This chapter explains how to use basic notation features.
@menu
-* Pitches::
-* Rhythms::
-* Polyphony::
* Staff notation::
* Connecting notes::
-* Expressive marks::
-* Repeats::
+* Expressive marks old::
@end menu
+@node Staff notation
+@section Staff notation
-@node Pitches
-@section Pitches
+@cindex Staff notation
-This section discusses how to specify the pitch of notes.
+This section describes music notation that occurs on staff level,
+such as key signatures, clefs and time signatures.
@menu
-* Normal pitches::
-* Accidentals::
-* Cautionary accidentals::
-* Micro tones::
-* Note names in other languages::
-* Relative octaves::
-* Octave check::
-* Transpose::
-* Rests::
-* Skips::
+* Clef::
+* Key signature::
+* Time signature::
+* Bar lines::
+* Unmetered music::
+* System start delimiters::
+* Staff symbol::
+* Writing music in parallel::
@end menu
-@node Normal pitches
-@subsection Normal pitches
-
-@cindex Pitch names
-@cindex pitches
+@anchor{System start delimiters}
+@unnumberedsubsubsec System start delimiters
-A pitch name is specified using lowercase letters @code{a} through @code{g}.
-An ascending C-major scale is engraved with
+@cindex start of system
+@cindex Staff, multiple
+@cindex bracket, vertical
+@cindex brace, vertical
+@cindex grand staff
+@cindex staff group
+@cindex staff, choir
-@lilypond[quote,fragment,verbatim,ragged-right]
-\clef bass
-c d e f g a b c'
-@end lilypond
+Many scores consist of more than one staff. These staves can be
+joined in four different ways
-The note name @code{c} is engraved one octave below middle C.
+@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[quote,fragment,verbatim,ragged-right]
-\clef treble
-c1
-\clef bass
-c1
+@lilypond[verbatim,ragged-right,quote]
+\new GrandStaff
+\relative <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+>>
@end lilypond
-@funindex '
-@funindex ,
-
-The optional octave specification takes the form of a series of
-single quote (@samp{'}) characters or a series of comma
-(@samp{,}) characters. Each @samp{'} raises the pitch by one
-octave; each @samp{,} lowers the pitch by an octave.
+@item The group is started with a bracket, and bar lines are connected.
+This is done with the
+@internalsref{StaffGroup} context
-@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
+@lilypond[verbatim,ragged-right,quote]
+\new StaffGroup
+\relative <<
+ \new Staff { c1 c }
+ \new Staff { c 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} to a note name.
+@item The group is started with a bracket, but bar lines are not
+connected. This is done with the @internalsref{ChoirStaff} context.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-a2 ais a aes
-a2 aisis a aeses
+@lilypond[verbatim,ragged-right,quote]
+\new ChoirStaff
+\relative <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+>>
@end lilypond
-@noindent
-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
+@item The group is started with a vertical line. Bar lines are not
+connected. This is the default for the score.
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-a2 as e es
+@lilypond[verbatim,ragged-right,quote]
+\relative <<
+ \new Staff { c1 c }
+ \new Staff { c c }
+>>
@end lilypond
+@end itemize
-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
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-a4 aes a2
-@end lilypond
-The input @code{d e f} is interpreted as @q{print a D-natural,
-E-natural, and an F-natural,} regardless of the key
-signature. For more information about the distinction between
-musical content and the presentation of that content, see
-@ref{Accidentals and key signatures}.
+@seealso
-@lilypond[fragment,quote,ragged-right,verbatim,relative]
-\key d \major
-d e f g
-d e fis g
-@end lilypond
+The bar lines at the start of each system are
+@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
+@internalsref{SystemStartBracket}. Only one of these types is created
+in every context, and that type is determined by the property
+@code{systemStartDelimiter}.
@commonprop
-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 behavior, use
-@code{\set Staff.extraNatural = ##f}
+System start delimiters may be deeply nested,
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-ceses4 ces cis c
-\set Staff.extraNatural = ##f
-ceses4 ces cis c
+@lilypond[quote,ragged-right,verbatim]
+\new StaffGroup
+\relative <<
+ \set StaffGroup.systemStartDelimiterHierarchy
+ = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
+ \new Staff { c1 }
+ \new Staff { c1 }
+ \new Staff { c1 }
+ \new Staff { c1 }
+ \new Staff { c1 }
+>>
@end lilypond
-@seealso
-
-Program reference: @internalsref{LedgerLineSpanner},
-@internalsref{NoteHead}.
+@anchor{Staff symbol}
+@unnumberedsubsubsec Staff symbol
+@cindex adjusting staff symbol
-@node Cautionary accidentals
-@subsection Cautionary accidentals
+Notes, dynamic signs, etc., are grouped
+with a set of horizontal lines, called a staff (plural @q{staves}). In
+LilyPond, these lines are drawn using a separate layout object called
+@code{staff symbol}.
-@cindex accidental, reminder
-@cindex accidental, cautionary
-@cindex accidental, parenthesized
-@cindex reminder accidental
-@funindex ?
-@cindex cautionary accidental
-@cindex parenthesized accidental
-@funindex !
+The staff symbol may be tuned in the number, thickness and distance
+of lines, using properties. This is demonstrated in the example files
+@lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
+@lsr{staff,changing-the-staff-size.ly}.
-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 @samp{?} after the pitch. These extra accidentals
-can be used to produce natural signs, too.
+In addition, staves may be started and stopped at will. This is done
+with @code{\startStaff} and @code{\stopStaff}.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-cis cis cis! cis? c c? c! c
+@lilypond[verbatim,relative=2,fragment]
+b4 b
+\override Staff.StaffSymbol #'line-count = 2
+\stopStaff \startStaff
+b b
+\revert Staff.StaffSymbol #'line-count
+\stopStaff \startStaff
+b b
@end lilypond
+In combination with Frenched staves, this may be used to typeset ossia
+sections. An example is shown here
-@seealso
-
-The automatic production of accidentals can be tuned in many
-ways. For more information, see @ref{Automatic accidentals}.
-
-
-@node Micro tones
-@subsection Micro tones
-
-@cindex quarter tones
-@cindex semi-flats, semi-sharps
-
-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,ragged-right,quote,relative=2,fragment]
-\set Staff.extraNatural = ##f
-ceseh ceh cih cisih
-@end lilypond
+@cindex ossia
-Micro tones are also exported to the MIDI file.
+@lilypondfile{ossia.ly}
+@cindex staff lines, setting number of
+@cindex staff lines, setting thickness of
+@cindex thickness of staff lines, setting
+@cindex number of staff lines, setting
-@refbugs
+@seealso
-There are no generally accepted standards for denoting
-three-quarter flats, so LilyPond's symbol does not conform to any
-standard.
+Program reference: @internalsref{StaffSymbol}.
+Examples: @lsrdir{staff}
-@node Note names in other languages
-@subsection Note names in other languages
-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
+@node Connecting notes
+@section Connecting notes
-@c Should this be made into a multitable?
-@cindex note names, other languages
-@example
- Note Names sharp flat double double
- sharp flat
-
-nederlands.ly c d e f g a bes b -is -es -isis -eses
-english.ly c d e f g a bf b -s/-sharp -f/-flat -ss/-x/ -ff/
- -sharpsharp -flatflat
-deutsch.ly c d e f g a b h -is -es -isis -eses
-norsk.ly c d e f g a b h -iss/-is -ess/-es -ississ/-isis -essess/-eses
-svenska.ly c d e f g a b h -iss -ess -ississ -essess
-italiano.ly do re mi fa sol la sib si -d -b -dd -bb
-catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb
-espanol.ly do re mi fa sol la sib si -s -b -ss -bb
-@end example
+This section deals with notation that affects groups of notes.
-@noindent
-Note that in Dutch, German, Norwegian, and Swedish, the flat
-alterations of @samp{a} like for example @code{aes} and @code{aeses}
-are usually contracted to @code{as} and @code{ases} (or more commonly
-@code{asas}). Sometimes only these contracted names are defined in the
-corresponding language files (this also applies to the suffixes for
-quartertones below).
