This chapter explains how to use basic notation features.
@menu
-* Pitches::
* Rhythms::
* Polyphony::
* Staff notation::
-@node Pitches
-@section Pitches
-
-This section discusses how to specify the pitch of notes.
-
-@menu
-* Normal pitches::
-* Accidentals::
-* Cautionary accidentals::
-* Micro tones::
-* Note names in other languages::
-* Relative octaves::
-* Octave check::
-* Transpose::
-* Rests::
-* Skips::
-@end menu
-
-
-@node Normal pitches
-@subsection Normal pitches
-
-@cindex Pitch names
-@cindex pitches
-
-A pitch name is specified using lowercase letters @code{a} through @code{g}.
-An ascending C-major scale is engraved with
-
-@lilypond[quote,fragment,verbatim,ragged-right]
-\clef bass
-c d e f g a b c'
-@end lilypond
-
-The note name @code{c} is engraved one octave below middle C.
-
-@lilypond[quote,fragment,verbatim,ragged-right]
-\clef treble
-c1
-\clef bass
-c1
-@end lilypond
-
-@funindex '
-@funindex ,
-
-The optional octave specification takes the form of a series of
-single quote (@samp{'}) characters or a series of comma
-(@samp{,}) characters. Each @samp{'} raises the pitch by one
-octave; each @samp{,} lowers the pitch by an octave.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\clef treble
-c' c'' e' g d'' d' d c
-\clef bass
-c, c,, e, g d,, d, d c
-@end lilypond
-
-An alternate method may be used to declare which octave to
-engrave a pitch; this method does not require as many
-octave specifications (@code{'} and @code{,}). See
-@ref{Relative octaves}.
-
-
-@node Accidentals
-@subsection Accidentals
-
-@cindex note names, Dutch
-@cindex note names, default
-
-A sharp is formed by adding @code{-is} to the end of a pitch name and
-a flat is formed by adding @code{-es}. Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses} 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,ragged-right,verbatim,relative=2]
-a2 as e es
-@end lilypond
-
-A natural will cancel the effect of an accidental or key signature.
-However, naturals are not encoded into the note name syntax with a
-suffix; a natural pitch is shown as a simple note name
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-a4 aes a2
-@end lilypond
-
-The input @code{d e f} is interpreted as @q{print a D-natural,
-E-natural, and an F-natural,} regardless of the key
-signature. For more information about the distinction between
-musical content and the presentation of that content, see
-@ref{Accidentals and key signatures}.
-
-@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 typesetting rules, a natural sign is printed
-before a sharp or flat if a previous accidental needs to be
-cancelled. To change this behavior, use
-@code{\set Staff.extraNatural = ##f}
-
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-ceses4 ces cis c
-\set Staff.extraNatural = ##f
-ceses4 ces cis c
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{LedgerLineSpanner},
-@internalsref{NoteHead}.
-
-
-@node Cautionary accidentals
-@subsection Cautionary accidentals
-
-@cindex accidental, reminder
-@cindex accidental, cautionary
-@cindex accidental, parenthesized
-@cindex reminder accidental
-@funindex ?
-@cindex cautionary accidental
-@cindex parenthesized accidental
-@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 @samp{?} after the pitch. These extra accidentals
-can be used to produce natural signs, too.
-
-@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, see @ref{Automatic accidentals}.
-
-
-@node Micro tones
-@subsection Micro tones
-
-@cindex quarter tones
-@cindex semi-flats, semi-sharps
-
-Half-flats and half-sharps are formed by adding @code{-eh} and
-@code{-ih}; the following is a series of Cs with increasing pitches
-
-@lilypond[verbatim,ragged-right,quote,relative=2,fragment]
-\set Staff.extraNatural = ##f
-ceseh ceh cih cisih
-@end lilypond
-
-Micro tones are also exported to the MIDI file.
-
-
-@refbugs
-
-There are no generally accepted standards for denoting
-three-quarter flats, so LilyPond's symbol does not conform to any
-standard.
-
-
-@node Note names in other languages
-@subsection Note names in other languages
-
-There are predefined sets of note names for various other languages.
-To use them, include the language specific init file. For
-example, add @code{\include "english.ly"} to the top of the input
-file. The available language files
-and the note names they define are
-
-@c Should this be made into a multitable?
