* Note entry::
* Easier music entry::
* Staff notation::
+* More than notes::
+* Expressive marks::
* Polyphony::
-* Beaming::
* Repeats::
-* Expressive marks::
@end menu
@menu
* Notes::
* Pitches::
-* Chromatic alterations::
+* Cautionary accidentals::
* Micro tones::
* Chords::
* Rests::
* Skips::
* Durations::
* Augmentation dots::
-* Scaling durations::
-* Stems::
-* Ties::
* Tuplets::
-* Transpose::
+* Scaling durations::
@end menu
A note is printed by specifying its pitch and then its duration,
-@lilypond[quote,verbatim,raggedright]
-{ cis'4 d'8 e'16 c'16 }
+@lilypond[quote,verbatim,raggedright,fragment]
+cis'4 d'8 e'16 c'16
@end lilypond
a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
@end lilypond
+@cindex @code{'}
+@cindex @code{,}
+
+The optional octave specification takes the form of a series of
+single quote (`@code{'}') characters or a series of comma
+(`@code{,}') characters. Each @code{'} raises the pitch by one
+octave; each @code{,} lowers the pitch by an octave
+
+@lilypond[quote,raggedright,fragment,verbatim]
+c' c'' es' g' as' gisis' ais'
+@end lilypond
+
@cindex note names, Dutch
A sharp is formed by adding @code{-is} to the end of a pitch name and
espanol.ly do re mi fa sol la sib si -s -b
@end example
-@cindex @code{'}
-@cindex @code{,}
-
-
-
-The optional octave specification takes the form of a series of
-single quote (`@code{'}') characters or a series of comma
-(`@code{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave
-
-@lilypond[quote,raggedright,fragment,verbatim]
-c' c'' es' g' as' gisis' ais'
-@end lilypond
-
-
-@ignore
-@c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
-@c wait; this is already in advanced notation.
-@refcommands
-Notes can be hidden and unhidden with the following commands
-
-@cindex @code{\hideNotes}
-@code{\hideNotes},
-@cindex @code{\unHideNotes}
-@code{\unHideNotes}.
-@end ignore
@seealso
-Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
+Program reference: @internalsref{NoteEvent},
+@internalsref{LedgerLineSpanner}, and @internalsref{NoteHead}.
-@node Chromatic alterations
-@subsection Chromatic alterations
+@node Cautionary accidentals
+@subsection Cautionary accidentals
Normally accidentals are printed automatically, but you may also
print them manually. A reminder accidental
after the pitch. A cautionary accidental
@cindex cautionary accidental
@cindex parenthesized accidental
+@cindex @code{!}
(i.e., an accidental within parentheses) can be obtained by adding the
question mark `@code{?}' after the pitch.
@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
<c e g>4 <c>8
@end lilypond
+For more information about chords, see @ref{Chord names}.
+
+
@node Rests
@subsection Rests
@cindex Rests
Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
-@node Scaling durations
-@subsection Scaling durations
-
-You can alter the length of duration by a fraction @var{N/M}
-appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
-will not affect the appearance of the notes or rests produced.
-
-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]
-\time 2/4
-a4*2/3 gis4*2/3 a4*2/3
-a4 a4 a4*2
-b16*4 c4
-@end lilypond
-
-
-@seealso
-
-This manual: @ref{Tuplets}
-
-
-@c TODO: I'm not certain that Stems belong here in the manual. -gp
-@node Stems
-@subsection Stems
-
-Whenever a note is found, a @internalsref{Stem} object is created
-automatically. For whole notes and rests, they are also created but
-made invisible.
-
-@refcommands
-
-@cindex @code{\stemUp}
-@code{\stemUp},
-@cindex @code{\stemDown}
-@code{\stemDown},
-@cindex @code{\stemNeutral}
-@code{\stemNeutral}.
-
-
-@node Ties
-@subsection Ties
-
-@cindex Tie
-@cindex ties
-@cindex @code{~}
-
-A tie connects two adjacent note heads of the same pitch. The tie in
-effect extends the length of a note. Ties should not be confused with
-slurs, which indicate articulation, or phrasing slurs, which indicate
-musical phrasing. A tie is entered using the tilde symbol `@code{~}'
-
-@lilypond[quote,raggedright,fragment,verbatim]
-e' ~ e' <c' e' g'> ~ <c' e' g'>
-@end lilypond
-
-When a tie is applied to a chord, all note heads whose pitches match
-are connected. When no note heads match, no ties will be created.
-
-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]
-\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.
-
-@lilypond[fragment,quote,raggedright]
-\relative {
- r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
-}
-@end lilypond
-
-If you need to tie a lot of notes over bars, it may be easier to use
-automatic note splitting (see @ref{Automatic note splitting}). This
-mechanism automatically splits long notes, and ties them across bar
-lines.
-
-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,
-
-@lilypond[fragment,verbatim,relative=1,raggedright]
-\set tieWaitForNote = ##t
-\grace { c16[~ e~ g]~ } <c, e g>4
-@end lilypond
-
-
-@refcommands
-
-
-@cindex @code{\tieUp}
-@code{\tieUp},
-@cindex @code{\tieDown}
-@code{\tieDown},
-@cindex @code{\tieNeutral}
-@code{\tieNeutral},
-@cindex @code{\tieDotted}
-@code{\tieDotted},
-@cindex @code{\tieSolid}
-@code{\tieSolid}.
-
-@seealso
-
-In this manual: @ref{Automatic note splitting}.
-
-Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
-
-@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 Tuplets
@subsection Tuplets
@code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
instead.
-
@cindex @code{tupletNumberFormatFunction}
@cindex tuplet formatting
-
@refcommands
@cindex @code{\tupletUp}
@inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
-@node Transpose
-@subsection Transpose
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
-
-A music expression can be transposed with @code{\transpose}. The
-syntax is
-@example
-\transpose @var{from} @var{to} @var{musicexpr}
-@end example
-
-This means that @var{musicexpr} is transposed by the interval between
-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, the following
-transposition will produce the appropriate part
-
-@example
-\transpose a c @dots{}
-@end example
+@node Scaling durations
+@subsection Scaling durations
-@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
+You can alter the length of duration by a fraction @var{N/M}
+appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
+will not affect the appearance of the notes or rests produced.
-@lilypond[quote,raggedright,verbatim]
-mus = { \key d \major cis d fis g }
-\context Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
-}
+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]
+\time 2/4
+a4*2/3 gis4*2/3 a4*2/3
+a4 a4 a4*2
+b16*4 c4
@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 (ie 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}, and
-@internalsref{UntransposableMusic}.
-
-@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}.
+This manual: @ref{Tuplets}
@node Easier music entry
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}.
Program reference: @internalsref{Completion_heads_engraver}.