-
-@noindent
-Some music uses microtones whose alterations are fractions of a
-@q{regular} sharp or flat. The note names for quartertones defined in
-the various language files are listed in the following table. Here the
-prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
-half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
-special names have been defined yet.
-@c What about Turkish Maquam music and similar microtonal systems?
-@c
-@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code
-@c is actually misleading since the alteration is in fact one and a half
-@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
+@menu
+* Ties::
+* Slurs::
+* Phrasing slurs::
+* Laissez vibrer ties::
+* Automatic beams::
+* Manual beams::
+* Grace notes::
+@end menu
-@example
- Note Names semi- semi- sesqui- sesqui-
- sharp flat sharp flat
-
-nederlands.ly c d e f g a bes b -ih -eh -isih -eseh
-english.ly c d e f g a bf b -qs -qf -tqs -tqf
-deutsch.ly c d e f g a b h -ih -eh -isih -eseh
-norsk.ly c d e f g a b h
-svenska.ly c d e f g a b h
-italiano.ly do re mi fa sol la sib si -sd -sb -dsd -bsb
-catalan.ly do re mi fa sol la sib si
-espanol.ly do re mi fa sol la sib si
-@end example
+@node Expressive marks old
+@section Expressive marks old
-@node Relative octaves
-@subsection Relative octaves
+Expressive marks help musicians to bring more to the music than simple
+notes and rhythms.
-@cindex Relative
-@cindex Relative octave specification
-@funindex \relative
+@menu
+* Articulations::
+* Fingering instructions::
+* Dynamics::
+* Breath marks::
+* Trills::
+* Glissando::
+* Arpeggio::
+* Falls and doits::
+@end menu
-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
+@anchor{Fingering instructions}
+@unnumberedsubsubsec Fingering instructions
-@noindent
-or
+@cindex fingering
+@cindex finger change
+Fingering instructions can be entered using
@example
-\relative @var{musicexpr}
+@var{note}-@var{digit}
@end example
+For finger changes, use markup texts
-@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
-
-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>
-}
+@lilypond[quote,verbatim,ragged-right,fragment,relative=1]
+c4-1 c-2 c-3 c-4
+c^\markup { \finger "2 - 3" }
@end lilypond
-The pitch after @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 compared to the note given in the
-@code{\relative} command. 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 @code{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
-}
+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
-
-@node Transpose
-@subsection Transpose
-
-@cindex Transpose
-@cindex Transposition of pitches
-@funindex \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
-}
+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
-@code{\transpose} may also be used to input written notes for a
-transposing instrument. Pitches are normally entered into LilyPond
-in C (or @q{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}.
-Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}.
-
-
-@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 on music that appears inside a
-@code{\transpose}.
-
-
-@node Rests
-@subsection Rests
-@cindex Rests
-
-@funindex \rest
-@funindex r
+@commonprop
-Rests are entered like notes with the note name @code{r}
+You may exercise greater control over fingering chords by
+setting @code{fingeringOrientations}
-@lilypond[fragment,quote,ragged-right,verbatim]
-r1 r2 r4 r8
+@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
-Whole bar rests, centered in middle of the bar,
-must be done with multi-measure rests. They can be used for a
-single bar as well as many bars, and are discussed in
-@ref{Multi measure rests}.
-
-To explicitly specify a rest's vertical position, write a note
-followed by @code{\rest}. A rest will be placed in the position
-where the note would appear,
+Using this feature, it is also possible to put fingering instructions
+very close to note heads in monophonic music,
-@lilypond[fragment,quote,ragged-right,verbatim]
-a'4\rest d'4\rest
+@lilypond[verbatim,ragged-right,quote,fragment]
+\set fingeringOrientations = #'(right)
+<es'-2>4
@end lilypond
-@noindent
-This makes manual formatting of
-polyphonic music much easier, since the automatic rest collision
-formatter will leave these rests alone.
@seealso
-Program reference: @internalsref{Rest}.
-
-
-@node Skips
-@subsection Skips
-
-@cindex Skip
-@cindex Invisible rest
-@cindex Space note
-@funindex \skip
-@funindex s
-
-An invisible rest (also called a @q{skip}) can be entered like a note
-with note name @samp{s} or with @code{\skip @var{duration}}
-
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-a4 a4 s4 a4 \skip 1 a4
-@end lilypond
-
-The @code{s} syntax is only available in note mode and chord mode. In
-other situations, for example, when entering lyrics, you should use
-the @code{\skip} command
-
-@lilypond[quote,ragged-right,verbatim]
-<<
- \relative { a'2 a2 }
- \new Lyrics \lyricmode { \skip 2 bla2 }
->>
-@end lilypond
+Program reference: @internalsref{Fingering}.
-The skip command is merely an empty musical placeholder. It does not
-produce any output, not even transparent output.
-
-The @code{s} skip command does create @internalsref{Staff} and
-@internalsref{Voice} when necessary, similar to note and rest
-commands. For example, the following results in an empty staff.
-
-@lilypond[quote,ragged-right,verbatim]
-{ s4 }
-@end lilypond
-
-The fragment @code{@{ \skip 4 @} } would produce an empty page.
-
-@seealso
-
-Program reference: @internalsref{SkipMusic}.
-
-
-
-@node Rhythms
-@section Rhythms
-
-This section discusses rhythms, durations, and bars.
-
-@menu
-* Durations::
-* Augmentation dots::
-* Tuplets::
-* Scaling durations::
-* Bar check::
-* Barnumber check::
-* Automatic note splitting::
-@end menu
-
-
-@node Durations
-@subsection Durations
-
-@cindex duration
-@funindex \longa
-@funindex \breve
-@funindex \maxima
-
-In Note, Chord, and Lyrics mode, durations are designated by numbers and
-dots: durations are entered as their reciprocal values. For example, a
-quarter note is entered using a @code{4} (since it is a 1/4 note), while
-a half note is entered using a @code{2} (since it is a 1/2 note). For
-notes longer than a whole you must use the @code{\longa} and
-@code{\breve} commands
-
-@example
-c'\breve
-c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
-r\longa r\breve
-r1 r2 r4 r8 r16 r32 r64 r64
-@end example
-
-@lilypond[quote]
-\score {
-\relative c'' {
- a\breve*1/2 \autoBeamOff
- a1 a2 a4 a8 a16 a32 a64 a64
- \bar "empty"
- \break
- r\longa*1/4 r\breve *1/2
- r1 r2 r4 r8 r16 r32 r64 r64
- }
- \layout {
- ragged-right = ##t
- indent=0\mm
- \context {
- \Score
- \remove "Bar_number_engraver"
- }
- \context {
- \Staff
- \remove "Clef_engraver"
- \override StaffSymbol #'transparent = ##t
- \override TimeSignature #'transparent = ##t
- \override BarLine #'transparent = ##t
- \consists "Pitch_squash_engraver"
- }
- }
-}
-@end lilypond
-
-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,ragged-right,verbatim,fragment]
-{ a a a2 a a4 a a1 a }
-@end lilypond
-
-
-@node Augmentation dots
-@subsection Augmentation dots
-
-@funindex .
-
-To obtain dotted note lengths, simply add a dot (@samp{.}) to
-the number. Double-dotted notes are produced in a similar way.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-a'4 b' c''4. b'8 a'4. b'4.. c''8.
-@end lilypond
-
-@refcommands
-
-Dots are normally moved up to avoid staff lines, except in polyphonic
-situations. The following commands may be used to force a particular
-direction manually
-
-@funindex \dotsUp
-@code{\dotsUp},
-@funindex \dotsDown
-@code{\dotsDown},
-@funindex \dotsNeutral
-@code{\dotsNeutral}.
