This chapter explains how to use basic notation features.
@menu
-* Note entry::
-* Alternate music entry::
-* Staff notation::
-* Connecting notes::
-* Expressive marks::
-* Polyphony::
-* Repeats::
+* Pitches::
+* Rhythms::
+* Multiple notes at once::
+* Staff notation::
+* Connecting notes::
+* Expressive marks::
+* Repeats::
@end menu
-@node Note entry
-@section Note entry
-@cindex Note entry
+@node Pitches
+@section Pitches
-This section is about basic notation elements like notes, rests, and
-related constructs, such as stems, tuplets and ties.
+This section discusses how to specify the pitch of notes.
@menu
-* Notes::
-* Pitches::
-* Cautionary accidentals::
-* Micro tones::
-* Chords::
-* Rests::
-* Skips::
-* Durations::
-* Augmentation dots::
-* Tuplets::
-* Scaling durations::
-* Stems::
+* Normal pitches::
+* Accidentals::
+* Cautionary accidentals::
+* Micro tones::
+* Notes names in other languages::
+* Relative octaves::
+* Octave check::
+* Transpose::
+* Rests::
+* Skips::
@end menu
-@node Notes
-@subsection Notes
-
-@cindex Note specification
-@cindex entering notes
-
-A note is printed by specifying its pitch and duration,
-
-@lilypond[quote,verbatim,ragged-right,fragment]
-cis'4 d'8 e'16 c'16
-@end lilypond
-
-@seealso
-
-This manual: @ref{Pitches}, @ref{Durations}
-
-
-@node Pitches
-@subsection Pitches
+@node Normal pitches
+@subsection Normal pitches
@cindex Pitch names
@cindex pitches
The note name @code{c} is engraved one octave below middle C.
-@c this should be scored with a treble clef and
-@c four leger lines below the staff.
@lilypond[quote,fragment,verbatim,ragged-right]
+\clef treble
+c1
+\clef bass
c1
@end lilypond
-@cindex @code{'}
-@cindex @code{,}
+@findex '
+@findex ,
The optional octave specification takes the form of a series of
single quote (`@code{'}') characters or a series of comma
An alternate method may be used to declare which octave to
engrave a pitch; this method does not require as many
-octave specifications (`@code{'}' and `@code{,}'). See
+octave specifications (@code{'} and @code{,}). See
@ref{Relative octaves}.
+
+@node Accidentals
+@subsection Accidentals
+
@cindex note names, Dutch
+@cindex note names, default
A sharp is formed by adding @code{-is} to the end of a pitch name and
a flat is formed by adding @code{-es}
-@c avoid engraving naturals by crossing bar lines; we're not ready for them
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a2 ais a aes
@end lilypond
@end lilypond
-
-There are predefined sets of note names for various other languages.
-To use them, include the language specific init file. For
-example, add @code{\include "english.ly"} to the top of the input
-file. The available language files
-and the note names they define are
-
-@anchor{note name}
-@anchor{note names}
-@example
- Note Names sharp flat
-nederlands.ly c d e f g a bes b -is -es
-english.ly c d e f g a bf b -s/-sharp -f/-flat
- -x (double)
-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
-
-
@commonprop
In accordance with standard typesetting rules, a natural sign is printed
ceses4 ces cis c
@end lilypond
-@cindex Musica ficta
-
-Suggested accidentals (used in notating musica ficta) may
-be written with @code{suggestAccidentals}
-
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-\set suggestAccidentals = ##t
-ais4 bis
-@end lilypond
-
@seealso
-Program reference: @internalsref{LedgerLineSpanner},
+Program reference: @internalsref{LedgerLineSpanner},
@internalsref{NoteHead}.
@cindex accidental, cautionary
@cindex accidental, parenthesized
@cindex reminder accidental
-@cindex @code{?}
+@findex ?
@cindex cautionary accidental
@cindex parenthesized accidental
-@cindex @code{!}
+@findex !
Normally accidentals are printed automatically, but you may also
print them manually. A reminder accidental
The automatic production of accidentals can be tuned in many
ways. For more information, see @ref{Automatic accidentals}.
+
@node Micro tones
@subsection Micro tones
standard.
-@node Chords
-@subsection Chords
+@node Notes names in other languages
+@subsection Notes names in other languages
-@cindex Chords
+There are predefined sets of note names for various other languages.
+To use them, include the language specific init file. For
+example, add @code{\include "english.ly"} to the top of the input
+file. The available language files
+and the note names they define are
-A chord is formed by a enclosing a set of pitches in @code{<} and
-@code{>}. A chord may be followed by a duration, and a set of
-articulations, just like simple notes
+@c what about micro-tunes, double-sharps, and double-flats? add
+@c more clumns to the table?
+@c Oh, and should this be made into a multitable?
+@cindex note names, other languages
+@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
+ -x (double)
+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
-@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
-<c e g>4 <c>8
-@end lilypond
-For more information about chords, see @ref{Chord names}.
+@node Relative octaves
+@subsection Relative octaves
+@cindex Relative
+@cindex Relative octave specification
+@findex \relative
-@node Rests
-@subsection Rests
-@cindex Rests
+Octaves are specified by adding @code{'} and @code{,} to pitch names.
+When you copy existing music, it is easy to accidentally put a pitch
+in the wrong octave and hard to find such an error. The relative
+octave mode prevents these errors by making the mistakes much
+larger: a single error puts the rest of the piece off by one octave
+@example
+\relative @var{startpitch} @var{musicexpr}
+@end example
-@cindex @code{\rest}
-@cindex @code{r}
+@noindent
+or
-Rests are entered like notes with the note name @code{r}
+@example
+\relative @var{musicexpr}
+@end example
-@lilypond[fragment,quote,ragged-right,verbatim]
-r1 r2 r4 r8
+@noindent
+@code{c'} is used as the default if no starting pitch is defined.
+
+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}. In other words, a doubly-augmented fourth is considered
+a smaller interval than a diminished fifth, even though the
+doubly-augmented fourth spans seven semitones while the diminished
+fifth only spans six semitones.
+
+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 can be specified that will act as the
+predecessor of the first note of @var{musicexpr}. If no starting pitch
+is specified, then middle C is used as a start.
+
+Here is the relative mode shown in action
+@lilypond[quote,fragment,ragged-right,verbatim]
+\relative c'' {
+ b c d c b c bes a
+}
@end lilypond
-Whole bar rests, centered in middle of the bar,
-must be done with multi-measure rests. They can be used for a
-single bar as well as many bars, and are discussed in
-@ref{Multi measure rests}.
+Octave changing marks are used for intervals greater than a fourth
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c'' {
+ c g c f, c' a, e''
+}
+@end lilypond
-To explicitly specify a rest's vertical position, write a note
-followed by @code{\rest}. A rest will be placed in the position
-where the note would appear,
+If the preceding item is a chord, the first note of the chord is used
+to determine the first note of the next chord
-@lilypond[fragment,quote,ragged-right,verbatim]
-a'4\rest d'4\rest
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+}
@end lilypond
-@noindent
-This makes manual formatting of
-polyphonic music much easier, since the automatic rest collision
-formatter will leave these rests alone.
