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
477 Ties are sometimes used to write out arpeggios. In this case, two tied
478 notes need not be consecutive. This can be achieved by setting the
479 @code{tieWaitForNote} property to true. For example,
481 @lilypond[fragment,verbatim,relative=1,raggedright]
482 \set tieWaitForNote = ##t
483 \grace { c16[~ e~ g]~ } <c, e g>4
490 @cindex @code{\tieUp}
492 @cindex @code{\tieDown}
494 @cindex @code{\tieNeutral}
496 @cindex @code{\tieDotted}
498 @cindex @code{\tieSolid}
503 In this manual: @ref{Automatic note splitting}.
505 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
510 Switching staves when a tie is active will not produce a slanted tie.
512 Formatting of ties is a difficult subject. The results are often not
520 @cindex @code{\times}
522 Tuplets are made out of a music expression by multiplying all durations
525 @cindex @code{\times}
527 \times @var{fraction} @var{musicexpr}
531 The duration of @var{musicexpr} will be multiplied by the fraction.
532 The fraction's denominator will be printed over the notes, optionally
533 with a bracket. The most common tuplet is the triplet in which 3
534 notes have the length of 2, so the notes are 2/3 of their written
537 @lilypond[quote,raggedright,fragment,verbatim]
538 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
541 The property @code{tupletSpannerDuration} specifies how long each
542 bracket should last. With this, you can make lots of tuplets while
543 typing @code{\times} only once, thus saving lots of typing. In the next
544 example, there are two triplets shown, while @code{\times} was only
547 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
548 \set tupletSpannerDuration = #(ly:make-moment 1 4)
549 \times 2/3 { c'8 c c c c c }
552 The format of the number is determined by the property
553 @code{tupletNumberFormatFunction}. The default prints only the
554 denominator, but if it is set to the Scheme function
555 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
559 @cindex @code{tupletNumberFormatFunction}
560 @cindex tuplet formatting
565 @cindex @code{\tupletUp}
567 @cindex @code{\tupletDown}
569 @cindex @code{\tupletNeutral}
570 @code{\tupletNeutral}.
574 User manual: @ref{Changing context properties on the fly} for the
578 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
580 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
584 Nested tuplets are not formatted automatically. In this case, outer
585 tuplet brackets should be moved manually, which is demonstrated in
586 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
590 @node Easier music entry
591 @section Easier music entry
594 This section deals with tricks and features of the input language that
595 were added solely to help entering music and finding and correcting
596 mistakes. There are also external tools that make debugging easier.
597 See @ref{Point and click} for more information.
599 It is also possible to enter and edit music using other programs, such as
600 GUI interfaces or MIDI sequencers. Refer to the LilyPond
601 website for more information.
608 * Skipping corrected music::
609 * Automatic note splitting::
615 @node Relative octaves
616 @subsection Relative octaves
618 @cindex relative octave specification
620 Octaves are specified by adding @code{'} and @code{,} to pitch names.
621 When you copy existing music, it is easy to accidentally put a pitch
622 in the wrong octave and hard to find such an error. The relative
623 octave mode prevents these errors by making the mistakes much
624 larger: a single error puts the rest of the piece off by one octave
626 @cindex @code{\relative}
628 \relative @var{startpitch} @var{musicexpr}
635 \relative @var{musicexpr}
638 The octave of notes that appear in @var{musicexpr} are calculated as
639 follows: if no octave changing marks are used, the basic interval
640 between this and the last note is always taken to be a fourth or
641 less. This distance is determined without regarding alterations; a
642 @code{fisis} following a @code{ceses} will be put above the
643 @code{ceses}. In other words, a doubly-augmented fourth is considered
644 a smaller interval than a diminshed fifth, even though the fourth is
645 seven semitones while the fifth is only six semitones.
647 The octave changing marks @code{'} and @code{,} can be added to raise
648 or lower the pitch by an extra octave. Upon entering relative mode,
649 an absolute starting pitch can be specified that will act as the
650 predecessor of the first note of @var{musicexpr}. If no starting pitch
651 is specified, then middle C is used as a start.
653 Here is the relative mode shown in action
654 @lilypond[quote,fragment,raggedright,verbatim]
660 Octave changing marks are used for intervals greater than a fourth
661 @lilypond[quote,raggedright,fragment,verbatim]
667 If the preceding item is a chord, the first note of the chord is used
668 to determine the first note of the next chord
670 @lilypond[quote,raggedright,fragment,verbatim]
678 The pitch after the @code{\relative} contains a note name.
681 The relative conversion will not affect @code{\transpose},
682 @code{\chordmode} or @code{\relative} sections in its argument. To use
683 relative within transposed music, an additional @code{\relative} must
684 be placed inside @code{\transpose}.
687 @subsection Octave check
690 Octave checks make octave errors easier to correct: a note may be
691 followed by @code{=}@var{quotes} which indicates what its absolute
692 octave should be. In the following example,
694 \relative c'' @{ c='' b=' d,='' @}
698 @c take care with @code, adds confusing quotes.
699 the @code{d} will generate a warning, because a @code{d''} is expected
700 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
701 found. In the output, the octave is corrected to be a @code{d''} and
702 the next note is calculated relative to @code{d''} instead of @code{d'}.
706 There is also a syntax that is separate from the notes. The syntax
712 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
713 quotes) in \relative mode. If not, a warning is printed, and the
716 In the example below, the first check passes without incident, since
717 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
718 the second check produces a warning, since the @code{e} is not within
719 a fifth of @code{b'}. The warning message is printed, and the octave
720 is adjusted so that the following notes are in the correct octave
732 The octave of a note following an octave check is determined with
733 respect to the note preceding it. In the next fragment, the last note
734 is a @code{a'}, above middle C. That means that the @code{\octave}
735 check passes successfully, so the check could be deleted without changing
736 the output of the piece.
738 @lilypond[quote,raggedright,verbatim,fragment]
747 @subsection Bar check
751 @cindex @code{barCheckSynchronize}
754 Bar checks help detect errors in the durations. A bar check is
755 entered using the bar symbol, `@code{|}'. Whenever it is encountered
756 during interpretation, it should fall on a measure boundary. If it
757 does not, a warning is printed. In the next example, the second bar
758 check will signal an error
760 \time 3/4 c2 e4 | g2 |
763 Bar checks can also be used in lyrics, for example
768 Twin -- kle | Twin -- kle
773 @cindex @code{skipTypesetting}
775 Failed bar checks are caused by entering incorrect
776 durations. Incorrect durations often completely garble up the score,
777 especially if the score is polyphonic, so a good place to start correcting
778 input is by scanning for failed bar checks and incorrect durations. To
779 speed up this process, the @code{skipTypesetting} feature may be
780 used. It is described in the next section.
783 @cindex @code{pipeSymbol}
785 It is also possible to redefine the meaning of @code{|}. This is done
786 by assigning a music expression to @code{pipeSymbol},
788 @lilypond[quote,raggedright,verbatim]
789 pipeSymbol = \bar "||"
795 @node Skipping corrected music
796 @subsection Skipping corrected music
798 The property @code{Score.skipTypesetting} can be used to switch on and
799 off typesetting completely during the interpretation phase. When
800 typesetting is switched off, the music is processed much more
801 quickly. This can be used to skip over the parts of a score that
802 have already been checked for errors
804 @lilypond[quote,fragment,raggedright,verbatim]
807 \set Score.skipTypesetting = ##t
809 \set Score.skipTypesetting = ##f
813 In polyphonic music, @code{Score.skipTypesetting} will affect all
814 voices and staves, saving even more time.
816 @node Automatic note splitting
817 @subsection Automatic note splitting
819 Long notes can be converted automatically to tied notes. This is done
820 by replacing the @internalsref{Note_heads_engraver} by the
821 @internalsref{Completion_heads_engraver}.
822 In the following examples, notes crossing the bar line are split and tied.
825 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
827 \remove "Note_heads_engraver"
828 \consists "Completion_heads_engraver"
830 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
834 This engraver splits all running notes at the bar line, and inserts
835 ties. One of its uses is to debug complex scores: if the measures are
836 not entirely filled, then the ties exactly show how much each measure
841 Not all durations (especially those containing tuplets) can be
842 represented exactly with normal notes and dots, but the engraver will
847 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
851 Program reference: @internalsref{Completion_heads_engraver}.
855 @section Staff notation
857 This section describes music notation that occurs on staff level,
858 such as key signatures, clefs and time signatures.
860 @cindex Staff notation
871 * Time administration::
872 * Controlling formatting of prefatory matter::
876 @subsection Staff symbol
878 @cindex adjusting staff symbol
880 Notes, dynamic signs, etc., are grouped
881 with a set of horizontal lines, into a staff (plural `staves'). In our
882 system, these lines are drawn using a separate layout object called
886 @cindex staff lines, setting number of
887 @cindex staff lines, setting thickness of
888 @cindex thickness of staff lines, setting
889 @cindex number of staff lines, setting
893 Program reference: @internalsref{StaffSymbol}.
895 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
896 @inputfileref{input/@/test,staff@/-size@/.ly}.
900 If a staff is ended halfway a piece, the staff symbol may not end
901 exactly on the bar line.
905 @subsection Key signature
906 @cindex Key signature
910 The key signature indicates the tonality in which a piece is played. It
911 is denoted by a set of alterations (flats or sharps) at the start of the
915 Setting or changing the key signature is done with the @code{\key}
918 @code{\key} @var{pitch} @var{type}
921 @cindex @code{\minor}
922 @cindex @code{\major}
923 @cindex @code{\minor}
924 @cindex @code{\ionian}
925 @cindex @code{\locrian}
926 @cindex @code{\aeolian}
927 @cindex @code{\mixolydian}
928 @cindex @code{\lydian}
929 @cindex @code{\phrygian}
930 @cindex @code{\dorian}
932 Here, @var{type} should be @code{\major} or @code{\minor} to get
933 @var{pitch}-major or @var{pitch}-minor, respectively.
934 The standard mode names @code{\ionian},
935 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
936 @code{\phrygian}, and @code{\dorian} are also defined.
938 This command sets the context property
939 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
940 can be specified by setting this property directly.
942 A natural sign is printed to cancel any previous accidentals. This
943 can be suppressed by setting the @code{Staff.printKeyCancellation}
946 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
952 \set Staff.printKeyCancellation = ##f
960 Accidentals and key signatures often confuse new users, because
961 unaltered notes get natural signs depending on the key signature. For
962 more information, see @ref{More about pitches}.
966 Program reference: @internalsref{KeyChangeEvent},
967 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
969 @cindex @code{keySignature}
976 The clef indicates which lines of the staff correspond to which
980 The clef can be set with the @code{\clef} command
981 @lilypond[quote,raggedright,fragment,verbatim]
982 { c''2 \clef alto g'2 }
985 Supported clef-names include
986 @c Moved standard clefs to the top /MB
990 @item treble, violin, G, G2
1003 G clef on 1st line, so-called French violin clef
1005 @cindex soprano clef
1008 @cindex mezzosoprano clef
1011 @cindex baritone clef
1014 @cindex varbaritone clef
1017 @cindex subbass clef
1025 By adding @code{_8} or @code{^8} to the clef name, the clef is
1026 transposed one octave down or up, respectively, and @code{_15} and
1027 @code{^15} transposes by two octaves. The argument @var{clefname}
1028 must be enclosed in quotes when it contains underscores or digits. For
1032 @cindex choral tenor clef
1033 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
1037 This command is equivalent to setting @code{clefGlyph},
1038 @code{clefPosition} (which controls the Y position of the clef),
1039 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1040 when any of these properties are changed. The following example shows
1041 possibilities when setting properties manually.
1043 @lilypond[quote,raggedright,verbatim]
1045 \set Staff.clefGlyph = #"clefs.F"
1046 \set Staff.clefPosition = #2
1048 \set Staff.clefGlyph = #"clefs.G"
1050 \set Staff.clefGlyph = #"clefs.C"
1052 \set Staff.clefOctavation = #7
1054 \set Staff.clefOctavation = #0
1055 \set Staff.clefPosition = #0
1059 \set Staff.middleCPosition = #4
1066 Program reference: @internalsref{Clef}.
1070 @node Ottava brackets
1071 @subsection Ottava brackets
1073 `Ottava' brackets introduce an extra transposition of an octave for
1074 the staff. They are created by invoking the function
1075 @code{set-octavation}
1081 @lilypond[quote,raggedright,verbatim,fragment]
1091 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1092 (for 15ma) as arguments. Internally the function sets the properties
1093 @code{ottavation} (e.g., to @code{"8va"}) and
1094 @code{centralCPosition}. For overriding the text of the bracket, set
1095 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1097 @lilypond[quote,raggedright,verbatim]
1100 \set Staff.ottavation = #"8"
1107 Program reference: @internalsref{OttavaBracket}.
1109 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1110 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1114 @code{set-octavation} will get confused when clef changes happen
1115 during an octavation bracket.
1120 @node Time signature
1121 @subsection Time signature
1122 @cindex Time signature
1124 @cindex @code{\time}
1126 Time signature indicates the metrum of a piece: a regular pattern of
1127 strong and weak beats. It is denoted by a fraction at the start of the
1131 The time signature is set or changed by the @code{\time}
1133 @lilypond[quote,raggedright,fragment,verbatim]
1134 \time 2/4 c'2 \time 3/4 c'2.
1137 The symbol that is printed can be customized with the @code{style}
1138 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1141 @lilypond[fragment,quote,raggedright,verbatim]
1144 \override Staff.TimeSignature #'style = #'()
1151 There are many more options for its layout. See @ref{Ancient time
1152 signatures} for more examples.
1155 This command sets the property @code{timeSignatureFraction},
1156 @code{beatLength} and @code{measureLength} in the @code{Timing}
1157 context, which is normally aliased to @internalsref{Score}. The
1158 property @code{measureLength} determines where bar lines should be
1159 inserted, and how automatic beams should be generated. Changing the
1160 value of @code{timeSignatureFraction} also causes the symbol to be
1163 More options are available through the Scheme function
1164 @code{set-time-signature}. In combination with the
1165 @internalsref{Measure_grouping_engraver}, it will create
1166 @internalsref{MeasureGrouping} signs. Such signs ease reading
1167 rhythmically complex modern music. In the following example, the 9/8
1168 measure is subdivided in 2, 2, 2 and 3. This is passed to
1169 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1171 @lilypond[quote,raggedright,verbatim]
1174 #(set-time-signature 9 8 '(2 2 2 3))
1175 g8[ g] d[ d] g[ g] a8[( bes g]) |
1176 #(set-time-signature 5 8 '(3 2))
1182 \consists "Measure_grouping_engraver"
1190 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1195 Automatic beaming does not use the measure grouping specified with
1196 @code{set-time-signature}.
1198 @node Partial measures
1199 @subsection Partial measures
1202 @cindex partial measure
1203 @cindex measure, partial
1204 @cindex shorten measures
1205 @cindex @code{\partial}
1207 Partial measures, for example in upsteps, are entered using the
1208 @code{\partial} command
1209 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1210 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1213 The syntax for this command is
1215 \partial @var{duration}
1217 This is internally translated into
1219 \set Timing.measurePosition = -@var{length of duration}
1222 The property @code{measurePosition} contains a rational number
1223 indicating how much of the measure has passed at this point.
1227 This command does not take into account grace notes at the start of
1228 the music. When a piece starts with graces notes in the pickup, then
1229 the @code{\partial} should follow the grace notes
1231 @lilypond[verbatim,quote,raggedright,relative,fragment]
1241 @node Unmetered music
1242 @subsection Unmetered music
1246 Bar lines and bar numbers are calculated automatically. For unmetered
1247 music (cadenzas, for example), this is not desirable. By setting
1248 @code{Score.timing} to false, this automatic timing can be switched
1249 off. Empty bar lines,
1256 indicate where line breaks can occur.
1260 @cindex @code{\cadenzaOn}
1262 @cindex @code{\cadenzaOff}
1269 @subsection Bar lines
1273 @cindex measure lines
1277 Bar lines delimit measures, but are also used to indicate repeats.
1278 Normally, they are inserted automatically. Line breaks may only
1279 happen on bar lines.
1281 Special types of bar lines can be forced with the @code{\bar} command
1283 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1287 The following bar types are available
1288 @lilypondfile[raggedright,quote]{bar-lines.ly}
1290 For allowing line breaks, there is a special command,
1294 This will insert an invisible bar line, and allow line breaks at this
1297 In scores with many staves, a @code{\bar} command in one staff is
1298 automatically applied to all staves. The resulting bar lines are
1299 connected between different staves of a @internalsref{StaffGroup}
1301 @lilypond[quote,raggedright,fragment,verbatim]
1303 \context StaffGroup <<
1309 \new Staff { \clef bass c4 g e g }
1311 \new Staff { \clef bass c2 c2 }
1316 The command @code{\bar }@var{bartype} is a short cut for doing
1317 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1318 is set to a string, a bar line of that type is created.
1320 A bar line is created whenever the @code{whichBar} property is set.
1321 At the start of a measure it is set to the contents of
1322 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1323 to override default measure bars.
1325 @cindex @code{whichBar}
1326 @cindex @code{repeatCommands}
1327 @cindex @code{defaultBarType}
1329 You are encouraged to use @code{\repeat} for repetitions. See
1336 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1339 Program reference: @internalsref{BarLine} (created at
1340 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1342 @cindex bar lines at start of system
1343 @cindex start of system
1347 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1350 @node Time administration
1351 @subsection Time administration
1353 Time is administered by the @internalsref{Time_signature_engraver},
1354 which usually lives in the @internalsref{Score} context.
1355 The bookkeeping deals with the following variables
1358 @item currentBarNumber
1362 The length of the measures in the current time signature. For a 4/4
1363 time this is@tie{}1, and for 6/8 it is 3/4.
1365 @item measurePosition
1366 The point within the measure where we currently are. This quantity
1367 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1368 happens, @code{currentBarNumber} is incremented.
1371 If set to true, the above variables are updated for every time
1372 step. When set to false, the engraver stays in the current measure
1376 Timing can be changed by setting any of these variables explicitly.
1377 In the next example, the 4/4 time signature is printed, but
1378 @code{measureLength} is set to 5/4. After a while, the measure is
1379 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1380 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1381 3/8 arises because 5/4 normally has 10/8, but we have manually
1382 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1384 @lilypond[quote,raggedright,verbatim,relative,fragment]
1385 \set Score.measureLength = #(ly:make-moment 5 4)
1389 \set Score.measurePosition = #(ly:make-moment 7 8)
1395 @node Controlling formatting of prefatory matter
1396 @subsection Controlling formatting of prefatory matter
1398 @c This section will be moved to somewhere else soon. -gp
1399 This example demonstrates how to place prefatory matter
1400 (such as the clef and key signature) at the end of a line.
1402 @lilypond[quote,verbatim]
1404 \override Staff.Clef
1405 #'break-visibility = #end-of-line-visible
1406 \override Staff.KeySignature
1407 #'break-visibility = #end-of-line-visible
1408 \set Staff.explicitClefVisibility = #end-of-line-visible
1409 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1411 % We want the time sig to take space, otherwise there is not
1412 % enough white at the start of the line.
1414 \override Staff.TimeSignature #'transparent = ##t
1415 \set Score.defaultBarType = #"empty"
1435 Polyphony in music refers to having more than one voice occuring in
1436 a piece of music. Polyphony in LilyPond refers to having more than
1437 one voice on the same staff.
1440 * Writing polyphonic music::
1443 @node Writing polyphonic music
1444 @subsection Writing polyphonic music
1447 The easiest way to enter fragments with more than one voice on a staff
1448 is to split chords using the separator @code{\\}. You can use it for
1449 small, short-lived voices or for single chords
1453 @lilypond[quote,raggedright,verbatim,fragment]
1454 \context Staff \relative c'' {
1455 c4 << { f d e } \\ { b c2 } >>
1456 c4 << g' \\ b, \\ f' \\ d >>
1460 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1461 voices are sometimes called ``layers'' in other notation packages}
1463 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1464 each of these contexts, vertical direction of slurs, stems, etc., is set
1465 appropriately. Specifically,
1468 << \upper \\ \lower >>
1476 \context Voice = "1" @{ \voiceOne \upper @}
1477 \context Voice = "2" @{ \voiceTwo \lower @}
1481 @cindex @code{\voiceOne}
1482 @cindex @code{\voiceFour}
1484 This can also be done by instantiating @internalsref{Voice} contexts
1485 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1486 a stem directions and horizontal shift for each part
1489 @lilypond[quote,raggedright,verbatim]
1492 \new Voice { \voiceOne cis2 b }
1493 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1494 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1498 The command @code{\oneVoice} will revert back to the normal setting.
1499 @cindex @code{\oneVoice}
1501 Defining voices (either with the separator @code{\\} or with
1502 @code{\voiceXXX}) will set the direction of stems, slurs, ties,
1503 articulations, text annotations, augmentation dots of dotted
1504 notes, and fingerings. @code{\voiceOne} makes these objects
1505 point upwards, while @code{\voiceTwo} makes them point down.
