-@c -*- coding: latin-1; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
@c to automatically fill in these menus before saving changes
-
@node Basic notation
@chapter Basic notation
-This chapter explains how to use all basic notation features.
+This chapter explains how to use basic notation features.
@menu
-* Note entry::
-* Easier music entry::
+* Pitches::
+* Rhythms::
+* Multiple notes at once::
* Staff notation::
-* More than notes::
+* Connecting notes::
* Expressive marks::
-* Polyphony::
* Repeats::
@end menu
-@node Note entry
-@section Note entry
-@cindex Note entry
-This section is about basic notation elements like notes, rests, and
-related constructs, such as stems, tuplets and ties.
+@node Pitches
+@section Pitches
+
+This section discusses how to specify the pitch of notes.
@menu
-* Notes::
-* Pitches::
+* Normal pitches::
+* Accidentals::
* Cautionary accidentals::
* Micro tones::
-* Chords::
+* Notes names in other languages::
+* Relative octaves::
+* Octave check::
+* Transpose::
* Rests::
* Skips::
-* Durations::
-* Augmentation dots::
-* Tuplets::
-* Scaling durations::
@end menu
-@node Notes
-@subsection Notes
+@node Normal pitches
+@subsection Normal pitches
-@cindex Note specification
-@cindex entering notes
+@cindex Pitch names
+@cindex pitches
-A note is printed by specifying its pitch and then its duration,
+A pitch name is specified using lowercase letters @code{a} through @code{g}.
+An ascending C-major scale is engraved with
-@lilypond[quote,verbatim,raggedright,fragment]
-cis'4 d'8 e'16 c'16
+@lilypond[quote,fragment,verbatim,ragged-right]
+\clef bass
+c d e f g a b c'
@end lilypond
-@seealso
-
-@ref{Pitches}, @ref{Durations}
-
-
-@node Pitches
-@subsection Pitches
-
-@cindex Pitch names
-@cindex pitches
-
-The most common syntax for pitch entry is used for standard notes and
-@code{\chordmode} modes. In these modes, pitches may be designated by
-names. The notes are specified by the letters @code{a} through
-@code{g}. The octave is formed with notes ranging from @code{c}
-to @code{b}. The pitch @code{c} is an octave below middle C and the
-letters span the octave above that C
+The note name @code{c} is engraved one octave below middle C.
-@lilypond[quote,fragment,verbatim,raggedright]
+@lilypond[quote,fragment,verbatim,ragged-right]
+\clef treble
+c1
\clef bass
-a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
+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
(`@code{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave
+octave; each @code{,} lowers the pitch by an octave.
-@lilypond[quote,raggedright,fragment,verbatim]
-c' c'' e' g d'' d'
+@lilypond[quote,ragged-right,fragment,verbatim]
+\clef treble
+c' c'' e' g d'' d' d c
+\clef bass
+c, c,, e, g d,, d, d c
@end lilypond
+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
+@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}. Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses}. These
-names are the Dutch note names. In Dutch, @code{aes} is contracted to
+a flat is formed by adding @code{-es}
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+a2 ais a aes
+@end lilypond
+
+Double sharps and double flats
+are obtained by adding @code{-isis} or @code{-eses} to a note name. These
+are the Dutch note names. In Dutch, @code{aes} is contracted to
@code{as}, but both forms are accepted. Similarly, both
@code{es} and @code{ees} are accepted
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
-ceses4
-ces
-c
-cis
-cisis
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+a2 aisis a aeses
@end lilypond
-There are predefined sets of note names for various other languages.
-To use them, include the language specific init file. For
-example: @code{\include "english.ly"}. The available language files
-and the note names they define are
+A natural will cancel the effect of an accidental or key signature.
+However, naturals are not encoded into the note name syntax with a
+suffix; a natural pitch is shown as a simple note name
-@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
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+a4 aes a2
+@end lilypond
@commonprop
-In accordance with standard typsetting rules, a natural sign is printed
+In accordance with standard typesetting rules, a natural sign is printed
before a sharp or flat if a previous accidental needs to be
-cancelled. To change this behaviour, use
+cancelled. To change this behavior, use
@code{\set Staff.extraNatural = ##f}
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
ceses4 ces cis c
\set Staff.extraNatural = ##f
ceses4 ces cis c
@seealso
-Program reference: @internalsref{NoteEvent},
-@internalsref{LedgerLineSpanner}, and @internalsref{NoteHead}.
+Program reference: @internalsref{LedgerLineSpanner},
+@internalsref{NoteHead}.
@node Cautionary accidentals
-@subsection Cautionary accidentals
+@subsection Cautionary accidentals
+@cindex accidental, reminder
+@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
can be forced by adding an exclamation mark @code{!}
after the pitch. A cautionary accidental
(i.e., an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch.
+question mark `@code{?}' after the pitch. These extra accidentals
+can be used to produce natural signs, too.
-@lilypond[quote,raggedright,fragment,verbatim]
-cis' cis' cis'! cis'?
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+cis cis cis! cis? c c? c! c
@end lilypond
@seealso
The automatic production of accidentals can be tuned in many
-ways. For more information, refer to @ref{Automatic accidentals}.
-
+ways. For more information, see @ref{Automatic accidentals}.
@node Micro tones
Half-flats and half-sharps are formed by adding @code{-eh} and
@code{-ih}; the following is a series of Cs with increasing pitches
-@lilypond[verbatim,raggedright,quote,relative=2,fragment]
+@lilypond[verbatim,ragged-right,quote,relative=2,fragment]
\set Staff.extraNatural = ##f
ceseh ceh cih cisih
@end lilypond
@refbugs
-There are no generally accepted standards for denoting three quarter
-flats, so LilyPond's symbol does not conform to any standard.
+There are no generally accepted standards for denoting
+three-quarter flats, so LilyPond's symbol does not conform to any
+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,raggedright,fragment,quote,relative=1]
-<c e g>4 <c>8
+
+@node Relative octaves
+@subsection Relative octaves
+
+@cindex Relative
+@cindex Relative octave specification
+@findex \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
+
+@example
+\relative @var{startpitch} @var{musicexpr}
+@end example
+
+@noindent
+or
+
+@example
+\relative @var{musicexpr}
+@end example
+
+@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
-For more information about chords, see @ref{Chord names}.
+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
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+}
+@end lilypond
+
+The pitch after the @code{\relative} contains a note name.
+
+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}.
+
+
+@node Octave check
+@subsection Octave check
+
+@cindex Octave check
+
+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,
+
+@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'}.
+
+There is also an octave check that produces no visible output. The syntax
+
+@example
+\octave @var{pitch}
+@end example
+
+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.
+
+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.
+
+@example
+\relative c' @{
+ e
+ \octave a'
+ \octave b'
+@}
+@end example
+
+
+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.
