3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
15 @c .{Reference Manual}
17 @node Reference Manual
18 @chapter Reference Manual
21 <!--- @@WEB-TITLE@@=Reference Manual --->
24 This document describes GNU LilyPond and its input format. The last
25 revision of this document was made for LilyPond 1.6.2. It assumes
26 that you already know a little bit about LilyPond input (how to
27 make an input file, how to create sheet music from that input file,
28 etc). New users are encouraged to study the tutorial before reading
34 * Easier music entry::
53 @c FIXME: Note entry vs Music entry at top level menu is confusing.
59 Notes constitute the most basic elements of LilyPond input, but they do
60 not form valid input on their own without a @code{\score} block. However,
61 for the sake of brevity and simplicity we will generally omit
62 @code{\score} blocks and @code{\paper} declarations in this manual.
68 * Chromatic alterations::
73 * Automatic note splitting ::
75 * Easy Notation note heads ::
83 A note is printed by specifying its pitch and then its duration.
84 @lilypond[fragment,verbatim]
93 @cindex Note specification
95 @cindex entering notes
97 The verbose syntax for pitch specification is
101 \pitch @var{scmpitch}
104 where @var{scmpitch} is a pitch scheme object.
106 In Note and Chord mode, pitches may be designated by names. The default
107 names are the Dutch note names. The notes are specified by the letters
108 @code{a} through @code{g}, while the octave is formed with notes ranging
109 from @code{c} to @code{b}. The pitch @code{c} is an octave below
110 middle C and the letters span the octave above that C. Here's an example
111 which should make things more clear:
113 @lilypond[fragment,verbatim]
115 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
118 @cindex note names, Dutch
120 In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
121 name and a flat is formed by adding @code{-es}. Double sharps and double
122 flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
123 and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
124 both forms are accepted.
126 LilyPond has predefined sets of note names for various other languages.
127 To use them, simply include the language specific init file. For
128 example: @code{\include "english.ly"}. The available language files and
129 the note names they define are:
134 Note Names sharp flat
135 nederlands.ly c d e f g a bes b -is -es
136 english.ly c d e f g a bf b -s/-sharp -f/-flat
137 deutsch.ly c d e f g a b h -is -es
138 norsk.ly c d e f g a b h -iss/-is -ess/-es
139 svenska.ly c d e f g a b h -iss -ess
140 italiano.ly do re mi fa sol la sib si -d -b
141 catalan.ly do re mi fa sol la sib si -d/-s -b
142 espanol.ly do re mi fa sol la sib si -s -b
151 The optional octave specification takes the form of a series of
152 single quote (`@code{'}') characters or a series of comma
153 (`@code{,}') characters. Each @code{'} raises the pitch by one
154 octave; each @code{,} lowers the pitch by an octave.
156 @lilypond[fragment,verbatim,center]
157 c' c'' es' g' as' gisis' ais'
160 @node Chromatic alterations
161 @subsection Chromatic alterations
163 Normally accidentals are printed automatically, but you may also
164 print them manually. A reminder accidental
165 @cindex reminder accidental
167 can be forced by adding an exclamation mark @code{!}
168 after the pitch. A cautionary accidental
169 @cindex cautionary accidental
170 @cindex parenthesized accidental
171 (an accidental within parentheses) can be obtained by adding the
172 question mark `@code{?}' after the pitch.
174 @lilypond[fragment,verbatim]
175 cis' cis' cis'! cis'?
179 The automatic production of accidentals can be tuned in many
180 ways. For more information, refer to @ref{Accidentals}.
187 Rests are entered like notes, with a ``note name'' of `@code{r}':
189 @lilypond[singleline,verbatim]
193 Whole bar rests, centered in middle of the bar, are specified using
194 @code{R} (capital R); see @ref{Multi measure rests}. See also
197 For some music, you may wish to explicitly specify the rest's vertical
198 position. This can be achieved by entering a note with the @code{\rest}
199 keyword appended. Rest collision testing will leave these rests alone.
201 @lilypond[singleline,verbatim]
211 @cindex Invisible rest
214 An invisible rest (also called a `skip') can be entered like a note
215 with note name `@code{s}' or with @code{\skip @var{duration}}:
217 @lilypond[singleline,verbatim]
221 @c FIXME: in Lyrics mode, we have " " and _
223 In Lyrics mode, invisible rests are entered using either `@code{" "}'
225 @lilypond[singleline,verbatim]
227 \context Lyrics \lyrics { lah2 di4 " " dah2 _4 di }
228 \notes\relative c'' { a2 a4 a a2 a4 a }
232 Note that the @code{s} syntax is only available in Note mode and Chord
233 mode. In other situations, you should use the @code{\skip} command,
234 which will work outside of those two modes:
236 @lilypond[singleline,verbatim]
239 { \time 4/8 \skip 2 \time 4/4 }
240 \notes\relative c'' { a2 a1 }
245 The skip command is merely an empty musical placeholder. It doesn't
246 produce any output, not even transparent output.
252 @subsection Durations
256 @cindex @code{\duration}
259 In Note, Chord, and Lyrics mode, durations are designated by numbers
260 and dots: durations are entered as their reciprocal values. For example,
261 a quarter note is entered using a @code{4} (since it's a 1/4 note), while
262 a half note is entered using a @code{2} (since it's a 1/2 note). For notes
263 longer than a whole you must use identifiers.
264 @c FIXME: what's an identifier? I don't think it's been introduced yet.
265 @c and if it has, I obviously skipped that part. - Graham
269 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
271 r1 r2 r4 r8 r16 r32 r64 r64
274 @lilypond[noindent,noquote]
276 \notes \relative c'' {
278 a1 a2 a4 a8 a16 a32 a64 a64
280 r1 r2 r4 r8 r16 r32 r64 r64
285 \remove "Clef_engraver"
286 \remove "Staff_symbol_engraver"
287 \remove "Time_signature_engraver"
288 \consists "Pitch_squash_engraver"
295 If the duration is omitted then it is set to the previously entered
296 duration. At the start of parsing, a quarter note is assumed. The
297 duration can be followed by dots (`@code{.}') in order to obtain dotted
301 @lilypond[fragment,verbatim,center]
302 a' b' c''8 b' a'4 a'4. b'4.. c'8.
307 You can alter the length of duration by a fraction @var{N/M}
308 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
309 won't affect the appearance of the notes or rests produced.
311 @lilypond[fragment,verbatim]
312 a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
315 Durations can also be produced through GUILE extension mechanism.
316 @lilypond[verbatim,fragment]
317 c'\duration #(ly:make-duration 2 1)
323 Dot placement for chords is not perfect. In some cases, dots overlap:
325 \context Voice { <f,4. c'' d e f> }
336 A tie connects two adjacent note heads of the same pitch. The tie in
337 effect extends the length of a note. Ties should not be confused with
338 slurs, which indicate articulation, or phrasing slurs, which indicate
339 musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
341 @lilypond[fragment,verbatim,center]
342 e' ~ e' <c' e' g'> ~ <c' e' g'>
345 When a tie is applied to a chord, all note heads (whose pitches match) are
346 connected. If you try to tie together chords that have no common pitches,
347 no ties will be created.
349 If you want less ties created for a chord, you can set
350 @code{Voice.sparseTies} to true. In this case, a single tie is used
351 for every tied chord.
352 @lilypond[fragment,verbatim,center]
353 \property Voice.sparseTies = ##t
354 <c' e' g'> ~ <c' e' g'>
357 In its meaning a tie is just a way of extending a note duration, similar
358 to the augmentation dot: the following example are two ways of notating
359 exactly the same concept.
361 @lilypond[fragment, singleline]
362 \time 3/4 c'2. c'2 ~ c'4
364 If you need to tie notes over bars, it may be easier to use
365 @ref{Automatic note splitting}.
367 See also @seeinternals{Tie}.
372 At present, the tie is represented as a separate event, temporally
373 located in between the notes. Tying only a subset of the note heads
374 of a chord is not supported in a simple way. It can be achieved by
375 moving the tie-engraver into the Thread context and turning on and off
378 Switching staves when a tie is active will not work.
380 @node Automatic note splitting
381 @subsection Automatic note splitting
382 @c FIXME: This subsection doesn't belong in @ref{Note entry}.
384 LilyPond can automatically converting long notes to tied notes. This
385 is done by replacing the @code{Note_heads_engraver} by the
386 @code{Completion_heads_engraver}.
388 @lilypond[verbatim,noindent,noquote]
390 \notes\relative c'{ \time 2/4
391 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
395 \remove "Note_heads_engraver"
396 \consists "Completion_heads_engraver"
400 This engraver splits all running notes at the bar line, and inserts
401 ties. One of its uses is to debug complex scores: if the measures are
402 not entirely filled, then the ties exactly show how much each measure
407 Not all durations (especially those containing tuplets) can be
408 represented exactly; the engraver will not insert tuplets.
415 @cindex @code{\times}
417 Tuplets are made out of a music expression by multiplying all durations
420 @cindex @code{\times}
422 \times @var{fraction} @var{musicexpr}
425 The duration of @var{musicexpr} will be multiplied by the fraction.
426 In the sheet music, the fraction's denominator will be printed over
427 the notes, optionally with a bracket. The most common tuplet is the
428 triplet in which 3 notes have the length of 2, so the notes are 2/3
429 of their written length:
431 @lilypond[fragment,verbatim,center]
432 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
435 The property @code{tupletSpannerDuration} specifies how long each bracket
436 should last. With this, you can make lots of tuplets while typing
437 @code{\times} only once, saving you lots of typing.
439 @lilypond[fragment, relative, singleline, verbatim]
440 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
441 \times 2/3 { c'8 c c c c c }
444 The format of the number is determined by the property
445 @code{tupletNumberFormatFunction}. The default prints only the
446 denominator, but if you set it to the Scheme function
447 @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
451 @cindex @code{tupletNumberFormatFunction}
452 @cindex tuplet formatting
454 See also @seeinternals{TupletBracket}.
458 Nested tuplets are not formatted automatically. In this case, outer
459 tuplet brackets should be moved automatically.
461 @node Easy Notation note heads
462 @subsection Easy Notation note heads
464 @cindex easy notation
467 A entirely different type of note head is the "easyplay" note head: a
468 note head that includes a note name. It is used in some publications by
469 Hal-Leonard Inc. music publishers.
471 @lilypond[singleline,verbatim,26pt]
473 \notes { c'2 e'4 f' | g'1 }
474 \paper { \translator { \EasyNotation } }
478 Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
479 probably will want to print it with magnification or a large font size to
480 make it more readable. To print with magnification, you must create a dvi
481 (with @file{ly2dvi}) and then enlarge it with something like @file{dvips -x
482 2000 file.dvi}. See @file{man dvips} for details. To print with a larger
483 font, see @ref{Font Size}.
489 If you view the result with Xdvi, then staff lines will show through
490 the letters. Printing the PostScript file obtained with ly2dvi does
491 produce the correct result.
494 @node Easier music entry
495 @section Easier music entry
498 * Graphical interfaces::
502 * Skipping corrected music::
505 When entering music with LilyPond, it is easy to introduce errors. This
506 section deals with tricks and features that help you enter music, and
507 find and correct mistakes.
509 @node Graphical interfaces
510 @subsection Graphical interfaces
513 @cindex graphical interface
520 One way to avoid entering notes using the keyboard is to use a
521 graphical user interface. The following programs are known to have
522 a lilypond export option:
526 Denemo was once intended as
527 a LilyPond graphical user interface. It run on Gnome/GTK.
530 @uref{http://denemo.sourceforge.net/}
534 Noteedit, a graphical score editor that runs under KDE/Qt.
536 @uref{http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html,}
540 RoseGarden was once the inspiration for naming LilyPond. Nowadays it
541 has been rewritten from scratch and supports LilyPond export as of
545 @uref{http://rosegarden.sf.net/}
549 Another option is to enter the music using your favorite MIDI
550 sequencer, and then import it using midi2ly. midi2ly is described in
551 @ref{Invoking midi2ly}.
555 @node Relative octaves
556 @subsection Relative octaves
558 @cindex relative octave specification
560 Octaves are specified by adding @code{'} and @code{,} to pitch names.
561 When you copy existing music, it is easy to accidentally put a pitch in
562 the wrong octave and hard to find such an error. To prevent these
563 errors, LilyPond features octave entry.
565 @cindex @code{\relative}
567 \relative @var{startpitch} @var{musicexpr}
570 The octave of notes that appear in @var{musicexpr} are calculated as
571 follows: If no octave changing marks are used, the basic interval
572 between this and the last note is always taken to be a fourth or less
573 (This distance is determined without regarding alterations; a
574 @code{fisis} following a @code{ceses} will be put above the
577 The octave changing marks @code{'} and @code{,} can be added to raise or
578 lower the pitch by an extra octave. Upon entering relative mode, an
579 absolute starting pitch must be specified that will act as the
580 predecessor of the first note of @var{musicexpr}.
582 Entering music that changes octave frequently is easy in relative mode.
583 @lilypond[fragment,singleline,verbatim,center]
589 And octave changing marks are used for intervals greater than a fourth.
590 @lilypond[fragment,verbatim,center]
595 If the preceding item is a chord, the first note of the chord is used
596 to determine the first note of the next chord. However, other notes
597 within the second chord are determined by looking at the immediately
600 @lilypond[fragment,verbatim,center]
607 @cindex @code{\notes}
609 The pitch after the @code{\relative} contains a note name. To parse
610 the pitch as a note name, you have to be in note mode, so there must
611 be a surrounding @code{\notes} keyword (which is not
614 The relative conversion will not affect @code{\transpose},
615 @code{\chords} or @code{\relative} sections in its argument. If you
616 want to use relative within transposed music, you must place an
617 additional @code{\relative} inside the @code{\transpose}.
622 @subsection Bar check
626 @cindex @code{barCheckSynchronize}
630 Whenever a bar check is encountered during interpretation, a warning
631 message is issued if it doesn't fall at a measure boundary. This can
632 help you find errors in the input. Depending on the value of
633 @code{barCheckSynchronize}, the beginning of the measure will be
634 relocated, so this can also be used to shorten measures.
636 A bar check is entered using the bar symbol, @code{|}:
638 \time 3/4 c2 e4 | g2.
643 @cindex skipTypesetting
645 Failed bar checks are most often caused by entering incorrect
646 durations. Incorrect durations often completely garble up the score,
647 especially if it is polyphonic, so you should start correcting the score
648 by scanning for failed bar checks and incorrect durations. To speed up
649 this process, you can use @code{skipTypesetting} (See @ref{Skipping
652 @c . {Point and click}
653 @node Point and click
654 @subsection Point and click
655 @cindex poind and click
657 Point and click lets you find notes in the input by clicking on them in
658 the Xdvi window. This makes it very easy to find input that causes some
659 error in the sheet music.
661 To use it, you need the following software
663 @item A dvi viewer that supports src specials.
665 @item Xdvi, version 22.36 or newer. Available from
666 @uref{ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz,ftp.math.berkeley.edu}.
668 Note that most @TeX{} distributions ship with xdvik, which is always
669 a few versions behind the official Xdvi. To find out which xdvi you
670 are running, try @code{xdvi -version} or @code{xdvi.bin -version}.
671 @item KDVI. A dvi viewer for KDE. You need KDVI from KDE 3.0 or
672 newer. Enable option @emph{Inverse search} in the menu @emph{Settings}.
681 @item An editor with a client/server interface (or a lightweight GUI
687 @item Emacs. Emacs is an extensible text-editor. It is available from
688 @uref{http://www.gnu.org/software/emacs/}. You need version 21 to use
691 @c move this elsewhere?
693 LilyPond also comes with support files for emacs: lilypond-mode for
694 emacs provides indentation, syntax coloring and handy compile
695 short-cuts. If lilypond-mode is not installed on your platform, then
696 refer to the installation instructions for more information
700 @cindex lilypond-mode for emacs
701 @cindex syntax coloring
703 @item XEmacs. Xemacs is very similar to emacs.
707 @item NEdit. NEdit runs under Windows, and Unix.
708 It is available from @uref{http://www.nedit.org}.
712 @item GVim. GVim is a GUI variant of VIM, the popular VI
713 clone. It is available from @uref{http://www.vim.org}.
722 Xdvi must be configured to find the @TeX{} fonts and music
723 fonts. Refer to the Xdvi documentation for more information.
