1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users who are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
32 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements like notes, rests, and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
66 A note is printed by specifying its pitch and then its duration,
68 @lilypond[quote,verbatim,raggedright]
69 { cis'4 d'8 e'16 c'16 }
77 @cindex Note specification
79 @cindex entering notes
81 The most common syntax for pitch entry is used for standard notes and
82 @code{\chordmode} modes. In these modes, pitches may be designated by
83 names. The notes are specified by the letters @code{a} through
84 @code{g}. The octave is formed with notes ranging from @code{c}
85 to @code{b}. The pitch @code{c} is an octave below middle C and the
86 letters span the octave above that C
88 @lilypond[quote,fragment,verbatim]
90 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
93 @cindex note names, Dutch
95 A sharp is formed by adding @code{-is} to the end of a pitch name and
96 a flat is formed by adding @code{-es}. Double sharps and double flats
97 are obtained by adding @code{-isis} or @code{-eses}. These
98 names are the Dutch note names. In Dutch, @code{aes} is contracted to
99 @code{as}, but both forms are accepted. Similarly, both
100 @code{es} and @code{ees} are accepted
102 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
110 In accordance with standard typsetting rules, a natural sign is printed
111 before a sharp or flat if a previous accidental needs to be
112 cancelled. To change this behaviour, use
113 @code{\set Staff.extraNatural = ##f}
115 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
117 \set Staff.extraNatural = ##f
121 There are predefined sets of note names for various other languages.
122 To use them, include the language specific init file. For
123 example: @code{\include "english.ly"}. The available language files
124 and the note names they define are
129 Note Names sharp flat
130 nederlands.ly c d e f g a bes b -is -es
131 english.ly c d e f g a bf b -s/-sharp -f/-flat
133 deutsch.ly c d e f g a b h -is -es
134 norsk.ly c d e f g a b h -iss/-is -ess/-es
135 svenska.ly c d e f g a b h -iss -ess
136 italiano.ly do re mi fa sol la sib si -d -b
137 catalan.ly do re mi fa sol la sib si -d/-s -b
138 espanol.ly do re mi fa sol la sib si -s -b
146 The optional octave specification takes the form of a series of
147 single quote (`@code{'}') characters or a series of comma
148 (`@code{,}') characters. Each @code{'} raises the pitch by one
149 octave; each @code{,} lowers the pitch by an octave
151 @lilypond[quote,raggedright,fragment,verbatim]
152 c' c'' es' g' as' gisis' ais'
155 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
157 Notes can be hidden and unhidden with the following commands
159 @cindex @code{\hideNotes}
161 @cindex @code{\unHideNotes}
167 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
171 @node Chromatic alterations
172 @subsection Chromatic alterations
174 Normally accidentals are printed automatically, but you may also
175 print them manually. A reminder accidental
176 @cindex reminder accidental
178 can be forced by adding an exclamation mark @code{!}
179 after the pitch. A cautionary accidental
180 @cindex cautionary accidental
181 @cindex parenthesized accidental
182 (i.e., an accidental within parentheses) can be obtained by adding the
183 question mark `@code{?}' after the pitch.
185 @lilypond[quote,raggedright,fragment,verbatim]
186 cis' cis' cis'! cis'?
192 The automatic production of accidentals can be tuned in many
193 ways. For more information, refer to @ref{Automatic accidentals}.
198 @subsection Micro tones
200 Half-flats and half-sharps are formed by adding @code{-eh} and
201 @code{-ih}; the following is a series of Cs with increasing pitches
203 @cindex quarter tones
204 @cindex semi-flats, semi-sharps
206 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
207 { ceseh ceh cih cisih }
210 Micro tones are also exported to the MIDI file
215 There are no generally accepted standards for denoting three quarter
216 flats, so LilyPond's symbol does not conform to any standard.
221 A chord is formed by a enclosing a set of pitches in @code{<} and
222 @code{>}. A chord may be followed by a duration, and a set of
223 articulations, just like simple notes
225 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
237 Rests are entered like notes, with the note name @code{r}
239 @lilypond[fragment,quote,raggedright,verbatim]
243 Whole bar rests, centered in middle of the bar,
244 must be done with multi-measure rests. They are discussed in
245 @ref{Multi measure rests}.
248 A rest's vertical position may be explicitly specified by entering a
249 note with the @code{\rest} keyword appended, the rest will be placed at
250 the note's place. This makes manual formatting in polyphonic music
251 easier. Automatic rest collision formatting will leave these rests
254 @lilypond[fragment,quote,raggedright,verbatim]
260 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
267 @cindex Invisible rest
272 An invisible rest (also called a `skip') can be entered like a note
273 with note name `@code{s}' or with @code{\skip @var{duration}}
275 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
276 a4 a4 s4 a4 \skip 1 a4
279 The @code{s} syntax is only available in note mode and chord mode. In
280 other situations, for example, when entering lyrics, you should use
281 the @code{\skip} command
283 @lilypond[quote,raggedright,verbatim]
286 \new Lyrics \lyricmode { \skip 2 bla1 }
290 The skip command is merely an empty musical placeholder. It does not
291 produce any output, not even transparent output.
293 The @code{s} skip command does create @internalsref{Staff} and
294 @internalsref{Voice} when necessary, similar to note and rest
295 commands. For example, the following results in an empty staff.
297 @lilypond[quote,raggedright,verbatim]
301 The fragment @code{@{ \skip 4 @} } would produce an empty page.
305 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
310 @subsection Durations
314 @cindex @code{\longa}
315 @cindex @code{\breve}
316 @cindex @code{\maxima}
319 In Note, Chord, and Lyrics mode, durations are designated by numbers and
320 dots: durations are entered as their reciprocal values. For example, a
321 quarter note is entered using a @code{4} (since it is a 1/4 note), while
322 a half note is entered using a @code{2} (since it is a 1/2 note). For
323 notes longer than a whole you must use the variables @code{\longa} and
328 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
330 r1 r2 r4 r8 r16 r32 r64 r64
336 a\breve*1/2 \autoBeamOff
337 a1 a2 a4 a8 a16 a32 a64 a64
340 r\longa*1/4 r\breve *1/2
341 r1 r2 r4 r8 r16 r32 r64 r64
347 \remove "Clef_engraver"
348 \override StaffSymbol #'transparent = ##t
349 \override TimeSignature #'transparent = ##t
350 \override BarLine #'transparent = ##t
351 \consists "Pitch_squash_engraver"
357 If the duration is omitted then it is set to the previously entered
358 duration. The default for the first note is a quarter note.
360 @lilypond[quote,raggedright,verbatim,fragment]
361 { a a a2 a a4 a a1 a }
366 @node Augmentation dots
367 @subsection Augmentation dots
370 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
371 the number. Double-dotted notes are produced in a similar way.
373 @lilypond[quote,raggedright,fragment,verbatim]
374 a'4 b' c''4. b'8 a'4. b'4.. c''8.
379 Dots are normally moved up to avoid staff lines, except in polyphonic
380 situations. The following commands may be used to force a particular
383 @cindex @code{\dotsUp}
385 @cindex @code{\dotsDown}
387 @cindex @code{\dotsNeutral}
392 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
394 @node Scaling durations
395 @subsection Scaling durations
397 You can alter the length of duration by a fraction @var{N/M}
398 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
399 will not affect the appearance of the notes or rests produced.
401 In the following example, the first three notes take up exactly two
402 beats, but no triplet bracket is printed.
403 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
405 a4*2/3 gis4*2/3 a4*2/3
413 This manual: @ref{Tuplets}
416 @c TODO: I'm not certain that Stems belong here in the manual. -gp
420 Whenever a note is found, a @internalsref{Stem} object is created
421 automatically. For whole notes and rests, they are also created but
426 @cindex @code{\stemUp}
428 @cindex @code{\stemDown}
430 @cindex @code{\stemNeutral}
441 A tie connects two adjacent note heads of the same pitch. The tie in
442 effect extends the length of a note. Ties should not be confused with
443 slurs, which indicate articulation, or phrasing slurs, which indicate
444 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
446 @lilypond[quote,raggedright,fragment,verbatim]
447 e' ~ e' <c' e' g'> ~ <c' e' g'>
450 When a tie is applied to a chord, all note heads whose pitches match
451 are connected. When no note heads match, no ties will be created.
453 A tie is just a way of extending a note duration, similar to the
454 augmentation dot. The following example shows two ways of notating
455 exactly the same concept
457 @lilypond[quote,fragment,raggedright]
458 \time 3/4 c'2. c'2 ~ c'4
462 Ties are used either when the note crosses a bar line, or when dots
463 cannot be used to denote the rhythm. When using ties, larger note
464 values should be aligned to subdivisions of the measure, eg.
466 @lilypond[fragment,quote,raggedright]
468 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
472 If you need to tie a lot of notes over bars, it may be easier to use
473 automatic note splitting (see @ref{Automatic note splitting}). This
474 mechanism automatically splits long notes, and ties them across bar
480 @cindex @code{\tieUp}
482 @cindex @code{\tieDown}
484 @cindex @code{\tieNeutral}
486 @cindex @code{\tieDotted}
488 @cindex @code{\tieSolid}
493 In this manual: @ref{Automatic note splitting}.
495 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
500 Switching staves when a tie is active will not produce a slanted tie.
502 Formatting of ties is a difficult subject. The results are often not
510 @cindex @code{\times}
512 Tuplets are made out of a music expression by multiplying all durations
515 @cindex @code{\times}
517 \times @var{fraction} @var{musicexpr}
521 The duration of @var{musicexpr} will be multiplied by the fraction.
522 The fraction's denominator will be printed over the notes, optionally
523 with a bracket. The most common tuplet is the triplet in which 3
524 notes have the length of 2, so the notes are 2/3 of their written
527 @lilypond[quote,raggedright,fragment,verbatim]
528 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
531 The property @code{tupletSpannerDuration} specifies how long each
532 bracket should last. With this, you can make lots of tuplets while
533 typing @code{\times} only once, thus saving lots of typing. In the next
534 example, there are two triplets shown, while @code{\times} was only
537 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
538 \set tupletSpannerDuration = #(ly:make-moment 1 4)
539 \times 2/3 { c'8 c c c c c }
542 The format of the number is determined by the property
543 @code{tupletNumberFormatFunction}. The default prints only the
544 denominator, but if it is set to the Scheme function
545 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
549 @cindex @code{tupletNumberFormatFunction}
550 @cindex tuplet formatting
555 @cindex @code{\tupletUp}
557 @cindex @code{\tupletDown}
559 @cindex @code{\tupletNeutral}
560 @code{\tupletNeutral}.
564 User manual: @ref{Changing context properties on the fly} for the
568 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
570 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
574 Nested tuplets are not formatted automatically. In this case, outer
575 tuplet brackets should be moved manually, which is demonstrated in
576 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
580 @node Easier music entry
581 @section Easier music entry
584 This section deals with tricks and features of the input language that
585 were added solely to help entering music and finding and correcting
586 mistakes. There are also external tools that make debugging easier.
587 See @ref{Point and click} for more information.
589 It is also possible to enter and edit music using other programs, such as
590 GUI interfaces or MIDI sequencers. Refer to the LilyPond
591 website for more information.
598 * Skipping corrected music::
599 * Automatic note splitting::
605 @node Relative octaves
606 @subsection Relative octaves
608 @cindex relative octave specification
610 Octaves are specified by adding @code{'} and @code{,} to pitch names.
611 When you copy existing music, it is easy to accidentally put a pitch
612 in the wrong octave and hard to find such an error. The relative
613 octave mode prevents these errors by making the mistakes much
614 larger: a single error puts the rest of the piece off by one octave
616 @cindex @code{\relative}
618 \relative @var{startpitch} @var{musicexpr}
625 \relative @var{musicexpr}
628 The octave of notes that appear in @var{musicexpr} are calculated as
629 follows: if no octave changing marks are used, the basic interval
630 between this and the last note is always taken to be a fourth or
631 less. This distance is determined without regarding alterations; a
632 @code{fisis} following a @code{ceses} will be put above the
633 @code{ceses}. In other words, a doubly-augmented fourth is considered
634 a smaller interval than a diminshed fifth, even though the fourth is
635 seven semitones while the fifth is only six semitones.
637 The octave changing marks @code{'} and @code{,} can be added to raise
638 or lower the pitch by an extra octave. Upon entering relative mode,
639 an absolute starting pitch can be specified that will act as the
640 predecessor of the first note of @var{musicexpr}. If no starting pitch
641 is specified, then middle C is used as a start.
643 Here is the relative mode shown in action
644 @lilypond[quote,fragment,raggedright,verbatim]
650 Octave changing marks are used for intervals greater than a fourth
651 @lilypond[quote,raggedright,fragment,verbatim]
657 If the preceding item is a chord, the first note of the chord is used
658 to determine the first note of the next chord
660 @lilypond[quote,raggedright,fragment,verbatim]
668 The pitch after the @code{\relative} contains a note name.
671 The relative conversion will not affect @code{\transpose},
672 @code{\chordmode} or @code{\relative} sections in its argument. To use
673 relative within transposed music, an additional @code{\relative} must
674 be placed inside @code{\transpose}.
677 @subsection Octave check
680 Octave checks make octave errors easier to correct: a note may be
681 followed by @code{=}@var{quotes} which indicates what its absolute
682 octave should be. In the following example,
684 \relative c'' @{ c='' b=' d,='' @}
688 @c take care with @code, adds confusing quotes.
689 the @code{d} will generate a warning, because a @code{d''} is expected
690 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
691 found. In the output, the octave is corrected to be a @code{d''} and
692 the next note is calculated relative to @code{d''} instead of @code{d'}.
696 There is also a syntax that is separate from the notes. The syntax
702 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
703 quotes) in \relative mode. If not, a warning is printed, and the
706 In the example below, the first check passes without incident, since
707 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
708 the second check produces a warning, since the @code{e} is not within
709 a fifth of @code{b'}. The warning message is printed, and the octave
710 is adjusted so that the following notes are in the correct octave
722 The octave of a note following an octave check is determined with
723 respect to the note preceding it. In the next fragment, the last note
724 is a @code{a'}, above middle C. That means that the @code{\octave}
725 check passes successfully, so the check could be deleted without changing
726 the output of the piece.
728 @lilypond[quote,raggedright,verbatim,fragment]
737 @subsection Bar check
741 @cindex @code{barCheckSynchronize}
744 Bar checks help detect errors in the durations. A bar check is
745 entered using the bar symbol, `@code{|}'. Whenever it is encountered
746 during interpretation, it should fall on a measure boundary. If it
747 does not, a warning is printed. In the next example, the second bar
748 check will signal an error
750 \time 3/4 c2 e4 | g2 |
753 Bar checks can also be used in lyrics, for example
758 Twin -- kle | Twin -- kle
763 @cindex @code{skipTypesetting}
765 Failed bar checks are caused by entering incorrect
766 durations. Incorrect durations often completely garble up the score,
767 especially if the score is polyphonic, so a good place to start correcting
768 input is by scanning for failed bar checks and incorrect durations. To
769 speed up this process, the @code{skipTypesetting} feature may be
770 used. It is described in the next section.
773 @cindex @code{pipeSymbol}
775 It is also possible to redefine the meaning of @code{|}. This is done
776 by assigning a music expression to @code{pipeSymbol},
778 @lilypond[quote,raggedright,verbatim]
779 pipeSymbol = \bar "||"
785 @node Skipping corrected music
786 @subsection Skipping corrected music
788 The property @code{Score.skipTypesetting} can be used to switch on and
789 off typesetting completely during the interpretation phase. When
790 typesetting is switched off, the music is processed much more
791 quickly. This can be used to skip over the parts of a score that
792 have already been checked for errors
794 @lilypond[quote,fragment,raggedright,verbatim]
797 \set Score.skipTypesetting = ##t
799 \set Score.skipTypesetting = ##f
803 In polyphonic music, @code{Score.skipTypesetting} will affect all
804 voices and staves, saving even more time.
806 @node Automatic note splitting
807 @subsection Automatic note splitting
809 Long notes can be converted automatically to tied notes. This is done
810 by replacing the @internalsref{Note_heads_engraver} by the
811 @internalsref{Completion_heads_engraver}.
812 In the following examples, notes crossing the bar line are split and tied.
815 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
817 \remove "Note_heads_engraver"
818 \consists "Completion_heads_engraver"
820 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
824 This engraver splits all running notes at the bar line, and inserts
825 ties. One of its uses is to debug complex scores: if the measures are
826 not entirely filled, then the ties exactly show how much each measure
831 Not all durations (especially those containing tuplets) can be
832 represented exactly with normal notes and dots, but the engraver will
837 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
841 Program reference: @internalsref{Completion_heads_engraver}.
845 @section Staff notation
847 This section describes music notation that occurs on staff level,
848 such as key signatures, clefs and time signatures.
850 @cindex Staff notation
861 * Time administration::
862 * Controlling formatting of prefatory matter::
866 @subsection Staff symbol
868 @cindex adjusting staff symbol
870 Notes, dynamic signs, etc., are grouped
871 with a set of horizontal lines, into a staff (plural `staves'). In our
872 system, these lines are drawn using a separate layout object called
876 @cindex staff lines, setting number of
877 @cindex staff lines, setting thickness of
878 @cindex thickness of staff lines, setting
879 @cindex number of staff lines, setting
883 Program reference: @internalsref{StaffSymbol}.
885 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
886 @inputfileref{input/@/test,staff@/-size@/.ly}.
890 If a staff is ended halfway a piece, the staff symbol may not end
891 exactly on the bar line.
895 @subsection Key signature
896 @cindex Key signature
900 The key signature indicates the tonality in which a piece is played. It
901 is denoted by a set of alterations (flats or sharps) at the start of the
905 Setting or changing the key signature is done with the @code{\key}
908 @code{\key} @var{pitch} @var{type}
911 @cindex @code{\minor}
912 @cindex @code{\major}
913 @cindex @code{\minor}
914 @cindex @code{\ionian}
915 @cindex @code{\locrian}
916 @cindex @code{\aeolian}
917 @cindex @code{\mixolydian}
918 @cindex @code{\lydian}
919 @cindex @code{\phrygian}
920 @cindex @code{\dorian}
922 Here, @var{type} should be @code{\major} or @code{\minor} to get
923 @var{pitch}-major or @var{pitch}-minor, respectively.
924 The standard mode names @code{\ionian},
925 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
926 @code{\phrygian}, and @code{\dorian} are also defined.
928 This command sets the context property
929 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
930 can be specified by setting this property directly.
932 A natural sign is printed to cancel any previous accidentals. This
933 can be suppressed by setting the @code{Staff.printKeyCancellation}
936 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
942 \set Staff.printKeyCancellation = ##f
950 Accidentals and key signatures often confuse new users, because
951 unaltered notes get natural signs depending on the key signature. For
952 more information, see @ref{More about pitches}.
956 Program reference: @internalsref{KeyChangeEvent},
957 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
959 @cindex @code{keySignature}
966 The clef indicates which lines of the staff correspond to which
970 The clef can be set with the @code{\clef} command
971 @lilypond[quote,raggedright,fragment,verbatim]
972 { c''2 \clef alto g'2 }
975 Supported clef-names include
976 @c Moved standard clefs to the top /MB
980 @item treble, violin, G, G2
993 G clef on 1st line, so-called French violin clef
998 @cindex mezzosoprano clef
1001 @cindex baritone clef
1004 @cindex varbaritone clef
1007 @cindex subbass clef
1015 By adding @code{_8} or @code{^8} to the clef name, the clef is
1016 transposed one octave down or up, respectively, and @code{_15} and
1017 @code{^15} transposes by two octaves. The argument @var{clefname}
1018 must be enclosed in quotes when it contains underscores or digits. For
1022 @cindex choral tenor clef
1023 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
1027 This command is equivalent to setting @code{clefGlyph},
1028 @code{clefPosition} (which controls the Y position of the clef),
1029 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1030 when any of these properties are changed. The following example shows
1031 possibilities when setting properties manually.
1034 should to be fixed very quickly -gp
1036 @lilypond[quote,raggedright,verbatim]
1038 \set Staff.clefGlyph = #"clefs.F"
1039 \set Staff.clefPosition = #2
1041 \set Staff.clefGlyph = #"clefs.G"
1043 \set Staff.clefGlyph = #"clefs.C"
1045 \set Staff.clefOctavation = #7
1047 \set Staff.clefOctavation = #0
1048 \set Staff.clefPosition = #0
1052 \set Staff.middleCPosition = #4
1061 Program reference: @internalsref{Clef}.
1065 @node Ottava brackets
1066 @subsection Ottava brackets
1068 `Ottava' brackets introduce an extra transposition of an octave for
1069 the staff. They are created by invoking the function
1070 @code{set-octavation}
1076 @lilypond[quote,raggedright,verbatim,fragment]
1086 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1087 (for 15ma) as arguments. Internally the function sets the properties
1088 @code{ottavation} (e.g., to @code{"8va"}) and
1089 @code{centralCPosition}. For overriding the text of the bracket, set
1090 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1092 @lilypond[quote,raggedright,verbatim]
1095 \set Staff.ottavation = #"8"
1102 Program reference: @internalsref{OttavaBracket}.
1104 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1105 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1109 @code{set-octavation} will get confused when clef changes happen
1110 during an octavation bracket.
1115 @node Time signature
1116 @subsection Time signature
1117 @cindex Time signature
1119 @cindex @code{\time}
1121 Time signature indicates the metrum of a piece: a regular pattern of
1122 strong and weak beats. It is denoted by a fraction at the start of the
1126 The time signature is set or changed by the @code{\time}
1128 @lilypond[quote,raggedright,fragment,verbatim]
1129 \time 2/4 c'2 \time 3/4 c'2.