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative c' {
+ e
+ \octave b
+ a
+}
+@end lilypond
+
+
+@node Transpose
+@subsection Transpose
+
+@cindex Transpose
+@cindex Transposition of pitches
+@findex \transpose
+
+A music expression can be transposed with @code{\transpose}. The
+syntax is
+@example
+\transpose @var{from} @var{to} @var{musicexpr}
+@end example
+
+This means that @var{musicexpr} is transposed by the interval between
+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
+\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
+
+@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
-
-@cindex @code{\rest}
-@cindex @code{r}
+@findex \rest
+@findex r
Rests are entered like notes with the note name @code{r}
-@lilypond[fragment,quote,raggedright,verbatim]
+@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 are discussed in
+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,
-A rest's vertical position may be explicitly specified by entering a
-note with the @code{\rest} keyword appended, the rest will be placed at
-the note's place. This makes manual formatting in polyphonic music
-easier. Automatic rest collision formatting will leave these rests
-alone
-
-@lilypond[fragment,quote,raggedright,verbatim]
+@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{RestEvent}, and @internalsref{Rest}.
+Program reference: @internalsref{Rest}.
@node Skips
@cindex Skip
@cindex Invisible rest
@cindex Space note
-@cindex @code{\skip}
-@cindex @code{s}
+@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,raggedright,verbatim,relative=2]
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a4 a4 s4 a4 \skip 1 a4
@end lilypond
other situations, for example, when entering lyrics, you should use
the @code{\skip} command
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
<<
\relative { a'2 a2 }
\new Lyrics \lyricmode { \skip 2 bla2 }
@internalsref{Voice} when necessary, similar to note and rest
commands. For example, the following results in an empty staff.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
{ s4 }
@end lilypond
@seealso
-Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
+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
-@cindex @code{\longa}
-@cindex @code{\breve}
-@cindex @code{\maxima}
+@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
@lilypond[quote]
\score {
- \relative c'' {
+\relative c'' {
a\breve*1/2 \autoBeamOff
a1 a2 a4 a8 a16 a32 a64 a64
\bar "empty"
r1 r2 r4 r8 r16 r32 r64 r64
}
\layout {
- raggedright = ##t
+ ragged-right = ##t
\context {
\Staff
\remove "Clef_engraver"
If the duration is omitted then it is set to the previously entered
duration. The default for the first note is a quarter note.
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
{ a a a2 a a4 a a1 a }
@end lilypond
@node Augmentation dots
@subsection Augmentation dots
-@cindex @code{.}
+@findex .
-To obtain dotted note lenghts, simply add a dot (`@code{.}') to
+To obtain dotted note lengths, simply add a dot (`@code{.}') to
the number. Double-dotted notes are produced in a similar way.
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
a'4 b' c''4. b'8 a'4. b'4.. c''8.
@end lilypond
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
notes have the length of 2, so the notes are 2/3 of their written
length
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
+Tuplets may be nested, for example,
+
+@lilypond[fragment,ragged-right,verbatim,relative=2]
+\set tupletNumberFormatFunction = #fraction-tuplet-formatter
+\times 4/6 {
+ a4 a
+ \times 3/5 { a a a a a }
+}
+@end lilypond
+
@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
example, there are two triplets shown, while @code{\times} was only
used once
-@lilypond[quote,fragment,relative=1,raggedright,verbatim]
+@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
\set tupletSpannerDuration = #(ly:make-moment 1 4)
-\times 2/3 { c'8 c c c c c }
+\times 2/3 { c8 c c c c c }
@end lilypond
+@noindent
+For more information about @code{make-moment}, see
+@ref{Time administration}.
+
The format of the number is determined by the property
@code{tupletNumberFormatFunction}. The default prints only the
denominator, but if it is set to the Scheme function
@code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
instead.
+To avoid printing tuplet numbers, use
-@seealso
+@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
+\times 2/3 { c8 c c } \times 2/3 { c8 c c }
+\override TupletNumber #'transparent = ##t
+\times 2/3 { c8 c c } \times 2/3 { c8 c c }
+@end lilypond
-Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
-@c FIXME: will be deleted or moved; not suitable for basic-notation.
-@ignore
-Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
-User manual: @ref{Changing context properties on the fly} for the
-@code{\set} command.
-@end ignore
+@seealso
+Program reference: @internalsref{TupletBracket},
+@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
-@refbugs
+Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
-Nested tuplets are not formatted automatically. In this case, outer
-tuplet brackets should be moved manually, which is demonstrated in
-@inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
@node Scaling durations
In the following example, the first three notes take up exactly two
beats, but no triplet bracket is printed.
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\time 2/4
a4*2/3 gis4*2/3 a4*2/3
a4 a4 a4*2
This manual: @ref{Tuplets}
+@node Bar check
+@subsection Bar check
+
+@cindex Bar check
+@findex barCheckSynchronize
+@findex |
-@node Easier music entry
-@section Easier music entry
-@cindex Music entry
+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
-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.
+Bar checks can also be used in lyrics, for example
-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.
+@example
+\lyricmode @{
+ \time 2/4
+ Twin -- kle | Twin -- kle
+@}
+@end example
-@menu
-* Relative octaves::
-* Octave check::
-* Bar check::
-* Skipping corrected music::
-* Automatic note splitting::
-@end menu
+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.
+@findex |
+@findex pipeSymbol
-@node Relative octaves
-@subsection Relative octaves
+It is also possible to redefine the meaning of @code{|}. This is done
+by assigning a music expression to @code{pipeSymbol},
-@cindex Relative
-@cindex Relative octave specification
-@cindex @code{\relative}
+@lilypond[quote,ragged-right,verbatim]
+pipeSymbol = \bar "||"
-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
+{ c'2 c' | c'2 c' }
+@end lilypond
-@example
-\relative @var{startpitch} @var{musicexpr}
-@end example
+
+@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
-or
+will print a warning if the @code{currentBarNumber} is not 123 when it
+is processed.
-@example
-\relative @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}. In other words, a doubly-augmented fourth is considered
-a smaller interval than a diminshed fifth, even though the fourth is
-seven semitones while the fifth is only six semitones.
+@node Automatic note splitting
+@subsection Automatic note splitting
-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.
+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.
-Here is the relative mode shown in action
-@lilypond[quote,fragment,raggedright,verbatim]
-\relative c'' {
- b c d c b c bes a
+@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
-Octave changing marks are used for intervals greater than a fourth
-@lilypond[quote,raggedright,fragment,verbatim]
-\relative c'' {
- c g c f, c' a, e''
-}
-@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.
-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[quote,raggedright,fragment,verbatim]
-\relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
-}
+@refbugs
+
+Not all durations (especially those containing tuplets) can be
+represented exactly with normal notes and dots, but the engraver will
+not insert tuplets.
+
+@code{Completion_heads_engraver} only affects notes; it does not split
+rests.
+
+
+@seealso
+
+Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
+
+@noindent
+
+Program reference: @internalsref{Completion_heads_engraver}.
+
+
+@node Multiple notes at once
+@section Multiple notes at once
+
+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
+* Chords::
+* Stems::
+* Basic polyphony::
+* Explicitly instantiating voices::
+* Collision Resolution::
+@end menu
+
+
+@node Chords
+@subsection Chords
+
+@cindex Chords
+
+A chord is formed by a enclosing a set of pitches in @code{<} and
+@code{>}. A chord may be followed by a duration, and a set of
+articulations, just like simple notes
+
+@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+<c e g>4 <c>8
@end lilypond
-The pitch after the @code{\relative} contains a note name.
+For more information about chords, see @ref{Chord names}.
-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}.
