''-\thumb c''-\segno c''-\coda } \context Lyrics \lyrics { accent__ marcato__ staccatissimo__ fermata stopped__ staccato__ tenuto__ portato upbow downbow__ lheel__ rheel__ ltoe rtoe__ turn__ open__ flageolet reverseturn__ trill__ prall__ mordent prallprall__ prallmordent__ uprall__ downprall upmordent__ downmordent__ pralldown__ prallup__ lineprall__ thumb__ segno__ coda } > \paper { linewidth = 5.875\in indent = 0.0 } } @end lilypond @cindex fingering Fingering instructions can also be entered in this shorthand. For finger changes, use markup texts: @c @lilypond[verbatim, singleline, fragment] c'4-1 c'4-2 c'4-3 c'4-4 c^#'(finger "2-3") @end lilypond @cindex @code{\script} @cindex scripts @cindex superscript @cindex subscript See also @seeinternals{Script} and @seeinternals{Fingering}. @refbugs All of these note ornaments appear in the printed output but have no effect on the MIDI rendering of the music. Unfortunately, there is no support for adding fingering instructions or ornaments to individual note heads. Some hacks exist, though. See @file{input/test/script-horizontal.ly}. @c . {Text scripts} @node Text scripts @subsection Text scripts @cindex Text scripts In addition, 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 won't work with direct PostScript output. @c (see @ref{PostScript output}). Text scripts are created in form of @internalsref{TextScript} grobs, in @internalsref{Voice} context. @ref{Text markup} describes how to change the font or access special symbols in text scripts. @c . {Grace notes} @node Grace notes @subsection Grace notes @cindex @code{\grace} @cindex ornaments @cindex grace notes Grace notes are ornaments are written out ornaments @lilypond[relative=2,verbatim,ifragment] c4 \grace c16 c4 \grace { [c16 d16] } c4 @end lilypond In normal notation, grace notes are supposed to 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 advantage of this approach is that you can use almost any lilypond construction together with grace notes, for example slurs and clef changes may appear halfway in between grace notes: @lilypond[relative=2,verbatim,fragment] c4 \grace { [ c16 c, \clef bass c, b(] } )c4 @end lilypond The placement of these grace notes is synchronized between different staffs, using this grace timing. @lilypond[relative=2,verbatim,fragment] < \context Staff = SA { e4 \grace { c16 d e f } e4 } \context Staff = SB { c4 \grace { g8 b } c4 } > @end lilypond Unbeamed eighth notes and shorter by default have a slash through the stem. This can be controlled with grob property @code{flag-style} of @internalsref{Stem}. The change in formatting is accomplished by inserting @code{\startGraceMusic} before handling the grace notes, and @code{\stopGraceMusic} after finishing the grace notes. You can add to these definitions to globally change grace note formatting. The standard definitions are in @file{ly/grace-init.ly}. @lilypond[fragment,verbatim] \relative c'' \context Voice { \grace c8 c4 \grace { [c16 c16] } c4 \grace { \property Voice.Stem \override #'flag-style = #'() c16 \property Voice.Stem \revert #'flag-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 @refbugs Grace note synchronization can also lead to surprises. Staff notation, such as key signatures, barlines, etc. are also synchronized. Take care when you mix staffs with grace notes and staffs 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. @menu * Glissando :: * Dynamics:: @end menu @c . {Glissando} @node Glissando @subsection Glissando @cindex Glissando @cindex @code{\glissando} A glissando line can be requested by attaching a @code{\glissando} to a note: @lilypond[fragment,relative,verbatim] c'-\glissando c' @end lilypond @refbugs Printing of an additional text (such as @emph{gliss.}) must be done manually. See also @seeinternals{Glissando}. @c . {Dynamics} @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 identifier 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{\rc} (the textual reverse of @code{cr}). A decrescendo mark is started with @code{\decr} and terminated with @code{\rced}. 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{\!}. Note that @code{\!} must go before the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go after the last note. Because these marks are bound to notes, if you want several marks during one note, you have to use spacer notes. @lilypond[fragment,verbatim,center] c'' \< \! c'' d'' \decr e'' \rced < f''1 { s4 s4 \< \! s4 \> \! s4 } > @end lilypond 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 Dynamics are grobs of @internalsref{DynamicText} and @internalsref{Hairpin}. Vertical positioning of these symbols is handled by the @internalsref{DynamicLineSpanner} grob. If you want to adjust padding or vertical direction of the dynamics, you must set properties for the @internalsref{DynamicLineSpanner} grob. Predefined identifiers to set the vertical direction are \dynamicUp and \dynamicDown. @cindex direction, of dynamics @cindex @code{\dynamicDown} @cindex @code{\dynamicUp} @c . {Repeats} @node Repeats @section Repeats @cindex repeats @cindex @code{\repeat} To specify repeats, use the @code{\repeat} keyword. Since repeats should work differently when played or printed, there are a few different variants of repeats. @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. @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 @file{input/star-spangled-banner.ly}. @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 The syntax for repeats 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. 