1132 The symbol that is printed can be customized with the @code{style}
1133 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1136 @lilypond[fragment,quote,raggedright,verbatim]
1139 \override Staff.TimeSignature #'style = #'()
1146 There are many more options for its layout. See @ref{Ancient time
1147 signatures} for more examples.
1150 This command sets the property @code{timeSignatureFraction},
1151 @code{beatLength} and @code{measureLength} in the @code{Timing}
1152 context, which is normally aliased to @internalsref{Score}. The
1153 property @code{measureLength} determines where bar lines should be
1154 inserted, and how automatic beams should be generated. Changing the
1155 value of @code{timeSignatureFraction} also causes the symbol to be
1158 More options are available through the Scheme function
1159 @code{set-time-signature}. In combination with the
1160 @internalsref{Measure_grouping_engraver}, it will create
1161 @internalsref{MeasureGrouping} signs. Such signs ease reading
1162 rhythmically complex modern music. In the following example, the 9/8
1163 measure is subdivided in 2, 2, 2 and 3. This is passed to
1164 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1166 @lilypond[quote,raggedright,verbatim]
1169 #(set-time-signature 9 8 '(2 2 2 3))
1170 g8[ g] d[ d] g[ g] a8[( bes g]) |
1171 #(set-time-signature 5 8 '(3 2))
1177 \consists "Measure_grouping_engraver"
1185 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1190 Automatic beaming does not use the measure grouping specified with
1191 @code{set-time-signature}.
1193 @node Partial measures
1194 @subsection Partial measures
1197 @cindex partial measure
1198 @cindex measure, partial
1199 @cindex shorten measures
1200 @cindex @code{\partial}
1202 Partial measures, for example in upsteps, are entered using the
1203 @code{\partial} command
1204 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1205 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1208 The syntax for this command is
1210 \partial @var{duration}
1212 This is internally translated into
1214 \set Timing.measurePosition = -@var{length of duration}
1217 The property @code{measurePosition} contains a rational number
1218 indicating how much of the measure has passed at this point.
1222 This command does not take into account grace notes at the start of
1223 the music. When a piece starts with graces notes in the pickup, then
1224 the @code{\partial} should follow the grace notes
1226 @lilypond[verbatim,quote,raggedright,relative,fragment]
1236 @node Unmetered music
1237 @subsection Unmetered music
1241 Bar lines and bar numbers are calculated automatically. For unmetered
1242 music (cadenzas, for example), this is not desirable. By setting
1243 @code{Score.timing} to false, this automatic timing can be switched
1244 off. Empty bar lines,
1251 indicate where line breaks can occur.
1255 @cindex @code{\cadenzaOn}
1257 @cindex @code{\cadenzaOff}
1264 @subsection Bar lines
1268 @cindex measure lines
1272 Bar lines delimit measures, but are also used to indicate repeats.
1273 Normally, they are inserted automatically. Line breaks may only
1274 happen on bar lines.
1276 Special types of bar lines can be forced with the @code{\bar} command
1278 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1282 The following bar types are available
1283 @lilypondfile[raggedright,quote]{bar-lines.ly}
1285 For allowing line breaks, there is a special command,
1289 This will insert an invisible bar line, and allow line breaks at this
1292 In scores with many staves, a @code{\bar} command in one staff is
1293 automatically applied to all staves. The resulting bar lines are
1294 connected between different staves of a @internalsref{StaffGroup}
1296 @lilypond[quote,raggedright,fragment,verbatim]
1298 \context StaffGroup <<
1304 \new Staff { \clef bass c4 g e g }
1306 \new Staff { \clef bass c2 c2 }
1311 The command @code{\bar }@var{bartype} is a short cut for doing
1312 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1313 is set to a string, a bar line of that type is created.
1315 A bar line is created whenever the @code{whichBar} property is set.
1316 At the start of a measure it is set to the contents of
1317 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1318 to override default measure bars.
1320 @cindex @code{whichBar}
1321 @cindex @code{repeatCommands}
1322 @cindex @code{defaultBarType}
1324 You are encouraged to use @code{\repeat} for repetitions. See
1331 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1334 Program reference: @internalsref{BarLine} (created at
1335 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1337 @cindex bar lines at start of system
1338 @cindex start of system
1342 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1345 @node Time administration
1346 @subsection Time administration
1348 Time is administered by the @internalsref{Time_signature_engraver},
1349 which usually lives in the @internalsref{Score} context.
1350 The bookkeeping deals with the following variables
1353 @item currentBarNumber
1357 The length of the measures in the current time signature. For a 4/4
1358 time this is@tie{}1, and for 6/8 it is 3/4.
1360 @item measurePosition
1361 The point within the measure where we currently are. This quantity
1362 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1363 happens, @code{currentBarNumber} is incremented.
1366 If set to true, the above variables are updated for every time
1367 step. When set to false, the engraver stays in the current measure
1371 Timing can be changed by setting any of these variables explicitly.
1372 In the next example, the 4/4 time signature is printed, but
1373 @code{measureLength} is set to 5/4. After a while, the measure is
1374 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1375 the measure, so the next bar line will fall at 2/4 + 3/8.
1377 @lilypond[quote,raggedright,verbatim,relative,fragment]
1378 \set Score.measureLength = #(ly:make-moment 5 4)
1382 \set Score.measurePosition = #(ly:make-moment -3 8)
1388 @node Controlling formatting of prefatory matter
1389 @subsection Controlling formatting of prefatory matter
1391 @c This section will be moved to somewhere else soon.
1392 This example demonstrates how to place prefactory matter
1393 (such as the clef and key signature) at the end of a line.
1395 @lilypond[quote,verbatim]
1397 \override Staff.Clef
1398 #'break-visibility = #end-of-line-visible
1399 \override Staff.KeySignature
1400 #'break-visibility = #end-of-line-visible
1401 \set Staff.explicitClefVisibility = #end-of-line-visible
1402 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1404 % We want the time sig to take space, otherwise there is not
1405 % enough white at the start of the line.
1407 \override Staff.TimeSignature #'transparent = ##t
1408 \set Score.defaultBarType = #"empty"
1428 Polyphony in music refers to having more than one voice occuring in
1429 a piece of music. Polyphony in LilyPond refers to having more than
1430 one voice on the same staff.
1433 * Writing polyphonic music::
1436 @node Writing polyphonic music
1437 @subsection Writing polyphonic music
1440 The easiest way to enter fragments with more than one voice on a staff
1441 is to split chords using the separator @code{\\}. You can use it for
1442 small, short-lived voices or for single chords
1446 @lilypond[quote,raggedright,verbatim,fragment]
1447 \context Staff \relative c'' {
1448 c4 << { f d e } \\ { b c2 } >>
1449 c4 << g' \\ b, \\ f' \\ d >>
1453 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1454 voices are sometimes called ``layers'' in other notation packages}
1456 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1457 each of these contexts, vertical direction of slurs, stems, etc., is set
1460 @cindex @code{\voiceOne}
1461 @cindex @code{\voiceFour}
1463 This can also be done by instantiating @internalsref{Voice} contexts
1464 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1465 a stem directions and horizontal shift for each part
1468 @lilypond[quote,raggedright,verbatim]
1471 \new Voice { \voiceOne cis2 b }
1472 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1473 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1477 The command @code{\oneVoice} will revert back to the normal setting.
1478 @cindex @code{\oneVoice}
1481 Normally, note heads with a different number of dots are not merged, but
1482 when the object property @code{merge-differently-dotted} is set in
1483 the @internalsref{NoteCollision} object, they are merged
1484 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1487 \override Staff.NoteCollision
1488 #'merge-differently-dotted = ##t
1490 } \\ { g8.[ f16] g8.[ f16] } >>
1493 Similarly, you can merge half note heads with eighth notes, by setting
1494 @code{merge-differently-headed}
1495 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1498 \override Staff.NoteCollision
1499 #'merge-differently-headed = ##t
1500 c8 c4. } \\ { c2 c2 } >>
1503 LilyPond also vertically shifts rests that are opposite of a stem,
1506 @lilypond[quote,raggedright,fragment,verbatim]
1507 \context Voice << c''4 \\ r4 >>
1515 @cindex @code{\oneVoice}
1517 @cindex @code{\voiceOne}
1519 @cindex @code{\voiceTwo}
1521 @cindex @code{\voiceThree}
1523 @cindex @code{\voiceFour}
1528 @cindex @code{\shiftOn}
1530 @cindex @code{\shiftOnn}
1532 @cindex @code{\shiftOnnn}
1534 @cindex @code{\shiftOff}
1535 @code{\shiftOff}: these commands specify in what chords of the current
1536 voice should be shifted. The outer voices (normally: voice one and
1537 two) have @code{\shiftOff}, while the inner voices (three and four)
1538 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1539 further shift levels.
1542 When LilyPond cannot cope, the @code{force-hshift}
1543 property of the @internalsref{NoteColumn} object and pitched rests can
1544 be used to override typesetting decisions.
1546 @lilypond[quote,verbatim,raggedright]
1553 \once \override NoteColumn #'force-hshift = #1.7
1562 Program reference: the objects responsible for resolving collisions are
1563 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1566 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1567 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1568 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1569 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1570 @inputfileref{input/@/regression,collisions@/.ly}.
1576 When using @code{merge-differently-headed} with an upstem eighth or a
1577 shorter note, and a downstem half note, the eighth note gets the wrong
1580 There is no support for clusters where the same note occurs with
1581 different accidentals in the same chord. In this case, it is
1582 recommended to use enharmonic transcription, or to use special cluster
1583 notation (see @ref{Clusters}).
1588 Beams are used to group short notes into chunks that are aligned with
1589 the metrum. LilyPond normally inserts beams automatically, but if you
1590 wish you may control them manually or changed how beams are automatically
1593 @cindex Automatic beams
1597 * Setting automatic beam behavior::
1601 @node Automatic beams
1602 @subsection Automatic beams
1604 LilyPond inserts beams automatically
1606 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1607 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1610 When these automatic decisions are not good enough, beaming can be
1611 entered explicitly. It is also possible to define beaming patterns
1612 that differ from the defaults.
1614 Individual notes may be marked with @code{\noBeam}, to prevent them
1617 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1618 \time 2/4 c8 c\noBeam c c
1624 Program reference: @internalsref{Beam}.
1628 @subsection Manual beams
1629 @cindex beams, manual
1633 In some cases it may be necessary to override the automatic beaming
1634 algorithm. For example, the autobeamer will not put beams over rests
1635 or bar lines. Such beams are specified manually by marking the begin
1636 and end point with @code{[} and @code{]}
1638 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1640 r4 r8[ g' a r8] r8 g[ | a] r8
1644 @cindex @code{stemLeftBeamCount}
1646 Normally, beaming patterns within a beam are determined automatically.
1647 If necessary, the properties @code{stemLeftBeamCount} and
1648 @code{stemRightBeamCount} can be used to override the defaults. If
1649 either property is set, its value will be used only once, and then it
1652 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1657 \set stemLeftBeamCount = #1
1661 @cindex @code{stemRightBeamCount}
1664 The property @code{subdivideBeams} can be set in order to subdivide
1665 all 16th or shorter beams at beat positions, as defined by the
1666 @code{beatLength} property.
1669 @lilypond[fragment,quote,relative=2,verbatim]
1671 \set subdivideBeams = ##t
1673 \set Score.beatLength = #(ly:make-moment 1 8)
1676 @cindex @code{subdivideBeams}
1678 Normally, line breaks are forbidden when beams cross bar lines. This
1679 behavior can be changed by setting @code{allowBeamBreak}.
1681 @cindex @code{allowBeamBreak}
1682 @cindex beams and line breaks
1684 @cindex beams, kneed
1686 @cindex auto-knee-gap
1691 User manual: @ref{Changing context properties on the fly} for the
1697 @cindex Frenched staves
1698 Kneed beams are inserted automatically, when a large gap is detected
1699 between the note heads. This behavior can be tuned through the object.
1702 Automatically kneed cross-staff beams cannot be used together with
1703 hidden staves. See @ref{Hiding staves}.
1705 Beams do not avoid collisions with symbols around the notes, such as
1706 texts and accidentals.
1711 @node Setting automatic beam behavior
1712 @subsection Setting automatic beam behavior
1714 @cindex @code{autoBeamSettings}
1715 @cindex @code{(end * * * *)}
1716 @cindex @code{(begin * * * *)}
1717 @cindex automatic beams, tuning
1718 @cindex tuning automatic beaming
1720 @c [TODO: use \applycontext]
1722 In normal time signatures, automatic beams can start on any note but can
1723 only end in a few positions within the measure: beams can end on a beat,
1724 or at durations specified by the properties in
1725 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1726 are defined in @file{scm/@/auto@/-beam@/.scm}.
1728 The value of @code{autoBeamSettings} is changed with two functions,
1730 #(override-auto-beam-setting
1731 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1733 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1735 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1736 @var{context} is an optional context (default: @code{'Voice}). It
1737 determines whether the rule applies to begin or end-points. The
1738 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1739 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1740 to a time signature (wildcards `@code{* *}' may be entered to
1741 designate all time signatures), @var{a}/@var{b} is a duration. By
1742 default, this command changes settings for the current voice. It is
1743 also possible to adjust settings at higher contexts, by adding a
1744 @var{context} argument.
1746 For example, if automatic beams should end on every quarter note, use
1749 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1751 Since the duration of a quarter note is 1/4 of a whole note, it is
1752 entered as @code{(ly:make-moment 1 4)}.
1754 The same syntax can be used to specify beam starting points. In this
1755 example, automatic beams can only end on a dotted quarter note
1757 #(override-auto-beam-setting '(end * * * *) 3 8)
1759 In 4/4 time signature, this means that automatic beams could end only on
1760 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1761 3/8, has passed within the measure).
1763 Rules can also be restricted to specific time signatures. A rule that
1764 should only be applied in @var{N}/@var{M} time signature is formed by
1765 replacing the second asterisks by @var{N} and @var{M}. For example, a
1766 rule for 6/8 time exclusively looks like
1768 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1771 If a rule should be to applied only to certain types of beams, use the
1772 first pair of asterisks. Beams are classified according to the
1773 shortest note they contain. For a beam ending rule that only applies
1774 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1777 @cindex automatic beam generation
1779 @cindex @code{autoBeaming}
1782 If beams are used to indicate melismata in songs, then automatic
1783 beaming should be switched off. This is done by setting
1784 @code{autoBeaming} to @code{#f}.
1788 @cindex @code{\autoBeamOff}
1789 @code{\autoBeamOff},
1790 @cindex @code{\autoBeamOn}
1796 If a score ends while an automatic beam has not been ended and is
1797 still accepting notes, this last beam will not be typeset at all. The
1798 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1799 >>}. If a polyphonic voice ends while an automatic beam is still
1800 accepting notes, it is not typeset.
1802 The rules for ending a beam depend on the shortest note in a beam.
1803 So, while it is possible to have different ending rules for eight
1804 beams and sixteenth beams, a beam that contains both eight and
1805 sixteenth notes will use the rules for the sixteenth beam.
1807 In the example below, the autobeamer makes eighth beams and sixteenth
1808 end at three eighths. The third beam can only be corrected by
1809 specifying manual beaming.
1811 @lilypond[quote,raggedright,fragment,relative=1]
1812 #(override-auto-beam-setting '(end * * * *) 3 8)
1813 % rather show case where it goes wrong
1814 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1815 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1817 It is not possible to specify beaming parameters that act differently in
1818 different parts of a measure. This means that it is not possible to use
1819 automatic beaming in irregular meters such as @code{5/8}.
1821 @node Beam formatting
1822 @subsection Beam formatting
1825 When a beam falls in the middle of the staff, the beams point normally
1826 down. However, this behaviour can be altered with the
1827 @code{neutral-direction} property.
1830 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1833 \override Beam #'neutral-direction = #-1
1835 \override Beam #'neutral-direction = #1
1842 @section Accidentals
1844 This section describes how to change the way that accidentals are
1845 inserted automatically before notes.
1848 * Automatic accidentals::
1851 @node Automatic accidentals
1852 @subsection Automatic accidentals
1853 @cindex Automatic accidentals
1855 Common rules for typesetting accidentals have been placed in a
1856 function. This function is called as follows
1858 @cindex @code{set-accidental-style}
1860 #(set-accidental-style 'STYLE #('CONTEXT#))
1863 The function can take two arguments: the name of the accidental style,
1864 and an optional argument that denotes the context that should be
1865 changed. If no context name is supplied, @code{Staff} is the default,
1866 but you may wish to apply the accidental style to a single @code{Voice}
1869 The following accidental styles are supported
1872 This is the default typesetting behavior. It corresponds
1873 to 18th century common practice: Accidentals are
1874 remembered to the end of the measure in which they occur and
1875 only on their own octave.
1878 The normal behavior is to remember the accidentals on
1879 Staff-level. This variable, however, typesets accidentals
1880 individually for each voice. Apart from that, the rule is similar to
1883 As a result, accidentals from one voice do not get canceled in other
1884 voices, which is often an unwanted result
1886 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1888 #(set-accidental-style 'voice)
1895 The @code{voice} option should be used if the voices
1896 are to be read solely by individual musicians. If the staff is to be
1897 used by one musician (e.g., a conductor) then
1898 @code{modern} or @code{modern-cautionary}
1899 should be used instead.
1902 @cindex @code{modern} style accidentals
1903 This rule corresponds to the common practice in the 20th century. This rule
1904 prints the same accidentals as @code{default}, but temporary
1905 accidentals also are canceled in other octaves. Furthermore,
1906 in the same octave, they also get canceled in the following
1909 @lilypond[quote,raggedright,fragment,verbatim]
1910 #(set-accidental-style 'modern)
1911 cis' c'' cis'2 | c'' c'
1914 @item @code{modern-cautionary}
1915 @cindex @code{modern-cautionary}
1916 This rule is similar to @code{modern}, but the ``extra'' accidentals
1917 (the ones not typeset by @code{default}) are typeset as cautionary
1918 accidentals. They are printed in reduced size or with parentheses
1919 @lilypond[quote,raggedright,fragment,verbatim]
1920 #(set-accidental-style 'modern-cautionary)
1921 cis' c'' cis'2 | c'' c'
1924 @cindex @code{modern-voice}
1926 This rule is used for multivoice accidentals to be read both by musicians
1927 playing one voice and musicians playing all voices. Accidentals are
1928 typeset for each voice, but they @emph{are} canceled across voices in
1929 the same @internalsref{Staff}.
1931 @cindex @code{modern-voice-cautionary}
1932 @item modern-voice-cautionary
1933 This rule is the same as @code{modern-voice}, but with the extra
1934 accidentals (the ones not typeset by @code{voice}) typeset
1935 as cautionaries. Even though all accidentals typeset by
1936 @code{default} @emph{are} typeset by this variable,
1937 some of them are typeset as cautionaries.
1940 @cindex @code{piano} accidentals
1941 This rule reflects 20th century practice for piano notation. Very similar to
1942 @code{modern} but accidentals also get canceled
1943 across the staves in the same @internalsref{GrandStaff} or
1944 @internalsref{PianoStaff}.
1946 @item piano-cautionary
1947 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1948 Same as @code{#(set-accidental-style 'piano)} but with the extra
1949 accidentals typeset as cautionaries.
1952 @cindex @code{no-reset} accidental style
1953 This is the same as @code{default} but with accidentals lasting
1954 ``forever'' and not only until the next measure
1955 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1956 #(set-accidental-style 'no-reset)
1961 This is sort of the opposite of @code{no-reset}: Accidentals
1962 are not remembered at all---and hence all accidentals are
1963 typeset relative to the key signature, regardless of what was
1966 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1967 #(set-accidental-style 'forget)
1968 \key d\major c4 c cis cis d d dis dis
1975 Program reference: @internalsref{Accidental_engraver},
1976 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1981 Simultaneous notes are considered to be entered in sequential
1982 mode. This means that in a chord the accidentals are typeset as if the
1983 notes in the chord happened once at a time - in the order in which
1984 they appear in the input file.
1986 This is a problem when accidentals in a chord depend on each other,
1987 which does not happen for the default accidental style. The problem
1988 can be solved by manually inserting @code{!} and @code{?} for the
1992 @node Expressive marks
1993 @section Expressive marks
1996 @c todo: should change ordering
1997 @c where to put text spanners, metronome marks,
2000 Expressive marks help musicians to bring more to the music than simple
2010 * Analysis brackets::
2013 * Fingering instructions::
2023 A slur indicates that notes are to be played bound or @emph{legato}.
2025 They are entered using parentheses
2026 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2027 f( g a) a8 b( a4 g2 f4)
2031 The direction of a slur can be set with the
2035 \override Slur #'direction = #UP
2036 \slurUp % shortcut for the previous line
2040 However, there is a convenient shorthand for forcing slur
2041 directions. By adding @code{_} or @code{^} before the opening
2042 parentheses, the direction is also set. For example,
2044 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2048 Some composers write two slurs when they want legato chords. This can
2049 be achieved in LilyPond by setting @code{doubleSlurs},
2051 @lilypond[verbatim,raggedright,relative,fragment,quote]
2052 \set doubleSlurs = ##t
2053 <c e>4 ( <d f> <c e> <d f> )
2060 @cindex @code{\slurUp}
2062 @cindex @code{\slurDown}
2064 @cindex @code{\slurNeutral}
2065 @code{\slurNeutral},
2066 @cindex @code{\slurDotted}
2068 @cindex @code{\slurSolid}
2073 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2076 @node Phrasing slurs
2077 @subsection Phrasing slurs
2079 @cindex phrasing slurs
2080 @cindex phrasing marks
2082 A phrasing slur (or phrasing mark) connects chords and is used to
2083 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2086 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2087 \time 6/4 c'\( d( e) f( e) d\)
2090 Typographically, the phrasing slur behaves almost exactly like a
2091 normal slur. However, they are treated as different objects. A
2092 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2093 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2094 @code{\phrasingSlurNeutral}.