+@node Stems
+@subsection Stems
-@node Octave check
-@subsection Octave 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 Octave check
+@refcommands
-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,
+@findex \stemUp
+@code{\stemUp},
+@findex \stemDown
+@code{\stemDown},
+@findex \stemNeutral
+@code{\stemNeutral}.
-@example
-\relative c'' @{ c='' b=' d,='' @}
-@end example
-@c take care with @code, adds confusing quotes.
-@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'}.
+@commonprop
-There is also a syntax that is separate from the notes. The syntax
+To change the direction of stems in the middle of the staff, use
-@example
-\octave @var{pitch}
-@end example
+@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
-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.
-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.
+@node Basic polyphony
+@subsection Basic polyphony
-@example
-\relative c' @{
- e
- \octave a'
- \octave b'
-@}
-@end example
+@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{\\}
-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.
+@findex \\
-@lilypond[quote,raggedright,verbatim,fragment]
-\relative c' {
- e
- \octave b
- a
+@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.
-@node Bar check
-@subsection Bar check
+@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
-@cindex Bar check
-@cindex @code{barCheckSynchronize}
-@cindex @code{|}
+Polyphony does not change the relationship of notes within a
+@code{\relative @{ @}} block. Each note is calculated relative
+to the note immediately preceding it.
-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 |
+\relative @{ noteA << noteB \\ noteC >> noteD @}
@end example
-Bar checks can also be used in lyrics, for 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
-\lyricmode @{
- \time 2/4
- Twin -- kle | Twin -- kle
-@}
+<< \upper \\ \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.
+@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.
-@cindex @code{|}
-@cindex @code{pipeSymbol}
+@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
-It is also possible to redefine the meaning of @code{|}. This is done
-by assigning a music expression to @code{pipeSymbol},
+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
-@lilypond[quote,raggedright,verbatim]
-pipeSymbol = \bar "||"
+Avoiding the @code{\\} separator also allows nesting polyphony
+constructs, which in some case might be a more natural way to typeset
+the music.
-{ c'2 c' | c'2 c' }
+@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 Skipping corrected music
-@subsection Skipping corrected music
+@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
-@cindex @code{skipTypesetting}
+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
-The property @code{Score.skipTypesetting} can be used to switch on and
-off typesetting completely during the interpretation phase. When
-typesetting is switched off, the music is processed much more
-quickly. This can be used to skip over the parts of a score that
-have already been checked for errors
+LilyPond also vertically shifts rests that are opposite of a stem,
+for example
-@lilypond[quote,fragment,raggedright,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 }
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new Voice << c''4 \\ r4 >>
@end lilypond
-In polyphonic music, @code{Score.skipTypesetting} will affect all
-voices and staves, saving even more time.
+@refcommands
-@node Automatic note splitting
-@subsection Automatic note splitting
+@findex \oneVoice
+@code{\oneVoice},
+@findex \voiceOne
+@code{\voiceOne},
+@findex \voiceTwo
+@code{\voiceTwo},
+@findex \voiceThree
+@code{\voiceThree},
+@findex \voiceFour
+@code{\voiceFour}.
-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.
+@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.
-@lilypond[quote,fragment,verbatim,relative=1,linewidth=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
+When LilyPond cannot cope, the @code{force-hshift}
+property of the @internalsref{NoteColumn} object and pitched rests can
+be used to override typesetting decisions.
-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.
+@lilypond[quote,verbatim,ragged-right]
+\relative <<
+{
+ <d g>
+ <d g>
+} \\ {
+ <b f'>
+ \once \override NoteColumn #'force-hshift = #1.7
+ <b f'>
+} >>
+@end lilypond
-@refbugs
+@seealso
-Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the engraver will
-not insert tuplets.
+Program reference: the objects responsible for resolving collisions are
+@internalsref{NoteCollision} and @internalsref{RestCollision}.
-@code{Completion_heads_engraver} only affects notes; it does not split
-rests.
+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}.
-@seealso
+@refbugs
-Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
+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.
-@noindent
+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}).
-Program reference: @internalsref{Completion_heads_engraver}.
@node Staff notation
@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
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
{ c''2 \clef alto g'2 }
@end lilypond
@cindex varbaritone clef
@cindex subbass clef
-Supported clefs finclude
-@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
-@item tab
- tablature clef
-@end table
+Supported clefs include
+
+@multitable @columnfractions .33 .66
+@headitem Clef @tab Position
+@item @code{treble}, violin, G, G2 @tab
+G clef on 2nd line
+@item @code{alto, C} @tab
+C clef on 3rd line
+@item @code{tenor} @tab
+C clef on 4th line.
+@item @code{bass, F} @tab
+F clef on 4th line
+@item @code{french} @tab
+G clef on 1st line, so-called French violin clef
+@item @code{soprano} @tab
+C clef on 1st line
+@item @code{mezzosoprano} @tab
+C clef on 2nd line
+@item @code{baritone} @tab
+C clef on 5th line
+@item @code{varbaritone} @tab
+F clef on 3rd line
+@item @code{subbass} @tab
+F clef on 5th line
+@item @code{percussion} @tab
+percussion clef
+@item @code{tab} @tab
+tablature clef
+@end multitable
By adding @code{_8} or @code{^8} to the clef name, the clef is
transposed one octave down or up, respectively, and @code{_15} and
example,
@cindex choral tenor clef
-@lilypond[quote,raggedright,verbatim,fragment,relative=1]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
\clef "G_8" c4
@end lilypond
@commonprop
-The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
+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
when any of these properties are changed. The following example shows
possibilities when setting properties manually.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
{
\set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
@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
can be suppressed by setting the @code{Staff.printKeyCancellation}
property.
-@lilypond[quote,fragment,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
\key d \major
a b cis d
\key g \minor
@seealso
-Program reference: @internalsref{KeyChangeEvent},
-@internalsref{KeyCancellation} and @internalsref{KeySignature}.
+Program reference: @internalsref{KeyCancellation},
+@internalsref{KeySignature}.
@node Time signature
@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
The time signature is set with the @code{\time} command
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
property. Setting it to @code{#'()} uses fraction style for 4/4 and
2/2 time,
-@lilypond[fragment,quote,raggedright,verbatim]
+@lilypond[fragment,quote,ragged-right,verbatim]
\time 4/4 c'1
\time 2/2 c'1
\override Staff.TimeSignature #'style = #'()
measure is subdivided in 2, 2, 2 and 3. This is passed to
@code{set-time-signature} as the third argument @code{(2 2 2 3)}
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\score {
\relative c'' {
#(set-time-signature 9 8 '(2 2 2 3))
}
@end lilypond
+
@seealso
-Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
+Program reference: @internalsref{TimeSignature}, and
+@internalsref{Timing_translator}.