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 Folded repeats look like this: @lilypond[fragment,verbatim] c'1 \repeat fold 2 {c'4 d' e' f'} \alternative { {d'2 d'} {f' f} } @end lilypond If you don't give enough alternatives for all of the repeats, then the first alternative is assumed to be repeated often enough to equal the specified number of repeats. @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 @node Repeats and MIDI @subsection Repeats and MIDI @cindex expanding repeats For instructions on how to unfoldi repeats for MIDI output, see the example file @file{input/test/unfold-all-repeats.ly}. @refbugs Notice that 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}. Slurs or ties are also not repeated. It is possible to nest @code{\repeat}s, although this probably is only meaningful for unfolded repeats. Folded repeats offer little more over simultaneous music. @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}. @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 Repeats brackets are @internalsref{VoltaBracket} grobs. @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 Tremolo beams are @internalsref{Beam} grobs. Single stem tremolos are @internalsref{StemTremolo}. The single stem tremolo @emph{must} be entered without @code{@{} and @code{@}}. @refbugs Only powers of two and undotted notes are supported repeat counts. @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 @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 The signs are represented by these grobs: @internalsref{RepeatSlash} and @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}. @refbugs You can not nest percent repeats, e.g. by filling in the first measure with slashes, and repeating that measure with percents. @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 looks has a single staff 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:: @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. LilyPond is shipped with a bunch of scheme functions which allows you to do this fairly easily. The system is based on the general midi drum-pitches. In order to use the drum pitches you include @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme variable @code{drum-pitch-names} - which definition can be read in @file{scm/drums.scm}. You see that each piece of percussion has a full name and an abbreviated name - and you may freely select whether to refer to the full name or the abbreviation in your music definition. To typeset the music on a staff you apply the scheme 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 uses this to transform the input music by moving the pitch, changing the notehead and (optionally) adding a script: @lilypond[singleline,verbatim] \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[] \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 { \translator { \StaffContext \remove Bar_engraver \remove Time_signature_engraver minimumVerticalExtent = #'(-4.0 . 5.0) } \translator { \VoiceContext \remove Stem_engraver } } } @end lilypond Notice that the scheme supports six different toms. If you are using fewer toms then you 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 the general midi contain no rimshots we use the sidestick 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 don't 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 ,(make-pitch -1 2 0)) (snare default #f ,(make-pitch 0 1 0)) (hihat cross #f ,(make-pitch 0 5 0)) (pedalhihat xcircle "stopped" ,(make-pitch 0 5 0)) (lowtom diamond #f ,(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 instead of building your own from scratch you can append your modifications to the start of the existing list: @example #(define mydrums (append `( (bassdrum default #f ,(make-pitch -1 2 0)) (lowtom diamond #f ,(make-pitch -1 6 0)) ) drums )) @end example @c FIXME: Too many levels of headers when using subsubsections. @c Perhaps junk subsection ``Percussion staves'' @subsubsection Percussion staves with normal staves When you include @file{drumpitch-init.ly} then the default pitches are overridden so that you after the inclusion cannot use the common dutch pitch names anymore. Hence you might wan't to reinclude @file{nederlands.ly} after the drum-pattern-definitions: @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, { 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 @subsubsection 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. 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 \context Voice = up @{ \voiceOne \up @} \context Voice = down @{ \voiceTwo \down @} > \paper@{@} @} \score @{ \context Staff < \property Staff.instrument = #'drums \up \down > \midi@{@} @} @end example @refbugs This scheme is to be considered a temporary implementation. Even though the scheme will probably keep on working then the future might bring some other way of typesetting drums, and probably there will be made no great efforts in keeping things downwards compatible. @c . {Piano music} @node Piano music @section Piano music Piano music is an odd type of notation. 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 @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:: * Voice follower lines:: @end menu @c . {Automatic staff changes} @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] \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. @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"}. @c . {Pedals} @node Pedals @subsection Pedals @cindex Pedals Piano pedal instruction can be expressed using @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda}, @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}. These identifiers are shorthands for spanner commands of the types @internalsref{Sustain}, @internalsref{UnaCorda} and @internalsref{Sostenuto}: @lilypond[fragment,verbatim] c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain" @end lilypond 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 @rgrob{SustainPedal}, for example, for more information. Pedals can also be indicated by a sequence of brackets, by setting the @code{pedal-type} property of SustainPedal grobs: @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} grobs (see the detailed documentation of @rgrob{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 @c . {Arpeggio} @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 note of the chord. @lilypond[fragment,relative,verbatim] \context Voice @end lilypond When an arpeggio crosses staves in piano music, you attach an arpeggio to the chords in both staves, and set @code{PianoStaff.connectArpeggios}. @lilypond[fragment,relative,verbatim] \context PianoStaff < \property PianoStaff.connectArpeggios = ##t \context Voice = one { } \context Voice = other { \clef bass } > @end lilypond This command creates @internalsref{Arpeggio} grobs. Cross staff arpeggios are @code{PianoStaff.Arpeggio}. To add an arrow head to explicitly specify the direction of the arpeggio, you should set the arpeggio grob property @code{arpeggio-direction}. @lilypond[fragment,relative,verbatim] \context Voice { \property Voice.Arpeggio \set #'arpeggio-direction = #1 \property Voice.Arpeggio \set #'arpeggio-direction = #-1 } @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} grobs to @code{\arpeggioBracket}, and use @code{\arpeggio} statements within the chords as before. @lilypond[fragment,relative,verbatim] \context PianoStaff < \property PianoStaff.connectArpeggios = ##t \property PianoStaff.Arpeggio \override #'molecule-callback = \arpeggioBracket \context Voice = one { } \context Voice = other { \clef bass } > @end lilypond @refbugs It is not possible to mix connected arpeggios and unconnected arpeggios in one PianoStaff at the same time. @node Voice follower lines @subsection Voice follower 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 grob is @internalsref{VoiceFollower}. @node Tablatures @section Tablatures Tablature notation is used 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, by abusing the fingering system. @menu * Tablatures basic:: * Non-guitar tablatures:: * Tablature in addition to normal staff:: @end menu @node Tablatures basic @subsection Tablatures basic @cindex Tablatures basic Tablature can be typeset with Lilypond by using the @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As tablature is a recent feature in Lilypond, most of the guitar special effects such as hammer, pull, bend are not yet supported. With the @internalsref{TabStaff}, the string number associated to a note is given though the fingering mechanism, e.g. @code{c4-3} for a C quarter on the third string. The string 1 is the lowest one, and the tuning defaults to the standard guitar tuning (with 6 strings). @lilypond[fragment,verbatim] \context TabStaff < \notes { \property Staff.Stem \override #'direction = #1 a,4-2 c'-5 a-4 e'-6 e-3 c'-5 a-4 e'-6 } > @end lilypond @node Non-guitar tablatures @subsection Non-guitar tablatures @cindex Non-guitar tablatures There are many ways to customize Lilypond tablatures. First you can change the number of strings, by setting the number of lines in the @internalsref{TabStaff}. You can change the strings tuning. A string tuning is given as a Scheme list with one integer number for each string, the number being the pitch of an open string. Finally, it is possible to change the Scheme function to format the tablature note text. The default is @var{fret-number-tablature-format}, which uses the fret number, but for some instruments that may not use this notation, just create your own tablature-format function. This function takes three argument: the string number, the string tuning and the note pitch. @node Tablature in addition to normal staff @subsection Tablature in addition to normal staff @cindex Tablature in addition to normal staff It is possible to typeset both tablature and a "normal" staff, as commonly done in many parts. A common trick for that is to put the notes in a variables, and to hide the fingering information (which correspond to the string number) for the standard staff. @c FIXME @c @lily pond[verbatim] @example part = \notes @{ a,4-2 c'-5 a-4 e'-6 e-3 c'-5 a-4 e'-6 @} \score @{ \context StaffGroup < \context Staff < % Hide fingering number \property Staff.Fingering \override #'transparent = ##t \part > \context TabStaff < \property Staff.Stem \override #'direction = #1 \part > > @} @end example @c @end lilypond @c . {Chords} @node Chords @section Chords @cindex Chords LilyPond has support for both entering and printing chords. @lilypond[verbatim,singleline] twoWays = \notes \transpose 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. If you enter @code{f bes d}, it does not interpret this as an inversion. As you can see chords really are a set of pitches. They are internally stored as simultaneous music expressions. This means you can enter chords by name and print them as notes, enter them as notes and print them as chord names, or (the most common case) enter them by name, and print them as name. @menu * Chords mode:: * Printing named chords:: @end menu @c . {Chords mode} @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}. It is similar to note mode, but words are also looked up in a chord modifier table (containing @code{maj}, @code{dim}, etc). Dashes and carets are used to indicate chord additions and subtractions, so articulation scripts can not be entered in Chord mode. Throughout these examples, chords have been shifted around the staff using @code{\transpose}. @lilypond[fragment,verbatim] \transpose c'' { \chords { c1 c:3- c:7 c:8 c:9 c:9-.5+.7+ c:3-.5- } } @end lilypond @cindex @code{aug} @cindex @code{dim} @cindex @code{maj} @cindex @code{sus} The second type of modifier that may appear after the @code{:} is a named modifier. Named modifiers are listed in the file @file{chord-modifiers.ly}. The available modifiers are @code{m} and @code{min} which lower the 3rd half a step, `@code{aug}' which raises the 5th, `@code{dim}' which lowers the 5th, `@code{maj}' which adds a raised 