2096 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2097 will only affect normal slurs and not phrasing slurs.
2101 @cindex @code{\phrasingSlurUp}
2102 @code{\phrasingSlurUp},
2103 @cindex @code{\phrasingSlurDown}
2104 @code{\phrasingSlurDown},
2105 @cindex @code{\phrasingSlurNeutral}
2106 @code{\phrasingSlurNeutral}.
2110 Program reference: see also @internalsref{PhrasingSlur}, and
2111 @internalsref{PhrasingSlurEvent}.
2115 Putting phrasing slurs over rests leads to spurious warnings.
2118 @subsection Breath marks
2120 Breath marks are entered using @code{\breathe}
2123 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2127 The glyph of the breath mark can be tuned by overriding the
2128 @code{text} property of the @code{BreathingSign} layout object with
2129 any markup text. For example,
2130 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2132 \override BreathingSign #'text
2133 = #(make-musicglyph-markup "scripts-rvarcomma")
2140 Program reference: @internalsref{BreathingSign},
2141 @internalsref{BreathingSignEvent}.
2143 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2146 @node Metronome marks
2147 @subsection Metronome marks
2150 @cindex beats per minute
2151 @cindex metronome marking
2153 Metronome settings can be entered as follows
2155 \tempo @var{duration} = @var{per-minute}
2158 In the MIDI output, they are interpreted as a tempo change. In the
2159 layout output, a metronome marking is printed
2160 @cindex @code{\tempo}
2161 @lilypond[quote,raggedright,verbatim,fragment]
2167 Program reference: @internalsref{MetronomeChangeEvent}.
2171 @subsection Text scripts
2172 @cindex Text scripts
2174 @cindex text items, non-empty
2175 @cindex non-empty texts
2177 It is possible to place arbitrary strings of text or markup text (see
2178 @ref{Text markup}) above or below notes by using a string
2179 @code{c^"text"}. By default, these indications do not influence the
2180 note spacing, but by using the command @code{\fatText}, the widths
2181 will be taken into account
2183 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2184 c4^"longtext" \fatText c4_"longlongtext" c4
2187 More complex formatting may also be added to a note by using the
2189 @lilypond[fragment,raggedright,verbatim,quote]
2190 c'4^\markup { bla \bold bla }
2193 The @code{\markup} is described in more detail in
2199 @cindex @code{\fatText}
2201 @cindex @code{\emptyText}
2206 In this manual: @ref{Text markup}.
2208 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2212 @subsection Text spanners
2213 @cindex Text spanners
2215 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
2216 are written as text and are extended over many measures with dotted
2217 lines. Such texts are created using text spanners; attach
2218 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2219 notes of the spanner.
2221 The string to be printed, as well as the style, is set through object
2224 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2226 \override TextSpanner #'direction = #-1
2227 \override TextSpanner #'edge-text = #'("rall " . "")
2228 c2\startTextSpan b c\stopTextSpan a
2234 Internals @internalsref{TextSpanEvent},
2235 @internalsref{TextSpanner}.
2237 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
2240 @node Analysis brackets
2241 @subsection Analysis brackets
2243 @cindex phrasing brackets
2244 @cindex musicological analysis
2245 @cindex note grouping bracket
2247 Brackets are used in musical analysis to indicate structure in musical
2248 pieces. LilyPond supports a simple form of nested horizontal
2249 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2250 to @internalsref{Staff} context. A bracket is started with
2251 @code{\startGroup} and closed with @code{\stopGroup}
2253 @lilypond[quote,raggedright,verbatim]
2256 c4\startGroup\startGroup
2259 c4\stopGroup\stopGroup
2263 \Staff \consists "Horizontal_bracket_engraver"
2269 Program reference: @internalsref{HorizontalBracket},
2270 @internalsref{NoteGroupingEvent}.
2272 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2276 @subsection Articulations
2277 @cindex Articulations
2279 @cindex articulations
2283 A variety of symbols can appear above and below notes to indicate
2284 different characteristics of the performance. They are added to a note
2285 by adding a dash and the character signifying the
2286 articulation. They are demonstrated here
2288 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2290 The meanings of these shorthands can be changed. See
2291 @file{ly/@/script@/-init@/.ly} for examples.
2294 The script is automatically placed, but the direction can be forced as
2295 well. Like other pieces of LilyPond code, @code{_} will place them
2296 below the staff, and @code{^} will place them above.
2299 @lilypond[quote,raggedright,fragment,verbatim]
2303 Other symbols can be added using the syntax
2304 @var{note}@code{\}@var{name}. Again, they
2305 can be forced up or down using @code{^} and @code{_},
2308 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2309 c\fermata c^\fermata c_\fermata
2316 @cindex staccatissimo
2326 @cindex organ pedal marks
2335 @cindex prallmordent
2339 @cindex thumb marking
2344 Here is a chart showing all scripts available,
2346 @lilypondfile[raggedright,quote]{script-chart.ly}
2349 The vertical ordering of scripts is controlled with the
2350 @code{script-priority} property. The lower this number, the closer it
2351 will be put to the note. In this example, the
2352 @internalsref{TextScript} (the sharp symbol) first has the lowest
2353 priority, so it is put lowest in the first example. In the second, the
2354 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2355 inside. When two objects have the same priority, the order in which
2356 they are entered decides which one comes first.
2359 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2360 \once \override TextScript #'script-priority = #-100
2361 a4^\prall^\markup { \sharp }
2363 \once \override Script #'script-priority = #-100
2364 a4^\prall^\markup { \sharp }
2372 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2376 These signs appear in the printed output but have no effect on the
2377 MIDI rendering of the music.
2381 @node Running trills
2382 @subsection Running trills
2384 Long running trills are made with @code{\startTrillSpan} and
2385 @code{\stopTrillSpan},
2388 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2390 << { c1 \startTrillSpan }
2391 { s2. \grace { d16[\stopTrillSpan e] } } >>
2397 @code{\startTrillSpan},
2398 @cindex @code{\startTrillSpan}
2399 @code{\stopTrillSpan}.
2400 @cindex @code{\stopTrillSpan}
2404 Program reference: @internalsref{TrillSpanner},
2405 @internalsref{TrillSpanEvent}.
2407 @node Fingering instructions
2408 @subsection Fingering instructions
2412 Fingering instructions can be entered using
2414 @var{note}-@var{digit}
2416 For finger changes, use markup texts
2418 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2420 c^\markup { \finger "2-3" }
2423 @cindex finger change
2428 You can use the thumb-script to indicate that a note should be
2429 played with the thumb (e.g., in cello music)
2430 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2431 <a_\thumb a'-3>8 <b_\thumb b'-3>
2434 Fingerings for chords can also be added to individual notes
2435 of the chord by adding them after the pitches
2436 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2437 < c-1 e-2 g-3 b-5 >4
2441 In this case, setting @code{fingeringOrientations} will put fingerings next
2444 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2445 \set fingeringOrientations = #'(left down)
2446 <c-1 es-2 g-4 bes-5 > 4
2447 \set fingeringOrientations = #'(up right down)
2448 <c-1 es-2 g-4 bes-5 > 4
2451 Using this feature, it is also possible to put fingering instructions
2452 very close to note heads in monophonic music,
2454 @lilypond[verbatim,raggedright,quote,fragment]
2455 \set fingeringOrientations = #'(right)
2462 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2464 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2470 @subsection Grace notes
2473 @c should have blurb about accaciatura / appogiatura
2475 @cindex @code{\grace}
2479 Grace notes are ornaments that are written out. The most common ones
2480 are acciaccatura, which should be played as very short. It is denoted
2481 by a slurred small note with a slashed stem. The appoggiatura is a
2482 grace note that takes a fixed fraction of the main note, and is
2483 denoted as a slurred note in small print without a slash. They
2484 are entered with the commands @code{\acciaccatura} and
2485 @code{\appoggiatura}, as demonstrated in the following example
2488 @cindex appoggiatura
2489 @cindex acciaccatura
2491 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2492 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2493 \acciaccatura { g16[ f] } e4
2496 Both are special forms of the @code{\grace} command. By prefixing this
2497 keyword to a music expression, a new one is formed, which will be
2498 printed in a smaller font and takes up no logical time in a measure.
2500 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2502 \grace { c16[ d16] } c2 c4
2506 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2507 @code{\grace} command does not start a slur.
2509 Internally, timing for grace notes is done using a second, `grace'
2510 timing. Every point in time consists of two rational numbers: one
2511 denotes the logical time, one denotes the grace timing. The above
2512 example is shown here with timing tuples
2514 @lilypond[quote,raggedright]
2517 c4 \grace c16 c4 \grace {
2520 \new Lyrics \lyricmode {
2521 \override LyricText #'font-family = #'typewriter
2525 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2526 \markup { (\fraction 1 4 , 0 ) } 4
2528 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2529 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2531 \markup { ( \fraction 2 4 , 0 ) }
2537 The placement of grace notes is synchronized between different staves.
2538 In the following example, there are two sixteenth grace notes for
2539 every eighth grace note
2541 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2542 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2543 \new Staff { c4 \grace { g8[ b] } c4 } >>
2548 If you want to end a note with a grace, use the @code{\afterGrace}
2549 command. It takes two arguments: the main note, and the grace notes
2550 following the main note.
2552 @lilypond[raggedright, verbatim,relative=2,fragment]
2553 c1 \afterGrace d1 { c16[ d] } c4
2556 This will put the grace notes after a ``space'' lasting 3/4 of the
2557 length of the main note. The fraction 3/4 can be changed by setting
2558 @code{afterGraceFraction}, ie.
2561 afterGraceFraction = #(cons 7 8)
2565 will put the grace note at 7/8 of the main note.
2568 The same effect can be achieved manually by doing
2571 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2574 { s2 \grace { c16[ d] } } >>
2580 By adjusting the duration of the skip note (here it is a half-note),
2581 the space between the main-note and the grace is adjusted.
2586 A @code{\grace} section will introduce special typesetting settings,
2587 for example, to produce smaller type, and set directions. Hence, when
2588 introducing layout tweaks, they should be inside the grace section,
2590 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2602 The overrides should also be reverted inside the grace section.
2604 The layout of grace sections can be changed throughout the music using
2605 the function @code{add-grace-property}. The following example
2606 undefines the Stem direction for this grace, so stems do not always
2611 #(add-grace-property 'Voice 'Stem 'direction '())
2617 Another option is to change the variables @code{startGraceMusic},
2618 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2619 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2620 @code{stopAppoggiaturaMusic}. More information is in the file
2621 @file{ly/@/grace@/-init@/.ly}.
2626 Program reference: @internalsref{GraceMusic}.
2630 A score that starts with a @code{\grace} section needs an explicit
2631 @code{\context Voice} declaration, otherwise the main note and the grace
2632 note end up on different staves.
2634 Grace note synchronization can also lead to surprises. Staff notation,
2635 such as key signatures, bar lines, etc., are also synchronized. Take
2636 care when you mix staves with grace notes and staves without, for example,
2638 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2639 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2640 \new Staff { c4 \bar "|:" d4 } >>
2644 This can be remedied by inserting grace skips, for the above example
2647 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2650 Grace sections should only be used within sequential music
2651 expressions. Nesting or juxtaposing grace sections is not supported,
2652 and might produce crashes or other errors.
2656 @subsection Glissando
2659 @cindex @code{\glissando}
2661 A glissando is a smooth change in pitch. It is denoted by a line or a
2662 wavy line between two notes. It is requested by attaching
2663 @code{\glissando} to a note
2665 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2671 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2673 Example files: @file{input/@/regression/@/glissando@/.ly}.
2679 Printing text over the line (such as @emph{gliss.}) is not supported.
2683 @subsection Dynamics
2696 @cindex @code{\ffff}
2706 Absolute dynamic marks are specified using a command after a note
2707 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2708 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2709 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2710 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2712 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2713 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2714 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2723 A crescendo mark is started with @code{\<} and terminated with
2724 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2725 with @code{\!}. Because these marks are bound to notes, you must
2726 use spacer notes if multiple marks are needed during one note
2728 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2730 << f1 { s4 s4\< s4\! \> s4\! } >>
2732 This may give rise to very short hairpins. Use @code{minimum-length}
2733 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2737 \override Staff.Hairpin #'minimum-length = #5
2740 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2741 is an example how to do it
2743 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2757 You can also supply your own texts
2758 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2759 \set crescendoText = \markup { \italic "cresc. poco" }
2760 \set crescendoSpanner = #'dashed-line
2766 To create new dynamic marks or text that should be aligned
2767 with dynamics, see @ref{New dynamic marks}.
2772 @cindex @code{\dynamicUp}
2774 @cindex @code{\dynamicDown}
2775 @code{\dynamicDown},
2776 @cindex @code{\dynamicNeutral}
2777 @code{\dynamicNeutral}.
2779 @cindex direction, of dynamics
2783 Program reference: @internalsref{CrescendoEvent},
2784 @internalsref{DecrescendoEvent}, and
2785 @internalsref{AbsoluteDynamicEvent}.
2787 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2788 objects. Vertical positioning of these symbols is handled by the
2789 @internalsref{DynamicLineSpanner} object.
2795 Repetition is a central concept in music, and multiple notations exist
2801 * Repeats and MIDI::
2802 * Manual repeat commands::
2804 * Tremolo subdivisions::
2809 @subsection Repeat types
2812 @cindex @code{\repeat}
2814 The following types of repetition are supported
2818 Repeated music is fully written (played) out. This is useful when
2819 entering repetitious music. This is the only kind of repeat that
2820 is included in MIDI output.
2823 Repeats are not written out, but alternative endings (volte) are
2824 printed, left to right with brackets. This is the standard notation
2825 for repeats with alternatives. These are not played in MIDI output by default.
2829 Alternative endings are written stacked. This has limited use but may be
2830 used to typeset two lines of lyrics in songs with repeats, see
2831 @inputfileref{input,star-spangled-banner@/.ly}.
2836 Make tremolo beams. These are not played in MIDI output by default.
2839 Make beat or measure repeats. These look like percent signs. These
2840 are not played in MIDI output by default.
2845 @subsection Repeat syntax
2848 LilyPond has one syntactic construct for specifying different types of
2849 repeats. The syntax is
2852 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2855 If you have alternative endings, you may add
2856 @cindex @code{\alternative}
2858 \alternative @{ @var{alternative1}
2860 @var{alternative3} @dots{} @}
2862 where each @var{alternative} is a music expression. If you do not
2863 give enough alternatives for all of the repeats, the first alternative
2864 is assumed to be played more than once.
2866 Standard repeats are used like this
2867 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2869 \repeat volta 2 { c4 d e f }
2870 \repeat volta 2 { f e d c }
2873 With alternative endings
2874 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2876 \repeat volta 2 {c4 d e f}
2877 \alternative { {d2 d} {f f,} }
2881 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2884 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2885 \alternative { { g4 g g } { a | a a a a | b2. } }
2889 It is possible to shorten volta brackets
2890 by setting @code{voltaSpannerDuration}. In the next example, the
2891 bracket only lasts one measure, which is a duration of 3/4.
2895 @lilypond[verbatim,raggedright,quote]
2899 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2900 \repeat "volta" 5 { d d d }
2901 \alternative { { e e e f f f }
2911 Brackets for the repeat are normally only printed over the topmost
2912 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2913 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2916 @c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
2921 A nested repeat like
2930 is ambiguous, since it is is not clear to which @code{\repeat} the
2931 @code{\alternative} belongs. This ambiguity is resolved by always
2932 having the @code{\alternative} belong to the inner @code{\repeat}.
2933 For clarity, it is advisable to use braces in such situations.
2938 Timing information is not remembered at the start of an alternative,
2939 so after a repeat timing information must be reset by hand, for
2940 example by setting @code{Score.measurePosition} or entering
2941 @code{\partial}. Similarly, slurs or ties are also not repeated.
2946 @node Repeats and MIDI
2947 @subsection Repeats and MIDI
2949 @cindex expanding repeats
2951 With a little bit of tweaking, all types of repeats can be present
2952 in the MIDI output. This is achieved by applying the
2953 @code{\unfoldrepeats} music function. This functions changes all
2954 repeats to unfold repeats.
2956 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2958 \repeat tremolo 8 {c'32 e' }
2959 \repeat percent 2 { c''8 d'' }
2960 \repeat volta 2 {c'4 d' e' f'}
2969 When creating a score file using @code{\unfoldrepeats} for midi, then
2970 it is necessary to make two @code{\score} blocks. One for MIDI (with
2971 unfolded repeats) and one for notation (with volta, tremolo, and
2972 percent repeats). For example,
2980 \unfoldrepeats @var{..music..}
2985 @node Manual repeat commands
2986 @subsection Manual repeat commands
2988 @cindex @code{repeatCommands}
2990 The property @code{repeatCommands} can be used to control the layout of
2991 repeats. Its value is a Scheme list of repeat commands.
2994 @item @code{start-repeat}
2995 Print a @code{|:} bar line.
2997 @item @code{end-repeat}
2998 Print a @code{:|} bar line.
3000 @item @code{(volta @var{text})}
3001 Print a volta bracket saying @var{text}: The text can be specified as
3002 a text string or as a markup text, see @ref{Text markup}. Do not
3003 forget to change the font, as the default number font does not contain
3004 alphabetic characters;
3006 @item @code{(volta #f)}
3007 Stop a running volta bracket.
3010 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
3012 \set Score.repeatCommands = #'((volta "93") end-repeat)
3014 \set Score.repeatCommands = #'((volta #f))
3022 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
3023 @internalsref{VoltaRepeatedMusic},
3024 @internalsref{UnfoldedRepeatedMusic}, and
3025 @internalsref{FoldedRepeatedMusic}.
3027 @node Tremolo repeats
3028 @subsection Tremolo repeats
3029 @cindex tremolo beams
3031 To place tremolo marks between notes, use @code{\repeat} with tremolo
3033 @lilypond[quote,verbatim,raggedright]
3034 \new Voice \relative c' {
3035 \repeat "tremolo" 8 { c16 d16 }
3036 \repeat "tremolo" 4 { c16 d16 }
3037 \repeat "tremolo" 2 { c16 d16 }
3041 Tremolo marks can also be put on a single note. In this case, the
3042 note should not be surrounded by braces.
3043 @lilypond[quote,verbatim,raggedright]
3044 \repeat "tremolo" 4 c'16
3047 Similar output is obtained using the tremolo subdivision, described in
3048 @ref{Tremolo subdivisions}.
3052 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3054 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
3055 tremolos are @internalsref{StemTremolo} objects. The music expression is
3056 @internalsref{TremoloEvent}.
3058 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3059 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3061 @node Tremolo subdivisions
3062 @subsection Tremolo subdivisions
3063 @cindex tremolo marks
3064 @cindex @code{tremoloFlags}
3066 Tremolo marks can be printed on a single note by adding
3067 `@code{:}[@var{number}]' after the note. The number indicates the
3068 duration of the subdivision, and it must be at least 8. A
3069 @var{length} value of 8 gives one line across the note stem. If the
3070 length is omitted, the last value (stored in @code{tremoloFlags}) is
3073 @lilypond[quote,raggedright,verbatim,fragment]
3074 c'2:8 c':32 | c': c': |
3077 @c [TODO: stok is te kort bij 32en]
3078 @c somebody want to translate that into English?
3079 @c `Stem is too short for 32nds' (wl)
3083 Tremolos entered in this way do not carry over into the MIDI output.
3087 In this manual: @ref{Tremolo repeats}.
3089 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3091 @node Measure repeats
3092 @subsection Measure repeats
3094 @cindex percent repeats
3095 @cindex measure repeats
3097 In the @code{percent} style, a note pattern can be repeated. It is
3098 printed once, and then the pattern is replaced with a special sign.
3099 Patterns of one and two measures are replaced by percent-like signs,
3100 patterns that divide the measure length are replaced by slashes
3102 @lilypond[quote,verbatim,raggedright]
3103 \new Voice \relative c' {
3104 \repeat "percent" 4 { c4 }
3105 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3111 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3112 @internalsref{PercentRepeatedMusic}, and
3113 @internalsref{DoublePercentRepeat}.
3117 @node Rhythmic music
3118 @section Rhythmic music
3120 Rhythmic music is primarily used for percussion and drum notation, but it can
3121 also be used to show the rhythms of melodies.
3124 * Showing melody rhythms::
3125 * Entering percussion::
3126 * Percussion staves::
3130 @node Showing melody rhythms
3131 @subsection Showing melody rhythms
3133 Sometimes you might want to show only the rhythm of a melody. This
3134 can be done with the rhythmic staff. All pitches of notes on such a
3135 staff are squashed, and the staff itself has a single line
3137 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3138 \context RhythmicStaff {
3140 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3146 Program reference: @internalsref{RhythmicStaff}.