1507 Normally, note heads with a different number of dots are not merged, but
1508 when the object property @code{merge-differently-dotted} is set in
1509 the @internalsref{NoteCollision} object, they are merged
1510 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1513 \override Staff.NoteCollision
1514 #'merge-differently-dotted = ##t
1516 } \\ { g8.[ f16] g8.[ f16] } >>
1519 Similarly, you can merge half note heads with eighth notes, by setting
1520 @code{merge-differently-headed}
1521 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1524 \override Staff.NoteCollision
1525 #'merge-differently-headed = ##t
1526 c8 c4. } \\ { c2 c2 } >>
1529 LilyPond also vertically shifts rests that are opposite of a stem,
1532 @lilypond[quote,raggedright,fragment,verbatim]
1533 \context Voice << c''4 \\ r4 >>
1541 @cindex @code{\oneVoice}
1543 @cindex @code{\voiceOne}
1545 @cindex @code{\voiceTwo}
1547 @cindex @code{\voiceThree}
1549 @cindex @code{\voiceFour}
1554 @cindex @code{\shiftOn}
1556 @cindex @code{\shiftOnn}
1558 @cindex @code{\shiftOnnn}
1560 @cindex @code{\shiftOff}
1561 @code{\shiftOff}: these commands specify in what chords of the current
1562 voice should be shifted. The outer voices (normally: voice one and
1563 two) have @code{\shiftOff}, while the inner voices (three and four)
1564 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1565 further shift levels.
1568 When LilyPond cannot cope, the @code{force-hshift}
1569 property of the @internalsref{NoteColumn} object and pitched rests can
1570 be used to override typesetting decisions.
1572 @lilypond[quote,verbatim,raggedright]
1579 \once \override NoteColumn #'force-hshift = #1.7
1588 Program reference: the objects responsible for resolving collisions are
1589 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1592 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1593 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1594 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1595 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1596 @inputfileref{input/@/regression,collisions@/.ly}.
1602 When using @code{merge-differently-headed} with an upstem eighth or a
1603 shorter note, and a downstem half note, the eighth note gets the wrong
1606 There is no support for clusters where the same note occurs with
1607 different accidentals in the same chord. In this case, it is
1608 recommended to use enharmonic transcription, or to use special cluster
1609 notation (see @ref{Clusters}).
1614 Beams are used to group short notes into chunks that are aligned with
1615 the metrum. LilyPond normally inserts beams automatically, but if you
1616 wish you may control them manually or changed how beams are automatically
1619 @cindex Automatic beams
1623 * Setting automatic beam behavior::
1627 @node Automatic beams
1628 @subsection Automatic beams
1630 LilyPond inserts beams automatically
1632 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1633 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1636 When these automatic decisions are not good enough, beaming can be
1637 entered explicitly. It is also possible to define beaming patterns
1638 that differ from the defaults.
1640 Individual notes may be marked with @code{\noBeam}, to prevent them
1643 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1644 \time 2/4 c8 c\noBeam c c
1650 Program reference: @internalsref{Beam}.
1654 @subsection Manual beams
1655 @cindex beams, manual
1659 In some cases it may be necessary to override the automatic beaming
1660 algorithm. For example, the autobeamer will not put beams over rests
1661 or bar lines. Such beams are specified manually by marking the begin
1662 and end point with @code{[} and @code{]}
1664 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1666 r4 r8[ g' a r8] r8 g[ | a] r8
1670 @cindex @code{stemLeftBeamCount}
1672 Normally, beaming patterns within a beam are determined automatically.
1673 If necessary, the properties @code{stemLeftBeamCount} and
1674 @code{stemRightBeamCount} can be used to override the defaults. If
1675 either property is set, its value will be used only once, and then it
1678 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1683 \set stemLeftBeamCount = #1
1687 @cindex @code{stemRightBeamCount}
1690 The property @code{subdivideBeams} can be set in order to subdivide
1691 all 16th or shorter beams at beat positions, as defined by the
1692 @code{beatLength} property.
1695 @lilypond[fragment,quote,relative=2,verbatim]
1697 \set subdivideBeams = ##t
1699 \set Score.beatLength = #(ly:make-moment 1 8)
1702 @cindex @code{subdivideBeams}
1704 Normally, line breaks are forbidden when beams cross bar lines. This
1705 behavior can be changed by setting @code{allowBeamBreak}.
1707 @cindex @code{allowBeamBreak}
1708 @cindex beams and line breaks
1710 @cindex beams, kneed
1712 @cindex auto-knee-gap
1717 User manual: @ref{Changing context properties on the fly} for the
1723 @cindex Frenched staves
1724 Kneed beams are inserted automatically, when a large gap is detected
1725 between the note heads. This behavior can be tuned through the object.
1728 Automatically kneed cross-staff beams cannot be used together with
1729 hidden staves. See @ref{Hiding staves}.
1731 Beams do not avoid collisions with symbols around the notes, such as
1732 texts and accidentals.
1737 @node Setting automatic beam behavior
1738 @subsection Setting automatic beam behavior
1740 @cindex @code{autoBeamSettings}
1741 @cindex @code{(end * * * *)}
1742 @cindex @code{(begin * * * *)}
1743 @cindex automatic beams, tuning
1744 @cindex tuning automatic beaming
1746 @c [TODO: use \applycontext]
1748 In normal time signatures, automatic beams can start on any note but can
1749 only end in a few positions within the measure: beams can end on a beat,
1750 or at durations specified by the properties in
1751 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1752 are defined in @file{scm/@/auto@/-beam@/.scm}.
1754 The value of @code{autoBeamSettings} is changed with three functions,
1756 #(override-auto-beam-setting
1757 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1759 #(score-override-auto-beam-setting
1760 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
1761 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
1764 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1765 @var{context} is an optional context (default: @code{'Voice}). It
1766 determines whether the rule applies to begin or end-points. The
1767 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1768 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1769 to a time signature (wildcards `@code{* *}' may be entered to
1770 designate all time signatures), @var{a}/@var{b} is a duration. By
1771 default, this command changes settings for the current voice. It is
1772 also possible to adjust settings at higher contexts, by adding a
1773 @var{context} argument. @code{score-override-auto-beam-setting} is
1774 equal to @code{override-auto-beam-setting} with the argument
1775 @var{context} set to @code{'Score}.
1777 For example, if automatic beams should end on every quarter note, use
1780 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1782 Since the duration of a quarter note is 1/4 of a whole note, it is
1783 entered as @code{(ly:make-moment 1 4)}.
1785 The same syntax can be used to specify beam starting points. In this
1786 example, automatic beams can only end on a dotted quarter note
1788 #(override-auto-beam-setting '(end * * * *) 3 8)
1790 In 4/4 time signature, this means that automatic beams could end only on
1791 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1792 3/8, has passed within the measure).
1794 Rules can also be restricted to specific time signatures. A rule that
1795 should only be applied in @var{N}/@var{M} time signature is formed by
1796 replacing the second asterisks by @var{N} and @var{M}. For example, a
1797 rule for 6/8 time exclusively looks like
1799 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1802 If a rule should be to applied only to certain types of beams, use the
1803 first pair of asterisks. Beams are classified according to the
1804 shortest note they contain. For a beam ending rule that only applies
1805 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1808 @cindex automatic beam generation
1810 @cindex @code{autoBeaming}
1813 If beams are used to indicate melismata in songs, then automatic
1814 beaming should be switched off. This is done by setting
1815 @code{autoBeaming} to @code{#f}.
1819 @cindex @code{\autoBeamOff}
1820 @code{\autoBeamOff},
1821 @cindex @code{\autoBeamOn}
1827 If a score ends while an automatic beam has not been ended and is
1828 still accepting notes, this last beam will not be typeset at all. The
1829 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1830 >>}. If a polyphonic voice ends while an automatic beam is still
1831 accepting notes, it is not typeset.
1833 The rules for ending a beam depend on the shortest note in a beam.
1834 So, while it is possible to have different ending rules for eight
1835 beams and sixteenth beams, a beam that contains both eight and
1836 sixteenth notes will use the rules for the sixteenth beam.
1838 In the example below, the autobeamer makes eighth beams and sixteenth
1839 end at three eighths. The third beam can only be corrected by
1840 specifying manual beaming.
1842 @lilypond[quote,raggedright,fragment,relative=1]
1843 #(override-auto-beam-setting '(end * * * *) 3 8)
1844 % rather show case where it goes wrong
1845 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1846 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1848 It is not possible to specify beaming parameters that act differently in
1849 different parts of a measure. This means that it is not possible to use
1850 automatic beaming in irregular meters such as @code{5/8}.
1852 @node Beam formatting
1853 @subsection Beam formatting
1856 When a beam falls in the middle of the staff, the beams point normally
1857 down. However, this behaviour can be altered with the
1858 @code{neutral-direction} property.
1861 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1864 \override Beam #'neutral-direction = #-1
1866 \override Beam #'neutral-direction = #1
1873 @section Accidentals
1875 This section describes how to change the way that accidentals are
1876 inserted automatically before notes.
1879 * Automatic accidentals::
1882 @node Automatic accidentals
1883 @subsection Automatic accidentals
1884 @cindex Automatic accidentals
1886 Common rules for typesetting accidentals have been placed in a
1887 function. This function is called as follows
1889 @cindex @code{set-accidental-style}
1891 #(set-accidental-style 'STYLE #('CONTEXT#))
1894 The function can take two arguments: the name of the accidental style,
1895 and an optional argument that denotes the context that should be
1896 changed. If no context name is supplied, @code{Staff} is the default,
1897 but you may wish to apply the accidental style to a single @code{Voice}
1900 The following accidental styles are supported
1903 This is the default typesetting behavior. It corresponds
1904 to 18th century common practice: Accidentals are
1905 remembered to the end of the measure in which they occur and
1906 only on their own octave.
1909 The normal behavior is to remember the accidentals on
1910 Staff-level. This variable, however, typesets accidentals
1911 individually for each voice. Apart from that, the rule is similar to
1914 As a result, accidentals from one voice do not get canceled in other
1915 voices, which is often an unwanted result
1917 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1919 #(set-accidental-style 'voice)
1926 The @code{voice} option should be used if the voices
1927 are to be read solely by individual musicians. If the staff is to be
1928 used by one musician (e.g., a conductor) then
1929 @code{modern} or @code{modern-cautionary}
1930 should be used instead.
1933 @cindex @code{modern} style accidentals
1934 This rule corresponds to the common practice in the 20th century. This rule
1935 prints the same accidentals as @code{default}, but temporary
1936 accidentals also are canceled in other octaves. Furthermore,
1937 in the same octave, they also get canceled in the following
1940 @lilypond[quote,raggedright,fragment,verbatim]
1941 #(set-accidental-style 'modern)
1942 cis' c'' cis'2 | c'' c'
1945 @item @code{modern-cautionary}
1946 @cindex @code{modern-cautionary}
1947 This rule is similar to @code{modern}, but the ``extra'' accidentals
1948 (the ones not typeset by @code{default}) are typeset as cautionary
1949 accidentals. They are printed in reduced size or with parentheses
1950 @lilypond[quote,raggedright,fragment,verbatim]
1951 #(set-accidental-style 'modern-cautionary)
1952 cis' c'' cis'2 | c'' c'
1955 @cindex @code{modern-voice}
1957 This rule is used for multivoice accidentals to be read both by musicians
1958 playing one voice and musicians playing all voices. Accidentals are
1959 typeset for each voice, but they @emph{are} canceled across voices in
1960 the same @internalsref{Staff}.
1962 @cindex @code{modern-voice-cautionary}
1963 @item modern-voice-cautionary
1964 This rule is the same as @code{modern-voice}, but with the extra
1965 accidentals (the ones not typeset by @code{voice}) typeset
1966 as cautionaries. Even though all accidentals typeset by
1967 @code{default} @emph{are} typeset by this variable,
1968 some of them are typeset as cautionaries.
1971 @cindex @code{piano} accidentals
1972 This rule reflects 20th century practice for piano notation. Very similar to
1973 @code{modern} but accidentals also get canceled
1974 across the staves in the same @internalsref{GrandStaff} or
1975 @internalsref{PianoStaff}.
1977 @item piano-cautionary
1978 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1979 Same as @code{#(set-accidental-style 'piano)} but with the extra
1980 accidentals typeset as cautionaries.
1983 @cindex @code{no-reset} accidental style
1984 This is the same as @code{default} but with accidentals lasting
1985 ``forever'' and not only until the next measure
1986 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1987 #(set-accidental-style 'no-reset)
1992 This is sort of the opposite of @code{no-reset}: Accidentals
1993 are not remembered at all---and hence all accidentals are
1994 typeset relative to the key signature, regardless of what was
1997 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1998 #(set-accidental-style 'forget)
1999 \key d\major c4 c cis cis d d dis dis
2006 Program reference: @internalsref{Accidental_engraver},
2007 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2012 Simultaneous notes are considered to be entered in sequential
2013 mode. This means that in a chord the accidentals are typeset as if the
2014 notes in the chord happened once at a time - in the order in which
2015 they appear in the input file.
2017 This is a problem when accidentals in a chord depend on each other,
2018 which does not happen for the default accidental style. The problem
2019 can be solved by manually inserting @code{!} and @code{?} for the
2023 @node Expressive marks
2024 @section Expressive marks
2027 @c todo: should change ordering
2028 @c where to put text spanners, metronome marks,
2031 Expressive marks help musicians to bring more to the music than simple
2041 * Analysis brackets::
2044 * Fingering instructions::
2054 A slur indicates that notes are to be played bound or @emph{legato}.
2056 They are entered using parentheses
2057 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2058 f( g a) a8 b( a4 g2 f4)
2062 The direction of a slur can be set with the
2066 \override Slur #'direction = #UP
2067 \slurUp % shortcut for the previous line
2071 However, there is a convenient shorthand for forcing slur
2072 directions. By adding @code{_} or @code{^} before the opening
2073 parentheses, the direction is also set. For example,
2075 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2079 Some composers write two slurs when they want legato chords. This can
2080 be achieved in LilyPond by setting @code{doubleSlurs},
2082 @lilypond[verbatim,raggedright,relative,fragment,quote]
2083 \set doubleSlurs = ##t
2084 <c e>4 ( <d f> <c e> <d f> )
2091 @cindex @code{\slurUp}
2093 @cindex @code{\slurDown}
2095 @cindex @code{\slurNeutral}
2096 @code{\slurNeutral},
2097 @cindex @code{\slurDashed}
2099 @cindex @code{\slurDotted}
2101 @cindex @code{\slurSolid}
2106 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2109 @node Phrasing slurs
2110 @subsection Phrasing slurs
2112 @cindex phrasing slurs
2113 @cindex phrasing marks
2115 A phrasing slur (or phrasing mark) connects chords and is used to
2116 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2119 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2120 \time 6/4 c'\( d( e) f( e) d\)
2123 Typographically, the phrasing slur behaves almost exactly like a
2124 normal slur. However, they are treated as different objects. A
2125 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2126 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2127 @code{\phrasingSlurNeutral}.
2129 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2130 will only affect normal slurs and not phrasing slurs.
2134 @cindex @code{\phrasingSlurUp}
2135 @code{\phrasingSlurUp},
2136 @cindex @code{\phrasingSlurDown}
2137 @code{\phrasingSlurDown},
2138 @cindex @code{\phrasingSlurNeutral}
2139 @code{\phrasingSlurNeutral}.
2143 Program reference: see also @internalsref{PhrasingSlur}, and
2144 @internalsref{PhrasingSlurEvent}.
2148 Putting phrasing slurs over rests leads to spurious warnings.
2151 @subsection Breath marks
2153 Breath marks are entered using @code{\breathe}
2156 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2160 The glyph of the breath mark can be tuned by overriding the
2161 @code{text} property of the @code{BreathingSign} layout object with
2162 any markup text. For example,
2163 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2165 \override BreathingSign #'text
2166 = #(make-musicglyph-markup "scripts.rvarcomma")
2173 Program reference: @internalsref{BreathingSign},
2174 @internalsref{BreathingSignEvent}.
2176 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2179 @node Metronome marks
2180 @subsection Metronome marks
2183 @cindex beats per minute
2184 @cindex metronome marking
2186 Metronome settings can be entered as follows
2188 \tempo @var{duration} = @var{per-minute}
2191 In the MIDI output, they are interpreted as a tempo change. In the
2192 layout output, a metronome marking is printed
2193 @cindex @code{\tempo}
2194 @lilypond[quote,raggedright,verbatim,fragment]
2200 Program reference: @internalsref{MetronomeChangeEvent}.
2204 Collisions are not checked. If you have notes above the top line of
2205 the staff (or notes with articulations, slurs, text, etc), then the
2206 metronome marking may be printed on top of musical symbols. If this
2207 occurs, increase the padding of the metronome mark to place it
2208 further away from the staff.
2211 \override Score.MetronomeMark #'padding = #2.5
2216 @subsection Text scripts
2217 @cindex Text scripts
2219 @cindex text items, non-empty
2220 @cindex non-empty texts
2222 It is possible to place arbitrary strings of text or markup text (see
2223 @ref{Text markup}) above or below notes by using a string
2224 @code{c^"text"}. By default, these indications do not influence the
2225 note spacing, but by using the command @code{\fatText}, the widths
2226 will be taken into account
2228 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2229 c4^"longtext" \fatText c4_"longlongtext" c4
2232 More complex formatting may also be added to a note by using the
2234 @lilypond[fragment,raggedright,verbatim,quote]
2235 c'4^\markup { bla \bold bla }
2238 The @code{\markup} is described in more detail in
2244 @cindex @code{\fatText}
2246 @cindex @code{\emptyText}
2251 In this manual: @ref{Text markup}.
2253 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2257 @subsection Text spanners
2258 @cindex Text spanners
2260 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
2261 are written as text and are extended over many measures with dotted
2262 lines. Such texts are created using text spanners; attach
2263 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2264 notes of the spanner.
2266 The string to be printed, as well as the style, is set through object
2269 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2271 \override TextSpanner #'direction = #-1
2272 \override TextSpanner #'edge-text = #'("rall " . "")
2273 c2\startTextSpan b c\stopTextSpan a
2279 Internals @internalsref{TextSpanEvent},
2280 @internalsref{TextSpanner}.
2282 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
2285 @node Analysis brackets
2286 @subsection Analysis brackets
2288 @cindex phrasing brackets
2289 @cindex musicological analysis
2290 @cindex note grouping bracket
2292 Brackets are used in musical analysis to indicate structure in musical
2293 pieces. LilyPond supports a simple form of nested horizontal
2294 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2295 to @internalsref{Staff} context. A bracket is started with
2296 @code{\startGroup} and closed with @code{\stopGroup}
2298 @lilypond[quote,raggedright,verbatim]
2301 c4\startGroup\startGroup
2304 c4\stopGroup\stopGroup
2308 \Staff \consists "Horizontal_bracket_engraver"
2314 Program reference: @internalsref{HorizontalBracket},
2315 @internalsref{NoteGroupingEvent}.
2317 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2321 @subsection Articulations
2322 @cindex Articulations
2324 @cindex articulations
2328 A variety of symbols can appear above and below notes to indicate
2329 different characteristics of the performance. They are added to a note
2330 by adding a dash and the character signifying the
2331 articulation. They are demonstrated here
2333 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2335 The meanings of these shorthands can be changed. See
2336 @file{ly/@/script@/-init@/.ly} for examples.
2339 The script is automatically placed, but the direction can be forced as
2340 well. Like other pieces of LilyPond code, @code{_} will place them
2341 below the staff, and @code{^} will place them above.
2344 @lilypond[quote,raggedright,fragment,verbatim]
2348 Other symbols can be added using the syntax
2349 @var{note}@code{\}@var{name}. Again, they
2350 can be forced up or down using @code{^} and @code{_},
2353 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2354 c\fermata c^\fermata c_\fermata
2361 @cindex staccatissimo
2371 @cindex organ pedal marks
2380 @cindex prallmordent
2384 @cindex thumb marking
2389 Here is a chart showing all scripts available,
2391 @lilypondfile[raggedright,quote]{script-chart.ly}
2394 The vertical ordering of scripts is controlled with the
2395 @code{script-priority} property. The lower this number, the closer it
2396 will be put to the note. In this example, the
2397 @internalsref{TextScript} (the sharp symbol) first has the lowest
2398 priority, so it is put lowest in the first example. In the second, the
2399 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2400 inside. When two objects have the same priority, the order in which
2401 they are entered decides which one comes first.
2404 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2405 \once \override TextScript #'script-priority = #-100
2406 a4^\prall^\markup { \sharp }
2408 \once \override Script #'script-priority = #-100
2409 a4^\prall^\markup { \sharp }
2417 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2421 These signs appear in the printed output but have no effect on the
2422 MIDI rendering of the music.
2426 @node Running trills
2427 @subsection Running trills
2429 Long running trills are made with @code{\startTrillSpan} and
2430 @code{\stopTrillSpan},
2433 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2435 << { c1 \startTrillSpan }
2436 { s2. \grace { d16[\stopTrillSpan e] } } >>
2442 @code{\startTrillSpan},
2443 @cindex @code{\startTrillSpan}
2444 @code{\stopTrillSpan}.
