@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
This chapter explains how to use basic notation features.
@menu
-* Note entry::
-* Alternate music entry::
-* Staff notation::
-* Connecting notes::
-* Expressive marks::
-* Polyphony::
-* Repeats::
+* Pitches::
+* Rhythms::
+* Multiple notes at once::
+* Staff notation::
+* Connecting notes::
+* Expressive marks::
+* Repeats::
@end menu
-@node Note entry
-@section Note entry
-@cindex Note entry
+@node Pitches
+@section Pitches
-This section is about basic notation elements like notes, rests, and
-related constructs, such as stems, tuplets and ties.
+This section discusses how to specify the pitch of notes.
@menu
-* Notes::
-* Pitches::
-* Cautionary accidentals::
-* Micro tones::
-* Chords::
-* Rests::
-* Skips::
-* Durations::
-* Augmentation dots::
-* Tuplets::
-* Scaling durations::
-* Stems::
+* Normal pitches::
+* Accidentals::
+* Cautionary accidentals::
+* Micro tones::
+* Notes names in other languages::
+* Relative octaves::
+* Octave check::
+* Transpose::
+* Rests::
+* Skips::
@end menu
-@node Notes
-@subsection Notes
-
-@cindex Note specification
-@cindex entering notes
-
-A note is printed by specifying its pitch and duration,
-
-@lilypond[quote,verbatim,ragged-right,fragment]
-cis'4 d'8 e'16 c'16
-@end lilypond
-
-@seealso
-
-This manual: @ref{Pitches}, @ref{Durations}
-
-
-@node Pitches
-@subsection Pitches
+@node Normal pitches
+@subsection Normal pitches
@cindex Pitch names
@cindex pitches
The note name @code{c} is engraved one octave below middle C.
-@c this should be scored with a treble clef and
-@c four leger lines below the staff.
@lilypond[quote,fragment,verbatim,ragged-right]
+\clef treble
+c1
+\clef bass
c1
@end lilypond
-@cindex @code{'}
-@cindex @code{,}
+@funindex '
+@funindex ,
The optional octave specification takes the form of a series of
-single quote (`@code{'}') characters or a series of comma
-(`@code{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave.
+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.
@lilypond[quote,ragged-right,fragment,verbatim]
\clef treble
An alternate method may be used to declare which octave to
engrave a pitch; this method does not require as many
-octave specifications (`@code{'}' and `@code{,}'). See
+octave specifications (@code{'} and @code{,}). See
@ref{Relative octaves}.
+
+@node Accidentals
+@subsection Accidentals
+
@cindex note names, Dutch
+@cindex note names, default
A sharp is formed by adding @code{-is} to the end of a pitch name and
-a flat is formed by adding @code{-es}
+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.
-@c avoid engraving naturals by crossing bar lines; we're not ready for them
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a2 ais a aes
+a2 aisis a aeses
@end lilypond
-Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses} to a note name. These
-are the Dutch note names. In Dutch, @code{aes} is contracted to
+@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
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-a2 aisis a aeses
+a2 as e es
@end lilypond
A natural will cancel the effect of an accidental or key signature.
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{More about pitches}.
-
-There are predefined sets of note names for various other languages.
-To use them, include the language specific init file. For
-example, add @code{\include "english.ly"} to the top of the input
-file. The available language files
-and the note names they define are
-
-@anchor{note name}
-@anchor{note names}
-@example
- Note Names sharp flat
-nederlands.ly c d e f g a bes b -is -es
-english.ly c d e f g a bf b -s/-sharp -f/-flat
- -x (double)
-deutsch.ly c d e f g a b h -is -es
-norsk.ly c d e f g a b h -iss/-is -ess/-es
-svenska.ly c d e f g a b h -iss -ess
-italiano.ly do re mi fa sol la sib si -d -b
-catalan.ly do re mi fa sol la sib si -d/-s -b
-espanol.ly do re mi fa sol la sib si -s -b
-@end example
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+\key d \major
+d e f g
+d e fis g
+@end lilypond
@commonprop
ceses4 ces cis c
@end lilypond
-@cindex Musica ficta
-
-Suggested accidentals (used in notating musica ficta) may
-be written with @code{suggestAccidentals}
-
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-\set suggestAccidentals = ##t
-ais4 bis
-@end lilypond
-
@seealso
-Program reference: @internalsref{LedgerLineSpanner},
+Program reference: @internalsref{LedgerLineSpanner},
@internalsref{NoteHead}.
@cindex accidental, cautionary
@cindex accidental, parenthesized
@cindex reminder accidental
-@cindex @code{?}
+@funindex ?
@cindex cautionary accidental
@cindex parenthesized accidental
-@cindex @code{!}
+@funindex !
Normally accidentals are printed automatically, but you may also
print them manually. A reminder accidental
can be forced by adding an exclamation mark @code{!}
after the pitch. A cautionary accidental
(i.e., an accidental within parentheses) can be obtained by adding the
-question mark `@code{?}' after the pitch. These extra accidentals
+question mark @samp{?} after the pitch. These extra accidentals
can be used to produce natural signs, too.
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
The automatic production of accidentals can be tuned in many
ways. For more information, see @ref{Automatic accidentals}.
+
@node Micro tones
@subsection Micro tones
standard.
-@node Chords
-@subsection Chords
+@node Notes names in other languages
+@subsection Notes names in other languages
-@cindex Chords
+There are predefined sets of note names for various other languages.
+To use them, include the language specific init file. For
+example, add @code{\include "english.ly"} to the top of the input
+file. The available language files
+and the note names they define are
-A chord is formed by a enclosing a set of pitches in @code{<} and
-@code{>}. A chord may be followed by a duration, and a set of
-articulations, just like simple notes
+@c what about micro-tunes, double-sharps, and double-flats? add
+@c more columns to the table?
+@c Oh, and should this be made into a multitable?
+@cindex note names, other languages
+@example
+ Note Names sharp flat
+nederlands.ly c d e f g a bes b -is -es
+english.ly c d e f g a bf b -s/-sharp -f/-flat
+ -x (double)
+deutsch.ly c d e f g a b h -is -es
+norsk.ly c d e f g a b h -iss/-is -ess/-es
+svenska.ly c d e f g a b h -iss -ess
+italiano.ly do re mi fa sol la sib si -d -b
+catalan.ly do re mi fa sol la sib si -d/-s -b
+espanol.ly do re mi fa sol la sib si -s -b
+@end example
-@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
-<c e g>4 <c>8
-@end lilypond
-For more information about chords, see @ref{Chord names}.
+@node Relative octaves
+@subsection Relative octaves
+@cindex Relative
+@cindex Relative octave specification
+@funindex \relative
-@node Rests
-@subsection Rests
-@cindex Rests
+Octaves are specified by adding @code{'} and @code{,} to pitch names.