-
-@seealso
-
-Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
-
-
-@node Tuplets
-@subsection Tuplets
-
-@cindex tuplets
-@cindex triplets
-@funindex \times
-
-Tuplets are made out of a music expression by multiplying all durations
-with a fraction
-
-@example
-\times @var{fraction} @var{musicexpr}
-@end example
-
-@noindent
-The duration of @var{musicexpr} will be multiplied by the fraction.
-The fraction's denominator will be printed over the notes, optionally
-with a bracket. The most common tuplet is the triplet in which 3
-notes have the length of 2, so the notes are 2/3 of their written
-length
-
-@lilypond[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]
-\override TupletNumber #'text = #tuplet-number::calc-fraction-text
-\times 4/6 {
- a4 a
- \times 3/5 { a a a a a }
-}
-@end lilypond
-
-@refcommands
-
-@funindex \tupletUp
-@code{\tupletUp},
-@funindex \tupletDown
-@code{\tupletDown},
-@funindex \tupletNeutral
-@code{\tupletNeutral}.
-
-
-@commonprop
-
-@funindex tupletNumberFormatFunction
-@cindex tuplet formatting
-
-The property @code{tupletSpannerDuration} specifies how long each
-bracket should last. With this, you can make lots of tuplets while
-typing @code{\times} only once, thus saving lots of typing. In the next
-example, there are two triplets shown, while @code{\times} was only
-used once
-
-@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
-\set tupletSpannerDuration = #(ly:make-moment 1 4)
-\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{text} in
-@code{TupletNumber}. The default prints only the denominator, but if
-it is set to the function @code{tuplet-number::calc-fraction-text},
-@var{num}:@var{den} will be printed instead.
-
-To avoid printing tuplet numbers, use
-
-@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
-
-Use the @code{\tweak} function to override nested tuplets beginning at the
-same music moment. In this example, @code{\tweak} specifies fraction
-text for the
-outer @code{TupletNumber} and denominator text for the @code{TupletNumber}
-of the first of the three inner tuplets.
-
-@lilypond[quote,ragged-right,verbatim]
-\new Staff {
- \tweak #'text #tuplet-number::calc-fraction-text
- \times 4/3 {
- \tweak #'text #tuplet-number::calc-denominator-text
- \times 2/3 { c'8[ c'8 c'8] }
- \times 2/3 { c'8[ c'8 c'8] }
- \times 2/3 { c'8[ c'8 c'8] }
- }
-}
-@end lilypond
-
-Here @code{\tweak} and @code{\override} work together to specify
-@code{TupletBracket} direction. The first @code{\tweak} positions
-the @code{TupletBracket} of the outer
-tuplet above the staff. The second @code{\tweak} positions the
-@code{TupletBracket} of the first of the three inner tuplets below the
-staff. Note that this pair of @code{\tweak} functions affects only
-the outer tuplet and the first of the three inner tuplets because only
-those two tuplets begin at the same music moment. We use @code{\override}
-in the usual way to position the @code{TupletBrackets} of
-the second and third of the inner tuplets below the staff.
-
-@lilypond[quote,ragged-right,verbatim]
-\new Staff {
- \tweak #'text #tuplet-number::calc-fraction-text
- \tweak #'direction #up
- \times 4/3 {
- \tweak #'direction #down
- \times 2/3 { c'8[ c'8 c'8] }
- \override TupletBracket #'direction = #down
- \times 2/3 { c'8[ c'8 c'8] }
- \times 2/3 { c'8[ c'8 c'8] }
- }
-}
-@end lilypond
-
-Tuplet brackets can be made to run to prefatory matter or
-the next note
-
-@lilypond[ragged-right]
-\new RhythmicStaff {
- \set tupletFullLength = ##t
- \time 4/4
- \times 4/5 {
- c4 c1
- }
- \set tupletFullLengthNote = ##t
- \time 2/4
- \times 2/3 {
- c4 c c
- }
- \time 3/4
- c4
-}
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{TupletBracket},
-@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
-
-
-
-@node Scaling durations
-@subsection Scaling durations
-
-You can alter the length of duration by a fraction @var{N/M}
-appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). This
-will not affect the appearance of the notes or rests produced. These
-may be combined such as @samp{*M*N}.
-
-In the following example, the first three notes take up exactly two
-beats, but no triplet bracket is printed.
-
-@lilypond[quote,ragged-right,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}.
-
-
-@node Bar check
-@subsection Bar check
-
-@cindex Bar check
-@funindex barCheckSynchronize
-@funindex |
-
-Bar checks help detect errors in the durations. A bar check is
-entered using the bar symbol, @samp{|}. Whenever it is encountered
-during interpretation, it should fall on a measure boundary. If it
-does not, a warning is printed. In the next example, the second bar
-check will signal an error
-@example
-\time 3/4 c2 e4 | g2 |
-@end example
-
-Bar checks can also be used in lyrics, for example
-
-@example
-\lyricmode @{
- \time 2/4
- Twin -- kle | Twin -- kle
-@}
-@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.
-
-@funindex |
-@funindex pipeSymbol
-
-It is also possible to redefine the meaning of @code{|}. This is done
-by assigning a music expression to @code{pipeSymbol},
-
-@lilypond[quote,ragged-right,verbatim]
-pipeSymbol = \bar "||"
-
-{ c'2 c' | c'2 c' }
-@end lilypond
-
-
-@node Barnumber check
-@subsection Barnumber check
-
-When copying large pieces of music, it can be helpful to check that
-the LilyPond bar number corresponds to the original that you are
-entering from. This can be checked with @code{\barNumberCheck}, for
-example,
-
-@verbatim
-\barNumberCheck #123
-@end verbatim
-
-@noindent
-will print a warning if the @code{currentBarNumber} is not 123 when it
-is processed.
-
-
-@node Automatic note splitting
-@subsection Automatic note splitting
-
-Long notes can be converted automatically to tied notes. This is done
-by replacing the @internalsref{Note_heads_engraver} by the
-@internalsref{Completion_heads_engraver}.
-In the following examples, notes crossing the bar line are split and tied.
-
-@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
-
-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 you want to allow line breaking on the bar lines where
-@internalsref{Completion_heads_engraver} splits notes, you must
-also remove @internalsref{Forbid_line_break_engraver}.
-
-
-@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
-
-Program reference: @internalsref{Completion_heads_engraver}.
-
-
-@node Polyphony
-@section Polyphony
-
-Polyphony in music refers to having more than one voice occurring in
-a piece of music. Polyphony in LilyPond refers to having more than
-one voice on the same staff.
-
-@menu
-* 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 between @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
-
-For more information about chords, see @ref{Chord names}.
-
-
-@c I don't like having this here, but I can't think of
-@c anywhere else to put it. :( -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
-
-@funindex \stemUp
-@code{\stemUp},
-@funindex \stemDown
-@code{\stemDown},
-@funindex \stemNeutral
-@code{\stemNeutral}.
-
-
-@commonprop
-
-To change the direction of stems in the middle of the staff, use
-
-@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
-
-
-@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{\\}
-
-@funindex \\
-
-@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 @q{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
-same voice. Here is the same example, with different noteheads and
-colors 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.
-
-@cindex note heads, styles
-
-@lilypond[quote,verbatim,fragment]
-\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- \override NoteHead #'color = #red
- c16 d e f
- <<
- { g4 f e } \\
- { \override NoteHead #'style = #'triangle
- \override NoteHead #'color = #blue
- r8 e4 d c8 ~ }
- >> |
- <<
- { d2 e2 } \\
- { c8 b16 a b8 g ~ g2 } \\
- { \override NoteHead #'style = #'slash
- \override NoteHead #'color = #green
- s4 b4 c2 }
- >>
-}
-@end lilypond
-
-Polyphony does not change the relationship of notes within a
-@code{\relative @{ @}} block. Each note is calculated relative
-to the note immediately preceding it.
-
-@example
-\relative @{ noteA << noteB \\ noteC >> noteD @}
-@end example
-
-@code{noteC} is relative to @code{noteB}, not @code{noteA};
-@code{noteD} is relative to @code{noteC}, not @code{noteB} or
-@code{noteA}.