2445 @cindex @code{\stopTrillSpan}
2449 Program reference: @internalsref{TrillSpanner},
2450 @internalsref{TrillSpanEvent}.
2452 @node Fingering instructions
2453 @subsection Fingering instructions
2457 Fingering instructions can be entered using
2459 @var{note}-@var{digit}
2461 For finger changes, use markup texts
2463 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2465 c^\markup { \finger "2-3" }
2468 @cindex finger change
2473 You can use the thumb-script to indicate that a note should be
2474 played with the thumb (e.g., in cello music)
2475 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2476 <a_\thumb a'-3>8 <b_\thumb b'-3>
2479 Fingerings for chords can also be added to individual notes
2480 of the chord by adding them after the pitches
2481 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2482 < c-1 e-2 g-3 b-5 >4
2486 In this case, setting @code{fingeringOrientations} will put fingerings next
2489 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2490 \set fingeringOrientations = #'(left down)
2491 <c-1 es-2 g-4 bes-5 > 4
2492 \set fingeringOrientations = #'(up right down)
2493 <c-1 es-2 g-4 bes-5 > 4
2496 Using this feature, it is also possible to put fingering instructions
2497 very close to note heads in monophonic music,
2499 @lilypond[verbatim,raggedright,quote,fragment]
2500 \set fingeringOrientations = #'(right)
2507 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2509 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2515 @subsection Grace notes
2518 @c should have blurb about accaciatura / appogiatura
2520 @cindex @code{\grace}
2524 Grace notes are ornaments that are written out. The most common ones
2525 are acciaccatura, which should be played as very short. It is denoted
2526 by a slurred small note with a slashed stem. The appoggiatura is a
2527 grace note that takes a fixed fraction of the main note, and is
2528 denoted as a slurred note in small print without a slash. They
2529 are entered with the commands @code{\acciaccatura} and
2530 @code{\appoggiatura}, as demonstrated in the following example
2533 @cindex appoggiatura
2534 @cindex acciaccatura
2536 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2537 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2538 \acciaccatura { g16[ f] } e4
2541 Both are special forms of the @code{\grace} command. By prefixing this
2542 keyword to a music expression, a new one is formed, which will be
2543 printed in a smaller font and takes up no logical time in a measure.
2545 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2547 \grace { c16[ d16] } c2 c4
2551 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2552 @code{\grace} command does not start a slur.
2554 Internally, timing for grace notes is done using a second, `grace'
2555 timing. Every point in time consists of two rational numbers: one
2556 denotes the logical time, one denotes the grace timing. The above
2557 example is shown here with timing tuples
2559 @lilypond[quote,raggedright]
2562 c4 \grace c16 c4 \grace {
2565 \new Lyrics \lyricmode {
2566 \override LyricText #'font-family = #'typewriter
2570 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2571 \markup { (\fraction 1 4 , 0 ) } 4
2573 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2574 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2576 \markup { ( \fraction 2 4 , 0 ) }
2582 The placement of grace notes is synchronized between different staves.
2583 In the following example, there are two sixteenth grace notes for
2584 every eighth grace note
2586 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2587 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2588 \new Staff { c4 \grace { g8[ b] } c4 } >>
2593 If you want to end a note with a grace, use the @code{\afterGrace}
2594 command. It takes two arguments: the main note, and the grace notes
2595 following the main note.
2597 @lilypond[raggedright, verbatim,relative=2,fragment]
2598 c1 \afterGrace d1 { c16[ d] } c4
2601 This will put the grace notes after a ``space'' lasting 3/4 of the
2602 length of the main note. The fraction 3/4 can be changed by setting
2603 @code{afterGraceFraction}, ie.
2606 afterGraceFraction = #(cons 7 8)
2610 will put the grace note at 7/8 of the main note.
2613 The same effect can be achieved manually by doing
2616 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2619 { s2 \grace { c16[ d] } } >>
2625 By adjusting the duration of the skip note (here it is a half-note),
2626 the space between the main-note and the grace is adjusted.
2631 A @code{\grace} section will introduce special typesetting settings,
2632 for example, to produce smaller type, and set directions. Hence, when
2633 introducing layout tweaks, they should be inside the grace section,
2635 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2647 The overrides should also be reverted inside the grace section.
2649 The layout of grace sections can be changed throughout the music using
2650 the function @code{add-grace-property}. The following example
2651 undefines the Stem direction for this grace, so stems do not always
2656 #(add-grace-property 'Voice 'Stem 'direction '())
2662 Another option is to change the variables @code{startGraceMusic},
2663 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2664 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2665 @code{stopAppoggiaturaMusic}. More information is in the file
2666 @file{ly/@/grace@/-init@/.ly}.
2671 Program reference: @internalsref{GraceMusic}.
2675 A score that starts with a @code{\grace} section needs an explicit
2676 @code{\context Voice} declaration, otherwise the main note and the grace
2677 note end up on different staves.
2679 Grace note synchronization can also lead to surprises. Staff notation,
2680 such as key signatures, bar lines, etc., are also synchronized. Take
2681 care when you mix staves with grace notes and staves without, for example,
2683 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2684 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2685 \new Staff { c4 \bar "|:" d4 } >>
2689 This can be remedied by inserting grace skips, for the above example
2692 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2695 Grace sections should only be used within sequential music
2696 expressions. Nesting or juxtaposing grace sections is not supported,
2697 and might produce crashes or other errors.
2701 @subsection Glissando
2704 @cindex @code{\glissando}
2706 A glissando is a smooth change in pitch. It is denoted by a line or a
2707 wavy line between two notes. It is requested by attaching
2708 @code{\glissando} to a note
2710 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2716 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2718 Example files: @file{input/@/regression/@/glissando@/.ly}.
2724 Printing text over the line (such as @emph{gliss.}) is not supported.
2728 @subsection Dynamics
2741 @cindex @code{\ffff}
2751 Absolute dynamic marks are specified using a command after a note
2752 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2753 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2754 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2755 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2757 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2758 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2759 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2768 A crescendo mark is started with @code{\<} and terminated with
2769 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2770 with @code{\!}. Because these marks are bound to notes, you must
2771 use spacer notes if multiple marks are needed during one note
2773 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2775 << f1 { s4 s4\< s4\! \> s4\! } >>
2777 This may give rise to very short hairpins. Use @code{minimum-length}
2778 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2782 \override Staff.Hairpin #'minimum-length = #5
2785 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2786 is an example how to do it
2788 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2802 You can also supply your own texts
2803 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2804 \set crescendoText = \markup { \italic "cresc. poco" }
2805 \set crescendoSpanner = #'dashed-line
2811 To create new dynamic marks or text that should be aligned
2812 with dynamics, see @ref{New dynamic marks}.
2817 @cindex @code{\dynamicUp}
2819 @cindex @code{\dynamicDown}
2820 @code{\dynamicDown},
2821 @cindex @code{\dynamicNeutral}
2822 @code{\dynamicNeutral}.
2824 @cindex direction, of dynamics
2828 Program reference: @internalsref{CrescendoEvent},
2829 @internalsref{DecrescendoEvent}, and
2830 @internalsref{AbsoluteDynamicEvent}.
2832 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2833 objects. Vertical positioning of these symbols is handled by the
2834 @internalsref{DynamicLineSpanner} object.
2840 Repetition is a central concept in music, and multiple notations exist
2846 * Repeats and MIDI::
2847 * Manual repeat commands::
2849 * Tremolo subdivisions::
2854 @subsection Repeat types
2857 @cindex @code{\repeat}
2859 The following types of repetition are supported
2863 Repeated music is fully written (played) out. This is useful when
2864 entering repetitious music. This is the only kind of repeat that
2865 is included in MIDI output.
2868 Repeats are not written out, but alternative endings (volte) are
2869 printed, left to right with brackets. This is the standard notation
2870 for repeats with alternatives. These are not played in MIDI output by default.
2874 Alternative endings are written stacked. This has limited use but may be
2875 used to typeset two lines of lyrics in songs with repeats, see
2876 @inputfileref{input,star-spangled-banner@/.ly}.
2881 Make tremolo beams. These are not played in MIDI output by default.
2884 Make beat or measure repeats. These look like percent signs. These
2885 are not played in MIDI output by default. Percent repeats must be
2886 declared within a Voice context.
2891 @subsection Repeat syntax
2894 LilyPond has one syntactic construct for specifying different types of
2895 repeats. The syntax is
2898 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2901 If you have alternative endings, you may add
2902 @cindex @code{\alternative}
2904 \alternative @{ @var{alternative1}
2906 @var{alternative3} @dots{} @}
2908 where each @var{alternative} is a music expression. If you do not
2909 give enough alternatives for all of the repeats, the first alternative
2910 is assumed to be played more than once.
2912 Standard repeats are used like this
2913 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2915 \repeat volta 2 { c4 d e f }
2916 \repeat volta 2 { f e d c }
2919 With alternative endings
2920 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2922 \repeat volta 2 {c4 d e f}
2923 \alternative { {d2 d} {f f,} }
2927 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2930 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2931 \alternative { { g4 g g } { a | a a a a | b2. } }
2935 It is possible to shorten volta brackets
2936 by setting @code{voltaSpannerDuration}. In the next example, the
2937 bracket only lasts one measure, which is a duration of 3/4.
2941 @lilypond[verbatim,raggedright,quote]
2945 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2946 \repeat "volta" 5 { d d d }
2947 \alternative { { e e e f f f }
2957 Brackets for the repeat are normally only printed over the topmost
2958 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2959 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2962 @c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
2967 A nested repeat like
2976 is ambiguous, since it is is not clear to which @code{\repeat} the
2977 @code{\alternative} belongs. This ambiguity is resolved by always
2978 having the @code{\alternative} belong to the inner @code{\repeat}.
2979 For clarity, it is advisable to use braces in such situations.
2984 Timing information is not remembered at the start of an alternative,
2985 so after a repeat timing information must be reset by hand, for
2986 example by setting @code{Score.measurePosition} or entering
2987 @code{\partial}. Similarly, slurs or ties are also not repeated.
2992 @node Repeats and MIDI
2993 @subsection Repeats and MIDI
2995 @cindex expanding repeats
2997 With a little bit of tweaking, all types of repeats can be present
2998 in the MIDI output. This is achieved by applying the
2999 @code{\unfoldrepeats} music function. This functions changes all
3000 repeats to unfold repeats.
3002 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
3004 \repeat tremolo 8 {c'32 e' }
3005 \repeat percent 2 { c''8 d'' }
3006 \repeat volta 2 {c'4 d' e' f'}
3015 When creating a score file using @code{\unfoldrepeats} for midi, then
3016 it is necessary to make two @code{\score} blocks. One for MIDI (with
3017 unfolded repeats) and one for notation (with volta, tremolo, and
3018 percent repeats). For example,
3026 \unfoldrepeats @var{..music..}
3031 @node Manual repeat commands
3032 @subsection Manual repeat commands
3034 @cindex @code{repeatCommands}
3036 The property @code{repeatCommands} can be used to control the layout of
3037 repeats. Its value is a Scheme list of repeat commands.
3040 @item @code{start-repeat}
3041 Print a @code{|:} bar line.
3043 @item @code{end-repeat}
3044 Print a @code{:|} bar line.
3046 @item @code{(volta @var{text})}
3047 Print a volta bracket saying @var{text}: The text can be specified as
3048 a text string or as a markup text, see @ref{Text markup}. Do not
3049 forget to change the font, as the default number font does not contain
3050 alphabetic characters;
3052 @item @code{(volta #f)}
3053 Stop a running volta bracket.
3056 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
3058 \set Score.repeatCommands = #'((volta "93") end-repeat)
3060 \set Score.repeatCommands = #'((volta #f))
3068 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
3069 @internalsref{VoltaRepeatedMusic},
3070 @internalsref{UnfoldedRepeatedMusic}, and
3071 @internalsref{FoldedRepeatedMusic}.
3073 @node Tremolo repeats
3074 @subsection Tremolo repeats
3075 @cindex tremolo beams
3077 To place tremolo marks between notes, use @code{\repeat} with tremolo
3079 @lilypond[quote,verbatim,raggedright]
3080 \new Voice \relative c' {
3081 \repeat "tremolo" 8 { c16 d16 }
3082 \repeat "tremolo" 4 { c16 d16 }
3083 \repeat "tremolo" 2 { c16 d16 }
3087 Tremolo marks can also be put on a single note. In this case, the
3088 note should not be surrounded by braces.
3089 @lilypond[quote,verbatim,raggedright]
3090 \repeat "tremolo" 4 c'16
3093 Similar output is obtained using the tremolo subdivision, described in
3094 @ref{Tremolo subdivisions}.
3098 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3100 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
3101 tremolos are @internalsref{StemTremolo} objects. The music expression is
3102 @internalsref{TremoloEvent}.
3104 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3105 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3107 @node Tremolo subdivisions
3108 @subsection Tremolo subdivisions
3109 @cindex tremolo marks
3110 @cindex @code{tremoloFlags}
3112 Tremolo marks can be printed on a single note by adding
3113 `@code{:}[@var{number}]' after the note. The number indicates the
3114 duration of the subdivision, and it must be at least 8. A
3115 @var{length} value of 8 gives one line across the note stem. If the
3116 length is omitted, the last value (stored in @code{tremoloFlags}) is
3119 @lilypond[quote,raggedright,verbatim,fragment]
3120 c'2:8 c':32 | c': c': |
3123 @c [TODO: stok is te kort bij 32en]
3124 @c somebody want to translate that into English?
3125 @c `Stem is too short for 32nds' (wl)
3129 Tremolos entered in this way do not carry over into the MIDI output.
3133 In this manual: @ref{Tremolo repeats}.
3135 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3137 @node Measure repeats
3138 @subsection Measure repeats
3140 @cindex percent repeats
3141 @cindex measure repeats
3143 In the @code{percent} style, a note pattern can be repeated. It is
3144 printed once, and then the pattern is replaced with a special sign.
3145 Patterns of one and two measures are replaced by percent-like signs,
3146 patterns that divide the measure length are replaced by slashes.
3147 Percent repeats must be declared within a @code{Voice} context.
3149 @lilypond[quote,verbatim,raggedright]
3150 \new Voice \relative c' {
3151 \repeat "percent" 4 { c4 }
3152 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3158 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3159 @internalsref{PercentRepeatedMusic}, and
3160 @internalsref{DoublePercentRepeat}.
3164 @node Rhythmic music
3165 @section Rhythmic music
3167 Rhythmic music is primarily used for percussion and drum notation, but it can
3168 also be used to show the rhythms of melodies.
3171 * Showing melody rhythms::
3172 * Entering percussion::
3173 * Percussion staves::
3177 @node Showing melody rhythms
3178 @subsection Showing melody rhythms
3180 Sometimes you might want to show only the rhythm of a melody. This
3181 can be done with the rhythmic staff. All pitches of notes on such a
3182 staff are squashed, and the staff itself has a single line
3184 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3185 \context RhythmicStaff {
3187 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3193 Program reference: @internalsref{RhythmicStaff}.
3195 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
3198 @node Entering percussion
3199 @subsection Entering percussion
3205 Percussion notes may be entered in @code{\drummode} mode, which is
3206 similar to the standard mode for entering notes. Each piece of
3207 percussion has a full name and an abbreviated name, and both can be used
3210 @lilypond[quote,raggedright,verbatim]
3212 hihat hh bassdrum bd
3216 The complete list of drum names is in the init file
3217 @file{ly/@/drumpitch@/-init@/.ly}.
3218 @c TODO: properly document this.
3222 Program reference: @internalsref{DrumNoteEvent}.
3224 @node Percussion staves
3225 @subsection Percussion staves
3229 A percussion part for more than one instrument typically uses a
3230 multiline staff where each position in the staff refers to one piece
3234 To typeset the music, the notes must be interpreted in a
3235 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3237 @lilypond[quote,raggedright,verbatim]
3238 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3239 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3241 \new DrumVoice { \voiceOne \up }
3242 \new DrumVoice { \voiceTwo \down }
3246 The above example shows verbose polyphonic notation. The short
3247 polyphonic notation, described in @ref{Polyphony}, can also be used if
3248 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3250 @lilypond[quote,raggedright,fragment,verbatim]
3252 \context DrumVoice = "1" { s1 *2 }
3253 \context DrumVoice = "2" { s1 *2 }
3257 { \repeat unfold 16 hh16 }
3266 There are also other layout possibilities. To use these, set the
3267 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3268 The following variables have been predefined
3272 This is the default. It typesets a typical drum kit on a five-line staff
3274 @lilypond[quote,linewidth=10.0\cm]
3276 cymc cyms cymr hh hhc hho hhho hhp
3277 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
3279 cymc cyms cymr hh hhc hho hhho hhp \break
3280 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3282 << \new DrumStaff \with {
3283 \remove Bar_engraver
3284 \remove Time_signature_engraver
3285 \override Stem #'transparent = ##t
3286 \override Stem #'Y-extent-callback = ##f
3287 minimumVerticalExtent = #'(-4.0 . 5.0)
3289 \context Lyrics \nam
3294 \override LyricText #'font-family = #'typewriter
3295 \override BarNumber #'transparent =##T
3301 The drum scheme supports six different toms. When there are fewer toms,
3302 simply select the toms that produce the desired result, i.e., to get toms
3303 on the three middle lines you use @code{tommh}, @code{tomml}, and
3306 @item timbales-style
3307 This typesets timbales on a two line staff
3309 @lilypond[quote,raggedright]
3310 nam = \lyricmode { timh ssh timl ssl cb }
3311 mus = \drummode { timh ssh timl ssl cb s16 }
3314 \context DrumStaff \with {
3315 \remove Bar_engraver
3316 \remove Time_signature_engraver
3317 \override Stem #'transparent = ##t
3318 \override Stem #'Y-extent-callback = ##f
3319 \override StaffSymbol #'line-count = #2
3320 \override StaffSymbol #'staff-space = #2
3321 minimumVerticalExtent = #'(-3.0 . 4.0)
3322 drumStyleTable = #timbales-style
3325 \override LyricText #'font-family = #'typewriter
3332 This typesets congas on a two line staff
3334 @lilypond[quote,raggedright]
3335 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3336 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3339 \context DrumStaff \with {
3340 \remove Bar_engraver
3341 \remove Time_signature_engraver
3342 drumStyleTable = #congas-style
3343 \override StaffSymbol #'line-count = #2
3345 %% this sucks; it will lengthen stems.
3346 \override StaffSymbol #'staff-space = #2
3347 \override Stem #'transparent = ##t
3348 \override Stem #'Y-extent-callback = ##f
3351 \override LyricText #'font-family = #'typewriter
3358 This typesets bongos on a two line staff
3360 @lilypond[quote,raggedright]
3361 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3362 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3365 \context DrumStaff\with {
3366 \remove Bar_engraver
3367 \remove Time_signature_engraver
3368 \override StaffSymbol #'line-count = #2
3369 drumStyleTable = #bongos-style
3371 %% this sucks; it will lengthen stems.
3372 \override StaffSymbol #'staff-space = #2
3373 \override Stem #'transparent = ##t
3374 \override Stem #'Y-extent-callback = ##f
3377 \override LyricText #'font-family = #'typewriter
3383 @item percussion-style
3384 To typeset all kinds of simple percussion on one line staves.
3386 @lilypond[quote,raggedright]
3387 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3388 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3391 \context DrumStaff\with{
3392 \remove Bar_engraver
3393 drumStyleTable = #percussion-style
3394 \override StaffSymbol #'line-count = #1
3395 \remove Time_signature_engraver
3396 \override Stem #'transparent = ##t
3397 \override Stem #'Y-extent-callback = ##f
3400 \override LyricText #'font-family = #'typewriter
3407 If you do not like any of the predefined lists you can define your own
3408 list at the top of your file
3410 @lilypond[quote,raggedright,verbatim]
3412 (bassdrum default #f -1)
3413 (snare default #f 0)
3415 (pedalhihat xcircle "stopped" 2)
3416 (lowtom diamond #f 3)))
3417 up = \drummode { hh8 hh hh hh hhp4 hhp }
3418 down = \drummode { bd4 sn bd toml8 toml }
3421 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
3422 \new DrumVoice { \voiceOne \up }
3423 \new DrumVoice { \voiceTwo \down }
3430 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
3432 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3436 Because general MIDI does not contain rim shots, the sidestick is used
3437 for this purpose instead.
3440 @section Piano music
3442 Piano staves are two normal staves coupled with a brace. The staves
3443 are largely independent, but sometimes voices can cross between the
3444 two staves. The same notation is also used for harps and other key
3445 @c Is this `harp' or `harpsichord'?