+When you copy existing music, it is easy to accidentally put a pitch
+in the wrong octave and hard to find such an error. The relative
+octave mode prevents these errors by making the mistakes much
+larger: a single error puts the rest of the piece off by one octave
+@example
+\relative @var{startpitch} @var{musicexpr}
+@end example
-@cindex @code{\rest}
-@cindex @code{r}
+@noindent
+or
-Rests are entered like notes with the note name @code{r}
+@example
+\relative @var{musicexpr}
+@end example
-@lilypond[fragment,quote,ragged-right,verbatim]
-r1 r2 r4 r8
+@noindent
+@code{c'} is used as the default if no starting pitch is defined.
+
+The octave of notes that appear in @var{musicexpr} are calculated as
+follows: if no octave changing marks are used, the basic interval
+between this and the last note is always taken to be a fourth or
+less. This distance is determined without regarding alterations; a
+@code{fisis} following a @code{ceses} will be put above the
+@code{ceses}. In other words, a doubly-augmented fourth is considered
+a smaller interval than a diminished fifth, even though the
+doubly-augmented fourth spans seven semitones while the diminished
+fifth only spans six semitones.
+
+The octave changing marks @code{'} and @code{,} can be added to raise
+or lower the pitch by an extra octave. Upon entering relative mode,
+an absolute starting pitch can be specified that will act as the
+predecessor of the first note of @var{musicexpr}. If no starting pitch
+is specified, then middle C is used as a start.
+
+Here is the relative mode shown in action
+@lilypond[quote,fragment,ragged-right,verbatim]
+\relative c'' {
+ b c d c b c bes a
+}
@end lilypond
-Whole bar rests, centered in middle of the bar,
-must be done with multi-measure rests. They can be used for a
-single bar as well as many bars, and are discussed in
-@ref{Multi measure rests}.
+Octave changing marks are used for intervals greater than a fourth
-To explicitly specify a rest's vertical position, write a note
-followed by @code{\rest}. A rest will be placed in the position
-where the note would appear,
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c'' {
+ c g c f, c' a, e''
+}
+@end lilypond
-@lilypond[fragment,quote,ragged-right,verbatim]
-a'4\rest d'4\rest
+If the preceding item is a chord, the first note of the chord is used
+to determine the first note of the next chord
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+}
@end lilypond
-@noindent
-This makes manual formatting of
-polyphonic music much easier, since the automatic rest collision
-formatter will leave these rests alone.
+The pitch after @code{\relative} contains a note name.
-@seealso
+The relative conversion will not affect @code{\transpose},
+@code{\chordmode} or @code{\relative} sections in its argument. To use
+relative within transposed music, an additional @code{\relative} must
+be placed inside @code{\transpose}.
-Program reference: @internalsref{Rest}.
+@node Octave check
+@subsection Octave check
-@node Skips
-@subsection Skips
+@cindex Octave check
-@cindex Skip
-@cindex Invisible rest
-@cindex Space note
-@cindex @code{\skip}
-@cindex @code{s}
+Octave checks make octave errors easier to correct: a note may be
+followed by @code{=}@var{quotes} which indicates what its absolute
+octave should be. In the following example,
-An invisible rest (also called a `skip') can be entered like a note
-with note name `@code{s}' or with @code{\skip @var{duration}}
+@example
+\relative c'' @{ c='' b=' d,='' @}
+@end example
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-a4 a4 s4 a4 \skip 1 a4
-@end lilypond
+@noindent
+the @code{d} will generate a warning, because a @code{d''} is expected
+(because @code{b'} to @code{d''} is only a third), but a @code{d'} is
+found. In the output, the octave is corrected to be a @code{d''} and
+the next note is calculated relative to @code{d''} instead of @code{d'}.
-The @code{s} syntax is only available in note mode and chord mode. In
-other situations, for example, when entering lyrics, you should use
-the @code{\skip} command
+There is also an octave check that produces no visible output. The syntax
-@lilypond[quote,ragged-right,verbatim]
-<<
- \relative { a'2 a2 }
- \new Lyrics \lyricmode { \skip 2 bla2 }
->>
-@end lilypond
+@example
+\octave @var{pitch}
+@end example
-The skip command is merely an empty musical placeholder. It does not
-produce any output, not even transparent output.
+This checks that @var{pitch} (without quotes) yields @var{pitch} (with
+quotes) in @code{\relative} mode 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.
-The @code{s} skip command does create @internalsref{Staff} and
-@internalsref{Voice} when necessary, similar to note and rest
-commands. For example, the following results in an empty staff.
+In the example below, the first check passes without incident, since
+the @code{e} (in @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.
-@lilypond[quote,ragged-right,verbatim]
-{ s4 }
-@end lilypond
+@example
+\relative c' @{
+ e
+ \octave a'
+ \octave b'
+@}
+@end example
-The fragment @code{@{ \skip 4 @} } would produce an empty page.
-@seealso
+The octave of a note following an octave check is determined with
+respect to the note preceding it. In the next fragment, the last note
+is an @code{a'}, above middle C. That means that the @code{\octave}
+check passes successfully, so the check could be deleted without changing
+the output of the piece.
-Program reference: @internalsref{SkipMusic}.
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative c' {
+ e
+ \octave b
+ a
+}
+@end lilypond
-@node Durations
-@subsection Durations
+@node Transpose
+@subsection Transpose
-@cindex duration
-@cindex @code{\longa}
-@cindex @code{\breve}
-@cindex @code{\maxima}
+@cindex Transpose
+@cindex Transposition of pitches
+@funindex \transpose
-In Note, Chord, and Lyrics mode, durations are designated by numbers and
-dots: durations are entered as their reciprocal values. For example, a
-quarter note is entered using a @code{4} (since it is a 1/4 note), while
-a half note is entered using a @code{2} (since it is a 1/2 note). For
-notes longer than a whole you must use the variables @code{\longa} and
-@code{\breve}
+A music expression can be transposed with @code{\transpose}. The
+syntax is
+@example
+\transpose @var{from} @var{to} @var{musicexpr}
+@end example
+
+This means that @var{musicexpr} is transposed by the interval between
+the pitches @var{from} and @var{to}: any note with pitch @code{from}
+is changed to @code{to}.