+The pitch after the @code{\relative} contains a note name.
-@seealso
+The relative conversion will not affect @code{\transpose},
+@code{\chordmode} or @code{\relative} sections in its argument. To use
+relative within transposed music, an additional @code{\relative} must
+be placed inside @code{\transpose}.
-Program reference: @internalsref{Rest}.
+@node Octave check
+@subsection Octave check
-@node Skips
-@subsection Skips
+@cindex Octave check
-@cindex Skip
-@cindex Invisible rest
-@cindex Space note
-@cindex @code{\skip}
-@cindex @code{s}
+Octave checks make octave errors easier to correct: a note may be
+followed by @code{=}@var{quotes} which indicates what its absolute
+octave should be. In the following example,
-An invisible rest (also called a `skip') can be entered like a note
-with note name `@code{s}' or with @code{\skip @var{duration}}
+@example
+\relative c'' @{ c='' b=' d,='' @}
+@end example
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-a4 a4 s4 a4 \skip 1 a4
-@end lilypond
+@noindent
+the @code{d} will generate a warning, because a @code{d''} is expected
+(because @code{b'} to @code{d''} is only a third), but a @code{d'} is
+found. In the output, the octave is corrected to be a @code{d''} and
+the next note is calculated relative to @code{d''} instead of @code{d'}.
-The @code{s} syntax is only available in note mode and chord mode. In
-other situations, for example, when entering lyrics, you should use
-the @code{\skip} command
+There is also an octave check that produces no visible output. The syntax
-@lilypond[quote,ragged-right,verbatim]
-<<
- \relative { a'2 a2 }
- \new Lyrics \lyricmode { \skip 2 bla2 }
->>
-@end lilypond
+@example
+\octave @var{pitch}
+@end example
-The skip command is merely an empty musical placeholder. It does not
-produce any output, not even transparent output.
+This checks that @var{pitch} (without quotes) yields @var{pitch} (with
+quotes) in @code{\relative} mode. If not, a warning is printed, and the
+octave is corrected. The @var{pitch} is not printed as a note.
-The @code{s} skip command does create @internalsref{Staff} and
-@internalsref{Voice} when necessary, similar to note and rest
-commands. For example, the following results in an empty staff.
+In the example below, the first check passes without incident, since
+the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
+the second check produces a warning, since the @code{e} is not within
+a fifth of @code{b'}. The warning message is printed, and the octave
+is adjusted so that the following notes are in the correct octave
+once again.
-@lilypond[quote,ragged-right,verbatim]
-{ s4 }
-@end lilypond
+@example
+\relative c' @{
+ e
+ \octave a'
+ \octave b'
+@}
+@end example
-The fragment @code{@{ \skip 4 @} } would produce an empty page.
-@seealso
+The octave of a note following an octave check is determined with
+respect to the note preceding it. In the next fragment, the last note
+is an @code{a'}, above middle C. That means that the @code{\octave}
+check passes successfully, so the check could be deleted without changing
+the output of the piece.
-Program reference: @internalsref{SkipMusic}.
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative c' {
+ e
+ \octave b
+ a
+}
+@end lilypond
-@node Durations
-@subsection Durations
+@node Transpose
+@subsection Transpose
-@cindex duration
-@cindex @code{\longa}
-@cindex @code{\breve}
-@cindex @code{\maxima}
+@cindex Transpose
+@cindex Transposition of pitches
+@findex \transpose
-In Note, Chord, and Lyrics mode, durations are designated by numbers and
-dots: durations are entered as their reciprocal values. For example, a
-quarter note is entered using a @code{4} (since it is a 1/4 note), while
-a half note is entered using a @code{2} (since it is a 1/2 note). For
-notes longer than a whole you must use the variables @code{\longa} and
-@code{\breve}
+A music expression can be transposed with @code{\transpose}. The
+syntax is
+@example
+\transpose @var{from} @var{to} @var{musicexpr}
+@end example
+
+This means that @var{musicexpr} is transposed by the interval between
+the pitches @var{from} and @var{to}: any note with pitch @code{from}
+is changed to @code{to}.
+For example, consider a piece written in the key of D-major. If
+this piece is a little too low for its performer, it can be
+transposed up to E-major with
@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
+\transpose d e @dots{}
@end example
-@lilypond[quote]
+Consider a part written for violin (a C instrument). If
+this part is to be played on the A clarinet (for which an
+A is notated as a C, and which sounds a minor third lower
+than notated), the following
+transposition will produce the appropriate part
+
+@example
+\transpose a c @dots{}
+@end example
+
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose c cis} or @code{\transpose c des} will transpose up
+half a tone. The first version will print sharps and the second
+version will print flats
+
+@lilypond[quote,ragged-right,verbatim]
+mus = { \key d \major cis d fis g }
+\new Staff {
+ \clef "F" \mus
+ \clef "G"
+ \transpose c g' \mus
+ \transpose c f' \mus
+}
+@end lilypond
+
+@code{\transpose} may also be used to input written notes for a
+transposing instrument. Pitches are normally entered into LilyPond
+in C (or ``concert pitch''), but they may be entered in another
+key. For example, when entering music for a B-flat trumpet which
+begins on concert D, one would write
+
+@example
+\transpose c bes @{ e4 @dots{} @}
+@end example
+
+To print this music in B-flat again (i.e. producing a trumpet part,
+instead of a concert pitch conductor's score) you would wrap the
+existing music with another @code{transpose}
+
+@example
+\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
+@end example
+
+
+@seealso
+
+Program reference: @internalsref{TransposedMusic}.
+
+
+@refbugs
+
+If you want to use both @code{\transpose} and @code{\relative},
+you must put @code{\transpose} outside of @code{\relative}, since
+@code{\relative} will have no effect music that appears inside a
+@code{\transpose}.
+
+
+@node Rests
+@subsection Rests
+@cindex Rests
+
+@findex \rest
+@findex r
+
+Rests are entered like notes with the note name @code{r}
+
+@lilypond[fragment,quote,ragged-right,verbatim]
+r1 r2 r4 r8
+@end lilypond
+
+Whole bar rests, centered in middle of the bar,
+must be done with multi-measure rests. They can be used for a
+single bar as well as many bars, and are discussed in
+@ref{Multi measure rests}.
+
+To explicitly specify a rest's vertical position, write a note
+followed by @code{\rest}. A rest will be placed in the position
+where the note would appear,
+
+@lilypond[fragment,quote,ragged-right,verbatim]
+a'4\rest d'4\rest
+@end lilypond
+
+@noindent
+This makes manual formatting of
+polyphonic music much easier, since the automatic rest collision
+formatter will leave these rests alone.
+
+@seealso
+
+Program reference: @internalsref{Rest}.