3446 instruments. The @internalsref{PianoStaff} is especially built to
3447 handle this cross-staffing behavior. In this section we discuss the
3448 @internalsref{PianoStaff} and some other pianistic peculiarities.
3452 * Automatic staff changes::
3453 * Manual staff switches::
3456 * Staff switch lines::
3457 * Cross staff stems::
3462 Dynamics are not centered, but workarounds do exist. See the
3463 ``piano centered dynamics'' template in @ref{Piano templates}.
3465 @cindex cross staff stem
3466 @cindex stem, cross staff
3467 @cindex distance between staves in piano music
3469 The distance between the two staves is the same for all systems in the
3470 score. It is possible to override this per system, but it does require
3471 an arcane command incantation. See
3472 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
3475 @node Automatic staff changes
3476 @subsection Automatic staff changes
3477 @cindex Automatic staff changes
3479 Voices can be made to switch automatically between the top and the bottom
3480 staff. The syntax for this is
3484 \autochange @dots{}@var{music}@dots{}
3489 This will create two staves inside the current PianoStaff, called
3490 @code{up} and @code{down}. The lower staff will be in bass clef by
3493 A @code{\relative} section that is outside of @code{\autochange} has
3494 no effect on the pitches of @var{music}, so, if necessary, put
3495 @code{\relative} inside @code{\autochange} like
3499 \autochange \relative @dots{} @dots{}
3504 The autochanger switches on basis of the pitch (middle C is the turning
3505 point), and it looks ahead skipping over rests to switch in
3506 advance. Here is a practical example
3508 @lilypond[quote,verbatim,raggedright]
3510 \autochange \relative c'
3519 In this manual: @ref{Manual staff switches}.
3521 Program reference: @internalsref{AutoChangeMusic}.
3527 The staff switches may not end up in optimal places. For high
3528 quality output, staff switches should be specified manually.
3531 @code{\autochange} cannot be inside @code{\times}.
3533 Internally, the @code{\partcombine} interprets both arguments as
3534 @code{Voice}s named @code{one} and @code{two}, and then decides when
3535 the parts can be combined. Consequently, if the arguments switch to
3536 differently named @internalsref{Voice} contexts, the events in those
3540 @node Manual staff switches
3541 @subsection Manual staff switches
3543 @cindex manual staff switches
3544 @cindex staff switch, manual
3546 Voices can be switched between staves manually, using the command
3548 \change Staff = @var{staffname} @var{music}
3552 The string @var{staffname} is the name of the staff. It switches the
3553 current voice from its current staff to the Staff called
3554 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3555 @code{"down"}. The @context{Staff} referred to must already exist, so
3556 usually the setup for a score will start with a setup of the staves,
3560 \context Staff = up @{
3561 \skip 1 * 10 % @emph{keep staff alive}
3563 \context Staff = down @{
3564 \skip 1 * 10 % @emph{idem}
3570 and the @context{Voice} is inserted afterwards
3573 \context Staff = down
3574 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3582 Pianos have pedals that alter the way sound is produced. Generally, a
3583 piano has three pedals, sustain, una corda, and sostenuto.
3586 Piano pedal instruction can be expressed by attaching
3587 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3588 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3591 @lilypond[quote,raggedright,fragment,verbatim]
3592 c'4\sustainDown c'4\sustainUp
3595 What is printed can be modified by setting @code{pedal@var{X}Strings},
3596 where @var{X} is one of the pedal types: @code{Sustain},
3597 @code{Sostenuto} or @code{UnaCorda}. Refer to
3598 @internalsref{SustainPedal} in the program reference for more
3601 Pedals can also be indicated by a sequence of brackets, by setting the
3602 @code{pedalSustainStyle} property to bracket objects
3604 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3605 \set Staff.pedalSustainStyle = #'bracket
3607 b\sustainUp\sustainDown
3608 b g \sustainUp a \sustainDown \bar "|."
3611 A third style of pedal notation is a mixture of text and brackets,
3612 obtained by setting the @code{pedalSustainStyle} property to
3615 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3616 \set Staff.pedalSustainStyle = #'mixed
3618 b\sustainUp\sustainDown
3619 b g \sustainUp a \sustainDown \bar "|."
3622 The default `*Ped.' style for sustain and damper pedals corresponds to
3623 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3626 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3627 c\sostenutoDown d e c, f g a\sostenutoUp
3630 For fine-tuning the appearance of a pedal bracket, the properties
3631 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3632 @code{PianoPedalBracket} objects (see
3633 @internalsref{PianoPedalBracket} in the Program reference) can be
3634 modified. For example, the bracket may be extended to the right edge
3637 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3638 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3639 c\sostenutoDown d e c, f g a\sostenutoUp
3643 @subsection Arpeggio
3646 @cindex broken chord
3647 @cindex @code{\arpeggio}
3649 You can specify an arpeggio sign (also known as broken chord) on a
3650 chord by attaching an @code{\arpeggio} to a chord
3653 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3657 When an arpeggio crosses staves, you attach an arpeggio to the chords
3658 in both staves, and set
3659 @internalsref{PianoStaff}.@code{connectArpeggios}
3661 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3662 \context PianoStaff <<
3663 \set PianoStaff.connectArpeggios = ##t
3664 \new Staff { <c' e g c>\arpeggio }
3665 \new Staff { \clef bass <c,, e g>\arpeggio }
3669 The direction of the arpeggio is sometimes denoted by adding an
3670 arrowhead to the wiggly line
3672 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3681 A square bracket on the left indicates that the player should not
3682 arpeggiate the chord
3684 @c todo: ugh, lousy typography. Look for real example. --hwn
3686 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3693 @cindex @code{\arpeggio}
3695 @cindex @code{\arpeggioUp}
3697 @cindex @code{\arpeggioDown}
3698 @code{\arpeggioDown},
3699 @cindex @code{\arpeggioNeutral}
3700 @code{\arpeggioNeutral},
3701 @cindex @code{\arpeggioBracket}
3702 @code{\arpeggioBracket}.
3706 Notation manual: @ref{Ties}, for writing out arpeggios.
3708 Program reference: @internalsref{ArpeggioEvent},
3709 @internalsref{Arpeggio}.
3715 It is not possible to mix connected arpeggios and unconnected
3716 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3718 @node Staff switch lines
3719 @subsection Staff switch lines
3722 @cindex follow voice
3723 @cindex staff switching
3726 @cindex @code{followVoice}
3728 Whenever a voice switches to another staff, a line connecting the notes
3729 can be printed automatically. This is switched on by setting
3730 @code{followVoice} to true
3732 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3733 \context PianoStaff <<
3734 \set followVoice = ##t
3735 \context Staff \context Voice {
3740 \context Staff=two { \clef bass \skip 1*2 }
3746 Program reference: @internalsref{VoiceFollower}.
3750 @cindex @code{\showStaffSwitch}
3751 @code{\showStaffSwitch},
3752 @cindex @code{\hideStaffSwitch}
3753 @code{\hideStaffSwitch}.
3756 @node Cross staff stems
3757 @subsection Cross staff stems
3759 Chords that cross staves may be produced by increasing the length
3760 of the stem in the lower staff, so it reaches the stem in the upper
3761 staff, or vice versa.
3763 @lilypond[raggedright,verbatim,quote]
3764 stemExtend = \once \override Stem #'length = #22
3765 noFlag = \once \override Stem #'flag-style = #'no-flag
3766 \context PianoStaff <<
3768 \stemDown \stemExtend
3782 @section Vocal music
3784 There are three different issues when printing vocal music
3788 Song texts must be entered as text, not notes. For example, the
3789 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
3793 Song texts must be printed as text, not as notes.
3796 Song texts must be aligned with the notes of their melody.
3799 The simplest solution for printing music uses the @code{\addlyrics}
3800 function to solve all these problems at once. However, these
3801 three functions can be controlled separately, which is necessary
3802 for complex vocal music.
3806 * Setting simple songs::
3808 * Hyphens and extenders::
3809 * The Lyrics context::
3810 * Flexibility in alignment::
3813 * Other vocal issues::
3816 @node Setting simple songs
3817 @subsection Setting simple songs
3819 The easiest way to add lyrics to a melody is to append
3822 \addlyrics @{ @var{the lyrics} @}
3826 to a melody. Here is an example,
3828 @lilypond[raggedright,verbatim,fragment,quote]
3830 \relative { c2 e4 g2. }
3831 \addlyrics { play the game }
3834 More stanzas can be added by adding more
3835 @code{\addlyrics} sections
3837 @lilypond[raggedright,verbatim,fragment,quote]
3839 \relative { c2 e4 g2. }
3840 \addlyrics { play the game }
3841 \addlyrics { speel het spel }
3842 \addlyrics { joue le jeu }
3845 @c TODO - this isn't such a great place for this note, but I can't
3846 @c find a better place without rearranging a lot of lyric stuff.
3847 @c It's yet another thing to look at post-3.0.
3849 The @code{\addlyrics} command is actually just a convienient way
3850 to write a more complicated LilyPond structure that sets up the
3851 lyrics. You should use @code{\addlyrics} unless you need to do
3852 fancy things, in which case you should investigate
3853 @code{\lyricsto} or @code{\lyricmode}.
3857 \addlyrics @{ LYRICS @}
3864 \context Voice = blah @{ music @}
3865 \lyricsto "blah" \new lyrics @{ LYRICS @}
3870 @code{\addlyrics} cannot handle polyphony.
3873 @node Entering lyrics
3874 @subsection Entering lyrics
3878 @cindex @code{\lyricmode}
3881 Lyrics are entered in a special input mode. This mode is introduced
3882 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3883 @code{lyricsto}. In this mode you can enter lyrics,
3884 with punctuation and accents, and the input @code{d} is not parsed as
3885 a pitch, but rather as a one letter syllable. Syllables are entered
3886 like notes, but with pitches replaced by text. For example,
3888 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3892 A word lyrics mode begins with an alphabetic character, and ends with
3893 any space or digit. The following characters can be any character
3894 that is not a digit or white space. One important consequence of this
3895 is that a word can end with @code{@}}. The following example is
3896 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3897 opening brace is not balanced
3899 \lyricmode @{ twinkle@}
3902 @cindex @code{\property}, in @code{\lyricmode}
3904 Similarly, a period which follows an alphabetic sequence is included in
3905 the resulting string. As a consequence, spaces must be inserted around
3908 \override Score . LyricText #'font-shape = #'italic
3912 @cindex spaces, in lyrics
3913 @cindex quotes, in lyrics
3915 Any @code{_} character that appears in an unquoted word is converted
3916 to a space. This provides a mechanism for introducing spaces into words
3917 without using quotes. Quoted words can also be used in Lyrics mode to
3918 specify words that cannot be written with the above rules. The
3919 following example incorporates double quotes
3922 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3925 This example is slightly academic, since it gives better looking
3926 results using single quotes, @code{``} and @code{''}
3928 \lyricmode @{ He said: ``Let my peo ple go'' @}
3932 The full definition of a word start in Lyrics mode is somewhat more
3935 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3936 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3937 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3938 any 8-bit character with ASCII code over 127, or a two-character
3939 combination of a backslash followed by one of @code{`}, @code{'},
3940 @code{"}, or @code{^}.
3946 Program reference: events @internalsref{LyricEvent}, and
3947 @internalsref{LyricText}.
3951 The definition of lyrics mode is too complex.
3953 @node Hyphens and extenders
3954 @subsection Hyphens and extenders
3958 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3959 The hyphen will have variable length depending on the space between
3960 the syllables and it will be centered between the syllables.
3965 When a lyric is sung over many notes (this is called a melisma), this is
3966 indicated with a horizontal line centered between a syllable and the
3967 next one. Such a line is called an extender line, and it is entered as
3971 FIXME: check that this compiles and displays correctly. I don't want
3972 to commit this part blindly.
3974 In tighly engraved music, hyphens can be removed. In some languages
3975 (e.g. German and Hungarian), hyphens should not disappear, since
3976 spelling depends on hyphenation. For that purpose, hyphens can be
3977 forced to remain by overriding @code{minimum-length} of
3978 the @code{LyricHyphen} grob.
3982 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
3989 \lyrics \new Lyrics \with {
3990 % Otherwise lyrics are so far apart that hyphens don't disappear
3991 \override SeparationItem #'padding = #0.0
3992 }{ bla -- bla -- bla -- bla --
3993 bla -- bla -- bla -- bla --
3995 \override LyricHyphen #'minimum-length = #0.7
3996 \override LyricHyphen #'spacing-procedure =
3997 #Hyphen_spanner::set_spacing_rods
3999 bla -- bla -- bla -- bla
4006 \StaffContext \remove "Time_signature_engraver"
4017 Program reference: @internalsref{HyphenEvent},
4018 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
4019 @internalsref{LyricExtender}
4023 @node The Lyrics context
4024 @subsection The Lyrics context
4027 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
4029 \context Lyrics \lyricmode @dots{}
4032 @cindex automatic syllable durations
4033 @cindex @code{\lyricsto}
4034 @cindex lyrics and melodies
4036 This will place the lyrics according to the durations that were
4037 entered. The lyrics can also be aligned under a given melody
4038 automatically. In this case, it is no longer necessary to enter the
4039 correct duration for each syllable. This is achieved by combining the
4040 melody and the lyrics with the @code{\lyricsto} expression
4042 \lyricsto @var{name} \new Lyrics @dots{}
4045 This aligns the lyrics to the
4046 notes of the @internalsref{Voice} context called @var{name}, which has
4047 to exist. Therefore, normally the @code{Voice} is specified first, and
4048 then the lyrics are specified with @code{\lyricsto}. The command
4049 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
4050 @code{\lyricmode} keyword may be omitted.
4052 For different or more complex orderings, the best way is to setup the
4053 hierarchy of staves and lyrics first, e.g.,
4055 \context ChoirStaff <<
4056 \context Lyrics = sopranoLyrics @{ s1 @}
4057 \context Voice = soprano @{ @emph{music} @}
4058 \context Lyrics = tenorLyrics @{ s1 @}
4059 \context Voice = tenor @{ @emph{music} @}
4062 and then combine the appropriate melodies and lyric lines
4064 \lyricsto "soprano" \context Lyrics = sopranoLyrics
4069 The final input would resemble
4072 <<\context ChoirStaff << @emph{setup the music} >>
4073 \lyricsto "soprano" @emph{etc}
4074 \lyricsto "alto" @emph{etc}
4080 The @code{\lyricsto} command detects melismata: it only puts one
4081 syllable under a tied or slurred group of notes. If you want to force
4082 an unslurred group of notes to be a melisma, insert @code{\melisma}
4083 after the first note of the group, and @code{\melismaEnd} after the
4086 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
4088 \context Voice = "lala" {
4096 \lyricsto "lala" \new Lyrics {
4102 In addition, notes are considered a melisma if they are manually
4103 beamed, and automatic beaming (see @ref{Setting automatic beam
4104 behavior}) is switched off.
4110 The criteria for deciding melismata can
4111 be tuned with the property @code{melismaBusyProperties}. See
4112 @internalsref{Melisma_translator} in the program reference for more
4117 Lyrics can also be entered without @code{\lyricsto}. In this case the
4118 duration of each syllable must be entered explicitly, for example,
4125 The alignment to a melody can be specified with the
4126 @code{associatedVoice} property,
4129 \set associatedVoice = #"lala"
4133 The value of the property (here: @code{"lala"}) should be the name of
4134 a @internalsref{Voice} context. Without this setting, extender lines
4135 will not be formatted properly.
4137 Here is an example demonstrating manual lyric durations,
4139 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
4140 << \context Voice = melody {
4144 \new Lyrics \lyricmode {
4145 \set associatedVoice = #"melody"
4151 @cindex choral score
4153 A complete example of a SATB score setup is in section
4154 @ref{Vocal ensembles}.
4159 @code{\melisma}, @code{\melismaEnd}
4160 @cindex @code{\melismaEnd}
4161 @cindex @code{\melisma}
4165 Program reference: @internalsref{LyricCombineMusic},
4166 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
4169 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
4170 @c TODO: make separate section for melismata
4174 Melismata are not detected automatically, and extender lines must be
4178 @c TODO: document \new Staff << Voice \lyricsto >> bug
4180 @node Flexibility in alignment
4181 @subsection Flexibility in alignment
4184 Often, different stanzas of one song are put to one melody in slightly
4185 differing ways. Such variations can still be captured with
4188 One possibility is that the text has a melisma in one stanza, but
4189 multiple syllables in another one. One solution is to make the faster
4190 voice ignore the melisma. This is done by setting
4191 @code{ignoreMelismata} in the Lyrics context.
4193 There has one tricky aspect. The setting for @code{ignoreMelismata}
4194 must be set one syllable @emph{before} the non-melismatic syllable
4195 in the text, as shown here,
4197 @lilypond[verbatim,raggedright,quote]
4199 \relative \context Voice = "lahlah" {
4200 \set Staff.autoBeaming = ##f
4206 \new Lyrics \lyricsto "lahlah" {
4209 \new Lyrics \lyricsto "lahlah" {
4210 \set ignoreMelismata = ##t % applies to "fas"
4212 \unset ignoreMelismata
4219 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4220 should be entered before ``go''.
4222 The reverse is also possible: making a lyric line slower than the
4223 standard. This can be achieved by insert @code{\skip}s into the
4224 lyrics. For every @code{\skip}, the text will be delayed another note.
4227 @lilypond[verbatim,raggedright,quote]
4228 \relative { c c g' }
4235 More complex variations in text underlay are possible. It is possible
4236 to switch the melody for a line of lyrics during the text. This is
4237 done by setting the @code{associatedVoice} property. In the example
4239 @lilypond[raggedright,quote]
4241 \relative \context Voice = "lahlah" {
4242 \set Staff.autoBeaming = ##f
4245 \context Voice = alternative {
4248 % show associations clearly.
4249 \override NoteColumn #'force-hshift = #-3
4260 \new Lyrics \lyricsto "lahlah" {
4261 Ju -- ras -- sic Park
4263 \new Lyrics \lyricsto "lahlah" {
4264 % Tricky: need to set associatedVoice
4265 % one syllable too soon!
4266 \set associatedVoice = alternative % applies to "ran"
4270 \set associatedVoice = lahlah % applies to "rus"
4276 the text for the first stanza is set to a melody called ``lahlah'',
4279 \new Lyrics \lyricsto "lahlah" @{
4280 Ju -- ras -- sic Park
4285 The second stanza initially is set to the @code{lahlah} context, but
4286 for the syllable ``ran'', it switches to a different melody.
4287 This is achieved with
4289 \set associatedVoice = alternative
4293 Here, @code{alternative} is the name of the @code{Voice} context
4294 containing the triplet.
4296 Again, the command must be one syllable too early, before ``Ty'' in
4300 \new Lyrics \lyricsto "lahlah" @{
4301 \set associatedVoice = alternative % applies to "ran"
4305 \set associatedVoice = lahlah % applies to "rus"
4311 The underlay is switched back to the starting situation by assigning
4312 @code{lahlah} to @code{associatedVoice}.
4318 @subsection More stanzas
4320 @cindex phrasing, in lyrics
4323 @cindex stanza number
4324 @cindex singer's names
4325 @cindex name of singer
4327 Stanza numbers can be added by setting @code{stanza}, e.g.,
4329 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4331 \time 3/4 g2 e4 a2 f4 g2.
4334 Hi, my name is Bert.
4337 Oh, che -- ri, je t'aime
4341 These numbers are put just before the start of first syllable.
4343 Names of singers can also be added. They are printed at the start of
4344 the line, just like instrument names. They are created by setting
4345 @code{vocalName}. A short version may be entered as @code{vocNam}.
4348 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4350 \time 3/4 g2 e4 a2 f4 g2.
4352 \set vocalName = "Bert "
4353 Hi, my name is Bert.
4355 \set vocalName = "Ernie "
4356 Oh, che -- ri, je t'aime
4362 Program reference: Layout objects @internalsref{LyricText} and
4363 @internalsref{VocalName}. Music expressions
4364 @internalsref{LyricEvent}.
4372 The term @emph{ambitus} denotes a range of pitches for a given voice
4373 in a part of music. It may also denote the pitch range that a musical
4374 instrument is capable of playing. Ambits are printed on vocal parts,
4375 so performers can easily determine it meets their capabilities.
4377 Ambits are denoted at the beginning of a piece near the initial clef.
4378 The range is graphically specified by two note heads that represent the
4379 minimum and maximum pitch. To print such ambits, add the
4380 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4387 \consists Ambitus_engraver
4392 This results in the following output
4394 @lilypond[quote,raggedright]
4398 \consists Ambitus_engraver
4402 \relative \new Staff {
4407 If you have multiple voices in a single staff and you want a single
4408 ambitus per staff rather than per each voice, add the
4409 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4410 rather than to the @internalsref{Voice} context. Here is an example,
4412 @lilypond[verbatim,raggedright,quote]
4414 \consists "Ambitus_engraver"
4418 \remove "Ambitus_engraver"
4420 \override Ambitus #'X-offset-callbacks
4421 = #(list (lambda (grob axis) -1.0))
4426 \remove "Ambitus_engraver"
4435 This example uses one advanced feature,
4438 \override Ambitus #'X-offset-callbacks
4439 = #(list (lambda (grob axis) -1.0))
4443 This code moves the ambitus to the left. The same effect could have
4444 been achieved with @code{extra-offset}, but then the formatting system
4445 would not reserve space for the moved object.