+For example, consider a piece written in the key of D-major. If
+this piece is a little too low for its performer, it can be
+transposed up to E-major with
@example
-c'\breve
-c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
-r\longa r\breve
-r1 r2 r4 r8 r16 r32 r64 r64
+\transpose d e @dots{}
@end example
-@lilypond[quote]
+Consider a part written for violin (a C instrument). If
+this part is to be played on the A clarinet (for which an
+A is notated as a C, and which sounds a minor third lower
+than notated), the following
+transposition will produce the appropriate part
+
+@example
+\transpose a c @dots{}
+@end example
+
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose c cis} or @code{\transpose c des} will transpose up
+half a tone. The first version will print sharps and the second
+version will print flats
+
+@lilypond[quote,ragged-right,verbatim]
+mus = { \key d \major cis d fis g }
+\new Staff {
+ \clef "F" \mus
+ \clef "G"
+ \transpose c g' \mus
+ \transpose c f' \mus
+}
+@end lilypond
+
+@code{\transpose} may also be used to input written notes for a
+transposing instrument. Pitches are normally entered into LilyPond
+in C (or @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: @inputfileref{input/@/test,smart@/-transpose@/.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
+
+Rests are entered like notes with the note name @code{r}
+
+@lilypond[fragment,quote,ragged-right,verbatim]
+r1 r2 r4 r8
+@end lilypond
+
+Whole bar rests, centered in middle of the bar,
+must be done with multi-measure rests. They can be used for a
+single bar as well as many bars, and are discussed in
+@ref{Multi measure rests}.
+
+To explicitly specify a rest's vertical position, write a note
+followed by @code{\rest}. A rest will be placed in the position
+where the note would appear,
+
+@lilypond[fragment,quote,ragged-right,verbatim]
+a'4\rest d'4\rest
+@end lilypond
+
+@noindent
+This makes manual formatting of
+polyphonic music much easier, since the automatic rest collision
+formatter will leave these rests alone.
+
+@seealso
+
+Program reference: @internalsref{Rest}.
+
+
+@node Skips
+@subsection Skips
+
+@cindex Skip
+@cindex Invisible rest
+@cindex Space note
+@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
+
+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
}
\layout {
ragged-right = ##t
+ indent=0\mm
+ \context {
+ \Score
+ \remove "Bar_number_engraver"
+ }
\context {
\Staff
\remove "Clef_engraver"
@node Augmentation dots
@subsection Augmentation dots
-@cindex @code{.}
+@funindex .
-To obtain dotted note lengths, simply add a dot (`@code{.}') to
+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]
situations. The following commands may be used to force a particular
direction manually
-@cindex @code{\dotsUp}
+@funindex \dotsUp
@code{\dotsUp},
-@cindex @code{\dotsDown}
+@funindex \dotsDown
@code{\dotsDown},
-@cindex @code{\dotsNeutral}
+@funindex \dotsNeutral
@code{\dotsNeutral}.
@seealso
@cindex tuplets
@cindex triplets
-@cindex @code{\times}
+@funindex \times
Tuplets are made out of a music expression by multiplying all durations
with a fraction
Tuplets may be nested, for example,
@lilypond[fragment,ragged-right,verbatim,relative=2]
-\set tupletNumberFormatFunction = #fraction-tuplet-formatter
+\override TupletNumber #'text = #tuplet-number::calc-fraction-text
\times 4/6 {
a4 a
\times 3/5 { a a a a a }
@refcommands
-@cindex @code{\tupletUp}
+@funindex \tupletUp
@code{\tupletUp},
-@cindex @code{\tupletDown}
+@funindex \tupletDown
@code{\tupletDown},
-@cindex @code{\tupletNeutral}
+@funindex \tupletNeutral
@code{\tupletNeutral}.
@commonprop
-@cindex @code{tupletNumberFormatFunction}
+@funindex tupletNumberFormatFunction
@cindex tuplet formatting
The property @code{tupletSpannerDuration} specifies how long each
For more information about @code{make-moment}, see
@ref{Time administration}.
-The format of the number is determined by the property
-@code{tupletNumberFormatFunction}. The default prints only the
-denominator, but if it is set to the Scheme function
-@code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
-instead.
+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
\times 2/3 { c8 c c } \times 2/3 { c8 c c }
@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
@subsection Scaling durations
You can alter the length of duration by a fraction @var{N/M}
-appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
+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.
In the following example, the first three notes take up exactly two
This manual: @ref{Tuplets}
-@node Stems
-@subsection Stems
-
-Whenever a note is found, a @internalsref{Stem} object is created
-automatically. For whole notes and rests, they are also created but
-made invisible.
-
-@refcommands
-
-@cindex @code{\stemUp}
-@code{\stemUp},
-@cindex @code{\stemDown}
-@code{\stemDown},
-@cindex @code{\stemNeutral}
-@code{\stemNeutral}.
-
-
-@commonprop
-
-To change the direction of stems in the middle of the staff, use
+@node Bar check
+@subsection Bar check
-@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
+@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
-@node Alternate music entry
-@section Alternate music entry
-@cindex Music entry
+Bar checks can also be used in lyrics, for example
-This section deals with tricks and features of the input language that
-were added solely to help entering music and finding and correcting
-mistakes. There are also external tools that make debugging easier.
-See @ref{Point and click} for more information.
+@example
+\lyricmode @{
+ \time 2/4
+ Twin -- kle | Twin -- kle
+@}
+@end example
-It is also possible to enter and edit music using other programs, such as
-GUI interfaces or MIDI sequencers. Refer to the LilyPond
-website for more information.
+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.
-@menu
-* Relative octaves::
-* Octave check::
-* Transpose::
-* Bar check::
-* Barnumber check::
-* Skipping corrected music::
-* Automatic note splitting::
-* Writing music in parallel::
-@end menu
+@funindex |
+@funindex pipeSymbol
+It is also possible to redefine the meaning of @code{|}. This is done
+by assigning a music expression to @code{pipeSymbol},
-@node Relative octaves
-@subsection Relative octaves
+@lilypond[quote,ragged-right,verbatim]
+pipeSymbol = \bar "||"
-@cindex Relative
-@cindex Relative octave specification
-@cindex @code{\relative}
+{ c'2 c' | c'2 c' }
+@end lilypond
-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
+@node Barnumber check
+@subsection Barnumber check
-@noindent
-or
+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,
-@example
-\relative @var{musicexpr}
-@end example
+@verbatim
+\barNumberCheck #123
+@end verbatim
@noindent
-@code{c'} is used as the default if no starting pitch is defined.
+will print a warning if the @code{currentBarNumber} is not 123 when it
+is processed.
-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.
+@node Automatic note splitting
+@subsection Automatic note splitting
-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
+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.
-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''
+@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
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord
+This engraver splits all running notes at the bar line, and inserts
+ties. One of its uses is to debug complex scores: if the measures are
+not entirely filled, then the ties exactly show how much each measure
+is off.
-@lilypond[quote,ragged-right,fragment,verbatim]
-\relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
-}
-@end lilypond
+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_breaks_engraver}.
-The pitch after the @code{\relative} contains a note name.
-The relative conversion will not affect @code{\transpose},
-@code{\chordmode} or @code{\relative} sections in its argument. To use
-relative within transposed music, an additional @code{\relative} must
-be placed inside @code{\transpose}.