725 To use point-and-click, add one of these lines to the top of your .ly
728 #(ly:set-point-and-click 'line)
730 @cindex line-location
732 When viewing, Control-Mousebutton 1 will take you to the originating
733 spot in the @file{.ly} file. Control-Mousebutton 2 will show all
736 If you correct large files with point-and-click, be sure to start
737 correcting at the end of the file. When you start at the top, and
738 insert one line, all following locations will be off by a line.
741 For using point-and-click with emacs, add the following
742 In your emacs startup file (usually @file{~/.emacs}),
747 Make sure that the environment variable @var{XEDITOR} is set to
749 emacsclient --no-wait +%l %f
751 @cindex @var{XEDITOR}
752 If you use xemacs instead of emacs, you use @code{(gnuserve-start)} in
753 your @file{.emacs}, and set @code{XEDITOR} to @code{gnuclient -q +%l %f}
755 For using Vim, set @code{XEDITOR} to @code{gvim --remote +%l %f}, or
756 use this argument with xdvi's @code{-editor} option.
759 For using NEdit, set @code{XEDITOR} to @code{nc -noask +%l %f}, or
760 use this argument with xdvi's @code{-editor} option.
762 If can also make your editor jump to the exact location of the note
763 you clicked. This is only supported on Emacs and VIM. Users of Emacs version
764 20 must apply the patch @file{emacsclient.patch}. Users of version 21
765 must apply @file{server.el.patch} (version 21.2 and earlier). At the
766 top of the @code{ly} file, replace the @code{set-point-and-click} line
767 with the following line,
769 #(ly:set-point-and-click 'line-column)
771 @cindex line-colomn-location
772 and set @code{XEDITOR} to @code{emacsclient --no-wait +%l:%c %f}. Vim
773 users can set @var{XEDITOR} to @code{gvim --remote +:%l:norm%c| %f}.
779 When you convert the @TeX{} file to PostScript using @code{dvips}, it
780 will complain about not finding @code{src:X:Y} files. These complaints
781 are harmless, and can be ignored.
783 @node Skipping corrected music
784 @subsection Skipping corrected music
786 The property @code{Score.skipTypesetting} can be used to switch on and
787 off typesetting completely during the interpretation phase. When
788 typesetting is switched off, the music is processed much more quickly.
789 You can use this to skip over the parts of a score that you have already
792 @lilypond[fragment,singleline,verbatim]
794 \property Score.skipTypesetting = ##t
796 \property Score.skipTypesetting = ##f
804 @section Staff notation
806 This section deals with music notation that occurs on staff level,
807 such as keys, clefs and time signatures.
809 @cindex Staff notation
821 @subsection Staff symbol
824 @cindex adjusting staff symbol
825 @cindex StaffSymbol, using \property
826 @cindex staff lines, setting number of
829 The lines of the staff symbol are formed by the
830 @internalsref{StaffSymbol} object. This object is created at the moment
831 that their context is created. You can not change the appearance of
832 the staff symbol by using @code{\override} or @code{\set}. At the
833 moment that @code{\property Staff} is interpreted, a Staff context is
834 made, and the StaffSymbol is created before any @code{\override} is
835 effective. You can deal with this either overriding properties in a
836 @code{\translator} definition, or by using @code{\outputproperty}.
841 If you end a staff half way a piece, the staff symbol may not end
842 exactly on the barline.
847 @subsection Key signature
852 Setting or changing the key signature is done with the @code{\key}
855 @code{\key} @var{pitch} @var{type}
858 @cindex @code{\minor}
859 @cindex @code{\major}
860 @cindex @code{\minor}
861 @cindex @code{\ionian}
862 @cindex @code{\locrian}
863 @cindex @code{\aeolian}
864 @cindex @code{\mixolydian}
865 @cindex @code{\lydian}
866 @cindex @code{\phrygian}
867 @cindex @code{\dorian}
869 Here, @var{type} should be @code{\major} or @code{\minor} to get
870 @var{pitch}-major or @var{pitch}-minor, respectively.
871 The standard mode names @code{\ionian},
872 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
873 @code{\phrygian}, and @code{\dorian} are also defined.
875 This command sets the context property @code{Staff.keySignature}.
876 Non-standard key signatures can be specified by setting this property
879 The printed signature is a @internalsref{KeySignature} object, typically
880 created in @internalsref{Staff} context.
882 @cindex @code{keySignature}
889 The clef can be set or changed with the @code{\clef} command:
890 @lilypond[fragment,verbatim]
891 \key f\major c''2 \clef alto g'2
894 Supported clef-names include
895 @c Moved standard clefs to the top /MB
897 @item treble, violin, G, G2
906 G clef on 1st line, so-called French violin clef
921 By adding @code{_8} or @code{^8} to the clef name, the clef is
922 transposed one octave down or up, respectively. Note that you have to
923 enclose @var{clefname} in quotes if you use underscores or digits in the
929 The object for this symbol is @internalsref{Clef}.
932 This command is equivalent to setting @code{clefGlyph},
933 @code{clefPosition} (which controls the Y position of the clef),
934 @code{centralCPosition} and @code{clefOctavation}. A clef is created
935 when any of these properties are changed.
938 @c . {Time signature}
940 @subsection Time signature
941 @cindex Time signature
945 The time signature is set or changed by the @code{\time}
947 @lilypond[fragment,verbatim]
948 \time 2/4 c'2 \time 3/4 c'2.
951 The actual symbol that's printed can be customized with the @code{style}
952 property. Setting it to @code{#'()} uses fraction style for 4/4 and
956 The object for this symbol is @internalsref{TimeSignature}. There are
957 many more options for its layout. They are selected through the
958 @code{style} object property. See @file{input/test/time.ly} for more
961 This command sets the property @code{timeSignatureFraction},
962 @code{beatLength} and @code{measureLength} in the @code{Timing}
963 context, which is normally aliased to @internalsref{Score}. The property
964 @code{timeSignatureFraction} determine where bar lines should be
965 inserted, and how automatic beams should be generated. Changing the
966 value of @code{timeSignatureFraction} also causes a time signature
967 symbol to be printed.
969 More options are available through the Scheme function
970 @code{set-time-signature}. In combination with the
971 @internalsref{Measure_grouping_engraver}, it will create
972 @internalsref{MeasureGrouping} signs. Such signs ease reading
973 rhythmically complex modern music. In the following example, the 9/8
974 measure is subdivided in 2, 2, 2 and 3. This is passed to
975 @code{set-time-signature} as the third argument @code{(2 2 2 3)}.
978 \score { \notes \relative c'' {
979 #(set-time-signature 9 8 '(2 2 2 3))
980 g8 g d d g g a8-[-( bes g-]-) |
981 #(set-time-signature 5 8 '(3 2))
986 \translator { \StaffContext
987 \consists "Measure_grouping_engraver"
996 @cindex partial measure
997 @cindex measure, partial
998 @cindex shorten measures
999 @cindex @code{\partial}
1001 Partial measures, for example in upbeats, are entered using the
1002 @code{\partial} command:
1003 @lilypond[fragment,verbatim]
1004 \partial 4* 5/16 c'16 c4 f16 a'2. ~ a'8. a'16 | g'1
1007 The syntax for this command is
1009 \partial @var{duration}
1011 This is internally translated into
1013 \property Timing.measurePosition = -@var{length of duration}
1016 The property @code{measurePosition} contains a rational number
1017 indicating how much of the measure has passed at this point.
1020 @node Unmetered music
1021 @subsection Unmetered music
1023 Bar lines and bar numbers are calculated automatically. For unmetered
1024 music (e.g. cadenzas), this is not desirable. The commands
1025 @code{\cadenzaOn} and @code{\cadenzaOff} can be used to switch off the
1028 @lilypond[fragment,relative,singleline,verbatim]
1036 The property @code{Score.timing} can be used to switch off this
1041 @subsection Bar lines
1045 @cindex measure lines
1048 Bar lines are inserted automatically, but if you need a special type
1049 of barline, you can force one using the @code{\bar} command:
1050 @lilypond[fragment,verbatim] c4 \bar "|:" c4
1053 The following bar types are available
1054 @lilypond[fragment, relative, singleline, verbatim]
1066 You are encouraged to use @code{\repeat} for repetitions. See
1069 In scores with many staves, the barlines are automatically placed at
1070 top level, and they are connected between different staves of a
1071 @internalsref{StaffGroup}:
1072 @lilypond[fragment, verbatim]
1073 < \context StaffGroup <
1074 \context Staff = up { e'4 d'
1077 \context Staff = down { \clef bass c4 g e g } >
1078 \context Staff = pedal { \clef bass c2 c2 } >
1081 The objects that are created at @internalsref{Staff} level. The name is
1082 @internalsref{BarLine}.
1084 The command @code{\bar @var{bartype}} is a short cut for
1085 doing @code{\property Score.whichBar = @var{bartype}}
1086 Whenever @code{whichBar} is set to a string, a bar line of that type is
1087 created. @code{whichBar} is usually set automatically: at the start of
1088 a measure it is set to @code{defaultBarType}. The contents of
1089 @code{repeatCommands} is used to override default measure bars.
1091 @code{whichBar} can also be set directly, using @code{\property} or
1092 @code{\bar }. These settings take precedence over the automatic
1093 @code{whichBar} settings.
1096 @cindex Bar_line_engraver
1098 @cindex repeatCommands
1099 @cindex defaultBarType
1108 The easiest way to enter such fragments with more than one voice on a
1109 staff is to split chords using the separator @code{\\}. You can use
1110 it for small, short-lived voices (make a chord of voices) or for
1113 @lilypond[verbatim,fragment]
1114 \context Voice = VA \relative c'' {
1115 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f \\ d >
1119 The separator causes @internalsref{Voice} contexts to be instantiated,
1120 bearing the names @code{"1"}, @code{"2"}, etc.
1122 Sometimes, it is necessary to instantiate these contexts by hand: For
1123 Instantiate a separate Voice context for each part, and use
1124 @code{\voiceOne}, up to @code{\voiceFour} to assign a stem directions
1125 and horizontal shift for each part.
1128 @lilypond[singleline, verbatim]
1130 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1131 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1132 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1135 The identifiers @code{\voiceOne} to @code{\voiceFour} set directions
1136 ties, slurs and stems, and set shift directions.
1138 If you want more than four voices, you can also manually set
1139 horizontal shifts and stem directions, as is shown in the following example:
1140 @lilypond[fragment, verbatim]
1141 \context Staff \notes\relative c''<
1142 \context Voice=one {
1143 \shiftOff \stemUp e4
1145 \context Voice=two {
1146 \shiftOn \stemUp cis
1148 \context Voice=three {
1149 \shiftOnn \stemUp ais
1151 \context Voice=four {
1152 \shiftOnnn \stemUp fis
1158 Normally, note heads with a different number of dots are not merged, but
1159 if you set the object property @code{merge-differently-dotted}, they are:
1160 @lilypond[verbatim,fragment,singleline]
1163 \property Staff.NoteCollision \override
1164 #'merge-differently-dotted = ##t
1166 } \\ { [g'8. f16] [g'8. f'16] }
1170 Similarly, you can merge half note heads with eighth notes, by setting
1171 @code{merge-differently-headed}:
1172 @lilypond[fragment, relative=2,verbatim]
1175 \property Staff.NoteCollision
1176 \override #'merge-differently-headed = ##t
1177 c8 c4. } \\ { c2 c2 } >
1180 LilyPond also vertically shifts rests that are opposite of a stem.
1182 @lilypond[singleline,fragment,verbatim]
1183 \context Voice < c''4 \\ r4 >
1186 See also @internalsref{NoteCollision} and @internalsref{RestCollision}
1190 Resolving collisions is a very intricate subject, and LilyPond only
1191 handles a few situations. When it can not cope, you are advised to use
1192 @code{force-hshift} of the @internalsref{NoteColumn} object and pitched
1193 rests to override typesetting decisions.
1198 Beams are used to group short notes into chunks that are aligned with
1199 the metrum. They are inserted automatically in most cases.
1201 @lilypond[fragment,verbatim, relative=2]
1202 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1205 If you're not satisfied with the automatic beaming, you can enter the
1206 beams explicitly. If you have beaming patterns that differ from the
1207 defaults, you can also set the patterns for automatic beamer.
1209 See also @internalsref{Beam}.
1212 @cindex Automatic beams
1213 @subsection Manual beams
1214 @cindex beams, manual
1218 In some cases it may be necessary to override LilyPond's automatic
1219 beaming algorithm. For example, the auto beamer will not beam over
1220 rests or bar lines, If you want that, specify the begin and end point
1221 manually using a @code{[} before the first beamed note and a @code{]}
1222 after the last note:
1224 @lilypond[fragment,relative,verbatim]
1226 r4 [r8 g' a r8] r8 [g | a] r8
1230 @cindex @code{stemLeftBeamCount}
1232 Normally, beaming patterns within a beam are determined automatically.
1233 When this mechanism fouls up, the properties
1234 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1235 be used to control the beam subdivision on a stem. If you set either
1236 property, its value will be used only once, and then it is erased.
1238 @lilypond[fragment,relative,verbatim]
1241 [f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
1244 @cindex @code{stemRightBeamCount}
1247 The property @code{subdivideBeams} can be set in order to subdivide
1248 all 16th or shorter beams at beat positions. This accomplishes the
1249 same effect as twiddling with @code{stemLeftBeamCount} and
1250 @code{stemRightBeamCount}, but it take less typing.
1255 \property Voice.subdivideBeams = ##t
1257 [c32 c c c c c c c c c c c c c c c]
1258 \property Score.beatLength = #(ly:make-moment 1 8)
1259 [c32 c c c c c c c c c c c c c c c]
1261 @lilypond[noindent,noquote]
1263 \notes \relative c' {
1265 \property Voice.subdivideBeams = ##t
1267 [c32 c c c c c c c c c c c c c c c]
1268 \property Score.beatLength = #(ly:make-moment 1 8)
1269 [c32 c c c c c c c c c c c c c c c]
1273 @cindex subdivideBeams
1275 Kneed beams are inserted automatically, when a large gap between two
1276 adjacent beamed notes is detected. This behavior can be tuned through
1277 the object property @code{auto-knee-gap}.
1279 @cindex beams, kneed
1281 @cindex auto-knee-gap
1285 @c TODO -> why this ref? Document?
1286 @cindex @code{neutral-direction}
1290 Auto knee beams can not be used together with hara kiri staves.
1294 The Automatic beamer does not put @strong{unfinished} beams on the
1295 last notes of a score.
1297 Formatting of ties is a difficult subject. LilyPond often does not
1298 give optimal results.
1301 * Setting automatic beam behavior ::
1305 @no de Beam typography
1306 @sub section Beam typography
1308 One of the strong points of LilyPond is how beams are formatted. Beams
1309 are quantized, meaning that the left and right endpoints beams start
1310 exactly on staff lines. Without quantization, small wedges of white
1311 space appear between the beam and staff line, and this looks untidy.
1313 Beams are also slope-damped: melodies that go up or down should also
1314 have beams that go up or down, but the slope of the beams should be
1315 less than the slope of the notes themselves.
1317 Some beams should be horizontal. These are so-called concave beams.
1319 [TODO: some pictures.]
1322 @c . {Automatic beams}
1323 @node Setting automatic beam behavior
1324 @subsection Setting automatic beam behavior
1326 @cindex @code{autoBeamSettings}
1327 @cindex @code{(end * * * *)}
1328 @cindex @code{(begin * * * *)}
1329 @cindex automatic beams, tuning
1330 @cindex tuning automatic beaming
1332 In normal time signatures, automatic beams can start on any note but can
1333 only end in a few positions within the measure: beams can end on a beat,
1334 or at durations specified by the properties in
1335 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1336 are defined in @file{scm/auto-beam.scm}.
1338 The value of @code{autoBeamSettings} is changed using
1339 @code{\override} and unset using @code{\revert}:
1341 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1342 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1344 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1345 whether the rule applies to begin or end-points. The quantity
1346 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1347 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1348 signature (wildcards, `@code{* *}' may be entered to designate all time
1351 For example, if you want automatic beams to end on every quarter note,
1352 you can use the following:
1354 \property Voice.autoBeamSettings \override
1355 #'(end * * * *) = #(ly:make-moment 1 4)
1357 Since the duration of a quarter note is 1/4 of a whole note, it is
1358 entered as @code{(ly:make-moment 1 4)}.