-
-
-@node Explicitly instantiating voices
-@subsection Explicitly instantiating voices
-
-@internalsref{Voice} contexts can also be instantiated manually
-inside a @code{<< >>} block to create polyphonic music, using
-@code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
-and a horizontal shift for each part.
-
-Specifically,
-@example
-<< \upper \\ \lower >>
-@end example
-
-@noindent
-is equivalent to
-
-@example
-<<
- \new Voice = "1" @{ \voiceOne \upper @}
- \new Voice = "2" @{ \voiceTwo \lower @}
->>
-@end example
-
-The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
-articulations, text annotations, augmentation dots of dotted
-notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
-these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
-make them point downwards.
-The command @code{\oneVoice} will revert back to the normal setting.
-
-An expression that appears directly inside a @code{<< >>} belongs to
-the main voice. This is useful when extra voices appear while the main
-voice is playing. Here is a more correct rendition of the example from
-the previous section. The crossed colored noteheads demonstrate that the main
-melody is now in a single voice context.
-
-@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- \override NoteHead #'color = #red
- c16 d e f
- \voiceOne
- <<
- { g4 f e | d2 e2 }
- \new Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. | s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
-
-The correct definition of the voices allows the melody to be slurred.
-@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
-
-Avoiding the @code{\\} separator also allows nesting polyphony
-constructs, which in some case might be a more natural way to typeset
-the music.
-
-@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ |
- <<
- {c8 b16 a b8 g ~ g2}
- \new Voice { \voiceThree
- s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
-
-In some instances of complex polyphonic music, you may need additional
-voices to avoid collisions between notes. Additional voices are added
-by defining an identifier, as shown below:
-
-@lilypond[quote,verbatim,ragged-right,relative=2]
-voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
-
-\relative c''' <<
- { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
- { \voiceThree b4} \\
- { \voiceFive d,} \\
- { \voiceTwo g,}
->>
-@end lilypond
-
-
-@node Collision Resolution
-@subsection Collision Resolution
-
-Normally, note heads with a different number of dots are not merged, but
-when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are merged:
-
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
-\new Voice << {
- g8 g8
- \override Staff.NoteCollision
- #'merge-differently-dotted = ##t
- g8 g8
-} \\ { g8.[ f16] g8.[ f16] } >>
-@end lilypond
-
-Similarly, you can merge half note heads with eighth notes, by setting
-@code{merge-differently-headed}:
-
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
-\new Voice << {
- c8 c4.
- \override Staff.NoteCollision
- #'merge-differently-headed = ##t
-c8 c4. } \\ { c2 c2 } >>
-@end lilypond
-
-@noindent
-@code{merge-differently-headed} and @code{merge-differently-dotted}
-only apply to opposing stem directions (ie. Voice 1 & 2).
-
-LilyPond also vertically shifts rests that are opposite of a stem,
-for example
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new Voice << c''4 \\ r4 >>
-@end lilypond
-
-If three or more notes line up in the same column,
-@code{merge-differently-headed} cannot
-successfully complete the merge of the two notes that should be merged.
-To allow the merge to work properly, apply a @code{\shift} to the note that
-should not be merged. In the first measure of following example,
-@code{merge-differently-headed} does not work (the half-note head is
-solid). In the second measure, @code{\shiftOn} is applied to move the
-top @code{g} out of the column, and @code{merge-differently-headed}
-works properly.
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\override Staff.NoteCollision #'merge-differently-headed = ##t
-<<
- { d=''2 g2 } \\
- { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
- { \voiceFour e,,2 e'2}
->>
-<<
- { d'=''2 \shiftOn g2 } \\
- { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
- { \voiceFour e,,2 e'2}
->>
-@end lilypond
-
-
-@refcommands
-
-@funindex \oneVoice
-@code{\oneVoice},
-@funindex \voiceOne
-@code{\voiceOne},
-@funindex \voiceTwo
-@code{\voiceTwo},
-@funindex \voiceThree
-@code{\voiceThree},
-@funindex \voiceFour
-@code{\voiceFour}.
-
-@funindex \shiftOn
-@code{\shiftOn},
-@funindex \shiftOnn
-@code{\shiftOnn},
-@funindex \shiftOnnn
-@code{\shiftOnnn},
-@funindex \shiftOff
-@code{\shiftOff}: these commands specify the
-degree to which chords of the current voice should be shifted.
-The outer voices (normally: voice one and
-two) have @code{\shiftOff}, while the inner voices (three and four)
-have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
-further shift levels.
-
-When LilyPond cannot cope, the @code{force-hshift}
-property of the @internalsref{NoteColumn} object and pitched rests can
-be used to override typesetting decisions.
-
-@lilypond[quote,verbatim,ragged-right]
-\relative <<
-{
- <d g>
- <d g>
-} \\ {
- <b f'>
- \once \override NoteColumn #'force-hshift = #1.7
- <b f'>
-} >>
-@end lilypond
-
-
-@seealso
-
-Program reference: the objects responsible for resolving collisions are
-@internalsref{NoteCollision} and @internalsref{RestCollision}.
-
-
-@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 Staff notation
-@section Staff notation
-
-@cindex Staff notation
-
-This section describes music notation that occurs on staff level,
-such as key signatures, clefs and time signatures.
-
-@menu
-* Clef::
-* Key signature::
-* Time signature::
-* Partial measures::
-* Bar lines::
-* Unmetered music::
-* System start delimiters::
-* Staff symbol::
-* Writing music in parallel::
-@end menu
-
-
-@node Clef
-@subsection Clef
-
-@funindex \clef
-
-The clef indicates which lines of the staff correspond to which
-pitches. The clef is set with the @code{\clef} command
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-{ c''2 \clef alto g'2 }
-@end lilypond
-
-@cindex treble clef
-@cindex violin clef
-@cindex alto clef
-@cindex tenor clef
-@cindex bass clef
-@cindex french clef
-@cindex soprano clef
-@cindex mezzosoprano clef
-@cindex baritone clef
-@cindex varbaritone clef
-@cindex subbass clef
-
-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
-@code{^15} transposes by two octaves. The argument @var{clefname}
-must be enclosed in quotes when it contains underscores or digits. For
-example,
-
-@cindex choral tenor clef
-@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},
-@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,ragged-right,verbatim]
-{
- \set Staff.clefGlyph = #"clefs.F"
- \set Staff.clefPosition = #2
- c'4
- \set Staff.clefGlyph = #"clefs.G"
- c'4
- \set Staff.clefGlyph = #"clefs.C"
- c'4
- \set Staff.clefOctavation = #7
- c'4
- \set Staff.clefOctavation = #0
- \set Staff.clefPosition = #0
- c'4
- \clef "bass"
- c'4
- \set Staff.middleCPosition = #4
- c'4
-}
-@end lilypond
-
-
-@seealso
-
-Manual: @ref{Grace notes}.
-
-Program reference: @internalsref{Clef}.
-
-
-@node Key signature
-@subsection Key signature
-
-@cindex Key signature
-@funindex \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
-staff.
-
-Setting or changing the key signature is done with the @code{\key}
-command
-
-@example
-@code{\key} @var{pitch} @var{type}
-@end example
-
-@funindex \minor
-@funindex \major
-@funindex \minor
-@funindex \ionian
-@funindex \locrian
-@funindex \aeolian
-@funindex \mixolydian
-@funindex \lydian
-@funindex \phrygian
-@funindex \dorian
-@cindex church modes
-
-Here, @var{type} should be @code{\major} or @code{\minor} to get
-@var{pitch}-major or @var{pitch}-minor, respectively. You may also
-use the standard mode names (also called @q{church modes}): @code{\ionian},
-@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
-@code{\phrygian}, and @code{\dorian}.
-
-This command sets the context property
-@code{Staff.keySignature}. Non-standard key signatures
-can be specified by setting this property directly.
