1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users who are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
32 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements like notes, rests, and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
66 A note is printed by specifying its pitch and then its duration,
68 @lilypond[quote,verbatim,raggedright]
69 { cis'4 d'8 e'16 c'16 }
77 @cindex Note specification
79 @cindex entering notes
81 The most common syntax for pitch entry is used for standard notes and
82 @code{\chordmode} modes. In these modes, pitches may be designated by
83 names. The notes are specified by the letters @code{a} through
84 @code{g}. The octave is formed with notes ranging from @code{c}
85 to @code{b}. The pitch @code{c} is an octave below middle C and the
86 letters span the octave above that C
88 @lilypond[quote,fragment,verbatim]
90 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
93 @cindex note names, Dutch
95 A sharp is formed by adding @code{-is} to the end of a pitch name and
96 a flat is formed by adding @code{-es}. Double sharps and double flats
97 are obtained by adding @code{-isis} or @code{-eses}. These
98 names are the Dutch note names. In Dutch, @code{aes} is contracted to
99 @code{as}, but both forms are accepted. Similarly, both
100 @code{es} and @code{ees} are accepted
102 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
110 In accordance with standard typsetting rules, a natural sign is printed
111 before a sharp or flat if a previous accidental needs to be
112 cancelled. To change this behaviour, use
113 @code{\set Staff.extraNatural = ##f}
115 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
117 \set Staff.extraNatural = ##f
121 There are predefined sets of note names for various other languages.
122 To use them, include the language specific init file. For
123 example: @code{\include "english.ly"}. The available language files
124 and the note names they define are
129 Note Names sharp flat
130 nederlands.ly c d e f g a bes b -is -es
131 english.ly c d e f g a bf b -s/-sharp -f/-flat
133 deutsch.ly c d e f g a b h -is -es
134 norsk.ly c d e f g a b h -iss/-is -ess/-es
135 svenska.ly c d e f g a b h -iss -ess
136 italiano.ly do re mi fa sol la sib si -d -b
137 catalan.ly do re mi fa sol la sib si -d/-s -b
138 espanol.ly do re mi fa sol la sib si -s -b
146 The optional octave specification takes the form of a series of
147 single quote (`@code{'}') characters or a series of comma
148 (`@code{,}') characters. Each @code{'} raises the pitch by one
149 octave; each @code{,} lowers the pitch by an octave
151 @lilypond[quote,raggedright,fragment,verbatim]
152 c' c'' es' g' as' gisis' ais'
155 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
157 Notes can be hidden and unhidden with the following commands
159 @cindex @code{\hideNotes}
161 @cindex @code{\unHideNotes}
167 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
171 @node Chromatic alterations
172 @subsection Chromatic alterations
174 Normally accidentals are printed automatically, but you may also
175 print them manually. A reminder accidental
176 @cindex reminder accidental
178 can be forced by adding an exclamation mark @code{!}
179 after the pitch. A cautionary accidental
180 @cindex cautionary accidental
181 @cindex parenthesized accidental
182 (i.e., an accidental within parentheses) can be obtained by adding the
183 question mark `@code{?}' after the pitch.
185 @lilypond[quote,raggedright,fragment,verbatim]
186 cis' cis' cis'! cis'?
192 The automatic production of accidentals can be tuned in many
193 ways. For more information, refer to @ref{Automatic accidentals}.
198 @subsection Micro tones
200 Half-flats and half-sharps are formed by adding @code{-eh} and
201 @code{-ih}; the following is a series of Cs with increasing pitches
203 @cindex quarter tones
204 @cindex semi-flats, semi-sharps
206 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
207 { ceseh ceh cih cisih }
210 Micro tones are also exported to the MIDI file
215 There are no generally accepted standards for denoting three quarter
216 flats, so LilyPond's symbol does not conform to any standard.
221 A chord is formed by a enclosing a set of pitches in @code{<} and
222 @code{>}. A chord may be followed by a duration, and a set of
223 articulations, just like simple notes
225 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
237 Rests are entered like notes, with the note name @code{r}
239 @lilypond[fragment,quote,raggedright,verbatim]
243 Whole bar rests, centered in middle of the bar,
244 must be done with multi-measure rests. They are discussed in
245 @ref{Multi measure rests}.
248 A rest's vertical position may be explicitly specified by entering a
249 note with the @code{\rest} keyword appended, the rest will be placed at
250 the note's place. This makes manual formatting in polyphonic music
251 easier. Automatic rest collision formatting will leave these rests
254 @lilypond[fragment,quote,raggedright,verbatim]
260 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
267 @cindex Invisible rest
272 An invisible rest (also called a `skip') can be entered like a note
273 with note name `@code{s}' or with @code{\skip @var{duration}}
275 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
276 a4 a4 s4 a4 \skip 1 a4
279 The @code{s} syntax is only available in note mode and chord mode. In
280 other situations, for example, when entering lyrics, you should use
281 the @code{\skip} command
283 @lilypond[quote,raggedright,verbatim]
286 \new Lyrics \lyricmode { \skip 2 bla1 }
290 The skip command is merely an empty musical placeholder. It does not
291 produce any output, not even transparent output.