3148 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
3151 @node Entering percussion
3152 @subsection Entering percussion
3158 Percussion notes may be entered in @code{\drummode} mode, which is
3159 similar to the standard mode for entering notes. Each piece of
3160 percussion has a full name and an abbreviated name, and both can be used
3163 @lilypond[quote,raggedright,verbatim]
3165 hihat hh bassdrum bd
3169 The complete list of drum names is in the init file
3170 @file{ly/@/drumpitch@/-init@/.ly}.
3171 @c TODO: properly document this.
3175 Program reference: @internalsref{DrumNoteEvent}.
3177 @node Percussion staves
3178 @subsection Percussion staves
3182 A percussion part for more than one instrument typically uses a
3183 multiline staff where each position in the staff refers to one piece
3187 To typeset the music, the notes must be interpreted in a
3188 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3190 @lilypond[quote,raggedright,verbatim]
3191 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3192 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3194 \new DrumVoice { \voiceOne \up }
3195 \new DrumVoice { \voiceTwo \down }
3199 The above example shows verbose polyphonic notation. The short
3200 polyphonic notation, described in @ref{Polyphony}, can also be used if
3201 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3203 @lilypond[quote,raggedright,fragment,verbatim]
3205 \context DrumVoice = "1" { s1 *2 }
3206 \context DrumVoice = "2" { s1 *2 }
3210 { \repeat unfold 16 hh16 }
3219 There are also other layout possibilities. To use these, set the
3220 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3221 The following variables have been predefined
3225 This is the default. It typesets a typical drum kit on a five-line staff
3227 @lilypond[quote,linewidth=10.0\cm]
3229 cymc cyms cymr hh hhc hho hhho hhp
3230 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
3232 cymc cyms cymr hh hhc hho hhho hhp \break
3233 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3235 << \new DrumStaff \with {
3236 \remove Bar_engraver
3237 \remove Time_signature_engraver
3238 \override Stem #'transparent = ##t
3239 \override Stem #'Y-extent-callback = ##f
3240 minimumVerticalExtent = #'(-4.0 . 5.0)
3242 \context Lyrics \nam
3247 \override LyricText #'font-family = #'typewriter
3248 \override BarNumber #'transparent =##T
3254 The drum scheme supports six different toms. When there are fewer toms,
3255 simply select the toms that produce the desired result, i.e., to get toms
3256 on the three middle lines you use @code{tommh}, @code{tomml}, and
3259 @item timbales-style
3260 This typesets timbales on a two line staff
3262 @lilypond[quote,raggedright]
3263 nam = \lyricmode { timh ssh timl ssl cb }
3264 mus = \drummode { timh ssh timl ssl cb s16 }
3267 \context DrumStaff \with {
3268 \remove Bar_engraver
3269 \remove Time_signature_engraver
3270 \override Stem #'transparent = ##t
3271 \override Stem #'Y-extent-callback = ##f
3272 \override StaffSymbol #'line-count = #2
3273 \override StaffSymbol #'staff-space = #2
3274 minimumVerticalExtent = #'(-3.0 . 4.0)
3275 drumStyleTable = #timbales-style
3278 \override LyricText #'font-family = #'typewriter
3285 This typesets congas on a two line staff
3287 @lilypond[quote,raggedright]
3288 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3289 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3292 \context DrumStaff \with {
3293 \remove Bar_engraver
3294 \remove Time_signature_engraver
3295 drumStyleTable = #congas-style
3296 \override StaffSymbol #'line-count = #2
3298 %% this sucks; it will lengthen stems.
3299 \override StaffSymbol #'staff-space = #2
3300 \override Stem #'transparent = ##t
3301 \override Stem #'Y-extent-callback = ##f
3304 \override LyricText #'font-family = #'typewriter
3311 This typesets bongos on a two line staff
3313 @lilypond[quote,raggedright]
3314 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3315 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3318 \context DrumStaff\with {
3319 \remove Bar_engraver
3320 \remove Time_signature_engraver
3321 \override StaffSymbol #'line-count = #2
3322 drumStyleTable = #bongos-style
3324 %% this sucks; it will lengthen stems.
3325 \override StaffSymbol #'staff-space = #2
3326 \override Stem #'transparent = ##t
3327 \override Stem #'Y-extent-callback = ##f
3330 \override LyricText #'font-family = #'typewriter
3336 @item percussion-style
3337 To typeset all kinds of simple percussion on one line staves.
3339 @lilypond[quote,raggedright]
3340 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3341 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3344 \context DrumStaff\with{
3345 \remove Bar_engraver
3346 drumStyleTable = #percussion-style
3347 \override StaffSymbol #'line-count = #1
3348 \remove Time_signature_engraver
3349 \override Stem #'transparent = ##t
3350 \override Stem #'Y-extent-callback = ##f
3353 \override LyricText #'font-family = #'typewriter
3360 If you do not like any of the predefined lists you can define your own
3361 list at the top of your file
3363 @lilypond[quote,raggedright,verbatim]
3365 (bassdrum default #f -1)
3366 (snare default #f 0)
3368 (pedalhihat xcircle "stopped" 2)
3369 (lowtom diamond #f 3)))
3370 up = \drummode { hh8 hh hh hh hhp4 hhp }
3371 down = \drummode { bd4 sn bd toml8 toml }
3374 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
3375 \new DrumVoice { \voiceOne \up }
3376 \new DrumVoice { \voiceTwo \down }
3383 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
3385 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3389 Because general MIDI does not contain rim shots, the sidestick is used
3390 for this purpose instead.
3393 @section Piano music
3395 Piano staves are two normal staves coupled with a brace. The staves
3396 are largely independent, but sometimes voices can cross between the
3397 two staves. The same notation is also used for harps and other key
3398 @c Is this `harp' or `harpsichord'?
3399 instruments. The @internalsref{PianoStaff} is especially built to
3400 handle this cross-staffing behavior. In this section we discuss the
3401 @internalsref{PianoStaff} and some other pianistic peculiarities.
3405 * Automatic staff changes::
3406 * Manual staff switches::
3409 * Staff switch lines::
3410 * Cross staff stems::
3415 Dynamics are not centered, but workarounds do exist. See the
3416 ``piano centered dynamics'' template in @ref{Piano templates}.
3418 @cindex cross staff stem
3419 @cindex stem, cross staff
3420 @cindex distance between staves in piano music
3422 The distance between the two staves is the same for all systems in the
3423 score. It is possible to override this per system, but it does require
3424 an arcane command incantation. See
3425 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
3428 @node Automatic staff changes
3429 @subsection Automatic staff changes
3430 @cindex Automatic staff changes
3432 Voices can be made to switch automatically between the top and the bottom
3433 staff. The syntax for this is
3437 \autochange @dots{}@var{music}@dots{}
3442 This will create two staves inside the current PianoStaff, called
3443 @code{up} and @code{down}. The lower staff will be in bass clef by
3446 A @code{\relative} section that is outside of @code{\autochange} has
3447 no effect on the pitches of @var{music}, so, if necessary, put
3448 @code{\relative} inside @code{\autochange} like
3452 \autochange \relative @dots{} @dots{}
3457 The autochanger switches on basis of the pitch (middle C is the turning
3458 point), and it looks ahead skipping over rests to switch in
3459 advance. Here is a practical example
3461 @lilypond[quote,verbatim,raggedright]
3463 \autochange \relative c'
3472 In this manual: @ref{Manual staff switches}.
3474 Program reference: @internalsref{AutoChangeMusic}.
3480 The staff switches may not end up in optimal places. For high
3481 quality output, staff switches should be specified manually.
3484 @code{\autochange} cannot be inside @code{\times}.
3486 Internally, the @code{\partcombine} interprets both arguments as
3487 @code{Voice}s named @code{one} and @code{two}, and then decides when
3488 the parts can be combined. Consequently, if the arguments switch to
3489 differently named @internalsref{Voice} contexts, the events in those
3493 @node Manual staff switches
3494 @subsection Manual staff switches
3496 @cindex manual staff switches
3497 @cindex staff switch, manual
3499 Voices can be switched between staves manually, using the command
3501 \change Staff = @var{staffname} @var{music}
3505 The string @var{staffname} is the name of the staff. It switches the
3506 current voice from its current staff to the Staff called
3507 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3508 @code{"down"}. The @context{Staff} referred to must already exist, so
3509 usually the setup for a score will start with a setup of the staves,
3513 \context Staff = up @{
3514 \skip 1 * 10 % @emph{keep staff alive}
3516 \context Staff = down @{
3517 \skip 1 * 10 % @emph{idem}
3523 and the @context{Voice} is inserted afterwards
3526 \context Staff = down
3527 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3535 Pianos have pedals that alter the way sound is produced. Generally, a
3536 piano has three pedals, sustain, una corda, and sostenuto.
3539 Piano pedal instruction can be expressed by attaching
3540 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3541 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3544 @lilypond[quote,raggedright,fragment,verbatim]
3545 c'4\sustainDown c'4\sustainUp
3548 What is printed can be modified by setting @code{pedal@var{X}Strings},
3549 where @var{X} is one of the pedal types: @code{Sustain},
3550 @code{Sostenuto} or @code{UnaCorda}. Refer to
3551 @internalsref{SustainPedal} in the program reference for more
3554 Pedals can also be indicated by a sequence of brackets, by setting the
3555 @code{pedalSustainStyle} property to bracket objects
3557 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3558 \set Staff.pedalSustainStyle = #'bracket
3560 b\sustainUp\sustainDown
3561 b g \sustainUp a \sustainDown \bar "|."
3564 A third style of pedal notation is a mixture of text and brackets,
3565 obtained by setting the @code{pedalSustainStyle} property to
3568 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3569 \set Staff.pedalSustainStyle = #'mixed
3571 b\sustainUp\sustainDown
3572 b g \sustainUp a \sustainDown \bar "|."
3575 The default `*Ped.' style for sustain and damper pedals corresponds to
3576 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3579 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3580 c\sostenutoDown d e c, f g a\sostenutoUp
3583 For fine-tuning the appearance of a pedal bracket, the properties
3584 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3585 @code{PianoPedalBracket} objects (see
3586 @internalsref{PianoPedalBracket} in the Program reference) can be
3587 modified. For example, the bracket may be extended to the right edge
3590 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3591 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3592 c\sostenutoDown d e c, f g a\sostenutoUp
3596 @subsection Arpeggio
3599 @cindex broken arpeggio
3600 @cindex @code{\arpeggio}
3602 You can specify an arpeggio sign on a chord by attaching an
3603 @code{\arpeggio} to a chord
3606 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3610 When an arpeggio crosses staves, you attach an arpeggio to the chords
3611 in both staves, and set
3612 @internalsref{PianoStaff}.@code{connectArpeggios}
3614 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3615 \context PianoStaff <<
3616 \set PianoStaff.connectArpeggios = ##t
3617 \new Staff { <c' e g c>\arpeggio }
3618 \new Staff { \clef bass <c,, e g>\arpeggio }
3622 The direction of the arpeggio is sometimes denoted by adding an
3623 arrowhead to the wiggly line
3625 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3634 A square bracket on the left indicates that the player should not
3635 arpeggiate the chord
3637 @c todo: ugh, lousy typography. Look for real example. --hwn
3639 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3646 @cindex @code{\arpeggio}
3648 @cindex @code{\arpeggioUp}
3650 @cindex @code{\arpeggioDown}
3651 @code{\arpeggioDown},
3652 @cindex @code{\arpeggioNeutral}
3653 @code{\arpeggioNeutral},
3654 @cindex @code{\arpeggioBracket}
3655 @code{\arpeggioBracket}.
3659 Program reference: @internalsref{ArpeggioEvent},
3660 @internalsref{Arpeggio}.
3664 It is not possible to mix connected arpeggios and unconnected
3665 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3667 @node Staff switch lines
3668 @subsection Staff switch lines
3671 @cindex follow voice
3672 @cindex staff switching
3675 @cindex @code{followVoice}
3677 Whenever a voice switches to another staff, a line connecting the notes
3678 can be printed automatically. This is switched on by setting
3679 @code{PianoStaff.followVoice} to true
3681 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3682 \context PianoStaff <<
3683 \set PianoStaff.followVoice = ##t
3684 \context Staff \context Voice {
3689 \context Staff=two { \clef bass \skip 1*2 }
3695 Program reference: @internalsref{VoiceFollower}.
3699 @cindex @code{\showStaffSwitch}
3700 @code{\showStaffSwitch},
3701 @cindex @code{\hideStaffSwitch}
3702 @code{\hideStaffSwitch}.
3705 @node Cross staff stems
3706 @subsection Cross staff stems
3708 Chords that cross staves may be produced by increasing the length
3709 of the stem in the lower staff, so it reaches the stem in the upper
3710 staff, or vice versa.
3712 @lilypond[raggedright,verbatim,quote]
3713 stemExtend = \once \override Stem #'length = #22
3714 noFlag = \once \override Stem #'flag-style = #'no-flag
3715 \context PianoStaff <<
3717 \stemDown \stemExtend
3731 @section Vocal music
3733 There are three different issues when printing vocal music
3737 Song texts must be entered as text, not notes. For example, the
3738 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
3742 Song texts must be printed as text, not as notes.
3745 Song texts must be aligned with the notes of their melody.
3748 The simplest solution for printing music uses the @code{\addlyrics}
3749 function to solve all these problems at once. However, these
3750 three functions can be controlled separately, which is necessary
3751 for complex vocal music.
3755 * Setting simple songs::
3757 * Hyphens and extenders::
3758 * The Lyrics context::
3759 * Flexibility in alignment::
3764 @node Setting simple songs
3765 @subsection Setting simple songs
3767 The easiest way to add lyrics to a melody is to append
3770 \addlyrics @{ @var{the lyrics} @}
3774 to a melody. Here is an example,
3776 @lilypond[raggedright,verbatim,fragment,quote]
3778 \relative { c2 e4 g2. }
3779 \addlyrics { play the game }
3782 More stanzas can be added by adding more
3783 @code{\addlyrics} sections
3785 @lilypond[raggedright,verbatim,fragment,quote]
3787 \relative { c2 e4 g2. }
3788 \addlyrics { play the game }
3789 \addlyrics { speel het spel }
3790 \addlyrics { joue le jeu }
3793 @c TODO - this isn't such a great place for this note, but I can't
3794 @c find a better place without rearranging a lot of lyric stuff.
3795 @c It's yet another thing to look at post-3.0.
3797 The @code{\addlyrics} command is actually just a convienient way
3798 to write a more complicated LilyPond structure that sets up the
3799 lyrics. You should use @code{\addlyrics} unless you need to do
3800 fancy things, in which case you should investigate
3801 @code{\lyricsto} or @code{\lyricmode}.
3805 \addlyrics @{ LYRICS @}
3812 \context Voice = blah @{ music @}
3813 \lyricsto "blah" \new lyrics @{ LYRICS @}
3817 @node Entering lyrics
3818 @subsection Entering lyrics
3822 @cindex @code{\lyricmode}
3825 Lyrics are entered in a special input mode. This mode is introduced
3826 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3827 @code{lyricsto}. In this mode you can enter lyrics,
3828 with punctuation and accents, and the input @code{d} is not parsed as
3829 a pitch, but rather as a one letter syllable. Syllables are entered
3830 like notes, but with pitches replaced by text. For example,
3832 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3836 A word lyrics mode begins with an alphabetic character, and ends with
3837 any space or digit. The following characters can be any character
3838 that is not a digit or white space. One important consequence of this
3839 is that a word can end with @code{@}}. The following example is
3840 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3841 opening brace is not balanced
3843 \lyricmode @{ twinkle@}
3846 @cindex @code{\property}, in @code{\lyricmode}
3848 Similarly, a period which follows an alphabetic sequence is included in
3849 the resulting string. As a consequence, spaces must be inserted around
3852 \override Score . LyricText #'font-shape = #'italic
3856 @cindex spaces, in lyrics
3857 @cindex quotes, in lyrics
3859 Any @code{_} character that appears in an unquoted word is converted
3860 to a space. This provides a mechanism for introducing spaces into words
3861 without using quotes. Quoted words can also be used in Lyrics mode to
3862 specify words that cannot be written with the above rules. The
3863 following example incorporates double quotes
3866 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3869 This example is slightly academic, since it gives better looking
3870 results using single quotes, @code{``} and @code{''}
3872 \lyricmode @{ He said: ``Let my peo ple go'' @}
3876 The full definition of a word start in Lyrics mode is somewhat more
3879 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3880 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3881 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3882 any 8-bit character with ASCII code over 127, or a two-character
3883 combination of a backslash followed by one of @code{`}, @code{'},
3884 @code{"}, or @code{^}.
3890 Program reference: events @internalsref{LyricEvent}, and
3891 @internalsref{LyricText}.
3895 The definition of lyrics mode is too complex.
3897 @node Hyphens and extenders
3898 @subsection Hyphens and extenders
3902 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3903 The hyphen will have variable length depending on the space between
3904 the syllables and it will be centered between the syllables.
3909 When a lyric is sung over many notes (this is called a melisma), this is
3910 indicated with a horizontal line centered between a syllable and the
3911 next one. Such a line is called an extender line, and it is entered as
3915 FIXME: check that this compiles and displays correctly. I don't want
3916 to commit this part blindly.
3918 In tighly engraved music, hyphens can be removed. In some languages
3919 (e.g. German and Hungarian), hyphens should not disappear, since
3920 spelling depends on hyphenation. For that purpose, hyphens can be
3921 forced to remain by overriding @code{minimum-length} of
3922 the @code{LyricHyphen} grob.
3926 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
3933 \lyrics \new Lyrics \with {
3934 % Otherwise lyrics are so far apart that hyphens don't disappear
3935 \override SeparationItem #'padding = #0.0
3936 }{ bla -- bla -- bla -- bla --
3937 bla -- bla -- bla -- bla --
3939 \override LyricHyphen #'minimum-length = #0.7
3940 \override LyricHyphen #'spacing-procedure =
3941 #Hyphen_spanner::set_spacing_rods
3943 bla -- bla -- bla -- bla
3950 \StaffContext \remove "Time_signature_engraver"
3961 Program reference: @internalsref{HyphenEvent},
3962 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3963 @internalsref{LyricExtender}
3967 @node The Lyrics context
3968 @subsection The Lyrics context
3971 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3973 \context Lyrics \lyricmode @dots{}
3976 @cindex automatic syllable durations
3977 @cindex @code{\lyricsto}
3978 @cindex lyrics and melodies
3980 This will place the lyrics according to the durations that were
3981 entered. The lyrics can also be aligned under a given melody
3982 automatically. In this case, it is no longer necessary to enter the
3983 correct duration for each syllable. This is achieved by combining the
3984 melody and the lyrics with the @code{\lyricsto} expression
3986 \lyricsto @var{name} \new Lyrics @dots{}
3989 This aligns the lyrics to the
3990 notes of the @internalsref{Voice} context called @var{name}, which has
3991 to exist. Therefore, normally the @code{Voice} is specified first, and
3992 then the lyrics are specified with @code{\lyricsto}. The command
3993 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
3994 @code{\lyricmode} keyword may be omitted.
3996 For different or more complex orderings, the best way is to setup the
3997 hierarchy of staves and lyrics first, e.g.,
3999 \context ChoirStaff <<
4000 \context Lyrics = sopranoLyrics @{ s1 @}
4001 \context Voice = soprano @{ @emph{music} @}
4002 \context Lyrics = tenorLyrics @{ s1 @}
4003 \context Voice = tenor @{ @emph{music} @}
4006 and then combine the appropriate melodies and lyric lines
4008 \lyricsto "soprano" \context Lyrics = sopranoLyrics
4013 The final input would resemble
4016 <<\context ChoirStaff << @emph{setup the music} >>
4017 \lyricsto "soprano" @emph{etc}
4018 \lyricsto "alto" @emph{etc}
4024 The @code{\lyricsto} command detects melismata: it only puts one
4025 syllable under a tied or slurred group of notes. If you want to force
4026 an unslurred group of notes to be a melisma, insert @code{\melisma}
4027 after the first note of the group, and @code{\melismaEnd} after the
4030 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
4032 \context Voice = "lala" {
4040 \lyricsto "lala" \new Lyrics {
4046 In addition, notes are considered a melisma if they are manually
4047 beamed, and automatic beaming (see @ref{Setting automatic beam
4048 behavior}) is switched off.
4054 The criteria for deciding melismata can
4055 be tuned with the property @code{melismaBusyProperties}. See
4056 @internalsref{Melisma_translator} in the program reference for more
4061 Lyrics can also be entered without @code{\lyricsto}. In this case the
4062 duration of each syllable must be entered explicitly, for example,
4069 The alignment to a melody can be specified with the
4070 @code{associatedVoice} property,
4073 \set associatedVoice = #"lala"
4077 The value of the property (here: @code{"lala"}) should be the name of
4078 a @internalsref{Voice} context. Without this setting, extender lines
4079 will not be formatted properly.
4081 Here is an example demonstrating manual lyric durations,
4083 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
4084 << \context Voice = melody {
4088 \new Lyrics \lyricmode {
4089 \set associatedVoice = #"melody"
4095 @cindex choral score
4097 A complete example of a SATB score setup is in section
4098 @ref{Vocal ensembles}.