+
+
@node Staff notation
@section Staff notation
* Staff symbol::
* Key signature::
* Clef::
-* Ottava brackets::
* Time signature::
* Partial measures::
* Unmetered music::
* Bar lines::
-* Time administration::
-* Controlling formatting of prefatory matter::
* System start delimiters::
-* Aligning to cadenzas::
@end menu
+
@node Staff symbol
@subsection Staff symbol
-@node Ottava brackets
-@subsection Ottava brackets
-
-`Ottava' brackets introduce an extra transposition of an octave for
-the staff. They are created by invoking the function
-@code{set-octavation}
-
-@cindex ottava
-@cindex 15ma
-@cindex octavation
-
-@lilypond[quote,raggedright,verbatim,fragment]
-\relative c''' {
- a2 b
- #(set-octavation 1)
- a b
- #(set-octavation 0)
- a b
-}
-@end lilypond
-
-The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
-(for 15ma) as arguments. Internally the function sets the properties
-@code{ottavation} (e.g., to @code{"8va"}) and
-@code{centralCPosition}. For overriding the text of the bracket, set
-@code{ottavation} after invoking @code{set-octavation}, i.e.,
-
-@lilypond[quote,raggedright,verbatim]
-{
- #(set-octavation 1)
- \set Staff.ottavation = #"8"
- c'''
-}
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{OttavaBracket}.
-
-Examples: @inputfileref{input/@/regression,ottava@/.ly},
-@inputfileref{input/@/regression,ottava@/-broken@/.ly}.
-
-@refbugs
-
-@code{set-octavation} will get confused when clef changes happen
-during an octavation bracket.
-
-
@node Time signature
Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
-@node Time administration
-@subsection Time administration
-
-Time is administered by the @internalsref{Time_signature_engraver},
-which usually lives in the @internalsref{Score} context.
-The bookkeeping deals with the following variables
-
-@table @code
-@item currentBarNumber
-The measure number.
-
-@item measureLength
-The length of the measures in the current time signature. For a 4/4
-time this is@tie{}1, and for 6/8 it is 3/4.
-
-@item measurePosition
-The point within the measure where we currently are. This quantity
-is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
-happens, @code{currentBarNumber} is incremented.
-
-@item timing
-If set to true, the above variables are updated for every time
-step. When set to false, the engraver stays in the current measure
-indefinitely.
-@end table
-
-Timing can be changed by setting any of these variables explicitly.
-In the next example, the 4/4 time signature is printed, but
-@code{measureLength} is set to 5/4. After a while, the measure is
-shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
-in the measure, so the next bar line will fall at 2/4 + 3/8. The
-3/8 arises because 5/4 normally has 10/8, but we have manually
-set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
-
-@lilypond[quote,raggedright,verbatim,relative,fragment]
-\set Score.measureLength = #(ly:make-moment 5 4)
-c1 c4
-c1 c4
-c4 c4
-\set Score.measurePosition = #(ly:make-moment 7 8)
-b8 b b
-c4 c1
-@end lilypond
-
-
-@node Controlling formatting of prefatory matter
-@subsection Controlling formatting of prefatory matter
-
-@c This section will be moved to somewhere else soon. -gp
-This example demonstrates how to place prefatory matter
-(such as the clef and key signature) at the end of a line.
-
-@lilypond[quote,verbatim]
-\transpose c c' {
- \override Staff.Clef
- #'break-visibility = #end-of-line-visible
- \override Staff.KeySignature
- #'break-visibility = #end-of-line-visible
- \set Staff.explicitClefVisibility = #end-of-line-visible
- \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
-
- % We want the time sig to take space, otherwise there is not
- % enough white at the start of the line.
-
- \override Staff.TimeSignature #'transparent = ##t
- \set Score.defaultBarType = #"empty"
-
- c1 d e f g a b c
- \key d \major
- \break
-
- % see above.
- \time 4/4
-
- d e fis g a b cis d
- \key g \major
- \break
- \time 4/4
-}
-@end lilypond
-
@node System start delimiters
@subsection System start delimiters
-Polyphonic scores consist of many staves. These staves can be
-constructed in three different ways
+Many scores consist of more than one staff. These staves can be
+joined in three 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.
in every context, and that type is determined by the property
@code{systemStartDelimiter}.
-@node Aligning to cadenzas
-@subsection Aligning to cadenzas
+@node More than notes
+@section More than notes
+@c silly title; should change.
-In an orchestral context, cadenzas present a special problem:
-when constructing a score that includes a cadenza, all other
-instruments should skip just as many notes as the length of the
-cadenza, otherwise they will start too soon or too late.
+This section deals with notation that affects more than one note.
-A solution to this problem are the functions @code{mmrest-of-length}
-and @code{skip-of-length}. These Scheme functions take a piece of music
-as argument, and generate a @code{\skip} or multi-rest, exactly as
-long as the piece. The use of @code{mmrest-of-length} is demonstrated
-in the following example.
-
-@lilypond[verbatim,raggedright,quote]
-cadenza = \relative c' {
- c4 d8 << { e f g } \\ { d4. } >>
- g4 f2 g4 g
-}
+@menu
+* Ties::
+* Automatic beams::
+* Manual beams::
+* Grace notes::
+* Fingering instructions::
+@end menu
-\new GrandStaff <<
- \new Staff { \cadenza c'4 }
- \new Staff {
- #(ly:export (mmrest-of-length cadenza))
- c'4
- }
->>
-@end lilypond
+@node Ties
+@subsection Ties
+@cindex Tie
+@cindex ties
+@cindex @code{~}
+A tie connects two adjacent note heads of the same pitch. The tie in
+effect extends the length of a note. Ties should not be confused with
+slurs, which indicate articulation, or phrasing slurs, which indicate
+musical phrasing. A tie is entered using the tilde symbol `@code{~}'
+@lilypond[quote,raggedright,fragment,verbatim]
+e' ~ e' <c' e' g'> ~ <c' e' g'>
+@end lilypond
-@node Polyphony
-@section Polyphony
+When a tie is applied to a chord, all note heads whose pitches match
+are connected. When no note heads match, no ties will be created.
-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.
+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]
+\time 3/4 c'2. c'2 ~ c'4
+@end lilypond
-@menu
-* Basic polyphony::
-* Explicitly instantiating voices::
-* Collision Resolution::
-@end menu
+@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.
-@node Basic polyphony
-@subsection Basic polyphony
-@cindex polyphony
+@lilypond[fragment,quote,raggedright]
+\relative {
+ r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
+}
+@end lilypond
-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{\\}
+If you need to tie a lot of notes over bars, it may be easier to use
+automatic note splitting (see @ref{Automatic note splitting}). This
+mechanism automatically splits long notes, and ties them across bar
+lines.
-@cindex @code{\\}
+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,
-@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 }
- >>
-}
+@lilypond[fragment,verbatim,relative=1,raggedright]
+\set tieWaitForNote = ##t
+\grace { c16[~ e~ g]~ } <c, e g>4
@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.