-@cindex note names, other languages
-@example
- Note Names sharp flat double double
- sharp flat
-
-nederlands.ly c d e f g a bes b -is -es -isis -eses
-english.ly c d e f g a bf b -s/-sharp -f/-flat -ss/-x/ -ff/
- -sharpsharp -flatflat
-deutsch.ly c d e f g a b h -is -es -isis -eses
-norsk.ly c d e f g a b h -iss/-is -ess/-es -ississ/-isis -essess/-eses
-svenska.ly c d e f g a b h -iss -ess -ississ -essess
-italiano.ly do re mi fa sol la sib si -d -b -dd -bb
-catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb
-espanol.ly do re mi fa sol la sib si -s -b -ss -bb
-@end example
-
-@noindent
-Note that in Dutch, German, Norwegian, and Swedish, the flat
-alterations of @samp{a} like for example @code{aes} and @code{aeses}
-are usually contracted to @code{as} and @code{ases} (or more commonly
-@code{asas}). Sometimes only these contracted names are defined in the
-corresponding language files (this also applies to the suffixes for
-quartertones below).
-
-@noindent
-Some music uses microtones whose alterations are fractions of a
-@q{regular} sharp or flat. The note names for quartertones defined in
-the various language files are listed in the following table. Here the
-prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
-half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
-special names have been defined yet.
-@c What about Turkish Maquam music and similar microtonal systems?
-@c
-@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code
-@c is actually misleading since the alteration is in fact one and a half
-@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
-
-@example
- Note Names semi- semi- sesqui- sesqui-
- sharp flat sharp flat
-
-nederlands.ly c d e f g a bes b -ih -eh -isih -eseh
-english.ly c d e f g a bf b -qs -qf -tqs -tqf
-deutsch.ly c d e f g a b h -ih -eh -isih -eseh
-norsk.ly c d e f g a b h
-svenska.ly c d e f g a b h
-italiano.ly do re mi fa sol la sib si -sd -sb -dsd -bsb
-catalan.ly do re mi fa sol la sib si
-espanol.ly do re mi fa sol la sib si
-@end example
-
-
-
-@node Relative octaves
-@subsection Relative octaves
-
-@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
-
-@example
-\relative @var{startpitch} @var{musicexpr}
-@end example
-
-@noindent
-or
-
-@example
-\relative @var{musicexpr}
-@end example
-
-@noindent
-@code{c'} is used as the default if no starting pitch is defined.
-
-The octave of notes that appear in @var{musicexpr} are calculated as
-follows: if no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or
-less. This distance is determined without regarding alterations; a
-@code{fisis} following a @code{ceses} will be put above the
-@code{ceses}. In other words, a doubly-augmented fourth is considered
-a smaller interval than a diminished fifth, even though the
-doubly-augmented fourth spans seven semitones while the diminished
-fifth only spans six semitones.
-
-The octave changing marks @code{'} and @code{,} can be added to raise
-or lower the pitch by an extra octave. Upon entering relative mode,
-an absolute starting pitch can be specified that will act as the
-predecessor of the first note of @var{musicexpr}. If no starting pitch
-is specified, then middle C is used as a start.
-
-Here is the relative mode shown in action
-@lilypond[quote,fragment,ragged-right,verbatim]
-\relative c'' {
- b c d c b c bes a
-}
-@end lilypond
-
-Octave changing marks are used for intervals greater than a fourth
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\relative c'' {
- c g c f, c' a, e''
-}
-@end lilypond
-
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
-}
-@end lilypond
-
-The pitch after @code{\relative} contains a note name.
-
-The relative conversion will not affect @code{\transpose},
-@code{\chordmode} or @code{\relative} sections in its argument. To use
-relative within transposed music, an additional @code{\relative} must
-be placed inside @code{\transpose}.
-
-
-@node Octave check
-@subsection Octave check
-
-@cindex Octave check
-
-Octave checks make octave errors easier to correct: a note may be
-followed by @code{=}@var{quotes} which indicates what its absolute
-octave should be. In the following example,
-
-@example
-\relative c'' @{ c='' b=' d,='' @}
-@end example
-
-@noindent
-the @code{d} will generate a warning, because a @code{d''} is expected
-(because @code{b'} to @code{d''} is only a third), but a @code{d'} is
-found. In the output, the octave is corrected to be a @code{d''} and
-the next note is calculated relative to @code{d''} instead of @code{d'}.
-
-There is also an octave check that produces no visible output. The syntax
-
-@example
-\octave @var{pitch}
-@end example
-
-This checks that @var{pitch} (without quotes) yields @var{pitch} (with
-quotes) in @code{\relative} mode compared to the note given in the
-@code{\relative} command. If not, a warning is printed, and the
-octave is corrected. The @var{pitch} is not printed as a note.