+
+
+@node Skips
+@subsection Skips
+
+@cindex Skip
+@cindex Invisible rest
+@cindex Space note
+@findex \skip
+@findex s
+
+An invisible rest (also called a `skip') can be entered like a note
+with note name `@code{s}' or with @code{\skip @var{duration}}
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+a4 a4 s4 a4 \skip 1 a4
+@end lilypond
+
+The @code{s} syntax is only available in note mode and chord mode. In
+other situations, for example, when entering lyrics, you should use
+the @code{\skip} command
+
+@lilypond[quote,ragged-right,verbatim]
+<<
+ \relative { a'2 a2 }
+ \new Lyrics \lyricmode { \skip 2 bla2 }
+>>
+@end lilypond
+
+The skip command is merely an empty musical placeholder. It does not
+produce any output, not even transparent output.
+
+The @code{s} skip command does create @internalsref{Staff} and
+@internalsref{Voice} when necessary, similar to note and rest
+commands. For example, the following results in an empty staff.
+
+@lilypond[quote,ragged-right,verbatim]
+{ s4 }
+@end lilypond
+
+The fragment @code{@{ \skip 4 @} } would produce an empty page.
+
+@seealso
+
+Program reference: @internalsref{SkipMusic}.
+
+
+
+@node Rhythms
+@section Rhythms
+
+This section discusses rhythms, durations, and bars.
+
+@menu
+* Durations::
+* Augmentation dots::
+* Tuplets::
+* Scaling durations::
+* Bar check::
+* Barnumber check::
+* Automatic note splitting::
+@end menu
+
+
+@node Durations
+@subsection Durations
+
+@cindex duration
+@findex \longa
+@findex \breve
+@findex \maxima
+
+In Note, Chord, and Lyrics mode, durations are designated by numbers and
+dots: durations are entered as their reciprocal values. For example, a
+quarter note is entered using a @code{4} (since it is a 1/4 note), while
+a half note is entered using a @code{2} (since it is a 1/2 note). For
+notes longer than a whole you must use the variables @code{\longa} and
+@code{\breve}
+
+@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[quote]
\score {
\relative c'' {
a\breve*1/2 \autoBeamOff
@node Augmentation dots
@subsection Augmentation dots
-@cindex @code{.}
+@findex .
To obtain dotted note lengths, simply add a dot (`@code{.}') to
the number. Double-dotted notes are produced in a similar way.
situations. The following commands may be used to force a particular
direction manually
-@cindex @code{\dotsUp}
+@findex \dotsUp
@code{\dotsUp},
-@cindex @code{\dotsDown}
+@findex \dotsDown
@code{\dotsDown},
-@cindex @code{\dotsNeutral}
+@findex \dotsNeutral
@code{\dotsNeutral}.
@seealso
@cindex tuplets
@cindex triplets
-@cindex @code{\times}
+@findex \times
Tuplets are made out of a music expression by multiplying all durations
with a fraction
@refcommands
-@cindex @code{\tupletUp}
+@findex \tupletUp
@code{\tupletUp},
-@cindex @code{\tupletDown}
+@findex \tupletDown
@code{\tupletDown},
-@cindex @code{\tupletNeutral}
+@findex \tupletNeutral
@code{\tupletNeutral}.
@commonprop
-@cindex @code{tupletNumberFormatFunction}
+@findex tupletNumberFormatFunction
@cindex tuplet formatting
The property @code{tupletSpannerDuration} specifies how long each
This manual: @ref{Tuplets}
-@node Stems
-@subsection Stems
+@node Bar check
+@subsection Bar check
-Whenever a note is found, a @internalsref{Stem} object is created
-automatically. For whole notes and rests, they are also created but
-made invisible.
+@cindex Bar check
+@findex barCheckSynchronize
+@findex |
-@refcommands
+Bar checks help detect errors in the durations. A bar check is
+entered using the bar symbol, `@code{|}'. Whenever it is encountered
+during interpretation, it should fall on a measure boundary. If it
+does not, a warning is printed. In the next example, the second bar
+check will signal an error
+@example
+\time 3/4 c2 e4 | g2 |
+@end example
-@cindex @code{\stemUp}
-@code{\stemUp},
-@cindex @code{\stemDown}
-@code{\stemDown},
-@cindex @code{\stemNeutral}
-@code{\stemNeutral}.
+Bar checks can also be used in lyrics, for example
+@example
+\lyricmode @{
+ \time 2/4
+ Twin -- kle | Twin -- kle
+@}
+@end example
-@commonprop
+Failed bar checks are caused by entering incorrect
+durations. Incorrect durations often completely garble up the score,
+especially if the score is polyphonic, so a good place to start correcting
+input is by scanning for failed bar checks and incorrect durations.
-To change the direction of stems in the middle of the staff, use
+@findex |
+@findex pipeSymbol
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
-a4 b c b
-\override Stem #'neutral-direction = #up
-a4 b c b
-\override Stem #'neutral-direction = #down
-a4 b c b
-@end lilypond
+It is also possible to redefine the meaning of @code{|}. This is done
+by assigning a music expression to @code{pipeSymbol},
+@lilypond[quote,ragged-right,verbatim]
+pipeSymbol = \bar "||"
-@node Alternate music entry
-@section Alternate music entry
-@cindex Music entry
+{ c'2 c' | c'2 c' }
+@end lilypond
-This section deals with tricks and features of the input language that
-were added solely to help entering music and finding and correcting
-mistakes. There are also external tools that make debugging easier.
-See @ref{Point and click} for more information.
-It is also possible to enter and edit music using other programs, such as
-GUI interfaces or MIDI sequencers. Refer to the LilyPond
-website for more information.
+@node Barnumber check
+@subsection Barnumber check
-@menu
-* Relative octaves::
-* Octave check::
-* Transpose::
-* Bar check::
-* Barnumber check::
-* Skipping corrected music::
-* Automatic note splitting::
-* Writing music in parallel::
-@end menu
+When copying large pieces of music, it can be helpful to check that
+the LilyPond bar number corresponds to the original that you are
+entering from. This can be checked with @code{\barNumberCheck}, for
+example,
+@verbatim
+\barNumberCheck #123
+@end verbatim
-@node Relative octaves
-@subsection Relative octaves
+@noindent
+will print a warning if the @code{currentBarNumber} is not 123 when it
+is processed.
-@cindex Relative
-@cindex Relative octave specification
-@cindex @code{\relative}
-Octaves are specified by adding @code{'} and @code{,} to pitch names.
-When you copy existing music, it is easy to accidentally put a pitch
-in the wrong octave and hard to find such an error. The relative
-octave mode prevents these errors by making the mistakes much
-larger: a single error puts the rest of the piece off by one octave
+@node Automatic note splitting
+@subsection Automatic note splitting
-@example
-\relative @var{startpitch} @var{musicexpr}
-@end example
+Long notes can be converted automatically to tied notes. This is done
+by replacing the @internalsref{Note_heads_engraver} by the
+@internalsref{Completion_heads_engraver}.
+In the following examples, notes crossing the bar line are split and tied.