1360 The same syntax can be used to specify beam starting points. In this
1361 example, automatic beams can only end on a dotted quarter note.
1363 \property Voice.autoBeamSettings \override
1364 #'(end * * * *) = #(ly:make-moment 3 8)
1366 In 4/4 time signature, this means that automatic beams could end only on
1367 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1368 3/8 has passed within the measure).
1370 You can also restrict rules to specific time signatures. A rule that
1371 should only be applied in @var{N}/@var{M} time signature is formed by
1372 replacing the second asterisks by @var{N} and @var{M}. For example, a
1373 rule for 6/8 time exclusively looks like
1375 \property Voice.autoBeamSettings \override
1376 #'(begin * * 6 8) = ...
1379 If you want a rule to apply to certain types of beams, you can use the
1380 first pair of asterisks. Beams are classified according to the shortest
1381 note they contain. For a beam ending rule that only applies to beams
1382 with 32nd notes (and no shorter notes), you would use @code{(end 1
1386 @c Automatic beams can not be put on the last note in a score.
1388 If a score ends while an automatic beam has not been ended and is still
1389 accepting notes, this last beam will not be typeset at all.
1391 @cindex automatic beam generation
1393 @cindex @code{Voice.autoBeaming}
1396 For melodies that have lyrics, you may want to switch off
1397 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1403 It is not possible to specify beaming parameters for beams with mixed
1404 durations, that differ from the beaming parameters of all separate
1405 durations, i.e., you'll have to specify manual beams to get:
1407 @lilypond[singleline,fragment,relative,noverbatim]
1408 \property Voice.autoBeamSettings
1409 \override #'(end * * * *) = #(ly:make-moment 3 8)
1410 \time 12/8 c'8 c c c16 c c c c c [c c c c] c8 c c4
1412 It is not possible to specify beaming parameters that act differently in
1413 different parts of a measure. This means that it is not possible to use
1414 automatic beaming in irregular meters such as @code{5/8}.
1417 @section Accidentals
1419 This section describes how to change the way that LilyPond automatically
1420 inserts accidentals before the running notes.
1423 * Using the predefined accidental macros::
1424 * Defining your own accidental typesettings::
1427 @node Using the predefined accidental macros
1428 @subsection Using the predefined accidental macros
1429 The constructs for describing the accidental typesetting rules are
1430 quite hairy, so non-experts should stick to the macros defined in
1431 @file{ly/property-init.ly}.
1432 @cindex @file{property-init.ly}
1434 The macros operate on the ``Current'' context (see @ref{Context properties}). This
1435 means that the macros shuold normally be invoked right after the
1436 creation of the context in which the accidental typesetting described
1437 by the macro is to take effect. I.e. if you want to use
1438 piano-accidentals in a pianostaff then you issue
1439 @code{\pianoAccidentals} first thing after the creation of the piano
1443 \notes \relative c'' <
1444 \context Staff = sa @{ cis4 d e2 @}
1445 \context GrandStaff <
1447 \context Staff = sb @{ cis4 d e2 @}
1448 \context Staff = sc @{ es2 c @}
1450 \context Staff = sd @{ es2 c @}
1454 @lilypond[singleline]
1456 \notes \relative c'' <
1457 \context Staff = sa { cis4 d e2 }
1458 \context GrandStaff <
1460 \context Staff = sb { cis4 d e2 }
1461 \context Staff = sc { es2 c }
1463 \context Staff = sd { es2 c }
1468 minimumVerticalExtent = #'(-4.0 . 4.0)
1476 @item \defaultAccidentals
1477 @cindex @code{\defaultAccidentals}
1478 This is the default typesetting behaviour. It should correspond
1479 to 18th century common practice: Accidentals are
1480 remembered to the end of the measure in which they occur and
1481 only on their own octave.
1483 @item \voiceAccidentals
1484 @cindex @code{\voiceAccidentals}
1485 The normal behaviour is to remember the accidentals on
1487 This macro, however, typesets accidentals individually for each
1489 Apart from that the rule is similar to
1490 @code{\defaultAccidentals}.
1492 Warning: This leads to some weird and often unwanted results
1493 because accidentals from one voice DO NOT get cancelled in other
1495 @lilypond[singleline,relative,fragment,verbatim]
1498 \context Voice=va { \voiceOne es g }
1499 \context Voice=vb { \voiceTwo c, e }
1502 Hence you should only use @code{\voiceAccidentals}
1503 if the voices are to be read solely by
1504 individual musicians. if the staff should be readable also
1505 by one musician/conductor then you should use
1506 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1509 @item \modernAccidentals
1510 @cindex @code{\modernAccidentals}
1511 This rule should correspond to the common practice in the 20th
1513 The rule is a bit more complex than @code{\defaultAccidentals}:
1514 You get all the same accidentals, but temporary
1515 accidentals also get cancelled in other octaves. Further more,
1516 in the same octave, they also get cancelled in the following measure:
1517 @lilypond[singleline,fragment,verbatim]
1519 cis' c'' cis'2 | c'' c'
1522 @item \modernCautionaries
1523 @cindex @code{\modernCautionaries}
1524 This rule is similar to @code{\modernAccidentals}, but the
1525 ``extra'' accidentals (the ones not typeset by
1526 @code{\defaultAccidentals}) are typeset as cautionary accidentals
1527 (i.e. in reduced size):
1528 @lilypond[singleline,fragment,verbatim]
1530 cis' c'' cis'2 | c'' c'
1533 @item \modernVoiceAccidentals
1534 @cindex @code{\modernVoiceAccidentals}
1535 Multivoice accidentals to be read both by musicians playing one voice
1536 and musicians playing all voices.
1538 Accidentals are typeset for each voice, but they ARE cancelled
1539 across voices in the same @internalsref{Staff}.
1541 @item \modernVoiceCautionaries
1542 @cindex @code{\modernVoiceCautionaries}
1543 The same as @code{\modernVoiceAccidentals}, but with the
1544 extra accidentals (the ones not typeset by
1545 @code{\voiceAccidentals}) typeset as cautionaries.
1546 Notice that even though all accidentals typeset by
1547 @code{\defaultAccidentals} ARE typeset by this macro then some
1548 of them are typeset as cautionaries.
1550 @item \pianoAccidentals
1551 @cindex @code{\pianoAccidentals}
1552 20th century practice for piano notation. Very similar to
1553 @code{\modernAccidentals} but accidentals also get cancelled
1554 across the staves in the same @internalsref{GrandStaff} or
1555 @internalsref{PianoStaff}.
1557 @item \pianoCautionaries
1558 @cindex @code{\pianoCautionaries}
1559 As @code{\pianoAccidentals} but with the extra accidentals
1560 typeset as cationaries.
1563 @cindex @code{\noResetKey}
1564 Same as @code{\defaultAccidentals} but with accidentals lasting
1565 ``forever'' and not only until the next measure:
1566 @lilypond[singleline,fragment,verbatim,relative]
1571 @item \forgetAccidentals
1572 @cindex @code{\forgetAccidentals}
1573 This is sort of the opposite of @code{\noResetKey}: Accidentals
1574 are not remembered at all - and hence all accidentals are
1575 typeset relative to the key signature, regardless of what was
1576 before in the music:
1577 @lilypond[singleline,fragment,verbatim,relative]
1579 \key d\major c4 c cis cis d d dis dis
1583 @node Defining your own accidental typesettings
1584 @subsection Defining your own accidental typesettings
1586 This section must be considered gurus-only, and hence it must be
1587 sufficient with a short description of the system and a reference to
1588 the internal documentation.
1590 The idea of the algorithm is to try several different rules and then
1591 use the rule that gives the highest number of accidentals.
1592 Each rule cosists of
1595 In which context is the rule applied. I.e. if context is
1596 @internalsref{Score} then all staves share accidentals, and if
1597 context is @internalsref{Staff} then all voices in the same
1598 staff share accidentals, but staves don't - like normally.
1600 Whether the accidental changes all octaves or only the current
1603 Over how many barlines the accidental lasts.
1604 If lazyness is @code{-1} then the accidental is forget
1605 immidiately, and if lazyness is @code{#t} then the accidental
1609 As described in the internal documentation of
1610 @reng{Accidental_engraver}, the properties @code{autoAccidentals} and
1611 @code{autoCautionaries} contain lists of rule descriptions. Notice
1612 that the contexts must be listed from in to out - that is
1613 @internalsref{Thread} before @internalsref{Voice},
1614 @internalsref{Voice} before @internalsref{Staff}, etc.
1615 see the macros in @file{ly/property-init.ly} for examples of how the
1620 Currently the simultaneous notes are considered to be entered in
1621 sequential mode. This means that in a chord the accidentals are
1622 typeset as if the notes in the chord happened one at a time - in the
1623 order in which they appear in the input file.
1625 Of course this is only a problem when you have simultainous notes
1626 which accidentals should depend on each other.
1627 Notice that the problem only occurs when using non-default accidentals
1628 - as the default accidentals only depend on other accidentals on the
1629 same staff and same pitch and hence cannot depend on other
1632 This example shows two examples of the same music giving different
1633 accidentals depending on the order in which the notes occur in the
1636 @lilypond[singleline,fragment,verbatim]
1637 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1638 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2 | <cis' c''> r | <c'' cis'> r |
1641 The only solution is to manually insert the problematic
1642 accidentals using @code{!} and @code{?}.
1644 @node Expressive marks
1645 @section Expressive marks
1660 A slur indicates that notes are to be played bound or @emph{legato}.
1661 They are entered using parentheses:
1662 @lilypond[fragment,verbatim,center]
1663 f'()g'()a' [a'8 b'(] a'4 g'2 )f'4
1666 See also @seeinternals{Slur}.
1668 Slurs avoid crossing stems, and are generally attached to note heads.
1669 However, in some situations with beams, slurs may be attached to stem
1670 ends. If you want to override this layout you can do this through the
1671 object property @code{attachment} of @internalsref{Slur} in
1672 @internalsref{Voice} context It's value is a pair of symbols, specifying
1673 the attachment type of the left and right end points.
1675 @lilypond[fragment,relative,verbatim]
1677 \property Voice.Stem \set #'length = #5.5
1679 \property Voice.Slur \set #'attachment = #'(stem . stem)
1683 If a slur would strike through a stem or beam, the slur will be moved
1684 away upward or downward. If this happens, attaching the slur to the
1685 stems might look better:
1687 @lilypond[fragment,relative,verbatim]
1690 \property Voice.Slur \set #'attachment = #'(stem . stem)
1695 Similarly, the curvature of a slur is adjusted to stay clear of note
1696 heads and stems. When that would increase the curvature too much, the
1697 slur is reverted to its default shape. The threshold for this
1698 decision is in @internalsref{Slur}'s object property @code{beautiful}.
1699 It is loosely related to the enclosed area between the slur and the
1700 notes. Usually, the default setting works well, but in some cases you
1701 may prefer a curved slur when LilyPond decides for a vertically moved
1702 one. You can indicate this preference by increasing the
1703 @code{beautiful} value:
1705 @lilyp ond[verbatim,singleline,relative]
1707 c16( a' f' a a f a, )c,
1708 c( a' f' a a f d, )c
1709 \property Voice.Slur \override #'beautiful = #5.0
1710 c( a' f' a a f d, )c
1716 Producing nice slurs is a difficult problem, and LilyPond currently
1717 uses a simple, empiric method to produce slurs. In some cases, the
1718 results of this method are ugly.
1721 This is reflected by the
1722 @code{beautiful} property, which it is an arbitrary parameter in the
1723 slur formatter. Useful values can only be determined by trial and
1727 @cindex Adjusting slurs
1729 @node Phrasing slurs
1730 @subsection Phrasing slurs
1732 @cindex phrasing slurs
1733 @cindex phrasing marks
1735 A phrasing slur (or phrasing mark) connects chords and is used to
1736 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1739 @lilypond[fragment,verbatim,center,relative]
1740 \time 6/4 c' \( d () e f () e \) d
1743 Typographically, the phrasing slur behaves almost exactly like a normal
1744 slur. See also @seeinternals{PhrasingSlur}. But although they behave
1745 similarily to normal slurs, phrasing slurs count as different objects.
1746 A @code{\slurUp} will have no effect on a phrasing slur; instead, you
1747 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1748 @code{\phrasingSlurBoth}.
1750 Note that the commands
1751 @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth} will only affect
1752 normal slurs and not phrasing slurs.
1755 @subsection Breath marks
1757 Breath marks are entered using @code{\breathe}. See also
1758 @seeinternals{BreathingSign}.
1760 @lilypond[fragment,relative]
1769 @cindex beats per minute
1770 @cindex metronome marking
1772 Metronome settings can be entered as follows:
1774 @cindex @code{\tempo}
1776 \tempo @var{duration} = @var{perminute}
1779 For example, @code{\tempo 4 = 76} requests output with 76 quarter notes
1784 The tempo setting is not printed, but is only used in the MIDI
1785 output. You can trick lily into producing a metronome mark,
1786 though. Details are in @ref{Text markup}.
1791 @subsection Text spanners
1792 @cindex Text spanners
1794 Some textual indications, e.g. rallentando or accelerando, often extend
1795 over many measures. This is indicated by following the text with a
1796 dotted line. You can create such texts using text spanners. The syntax
1802 LilyPond will respond by creating a @internalsref{TextSpanner} object (typically
1803 in @internalsref{Voice} context). The string to be printed, as well as the
1804 style is set through object properties.
1806 An application---or rather, a hack---is to fake octavation indications.
1807 @lilypond[fragment,relative,verbatim]
1808 \relative c' { a''' b c a
1809 \property Voice.TextSpanner \set #'type = #'dotted-line
1810 \property Voice.TextSpanner \set #'edge-height = #'(0 . 1.5)
1811 \property Voice.TextSpanner \set #'edge-text = #'("8va " . "")
1812 \property Staff.centralCPosition = #-13
1813 a\startTextSpan b c a \stopTextSpan }
1831 @subsection Articulations
1832 @cindex Articulations
1834 @cindex articulations
1838 A variety of symbols can appear above and below notes to indicate
1839 different characteristics of the performance. They are added to a note
1840 by adding a dash and the the character signifying the
1841 articulation. They are demonstrated here.
1842 @lilypond[singleline]
1844 \notes \context Voice {
1845 \property Voice.TextScript \set #'font-family = #'typewriter
1846 \property Voice.TextScript \set #'font-shape = #'upright
1852 c''4-^_"c-\\^{ }" s4
1858 The script is automatically placed, but if you need to force
1859 directions, you can use @code{_} to force them down, or @code{^} to
1861 @lilypond[fragment, verbatim]
1866 Other symbols can be added using the syntax
1867 @var{note}@code{-\}@var{name}. Again, they can be forced up or down
1868 using @code{^} and @code{_}.
1872 @cindex staccatissimo
1881 @cindex organ pedal marks
1890 @cindex prallmordent
1894 @cindex thumb marking
1901 \property Score.LyricText \override #'font-family =#'typewriter
1902 \property Score.LyricText \override #'font-shape = #'upright
1903 \context Staff \notes {
1904 c''-\accent c''-\marcato c''-\staccatissimo c''^\fermata
1905 c''-\stopped c''-\staccato c''-\tenuto c''-\portato
1907 c''-\downbow c''^\lheel c''-\rheel c''^\ltoe
1908 c''-\rtoe c''-\turn c''-\open c''-\flageolet
1909 c''-\reverseturn c''-\trill c''-\prall c''-\mordent
1910 c''-\prallprall c''-\prallmordent c''-\upprall c''-\downprall
1911 c''-\upmordent c''-\downmordent c''-\pralldown c''-\prallup
1912 c''-\lineprall c''-\thumb c''-\segno c''-\coda
1914 \context Lyrics \lyrics {
1915 accent__ marcato__ staccatissimo__ fermata
1916 stopped__ staccato__ tenuto__ portato
1918 downbow__ lheel__ rheel__ ltoe
1919 rtoe__ turn__ open__ flageolet
1920 reverseturn__ trill__ prall__ mordent
1921 prallprall__ prallmordent__ uprall__ downprall
1922 upmordent__ downmordent__ pralldown__ prallup__
1923 lineprall__ thumb__ segno__ coda
1936 Fingering instructions can also be entered in this shorthand. For
1937 finger changes, use markup texts:
1939 @lilypond[verbatim, singleline, fragment]
1940 c'4-1 c'4-2 c'4-3 c'4-4
1949 See also @seeinternals{Script} and @seeinternals{Fingering}.
1953 All of these note ornaments appear in the printed output but have no
1954 effect on the MIDI rendering of the music.