+@refbugs
+Not all durations (especially those containing tuplets) can be
+represented exactly with normal notes and dots, but the engraver will
+not insert tuplets.
-@node Octave check
-@subsection Octave check
+@code{Completion_heads_engraver} only affects notes; it does not split
+rests.
-@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,
+@seealso
-@example
-\relative c'' @{ c='' b=' d,='' @}
-@end example
+Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
@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
+Program reference: @internalsref{Completion_heads_engraver}.
-@example
-\octave @var{pitch}
-@end example
-This checks that @var{pitch} (without quotes) yields @var{pitch} (with
-quotes) in \relative mode. If not, a warning is printed, and the
-octave is corrected. The @var{pitch} is not printed as a note.
+@node Multiple notes at once
+@section Multiple notes at once
-In the example below, the first check passes without incident, since
-the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
-the second check produces a warning, since the @code{e} is not within
-a fifth of @code{b'}. The warning message is printed, and the octave
-is adjusted so that the following notes are in the correct octave
-once again.
+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.
-@example
-\relative c' @{
- e
- \octave a'
- \octave b'
-@}
-@end example
+@menu
+* Chords::
+* Stems::
+* Basic polyphony::
+* Explicitly instantiating voices::
+* Collision Resolution::
+@end menu
-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.
+@node Chords
+@subsection Chords
-@lilypond[quote,ragged-right,verbatim,fragment]
-\relative c' {
- e
- \octave b
- a
-}
+@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}.
-@node Transpose
-@subsection Transpose
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
+@node Stems
+@subsection Stems
-A music expression can be transposed with @code{\transpose}. The
-syntax is
-@example
-\transpose @var{from} @var{to} @var{musicexpr}
-@end example
+Whenever a note is found, a @internalsref{Stem} object is created
+automatically. For whole notes and rests, they are also created but
+made invisible.
-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}.
+@refcommands
-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
+@funindex \stemUp
+@code{\stemUp},
+@funindex \stemDown
+@code{\stemDown},
+@funindex \stemNeutral
+@code{\stemNeutral}.
-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
+@commonprop
-@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
+To change the direction of stems in the middle of the staff, use
-@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
-}
+@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
-@code{\transpose} may also be used to input written notes for a
-transposing instrument. Pitches are normally entered into LilyPond
-in C (or ``concert pitch''), but they may be entered in another
-key. For example, when entering music for a B-flat trumpet which
-begins on concert D, one would write
-@example
-\transpose c bes @{ e4 @dots{} @}
-@end example
+@node Basic polyphony
+@subsection Basic polyphony
-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}
+@cindex polyphony
-@example
-\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
-@end example
+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 \\
-@seealso
+@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
-Program reference: @internalsref{TransposedMusic}.
+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 the
+same voice. Here is the same example, with different noteheads for each
+voice. Note that the change to the note-head style in the main voice does
+not affect
+the inside of the @code{<< \\ >>} constructs. Also, the change to the
+second
+voice in the first @code{<< \\ >>} construct is effective in the second
+@code{<< \\ >>}, and the voice is tied across the two constructs.
-@refbugs
+@cindex note heads, styles
-If you want to use both @code{\transpose} and @code{\relative},
-you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect music that appears inside a
-@code{\transpose}.
+@lilypond[quote,verbatim,fragment]
+\new Staff \relative c' {
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ <<
+ { g4 f e } \\
+ { \override NoteHead #'style = #'triangle
+ r8 e4 d c8 ~ }
+ >> |
+ <<
+ { d2 e2 } \\
+ { c8 b16 a b8 g ~ g2 } \\
+ { \override NoteHead #'style = #'slash s4 b4 c2 }
+ >>
+}
+@end lilypond
+
+Polyphony does not change the relationship of notes within a
+@code{\relative @{ @}} block. Each note is calculated relative
+to the note immediately preceding it.
+
+@example
+\relative @{ noteA << noteB \\ noteC >> noteD @}
+@end example
+@code{noteC} is relative to @code{noteB}, not @code{noteA};
+@code{noteD} is relative to @code{noteC}, not @code{noteB} or
+@code{noteA}.
-@node Bar check
-@subsection Bar check
+@node Explicitly instantiating voices
+@subsection Explicitly instantiating voices
-@cindex Bar check
-@cindex @code{barCheckSynchronize}
-@cindex @code{|}
+@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.
-Bar checks help detect errors in the durations. A bar check is
-entered using the bar symbol, `@code{|}'. Whenever it is encountered
-during interpretation, it should fall on a measure boundary. If it
-does not, a warning is printed. In the next example, the second bar
-check will signal an error
+Specifically,
@example
-\time 3/4 c2 e4 | g2 |
+<< \upper \\ \lower >>
@end example
-Bar checks can also be used in lyrics, for example
+@noindent
+is equivalent to
@example
-\lyricmode @{
- \time 2/4
- Twin -- kle | Twin -- kle
-@}
+<<
+ \new Voice = "1" @{ \voiceOne \upper @}
+ \new Voice = "2" @{ \voiceTwo \lower @}
+>>
@end example
-Failed bar checks are caused by entering incorrect
-durations. Incorrect durations often completely garble up the score,
-especially if the score is polyphonic, so a good place to start correcting
-input is by scanning for failed bar checks and incorrect durations.
-
-@cindex @code{|}
-@cindex @code{pipeSymbol}
+The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
+articulations, text annotations, augmentation dots of dotted
+notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
+these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
+make them point downwards.
+The command @code{\oneVoice} will revert back to the normal setting.
-It is also possible to redefine the meaning of @code{|}. This is done
-by assigning a music expression to @code{pipeSymbol},
+An expression that appears directly inside a @code{<< >>} belongs to
+the main voice. This is useful when extra voices appear while the main
+voice is playing. Here is a more correct rendition of the example from
+the previous section. The crossed noteheads demonstrate that the main
+melody is now in a single voice context.
@lilypond[quote,ragged-right,verbatim]
-pipeSymbol = \bar "||"
-
-{ c'2 c' | c'2 c' }
+\new Staff \relative c' {
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2 }
+ \new Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. | s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+}
@end lilypond
+The correct definition of the voices allows the melody to be slurred.
+@lilypond[quote,ragged-right,verbatim]
+\new Staff \relative c' {
+ c16^( d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2) }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+}
+@end lilypond
-@node Barnumber check
-@subsection Barnumber check
-
-When copying large pieces of music, it can be helpful to check that
-the LilyPond bar number corresponds to the original that you are
-entering from. This can be checked with @code{\barNumberCheck}, for
-example,
-
-@verbatim
-\barNumberCheck #123
-@end verbatim
-
-@noindent
-will print a warning if the @code{currentBarNumber} is not 123 when it
-is processed.
