@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
@c to automatically fill in these menus before saving changes
-
@node Basic notation
@chapter Basic notation
-This chapter explains how to use all basic notation features.
+This chapter explains how to use basic notation features.
@menu
-* Note entry::
-* Alternate music entry::
+* Pitches::
+* Rhythms::
+* Multiple notes at once::
* Staff notation::
* Connecting notes::
* Expressive marks::
-* Polyphony::
* 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::
+* Normal pitches::
+* Accidentals::
* Cautionary accidentals::
* Micro tones::
-* Chords::
+* Notes names in other languages::
+* Relative octaves::
+* Octave check::
+* Transpose::
* Rests::
* Skips::
-* Durations::
-* Augmentation dots::
-* Tuplets::
-* Scaling durations::
-* Stems::
@end menu
-@node Notes
-@subsection Notes
+@node Normal pitches
+@subsection Normal pitches
-@cindex Note specification
-@cindex entering notes
+@cindex Pitch names
+@cindex pitches
-A note is printed by specifying its pitch and then its duration,
+A pitch name is specified using lowercase letters @code{a} through @code{g}.
+An ascending C-major scale is engraved with
-@lilypond[quote,verbatim,raggedright,fragment]
-cis'4 d'8 e'16 c'16
+@lilypond[quote,fragment,verbatim,ragged-right]
+\clef bass
+c d e f g a b c'
@end lilypond
-@seealso
-
-This manual: @ref{Pitches}, @ref{Durations}
-
+The note name @code{c} is engraved one octave below middle C.
-@node Pitches
-@subsection Pitches
+@lilypond[quote,fragment,verbatim,ragged-right]
+\clef treble
+c1
+\clef bass
+c1
+@end lilypond
-@cindex Pitch names
-@cindex pitches
+@funindex '
+@funindex ,
-The most common syntax for pitch entry is used for standard notes and
-@code{\chordmode} modes. In these modes, pitches may be designated by
-names. The notes are specified by the letters @code{a} through
-@code{g}. The octave is formed with notes ranging from @code{c}
-to @code{b}. The pitch @code{c} is an octave below middle C and the
-letters span the octave above that C
+The 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.
-@lilypond[quote,fragment,verbatim,raggedright]
+@lilypond[quote,ragged-right,fragment,verbatim]
+\clef treble
+c' c'' e' g d'' d' d c
\clef bass
-a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
+c, c,, e, g d,, d, d c
@end lilypond
-@cindex @code{'}
-@cindex @code{,}
+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}.
-The optional octave specification takes the form of a series of
-single quote (`@code{'}') characters or a series of comma
-(`@code{,}') characters. Each @code{'} raises the pitch by one
-octave; each @code{,} lowers the pitch by an octave
-@lilypond[quote,raggedright,fragment,verbatim]
-c' c'' e' g d'' d'
-@end lilypond
+@node Accidentals
+@subsection Accidentals
@cindex note names, Dutch
+@cindex note names, default
A sharp is formed by adding @code{-is} to the end of a pitch name and
a flat is formed by adding @code{-es}. Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses}. These
-names are the Dutch note names. In Dutch, @code{aes} is contracted to
+are obtained by adding @code{-isis} or @code{-eses} to a note name.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+a2 ais a aes
+a2 aisis a aeses
+@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
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
-ceses4
-ces
-c
-cis
-cisis
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+a2 as e es
@end lilypond
-There are predefined sets of note names for various other languages.
-To use them, include the language specific init file. For
-example: @code{\include "english.ly"}. The available language files
-and the note names they define are
+A natural will cancel the effect of an accidental or key signature.
+However, naturals are not encoded into the note name syntax with a
+suffix; a natural pitch is shown as a simple note name
-@anchor{note name}
-@anchor{note names}
-@example
- Note Names sharp flat
-nederlands.ly c d e f g a bes b -is -es
-english.ly c d e f g a bf b -s/-sharp -f/-flat
- -x (double)
-deutsch.ly c d e f g a b h -is -es
-norsk.ly c d e f g a b h -iss/-is -ess/-es
-svenska.ly c d e f g a b h -iss -ess
-italiano.ly do re mi fa sol la sib si -d -b
-catalan.ly do re mi fa sol la sib si -d/-s -b
-espanol.ly do re mi fa sol la sib si -s -b
-@end example
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+a4 aes a2
+@end lilypond
+
+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}.
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+\key d \major
+d e f g
+d e fis g
+@end lilypond
@commonprop
-In accordance with standard typsetting rules, a natural sign is printed
+In accordance with standard typesetting rules, a natural sign is printed
before a sharp or flat if a previous accidental needs to be
-cancelled. To change this behaviour, use
+cancelled. To change this behavior, use
@code{\set Staff.extraNatural = ##f}
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
ceses4 ces cis c
\set Staff.extraNatural = ##f
ceses4 ces cis c
@seealso
-Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}.
+Program reference: @internalsref{LedgerLineSpanner},
+@internalsref{NoteHead}.
@node Cautionary accidentals
-@subsection Cautionary accidentals
+@subsection Cautionary accidentals
+@cindex accidental, reminder
+@cindex accidental, cautionary
+@cindex accidental, parenthesized
@cindex reminder accidental
-@cindex @code{?}
+@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,raggedright,fragment,verbatim]
-cis' cis' cis'! cis'? c c? c! c
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+cis cis cis! cis? c c? c! c
@end lilypond
@seealso
The automatic production of accidentals can be tuned in many
-ways. For more information, refer to @ref{Automatic accidentals}.
-
+ways. For more information, see @ref{Automatic accidentals}.
@node Micro tones
Half-flats and half-sharps are formed by adding @code{-eh} and
@code{-ih}; the following is a series of Cs with increasing pitches
-@lilypond[verbatim,raggedright,quote,relative=2,fragment]
+@lilypond[verbatim,ragged-right,quote,relative=2,fragment]
\set Staff.extraNatural = ##f
ceseh ceh cih cisih
@end lilypond
@refbugs
-There are no generally accepted standards for denoting three quarter
-flats, so LilyPond's symbol does not conform to any standard.
-
+There are no generally accepted standards for denoting
+three-quarter flats, so LilyPond's symbol does not conform to any
+standard.