1956 Unfortunately, there is no support for adding fingering instructions or
1957 ornaments to individual note heads. Some hacks exist, though. See
1958 @file{input/test/script-horizontal.ly}.
1963 @subsection Text scripts
1964 @cindex Text scripts
1966 In addition, it is possible to place arbitrary strings of text or markup
1967 text (see @ref{Text markup}) above or below notes by using a string:
1970 By default, these indications do not influence the note spacing, but
1971 by using the command @code{\fatText}, the widths will be taken into
1974 @lilypond[fragment,singleline,verbatim] \relative c' {
1975 c4^"longtext" \fatText c4_"longlongtext" c4 }
1978 It is possible to use @TeX{} commands in the strings, but this should be
1979 avoided because it makes it impossible for LilyPond to compute the
1980 exact length of the string, which may lead to collisions. Also, @TeX{}
1981 commands won't work with direct PostScript output.
1982 @c (see @ref{PostScript output}).
1984 Text scripts are created in form of @internalsref{TextScript} objects, in
1985 @internalsref{Voice} context.
1987 @ref{Text markup} describes how to change the font or access
1988 special symbols in text scripts.
1993 @subsection Grace notes
1997 @cindex @code{\grace}
2001 Grace notes are ornaments that are written out
2002 @lilypond[relative=2,verbatim,ifragment] c4 \grace c16 c4 \grace {
2006 In normal notation, grace notes are supposed to take up no logical
2007 time in a measure. Such an idea is practical for normal notation, but
2008 is not strict enough to put it into a program. The model that LilyPond
2009 uses for grace notes internally is that all timing is done in two
2012 Every point in musical time consists of two rational numbers: one
2013 denotes the logical time, one denotes the grace timing. The above
2014 example is shown here with timing tuples.
2017 \score { \notes \relative c''{
2018 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
2019 [c16_"(2/4,-1/8)" d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
2021 \paper { linewidth = 8.\cm }
2025 The advantage of this approach is that you can use almost any lilypond
2026 construction together with grace notes, for example slurs and clef
2027 changes may appear halfway in between grace notes:
2029 @lilypond[relative=2,verbatim,fragment]
2030 c4 \grace { [ c16 c, \clef bass c, b(] } )c4
2033 The placement of these grace notes is synchronized between different
2034 staves, using this grace timing.
2036 @lilypond[relative=2,verbatim,fragment]
2037 < \context Staff = SA { e4 \grace { c16 d e f } e4 }
2038 \context Staff = SB { c4 \grace { g8 b } c4 } >
2042 Unbeamed eighth notes and shorter by default have a slash through the
2043 stem. This can be controlled with object property @code{stroke-style} of
2044 @internalsref{Stem}. The change in formatting is accomplished by
2045 inserting @code{\startGraceMusic} before handling the grace notes, and
2046 @code{\stopGraceMusic} after finishing the grace notes.
2047 You can add to these definitions to globally change grace note
2048 formatting. The standard definitions are in @file{ly/grace-init.ly}.
2050 [TODO discuss Scheme functionality.]
2053 Notice how the @code{\override} is carefully matched with a @code{\revert}.
2058 @lilypond[fragment,verbatim]
2059 \relative c'' \context Voice {
2060 \grace c8 c4 \grace { [c16 c16] } c4
2062 \property Voice.Stem \override #'stroke-style = #'()
2064 \property Voice.Stem \revert #'stroke-style
2071 If you want to end a note with a grace note, then the standard trick
2072 is to put the grace notes before a phantom ``space note'', e.g.
2073 @lilypond[fragment,verbatim, relative=2]
2076 { s2 \grace { [c16 d] } } >
2081 A @code{\grace} section has some default values, and LilyPond will
2082 use those default values unless you specify otherwise inside the
2083 @code{\grace} section. For example, if you specify \slurUp
2084 @emph{before} your @code{\grace} section, a slur which starts inside
2085 the @code{\grace} won't be forced up, even if the slur ends outside
2086 of the @code{\grace}. Note the difference between the first and
2087 second bars in this example:
2089 @lilypond[fragment,verbatim]
2090 \relative c'' \context Voice {
2109 Grace notes can not be used in the smallest size (@file{paper11.ly}).
2111 Grace note synchronization can also lead to surprises. Staff notation,
2112 such as key signatures, barlines, etc. are also synchronized. Take
2113 care when you mix staves with grace notes and staves without.
2115 @lilypond[relative=2,verbatim,fragment]
2116 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2117 \context Staff = SB { c4 \bar "|:" d4 } >
2120 Grace sections should only be used within sequential music
2121 expressions. Nesting, juxtaposing, or ending sequential music with a
2122 grace section is not supported, and might produce crashes or other
2127 @subsection Glissando
2130 @cindex @code{\glissando}
2132 A glissando line can be requested by attaching a @code{\glissando} to
2135 @lilypond[fragment,relative,verbatim]
2141 Printing of an additional text (such as @emph{gliss.}) must be done
2142 manually. See also @seeinternals{Glissando}.
2148 @subsection Dynamics
2161 @cindex @code{\ffff}
2171 Absolute dynamic marks are specified using an identifier after a
2172 note: @code{c4-\ff}. The available dynamic marks are: @code{\ppp},
2173 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2174 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2175 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
2177 @lilypond[verbatim,singleline,fragment,relative]
2178 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2184 @cindex @code{\decr}
2185 @cindex @code{\rced}
2191 A crescendo mark is started with @code{\cr} and terminated with
2192 @code{\rc} (the textual reverse of @code{cr}). A decrescendo mark is
2193 started with @code{\decr} and terminated with @code{\rced}. There are
2194 also shorthands for these marks. A crescendo can be started with
2195 @code{\<} and a decrescendo can be started with @code{\>}. Either one
2196 can be terminated with @code{\!}. Note that @code{\!} must go before
2197 the last note of the dynamic mark whereas @code{\rc} and @code{\rced} go
2198 after the last note. Because these marks are bound to notes, if you
2199 want several marks during one note, you have to use spacer notes.
2201 @lilypond[fragment,verbatim,center]
2202 c'' \< \! c'' d'' \decr e'' \rced
2203 < f''1 { s4 s4 \< \! s4 \> \! s4 } >
2206 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2207 is an example how to do it:
2209 @lilypond[fragment,relative=2,verbatim]
2210 c4 \cresc c4 \endcresc c4
2217 You can also supply your own texts:
2218 @lilypond[fragment,relative,verbatim]
2220 \property Voice.crescendoText = "cresc. poco"
2221 \property Voice.crescendoSpanner = #'dashed-line
2228 Dynamics are objects of @internalsref{DynamicText} and
2229 @internalsref{Hairpin}. Vertical positioning of these symbols is
2230 handled by the @internalsref{DynamicLineSpanner} object. If you want to
2231 adjust padding or vertical direction of the dynamics, you must set
2232 properties for the @internalsref{DynamicLineSpanner} object. Predefined
2233 identifiers to set the vertical direction are \dynamicUp and
2236 @cindex direction, of dynamics
2237 @cindex @code{\dynamicDown}
2238 @cindex @code{\dynamicUp}
2246 @cindex @code{\repeat}
2248 To specify repeats, use the @code{\repeat} keyword. Since repeats
2249 should work differently when played or printed, there are a few
2250 different variants of repeats.
2254 Repeated music is fully written (played) out. Useful for MIDI
2255 output, and entering repetitive music.
2258 This is the normal notation: Repeats are not written out, but
2259 alternative endings (voltas) are printed, left to right.
2262 Alternative endings are written stacked. This has limited use but may be
2263 used to typeset two lines of lyrics in songs with repeats, see
2264 @file{input/star-spangled-banner.ly}.
2270 Make beat or measure repeats. These look like percent signs.
2276 * Repeats and MIDI::
2277 * Manual repeat commands::
2279 * Tremolo subdivisions::
2284 @subsection Repeat syntax
2286 The syntax for repeats is
2289 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2292 If you have alternative endings, you may add
2293 @cindex @code{\alternative}
2295 \alternative @code{@{} @var{alternative1}
2297 @var{alternative3} @dots{} @code{@}}
2299 where each @var{alternative} is a music expression.
2301 Normal notation repeats are used like this:
2302 @lilypond[fragment,verbatim]
2304 \repeat volta 2 { c'4 d' e' f' }
2305 \repeat volta 2 { f' e' d' c' }
2308 With alternative endings:
2309 @lilypond[fragment,verbatim]
2311 \repeat volta 2 {c'4 d' e' f'}
2312 \alternative { {d'2 d'} {f' f} }
2315 Folded repeats look like this:
2318 @lilypond[fragment,verbatim]
2320 \repeat fold 2 {c'4 d' e' f'}
2321 \alternative { {d'2 d'} {f' f} }
2325 If you don't give enough alternatives for all of the repeats, then
2326 the first alternative is assumed to be repeated often enough to equal
2327 the specified number of repeats.
2329 @lilypond[fragment,verbatim]
2333 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2334 \alternative { { g4 g g } { a | a a a a | b2. } }
2339 @node Repeats and MIDI
2340 @subsection Repeats and MIDI
2342 @cindex expanding repeats
2344 For instructions on how to unfoldi repeats for MIDI output, see
2345 the example file @file{input/test/unfold-all-repeats.ly}.
2350 Notice that timing information is not remembered at the start of an
2351 alternative, so you have to reset timing information after a repeat,
2352 e.g. using a bar-check (See @ref{Bar check}), setting
2353 @code{Score.measurePosition} or entering @code{\partial}. Slurs or ties
2354 are also not repeated.
2356 It is possible to nest @code{\repeat}s, although this probably is only
2357 meaningful for unfolded repeats.
2359 Folded repeats offer little more over simultaneous music.
2361 @node Manual repeat commands
2362 @subsection Manual repeat commands
2364 @cindex @code{repeatCommands}
2366 The property @code{repeatCommands} can be used to control the layout of
2367 repeats. Its value is a Scheme list of repeat commands, where each repeat
2375 @item (volta . @var{text})
2376 Print a volta bracket saying @var{text}.
2378 Stop a running volta bracket
2381 @lilypond[verbatim, fragment]
2383 \property Score.repeatCommands = #'((volta "93") end-repeat)
2385 \property Score.repeatCommands = #'((volta #f))
2390 Repeats brackets are @internalsref{VoltaBracket} objects.
2392 @node Tremolo repeats
2393 @subsection Tremolo repeats
2394 @cindex tremolo beams
2396 To place tremolo marks between notes, use @code{\repeat} with tremolo
2398 @lilypond[verbatim,center,singleline]
2400 \context Voice \notes\relative c' {
2401 \repeat "tremolo" 8 { c16 d16 }
2402 \repeat "tremolo" 4 { c16 d16 }
2403 \repeat "tremolo" 2 { c16 d16 }
2404 \repeat "tremolo" 4 c16
2409 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos are
2410 @internalsref{StemTremolo}. The single stem tremolo @emph{must} be
2411 entered without @code{@{} and @code{@}}.
2415 Only powers of two and undotted notes are supported repeat counts.
2417 @node Tremolo subdivisions
2418 @subsection Tremolo subdivisions
2419 @cindex tremolo marks
2420 @cindex @code{tremoloFlags}
2422 Tremolo marks can be printed on a single note by adding
2423 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2424 A @var{length} value of 8 gives one line across the note stem. If the
2425 length is omitted, then then the last value (stored in
2426 @code{Voice.tremoloFlags}) is used.
2428 @lilypond[verbatim,fragment,center]
2429 c'2:8 c':32 | c': c': |
2435 Tremolos in this style do not carry over into the MIDI output.
2438 @node Measure repeats
2439 @subsection Measure repeats
2441 @cindex percent repeats
2442 @cindex measure repeats
2444 In the @code{percent} style, a note pattern can be repeated. It is
2445 printed once, and then the pattern is replaced with a special sign.
2446 Patterns of a one and two measures are replaced by percent-like signs,
2447 patterns that divide the measure length are replaced by slashes.
2449 @lilypond[verbatim,singleline]
2450 \context Voice { \repeat "percent" 4 { c'4 }
2451 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2455 The signs are represented by these objects: @internalsref{RepeatSlash} and
2456 @internalsref{PercentRepeat} and @internalsref{DoublePercentRepeat}.
2460 You can not nest percent repeats, e.g. by filling in the first measure
2461 with slashes, and repeating that measure with percents.
2463 @node Rhythmic music
2464 @section Rhythmic music
2466 Sometimes you might want to show only the rhythm of a melody. This can
2467 be done with the rhythmic staff. All pitches of notes on such a staff
2468 are squashed, and the staff itself looks has a single staff line:
2470 @lilypond[fragment,relative,verbatim]
2471 \context RhythmicStaff {
2473 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2478 * Percussion staves::
2481 @node Percussion staves
2482 @subsection Percussion staves
2485 To typeset more than one piece of percussion to be played by the same
2486 musician one typically uses a multiline staff where each staff
2487 position refers to a specific piece of percussion.
2489 LilyPond is shipped with a bunch of scheme functions which allows you
2490 to do this fairly easily.
2492 The system is based on the general midi drum-pitches.
2493 In order to use the drum pitches you include
2494 @file{ly/drumpitch-init.ly}. This file defines the pitches from the scheme
2495 variable @code{drum-pitch-names} - which definition can be read in
2496 @file{scm/drums.scm}. You see that each piece of percussion has a full
2497 name and an abbreviated name - and you may freely select whether to
2498 refer to the full name or the abbreviation in your music definition.
2500 To typeset the music on a staff you apply the scheme function
2501 @code{drums->paper} to the percussion music. This function takes a
2502 list of percussion instrument names, notehead scripts and staff
2503 positions (that is: pitches relative to the C-clef) and uses this to
2504 transform the input music by moving the pitch, changing the notehead
2505 and (optionally) adding a script:
2506 @lilypond[singleline,verbatim]
2507 \include "drumpitch-init.ly"
2508 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2509 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2511 \apply #(drums->paper 'drums) \context Staff <
2513 \context Voice = up { \voiceOne \up }
2514 \context Voice = down { \voiceTwo \down }
2519 In the above example the music was transformed using the list @code{'drums}.
2520 Currently the following lists are defined in @file{scm/drums.scm}:
2523 To typeset a typical drum kit on a five-line staff.
2526 \include "drumpitch-init.ly"
2527 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2528 bd sn ss tomh tommh tomml toml tomfh tomfl }
2529 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2530 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2533 \apply #(drums->paper 'drums) \context Staff <
2537 \context Lyrics \nam
2540 linewidth = 100.0\mm
2543 \remove Bar_engraver
2544 \remove Time_signature_engraver
2545 minimumVerticalExtent = #'(-4.0 . 5.0)
2549 \remove Stem_engraver
2555 Notice that the scheme supports six different toms.
2556 If you are using fewer toms then you simply select the toms that produce
2557 the desired result - i.e. to get toms on the three middle lines you
2558 use @code{tommh}, @code{tomml} and @code{tomfh}.
2560 Because the general midi contain no rimshots we use the sidestick for
2561 this purpose instead.