293 The @code{s} skip command does create @internalsref{Staff} and
294 @internalsref{Voice} when necessary, similar to note and rest
295 commands. For example, the following results in an empty staff.
297 @lilypond[quote,raggedright,verbatim]
301 The fragment @code{@{ \skip 4 @} } would produce an empty page.
305 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
310 @subsection Durations
314 @cindex @code{\longa}
315 @cindex @code{\breve}
316 @cindex @code{\maxima}
319 In Note, Chord, and Lyrics mode, durations are designated by numbers and
320 dots: durations are entered as their reciprocal values. For example, a
321 quarter note is entered using a @code{4} (since it is a 1/4 note), while
322 a half note is entered using a @code{2} (since it is a 1/2 note). For
323 notes longer than a whole you must use the variables @code{\longa} and
328 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
330 r1 r2 r4 r8 r16 r32 r64 r64
336 a\breve*1/2 \autoBeamOff
337 a1 a2 a4 a8 a16 a32 a64 a64
340 r\longa*1/4 r\breve *1/2
341 r1 r2 r4 r8 r16 r32 r64 r64
347 \remove "Clef_engraver"
348 \override StaffSymbol #'transparent = ##t
349 \override TimeSignature #'transparent = ##t
350 \override BarLine #'transparent = ##t
351 \consists "Pitch_squash_engraver"
357 If the duration is omitted then it is set to the previously entered
358 duration. The default for the first note is a quarter note.
360 @lilypond[quote,raggedright,verbatim,fragment]
361 { a a a2 a a4 a a1 a }
366 @node Augmentation dots
367 @subsection Augmentation dots
370 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
371 the number. Double-dotted notes are produced in a similar way.
373 @lilypond[quote,raggedright,fragment,verbatim]
374 a'4 b' c''4. b'8 a'4. b'4.. c''8.
379 Dots are normally moved up to avoid staff lines, except in polyphonic
380 situations. The following commands may be used to force a particular
383 @cindex @code{\dotsUp}
385 @cindex @code{\dotsDown}
387 @cindex @code{\dotsNeutral}
392 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
394 @node Scaling durations
395 @subsection Scaling durations
397 You can alter the length of duration by a fraction @var{N/M}
398 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
399 will not affect the appearance of the notes or rests produced.
401 In the following example, the first three notes take up exactly two
402 beats, but no triplet bracket is printed.
403 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
405 a4*2/3 gis4*2/3 a4*2/3
413 This manual: @ref{Tuplets}
416 @c TODO: I'm not certain that Stems belong here in the manual. -gp
420 Whenever a note is found, a @internalsref{Stem} object is created
421 automatically. For whole notes and rests, they are also created but
426 @cindex @code{\stemUp}
428 @cindex @code{\stemDown}
430 @cindex @code{\stemNeutral}
441 A tie connects two adjacent note heads of the same pitch. The tie in
442 effect extends the length of a note. Ties should not be confused with
443 slurs, which indicate articulation, or phrasing slurs, which indicate
444 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
446 @lilypond[quote,raggedright,fragment,verbatim]
447 e' ~ e' <c' e' g'> ~ <c' e' g'>
450 When a tie is applied to a chord, all note heads whose pitches match
451 are connected. When no note heads match, no ties will be created.
453 A tie is just a way of extending a note duration, similar to the
454 augmentation dot. The following example shows two ways of notating
455 exactly the same concept
457 @lilypond[quote,fragment,raggedright]
458 \time 3/4 c'2. c'2 ~ c'4
462 Ties are used either when the note crosses a bar line, or when dots
463 cannot be used to denote the rhythm. When using ties, larger note
464 values should be aligned to subdivisions of the measure, eg.
466 @lilypond[fragment,quote,raggedright]