4449 Program reference: @internalsref{Ambitus},
4450 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4451 @internalsref{AmbitusAccidental}.
4453 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
4457 There is no collision handling in the case of multiple per-voice
4460 @node Other vocal issues
4461 @subsection Other vocal issue
4464 yeah, I'm giving up somewhat by stuffing a bunch of things in
4465 here. But at least they're in the manual now; it's easier to
4466 move them around in the manual once they're already here.
4468 Besides, if users complain about everything stuffed in here, I
4469 can ask them for specific instructions about where to move these
4470 examples, and that might get them more involved in the docs. -gp
4473 You can display alternate (or divisi) lyrics by naming voice
4474 contexts and attaching lyrics to those specific contexts.
4476 @lilypond[verbatim,raggedright,quote]
4478 \context Voice = "melody" {
4483 \context Voice = splitpart { \voiceTwo c4 }
4488 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
4489 \new Lyrics \lyricsto "splitpart" { shall }
4494 You can use this trick to display different lyrics for a repeated
4497 @lilypond[verbatim,raggedright,quote]
4499 \context Voice = melody \relative c' {
4501 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
4503 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
4506 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
4508 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
4509 dodo rere mimi fafa solsol }
4515 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4516 @section Other instrument specific notation
4518 This section includes extra information for writing string music, and may
4519 include extra information for other instruments in the future.
4525 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4526 @subsection Harmonic notes
4528 @cindex artificial harmonics
4531 Artificial harmonics are notated with a different notehead style. They
4532 are entered by marking the harmonic pitch with @code{\harmonic}.
4534 @lilypond[raggedright,verbatim,quote,fragment]
4539 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4543 @cindex guitar tablature
4545 Tablature notation is used for notating music for plucked string
4546 instruments. Pitches are not denoted with note heads, but by
4547 indicating on which string and fret a note must be played. LilyPond
4548 offers limited support for tablature.
4551 * Tablatures basic::
4552 * Non-guitar tablatures::
4555 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4556 @subsection Tablatures basic
4557 @cindex Tablatures basic
4559 The string number associated to a note is given as a backslash
4560 followed by a number, e.g., @code{c4\3} for a C quarter on the third
4561 string. By default, string 1 is the highest one, and the tuning
4562 defaults to the standard guitar tuning (with 6 strings). The notes
4563 are printed as tablature, by using @internalsref{TabStaff} and
4564 @internalsref{TabVoice} contexts
4566 @lilypond[quote,raggedright,fragment,verbatim]
4573 @cindex @code{minimumFret}
4576 When no string is specified, the first string that does not give a
4577 fret number less than @code{minimumFret} is selected. The default
4578 value for @code{minimumFret} is 0
4583 \set TabStaff.minimumFret = #8
4586 @lilypond[quote,raggedright]
4590 \set TabStaff.minimumFret = #8
4593 \context StaffGroup <<
4594 \context Staff { \clef "G_8" \frag }
4595 \context TabStaff { \frag }
4601 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4602 @internalsref{StringNumberEvent}.
4606 Chords are not handled in a special way, and hence the automatic
4607 string selector may easily select the same string to two notes in a
4611 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4612 @subsection Non-guitar tablatures
4613 @cindex Non-guitar tablatures
4615 You can change the number of strings, by setting the number of lines
4616 in the @internalsref{TabStaff}.
4618 You can change the tuning of the strings. A string tuning is given as
4619 a Scheme list with one integer number for each string, the number
4620 being the pitch (measured in semitones relative to middle C) of an
4621 open string. The numbers specified for @code{stringTuning} are the
4622 numbers of semitones to subtract or add, starting the specified pitch
4623 by default middle C, in string order. In the next example,
4624 @code{stringTunings} is set for the pitches e, a, d, and g
4626 @lilypond[quote,raggedright,fragment,verbatim]
4627 \context TabStaff <<
4628 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4630 a,4 c' a e' e c' a e'
4637 No guitar special effects have been implemented.
4641 Program reference: @internalsref{Tab_note_heads_engraver}.
4644 @node Popular music, Orchestral music, Tablatures, Notation manual
4645 @section Popular music
4647 This section discusses issues that arise when writing popular music.
4652 * Printing chord names::
4657 @node Chord names, Chords mode, Popular music, Popular music
4658 @subsection Chord names
4661 LilyPond has support for printing chord names. Chords may be entered
4662 in musical chord notation, i.e., @code{< .. >}, but they can also be
4663 entered by name. Internally, the chords are represented as a set of
4664 pitches, so they can be transposed
4667 @lilypond[quote,raggedright,verbatim,raggedright]
4668 twoWays = \transpose c c' {
4677 << \context ChordNames \twoWays
4678 \context Voice \twoWays >>
4681 This example also shows that the chord printing routines do not try to
4682 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4685 @c this menu isn't needed.
4689 * Printing chord names::
4694 @subsection Chords mode
4697 In chord mode sets of pitches (chords) are entered with normal note
4698 names. A chord is entered by the root, which is entered like a
4701 @lilypond[quote,raggedright,fragment,verbatim]
4702 \chordmode { es4. d8 c2 }
4706 The mode is introduced by the keyword @code{\chordmode}.
4711 Other chords may be entered by suffixing a colon and introducing a
4712 modifier (which may include a number if desired)
4713 @lilypond[quote,fragment,verbatim]
4714 \chordmode { e1:m e1:7 e1:m7 }
4716 The first number following the root is taken to be the `type' of the
4717 chord, thirds are added to the root until it reaches the specified
4719 @lilypond[quote,fragment,verbatim]
4720 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4723 @cindex root of chord
4724 @cindex additions, in chords
4725 @cindex removals, in chords
4727 More complex chords may also be constructed adding separate steps
4728 to a chord. Additions are added after the number following
4729 the colon and are separated by dots
4730 @lilypond[quote,verbatim,fragment]
4731 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4733 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4735 @lilypond[quote,verbatim,fragment]
4736 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4738 Removals are specified similarly and are introduced by a caret. They
4739 must come after the additions
4740 @lilypond[quote,verbatim,fragment]
4741 \chordmode { c^3 c:7^5 c:9^3.5 }
4744 Modifiers can be used to change pitches. The following modifiers are
4749 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4752 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
4756 The augmented chord. This modifier raises the 5th step.
4759 The major 7th chord. This modifier raises the 7th step if present.
4762 The suspended 4th or 2nd. This modifier removes the 3rd
4763 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4767 Modifiers can be mixed with additions
4768 @lilypond[quote,verbatim,fragment]
4769 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4772 @cindex modifiers, in chords.
4779 Since an unaltered 11 does not sound good when combined with an
4780 unaltered 3, the 11 is removed in this case (unless it is added
4782 @lilypond[quote,raggedright,fragment,verbatim]
4783 \chordmode { c:13 c:13.11 c:m13 }
4788 An inversion (putting one pitch of the chord on the bottom), as well
4789 as bass notes, can be specified by appending
4790 @code{/}@var{pitch} to the chord
4791 @lilypond[quote,raggedright,fragment,verbatim]
4792 \chordmode { c1 c/g c/f }
4796 A bass note can be added instead transposed out of the chord,
4797 by using @code{/+}@var{pitch}.
4799 @lilypond[quote,raggedright,fragment,verbatim]
4800 \chordmode { c1 c/+g c/+f }
4803 Chords is a mode similar to @code{\lyricmode}, etc. Most
4804 of the commands continue to work, for example, @code{r} and
4805 @code{\skip} can be used to insert rests and spaces, and property
4806 commands may be used to change various settings.
4812 Each step can only be present in a chord once. The following
4813 simply produces the augmented chord, since @code{5+} is interpreted
4816 @lilypond[quote,raggedright,verbatim,fragment]
4817 \chordmode { c:5.5-.5+ }
4821 @node Printing chord names
4822 @subsection Printing chord names
4824 @cindex printing chord names
4828 For displaying printed chord names, use the @internalsref{ChordNames} context.
4829 The chords may be entered either using the notation
4830 described above, or directly using @code{<} and @code{>}
4832 @lilypond[quote,verbatim,raggedright]
4834 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4837 \context ChordNames \harmonies
4838 \context Staff \harmonies
4842 You can make the chord changes stand out by setting
4843 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4844 display chord names when there is a change in the chords scheme and at
4845 the start of a new line
4847 @lilypond[quote,verbatim,raggedright]
4848 harmonies = \chordmode {
4849 c1:m c:m \break c:m c:m d
4852 \context ChordNames {
4853 \set chordChanges = ##t
4855 \context Staff \transpose c c' \harmonies
4859 The previous examples all show chords over a staff. This is not
4860 necessary. Chords may also be printed separately. It may be necessary
4861 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4862 for showing repeats.
4864 @lilypond[raggedright,verbatim]
4865 \new ChordNames \with {
4866 \override BarLine #'bar-size = #4
4867 voltaOnThisStaff = ##t
4868 \consists Bar_engraver
4869 \consists "Volta_engraver"
4871 \repeat volta 2 \chordmode {
4880 The default chord name layout is a system for Jazz music, proposed by
4881 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4882 following properties
4885 @cindex @code{chordNameExceptions}
4886 @item chordNameExceptions
4887 This is a list that contains the chords that have special formatting.
4889 The exceptions list should be encoded as
4891 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
4894 To get this information into @code{chordNameExceptions} takes a little
4895 manoeuvring. The following code transforms @code{chExceptionMusic}
4896 (which is a sequential music) into a list of exceptions.
4898 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4903 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4906 adds the new exceptions to the default ones, which are defined in
4907 @file{ly/@/chord@/-modifier@/-init@/.ly}.
4909 For an example of tuning this property, see also
4910 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
4911 @cindex exceptions, chord names.
4914 @cindex @code{majorSevenSymbol}
4915 @item majorSevenSymbol
4916 This property contains the markup object used for the 7th step, when
4917 it is major. Predefined options are @code{whiteTriangleMarkup} and
4918 @code{blackTriangleMarkup}. See
4919 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
4921 @cindex @code{chordNameSeparator}
4922 @item chordNameSeparator
4923 Different parts of a chord name are normally separated by a
4924 slash. By setting @code{chordNameSeparator}, you can specify other
4926 @lilypond[quote,raggedright,fragment,verbatim]
4927 \context ChordNames \chordmode {
4929 \set chordNameSeparator
4930 = \markup { \typewriter "|" }
4935 @cindex @code{chordRootNamer}
4936 @item chordRootNamer
4937 The root of a chord is usually printed as a letter with an optional
4938 alteration. The transformation from pitch to letter is done by this
4939 function. Special note names (for example, the German ``H'' for a
4940 B-chord) can be produced by storing a new function in this property.
4942 @cindex @code{chordNoteNamer}
4943 @item chordNoteNamer
4944 The default is to print single pitch, e.g., the bass note, using the
4945 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4946 to a specialized function to change this behavior. For example, the
4947 base can be printed in lower case.
4951 The predefined variables @code{\germanChords},
4952 @code{\semiGermanChords} set these variables. The effect is
4955 @lilypondfile[raggedright]{chord-names-german.ly}
4957 There are also two other chord name schemes implemented: an alternate
4958 Jazz chord notation, and a systematic scheme called Banter chords. The
4959 alternate Jazz notation is also shown on the chart in @ref{Chord name
4960 chart}. Turning on these styles is described in the input file
4961 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4965 @cindex chords, jazz
4970 @cindex @code{\germanChords}
4971 @code{\germanChords},
4972 @cindex @code{\semiGermanChords}
4973 @code{\semiGermanChords}.
4980 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
4981 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
4982 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4985 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
4986 @file{scm/@/chord@/-entry@/.scm}.
4991 Chord names are determined solely from the list of pitches. Chord
4992 inversions are not identified, and neither are added bass notes. This
4993 may result in strange chord names when chords are entered with the
4994 @code{< .. >} syntax.
4998 @subsection Fret diagrams
4999 @cindex fret diagrams
5000 @cindex chord diagrams
5002 Fret diagrams can be added to music as a markup to the desired note. The
5003 markup contains information about the desired fret diagram, as shown in the
5006 @lilypond[verbatim, raggedright, quote]
5008 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
5010 fis' ^\markup \override #'(size . 0.75) {
5011 \override #'(finger-code . below-string) {
5012 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
5013 (place-fret 5 4 3) (place-fret 4 4 4)
5014 (place-fret 3 3 2) (place-fret 2 2 1)
5019 c' ^\markup \override #'(dot-radius . 0.35) {
5020 \override #'(finger-code . in-dot) {
5021 \override #'(dot-color . white) {
5022 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
5031 There are three different fret-diagram markup interfaces: standard, terse,
5032 and verbose. The three interfaces produce equivalent markups, but have
5033 varying amounts of information in the markup string. Details about the
5034 markup interfaces are found at @ref{Overview of text markup commands}.
5036 You can set a number of graphical properties according to your preference.
5037 Details about the property interface to fret diagrams are found at
5038 @internalsref{fret-diagram-interface}.
5043 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
5047 @subsection Improvisation
5049 Improvisation is sometimes denoted with slashed note heads. Such note
5050 heads can be created by adding a @internalsref{Pitch_squash_engraver}
5051 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
5055 \set squashedPosition = #0
5056 \override NoteHead #'style = #'slash
5060 switches on the slashes.
5062 There are shortcuts @code{\improvisationOn} (and an accompanying
5063 @code{\improvisationOff}) for this command sequence. They are used in
5064 the following example
5066 @lilypond[verbatim,raggedright,quote]
5068 \consists Pitch_squash_engraver
5070 e8 e g a a16(bes)(a8) g \improvisationOn
5073 ~fis2 \improvisationOff a16(bes) a8 g e
5079 @node Orchestral music
5080 @section Orchestral music
5082 @cindex Writing parts
5084 Orchestral music involves some special notation, both in the full
5085 score and the individual parts. This section explains how to tackle
5086 some common problems in orchestral music.
5091 * System start delimiters::
5092 * Aligning to cadenzas::
5095 * Instrument names::
5097 * Instrument transpositions::
5098 * Multi measure rests::
5099 * Automatic part combining::
5101 * Different editions from one source::
5102 * Quoting other voices::
5103 * Formatting cue notes::
5106 @node System start delimiters
5107 @subsection System start delimiters
5109 Polyphonic scores consist of many staves. These staves can be
5110 constructed in three different ways
5112 @item The group is started with a brace at the left, and bar lines are
5113 connected. This is done with the @internalsref{GrandStaff} context.
5115 @lilypond[verbatim,raggedright,quote]
5124 @item The group is started with a bracket, and bar lines are connected.
5125 This is done with the
5126 @internalsref{StaffGroup} context
5128 @lilypond[verbatim,raggedright,quote]
5137 @item The group is started with a vertical line. Bar lines are not
5138 connected. This is the default for the score.
5140 @lilypond[verbatim,raggedright,quote]
5149 @cindex Staff, multiple
5150 @cindex bracket, vertical
5151 @cindex brace, vertical
5158 The bar lines at the start of each system are
5159 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
5160 @internalsref{SystemStartBracket}. Only one of these types is created
5161 in every context, and that type is determined by the property
5162 @code{systemStartDelimiter}.
5164 @node Aligning to cadenzas
5165 @subsection Aligning to cadenzas
5168 In an orchestral context, cadenzas present a special problem:
5169 when constructing a score that includes a cadenza, all other
5170 instruments should skip just as many notes as the length of the
5171 cadenza, otherwise they will start too soon or too late.
5173 A solution to this problem are the functions @code{mmrest-of-length}
5174 and @code{skip-of-length}. These Scheme functions take a piece of music
5175 as argument, and generate a @code{\skip} or multi-rest, exactly as
5176 long as the piece. The use of @code{mmrest-of-length} is demonstrated
5177 in the following example.
5179 @lilypond[verbatim,raggedright,quote]
5180 cadenza = \relative c' {
5181 c4 d8 << { e f g } \\ { d4. } >>
5186 \new Staff { \cadenza c'4 }
5188 #(ly:export (mmrest-of-length cadenza))
5198 @node Rehearsal marks
5199 @subsection Rehearsal marks
5200 @cindex Rehearsal marks
5202 @cindex @code{\mark}
5204 To print a rehearsal mark, use the @code{\mark} command
5206 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
5215 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
5216 @c umm, is the manual the right place for feature requests? :) -gp
5217 @c FIXME - should make that tunable.
5219 The mark is incremented automatically if you use @code{\mark
5220 \default}, but you can also use an integer argument to set the mark
5221 manually. The value to use is stored in the property
5222 @code{rehearsalMark}.
5224 The style is defined by the property @code{markFormatter}. It is a
5225 function taking the current mark (an integer) and the current context
5226 as argument. It should return a markup object. In the following
5227 example, @code{markFormatter} is set to a canned procedure. After a
5228 few measures, it is set to function that produces a boxed number.
5230 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5231 \set Score.markFormatter = #format-mark-numbers
5234 \set Score.markFormatter = #format-mark-box-numbers
5240 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
5241 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
5242 @code{format-mark-letters} and @code{format-mark-box-letters}.
5243 These can be used as inspiration for other formatting functions.
5246 @cindex coda on bar line
5247 @cindex segno on bar line
5248 @cindex fermata on bar line
5249 @cindex bar lines, symbols on
5251 The @code{\mark} command can also be used to put signs like coda,
5252 segno, and fermata on a bar line. Use @code{\markup} to
5253 access the appropriate symbol
5255 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5256 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
5260 If the mark occurs at a line break, the mark will be printed at the
5261 beginning of the next line.
5262 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
5263 @c delete this sentence. -gp
5264 If there is no next line, then the mark will not be printed at all.
5265 To print the mark at the end of the current line, use
5268 \override Score.RehearsalMark
5269 #'break-visibility = #begin-of-line-invisible
5275 @cindex bar lines, putting symbols on
5279 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5281 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
5282 definition of @code{format-mark-numbers} and
5283 @code{format-mark-letters}. They can be used as inspiration for other
5284 formatting functions.
5286 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
5288 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
5292 @subsection Bar numbers
5296 @cindex measure numbers
5297 @cindex @code{currentBarNumber}
5299 Bar numbers are printed by default at the start of the line. The
5300 number itself is stored in the @code{currentBarNumber} property, which
5301 is normally updated automatically for every measure.
5303 Bar numbers can be typeset at regular intervals instead of at the
5304 beginning of each line. This is illustrated in the following example,
5305 whose source is available as
5306 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
5308 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5310 Bar numbers can be typeset manually by tweaking the
5311 @code{markFormatter} property
5313 @lilypond[verbatim,raggedright,quote]
5315 \set Score.markFormatter
5316 = #(lambda (mark context)
5319 (number->string (ly:context-property context
5320 'currentBarNumber)))))
5322 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
5326 Bar numbers can be manually changed by setting the
5327 @code{Staff.currentBarNumber} property
5329 @lilypond[verbatim,raggedright,quote]
5331 \repeat unfold 4 {c4 c c c} \break
5332 \set Score.currentBarNumber = #50
5333 \repeat unfold 4 {c4 c c c}
5339 Program reference: @internalsref{BarNumber}.
5342 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
5343 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
5347 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5348 there is one at the top. To solve this, the
5349 @code{padding} property of @internalsref{BarNumber} can be
5350 used to position the number correctly.
5352 @node Instrument names
5353 @subsection Instrument names
5355 In an orchestral score, instrument names are printed at the left side
5358 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5359 and @internalsref{Staff}.@code{instr}. This will print a string before
5360 the start of the staff. For the first staff, @code{instrument} is
5361 used, for the following ones, @code{instr} is used.
5363 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5364 \set Staff.instrument = "Ploink "
5365 \set Staff.instr = "Plk "
5371 You can also use markup texts to construct more complicated instrument
5374 @lilypond[quote,fragment,verbatim,raggedright]
5375 \set Staff.instrument = \markup {
5376 \column { "Clarinetti"
5377 \line { "in B" \smaller \flat } } }
5381 For longer instrument names, it may be useful to increase the
5382 @code{indent} setting in the @code{\layout} block.
5386 Program reference: @internalsref{InstrumentName}.
5390 When you put a name on a grand staff or piano staff, the width of the
5391 brace is not taken into account. You must add extra spaces to the end of
5392 the name to avoid a collision.
5395 @subsection Transpose
5397 @cindex transposition of pitches
5398 @cindex @code{\transpose}
5400 A music expression can be transposed with @code{\transpose}. The
5403 \transpose @var{from} @var{to} @var{musicexpr}
5406 This means that @var{musicexpr} is transposed by the interval between
5407 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5408 is changed to @code{to}.