-@noindent
-or
+@lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
+\new Voice \with {
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+} {
+ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
+}
+@end lilypond
-@example
-\relative @var{musicexpr}
-@end example
+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.
-@noindent
-@code{c'} is used as the default if no starting pitch is defined.
-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}. In other words, a doubly-augmented fourth is considered
-a smaller interval than a diminished fifth, even though the
-doubly-augmented fourth spans seven semitones while the diminished
-fifth only spans six semitones.
+@refbugs
-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 can be specified that will act as the
-predecessor of the first note of @var{musicexpr}. If no starting pitch
-is specified, then middle C is used as a start.
+Not all durations (especially those containing tuplets) can be
+represented exactly with normal notes and dots, but the engraver will
+not insert tuplets.
-Here is the relative mode shown in action
-@lilypond[quote,fragment,ragged-right,verbatim]
-\relative c'' {
- b c d c b c bes a
-}
-@end lilypond
+@code{Completion_heads_engraver} only affects notes; it does not split
+rests.
-Octave changing marks are used for intervals greater than a fourth
-@lilypond[quote,ragged-right,fragment,verbatim]
-\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
+@seealso
-@lilypond[quote,ragged-right,fragment,verbatim]
-\relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
-}
-@end lilypond
+Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
-The pitch after the @code{\relative} contains a note name.
+@noindent
-The relative conversion will not affect @code{\transpose},
-@code{\chordmode} or @code{\relative} sections in its argument. To use
-relative within transposed music, an additional @code{\relative} must
-be placed inside @code{\transpose}.
+Program reference: @internalsref{Completion_heads_engraver}.
-@node Octave check
-@subsection Octave check
+@node Multiple notes at once
+@section Multiple notes at once
-@cindex Octave check
+Polyphony in music refers to having more than one voice occurring in
+a piece of music. Polyphony in LilyPond refers to having more than
+one voice on the same staff.
-Octave checks make octave errors easier to correct: a note may be
-followed by @code{=}@var{quotes} which indicates what its absolute
-octave should be. In the following example,
+@menu
+* Chords::
+* Stems::
+* Basic polyphony::
+* Explicitly instantiating voices::
+* Collision Resolution::
+@end menu
-@example
-\relative c'' @{ c='' b=' d,='' @}
-@end example
-@noindent
-the @code{d} will generate a warning, because a @code{d''} is expected
-(because @code{b'} to @code{d''} is only a third), but a @code{d'} is
-found. In the output, the octave is corrected to be a @code{d''} and
-the next note is calculated relative to @code{d''} instead of @code{d'}.
+@node Chords
+@subsection Chords
-There is also an octave check that produces no visible output. The syntax
+@cindex Chords
-@example
-\octave @var{pitch}
-@end example
+A chord is formed by a enclosing a set of pitches in @code{<} and
+@code{>}. A chord may be followed by a duration, and a set of
+articulations, just like simple notes
-This checks that @var{pitch} (without quotes) yields @var{pitch} (with
-quotes) in \relative mode. If not, a warning is printed, and the
-octave is corrected. The @var{pitch} is not printed as a note.
+@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+<c e g>4 <c>8
+@end lilypond
-In the example below, the first check passes without incident, since
-the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
-the second check produces a warning, since the @code{e} is not within
-a fifth of @code{b'}. The warning message is printed, and the octave
-is adjusted so that the following notes are in the correct octave
-once again.
+For more information about chords, see @ref{Chord names}.
-@example
-\relative c' @{
- e
- \octave a'
- \octave b'
-@}
-@end example
+@node Stems
+@subsection Stems
-The octave of a note following an octave check is determined with
-respect to the note preceding it. In the next fragment, the last note
-is an @code{a'}, above middle C. That means that the @code{\octave}
-check passes successfully, so the check could be deleted without changing
-the output of the piece.
+Whenever a note is found, a @internalsref{Stem} object is created
+automatically. For whole notes and rests, they are also created but
+made invisible.
-@lilypond[quote,ragged-right,verbatim,fragment]
-\relative c' {
- e
- \octave b
- a
-}
-@end lilypond
+@refcommands
+@findex \stemUp
+@code{\stemUp},
+@findex \stemDown
+@code{\stemDown},
+@findex \stemNeutral
+@code{\stemNeutral}.
-@node Transpose
-@subsection Transpose
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
+@commonprop
-A music expression can be transposed with @code{\transpose}. The
-syntax is
-@example
-\transpose @var{from} @var{to} @var{musicexpr}
-@end example
+To change the direction of stems in the middle of the staff, use
-This means that @var{musicexpr} is transposed by the interval between
-the pitches @var{from} and @var{to}: any note with pitch @code{from}
-is changed to @code{to}.
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+a4 b c b
+\override Stem #'neutral-direction = #up
+a4 b c b
+\override Stem #'neutral-direction = #down
+a4 b c b
+@end lilypond
-For example, consider a piece written in the key of D-major. If
-this piece is a little too low for its performer, it can be
-transposed up to E-major with
-@example
-\transpose d e @dots{}
-@end example
-Consider a part written for violin (a C instrument). If
-this part is to be played on the A clarinet (for which an
-A is notated as a C, and which sounds a minor third lower
-than notated), the following
-transposition will produce the appropriate part
+@node Basic polyphony
+@subsection Basic polyphony
-@example
-\transpose a c @dots{}
-@end example
+@cindex polyphony
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose c cis} or @code{\transpose c des} will transpose up
-half a tone. The first version will print sharps and the second
-version will print flats
+The easiest way to enter fragments with more than one voice on a staff
+is to enter each voice as a sequence (with @code{@{...@}}), and combine
+them simultaneously, separating the voices with @code{\\}
-@lilypond[quote,ragged-right,verbatim]
-mus = { \key d \major cis d fis g }
-\new Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
+@findex \\
+
+@lilypond[quote,verbatim,fragment]
+\new Staff \relative c' {
+ c16 d e f
+ <<
+ { g4 f e | d2 e2 } \\
+ { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
+ { s2. | s4 b4 c2 }
+ >>
}
@end lilypond
-@code{\transpose} may also be used to input written notes for a
-transposing instrument. Pitches are normally entered into LilyPond
-in C (or ``concert pitch''), but they may be entered in another
-key. For example, when entering music for a B-flat trumpet which
-begins on concert D, one would write
+The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
+voices are sometimes called ``layers'' in other notation packages}
+@cindex layers
+to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
+each of these contexts, vertical direction of slurs, stems, etc., is set
+appropriately.
-@example
-\transpose c bes @{ e4 @dots{} @}
-@end example
+These voices are all separate from the voice that contains the notes just
+outside the @code{<< \\ >>} construct. This should be noted when making
+changes at the voice level. This also means that slurs and ties cannot go
+into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
+from separate @code{<< \\ >>} constructs on the same staff are the the
+same voice. Here is the same example, with different noteheads for each
+voice. Note that the change to the note-head style in the main voice does
+not affect
+the inside of the @code{<< \\ >>} constructs. Also, the change to the
+second
+voice in the first @code{<< \\ >>} construct is effective in the second
+@code{<< \\ >>}, and the voice is tied across the two constructs.