+@refcommands
-@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
-@node Explicitly instantiating voices
-@subsection Explicitly instantiating voices
+@cindex @code{\tieUp}
+@code{\tieUp},
+@cindex @code{\tieDown}
+@code{\tieDown},
+@cindex @code{\tieNeutral}
+@code{\tieNeutral},
+@cindex @code{\tieDotted}
+@code{\tieDotted},
+@cindex @code{\tieSolid}
+@code{\tieSolid}.
-@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.
+@seealso
-Specifically,
-@example
-<< \upper \\ \lower >>
-@end example
+In this manual: @ref{Automatic note splitting}.
-@noindent
-is equivalent to
+Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
-@example
-<<
- \context Voice = "1" @{ \voiceOne \upper @}
- \context Voice = "2" @{ \voiceTwo \lower @}
->>
-@end example
+@refbugs
-@cindex @code{\voiceOne}
-@cindex @code{\voiceFour}
-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.
-@cindex @code{\oneVoice}
+Switching staves when a tie is active will not produce a slanted tie.
-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.
+Formatting of ties is a difficult subject. The results are often not
+optimal.
-@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
+@node Automatic beams
+@subsection Automatic beams
-Avoiding the @code{\\} seperator also allows nesting polyphony
-constructs, which in some case might be a more natural way to typeset
-the music.
+LilyPond inserts beams automatically
-@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
-}
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
-@node Collision Resolution
-@subsection Collision Resolution
+When these automatic decisions are not good enough, beaming can be
+entered explicitly. It is also possible to define beaming patterns
+that differ from the defaults.
-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
+Individual notes may be marked with @code{\noBeam}, to prevent them
+from being beamed
-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 } >>
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+\time 2/4 c8 c\noBeam c c
@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
+@seealso
+Program reference: @internalsref{Beam}.
-@refcommands
+@node Manual beams
+@subsection Manual beams
+@cindex beams, manual
+@cindex @code{]}
+@cindex @code{[}
-
-@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 Beaming
-@section Beaming
-
-@c todo: split this up; noBeaming and manual beams stay in basic;
-@c seting automatic beam behavior and beam formatting goes into
-@c advanced. -gp
-
-Beams are used to group short notes into chunks that are aligned with
-the metrum. LilyPond normally inserts beams automatically, but if you
-wish you may control them manually or change how beams are automatically
-grouped.
-
-@cindex Automatic beams
-@menu
-* Automatic beams::
-* Manual beams::
-* Setting automatic beam behavior::
-* Beam formatting::
-@end menu
-
-@node Automatic beams
-@subsection Automatic beams
-
-LilyPond inserts beams automatically
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
-@end lilypond
-
-When these automatic decisions are not good enough, beaming can be
-entered explicitly. It is also possible to define beaming patterns
-that differ from the defaults.
-
-Individual notes may be marked with @code{\noBeam}, to prevent them
-from being beamed
-
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\time 2/4 c8 c\noBeam c c
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{Beam}.
-
-
-@node Manual beams
-@subsection Manual beams
-@cindex beams, manual
-@cindex @code{]}
-@cindex @code{[}
-
-In some cases it may be necessary to override the automatic beaming
-algorithm. For example, the 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{]}
+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]
{
@c FIXME.
-@node Setting automatic beam behavior
-@subsection Setting automatic beam behavior
+@node Grace notes
+@subsection Grace notes
-@cindex @code{autoBeamSettings}
-@cindex @code{(end * * * *)}
-@cindex @code{(begin * * * *)}
-@cindex automatic beams, tuning
-@cindex tuning automatic beaming
+@cindex @code{\grace}
+@cindex ornaments
+@cindex grace notes
-@c [TODO: use \applycontext]
+Grace notes are ornaments that are written out. The most common ones
+are acciaccatura, which should be played as very short. It is denoted
+by a slurred small note with a slashed stem. The appoggiatura is a
+grace note that takes a fixed fraction of the main note, and is
+denoted as a slurred note in small print without a slash. They
+are entered with the commands @code{\acciaccatura} and
+@code{\appoggiatura}, as demonstrated in the following example
-In normal time signatures, automatic beams can start on any note but can
-only end in a few positions within the measure: beams can end on a beat,
-or at durations specified by the properties in
-@code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
-are defined in @file{scm/@/auto@/-beam@/.scm}.
-The value of @code{autoBeamSettings} is changed with three functions,
-@example
-#(override-auto-beam-setting
- '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
- [@var{context}])
-#(score-override-auto-beam-setting
- '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
-#(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
- [@var{context}])
-@end example
-Here, @var{be} is the symbol @code{begin} or @code{end}, and
-@var{context} is an optional context (default: @code{'Voice}). It
-determines whether the rule applies to begin or end-points. The
-quantity @var{p}/@var{q} refers to the length of the beamed notes (and
-`@code{* *}' designates notes of any length), @var{n}/@var{M} refers
-to a time signature (wildcards `@code{* *}' may be entered to
-designate all time signatures), @var{a}/@var{b} is a duration. By
-default, this command changes settings for the current voice. It is
-also possible to adjust settings at higher contexts, by adding a
-@var{context} argument. @code{score-override-auto-beam-setting} is
-equal to @code{override-auto-beam-setting} with the argument
-@var{context} set to @code{'Score}.
-
-For example, if automatic beams should end on every quarter note, use
-the following
-@example
-#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
-@end example
-Since the duration of a quarter note is 1/4 of a whole note, it is
-entered as @code{(ly:make-moment 1 4)}.
+@cindex appoggiatura
+@cindex acciaccatura
-The same syntax can be used to specify beam starting points. In this
-example, automatic beams can only end on a dotted quarter note
-@example
-#(override-auto-beam-setting '(end * * * *) 3 8)
-@end example
-In 4/4 time signature, this means that automatic beams could end only on
-3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
-3/8, has passed within the measure).
-
-Rules can also be restricted to specific time signatures. A rule that
-should only be applied in @var{N}/@var{M} time signature is formed by
-replacing the second asterisks by @var{N} and @var{M}. For example, a
-rule for 6/8 time exclusively looks like
-@example
-#(override-auto-beam-setting '(begin * * 6 8) @dots{})
-@end example
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+b4 \acciaccatura d8 c4 \appoggiatura e8 d4
+\acciaccatura { g16[ f] } e4
+@end lilypond
-If a rule should be to applied only to certain types of beams, use the
-first pair of asterisks. Beams are classified according to the
-shortest note they contain. For a beam ending rule that only applies
-to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
-*)}.
+Both are special forms of the @code{\grace} command. By prefixing this
+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]
+c4 \grace c16 c4
+\grace { c16[ d16] } c2 c4
+@end lilypond
-@cindex automatic beam generation
-@cindex autobeam
-@cindex @code{autoBeaming}
-@cindex lyrics
+@noindent
+Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
+@code{\grace} command does not start a slur.
-If beams are used to indicate melismata in songs, then automatic
-beaming should be switched off. This is done by setting
-@code{autoBeaming} to @code{#f}.