-
-In the example below, the first check passes without incident, since
-the @code{e} (in @code{relative} mode) is within a fifth of
-@code{a'}. However,
-the second check produces a warning, since the @code{e} is not within
-a fifth of @code{b'}. The warning message is printed, and the octave
-is adjusted so that the following notes are in the correct octave
-once again.
-
-@example
-\relative c' @{
- e
- \octave a'
- \octave b'
-@}
-@end example
-
-
-The octave of a note following an octave check is determined with
-respect to the note preceding it. In the next fragment, the last note
-is an @code{a'}, above middle C. That means that the @code{\octave}
-check passes successfully, so the check could be deleted without changing
-the output of the piece.
-
-@lilypond[quote,ragged-right,verbatim,fragment]
-\relative c' {
- e
- \octave b
- a
-}
-@end lilypond
-
-
-@node Transpose
-@subsection Transpose
-
-@cindex Transpose
-@cindex Transposition of pitches
-@funindex \transpose
-
-A music expression can be transposed with @code{\transpose}. The
-syntax is
-@example
-\transpose @var{from} @var{to} @var{musicexpr}
-@end example
-
-This means that @var{musicexpr} is transposed by the interval between
-the pitches @var{from} and @var{to}: any note with pitch @code{from}
-is changed to @code{to}.
-
-For example, consider a piece written in the key of D-major. If
-this piece is a little too low for its performer, it can be
-transposed up to E-major with
-@example
-\transpose d e @dots{}
-@end example
-
-Consider a part written for violin (a C instrument). If
-this part is to be played on the A clarinet (for which an
-A is notated as a C, and which sounds a minor third lower
-than notated), the following
-transposition will produce the appropriate part
-
-@example
-\transpose a c @dots{}
-@end example
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose c cis} or @code{\transpose c des} will transpose up
-half a tone. The first version will print sharps and the second
-version will print flats
-
-@lilypond[quote,ragged-right,verbatim]
-mus = { \key d \major cis d fis g }
-\new Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
-}
-@end lilypond
-
-@code{\transpose} may also be used to input written notes for a
-transposing instrument. Pitches are normally entered into LilyPond
-in C (or @q{concert pitch}), but they may be entered in another
-key. For example, when entering music for a B-flat trumpet which
-begins on concert D, one would write
-
-@example
-\transpose c bes @{ e4 @dots{} @}
-@end example
-
-To print this music in B-flat again (i.e., producing a trumpet part,
-instead of a concert pitch conductor's score) you would wrap the
-existing music with another @code{transpose}
-
-@example
-\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
-@end example
-
-
-@seealso
-
-Program reference: @internalsref{TransposedMusic}.
-
-Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}.
-
-
-@refbugs
-
-If you want to use both @code{\transpose} and @code{\relative},
-you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect on music that appears inside a
-@code{\transpose}.
-
-
-@node Rests
-@subsection Rests
+@anchor{Rests}
+@unnumberedsubsubsec Rests
@cindex Rests
@funindex \rest
Program reference: @internalsref{Rest}.
-@node Skips
-@subsection Skips
+@anchor{Skips}
+@unnumberedsubsubsec Skips
@cindex Skip
@cindex Invisible rest
@end menu
-@node Durations
-@subsection Durations
+@anchor{Durations}
+@unnumberedsubsubsec Durations
@cindex duration
@funindex \longa
@end lilypond
-@node Augmentation dots
-@subsection Augmentation dots
+@anchor{Augmentation dots}
+@unnumberedsubsubsec Augmentation dots
@funindex .
Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
-@node Tuplets
-@subsection Tuplets
+@anchor{Tuplets}
+@unnumberedsubsubsec Tuplets
@cindex tuplets
@cindex triplets
-@node Scaling durations
-@subsection Scaling durations
+@anchor{Scaling durations}
+@unnumberedsubsubsec Scaling durations
You can alter the length of duration by a fraction @var{N/M}
appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}). This
This manual: @ref{Tuplets}.
-@node Bar check
-@subsection Bar check
+@anchor{Bar check}
+@unnumberedsubsubsec Bar check
@cindex Bar check
@funindex barCheckSynchronize
@end lilypond
-@node Barnumber check
-@subsection Barnumber check
+@anchor{Barnumber check}
+@unnumberedsubsubsec Barnumber check
When copying large pieces of music, it can be helpful to check that
the LilyPond bar number corresponds to the original that you are
is processed.