7th, and `@code{sus}' which replaces the 5th with a 4th. @lilypond[fragment,verbatim] \transpose c'' { \chords { c1:m c:min7 c:maj c:aug c:dim c:sus } } @end lilypond Chord subtractions are used to eliminate notes from a chord. The notes to be subtracted are listed after a @code{^} character, separated by dots. @lilypond[fragment,verbatim,center] \transpose c'' { \chords { c1^3 c:7^5.3 c:8^7 } } @end lilypond @cindex @code{/} Chord inversions can be specified by appending `@code{/}' and the name of a single note to a chord. In a chord inversion, the inverted note is transposed down until it is the lowest note in the chord. If the note is not in the chord, a warning will be printed. @lilypond[fragment,verbatim,center] \transpose c''' { \chords { c1 c/e c/g c:7/e } } @end lilypond @cindex @code{/+} Bass notes can be added by `@code{/+}' and the name of a single note to a chord. This has the effect of adding the specified note to the chord, lowered by an octave, so it becomes the lowest note in the chord. @lilypond[fragment,verbatim,center] \transpose c''' { \chords { c1 c/+c c/+g c:7/+b } } @end lilypond The formal syntax for named chords is as follows: @example @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}]. @end example @var{tonic} should be the tonic note of the chord, and @var{duration} is the chord duration in the usual notation. There are two kinds of modifiers. One type is formed by @emph{chord additions}. Additions are obtained by listing intervals separated by dots. An interval is written by its number with an optional @code{+} or @code{-} to indicate raising or lowering by half a step. Chord additions have two effects: they adds the specified interval and all lower odd numbered intervals to the chord, and they may lower or raise the specified interval. @refbugs Implementation details are gory. For example @code{c:4} not only adds a fourth, but also removes the third. @c . {Printing named chords} @node Printing named chords @subsection Printing named chords @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 simultaneous music. @lilypond[verbatim,singleline] scheme = \notes { \chords {a1 b c} } \score { \notes< \context ChordNames \scheme \context Staff \transpose c'' \scheme > } @end lilypond You can make the chord changes stand out by setting @code{ChordNames.chordChanges} to true. This will only display chord names when there's 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'' \scheme > \paper{linewidth= 9.\cm} } @end lilypond LilyPond examines chords specified as lists of notes to determine a name to give the chord. LilyPond will not try to identify chord inversions or an added bass note, which may result in strange chord names when chords are entered as a list of pitches: @lilypond[verbatim,center,singleline] scheme = \notes { } \score { < \context ChordNames \scheme \context Staff \scheme > } @end lilypond By default, a chord name system proposed by Harald Banter (See @ref{Literature}) is used. The system is very regular and predictable. Typical American style chord names may be selected by setting the @code{style} property of the @code{ChordNames.ChordName} grob to @code{'american}. Similarly @code{'jazz} selects Jazz chordnames. Routines that determine the names to be printed are written in Scheme, and may be customized by the user. The code can be found in @file{scm/chord-name.scm}. Here's an example showing the differences in chord name styles: @c too long? @c maybe just junk verbatim option? @lilypond[verbatim,singleline] scheme = \chords { c1 c:5^3 c:4^3 c:5+ c:m7+ c:m5-.7 c:5-.7 c:5+.7 c:9^7 } \score { \notes < \context ChordNames = banter \scheme \context ChordNames = american { \property ChordNames.ChordName \override #'style = #'american \scheme } \context ChordNames = jazz { \property ChordNames.ChordName \override #'style = #'jazz \scheme } \context Staff \transpose c'' \scheme > } @end lilypond @node Writing parts @section Writing parts Orchestral music involves some special notation, both in the full score, as in the individual parts. This section explains how to tackle common problems in orchestral music. @c . {Transpose} @menu * Rehearsal marks:: * Bar numbers:: * Instrument names:: * Transpose:: * Multi measure rests:: * Automatic part combining:: * Hara kiri staves:: * Sound output for transposing instruments:: @end menu @c . {Rehearsal marks} @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 \default c1 \mark \default c1 \mark "12" c1 \mark \default c1 } @end lilypond As you can see, 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 grob is @internalsref{RehearsalMark} in @internalsref{Score} context. See @code{input/test/boxed-molecule.ly} if you need boxes around the marks. The @code{\mark} command can also be used to put signs like coda, segno and fermatas on a barline. The trick is to use the text markup mechanism to access the fermata symbol. @lilypond[fragment,verbatim,relative=1] c1 \mark #'(music "scripts-ufermata") c1 @end lilypond The problem is that marks that occur at a line break are typeset only at the beginning of the next line, opposite to what you want for the fermata. This can be corrected by the following property setting @example \property Score.RehearsalMark \override #'visibility-lambda = #begin-of-line-invisible @end example @cindex fermatas @cindex coda @cindex segno @cindex barlines, putting symbols on @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 a property that can be set by modifying the @code{currentBarNumber} property, i.e. @example \property Score.currentBarNumber = #217 @end example If you want boxed bar numbers, see the example file @code{input/test/boxed-molecule.ly}. See also @seeinternals{BarNumber}. @refbugs Printing bar numbers at regular intervals is not implemented. Barnumbers can collide with the StaffGroup, 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 scores, the instrument name is printed before the staff. This can be done by setting @code{Staff.instrument} and @code{Staff.