-
-Accidentals and key signatures often confuse new users, because
-unaltered notes get natural signs depending on the key signature. For
-more information, see @ref{Accidentals}, or @ref{Accidentals and key signatures}.
-
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-\key g \major
-f1
-fis
-@end lilypond
-
-
-@commonprop
-
-A natural sign is printed to cancel any previous accidentals. This
-can be suppressed by setting the @code{Staff.printKeyCancellation}
-property.
-
-@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
-\key d \major
-a b cis d
-\key g \minor
-a bes c d
-\set Staff.printKeyCancellation = ##f
-\key d \major
-a b cis d
-\key g \minor
-a bes c d
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{KeyCancellation},
-@internalsref{KeySignature}.
-
-
-@node Time signature
-@subsection Time signature
-
-@cindex Time signature
-@cindex meter
-@funindex \time
-
-Time signature indicates the metrum of a piece: a regular pattern of
-strong and weak beats. It is denoted by a fraction at the start of the
-staff.
-
-The time signature is set with the @code{\time} command
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\time 2/4 c'2 \time 3/4 c'2.
-@end lilypond
-
-@commonprop
-
-The symbol that is printed can be customized with the @code{style}
-property. Setting it to @code{#'()} uses fraction style for 4/4 and
-2/2 time,
-
-@lilypond[fragment,quote,ragged-right,verbatim]
-\time 4/4 c'1
-\time 2/2 c'1
-\override Staff.TimeSignature #'style = #'()
-\time 4/4 c'1
-\time 2/2 c'1
-@end lilypond
-
-There are many more options for its layout. See @ref{Ancient time
-signatures}, for more examples.
-
-@code{\time} sets the property @code{timeSignatureFraction},
-@code{beatLength} and @code{measureLength} in the @code{Timing}
-context, which is normally aliased to @internalsref{Score}. The
-property @code{measureLength} determines where bar lines should be
-inserted, and how automatic beams should be generated. Changing the
-value of @code{timeSignatureFraction} also causes the symbol to be
-printed.
-
-More options are available through the Scheme function
-@code{set-time-signature}. In combination with the
-@internalsref{Measure_grouping_engraver}, it will create
-@internalsref{MeasureGrouping} signs. Such signs ease reading
-rhythmically complex modern music. In the following example, the 9/8
-measure is subdivided in 2, 2, 2 and 3. This is passed to
-@code{set-time-signature} as the third argument @code{(2 2 2 3)}
-
-@lilypond[quote,ragged-right,verbatim]
-\score {
- \relative c'' {
- #(set-time-signature 9 8 '(2 2 2 3))
- g8[ g] d[ d] g[ g] a8[( bes g]) |
- #(set-time-signature 5 8 '(3 2))
- a4. g4
- }
- \layout {
- \context {
- \Staff
- \consists "Measure_grouping_engraver"
- }
- }
-}
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{TimeSignature}, and
-@internalsref{Timing_translator}.
-
-Examples: @lsr{contemporary,compound-time-signature.ly}.
-
-
-@refbugs
-
-Automatic beaming does not use the measure grouping specified with
-@code{set-time-signature}.
-
-
-@node Partial measures
-@subsection Partial measures
-
-@cindex anacrusis
-@cindex upbeat
-@cindex partial measure
-@cindex measure, partial
-@cindex shorten measures
-@funindex \partial
-
-Partial measures, such as an anacrusis or upbeat, are entered using the
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\partial 16*5 c16 cis d dis e | a2. c,4 | b2
-@end lilypond
-
-The syntax for this command is
-
-@example
-\partial @var{duration}
-@end example
-
-where @code{duration} is the rhythmic length to be added before
-the next bar.
-
-This is internally translated into
-
-@example
-\set Timing.measurePosition = -@var{length of duration}
-@end example
-
-The property @code{measurePosition} contains a rational number
-indicating how much of the measure has passed at this point. Note
-that this is a negative number; @code{\partial 4} is internally
-translated to mean @qq{there is a quarter note left in the bar.}
-
-
-@refbugs
-
-This command does not take into account grace notes at the start of
-the music. When a piece starts with graces notes in the pickup, then
-the @code{\partial} should follow the grace notes
-
-@lilypond[verbatim,quote,ragged-right,relative,fragment]
-\grace f16
-\partial 4
-g4
-a2 g2
-@end lilypond
-
-@code{\partial} is only intended to be used at the beginning of a
-piece. If you use it after the beginning, some odd warnings may
-occur.
-
-
-@node Bar lines
-@subsection Bar lines
-
-@cindex Bar lines
-@funindex \bar
-@cindex measure lines
-@cindex repeat bars
-
-Bar lines delimit measures, but are also used to indicate
-repeats. Normally they are inserted automatically. Line
-breaks may only happen on bar lines.
-
-Special types of bar lines can be forced with the @code{\bar} command
-
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-c4 \bar "|:" c4
-@end lilypond
-
-The following bar types are available
-
-@lilypondfile[ragged-right,quote]{bar-lines.ly}
-
-In addition, you can specify @code{"||:"}, which is equivalent to
-@code{"|:"} except at line breaks, where it gives a double bar line at
-the end of the line and a start repeat at the beginning of the next
-line.
-
-To allow a line break where there is no visible bar line, use
-
-@example
-\bar ""
-@end example
-
-@noindent
-This will insert an invisible bar line and allow line breaks at this
-point (without increasing the bar number counter).
-
-In scores with many staves, a @code{\bar} command in one staff is
-automatically applied to all staves. The resulting bar lines are
-connected between different staves of a @code{StaffGroup},
-@code{PianoStaff}, or @code{GrandStaff}.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-<<
- \new StaffGroup <<
- \new Staff {
- e'4 d'
- \bar "||"
- f' e'
- }
- \new Staff { \clef bass c4 g e g }
- >>
- \new Staff { \clef bass c2 c2 }
->>
-@end lilypond
-
-
-@commonprop
-
-@funindex whichBar
-@funindex repeatCommands
-@funindex defaultBarType
-
-The command @code{\bar }@var{bartype} is a short cut for doing
-@code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
-is set to a string, a bar line of that type is created.
-
-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
-to override default measure bars.
-
-You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}.
-
-
-@seealso
-
-In this manual: @ref{Repeats}, @ref{System start delimiters}.
-
-Program reference: @internalsref{BarLine} (created at
-@internalsref{Staff} level), @internalsref{SpanBar} (across staves).
-
-
-@node Unmetered music
-@subsection Unmetered music
-
-@cindex cadenza
-@funindex \cadenzaOn
-@funindex \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,ragged-right,relative=2,fragment]
-c4 d e d
-\cadenzaOn
-c4 c d8 d d f4 g4.
-\cadenzaOff
-\bar "|"
-d4 e d c
-@end lilypond
-
-
-@refbugs
-
-LilyPond will only insert line breaks and page breaks at a
-barline. Unless the unmetered music ends before the end of
-the staff line, you will need to insert
-invisible bar lines
-
-@example
-\bar ""
-@end example
-
-@noindent
-to indicate where breaks can occur.
-
-
-@node System start delimiters
-@subsection System start delimiters
-
-@cindex start of system
-@cindex Staff, multiple
-@cindex bracket, vertical
-@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 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,ragged-right,quote]
-\new GrandStaff
-\relative <<
- \new Staff { c1 c }
- \new Staff { c c }
->>
-@end lilypond
-
-@item The group is started with a bracket, and bar lines are connected.
-This is done with the
-@internalsref{StaffGroup} context
-
-@lilypond[verbatim,ragged-right,quote]
-\new StaffGroup
-\relative <<
- \new Staff { c1 c }
- \new Staff { c 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,ragged-right,quote]
-\relative <<
- \new Staff { c1 c }
- \new Staff { c c }
->>
-@end lilypond
-@end itemize
-
-
-@seealso
-
-The bar lines at the start of each system are
-@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
-@internalsref{SystemStartBracket}. Only one of these types is created
-in every context, and that type is determined by the property
-@code{systemStartDelimiter}.