-
+Avoiding the @code{\\} separator also allows nesting polyphony
+constructs, which in some case might be a more natural way to typeset
+the music.
-@node Skipping corrected music
-@subsection Skipping corrected 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
-@cindex @code{skipTypesetting}
-@cindex @code{showLastLength}
+@node Collision Resolution
+@subsection Collision Resolution
-When entering or copying music, usually only the music near the end (where
-you
-are adding notes) is interesting to view and correct. To speed up
-this correction process, it is possible to skip typesetting of all but
-the last few measures. This is achieved by putting
+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
-@verbatim
-showLastLength = R1*5
-\score { ... }
-@end verbatim
+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
-in your source file. This will render only the last 5 measures
-(assuming 4/4 time signature) of every @code{\score} in the input
-file. For longer pieces, rendering only a small part is often an order
-of magnitude quicker than rendering it completely
+@code{merge-differently-headed} and @code{merge-differently-dotted}
+only apply to opposing stem directions (ie. Voice 1 & 2).
-Skipping parts of a score can be controlled in a more fine-grained
-fashion with the property @code{Score.skipTypesetting}. When it is
-set, no typesetting is performed at all.
-
-This property is also used to control output to the MIDI file. Note that
-it skips all events, including tempo and instrument changes. You have
-been warned.
+LilyPond also vertically shifts rests that are opposite of a stem,
+for example
-@lilypond[quote,fragment,ragged-right,verbatim]
-\relative c'' {
- c8 d
- \set Score.skipTypesetting = ##t
- e e e e e e e e
- \set Score.skipTypesetting = ##f
- c d b bes a g c2 }
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new Voice << c''4 \\ r4 >>
@end lilypond
-In polyphonic music, @code{Score.skipTypesetting} will affect all
-voices and staves, saving even more time.
-
-@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.
+@refcommands
+@funindex \oneVoice
+@code{\oneVoice},
+@funindex \voiceOne
+@code{\voiceOne},
+@funindex \voiceTwo
+@code{\voiceTwo},
+@funindex \voiceThree
+@code{\voiceThree},
+@funindex \voiceFour
+@code{\voiceFour}.
-@refbugs
+@funindex \shiftOn
+@code{\shiftOn},
+@funindex \shiftOnn
+@code{\shiftOnn},
+@funindex \shiftOnnn
+@code{\shiftOnnn},
+@funindex \shiftOff
+@code{\shiftOff}: these commands specify in what chords of the current
+voice should be shifted. The outer voices (normally: voice one and
+two) have @code{\shiftOff}, while the inner voices (three and four)
+have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
+further shift levels.
-Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the engraver will
-not insert tuplets.
+When LilyPond cannot cope, the @code{force-hshift}
+property of the @internalsref{NoteColumn} object and pitched rests can
+be used to override typesetting decisions.
-@code{Completion_heads_engraver} only affects notes; it does not split
-rests.
+@lilypond[quote,verbatim,ragged-right]
+\relative <<
+{
+ <d g>
+ <d g>
+} \\ {
+ <b f'>
+ \once \override NoteColumn #'force-hshift = #1.7
+ <b f'>
+} >>
+@end lilypond
@seealso
-Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
+Program reference: the objects responsible for resolving collisions are
+@internalsref{NoteCollision} and @internalsref{RestCollision}.
-@noindent
+Examples:
+@inputfileref{input/@/regression,collision@/-dots@/.ly},
+@inputfileref{input/@/regression,collision@/-head-chords@/.ly},
+@inputfileref{input/@/regression,collision@/-heads@/.ly},
+@inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
+@inputfileref{input/@/regression,collisions@/.ly}.
-Program reference: @internalsref{Completion_heads_engraver}.
+@refbugs
-@node Writing music in parallel
-@subsection Writing music in parallel
-@cindex Writing music in parallel
-@cindex Interleaved music
+When using @code{merge-differently-headed} with an upstem eighth or a
+shorter note, and a downstem half note, the eighth note gets the wrong
+offset.
-Music for multiple parts can be interleaved
+There is no support for clusters where the same note occurs with
+different accidentals in the same chord. In this case, it is
+recommended to use enharmonic transcription, or to use special cluster
+notation (see @ref{Clusters}).
-@lilypond[quote,fragment,verbatim]
-\parallelMusic #'(voiceA voiceB) {
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
- c'2 c'2 |
- r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
- c'2 c'2 |
-}
-\new StaffGroup <<
- \new Staff \new Voice \voiceA
- \new Staff \new Voice \voiceB
->>
-@end lilypond
@node Staff notation
such as key signatures, clefs and time signatures.
@menu
-* Clef::
-* Key signature::
-* Time signature::
-* Partial measures::
-* Bar lines::
-* Unmetered music::
-* System start delimiters::
-* Staff symbol::
+* Clef::
+* Key signature::
+* Time signature::
+* Partial measures::
+* Bar lines::
+* Unmetered music::
+* System start delimiters::
+* Staff symbol::
+* Writing music in parallel::
@end menu
@node Clef
@subsection Clef
-@cindex @code{\clef}
+@funindex \clef
The clef indicates which lines of the staff correspond to which
pitches. The clef is set with the @code{\clef} command
@commonprop
-The command @code{\clef "treble_8"} is equivalent to setting
+The command @code{\clef "treble_8"} is equivalent to setting
@code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
@code{middleCPosition} and @code{clefOctavation}. A clef is printed
@seealso
+Manual: @ref{Grace notes}.
+
Program reference: @internalsref{Clef}.
@subsection Key signature
@cindex Key signature
-@cindex @code{\key}
+@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
@code{\key} @var{pitch} @var{type}
@end example
-@cindex @code{\minor}
-@cindex @code{\major}
-@cindex @code{\minor}
-@cindex @code{\ionian}
-@cindex @code{\locrian}
-@cindex @code{\aeolian}
-@cindex @code{\mixolydian}
-@cindex @code{\lydian}
-@cindex @code{\phrygian}
-@cindex @code{\dorian}
+@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 ``church modes''): @code{\ionian},
+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}.
Accidentals and key signatures often confuse new users, because
unaltered notes get natural signs depending on the key signature. For
-more information, see @ref{More about pitches}.
+more information, see @ref{Accidentals} or @ref{More about pitches}.
+
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+\key g \major
+f1
+fis
+@end lilypond
@commonprop
@cindex Time signature
@cindex meter
-@cindex @code{\time}
+@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
@cindex partial measure
@cindex measure, partial
@cindex shorten measures
-@cindex @code{\partial}
+@funindex \partial
Partial measures, such as an anacrusis or upbeat, are entered using the
\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
@end example
The property @code{measurePosition} contains a rational number
-indicating how much of the measure has passed at this point.