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[verbatim,singleline] #(define text-flat '((font-relative-size . -2 ) (music "accidentals--1"))) \score { \notes { \property Staff.instrument = #`((kern . 0.5) (lines "2 Clarinetti" (columns " (B" ,text-flat ")"))) c'' 4 } } @end lilypond @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{pitch} @var{musicexpr} @end example This means that middle C in @var{musicexpr} is transposed to @var{pitch}. @code{\transpose} distinguishes between enharmonic pitches: both @code{\transpose cis'} or @code{\transpose 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 g'' \mus \transpose f'' \mus }} @end lilypond If you want to use both @code{\transpose} and @code{\relative}, then you must use @code{\transpose} first. @code{\relative} will have no effect music that appears inside a @code{\transpose}. @c . {Multi measure rests} @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 3/4 r2. | R2. | R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4 @end lilypond Notice that the @code{R2.} is printed as a whole rest, centered in the measure. @cindex whole rests for a full measure The grob for this object is @internalsref{MultiMeasureRest}. @refbugs Currently, there is no way to automatically condense multiple rests into a single multimeasure rest. Multi measure rests do not take part in rest collisions. @cindex condensing rests @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 in an intelligent way. It is aimed primarily 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 can be identified and marked. 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 most useful function of the part combiner is to combine parts into one voice, as common for wind parts in orchestral scores: @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 Notice that 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 There are a number of other properties that you can use to tweak the behavior of part combining, refer to the automatically generated documentation of @reng{Thread_devnull_engraver} and @reng{Voice_devnull_engraver}. Look at the documentation of the responsible engravers, @code{Thread_devnull_engraver}, @code{Voice_devnull_engraver} and @code{A2_engraver}. @refbugs 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 @cindex @code{Thread_devnull_engraver} @cindex @code{Voice_engraver} @cindex @code{A2_engraver} @node Hara kiri staves @subsection Hara kiri staves In orchestral scores, staff lines that only have rests are usually removed. This saves some space. LilyPond also supports this through the hara kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of the Japanese Samourai warriors.} staff. This staff commits suicide when it finds itself to be empty after the line-breaking process. It will not disappear when it contains normal rests, you must use multi measure rests. The hara kiri staff is specialized version of the @internalsref{Staff} context. It is available as the context identifier @code{\HaraKiriStaffContext}. 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 { \HaraKiriStaffContext } } } @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 @c . {Custodes} @node Ancient notation @section Ancient notation @menu * Ancient note heads:: * Custodes:: * Ancient clefs :: * 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 grob 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 \property Voice.NoteHead \set #'font-family = #'ancient a'\longa @end lilypond @node Custodes @subsection Custodes @cindex Custos @cindex Custodes A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a staff context symbol that appears at the end of a staff line. 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. @lilypond[verbatim] \score { \notes { c'1 \break \property Staff.Custos \set #'style = #'mensural d' } \paper { \translator { \StaffContext \consists Custos_engraver } } } @end lilypond Custodes were frequently used in music notation until the 17th century. There were different appearances for different notation styles. Nowadays, they have survived only in special forms of musical notation such as via the @emph{editio vaticana} dating back to the beginning of the 20th century. For typesetting custodes, just put a @code{Custos_engraver} into the @internalsref{Staff} context when declaring the @code{\paper} block. In this block, you can also globally control the appearance of the custos symbol by setting the custos @code{style} property. Currently supported styles are @code{vaticana}, @code{medicaea}, @code{hufnagel} and @code{mensural}. @example \paper @{ \translator @{ \StaffContext \consists Custos_engraver Custos \override #'style = #'mensural @} @} @end example The property can also be set locally, for example in a @code{\notes} block: @example \notes @{ \property Staff.Custos \override #'style = #'vaticana c'1 d' e' d' \break c' d' e' d' @} @end example @node Ancient clefs @subsection Ancient clefs LilyPond supports a variety of clefs, many of them ancient. These can be selected from the @code{ancient} font family, by setting @code{Staff.clefGlyph}) to one of the following values @table @code @item clefs-C modern style C clef @item clefs-F modern style F clef @item clefs-G modern style G clef @item clefs-vaticana_do Editio Vaticana style do clef @item clefs-vaticana_fa Editio Vaticana style fa clef @item clefs-medicaea_do Editio Medicaea style do clef @item clefs-medicaea_fa Editio Medicaea style fa clef @item clefs-mensural1_c modern style mensural C clef @item clefs-mensural2_c historic style small mensural C clef @item clefs-mensural3_c historic style big mensural C clef @item clefs-mensural1_f historic style traditional mensural F clef @item clefs-mensural2_f historic style new mensural F clef @item clefs-mensural_g historic style mensural G clef @item clefs-hufnagel_do historic style hufnagel do clef @item clefs-hufnagel_fa historic style hufnagel fa clef @item clefs-hufnagel_do_fa historic style hufnagel combined do/fa clef @item clefs-percussion modern style percussion clef @end table @emph{Modern style} means ``as is typeset in current editions.'' @emph{Historic style} means ``as was typeset or written in contemporary historic editions''. @emph{Editio XXX style} means ``as is/was printed in Editio XXX.'' @cindex Vaticana, Editio @cindex Medicaea, Editio @cindex hufnagel clefs @node Figured bass @subsection Figured bass @cindex Basso continuo LilyPond has limited support for figured bass: @lilypond[verbatim,fragment] < \context FiguredBass \figures { <_! 