-
-
-@commonprop
-
-System start delimiters may be deeply nested,
-
-@lilypond[quote,ragged-right,verbatim]
-\new StaffGroup
-\relative <<
- \set StaffGroup.systemStartDelimiterHierarchy
- = #'(SystemStartSquare (SystemStartBracket a (SystemStartSquare b)) d)
- \new Staff { c1 }
- \new Staff { c1 }
- \new Staff { c1 }
- \new Staff { c1 }
- \new Staff { c1 }
->>
-@end lilypond
-
-
-@node Staff symbol
-@subsection Staff symbol
-
-@cindex adjusting staff symbol
-
-Notes, dynamic signs, etc., are grouped
-with a set of horizontal lines, called a staff (plural @q{staves}). In
-LilyPond, these lines are drawn using a separate layout object called
-@code{staff symbol}.
-
-The staff symbol may be tuned in the number, thickness and distance
-of lines, using properties. This is demonstrated in the example files
-@lsr{staff,changing-the-number-of-lines-in-a-staff.ly} and
-@lsr{staff,changing-the-staff-size.ly}.
-
-In addition, staves may be started and stopped at will. This is done
-with @code{\startStaff} and @code{\stopStaff}.
-
-@lilypond[verbatim,relative=2,fragment]
-b4 b
-\override Staff.StaffSymbol #'line-count = 2
-\stopStaff \startStaff
-b b
-\revert Staff.StaffSymbol #'line-count
-\stopStaff \startStaff
-b b
-@end lilypond
-
-In combination with Frenched staves, this may be used to typeset ossia
-sections. An example is shown here
-
-@cindex ossia
-
-@lilypondfile{ossia.ly}
-
-@cindex staff lines, setting number of
-@cindex staff lines, setting thickness of
-@cindex thickness of staff lines, setting
-@cindex number of staff lines, setting
-
-@seealso
-
-Program reference: @internalsref{StaffSymbol}.
-
-Examples: @lsrdir{staff}
-
-
-@node Writing music in parallel
-@subsection Writing music in parallel
-
-@cindex Writing music in parallel
-@cindex Interleaved music
-
-Music for multiple parts can be interleaved
-
-@lilypond[quote,fragment,verbatim]
-\parallelMusic #'(voiceA voiceB) {
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
- c'2 c'2 |
- r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
- c'2 c'2 |
-}
-\new StaffGroup <<
- \new Staff \new Voice \voiceA
- \new Staff \new Voice \voiceB
->>
-@end lilypond
-
-This works quite well for piano music
-
-@lilypond[quote,verbatim]
-music = {
- \key c \major
- \time 4/4
- \parallelMusic #'(voiceA voiceB voiceC voiceD) {
- % Bar 1
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c''
-e''] |
- c'2 c'2 |
- r8 a16[ d'] f'[ a d' f'] r8 a16[ d'] f'[ a d' f'] |
- c2 c2 |
-
- % Bar 2
- a'8 b' c'' d'' e'' f'' g'' a'' |
- d'4 d' d' d' |
- c16 d e f d e f g e f g a f g a b |
- a,4 a,4 a,4 a,4 |
-
- % Bar 3 ...
- }
-}
-
-\score {
- \new PianoStaff <<
- \music
- \new Staff <<
- \voiceA \\
- \voiceB
- >>
- \new Staff {
- \clef bass
- <<
- \voiceC \\
- \voiceD
- >>
- }
- >>
-}
-@end lilypond
-
-
-@node Connecting notes
-@section Connecting notes
-
-This section deals with notation that affects groups of notes.
-
-@menu
-* Ties::
-* Slurs::
-* Phrasing slurs::
-* Laissez vibrer ties::
-* Automatic beams::
-* Manual beams::
-* Grace notes::
-@end menu
-
-
-@node Ties
-@subsection Ties
-
-@cindex tie
-@funindex ~
-
-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 @samp{~}
-
-@lilypond[quote,ragged-right,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. Chords
-may be partially tied by placing the tie inside the chord,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-<c~ e g~ b> <c e g b>
-@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
-
-@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, such as
-
-@lilypond[fragment,quote,ragged-right]
-\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.
-
-@funindex \repeatTie
-
-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. The same feature is also useful,
-for example, to tie a tremolo to a chord. For example,
-
-@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
-\set tieWaitForNote = ##t
-\grace { c16[~ e~ g]~ } <c, e g>2
-\repeat tremolo 8 { c32~ c'~ } <c c,>1
-e8~ c~ a~ f~ <e' c a f>2
-@end lilypond
-
-Ties may be engraved manually by changing the @code{tie-configuration}
-property. The first number indicates the distance from the center
-of the staff in staff-spaces, and the second number indicates the
-direction (1=up, -1=down).
-
-@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
-<c e g>2~ <c e g> |
-\override TieColumn #'tie-configuration =
- #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
-<c e g>~ <c e g> |
-@end lilypond
-
-
-@refcommands
-
-
-@funindex \tieUp
-@code{\tieUp},
-@funindex \tieDown
-@code{\tieDown},
-@funindex \tieNeutral
-@code{\tieNeutral},
-@funindex \tieDotted
-@code{\tieDotted},
-@funindex \tieDashed
-@code{\tieDashed},
-@funindex \tieSolid
-@code{\tieSolid}.
-
-
-@seealso
-
-In this manual: @ref{Automatic note splitting}.
-
-Program reference: @internalsref{Tie}.
-
-
-@refbugs
-
-Switching staves when a tie is active will not produce a slanted tie.
-
-Changing clefs or octavations during a tie is not really
-well-defined. In these cases, a slur may be preferable.
-
-
-@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
-
-@funindex \slurUp
-@code{\slurUp},
-@funindex \slurDown
-@code{\slurDown},
-@funindex \slurNeutral
-@code{\slurNeutral},
-@funindex \slurDashed
-@code{\slurDashed},
-@funindex \slurDotted
-@code{\slurDotted},
-@funindex \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
-
-@funindex \phrasingSlurUp
-@code{\phrasingSlurUp},
-@funindex \phrasingSlurDown
-@code{\phrasingSlurDown},
-@funindex \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:
-@lsr{connecting,laissez-vibrer-ties.ly}
-
-
-@node Automatic beams
-@subsection Automatic beams
-
-LilyPond inserts beams automatically
-
-@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
-
-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. See @ref{Setting automatic beam behavior},
-for details.
-
-Individual notes may be marked with @code{\noBeam} to prevent them
-from being beamed
-
-@lilypond[quote,ragged-right,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
-@funindex ]
-@funindex [
-
-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,ragged-right,fragment,relative=1,verbatim]
-{
- r4 r8[ g' a r8] r8 g[ | a] r8
-}
-@end lilypond
-
-
-@commonprop
-
-@funindex stemLeftBeamCount
-@funindex stemRightBeamCount
-
-
-LilyPond can automatically determine beaming patterns within a beam,
-but this automatic behavior can sometimes produce odd results;
-therefore the @code{stemLeftBeamCount} and @code{stemRightBeamCount} properties can
-be used to override the defaults. If
-either property is set, its value will be used only once, and then it
-is erased.
-
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-{
- f8[ r16
- f g a]
- f8[ r16
- \set stemLeftBeamCount = #1
- f g a]
-}
-@end lilypond
-
-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
-c16[ c c c c c c c]
-\set Score.beatLength = #(ly:make-moment 1 8)
-c16[ c c c c c c c]
-@end lilypond
-@funindex subdivideBeams
-
-@noindent
-For more information about @code{make-moment}, see
-@ref{Time administration}.
-
-Line breaks are normally forbidden when beams cross bar lines. This
-behavior can be changed by setting @code{breakable}.