+
+Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
@refbugs
@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
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
the music. When a piece starts with graces notes in the pickup, then
the @code{\partial} should follow the grace notes
-@lilypond[verbatim,quote,raggedright,relative,fragment]
+@lilypond[verbatim,quote,ragged-right,relative,fragment]
\grace f16
\partial 4
g4
@subsection Bar lines
@cindex Bar lines
-@cindex @code{\bar}
+@findex \bar
@cindex measure lines
@cindex repeat bars
Special types of bar lines can be forced with the @code{\bar} command
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
The following bar types are available
-@lilypondfile[raggedright,quote]{bar-lines.ly}
+@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
automatically applied to all staves. The resulting bar lines are
connected between different staves of a StaffGroup
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
<<
- \context StaffGroup <<
+ \new StaffGroup <<
\new Staff {
e'4 d'
\bar "||"
>>
@end lilypond
-@cindex @code{whichBar}
-@cindex @code{repeatCommands}
-@cindex @code{defaultBarType}
+
+@commonprop
+
+@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 used
+@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
+used
to override default measure bars.
You are encouraged to use @code{\repeat} for repetitions. See
@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
automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
and @code{\cadenzaOff}.
-@lilypond[verbatim,quote,raggedright,relative=2,fragment]
+@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
c4 d e d
\cadenzaOn
c4 c d8 d d f4 g4.
@cindex brace, vertical
@cindex grand staff
@cindex staff group
+@cindex staff, choir
Many scores consist of more than one staff. These staves can be
-joined in three different ways
+joined in four different ways
@itemize @bullet
@item The group is started with a brace at the left, and bar lines are
connected. This is done with the @internalsref{GrandStaff} context.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\new GrandStaff
\relative <<
\new Staff { c1 c }
This is done with the
@internalsref{StaffGroup} context
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\new StaffGroup
\relative <<
\new Staff { c1 c }
>>
@end lilypond
+@item The group is started with a bracket, but bar lines are not
+connected. This is done with the @internalsref{ChoirStaff} context.
+
+@lilypond[verbatim,ragged-right,quote]
+\new ChoirStaff
+\relative <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+>>
+@end lilypond
+
@item The group is started with a vertical line. Bar lines are not
connected. This is the default for the score.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\relative <<
\new Staff { c1 c }
\new Staff { c c }
b b
\revert Staff.StaffSymbol #'line-count
\stopStaff \startStaff
-b b
+b b
@end lilypond
In combination with Frenched staves, this may be used to typeset ossia
@seealso
-Program reference: @internalsref{StaffSymbol}, @internalsref{StaffSpanEvent}.
+Program reference: @internalsref{StaffSymbol}.
Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
@inputfileref{input/@/test@/,ossia.ly},
-@inputfileref{input/@/test,staff@/-size@/.ly}.
+@inputfileref{input/@/test,staff@/-size@/.ly},
+@inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
+
-@node More than notes
-@section More than notes
-@c silly title; should change.
+@node Connecting notes
+@section Connecting notes
-This section deals with notation that affects more than one note.
+This section deals with notation that affects groups of notes.
@menu
* Ties::
+* Slurs::
+* Phrasing slurs::
+* Laissez vibrer ties::
* Automatic beams::
* Manual beams::
* Grace notes::
-* Fingering instructions::
@end menu
+
@node Ties
@subsection Ties
-@cindex Tie
-@cindex ties
-@cindex @code{~}
+@cindex tie
+@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
slurs, which indicate articulation, or phrasing slurs, which indicate
musical phrasing. A tie is entered using the tilde symbol `@code{~}'
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
A tie is just a way of extending a note duration, similar to the
augmentation dot. The following example shows two ways of notating
exactly the same concept
-@c
-@lilypond[quote,fragment,raggedright]
+
+@lilypond[quote,fragment,ragged-right]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
@noindent
Ties are used either when the note crosses a bar line, or when dots
cannot be used to denote the rhythm. When using ties, larger note
-values should be aligned to subdivisions of the measure, eg.
+values should be aligned to subdivisions of the measure, such as
-@lilypond[fragment,quote,raggedright]
+@lilypond[fragment,quote,ragged-right]
\relative {
r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
}
mechanism automatically splits long notes, and ties them across bar
lines.
+When a second alternative of a repeat starts with a tied note, you
+have to repeat the tie. This can be achieved with @code{\repeatTie},
+
+@lilypond[fragment,quote,ragged-right,relative=2]
+r <c e g>\repeatTie
+@end lilypond
+
+@cindex repeating ties
+@cindex volta brackets and ties
+
+@commonprop
+
Ties are sometimes used to write out arpeggios. In this case, two tied
notes need not be consecutive. This can be achieved by setting the
-@code{tieWaitForNote} property to true. For example,
+@code{tieWaitForNote} property to true. The same feature is also useful,
+for example, to tie a tremolo to a chord. For example,
-@lilypond[fragment,verbatim,relative=1,raggedright]
+@lilypond[fragment,verbatim,relative=1,ragged-right]
\set tieWaitForNote = ##t
-\grace { c16[~ e~ g]~ } <c, e g>4
+\grace { c16[~ e~ g]~ } <c, e g>2
+\repeat "tremolo" 8 { c32~ c'~ } <c c,>1
@end lilypond
@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{\tieSolid}
+@findex \tieDashed
+@code{\tieDashed},
+@findex \tieSolid
@code{\tieSolid}.
+
@seealso
In this manual: @ref{Automatic note splitting}.
-Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
+Program reference: @internalsref{Tie}.
-@refbugs
+Examples:
+@inputfileref{input/@/regression,tie-arpeggio.ly}
+@inputfileref{input/@/regression,tie-manual.ly}
+
+
+@refbugs
+
Switching staves when a tie is active will not produce a slanted tie.
-Formatting of ties is a difficult subject. The results are often not
-optimal.
+
+@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[quote,ragged-right,relative=2,fragment,verbatim]
+f( g a) a8 b( a4 g2 f4)
+<c e>2( <b d>2)
+@end lilypond
+
+The direction of a slur can be specified with
+@code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
+either @code{Up}, @code{Down}, or @code{Neutral} (automatically
+selected).
+
+However, there is a convenient shorthand for forcing slur
+directions. By adding @code{_} or @code{^} before the opening
+parentheses, the direction is also set. For example,
+
+@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
+c4_( c) c^( c)
+@end lilypond
+
+Only one slur can be printed at once. If you need to print a long
+slur over a few small slurs, please see @ref{Phrasing slurs}.
+
+
+@commonprop
+
+Some composers write two slurs when they want legato chords. This can
+be achieved in LilyPond by setting @code{doubleSlurs},
+
+@lilypond[verbatim,ragged-right,relative,fragment,quote]
+\set doubleSlurs = ##t
+<c e>4 ( <d f> <c e> <d f> )
+@end lilypond
+
+
+@refcommands
+
+@findex \slurUp
+@code{\slurUp},
+@findex \slurDown
+@code{\slurDown},
+@findex \slurNeutral
+@code{\slurNeutral},
+@findex \slurDashed
+@code{\slurDashed},
+@findex \slurDotted
+@code{\slurDotted},
+@findex \slurSolid
+@code{\slurSolid}.
+
+@seealso
+
+Program reference: @seeinternals{Slur}.
+
+
+@node Phrasing slurs
+@subsection Phrasing slurs
+
+@cindex phrasing slurs
+@cindex phrasing marks
+
+A phrasing slur (or phrasing mark) connects notes and is used to
+indicate a musical sentence. It is written using @code{\(} and @code{\)}
+respectively
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+\time 6/4 c'\( d( e) f( e) d\)
+@end lilypond
+
+Typographically, the phrasing slur behaves almost exactly like a
+normal slur. However, they are treated as different objects. A
+@code{\slurUp} will have no effect on a phrasing slur; instead, use
+@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
+@code{\phrasingSlurNeutral}.