5411 For example, consider a piece written in the key of D-major. If
5412 this piece is a little too low for its performer, it can be
5413 transposed up to E-major with
5415 \transpose d e @dots{}
5418 Consider a part written for violin (a C instrument). If
5419 this part is to be played on the A clarinet, the following
5420 transposition will produce the appropriate part
5423 \transpose a c @dots{}
5426 @code{\transpose} distinguishes between enharmonic pitches: both
5427 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5428 half a tone. The first version will print sharps and the second
5429 version will print flats
5431 @lilypond[quote,raggedright,verbatim]
5432 mus = { \key d \major cis d fis g }
5436 \transpose c g' \mus
5437 \transpose c f' \mus
5441 @code{\transpose} may also be used to input written notes for a
5442 transposing instrument. Pitches are normally entered into LilyPond
5443 in C (or ``concert pitch''), but they may be entered in another
5444 key. For example, when entering music for a B-flat trumpet which
5445 begins on concert D, one would write
5448 \transpose c bes @{ e4 @dots{} @}
5451 To print this music in B-flat again (ie producing a trumpet part,
5452 instead of a concert pitch conductor's score) you would wrap the
5453 existing music with another @code{transpose}
5456 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
5462 Program reference: @internalsref{TransposedMusic}, and
5463 @internalsref{UntransposableMusic}.
5467 If you want to use both @code{\transpose} and @code{\relative},
5468 you must put @code{\transpose} outside of @code{\relative}, since
5469 @code{\relative} will have no effect music that appears inside a
5472 @node Instrument transpositions
5473 @subsection Instrument transpositions
5475 The key of a transposing instrument can also be specified. This
5476 applies to many wind instruments, for example, clarinets (B-flat, A, and
5477 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
5479 The transposition is entered after the keyword @code{\transposition}
5482 \transposition bes %% B-flat clarinet
5486 This command sets the property @code{instrumentTransposition}. The value of
5487 this property is used for MIDI output and quotations. It does not
5488 affect how notes are printed in the current staff. To change the printed
5489 output, see @ref{Transpose}.
5491 The pitch to use for @code{\transposition} should correspond to the
5492 transposition of the notes. For example, when entering a score in
5493 concert pitch, typically all voices are entered in C, so
5494 they should be entered as
5507 The command @code{\transposition} should be used when the music is
5508 entered from a (transposed) orchestral part. For example, in
5509 classical horn parts, the tuning of the instrument is often changed
5510 during a piece. When copying the notes from the part, use
5511 @code{\transposition}, e.g.,
5524 @cindex transposition, MIDI
5525 @cindex transposition, instrument
5528 @node Multi measure rests
5529 @subsection Multi measure rests
5530 @cindex multi measure rests
5531 @cindex Rests, multi measure
5535 Multi-measure rests are entered using `@code{R}'. It is specifically
5536 meant for full bar rests and for entering parts: the rest can expand
5537 to fill a score with rests, or it can be printed as a single
5538 multi-measure rest. This expansion is controlled by the property
5539 @code{Score.skipBars}. If this is set to true, empty measures will not
5540 be expanded, and the appropriate number is added automatically
5542 @lilypond[quote,raggedright,fragment,verbatim]
5543 \time 4/4 r1 | R1 | R1*2
5544 \set Score.skipBars = ##t R1*17 R1*4
5547 The @code{1} in @code{R1} is similar to the duration notation used for
5548 notes. Hence, for time signatures other than 4/4, you must enter other
5549 durations. This can be done with augmentation dots or fractions
5551 @lilypond[quote,raggedright,fragment,verbatim]
5552 \set Score.skipBars = ##t
5561 An @code{R} spanning a single measure is printed as either a whole rest
5562 or a breve, centered in the measure regardless of the time signature.
5564 If there are only a few measures of rest, LilyPond prints ``church rests''
5565 (a series of rectangles) in the staff. To replace that with a simple
5566 rest, use @code{MultiMeasureRest.expand-limit}.
5568 @lilypond[quote,raggedright,fragment,verbatim]
5569 \set Score.skipBars = ##t
5571 \override MultiMeasureRest #'expand-limit = 1
5576 @cindex text on multi-measure rest
5577 @cindex script on multi-measure rest
5578 @cindex fermata on multi-measure rest
5580 Texts can be added to multi-measure rests by using the
5581 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5582 A variable (@code{\fermataMarkup}) is provided for
5585 @lilypond[quote,raggedright,verbatim,fragment]
5586 \set Score.skipBars = ##t
5588 R2.*10^\markup { \italic "ad lib." }
5592 If you want to have text on the left end of a multi-measure rest,
5593 attach the text to a zero-length skip note, i.e.,
5601 @cindex whole rests for a full measure
5605 Program reference: @internalsref{MultiMeasureRestEvent},
5606 @internalsref{MultiMeasureTextEvent},
5607 @internalsref{MultiMeasureRestMusicGroup}, and
5608 @internalsref{MultiMeasureRest}.
5610 The layout object @internalsref{MultiMeasureRestNumber} is for the
5611 default number, and @internalsref{MultiMeasureRestText} for user
5616 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
5617 over multi-measure rests. And the pitch of multi-measure rests (or
5618 staff-centered rests) can not be influenced.
5620 @cindex condensing rests
5622 There is no way to automatically condense multiple rests into a single
5623 multi-measure rest. Multi-measure rests do not take part in rest
5626 Be careful when entering multi-measure rests followed by whole
5627 notes. The following will enter two notes lasting four measures each
5631 When @code{skipBars} is set, the result will look OK, but the bar
5632 numbering will be off.
5634 @node Automatic part combining
5635 @subsection Automatic part combining
5636 @cindex automatic part combining
5637 @cindex part combiner
5640 Automatic part combining is used to merge two parts of music onto a
5641 staff. It is aimed at typesetting orchestral scores. When the two
5642 parts are identical for a period of time, only one is shown. In
5643 places where the two parts differ, they are typeset as separate
5644 voices, and stem directions are set automatically. Also, solo and
5645 @emph{a due} parts are identified and can be marked.
5647 The syntax for part combining is
5650 \partcombine @var{musicexpr1} @var{musicexpr2}
5655 The following example demonstrates the basic functionality of the part
5656 combiner: putting parts on one staff, and setting stem directions and
5659 @lilypond[quote,verbatim,raggedright,fragment]
5660 \new Staff \partcombine
5661 \relative g' { g g a( b) c c r r }
5662 \relative g' { g g r4 r e e g g }
5665 The first @code{g} appears only once, although it was
5666 specified twice (once in each part). Stem, slur, and tie directions are
5667 set automatically, depending whether there is a solo or unisono. The
5668 first part (with context called @code{one}) always gets up stems, and
5669 `Solo', while the second (called @code{two}) always gets down stems and
5672 If you just want the merging parts, and not the textual markings, you
5673 may set the property @code{printPartCombineTexts} to false
5675 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5677 \set Staff.printPartCombineTexts = ##f
5679 \relative g' { g a( b) r }
5680 \relative g' { g r4 r f }
5684 To change the text that is printed for solos or merging, you may
5685 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
5688 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5690 \set Score.soloText = #"ichi"
5691 \set Score.soloIIText = #"ni"
5692 \set Score.aDueText = #"tachi"
5694 \relative g' { g4 g a( b) r }
5695 \relative g' { g4 g r r f }
5699 Both arguments to @code{\partcombine} will be interpreted as
5700 @internalsref{Voice} contexts. If using relative octaves,
5701 @code{\relative} should be specified for both music expressions, i.e.,
5705 \relative @dots{} @var{musicexpr1}
5706 \relative @dots{} @var{musicexpr2}
5710 A @code{\relative} section that is outside of @code{\partcombine} has
5711 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5715 Program reference: @internalsref{PartCombineMusic},
5716 @internalsref{SoloOneEvent}, and
5717 @internalsref{SoloTwoEvent}, and
5718 @internalsref{UnisonoEvent}.
5722 When @code{printPartCombineTexts} is set, when the two voices play the
5723 same notes on and off, the part combiner may typeset @code{a2} more
5724 than once in a measure.
5726 @code{\partcombine} cannot be inside @code{\times}.
5728 @code{\partcombine} cannot be inside @code{\relative}.
5730 Internally, the @code{\partcombine} interprets both arguments as
5731 @code{Voice}s named @code{one} and @code{two}, and then decides when
5732 the parts can be combined. Consequently, if the arguments switch to
5733 differently named @internalsref{Voice} contexts, the events in those
5737 @subsection Hiding staves
5739 @cindex Frenched scores
5740 @cindex Hiding staves
5742 In orchestral scores, staff lines that only have rests are usually
5743 removed. This saves some space. This style is called `French Score'.
5744 For @internalsref{Lyrics},
5745 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5746 switched on by default. When the lines of these contexts turn out
5747 empty after the line-breaking process, they are removed.
5749 For normal staves, a specialized @internalsref{Staff} context is
5750 available, which does the same: staves containing nothing (or only
5751 multi-measure rests) are removed. The context definition is stored in
5752 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5753 in this example disappears in the second line
5755 @lilypond[quote,raggedright,verbatim]
5757 \context { \RemoveEmptyStaffContext }
5762 \new Staff { e4 f g a \break c1 }
5763 \new Staff { c4 d e f \break R1 }
5768 The first system shows all staves in full. If empty staves should be
5769 removed from the first system too, set @code{remove-first} to false in
5770 @internalsref{RemoveEmptyVerticalGroup}.
5772 Another application is making ossia sections, i.e., alternative
5773 melodies on a separate piece of staff, with help of a Frenched
5774 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
5777 @node Different editions from one source
5778 @subsection Different editions from one source
5781 The @code{\tag} command marks music expressions with a name. These
5782 tagged expressions can be filtered out later. With this mechanism it
5783 is possible to make different versions of the same music source.
5785 In the following example, we see two versions of a piece of music, one
5786 for the full score, and one with cue notes for the instrumental part
5802 The same can be applied to articulations, texts, etc.: they are
5805 -\tag #@var{your-tag}
5807 to an articulation, for example,
5812 This defines a note with a conditional fingering indication.
5815 @cindex removeWithTag
5816 By applying the @code{\keepWithTag} and @code{\removeWithTag}
5817 commands, tagged expressions can be filtered. For example,
5821 \keepWithTag #'score @var{the music}
5822 \keepWithTag #'part @var{the music}
5827 @lilypondfile[raggedright,quote]{tag-filter.ly}
5830 The argument of the @code{\tag} command should be a symbol, or a list
5831 of symbols, for example,
5833 \tag #'(original-part transposed-part) @dots{}
5840 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
5844 Multiple rests are not merged if you create the score with both tagged
5848 @node Quoting other voices
5849 @subsection Quoting other voices
5851 With quotations, fragments of other parts can be inserted into a part
5852 directly. Before a part can be quoted, it must be marked especially as
5853 quotable. This is done with the @code{\addquote} command.
5856 \addquote @var{name} @var{music}
5861 Here, @var{name} is an identifying string. The @var{music} is any kind
5862 of music. Here is an example of @code{\addquote}
5865 \addquote clarinet \relative c' @{
5870 This command must be entered at toplevel, i.e., outside any music
5873 After calling @code{\addquote}, the quotation may then be done with
5874 @code{\quoteDuring} or @code{\cueDuring},
5877 \quoteDuring #@var{name} @var{music}
5880 During a part, a piece of music can be quoted with the @code{\quoteDuring}
5884 \quoteDuring #"clarinet" @{ s2. @}
5887 This would cite three quarter notes (the duration of @code{s2.}) of
5888 the previously added @code{clarinet} voice.
5891 More precisely, it takes the current time-step of the part being
5892 printed, and extracts the notes at the corresponding point of the
5893 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5894 should be the entire part of the voice to be quoted, including any
5895 rests at the beginning.
5897 Quotations take into account the transposition of both source and target
5898 instruments, if they are specified using the @code{\transposition} command.
5900 @lilypond[quote,raggedright,verbatim]
5901 \addquote clarinet \relative c' {
5907 e'8 f'8 \quoteDuring #"clarinet" { s2 }
5911 The type of events that are present in cue notes can be trimmed with
5912 the @code{quotedEventTypes} property. The default value is
5913 @code{(note-event rest-event)}, which means that only notes and
5914 rests of the cued voice end up in the @code{\quoteDuring}.
5918 \set Staff.quotedEventTypes =
5919 #'(note-event articulation-event dynamic-event)
5923 will quote notes (but no rests), together with scripts and dynamics.
5927 Only the contents of the first @internalsref{Voice} occurring in an
5928 @code{\addquote} command will be considered for quotation, so
5929 @var{music} can not contain @code{\new} and @code{\context Voice}
5930 statements that would switch to a different Voice.
5932 Quoting grace notes is broken and can even cause LilyPond to crash.
5936 In this manual: @ref{Instrument transpositions}.
5938 Examples: @inputfileref{input/@/regression,quote@/.ly}
5939 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
5941 Program reference: @internalsref{QuoteMusic}.
5943 @node Formatting cue notes
5944 @subsection Formatting cue notes
5946 The previous section deals with inserting notes from another voice.
5947 There is a more advanced music function called @code{\cueDuring},
5948 which makes formatting cue notes easier.
5953 \cueDuring #@var{name} #@var{updown} @var{music}
5956 This will insert notes from the part @var{name} into a
5957 @internalsref{Voice} called @code{cue}. This happens simultaneously
5958 with @var{music}, which usually is a rest. When the cue notes start,
5959 the staff in effect becomes polyphonic for a moment. The argument
5960 @var{updown} determines whether the cue notes should be notated as a
5961 first or second voice.
5964 @lilypond[verbatim,raggedright]
5967 \override Stem #'length = #5.5
5968 \override Beam #'thickness = #0.384
5969 \override Beam #'space-function =
5970 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5973 \addquote clarinet \relative {
5978 \new Staff \relative <<
5980 % setup a context for cue notes.
5981 \context Voice = cue { \smaller \skip 1*21 }
5983 \set Score.skipBars = ##t
5987 \cueDuring #"clarinet" #1 {
5996 Here are a couple of hints for successful cue notes
6000 Cue notes have smaller font sizes.
6002 the cued part is marked with the instrument playing the cue.
6004 when the original part takes over again, this should be marked with
6005 the name of the original instrument.
6007 @c really? Are you sure about that last point? I'll check after 3.0 -gp
6009 @c Yes, this is good practice. Otherwise, the start of the original
6010 @c part can only be seen from the font size. This is not good enough
6011 @c for sight-reading. It is possilbe to use other
6012 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
6017 any other changes introduced by the cued part should also be
6018 undone. For example, if the cued instrument plays in a different clef,
6019 the original clef should be stated once again.
6027 @node Ancient notation
6028 @section Ancient notation
6030 @cindex Vaticana, Editio
6031 @cindex Medicaea, Editio
6036 Support for ancient notation includes features for mensural notation
6037 and Gregorian Chant notation. There is also limited support for
6038 figured bass notation.
6040 Many graphical objects provide a @code{style} property, see
6043 @ref{Ancient note heads},
6045 @ref{Ancient accidentals},
6047 @ref{Ancient rests},
6049 @ref{Ancient clefs},
6051 @ref{Ancient flags},
6053 @ref{Ancient time signatures}.
6056 By manipulating such a grob property, the typographical appearance of
6057 the affected graphical objects can be accommodated for a specific
6058 notation flavor without the need for introducing any new notational
6061 In addition to the standard articulation signs described in section
6062 @ref{Articulations}, specific articulation signs for ancient notation
6067 @ref{Ancient articulations}
6070 Other aspects of ancient notation can not that easily be expressed
6071 in terms of just changing a style property of a graphical object or
6072 adding articulation signs. Some notational concepts are introduced
6073 specifically for ancient notation,
6084 If this all is too much of documentation for you, and you just want to
6085 dive into typesetting without worrying too much about the details on
6086 how to customize a context, you may have a look at the predefined
6087 contexts. Use them to set up predefined style-specific voice and
6088 staff contexts, and directly go ahead with the note entry,
6092 @ref{Gregorian Chant contexts},
6094 @ref{Mensural contexts}.
6097 There is limited support for figured bass notation which came
6098 up during the baroque period.
6105 Here are all suptopics at a glance:
6108 * Ancient note heads::
6109 * Ancient accidentals::
6113 * Ancient time signatures::
6114 * Ancient articulations::
6118 * Gregorian Chant contexts::
6119 * Mensural contexts::
6124 @node Ancient note heads
6125 @subsection Ancient note heads
6130 For ancient notation, a note head style other than the @code{default}
6131 style may be chosen. This is accomplished by setting the @code{style}
6132 property of the @internalsref{NoteHead} object to @code{baroque},
6133 @code{neomensural} or @code{mensural}. The @code{baroque} style
6134 differs from the @code{default} style only in using a square shape
6135 for @code{\breve} note heads. The @code{neomensural} style differs from
6136 the @code{baroque} style in that it uses rhomboidal heads for whole notes
6137 and all smaller durations. Stems are centered on the note heads.
6138 This style is particularly useful when transcribing mensural music,
6139 e.g., for the incipit. The @code{mensural} style finally produces note
6140 heads that mimic the look of note heads in historic printings of the
6143 The following example demonstrates the @code{neomensural} style
6145 @lilypond[quote,fragment,raggedright,verbatim]
6146 \set Score.skipBars = ##t
6147 \override NoteHead #'style = #'neomensural
6148 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
6151 When typesetting a piece in Gregorian Chant notation, the
6152 @internalsref{Gregorian_ligature_engraver} will automatically select
6153 the proper note heads, so there is no need to explicitly set the
6154 note head style. Still, the note head style can be set, e.g., to
6155 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
6156 @internalsref{Mensural_ligature_engraver} is used to automatically
6157 assemble mensural ligatures. See @ref{Ligatures} for how ligature
6162 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
6163 overview over all available note head styles.
6166 @node Ancient accidentals
6167 @subsection Ancient accidentals
6172 Use the @code{style} property of grob @internalsref{Accidental} to
6173 select ancient accidentals. Supported styles are
6174 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
6176 @lilypond[quote,raggedright,staffsize=26]
6183 \line { " " \musicglyph #"accidentals.vaticana-1"
6184 " " \musicglyph #"accidentals.vaticana0" }
6188 \line { " " \musicglyph #"accidentals.medicaea-1" }
6192 \line { " " \musicglyph #"accidentals.hufnagel-1" }
6196 \line { " " \musicglyph #"accidentals.mensural-1"
6197 " " \musicglyph #"accidentals.mensural1" }
6203 \context { \Score \remove "Bar_number_engraver" }
6205 \remove "Clef_engraver"
6206 \remove "Key_engraver"
6207 \remove "Time_signature_engraver"
6208 \remove "Staff_symbol_engraver"
6209 minimumVerticalExtent = ##f
6215 As shown, not all accidentals are supported by each style. When
6216 trying to access an unsupported accidental, LilyPond will switch to a
6217 different style, as demonstrated in
6218 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6220 Similarly to local accidentals, the style of the key signature can be
6221 controlled by the @code{style} property of the
6222 @internalsref{KeySignature} grob.
6226 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
6227 @ref{Accidentals} give a general introduction of the use of
6228 accidentals. @ref{Key signature} gives a general introduction of
6229 the use of key signatures.
6231 Program reference: @internalsref{KeySignature}.
6233 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6236 @subsection Ancient rests
6241 Use the @code{style} property of grob @internalsref{Rest} to select
6242 ancient rests. Supported styles are @code{classical},
6243 @code{neomensural}, and @code{mensural}. @code{classical} differs
6244 from the @code{default} style only in that the quarter rest looks like
6245 a horizontally mirrored 8th rest. The @code{neomensural} style suits
6246 well for, e.g., the incipit of a transcribed mensural piece of music.
6247 The @code{mensural} style finally mimics the appearance of rests as
6248 in historic prints of the 16th century.
6250 The following example demonstrates the @code{neomensural} style
6252 @lilypond[quote,fragment,raggedright,verbatim]
6253 \set Score.skipBars = ##t
6254 \override Rest #'style = #'neomensural
6255 r\longa r\breve r1 r2 r4 r8 r16
6258 There are no 32th and 64th rests specifically for the mensural or
6259 neo-mensural style. Instead, the rests from the default style will be
6260 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
6263 There are no rests in Gregorian Chant notation; instead, it uses
6268 In this manual: @ref{Rests} gives a general introduction into the use of rests.
6272 @subsection Ancient clefs
6277 LilyPond supports a variety of clefs, many of them ancient.
6279 The following table shows all ancient clefs that are supported via the
6280 @code{\clef} command. Some of the clefs use the same glyph, but
6281 differ only with respect to the line they are printed on. In such
6282 cases, a trailing number in the name is used to enumerate these clefs.
6283 Still, you can manually force a clef glyph to be typeset on an
6284 arbitrary line, as described in @ref{Clef}. The note printed to the
6285 right side of each clef in the example column denotes the @code{c'}
6286 with respect to that clef.