4103 @code{\melisma}, @code{\melismaEnd}
4104 @cindex @code{\melismaEnd}
4105 @cindex @code{\melisma}
4109 Program reference: @internalsref{LyricCombineMusic},
4110 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
4113 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
4114 @c TODO: make separate section for melismata
4116 @c I can't find these examples in 2.0 or 2.2; remove. -gp
4117 @c @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
4118 @c @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
4122 Melismata are not detected automatically, and extender lines must be
4126 @c TODO: document \new Staff << Voice \lyricsto >> bug
4128 @node Flexibility in alignment
4129 @subsection Flexibility in alignment
4132 Often, different stanzas of one song are put to one melody in slightly
4133 differing ways. Such variations can still be captured with
4136 One possibility is that the text has a melisma in one stanza, but
4137 multiple syllables in another one. One solution is to make the faster
4138 voice ignore the melisma. This is done by setting
4139 @code{ignoreMelismata} in the Lyrics context.
4141 There has one tricky aspect. The setting for @code{ignoreMelismata}
4142 must be set one syllable @emph{before} the non-melismatic syllable
4143 in the text, as shown here,
4145 @lilypond[verbatim,raggedright,quote]
4147 \relative \context Voice = "lahlah" {
4148 \set Staff.autoBeaming = ##f
4154 \new Lyrics \lyricsto "lahlah" {
4157 \new Lyrics \lyricsto "lahlah" {
4158 \set ignoreMelismata = ##t % applies to "fas"
4160 \unset ignoreMelismata
4167 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4168 should be entered before ``go''.
4170 The reverse is also possible: making a lyric line slower than the
4171 standard. This can be achieved by insert @code{\skip}s into the
4172 lyrics. For every @code{\skip}, the text will be delayed another note.
4175 @lilypond[verbatim,raggedright,quote]
4176 \relative { c c g' }
4183 More complex variations in text underlay are possible. It is possible
4184 to switch the melody for a line of lyrics during the text. This is
4185 done by setting the @code{associatedVoice} property. In the example
4187 @lilypond[raggedright,quote]
4189 \relative \context Voice = "lahlah" {
4190 \set Staff.autoBeaming = ##f
4193 \context Voice = alternative {
4196 % show associations clearly.
4197 \override NoteColumn #'force-hshift = #-3
4208 \new Lyrics \lyricsto "lahlah" {
4209 Ju -- ras -- sic Park
4211 \new Lyrics \lyricsto "lahlah" {
4212 % Tricky: need to set associatedVoice
4213 % one syllable too soon!
4214 \set associatedVoice = alternative % applies to "ran"
4218 \set associatedVoice = lahlah % applies to "rus"
4224 the text for the first stanza is set to a melody called ``lahlah'',
4227 \new Lyrics \lyricsto "lahlah" @{
4228 Ju -- ras -- sic Park
4233 The second stanza initially is set to the @code{lahlah} context, but
4234 for the syllable ``ran'', it switches to a different melody.
4235 This is achieved with
4237 \set associatedVoice = alternative
4241 Here, @code{alternative} is the name of the @code{Voice} context
4242 containing the triplet.
4244 Again, the command must be one syllable too early, before ``Ty'' in
4248 \new Lyrics \lyricsto "lahlah" @{
4249 \set associatedVoice = alternative % applies to "ran"
4253 \set associatedVoice = lahlah % applies to "rus"
4259 The underlay is switched back to the starting situation by assigning
4260 @code{lahlah} to @code{associatedVoice}.
4266 @subsection More stanzas
4268 @cindex phrasing, in lyrics
4271 @cindex stanza number
4272 @cindex singer's names
4273 @cindex name of singer
4275 Stanza numbers can be added by setting @code{stanza}, e.g.,
4277 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4279 \time 3/4 g2 e4 a2 f4 g2.
4282 Hi, my name is Bert.
4285 Oh, che -- ri, je t'aime
4289 These numbers are put just before the start of first syllable.
4291 Names of singers can also be added. They are printed at the start of
4292 the line, just like instrument names. They are created by setting
4293 @code{vocalName}. A short version may be entered as @code{vocNam}.
4296 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4298 \time 3/4 g2 e4 a2 f4 g2.
4300 \set vocalName = "Bert "
4301 Hi, my name is Bert.
4303 \set vocalName = "Ernie "
4304 Oh, che -- ri, je t'aime
4310 Program reference: Layout objects @internalsref{LyricText} and
4311 @internalsref{VocalName}. Music expressions
4312 @internalsref{LyricEvent}.
4320 The term @emph{ambitus} denotes a range of pitches for a given voice
4321 in a part of music. It may also denote the pitch range that a musical
4322 instrument is capable of playing. Ambits are printed on vocal parts,
4323 so performers can easily determine it meets their capabilities.
4325 Ambits are denoted at the beginning of a piece near the initial clef.
4326 The range is graphically specified by two note heads that represent the
4327 minimum and maximum pitch. To print such ambits, add the
4328 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4335 \consists Ambitus_engraver
4340 This results in the following output
4342 @lilypond[quote,raggedright]
4346 \consists Ambitus_engraver
4350 \relative \new Staff {
4355 If you have multiple voices in a single staff and you want a single
4356 ambitus per staff rather than per each voice, add the
4357 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4358 rather than to the @internalsref{Voice} context. Here is an example,
4360 @lilypond[verbatim,raggedright,quote]
4362 \consists "Ambitus_engraver"
4366 \remove "Ambitus_engraver"
4368 \override Ambitus #'X-offset-callbacks
4369 = #(list (lambda (grob axis) -1.0))
4374 \remove "Ambitus_engraver"
4383 This example uses one advanced feature,
4386 \override Ambitus #'X-offset-callbacks
4387 = #(list (lambda (grob axis) -1.0))
4391 This code moves the ambitus to the left. The same effect could have
4392 been achieved with @code{extra-offset}, but then the formatting system
4393 would not reserve space for the moved object.
4397 Program reference: @internalsref{Ambitus},
4398 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4399 @internalsref{AmbitusAccidental}.
4401 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
4405 There is no collision handling in the case of multiple per-voice
4408 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4409 @section Other instrument specific notation
4411 This section includes extra information for writing string music, and may
4412 include extra information for other instruments in the future.
4418 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4419 @subsection Harmonic notes
4421 @cindex artificial harmonics
4424 Artificial harmonics are notated with a different notehead style. They
4425 are entered by marking the harmonic pitch with @code{\harmonic}.
4427 @lilypond[raggedright,verbatim,quote,fragment]
4432 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4436 @cindex guitar tablature
4438 Tablature notation is used for notating music for plucked string
4439 instruments. Pitches are not denoted with note heads, but by
4440 indicating on which string and fret a note must be played. LilyPond
4441 offers limited support for tablature.
4444 * Tablatures basic::
4445 * Non-guitar tablatures::
4448 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4449 @subsection Tablatures basic
4450 @cindex Tablatures basic
4452 The string number associated to a note is given as a backslash
4453 followed by a number, e.g., @code{c4\3} for a C quarter on the third
4454 string. By default, string 1 is the highest one, and the tuning
4455 defaults to the standard guitar tuning (with 6 strings). The notes
4456 are printed as tablature, by using @internalsref{TabStaff} and
4457 @internalsref{TabVoice} contexts
4459 @lilypond[quote,raggedright,fragment,verbatim]
4466 @cindex @code{minimumFret}
4469 When no string is specified, the first string that does not give a
4470 fret number less than @code{minimumFret} is selected. The default
4471 value for @code{minimumFret} is 0
4476 \set TabStaff.minimumFret = #8
4479 @lilypond[quote,raggedright]
4483 \set TabStaff.minimumFret = #8
4486 \context StaffGroup <<
4487 \context Staff { \clef "G_8" \frag }
4488 \context TabStaff { \frag }
4494 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4495 @internalsref{StringNumberEvent}.
4499 Chords are not handled in a special way, and hence the automatic
4500 string selector may easily select the same string to two notes in a
4504 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4505 @subsection Non-guitar tablatures
4506 @cindex Non-guitar tablatures
4508 You can change the number of strings, by setting the number of lines
4509 in the @internalsref{TabStaff}.
4511 You can change the tuning of the strings. A string tuning is given as
4512 a Scheme list with one integer number for each string, the number
4513 being the pitch (measured in semitones relative to middle C) of an
4514 open string. The numbers specified for @code{stringTuning} are the
4515 numbers of semitones to subtract or add, starting the specified pitch
4516 by default middle C, in string order. In the next example,
4517 @code{stringTunings} is set for the pitches e, a, d, and g
4519 @lilypond[quote,raggedright,fragment,verbatim]
4520 \context TabStaff <<
4521 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4523 a,4 c' a e' e c' a e'
4530 No guitar special effects have been implemented.
4534 Program reference: @internalsref{Tab_note_heads_engraver}.
4537 @node Popular music, Orchestral music, Tablatures, Notation manual
4538 @section Popular music
4540 This section discusses issues that arise when writing popular music.
4545 * Printing chord names::
4550 @node Chord names, Chords mode, Popular music, Popular music
4551 @subsection Chord names
4554 LilyPond has support for printing chord names. Chords may be entered
4555 in musical chord notation, i.e., @code{< .. >}, but they can also be
4556 entered by name. Internally, the chords are represented as a set of
4557 pitches, so they can be transposed
4560 @lilypond[quote,raggedright,verbatim,raggedright]
4561 twoWays = \transpose c c' {
4570 << \context ChordNames \twoWays
4571 \context Voice \twoWays >>
4574 This example also shows that the chord printing routines do not try to
4575 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4578 @c this menu isn't needed.
4582 * Printing chord names::
4587 @subsection Chords mode
4590 In chord mode sets of pitches (chords) are entered with normal note
4591 names. A chord is entered by the root, which is entered like a
4594 @lilypond[quote,raggedright,fragment,verbatim]
4595 \chordmode { es4. d8 c2 }
4599 The mode is introduced by the keyword @code{\chordmode}.
4604 Other chords may be entered by suffixing a colon and introducing a
4605 modifier (which may include a number if desired)
4606 @lilypond[quote,fragment,verbatim]
4607 \chordmode { e1:m e1:7 e1:m7 }
4609 The first number following the root is taken to be the `type' of the
4610 chord, thirds are added to the root until it reaches the specified
4612 @lilypond[quote,fragment,verbatim]
4613 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4616 @cindex root of chord
4617 @cindex additions, in chords
4618 @cindex removals, in chords
4620 More complex chords may also be constructed adding separate steps
4621 to a chord. Additions are added after the number following
4622 the colon and are separated by dots
4623 @lilypond[quote,verbatim,fragment]
4624 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4626 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4628 @lilypond[quote,verbatim,fragment]
4629 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4631 Removals are specified similarly and are introduced by a caret. They
4632 must come after the additions
4633 @lilypond[quote,verbatim,fragment]
4634 \chordmode { c^3 c:7^5 c:9^3.5 }
4637 Modifiers can be used to change pitches. The following modifiers are
4642 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4645 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
4649 The augmented chord. This modifier raises the 5th step.
4652 The major 7th chord. This modifier raises the 7th step if present.
4655 The suspended 4th or 2nd. This modifier removes the 3rd
4656 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4660 Modifiers can be mixed with additions
4661 @lilypond[quote,verbatim,fragment]
4662 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4665 @cindex modifiers, in chords.
4672 Since an unaltered 11 does not sound good when combined with an
4673 unaltered 3, the 11 is removed in this case (unless it is added
4675 @lilypond[quote,raggedright,fragment,verbatim]
4676 \chordmode { c:13 c:13.11 c:m13 }
4681 An inversion (putting one pitch of the chord on the bottom), as well
4682 as bass notes, can be specified by appending
4683 @code{/}@var{pitch} to the chord
4684 @lilypond[quote,raggedright,fragment,verbatim]
4685 \chordmode { c1 c/g c/f }
4689 A bass note can be added instead transposed out of the chord,
4690 by using @code{/+}@var{pitch}.
4692 @lilypond[quote,raggedright,fragment,verbatim]
4693 \chordmode { c1 c/+g c/+f }
4696 Chords is a mode similar to @code{\lyricmode}, etc. Most
4697 of the commands continue to work, for example, @code{r} and
4698 @code{\skip} can be used to insert rests and spaces, and property
4699 commands may be used to change various settings.
4705 Each step can only be present in a chord once. The following
4706 simply produces the augmented chord, since @code{5+} is interpreted
4709 @lilypond[quote,raggedright,verbatim,fragment]
4710 \chordmode { c:5.5-.5+ }
4714 @node Printing chord names
4715 @subsection Printing chord names
4717 @cindex printing chord names
4721 For displaying printed chord names, use the @internalsref{ChordNames} context.
4722 The chords may be entered either using the notation
4723 described above, or directly using @code{<} and @code{>}
4725 @lilypond[quote,verbatim,raggedright]
4727 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4730 \context ChordNames \harmonies
4731 \context Staff \harmonies
4735 You can make the chord changes stand out by setting
4736 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4737 display chord names when there is a change in the chords scheme and at
4738 the start of a new line
4740 @lilypond[quote,verbatim,raggedright]
4741 harmonies = \chordmode {
4742 c1:m c:m \break c:m c:m d
4745 \context ChordNames {
4746 \set chordChanges = ##t
4748 \context Staff \transpose c c' \harmonies
4752 The previous examples all show chords over a staff. This is not
4753 necessary. Chords may also be printed separately. It may be necessary
4754 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4755 for showing repeats.
4757 @lilypond[raggedright,verbatim]
4758 \new ChordNames \with {
4759 \override BarLine #'bar-size = #4
4760 voltaOnThisStaff = ##t
4761 \consists Bar_engraver
4762 \consists "Volta_engraver"
4764 \repeat volta 2 \chordmode {
4773 The default chord name layout is a system for Jazz music, proposed by
4774 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4775 following properties
4778 @cindex @code{chordNameExceptions}
4779 @item chordNameExceptions
4780 This is a list that contains the chords that have special formatting.
4782 The exceptions list should be encoded as
4784 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
4787 To get this information into @code{chordNameExceptions} takes a little
4788 manoeuvring. The following code transforms @code{chExceptionMusic}
4789 (which is a sequential music) into a list of exceptions.
4791 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4796 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4799 adds the new exceptions to the default ones, which are defined in
4800 @file{ly/@/chord@/-modifier@/-init@/.ly}.
4802 For an example of tuning this property, see also
4803 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
4804 @cindex exceptions, chord names.
4807 @cindex @code{majorSevenSymbol}
4808 @item majorSevenSymbol
4809 This property contains the markup object used for the 7th step, when
4810 it is major. Predefined options are @code{whiteTriangleMarkup} and
4811 @code{blackTriangleMarkup}. See
4812 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
4814 @cindex @code{chordNameSeparator}
4815 @item chordNameSeparator
4816 Different parts of a chord name are normally separated by a
4817 slash. By setting @code{chordNameSeparator}, you can specify other
4819 @lilypond[quote,raggedright,fragment,verbatim]
4820 \context ChordNames \chordmode {
4822 \set chordNameSeparator
4823 = \markup { \typewriter "|" }
4828 @cindex @code{chordRootNamer}
4829 @item chordRootNamer
4830 The root of a chord is usually printed as a letter with an optional
4831 alteration. The transformation from pitch to letter is done by this
4832 function. Special note names (for example, the German ``H'' for a
4833 B-chord) can be produced by storing a new function in this property.
4835 @cindex @code{chordNoteNamer}
4836 @item chordNoteNamer
4837 The default is to print single pitch, e.g., the bass note, using the
4838 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4839 to a specialized function to change this behavior. For example, the
4840 base can be printed in lower case.
4844 The predefined variables @code{\germanChords},
4845 @code{\semiGermanChords} set these variables. The effect is
4848 @lilypondfile[raggedright]{chord-names-german.ly}
4850 There are also two other chord name schemes implemented: an alternate
4851 Jazz chord notation, and a systematic scheme called Banter chords. The
4852 alternate Jazz notation is also shown on the chart in @ref{Chord name
4853 chart}. Turning on these styles is described in the input file
4854 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4858 @cindex chords, jazz
4863 @cindex @code{\germanChords}
4864 @code{\germanChords},
4865 @cindex @code{\semiGermanChords}
4866 @code{\semiGermanChords}.
4873 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
4874 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
4875 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4878 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
4879 @file{scm/@/chord@/-entry@/.scm}.
4884 Chord names are determined solely from the list of pitches. Chord
4885 inversions are not identified, and neither are added bass notes. This
4886 may result in strange chord names when chords are entered with the
4887 @code{< .. >} syntax.
4891 @subsection Fret diagrams
4892 @cindex fret diagrams
4893 @cindex chord diagrams
4895 Fret diagrams can be added to music as a markup to the desired note. The
4896 markup contains information about the desired fret diagram, as shown in the
4899 @lilypond[verbatim, raggedright, quote]
4901 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4903 fis' ^\markup \override #'(size . 0.75) {
4904 \override #'(finger-code . below-string) {
4905 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4906 (place-fret 5 4 3) (place-fret 4 4 4)
4907 (place-fret 3 3 2) (place-fret 2 2 1)
4912 c' ^\markup \override #'(dot-radius . 0.35) {
4913 \override #'(finger-code . in-dot) {
4914 \override #'(dot-color . white) {
4915 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
4924 There are three different fret-diagram markup interfaces: standard, terse,
4925 and verbose. The three interfaces produce equivalent markups, but have
4926 varying amounts of information in the markup string. Details about the
4927 markup interfaces are found at @ref{Overview of text markup commands}.
4929 You can set a number of graphical properties according to your preference.
4930 Details about the property interface to fret diagrams are found at
4931 @internalsref{fret-diagram-interface}.
4936 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
4940 @subsection Improvisation
4942 Improvisation is sometimes denoted with slashed note heads. Such note
4943 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4944 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4948 \set squashedPosition = #0
4949 \override NoteHead #'style = #'slash
4953 switches on the slashes.
4955 There are shortcuts @code{\improvisationOn} (and an accompanying
4956 @code{\improvisationOff}) for this command sequence. They are used in
4957 the following example
4959 @lilypond[verbatim,raggedright,quote]
4961 \consists Pitch_squash_engraver
4963 e8 e g a a16(bes)(a8) g \improvisationOn
4966 ~fis2 \improvisationOff a16(bes) a8 g e
4972 @node Orchestral music
4973 @section Orchestral music
4975 @cindex Writing parts
4977 Orchestral music involves some special notation, both in the full
4978 score and the individual parts. This section explains how to tackle
4979 some common problems in orchestral music.
4984 * System start delimiters::
4985 * Aligning to cadenzas::
4988 * Instrument names::
4990 * Instrument transpositions::
4991 * Multi measure rests::
4992 * Automatic part combining::
4994 * Different editions from one source::
4995 * Quoting other voices::
4996 * Formatting cue notes::
4999 @node System start delimiters
5000 @subsection System start delimiters
5002 Polyphonic scores consist of many staves. These staves can be
5003 constructed in three different ways
5005 @item The group is started with a brace at the left, and bar lines are
5006 connected. This is done with the @internalsref{GrandStaff} context.
5008 @lilypond[verbatim,raggedright,quote]
5017 @item The group is started with a bracket, and bar lines are connected.
5018 This is done with the
5019 @internalsref{StaffGroup} context
5021 @lilypond[verbatim,raggedright,quote]
5030 @item The group is started with a vertical line. Bar lines are not
5031 connected. This is the default for the score.
5033 @lilypond[verbatim,raggedright,quote]
5042 @cindex Staff, multiple
5043 @cindex bracket, vertical
5044 @cindex brace, vertical
5051 The bar lines at the start of each system are
5052 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
5053 @internalsref{SystemStartBracket}. Only one of these types is created
5054 in every context, and that type is determined by the property
5055 @code{systemStartDelimiter}.
5057 @node Aligning to cadenzas
5058 @subsection Aligning to cadenzas
5061 In an orchestral context, cadenzas present a special problem:
5062 when constructing a score that includes a cadenza, all other
5063 instruments should skip just as many notes as the length of the
5064 cadenza, otherwise they will start too soon or too late.
5066 A solution to this problem are the functions @code{mmrest-of-length}
5067 and @code{skip-of-length}. These Scheme functions take a piece of music
5068 as argument, and generate a @code{\skip} or multi-rest, exactly as
5069 long as the piece. The use of @code{mmrest-of-length} is demonstrated
5070 in the following example.
5072 @lilypond[verbatim,raggedright,quote]
5073 cadenza = \relative c' {
5074 c4 d8 << { e f g } \\ { d4. } >>
5079 \new Staff { \cadenza c'4 }
5081 #(ly:export (mmrest-of-length cadenza))
5091 @node Rehearsal marks
5092 @subsection Rehearsal marks
5093 @cindex Rehearsal marks
5095 @cindex @code{\mark}
5097 To print a rehearsal mark, use the @code{\mark} command
5099 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
5108 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
5109 @c umm, is the manual the right place for feature requests? :) -gp
5110 @c FIXME - should make that tunable.
5112 The mark is incremented automatically if you use @code{\mark
5113 \default}, but you can also use an integer argument to set the mark
5114 manually. The value to use is stored in the property
5115 @code{rehearsalMark}.
5117 The style is defined by the property @code{markFormatter}. It is a
5118 function taking the current mark (an integer) and the current context
5119 as argument. It should return a markup object. In the following
5120 example, @code{markFormatter} is set to a canned procedure. After a
5121 few measures, it is set to function that produces a boxed number.
5123 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5124 \set Score.markFormatter = #format-mark-numbers
5127 \set Score.markFormatter = #format-mark-box-numbers
5133 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
5134 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
5135 @code{format-mark-letters} and @code{format-mark-box-letters}.