3+ 5- >4 < [4 6] 8 > } \context Voice { c4 g8 } > @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} grobs. 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: in figured bass simply stores the numbers, and then prints the numbers you entered. There is no conversion to pitches, and no realizations of the bass are played in the MIDI file. @c . {Tuning output} @node Tuning output @section Tuning output LilyPond tries to take as much formatting as possible out of your hands. Nevertheless, there are situations where it needs some help, or where you want to override its decisions. In this section we discuss ways to do just that. Formatting is internally done by manipulating so called grobs (graphic objects). Each grob carries with it a set of properties (grob properties) specific to that object. For example, a stem grob 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 a certain type of grob, thus affecting a whole set of objects. Second, you can select one specific object, and set a grob property in that object. @menu * Tuning groups of grobs :: * Tuning per grob :: * Font selection:: * Text markup:: @end menu @node Tuning groups of grobs @subsection Tuning groups of grobs @cindex grob description A grob definition is a Scheme association list, that is stored in a context property. By assigning to that property (using plain @code{\property}), you can change the resulting grobs. @lilypond[verbatim, fragment] c'4 \property Voice.Stem = #'() @end lilypond The @code{\property} assignment effectively empties the definition of the Stem object. One of the effects is that the recipe of how it should be printed is erased, with the effect of rendering it invisible. The above assignment is available as a standard identifier, for the case that you find this useful: @example \property Voice.Stem = \turnOff @end example @cindex \override @cindex \revert @cindex \set This mechanism is fairly crude, since you can only set, but not modify, the definition of a grob. For this reason, there is a more advanced mechanism. The definition of a grob is actually a list of default grob properties. For example, the definition of the Stem grob (available in @file{scm/grob-description.scm}), defines the following values for @internalsref{Stem} @example (thickness . 0.8) (beamed-lengths . (0.0 2.5 2.0 1.5)) (Y-extent-callback . ,Stem::height) @var{...} @end example You can add a property on top of the existing definition, or remove a property, thus overriding the system defaults: @lilypond[verbatim] c'4 \property Voice.Stem \override #'thickness = #4.0 c'4 \property Voice.Stem \revert #'thickness c'4 @end lilypond You should balance @code{\override} and @code{\revert}. If that's too much work, you can use the @code{\set} shorthand. It performs a revert followed by an override. The following example gives exactly the same result as the previous one. @lilypond[verbatim] c'4 \property Voice.Stem \set #'thickness = #4.0 c'4 \property Voice.Stem \set #'thickness = #0.8 c'4 @end lilypond If you use @code{\set}, you must explicitly restore the default. Formally the syntax for these constructions is @example \property @var{context}.@var{grobname} \override @var{symbol} = @var{value} \property @var{context}.@var{grobname} \set @var{symbol} = @var{value} \property @var{context}.@var{grobname} \revert @var{symbol} @end example Here @var{symbol} is a Scheme expression of symbol type, @var{context} and @var{grobname} are strings and @var{value} is a Scheme expression. If you revert a setting which was not set in the first place, then it has no effect. However, if the setting was set as a system default, it 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 grob property is unset), then you can use @example \set \set \set \revert @end example For the digirati, the grob 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 just push and pop operations. This pushing and popping is also used for overriding automatic beaming settings. @refbugs LilyPond will hang or crash if @var{value} contains cyclic references. The backend is not very strict in type-checking grob properties. If you @code{\revert} properties that are expected to be set by default, LilyPond may crash. @node Tuning per grob @subsection Tuning per grob @cindex \outputproperty A second way of tuning grobs 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 a grob argument, and returning a boolean. This statement is processed by the @code{Output_property_engraver}. It instructs the engraver to feed all grobs that it sees to @var{predicate}. Whenever the predicate returns true, the grob 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. Here are some random examples. In the following example, all note heads occurring at current staff level, are shifted up and right by setting their @code{extra-offset} property. @lilypond[fragment,verbatim,singleline] \relative c'' { c4 \context Staff \outputproperty #(make-type-checker 'note-head-interface) #'extra-offset = #'(0.5 . 