+Internally, timing for grace notes is done using a second, `grace'
+timing. Every point in time consists of two rational numbers: one
+denotes the logical time, one denotes the grace timing. The above
+example is shown here with timing tuples
-@refcommands
+@lilypond[quote,raggedright]
+<<
+ \relative c''{
+ c4 \grace c16 c4 \grace {
+ c16[ d16] } c2 c4
+ }
+ \new Lyrics \lyricmode {
+ \override LyricText #'font-family = #'typewriter
-@cindex @code{\autoBeamOff}
-@code{\autoBeamOff},
-@cindex @code{\autoBeamOn}
-@code{\autoBeamOn}.
+ \markup { (0,0) } 4
+ \grace { \markup {
+ ( \fraction 1 4 , \fraction -1 16 ) } 16 }
+ \markup { (\fraction 1 4 , 0 ) } 4
+ \grace {
+ \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
+ \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
+ }
+ \markup { ( \fraction 2 4 , 0 ) }
+ }
+>>
+@end lilypond
-@refbugs
+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
-If a score ends while an automatic beam has not been ended and is
-still accepting notes, this last beam will not be typeset at all. The
-same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
->>}. If a polyphonic voice ends while an automatic beam is still
-accepting notes, it is not typeset.
+@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+<< \new Staff { e4 \grace { c16[ d e f] } e4 }
+ \new Staff { c4 \grace { g8[ b] } c4 } >>
+@end lilypond
-The rules for ending a beam depend on the shortest note in a beam.
-So, while it is possible to have different ending rules for eight
-beams and sixteenth beams, a beam that contains both eight and
-sixteenth notes will use the rules for the sixteenth beam.
-In the example below, the autobeamer makes eighth beams and sixteenth
-end at three eighths. The third beam can only be corrected by
-specifying manual beaming.
-@lilypond[quote,raggedright,fragment,relative=1]
-#(override-auto-beam-setting '(end * * * *) 3 8)
-% rather show case where it goes wrong
-%\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
-\time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
+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.
+
+@lilypond[raggedright, verbatim,relative=2,fragment]
+c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
-It is not possible to specify beaming parameters that act differently in
-different parts of a measure. This means that it is not possible to use
-automatic beaming in irregular meters such as @code{5/8}.
-@node Beam formatting
-@subsection Beam formatting
+This will put the grace notes after a ``space'' lasting 3/4 of the
+length of the main note. The fraction 3/4 can be changed by setting
+@code{afterGraceFraction}, ie.
+
+@example
+afterGraceFraction = #(cons 7 8)
+@end example
+
+@noindent
+will put the grace note at 7/8 of the main note.
-When a beam falls in the middle of the staff, the beams point normally
-down. However, this behaviour can be altered with the
-@code{neutral-direction} property.
+The same effect can be achieved manually by doing
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
-{
- b8[ b]
- \override Beam #'neutral-direction = #-1
- b[ b]
- \override Beam #'neutral-direction = #1
- b[ b]
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+\context Voice {
+ << { d1^\trill_( }
+ { s2 \grace { c16[ d] } } >>
+ c4)
}
@end lilypond
+@noindent
+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.
-@node Repeats
-@section Repeats
-Repetition is a central concept in music, and multiple notations exist
-for repetitions.
-@menu
-* Repeat types::
-* Repeat syntax::
-* Repeats and MIDI::
-* Manual repeat commands::
-* Tremolo repeats::
-* Tremolo subdivisions::
-* Measure repeats::
-@end menu
-@node Repeat types
-@subsection Repeat types
+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]
+\new Voice {
+ \acciaccatura {
+ \stemDown
+ f16->
+ \stemNeutral
+ }
+ g4
+}
+@end lilypond
-@cindex repeats
-@cindex @code{\repeat}
+@noindent
+The overrides should also be reverted inside the grace section.
-The following types of repetition are supported
+The layout of grace sections can be changed throughout the music using
+the function @code{add-grace-property}. The following example
+undefines the Stem direction for this grace, so stems do not always
+point up.
-@table @code
-@item unfold
-Repeated music is fully written (played) out. This is useful when
-entering repetitious music. This is the only kind of repeat that
-is included in MIDI output.
+@example
+\new Staff @{
+ #(add-grace-property 'Voice 'Stem 'direction '())
+ @dots{}
+@}
+@end example
-@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.
+@noindent
+Another option is to change the variables @code{startGraceMusic},
+@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
+@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
+@code{stopAppoggiaturaMusic}. More information is in the file
+@file{ly/@/grace@/-init@/.ly}.
-@ignore
-@item fold
-Alternative endings are written stacked. This has limited use but may be
-used to typeset two lines of lyrics in songs with repeats, see
-@inputfileref{input,star-spangled-banner@/.ly}.
-@end ignore
-@c tremolo, beamed
-@item tremolo
-Make tremolo beams. These are not played in MIDI output by default.
+@seealso
-@item percent
-Make beat or measure repeats. These look like percent signs. These
-are not played in MIDI output by default. Percent repeats must be
-declared within a Voice context.
+Program reference: @internalsref{GraceMusic}.
-@end table
+@refbugs
-@node Repeat syntax
-@subsection Repeat syntax
+A score that starts with a @code{\grace} section needs an explicit
+@code{\context 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 has one syntactic construct for specifying different types of
-repeats. The syntax is
+@lilypond[quote,raggedright,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
@example
-\repeat @var{variant} @var{repeatcount} @var{repeatbody}
+\new Staff @{ c4 \bar "|:" \grace s16 d4 @}
@end example
-If you have alternative endings, you may add
-@cindex @code{\alternative}
+Grace sections should only be used within sequential music
+expressions. Nesting or juxtaposing grace sections is not supported,
+and might produce crashes or other errors.
+
+
+@node Fingering instructions
+@subsection Fingering instructions
+
+@cindex fingering
+
+Fingering instructions can be entered using
@example
-\alternative @{ @var{alternative1}
- @var{alternative2}
- @var{alternative3} @dots{} @}
+@var{note}-@var{digit}
@end example
-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.
+For finger changes, use markup texts
-Standard repeats are used like this
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-c1
-\repeat volta 2 { c4 d e f }
-\repeat volta 2 { f e d c }
+@lilypond[quote,verbatim,raggedright,fragment,relative=1]
+c4-1 c-2 c-3 c-4
+c^\markup { \finger "2-3" }
@end lilypond
-With alternative endings
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-c1
-\repeat volta 2 {c4 d e f}
-\alternative { {d2 d} {f f,} }
-@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
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\context Staff {
- \partial 4
- \repeat volta 4 { e | c2 d2 | e2 f2 | }
- \alternative { { g4 g g } { a | a a a a | b2. } }
-}
+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
-It is possible to shorten volta brackets
-by setting @code{voltaSpannerDuration}. In the next example, the
-bracket only lasts one measure, which is a duration of 3/4.