+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
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
-@cindex @code{\bar}
+@funindex \bar
@cindex measure lines
@cindex repeat bars
@lilypondfile[ragged-right,quote]{bar-lines.ly}
+In addition, you can specify @code{"||:"}, which is equivalent to
+@code{"|:"} except at line breaks, where it gives a double bar line at
+the end of the line and a start repeat at the beginning of the next
+line.
+
To allow a line break where there is no visible bar line, use
@example
@noindent
This will insert an invisible bar line and allow line breaks at this
-point.
+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 StaffGroup
+connected between different staves of a @code{StaffGroup},
+@code{PianoStaff}, or @code{ChoirStaff}.
@lilypond[quote,ragged-right,fragment,verbatim]
<<
@commonprop
-@cindex @code{whichBar}
-@cindex @code{repeatCommands}
-@cindex @code{defaultBarType}
+@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}
A bar line is created whenever the @code{whichBar} property is set.
At the start of a measure it is set to the contents of
-@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
+@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
used
to override default measure bars.
Program reference: @internalsref{BarLine} (created at
@internalsref{Staff} level), @internalsref{SpanBar} (across staves).
-Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
-
@node Unmetered music
@subsection Unmetered music
@cindex cadenza
-@cindex @code{\cadenzaOn}
-@cindex @code{\cadenzaOff}
+@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
@refbugs
-LilyPond will only insert page breaks at a barline. Unless the unmetered
-music ends before the end of the staff line, you will need to insert
+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
@end example
@noindent
-to indicate where line breaks can occur.
+to indicate where breaks can occur.
@node System start delimiters
@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}.
+@internalsref{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
@cindex adjusting staff symbol
Notes, dynamic signs, etc., are grouped
-with a set of horizontal lines, called a staff (plural `staves'). In
+with a set of horizontal lines, called a staff (plural @q{staves}). In
LilyPond, these lines are drawn using a separate layout object called
-staff symbol.
+@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
@end lilypond
In combination with Frenched staves, this may be used to typeset ossia
-sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
-shown here
+sections. An example is shown here
@cindex ossia
@inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
+@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::
+* Ties::
+* Slurs::
+* Phrasing slurs::
+* Laissez vibrer ties::
+* Automatic beams::
+* Manual beams::
+* Grace notes::
@end menu
@subsection Ties
@cindex tie
-@cindex @code{~}
+@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 `@code{~}'
+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.
+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
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},
@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]
+@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
-@cindex @code{\tieUp}
+@funindex \tieUp
@code{\tieUp},
-@cindex @code{\tieDown}
+@funindex \tieDown
@code{\tieDown},
-@cindex @code{\tieNeutral}
+@funindex \tieNeutral
@code{\tieNeutral},
-@cindex @code{\tieDotted}
+@funindex \tieDotted
@code{\tieDotted},
-@cindex @code{\tieDashed}
+@funindex \tieDashed
@code{\tieDashed},
-@cindex @code{\tieSolid}
+@funindex \tieSolid
@code{\tieSolid}.
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
@refcommands
-@cindex @code{\slurUp}
+@funindex \slurUp
@code{\slurUp},
-@cindex @code{\slurDown}
+@funindex \slurDown
@code{\slurDown},
-@cindex @code{\slurNeutral}
+@funindex \slurNeutral
@code{\slurNeutral},
-@cindex @code{\slurDashed}
+@funindex \slurDashed
@code{\slurDashed},
-@cindex @code{\slurDotted}
+@funindex \slurDotted
@code{\slurDotted},
-@cindex @code{\slurSolid}
+@funindex \slurSolid
@code{\slurSolid}.
@seealso
@refcommands
-@cindex @code{\phrasingSlurUp}
+@funindex \phrasingSlurUp
@code{\phrasingSlurUp},
-@cindex @code{\phrasingSlurDown}
+@funindex \phrasingSlurDown
@code{\phrasingSlurDown},
-@cindex @code{\phrasingSlurNeutral}
+@funindex \phrasingSlurNeutral
@code{\phrasingSlurNeutral}.
@subsection Manual beams
@cindex beams, manual
-@cindex @code{]}
-@cindex @code{[}
+@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
@commonprop
-@cindex @code{stemLeftBeamCount}
-@cindex @code{stemRightBeamCount}
+@funindex stemLeftBeamCount
+@funindex stemRightBeamCount
Normally, beaming patterns within a beam are determined automatically.
If necessary, the properties @code{stemLeftBeamCount} and
\set Score.beatLength = #(ly:make-moment 1 8)
c16[ c c c c c c c]
@end lilypond
-@cindex @code{subdivideBeams}
+@funindex subdivideBeams
@noindent
For more information about @code{make-moment}, see
Line breaks are normally forbidden when beams cross bar lines. This
behavior can be changed by setting @code{allowBeamBreak}.
-@cindex @code{allowBeamBreak}
+@funindex allowBeamBreak
@cindex beams and line breaks
@cindex beams, kneed
@cindex kneed beams
@node Grace notes
@subsection Grace notes
-@cindex @code{\grace}
+@funindex \grace
@cindex ornaments
@cindex grace notes
@cindex appoggiatura
Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
@code{\grace} command does not start a slur.
-Internally, timing for grace notes is done using a second, `grace'
+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
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
-@cindex @code{\afterGrace}
+@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
c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
-This will put the grace notes after a ``space'' lasting 3/4 of the
+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.
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
+
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Voice {
\acciaccatura {
The layout of grace sections can be changed throughout the music using
the function @code{add-grace-property}. The following example
-undefines the Stem direction for this grace, so stems do not always
-point up.
+undefines the @code{Stem} direction for this grace, so
+that stems do not always point up.
@example
\new Staff @{
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}.
notes and rhythms.
@menu
-* Articulations::
-* Fingering instructions::
-* Dynamics::
-* Breath marks::
-* Trills::
-* Glissando::
-* Arpeggio::
+* Articulations::
+* Fingering instructions::
+* Dynamics::
+* Breath marks::
+* Trills::
+* Glissando::
+* Arpeggio::
+* Falls and doits::
@end menu
@subsection Dynamics
@cindex Dynamics
-@cindex @code{\pppp}
-@cindex @code{\ppp}
-@cindex @code{\pp}
-@cindex @code{\p}
-@cindex @code{\mp}
-@cindex @code{\mf}
-@cindex @code{\f}
-@cindex @code{\ff}
-@cindex @code{\fff}
-@cindex @code{\ffff}
-@cindex @code{\fp}
-@cindex @code{\sf}
-@cindex @code{\sff}
-@cindex @code{\sp}
-@cindex @code{\spp}
-@cindex @code{\sfz}
-@cindex @code{\rfz}
+@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},
c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
@end lilypond
-@cindex @code{\<}
-@cindex @code{\>}
-@cindex @code{\!}
+@funindex \<
+@funindex \>
+@funindex \!