-@node Chords
-@subsection Chords
-@cindex Chords
+@node Notes names in other languages
+@subsection Notes names in other languages
-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
+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
-@lilypond[verbatim,raggedright,fragment,quote,relative=1]
-<c e g>4 <c>8
-@end lilypond
+@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
-For more information about chords, see @ref{Chord names}.
+@node Relative octaves
+@subsection Relative octaves
-@node Rests
-@subsection Rests
-@cindex Rests
+@cindex Relative
+@cindex Relative octave specification
+@funindex \relative
+Octaves are specified by adding @code{'} and @code{,} to pitch names.
+When you copy existing music, it is easy to accidentally put a pitch
+in the wrong octave and hard to find such an error. The relative
+octave mode prevents these errors by making the mistakes much
+larger: a single error puts the rest of the piece off by one octave
-@cindex @code{\rest}
-@cindex @code{r}
+@example
+\relative @var{startpitch} @var{musicexpr}
+@end example
-Rests are entered like notes with the note name @code{r}
+@noindent
+or
-@lilypond[fragment,quote,raggedright,verbatim]
-r1 r2 r4 r8
-@end lilypond
+@example
+\relative @var{musicexpr}
+@end example
-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}.
+@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.
-A rest's vertical position may be explicitly specified by entering a
-note with the @code{\rest} keyword appended, the rest will be placed at
-the note's place. This makes manual formatting in polyphonic music
-easier. Automatic rest collision formatting will leave these rests
-alone
+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.
-@lilypond[fragment,quote,raggedright,verbatim]
-a'4\rest d'4\rest
+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
-@seealso
-
-Program reference: @internalsref{Rest}.
-
-
-@node Skips
-@subsection Skips
+Octave changing marks are used for intervals greater than a fourth
-@cindex Skip
-@cindex Invisible rest
-@cindex Space note
-@cindex @code{\skip}
-@cindex @code{s}
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c'' {
+ c g c f, c' a, e''
+}
+@end lilypond
-An invisible rest (also called a `skip') can be entered like a note
-with note name `@code{s}' or with @code{\skip @var{duration}}
+If the preceding item is a chord, the first note of the chord is used
+to determine the first note of the next chord
-@lilypond[fragment,quote,raggedright,verbatim,relative=2]
-a4 a4 s4 a4 \skip 1 a4
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+}
@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
+The pitch after @code{\relative} contains a note name.
-@lilypond[quote,raggedright,verbatim]
-<<
- \relative { a'2 a2 }
- \new Lyrics \lyricmode { \skip 2 bla2 }
->>
-@end lilypond
+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}.
-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.
+@node Octave check
+@subsection Octave check
-@lilypond[quote,raggedright,verbatim]
-{ s4 }
-@end lilypond
+@cindex Octave check
-The fragment @code{@{ \skip 4 @} } would produce an empty page.
+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
-Program reference: @internalsref{SkipMusic}.
+@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
-@node Durations
-@subsection Durations
+@example
+\octave @var{pitch}
+@end example
-@cindex duration
-@cindex @code{\longa}
-@cindex @code{\breve}
-@cindex @code{\maxima}
+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 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}
+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
-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
+\relative c' @{
+ e
+ \octave a'
+ \octave b'
+@}
@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 {
- raggedright = ##t
- \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.
+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,raggedright,verbatim,fragment]
-{ a a a2 a a4 a a1 a }
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative c' {
+ e
+ \octave b
+ a
+}
@end lilypond
-@node Augmentation dots
-@subsection Augmentation dots
+@node Transpose
+@subsection Transpose
-@cindex @code{.}
+@cindex Transpose
+@cindex Transposition of pitches
+@funindex \transpose
-To obtain dotted note lenghts, simply add a dot (`@code{.}') to
-the number. Double-dotted notes are produced in a similar way.
+A music expression can be transposed with @code{\transpose}. The
+syntax is
+@example
+\transpose @var{from} @var{to} @var{musicexpr}
+@end example
-@lilypond[quote,raggedright,fragment,verbatim]
+This means that @var{musicexpr} is transposed by the interval between
+the pitches @var{from} and @var{to}: any note with pitch @code{from}
+is changed to @code{to}.
+
+For example, consider a piece written in the key of D-major. If
+this piece is a little too low for its performer, it can be
+transposed up to E-major with
+@example
+\transpose d e @dots{}
+@end example
+
+Consider a part written for violin (a C instrument). If
+this part is to be played on the A clarinet (for which an
+A is notated as a C, and which sounds a minor third lower
+than notated), the following
+transposition will produce the appropriate part
+
+@example
+\transpose a c @dots{}
+@end example
+
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose c cis} or @code{\transpose c des} will transpose up
+half a tone. The first version will print sharps and the second
+version will print flats
+
+@lilypond[quote,ragged-right,verbatim]
+mus = { \key d \major cis d fis g }
+\new Staff {
+ \clef "F" \mus
+ \clef "G"
+ \transpose c g' \mus
+ \transpose c f' \mus
+}
+@end lilypond
+
+@code{\transpose} may also be used to input written notes for a
+transposing instrument. Pitches are normally entered into LilyPond
+in C (or @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
+ 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
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
notes have the length of 2, so the notes are 2/3 of their written
length
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
Tuplets may be nested, for example,
-@lilypond[fragment,raggedright,verbatim,relative=2]
-\set tupletNumberFormatFunction = #fraction-tuplet-formatter
+@lilypond[fragment,ragged-right,verbatim,relative=2]
+\override TupletNumber #'text = #tuplet-number::calc-fraction-text
\times 4/6 {
- a4 a
+ a4 a
\times 3/5 { a a a a a }
}
@end lilypond
@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
example, there are two triplets shown, while @code{\times} was only
used once
-@lilypond[quote,fragment,relative=2,raggedright,verbatim]
+@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
-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.
+@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,raggedright,verbatim]
+@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
+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
beats, but no triplet bracket is printed.
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\time 2/4
a4*2/3 gis4*2/3 a4*2/3
a4 a4 a4*2
This manual: @ref{Tuplets}
-@node Stems
-@subsection Stems
+@node Bar check
+@subsection Bar check
-Whenever a note is found, a @internalsref{Stem} object is created
-automatically. For whole notes and rests, they are also created but
-made invisible.