-To print this music in B-flat again (i.e. producing a trumpet part,
-instead of a concert pitch conductor's score) you would wrap the
-existing music with another @code{transpose}
+@lilypond[quote,verbatim,fragment]
+\new Staff \relative c' {
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ <<
+ { g4 f e } \\
+ { \override NoteHead #'style = #'triangle
+ r8 e4 d c8 ~ }
+ >> |
+ <<
+ { d2 e2 } \\
+ { c8 b16 a b8 g ~ g2 } \\
+ { \override NoteHead #'style = #'slash s4 b4 c2 }
+ >>
+}
+@end lilypond
+
+Polyphony does not change the relationship of notes within a
+@code{\relative @{ @}} block. Each note is calculated relative
+to the note immediately preceding it.
@example
-\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
+\relative @{ noteA << noteB \\ noteC >> noteD @}
@end example
+@code{noteC} is relative to @code{noteB}, not @code{noteA};
+@code{noteD} is relative to @code{noteC}, not @code{noteB} or
+@code{noteA}.
-@seealso
-
-Program reference: @internalsref{TransposedMusic}.
-
+@node Explicitly instantiating voices
+@subsection Explicitly instantiating voices
-@refbugs
+@internalsref{Voice} contexts can also be instantiated manually
+inside a @code{<< >>} block to create polyphonic music, using
+@code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
+and a horizontal shift for each part.
-If you want to use both @code{\transpose} and @code{\relative},
-you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect music that appears inside a
-@code{\transpose}.
+Specifically,
+@example
+<< \upper \\ \lower >>
+@end example
-
-@node Bar check
-@subsection Bar check
-
-@cindex Bar check
-@cindex @code{barCheckSynchronize}
-@cindex @code{|}
-
-Bar checks help detect errors in the durations. A bar check is
-entered using the bar symbol, `@code{|}'. Whenever it is encountered
-during interpretation, it should fall on a measure boundary. If it
-does not, a warning is printed. In the next example, the second bar
-check will signal an error
-@example
-\time 3/4 c2 e4 | g2 |
-@end example
-
-Bar checks can also be used in lyrics, for example
+@noindent
+is equivalent to
@example
-\lyricmode @{
- \time 2/4
- Twin -- kle | Twin -- kle
-@}
+<<
+ \new Voice = "1" @{ \voiceOne \upper @}
+ \new Voice = "2" @{ \voiceTwo \lower @}
+>>
@end example
-Failed bar checks are caused by entering incorrect
-durations. Incorrect durations often completely garble up the score,
-especially if the score is polyphonic, so a good place to start correcting
-input is by scanning for failed bar checks and incorrect durations.
-
-@cindex @code{|}
-@cindex @code{pipeSymbol}
+The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
+articulations, text annotations, augmentation dots of dotted
+notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
+these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
+make them point downwards.
+The command @code{\oneVoice} will revert back to the normal setting.
-It is also possible to redefine the meaning of @code{|}. This is done
-by assigning a music expression to @code{pipeSymbol},
+An expression that appears directly inside a @code{<< >>} belongs to
+the main voice. This is useful when extra voices appear while the main
+voice is playing. Here is a more correct rendition of the example from
+the previous section. The crossed noteheads demonstrate that the main
+melody is now in a single voice context.
@lilypond[quote,ragged-right,verbatim]
-pipeSymbol = \bar "||"
-
-{ c'2 c' | c'2 c' }
+\new Staff \relative c' {
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2 }
+ \new Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. | s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+}
@end lilypond
+The correct definition of the voices allows the melody to be slurred.
+@lilypond[quote,ragged-right,verbatim]
+\new Staff \relative c' {
+ c16^( d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2) }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+}
+@end lilypond
-@node Barnumber check
-@subsection Barnumber check
-
-When copying large pieces of music, it can be helpful to check that
-the LilyPond bar number corresponds to the original that you are
-entering from. This can be checked with @code{\barNumberCheck}, for
-example,
-
-@verbatim
-\barNumberCheck #123
-@end verbatim
-
-@noindent
-will print a warning if the @code{currentBarNumber} is not 123 when it
-is processed.
-
-
-@node Skipping corrected music
-@subsection Skipping corrected music
-
-
-@cindex @code{skipTypesetting}
-@cindex @code{showLastLength}
-
-When entering or copying music, usually only the music near the end (where
-you
-are adding notes) is interesting to view and correct. To speed up
-this correction process, it is possible to skip typesetting of all but
-the last few measures. This is achieved by putting
-
-@verbatim
-showLastLength = R1*5
-\score { ... }
-@end verbatim
+Avoiding the @code{\\} separator also allows nesting polyphony
+constructs, which in some case might be a more natural way to typeset
+the music.
-@noindent
-in your source file. This will render only the last 5 measures
-(assuming 4/4 time signature) of every @code{\score} in the input
-file. For longer pieces, rendering only a small part is often an order
-of magnitude quicker than rendering it completely
+@lilypond[quote,ragged-right,verbatim]
+\new Staff \relative c' {
+ c16^( d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2) }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ |
+ <<
+ {c8 b16 a b8 g ~ g2}
+ \new Voice { \voiceThree
+ s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+ }
+ >>
+ \oneVoice
+}
+@end lilypond
-Skipping parts of a score can be controlled in a more fine-grained
-fashion with the property @code{Score.skipTypesetting}. When it is
-set, no typesetting is performed at all.
-This property is also used to control output to the MIDI file. Note that
-it skips all events, including tempo and instrument changes. You have
-been warned.
+@node Collision Resolution
+@subsection Collision Resolution
-@lilypond[quote,fragment,ragged-right,verbatim]
-\relative c'' {
- c8 d
- \set Score.skipTypesetting = ##t
- e e e e e e e e
- \set Score.skipTypesetting = ##f
- c d b bes a g c2 }
+Normally, note heads with a different number of dots are not merged, but
+when the object property @code{merge-differently-dotted} is set in
+the @internalsref{NoteCollision} object, they are merged
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+\new Voice << {
+ g8 g8
+ \override Staff.NoteCollision
+ #'merge-differently-dotted = ##t
+ g8 g8
+} \\ { g8.[ f16] g8.[ f16] } >>
@end lilypond
-In polyphonic music, @code{Score.skipTypesetting} will affect all
-voices and staves, saving even more time.
-
-
-@node Automatic note splitting
-@subsection Automatic note splitting
+Similarly, you can merge half note heads with eighth notes, by setting
+@code{merge-differently-headed}
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+\new Voice << {
+ c8 c4.
+ \override Staff.NoteCollision
+ #'merge-differently-headed = ##t
+c8 c4. } \\ { c2 c2 } >>
+@end lilypond
-Long notes can be converted automatically to tied notes. This is done
-by replacing the @internalsref{Note_heads_engraver} by the
-@internalsref{Completion_heads_engraver}.
-In the following examples, notes crossing the bar line are split and tied.