2563 To typeset timbales on a two line staff.
2564 @lilypond[singleline]
2565 \include "drumpitch-init.ly"
2566 nam = \lyrics { timh ssh timl ssl cb }
2567 mus = \notes { timh ssh timl ssl cb s16 }
2570 \apply #(drums->paper 'timbales) \context Staff <
2574 \context Lyrics \nam
2579 \remove Bar_engraver
2580 \remove Time_signature_engraver
2581 StaffSymbol \override #'line-count = #2
2582 StaffSymbol \override #'staff-space = #2
2583 minimumVerticalExtent = #'(-3.0 . 4.0)
2587 \remove Stem_engraver
2594 To typeset congas on a two line staff.
2595 @lilypond[singleline]
2596 \include "drumpitch-init.ly"
2597 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2598 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2601 \apply #(drums->paper 'congas) \context Staff <
2605 \context Lyrics \nam
2610 \remove Bar_engraver
2611 \remove Time_signature_engraver
2612 StaffSymbol \override #'line-count = #2
2613 StaffSymbol \override #'staff-space = #2
2614 minimumVerticalExtent = #'(-3.0 . 4.0)
2618 \remove Stem_engraver
2624 To typeset bongos on a two line staff.
2625 @lilypond[singleline]
2626 \include "drumpitch-init.ly"
2627 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2628 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2631 \apply #(drums->paper 'bongos) \context Staff <
2635 \context Lyrics \nam
2640 \remove Bar_engraver
2641 \remove Time_signature_engraver
2642 StaffSymbol \override #'line-count = #2
2643 StaffSymbol \override #'staff-space = #2
2644 minimumVerticalExtent = #'(-3.0 . 4.0)
2648 \remove Stem_engraver
2654 To typeset all kinds of simple percussion on one line staves.
2655 @lilypond[singleline]
2656 \include "drumpitch-init.ly"
2657 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2658 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2661 \apply #(drums->paper 'percussion) \context Staff <
2665 \context Lyrics \nam
2670 \remove Bar_engraver
2671 \remove Time_signature_engraver
2672 StaffSymbol \override #'line-count = #1
2673 minimumVerticalExtent = #'(-2.0 . 3.0)
2677 \remove Stem_engraver
2684 If you don't like any of the predefined lists you can define your own
2685 list at the top of your file:
2687 @lilypond[singleline, verbatim]
2689 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2690 (snare default #f ,(ly:make-pitch 0 1 0))
2691 (hihat cross #f ,(ly:make-pitch 0 5 0))
2692 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2693 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2695 \include "drumpitch-init.ly"
2696 up = \notes { hh8 hh hh hh hhp4 hhp }
2697 down = \notes { bd4 sn bd toml8 toml }
2699 \apply #(drums->paper 'mydrums) \context Staff <
2701 \context Voice = up { \voiceOne \up }
2702 \context Voice = down { \voiceTwo \down }
2707 To use a modified existing list instead of building your own from
2708 scratch you can append your modifications to the start of the existing
2712 #(define mydrums (append `(
2713 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2714 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2718 @c FIXME: Too many levels of headers when using subsubsections.
2719 @c Perhaps junk subsection ``Percussion staves''
2720 @subsubsection Percussion staves with normal staves
2721 When you include @file{drumpitch-init.ly} then the default pitches
2722 are overridden so that you after the inclusion cannot use the common
2723 dutch pitch names anymore. Hence you might wan't to reinclude
2724 @file{nederlands.ly} after the drum-pattern-definitions:
2725 @lilypond[singleline,verbatim]
2726 \include "drumpitch-init.ly"
2727 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2728 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2729 \include "nederlands.ly"
2730 bass = \notes \transpose c c,, { a4. e8 r e g e }
2733 \apply #(drums->paper 'drums) \context Staff = drums <
2735 \context Voice = up { \voiceOne \up }
2736 \context Voice = down { \voiceTwo \down }
2738 \context Staff = bass { \clef "F_8" \bass }
2743 @subsubsection Percussion midi output
2744 In order to produce correct midi output you need to produce two score
2745 blocks - one for the paper and one for the midi.
2746 To use the percussion channel you set the property @code{instrument}
2747 to @code{'drums}. Because the drum-pitches themself are similar to the
2748 general midi pitches all you have to do is to insert the voices with
2749 none of the scheme functions to get the correct midi output:
2753 \apply #(drums->paper 'mydrums) \context Staff <
2755 \context Voice = up @{ \voiceOne \up @}
2756 \context Voice = down @{ \voiceTwo \down @}
2762 \property Staff.instrument = #'drums
2771 This scheme is to be considered a temporary implementation. Even
2772 though the scheme will probably keep on working then the future might
2773 bring some other way of typesetting drums, and probably
2774 there will be made no great efforts in keeping things downwards
2779 @section Piano music
2781 Piano music is an odd type of notation. Piano staves are two normal
2782 staves coupled with a brace. The staves are largely independent, but
2783 sometimes voices can cross between the two staves. The
2784 @internalsref{PianoStaff} is especially built to handle this cross-staffing
2785 behavior. In this section we discuss the @internalsref{PianoStaff} and some
2786 other pianistic peculiarities.
2790 * Automatic staff changes::
2791 * Manual staff switches::
2794 * Voice follower lines::
2799 There is no support for putting chords across staves. You can get
2800 this result by increasing the length of the stem in the lower stave so
2801 it reaches the stem in the upper stave, or vice versa. An example is
2802 included with the distribution as @file{input/test/stem-cross-staff.ly}.
2804 @cindex cross staff stem
2805 @cindex stem, cross staff
2808 @c fixme: should have hyperlinks as well.
2813 @c . {Automatic staff changes}
2814 @node Automatic staff changes
2815 @subsection Automatic staff changes
2816 @cindex Automatic staff changes
2818 Voices can switch automatically between the top and the bottom
2819 staff. The syntax for this is
2821 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2823 The autochanger switches on basis of pitch (central C is the turning
2824 point), and it looks ahead skipping over rests to switch rests in
2825 advance. Here is a practical example:
2827 @lilypond[verbatim,singleline]
2828 \score { \notes \context PianoStaff <
2829 \context Staff = "up" {
2830 \autochange Staff \context Voice = VA < \relative c' {
2831 g4 a b c d r4 a g } > }
2832 \context Staff = "down" {
2837 Spacer rests are used to prevent the bottom staff from
2838 terminating too soon.
2841 @node Manual staff switches
2842 @subsection Manual staff switches
2844 @cindex manual staff switches
2845 @cindex staff switch, manual
2847 Voices can be switched between staves manually, using the following command:
2849 \translator Staff = @var{staffname} @var{music}
2851 The string @var{staffname} is the name of the staff. It switches the
2852 current voice from its current staff to the Staff called
2853 @var{staffname}. Typically @var{staffname} is @code{"up"} or
2861 Piano pedal instruction can be expressed using
2862 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
2863 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
2865 The symbols that are printed can be modified by setting
2866 @code{pedal@var{X}Strings}, where @var{X} is one of the pedal types:
2867 Sustain, Sostenuto or UnaCorda. Refer to the generated documentation of
2868 @rgrob{SustainPedal}, for example, for more information.
2870 Pedals can also be indicated by a sequence of brackets, by setting the
2871 @code{pedal-type} property of SustainPedal objects:
2873 @lilypond[fragment,verbatim]
2874 \property Staff.SustainPedal \override #'pedal-type = #'bracket
2875 c''4 \sustainDown d''4 e''4 a'4
2876 \sustainUp \sustainDown
2877 f'4 g'4 a'4 \sustainUp
2880 A third style of pedal notation is a mixture of text and brackets,
2881 obtained by setting @code{pedal-type} to @code{mixed}:
2883 @lilypond[fragment,verbatim]
2884 \property Staff.SustainPedal \override #'pedal-type = #'mixed
2885 c''4 \sustainDown d''4 e''4 c'4
2886 \sustainUp \sustainDown
2887 f'4 g'4 a'4 \sustainUp
2890 The default '*Ped' style for sustain and damper pedals corresponds to
2891 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
2892 for a sostenuto pedal:
2894 @lilypond[fragment,verbatim]
2895 c''4 \sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4 \sostenutoUp
2898 For fine-tuning of the appearance of a pedal bracket, the properties
2899 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
2900 @code{PianoPedalBracket} objects (see the detailed documentation of
2901 @rgrob{PianoPedalBracket}) can be modified. For example, the bracket
2902 may be extended to the end of the note head.
2904 @lilypond[fragment,verbatim]
2905 \property Staff.PianoPedalBracket \override
2906 #'shorten-pair = #'(0 . -1.0)
2907 c''4 \sostenutoDown d''4 e''4 c'4
2908 f'4 g'4 a'4 \sostenutoUp
2912 @subsection Arpeggio
2915 @cindex broken arpeggio
2916 @cindex @code{\arpeggio}
2918 You can specify an arpeggio sign on a chord by attaching an
2919 @code{\arpeggio} to a note of the chord.
2922 @lilypond[fragment,relative,verbatim]
2923 \context Voice <c\arpeggio e g c>
2926 When an arpeggio crosses staves in piano music, you attach an arpeggio
2927 to the chords in both staves, and set
2928 @code{PianoStaff.connectArpeggios}.
2930 @lilypond[fragment,relative,verbatim]
2931 \context PianoStaff <
2932 \property PianoStaff.connectArpeggios = ##t
2933 \context Voice = one { <c'\arpeggio e g c> }
2934 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2938 This command creates @internalsref{Arpeggio} objects. Cross staff arpeggios
2939 are @code{PianoStaff.Arpeggio}.
2941 To add an arrow head to explicitly specify the direction of the
2942 arpeggio, you should set the arpeggio object property
2943 @code{arpeggio-direction}.
2945 @lilypond[fragment,relative,verbatim]
2947 \property Voice.Arpeggio \set #'arpeggio-direction = #1
2949 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
2954 A square bracket on the left indicates that the player should not
2955 arpeggiate the chord. To draw these brackets, set the
2956 @code{molecule-callback} property of @code{Arpeggio} or
2957 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
2958 @code{\arpeggio} statements within the chords as before.
2960 @lilypond[fragment,relative,verbatim]
2961 \context PianoStaff <
2962 \property PianoStaff.connectArpeggios = ##t
2963 \property PianoStaff.Arpeggio \override
2964 #'molecule-callback = \arpeggioBracket
2965 \context Voice = one { <c'\arpeggio e g c> }
2966 \context Voice = other { \clef bass <c,,\arpeggio e g>}
2973 It is not possible to mix connected arpeggios and unconnected
2974 arpeggios in one PianoStaff at the same time.
2978 @node Voice follower lines
2979 @subsection Voice follower lines
2981 @cindex follow voice
2982 @cindex staff switching
2985 @cindex @code{followVoice}
2987 Whenever a voice switches to another staff a line connecting the notes
2988 can be printed automatically. This is enabled if the property
2989 @code{PianoStaff.followVoice} is set to true:
2991 @lilypond[fragment,relative,verbatim]
2992 \context PianoStaff <
2993 \property PianoStaff.followVoice = ##t
2994 \context Staff \context Voice {
2996 \translator Staff=two
2999 \context Staff=two {\clef bass \skip 1*2 }
3003 The associated object is @internalsref{VoiceFollower}.
3009 Tablature notation is used for notating music for plucked string
3010 instruments. It notates pitches not by using note heads, but by
3011 indicating on which string and fret a note must be played. LilyPond
3012 offers limited support for tablature.
3015 * Tablatures basic::
3016 * Non-guitar tablatures::
3017 * Tablature in addition to normal staff::
3020 @node Tablatures basic
3021 @subsection Tablatures basic
3022 @cindex Tablatures basic
3024 Tablature can be typeset with Lilypond by using the
3025 @internalsref{TabStaff} and @internalsref{TabVoice} contexts. As
3026 tablature is a recent feature in Lilypond, most of the guitar special
3027 effects such as bend are not yet supported.
3029 With the @internalsref{TabStaff}, the string number associated to a note
3030 is given as a backslash followed by the string number, e.g. @code{c4\3} for a C
3031 quarter on the third string. By default, string 1 is the highest one, and the
3032 tuning defaults to the standard guitar tuning (with 6 strings).
3034 @lilypond[fragment,verbatim]
3043 If you do not specify a string number then lilypond automatically selects one.
3044 The selection is controlled by the translator property @code{minimumFret}. -- LilyPond
3045 simply selects the first string that does not give a fret number less than
3046 @code{minimumFret}. Default is 0.
3048 Notice that LilyPond does not handle chords in any special way, and hence
3049 the automatic string selector may easily select the same string to two notes in a chord.
3052 e8 fis gis a b cis' dis' e'
3053 \property TabStaff.minimumFret = #8
3054 e8 fis gis a b cis' dis' e'
3056 @lilypond[noindent,noquote]
3059 e8 fis gis a b cis' dis' e'
3060 \property TabStaff.minimumFret = #8
3061 e8 fis gis a b cis' dis' e'
3064 \context StaffGroup <
3065 \context Staff { \clef "G_8" \frag }
3066 \context TabStaff { \frag }
3071 @node Non-guitar tablatures
3072 @subsection Non-guitar tablatures
3073 @cindex Non-guitar tablatures
3075 There are many ways to customize Lilypond tablatures.
3077 First you can change the number of strings, by setting the number of
3078 lines in the @internalsref{TabStaff} (the @code{line-count} property
3079 of TabStaff can only be changed using @code{\outputproperty}, for more
3080 information, see @ref{Tuning per object}. You can change the strings
3081 tuning. A string tuning is given as a Scheme list with one integer
3082 number for each string, the number being the pitch of an open string.
3084 (The numbers specified for stringTuning are the numbers of semitons
3085 to subtract --- or add --- starting the specified pitch by default
3086 middle C, in string order: thus the notes are e, a, d & g)
3088 @lilypond[fragment,verbatim]
3091 \outputproperty #(make-type-checker 'staff-symbol-interface)
3093 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3096 a,4 c' a e' e c' a e'
3102 Finally, it is possible to change the Scheme function to format the
3103 tablature note text. The default is @var{fret-number-tablature-format},
3104 which uses the fret number, but for some instruments that may not use
3105 this notation, just create your own tablature-format function. This
3106 function takes three argument: the string number, the string tuning and
3110 @node Tablature in addition to normal staff
3111 @subsection Tablature in addition to normal staff
3112 @cindex Tablature in addition to normal staff
3114 It is possible to typeset both tablature and a "normal" staff, as
3115 commonly done in many parts.
3117 A common trick for that is to put the notes in a variables, and to hide
3118 the fingering information (which correspond to the string number) for
3122 @c @lily pond[verbatim]
3129 \context StaffGroup <
3131 % Hide fingering number
3132 \property Staff.Fingering \override #'transparent = ##t
3137 \property Staff.Stem \override #'direction = #1
3151 LilyPond has support for both entering and printing chords.
3152 @lilypond[verbatim,singleline]
3153 twoWays = \notes \transpose c c' {
3163 < \context ChordNames \twoWays
3164 \context Voice \twoWays > }
3167 This example also shows that the chord printing routines do not try to
3168 be intelligent. If you enter @code{f bes d}, it does not interpret
3169 this as an inversion.
3171 As you can see chords really are a set of pitches. They are internally
3172 stored as simultaneous music expressions. This means you can enter
3173 chords by name and print them as notes, enter them as notes and print
3174 them as chord names, or (the most common case) enter them by name, and
3179 * Printing named chords::
3184 @subsection Chords mode
3187 Chord mode is a mode where you can input sets of pitches using common
3188 names. It is introduced by the keyword @code{\chords}. It is similar
3189 to note mode, but words are also looked up in a chord modifier table
3190 (containing @code{maj}, @code{dim}, etc). Dashes and carets are used
3191 to indicate chord additions and subtractions, so articulation scripts
3192 can not be entered in Chord mode.
3194 Throughout these examples, chords have been shifted around the staff
3195 using @code{\transpose}.
3197 @lilypond[fragment,verbatim]
3201 c:9 c:9-.5+.7+ c:3-.5-
3211 The second type of modifier that may appear after the @code{:} is a
3212 named modifier. Named modifiers are listed in the file
3213 @file{chord-modifiers.ly}. The available modifiers are @code{m} and
3214 @code{min} which lower the 3rd half a step, `@code{aug}' which
3215 raises the 5th, `@code{dim}' which lowers the 5th,
3216 `@code{maj}' which adds a raised 7th, and `@code{sus}'
3217 which replaces the 5th with a 4th.
3219 @lilypond[fragment,verbatim]
3222 c1:m c:min7 c:maj c:aug c:dim c:sus
3228 Chord subtractions are used to eliminate notes from a chord. The
3229 notes to be subtracted are listed after a @code{^} character,
3232 @lilypond[fragment,verbatim,center]
3241 Chord inversions can be specified by appending `@code{/}' and the name
3242 of a single note to a chord. In a chord inversion, the inverted note is
3243 transposed down until it is the lowest note in the chord. If the note
3244 is not in the chord, a warning will be printed.
3246 @lilypond[fragment,verbatim,center]
3256 Bass notes can be added by `@code{/+}' and
3257 the name of a single note to a chord. This has the effect of
3258 adding the specified note to the chord, lowered by an octave,
3259 so it becomes the lowest note in the chord.
3261 @lilypond[fragment,verbatim,center]
3270 The formal syntax for named chords is as follows:
3272 @var{tonic}[@var{duration}][@code{-}@var{modifiers}][@code{^}@var{subtractions}][@code{/}@var{inversion}][@code{/+}@var{bass}].