-@node Automatic note splitting
-@subsection Automatic note splitting
+@anchor{Automatic note splitting}
+@unnumberedsubsubsec Automatic note splitting
Long notes can be converted automatically to tied notes. This is done
by replacing the @internalsref{Note_heads_engraver} by the
@end menu
-@node Chords
-@subsection Chords
+@anchor{Chords}
+@unnumberedsubsubsec Chords
@cindex Chords
@c I don't like having this here, but I can't think of
@c anywhere else to put it. :( -gp
-@node Stems
-@subsection Stems
+@anchor{Stems}
+@unnumberedsubsubsec Stems
Whenever a note is found, a @internalsref{Stem} object is created
automatically. For whole notes and rests, they are also created but
@end lilypond
-@node Basic polyphony
-@subsection Basic polyphony
+@anchor{Basic polyphony}
+@unnumberedsubsubsec Basic polyphony
@cindex polyphony
@code{noteA}.
-@node Explicitly instantiating voices
-@subsection Explicitly instantiating voices
+@anchor{Explicitly instantiating voices}
+@unnumberedsubsubsec Explicitly instantiating voices
@internalsref{Voice} contexts can also be instantiated manually
inside a @code{<< >>} block to create polyphonic music, using
@end lilypond
-@node Collision Resolution
-@subsection Collision Resolution
+@anchor{Collision Resolution}
+@unnumberedsubsubsec 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
@end menu
-@node Clef
-@subsection Clef
-
-@funindex \clef
-
-The clef indicates which lines of the staff correspond to which
-pitches. The clef is set with the @code{\clef} command
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-{ c''2 \clef alto g'2 }
-@end lilypond
-
-@cindex treble clef
-@cindex violin clef
-@cindex alto clef
-@cindex tenor clef
-@cindex bass clef
-@cindex french clef
-@cindex soprano clef
-@cindex mezzosoprano clef
-@cindex baritone clef
-@cindex varbaritone clef
-@cindex subbass clef
-
-Supported clefs include
-
-@multitable @columnfractions .33 .66
-@headitem Clef @tab Position
-@item @code{treble}, violin, G, G2 @tab
-G clef on 2nd line
-@item @code{alto, C} @tab
-C clef on 3rd line
-@item @code{tenor} @tab
-C clef on 4th line.
-@item @code{bass, F} @tab
-F clef on 4th line
-@item @code{french} @tab
-G clef on 1st line, so-called French violin clef
-@item @code{soprano} @tab
-C clef on 1st line
-@item @code{mezzosoprano} @tab
-C clef on 2nd line
-@item @code{baritone} @tab
-C clef on 5th line
-@item @code{varbaritone} @tab
-F clef on 3rd line
-@item @code{subbass} @tab
-F clef on 5th line
-@item @code{percussion} @tab
-percussion clef
-@item @code{tab} @tab
-tablature clef
-@end multitable
-
-By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively, and @code{_15} and
-@code{^15} transposes by two octaves. The argument @var{clefname}
-must be enclosed in quotes when it contains underscores or digits. For
-example,
-
-@cindex choral tenor clef
-@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\clef "G_8" c4
-@end lilypond
-
-
-@commonprop
-
-The command @code{\clef "treble_8"} is equivalent to setting
-@code{clefGlyph},
-@code{clefPosition} (which controls the Y position of the clef),
-@code{middleCPosition} and @code{clefOctavation}. A clef is printed
-when any of these properties are changed. The following example shows
-possibilities when setting properties manually.
-
-@lilypond[quote,ragged-right,verbatim]
-{
- \set Staff.clefGlyph = #"clefs.F"
- \set Staff.clefPosition = #2
- c'4
- \set Staff.clefGlyph = #"clefs.G"
- c'4
- \set Staff.clefGlyph = #"clefs.C"
- c'4
- \set Staff.clefOctavation = #7
- c'4
- \set Staff.clefOctavation = #0
- \set Staff.clefPosition = #0
- c'4
- \clef "bass"
- c'4
- \set Staff.middleCPosition = #4
- c'4
-}
-@end lilypond
-
-
-@seealso
-
-Manual: @ref{Grace notes}.
-
-Program reference: @internalsref{Clef}.
-
-
-@node Key signature
-@subsection Key signature
-
-@cindex Key signature
-@funindex \key
-
-The key signature indicates the tonality in which a piece is played. It
-is denoted by a set of alterations (flats or sharps) at the start of the
-staff.