5136 These can be used as inspiration for other formatting functions.
5139 @cindex coda on bar line
5140 @cindex segno on bar line
5141 @cindex fermata on bar line
5142 @cindex bar lines, symbols on
5144 The @code{\mark} command can also be used to put signs like coda,
5145 segno, and fermata on a bar line. Use @code{\markup} to
5146 access the appropriate symbol
5148 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5149 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
5153 In the case of a line break, marks must also be printed at the end of
5154 the line, and not at the beginning. Use the following to force that
5157 \override Score.RehearsalMark
5158 #'break-visibility = #begin-of-line-invisible
5164 @cindex bar lines, putting symbols on
5168 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5170 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
5171 definition of @code{format-mark-numbers} and
5172 @code{format-mark-letters}. They can be used as inspiration for other
5173 formatting functions.
5175 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
5177 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
5181 @subsection Bar numbers
5185 @cindex measure numbers
5186 @cindex @code{currentBarNumber}
5188 Bar numbers are printed by default at the start of the line. The
5189 number itself is stored in the @code{currentBarNumber} property, which
5190 is normally updated automatically for every measure.
5192 Bar numbers can be typeset at regular intervals instead of at the
5193 beginning of each line. This is illustrated in the following example,
5194 whose source is available as
5195 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
5197 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5199 Bar numbers can be typeset manually by tweaking the
5200 @code{markFormatter} property
5202 @lilypond[verbatim,raggedright,quote]
5204 \set Score.markFormatter
5205 = #(lambda (mark context)
5208 (number->string (ly:context-property context
5209 'currentBarNumber)))))
5211 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
5215 Bar numbers can be manually changed by setting the
5216 @code{Staff.currentBarNumber} property
5218 @lilypond[verbatim,raggedright,quote]
5220 \repeat unfold 4 {c4 c c c} \break
5221 \set Score.currentBarNumber = #50
5222 \repeat unfold 4 {c4 c c c}
5228 Program reference: @internalsref{BarNumber}.
5231 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
5232 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
5236 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5237 there is one at the top. To solve this, the
5238 @code{padding} property of @internalsref{BarNumber} can be
5239 used to position the number correctly.
5241 @node Instrument names
5242 @subsection Instrument names
5244 In an orchestral score, instrument names are printed at the left side
5247 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5248 and @internalsref{Staff}.@code{instr}. This will print a string before
5249 the start of the staff. For the first staff, @code{instrument} is
5250 used, for the following ones, @code{instr} is used.
5252 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5253 \set Staff.instrument = "Ploink "
5254 \set Staff.instr = "Plk "
5260 You can also use markup texts to construct more complicated instrument
5263 @lilypond[quote,fragment,verbatim,raggedright]
5264 \set Staff.instrument = \markup {
5265 \column { "Clarinetti"
5266 \line { "in B" \smaller \flat } } }
5270 For longer instrument names, it may be useful to increase the
5271 @code{indent} setting in the @code{\layout} block.
5275 Program reference: @internalsref{InstrumentName}.
5279 When you put a name on a grand staff or piano staff, the width of the
5280 brace is not taken into account. You must add extra spaces to the end of
5281 the name to avoid a collision.
5284 @subsection Transpose
5286 @cindex transposition of pitches
5287 @cindex @code{\transpose}
5289 A music expression can be transposed with @code{\transpose}. The
5292 \transpose @var{from} @var{to} @var{musicexpr}
5295 This means that @var{musicexpr} is transposed by the interval between
5296 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5297 is changed to @code{to}.
5300 For example, consider a piece written in the key of D-major. If
5301 this piece is a little too low for its performer, it can be
5302 transposed up to E-major with
5304 \transpose d e @dots{}
5307 Consider a part written for violin (a C instrument). If
5308 this part is to be played on the A clarinet, the following
5309 transposition will produce the appropriate part
5312 \transpose a c @dots{}
5315 @code{\transpose} distinguishes between enharmonic pitches: both
5316 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5317 half a tone. The first version will print sharps and the second
5318 version will print flats
5320 @lilypond[quote,raggedright,verbatim]
5321 mus = { \key d \major cis d fis g }
5325 \transpose c g' \mus
5326 \transpose c f' \mus
5333 Program reference: @internalsref{TransposedMusic}, and
5334 @internalsref{UntransposableMusic}.
5338 If you want to use both @code{\transpose} and @code{\relative},
5339 you must put @code{\transpose} outside of @code{\relative}, since
5340 @code{\relative} will have no effect music that appears inside a
5343 @node Instrument transpositions
5344 @subsection Instrument transpositions
5346 The key of a transposing instrument can also be specified. This
5347 applies to many wind instruments, for example, clarinets (B-flat, A, and
5348 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
5350 The transposition is entered after the keyword @code{\transposition}
5353 \transposition bes %% B-flat clarinet
5357 This command sets the property @code{instrumentTransposition}. The value of
5358 this property is used for MIDI output and quotations. It does not
5359 affect how notes are printed in the current staff.
5361 The pitch to use for @code{\transposition} should correspond to the
5362 transposition of the notes. For example, when entering a score in
5363 concert pitch, typically all voices are entered in C, so
5364 they should be entered as
5377 The command @code{\transposition} should be used when the music is
5378 entered from a (transposed) orchestral part. For example, in
5379 classical horn parts, the tuning of the instrument is often changed
5380 during a piece. When copying the notes from the part, use
5381 @code{\transposition}, e.g.,
5394 @cindex transposition, MIDI
5395 @cindex transposition, instrument
5398 @node Multi measure rests
5399 @subsection Multi measure rests
5400 @cindex multi measure rests
5401 @cindex Rests, multi measure
5405 Multi-measure rests are entered using `@code{R}'. It is specifically
5406 meant for full bar rests and for entering parts: the rest can expand
5407 to fill a score with rests, or it can be printed as a single
5408 multi-measure rest. This expansion is controlled by the property
5409 @code{Score.skipBars}. If this is set to true, empty measures will not
5410 be expanded, and the appropriate number is added automatically
5412 @lilypond[quote,raggedright,fragment,verbatim]
5413 \time 4/4 r1 | R1 | R1*2
5414 \set Score.skipBars = ##t R1*17 R1*4
5417 The @code{1} in @code{R1} is similar to the duration notation used for
5418 notes. Hence, for time signatures other than 4/4, you must enter other
5419 durations. This can be done with augmentation dots or fractions
5421 @lilypond[quote,raggedright,fragment,verbatim]
5422 \set Score.skipBars = ##t
5431 An @code{R} spanning a single measure is printed as either a whole rest
5432 or a breve, centered in the measure regardless of the time signature.
5434 If there are only a few measures of rest, LilyPond prints ``church rests''
5435 (a series of rectangles) in the staff. To replace that with a simple
5436 rest, use @code{MultiMeasureRest.expand-limit}.
5438 @lilypond[quote,raggedright,fragment,verbatim]
5439 \set Score.skipBars = ##t
5441 \override MultiMeasureRest #'expand-limit = 1
5446 @cindex text on multi-measure rest
5447 @cindex script on multi-measure rest
5448 @cindex fermata on multi-measure rest
5450 Texts can be added to multi-measure rests by using the
5451 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5452 A variable (@code{\fermataMarkup}) is provided for
5455 @lilypond[quote,raggedright,verbatim,fragment]
5456 \set Score.skipBars = ##t
5458 R2.*10^\markup { \italic "ad lib." }
5462 If you want to have text on the left end of a multi-measure rest,
5463 attach the text to a zero-length skip note, i.e.,
5471 @cindex whole rests for a full measure
5475 Program reference: @internalsref{MultiMeasureRestEvent},
5476 @internalsref{MultiMeasureTextEvent},
5477 @internalsref{MultiMeasureRestMusicGroup}, and
5478 @internalsref{MultiMeasureRest}.
5480 The layout object @internalsref{MultiMeasureRestNumber} is for the
5481 default number, and @internalsref{MultiMeasureRestText} for user
5486 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
5487 over multi-measure rests. And the pitch of multi-measure rests (or
5488 staff-centered rests) can not be influenced.
5490 @cindex condensing rests
5492 There is no way to automatically condense multiple rests into a single
5493 multi-measure rest. Multi-measure rests do not take part in rest
5496 Be careful when entering multi-measure rests followed by whole
5497 notes. The following will enter two notes lasting four measures each
5501 When @code{skipBars} is set, the result will look OK, but the bar
5502 numbering will be off.
5504 @node Automatic part combining
5505 @subsection Automatic part combining
5506 @cindex automatic part combining
5507 @cindex part combiner
5510 Automatic part combining is used to merge two parts of music onto a
5511 staff. It is aimed at typesetting orchestral scores. When the two
5512 parts are identical for a period of time, only one is shown. In
5513 places where the two parts differ, they are typeset as separate
5514 voices, and stem directions are set automatically. Also, solo and
5515 @emph{a due} parts are identified and can be marked.
5517 The syntax for part combining is
5520 \partcombine @var{musicexpr1} @var{musicexpr2}
5525 The following example demonstrates the basic functionality of the part
5526 combiner: putting parts on one staff, and setting stem directions and
5529 @lilypond[quote,verbatim,raggedright,fragment]
5530 \new Staff \partcombine
5531 \relative g' { g g a( b) c c r r }
5532 \relative g' { g g r4 r e e g g }
5535 The first @code{g} appears only once, although it was
5536 specified twice (once in each part). Stem, slur, and tie directions are
5537 set automatically, depending whether there is a solo or unisono. The
5538 first part (with context called @code{one}) always gets up stems, and
5539 `solo', while the second (called @code{two}) always gets down stems and
5542 If you just want the merging parts, and not the textual markings, you
5543 may set the property @code{printPartCombineTexts} to false
5545 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5547 \set Staff.printPartCombineTexts = ##f
5549 \relative g' { g a( b) r }
5550 \relative g' { g r4 r f }
5555 Both arguments to @code{\partcombine} will be interpreted as
5556 @internalsref{Voice} contexts. If using relative octaves,
5557 @code{\relative} should be specified for both music expressions, i.e.,
5561 \relative @dots{} @var{musicexpr1}
5562 \relative @dots{} @var{musicexpr2}
5566 A @code{\relative} section that is outside of @code{\partcombine} has
5567 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5571 Program reference: @internalsref{PartCombineMusic},
5572 @internalsref{SoloOneEvent}, and
5573 @internalsref{SoloTwoEvent}, and
5574 @internalsref{UnisonoEvent}.
5578 When @code{printPartCombineTexts} is set, when the two voices play the
5579 same notes on and off, the part combiner may typeset @code{a2} more
5580 than once in a measure.
5582 @code{\partcombine} cannot be inside @code{\times}.
5584 @code{\partcombine} cannot be inside @code{\relative}.
5586 Internally, the @code{\partcombine} interprets both arguments as
5587 @code{Voice}s named @code{one} and @code{two}, and then decides when
5588 the parts can be combined. Consequently, if the arguments switch to
5589 differently named @internalsref{Voice} contexts, the events in those
5593 @subsection Hiding staves
5595 @cindex Frenched scores
5596 @cindex Hiding staves
5598 In orchestral scores, staff lines that only have rests are usually
5599 removed. This saves some space. This style is called `French Score'.
5600 For @internalsref{Lyrics},
5601 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5602 switched on by default. When the lines of these contexts turn out
5603 empty after the line-breaking process, they are removed.
5605 For normal staves, a specialized @internalsref{Staff} context is
5606 available, which does the same: staves containing nothing (or only
5607 multi-measure rests) are removed. The context definition is stored in
5608 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5609 in this example disappears in the second line
5611 @lilypond[quote,raggedright,verbatim]
5613 \context { \RemoveEmptyStaffContext }
5618 \new Staff { e4 f g a \break c1 }
5619 \new Staff { c4 d e f \break R1 }
5624 The first system shows all staves in full. If empty staves should be
5625 removed from the first system too, set @code{remove-first} to false in
5626 @internalsref{RemoveEmptyVerticalGroup}.
5628 Another application is making ossia sections, i.e., alternative
5629 melodies on a separate piece of staff, with help of a Frenched
5630 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
5633 @node Different editions from one source
5634 @subsection Different editions from one source
5637 The @code{\tag} command marks music expressions with a name. These
5638 tagged expressions can be filtered out later. With this mechanism it
5639 is possible to make different versions of the same music source.
5641 In the following example, we see two versions of a piece of music, one
5642 for the full score, and one with cue notes for the instrumental part
5658 The same can be applied to articulations, texts, etc.: they are
5661 -\tag #@var{your-tag}
5663 to an articulation, for example,
5668 This defines a note with a conditional fingering indication.
5671 @cindex removeWithTag
5672 By applying the @code{\keepWithTag} and @code{\removeWithTag}
5673 commands, tagged expressions can be filtered. For example,
5677 \keepWithTag #'score @var{the music}
5678 \keepWithTag #'part @var{the music}
5683 @lilypondfile[raggedright,quote]{tag-filter.ly}
5686 The argument of the @code{\tag} command should be a symbol, or a list
5687 of symbols, for example,
5689 \tag #'(original-part transposed-part) @dots{}
5696 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
5700 Multiple rests are not merged if you create the score with both tagged
5704 @node Quoting other voices
5705 @subsection Quoting other voices
5707 With quotations, fragments of other parts can be inserted into a part
5708 directly. Before a part can be quoted, it must be marked especially as
5709 quotable. This is done with the @code{\addquote} command.
5712 \addquote @var{name} @var{music}
5717 Here, @var{name} is an identifying string. The @var{music} is any kind
5718 of music. Here is an example of @code{\addquote}
5721 \addquote clarinet \relative c' @{
5726 This command must be entered at toplevel, i.e., outside any music
5729 After calling @code{\addquote}, the quotation may then be done with
5730 @code{\quoteDuring} or @code{\cueDuring},
5733 \quoteDuring #@var{name} @var{music}
5736 During a part, a piece of music can be quoted with the @code{\quoteDuring}
5740 \quoteDuring #"clarinet" @{ s2. @}
5743 This would cite three quarter notes (the duration of @code{s2.}) of
5744 the previously added @code{clarinet} voice.
5747 More precisely, it takes the current time-step of the part being
5748 printed, and extracts the notes at the corresponding point of the
5749 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5750 should be the entire part of the voice to be quoted, including any
5751 rests at the beginning.
5753 Quotations take into account the transposition of both source and target
5754 instruments, if they are specified using the @code{\transposition} command.
5756 @lilypond[quote,raggedright,verbatim]
5757 \addquote clarinet \relative c' {
5763 e'8 f'8 \quoteDuring #"clarinet" { s2 }
5767 The type of events that are present in cue notes can be trimmed with
5768 the @code{quotedEventTypes} property. The default value is
5769 @code{(note-event rest-event)}, which means that only notes and
5770 rests of the cued voice end up in the @code{\quoteDuring}.
5774 \set Staff.quotedEventTypes =
5775 #'(note-event articulation-event dynamic-event)
5779 will quote notes (but no rests), together with scripts and dynamics.
5783 Only the contents of the first @internalsref{Voice} occurring in an
5784 @code{\addquote} command will be considered for quotation, so
5785 @var{music} can not contain @code{\new} and @code{\context Voice}
5786 statements that would switch to a different Voice.
5788 Quoting grace notes is broken and can even cause LilyPond to crash.
5792 In this manual: @ref{Instrument transpositions}.
5794 Examples: @inputfileref{input/@/regression,quote@/.ly}
5795 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
5797 Program reference: @internalsref{QuoteMusic}.
5799 @node Formatting cue notes
5800 @subsection Formatting cue notes
5802 The previous section deals with inserting notes from another voice.
5803 There is a more advanced music function called @code{\cueDuring},
5804 which makes formatting cue notes easier.
5809 \cueDuring #@var{name} #@var{updown} @var{music}
5812 This will insert notes from the part @var{name} into a
5813 @internalsref{Voice} called @code{cue}. This happens simultaneously
5814 with @var{music}, which usually is a rest. When the cue notes start,
5815 the staff in effect becomes polyphonic for a moment. The argument
5816 @var{updown} determines whether the cue notes should be notated as a
5817 first or second voice.
5820 @lilypond[verbatim,raggedright]
5823 \override Stem #'length = #5.5
5824 \override Beam #'thickness = #0.384
5825 \override Beam #'space-function =
5826 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5829 \addquote clarinet \relative {
5834 \new Staff \relative <<
5836 % setup a context for cue notes.
5837 \context Voice = cue { \smaller \skip 1*21 }
5839 \set Score.skipBars = ##t
5843 \cueDuring #"clarinet" #1 {
5852 Here are a couple of hints for successful cue notes
5856 Cue notes have smaller font sizes.
5858 the cued part is marked with the instrument playing the cue.
5860 when the original part takes over again, this should be marked with
5861 the name of the original instrument.
5863 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5865 @c Yes, this is good practice. Otherwise, the start of the original
5866 @c part can only be seen from the font size. This is not good enough
5867 @c for sight-reading. It is possilbe to use other
5868 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
5873 any other changes introduced by the cued part should also be
5874 undone. For example, if the cued instrument plays in a different clef,
5875 the original clef should be stated once again.
5883 @node Ancient notation
5884 @section Ancient notation
5886 @cindex Vaticana, Editio
5887 @cindex Medicaea, Editio
5892 Support for ancient notation includes features for mensural notation
5893 and Gregorian Chant notation. There is also limited support for
5894 figured bass notation.
5896 Many graphical objects provide a @code{style} property, see
5899 @ref{Ancient note heads},
5901 @ref{Ancient accidentals},
5903 @ref{Ancient rests},
5905 @ref{Ancient clefs},
5907 @ref{Ancient flags},
5909 @ref{Ancient time signatures}.
5912 By manipulating such a grob property, the typographical appearance of
5913 the affected graphical objects can be accommodated for a specific
5914 notation flavor without the need for introducing any new notational
5917 In addition to the standard articulation signs described in section
5918 @ref{Articulations}, specific articulation signs for ancient notation
5923 @ref{Ancient articulations}
5926 Other aspects of ancient notation can not that easily be expressed
5927 in terms of just changing a style property of a graphical object or
5928 adding articulation signs. Some notational concepts are introduced
5929 specifically for ancient notation,
5940 If this all is too much of documentation for you, and you just want to
5941 dive into typesetting without worrying too much about the details on
5942 how to customize a context, you may have a look at the predefined
5943 contexts. Use them to set up predefined style-specific voice and
5944 staff contexts, and directly go ahead with the note entry,
5948 @ref{Gregorian Chant contexts},
5950 @ref{Mensural contexts}.
5953 There is limited support for figured bass notation which came
5954 up during the baroque period.
5961 Here are all suptopics at a glance:
5964 * Ancient note heads::
5965 * Ancient accidentals::
5969 * Ancient time signatures::
5970 * Ancient articulations::
5974 * Gregorian Chant contexts::
5975 * Mensural contexts::
5980 @node Ancient note heads
5981 @subsection Ancient note heads
5986 For ancient notation, a note head style other than the @code{default}
5987 style may be chosen. This is accomplished by setting the @code{style}
5988 property of the @internalsref{NoteHead} object to @code{baroque},
5989 @code{neomensural} or @code{mensural}. The @code{baroque} style
5990 differs from the @code{default} style only in using a square shape
5991 for @code{\breve} note heads. The @code{neomensural} style differs from
5992 the @code{baroque} style in that it uses rhomboidal heads for whole notes
5993 and all smaller durations. Stems are centered on the note heads.
5994 This style is particularly useful when transcribing mensural music,
5995 e.g., for the incipit. The @code{mensural} style finally produces note
5996 heads that mimic the look of note heads in historic printings of the
5999 The following example demonstrates the @code{neomensural} style
6001 @lilypond[quote,fragment,raggedright,verbatim]
6002 \set Score.skipBars = ##t
6003 \override NoteHead #'style = #'neomensural
6004 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
6007 When typesetting a piece in Gregorian Chant notation, the
6008 @internalsref{Gregorian_ligature_engraver} will automatically select
6009 the proper note heads, so there is no need to explicitly set the
6010 note head style. Still, the note head style can be set, e.g., to
6011 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
6012 @internalsref{Mensural_ligature_engraver} is used to automatically
6013 assemble mensural ligatures. See @ref{Ligatures} for how ligature
6018 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
6019 overview over all available note head styles.
6022 @node Ancient accidentals
6023 @subsection Ancient accidentals
6028 Use the @code{style} property of grob @internalsref{Accidental} to
6029 select ancient accidentals. Supported styles are
6030 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
6032 @lilypond[quote,raggedright,staffsize=26]
6039 \line { " " \musicglyph #"accidentals-vaticana-1"
6040 " " \musicglyph #"accidentals-vaticana0" }
6044 \line { " " \musicglyph #"accidentals-medicaea-1" }
6048 \line { " " \musicglyph #"accidentals-hufnagel-1" }
6052 \line { " " \musicglyph #"accidentals-mensural-1"
6053 " " \musicglyph #"accidentals-mensural1" }
6059 \context { \Score \remove "Bar_number_engraver" }
6061 \remove "Clef_engraver"
6062 \remove "Key_engraver"
6063 \remove "Time_signature_engraver"
6064 \remove "Staff_symbol_engraver"
6065 minimumVerticalExtent = ##f
6071 As shown, not all accidentals are supported by each style. When
6072 trying to access an unsupported accidental, LilyPond will switch to a
6073 different style, as demonstrated in
6074 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6076 Similarly to local accidentals, the style of the key signature can be
6077 controlled by the @code{style} property of the
6078 @internalsref{KeySignature} grob.
6082 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
6083 @ref{Accidentals} give a general introduction of the use of
6084 accidentals. @ref{Key signature} gives a general introduction of
6085 the use of key signatures.