+
+You cannot have simultaneous phrasing slurs.
+
+
+@refcommands
+
+@findex \phrasingSlurUp
+@code{\phrasingSlurUp},
+@findex \phrasingSlurDown
+@code{\phrasingSlurDown},
+@findex \phrasingSlurNeutral
+@code{\phrasingSlurNeutral}.
+
+
+@seealso
+
+Program reference: @internalsref{PhrasingSlur}.
+
+
+@node Laissez vibrer ties
+@subsection Laissez vibrer ties
+@cindex Laissez vibrer
+@cindex Ties, laissez vibrer
+
+L.v. ties (laissez vibrer) indicate that notes must not be damped at the
+end. It is used in notation for piano, harp and other string and
+percussion instruments. They can be entered using @code{\laissezVibrer},
+
+@lilypond[fragment,ragged-right,verbatim,relative=1]
+<c f g>\laissezVibrer
+@end lilypond
+
+@seealso
+
+Program reference:
+@internalsref{LaissezVibrerTie}
+@internalsref{LaissezVibrerTieColumn}
+
+Example files:
+@inputfileref{input/regression,laissez-vibrer-tie.ly}
@node Automatic beams
LilyPond inserts beams automatically
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
that differ from the defaults. See @ref{Setting automatic beam behavior}
for details.
-Individual notes may be marked with @code{\noBeam}, to prevent them
+Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\time 2/4 c8 c\noBeam c c
@end lilypond
@node Manual beams
@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
or bar lines. Such beams are specified manually by marking the begin
and end point with @code{[} and @code{]}
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
{
r4 r8[ g' a r8] r8 g[ | a] r8
}
@end lilypond
-@cindex @code{stemLeftBeamCount}
+
+@commonprop
+
+@findex stemLeftBeamCount
+@findex stemRightBeamCount
Normally, beaming patterns within a beam are determined automatically.
If necessary, the properties @code{stemLeftBeamCount} and
either property is set, its value will be used only once, and then it
is erased
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
{
f8[ r16
f g a]
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, as defined by the
@code{beatLength} property.
-
@lilypond[fragment,quote,relative=2,verbatim]
c16[ c c c c c c c]
\set subdivideBeams = ##t
\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
+@ref{Time administration}.
-Normally, line breaks are forbidden when beams cross bar lines. This
+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
@cindex auto-knee-gap
-@seealso
-
-User manual: @ref{Changing context properties on the fly} for the
-@code{\set} command
-
-
@refbugs
-@cindex Frenched staves
-Kneed beams are inserted automatically, when a large gap is detected
+Kneed beams are inserted automatically when a large gap is detected
between the note heads. This behavior can be tuned through the object.
-
Automatically kneed cross-staff beams cannot be used together with
hidden staves. See @ref{Hiding staves}.
Beams do not avoid collisions with symbols around the notes, such as
texts and accidentals.
-@c FIXME.
-
@node Grace notes
@subsection Grace notes
-@cindex @code{\grace}
+@findex \grace
@cindex ornaments
@cindex grace notes
+@cindex appoggiatura
+@cindex acciaccatura
Grace notes are ornaments that are written out. The most common ones
are acciaccatura, which should be played as very short. It is denoted
are entered with the commands @code{\acciaccatura} and
@code{\appoggiatura}, as demonstrated in the following example
-
-@cindex appoggiatura
-@cindex acciaccatura
-
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@end lilypond
keyword to a music expression, a new one is formed, which will be
printed in a smaller font and takes up no logical time in a measure.
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
c4 \grace c16 c4
\grace { c16[ d16] } c2 c4
@end lilypond
denotes the logical time, one denotes the grace timing. The above
example is shown here with timing tuples
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
<<
\relative c''{
c4 \grace c16 c4 \grace {
>>
@end lilypond
-
The placement of grace notes is synchronized between different staves.
In the following example, there are two sixteenth grace notes for
every eighth grace note
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
<< \new Staff { e4 \grace { c16[ d e f] } e4 }
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
-
+@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
-following the main note.
+following the main note.
-@lilypond[raggedright, verbatim,relative=2,fragment]
-c1 \afterGrace d1 { c16[ d] } c4
+@lilypond[ragged-right, verbatim,relative=2,fragment]
+c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
This will put the grace notes after a ``space'' lasting 3/4 of the
@code{afterGraceFraction}, ie.
@example
-afterGraceFraction = #(cons 7 8)
+afterGraceFraction = #(cons 7 8)
@end example
@noindent
-will put the grace note at 7/8 of the main note.
-
+will put the grace note at 7/8 of the main note.
The same effect can be achieved manually by doing
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\context Voice {
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\new Voice {
<< { d1^\trill_( }
{ s2 \grace { c16[ d] } } >>
c4)
By adjusting the duration of the skip note (here it is a half-note),
the space between the main-note and the grace is adjusted.
-
-
-
A @code{\grace} section will introduce special typesetting settings,
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Voice {
\acciaccatura {
\stemDown
@code{stopAppoggiaturaMusic}. More information is in the file
@file{ly/@/grace@/-init@/.ly}.
+@noindent
+The slash through the stem in acciaccaturas can be obtained
+in other situations by @code{\override Stem #'stroke-style = #"grace"}.
@seealso
Program reference: @internalsref{GraceMusic}.
+
@refbugs
A score that starts with a @code{\grace} section needs an explicit
-@code{\context Voice} declaration, otherwise the main note and the grace
+@code{\new Voice} declaration, otherwise the main note and the grace
note end up on different staves.
Grace note synchronization can also lead to surprises. Staff notation,
such as key signatures, bar lines, etc., are also synchronized. Take
care when you mix staves with grace notes and staves without, for example,
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
<< \new Staff { e4 \bar "|:" \grace c16 d4 }
\new Staff { c4 \bar "|:" d4 } >>
@end lilypond
@noindent
-This can be remedied by inserting grace skips, for the above example
+This can be remedied by inserting grace skips of the corresponding
+durations in the other staves. For the above example
@example
\new Staff @{ c4 \bar "|:" \grace s16 d4 @}
and might produce crashes or other errors.
-@node Fingering instructions
-@subsection Fingering instructions
-
-@cindex fingering
-
-Fingering instructions can be entered using
-@example
-@var{note}-@var{digit}
-@end example
-For finger changes, use markup texts
-
-@lilypond[quote,verbatim,raggedright,fragment,relative=1]
-c4-1 c-2 c-3 c-4
-c^\markup { \finger "2-3" }
-@end lilypond
-
-@cindex finger change
-@cindex scripts
-@cindex superscript
-@cindex subscript
-
-You can use the thumb-script to indicate that a note should be
-played with the thumb (e.g., in cello music)
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
-<a_\thumb a'-3>8 <b_\thumb b'-3>
-@end lilypond
-
-Fingerings for chords can also be added to individual notes
-of the chord by adding them after the pitches
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
-< c-1 e-2 g-3 b-5 >4
-@end lilypond
-
-@noindent
-In this case, setting @code{fingeringOrientations} will put fingerings next
-to note heads
-
-@lilypond[quote,verbatim,raggedright,fragment,relative=1]
-\set fingeringOrientations = #'(left down)
-<c-1 es-2 g-4 bes-5 > 4
-\set fingeringOrientations = #'(up right down)
-<c-1 es-2 g-4 bes-5 > 4
-@end lilypond
-
-Using this feature, it is also possible to put fingering instructions
-very close to note heads in monophonic music,
-
-@lilypond[verbatim,raggedright,quote,fragment]
-\set fingeringOrientations = #'(right)
-<es'-2>4
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
-
-Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
-
-
-
@node Expressive marks
@section Expressive marks
notes and rhythms.