+@cindex Bar check
+@funindex barCheckSynchronize
+@funindex |
-@refcommands
+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
-@cindex @code{\stemUp}
-@code{\stemUp},
-@cindex @code{\stemDown}
-@code{\stemDown},
-@cindex @code{\stemNeutral}
-@code{\stemNeutral}.
+Bar checks can also be used in lyrics, for example
+@example
+\lyricmode @{
+ \time 2/4
+ Twin -- kle | Twin -- kle
+@}
+@end example
-@node Alternate music entry
-@section Alternate music entry
-@cindex Music entry
+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.
-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.
+@funindex |
+@funindex pipeSymbol
-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.
+It is also possible to redefine the meaning of @code{|}. This is done
+by assigning a music expression to @code{pipeSymbol},
-@menu
-* Relative octaves::
-* Octave check::
-* Transpose::
-* Bar check::
-* Barnumber check::
-* Skipping corrected music::
-* Automatic note splitting::
-@end menu
+@lilypond[quote,ragged-right,verbatim]
+pipeSymbol = \bar "||"
+{ c'2 c' | c'2 c' }
+@end lilypond
-@node Relative octaves
-@subsection Relative octaves
-@cindex Relative
-@cindex Relative octave specification
-@cindex @code{\relative}
+@node Barnumber check
+@subsection Barnumber check
-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
+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{startpitch} @var{musicexpr}
-@end example
+@verbatim
+\barNumberCheck #123
+@end verbatim
@noindent
-or
-
-@example
-\relative @var{musicexpr}
-@end example
+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,raggedright,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,raggedright,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,raggedright,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 a syntax that is separate from the notes. 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.
-
-In the example below, the first check passes without incident, since
-the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
-the second check produces a warning, since the @code{e} is not within
-a fifth of @code{b'}. The warning message is printed, and the octave
-is adjusted so that the following notes are in the correct octave
-once again.
-
-@example
-\relative c' @{
- e
- \octave a'
- \octave b'
-@}
-@end example
+@node Multiple notes at once
+@section Multiple notes at once
+Polyphony in music refers to having more than one voice occurring in
+a piece of music. Polyphony in LilyPond refers to having more than
+one voice on the same staff.
-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.
+@menu
+* Chords::
+* Stems::
+* Basic polyphony::
+* Explicitly instantiating voices::
+* Collision Resolution::
+@end menu
-@lilypond[quote,raggedright,verbatim,fragment]
-\relative c' {
- e
- \octave b
- a
-}
-@end lilypond
+@node Chords
+@subsection Chords
-@node Transpose
-@subsection Transpose
+@cindex Chords
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
+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
-A music expression can be transposed with @code{\transpose}. The
-syntax is
-@example
-\transpose @var{from} @var{to} @var{musicexpr}
-@end example
+@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+<c e g>4 <c>8
+@end lilypond
-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 more information about chords, see @ref{Chord names}.
-For example, consider a piece written in the key of D-major. If
-this piece is a little too low for its performer, it can be
-transposed up to E-major with
-@example
-\transpose d e @dots{}
-@end example
-Consider a part written for violin (a C instrument). If
-this part is to be played on the A clarinet, the following
-transposition will produce the appropriate part
+@node Stems
+@subsection Stems
-@example
-\transpose a c @dots{}
-@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.
-@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
+@refcommands
-@lilypond[quote,raggedright,verbatim]
-mus = { \key d \major cis d fis g }
-\context Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
-}
-@end lilypond
+@funindex \stemUp
+@code{\stemUp},
+@funindex \stemDown
+@code{\stemDown},
+@funindex \stemNeutral
+@code{\stemNeutral}.
-@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
+@commonprop
-To print this music in B-flat again (ie producing a trumpet part,
-instead of a concert pitch conductor's score) you would wrap the
-existing music with another @code{transpose}
+To change the direction of stems in the middle of the staff, use
-@example
-\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
-@end example
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+a4 b c b
+\override Stem #'neutral-direction = #up
+a4 b c b
+\override Stem #'neutral-direction = #down
+a4 b c b
+@end lilypond
-@seealso
+@node Basic polyphony
+@subsection Basic polyphony
-Program reference: @internalsref{TransposedMusic}.
+@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{\\}
-@refbugs
+@funindex \\
-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' {
+ 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.
-@node Bar check
-@subsection Bar check
+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.
-@cindex Bar check
-@cindex @code{barCheckSynchronize}
-@cindex @code{|}
+@cindex note heads, styles
-Bar checks help detect errors in the durations. A bar check is
-entered using the bar symbol, `@code{|}'. Whenever it is encountered
-during interpretation, it should fall on a measure boundary. If it
-does not, a warning is printed. In the next example, the second bar
-check will signal an error
-@example
-\time 3/4 c2 e4 | g2 |
-@end example
+@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
-Bar checks can also be used in lyrics, for example
+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
-\lyricmode @{
- \time 2/4
- Twin -- kle | Twin -- kle
-@}
+\relative @{ noteA << noteB \\ noteC >> noteD @}
@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.
+@code{noteC} is relative to @code{noteB}, not @code{noteA};
+@code{noteD} is relative to @code{noteC}, not @code{noteB} or
+@code{noteA}.
-@cindex @code{|}
-@cindex @code{pipeSymbol}
+@node Explicitly instantiating voices
+@subsection Explicitly instantiating voices
-It is also possible to redefine the meaning of @code{|}. This is done
-by assigning a music expression to @code{pipeSymbol},
+@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.
-@lilypond[quote,raggedright,verbatim]
-pipeSymbol = \bar "||"
+Specifically,
+@example
+<< \upper \\ \lower >>
+@end example
-{ c'2 c' | c'2 c' }
-@end lilypond
+@noindent
+is equivalent to
+@example
+<<
+ \new Voice = "1" @{ \voiceOne \upper @}
+ \new Voice = "2" @{ \voiceTwo \lower @}
+>>
+@end example
-@node Barnumber check
-@subsection Barnumber check
+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.
-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,
+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.
-@verbatim
-\barNumberCheck #123
-@end verbatim
+@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
-@noindent
-will print a warning if the @code{currentBarNumber} is not 123 when it
-is processed.
+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.
-@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, 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
-fashing with the property @code{Score.skipTypesetting}. When it is
-set, no typesetting is performed at all.