468 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
472 If you need to tie a lot of notes over bars, it may be easier to use
473 automatic note splitting (see @ref{Automatic note splitting}). This
474 mechanism automatically splits long notes, and ties them across bar
480 @cindex @code{\tieUp}
482 @cindex @code{\tieDown}
484 @cindex @code{\tieNeutral}
486 @cindex @code{\tieDotted}
488 @cindex @code{\tieSolid}
493 In this manual: @ref{Automatic note splitting}.
495 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
500 Switching staves when a tie is active will not produce a slanted tie.
502 Formatting of ties is a difficult subject. The results are often not
510 @cindex @code{\times}
512 Tuplets are made out of a music expression by multiplying all durations
515 @cindex @code{\times}
517 \times @var{fraction} @var{musicexpr}
521 The duration of @var{musicexpr} will be multiplied by the fraction.
522 The fraction's denominator will be printed over the notes, optionally
523 with a bracket. The most common tuplet is the triplet in which 3
524 notes have the length of 2, so the notes are 2/3 of their written
527 @lilypond[quote,raggedright,fragment,verbatim]
528 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
531 The property @code{tupletSpannerDuration} specifies how long each
532 bracket should last. With this, you can make lots of tuplets while
533 typing @code{\times} only once, thus saving lots of typing. In the next
534 example, there are two triplets shown, while @code{\times} was only
537 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
538 \set tupletSpannerDuration = #(ly:make-moment 1 4)
539 \times 2/3 { c'8 c c c c c }
542 The format of the number is determined by the property
543 @code{tupletNumberFormatFunction}. The default prints only the
544 denominator, but if it is set to the Scheme function
545 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
549 @cindex @code{tupletNumberFormatFunction}
550 @cindex tuplet formatting
555 @cindex @code{\tupletUp}
557 @cindex @code{\tupletDown}
559 @cindex @code{\tupletNeutral}
560 @code{\tupletNeutral}.
564 User manual: @ref{Changing context properties on the fly} for the
568 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
570 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
574 Nested tuplets are not formatted automatically. In this case, outer
575 tuplet brackets should be moved manually, which is demonstrated in
576 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
580 @node Easier music entry
581 @section Easier music entry
584 This section deals with tricks and features of the input language that
585 were added solely to help entering music and finding and correcting
586 mistakes. There are also external tools that make debugging easier.
587 See @ref{Point and click} for more information.
589 It is also possible to enter and edit music using other programs, such as
590 GUI interfaces or MIDI sequencers. Refer to the LilyPond
591 website for more information.
598 * Skipping corrected music::
599 * Automatic note splitting::
605 @node Relative octaves
606 @subsection Relative octaves
608 @cindex relative octave specification
610 Octaves are specified by adding @code{'} and @code{,} to pitch names.
611 When you copy existing music, it is easy to accidentally put a pitch
612 in the wrong octave and hard to find such an error. The relative
613 octave mode prevents these errors by making the mistakes much
614 larger: a single error puts the rest of the piece off by one octave
616 @cindex @code{\relative}
618 \relative @var{startpitch} @var{musicexpr}
625 \relative @var{musicexpr}
628 The octave of notes that appear in @var{musicexpr} are calculated as
629 follows: if no octave changing marks are used, the basic interval
630 between this and the last note is always taken to be a fourth or
631 less. This distance is determined without regarding alterations; a
632 @code{fisis} following a @code{ceses} will be put above the
633 @code{ceses}. In other words, a doubly-augmented fourth is considered
634 a smaller interval than a diminshed fifth, even though the fourth is
635 seven semitones while the fifth is only six semitones.
637 The octave changing marks @code{'} and @code{,} can be added to raise
638 or lower the pitch by an extra octave. Upon entering relative mode,
639 an absolute starting pitch can be specified that will act as the
640 predecessor of the first note of @var{musicexpr}. If no starting pitch
641 is specified, then middle C is used as a start.
643 Here is the relative mode shown in action
644 @lilypond[quote,fragment,raggedright,verbatim]
650 Octave changing marks are used for intervals greater than a fourth
651 @lilypond[quote,raggedright,fragment,verbatim]
657 If the preceding item is a chord, the first note of the chord is used
658 to determine the first note of the next chord
660 @lilypond[quote,raggedright,fragment,verbatim]
668 The pitch after the @code{\relative} contains a note name.
671 The relative conversion will not affect @code{\transpose},
672 @code{\chordmode} or @code{\relative} sections in its argument. To use
673 relative within transposed music, an additional @code{\relative} must
674 be placed inside @code{\transpose}.
677 @subsection Octave check
680 Octave checks make octave errors easier to correct: a note may be
681 followed by @code{=}@var{quotes} which indicates what its absolute
682 octave should be. In the following example,
684 \relative c'' @{ c='' b=' d,='' @}
688 @c take care with @code, adds confusing quotes.
689 the @code{d} will generate a warning, because a @code{d''} is expected
690 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
691 found. In the output, the octave is corrected to be a @code{d''} and
692 the next note is calculated relative to @code{d''} instead of @code{d'}.
696 There is also a syntax that is separate from the notes. The syntax
702 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
703 quotes) in \relative mode. If not, a warning is printed, and the
706 In the example below, the first check passes without incident, since
707 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
708 the second check produces a warning, since the @code{e} is not within
709 a fifth of @code{b'}. The warning message is printed, and the octave
710 is adjusted so that the following notes are in the correct octave
722 The octave of a note following an octave check is determined with
723 respect to the note preceding it. In the next fragment, the last note
724 is a @code{a'}, above middle C. That means that the @code{\octave}
725 check passes successfully, so the check could be deleted without changing
726 the output of the piece.