0.75) } @end lilypond @cindex @code{extra-offset} In this example, the predicate checks the @code{text} grob property, to shift only the `m.d.' text, but not the fingering instruction "2". @lilypond[verbatim,singleline] #(define (make-text-checker text) (lambda (grob) (equal? text (ly-get-grob-property grob 'text)))) \score { \notes\relative c''' { \property Voice.Stem \set #'direction = #1 \outputproperty #(make-text-checker "m.d.") #'extra-offset = #'(-3.5 . -4.5) a^2^"m.d." } } @end lilypond @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 a @internalsref{Voice}, @internalsref{Staff} or @internalsref{Thread} context, can be easily changed by setting the @code{fontSize} property for that context: @lilypond[fragment,relative=1] c4 c4 \property Voice.fontSize = #-1 f4 g4 @end lilypond This command will 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 @file{input/test/cue-notes.ly}. @cindex cue notes @cindex font size @cindex size The font used for printing a grob 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 grob properties described below, you can select a different font. All three mechanisms work for every grob 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), @code{ancient} (the ancient notation font) @code{dynamic} (font 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. @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 @emph{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} There are also pre-cooked font selection qualifiers. These are selected through the grob property @code{font-style}. For example, the style @code{finger} selects family @code{number} and relative size @code{-3}. Styles available include @code{volta}, @code{finger}, @code{tuplet}, @code{timesig}, @code{mmrest}, @code{script}, @code{large}, @code{Large} and @code{dynamic}. The style sheets and tables for selecting fonts are located in @file{scm/font.scm}. Refer to this file for more information. @cindex magnification The size of the font may be scaled with the grob property @code{font-magnification}. For example, @code{2.0} blows up all letters by a factor 2 in both directions. @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 can not be modified easiyl. @cindex font selection @cindex font magnification @cindex @code{font-interface} @node Text markup @subsection Text markup @cindex text markup @cindex markup text LilyPond has an internal mechanism to typeset texts. You can form text markup expressions by composing scheme expressions in the following way. @lilypond[verbatim, singleline] \relative c' { \fatText a^#"upright" b_#'(bold "bold") c^#'(italic "italic") d_#'((bold italic) "ff") e^#'(dynamic "ff") f_#'(lines "one" (bold "two")) g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3")) } @end lilypond Normally, the Scheme markup text is stored in the @code{text} property of a grob. Formally, it is defined as follows: @example text: string | (head? text+) head: markup | (markup+) markup-item: property | abbrev property: (@var{key} . @var{value}) abbrev: @code{columns lines roman music bold italic named super sub} @code{overstrike text finger volta timesig mmrest mark script} @code{large Large dynamic} @end example The markup is broken down and converted into a list of grob properties, which are prepended to the property list. The @var{key}-@var{value} pair is a grob property. A list of properties available is included in the generated documentation for @internalsref{text-interface}. The following abbreviations are defined: @table @code @item columns horizontal mode: set all text on one line (default) @item lines vertical mode: set every text on a new line @item roman select roman font @item music selects the Feta font (the standard font for music notation glyphs), and uses named lookup @item bold select bold series @item italic select italic shape @item named lookup by character name @item text plain text lookup (by character value) @item super superscript @item sub subscript @item overstrike the next text or character overstrikes this one @item finger select fingering number fontstyle @item volta select volta number fontstyle @item timesig select time signature number fontstyle @item mmrest select multi measure rest number fontstyle @item mark select mark number fontstyle @item script select scriptsize roman fontstyle @item large select large roman fontstyle @item Large select Large roman fontstyle @item dynamic select dynamics fontstyle @end table @cindex metronome mark One practical application of complicated markup is to fake a metronome marking: @lilypond[verbatim] #(define note '(columns (music "noteheads-2" ((kern . -0.1) "flags-stem")))) #(define eight-note `(columns ,note ((kern . -0.1) (music ((raise . 3.5) "flags-u3"))))) #(define dotted-eight-note `(columns ,eight-note (music "dots-dot"))) \score { \notes\relative c'' { a1^#`((columns (font-relative-size . -1)) ,dotted-eight-note " = 64") } \paper { linewidth = -1. \translator{ \ScoreContext TextScript \override #'font-shape = #'upright } } } @end lilypond @refbugs The syntax and semantics of markup texts are not clean, and both syntax and semantics are slated for a rewrite. LilyPond does not do kerning, and there generally spaces texts slightly too wide. @node Global layout @section Global layout The global layout determined by three factors: the page layout, the iline breaks and the spacing. These all influence each other: The choice of spacing determines how densely each system of music is set, whree line breaks breaks are chosen, and thus ultimately how many pages a piece of music takes. In this section we will explain how the lilypond spacing engine works, and how you can tune its results. 