+LilyPond also vertically shifts rests that are opposite of a stem,
+for example
-@lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
-\new Voice \with {
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
-} {
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
-}
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new Voice << c''4 \\ r4 >>
@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.
+@refcommands
-@refbugs
+@findex \oneVoice
+@code{\oneVoice},
+@findex \voiceOne
+@code{\voiceOne},
+@findex \voiceTwo
+@code{\voiceTwo},
+@findex \voiceThree
+@code{\voiceThree},
+@findex \voiceFour
+@code{\voiceFour}.
-Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the engraver will
-not insert tuplets.
+@findex \shiftOn
+@code{\shiftOn},
+@findex \shiftOnn
+@code{\shiftOnn},
+@findex \shiftOnnn
+@code{\shiftOnnn},
+@findex \shiftOff
+@code{\shiftOff}: these commands specify in what chords of the current
+voice should be shifted. The outer voices (normally: voice one and
+two) have @code{\shiftOff}, while the inner voices (three and four)
+have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
+further shift levels.
-@code{Completion_heads_engraver} only affects notes; it does not split
-rests.
+When LilyPond cannot cope, the @code{force-hshift}
+property of the @internalsref{NoteColumn} object and pitched rests can
+be used to override typesetting decisions.
+
+@lilypond[quote,verbatim,ragged-right]
+\relative <<
+{
+ <d g>
+ <d g>
+} \\ {
+ <b f'>
+ \once \override NoteColumn #'force-hshift = #1.7
+ <b f'>
+} >>
+@end lilypond
@seealso
-Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
+Program reference: the objects responsible for resolving collisions are
+@internalsref{NoteCollision} and @internalsref{RestCollision}.
-@noindent
+Examples:
+@inputfileref{input/@/regression,collision@/-dots@/.ly},
+@inputfileref{input/@/regression,collision@/-head-chords@/.ly},
+@inputfileref{input/@/regression,collision@/-heads@/.ly},
+@inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
+@inputfileref{input/@/regression,collisions@/.ly}.
-Program reference: @internalsref{Completion_heads_engraver}.
+@refbugs
-@node Writing music in parallel
-@subsection Writing music in parallel
-@cindex Writing music in parallel
-@cindex Interleaved music
+When using @code{merge-differently-headed} with an upstem eighth or a
+shorter note, and a downstem half note, the eighth note gets the wrong
+offset.
-Music for multiple parts can be interleaved
+There is no support for clusters where the same note occurs with
+different accidentals in the same chord. In this case, it is
+recommended to use enharmonic transcription, or to use special cluster
+notation (see @ref{Clusters}).
-@lilypond[quote,fragment,verbatim]
-\parallelMusic #'(voiceA voiceB) {
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
- c'2 c'2 |
- r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
- c'2 c'2 |
-}
-\new StaffGroup <<
- \new Staff \new Voice \voiceA
- \new Staff \new Voice \voiceB
->>
-@end lilypond
@node Staff notation
such as key signatures, clefs and time signatures.
@menu
-* Clef::
-* Key signature::
-* Time signature::
-* Partial measures::
-* Bar lines::
-* Unmetered music::
-* System start delimiters::
-* Staff symbol::
+* Clef::
+* Key signature::
+* Time signature::
+* Partial measures::
+* Bar lines::
+* Unmetered music::
+* System start delimiters::
+* Staff symbol::
@end menu
@node Clef
@subsection Clef
-@cindex @code{\clef}
+@findex \clef
The clef indicates which lines of the staff correspond to which
pitches. The clef is set with the @code{\clef} command
@commonprop
-The command @code{\clef "treble_8"} is equivalent to setting
+The command @code{\clef "treble_8"} is equivalent to setting
@code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
@code{middleCPosition} and @code{clefOctavation}. A clef is printed
@subsection Key signature
@cindex Key signature
-@cindex @code{\key}
+@findex \key
The key signature indicates the tonality in which a piece is played. It
is denoted by a set of alterations (flats or sharps) at the start of the
@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}
+@findex \minor
+@findex \major
+@findex \minor
+@findex \ionian
+@findex \locrian
+@findex \aeolian
+@findex \mixolydian
+@findex \lydian
+@findex \phrygian
+@findex \dorian
@cindex church modes
Here, @var{type} should be @code{\major} or @code{\minor} to get
@cindex Time signature
@cindex meter
-@cindex @code{\time}
+@findex \time
Time signature indicates the metrum of a piece: a regular pattern of
strong and weak beats. It is denoted by a fraction at the start of the
@cindex partial measure
@cindex measure, partial
@cindex shorten measures
-@cindex @code{\partial}
+@findex \partial
Partial measures, such as an anacrusis or upbeat, are entered using the
@subsection Bar lines
@cindex Bar lines
-@cindex @code{\bar}
+@findex \bar
@cindex measure lines
@cindex repeat bars
@lilypondfile[ragged-right,quote]{bar-lines.ly}
+In addition, you can specify @code{"||:"}, which is equivalent to
+@code{"|:"} except at line breaks, where it gives a double bar line at
+the end of the line and a start repeat at the beginning of the next
+line.
+
To allow a line break where there is no visible bar line, use
@example
@commonprop
-@cindex @code{whichBar}
-@cindex @code{repeatCommands}
-@cindex @code{defaultBarType}
+@findex whichBar
+@findex repeatCommands
+@findex defaultBarType
The command @code{\bar }@var{bartype} is a short cut for doing
@code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
A bar line is created whenever the @code{whichBar} property is set.
At the start of a measure it is set to the contents of
-@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
+@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
used
to override default measure bars.
@subsection Unmetered music
@cindex cadenza
-@cindex @code{\cadenzaOn}
-@cindex @code{\cadenzaOff}
+@findex \cadenzaOn
+@findex \cadenzaOff
Bar lines and bar numbers are calculated automatically. For unmetered
music (cadenzas, for example), this is not desirable. To turn off
This section deals with notation that affects groups of notes.
@menu
-* Ties::
-* Slurs::
-* Phrasing slurs::
-* Laissez vibrer ties::
-* Automatic beams::
-* Manual beams::
-* Grace notes::
+* Ties::
+* Slurs::
+* Phrasing slurs::
+* Laissez vibrer ties::
+* Automatic beams::
+* Manual beams::
+* Grace notes::
@end menu
@subsection Ties
@cindex tie
-@cindex @code{~}
+@findex ~
A tie connects two adjacent note heads of the same pitch. The tie in
effect extends the length of a note. Ties should not be confused with
@refcommands
-@cindex @code{\tieUp}
+@findex \tieUp
@code{\tieUp},
-@cindex @code{\tieDown}
+@findex \tieDown
@code{\tieDown},
-@cindex @code{\tieNeutral}
+@findex \tieNeutral
@code{\tieNeutral},
-@cindex @code{\tieDotted}
+@findex \tieDotted
@code{\tieDotted},
-@cindex @code{\tieDashed}
+@findex \tieDashed
@code{\tieDashed},
-@cindex @code{\tieSolid}
+@findex \tieSolid
@code{\tieSolid}.