+LilyPond also vertically shifts rests that are opposite of a stem,
+for example
-@lilypond[quote,fragment,raggedright,verbatim]
-\relative c'' {
- c8 d
- \set Score.skipTypesetting = ##t
- e e e e e e e e
- \set Score.skipTypesetting = ##f
- c d b bes a g c2 }
+@lilypond[quote,ragged-right,fragment,verbatim]
+\new Voice << c''4 \\ r4 >>
@end lilypond
-In polyphonic music, @code{Score.skipTypesetting} will affect all
-voices and staves, saving even more time.
+@refcommands
-@node Automatic note splitting
-@subsection Automatic note splitting
-
-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.
+@funindex \oneVoice
+@code{\oneVoice},
+@funindex \voiceOne
+@code{\voiceOne},
+@funindex \voiceTwo
+@code{\voiceTwo},
+@funindex \voiceThree
+@code{\voiceThree},
+@funindex \voiceFour
+@code{\voiceFour}.
-@lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
-\new Voice \with {
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
-} {
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
-}
-@end lilypond
+@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.
-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.
+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
-@refbugs
-Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the engraver will
-not insert tuplets.
+@seealso
-@code{Completion_heads_engraver} only affects notes; it does not split
-rests.
+Program reference: the objects responsible for resolving collisions are
+@internalsref{NoteCollision} and @internalsref{RestCollision}.
+Examples:
+@inputfileref{input/@/regression,collision@/-dots@/.ly},
+@inputfileref{input/@/regression,collision@/-head-chords@/.ly},
+@inputfileref{input/@/regression,collision@/-heads@/.ly},
+@inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
+@inputfileref{input/@/regression,collisions@/.ly}.
-@seealso
-Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
+@refbugs
-@noindent
+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.
-Program reference: @internalsref{Completion_heads_engraver}.
+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}).
* 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
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
{ c''2 \clef alto g'2 }
@end lilypond
@cindex varbaritone clef
@cindex subbass clef
-Supported clefs finclude
-@table @code
-@item treble, violin, G, G2
- G clef on 2nd line
-@item alto, C
- C clef on 3rd line
-@item tenor
- C clef on 4th line.
-@item bass, F
- F clef on 4th line
-@item french
- G clef on 1st line, so-called French violin clef
-@item soprano
- C clef on 1st line
-@item mezzosoprano
- C clef on 2nd line
-@item baritone
- C clef on 5th line
-@item varbaritone
- F clef on 3rd line
-@item subbass
- F clef on 5th line
-@item percussion
- percussion clef
-@item tab
- tablature clef
-@end table
+Supported clefs include
+
+@multitable @columnfractions .33 .66
+@headitem Clef @tab Position
+@item @code{treble}, violin, G, G2 @tab
+G clef on 2nd line
+@item @code{alto, C} @tab
+C clef on 3rd line
+@item @code{tenor} @tab
+C clef on 4th line.
+@item @code{bass, F} @tab
+F clef on 4th line
+@item @code{french} @tab
+G clef on 1st line, so-called French violin clef
+@item @code{soprano} @tab
+C clef on 1st line
+@item @code{mezzosoprano} @tab
+C clef on 2nd line
+@item @code{baritone} @tab
+C clef on 5th line
+@item @code{varbaritone} @tab
+F clef on 3rd line
+@item @code{subbass} @tab
+F clef on 5th line
+@item @code{percussion} @tab
+percussion clef
+@item @code{tab} @tab
+tablature clef
+@end multitable
By adding @code{_8} or @code{^8} to the clef name, the clef is
transposed one octave down or up, respectively, and @code{_15} and
example,
@cindex choral tenor clef
-@lilypond[quote,raggedright,verbatim,fragment,relative=1]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
\clef "G_8" c4
@end lilypond
@commonprop
-The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph},
+The command @code{\clef "treble_8"} is equivalent to setting
+@code{clefGlyph},
@code{clefPosition} (which controls the Y position of the clef),
@code{middleCPosition} and @code{clefOctavation}. A clef is printed
when any of these properties are changed. The following example shows
possibilities when setting properties manually.
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
{
\set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
@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
can be suppressed by setting the @code{Staff.printKeyCancellation}
property.
-@lilypond[quote,fragment,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
\key d \major
a b cis d
\key g \minor
@seealso
-Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}.
+Program reference: @internalsref{KeyCancellation},
+@internalsref{KeySignature}.
@node Time signature
@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
The time signature is set with the @code{\time} command
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
\time 2/4 c'2 \time 3/4 c'2.
@end lilypond
property. Setting it to @code{#'()} uses fraction style for 4/4 and
2/2 time,
-@lilypond[fragment,quote,raggedright,verbatim]
+@lilypond[fragment,quote,ragged-right,verbatim]
\time 4/4 c'1
\time 2/2 c'1
\override Staff.TimeSignature #'style = #'()
measure is subdivided in 2, 2, 2 and 3. This is passed to
@code{set-time-signature} as the third argument @code{(2 2 2 3)}
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\score {
\relative c'' {
#(set-time-signature 9 8 '(2 2 2 3))
}
@end lilypond
+
@seealso
-Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_translator}.
+Program reference: @internalsref{TimeSignature}, and
+@internalsref{Timing_translator}.
+
+Examples: @inputfileref{input/@/test,compound@/-time@/.ly}.
@refbugs
@cindex partial measure
@cindex measure, partial
@cindex shorten measures
-@cindex @code{\partial}
+@funindex \partial
Partial measures, such as an anacrusis or upbeat, are entered using the
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\partial 16*5 c16 cis d dis e | a2. c,4 | b2
@end lilypond
\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
the music. When a piece starts with graces notes in the pickup, then
the @code{\partial} should follow the grace notes
-@lilypond[verbatim,quote,raggedright,relative,fragment]
+@lilypond[verbatim,quote,ragged-right,relative,fragment]
\grace f16
\partial 4
g4
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
Special types of bar lines can be forced with the @code{\bar} command
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
c4 \bar "|:" c4
@end lilypond
The following bar types are available
-@lilypondfile[raggedright,quote]{bar-lines.ly}
+@lilypondfile[ragged-right,quote]{bar-lines.ly}
+
+In addition, you can specify @code{"||:"}, which is equivalent to
+@code{"|:"} except at line breaks, where it gives a double bar line at
+the end of the line and a start repeat at the beginning of the next
+line.