6288 @multitable @columnfractions .4 .4 .2
6297 modern style mensural C clef
6299 @code{neomensural-c1}, @code{neomensural-c2},@*
6300 @code{neomensural-c3}, @code{neomensural-c4}
6302 @lilypond[fragment,relative=1,notime]
6303 \clef "neomensural-c2" c
6307 petrucci style mensural C clefs, for use on different staff lines
6308 (the examples show the 2nd staff line C clef)
6310 @code{petrucci-c1}, @code{petrucci-c2},@*
6311 @code{petrucci-c3}, @code{petrucci-c4},@*
6314 @lilypond[fragment,relative=1,notime]
6315 \clef "petrucci-c2" c
6319 petrucci style mensural F clef
6323 @lilypond[fragment,relative=1,notime]
6324 \clef "petrucci-f" c
6328 petrucci style mensural G clef
6332 @lilypond[fragment,relative=1,notime]
6333 \clef "petrucci-g" c
6337 historic style mensural C clef
6339 @code{mensural-c1}, @code{mensural-c2},@*
6340 @code{mensural-c3}, @code{mensural-c4}
6342 @lilypond[fragment,relative=1,notime]
6343 \clef "mensural-c2" c
6347 historic style mensural F clef
6351 @lilypond[fragment,relative=1,notime]
6352 \clef "mensural-f" c
6356 historic style mensural G clef
6360 @lilypond[fragment,relative=1,notime]
6361 \clef "mensural-g" c
6365 Editio Vaticana style do clef
6367 @code{vaticana-do1}, @code{vaticana-do2},@*
6370 @lilypond[fragment,relative=1,notime]
6371 \override Staff.StaffSymbol #'line-count = #4
6372 \clef "vaticana-do2" c
6376 Editio Vaticana style fa clef
6378 @code{vaticana-fa1}, @code{vaticana-fa2}
6380 @lilypond[fragment,relative=1,notime]
6381 \override Staff.StaffSymbol #'line-count = #4
6382 \clef "vaticana-fa2" c
6386 Editio Medicaea style do clef
6388 @code{medicaea-do1}, @code{medicaea-do2},@*
6391 @lilypond[fragment,relative=1,notime]
6392 \override Staff.StaffSymbol #'line-count = #4
6393 \clef "medicaea-do2" c
6397 Editio Medicaea style fa clef
6399 @code{medicaea-fa1}, @code{medicaea-fa2}
6401 @lilypond[fragment,relative=1,notime]
6402 \override Staff.StaffSymbol #'line-count = #4
6403 \clef "medicaea-fa2" c
6407 historic style hufnagel do clef
6409 @code{hufnagel-do1}, @code{hufnagel-do2},@*
6412 @lilypond[fragment,relative=1,notime]
6413 \override Staff.StaffSymbol #'line-count = #4
6414 \clef "hufnagel-do2" c
6418 historic style hufnagel fa clef
6420 @code{hufnagel-fa1}, @code{hufnagel-fa2}
6422 @lilypond[fragment,relative=1,notime]
6423 \override Staff.StaffSymbol #'line-count = #4
6424 \clef "hufnagel-fa2" c
6428 historic style hufnagel combined do/fa clef
6430 @code{hufnagel-do-fa}
6432 @lilypond[fragment,relative=1,notime]
6433 \clef "hufnagel-do-fa" c
6439 @emph{Modern style} means ``as is typeset in contemporary editions of
6440 transcribed mensural music''.
6442 @emph{Petrucci style} means ``inspired by printings published by the
6443 famous engraver Petrucci (1466-1539)''.
6445 @emph{Historic style} means ``as was typeset or written in historic
6446 editions (other than those of Petrucci)''.
6448 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6450 Petrucci used C clefs with differently balanced left-side vertical
6451 beams, depending on which staff line it is printed.
6455 In this manual: see @ref{Clef}.
6459 The mensural g clef is mapped to the Petrucci g clef.
6464 @subsection Ancient flags
6469 Use the @code{flag-style} property of grob @internalsref{Stem} to
6470 select ancient flags. Besides the @code{default} flag style,
6471 only the @code{mensural} style is supported
6473 @lilypond[quote,fragment,raggedright,verbatim]
6474 \override Stem #'flag-style = #'mensural
6475 \override Stem #'thickness = #1.0
6476 \override NoteHead #'style = #'mensural
6478 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
6479 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6482 Note that the innermost flare of each mensural flag always is
6483 vertically aligned with a staff line.
6485 There is no particular flag style for neo-mensural notation. Hence,
6486 when typesetting the incipit of a transcribed piece of mensural
6487 music, the default flag style should be used. There are no flags in
6488 Gregorian Chant notation.
6492 The attachment of ancient flags to stems is slightly off due to a
6493 change in early 2.3.x.
6495 Vertically aligning each flag with a staff line assumes that stems
6496 always end either exactly on or exactly in the middle between two
6497 staff lines. This may not always be true when using advanced layout
6498 features of classical notation (which however are typically out of
6499 scope for mensural notation).
6501 @node Ancient time signatures
6502 @subsection Ancient time signatures
6504 @cindex time signatures
6507 There is limited support for mensural time signatures. The
6508 glyphs are hard-wired to particular time fractions. In other words,
6509 to get a particular mensural signature glyph with the @code{\time n/m}
6510 command, @code{n} and @code{m} have to be chosen according to the
6513 @lilypond[quote,raggedright]
6517 \remove Staff_symbol_engraver
6518 \remove Clef_engraver
6519 \remove Time_signature_engraver
6522 \set Score.timing = ##f
6523 \set Score.barAlways = ##t
6524 s_\markup { "\\time 4/4" }
6525 ^\markup { " " \musicglyph #"timesig.neomensural44" }
6527 s_\markup { "\\time 2/2" }
6528 ^\markup { " " \musicglyph #"timesig.neomensural22" }
6530 s_\markup { "\\time 6/4" }
6531 ^\markup { " " \musicglyph #"timesig.neomensural64" }
6533 s_\markup { "\\time 6/8" }
6534 ^\markup { " " \musicglyph #"timesig.neomensural68" }
6536 s_\markup { "\\time 3/2" }
6537 ^\markup { " " \musicglyph #"timesig.neomensural32" }
6539 s_\markup { "\\time 3/4" }
6540 ^\markup { " " \musicglyph #"timesig.neomensural34" }
6542 s_\markup { "\\time 9/4" }
6543 ^\markup { " " \musicglyph #"timesig.neomensural94" }
6545 s_\markup { "\\time 9/8" }
6546 ^\markup { " " \musicglyph #"timesig.neomensural98" }
6548 s_\markup { "\\time 4/8" }
6549 ^\markup { " " \musicglyph #"timesig.neomensural48" }
6551 s_\markup { "\\time 2/4" }
6552 ^\markup { " " \musicglyph #"timesig.neomensural24" }
6556 Use the @code{style} property of grob @internalsref{TimeSignature} to
6557 select ancient time signatures. Supported styles are
6558 @code{neomensural} and @code{mensural}. The above table uses the
6559 @code{neomensural} style. This style is appropriate for the
6560 incipit of transcriptions of mensural pieces. The @code{mensural}
6561 style mimics the look of historical printings of the 16th century.
6563 The following examples show the differences in style,
6565 @lilypond[raggedright,fragment,relative=1,quote]
6569 c1^\markup { \hspace #-2.0 \typewriter default }
6571 \override Staff.TimeSignature #'style = #'numbered
6573 c1^\markup { \hspace #-2.0 \typewriter numbered }
6575 \override Staff.TimeSignature #'style = #'mensural
6577 c1^\markup { \hspace #-2.0 \typewriter mensural }
6579 \override Staff.TimeSignature #'style = #'neomensural
6581 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6582 \override Staff.TimeSignature #'style = #'single-digit
6584 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6590 This manual: @ref{Time signature} gives a general introduction to
6591 the use of time signatures.
6595 Ratios of note durations do not change with the time signature. For
6596 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6597 be made by hand, by setting
6600 breveTP = #(ly:make-duration -1 0 3 2)
6606 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6608 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6609 addressable with @code{\time}. Use a @code{\markup} instead
6611 @node Ancient articulations
6612 @subsection Ancient articulations
6614 @cindex articulations
6616 In addition to the standard articulation signs described in section
6617 @ref{Articulations}, articulation signs for ancient notation are
6618 provided. These are specifically designed for use with notation in
6619 Editio Vaticana style.
6621 @lilypond[quote,raggedright,verbatim]
6622 \include "gregorian-init.ly"
6624 \context VaticanaVoice {
6625 \override TextScript #'font-family = #'typewriter
6626 \override TextScript #'font-shape = #'upright
6627 \override Script #'padding = #-0.1
6629 a4\circulus_"circulus" s1
6630 a4\semicirculus_"semicirculus" s1 s
6631 a4\accentus_"accentus" s1
6632 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6639 Some articulations are vertically placed too closely to the
6640 correpsonding note heads.
6643 @subsection Custodes
6648 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6649 symbol that appears at the end of a staff. It anticipates the pitch
6650 of the first note(s) of the following line thus helping the performer
6651 to manage line breaks during performance.
6653 Custodes were frequently used in music notation until the 17th
6654 century. Nowadays, they have survived only in a few particular forms
6655 of musical notation such as contemporary editions of Gregorian chant
6656 like the @emph{editio vaticana}. There are different custos glyphs
6657 used in different flavors of notational style.
6659 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6660 @internalsref{Staff} context when declaring the @code{\layout} block,
6661 as shown in the following example
6667 \consists Custos_engraver
6668 Custos \override #'style = #'mensural
6673 The result looks like this
6675 @lilypond[quote,raggedright]
6679 \override Staff.Custos #'style = #'mensural
6684 \context { \Staff \consists Custos_engraver }
6689 The custos glyph is selected by the @code{style} property. The styles
6690 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
6691 @code{mensural}. They are demonstrated in the following fragment
6693 @lilypond[quote,raggedright,fragment]
6694 \new Lyrics \lyricmode {
6696 \typewriter "vaticana"
6697 \line { " " \musicglyph #"custodes.vaticana-u0" }
6700 \typewriter "medicaea"
6701 \line { " " \musicglyph #"custodes.medicaea-u0" }
6704 \typewriter "hufnagel"
6705 \line { " " \musicglyph #"custodes.hufnagel-u0" }
6708 \typewriter "mensural"
6709 \line { " " \musicglyph #"custodes.mensural-u0" }
6716 Program reference: @internalsref{Custos}.
6718 Examples: @inputfileref{input/@/regression,custos@/.ly}.
6722 @subsection Divisiones
6728 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6729 `division') is a staff context symbol that is used to structure
6730 Gregorian music into phrases and sections. The musical meaning of
6731 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
6732 can be characterized as short, medium, and long pause, somewhat like
6733 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6734 only marks the end of a chant, but is also frequently used within a
6735 single antiphonal/responsorial chant to mark the end of each section.
6738 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
6739 contains definitions that you can apply by just inserting
6740 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6741 and @code{\finalis} at proper places in the input. Some editions use
6742 @emph{virgula} or @emph{caesura} instead of divisio minima.
6743 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
6746 @lilypondfile[quote,raggedright]{divisiones.ly}
6750 @cindex @code{\virgula}
6752 @cindex @code{\caesura}
6754 @cindex @code{\divisioMinima}
6755 @code{\divisioMinima},
6756 @cindex @code{\divisioMaior}
6757 @code{\divisioMaior},
6758 @cindex @code{\divisioMaxima}
6759 @code{\divisioMaxima},
6760 @cindex @code{\finalis}
6765 In this manual: @ref{Breath marks}.
6767 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6769 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
6772 @subsection Ligatures
6776 @c TODO: Should double check if I recalled things correctly when I wrote
6777 @c down the following paragraph by heart.
6779 A ligature is a graphical symbol that represents at least two distinct
6780 notes. Ligatures originally appeared in the manuscripts of Gregorian
6781 chant notation to denote ascending or descending sequences of notes.
6783 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6784 Some ligature styles may need additional input syntax specific for
6785 this particular type of ligature. By default, the
6786 @internalsref{LigatureBracket} engraver just puts a square bracket
6789 @lilypond[quote,raggedright,verbatim]
6797 To select a specific style of ligatures, a proper ligature engraver
6798 has to be added to the @internalsref{Voice} context, as explained in
6799 the following subsections. Only white mensural ligatures
6800 are supported with certain limitations.
6806 Ligatures need special spacing that has not yet been implemented. As
6807 a result, there is too much space between ligatures most of the time,
6808 and line breaking often is unsatisfactory. Also, lyrics do not
6809 correctly align with ligatures.
6811 Accidentals must not be printed within a ligature, but instead need to
6812 be collected and printed in front of it.
6814 Augmentum dots within ligatures are not handled correctly.
6818 * White mensural ligatures::
6819 * Gregorian square neumes ligatures::
6822 @node White mensural ligatures
6823 @subsubsection White mensural ligatures
6825 @cindex Mensural ligatures
6826 @cindex White mensural ligatures
6828 There is limited support for white mensural ligatures.
6830 To engrave white mensural ligatures, in the layout block put the
6831 @internalsref{Mensural_ligature_engraver} into the
6832 @internalsref{Voice} context, and remove the
6833 @internalsref{Ligature_bracket_engraver}, like this
6839 \remove Ligature_bracket_engraver
6840 \consists Mensural_ligature_engraver
6845 There is no additional input language to describe the shape of a
6846 white mensural ligature. The shape is rather determined solely from
6847 the pitch and duration of the enclosed notes. While this approach may
6848 take a new user a while to get accustomed to, it has the great advantage
6849 that the full musical information of the ligature is known internally.
6850 This is not only required for correct MIDI output, but also allows for
6851 automatic transcription of the ligatures.
6856 \set Score.timing = ##f
6857 \set Score.defaultBarType = "empty"
6858 \override NoteHead #'style = #'neomensural
6859 \override Staff.TimeSignature #'style = #'neomensural
6861 \[ g\longa c\breve a\breve f\breve d'\longa \]
6863 \[ e1 f1 a\breve g\longa \]
6865 @lilypond[quote,raggedright]
6868 \set Score.timing = ##f
6869 \set Score.defaultBarType = "empty"
6870 \override NoteHead #'style = #'neomensural
6871 \override Staff.TimeSignature #'style = #'neomensural
6873 \[ g\longa c\breve a\breve f\breve d'\longa \]
6875 \[ e1 f1 a\breve g\longa \]
6880 \remove Ligature_bracket_engraver
6881 \consists Mensural_ligature_engraver
6887 Without replacing @internalsref{Ligature_bracket_engraver} with
6888 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6891 @lilypond[quote,raggedright]
6893 \set Score.timing = ##f
6894 \set Score.defaultBarType = "empty"
6895 \override NoteHead #'style = #'neomensural
6896 \override Staff.TimeSignature #'style = #'neomensural
6898 \[ g\longa c\breve a\breve f\breve d'\longa \]
6900 \[ e1 f1 a\breve g\longa \]
6906 The implementation is experimental. It may output strange warnings,
6907 incorrect results, and might even crash on more complex ligatures.
6909 @node Gregorian square neumes ligatures
6910 @subsubsection Gregorian square neumes ligatures
6912 @cindex Square neumes ligatures
6913 @cindex Gregorian square neumes ligatures
6915 There is limited support for Gregorian square neumes notation
6916 (following the style of the Editio Vaticana). Core ligatures can
6917 already be typeset, but essential issues for serious typesetting are
6918 still lacking, such as (among others) horizontal alignment of multiple
6919 ligatures, lyrics alignment and proper handling of accidentals.
6922 The following table contains the extended neumes table of the 2nd
6923 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6924 1983 by the monks of Solesmes.
6926 @multitable @columnfractions .4 .2 .2 .2
6943 @c TODO: \layout block is identical in all of the below examples.