-
-Setting or changing the key signature is done with the @code{\key}
-command
-
-@example
-@code{\key} @var{pitch} @var{type}
-@end example
-
-@funindex \minor
-@funindex \major
-@funindex \minor
-@funindex \ionian
-@funindex \locrian
-@funindex \aeolian
-@funindex \mixolydian
-@funindex \lydian
-@funindex \phrygian
-@funindex \dorian
-@cindex church modes
-
-Here, @var{type} should be @code{\major} or @code{\minor} to get
-@var{pitch}-major or @var{pitch}-minor, respectively. You may also
-use the standard mode names (also called @q{church modes}): @code{\ionian},
-@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
-@code{\phrygian}, and @code{\dorian}.
-
-This command sets the context property
-@code{Staff.keySignature}. Non-standard key signatures
-can be specified by setting this property directly.
-
-Accidentals and key signatures often confuse new users, because
-unaltered notes get natural signs depending on the key signature. For
-more information, see @ref{Accidentals}, or @ref{Accidentals and key signatures}.
-
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-\key g \major
-f1
-fis
-@end lilypond
-
-
-@commonprop
-
-A natural sign is printed to cancel any previous accidentals. This
-can be suppressed by setting the @code{Staff.printKeyCancellation}
-property.
-
-@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
-\key d \major
-a b cis d
-\key g \minor
-a bes c d
-\set Staff.printKeyCancellation = ##f
-\key d \major
-a b cis d
-\key g \minor
-a bes c d
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{KeyCancellation},
-@internalsref{KeySignature}.
-
-
-@node Time signature
-@subsection Time signature
+@anchor{Time signature}
+@unnumberedsubsubsec Time signature
@cindex Time signature
@cindex meter
@code{set-time-signature}.
-@node Partial measures
-@subsection Partial measures
+@anchor{Partial measures}
+@unnumberedsubsubsec Partial measures
@cindex anacrusis
@cindex upbeat
occur.
-@node Bar lines
-@subsection Bar lines
+@anchor{Bar lines}
+@unnumberedsubsubsec Bar lines
@cindex Bar lines
@funindex \bar
@internalsref{Staff} level), @internalsref{SpanBar} (across staves).
-@node Unmetered music
-@subsection Unmetered music
+@anchor{Unmetered music}
+@unnumberedsubsubsec Unmetered music
@cindex cadenza
@funindex \cadenzaOn
to indicate where breaks can occur.
-@node System start delimiters
-@subsection System start delimiters
+@anchor{System start delimiters}
+@unnumberedsubsubsec System start delimiters
@cindex start of system
@cindex Staff, multiple
@end lilypond
-@node Staff symbol
-@subsection Staff symbol
+@anchor{Staff symbol}
+@unnumberedsubsubsec Staff symbol
@cindex adjusting staff symbol
Examples: @lsrdir{staff}
-@node Writing music in parallel
-@subsection Writing music in parallel
+@anchor{Writing music in parallel}
+@unnumberedsubsubsec Writing music in parallel
@cindex Writing music in parallel
@cindex Interleaved music
@end menu
-@node Ties
-@subsection Ties
+@anchor{Ties}
+@unnumberedsubsubsec Ties
@cindex tie
@funindex ~
well-defined. In these cases, a slur may be preferable.
-@node Slurs
-@subsection Slurs
+@anchor{Slurs}
+@unnumberedsubsubsec Slurs
@cindex Slurs
@seealso
-Program reference: @seeinternals{Slur}.
+Program reference: @internalsref{Slur}.
-@node Phrasing slurs
-@subsection Phrasing slurs
+@anchor{Phrasing slurs}
+@unnumberedsubsubsec Phrasing slurs
@cindex phrasing slurs
@cindex phrasing marks
Program reference: @internalsref{PhrasingSlur}.
-@node Laissez vibrer ties
-@subsection Laissez vibrer ties
+@anchor{Laissez vibrer ties}
+@unnumberedsubsubsec Laissez vibrer ties
@cindex Laissez vibrer
@cindex Ties, laissez vibrer
@lsr{connecting,laissez-vibrer-ties.ly}
-@node Automatic beams
-@subsection Automatic beams
+@anchor{Automatic beams}
+@unnumberedsubsubsec Automatic beams
LilyPond inserts beams automatically
Program reference: @internalsref{Beam}.