@refcommands
-@cindex @code{\slurUp}
+@findex \slurUp
@code{\slurUp},
-@cindex @code{\slurDown}
+@findex \slurDown
@code{\slurDown},
-@cindex @code{\slurNeutral}
+@findex \slurNeutral
@code{\slurNeutral},
-@cindex @code{\slurDashed}
+@findex \slurDashed
@code{\slurDashed},
-@cindex @code{\slurDotted}
+@findex \slurDotted
@code{\slurDotted},
-@cindex @code{\slurSolid}
+@findex \slurSolid
@code{\slurSolid}.
@seealso
@refcommands
-@cindex @code{\phrasingSlurUp}
+@findex \phrasingSlurUp
@code{\phrasingSlurUp},
-@cindex @code{\phrasingSlurDown}
+@findex \phrasingSlurDown
@code{\phrasingSlurDown},
-@cindex @code{\phrasingSlurNeutral}
+@findex \phrasingSlurNeutral
@code{\phrasingSlurNeutral}.
@subsection Manual beams
@cindex beams, manual
-@cindex @code{]}
-@cindex @code{[}
+@findex ]
+@findex [
In some cases it may be necessary to override the automatic beaming
algorithm. For example, the autobeamer will not put beams over rests
@commonprop
-@cindex @code{stemLeftBeamCount}
-@cindex @code{stemRightBeamCount}
+@findex stemLeftBeamCount
+@findex stemRightBeamCount
Normally, beaming patterns within a beam are determined automatically.
If necessary, the properties @code{stemLeftBeamCount} and
\set Score.beatLength = #(ly:make-moment 1 8)
c16[ c c c c c c c]
@end lilypond
-@cindex @code{subdivideBeams}
+@findex subdivideBeams
@noindent
For more information about @code{make-moment}, see
Line breaks are normally forbidden when beams cross bar lines. This
behavior can be changed by setting @code{allowBeamBreak}.
-@cindex @code{allowBeamBreak}
+@findex allowBeamBreak
@cindex beams and line breaks
@cindex beams, kneed
@cindex kneed beams
@node Grace notes
@subsection Grace notes
-@cindex @code{\grace}
+@findex \grace
@cindex ornaments
@cindex grace notes
@cindex appoggiatura
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
-@cindex @code{\afterGrace}
+@findex \afterGrace
If you want to end a note with a grace, use the @code{\afterGrace}
command. It takes two arguments: the main note, and the grace notes
notes and rhythms.
@menu
-* Articulations::
-* Fingering instructions::
-* Dynamics::
-* Breath marks::
-* Trills::
-* Glissando::
-* Arpeggio::
+* Articulations::
+* Fingering instructions::
+* Dynamics::
+* Breath marks::
+* Trills::
+* Glissando::
+* Arpeggio::
@end menu
@subsection Dynamics
@cindex Dynamics
-@cindex @code{\pppp}
-@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}
+@findex \pppp
+@findex \ppp
+@findex \pp
+@findex \p
+@findex \mp
+@findex \mf
+@findex \f
+@findex \ff
+@findex \fff
+@findex \ffff
+@findex \fp
+@findex \sf
+@findex \sff
+@findex \sp
+@findex \spp
+@findex \sfz
+@findex \rfz
Absolute dynamic marks are specified using a command after a note
@code{c4\ff}. The available dynamic marks are @code{\ppppp},
c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
@end lilypond
-@cindex @code{\<}
-@cindex @code{\>}
-@cindex @code{\!}
+@findex \<
+@findex \>
+@findex \!
A crescendo mark is started with @code{\<} and terminated with
@code{\!} or an absolute dynamic. A decrescendo is started with
@refcommands
-@cindex @code{\dynamicUp}
+@findex \dynamicUp
@code{\dynamicUp},
-@cindex @code{\dynamicDown}
+@findex \dynamicDown
@code{\dynamicDown},
-@cindex @code{\dynamicNeutral}
+@findex \dynamicNeutral
@code{\dynamicNeutral}.
@refcommands
@code{\startTrillSpan},
-@cindex @code{\startTrillSpan}
+@findex \startTrillSpan
@code{\stopTrillSpan}.
-@cindex @code{\stopTrillSpan}
+@findex \stopTrillSpan
@seealso
@subsection Glissando
@cindex Glissando
-@cindex @code{\glissando}
+@findex \glissando
A glissando is a smooth change in pitch. It is denoted by a line or a
wavy line between two notes. It is requested by attaching
@cindex Arpeggio
@cindex broken chord
-@cindex @code{\arpeggio}
+@findex \arpeggio
You can specify an arpeggio sign (also known as broken chord) on a
chord by attaching an @code{\arpeggio} to a chord
@refcommands
@code{\arpeggio},
-@cindex @code{\arpeggioUp}
+@findex \arpeggioUp
@code{\arpeggioUp},
-@cindex @code{\arpeggioDown}
+@findex \arpeggioDown
@code{\arpeggioDown},
-@cindex @code{\arpeggioNeutral}
+@findex \arpeggioNeutral
@code{\arpeggioNeutral},
-@cindex @code{\arpeggioBracket}
+@findex \arpeggioBracket
@code{\arpeggioBracket}.
-@node Polyphony
-@section Polyphony
-
-Polyphony in music refers to having more than one voice occurring in
-a piece of music. Polyphony in LilyPond refers to having more than
-one voice on the same staff.
-
-@menu
-* Basic polyphony::
-* Explicitly instantiating voices::
-* Collision Resolution::
-@end menu
-
-
-@node Basic polyphony
-@subsection Basic polyphony
-
-@cindex polyphony
-
-The easiest way to enter fragments with more than one voice on a staff
-is to enter each voice as a sequence (with @code{@{...@}}), and combine
-them simultaneously, separating the voices with @code{\\}
-
-@cindex @code{\\}
-
-@lilypond[quote,verbatim,fragment]
-\new Staff \relative c' {
- c16 d e f
- <<
- { g4 f e | d2 e2 } \\
- { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
- { s2. | s4 b4 c2 }
- >>
-}
-@end lilypond
-
-The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
-voices are sometimes called ``layers'' in other notation packages}
-@cindex layers
-to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
-each of these contexts, vertical direction of slurs, stems, etc., is set
-appropriately.
-
-These voices are all separate from the voice that contains the notes just
-outside the @code{<< \\ >>} construct. This should be noted when making
-changes at the voice level. This also means that slurs and ties cannot go
-into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
-from separate @code{<< \\ >>} constructs on the same staff are the the
-same voice. Here is the same example, with different noteheads for each
-voice. Note that the change to the note-head style in the main voice does
-not affect
-the inside of the @code{<< \\ >>} constructs. Also, the change to the
-second
-voice in the first @code{<< \\ >>} construct is effective in the second
-@code{<< \\ >>}, and the voice is tied across the two constructs.