-
-@funindex breakable
-
-@cindex beams and line breaks
-@cindex beams, kneed
-@cindex kneed beams
-@cindex auto-knee-gap
-
-Kneed beams are inserted automatically when a large gap is detected
-between the note heads. This behavior can be tuned through the
-@code{auto-knee-gap} object.
-
-
-@refbugs
-
-Automatically kneed cross-staff beams cannot be used together with
-hidden staves. See @ref{Hiding staves}.
-
-@c Is this still true with skyline spacing stuff? -J.Mandereau
-Beams do not avoid collisions with symbols around the notes, such as
-texts and accidentals.
-
-
-@node Grace notes
-@subsection Grace notes
-
-@funindex \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
-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
-
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-b4 \acciaccatura d8 c4 \appoggiatura e8 d4
-\acciaccatura { g16[ f] } e4
-@end lilypond
-
-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,ragged-right,relative=2,verbatim,fragment]
-c4 \grace c16 c4
-\grace { c16[ d16] } c2 c4
-@end lilypond
-
-@noindent
-Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
-@code{\grace} command does not start a slur.
-
-@cindex timing, internal
-
-Internally, timing for grace notes is done using a second, @q{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
-
-@lilypond[quote,ragged-right]
-<<
- \relative c''{
- c4 \grace c16 c4 \grace {
- c16[ d16] } c2 c4
- }
- \new Lyrics \lyricmode {
- \override LyricText #'font-family = #'typewriter
-
- \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
-
-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,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \grace { c16[ d e f] } e4 }
- \new Staff { c4 \grace { g8[ b] } c4 } >>
-@end lilypond
-
-@funindex \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.
-
-@lilypond[ragged-right, verbatim,relative=2,fragment]
-c1 \afterGrace d1 { c16[ d] } c4
-@end lilypond
-
-This will put the grace notes after a @q{space} lasting 3/4 of the
-length of the main note. The fraction 3/4 can be changed by setting
-@code{afterGraceFraction}, ie.
-
-@example
-#(define afterGraceFraction (cons 7 8))
-@end example
-
-@noindent
-will put the grace note at 7/8 of the main note.
-
-The same effect can be achieved manually by doing
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\new 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.
-
-A @code{\grace} music expression 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 expression,
-for example,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\new Voice {
- \acciaccatura {
- \stemDown
- f16->
- \stemNeutral
- }
- g4
-}
-@end lilypond
-
-@noindent
-The overrides should also be reverted inside the grace expression.
-
-The layout of grace expressions can be changed throughout the music
-using the function @code{add-grace-property}. The following example
-undefines the @code{Stem} direction for this grace, so that stems do not
-always point up.
-
-@example
-\new Staff @{
- #(add-grace-property 'Voice 'Stem 'direction '())
- @dots{}
-@}
-@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
-The slash through the stem in acciaccaturas can be obtained
-in other situations by @code{\override Stem #'stroke-style = #"grace"}.
-
-
-@commonprop
-
-Grace notes may be forced to use floating spacing,
-
-@lilypond[relative=2,ragged-right]
-<<
- \override Score.SpacingSpanner #'strict-grace-spacing = ##t
- \new Staff {
- c'4
- \afterGrace
- c'4
- { c'16[ c'8 c'16] }
- c'4
- }
- \new Staff {
- c'16[ c'16 c'16 c'16]
- c'16[ c'16 c'16 c'16]
- c'4
- }
->>
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{GraceMusic}.
-
-
-@refbugs
-
-A score that starts with a @code{\grace} expression needs an explicit
-@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,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 of the corresponding
-durations in the other staves. For the above example
-
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \bar "|:" \grace c16 d4 }
- \new Staff { c4 \bar "|:" \grace s16 d4 } >>
-@end lilypond
-
-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 Expressive marks
-@section Expressive marks
-
-Expressive marks help musicians to bring more to the music than simple
-notes and rhythms.
-
-@menu
-* Articulations::
-* Fingering instructions::
-* Dynamics::
-* Breath marks::
-* Trills::
-* Glissando::
-* Arpeggio::
-* Falls and doits::
-@end menu
-
-
-@node Articulations
-@subsection Articulations
-
-@cindex Articulations
-@cindex scripts
-@cindex ornaments
-
-A variety of symbols can appear above and below notes to indicate
-different characteristics of the performance. They are added to a note
-by adding a dash and the character signifying the
-articulation. They are demonstrated here
-
-@lilypondfile[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,ragged-right,fragment,verbatim]
-c''4^^ c''4_^
-@end lilypond
-
-Other symbols can be added using the syntax
-@var{note}@code{\}@var{name}. Again, they
-can be forced up or down using @code{^} and @code{_},
-e.g.,
-
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-c\fermata c^\fermata c_\fermata
-@end lilypond
-
-@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 stopped
-@cindex flageolet
-@cindex reverseturn
-@cindex trill
-@cindex prall
-@cindex mordent
-@cindex prallprall
-@cindex prallmordent
-@cindex prall, up
-@cindex prall, down
-@cindex thumb marking
-@cindex segno
-@cindex coda
-@cindex varcoda
-
-Here is a chart showing all scripts available,
-
-@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
-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,relative=3,ragged-right,fragment,quote]
-\once \override TextScript #'script-priority = #-100
-a4^\prall^\markup { \sharp }
-
-\once \override Script #'script-priority = #-100
-a4^\prall^\markup { \sharp }
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{Script}.
-
-
-@refbugs
-
-These signs appear in the printed output but have no effect on the
-MIDI rendering of the music.
-
-
-@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: @lsr{expressive,fingering-chords.ly}
-
-
-@node Dynamics
-@subsection Dynamics
-
-@cindex Dynamics
-@funindex \pppp
-@funindex \ppp
-@funindex \pp
-@funindex \p
-@funindex \mp
-@funindex \mf
-@funindex \f
-@funindex \ff
-@funindex \fff
-@funindex \ffff
-@funindex \fp
-@funindex \sf
-@funindex \sff
-@funindex \sp
-@funindex \spp
-@funindex \sfz
-@funindex \rfz
-
-Absolute dynamic marks are specified using a command after a note
-@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{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
-@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
-
-@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
-
-@funindex \<
-@funindex \>
-@funindex \!
-
-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. @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,ragged-right,fragment,verbatim,relative=2]
-c\< c\! d\> e\!
-<< f1 { s4 s4\< s4\! \> s4\! } >>
-@end lilypond
-
-@noindent
-A hairpin normally starts at the left edge of the beginning note
-and ends on the right edge of the ending note. If the ending
-note falls on the downbeat, the hairpin ends on the immediately
-preceding barline. This may be modified by setting the
-@code{hairpinToBarline} property,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\set hairpinToBarline = ##f
-c4\< c2. c4\!
-@end lilypond
-
-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
-
-@example
-\override Voice.Hairpin #'minimum-length = #5
-@end example
-
-@cindex al niente
-@cindex niente, al
-
-Hairpins may be printed with a circled tip (al niente notation) by
-setting the @code{circled-tip} property,
-
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
-\override Hairpin #'circled-tip = ##t
-c2\< c\!
-c4\> c\< c2\!
-@end lilypond
-
-
-@cindex crescendo
-@cindex decrescendo
-@cindex diminuendo
-
-You can also use text saying @emph{cresc.} instead of hairpins
-
-@lilypond[quote,ragged-right,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
-
-You can also supply your own texts
-@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
-
-To create new dynamic marks or text that should be aligned
-with dynamics, see @ref{New dynamic marks}.
-
-Vertical positioning of dynamics is handled by
-@internalsref{DynamicLineSpanner}.
-
-
-@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 @emph{cresc.} and @emph{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
-
-@funindex \dynamicUp
-@code{\dynamicUp},
-@funindex \dynamicDown
-@code{\dynamicDown},
-@funindex \dynamicNeutral
-@code{\dynamicNeutral}.
-
-
-@seealso
-
-Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
-Vertical positioning of these symbols is handled by
-@internalsref{DynamicLineSpanner}.