To allow a line break where there is no visible bar line, use
@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,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
<<
- \context StaffGroup <<
+ \new StaffGroup <<
\new Staff {
e'4 d'
\bar "||"
@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 used
+@code{Timing.defaultBarType}. The contents of @code{repeatCommands} are
+used
to override default measure bars.
You are encouraged to use @code{\repeat} for repetitions. See
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
automatic bar lines and bar numbers, use the commands @code{\cadenzaOn}
and @code{\cadenzaOff}.
-@lilypond[verbatim,quote,raggedright,relative=2,fragment]
+@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
c4 d e d
\cadenzaOn
c4 c d8 d d f4 g4.
@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
@item The group is started with a brace at the left, and bar lines are
connected. This is done with the @internalsref{GrandStaff} context.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\new GrandStaff
\relative <<
\new Staff { c1 c }
This is done with the
@internalsref{StaffGroup} context
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\new StaffGroup
\relative <<
\new Staff { c1 c }
@item The group is started with a bracket, but bar lines are not
connected. This is done with the @internalsref{ChoirStaff} context.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\new ChoirStaff
\relative <<
\new Staff { c1 c }
@item The group is started with a vertical line. Bar lines are not
connected. This is the default for the score.
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\relative <<
\new Staff { c1 c }
\new Staff { c c }
@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
b b
\revert Staff.StaffSymbol #'line-count
\stopStaff \startStaff
-b b
+b b
@end lilypond
In combination with Frenched staves, this may be used to typeset ossia
-sections. An example is in @inputfileref{input/@/test@/,ossia.ly},
-shown here
+sections. An example is shown here
@cindex ossia
Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
@inputfileref{input/@/test@/,ossia.ly},
-@inputfileref{input/@/test,staff@/-size@/.ly}.
+@inputfileref{input/@/test,staff@/-size@/.ly},
+@inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}.
+
+
+@node 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
* Ties::
* Slurs::
* Phrasing slurs::
+* Laissez vibrer ties::
* Automatic beams::
* Manual beams::
* Grace notes::
@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,raggedright,fragment,verbatim]
+@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
exactly the same concept
-@lilypond[quote,fragment,raggedright]
+@lilypond[quote,fragment,ragged-right]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
@noindent
Ties are used either when the note crosses a bar line, or when dots
cannot be used to denote the rhythm. When using ties, larger note
-values should be aligned to subdivisions of the measure, eg.
+values should be aligned to subdivisions of the measure, such as
-@lilypond[fragment,quote,raggedright]
+@lilypond[fragment,quote,ragged-right]
\relative {
r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
}
mechanism automatically splits long notes, and ties them across bar
lines.
+@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
@code{tieWaitForNote} property to true. The same feature is also useful,
for example, to tie a tremolo to a chord. For example,
-@lilypond[fragment,verbatim,relative=1,raggedright]
+@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
\set tieWaitForNote = ##t
-\grace { c16[~ e~ g]~ } <c, e g>2
+\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
A slur indicates that notes are to be played bound or
@emph{legato}. They are entered using parentheses
-@lilypond[quote,raggedright,relative=2,fragment,verbatim]
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
f( g a) a8 b( a4 g2 f4)
<c e>2( <b d>2)
@end lilypond
directions. By adding @code{_} or @code{^} before the opening
parentheses, the direction is also set. For example,
-@lilypond[relative=2,raggedright,quote,verbatim,fragment]
+@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
c4_( c) c^( c)
@end lilypond
Some composers write two slurs when they want legato chords. This can
be achieved in LilyPond by setting @code{doubleSlurs},
-@lilypond[verbatim,raggedright,relative,fragment,quote]
+@lilypond[verbatim,ragged-right,relative,fragment,quote]
\set doubleSlurs = ##t
<c e>4 ( <d f> <c e> <d f> )
@end lilypond
@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
indicate a musical sentence. It is written using @code{\(} and @code{\)}
respectively
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
\time 6/4 c'\( d( e) f( e) d\)
@end lilypond
@refcommands
-@cindex @code{\phrasingSlurUp}
+@funindex \phrasingSlurUp
@code{\phrasingSlurUp},
-@cindex @code{\phrasingSlurDown}
+@funindex \phrasingSlurDown
@code{\phrasingSlurDown},
-@cindex @code{\phrasingSlurNeutral}
+@funindex \phrasingSlurNeutral
@code{\phrasingSlurNeutral}.
Program reference: @internalsref{PhrasingSlur}.
+@node Laissez vibrer ties
+@subsection Laissez vibrer ties
+@cindex Laissez vibrer
+@cindex Ties, laissez vibrer
+
+L.v. ties (laissez vibrer) indicate that notes must not be damped at the
+end. It is used in notation for piano, harp and other string and
+percussion instruments. They can be entered using @code{\laissezVibrer},
+
+@lilypond[fragment,ragged-right,verbatim,relative=1]
+<c f g>\laissezVibrer
+@end lilypond
+
+@seealso
+
+Program reference:
+@internalsref{LaissezVibrerTie}
+@internalsref{LaissezVibrerTieColumn}
+
+Example files:
+@inputfileref{input/regression,laissez-vibrer-tie.ly}
+
+
@node Automatic beams
@subsection Automatic beams
LilyPond inserts beams automatically
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
@end lilypond
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\time 2/4 c8 c\noBeam c c
@end lilypond
@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
or bar lines. Such beams are specified manually by marking the begin
and end point with @code{[} and @code{]}
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
{
r4 r8[ g' a r8] r8 g[ | a] r8
}
@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
either property is set, its value will be used only once, and then it
is erased
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
{
f8[ r16
f g a]
\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
+@ref{Time administration}.
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
are entered with the commands @code{\acciaccatura} and
@code{\appoggiatura}, as demonstrated in the following example
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4 \appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@end lilypond
keyword to a music expression, a new one is formed, which will be
printed in a smaller font and takes up no logical time in a measure.
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
c4 \grace c16 c4
\grace { c16[ d16] } c2 c4
@end lilypond
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
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
<<
\relative c''{
c4 \grace c16 c4 \grace {
In the following example, there are two sixteenth grace notes for
every eighth grace note
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
<< \new Staff { e4 \grace { c16[ d e f] } e4 }
\new Staff { c4 \grace { g8[ b] } c4 } >>
@end lilypond
-@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
-following the main note.
+following the main note.