728 @lilypond[quote,raggedright,verbatim,fragment]
737 @subsection Bar check
741 @cindex @code{barCheckSynchronize}
744 Bar checks help detect errors in the durations. A bar check is
745 entered using the bar symbol, `@code{|}'. Whenever it is encountered
746 during interpretation, it should fall on a measure boundary. If it
747 does not, a warning is printed. In the next example, the second bar
748 check will signal an error
750 \time 3/4 c2 e4 | g2 |
753 Bar checks can also be used in lyrics, for example
758 Twin -- kle | Twin -- kle
763 @cindex @code{skipTypesetting}
765 Failed bar checks are caused by entering incorrect
766 durations. Incorrect durations often completely garble up the score,
767 especially if the score is polyphonic, so a good place to start correcting
768 input is by scanning for failed bar checks and incorrect durations. To
769 speed up this process, the @code{skipTypesetting} feature may be
770 used. It is described in the next section.
773 @cindex @code{pipeSymbol}
775 It is also possible to redefine the meaning of @code{|}. This is done
776 by assigning a music expression to @code{pipeSymbol},
778 @lilypond[quote,raggedright,verbatim]
779 pipeSymbol = \bar "||"
785 @node Skipping corrected music
786 @subsection Skipping corrected music
788 The property @code{Score.skipTypesetting} can be used to switch on and
789 off typesetting completely during the interpretation phase. When
790 typesetting is switched off, the music is processed much more
791 quickly. This can be used to skip over the parts of a score that
792 have already been checked for errors
794 @lilypond[quote,fragment,raggedright,verbatim]
797 \set Score.skipTypesetting = ##t
799 \set Score.skipTypesetting = ##f
803 In polyphonic music, @code{Score.skipTypesetting} will affect all
804 voices and staves, saving even more time.
806 @node Automatic note splitting
807 @subsection Automatic note splitting
809 Long notes can be converted automatically to tied notes. This is done
810 by replacing the @internalsref{Note_heads_engraver} by the
811 @internalsref{Completion_heads_engraver}.
812 In the following examples, notes crossing the bar line are split and tied.
815 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
817 \remove "Note_heads_engraver"
818 \consists "Completion_heads_engraver"
820 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
824 This engraver splits all running notes at the bar line, and inserts
825 ties. One of its uses is to debug complex scores: if the measures are
826 not entirely filled, then the ties exactly show how much each measure
831 Not all durations (especially those containing tuplets) can be
832 represented exactly with normal notes and dots, but the engraver will
837 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
841 Program reference: @internalsref{Completion_heads_engraver}.
845 @section Staff notation
847 This section describes music notation that occurs on staff level,
848 such as key signatures, clefs and time signatures.
850 @cindex Staff notation
861 * Time administration::
862 * Controlling formatting of prefatory matter::
866 @subsection Staff symbol
868 @cindex adjusting staff symbol
870 Notes, dynamic signs, etc., are grouped
871 with a set of horizontal lines, into a staff (plural `staves'). In our
872 system, these lines are drawn using a separate layout object called
876 @cindex staff lines, setting number of
877 @cindex staff lines, setting thickness of
878 @cindex thickness of staff lines, setting
879 @cindex number of staff lines, setting
883 Program reference: @internalsref{StaffSymbol}.
885 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
886 @inputfileref{input/@/test,staff@/-size@/.ly}.
890 If a staff is ended halfway a piece, the staff symbol may not end
891 exactly on the bar line.
895 @subsection Key signature
896 @cindex Key signature
900 The key signature indicates the tonality in which a piece is played. It
901 is denoted by a set of alterations (flats or sharps) at the start of the
905 Setting or changing the key signature is done with the @code{\key}
908 @code{\key} @var{pitch} @var{type}
911 @cindex @code{\minor}
912 @cindex @code{\major}
913 @cindex @code{\minor}
914 @cindex @code{\ionian}
915 @cindex @code{\locrian}
916 @cindex @code{\aeolian}
917 @cindex @code{\mixolydian}
918 @cindex @code{\lydian}
919 @cindex @code{\phrygian}
920 @cindex @code{\dorian}
922 Here, @var{type} should be @code{\major} or @code{\minor} to get
923 @var{pitch}-major or @var{pitch}-minor, respectively.
924 The standard mode names @code{\ionian},
925 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
926 @code{\phrygian}, and @code{\dorian} are also defined.
928 This command sets the context property
929 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
930 can be specified by setting this property directly.
932 A natural sign is printed to cancel any previous accidentals. This
933 can be suppressed by setting the @code{Staff.printKeyCancellation}
936 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
942 \set Staff.printKeyCancellation = ##f
950 Accidentals and key signatures often confuse new users, because
951 unaltered notes get natural signs depending on the key signature. For
952 more information, see @ref{More about pitches}.