@menu
-* Slurs::
-* Phrasing slurs::
* Articulations::
+* Fingering instructions::
* Dynamics::
* Breath marks::
-* Running trills::
+* Trills::
* Glissando::
* Arpeggio::
@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[quote,raggedright,relative=2,fragment,verbatim]
-f( g a) a8 b( a4 g2 f4)
-<c e>2( <b d>2)
-@end lilypond
-
-The direction of a slur can be set with the
-generic commands
-
-@example
-\override Slur #'direction = #UP
-\slurUp % shortcut for the previous line
-@end example
-
-@noindent
-However, there is a convenient shorthand for forcing slur
-directions. By adding @code{_} or @code{^} before the opening
-parentheses, the direction is also set. For example,
-
-@lilypond[relative=2,raggedright,quote,verbatim,fragment]
-c4_( c) c^( c)
-@end lilypond
-
-Some composers write two slurs when they want legato chords. This can
-be achieved in LilyPond by setting @code{doubleSlurs},
-
-@lilypond[verbatim,raggedright,relative,fragment,quote]
-\set doubleSlurs = ##t
-<c e>4 ( <d f> <c e> <d f> )
-@end lilypond
-
-Only one slur can be printed at once. If you need to print a long
-slur over a few small slurs, please see @ref{Phrasing slurs}.
-
-
-@refcommands
-
-
-@cindex @code{\slurUp}
-@code{\slurUp},
-@cindex @code{\slurDown}
-@code{\slurDown},
-@cindex @code{\slurNeutral}
-@code{\slurNeutral},
-@cindex @code{\slurDashed}
-@code{\slurDashed},
-@cindex @code{\slurDotted}
-@code{\slurDotted},
-@cindex @code{\slurSolid}
-@code{\slurSolid}.
-
-@seealso
-
-Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
-
-
-@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 written using @code{\(} and @code{\)}
-respectively
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
-\time 6/4 c'\( d( e) f( e) d\)
-@end lilypond
-
-Typographically, the phrasing slur behaves almost exactly like a
-normal slur. However, they are treated as different objects. A
-@code{\slurUp} will have no effect on a phrasing slur; instead, use
-@code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
-@code{\phrasingSlurNeutral}.
-
-The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
-will only affect normal slurs and not phrasing slurs.
-
-You cannot have simultaneous phrasing slurs.
-
-@refcommands
-
-@cindex @code{\phrasingSlurUp}
-@code{\phrasingSlurUp},
-@cindex @code{\phrasingSlurDown}
-@code{\phrasingSlurDown},
-@cindex @code{\phrasingSlurNeutral}
-@code{\phrasingSlurNeutral}.
-
-@seealso
-
-Program reference: see also @internalsref{PhrasingSlur}, and
-@internalsref{PhrasingSlurEvent}.
-
-@refbugs
-
-Putting phrasing slurs over rests leads to spurious warnings.
-
-
@node Articulations
@subsection Articulations
-@cindex Articulations
-@cindex articulations
+@cindex Articulations
@cindex scripts
@cindex ornaments
by adding a dash and the character signifying the
articulation. They are demonstrated here
-@lilypondfile[quote,raggedright]{script-abbreviations.ly}
+@lilypondfile[quote,ragged-right]{script-abbreviations.ly}
The meanings of these shorthands can be changed. See
@file{ly/@/script@/-init@/.ly} for examples.
-
The script is automatically placed, but the direction can be forced as
well. Like other pieces of LilyPond code, @code{_} will place them
below the staff, and @code{^} will place them above.
-
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
c''4^^ c''4_^
@end lilypond
can be forced up or down using @code{^} and @code{_},
e.g.,
-@lilypond[quote,raggedright,verbatim,fragment,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c\fermata c^\fermata c_\fermata
@end lilypond
-
-
@cindex accent
@cindex marcato
@cindex staccatissimo
Here is a chart showing all scripts available,
-@lilypondfile[raggedright,quote]{script-chart.ly}
+@lilypondfile[ragged-right,quote]{script-chart.ly}
+
+@commonprop
The vertical ordering of scripts is controlled with the
@code{script-priority} property. The lower this number, the closer it
inside. When two objects have the same priority, the order in which
they are entered decides which one comes first.
-
-@lilypond[verbatim,relative=3,raggedright,fragment,quote]
+@lilypond[verbatim,relative=3,ragged-right,fragment,quote]
\once \override TextScript #'script-priority = #-100
a4^\prall^\markup { \sharp }
@end lilypond
-
-
@seealso
-Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
+Program reference: @internalsref{Script}.
+
@refbugs
MIDI rendering of the music.
-@node Dynamics
-@subsection Dynamics
-@cindex Dynamics
+@node Fingering instructions
+@subsection Fingering instructions
+
+@cindex fingering
+@cindex finger change
+
+Fingering instructions can be entered using
+@example
+@var{note}-@var{digit}
+@end example
+For finger changes, use markup texts
+
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+c4-1 c-2 c-3 c-4
+c^\markup { \finger "2 - 3" }
+@end lilypond
+
+You can use the thumb-script to indicate that a note should be
+played with the thumb (e.g., in cello music)
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
+<a_\thumb a'-3>8 <b_\thumb b'-3>
+@end lilypond
+
+Fingerings for chords can also be added to individual notes
+of the chord by adding them after the pitches
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
+< c-1 e-2 g-3 b-5 >4
+@end lilypond
+
+
+@commonprop
+
+You may exercise greater control over fingering chords by
+setting @code{fingeringOrientations}
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+\set fingeringOrientations = #'(left down)
+<c-1 es-2 g-4 bes-5 > 4
+\set fingeringOrientations = #'(up right down)
+<c-1 es-2 g-4 bes-5 > 4
+@end lilypond
+
+Using this feature, it is also possible to put fingering instructions
+very close to note heads in monophonic music,
+
+@lilypond[verbatim,ragged-right,quote,fragment]
+\set fingeringOrientations = #'(right)
+<es'-2>4
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{Fingering}.
+
+Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
-@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}
+@node Dynamics
+@subsection Dynamics
+@cindex Dynamics
+@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{\ppp},
+@code{c4\ff}. The available dynamic marks are @code{\ppppp},
+@code{\pppp}, @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}
+@code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
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
@code{\>} and is also terminated with @code{\!} or an absolute
-dynamic. Because these marks are bound to notes, you must
+dynamic. @code{\cr} and @code{\decr} may be used instead of
+@code{\<} and @code{\>}. Because these marks are bound to notes, you must
use spacer notes if multiple marks are needed during one note
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c\< c\! d\> e\!