+@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]
-\relative c''{
- \time 3/4
- c c c
- \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
- \repeat "volta" 5 { d d d }
- \alternative { { e e e f f f }
- { g g g } }
-}
+@lilypond[verbatim,raggedright,quote,fragment]
+\set fingeringOrientations = #'(right)
+<es'-2>4
@end lilypond
@seealso
-Examples:
+Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
-Brackets for the repeat are normally only printed over the topmost
-staff. This can be adjusted by setting the @code{voltaOnThisStaff}
-property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
+Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
-@c not necessary
-@c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
-@refbugs
-A nested repeat like
+@node Expressive marks
+@section Expressive marks
-@example
-\repeat @dots{}
-\repeat @dots{}
-\alternative
-@end example
+Expressive marks help musicians to bring more to the music than simple
+notes and rhythms.
-@noindent
-is ambiguous, since it is is not clear to which @code{\repeat} the
-@code{\alternative} belongs. This ambiguity is resolved by always
-having the @code{\alternative} belong to the inner @code{\repeat}.
-For clarity, it is advisable to use braces in such situations.
-@cindex ambiguity
+@menu
+* Slurs::
+* Phrasing slurs::
+* Articulations::
+* Dynamics::
+* Breath marks::
+* Running trills::
+* Glissando::
+* Arpeggio::
+@end menu
+@node Slurs
+@subsection Slurs
+@cindex Slurs
-Timing information is not remembered at the start of an alternative,
-so after a repeat timing information must be reset by hand, for
-example by setting @code{Score.measurePosition} or entering
-@code{\partial}. Similarly, slurs or ties are also not repeated.
+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
-@node Repeats and MIDI
-@subsection Repeats and MIDI
+@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,
-@cindex expanding repeats
+@lilypond[relative=2,raggedright,quote,verbatim,fragment]
+c4_( c) c^( c)
+@end lilypond
-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
-repeats to unfold repeats.
+Some composers write two slurs when they want legato chords. This can
+be achieved in LilyPond by setting @code{doubleSlurs},
-@lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
-\unfoldrepeats {
- \repeat tremolo 8 {c'32 e' }
- \repeat percent 2 { c''8 d'' }
- \repeat volta 2 {c'4 d' e' f'}
- \alternative {
- { g' a' a' g' }
- {f' e' d' c' }
- }
-}
-\bar "|."
+@lilypond[verbatim,raggedright,relative,fragment,quote]
+\set doubleSlurs = ##t
+<c e>4 ( <d f> <c e> <d f> )
@end lilypond
-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,
-
-@example
-\score @{
- @var{..music..}
- \layout @{ .. @}
-@}
-\score @{
- \unfoldrepeats @var{..music..}
- \midi @{ .. @}
-@}
-@end example
+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}.
-@node Manual repeat commands
-@subsection Manual repeat commands
-@cindex @code{repeatCommands}
+@refcommands
-The property @code{repeatCommands} can be used to control the layout of
-repeats. Its value is a Scheme list of repeat commands.
-@table @asis
-@item @code{start-repeat}
-Print a @code{|:} bar line.
+@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}.
-@item @code{end-repeat}
-Print a @code{:|} bar line.
+@seealso
-@item @code{(volta @var{text})}
-Print a volta bracket saying @var{text}: The text can be specified as
-a text string or as a markup text, see @ref{Text markup}. Do not
-forget to change the font, as the default number font does not contain
-alphabetic characters;
-
-@item @code{(volta #f)}
-Stop a running volta bracket.
-@end table
-
-@lilypond[quote,raggedright,verbatim,fragment,relative=2]
-c4
- \set Score.repeatCommands = #'((volta "93") end-repeat)
-c4 c4
- \set Score.repeatCommands = #'((volta #f))
-c4 c4
-@end lilypond
-
-
-
-@seealso
-
-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]
-\new Voice \relative c' {
- \repeat "tremolo" 8 { c16 d16 }
- \repeat "tremolo" 4 { c16 d16 }
- \repeat "tremolo" 2 { c16 d16 }
-}
-@end lilypond
-
-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]
-\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}.
-
-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}
-
-Tremolo marks can be printed on a single note by adding
-`@code{:}[@var{number}]' after the note. The number indicates the
-duration of the subdivision, and it must be at least 8. A
-@var{length} value of 8 gives one line across the note stem. If the
-length is omitted, the last value (stored in @code{tremoloFlags}) is
-used
-
-@lilypond[quote,raggedright,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}.
-
-@node Measure repeats
-@subsection Measure repeats
-
-@cindex percent repeats
-@cindex measure repeats
-
-In the @code{percent} style, a note pattern can be repeated. It is
-printed once, and then the pattern is replaced with a special sign.
-Patterns of one and two measures are replaced by percent-like signs,
-patterns that divide the measure length are replaced by slashes.
-Percent repeats must be declared within a @code{Voice} context.
-
-@lilypond[quote,verbatim,raggedright]
-\new Voice \relative c' {
- \repeat "percent" 4 { c4 }
- \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
-}
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
-@internalsref{PercentRepeatedMusic}, and
-@internalsref{DoublePercentRepeat}.
-
-
-@node Expressive marks
-@section Expressive marks
-
-
-@c todo: should change ordering
-@c where to put text spanners, metronome marks,
-@c fingering?
-
-Expressive marks help musicians to bring more to the music than simple
-notes and rhythms.
-
-@menu
-* Slurs::
-* Phrasing slurs::
-* Breath marks::
-* Running trills::
-* Fingering instructions::
-* Grace notes::
-* Glissando::
-* Dynamics::
-@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
-
-
-@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}.
+Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
@node Phrasing slurs
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}
Putting phrasing slurs over rests leads to spurious warnings.
-@node Breath marks
-@subsection Breath marks
-Breath marks are entered using @code{\breathe}
+@node Articulations
+@subsection Articulations
+@cindex Articulations
+
+@cindex articulations
+@cindex scripts
+@cindex ornaments
+A variety of symbols can appear above and below notes to indicate
+different characteristics of the performance. They are added to a note
+by adding a dash and the character signifying the
+articulation. They are demonstrated here
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-c'4 \breathe d4
+@lilypondfile[quote,raggedright]{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]
+c''4^^ c''4_^
@end lilypond
-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]
-c'4
-\override BreathingSign #'text
- = #(make-musicglyph-markup "scripts.rvarcomma")
-\breathe
-d4
+Other symbols can be added using the syntax
+@var{note}@code{\}@var{name}. Again, they
+can be forced up or down using @code{^} and @code{_},
+e.g.,
+
+@lilypond[quote,raggedright,verbatim,fragment,relative=2]
+c\fermata c^\fermata c_\fermata
@end lilypond
-@seealso
-Program reference: @internalsref{BreathingSign},
-@internalsref{BreathingSignEvent}.
-Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
+@cindex accent
+@cindex marcato
+@cindex staccatissimo
+@cindex espressivo
+@cindex fermata
+@cindex stopped
+@cindex staccato
+@cindex portato
+@cindex tenuto
+@cindex upbow
+@cindex downbow
+@cindex foot marks
+@cindex organ pedal marks
+@cindex turn
+@cindex open
+@cindex flageolet
+@cindex reverseturn
+@cindex trill
+@cindex prall
+@cindex mordent
+@cindex prallprall
+@cindex prallmordent
+@cindex prall, up
+@cindex prall, down
+@cindex mordent
+@cindex thumb marking
+@cindex segno
+@cindex coda
+@cindex varcoda
+Here is a chart showing all scripts available,
-@node Running trills
-@subsection Running trills
+@lilypondfile[raggedright,quote]{script-chart.ly}
-Long running trills are made with @code{\startTrillSpan} and
-@code{\stopTrillSpan},
+The vertical ordering of scripts is controlled with the
+@code{script-priority} property. The lower this number, the closer it
+will be put to the note. In this example, the
+@internalsref{TextScript} (the sharp symbol) first has the lowest
+priority, so it is put lowest in the first example. In the second, the
+prall trill (the @internalsref{Script}) has the lowest, so it is on the
+inside. When two objects have the same priority, the order in which
+they are entered decides which one comes first.
-@lilypond[verbatim,raggedright,relative=2,quote,fragment]
-\new Voice {
- << { c1 \startTrillSpan }
- { s2. \grace { d16[\stopTrillSpan e] } } >>
- c4 }
+
+@lilypond[verbatim,relative=3,raggedright,fragment,quote]
+\once \override TextScript #'script-priority = #-100
+a4^\prall^\markup { \sharp }
+
+\once \override Script #'script-priority = #-100
+a4^\prall^\markup { \sharp }
@end lilypond
-@refcommands
-@code{\startTrillSpan},
-@cindex @code{\startTrillSpan}
-@code{\stopTrillSpan}.
-@cindex @code{\stopTrillSpan}
+
@seealso
-Program reference: @internalsref{TrillSpanner},
-@internalsref{TrillSpanEvent}.
+Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
-@node Fingering instructions
-@subsection Fingering instructions
+@refbugs
-@cindex fingering
+These signs appear in the printed output but have no effect on the
+MIDI rendering of the music.
-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
+@node Dynamics
+@subsection Dynamics
+@cindex Dynamics
-@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)
+
+@cindex @code{\ppp}
+@cindex @code{\pp}
+@cindex @code{\p}
+@cindex @code{\mp}
+@cindex @code{\mf}
+@cindex @code{\f}
+@cindex @code{\ff}
+@cindex @code{\fff}
+@cindex @code{\ffff}
+@cindex @code{\fp}
+@cindex @code{\sf}
+@cindex @code{\sff}
+@cindex @code{\sp}
+@cindex @code{\spp}
+@cindex @code{\sfz}
+@cindex @code{\rfz}
+
+
+Absolute dynamic marks are specified using a command after a note
+@code{c4\ff}. The available dynamic marks are @code{\ppp},
+@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
+@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
+@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
+
@lilypond[quote,verbatim,raggedright,fragment,relative=2]
-<a_\thumb a'-3>8 <b_\thumb b'-3>
+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
-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
+@cindex @code{\<}
+@cindex @code{\>}
+@cindex @code{\"!}
+
+
+
+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
+use spacer notes if multiple marks are needed during one note
+
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+c\< c\! d\> e\!
+<< f1 { s4 s4\< s4\! \> s4\! } >>
+@end lilypond
+This may give rise to very short hairpins. Use @code{minimum-length}
+in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
+example
+
+@example
+\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
+
+@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+\setTextCresc
+c\< d e f\!
+\setHairpinCresc
+e\> d c b\!
+\setTextDecresc
+c\> d e f\!
+\setTextDim
+e\> d c b\!
+@end lilypond
+
+@cindex crescendo
+@cindex decrescendo
+
+You can also supply your own texts
+@lilypond[quote,raggedright,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}.
+
+
+@refcommands
+
+@cindex @code{\dynamicUp}
+@code{\dynamicUp},
+@cindex @code{\dynamicDown}
+@code{\dynamicDown},
+@cindex @code{\dynamicNeutral}
+@code{\dynamicNeutral}.
+
+@cindex direction, of dynamics
+
+@seealso
+
+Program reference: @internalsref{CrescendoEvent},
+@internalsref{DecrescendoEvent}, and
+@internalsref{AbsoluteDynamicEvent}.
+
+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]
+c'4 \breathe d4
@end lilypond
+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]
+c'4
+\override BreathingSign #'text
+ = #(make-musicglyph-markup "scripts.rvarcomma")
+\breathe
+d4
+@end lilypond
+
+@seealso
+
+Program reference: @internalsref{BreathingSign},
+@internalsref{BreathingSignEvent}.
+
+Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
+
+
+@node Running trills
+@subsection Running trills
+
+Long running trills are made with @code{\startTrillSpan} and
+@code{\stopTrillSpan},
+
+
+@lilypond[verbatim,raggedright,relative=2,quote,fragment]
+\new Voice {
+ << { c1 \startTrillSpan }
+ { s2. \grace { d16[\stopTrillSpan e] } } >>
+ c4 }
+@end lilypond
+
+@refcommands
+
+@code{\startTrillSpan},
+@cindex @code{\startTrillSpan}
+@code{\stopTrillSpan}.
+@cindex @code{\stopTrillSpan}
+
+@seealso
+
+Program reference: @internalsref{TrillSpanner},
+@internalsref{TrillSpanEvent}.
+
+
+
+
+@node Glissando
+@subsection Glissando
+@cindex Glissando
+
+@cindex @code{\glissando}
+
+A glissando is a smooth change in pitch. It is denoted by a line or a
+wavy line between two notes. It is requested by attaching
+@code{\glissando} to a note
+
+@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+c\glissando c'
+@end lilypond
+
+@seealso
+
+Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
+
+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 broken chord
+@cindex @code{\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]
+<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}
+
+@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 }
+>>
+@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 {
+ \arpeggioUp
+ <c e g c>\arpeggio
+ \arpeggioDown
+ <c e g c>\arpeggio
+}
+@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
+
+@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+\arpeggioBracket
+<c' e g c>\arpeggio
+@end lilypond
+
+@refcommands
+
+@cindex @code{\arpeggio}
+@code{\arpeggio},
+@cindex @code{\arpeggioUp}
+@code{\arpeggioUp},
+@cindex @code{\arpeggioDown}
+@code{\arpeggioDown},
+@cindex @code{\arpeggioNeutral}
+@code{\arpeggioNeutral},
+@cindex @code{\arpeggioBracket}
+@code{\arpeggioBracket}.
+
+@seealso
+
+Notation manual: @ref{Ties}, for writing out arpeggios.
+
+Program reference: @internalsref{ArpeggioEvent},
+@internalsref{Arpeggio}.