-
-
-@node Breath marks
-@subsection Breath marks
-
-Breath marks are entered using @code{\breathe}
-
-@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,ragged-right,fragment,verbatim,relative=1]
-c'4
-\override BreathingSign #'text
- = #(make-musicglyph-markup "scripts.rvarcomma")
-\breathe
-d4
-@end lilypond
-
-@seealso
-
-Program reference: @internalsref{BreathingSign}.
-
-Examples: @lsr{expressive,breathing-sign.ly}
-
-
-@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,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,quote]
-\pitchedTrill c4\startTrillSpan fis
-f\stopTrillSpan
-@end lilypond
-
-@noindent
-The first argument is the main note. The pitch of the second
-is printed as a stemless note head in parentheses.
-
-
-@refcommands
-
-@code{\startTrillSpan},
-@funindex \startTrillSpan
-@code{\stopTrillSpan}.
-@funindex \stopTrillSpan
-
-
-@seealso
-
-Program reference: @internalsref{TrillSpanner}.
-
-
-@node Glissando
-@subsection Glissando
-
-@cindex Glissando
-@funindex \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,ragged-right,fragment,relative=2,verbatim]
-c2\glissando c'
-\override Glissando #'style = #'zigzag
-c2\glissando c,
-@end lilypond
-
-
-@commonprop
-
-@lilypond[quote,ragged-right,verbatim]
-I = \once \override NoteColumn #'ignore-collision = ##t
-
-\relative <<
- { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
- { \oneVoice \I c2 \glissando \I d, }
->>
-@end lilypond
-
-
-
-@seealso
-
-Program reference: @internalsref{Glissando}.
-
-Example files:
-@lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
-
-
-@refbugs
-
-Printing text over the line (such as @emph{gliss.}) is not supported.
-
-
-@node Arpeggio
-@subsection Arpeggio
-
-@cindex Arpeggio
-@cindex broken chord
-@funindex \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,ragged-right,fragment,relative=1,verbatim]
-<c e g c>\arpeggio
-@end lilypond
-
-A square bracket on the left indicates that the player should not
-arpeggiate the chord
-
-@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,ragged-right,fragment,relative=1,verbatim]
-\new Voice {
- \arpeggioUp
- <c e g c>\arpeggio
- \arpeggioDown
- <c e g c>\arpeggio
-}
-@end lilypond
-
-
-@commonprop
-
-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
-
-@c TODO: cross-voice arpeggio example?
-@c such an example is already in LSR -J.Mandereau
-
-@refcommands
-
-@code{\arpeggio},
-@funindex \arpeggioUp
-@code{\arpeggioUp},
-@funindex \arpeggioDown
-@code{\arpeggioDown},
-@funindex \arpeggioNeutral
-@code{\arpeggioNeutral},
-@funindex \arpeggioBracket
-@code{\arpeggioBracket}.
-
-
-@seealso
-
-Notation manual: @ref{Ties}, for writing out arpeggios.
-
-Program reference: @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 Falls and doits
-@subsection Falls and doits
-
-Falls and doits can be added to notes using the @code{\bendAfter}
-command,
-
-@lilypond[fragment,ragged-right,relative=2]
-\override Score.SpacingSpanner #'shortest-duration-space = #3.0
-c4-\bendAfter #+5
-c4-\bendAfter #-3
-@end lilypond
-
-
-@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
-
-@cindex repeats
-
-The following types of repetition are supported
-
-@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.
-
-
-@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 @code{Voice} context.
-
-@end table
-
-
-@node Repeat syntax
-@subsection Repeat syntax
-
-@cindex volta
-@cindex prima volta
-@cindex seconda volta
-@funindex \repeat
-
-LilyPond has one syntactic construct for specifying different types of
-repeats. The syntax is
-
-@example
-\repeat @var{variant} @var{repeatcount} @var{repeatbody}
-@end example
-
-If you have alternative endings, you may add
-@funindex \alternative
-@example
-\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,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,ragged-right,fragment,verbatim,relative=2]
-c1
-\repeat volta 2 {c4 d e f}
-\alternative { {d2 d} {f f,} }
-@end lilypond
-
-Repeats with upbeats may be created.
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\new Staff {
- \partial 4 e |
- \repeat volta 4 { c2 d2 | e2 f2 | }
- \alternative { { g4 g g e } { a a a a | b2. } }
-}
-@end lilypond
-
-@noindent
-or
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\new Staff {
- \partial 4
- \repeat volta 4 { e | c2 d2 | e2 f2 | }
- \alternative { { \partial 4*3 g4 g g } { a a a a | b2. } }
-}
-@end lilypond
-
-
-
-@funindex \repeatTie
-
-Ties may be added to a second ending,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-c1
-\repeat volta 2 {c4 d e f ~ }
-\alternative { {f2 d} {f\repeatTie f,} }
-@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.
-
-@lilypond[verbatim,ragged-right,quote]
-\relative c''{
- \time 3/4
- c c c
- \set Score.voltaSpannerDuration = #(ly:make-moment 3 4)
- \repeat volta 5 { d d d }
- \alternative { { e e e f f f }
- { g g g } }
-}
-@end lilypond
-
-If you want to start a repeat at the beginning of a line and have a
-double bar at the end of the previous line, use
-@example
-@dots{} \bar "||:" \break
-\repeat volta 2 @{ @dots{}
-@end example
-see @ref{Bar lines} for more information.
-
-@seealso
-
-Examples:
-
-Brackets for the repeat are normally only printed over the topmost
-staff. This can be adjusted by moving @code{Volta_engraver} to the
-Staff context where you want the brackets to appear;
-see @ref{Modifying context plug-ins} and
-
-@lsr{repeats,volta@/-multi@/-staff@/.ly}.
-
-
-@refbugs
-
-@cindex repeat, ambiguous
-
-A nested repeat like
-
-@example
-\repeat @dots{}
-\repeat @dots{}
-\alternative
-@end example
-
-@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.
-
-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.
-
-
-@node Repeats and MIDI
-@subsection Repeats and MIDI
-
-@cindex expanding repeats
-@funindex \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 function changes all
-repeats to unfold repeats.
-
-@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'}
- \alternative {
- { g' a' a' g' }
- {f' e' d' c' }
- }
-}
-\bar "|."
-@end lilypond
-
-When creating a score file using @code{\unfoldRepeats} for MIDI,
-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
-
-
-@node Manual repeat commands
-@subsection Manual repeat commands
-
-@funindex repeatCommands
-
-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.
-
-@item @code{end-repeat}
-Print a @code{:|} bar line.
-
-@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,ragged-right,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}, and
-@internalsref{UnfoldedRepeatedMusic}.
-
-
-@node Tremolo repeats
-@subsection Tremolo repeats
-
-@cindex tremolo beams
-
-To place tremolo marks between notes, use @code{\repeat} with tremolo
-style
-@lilypond[quote,verbatim,ragged-right]
-\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,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: @internalsref{Beam}, @internalsref{StemTremolo}.
-
-
-@node Tremolo subdivisions
-@subsection Tremolo subdivisions
-
-@cindex tremolo marks
-@funindex tremoloFlags
-
-Tremolo marks can be printed on a single note by adding
-@q{@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,ragged-right,verbatim,fragment]
-c'2:8 c':32 | c': c': |
-@end lilypond
-
-
-@refbugs
-
-Tremolos entered in this way do not carry over into the MIDI output.
-
-
-@seealso
-
-In this manual: @ref{Tremolo repeats}.
-
-Elsewhere: @internalsref{StemTremolo}.
-
-
-@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,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,quote]
-\override MultiMeasureRest #'stencil
- = #ly:multi-measure-rest::percent
-R1
-@end lilypond
-
-
-
-
-@seealso
+Examples: @lsr{expressive,fingering-chords.ly}
-Program reference: @internalsref{RepeatSlash},
-@internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
-@internalsref{DoublePercentRepeatCounter},
-@internalsref{PercentRepeatCounter},
-@internalsref{PercentRepeatedMusic}.
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