<< f1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
+
+@noindent
+A hairpin starts at the left edge of the beginning note and ends on the
+right edge of the ending note.
+
+In some situations the @code{\espressivo} articulation mark may
+be suitable to indicate a crescendo and decrescendo on the one note,
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c2 b4 a g1\espressivo
+@end lilypond
+
This may give rise to very short hairpins. Use @code{minimum-length}
in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
example
\override Staff.Hairpin #'minimum-length = #5
@end example
-You can also use a text saying @emph{cresc.} instead of hairpins. Here
-is an example how to do it
+@cindex crescendo
+@cindex decrescendo
+@cindex diminuendo
+
+You can also use a text saying @emph{cresc.} instead of hairpins
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\setTextCresc
c\< d e f\!
\setHairpinCresc
e\> d c b\!
@end lilypond
-@cindex crescendo
-@cindex decrescendo
-
You can also supply your own texts
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\set crescendoText = \markup { \italic "cresc. poco" }
\set crescendoSpanner = #'dashed-line
a'2\< a a a\!\mf
@end lilypond
-@cindex diminuendo
-
To create new dynamic marks or text that should be aligned
with dynamics, see @ref{New dynamic marks}.
+@commonprop
+
+Dynamics that occur at, begin on, or end on, the same note
+will be vertically aligned. If you want to ensure that dynamics
+are aligned when they do not occur on the same note, you can
+increase the @code{staff-padding} property.
+
+@example
+\override DynamicLineSpanner #'staff-padding = #4
+@end example
+
+You may also use this property if the dynamics are colliding
+with other notation.
+
+Crescendi and decrescendi that end on the first note of a
+new line are not printed. To change this behavior, use
+
+@example
+\override Score.Hairpin #'after-line-breaking = ##t
+@end example
+
+Text style dynamic changes (such as cresc. and dim.) are printed with a
+dashed line showing their extent. To surpress printing this line, use
+
+@example
+\override DynamicTextSpanner #'dash-period = #-1.0
+@end example
+
+
@refcommands
-@cindex @code{\dynamicUp}
+@findex \dynamicUp
@code{\dynamicUp},
-@cindex @code{\dynamicDown}
+@findex \dynamicDown
@code{\dynamicDown},
-@cindex @code{\dynamicNeutral}
+@findex \dynamicNeutral
@code{\dynamicNeutral}.
-@cindex direction, of dynamics
@seealso
-Program reference: @internalsref{CrescendoEvent},
-@internalsref{DecrescendoEvent}, and
-@internalsref{AbsoluteDynamicEvent}.
+Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
+Vertical positioning of these symbols is handled by
+@internalsref{DynamicLineSpanner}.
-Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
-objects. Vertical positioning of these symbols is handled by the
-@internalsref{DynamicLineSpanner} object.
@node Breath marks
@subsection Breath marks
Breath marks are entered using @code{\breathe}
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
c'4 \breathe d4
@end lilypond
+
+@commonprop
+
The glyph of the breath mark can be tuned by overriding the
@code{text} property of the @code{BreathingSign} layout object with
any markup text. For example,
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
c'4
\override BreathingSign #'text
= #(make-musicglyph-markup "scripts.rvarcomma")
@seealso
-Program reference: @internalsref{BreathingSign},
-@internalsref{BreathingSignEvent}.
+Program reference: @internalsref{BreathingSign}.
Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
-@node Running trills
-@subsection Running trills
+@node Trills
+@subsection Trills
+
+Short trills are printed like normal articulation; see @ref{Articulations}.
Long running trills are made with @code{\startTrillSpan} and
@code{\stopTrillSpan},
-
-@lilypond[verbatim,raggedright,relative=2,quote,fragment]
+@lilypond[verbatim,ragged-right,relative=2,quote,fragment]
\new Voice {
<< { c1 \startTrillSpan }
{ s2. \grace { d16[\stopTrillSpan e] } } >>
c4 }
@end lilypond
+@cindex Pitched trills
+
+Trills that should be executed on an explicitly specified pitch can be
+typeset with the command @code{pitchedTrill},
+
+@lilypond[ragged-right,verbatim,fragment,relative=1]
+\pitchedTrill c4\startTrillSpan fis
+f\stopTrillSpan
+@end lilypond
+
+The first argument is the main note. The pitch of the second
+is printed as a stemless note head in parentheses.
+
+
@refcommands
@code{\startTrillSpan},
-@cindex @code{\startTrillSpan}
+@findex \startTrillSpan
@code{\stopTrillSpan}.
-@cindex @code{\stopTrillSpan}
-
-@seealso
+@findex \stopTrillSpan
-Program reference: @internalsref{TrillSpanner},
-@internalsref{TrillSpanEvent}.
+@seealso
+Program reference: @internalsref{TrillSpanner}.
@node Glissando
@subsection Glissando
-@cindex Glissando
-@cindex @code{\glissando}
+@cindex 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
@code{\glissando} to a note
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
-c\glissando c'
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+c2\glissando c'
+\override Glissando #'style = #'zigzag
+c2\glissando c,
@end lilypond
+
@seealso
-Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
+Program reference: @internalsref{Glissando}.
Example files: @file{input/@/regression/@/glissando@/.ly}.
-
@refbugs
Printing text over the line (such as @emph{gliss.}) is not supported.
@node Arpeggio
@subsection Arpeggio
-@cindex Arpeggio
+@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
-
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
<c e g c>\arpeggio
@end lilypond
-When an arpeggio crosses staves, you attach an arpeggio to the chords
-in both staves, and set
-@internalsref{PianoStaff}.@code{connectArpeggios}
+A square bracket on the left indicates that the player should not
+arpeggiate the chord
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\context PianoStaff <<
- \set PianoStaff.connectArpeggios = ##t
- \new Staff { <c' e g c>\arpeggio }
- \new Staff { \clef bass <c,, e g>\arpeggio }
->>
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\arpeggioBracket
+<c' e g c>\arpeggio
@end lilypond
The direction of the arpeggio is sometimes denoted by adding an
arrowhead to the wiggly line
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\context Voice {
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new Voice {
\arpeggioUp
<c e g c>\arpeggio
\arpeggioDown
}
@end lilypond
-A square bracket on the left indicates that the player should not
-arpeggiate the chord
-@c todo: ugh, lousy typography. Look for real example. --hwn
+@commonprop
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\arpeggioBracket
-<c' e g c>\arpeggio
+When an arpeggio crosses staves, you may attach an arpeggio to the chords
+in both staves and set
+@internalsref{PianoStaff}.@code{connectArpeggios}
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new PianoStaff <<
+ \set PianoStaff.connectArpeggios = ##t
+ \new Staff { <c' e g c>\arpeggio }
+ \new Staff { \clef bass <c,, e g>\arpeggio }
+>>
@end lilypond
+
@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}.
+
@seealso
Notation manual: @ref{Ties}, for writing out arpeggios.
-Program reference: @internalsref{ArpeggioEvent},
-@internalsref{Arpeggio}.
-
+Program reference: @internalsref{Arpeggio}.
@refbugs
-@node Polyphony
-@section Polyphony
-
-Polyphony in music refers to having more than one voice occuring 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 seperate 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 accross 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 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
-<<
- \context Voice = "1" @{ \voiceOne \upper @}
- \context 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,raggedright,verbatim]
-\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- 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
-
-The correct definition of the voices allows the melody to be slurred.