-@lilypond[raggedright, verbatim,relative=2,fragment]
-c1 \afterGrace d1 { c16[ d] } c4
+@lilypond[ragged-right, verbatim,relative=2,fragment]
+c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
-This will put the grace notes after a ``space'' lasting 3/4 of the
+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
-afterGraceFraction = #(cons 7 8)
+afterGraceFraction = #(cons 7 8)
@end example
@noindent
-will put the grace note at 7/8 of the main note.
+will put the grace note at 7/8 of the main note.
The same effect can be achieved manually by doing
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\context Voice {
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\new Voice {
<< { d1^\trill_( }
{ s2 \grace { c16[ d] } } >>
c4)
for example, to produce smaller type, and set directions. Hence, when
introducing layout tweaks, they should be inside the grace section,
for example,
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\new Voice {
\acciaccatura {
\stemDown
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}.
@refbugs
A score that starts with a @code{\grace} section needs an explicit
-@code{\context Voice} declaration, otherwise the main note and the grace
+@code{\new Voice} declaration, otherwise the main note and the grace
note end up on different staves.
Grace note synchronization can also lead to surprises. Staff notation,
such as key signatures, bar lines, etc., are also synchronized. Take
care when you mix staves with grace notes and staves without, for example,
-@lilypond[quote,raggedright,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
<< \new Staff { e4 \bar "|:" \grace c16 d4 }
\new Staff { c4 \bar "|:" d4 } >>
@end lilypond
* Fingering instructions::
* Dynamics::
* Breath marks::
-* Running trills::
+* Trills::
* Glissando::
* Arpeggio::
+* Falls and doits::
@end menu
by adding a dash and the character signifying the
articulation. They are demonstrated here
-@lilypondfile[quote,raggedright]{script-abbreviations.ly}
+@lilypondfile[quote,ragged-right]{script-abbreviations.ly}
The meanings of these shorthands can be changed. See
@file{ly/@/script@/-init@/.ly} for examples.
well. Like other pieces of LilyPond code, @code{_} will place them
below the staff, and @code{^} will place them above.
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]
c''4^^ c''4_^
@end lilypond
can be forced up or down using @code{^} and @code{_},
e.g.,
-@lilypond[quote,raggedright,verbatim,fragment,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c\fermata c^\fermata c_\fermata
@end lilypond
Here is a chart showing all scripts available,
-@lilypondfile[raggedright,quote]{script-chart.ly}
+@lilypondfile[ragged-right,quote]{script-chart.ly}
@commonprop
inside. When two objects have the same priority, the order in which
they are entered decides which one comes first.
-@lilypond[verbatim,relative=3,raggedright,fragment,quote]
+@lilypond[verbatim,relative=3,ragged-right,fragment,quote]
\once \override TextScript #'script-priority = #-100
a4^\prall^\markup { \sharp }
@end example
For finger changes, use markup texts
-@lilypond[quote,verbatim,raggedright,fragment,relative=1]
+@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,raggedright,fragment,relative=2]
+@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,raggedright,fragment,relative=2]
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
< c-1 e-2 g-3 b-5 >4
@end lilypond
You may exercise greater control over fingering chords by
setting @code{fingeringOrientations}
-@lilypond[quote,verbatim,raggedright,fragment,relative=1]
+@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)
Using this feature, it is also possible to put fingering instructions
very close to note heads in monophonic music,
-@lilypond[verbatim,raggedright,quote,fragment]
+@lilypond[verbatim,ragged-right,quote,fragment]
\set fingeringOrientations = #'(right)
<es'-2>4
@end lilypond
@subsection Dynamics
@cindex Dynamics
-@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{\ppp},
+@code{c4\ff}. The available dynamic marks are @code{\ppppp},
+@code{\pppp}, @code{\ppp},
@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
-@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
+@code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
-@lilypond[quote,verbatim,raggedright,fragment,relative=2]
+@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
@end lilypond
-@cindex @code{\<}
-@cindex @code{\>}
-@cindex @code{\!}
+@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. Because these marks are bound to notes, you must
+dynamic. @code{\cr} and @code{\decr} may be used instead of
+@code{\<} and @code{\>}. Because these marks are bound to notes, you must
use spacer notes if multiple marks are needed during one note
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c\< c\! d\> e\!
<< f1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
@noindent
-A hairpin starts at the left edge of the beginning note and ends on the
-right edge of the ending note.
+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 Staff.Hairpin #'minimum-length = #5
-@end 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 a text saying @emph{cresc.} instead of hairpins
+You can also use text saying @emph{cresc.} instead of hairpins
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\setTextCresc
c\< d e f\!
\setHairpinCresc
@end lilypond
You can also supply your own texts
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\set crescendoText = \markup { \italic "cresc. poco" }
\set crescendoSpanner = #'dashed-line
a'2\< a a a\!\mf
\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
-@cindex @code{\dynamicUp}
+@funindex \dynamicUp
@code{\dynamicUp},
-@cindex @code{\dynamicDown}
+@funindex \dynamicDown
@code{\dynamicDown},
-@cindex @code{\dynamicNeutral}
+@funindex \dynamicNeutral
@code{\dynamicNeutral}.
Breath marks are entered using @code{\breathe}
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
c'4 \breathe d4
@end lilypond
The glyph of the breath mark can be tuned by overriding the
@code{text} property of the @code{BreathingSign} layout object with
any markup text. For example,
-@lilypond[quote,raggedright,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
c'4
\override BreathingSign #'text
= #(make-musicglyph-markup "scripts.rvarcomma")
Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
-@node Running trills
-@subsection Running trills
+@node Trills
+@subsection Trills
+
+Short trills are printed like normal articulation; see @ref{Articulations}.
Long running trills are made with @code{\startTrillSpan} and
@code{\stopTrillSpan},
-@lilypond[verbatim,raggedright,relative=2,quote,fragment]
+@lilypond[verbatim,ragged-right,relative=2,quote,fragment]
\new Voice {
<< { c1 \startTrillSpan }
{ s2. \grace { d16[\stopTrillSpan e] } } >>
c4 }
@end lilypond
+@cindex Pitched trills
+
+Trills that should be executed on an explicitly specified pitch can be
+typeset with the command @code{pitchedTrill},
+
+@lilypond[ragged-right,verbatim,fragment,relative=1,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}
+@funindex \startTrillSpan
@code{\stopTrillSpan}.