956 Program reference: @internalsref{KeyChangeEvent},
957 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
959 @cindex @code{keySignature}
966 The clef indicates which lines of the staff correspond to which
970 The clef can be set with the @code{\clef} command
971 @lilypond[quote,raggedright,fragment,verbatim]
972 { c''2 \clef alto g'2 }
975 Supported clef-names include
976 @c Moved standard clefs to the top /MB
980 @item treble, violin, G, G2
993 G clef on 1st line, so-called French violin clef
998 @cindex mezzosoprano clef
1001 @cindex baritone clef
1004 @cindex varbaritone clef
1007 @cindex subbass clef
1015 By adding @code{_8} or @code{^8} to the clef name, the clef is
1016 transposed one octave down or up, respectively, and @code{_15} and
1017 @code{^15} transposes by two octaves. The argument @var{clefname}
1018 must be enclosed in quotes when it contains underscores or digits. For
1022 @cindex choral tenor clef
1023 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
1027 This command is equivalent to setting @code{clefGlyph},
1028 @code{clefPosition} (which controls the Y position of the clef),
1029 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1030 when any of these properties are changed. The following example shows
1031 possibilities when setting properties manually.
1034 should to be fixed very quickly -gp
1036 @lilypond[quote,raggedright,verbatim]
1038 \set Staff.clefGlyph = #"clefs.F"
1039 \set Staff.clefPosition = #2
1041 \set Staff.clefGlyph = #"clefs.G"
1043 \set Staff.clefGlyph = #"clefs.C"
1045 \set Staff.clefOctavation = #7
1047 \set Staff.clefOctavation = #0
1048 \set Staff.clefPosition = #0
1052 \set Staff.middleCPosition = #4
1061 Program reference: @internalsref{Clef}.
1065 @node Ottava brackets
1066 @subsection Ottava brackets
1068 `Ottava' brackets introduce an extra transposition of an octave for
1069 the staff. They are created by invoking the function
1070 @code{set-octavation}
1076 @lilypond[quote,raggedright,verbatim,fragment]
1086 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1087 (for 15ma) as arguments. Internally the function sets the properties
1088 @code{ottavation} (e.g., to @code{"8va"}) and
1089 @code{centralCPosition}. For overriding the text of the bracket, set
1090 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1092 @lilypond[quote,raggedright,verbatim]
1095 \set Staff.ottavation = #"8"
1102 Program reference: @internalsref{OttavaBracket}.
1104 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1105 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1109 @code{set-octavation} will get confused when clef changes happen
1110 during an octavation bracket.
1115 @node Time signature
1116 @subsection Time signature
1117 @cindex Time signature
1119 @cindex @code{\time}
1121 Time signature indicates the metrum of a piece: a regular pattern of
1122 strong and weak beats. It is denoted by a fraction at the start of the
1126 The time signature is set or changed by the @code{\time}
1128 @lilypond[quote,raggedright,fragment,verbatim]
1129 \time 2/4 c'2 \time 3/4 c'2.
1132 The symbol that is printed can be customized with the @code{style}
1133 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1136 @lilypond[fragment,quote,raggedright,verbatim]
1139 \override Staff.TimeSignature #'style = #'()
1146 There are many more options for its layout. See @ref{Ancient time
1147 signatures} for more examples.
1150 This command sets the property @code{timeSignatureFraction},
1151 @code{beatLength} and @code{measureLength} in the @code{Timing}
1152 context, which is normally aliased to @internalsref{Score}. The
1153 property @code{measureLength} determines where bar lines should be
1154 inserted, and how automatic beams should be generated. Changing the
1155 value of @code{timeSignatureFraction} also causes the symbol to be
1158 More options are available through the Scheme function
1159 @code{set-time-signature}. In combination with the
1160 @internalsref{Measure_grouping_engraver}, it will create
1161 @internalsref{MeasureGrouping} signs. Such signs ease reading
1162 rhythmically complex modern music. In the following example, the 9/8
1163 measure is subdivided in 2, 2, 2 and 3. This is passed to
1164 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1166 @lilypond[quote,raggedright,verbatim]
1169 #(set-time-signature 9 8 '(2 2 2 3))
1170 g8[ g] d[ d] g[ g] a8[( bes g]) |
1171 #(set-time-signature 5 8 '(3 2))
1177 \consists "Measure_grouping_engraver"
1185 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1190 Automatic beaming does not use the measure grouping specified with
1191 @code{set-time-signature}.
1193 @node Partial measures
1194 @subsection Partial measures
1197 @cindex partial measure
1198 @cindex measure, partial
1199 @cindex shorten measures
1200 @cindex @code{\partial}
1202 Partial measures, for example in upsteps, are entered using the
1203 @code{\partial} command
1204 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1205 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1208 The syntax for this command is
1210 \partial @var{duration}
1212 This is internally translated into
1214 \set Timing.measurePosition = -@var{length of duration}
1217 The property @code{measurePosition} contains a rational number
1218 indicating how much of the measure has passed at this point.
1222 This command does not take into account grace notes at the start of
1223 the music. When a piece starts with graces notes in the pickup, then
1224 the @code{\partial} should follow the grace notes
1226 @lilypond[verbatim,quote,raggedright,relative,fragment]
1236 @node Unmetered music
1237 @subsection Unmetered music
1241 Bar lines and bar numbers are calculated automatically. For unmetered
1242 music (cadenzas, for example), this is not desirable. By setting
1243 @code{Score.timing} to false, this automatic timing can be switched
1244 off. Empty bar lines,
1251 indicate where line breaks can occur.