3275 @var{tonic} should be the tonic note of the chord, and @var{duration} is
3276 the chord duration in the usual notation. There are two kinds of
3277 modifiers. One type is formed by @emph{chord additions}. Additions are
3278 obtained by listing intervals separated by dots. An interval is written
3279 by its number with an optional @code{+} or @code{-} to indicate raising
3280 or lowering by half a step. Chord additions have two effects: they adds
3281 the specified interval and all lower odd numbered intervals to the
3282 chord, and they may lower or raise the specified interval.
3287 Implementation details are gory. For example @code{c:4} not only adds
3288 a fourth, but also removes the third.
3291 @c . {Printing named chords}
3292 @node Printing named chords
3293 @subsection Printing named chords
3295 @cindex printing chord names
3299 For displaying printed chord names, use the @internalsref{ChordNames} context.
3300 The chords may be entered either using the notation described above, or
3301 directly using simultaneous music.
3303 @lilypond[verbatim,singleline]
3305 \chords {a1 b c} <d f g> <e g b>
3309 \context ChordNames \scheme
3310 \context Staff \transpose c c' \scheme
3315 You can make the chord changes stand out by setting
3316 @code{ChordNames.chordChanges} to true. This will only display chord
3317 names when there's a change in the chords scheme and at the start of a
3322 c1:m c:m \break c:m c:m d
3326 \context ChordNames {
3327 \property ChordNames.chordChanges = ##t
3329 \context Staff \transpose c c' \scheme
3331 \paper{linewidth= 9.\cm}
3335 LilyPond examines chords specified as lists of notes to determine a name
3336 to give the chord. LilyPond will not try to identify chord inversions or
3337 an added bass note, which may result in strange chord names when chords
3338 are entered as a list of pitches:
3340 @lilypond[verbatim,center,singleline]
3349 \context ChordNames \scheme
3350 \context Staff \scheme
3356 By default, a chord name system proposed by Harald Banter (See
3357 @ref{Literature}) is used. The system is very regular and predictable.
3358 Typical American style chord names may be selected by setting the
3359 @code{style} property of the @code{ChordNames.ChordName} object to
3360 @code{'american}. Similarly @code{'jazz} selects Jazz chordnames.
3362 Routines that determine the names to be printed are written in Scheme,
3363 and may be customized by the user. The code can be found in
3364 @file{scm/chord-name.scm}. Here's an example showing the differences in
3368 @c maybe just junk verbatim option?
3369 @lilypond[verbatim,singleline,noquote]
3379 \context ChordNames = banter \scheme
3380 \context ChordNames = american {
3381 \property ChordNames.ChordName \override
3382 #'style = #'american \scheme }
3383 \context ChordNames = jazz {
3384 \property ChordNames.ChordName \override
3385 #'style = #'jazz \scheme }
3386 \context Staff \transpose c c' \scheme
3393 @section Writing parts
3395 Orchestral music involves some special notation, both in the full score,
3396 as in the individual parts. This section explains how to tackle common
3397 problems in orchestral music.
3404 * Instrument names::
3406 * Multi measure rests::
3407 * Automatic part combining::
3408 * Hara kiri staves::
3409 * Sound output for transposing instruments::
3412 @c . {Rehearsal marks}
3413 @node Rehearsal marks
3414 @subsection Rehearsal marks
3415 @cindex Rehearsal marks
3417 @cindex @code{\mark}
3419 To print a rehearsal mark, use the @code{\mark} command.
3420 @lilypond[fragment,verbatim]
3431 As you can see, the mark is incremented automatically if you use
3432 @code{\mark \default}. The value to use is stored in the property
3433 @code{rehearsalMark} is used and automatically incremented. The object
3434 is @internalsref{RehearsalMark} in @internalsref{Score} context. See
3435 @code{input/test/boxed-molecule.ly} if you need boxes around the
3438 The @code{\mark} command can also be used to put signs like coda,
3439 segno and fermatas on a barline. The trick is to use the text markup
3440 mechanism to access the fermata symbol.
3441 @lilypond[fragment,verbatim,relative=1]
3442 c1 \mark #'(music "scripts-ufermata")
3446 The problem is that marks that occur at a line break are typeset only
3447 at the beginning of the next line, opposite to what you want for the
3448 fermata. This can be corrected by the following property setting
3450 \property Score.RehearsalMark \override
3451 #'visibility-lambda = #begin-of-line-invisible
3457 @cindex barlines, putting symbols on
3461 @subsection Bar numbers
3465 @cindex measure numbers
3466 @cindex currentBarNumber
3468 Bar numbers are printed by default at the start of the line. The
3469 number itself is a property that can be set by modifying the
3470 @code{currentBarNumber} property, although that is usually not
3473 \property Score.currentBarNumber = #217
3476 To typeset Bar Numbers at regular intervals instead of at the beginning of each line,
3477 you need to change the grob property @code{break-visibility} as well as the translator
3478 property @code{barNumberVisibility}, as illustrated in the following example which also
3479 adds a box around the bar numbers:
3481 \property Score.BarNumber \override #'break-visibility =
3482 #end-of-line-invisible
3483 \property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
3484 \property Score.BarNumber \override #'molecule-callback =
3485 #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
3486 \property Score.BarNumber \override #'font-relative-size = #0
3488 @lilypond[noindent,noquote]
3490 \context Staff \notes \transpose c c'' {
3491 \property Score.BarNumber \override #'break-visibility = #end-of-line-invisible
3492 \property Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
3493 \property Score.BarNumber \override #'molecule-callback =
3494 #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
3495 \property Score.BarNumber \override #'font-relative-size = #0
3497 \repeat unfold 16 c1 \bar "|."
3502 See also @seeinternals{BarNumber}.
3506 Barnumbers can collide with the StaffGroup, if there is one at the
3507 top. To solve this, You have to twiddle with the
3508 @internalsref{padding} property of @internalsref{BarNumber} if your
3509 score starts with a @internalsref{StaffGroup}.
3511 @node Instrument names
3512 @subsection Instrument names
3514 In scores, the instrument name is printed before the staff. This can
3515 be done by setting @code{Staff.instrument} and
3516 @code{Staff.instr}. This will print a string before the start of the
3517 staff. For the first start, @code{instrument} is used, for the next
3518 ones @code{instr} is used.
3520 @lilypond[verbatim,singleline]
3521 \property Staff.instrument = "ploink " { c''4 }
3524 You can also use markup texts to construct more complicated instrument
3528 @lilypond[verbatim,singleline]
3530 '((font-relative-size . -2 ) (music "accidentals--1")))
3533 \property Staff.instrument = #`((kern . 0.5) (lines
3534 "2 Clarinetti" (columns " (B" ,text-flat ")")))
3542 When you put a name on a grand staff or piano staff the width of the
3543 brace is not taken into account. You must add extra spaces to the end of
3544 the name to avoid a collision.
3547 @subsection Transpose
3549 @cindex transposition of pitches
3550 @cindex @code{\transpose}
3552 A music expression can be transposed with @code{\transpose}. The syntax
3555 \transpose @var{from} @var{to} @var{musicexpr}
3558 This means that @var{musicexpr} is transposed to by the interval
3559 between @var{from} is @var{to}.
3561 @code{\transpose} distinguishes between enharmonic pitches: both
3562 @code{\transpose c cis} or @code{\transpose c des} will transpose up
3563 half a tone. The first version will print sharps and the second
3564 version will print flats.
3566 @lilypond[singleline, verbatim]
3567 mus =\notes { \key d \major cis d fis g }
3568 \score { \notes \context Staff {
3571 \transpose c g' \mus
3572 \transpose c f' \mus
3576 If you want to use both @code{\transpose} and @code{\relative}, then
3577 you must use @code{\transpose} first. @code{\relative} will have no
3578 effect music that appears inside a @code{\transpose}.
3580 @c . {Multi measure rests}
3581 @node Multi measure rests
3582 @subsection Multi measure rests
3583 @cindex Multi measure rests
3587 Multi measure rests are entered using `@code{R}'. It is specifically
3588 meant for full bar rests and for entering parts: the rest can expand to
3590 rests, or it can be printed as a single multimeasure rest This expansion
3591 is controlled by the property @code{Score.skipBars}. If this is set to true,
3592 Lily will not expand empty measures, and the appropriate number is added
3595 @lilypond[fragment,verbatim]
3596 \time 4/4 r1 | R1 | R1*2
3597 \property Score.skipBars = ##t R1*17 R1*4
3600 The @code{1} in @code{R1} is similar to the duration notation used for
3601 notes. Hence, for time signatures other than 4/4, you must enter other
3602 durations. This can be done with augmentation dots, or with
3605 @lilypond[fragment,verbatim]
3606 \property Score.skipBars = ##t
3613 Notice that a @code{R} spanning a single measure is printed as a whole
3614 rest centered in the measure, regardless of the time signature.
3616 [ add note about breves.]
3619 @cindex whole rests for a full measure
3621 The object for this object is @internalsref{MultiMeasureRest}.
3625 Currently, there is no way to automatically condense multiple rests
3626 into a single multimeasure rest. Multi measure rests do not take part
3627 in rest collisions. There is no way to put texts centered on
3628 multi-measure rests.
3630 @cindex condensing rests
3632 @node Automatic part combining
3633 @subsection Automatic part combining
3634 @cindex automatic part combining
3635 @cindex part combiner
3638 Automatic part combining is used to merge two parts of music onto a
3639 staff in an intelligent way. It is aimed primarily at typesetting
3640 orchestral scores. When the two parts are identical for a period of
3641 time, only one is shown. In places where the two parts differ, they
3642 are typeset as separate voices, and stem directions are set
3643 automatically. Also, solo and @emph{a due} parts can be identified
3646 The syntax for part combining is
3649 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
3651 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
3652 combined into one context of type @var{context}. The music expressions
3653 must be interpreted by contexts whose names should start with @code{one}
3656 The most useful function of the part combiner is to combine parts into
3657 one voice, as common for wind parts in orchestral scores:
3659 @lilypond[verbatim,singleline,fragment]
3661 \context Voice=one \partcombine Voice
3662 \context Thread=one \relative c'' {
3665 \context Thread=two \relative c'' {
3671 Notice that the first @code{g} appears only once, although it was
3672 specified twice (once in each part). Stem, slur and tie directions are
3673 set automatically, depending whether there is a solo or unisono. The
3674 first part (with context called @code{one}) always gets up stems, and
3675 `solo', while the second (called @code{two}) always gets down stems and
3678 If you just want the merging parts, and not the textual markings, you
3679 may set the property @var{soloADue} to false.
3681 @lilypond[verbatim,singleline,fragment]
3683 \property Staff.soloADue = ##f
3684 \context Voice=one \partcombine Voice
3685 \context Thread=one \relative c'' {
3688 \context Thread=two \relative c'' {
3694 There are a number of other properties that you can use to tweak the
3695 behavior of part combining, refer to the automatically generated
3696 documentation of @reng{Thread_devnull_engraver} and
3697 @reng{Voice_devnull_engraver}. Look at the documentation of the
3698 responsible engravers, @code{Thread_devnull_engraver},
3699 @code{Voice_devnull_engraver} and @code{A2_engraver}.
3703 In @code{soloADue} mode, when the two voices play the same notes on and
3704 off, the part combiner may typeset @code{a2} more than once in a
3707 @lilypond[fragment,singleline]
3709 \context Voice=one \partcombine Voice
3710 \context Thread=one \relative c'' {
3713 \context Thread=two \relative c'' {
3719 @cindex @code{Thread_devnull_engraver}
3720 @cindex @code{Voice_engraver}
3721 @cindex @code{A2_engraver}
3723 @node Hara kiri staves
3724 @subsection Hara kiri staves
3726 In orchestral scores, staff lines that only have rests are usually removed.
3727 This saves some space. LilyPond also supports this through the hara
3728 kiri@footnote{Hara kiri, also called Seppuku, is the ritual suicide of
3729 the Japanese Samourai warriors.} staff. This staff commits suicide when
3730 it finds itself to be empty after the line-breaking process. It will
3731 not disappear when it contains normal rests, you must use multi measure
3734 The hara kiri staff is specialized version of the @internalsref{Staff}
3735 context. It is available as the context identifier
3736 @code{\HaraKiriStaffContext}. Observe how the second staff in this
3737 example disappears in the second line.
3741 \notes \relative c' <
3742 \context Staff = SA { e4 f g a \break c1 }
3743 \context Staff = SB { c4 d e f \break R1 }
3747 \translator { \HaraKiriStaffContext }
3753 @node Sound output for transposing instruments
3754 @subsection Sound output for transposing instruments
3756 When you want to make a MIDI file from a score containing transposed
3757 and untransposed instruments, you have to instruct LilyPond the pitch
3758 offset (in semitones) for the transposed instruments. This is done
3759 using the @code{transposing} property. It does not affect printed
3762 @cindex @code{transposing}
3765 \property Staff.instrument = #"Cl. in B-flat"
3766 \property Staff.transposing = #-2
3772 @node Ancient notation
3773 @section Ancient notation
3775 @cindex Vaticana, Editio
3776 @cindex Medicaea, Editio
3782 * Ancient note heads::
3790 @node Ancient note heads
3791 @subsection Ancient note heads
3793 To get a longa note head, you have to use mensural note heads. This
3794 is accomplished by setting the @code{style} property of the
3795 NoteHead object to @code{mensural}. There is also a note head style
3796 @code{baroque} which gives mensural note heads for @code{\longa} and
3797 @code{\breve} but standard note heads for shorter notes.
3799 @lilypond[fragment,singleline,verbatim]
3800 \property Voice.NoteHead \set #'style = #'mensural
3805 @subsection Ancient clefs
3807 LilyPond supports a variety of clefs, many of them ancient.
3809 For modern clefs, see section @ref{Clef}. For the percussion clef, see
3810 section @ref{Percussion staves}. For the @code{TAB} clef, see section
3813 The following table shows all ancient clefs that are supported via the
3814 @code{\clef} command. Some of the clefs use the same glyph, but differ
3815 only with respect to the line they are printed on. In such cases, a
3816 trailing number in the name is used to enumerate these clefs. Still,
3817 you can manually force a clef glyph to be typeset on an arbitrary line,
3818 as described in section @ref{Clef}. The note printed to the right side
3819 of each clef denotes the @code{c'} with respect to the clef.
3823 @c --- This should go somewhere else: ---
3824 @c @item modern style G clef (glyph: @code{clefs-G})
3827 @c @code{treble}, @code{violin}, @code{G}, @code{G2}, @code{french}
3829 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "G" c'}
3831 @c @item modern style F clef (glyph: @code{clefs-F})
3834 @c @code{varbaritone}, @code{bass}, @code{F}, @code{subbass}
3836 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "F" c'}
3838 @c @item modern style C clef (glyph: @code{clefs-C})
3841 @c @code{soprano}, @code{mezzosoprano}, @code{alto}, @code{C},
3842 @c @code{tenor}, @code{baritone}
3844 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "C" c'}
3846 @item modern style mensural C clef (glyph: @code{clefs-neo_mensural_c'})
3849 @code{neo_mensural_c1}, @code{neo_mensural_c2},
3850 @code{neo_mensural_c3}, @code{neo_mensural_c4}
3852 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "neo_mensural_c2" c'}
3854 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c1})
3860 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c1" c'}
3862 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c2})
3868 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c2" c'}
3870 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c3})
3876 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c3" c'}
3878 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c4})
3884 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c4" c'}
3886 @item petrucci style mensural C clef (glyph: @code{clefs-petrucci_c5})
3892 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_c5" c'}
3894 @item petrucci style mensural F clef (glyph: @code{clefs-petrucci_f})
3899 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_f" c'}
3901 @item petrucci style mensural G clef (glyph: @code{clefs-petrucci_g})
3906 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "petrucci_g" c'}
3908 @item historic style mensural C clef (glyph: @code{clefs-mensural_c'})
3911 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
3914 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_c2" c'}
3916 @item historic style mensural F clef (glyph: @code{clefs-mensural_f})
3921 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_f" c'}
3923 @item historic style mensural G clef (glyph: @code{clefs-mensural_g})
3928 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "mensural_g" c'}
3930 @item Editio Vaticana style do clef (glyph: @code{clefs-vaticana_do})
3933 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3}
3935 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_do2" c'}
3937 @item Editio Vaticana style fa clef (glyph: @code{clefs-vaticana_fa})
3940 @code{vaticana_fa1}, @code{vaticana_fa2}
3942 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "vaticana_fa2" c'}
3944 @item Editio Medicaea style do clef (glyph: @code{clefs-medicaea_do})
3947 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3}
3949 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_do2" c'}
3951 @item Editio Medicaea style fa clef (glyph: @code{clefs-medicaea_fa})
3954 @code{medicaea_fa1}, @code{medicaea_fa2}
3956 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "medicaea_fa2" c'}
3958 @item historic style hufnagel do clef (glyph: @code{clefs-hufnagel_do})
3961 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3}
3963 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do2" c'}
3965 @item historic style hufnagel fa clef (glyph: @code{clefs-hufnagel_fa})
3968 @code{hufnagel_fa1}, @code{hufnagel_fa2}
3970 @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4 \property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_fa2" c'}
3972 @item historic style hufnagel combined do/fa clef (glyph: @code{clefs-hufnagel_do_fa})
3975 @code{hufnagel_do_fa}
3977 @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "hufnagel_do_fa" c'}
3979 @c --- This should go somewhere else: ---
3980 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
3983 @c @code{percussion}
3985 @c @lilypond[26pt]{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
3987 @c @item modern style tab clef (glyph: @code{clefs-tab})
3992 @c @lilypond[26pt]{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
3996 @emph{Modern style} means ``as is typeset in current editions of
3997 transcribed mensural music''.