6087 Program reference: @internalsref{KeySignature}.
6089 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6092 @subsection Ancient rests
6097 Use the @code{style} property of grob @internalsref{Rest} to select
6098 ancient rests. Supported styles are @code{classical},
6099 @code{neomensural}, and @code{mensural}. @code{classical} differs
6100 from the @code{default} style only in that the quarter rest looks like
6101 a horizontally mirrored 8th rest. The @code{neomensural} style suits
6102 well for, e.g., the incipit of a transcribed mensural piece of music.
6103 The @code{mensural} style finally mimics the appearance of rests as
6104 in historic prints of the 16th century.
6106 The following example demonstrates the @code{neomensural} style
6108 @lilypond[quote,fragment,raggedright,verbatim]
6109 \set Score.skipBars = ##t
6110 \override Rest #'style = #'neomensural
6111 r\longa r\breve r1 r2 r4 r8 r16
6114 There are no 32th and 64th rests specifically for the mensural or
6115 neo-mensural style. Instead, the rests from the default style will be
6116 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
6119 There are no rests in Gregorian Chant notation; instead, it uses
6124 In this manual: @ref{Rests} gives a general introduction into the use of rests.
6128 @subsection Ancient clefs
6133 LilyPond supports a variety of clefs, many of them ancient.
6135 The following table shows all ancient clefs that are supported via the
6136 @code{\clef} command. Some of the clefs use the same glyph, but
6137 differ only with respect to the line they are printed on. In such
6138 cases, a trailing number in the name is used to enumerate these clefs.
6139 Still, you can manually force a clef glyph to be typeset on an
6140 arbitrary line, as described in @ref{Clef}. The note printed to the
6141 right side of each clef in the example column denotes the @code{c'}
6142 with respect to that clef.
6144 @multitable @columnfractions .4 .4 .2
6153 modern style mensural C clef
6155 @code{neomensural-c1}, @code{neomensural-c2},@*
6156 @code{neomensural-c3}, @code{neomensural-c4}
6158 @lilypond[fragment,relative=1,notime]
6159 \clef "neomensural-c2" c
6163 petrucci style mensural C clefs, for use on different staff lines
6164 (the examples show the 2nd staff line C clef)
6166 @code{petrucci-c1}, @code{petrucci-c2},@*
6167 @code{petrucci-c3}, @code{petrucci-c4},@*
6170 @lilypond[fragment,relative=1,notime]
6171 \clef "petrucci-c2" c
6175 petrucci style mensural F clef
6179 @lilypond[fragment,relative=1,notime]
6180 \clef "petrucci-f" c
6184 petrucci style mensural G clef
6188 @lilypond[fragment,relative=1,notime]
6189 \clef "petrucci-g" c
6193 historic style mensural C clef
6195 @code{mensural-c1}, @code{mensural-c2},@*
6196 @code{mensural-c3}, @code{mensural-c4}
6198 @lilypond[fragment,relative=1,notime]
6199 \clef "mensural-c2" c
6203 historic style mensural F clef
6207 @lilypond[fragment,relative=1,notime]
6208 \clef "mensural-f" c
6212 historic style mensural G clef
6216 @lilypond[fragment,relative=1,notime]
6217 \clef "mensural-g" c
6221 Editio Vaticana style do clef
6223 @code{vaticana-do1}, @code{vaticana-do2},@*
6226 @lilypond[fragment,relative=1,notime]
6227 \override Staff.StaffSymbol #'line-count = #4
6228 \clef "vaticana-do2" c
6232 Editio Vaticana style fa clef
6234 @code{vaticana-fa1}, @code{vaticana-fa2}
6236 @lilypond[fragment,relative=1,notime]
6237 \override Staff.StaffSymbol #'line-count = #4
6238 \clef "vaticana-fa2" c
6242 Editio Medicaea style do clef
6244 @code{medicaea-do1}, @code{medicaea-do2},@*
6247 @lilypond[fragment,relative=1,notime]
6248 \override Staff.StaffSymbol #'line-count = #4
6249 \clef "medicaea-do2" c
6253 Editio Medicaea style fa clef
6255 @code{medicaea-fa1}, @code{medicaea-fa2}
6257 @lilypond[fragment,relative=1,notime]
6258 \override Staff.StaffSymbol #'line-count = #4
6259 \clef "medicaea-fa2" c
6263 historic style hufnagel do clef
6265 @code{hufnagel-do1}, @code{hufnagel-do2},@*
6268 @lilypond[fragment,relative=1,notime]
6269 \override Staff.StaffSymbol #'line-count = #4
6270 \clef "hufnagel-do2" c
6274 historic style hufnagel fa clef
6276 @code{hufnagel-fa1}, @code{hufnagel-fa2}
6278 @lilypond[fragment,relative=1,notime]
6279 \override Staff.StaffSymbol #'line-count = #4
6280 \clef "hufnagel-fa2" c
6284 historic style hufnagel combined do/fa clef
6286 @code{hufnagel-do-fa}
6288 @lilypond[fragment,relative=1,notime]
6289 \clef "hufnagel-do-fa" c
6295 @emph{Modern style} means ``as is typeset in contemporary editions of
6296 transcribed mensural music''.
6298 @emph{Petrucci style} means ``inspired by printings published by the
6299 famous engraver Petrucci (1466-1539)''.
6301 @emph{Historic style} means ``as was typeset or written in historic
6302 editions (other than those of Petrucci)''.
6304 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6306 Petrucci used C clefs with differently balanced left-side vertical
6307 beams, depending on which staff line it is printed.
6311 In this manual: see @ref{Clef}.
6315 The mensural g clef is mapped to the Petrucci g clef.
6320 @subsection Ancient flags
6325 Use the @code{flag-style} property of grob @internalsref{Stem} to
6326 select ancient flags. Besides the @code{default} flag style,
6327 only the @code{mensural} style is supported
6329 @lilypond[quote,fragment,raggedright,verbatim]
6330 \override Stem #'flag-style = #'mensural
6331 \override Stem #'thickness = #1.0
6332 \override NoteHead #'style = #'mensural
6334 c'8 d'8 e'8 f'8 c'16 d'16 e'16 f'16 c'32 d'32 e'32 f'32 s8
6335 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6338 Note that the innermost flare of each mensural flag always is
6339 vertically aligned with a staff line.
6341 There is no particular flag style for neo-mensural notation. Hence,
6342 when typesetting the incipit of a transcribed piece of mensural
6343 music, the default flag style should be used. There are no flags in
6344 Gregorian Chant notation.
6348 The attachment of ancient flags to stems is slightly off due to a
6349 change in early 2.3.x.
6351 Vertically aligning each flag with a staff line assumes that stems
6352 always end either exactly on or exactly in the middle between two
6353 staff lines. This may not always be true when using advanced layout
6354 features of classical notation (which however are typically out of
6355 scope for mensural notation).
6357 @node Ancient time signatures
6358 @subsection Ancient time signatures
6360 @cindex time signatures
6363 There is limited support for mensural time signatures. The
6364 glyphs are hard-wired to particular time fractions. In other words,
6365 to get a particular mensural signature glyph with the @code{\time n/m}
6366 command, @code{n} and @code{m} have to be chosen according to the
6369 @lilypond[quote,raggedright]
6373 \remove Staff_symbol_engraver
6374 \remove Clef_engraver
6375 \remove Time_signature_engraver
6378 \set Score.timing = ##f
6379 \set Score.barAlways = ##t
6380 s_\markup { "$\\backslash$time 4/4" }
6381 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6383 s_\markup { "$\\backslash$time 2/2" }
6384 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6386 s_\markup { "$\\backslash$time 6/4" }
6387 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6389 s_\markup { "$\\backslash$time 6/8" }
6390 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6392 s_\markup { "$\\backslash$time 3/2" }
6393 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6395 s_\markup { "$\\backslash$time 3/4" }
6396 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6398 s_\markup { "$\\backslash$time 9/4" }
6399 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6401 s_\markup { "$\\backslash$time 9/8" }
6402 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6404 s_\markup { "$\\backslash$time 4/8" }
6405 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6407 s_\markup { "$\\backslash$time 2/4" }
6408 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6412 Use the @code{style} property of grob @internalsref{TimeSignature} to
6413 select ancient time signatures. Supported styles are
6414 @code{neomensural} and @code{mensural}. The above table uses the
6415 @code{neomensural} style. This style is appropriate for the
6416 incipit of transcriptions of mensural pieces. The @code{mensural}
6417 style mimics the look of historical printings of the 16th century.
6419 The following examples show the differences in style,
6421 @lilypond[raggedright,fragment,relative=1,quote]
6425 c1^\markup { \hspace #-2.0 \typewriter default }
6427 \override Staff.TimeSignature #'style = #'numbered
6429 c1^\markup { \hspace #-2.0 \typewriter numbered }
6431 \override Staff.TimeSignature #'style = #'mensural
6433 c1^\markup { \hspace #-2.0 \typewriter mensural }
6435 \override Staff.TimeSignature #'style = #'neomensural
6437 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6438 \override Staff.TimeSignature #'style = #'single-digit
6440 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6446 This manual: @ref{Time signature} gives a general introduction to
6447 the use of time signatures.
6451 Ratios of note durations do not change with the time signature. For
6452 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6453 be made by hand, by setting
6456 breveTP = #(ly:make-duration -1 0 3 2)
6462 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6464 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6465 addressable with @code{\time}. Use a @code{\markup} instead
6467 @node Ancient articulations
6468 @subsection Ancient articulations
6470 @cindex articulations
6472 In addition to the standard articulation signs described in section
6473 @ref{Articulations}, articulation signs for ancient notation are
6474 provided. These are specifically designed for use with notation in
6475 Editio Vaticana style.
6477 @lilypond[quote,raggedright,verbatim]
6478 \include "gregorian-init.ly"
6480 \context VaticanaVoice {
6481 \override TextScript #'font-family = #'typewriter
6482 \override TextScript #'font-shape = #'upright
6483 \override Script #'padding = #-0.1
6485 a4\circulus_"circulus" s1
6486 a4\semicirculus_"semicirculus" s1 s
6487 a4\accentus_"accentus" s1
6488 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6495 Some articulations are vertically placed too closely to the
6496 correpsonding note heads.
6499 @subsection Custodes
6504 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6505 symbol that appears at the end of a staff. It anticipates the pitch
6506 of the first note(s) of the following line thus helping the performer
6507 to manage line breaks during performance.
6509 Custodes were frequently used in music notation until the 17th
6510 century. Nowadays, they have survived only in a few particular forms
6511 of musical notation such as contemporary editions of Gregorian chant
6512 like the @emph{editio vaticana}. There are different custos glyphs
6513 used in different flavors of notational style.
6515 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6516 @internalsref{Staff} context when declaring the @code{\layout} block,
6517 as shown in the following example
6523 \consists Custos_engraver
6524 Custos \override #'style = #'mensural
6529 The result looks like this
6531 @lilypond[quote,raggedright]
6535 \override Staff.Custos #'style = #'mensural
6540 \context { \Staff \consists Custos_engraver }
6545 The custos glyph is selected by the @code{style} property. The styles
6546 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
6547 @code{mensural}. They are demonstrated in the following fragment
6549 @lilypond[quote,raggedright,fragment]
6550 \new Lyrics \lyricmode {
6552 \typewriter "vaticana"
6553 \line { " " \musicglyph #"custodes-vaticana-u0" }
6556 \typewriter "medicaea"
6557 \line { " " \musicglyph #"custodes-medicaea-u0" }
6560 \typewriter "hufnagel"
6561 \line { " " \musicglyph #"custodes-hufnagel-u0" }
6564 \typewriter "mensural"
6565 \line { " " \musicglyph #"custodes-mensural-u0" }
6572 Program reference: @internalsref{Custos}.
6574 Examples: @inputfileref{input/@/regression,custos@/.ly}.
6578 @subsection Divisiones
6584 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6585 `division') is a staff context symbol that is used to structure
6586 Gregorian music into phrases and sections. The musical meaning of
6587 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
6588 can be characterized as short, medium, and long pause, somewhat like
6589 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6590 only marks the end of a chant, but is also frequently used within a
6591 single antiphonal/responsorial chant to mark the end of each section.
6594 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
6595 contains definitions that you can apply by just inserting
6596 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6597 and @code{\finalis} at proper places in the input. Some editions use
6598 @emph{virgula} or @emph{caesura} instead of divisio minima.
6599 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
6602 @lilypondfile[quote,raggedright]{divisiones.ly}
6606 @cindex @code{\virgula}
6608 @cindex @code{\caesura}
6610 @cindex @code{\divisioMinima}
6611 @code{\divisioMinima},
6612 @cindex @code{\divisioMaior}
6613 @code{\divisioMaior},
6614 @cindex @code{\divisioMaxima}
6615 @code{\divisioMaxima},
6616 @cindex @code{\finalis}
6621 In this manual: @ref{Breath marks}.
6623 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6625 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
6628 @subsection Ligatures
6632 @c TODO: Should double check if I recalled things correctly when I wrote
6633 @c down the following paragraph by heart.
6635 A ligature is a graphical symbol that represents at least two distinct
6636 notes. Ligatures originally appeared in the manuscripts of Gregorian
6637 chant notation to denote ascending or descending sequences of notes.
6639 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6640 Some ligature styles may need additional input syntax specific for
6641 this particular type of ligature. By default, the
6642 @internalsref{LigatureBracket} engraver just puts a square bracket
6645 @lilypond[quote,raggedright,verbatim]
6653 To select a specific style of ligatures, a proper ligature engraver
6654 has to be added to the @internalsref{Voice} context, as explained in
6655 the following subsections. Only white mensural ligatures
6656 are supported with certain limitations.
6662 Ligatures need special spacing that has not yet been implemented. As
6663 a result, there is too much space between ligatures most of the time,
6664 and line breaking often is unsatisfactory. Also, lyrics do not
6665 correctly align with ligatures.
6667 Accidentals must not be printed within a ligature, but instead need to
6668 be collected and printed in front of it.
6670 Augmentum dots within ligatures are not handled correctly.
6674 * White mensural ligatures::
6675 * Gregorian square neumes ligatures::
6678 @node White mensural ligatures
6679 @subsubsection White mensural ligatures
6681 @cindex Mensural ligatures
6682 @cindex White mensural ligatures
6684 There is limited support for white mensural ligatures.
6686 To engrave white mensural ligatures, in the layout block put the
6687 @internalsref{Mensural_ligature_engraver} into the
6688 @internalsref{Voice} context, and remove the
6689 @internalsref{Ligature_bracket_engraver}, like this
6695 \remove Ligature_bracket_engraver
6696 \consists Mensural_ligature_engraver
6701 There is no additional input language to describe the shape of a
6702 white mensural ligature. The shape is rather determined solely from
6703 the pitch and duration of the enclosed notes. While this approach may
6704 take a new user a while to get accustomed to, it has the great advantage
6705 that the full musical information of the ligature is known internally.
6706 This is not only required for correct MIDI output, but also allows for
6707 automatic transcription of the ligatures.
6712 \set Score.timing = ##f
6713 \set Score.defaultBarType = "empty"
6714 \override NoteHead #'style = #'neomensural
6715 \override Staff.TimeSignature #'style = #'neomensural
6717 \[ g\longa c\breve a\breve f\breve d'\longa \]
6719 \[ e1 f1 a\breve g\longa \]
6721 @lilypond[quote,raggedright]
6724 \set Score.timing = ##f
6725 \set Score.defaultBarType = "empty"
6726 \override NoteHead #'style = #'neomensural
6727 \override Staff.TimeSignature #'style = #'neomensural
6729 \[ g\longa c\breve a\breve f\breve d'\longa \]
6731 \[ e1 f1 a\breve g\longa \]
6736 \remove Ligature_bracket_engraver
6737 \consists Mensural_ligature_engraver
6743 Without replacing @internalsref{Ligature_bracket_engraver} with
6744 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6747 @lilypond[quote,raggedright]
6749 \set Score.timing = ##f
6750 \set Score.defaultBarType = "empty"
6751 \override NoteHead #'style = #'neomensural
6752 \override Staff.TimeSignature #'style = #'neomensural
6754 \[ g\longa c\breve a\breve f\breve d'\longa \]
6756 \[ e1 f1 a\breve g\longa \]
6762 The implementation is experimental. It may output strange warnings,
6763 incorrect results, and might even crash on more complex ligatures.
6765 @node Gregorian square neumes ligatures
6766 @subsubsection Gregorian square neumes ligatures
6768 @cindex Square neumes ligatures
6769 @cindex Gregorian square neumes ligatures
6771 There is limited support for Gregorian square neumes notation
6772 (following the style of the Editio Vaticana). Core ligatures can
6773 already be typeset, but essential issues for serious typesetting are
6774 still lacking, such as (among others) horizontal alignment of multiple
6775 ligatures, lyrics alignment and proper handling of accidentals.
6778 The following table contains the extended neumes table of the 2nd
6779 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6780 1983 by the monks of Solesmes.
6782 @multitable @columnfractions .4 .2 .2 .2
6799 @c TODO: \layout block is identical in all of the below examples.