+
+
+
+@refbugs
+
+It is not possible to mix connected arpeggios and unconnected
+arpeggios in one @internalsref{PianoStaff} at the same point in time.
+
+
+
+@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
+
+@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
-In this case, setting @code{fingeringOrientations} will put fingerings next
-to note heads
+is equivalent to
+
+@example
+<<
+ \context Voice = "1" @{ \voiceOne \upper @}
+ \context Voice = "2" @{ \voiceTwo \lower @}
+>>
+@end example
+
+@cindex @code{\voiceOne}
+@cindex @code{\voiceFour}
+
+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.
+@cindex @code{\oneVoice}
+
+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.
-@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,
+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[verbatim,raggedright,quote,fragment]
-\set fingeringOrientations = #'(right)
-<es'-2>4
+@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: @internalsref{FingerEvent}, and @internalsref{Fingering}.
-
-Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
+@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}.
-@node Grace notes
-@subsection Grace notes
+@refbugs
-@c should have blurb about accaciatura / appogiatura
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
+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.
-Grace notes are ornaments that are written out. The most common ones
-are acciaccatura, which should be played as very short. It is denoted
-by a slurred small note with a slashed stem. The appoggiatura is a
-grace note that takes a fixed fraction of the main note, and is
-denoted as a slurred note in small print without a slash. They
-are entered with the commands @code{\acciaccatura} and
-@code{\appoggiatura}, as demonstrated in the following example
+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}).
-@cindex appoggiatura
-@cindex acciaccatura
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
-b4 \acciaccatura d8 c4 \appoggiatura e8 d4
-\acciaccatura { g16[ f] } e4
-@end lilypond
+@node Repeats
+@section Repeats
-Both are special forms of the @code{\grace} command. By prefixing this
-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.
+Repetition is a central concept in music, and multiple notations exist
+for repetitions.
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
-c4 \grace c16 c4
-\grace { c16[ d16] } c2 c4
-@end lilypond
+@menu
+* Repeat types::
+* Repeat syntax::
+* Repeats and MIDI::
+* Manual repeat commands::
+* Tremolo repeats::
+* Tremolo subdivisions::
+* Measure repeats::
+@end menu
-@noindent
-Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
-@code{\grace} command does not start a slur.
+@node Repeat types
+@subsection Repeat types
-Internally, timing for grace notes is done using a second, `grace'
-timing. Every point in time consists of two rational numbers: one
-denotes the logical time, one denotes the grace timing. The above
-example is shown here with timing tuples
+@cindex repeats
+@cindex @code{\repeat}
-@lilypond[quote,raggedright]
-<<
- \relative c''{
- c4 \grace c16 c4 \grace {
- c16[ d16] } c2 c4
- }
- \new Lyrics \lyricmode {
- \override LyricText #'font-family = #'typewriter
+The following types of repetition are supported
- \markup { (0,0) } 4
- \grace { \markup {
- ( \fraction 1 4 , \fraction -1 16 ) } 16 }
- \markup { (\fraction 1 4 , 0 ) } 4
- \grace {
- \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
- \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
- }
- \markup { ( \fraction 2 4 , 0 ) }
- }
->>
-@end lilypond
+@table @code
+@item unfold
+Repeated music is fully written (played) out. This is useful when
+entering repetitious music. This is the only kind of repeat that
+is included in MIDI output.
+@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.
-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
+@ignore
+@item fold
+Alternative endings are written stacked. This has limited use but may be
+used to typeset two lines of lyrics in songs with repeats, see
+@inputfileref{input,star-spangled-banner@/.ly}.
+@end ignore
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
-<< \new Staff { e4 \grace { c16[ d e f] } e4 }
- \new Staff { c4 \grace { g8[ b] } c4 } >>
-@end lilypond
+@c tremolo, beamed
+@item tremolo
+Make tremolo beams. These are not played in MIDI output by default.
+@item percent
+Make beat or measure repeats. These look like percent signs. These
+are not played in MIDI output by default. Percent repeats must be
+declared within a Voice context.
+@end table
-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.
+@node Repeat syntax
+@subsection Repeat syntax
-@lilypond[raggedright, 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
-length of the main note. The fraction 3/4 can be changed by setting
-@code{afterGraceFraction}, ie.
+LilyPond has one syntactic construct for specifying different types of
+repeats. The syntax is
@example
-afterGraceFraction = #(cons 7 8)
+\repeat @var{variant} @var{repeatcount} @var{repeatbody}
@end example
-@noindent
-will put the grace note at 7/8 of the main note.
+If you have alternative endings, you may add
+@cindex @code{\alternative}
+@example
+\alternative @{ @var{alternative1}
+ @var{alternative2}
+ @var{alternative3} @dots{} @}
+@end example
+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]
+c1
+\repeat volta 2 { c4 d e f }
+\repeat volta 2 { f e d c }
+@end lilypond
-The same effect can be achieved manually by doing
+With alternative endings
+@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+c1
+\repeat volta 2 {c4 d e f}
+\alternative { {d2 d} {f f,} }
+@end lilypond
@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\context Voice {
- << { d1^\trill_( }
- { s2 \grace { c16[ d] } } >>
- c4)
+\context Staff {
+ \partial 4
+ \repeat volta 4 { e | c2 d2 | e2 f2 | }
+ \alternative { { g4 g g } { a | a a a a | b2. } }
}
@end lilypond
-@noindent
-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.
-
+It is possible to shorten volta brackets
+by setting @code{voltaSpannerDuration}. In the next example, the
+bracket only lasts one measure, which is a duration of 3/4.
-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]
-\new Voice {
- \acciaccatura {
- \stemDown
- f16->
- \stemNeutral
- }
- g4
+@lilypond[verbatim,raggedright,quote]
+\relative c''{
+ \time 3/4
+ c c c
+ \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
+ \repeat "volta" 5 { d d d }
+ \alternative { { e e e f f f }
+ { g g g } }
}
@end lilypond
-@noindent
-The overrides should also be reverted inside the grace section.
-The layout of grace sections can be changed throughout the music using
-the function @code{add-grace-property}. The following example
-undefines the Stem direction for this grace, so stems do not always
-point up.
+@seealso
+
+Examples:
+
+Brackets for the repeat are normally only printed over the topmost
+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
+
+A nested repeat like
@example
-\new Staff @{
- #(add-grace-property 'Voice 'Stem 'direction '())
- @dots{}
-@}
+\repeat @dots{}
+\repeat @dots{}
+\alternative
@end example
-@noindent
-Another option is to change the variables @code{startGraceMusic},
-@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
-@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
-@code{stopAppoggiaturaMusic}. More information is in the file
-@file{ly/@/grace@/-init@/.ly}.
+@noindent
+is ambiguous, since it is is not clear to which @code{\repeat} the
+@code{\alternative} belongs. This ambiguity is resolved by always
+having the @code{\alternative} belong to the inner @code{\repeat}.