1255 @cindex @code{\cadenzaOn}
1257 @cindex @code{\cadenzaOff}
1264 @subsection Bar lines
1268 @cindex measure lines
1272 Bar lines delimit measures, but are also used to indicate repeats.
1273 Normally, they are inserted automatically. Line breaks may only
1274 happen on bar lines.
1276 Special types of bar lines can be forced with the @code{\bar} command
1278 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1282 The following bar types are available
1283 @lilypondfile[raggedright,quote]{bar-lines.ly}
1285 For allowing line breaks, there is a special command,
1289 This will insert an invisible bar line, and allow line breaks at this
1292 In scores with many staves, a @code{\bar} command in one staff is
1293 automatically applied to all staves. The resulting bar lines are
1294 connected between different staves of a @internalsref{StaffGroup}
1296 @lilypond[quote,raggedright,fragment,verbatim]
1298 \context StaffGroup <<
1304 \new Staff { \clef bass c4 g e g }
1306 \new Staff { \clef bass c2 c2 }
1311 The command @code{\bar }@var{bartype} is a short cut for doing
1312 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1313 is set to a string, a bar line of that type is created.
1315 A bar line is created whenever the @code{whichBar} property is set.
1316 At the start of a measure it is set to the contents of
1317 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1318 to override default measure bars.
1320 @cindex @code{whichBar}
1321 @cindex @code{repeatCommands}
1322 @cindex @code{defaultBarType}
1324 You are encouraged to use @code{\repeat} for repetitions. See
1331 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1334 Program reference: @internalsref{BarLine} (created at
1335 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1337 @cindex bar lines at start of system
1338 @cindex start of system
1342 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1345 @node Time administration
1346 @subsection Time administration
1348 Time is administered by the @internalsref{Time_signature_engraver},
1349 which usually lives in the @internalsref{Score} context.
1350 The bookkeeping deals with the following variables
1353 @item currentBarNumber
1357 The length of the measures in the current time signature. For a 4/4
1358 time this is@tie{}1, and for 6/8 it is 3/4.
1360 @item measurePosition
1361 The point within the measure where we currently are. This quantity
1362 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1363 happens, @code{currentBarNumber} is incremented.
1366 If set to true, the above variables are updated for every time
1367 step. When set to false, the engraver stays in the current measure
1371 Timing can be changed by setting any of these variables explicitly.
1372 In the next example, the 4/4 time signature is printed, but
1373 @code{measureLength} is set to 5/4. After a while, the measure is
1374 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1375 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1376 3/8 arises because 5/4 normally has 10/8, but we have manually
1377 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1379 @lilypond[quote,raggedright,verbatim,relative,fragment]
1380 \set Score.measureLength = #(ly:make-moment 5 4)
1384 \set Score.measurePosition = #(ly:make-moment 7 8)
1390 @node Controlling formatting of prefatory matter
1391 @subsection Controlling formatting of prefatory matter
1393 @c This section will be moved to somewhere else soon. -gp
1394 This example demonstrates how to place prefatory matter
1395 (such as the clef and key signature) at the end of a line.
1397 @lilypond[quote,verbatim]
1399 \override Staff.Clef
1400 #'break-visibility = #end-of-line-visible
1401 \override Staff.KeySignature
1402 #'break-visibility = #end-of-line-visible
1403 \set Staff.explicitClefVisibility = #end-of-line-visible
1404 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1406 % We want the time sig to take space, otherwise there is not
1407 % enough white at the start of the line.
1409 \override Staff.TimeSignature #'transparent = ##t
1410 \set Score.defaultBarType = #"empty"
1430 Polyphony in music refers to having more than one voice occuring in
1431 a piece of music. Polyphony in LilyPond refers to having more than
1432 one voice on the same staff.
1435 * Writing polyphonic music::
1438 @node Writing polyphonic music
1439 @subsection Writing polyphonic music
1442 The easiest way to enter fragments with more than one voice on a staff
1443 is to split chords using the separator @code{\\}. You can use it for
1444 small, short-lived voices or for single chords
1448 @lilypond[quote,raggedright,verbatim,fragment]
1449 \context Staff \relative c'' {
1450 c4 << { f d e } \\ { b c2 } >>
1451 c4 << g' \\ b, \\ f' \\ d >>
1455 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1456 voices are sometimes called ``layers'' in other notation packages}
1458 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1459 each of these contexts, vertical direction of slurs, stems, etc., is set
1462 @cindex @code{\voiceOne}
1463 @cindex @code{\voiceFour}
1465 This can also be done by instantiating @internalsref{Voice} contexts
1466 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1467 a stem directions and horizontal shift for each part
1470 @lilypond[quote,raggedright,verbatim]
1473 \new Voice { \voiceOne cis2 b }
1474 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1475 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1479 The command @code{\oneVoice} will revert back to the normal setting.