A crescendo mark is started with @code{\<} and terminated with
@code{\!} or an absolute dynamic. A decrescendo is started with
@end lilypond
@noindent
-A hairpin starts at the left edge of the beginning note and ends on the
-right edge of the ending note.
+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,
example
@example
-\override Staff.Hairpin #'minimum-length = #5
+\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 a text saying @emph{cresc.} instead of hairpins
+You can also use text saying @emph{cresc.} instead of hairpins
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\setTextCresc
\override Score.Hairpin #'after-line-breaking = ##t
@end example
-Text style dynamic changes (such as cresc. and dim.) are printed with a
+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
@refcommands
-@cindex @code{\dynamicUp}
+@funindex \dynamicUp
@code{\dynamicUp},
-@cindex @code{\dynamicDown}
+@funindex \dynamicDown
@code{\dynamicDown},
-@cindex @code{\dynamicNeutral}
+@funindex \dynamicNeutral
@code{\dynamicNeutral}.
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]
+@lilypond[ragged-right,verbatim,fragment,relative=1,quote]
\pitchedTrill c4\startTrillSpan fis
-f\stopTrillSpan
-@end lilypond
-
-The first argument is the main note. The pitch of the second
-is printed as a stemless note head in parentheses.
-
-
-@refcommands
-
-@code{\startTrillSpan},
-@cindex @code{\startTrillSpan}
-@code{\stopTrillSpan}.
-@cindex @code{\stopTrillSpan}
-
-
-@seealso
-
-Program reference: @internalsref{TrillSpanner}.
-
-
-@node Glissando
-@subsection Glissando
-
-@cindex Glissando
-@cindex @code{\glissando}
-
-A glissando is a smooth change in pitch. It is denoted by a line or a
-wavy line between two notes. It is requested by attaching
-@code{\glissando} to a note
-
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
-c2\glissando c'
-\override Glissando #'style = #'zigzag
-c2\glissando c,
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{Glissando}.
-
-Example files: @file{input/@/regression/@/glissando@/.ly}.
-
-
-@refbugs
-
-Printing text over the line (such as @emph{gliss.}) is not supported.
-
-
-@node Arpeggio
-@subsection Arpeggio
-
-@cindex Arpeggio
-@cindex broken chord
-@cindex @code{\arpeggio}
-
-You can specify an arpeggio sign (also known as broken chord) on a
-chord by attaching an @code{\arpeggio} to a chord
-
-@lilypond[quote,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
-
-
-@refcommands
-
-@code{\arpeggio},
-@cindex @code{\arpeggioUp}
-@code{\arpeggioUp},
-@cindex @code{\arpeggioDown}
-@code{\arpeggioDown},
-@cindex @code{\arpeggioNeutral}
-@code{\arpeggioNeutral},
-@cindex @code{\arpeggioBracket}
-@code{\arpeggioBracket}.
-
-
-@seealso
-
-Notation manual: @ref{Ties}, for writing out arpeggios.
-
-Program reference: @internalsref{Arpeggio}.
-
-
-@refbugs
-
-It is not possible to mix connected arpeggios and unconnected
-arpeggios in one @internalsref{PianoStaff} at the same point in time.
-
-
-
-@node Polyphony
-@section Polyphony
-
-Polyphony in music refers to having more than one voice occurring in
-a piece of music. Polyphony in LilyPond refers to having more than
-one voice on the same staff.
-
-@menu
-* Basic polyphony::
-* Explicitly instantiating voices::
-* Collision Resolution::
-@end menu
-
-
-@node Basic polyphony
-@subsection Basic polyphony
-
-@cindex polyphony
-
-The easiest way to enter fragments with more than one voice on a staff
-is to enter each voice as a sequence (with @code{@{...@}}), and combine
-them simultaneously, separating the voices with @code{\\}
-
-@cindex @code{\\}
-
-@lilypond[quote,verbatim,fragment]
-\new Staff \relative c' {
- c16 d e f
- <<
- { g4 f e | d2 e2 } \\
- { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
- { s2. | s4 b4 c2 }
- >>
-}
-@end lilypond
-
-The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
-voices are sometimes called ``layers'' in other notation packages}
-@cindex layers
-to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
-each of these contexts, vertical direction of slurs, stems, etc., is set
-appropriately.
-
-These voices are all separate from the voice that contains the notes just
-outside the @code{<< \\ >>} construct. This should be noted when making
-changes at the voice level. This also means that slurs and ties cannot go
-into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
-from separate @code{<< \\ >>} constructs on the same staff are the the
-same voice. Here is the same example, with different noteheads for each
-voice. Note that the change to the note-head style in the main voice does
-not affect
-the inside of the @code{<< \\ >>} constructs. Also, the change to the
-second
-voice in the first @code{<< \\ >>} construct is effective in the second
-@code{<< \\ >>}, and the voice is tied across the two constructs.
-
-@lilypond[quote,verbatim,fragment]
-\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- c16 d e f
- <<
- { g4 f e } \\
- { \override NoteHead #'style = #'triangle
- r8 e4 d c8 ~ }
- >> |
- <<
- { d2 e2 } \\
- { c8 b16 a b8 g ~ g2 } \\
- { \override NoteHead #'style = #'slash s4 b4 c2 }
- >>
-}
+f\stopTrillSpan
@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.
+The first argument is the main note. The pitch of the second
+is printed as a stemless note head in parentheses.
-@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}.
+@refcommands
-@node Explicitly instantiating voices
-@subsection Explicitly instantiating voices
+@code{\startTrillSpan},
+@funindex \startTrillSpan
+@code{\stopTrillSpan}.
+@funindex \stopTrillSpan
-@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
+@seealso
-@noindent
-is equivalent to
+Program reference: @internalsref{TrillSpanner}.
-@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.
+@node Glissando
+@subsection Glissando
-An expression that appears directly inside a @code{<< >>} belongs to
-the main voice. This is useful when extra voices appear while the main
-voice is playing. Here is a more correct rendition of the example from
-the previous section. The crossed noteheads demonstrate that the main
-melody is now in a single voice context.
+@cindex Glissando
+@funindex \glissando
-@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- c16 d e f
- \voiceOne
- <<
- { g4 f e | d2 e2 }
- \new Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. | s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
+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
-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
-}
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+c2\glissando c'
+\override Glissando #'style = #'zigzag
+c2\glissando c,
@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
+@seealso
+Program reference: @internalsref{Glissando}.
-@node Collision Resolution
-@subsection Collision Resolution
+Example files: @file{input/@/regression/@/glissando@/.ly}.