3999 @emph{Petrucci style} means ``inspired by printings published by the
4000 famous engraver Petrucci (1466-1539)''.
4002 @emph{Historic style} means ``as was typeset or written in contemporary
4003 historic editions (other than those of Petrucci)''.
4005 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4007 Petrucci used C clefs with differently balanced left-side vertical
4008 beams, depending on which staffline it was printed.
4011 @subsection Custodes
4016 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4017 staff context symbol that appears at the end of a staff line. It
4018 anticipates the pitch of the first note(s) of the following line and
4019 thus helps the player or singer to manage line breaks during
4020 performance, thus enhancing readability of a score.
4022 @lilypond[verbatim,noquote]
4025 \property Staff.Custos \set #'style = #'mensural
4030 \consists Custos_engraver
4036 Custodes were frequently used in music notation until the 17th century.
4037 There were different appearances for different notation styles.
4038 Nowadays, they have survived only in special forms of musical notation
4039 such as via the @emph{editio vaticana} dating back to the beginning of
4042 For typesetting custodes, just put a @code{Custos_engraver} into the
4043 @internalsref{Staff} context when declaring the @code{\paper} block. In this
4044 block, you can also globally control the appearance of the custos symbol
4045 by setting the custos @code{style} property. Currently supported styles
4046 are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
4053 \consists Custos_engraver
4054 Custos \override #'style = #'mensural
4059 The property can also be set locally, for example in a @code{\notes}
4064 \property Staff.Custos \override #'style = #'vaticana
4065 c'1 d' e' d' \break c' d' e' d'
4070 @subsection Ligatures
4074 @c TODO: Should double check if I recalled things correctly when I wrote
4075 @c down the following paragraph by heart.
4076 In musical terminology, a ligature is a coherent graphical symbol that
4077 represents at least two different notes. Ligatures originally appeared
4078 in the manuscripts of Gregorian chant notation roughly since the 9th
4079 century as an allusion to the accent symbols of greek lyric poetry to
4080 denote ascending or descending sequences of notes. Both, the shape and
4081 the exact meaning of ligatures changed tremendously during the following
4082 centuries: In early notation, ligatures where used for monophonic tunes
4083 (Gregorian chant) and very soon denoted also the way of performance in
4084 the sense of articulation. With upcoming multiphony, the need for a
4085 metric system arised, since multiple voices of a piece have to be
4086 synchronized some way. New notation systems were invented, that used
4087 the manifold shapes of ligatures to now denote rhythmical patterns
4088 (e.g. black mensural notation, mannered notation, ars nova). With the
4089 invention of the metric system of the white mensural notation, the need
4090 for ligatures to denote such patterns disappeared. Nevertheless,
4091 ligatures were still in use in the mensural system for a couple of
4092 decades until they finally disappeared during the late 16th / early 17th
4093 century. Still, ligatures have survived in contemporary editions of
4094 Gregorian chant such as the Editio Vaticana from 1905/08.
4096 Syntactically, ligatures are simply enclosed by @code{\[} and @code{\]}.
4097 Some ligature styles (such as Editio Vaticana) may need additional input
4098 syntax specific for this particular type of ligature. By default, the
4099 @internalsref{LigatureBracket} engraver just marks the start and end of
4100 a ligature by small square angles:
4102 @lilypond[singleline,verbatim]
4104 \notes \transpose c c' {
4112 To select a specific style of ligatures, a proper ligature engraver has
4113 to be added to the @internalsref{Voice} context, as explained in the
4114 following subsections. Currently, Lilypond only supports white mensural
4115 ligatures with certain limitations. Support for Editio Vaticana will be
4116 added in the future.
4119 * White mensural ligatures::
4122 @node White mensural ligatures
4123 @subsubsection White mensural ligatures
4125 @cindex Mensural ligatures
4126 @cindex White mensural ligatures
4128 Lilypond has limited support for white mensural ligatures. The
4129 implementation is still experimental; it currently may output strange
4130 warnings or even crash in some cases or produce weird results on more
4131 complex ligatures. To engrave white mensural ligatures, in the paper
4132 block the @internalsref{MensuralLigature} engraver has to be put into
4133 the @internalsref{Voice} context (and you probably want to remove the
4134 @internalsref{LigatureBracket} engraver). There is no additional input
4135 language to describe the shape of a white mensural ligature. The shape
4136 is rather determined solely from the pitch and duration of the enclosed
4137 notes. While this approach may take a new user quite a while to get
4138 accustomed, it has a great advantage: this way, lily has full musical
4139 information about the ligature. This is not only required for correct
4140 MIDI output, but also allows for automatic transcription of the
4145 @lilypond[singleline,verbatim]
4147 \notes \transpose c c' {
4148 \property Score.timing = ##f
4149 \property Score.defaultBarType = "empty"
4150 \property Voice.NoteHead \set #'style = #'neo_mensural
4151 \property Staff.TimeSignature \set #'style = #'neo_mensural
4153 \[ g\longa c\breve a\breve f\breve d'\longa \]
4155 \[ e1 f1 a\breve g\longa \]
4160 \remove Ligature_bracket_engraver
4161 \consists Mensural_ligature_engraver
4167 Without replacing @code{Ligature_bracket_engraver} with
4168 @code{Mensural_ligature_engraver}, the same music transcribes to the
4171 @lilypond[singleline,verbatim]
4173 \notes \transpose c c' {
4174 \property Score.timing = ##f
4175 \property Score.defaultBarType = "empty"
4176 \property Voice.NoteHead \set #'style = #'neo_mensural
4177 \property Staff.TimeSignature \set #'style = #'neo_mensural
4179 \[ g\longa c\breve a\breve f\breve d'\longa \]
4181 \[ e1 f1 a\breve g\longa \]
4187 @subsection Figured bass
4189 @cindex Basso continuo
4191 LilyPond has limited support for figured bass:
4193 @lilypond[verbatim,fragment]
4195 \context FiguredBass
4200 \context Voice { c4 g8 }
4204 The support for figured bass consists of two parts: there is an input
4205 mode, introduced by @code{\figures}, where you can enter bass figures
4206 as numbers, and there is a context called @internalsref{FiguredBass}
4207 that takes care of making @internalsref{BassFigure} objects.
4209 In figures input mode, a group of bass figures is delimited by
4210 @code{<} and @code{>}. The duration is entered after the @code{>}.
4215 \context FiguredBass
4219 Accidentals are added to the numbers if you alterate them by
4220 appending @code{-}, @code{!} and @code{+}.
4226 \context FiguredBass
4227 \figures { <4- 6+ 7!> }
4230 Spaces or dashes may be inserted by using @code{_}. Brackets are
4231 introduced with @code{[} and @code{]}.
4237 \context FiguredBass
4238 \figures { < [4 6] 8 [_ 12]> }
4241 Although the support for figured bass may superficially resemble chord
4242 support, it works much simpler: in figured bass simply stores the
4243 numbers, and then prints the numbers you entered. There is no
4244 conversion to pitches, and no realizations of the bass are played in
4248 @c . {Tuning output}
4250 @section Tuning output
4252 LilyPond tries to take as much formatting as possible out of your
4253 hands. Nevertheless, there are situations where it needs some help, or
4254 where you want to override its decisions. In this section we discuss
4255 ways to do just that.
4257 Formatting is internally done by manipulating so called objects (graphic
4258 objects). Each object carries with it a set of properties (object
4259 properties) specific to that object. For example, a stem object has
4260 properties that specify its direction, length and thickness.
4262 The most direct way of tuning the output is by altering the values of
4263 these properties. There are two ways of doing that: first, you can
4264 temporarily change the definition of a certain type of object, thus
4265 affecting a whole set of objects. Second, you can select one specific
4266 object, and set a object property in that object.
4269 * Tuning groups of objects ::
4270 * Tuning per object ::
4275 @node Tuning groups of objects
4276 @subsection Tuning groups of objects
4278 @cindex object description
4280 A object definition is a Scheme association list, that is stored in a
4281 context property. By assigning to that property (using plain
4282 @code{\property}), you can change the resulting objects.
4284 @lilypond[verbatim, fragment]
4285 c'4 \property Voice.Stem = #'()
4288 The @code{\property} assignment effectively empties the definition of
4289 the Stem object. One of the effects is that the recipe of how it should be
4290 printed is erased, with the effect of rendering it invisible. The above
4291 assignment is available as a standard identifier, for the case that you
4295 \property Voice.Stem = \turnOff
4302 This mechanism is fairly crude, since you can only set, but not modify,
4303 the definition of a object. For this reason, there is a more advanced
4306 The definition of a object is actually a list of default object
4307 properties. For example, the definition of the Stem object (available in
4308 @file{scm/grob-description.scm}), defines the following values for
4313 (beamed-lengths . (0.0 2.5 2.0 1.5))
4314 (Y-extent-callback . ,Stem::height)
4318 You can add a property on top of the existing definition, or remove a
4319 property, thus overriding the system defaults:
4321 c'4 \property Voice.Stem \override #'thickness = #4.0
4322 c'4 \property Voice.Stem \revert #'thickness
4325 You should balance @code{\override} and @code{\revert}. If that's too
4326 much work, you can use the @code{\set} shorthand. It performs a revert
4327 followed by an override. The following example gives exactly the same
4328 result as the previous one.
4330 c'4 \property Voice.Stem \set #'thickness = #4.0
4331 c'4 \property Voice.Stem \set #'thickness = #0.8
4334 If you use @code{\set}, you must explicitly restore the default.
4337 Formally the syntax for these constructions is
4339 \property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
4340 \property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
4341 \property @var{context}.@var{grobname} \revert @var{symbol}
4343 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
4344 and @var{grobname} are strings and @var{value} is a Scheme expression.
4347 If you revert a setting which was not set in the first place, then it
4348 has no effect. However, if the setting was set as a system default, it
4349 may remove the default value, and this may give surprising results,
4350 including crashes. In other words, @code{\override} and @code{\revert},
4351 must be carefully balanced.
4353 These are examples of correct nesting of @code{\override}, @code{\set},
4356 A clumsy but correct form:
4358 \override \revert \override \revert \override \revert
4361 Shorter version of the same:
4363 \override \set \set \revert
4366 A short form, using only @code{\set}. This requires you to know the
4369 \set \set \set \set @var{to default value}
4372 If there is no default (i.e. by default, the object property is unset),
4375 \set \set \set \revert
4378 For the digirati, the object description is an Scheme association
4379 list. Since a Scheme list is a singly linked list, we can treat it as a
4380 stack, and @code{\override} and @code{\revert} are just push and pop
4381 operations. This pushing and popping is also used for overriding
4382 automatic beaming settings.
4386 LilyPond will hang or crash if @var{value} contains cyclic references.
4387 The backend is not very strict in type-checking object properties. If you
4388 @code{\revert} properties that are expected to be set by default,
4394 @node Tuning per object
4395 @subsection Tuning per object
4398 Tuning a single object is most often done with @code{\property}. The
4401 \once \property @dots{}
4404 applies a setting only during one moment in the score: notice how the
4405 original setting for stem thickness is restored automatically in the
4408 @lilypond[verbatim, fragment, relative=1]
4410 \once \property Voice.Stem \set #'thickness = #4
4416 @cindex \outputproperty
4418 A second way of tuning objects is the more arcane @code{\outputproperty}
4419 feature. The syntax is as follows:
4421 \outputproperty @var{predicate} @var{symbol} = @var{value}
4423 Here @code{predicate} is a Scheme function taking a object argument, and
4424 returning a boolean. This statement is processed by the
4425 @code{Output_property_engraver}. It instructs the engraver to feed all
4426 objects that it sees to @var{predicate}. Whenever the predicate returns
4427 true, the object property @var{symbol} will be set to @var{value}.
4429 This command is only single shot, in contrast to @code{\override} and
4432 You will need to combine this statement with @code{\context} to select
4433 the appropriate context to apply this to.
4435 In the following example, all note heads occurring at current staff
4436 level, are shifted up and right by setting their @code{extra-offset}
4439 @lilypond[fragment,verbatim,singleline]
4441 \context Staff \outputproperty
4442 #(make-type-checker 'note-head-interface)
4443 #'extra-offset = #'(0.5 . 0.75)
4447 @cindex @code{extra-offset}
4449 In this example, the predicate checks the @code{text} object property, to
4450 shift only the `m.d.' text, but not the fingering instruction "2".
4451 @lilypond[verbatim,singleline]
4452 #(define (make-text-checker text)
4453 (lambda (grob) (equal? text (ly:get-grob-property grob 'text))))
4456 \notes\relative c''' {
4457 \property Voice.Stem \set #'direction = #1
4458 \outputproperty #(make-text-checker "m.d.")
4459 #'extra-offset = #'(-3.5 . -4.5)
4467 If possible, avoid this feature: the semantics are not very clean, and
4468 the syntax and semantics are up for rewrite.
4473 @node Font selection
4474 @subsection Font selection
4476 The most common thing to change about the appearance of fonts is
4477 their size. The font size of a @internalsref{Voice},
4478 @internalsref{Staff} or @internalsref{Thread} context, can be easily
4479 changed by setting the @code{fontSize} property for that context:
4480 @lilypond[fragment,relative=1]
4481 c4 c4 \property Voice.fontSize = #-1
4484 This command will not change the size of variable symbols, such as
4485 beams or slurs. You can use this command to get smaller symbol for
4486 cue notes, but that involves some more subtleties. An elaborate
4487 example of those is in @file{input/test/cue-notes.ly}.
4495 The font used for printing a object can be selected by setting
4496 @code{font-name}, e.g.
4498 \property Staff.TimeSignature
4499 \set #'font-name = #"cmr17"
4501 You may use any font which is available to @TeX{}, such as foreign
4502 fonts or fonts that do not belong to the Computer Modern font family.
4503 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
4504 can also be adjusted with a more fine-grained mechanism. By setting
4505 the object properties described below, you can select a different font.
4506 All three mechanisms work for every object that supports
4507 @code{font-interface}.
4511 A symbol indicating the general class of the typeface. Supported are
4512 @code{roman} (Computer Modern), @code{braces} (for piano staff
4513 braces), @code{music} (the standard music font), @code{ancient} (the
4514 ancient notation font) @code{dynamic} (font for dynamic signs) and
4518 A symbol indicating the shape of the font, there are typically several
4519 font shapes available for each font family. Choices are @code{italic},
4520 @code{caps} and @code{upright}
4523 A symbol indicating the series of the font. There are typically several
4524 font series for each font family and shape. Choices are @code{medium}
4527 @item font-relative-size
4528 A number indicating the size relative the standard size. For example,
4529 with 20pt staff height, relative size -1 corresponds to 16pt staff
4530 height, and relative size +1 corresponds to 23 pt staff height.
4532 @item font-design-size
4533 A number indicating the design size of the font.
4535 This is a feature of the Computer Modern Font: each point size has a
4536 slightly different design. Smaller design sizes are relatively wider,
4537 which enhances readability.