1480 @cindex @code{\oneVoice}
1483 Normally, note heads with a different number of dots are not merged, but
1484 when the object property @code{merge-differently-dotted} is set in
1485 the @internalsref{NoteCollision} object, they are merged
1486 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1489 \override Staff.NoteCollision
1490 #'merge-differently-dotted = ##t
1492 } \\ { g8.[ f16] g8.[ f16] } >>
1495 Similarly, you can merge half note heads with eighth notes, by setting
1496 @code{merge-differently-headed}
1497 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1500 \override Staff.NoteCollision
1501 #'merge-differently-headed = ##t
1502 c8 c4. } \\ { c2 c2 } >>
1505 LilyPond also vertically shifts rests that are opposite of a stem,
1508 @lilypond[quote,raggedright,fragment,verbatim]
1509 \context Voice << c''4 \\ r4 >>
1517 @cindex @code{\oneVoice}
1519 @cindex @code{\voiceOne}
1521 @cindex @code{\voiceTwo}
1523 @cindex @code{\voiceThree}
1525 @cindex @code{\voiceFour}
1530 @cindex @code{\shiftOn}
1532 @cindex @code{\shiftOnn}
1534 @cindex @code{\shiftOnnn}
1536 @cindex @code{\shiftOff}
1537 @code{\shiftOff}: these commands specify in what chords of the current
1538 voice should be shifted. The outer voices (normally: voice one and
1539 two) have @code{\shiftOff}, while the inner voices (three and four)
1540 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1541 further shift levels.
1544 When LilyPond cannot cope, the @code{force-hshift}
1545 property of the @internalsref{NoteColumn} object and pitched rests can
1546 be used to override typesetting decisions.
1548 @lilypond[quote,verbatim,raggedright]
1555 \once \override NoteColumn #'force-hshift = #1.7
1564 Program reference: the objects responsible for resolving collisions are
1565 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1568 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1569 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1570 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1571 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1572 @inputfileref{input/@/regression,collisions@/.ly}.
1578 When using @code{merge-differently-headed} with an upstem eighth or a
1579 shorter note, and a downstem half note, the eighth note gets the wrong
1582 There is no support for clusters where the same note occurs with
1583 different accidentals in the same chord. In this case, it is
1584 recommended to use enharmonic transcription, or to use special cluster
1585 notation (see @ref{Clusters}).
1590 Beams are used to group short notes into chunks that are aligned with
1591 the metrum. LilyPond normally inserts beams automatically, but if you
1592 wish you may control them manually or changed how beams are automatically
1595 @cindex Automatic beams
1599 * Setting automatic beam behavior::
1603 @node Automatic beams
1604 @subsection Automatic beams
1606 LilyPond inserts beams automatically
1608 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1609 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1612 When these automatic decisions are not good enough, beaming can be
1613 entered explicitly. It is also possible to define beaming patterns
1614 that differ from the defaults.
1616 Individual notes may be marked with @code{\noBeam}, to prevent them
1619 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1620 \time 2/4 c8 c\noBeam c c
1626 Program reference: @internalsref{Beam}.
1630 @subsection Manual beams
1631 @cindex beams, manual
1635 In some cases it may be necessary to override the automatic beaming
1636 algorithm. For example, the autobeamer will not put beams over rests
1637 or bar lines. Such beams are specified manually by marking the begin
1638 and end point with @code{[} and @code{]}
1640 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1642 r4 r8[ g' a r8] r8 g[ | a] r8
1646 @cindex @code{stemLeftBeamCount}
1648 Normally, beaming patterns within a beam are determined automatically.
1649 If necessary, the properties @code{stemLeftBeamCount} and
1650 @code{stemRightBeamCount} can be used to override the defaults. If
1651 either property is set, its value will be used only once, and then it
1654 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1659 \set stemLeftBeamCount = #1
1663 @cindex @code{stemRightBeamCount}
1666 The property @code{subdivideBeams} can be set in order to subdivide
1667 all 16th or shorter beams at beat positions, as defined by the
1668 @code{beatLength} property.
1671 @lilypond[fragment,quote,relative=2,verbatim]
1673 \set subdivideBeams = ##t
1675 \set Score.beatLength = #(ly:make-moment 1 8)
1678 @cindex @code{subdivideBeams}
1680 Normally, line breaks are forbidden when beams cross bar lines. This
1681 behavior can be changed by setting @code{allowBeamBreak}.
1683 @cindex @code{allowBeamBreak}
1684 @cindex beams and line breaks
1686 @cindex beams, kneed
1688 @cindex auto-knee-gap
1693 User manual: @ref{Changing context properties on the fly} for the
1699 @cindex Frenched staves
1700 Kneed beams are inserted automatically, when a large gap is detected
1701 between the note heads. This behavior can be tuned through the object.
1704 Automatically kneed cross-staff beams cannot be used together with
1705 hidden staves. See @ref{Hiding staves}.
1707 Beams do not avoid collisions with symbols around the notes, such as
1708 texts and accidentals.