+For clarity, it is advisable to use braces in such situations.
+@cindex ambiguity
+
-@seealso
+Timing information is not remembered at the start of an alternative,
+so after a repeat timing information must be reset by hand, for
+example by setting @code{Score.measurePosition} or entering
+@code{\partial}. Similarly, slurs or ties are also not repeated.
-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
-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,
+@node Repeats and MIDI
+@subsection Repeats and MIDI
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
-<< \new Staff { e4 \bar "|:" \grace c16 d4 }
- \new Staff { c4 \bar "|:" d4 } >>
+@cindex expanding repeats
+
+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
+repeats to unfold repeats.
+
+@lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
+\unfoldrepeats {
+ \repeat tremolo 8 {c'32 e' }
+ \repeat percent 2 { c''8 d'' }
+ \repeat volta 2 {c'4 d' e' f'}
+ \alternative {
+ { g' a' a' g' }
+ {f' e' d' c' }
+ }
+}
+\bar "|."
@end lilypond
-@noindent
-This can be remedied by inserting grace skips, for the above example
+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,
@example
-\new Staff @{ c4 \bar "|:" \grace s16 d4 @}
+\score @{
+ @var{..music..}
+ \layout @{ .. @}
+@}
+\score @{
+ \unfoldrepeats @var{..music..}
+ \midi @{ .. @}
+@}
@end example
-Grace sections should only be used within sequential music
-expressions. Nesting or juxtaposing grace sections is not supported,
-and might produce crashes or other errors.
-
-
-@node Glissando
-@subsection Glissando
-@cindex Glissando
-
-@cindex @code{\glissando}
+@node Manual repeat commands
+@subsection Manual repeat commands
-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
+@cindex @code{repeatCommands}
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
-c\glissando c'
-@end lilypond
+The property @code{repeatCommands} can be used to control the layout of
+repeats. Its value is a Scheme list of repeat commands.
-@seealso
+@table @asis
+@item @code{start-repeat}
+Print a @code{|:} bar line.
-Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
+@item @code{end-repeat}
+Print a @code{:|} bar line.
-Example files: @file{input/@/regression/@/glissando@/.ly}.
+@item @code{(volta @var{text})}
+Print a volta bracket saying @var{text}: The text can be specified as
+a text string or as a markup text, see @ref{Text markup}. Do not
+forget to change the font, as the default number font does not contain
+alphabetic characters;
+@item @code{(volta #f)}
+Stop a running volta bracket.
+@end table
+@lilypond[quote,raggedright,verbatim,fragment,relative=2]
+c4
+ \set Score.repeatCommands = #'((volta "93") end-repeat)
+c4 c4
+ \set Score.repeatCommands = #'((volta #f))
+c4 c4
+@end lilypond
-@refbugs
-Printing text over the line (such as @emph{gliss.}) is not supported.
+@seealso
-@node Dynamics
-@subsection Dynamics
-@cindex Dynamics
+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]
+\new Voice \relative c' {
+ \repeat "tremolo" 8 { c16 d16 }
+ \repeat "tremolo" 4 { c16 d16 }
+ \repeat "tremolo" 2 { c16 d16 }
+}
+@end lilypond
-@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}
+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]
+\repeat "tremolo" 4 c'16
+@end lilypond
+Similar output is obtained using the tremolo subdivision, described in
+@ref{Tremolo subdivisions}.
-Absolute dynamic marks are specified using a command after a note
-@code{c4\ff}. The available dynamic marks are @code{\ppp},
-@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
-@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
-@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
+@seealso
-@lilypond[quote,verbatim,raggedright,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
+In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
-@cindex @code{\<}
-@cindex @code{\>}
-@cindex @code{\"!}
+Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
+tremolos are @internalsref{StemTremolo} objects. The music expression is
+@internalsref{TremoloEvent}.
+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}
-A crescendo mark is started with @code{\<} and terminated with
-@code{\!}. A decrescendo is started with @code{\>} and also terminated
-with @code{\!}. Because these marks are bound to notes, you must
-use spacer notes if multiple marks are needed during one note
+Tremolo marks can be printed on a single note by adding
+`@code{:}[@var{number}]' after the note. The number indicates the
+duration of the subdivision, and it must be at least 8. A
+@var{length} value of 8 gives one line across the note stem. If the
+length is omitted, the last value (stored in @code{tremoloFlags}) is
+used
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-c\< c\! d\> e\!
-<< f1 { s4 s4\< s4\! \> s4\! } >>
+@lilypond[quote,raggedright,verbatim,fragment]
+c'2:8 c':32 | c': c': |
@end lilypond
-This may give rise to very short hairpins. Use @code{minimum-length}
-in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
-example
-
-@example
-\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
+@c [TODO: stok is te kort bij 32en]
+@c somebody want to translate that into English?
+@c `Stem is too short for 32nds' (wl)
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
-\setTextCresc
-c\< d e f\!
-\setHairpinCresc
-e\> d c b\!
-\setTextDecresc
-c\> d e f\!
-\setTextDim
-e\> d c b\!
-@end lilypond
+@refbugs
-@cindex crescendo
-@cindex decrescendo
+Tremolos entered in this way do not carry over into the MIDI output.
-You can also supply your own texts
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\set crescendoText = \markup { \italic "cresc. poco" }
-\set crescendoSpanner = #'dashed-line
-a'2\< a a a\!\mf
-@end lilypond
+@seealso
-@cindex diminuendo
+In this manual: @ref{Tremolo repeats}.
-To create new dynamic marks or text that should be aligned
-with dynamics, see @ref{New dynamic marks}.
+Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
+@node Measure repeats
+@subsection Measure repeats
-@refcommands
+@cindex percent repeats
+@cindex measure repeats
-@cindex @code{\dynamicUp}
-@code{\dynamicUp},
-@cindex @code{\dynamicDown}
-@code{\dynamicDown},
-@cindex @code{\dynamicNeutral}
-@code{\dynamicNeutral}.
+In the @code{percent} style, a note pattern can be repeated. It is
+printed once, and then the pattern is replaced with a special sign.
+Patterns of one and two measures are replaced by percent-like signs,
+patterns that divide the measure length are replaced by slashes.
+Percent repeats must be declared within a @code{Voice} context.
-@cindex direction, of dynamics
+@lilypond[quote,verbatim,raggedright]
+\new Voice \relative c' {
+ \repeat "percent" 4 { c4 }
+ \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
+}
+@end lilypond
@seealso
-Program reference: @internalsref{CrescendoEvent},
-@internalsref{DecrescendoEvent}, and
-@internalsref{AbsoluteDynamicEvent}.
+Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
+@internalsref{PercentRepeatedMusic}, and
+@internalsref{DoublePercentRepeat}.
+
-Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
-objects. Vertical positioning of these symbols is handled by the
-@internalsref{DynamicLineSpanner} object.
projects / lilypond.git / blobdiff