6800 @c Therefore, it should somehow be included rather than duplicated all
6803 @c why not make identifiers in ly/engraver-init.ly? --hwn
6805 @c Because it's just used to typeset plain notes without
6806 @c a staff for demonstration purposes rather than something
6807 @c special of Gregorian chant notation. --jr
6812 @lilypond[staffsize=26,linewidth=1.5\cm]
6813 \include "gregorian-init.ly"
6818 \noBreak s^\markup {"a"} \noBreak
6820 % Punctum Inclinatum
6822 \noBreak s^\markup {"b"}
6824 \layout { \neumeDemoLayout }}
6827 @lilypond[staffsize=26,linewidth=2.5\cm]
6828 \include "gregorian-init.ly"
6831 % Punctum Auctum Ascendens
6832 \[ \auctum \ascendens b \]
6833 \noBreak s^\markup {"c"} \noBreak
6835 % Punctum Auctum Descendens
6836 \[ \auctum \descendens b \]
6837 \noBreak s^\markup {"d"} \noBreak
6839 % Punctum Inclinatum Auctum
6840 \[ \inclinatum \auctum b \]
6841 \noBreak s^\markup {"e"}
6843 \layout { \neumeDemoLayout }}
6846 @lilypond[staffsize=26,linewidth=1.0\cm]
6847 \include "gregorian-init.ly"
6850 % Punctum Inclinatum Parvum
6851 \[ \inclinatum \deminutum b \]
6852 \noBreak s^\markup {"f"}
6854 \layout { \neumeDemoLayout }}
6860 @lilypond[staffsize=26,linewidth=1.0\cm]
6861 \include "gregorian-init.ly"
6866 \noBreak s^\markup {"g"}
6868 \layout { \neumeDemoLayout }}
6874 @code{3. Apostropha vel Stropha}
6876 @lilypond[staffsize=26,linewidth=1.0\cm]
6877 \include "gregorian-init.ly"
6882 \noBreak s^\markup {"h"}
6884 \layout { \neumeDemoLayout }}
6887 @lilypond[staffsize=26,linewidth=1.0\cm]
6888 \include "gregorian-init.ly"
6892 \[ \stropha \auctum b \]
6893 \noBreak s^\markup {"i"}
6895 \layout { \neumeDemoLayout }}
6902 @lilypond[staffsize=26,linewidth=1.0\cm]
6903 \include "gregorian-init.ly"
6908 \noBreak s^\markup {"j"}
6910 \layout { \neumeDemoLayout }}
6916 @code{5. Clivis vel Flexa}
6918 @lilypond[staffsize=26,linewidth=1.0\cm]
6919 \include "gregorian-init.ly"
6926 \layout { \neumeDemoLayout }}
6929 @lilypond[staffsize=26,linewidth=2.0\cm]
6930 \include "gregorian-init.ly"
6933 % Clivis Aucta Descendens
6934 \[ b \flexa \auctum \descendens g \]
6935 \noBreak s^\markup {"l"} \noBreak
6937 % Clivis Aucta Ascendens
6938 \[ b \flexa \auctum \ascendens g \]
6939 \noBreak s^\markup {"m"}
6941 \layout { \neumeDemoLayout }}
6944 @lilypond[staffsize=26,linewidth=1.0\cm]
6945 \include "gregorian-init.ly"
6949 \[ b \flexa \deminutum g \]
6952 \layout { \neumeDemoLayout }}
6956 @code{6. Podatus vel Pes}
6958 @lilypond[staffsize=26,linewidth=1.0\cm]
6959 \include "gregorian-init.ly"
6966 \layout { \neumeDemoLayout }}
6969 @lilypond[staffsize=26,linewidth=2.0\cm]
6970 \include "gregorian-init.ly"
6973 % Pes Auctus Descendens
6974 \[ g \pes \auctum \descendens b \]
6975 \noBreak s^\markup {"p"} \noBreak
6977 % Pes Auctus Ascendens
6978 \[ g \pes \auctum \ascendens b \]
6979 \noBreak s^\markup {"q"}
6981 \layout { \neumeDemoLayout }}
6984 @lilypond[staffsize=26,linewidth=1.0\cm]
6985 \include "gregorian-init.ly"
6989 \[ g \pes \deminutum b \]
6992 \layout { \neumeDemoLayout }}
6996 @code{7. Pes Quassus}
6998 @lilypond[staffsize=26,linewidth=1.0\cm]
6999 \include "gregorian-init.ly"
7003 \[ \oriscus g \pes \virga b \]
7006 \layout { \neumeDemoLayout }}
7009 @lilypond[staffsize=26,linewidth=1.0\cm]
7010 \include "gregorian-init.ly"
7013 % Pes Quassus Auctus Descendens
7014 \[ \oriscus g \pes \auctum \descendens b \]
7017 \layout { \neumeDemoLayout }}
7022 @code{8. Quilisma Pes}
7024 @lilypond[staffsize=26,linewidth=1.0\cm]
7025 \include "gregorian-init.ly"
7029 \[ \quilisma g \pes b \]
7032 \layout { \neumeDemoLayout }}
7035 @lilypond[staffsize=26,linewidth=1.0\cm]
7036 \include "gregorian-init.ly"
7039 % Quilisma Pes Auctus Descendens
7040 \[ \quilisma g \pes \auctum \descendens b \]
7043 \layout { \neumeDemoLayout }}
7048 @code{9. Podatus Initio Debilis}
7050 @lilypond[staffsize=26,linewidth=1.0\cm]
7051 \include "gregorian-init.ly"
7054 % Pes Initio Debilis
7055 \[ \deminutum g \pes b \]
7058 \layout { \neumeDemoLayout }}
7061 @lilypond[staffsize=26,linewidth=1.0\cm]
7062 \include "gregorian-init.ly"
7065 % Pes Auctus Descendens Initio Debilis
7066 \[ \deminutum g \pes \auctum \descendens b \]
7069 \layout { \neumeDemoLayout }}
7076 @lilypond[staffsize=26,linewidth=1.0\cm]
7077 \include "gregorian-init.ly"
7081 \[ a \pes b \flexa g \]
7084 \layout { \neumeDemoLayout }}
7087 @lilypond[staffsize=26,linewidth=1.0\cm]
7088 \include "gregorian-init.ly"
7091 % Torculus Auctus Descendens
7092 \[ a \pes b \flexa \auctum \descendens g \]
7095 \layout { \neumeDemoLayout }}
7098 @lilypond[staffsize=26,linewidth=1.0\cm]
7099 \include "gregorian-init.ly"
7102 % Torculus Deminutus
7103 \[ a \pes b \flexa \deminutum g \]
7106 \layout { \neumeDemoLayout }}
7110 @code{11. Torculus Initio Debilis}
7112 @lilypond[staffsize=26,linewidth=1.0\cm]
7113 \include "gregorian-init.ly"
7116 % Torculus Initio Debilis
7117 \[ \deminutum a \pes b \flexa g \]
7120 \layout { \neumeDemoLayout }}
7123 @lilypond[staffsize=26,linewidth=1.0\cm]
7124 \include "gregorian-init.ly"
7127 % Torculus Auctus Descendens Initio Debilis
7128 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
7131 \layout { \neumeDemoLayout }}
7134 @lilypond[staffsize=26,linewidth=1.0\cm]
7135 \include "gregorian-init.ly"
7138 % Torculus Deminutus Initio Debilis
7139 \[ \deminutum a \pes b \flexa \deminutum g \]
7142 \layout { \neumeDemoLayout }}
7146 @code{12. Porrectus}
7148 @lilypond[staffsize=26,linewidth=1.0\cm]
7149 \include "gregorian-init.ly"
7153 \[ a \flexa g \pes b \]
7156 \layout { \neumeDemoLayout }}
7159 @lilypond[staffsize=26,linewidth=1.0\cm]
7160 \include "gregorian-init.ly"
7163 % Porrectus Auctus Descendens
7164 \[ a \flexa g \pes \auctum \descendens b \]
7167 \layout { \neumeDemoLayout }}
7170 @lilypond[staffsize=26,linewidth=1.0\cm]
7171 \include "gregorian-init.ly"
7174 % Porrectus Deminutus
7175 \[ a \flexa g \pes \deminutum b \]
7178 \layout { \neumeDemoLayout }}
7184 @lilypond[staffsize=26,linewidth=1.0\cm]
7185 \include "gregorian-init.ly"
7189 \[ \virga b \inclinatum a \inclinatum g \]
7192 \layout { \neumeDemoLayout }
7196 @lilypond[staffsize=26,linewidth=1.0\cm]
7197 \include "gregorian-init.ly"
7201 \[ \virga b \inclinatum a \inclinatum \auctum g \]
7204 \layout { \neumeDemoLayout }}
7207 @lilypond[staffsize=26,linewidth=1.0\cm]
7208 \include "gregorian-init.ly"
7211 % Climacus Deminutus
7212 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7215 \layout { \neumeDemoLayout }}
7219 @code{14. Scandicus}
7221 @lilypond[staffsize=26,linewidth=1.0\cm]
7222 \include "gregorian-init.ly"
7226 \[ g \pes a \virga b \]
7229 \layout { \neumeDemoLayout }}
7232 @lilypond[staffsize=26,linewidth=1.0\cm]
7233 \include "gregorian-init.ly"
7236 % Scandicus Auctus Descendens
7237 \[ g \pes a \pes \auctum \descendens b \]
7240 \layout { \neumeDemoLayout }}
7243 @lilypond[staffsize=26,linewidth=1.0\cm]
7244 \include "gregorian-init.ly"
7247 % Scandicus Deminutus
7248 \[ g \pes a \pes \deminutum b \]
7251 \layout { \neumeDemoLayout }}
7257 @lilypond[staffsize=26,linewidth=1.0\cm]
7258 \include "gregorian-init.ly"
7262 \[ g \oriscus a \pes \virga b \]
7265 \layout { \neumeDemoLayout }}
7268 @lilypond[staffsize=26,linewidth=1.0\cm]
7269 \include "gregorian-init.ly"
7272 % Salicus Auctus Descendens
7273 \[ g \oriscus a \pes \auctum \descendens b \]
7276 \layout { \neumeDemoLayout }}
7283 @lilypond[staffsize=26,linewidth=1.0\cm]
7284 \include "gregorian-init.ly"
7288 \[ \stropha b \stropha b \stropha a \]
7291 \layout { \neumeDemoLayout }
7300 Unlike most other neumes notation systems, the input language for
7301 neumes does not reflect the typographical appearance, but is designed
7302 to focus on musical meaning. For example, @code{\[ a \pes b
7303 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7304 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7305 curved flexa shape and only a single Punctum head. There is no
7306 command to explicitly typeset the curved flexa shape; the decision of
7307 when to typeset a curved flexa shape is based on the musical
7308 input. The idea of this approach is to separate the musical aspects
7309 of the input from the notation style of the output. This way, the
7310 same input can be reused to typeset the same music in a different
7311 style of Gregorian chant notation.
7313 The following table shows the code fragments that produce the
7314 ligatures in the above neumes table. The letter in the first column
7315 in each line of the below table indicates to which ligature in the
7316 above table it refers. The second column gives the name of the
7317 ligature. The third column shows the code fragment that produces this
7318 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
7320 @multitable @columnfractions .02 .31 .67
7340 @code{\[ \inclinatum b \]}
7348 @code{\[ \auctum \ascendens b \]}
7356 @code{\[ \auctum \descendens b \]}
7361 Punctum Inclinatum@*
7364 @code{\[ \inclinatum \auctum b \]}
7369 Punctum Inclinatum@*
7371 @code{\[ \inclinatum \deminutum b \]}
7378 @code{\[ \virga b \]}
7385 @code{\[ \stropha b \]}
7392 @code{\[ \stropha \auctum b \]}
7399 @code{\[ \oriscus b \]}
7406 @code{\[ b \flexa g \]}
7414 @code{\[ b \flexa \auctum \descendens g \]}
7422 @code{\[ b \flexa \auctum \ascendens g \]}
7429 @code{\[ b \flexa \deminutum g \]}
7436 @code{\[ g \pes b \]}
7444 @code{\[ g \pes \auctum \descendens b \]}
7452 @code{\[ g \pes \auctum \ascendens b \]}
7459 @code{\[ g \pes \deminutum b \]}
7466 @code{\[ \oriscus g \pes \virga b \]}
7472 Auctus Descendens @tab
7473 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7480 @code{\[ \quilisma g \pes b \]}
7488 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7495 @code{\[ \deminutum g \pes b \]}
7500 Pes Auctus Descendens@*
7503 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7510 @code{\[ a \pes b \flexa g \]}
7518 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7525 @code{\[ a \pes b \flexa \deminutum g \]}
7530 Torculus Initio Debilis
7532 @code{\[ \deminutum a \pes b \flexa g \]}
7538 Descendens Initio Debilis
7540 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7545 Torculus Deminutus@*
7548 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7555 @code{\[ a \flexa g \pes b \]}
7563 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7570 @code{\[ a \flexa g \pes \deminutum b \]}
7577 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7584 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7591 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7598 @code{\[ g \pes a \virga b \]}
7606 @code{\[ g \pes a \pes \auctum \descendens b \]}
7613 @code{\[ g \pes a \pes \deminutum b \]}
7620 @code{\[ g \oriscus a \pes \virga b \]}
7625 Salicus Auctus Descendens
7627 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7634 @code{\[ \stropha b \stropha b \stropha a \]}
7639 The following head prefixes are supported
7641 @cindex @code{\virga}
7643 @cindex @code{\stropha}
7645 @cindex @code{\inclinatum}
7647 @cindex @code{\auctum}
7649 @cindex @code{\descendens}
7651 @cindex @code{\ascendens}
7653 @cindex @code{\oriscus}
7655 @cindex @code{\quilisma}
7657 @cindex @code{\deminutum}
7660 Head prefixes can be accumulated, though restrictions apply. For
7661 example, either @code{\descendens} or @code{\ascendens} can be applied
7662 to a head, but not both to the same head.
7665 @cindex @code{\flexa}
7666 Two adjacent heads can be tied together with the @code{\pes} and
7667 @code{\flexa} infix commands for a rising and falling line of melody,
7672 @node Gregorian Chant contexts
7673 @subsection Gregorian Chant contexts
7675 @cindex VaticanaVoiceContext
7676 @cindex VaticanaStaffContext
7678 The predefined @code{VaticanaVoiceContext} and
7679 @code{VaticanaStaffContext} can be used to engrave a piece of
7680 Gregorian Chant in the style of the Editio Vaticana. These contexts
7681 initialize all relevant context properties and grob properties to
7682 proper values, so you can immediately go ahead entering the chant, as
7683 the following excerpt demonstrates
7685 @lilypond[quote,raggedright,verbatim]
7686 \include "gregorian-init.ly"
7689 \context VaticanaVoice = "cantus" {
7690 \override Score.BarNumber #'transparent = ##t {
7691 \[ c'\melisma c' \flexa a \]
7692 \[ a \flexa \deminutum g\melismaEnd \]
7694 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7695 c' \divisioMinima \break
7696 \[ c'\melisma c' \flexa a \]
7697 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7700 \lyricsto "cantus" \new Lyrics {
7701 San- ctus, San- ctus, San- ctus
7708 @node Mensural contexts
7709 @subsection Mensural contexts
7711 @cindex MensuralVoiceContext
7712 @cindex MensuralStaffContext
7714 The predefined @code{MensuralVoiceContext} and
7715 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7716 style. These contexts initialize all relevant context properties and
7717 grob properties to proper values, so you can immediately go ahead
7718 entering the chant, as the following excerpt demonstrates
7720 @lilypond[quote,raggedright,verbatim]
7723 \context MensuralVoice = "discantus" \transpose c c' {
7724 \override Score.BarNumber #'transparent = ##t {
7725 c'1\melisma bes a g\melismaEnd
7727 \[ f1\melisma a c'\breve d'\melismaEnd \]
7729 c'\breve\melisma a1 g1\melismaEnd
7730 fis\longa^\signumcongruentiae
7733 \lyricsto "discantus" \new Lyrics {
7734 San -- ctus, San -- ctus, San -- ctus
7742 @subsection Figured bass
7744 @cindex Basso continuo
7746 @c TODO: musicological blurb about FB
7749 LilyPond has limited support for figured bass
7751 @lilypond[quote,raggedright,verbatim,fragment]
7753 \context Voice { \clef bass dis4 c d ais g fis}
7754 \context FiguredBass \figuremode {
7755 < 6 >4 < 7 >8 < 6+ [_!] >
7762 The support for figured bass consists of two parts: there is an input
7763 mode, introduced by @code{\figuremode}, where you can enter bass figures
7764 as numbers, and there is a context called @internalsref{FiguredBass} that
7765 takes care of making @internalsref{BassFigure} objects.
7767 In figures input mode, a group of bass figures is delimited by
7768 @code{<} and @code{>}. The duration is entered after the @code{>}
7772 @lilypond[quote,raggedright,fragment]
7773 \context FiguredBass
7774 \figuremode { <4 6> }
7777 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
7783 @lilypond[quote,raggedright,fragment]
7784 \context FiguredBass
7785 \figuremode { <4- 6+ 7!> }
7788 Spaces or dashes may be inserted by using @code{_}. Brackets are
7789 introduced with @code{[} and @code{]}
7794 @lilypond[quote,raggedright,fragment]
7795 \context FiguredBass
7796 \figuremode { < [4 6] 8 [_! 12] > }
7799 Although the support for figured bass may superficially resemble chord
7800 support, it works much simpler. The @code{\figuremode} mode simply
7801 stores the numbers and @internalsref{FiguredBass} context prints
7802 them as entered. There is no conversion to pitches and no
7803 realizations of the bass are played in the MIDI file.
7805 Internally, the code produces markup texts. You can use any of the
7806 markup text properties to override formatting. For example, the
7807 vertical spacing of the figures may be set with @code{baseline-skip}.
7811 Program reference: @internalsref{BassFigureEvent} music,
7812 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
7816 Slash notation for alterations is not supported.
7818 @node Contemporary notation
7819 @section Contemporary notation
7821 In the 20th century, composers have greatly expanded the musical
7822 vocabulary. With this expansion, many innovations in musical notation
7823 have been tried. The book ``Music Notation in the 20th century'' by
7824 Kurt Stone gives a comprehensive overview (see @ref{Literature
7825 list}). In general, the use of new, innovative notation makes a piece
7826 harder to understand and perform and its use should therefore be
7827 avoided. For this reason, support for contemporary notation in
7828 LilyPond is limited.
7832 * Polymetric notation::
7834 * Special fermatas::
7838 @node Polymetric notation
7839 @subsection Polymetric notation
7841 Double time signatures are not supported explicitly, but they can be
7842 faked. In the next example, the markup for the time signature is
7843 created with a markup text. This markup text is inserted in the
7844 @internalsref{TimeSignature} grob.
7846 @lilypond[verbatim,raggedright]
7851 \musicglyph #"scripts-stopped"
7852 \bracket \column { "5" "8" }
7857 \override Staff.TimeSignature #'print-function = #Text_interface::print
7858 \override Staff.TimeSignature #'text = #tsMarkup
7860 c'2 \bar ":" c'4 c'4.
7864 Each staff can also have its own time signature. This is done by
7865 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
7870 \context @{ \Score \remove "Timing_engraver" @}
7871 \context @{ \Staff \consists "Timing_engraver" @}
7876 Now, each staff has its own time signature.
7889 c4. c8 c c c4. c8 c c
7894 @lilypond[quote,raggedright]
7896 \context{ \Score \remove "Timing_engraver" }
7897 \context{ \Staff \consists "Timing_engraver" }
7911 c4. c8 c c c4. c8 c c
7917 A different form of polymetric notation is where note lengths have
7918 different values across staves.
7920 This notation can be created by setting a common time signature for
7921 each staff but replacing it manually using
7922 @code{timeSignatureFraction} to the desired fraction. Then the printed
7923 durations in each staff are scaled to the common time signature.
7924 The latter is done with @code{\compressmusic}, which is similar to
7925 @code{\times}, but does not create a tuplet bracket.
7928 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
7929 used in parallel. In the second staff, shown durations are multiplied by
7930 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7931 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7933 @lilypond[quote,raggedright,verbatim,fragment]
7941 \set Staff.timeSignatureFraction = #'(9 . 8)
7942 \compressmusic #'(2 . 3)
7943 \repeat unfold 6 { c8[ c c] }
7947 \set Staff.timeSignatureFraction = #'(10 . 8)
7948 \compressmusic #'(3 . 5) {
7949 \repeat unfold 2 { c8[ c c] }
7950 \repeat unfold 2 { c8[ c] }
7951 | c4. c4. \times 2/3 { c8 c c } c4
7962 When using different time signatures in parallel, the spacing is
7963 aligned vertically, but bar lines distort the regular spacing.
7968 @subsection Clusters
7972 A cluster indicates a continuous range of pitches to be played. They
7973 can be denoted as the envelope of a set of notes. They are entered by
7974 applying the function @code{makeClusters} to a sequence of
7976 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
7977 \makeClusters { <c e > <b f'> }
7980 The following example (from
7981 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
7984 @lilypondfile[raggedright,quote]{cluster.ly}
7986 Ordinary notes and clusters can be put together in the same staff,
7987 even simultaneously. In such a case no attempt is made to
7988 automatically avoid collisions between ordinary notes and clusters.
7992 Program reference: @internalsref{ClusterSpanner},
7993 @internalsref{ClusterSpannerBeacon},
7994 @internalsref{Cluster_spanner_engraver}, and
7995 @internalsref{ClusterNoteEvent}.
7997 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
8001 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
8002 accurately. Use @code{<g a>8 <e a>8} instead.
8006 @node Special fermatas
8007 @subsection Special fermatas
8009 @cindex fermatas, special
8011 In contemporary music notation, special fermata symbols denote breaks
8012 of differing lengths. The following fermatas are supported
8014 @lilypond[quote,raggedright]
8037 \context Lyrics \lyricmode {
8038 \override LyricText #'font-family = #'typewriter
8039 "shortfermata" "fermata" "longfermata" "verylongfermata"
8044 See @ref{Articulations} for general instructions how to apply scripts
8045 such as fermatas to notes.
8047 @node Feathered beams
8048 @subsection Feathered beams
8050 Feathered beams are not supported natively, but they can be faked by
8051 forcing two beams to overlap. Here is an example,
8053 @c don't change relative setting witout changing positions!
8054 @lilypond[raggedright,relative=1,fragment,verbatim]
8059 \once \override Voice.Beam #'positions = #'(0 . 0.5)
8064 \once \override Voice.Beam #'positions = #'(0 . -0.5)
8072 @node Educational use
8073 @section Educational use
8075 With the amount of control that LilyPond offers, one can make great
8076 teaching tools in addition to great musical scores.
8080 * Blank music sheet::
8082 * Shaped note heads ::
8083 * Easy Notation note heads::
8087 @subsection Balloon help
8089 Elements of notation can be marked and named with the help of a square
8090 balloon. The primary purpose of this feature is to explain notation.
8092 The following example demonstrates its use.
8094 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
8097 #(add-balloon-text 'NoteHead "heads, or tails?"
8104 The function @code{add-balloon-text} takes the name of a grob, the
8105 label to print, and the position where to put the label relative to
8106 the object. In the above example, the text ``heads or tails?'' ends
8107 3 spaces below and 1 space to the right of the marked head.
8110 @cindex notation, explaining
8114 Program reference: @internalsref{text-balloon-interface}.
8116 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
8121 @node Blank music sheet
8122 @subsection Blank music sheet
8124 A blank music sheet can be produced also by using invisible notes, and
8125 removing @code{Bar_number_engraver}.
8128 @lilypond[quote,verbatim]
8130 \repeat unfold 2 % Change this for more lines.
8135 \override TimeSignature #'transparent = ##t
8136 defaultBarType = #""
8137 \remove Bar_number_engraver
8139 \context Staff \emptymusic
8140 \context TabStaff \emptymusic
8146 @subsection Hidden notes
8148 @cindex Hidden notes
8149 @cindex Invisible notes
8150 @cindex Transparent notes
8152 Hidden (or invisible or transparent) notes can be useful in preparing theory
8153 or composition exercises.
8155 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
8163 Hidden notes are also great for performing weird tricks. For example,
8164 slurs cannot be attached to rests or spacer rests, but you may wish
8165 to include that in your score -- string instruments use this notation
8166 when doing pizzicato to indicate that the note should ring for as long
8169 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
8172 c4^"pizz"( \hideNotes c)
8173 \unHideNotes c( \hideNotes c)
8180 @node Shaped note heads
8181 @subsection Shaped note heads
8183 In shaped note head notation, the shape of the note head corresponds
8184 to the harmonic function of a note in the scale. This notation was
8185 popular in the 19th century American song books.
8187 Shaped note heads can be produced by setting @code{\aikenHeads} or
8188 @code{\sacredHarpHeads}, depending on the style desired.
8190 @lilypond[verbatim,relative=1,fragment]
8197 Shapes are determined on the step in the scale, where the base of the
8198 scale is determined by the @code{\key} command
8201 @findex shapeNoteStyles
8203 @findex \sacredHarpHeads
8205 Shaped note heads are implemented through the @code{shapeNoteStyles}
8206 property. Its value is a vector of symbols. The k-th element indicates
8207 the style to use for the k-th step of the scale. Arbitrary
8208 combinations are possible, eg.,
8211 @lilypond[verbatim,relative=1,fragment]
8212 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
8217 @node Easy Notation note heads
8218 @subsection Easy Notation note heads
8220 @cindex easy notation
8223 The `easy play' note head includes a note name inside the head. It is
8224 used in music for beginners
8226 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
8231 The command @code{\setEasyHeads} overrides settings for the
8232 @internalsref{NoteHead} object. To make the letters readable, it has
8233 to be printed in a large font size. To print with a larger font, see
8234 @ref{Setting global staff size}.
8238 @cindex @code{\setEasyHeads}
8239 @code{\setEasyHeads}