-@node Manual beams
-@subsection Manual beams
+@anchor{Manual beams}
+@unnumberedsubsubsec Manual beams
@cindex beams, manual
@funindex ]
texts and accidentals.
-@node Grace notes
-@subsection Grace notes
+@anchor{Grace notes}
+@unnumberedsubsubsec Grace notes
@funindex \grace
@cindex ornaments
@end menu
-@node Articulations
-@subsection Articulations
+@anchor{Articulations}
+@unnumberedsubsubsec Articulations
@cindex Articulations
@cindex scripts
MIDI rendering of the music.
-@node Fingering instructions
-@subsection Fingering instructions
+@anchor{Fingering instructions}
+@unnumberedsubsubsec Fingering instructions
@cindex fingering
@cindex finger change
Examples: @lsr{expressive,fingering-chords.ly}
-@node Dynamics
-@subsection Dynamics
+@anchor{Dynamics}
+@unnumberedsubsubsec Dynamics
@cindex Dynamics
@funindex \pppp
@internalsref{DynamicLineSpanner}.
-@node Breath marks
-@subsection Breath marks
+@anchor{Breath marks}
+@unnumberedsubsubsec Breath marks
Breath marks are entered using @code{\breathe}
Examples: @lsr{expressive,breathing-sign.ly}
-@node Trills
-@subsection Trills
+@anchor{Trills}
+@unnumberedsubsubsec Trills
Short trills are printed like normal articulation; see @ref{Articulations}.
Program reference: @internalsref{TrillSpanner}.
-@node Glissando
-@subsection Glissando
+@anchor{Glissando}
+@unnumberedsubsubsec Glissando
@cindex Glissando
@funindex \glissando
Printing text over the line (such as @emph{gliss.}) is not supported.
-@node Arpeggio
-@subsection Arpeggio
+@anchor{Arpeggio}
+@unnumberedsubsubsec Arpeggio
@cindex Arpeggio
@cindex broken chord
arpeggios in one @internalsref{PianoStaff} at the same point in time.
-@node Falls and doits
-@subsection Falls and doits
+@anchor{Falls and doits}
+@unnumberedsubsubsec Falls and doits
Falls and doits can be added to notes using the @code{\bendAfter}
command,
@end menu
-@node Repeat types
-@subsection Repeat types
+@anchor{Repeat types}
+@unnumberedsubsubsec Repeat types
@cindex repeats
@end table
-@node Repeat syntax
-@subsection Repeat syntax
+@anchor{Repeat syntax}
+@unnumberedsubsubsec Repeat syntax
@cindex volta
@cindex prima volta
\relative c''{
\time 3/4
c c c
- \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
+ \set Score.voltaSpannerDuration = #(ly:make-moment 3 4)
\repeat volta 5 { d d d }
\alternative { { e e e f f f }
{ g g g } }
@seealso
+Program reference: @internalsref{VoltaBracket},
+@internalsref{RepeatedMusic},
+@internalsref{VoltaRepeatedMusic}, and
+@internalsref{UnfoldedRepeatedMusic}.
+
Examples:
Brackets for the repeat are normally only printed over the topmost
@code{\partial}. Similarly, slurs or ties are also not repeated.
-@node Repeats and MIDI
-@subsection Repeats and MIDI
+@anchor{Repeats and MIDI}
+@unnumberedsubsubsec Repeats and MIDI
@cindex expanding repeats
@funindex \unfoldRepeats
@end example
-@node Manual repeat commands
-@subsection Manual repeat commands
+@anchor{Manual repeat commands}
+@unnumberedsubsubsec Manual repeat commands
@funindex repeatCommands
@internalsref{UnfoldedRepeatedMusic}.
-@node Tremolo repeats
-@subsection Tremolo repeats
+@anchor{Tremolo repeats}
+@unnumberedsubsubsec Tremolo repeats
@cindex tremolo beams
Program reference: @internalsref{Beam}, @internalsref{StemTremolo}.
-@node Tremolo subdivisions
-@subsection Tremolo subdivisions
+@anchor{Tremolo subdivisions}
+@unnumberedsubsubsec Tremolo subdivisions
@cindex tremolo marks
@funindex tremoloFlags
Elsewhere: @internalsref{StemTremolo}.
-@node Measure repeats
-@subsection Measure repeats
+@anchor{Measure repeats}
+@unnumberedsubsubsec Measure repeats
@cindex percent repeats
@cindex measure repeats
projects / lilypond.git / blobdiff