-@lilypond[quote,raggedright,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{\\} seperator also allows nesting polyphony
-constructs, which in some case might be a more natural way to typeset
-the music.
-
-@lilypond[quote,raggedright,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,raggedright,relative=2]
-\context 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,raggedright,fragment,relative=2,verbatim]
-\context 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,raggedright,fragment,verbatim]
-\context 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,raggedright]
-\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
* Measure repeats::
@end menu
+
@node Repeat types
@subsection Repeat types
@cindex repeats
-@cindex @code{\repeat}
+@findex \repeat
The following types of repetition are supported
@item volta
Repeats are not written out, but alternative endings (volte) are
printed, left to right with brackets. This is the standard notation
-for repeats with alternatives. These are not played in MIDI output by default.
+for repeats with alternatives. These are not played in MIDI output by
+default.
@ignore
@item fold
@inputfileref{input,star-spangled-banner@/.ly}.
@end ignore
-@c tremolo, beamed
@item tremolo
Make tremolo beams. These are not played in MIDI output by default.
@end table
+
@node Repeat syntax
@subsection Repeat syntax
-
LilyPond has one syntactic construct for specifying different types of
repeats. The syntax is
@end example
If you have alternative endings, you may add
-@cindex @code{\alternative}
+@findex \alternative
@example
-\alternative @{ @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @}
+\alternative @{
+ @var{alternative1}
+ @var{alternative2}
+ @var{alternative3}
+ @dots{}
+@}
@end example
+
+@noindent
where each @var{alternative} is a music expression. If you do not
give enough alternatives for all of the repeats, the first alternative
is assumed to be played more than once.
Standard repeats are used like this
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 { c4 d e f }
\repeat volta 2 { f e d c }
@end lilypond
With alternative endings
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 {c4 d e f}
\alternative { {d2 d} {f f,} }
@end lilypond
+In this example, the first ending is not a complete bar (it
+only had 3 beats). The beginning of the second ending
+contains the 4th beat from the first ending. This ``extra''
+beat in the second ending is due to the first time ending,
+and has nothing to do with the @code{\partial} at the
+beginning of the example.
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\context Staff {
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\new Staff {
\partial 4
\repeat volta 4 { e | c2 d2 | e2 f2 | }
\alternative { { g4 g g } { a | a a a a | b2. } }
by setting @code{voltaSpannerDuration}. In the next example, the
bracket only lasts one measure, which is a duration of 3/4.
-
-
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\relative c''{
\time 3/4
c c c
staff. This can be adjusted by setting the @code{voltaOnThisStaff}
property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
-@c not necessary
-@c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
-
@refbugs
+@cindex repeat, ambiguous
+
A nested repeat like
@example
@code{\alternative} belongs. This ambiguity is resolved by always
having the @code{\alternative} belong to the inner @code{\repeat}.
For clarity, it is advisable to use braces in such situations.
-@cindex ambiguity
-
-
Timing information is not remembered at the start of an alternative,
so after a repeat timing information must be reset by hand, for
@code{\partial}. Similarly, slurs or ties are also not repeated.
-
-
@node Repeats and MIDI
@subsection Repeats and MIDI
@cindex expanding repeats
+@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
-@code{\unfoldrepeats} music function. This functions changes all
+@code{\unfoldRepeats} music function. This functions changes all
repeats to unfold repeats.
-@lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
-\unfoldrepeats {
+@lilypond[quote,verbatim,fragment,line-width=8.0\cm]
+\unfoldRepeats {
\repeat tremolo 8 {c'32 e' }
\repeat percent 2 { c''8 d'' }
\repeat volta 2 {c'4 d' e' f'}
\bar "|."
@end lilypond
-When creating a score file using @code{\unfoldrepeats} for midi, then
+When creating a score file using @code{\unfoldRepeats} for midi, then
it is necessary to make two @code{\score} blocks. One for MIDI (with
unfolded repeats) and one for notation (with volta, tremolo, and
percent repeats). For example,
\layout @{ .. @}
@}
\score @{
- \unfoldrepeats @var{..music..}
+ \unfoldRepeats @var{..music..}
\midi @{ .. @}
@}
@end example
+
@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.
Stop a running volta bracket.
@end table
-@lilypond[quote,raggedright,verbatim,fragment,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c4
\set Score.repeatCommands = #'((volta "93") end-repeat)
c4 c4
@end lilypond
-
@seealso
-Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
+Program reference: @internalsref{VoltaBracket},
+@internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
@internalsref{UnfoldedRepeatedMusic}, and
@internalsref{FoldedRepeatedMusic}.
+
@node Tremolo repeats
@subsection Tremolo repeats
+
@cindex tremolo beams
To place tremolo marks between notes, use @code{\repeat} with tremolo
style
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\new Voice \relative c' {
\repeat "tremolo" 8 { c16 d16 }
\repeat "tremolo" 4 { c16 d16 }
Tremolo marks can also be put on a single note. In this case, the
note should not be surrounded by braces.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\repeat "tremolo" 4 c'16
@end lilypond
Similar output is obtained using the tremolo subdivision, described in
@ref{Tremolo subdivisions}.
+
@seealso
In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
-Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
-tremolos are @internalsref{StemTremolo} objects. The music expression is
-@internalsref{TremoloEvent}.
+Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
@inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
+
@node Tremolo subdivisions
@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
length is omitted, the last value (stored in @code{tremoloFlags}) is
used
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
c'2:8 c':32 | c': c': |
@end lilypond
-@c [TODO: stok is te kort bij 32en]
-@c somebody want to translate that into English?
-@c `Stem is too short for 32nds' (wl)
@refbugs
Tremolos entered in this way do not carry over into the MIDI output.
+
@seealso
In this manual: @ref{Tremolo repeats}.
-Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
+Elsewhere: @internalsref{StemTremolo}.
+
@node Measure repeats
@subsection Measure repeats
patterns that divide the measure length are replaced by slashes.
Percent repeats must be declared within a @code{Voice} context.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\new Voice \relative c' {
\repeat "percent" 4 { c4 }
\repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
}
@end lilypond
+Measure repeats of more than 2 measures get a counter, if you switch
+on the @code{countPercentRepeats} property,
+
+@lilypond[relative=2,fragment,quote,verbatim,ragged-right]
+\new Voice {
+\set countPercentRepeats = ##t
+ \repeat "percent" 4 { c1 }
+}
+@end lilypond
+
+
+
+Isolated percents can also be printed. This is done by putting a multi
+measure rest with a different print function,
+
+@lilypond[fragment,verbatim]
+\override MultiMeasureRest #'stencil
+ = #ly:multi-measure-rest::percent
+R1
+@end lilypond
+
+
+
+
@seealso
-Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
-@internalsref{PercentRepeatedMusic}, and
-@internalsref{DoublePercentRepeat}.
+Program reference: @internalsref{RepeatSlash},
+@internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
+@internalsref{DoublePercentRepeatCounter},
+@internalsref{PercentRepeatCounter},
+@internalsref{PercentRepeatedMusic}.
projects / lilypond.git / blobdiff