-@cindex @code{\stopTrillSpan}
+@funindex \stopTrillSpan
@seealso
-This manual: @ref{Pitched trills}.
-
Program reference: @internalsref{TrillSpanner}.
@subsection Glissando
@cindex Glissando
-@cindex @code{\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,raggedright,fragment,relative=2,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
c2\glissando c'
\override Glissando #'style = #'zigzag
c2\glissando c,
@cindex Arpeggio
@cindex broken chord
-@cindex @code{\arpeggio}
+@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,raggedright,fragment,relative=1,verbatim]
+@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,raggedright,fragment,relative=1,verbatim]
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\arpeggioBracket
<c' e g c>\arpeggio
@end lilypond
The direction of the arpeggio is sometimes denoted by adding an
arrowhead to the wiggly line
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\context Voice {
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new Voice {
\arpeggioUp
<c e g c>\arpeggio
\arpeggioDown
in both staves and set
@internalsref{PianoStaff}.@code{connectArpeggios}
-@lilypond[quote,raggedright,fragment,relative=1,verbatim]
-\context PianoStaff <<
+@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 }
@refcommands
@code{\arpeggio},
-@cindex @code{\arpeggioUp}
+@funindex \arpeggioUp
@code{\arpeggioUp},
-@cindex @code{\arpeggioDown}
+@funindex \arpeggioDown
@code{\arpeggioDown},
-@cindex @code{\arpeggioNeutral}
+@funindex \arpeggioNeutral
@code{\arpeggioNeutral},
-@cindex @code{\arpeggioBracket}
+@funindex \arpeggioBracket
@code{\arpeggioBracket}.
arpeggios in one @internalsref{PianoStaff} at the same point in time.
+@node Falls and doits
+@subsection Falls and doits
-@node Polyphony
-@section Polyphony
-
-Polyphony in music refers to having more than one voice occuring in
-a piece of music. Polyphony in LilyPond refers to having more than
-one voice on the same staff.
-
-@menu
-* Basic polyphony::
-* Explicitly instantiating voices::
-* Collision Resolution::
-@end menu
-
-
-@node Basic polyphony
-@subsection Basic polyphony
-
-@cindex polyphony
-
-The easiest way to enter fragments with more than one voice on a staff
-is to enter each voice as a sequence (with @code{@{...@}}), and combine
-them simultaneously, separating the voices with @code{\\}
-
-@cindex @code{\\}
-
-@lilypond[quote,verbatim,fragment]
-\new Staff \relative c' {
- c16 d e f
- <<
- { g4 f e | d2 e2 } \\
- { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
- { s2. | s4 b4 c2 }
- >>
-}
-@end lilypond
-
-The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
-voices are sometimes called ``layers'' in other notation packages}
-@cindex layers
-to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
-each of these contexts, vertical direction of slurs, stems, etc., is set
-appropriately.
-
-These voices are all seperate from the voice that contains the notes just
-outside the @code{<< \\ >>} construct. This should be noted when making
-changes at the voice level. This also means that slurs and ties cannot go
-into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
-from separate @code{<< \\ >>} constructs on the same staff are the the
-same voice. Here is the same example, with different noteheads for each
-voice. Note that the change to the note-head style in the main voice does not affect
-the inside of the @code{<< \\ >>} constructs. Also, the change to the second
-voice in the first @code{<< \\ >>} construct is effective in the second
-@code{<< \\ >>}, and the voice is tied accross the two constructs.
-
-@lilypond[quote,verbatim,fragment]
-\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- c16 d e f
- <<
- { g4 f e } \\
- { \override NoteHead #'style = #'triangle
- r8 e4 d c8 ~ }
- >> |
- <<
- { d2 e2 } \\
- { c8 b16 a b8 g ~ g2 } \\
- { \override NoteHead #'style = #'slash s4 b4 c2 }
- >>
-}
-@end lilypond
-
-Polyphony does not change the relationship of notes within a
-@code{\relative @{ @}} block. Each note is calculated relative
-to the note immediately preceding it.
-
-@example
-\relative @{ noteA << noteB \\ noteC >> noteD @}
-@end example
-
-@code{noteC} is relative to @code{noteB}, not @code{noteA};
-@code{noteD} is relative to @code{noteC}, not @code{noteB} or
-@code{noteA}.
-
-@node Explicitly instantiating voices
-@subsection Explicitly instantiating voices
-
-@internalsref{Voice} contexts can also be instantiated manually
-inside a @code{<< >>} block to create polyphonic music, using
-@code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
-and a horizontal shift for each part.
-
-Specifically,
-@example
-<< \upper \\ \lower >>
-@end example
-
-@noindent
-is equivalent to
-
-@example
-<<
- \context Voice = "1" @{ \voiceOne \upper @}
- \context Voice = "2" @{ \voiceTwo \lower @}
->>
-@end example
-
-The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
-articulations, text annotations, augmentation dots of dotted
-notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
-these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
-make them point downwards.
-The command @code{\oneVoice} will revert back to the normal setting.
-
-An expression that appears directly inside a @code{<< >>} belongs to
-the main voice. This is useful when extra voices appear while the main
-voice is playing. Here is a more correct rendition of the example from
-the previous section. The crossed noteheads demonstrate that the main
-melody is now in a single voice context.
-
-@lilypond[quote,raggedright,verbatim]
-\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- c16 d e f
- \voiceOne
- <<
- { g4 f e | d2 e2 }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. | s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
-
-The correct definition of the voices allows the melody to be slurred.
-@lilypond[quote,raggedright,verbatim]
-\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
-
-Avoiding the @code{\\} seperator also allows nesting polyphony
-constructs, which in some case might be a more natural way to typeset
-the music.
-
-@lilypond[quote,raggedright,verbatim]
-\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ |
- <<
- {c8 b16 a b8 g ~ g2}
- \new Voice { \voiceThree
- s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
-
-
-@node Collision Resolution
-@subsection Collision Resolution
-
-Normally, note heads with a different number of dots are not merged, but
-when the object property @code{merge-differently-dotted} is set in
-the @internalsref{NoteCollision} object, they are merged
-@lilypond[quote,verbatim,fragment,raggedright,relative=2]
-\context Voice << {
- g8 g8
- \override Staff.NoteCollision
- #'merge-differently-dotted = ##t
- g8 g8
-} \\ { g8.[ f16] g8.[ f16] } >>
-@end lilypond
-
-Similarly, you can merge half note heads with eighth notes, by setting
-@code{merge-differently-headed}
-@lilypond[quote,raggedright,fragment,relative=2,verbatim]
-\context Voice << {
- c8 c4.