-
-@lilypond[quote,verbatim,fragment]
-\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- c16 d e f
- <<
- { g4 f e } \\
- { \override NoteHead #'style = #'triangle
- r8 e4 d c8 ~ }
- >> |
- <<
- { d2 e2 } \\
- { c8 b16 a b8 g ~ g2 } \\
- { \override NoteHead #'style = #'slash s4 b4 c2 }
- >>
-}
-@end lilypond
-
-Polyphony does not change the relationship of notes within a
-@code{\relative @{ @}} block. Each note is calculated relative
-to the note immediately preceding it.
-
-@example
-\relative @{ noteA << noteB \\ noteC >> noteD @}
-@end example
-
-@code{noteC} is relative to @code{noteB}, not @code{noteA};
-@code{noteD} is relative to @code{noteC}, not @code{noteB} or
-@code{noteA}.
-
-@node Explicitly instantiating voices
-@subsection Explicitly instantiating voices
-
-@internalsref{Voice} contexts can also be instantiated manually
-inside a @code{<< >>} block to create polyphonic music, using
-@code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
-and a horizontal shift for each part.
-
-Specifically,
-@example
-<< \upper \\ \lower >>
-@end example
-
-@noindent
-is equivalent to
-
-@example
-<<
- \new Voice = "1" @{ \voiceOne \upper @}
- \new Voice = "2" @{ \voiceTwo \lower @}
->>
-@end example
-
-The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
-articulations, text annotations, augmentation dots of dotted
-notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
-these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
-make them point downwards.
-The command @code{\oneVoice} will revert back to the normal setting.
-
-An expression that appears directly inside a @code{<< >>} belongs to
-the main voice. This is useful when extra voices appear while the main
-voice is playing. Here is a more correct rendition of the example from
-the previous section. The crossed noteheads demonstrate that the main
-melody is now in a single voice context.
-
-@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- c16 d e f
- \voiceOne
- <<
- { g4 f e | d2 e2 }
- \new Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. | s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
-
-The correct definition of the voices allows the melody to be slurred.
-@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
-
-Avoiding the @code{\\} separator also allows nesting polyphony
-constructs, which in some case might be a more natural way to typeset
-the music.
-
-@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ |
- <<
- {c8 b16 a b8 g ~ g2}
- \new Voice { \voiceThree
- s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
-
-
-@node Collision Resolution
-@subsection Collision Resolution
-
-Normally, note heads with a different number of dots are not merged, but
-when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are merged
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
-\new Voice << {
- g8 g8
- \override Staff.NoteCollision
- #'merge-differently-dotted = ##t
- g8 g8
-} \\ { g8.[ f16] g8.[ f16] } >>
-@end lilypond
-
-Similarly, you can merge half note heads with eighth notes, by setting
-@code{merge-differently-headed}
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
-\new Voice << {
- c8 c4.
- \override Staff.NoteCollision
- #'merge-differently-headed = ##t
-c8 c4. } \\ { c2 c2 } >>
-@end lilypond
-
-LilyPond also vertically shifts rests that are opposite of a stem,
-for example
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new Voice << c''4 \\ r4 >>
-@end lilypond
-
-
-@refcommands
-
-@cindex @code{\oneVoice}
-@code{\oneVoice},
-@cindex @code{\voiceOne}
-@code{\voiceOne},
-@cindex @code{\voiceTwo}
-@code{\voiceTwo},
-@cindex @code{\voiceThree}
-@code{\voiceThree},
-@cindex @code{\voiceFour}
-@code{\voiceFour}.
-
-@cindex @code{\shiftOn}
-@code{\shiftOn},
-@cindex @code{\shiftOnn}
-@code{\shiftOnn},
-@cindex @code{\shiftOnnn}
-@code{\shiftOnnn},
-@cindex @code{\shiftOff}
-@code{\shiftOff}: these commands specify in what chords of the current
-voice should be shifted. The outer voices (normally: voice one and
-two) have @code{\shiftOff}, while the inner voices (three and four)
-have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
-further shift levels.
-
-When LilyPond cannot cope, the @code{force-hshift}
-property of the @internalsref{NoteColumn} object and pitched rests can
-be used to override typesetting decisions.
-
-@lilypond[quote,verbatim,ragged-right]
-\relative <<
-{
- <d g>
- <d g>
-} \\ {
- <b f'>
- \once \override NoteColumn #'force-hshift = #1.7
- <b f'>
-} >>
-@end lilypond
-
-
-@seealso
-
-Program reference: the objects responsible for resolving collisions are
-@internalsref{NoteCollision} and @internalsref{RestCollision}.
-
-Examples:
-@inputfileref{input/@/regression,collision@/-dots@/.ly},
-@inputfileref{input/@/regression,collision@/-head-chords@/.ly},
-@inputfileref{input/@/regression,collision@/-heads@/.ly},
-@inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
-@inputfileref{input/@/regression,collisions@/.ly}.
-
-
-@refbugs
-
-When using @code{merge-differently-headed} with an upstem eighth or a
-shorter note, and a downstem half note, the eighth note gets the wrong
-offset.
-
-There is no support for clusters where the same note occurs with
-different accidentals in the same chord. In this case, it is
-recommended to use enharmonic transcription, or to use special cluster
-notation (see @ref{Clusters}).
-
@node Repeats
for repetitions.
@menu
-* Repeat types::
-* Repeat syntax::
-* Repeats and MIDI::
-* Manual repeat commands::
-* Tremolo repeats::
-* Tremolo subdivisions::
-* Measure repeats::
+* Repeat types::
+* Repeat syntax::
+* Repeats and MIDI::
+* Manual repeat commands::
+* Tremolo repeats::
+* Tremolo subdivisions::
+* Measure repeats::
@end menu
@subsection Repeat types
@cindex repeats
-@cindex @code{\repeat}
+@findex \repeat
The following types of repetition are supported
@end example
If you have alternative endings, you may add
-@cindex @code{\alternative}
+@findex \alternative
@example
\alternative @{
@var{alternative1}
@subsection Repeats and MIDI
@cindex expanding repeats
-@cindex @code{\unfoldRepeats}
+@findex \unfoldRepeats
With a little bit of tweaking, all types of repeats can be present
in the MIDI output. This is achieved by applying the
@node Manual repeat commands
@subsection Manual repeat commands
-@cindex @code{repeatCommands}
+@findex repeatCommands
The property @code{repeatCommands} can be used to control the layout of
repeats. Its value is a Scheme list of repeat commands.
@seealso
-Program reference: @internalsref{VoltaBracket},
+Program reference: @internalsref{VoltaBracket},
@internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
@internalsref{UnfoldedRepeatedMusic}, and
@subsection Tremolo subdivisions
@cindex tremolo marks
-@cindex @code{tremoloFlags}
+@findex tremoloFlags
Tremolo marks can be printed on a single note by adding
`@code{:}[@var{number}]' after the note. The number indicates the
@internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
@internalsref{DoublePercentRepeatCounter},
@internalsref{PercentRepeatCounter},
-@internalsref{PercentRepeatedMusic}, and
+@internalsref{PercentRepeatedMusic}.