6944 @c Therefore, it should somehow be included rather than duplicated all
6947 @c why not make identifiers in ly/engraver-init.ly? --hwn
6949 @c Because it's just used to typeset plain notes without
6950 @c a staff for demonstration purposes rather than something
6951 @c special of Gregorian chant notation. --jr
6956 @lilypond[staffsize=26,linewidth=1.5\cm]
6957 \include "gregorian-init.ly"
6962 \noBreak s^\markup {"a"} \noBreak
6964 % Punctum Inclinatum
6966 \noBreak s^\markup {"b"}
6968 \layout { \neumeDemoLayout }}
6971 @lilypond[staffsize=26,linewidth=2.5\cm]
6972 \include "gregorian-init.ly"
6975 % Punctum Auctum Ascendens
6976 \[ \auctum \ascendens b \]
6977 \noBreak s^\markup {"c"} \noBreak
6979 % Punctum Auctum Descendens
6980 \[ \auctum \descendens b \]
6981 \noBreak s^\markup {"d"} \noBreak
6983 % Punctum Inclinatum Auctum
6984 \[ \inclinatum \auctum b \]
6985 \noBreak s^\markup {"e"}
6987 \layout { \neumeDemoLayout }}
6990 @lilypond[staffsize=26,linewidth=1.0\cm]
6991 \include "gregorian-init.ly"
6994 % Punctum Inclinatum Parvum
6995 \[ \inclinatum \deminutum b \]
6996 \noBreak s^\markup {"f"}
6998 \layout { \neumeDemoLayout }}
7004 @lilypond[staffsize=26,linewidth=1.0\cm]
7005 \include "gregorian-init.ly"
7010 \noBreak s^\markup {"g"}
7012 \layout { \neumeDemoLayout }}
7018 @code{3. Apostropha vel Stropha}
7020 @lilypond[staffsize=26,linewidth=1.0\cm]
7021 \include "gregorian-init.ly"
7026 \noBreak s^\markup {"h"}
7028 \layout { \neumeDemoLayout }}
7031 @lilypond[staffsize=26,linewidth=1.0\cm]
7032 \include "gregorian-init.ly"
7036 \[ \stropha \auctum b \]
7037 \noBreak s^\markup {"i"}
7039 \layout { \neumeDemoLayout }}
7046 @lilypond[staffsize=26,linewidth=1.0\cm]
7047 \include "gregorian-init.ly"
7052 \noBreak s^\markup {"j"}
7054 \layout { \neumeDemoLayout }}
7060 @code{5. Clivis vel Flexa}
7062 @lilypond[staffsize=26,linewidth=1.0\cm]
7063 \include "gregorian-init.ly"
7070 \layout { \neumeDemoLayout }}
7073 @lilypond[staffsize=26,linewidth=2.0\cm]
7074 \include "gregorian-init.ly"
7077 % Clivis Aucta Descendens
7078 \[ b \flexa \auctum \descendens g \]
7079 \noBreak s^\markup {"l"} \noBreak
7081 % Clivis Aucta Ascendens
7082 \[ b \flexa \auctum \ascendens g \]
7083 \noBreak s^\markup {"m"}
7085 \layout { \neumeDemoLayout }}
7088 @lilypond[staffsize=26,linewidth=1.0\cm]
7089 \include "gregorian-init.ly"
7093 \[ b \flexa \deminutum g \]
7096 \layout { \neumeDemoLayout }}
7100 @code{6. Podatus vel Pes}
7102 @lilypond[staffsize=26,linewidth=1.0\cm]
7103 \include "gregorian-init.ly"
7110 \layout { \neumeDemoLayout }}
7113 @lilypond[staffsize=26,linewidth=2.0\cm]
7114 \include "gregorian-init.ly"
7117 % Pes Auctus Descendens
7118 \[ g \pes \auctum \descendens b \]
7119 \noBreak s^\markup {"p"} \noBreak
7121 % Pes Auctus Ascendens
7122 \[ g \pes \auctum \ascendens b \]
7123 \noBreak s^\markup {"q"}
7125 \layout { \neumeDemoLayout }}
7128 @lilypond[staffsize=26,linewidth=1.0\cm]
7129 \include "gregorian-init.ly"
7133 \[ g \pes \deminutum b \]
7136 \layout { \neumeDemoLayout }}
7140 @code{7. Pes Quassus}
7142 @lilypond[staffsize=26,linewidth=1.0\cm]
7143 \include "gregorian-init.ly"
7147 \[ \oriscus g \pes \virga b \]
7150 \layout { \neumeDemoLayout }}
7153 @lilypond[staffsize=26,linewidth=1.0\cm]
7154 \include "gregorian-init.ly"
7157 % Pes Quassus Auctus Descendens
7158 \[ \oriscus g \pes \auctum \descendens b \]
7161 \layout { \neumeDemoLayout }}
7166 @code{8. Quilisma Pes}
7168 @lilypond[staffsize=26,linewidth=1.0\cm]
7169 \include "gregorian-init.ly"
7173 \[ \quilisma g \pes b \]
7176 \layout { \neumeDemoLayout }}
7179 @lilypond[staffsize=26,linewidth=1.0\cm]
7180 \include "gregorian-init.ly"
7183 % Quilisma Pes Auctus Descendens
7184 \[ \quilisma g \pes \auctum \descendens b \]
7187 \layout { \neumeDemoLayout }}
7192 @code{9. Podatus Initio Debilis}
7194 @lilypond[staffsize=26,linewidth=1.0\cm]
7195 \include "gregorian-init.ly"
7198 % Pes Initio Debilis
7199 \[ \deminutum g \pes b \]
7202 \layout { \neumeDemoLayout }}
7205 @lilypond[staffsize=26,linewidth=1.0\cm]
7206 \include "gregorian-init.ly"
7209 % Pes Auctus Descendens Initio Debilis
7210 \[ \deminutum g \pes \auctum \descendens b \]
7213 \layout { \neumeDemoLayout }}
7220 @lilypond[staffsize=26,linewidth=1.0\cm]
7221 \include "gregorian-init.ly"
7225 \[ a \pes b \flexa g \]
7228 \layout { \neumeDemoLayout }}
7231 @lilypond[staffsize=26,linewidth=1.0\cm]
7232 \include "gregorian-init.ly"
7235 % Torculus Auctus Descendens
7236 \[ a \pes b \flexa \auctum \descendens g \]
7239 \layout { \neumeDemoLayout }}
7242 @lilypond[staffsize=26,linewidth=1.0\cm]
7243 \include "gregorian-init.ly"
7246 % Torculus Deminutus
7247 \[ a \pes b \flexa \deminutum g \]
7250 \layout { \neumeDemoLayout }}
7254 @code{11. Torculus Initio Debilis}
7256 @lilypond[staffsize=26,linewidth=1.0\cm]
7257 \include "gregorian-init.ly"
7260 % Torculus Initio Debilis
7261 \[ \deminutum a \pes b \flexa g \]
7264 \layout { \neumeDemoLayout }}
7267 @lilypond[staffsize=26,linewidth=1.0\cm]
7268 \include "gregorian-init.ly"
7271 % Torculus Auctus Descendens Initio Debilis
7272 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
7275 \layout { \neumeDemoLayout }}
7278 @lilypond[staffsize=26,linewidth=1.0\cm]
7279 \include "gregorian-init.ly"
7282 % Torculus Deminutus Initio Debilis
7283 \[ \deminutum a \pes b \flexa \deminutum g \]
7286 \layout { \neumeDemoLayout }}
7290 @code{12. Porrectus}
7292 @lilypond[staffsize=26,linewidth=1.0\cm]
7293 \include "gregorian-init.ly"
7297 \[ a \flexa g \pes b \]
7300 \layout { \neumeDemoLayout }}
7303 @lilypond[staffsize=26,linewidth=1.0\cm]
7304 \include "gregorian-init.ly"
7307 % Porrectus Auctus Descendens
7308 \[ a \flexa g \pes \auctum \descendens b \]
7311 \layout { \neumeDemoLayout }}
7314 @lilypond[staffsize=26,linewidth=1.0\cm]
7315 \include "gregorian-init.ly"
7318 % Porrectus Deminutus
7319 \[ a \flexa g \pes \deminutum b \]
7322 \layout { \neumeDemoLayout }}
7328 @lilypond[staffsize=26,linewidth=1.0\cm]
7329 \include "gregorian-init.ly"
7333 \[ \virga b \inclinatum a \inclinatum g \]
7336 \layout { \neumeDemoLayout }
7340 @lilypond[staffsize=26,linewidth=1.0\cm]
7341 \include "gregorian-init.ly"
7345 \[ \virga b \inclinatum a \inclinatum \auctum g \]
7348 \layout { \neumeDemoLayout }}
7351 @lilypond[staffsize=26,linewidth=1.0\cm]
7352 \include "gregorian-init.ly"
7355 % Climacus Deminutus
7356 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7359 \layout { \neumeDemoLayout }}
7363 @code{14. Scandicus}
7365 @lilypond[staffsize=26,linewidth=1.0\cm]
7366 \include "gregorian-init.ly"
7370 \[ g \pes a \virga b \]
7373 \layout { \neumeDemoLayout }}
7376 @lilypond[staffsize=26,linewidth=1.0\cm]
7377 \include "gregorian-init.ly"
7380 % Scandicus Auctus Descendens
7381 \[ g \pes a \pes \auctum \descendens b \]
7384 \layout { \neumeDemoLayout }}
7387 @lilypond[staffsize=26,linewidth=1.0\cm]
7388 \include "gregorian-init.ly"
7391 % Scandicus Deminutus
7392 \[ g \pes a \pes \deminutum b \]
7395 \layout { \neumeDemoLayout }}
7401 @lilypond[staffsize=26,linewidth=1.0\cm]
7402 \include "gregorian-init.ly"
7406 \[ g \oriscus a \pes \virga b \]
7409 \layout { \neumeDemoLayout }}
7412 @lilypond[staffsize=26,linewidth=1.0\cm]
7413 \include "gregorian-init.ly"
7416 % Salicus Auctus Descendens
7417 \[ g \oriscus a \pes \auctum \descendens b \]
7420 \layout { \neumeDemoLayout }}
7427 @lilypond[staffsize=26,linewidth=1.0\cm]
7428 \include "gregorian-init.ly"
7432 \[ \stropha b \stropha b \stropha a \]
7435 \layout { \neumeDemoLayout }
7444 Unlike most other neumes notation systems, the input language for
7445 neumes does not reflect the typographical appearance, but is designed
7446 to focus on musical meaning. For example, @code{\[ a \pes b
7447 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7448 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7449 curved flexa shape and only a single Punctum head. There is no
7450 command to explicitly typeset the curved flexa shape; the decision of
7451 when to typeset a curved flexa shape is based on the musical
7452 input. The idea of this approach is to separate the musical aspects
7453 of the input from the notation style of the output. This way, the
7454 same input can be reused to typeset the same music in a different
7455 style of Gregorian chant notation.
7457 The following table shows the code fragments that produce the
7458 ligatures in the above neumes table. The letter in the first column
7459 in each line of the below table indicates to which ligature in the
7460 above table it refers. The second column gives the name of the
7461 ligature. The third column shows the code fragment that produces this
7462 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
7464 @multitable @columnfractions .02 .31 .67
7484 @code{\[ \inclinatum b \]}
7492 @code{\[ \auctum \ascendens b \]}
7500 @code{\[ \auctum \descendens b \]}
7505 Punctum Inclinatum@*
7508 @code{\[ \inclinatum \auctum b \]}
7513 Punctum Inclinatum@*
7515 @code{\[ \inclinatum \deminutum b \]}
7522 @code{\[ \virga b \]}
7529 @code{\[ \stropha b \]}
7536 @code{\[ \stropha \auctum b \]}
7543 @code{\[ \oriscus b \]}
7550 @code{\[ b \flexa g \]}
7558 @code{\[ b \flexa \auctum \descendens g \]}
7566 @code{\[ b \flexa \auctum \ascendens g \]}
7573 @code{\[ b \flexa \deminutum g \]}
7580 @code{\[ g \pes b \]}
7588 @code{\[ g \pes \auctum \descendens b \]}
7596 @code{\[ g \pes \auctum \ascendens b \]}
7603 @code{\[ g \pes \deminutum b \]}
7610 @code{\[ \oriscus g \pes \virga b \]}
7616 Auctus Descendens @tab
7617 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7624 @code{\[ \quilisma g \pes b \]}
7632 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7639 @code{\[ \deminutum g \pes b \]}
7644 Pes Auctus Descendens@*
7647 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7654 @code{\[ a \pes b \flexa g \]}
7662 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7669 @code{\[ a \pes b \flexa \deminutum g \]}
7674 Torculus Initio Debilis
7676 @code{\[ \deminutum a \pes b \flexa g \]}
7682 Descendens Initio Debilis
7684 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7689 Torculus Deminutus@*
7692 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7699 @code{\[ a \flexa g \pes b \]}
7707 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7714 @code{\[ a \flexa g \pes \deminutum b \]}
7721 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7728 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7735 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7742 @code{\[ g \pes a \virga b \]}
7750 @code{\[ g \pes a \pes \auctum \descendens b \]}
7757 @code{\[ g \pes a \pes \deminutum b \]}
7764 @code{\[ g \oriscus a \pes \virga b \]}
7769 Salicus Auctus Descendens
7771 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7778 @code{\[ \stropha b \stropha b \stropha a \]}
7783 The following head prefixes are supported
7785 @cindex @code{\virga}
7787 @cindex @code{\stropha}
7789 @cindex @code{\inclinatum}
7791 @cindex @code{\auctum}
7793 @cindex @code{\descendens}
7795 @cindex @code{\ascendens}
7797 @cindex @code{\oriscus}
7799 @cindex @code{\quilisma}
7801 @cindex @code{\deminutum}
7804 Head prefixes can be accumulated, though restrictions apply. For
7805 example, either @code{\descendens} or @code{\ascendens} can be applied
7806 to a head, but not both to the same head.
7809 @cindex @code{\flexa}
7810 Two adjacent heads can be tied together with the @code{\pes} and
7811 @code{\flexa} infix commands for a rising and falling line of melody,
7816 @node Gregorian Chant contexts
7817 @subsection Gregorian Chant contexts
7819 @cindex VaticanaVoiceContext
7820 @cindex VaticanaStaffContext
7822 The predefined @code{VaticanaVoiceContext} and
7823 @code{VaticanaStaffContext} can be used to engrave a piece of
7824 Gregorian Chant in the style of the Editio Vaticana. These contexts
7825 initialize all relevant context properties and grob properties to
7826 proper values, so you can immediately go ahead entering the chant, as
7827 the following excerpt demonstrates
7829 @lilypond[quote,raggedright,verbatim]
7830 \include "gregorian-init.ly"
7833 \context VaticanaVoice = "cantus" {
7834 \override Score.BarNumber #'transparent = ##t {
7835 \[ c'\melisma c' \flexa a \]
7836 \[ a \flexa \deminutum g\melismaEnd \]
7838 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7839 c' \divisioMinima \break
7840 \[ c'\melisma c' \flexa a \]
7841 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7844 \lyricsto "cantus" \new Lyrics {
7845 San- ctus, San- ctus, San- ctus
7852 @node Mensural contexts
7853 @subsection Mensural contexts
7855 @cindex MensuralVoiceContext
7856 @cindex MensuralStaffContext
7858 The predefined @code{MensuralVoiceContext} and
7859 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7860 style. These contexts initialize all relevant context properties and
7861 grob properties to proper values, so you can immediately go ahead
7862 entering the chant, as the following excerpt demonstrates
7864 @lilypond[quote,raggedright,verbatim]
7867 \context MensuralVoice = "discantus" \transpose c c' {
7868 \override Score.BarNumber #'transparent = ##t {
7869 c'1\melisma bes a g\melismaEnd
7871 \[ f1\melisma a c'\breve d'\melismaEnd \]
7873 c'\breve\melisma a1 g1\melismaEnd
7874 fis\longa^\signumcongruentiae
7877 \lyricsto "discantus" \new Lyrics {
7878 San -- ctus, San -- ctus, San -- ctus
7886 @subsection Figured bass
7888 @cindex Basso continuo
7890 @c TODO: musicological blurb about FB
7893 LilyPond has limited support for figured bass
7895 @lilypond[quote,raggedright,verbatim,fragment]
7897 \context Voice { \clef bass dis4 c d ais g fis}
7898 \context FiguredBass \figuremode {
7899 < 6 >4 < 7 >8 < 6+ [_!] >
7906 The support for figured bass consists of two parts: there is an input
7907 mode, introduced by @code{\figuremode}, where you can enter bass figures
7908 as numbers, and there is a context called @internalsref{FiguredBass} that
7909 takes care of making @internalsref{BassFigure} objects.
7911 In figures input mode, a group of bass figures is delimited by
7912 @code{<} and @code{>}. The duration is entered after the @code{>}
7916 @lilypond[quote,raggedright,fragment]
7917 \context FiguredBass
7918 \figuremode { <4 6> }
7921 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
7927 @lilypond[quote,raggedright,fragment]
7928 \context FiguredBass
7929 \figuremode { <4- 6+ 7!> }
7932 Spaces or dashes may be inserted by using @code{_}. Brackets are
7933 introduced with @code{[} and @code{]}
7938 @lilypond[quote,raggedright,fragment]
7939 \context FiguredBass
7940 \figuremode { < [4 6] 8 [_! 12] > }
7943 Although the support for figured bass may superficially resemble chord
7944 support, it works much simpler. The @code{\figuremode} mode simply
7945 stores the numbers and @internalsref{FiguredBass} context prints
7946 them as entered. There is no conversion to pitches and no
7947 realizations of the bass are played in the MIDI file.
7949 Internally, the code produces markup texts. You can use any of the
7950 markup text properties to override formatting. For example, the
7951 vertical spacing of the figures may be set with @code{baseline-skip}.
7955 Program reference: @internalsref{BassFigureEvent} music,
7956 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
7960 Slash notation for alterations is not supported.
7962 @node Contemporary notation
7963 @section Contemporary notation
7965 In the 20th century, composers have greatly expanded the musical
7966 vocabulary. With this expansion, many innovations in musical notation
7967 have been tried. The book ``Music Notation in the 20th century'' by
7968 Kurt Stone gives a comprehensive overview (see @ref{Literature
7969 list}). In general, the use of new, innovative notation makes a piece
7970 harder to understand and perform and its use should therefore be
7971 avoided. For this reason, support for contemporary notation in
7972 LilyPond is limited.
7976 * Polymetric notation::
7978 * Special fermatas::
7982 @node Polymetric notation
7983 @subsection Polymetric notation
7985 Double time signatures are not supported explicitly, but they can be
7986 faked. In the next example, the markup for the time signature is
7987 created with a markup text. This markup text is inserted in the
7988 @internalsref{TimeSignature} grob.
7990 @lilypond[verbatim,raggedright]
7995 \musicglyph #"scripts.stopped"
7996 \bracket \column { "5" "8" }
8001 \override Staff.TimeSignature #'print-function = #Text_interface::print
8002 \override Staff.TimeSignature #'text = #tsMarkup
8004 c'2 \bar ":" c'4 c'4.
8008 Each staff can also have its own time signature. This is done by
8009 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
8014 \context @{ \Score \remove "Timing_engraver" @}
8015 \context @{ \Staff \consists "Timing_engraver" @}
8020 Now, each staff has its own time signature.
8033 c4. c8 c c c4. c8 c c
8038 @lilypond[quote,raggedright]
8040 \context{ \Score \remove "Timing_engraver" }
8041 \context{ \Staff \consists "Timing_engraver" }
8055 c4. c8 c c c4. c8 c c
8061 A different form of polymetric notation is where note lengths have
8062 different values across staves.
8064 This notation can be created by setting a common time signature for
8065 each staff but replacing it manually using
8066 @code{timeSignatureFraction} to the desired fraction. Then the printed
8067 durations in each staff are scaled to the common time signature.
8068 The latter is done with @code{\compressmusic}, which is similar to
8069 @code{\times}, but does not create a tuplet bracket.
8072 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
8073 used in parallel. In the second staff, shown durations are multiplied by
8074 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
8075 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
8077 @lilypond[quote,raggedright,verbatim,fragment]
8085 \set Staff.timeSignatureFraction = #'(9 . 8)
8086 \compressmusic #'(2 . 3)
8087 \repeat unfold 6 { c8[ c c] }
8091 \set Staff.timeSignatureFraction = #'(10 . 8)
8092 \compressmusic #'(3 . 5) {
8093 \repeat unfold 2 { c8[ c c] }
8094 \repeat unfold 2 { c8[ c] }
8095 | c4. c4. \times 2/3 { c8 c c } c4
8106 When using different time signatures in parallel, the spacing is
8107 aligned vertically, but bar lines distort the regular spacing.
8112 @subsection Clusters
8116 A cluster indicates a continuous range of pitches to be played. They
8117 can be denoted as the envelope of a set of notes. They are entered by
8118 applying the function @code{makeClusters} to a sequence of
8120 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
8121 \makeClusters { <c e > <b f'> }
8124 The following example (from
8125 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
8128 @lilypondfile[raggedright,quote]{cluster.ly}
8130 Ordinary notes and clusters can be put together in the same staff,
8131 even simultaneously. In such a case no attempt is made to
8132 automatically avoid collisions between ordinary notes and clusters.
8136 Program reference: @internalsref{ClusterSpanner},
8137 @internalsref{ClusterSpannerBeacon},
8138 @internalsref{Cluster_spanner_engraver}, and
8139 @internalsref{ClusterNoteEvent}.
8141 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
8145 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
8146 accurately. Use @code{<g a>8 <e a>8} instead.
8150 @node Special fermatas
8151 @subsection Special fermatas
8153 @cindex fermatas, special
8155 In contemporary music notation, special fermata symbols denote breaks
8156 of differing lengths. The following fermatas are supported
8158 @lilypond[quote,raggedright]
8181 \context Lyrics \lyricmode {
8182 \override LyricText #'font-family = #'typewriter
8183 "shortfermata" "fermata" "longfermata" "verylongfermata"
8188 See @ref{Articulations} for general instructions how to apply scripts
8189 such as fermatas to notes.
8191 @node Feathered beams
8192 @subsection Feathered beams
8194 Feathered beams are not supported natively, but they can be faked by
8195 forcing two beams to overlap. Here is an example,
8197 @c don't change relative setting witout changing positions!
8198 @lilypond[raggedright,relative=1,fragment,verbatim]
8203 \once \override Voice.Beam #'positions = #'(0 . 0.5)
8208 \once \override Voice.Beam #'positions = #'(0 . -0.5)
8216 @node Educational use
8217 @section Educational use
8219 With the amount of control that LilyPond offers, one can make great
8220 teaching tools in addition to great musical scores.
8224 * Blank music sheet::
8226 * Shaped note heads ::
8227 * Easy Notation note heads::
8231 @subsection Balloon help
8233 Elements of notation can be marked and named with the help of a square
8234 balloon. The primary purpose of this feature is to explain notation.
8236 The following example demonstrates its use.
8238 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
8241 #(add-balloon-text 'NoteHead "heads, or tails?"
8248 The function @code{add-balloon-text} takes the name of a grob, the
8249 label to print, and the position where to put the label relative to
8250 the object. In the above example, the text ``heads or tails?'' ends
8251 3 spaces below and 1 space to the right of the marked head.
8254 @cindex notation, explaining
8258 Program reference: @internalsref{text-balloon-interface}.
8260 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
8265 @node Blank music sheet
8266 @subsection Blank music sheet
8268 A blank music sheet can be produced also by using invisible notes, and
8269 removing @code{Bar_number_engraver}.
8272 @lilypond[quote,verbatim]
8274 \repeat unfold 2 % Change this for more lines.
8279 \override TimeSignature #'transparent = ##t
8280 defaultBarType = #""
8281 \remove Bar_number_engraver
8283 \context Staff \emptymusic
8284 \context TabStaff \emptymusic
8290 @subsection Hidden notes
8292 @cindex Hidden notes
8293 @cindex Invisible notes
8294 @cindex Transparent notes
8296 Hidden (or invisible or transparent) notes can be useful in preparing theory
8297 or composition exercises.
8299 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
8307 Hidden notes are also great for performing weird tricks. For example,
8308 slurs cannot be attached to rests or spacer rests, but you may wish
8309 to include that in your score -- string instruments use this notation
8310 when doing pizzicato to indicate that the note should ring for as long
8313 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
8316 c4^"pizz"( \hideNotes c)
8317 \unHideNotes c( \hideNotes c)
8324 @node Shaped note heads
8325 @subsection Shaped note heads
8327 In shaped note head notation, the shape of the note head corresponds
8328 to the harmonic function of a note in the scale. This notation was
8329 popular in the 19th century American song books.
8331 Shaped note heads can be produced by setting @code{\aikenHeads} or
8332 @code{\sacredHarpHeads}, depending on the style desired.
8334 @lilypond[verbatim,relative=1,fragment]
8341 Shapes are determined on the step in the scale, where the base of the
8342 scale is determined by the @code{\key} command
8345 @findex shapeNoteStyles
8347 @findex \sacredHarpHeads
8349 Shaped note heads are implemented through the @code{shapeNoteStyles}
8350 property. Its value is a vector of symbols. The k-th element indicates
8351 the style to use for the k-th step of the scale. Arbitrary
8352 combinations are possible, eg.,
8355 @lilypond[verbatim,relative=1,fragment]
8356 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
8361 @node Easy Notation note heads
8362 @subsection Easy Notation note heads
8364 @cindex easy notation
8367 The `easy play' note head includes a note name inside the head. It is
8368 used in music for beginners
8370 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
8375 The command @code{\setEasyHeads} overrides settings for the
8376 @internalsref{NoteHead} object. To make the letters readable, it has
8377 to be printed in a large font size. To print with a larger font, see
8378 @ref{Setting global staff size}.
8382 @cindex @code{\setEasyHeads}
8383 @code{\setEasyHeads}