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{}, page are 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 staffs @cindex staff distance @cindex between staves, distance 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 staffs 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. you could also make the staff larger at the bottom by setting it to @code{(-6 . 4)}. The default value is @code{(-6 . 6)}. Vertical aligment of staves is handled by the @internalsref{VerticalAlignment} grob, which lives at @internalsref{Score} level. The piano staffs are handled a little differently: to make cross-staff beaming work correctly, it necessary that the distance between staves is fixed. This is also done with a @internalsref{VerticalAlignment} grob, created in @internalsref{PianoStaff}, but a forced distance is set. This is done with the grob property #'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 staffs together at a distance of 9 staff spaces, and again this is measured from the center line of each staff. @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 basis for assigning spaces to durations, is that the shortest durations get a fixed amount of space, and the longer durations get more: doubling a duration adds a fixed amount 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. The 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 These two amounts of space are @code{shortest-duration-space} @code{spacing-increment}, grob properties of @internalsref{SpacingSpanner}. Normally @code{spacing-increment} 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 noteheads of space. For normal notes, this space is always counted from the left edge of the symbol, so the short notes in a score is generally followed by one note head width 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 64th, 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=1] 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} in @internalsref{NoteSpacing}. The @code{StaffSpacing} grob contains the same property for controlling the stem/barline spacing. In 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 { linewidth = -1. } } @end lilypond @refbugs Spacing is determined on a score wide basis. If you have a score that changes its character (measured in durations) half way during the score, the part containing the longer durations will be spaced too widely. Generating optically pleasing spacing is black magic. LilyPond tries to deal with a number of frequent cases. Here is an example that is not handled correctly, due to the combination of chord collisions and kneed stems. @lilypond \score { \context PianoStaff \notes \transpose c''' < \context Staff = up { s1 } \context Staff = down { [c8 c \translator Staff=up c \translator Staff=down c c c] } > \paper { linewidth = -1 } } @end lilypond @c . {Font size} @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, 19 pt, 20 point, 23 point, and 26 point. The point size of a font is the height of the five lines in a staff when displayed in the font. Definitions for these sizes are the files @file{paperSZ.ly}, where @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any of these files, the identifiers @code{paperEleven}, @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen}, @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}. @c . {Line break} @node Line breaking @subsection Line breaking @cindex line breaks @cindex breaking lines Line breaks are normally computed automatically. They are chosen such that it looks 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 certain point. @cindex regular line breaks @cindex four bar music. If you want linebreaks at regular intervals, you can use the following: @example < \repeat 7 unfold @{ s1 * 4 \break @} @emph{real music} > @end example This makes the following 28 measures (assuming 4/4 time) be broken every 4 measures. @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{linewidth} and @code{indent}, both set in the @code{\paper} block. They control the indentation of the first line of music, and the lengths of the lines. If @code{linewidth} set to a negative value, a single unjustified line is produced. A similar effect for scores that are longer than one line, can be produced by setting @code{raggedright} to true in the @code{\paper} block. @cindex page layout The page layout process happens outside lilypond. Ly2dvi sets page layout instructions. 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 (that is, it gets any value assigned in the @code{\paper} block), 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. Note that @command{lilypond-book} ignores @code{lastpagefill}. See @ref{lilypond-book: integrating text and music} 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. You can insert a @code{\newpage} from within lilypond. This is done by setting the @code{between-systems-strings} on the @internalsref{NonMusicalPaperColumn} where the system is broken. @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}) @c . {Sound} @node Sound @section Sound @cindex Sound LilyPond can produce MIDI output. The performance lacks lots of interesting effects, such as swing, articulation, slurring, etc., but it is good enough for proof-hearing the music you have entered. 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 the volume vary linearly between their two extremities. The fractions be adjusted by overriding the @code{absolute-volume-alist} defined in @file{scm/midi.scm}. For each type of musical instrument (that MIDI supports), a volume range can be defined. This gives you basic equalizer control, which can enhance the quality of the MIDI output remarkably. You can add instruments and ranges or change the default settings by overriding the @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}. Both loudness controls are combined to produce the final MIDI volume. @menu * MIDI block:: * MIDI instrument names:: @end menu @c . {MIDI block} @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.