-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 } >>
+@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
-LilyPond also vertically shifts rests that are opposite of a stem,
-for example
+A square bracket on the left indicates that the player should not
+arpeggiate the chord
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new Voice << c''4 \\ r4 >>
+@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
-@refcommands
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new Voice {
+ \arpeggioUp
+ <c e g c>\arpeggio
+ \arpeggioDown
+ <c e g c>\arpeggio
+}
+@end lilypond
-@cindex @code{\oneVoice}
-@code{\oneVoice},
-@cindex @code{\voiceOne}
-@code{\voiceOne},
-@cindex @code{\voiceTwo}
-@code{\voiceTwo},
-@cindex @code{\voiceThree}
-@code{\voiceThree},
-@cindex @code{\voiceFour}
-@code{\voiceFour}.
-@cindex @code{\shiftOn}
-@code{\shiftOn},
-@cindex @code{\shiftOnn}
-@code{\shiftOnn},
-@cindex @code{\shiftOnnn}
-@code{\shiftOnnn},
-@cindex @code{\shiftOff}
-@code{\shiftOff}: these commands specify in what chords of the current
-voice should be shifted. The outer voices (normally: voice one and
-two) have @code{\shiftOff}, while the inner voices (three and four)
-have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
-further shift levels.
+@commonprop
-When LilyPond cannot cope, the @code{force-hshift}
-property of the @internalsref{NoteColumn} object and pitched rests can
-be used to override typesetting decisions.
+When an arpeggio crosses staves, you may attach an arpeggio to the chords
+in both staves and set
+@internalsref{PianoStaff}.@code{connectArpeggios}
-@lilypond[quote,verbatim,ragged-right]
-\relative <<
-{
- <d g>
- <d g>
-} \\ {
- <b f'>
- \once \override NoteColumn #'force-hshift = #1.7
- <b f'>
-} >>
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new PianoStaff <<
+ \set PianoStaff.connectArpeggios = ##t
+ \new Staff { <c' e g c>\arpeggio }
+ \new Staff { \clef bass <c,, e g>\arpeggio }
+>>
@end lilypond
+@refcommands
+
+@code{\arpeggio},
+@funindex \arpeggioUp
+@code{\arpeggioUp},
+@funindex \arpeggioDown
+@code{\arpeggioDown},
+@funindex \arpeggioNeutral
+@code{\arpeggioNeutral},
+@funindex \arpeggioBracket
+@code{\arpeggioBracket}.
+
+
@seealso
-Program reference: the objects responsible for resolving collisions are
-@internalsref{NoteCollision} and @internalsref{RestCollision}.
+Notation manual: @ref{Ties}, for writing out arpeggios.
-Examples:
-@inputfileref{input/@/regression,collision@/-dots@/.ly},
-@inputfileref{input/@/regression,collision@/-head-chords@/.ly},
-@inputfileref{input/@/regression,collision@/-heads@/.ly},
-@inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
-@inputfileref{input/@/regression,collisions@/.ly}.
+Program reference: @internalsref{Arpeggio}.
@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.
+It is not possible to mix connected arpeggios and unconnected
+arpeggios in one @internalsref{PianoStaff} at the same point in time.
-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 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
for repetitions.
@menu
-* Repeat types::
-* Repeat syntax::
-* Repeats and MIDI::
-* Manual repeat commands::
-* Tremolo repeats::
-* Tremolo subdivisions::
-* Measure repeats::
+* Repeat types::
+* Repeat syntax::
+* Repeats and MIDI::
+* Manual repeat commands::
+* Tremolo repeats::
+* Tremolo subdivisions::
+* Measure repeats::
@end menu
@subsection Repeat types
@cindex repeats
-@cindex @code{\repeat}
+@funindex \repeat
The following types of repetition are supported
for repeats with alternatives. These are not played in MIDI output by
default.
-@ignore
-@item fold
-Alternative endings are written stacked. This has limited use but may be
-used to typeset two lines of lyrics in songs with repeats, see
-@inputfileref{input,star-spangled-banner@/.ly}.
-@end ignore
@item tremolo
Make tremolo beams. These are not played in MIDI output by default.
@item percent
Make beat or measure repeats. These look like percent signs. These
are not played in MIDI output by default. Percent repeats must be
-declared within a Voice context.
+declared within a @code{Voice} context.
@end table
@node Repeat syntax
@subsection Repeat syntax
+@cindex volta
+@cindex prima volta
+@cindex seconda volta
+
LilyPond has one syntactic construct for specifying different types of
repeats. The syntax is
@end example
If you have alternative endings, you may add
-@cindex @code{\alternative}
+@funindex \alternative
@example
\alternative @{
@var{alternative1}
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 }
@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
-In this example, the first ending is not a complete bar (it
-only had 3 beats). The beginning of the second ending
-contains the 4th beat from the first ending. This ``extra''
+In the following example, the first ending is not a complete
+bar (it only had 3 beats). The beginning of the second ending
+contains the 4th beat from the first ending. This @q{extra}
beat in the second ending is due to the first time ending,
and has nothing to do with the @code{\partial} at the
beginning of the example.
}
@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.
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
+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.
+Volta brackets are not vertically aligned.
+
@node Repeats and MIDI
@subsection Repeats and MIDI
@cindex expanding repeats
-@cindex @code{\unfoldRepeats}
+@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 functions changes all
+@code{\unfoldRepeats} music function. This function changes all
repeats to unfold repeats.
@lilypond[quote,verbatim,fragment,line-width=8.0\cm]
\bar "|."
@end lilypond
-When creating a score file using @code{\unfoldRepeats} for midi, then
-it is necessary to make two @code{\score} blocks. One for MIDI (with
+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,
@node Manual repeat commands
@subsection Manual repeat commands
-@cindex @code{repeatCommands}
+@funindex repeatCommands
The property @code{repeatCommands} can be used to control the layout of
repeats. Its value is a Scheme list of repeat commands.
@seealso
-Program reference: @internalsref{VoltaBracket},
+Program reference: @internalsref{VoltaBracket},
@internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
@internalsref{UnfoldedRepeatedMusic}, and
@subsection Tremolo subdivisions
@cindex tremolo marks
-@cindex @code{tremoloFlags}
+@funindex tremoloFlags
Tremolo marks can be printed on a single note by adding
-`@code{:}[@var{number}]' after the note. The number indicates the
+@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
-Isolated percents can also be printed. This is done by putting a multi
-measure rest with a different print function,
+Isolated percents can also be printed. This is done by putting a
+multi-measure rest with a different print function,
-@lilypond[fragment,verbatim]
+@lilypond[fragment,verbatim,quote]
\override MultiMeasureRest #'stencil
= #ly:multi-measure-rest::percent
R1
@internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
@internalsref{DoublePercentRepeatCounter},
@internalsref{PercentRepeatCounter},
-@internalsref{PercentRepeatedMusic}, and
+@internalsref{PercentRepeatedMusic}.
projects / lilypond.git / blobdiff