4540 For any of these properties, the value @code{*} (i.e. the @emph{symbol},
4541 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
4542 to override default setting, which are always present. For example:
4544 \property Lyrics.LyricText \override #'font-series = #'bold
4545 \property Lyrics.LyricText \override #'font-family = #'typewriter
4546 \property Lyrics.LyricText \override #'font-shape = #'*
4549 @cindex @code{font-style}
4551 There are also pre-cooked font selection qualifiers. These are
4552 selected through the object property @code{font-style}. For example,
4553 the style @code{finger} selects family @code{number} and relative size
4554 @code{-3}. Styles available include @code{volta}, @code{finger},
4555 @code{tuplet}, @code{timesig}, @code{mmrest}, @code{script},
4556 @code{large}, @code{Large} and @code{dynamic}. The style sheets and
4557 tables for selecting fonts are located in @file{scm/font.scm}. Refer
4558 to this file for more information.
4560 @cindex magnification
4562 The size of the font may be scaled with the object property
4563 @code{font-magnification}. For example, @code{2.0} blows up all
4564 letters by a factor 2 in both directions.
4568 Relative size is not linked to any real size.
4570 There is no style sheet provided for other fonts besides the @TeX{}
4571 family, and the style sheet can not be modified easiyl.
4573 @cindex font selection
4574 @cindex font magnification
4575 @cindex @code{font-interface}
4579 @subsection Text markup
4583 LilyPond has an internal mechanism to typeset texts. You can
4584 form text markup expressions by composing scheme expressions
4585 in the following way.
4587 @lilypond[verbatim, singleline]
4592 c^#'(italic "italic")
4593 d_#'((bold italic) "ff")
4595 f_#'(lines "one" (bold "two"))
4596 g^#'(music "noteheads-2" ((raise . 2.4) "flags-u3"))
4600 Normally, the Scheme markup text is stored in the @code{text} property
4601 of a object. Formally, it is defined as follows:
4604 text: string | (head? text+)
4605 head: markup | (markup+)
4606 markup-item: property | abbrev
4607 property: (@var{key} . @var{value})
4608 abbrev: @code{columns lines roman music bold italic named super sub}
4609 @code{overstrike text finger volta timesig mmrest mark script}
4610 @code{large Large dynamic}
4613 The markup is broken down and converted into a list of object properties,
4614 which are prepended to the property list. The @var{key}-@var{value}
4615 pair is a object property. A list of properties available is included in
4616 the generated documentation for @internalsref{text-interface}.
4618 The following abbreviations are defined:
4621 horizontal mode: set all text on one line (default)
4623 vertical mode: set every text on a new line
4627 selects the Feta font (the standard font for music notation glyphs),
4628 and uses named lookup
4635 lookup by character name
4637 plain text lookup (by character value)
4643 the next text or character overstrikes this one
4645 select fingering number fontstyle
4647 select volta number fontstyle
4649 select time signature number fontstyle
4651 select multi measure rest number fontstyle
4653 select mark number fontstyle
4655 select scriptsize roman fontstyle
4657 select large roman fontstyle
4659 select Large roman fontstyle
4661 select dynamics fontstyle
4665 @cindex metronome mark
4667 One practical application of complicated markup is to fake a metronome
4671 #(define note '(columns
4672 (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
4673 #(define eight-note `(columns ,note ((kern . -0.1)
4674 (music ((raise . 3.5) "flags-u3")))))
4675 #(define dotted-eight-note
4676 `(columns ,eight-note (music "dots-dot")))
4679 \notes\relative c'' {
4680 a1^#`((columns (font-relative-size . -1))
4681 ,dotted-eight-note " = 64")
4687 TextScript \override #'font-shape = #'upright
4695 The syntax and semantics of markup texts are not clean, and both
4696 syntax and semantics are slated for a rewrite.
4698 LilyPond does not do kerning, and there generally spaces texts
4704 @section Global layout
4706 The global layout determined by three factors: the page layout, the
4707 line breaks and the spacing. These all influence each other: The
4708 choice of spacing determines how densely each system of music is set,
4709 where line breaks breaks are chosen, and thus ultimately how many
4710 pages a piece of music takes. In this section we will explain how the
4711 lilypond spacing engine works, and how you can tune its results.
4713 Globally spoken, this procedure happens in three steps: first,
4714 flexible distances (``springs'') are chosen, based on durations. All
4715 possible line breaking combination are tried, and the one with the
4716 best results---a layout that has uniform density and requires as
4717 little stretching or cramping as possible---is chosen. When the score
4718 is processed by @TeX{}, page are filled with systems, and page breaks
4719 are chosen whenever the page gets full.
4722 * Vertical spacing::
4723 * Horizontal spacing::
4730 @node Vertical spacing
4731 @subsection Vertical spacing
4733 @cindex vertical spacing
4734 @cindex distance between staves
4735 @cindex staff distance
4736 @cindex between staves, distance
4737 @cindex staffs per page
4740 The height of each system is determined automatically by lilypond, to
4741 keep systems from bumping into each other, some minimum distances are
4742 set. By changing these, you can put staves closer together, and thus
4743 put more systems onto one page.
4745 Normally staves are stacked vertically. To make
4746 staves maintain a distance, their vertical size is padded. This is
4747 done with the property @code{minimumVerticalExtent}. It takes a pair
4748 of numbers, so if you want to make it smaller from its, then you could
4751 \property Staff.minimumVerticalExtent = #'(-4 . 4)
4753 This sets the vertical size of the current staff to 4 staff-space on
4754 either side of the center staff line. The argument of
4755 @code{minimumVerticalExtent} is interpreted as an interval, where the
4756 center line is the 0, so the first number is generally negative. you
4757 could also make the staff larger at the bottom by setting it to
4758 @code{(-6 . 4)}. The default value is @code{(-6 . 6)}.
4760 Vertical aligment of staves is handled by the
4761 @internalsref{VerticalAlignment} object, which lives at
4762 @internalsref{Score} level.
4764 The piano staves are handled a little differently: to make cross-staff
4765 beaming work correctly, it necessary that the distance between staves
4766 is fixed. This is also done with a @internalsref{VerticalAlignment}
4767 object, created in @internalsref{PianoStaff}, but a forced distance is
4768 set. This is done with the object property #'forced-distance. If you
4769 want to override this, use a @code{\translator} block as follows:
4773 VerticalAlignment \override #'forced-distance = #9
4776 This would bring the staves together at a distance of 9 staff spaces,
4777 and again this is measured from the center line of each staff.
4781 @node Horizontal spacing
4782 @subsection Horizontal Spacing
4784 The spacing engine translates differences in durations into
4785 stretchable distances (``springs'') of differing lengths. Longer
4786 durations get more space, shorter durations get less. The basis for
4787 assigning spaces to durations, is that the shortest durations get a
4788 fixed amount of space, and the longer durations get more: doubling a
4789 duration adds a fixed amount of space to the note.
4791 For example, the following piece contains lots of half, quarter and
4792 8th notes, the eighth note is followed by 1 note head width. The The
4793 quarter note is followed by 2 NHW, the half by 3 NHW, etc.
4794 @lilypond[fragment, verbatim, relative=1]
4795 c2 c4. c8 c4. c8 c4. c8 c8 c8 c4 c4 c4
4798 These two amounts of space are @code{shortest-duration-space}
4799 @code{spacing-increment}, object properties of
4800 @internalsref{SpacingSpanner}. Normally @code{spacing-increment} is
4801 set to 1.2, which is the width of a note head, and
4802 @code{shortest-duration-space} is set to 2.0, meaning that the
4803 shortest note gets 2 noteheads of space. For normal notes, this space
4804 is always counted from the left edge of the symbol, so the short notes
4805 in a score is generally followed by one note head width of space.
4807 If one would follow the above procedure exactly, then adding a single
4808 32th note to a score that uses 8th and 16th notes, would widen up the
4809 entire score a lot. The shortest note is no longer a 16th, but a 64th,
4810 thus adding 2 noteheads of space to every note. To prevent this, the
4811 shortest duration for spacing is not the shortest note in the score,
4812 but the most commonly found shortest note. Notes that are even
4813 shorter this are followed by a space that is proportonial to their
4814 duration relative to the common shortest note. So if we were to add
4815 only a few 16th notes to the example above, they would be followed by
4818 @lilypond[fragment, verbatim, relative=1]
4819 c2 c4. c8 c4. [c16 c] c4. c8 c8 c8 c4 c4 c4
4822 The most common shortest duration is determined as follows: in every
4823 measure, the shortest duration is determined. The most common short
4824 duration, is taken as the basis for the spacing, with the stipulation
4825 that this shortest duration should always be equal to or shorter than
4826 1/8th note. The shortest duration is printed when you run lilypond
4827 with @code{--verbose}. These durations may also be customized. If you
4828 set the @code{common-shortest-duration} in
4829 @internalsref{SpacingSpanner}, then this sets the base duration for
4830 spacing. The maximum duration for this base (normally 1/8th), is set
4831 through @code{base-shortest-duration}.
4833 @cindex @code{common-shortest-duration}
4834 @cindex @code{base-shortest-duration}
4835 @cindex @code{stem-spacing-correction}
4836 @cindex @code{spacing}
4838 In the introduction it was explained that stem directions influence
4839 spacing. This is controlled with @code{stem-spacing-correction} in
4840 @internalsref{NoteSpacing}. The @code{StaffSpacing} object contains the
4841 same property for controlling the stem/barline spacing. In the
4842 following example shows these corrections, once with default settings,
4843 and once with exaggerated corrections.
4849 \property Staff.NoteSpacing \override #'stem-spacing-correction
4851 \property Staff.StaffSpacing \override #'stem-spacing-correction
4856 \paper { linewidth = -1. } }
4863 Spacing is determined on a score wide basis. If you have a score that
4864 changes its character (measured in durations) half way during the
4865 score, the part containing the longer durations will be spaced too
4868 Generating optically pleasing spacing is black magic. LilyPond tries
4869 to deal with a number of frequent cases. Here is an example that is
4870 not handled correctly, due to the combination of chord collisions and
4875 \context PianoStaff \notes \transpose c c'' <
4876 \context Staff = up { s1 }
4877 \context Staff = down { [c8 c \translator Staff=up <c d> c
4878 \translator Staff=down c c c] }
4880 \paper { linewidth = -1 }
4887 @subsection Font size
4888 @cindex font size, setting
4889 @cindex staff size, setting
4890 @cindex @code{paper} file
4892 The Feta font provides musical symbols at seven different sizes.
4893 These fonts are 11 point, 13 point, 16 point, 19 pt, 20 point, 23
4894 point, and 26 point. The point size of a font is the height of the
4895 five lines in a staff when displayed in the font.
4897 Definitions for these sizes are the files @file{paperSZ.ly}, where
4898 @code{SZ} is one of 11, 13, 16, 19, 20, 23 and 26. If you include any
4899 of these files, the identifiers @code{paperEleven},
4900 @code{paperThirteen}, @code{paperSixteen}, @code{paperNineteen},
4901 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
4902 are defined respectively. The default @code{\paper} block is also
4903 set. These files should be imported at toplevel, i.e.
4905 \include "paper26.ly"
4909 The font definitions are generated using a Scheme function. For more
4910 details, see the file @file{scm/font.scm}.
4915 @subsection Line breaking
4918 @cindex breaking lines
4920 Line breaks are normally computed automatically. They are chosen such
4921 that it looks neither cramped nor loose, and that consecutive lines have
4924 Occasionally you might want to override the automatic breaks; you can
4925 do this by specifying @code{\break}. This will force a line break at
4926 this point. Line breaks can only occur at places where there are bar
4927 lines. If you want to have a line break where there is no bar line,
4928 you can force an invisible bar line by entering @code{\bar
4929 ""}. Similarly, @code{\noBreak} forbids a line break at a certain
4933 @cindex regular line breaks
4934 @cindex four bar music.
4936 If you want linebreaks at regular intervals, you can use the following:
4938 < \repeat 7 unfold @{ s1 * 4 \break @}
4942 This makes the following 28 measures (assuming 4/4 time) be broken every
4946 @subsection Page layout
4949 @cindex breaking pages
4951 @cindex @code{indent}
4952 @cindex @code{linewidth}
4954 The most basic settings influencing the spacing are @code{indent} and
4955 @code{linewidth}. They are set in the @code{\paper} block. They
4956 control the indentation of the first line of music, and the lengths of
4957 the lines. If @code{linewidth} set to a negative value, a single
4958 unjustified line is produced. A similar effect for scores that are
4959 longer than one line, can be produced by setting @code{raggedright} to
4960 true in the @code{\paper} block.
4964 The page layout process happens outside lilypond. Ly2dvi sets page
4965 layout instructions. Ly2dvi responds to the following variables in the
4966 @code{\paper} block. The variable @code{textheight} sets the total
4967 height of the music on each page. The spacing between systems is
4968 controlled with @code{interscoreline}, its default is 16pt.
4969 The distance between the score lines will stretch in order to fill the
4970 full page @code{interscorelinefill} is set to a positive number. In
4971 that case @code{interscoreline} specifies the minimum spacing.
4973 @cindex @code{textheight}
4974 @cindex @code{interscoreline}
4975 @cindex @code{interscorelinefill}
4977 If the variable @code{lastpagefill} is defined (that is, it gets any
4978 value assigned in the @code{\paper} block), systems are evenly
4979 distributed vertically on the last page. This might produce ugly
4980 results in case there are not enough systems on the last page. Note
4981 that @command{lilypond-book} ignores @code{lastpagefill}. See
4982 @ref{Integrating text and music with lilypond-book} for
4985 @cindex @code{lastpagefill}
4987 Page breaks are normally computed by @TeX{}, so they are not under
4988 direct control of LilyPond. However, you can insert a commands into
4989 the @file{.tex} output to instruct @TeX{} where to break pages. You
4990 can insert a @code{\newpage} from within lilypond. This is done by
4991 setting the @code{between-systems-strings} on the
4992 @internalsref{NonMusicalPaperColumn} where the system is broken.
4996 @cindex @code{papersize}
4998 To change the paper size, you must first set the
4999 @code{papersize} paper variable variable. Set it to
5000 the strings @code{a4}, @code{letter}, or @code{legal}. After this
5001 specification, you must set the font as described above. If you want
5002 the default font, then use the 20 point font.
5005 \paper@{ papersize = "a4" @}
5006 \include "paper16.ly"
5009 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
5010 will set the paper variables @code{hsize} and @code{vsize} (used by
5011 Lilypond and @code{ly2dvi})
5021 LilyPond can produce MIDI output. The performance lacks lots of
5022 interesting effects, such as swing, articulation, slurring, etc., but it
5023 is good enough for proof-hearing the music you have entered. Ties,
5024 dynamics and tempo changes are interpreted.
5026 Dynamic marks, crescendi and decrescendi translate into MIDI volume
5027 levels. Dynamic marks translate to a fixed fraction of the available
5028 MIDI volume range, crescendi and decrescendi make the the volume vary
5029 linearly between their two extremities. The fractions be adjusted by
5030 overriding the @code{absolute-volume-alist} defined in
5031 @file{scm/midi.scm}.
5033 For each type of musical instrument (that MIDI supports), a volume range
5034 can be defined. This gives you basic equalizer control, which can
5035 enhance the quality of the MIDI output remarkably. You can add
5036 instruments and ranges or change the default settings by overriding the
5037 @code{instrument-equalizer-alist} defined in @file{scm/midi.scm}.
5039 Both loudness controls are combined to produce the final MIDI volume.
5043 * MIDI instrument names::
5048 @subsection MIDI block
5052 The MIDI block is analogous to the paper block, but it is somewhat
5053 simpler. The @code{\midi} block can contain:
5057 @item a @code{\tempo} definition
5058 @item context definitions
5061 Assignments in the @code{\midi} block are not allowed.
5065 @cindex context definition
5067 Context definitions follow precisely the same syntax as within the
5068 \paper block. Translation modules for sound are called performers.
5069 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
5072 @node MIDI instrument names
5073 @subsection MIDI instrument names
5075 @cindex instrument names
5076 @cindex @code{Staff.midiInstrument}
5077 @cindex @code{Staff.instrument}
5079 The MIDI instrument name is set by the @code{Staff.midiInstrument}
5080 property or, if that property is not set, the @code{Staff.instrument}
5081 property. The instrument name should be chosen from the list in
5082 @ref{MIDI instruments}.
5086 If the selected string does not exactly match, then LilyPond uses the
5087 default (Grand Piano). It is not possible to select an instrument by