- \override Staff.NoteCollision
- #'merge-differently-headed = ##t
-c8 c4. } \\ { c2 c2 } >>
-@end lilypond
-
-LilyPond also vertically shifts rests that are opposite of a stem,
-for example
-
-@lilypond[quote,raggedright,fragment,verbatim]
-\context Voice << c''4 \\ r4 >>
-@end lilypond
-
-
-@refcommands
-
-@cindex @code{\oneVoice}
-@code{\oneVoice},
-@cindex @code{\voiceOne}
-@code{\voiceOne},
-@cindex @code{\voiceTwo}
-@code{\voiceTwo},
-@cindex @code{\voiceThree}
-@code{\voiceThree},
-@cindex @code{\voiceFour}
-@code{\voiceFour}.
-
-@cindex @code{\shiftOn}
-@code{\shiftOn},
-@cindex @code{\shiftOnn}
-@code{\shiftOnn},
-@cindex @code{\shiftOnnn}
-@code{\shiftOnnn},
-@cindex @code{\shiftOff}
-@code{\shiftOff}: these commands specify in what chords of the current
-voice should be shifted. The outer voices (normally: voice one and
-two) have @code{\shiftOff}, while the inner voices (three and four)
-have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
-further shift levels.
-
-When LilyPond cannot cope, the @code{force-hshift}
-property of the @internalsref{NoteColumn} object and pitched rests can
-be used to override typesetting decisions.
+Falls and doits can be added to notes using the @code{\bendAfter}
+command,
-@lilypond[quote,verbatim,raggedright]
-\relative <<
-{
- <d g>
- <d g>
-} \\ {
- <b f'>
- \once \override NoteColumn #'force-hshift = #1.7
- <b f'>
-} >>
+@lilypond[fragment,ragged-right,relative=2]
+\override Score.SpacingSpanner #'shortest-duration-space = #3.0
+c4-\bendAfter #+5
+c4-\bendAfter #-3
@end lilypond
-@seealso
-
-Program reference: the objects responsible for resolving collisions are
-@internalsref{NoteCollision} and @internalsref{RestCollision}.
-
-Examples:
-@inputfileref{input/@/regression,collision@/-dots@/.ly},
-@inputfileref{input/@/regression,collision@/-head-chords@/.ly},
-@inputfileref{input/@/regression,collision@/-heads@/.ly},
-@inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
-@inputfileref{input/@/regression,collisions@/.ly}.
-
-
-@refbugs
-
-When using @code{merge-differently-headed} with an upstem eighth or a
-shorter note, and a downstem half note, the eighth note gets the wrong
-offset.
-
-There is no support for clusters where the same note occurs with
-different accidentals in the same chord. In this case, it is
-recommended to use enharmonic transcription, or to use special cluster
-notation (see @ref{Clusters}).
-
-
-
@node Repeats
@section Repeats
@subsection Repeat types
@cindex repeats
-@cindex @code{\repeat}
+@funindex \repeat
The following types of repetition are supported
@item volta
Repeats are not written out, but alternative endings (volte) are
printed, left to right with brackets. This is the standard notation
-for repeats with alternatives. These are not played in MIDI output by default.
+for repeats with alternatives. These are not played in MIDI output by
+default.
-@ignore
-@item fold
-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,raggedright,fragment,verbatim,relative=2]
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 { c4 d e f }
\repeat volta 2 { f e d c }
@end lilypond
With alternative endings
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
c1
\repeat volta 2 {c4 d e f}
\alternative { {d2 d} {f f,} }
@end lilypond
-@lilypond[quote,raggedright,fragment,verbatim,relative=2]
-\context Staff {
+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.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\new Staff {
\partial 4
\repeat volta 4 { e | c2 d2 | e2 f2 | }
\alternative { { g4 g g } { a | a a a a | b2. } }
}
@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,raggedright,quote]
+@lilypond[verbatim,ragged-right,quote]
\relative c''{
\time 3/4
c c c
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,linewidth=8.0\cm]
+@lilypond[quote,verbatim,fragment,line-width=8.0\cm]
\unfoldRepeats {
\repeat tremolo 8 {c'32 e' }
\repeat percent 2 { c''8 d'' }
\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.
Stop a running volta bracket.
@end table
-@lilypond[quote,raggedright,verbatim,fragment,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c4
\set Score.repeatCommands = #'((volta "93") end-repeat)
c4 c4
@seealso
-Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
+Program reference: @internalsref{VoltaBracket},
+@internalsref{RepeatedMusic},
@internalsref{VoltaRepeatedMusic},
@internalsref{UnfoldedRepeatedMusic}, and
@internalsref{FoldedRepeatedMusic}.
To place tremolo marks between notes, use @code{\repeat} with tremolo
style
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\new Voice \relative c' {
\repeat "tremolo" 8 { c16 d16 }
\repeat "tremolo" 4 { c16 d16 }
Tremolo marks can also be put on a single note. In this case, the
note should not be surrounded by braces.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\repeat "tremolo" 4 c'16
@end lilypond
@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
used
-@lilypond[quote,raggedright,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment]
c'2:8 c':32 | c': c': |
@end lilypond
patterns that divide the measure length are replaced by slashes.
Percent repeats must be declared within a @code{Voice} context.
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\new Voice \relative c' {
\repeat "percent" 4 { c4 }
\repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
Measure repeats of more than 2 measures get a counter, if you switch
on the @code{countPercentRepeats} property,
-@lilypond[relative=2,fragment,quote,verbatim,raggedright]
+@lilypond[relative=2,fragment,quote,verbatim,ragged-right]
+\new Voice {
\set countPercentRepeats = ##t
-\new Voice
\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,
+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
- = #Multi_measure_rest::percent
+ = #ly:multi-measure-rest::percent
R1
@end lilypond
@internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat},
@internalsref{DoublePercentRepeatCounter},
@internalsref{PercentRepeatCounter},
-@internalsref{PercentRepeatedMusic}, and
+@internalsref{PercentRepeatedMusic}.
+
+
projects / lilypond.git / blobdiff