1713 @node Setting automatic beam behavior
1714 @subsection Setting automatic beam behavior
1716 @cindex @code{autoBeamSettings}
1717 @cindex @code{(end * * * *)}
1718 @cindex @code{(begin * * * *)}
1719 @cindex automatic beams, tuning
1720 @cindex tuning automatic beaming
1722 @c [TODO: use \applycontext]
1724 In normal time signatures, automatic beams can start on any note but can
1725 only end in a few positions within the measure: beams can end on a beat,
1726 or at durations specified by the properties in
1727 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1728 are defined in @file{scm/@/auto@/-beam@/.scm}.
1730 The value of @code{autoBeamSettings} is changed with three functions,
1732 #(override-auto-beam-setting
1733 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1735 #(score-override-auto-beam-setting
1736 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
1737 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
1740 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1741 @var{context} is an optional context (default: @code{'Voice}). It
1742 determines whether the rule applies to begin or end-points. The
1743 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1744 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1745 to a time signature (wildcards `@code{* *}' may be entered to
1746 designate all time signatures), @var{a}/@var{b} is a duration. By
1747 default, this command changes settings for the current voice. It is
1748 also possible to adjust settings at higher contexts, by adding a
1749 @var{context} argument. @code{score-override-auto-beam-setting} is
1750 equal to @code{override-auto-beam-setting} with the argument
1751 @var{context} set to @code{'Score}.
1753 For example, if automatic beams should end on every quarter note, use
1756 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1758 Since the duration of a quarter note is 1/4 of a whole note, it is
1759 entered as @code{(ly:make-moment 1 4)}.
1761 The same syntax can be used to specify beam starting points. In this
1762 example, automatic beams can only end on a dotted quarter note
1764 #(override-auto-beam-setting '(end * * * *) 3 8)
1766 In 4/4 time signature, this means that automatic beams could end only on
1767 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1768 3/8, has passed within the measure).
1770 Rules can also be restricted to specific time signatures. A rule that
1771 should only be applied in @var{N}/@var{M} time signature is formed by
1772 replacing the second asterisks by @var{N} and @var{M}. For example, a
1773 rule for 6/8 time exclusively looks like
1775 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1778 If a rule should be to applied only to certain types of beams, use the
1779 first pair of asterisks. Beams are classified according to the
1780 shortest note they contain. For a beam ending rule that only applies
1781 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1784 @cindex automatic beam generation
1786 @cindex @code{autoBeaming}
1789 If beams are used to indicate melismata in songs, then automatic
1790 beaming should be switched off. This is done by setting
1791 @code{autoBeaming} to @code{#f}.
1795 @cindex @code{\autoBeamOff}
1796 @code{\autoBeamOff},
1797 @cindex @code{\autoBeamOn}
1803 If a score ends while an automatic beam has not been ended and is
1804 still accepting notes, this last beam will not be typeset at all. The
1805 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1806 >>}. If a polyphonic voice ends while an automatic beam is still
1807 accepting notes, it is not typeset.
1809 The rules for ending a beam depend on the shortest note in a beam.
1810 So, while it is possible to have different ending rules for eight
1811 beams and sixteenth beams, a beam that contains both eight and
1812 sixteenth notes will use the rules for the sixteenth beam.
1814 In the example below, the autobeamer makes eighth beams and sixteenth
1815 end at three eighths. The third beam can only be corrected by
1816 specifying manual beaming.
1818 @lilypond[quote,raggedright,fragment,relative=1]
1819 #(override-auto-beam-setting '(end * * * *) 3 8)
1820 % rather show case where it goes wrong
1821 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1822 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1824 It is not possible to specify beaming parameters that act differently in
1825 different parts of a measure. This means that it is not possible to use
1826 automatic beaming in irregular meters such as @code{5/8}.
1828 @node Beam formatting
1829 @subsection Beam formatting
1832 When a beam falls in the middle of the staff, the beams point normally
1833 down. However, this behaviour can be altered with the
1834 @code{neutral-direction} property.
1837 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1840 \override Beam #'neutral-direction = #-1
1842 \override Beam #'neutral-direction = #1
1849 @section Accidentals
1851 This section describes how to change the way that accidentals are
1852 inserted automatically before notes.
1855 * Automatic accidentals::
1858 @node Automatic accidentals
1859 @subsection Automatic accidentals
1860 @cindex Automatic accidentals
1862 Common rules for typesetting accidentals have been placed in a
1863 function. This function is called as follows
1865 @cindex @code{set-accidental-style}
1867 #(set-accidental-style 'STYLE #('CONTEXT#))
1870 The function can take two arguments: the name of the accidental style,
1871 and an optional argument that denotes the context that should be
1872 changed. If no context name is supplied, @code{Staff} is the default,
1873 but you may wish to apply the accidental style to a single @code{Voice}
1876 The following accidental styles are supported
1879 This is the default typesetting behavior. It corresponds
1880 to 18th century common practice: Accidentals are
1881 remembered to the end of the measure in which they occur and
1882 only on their own octave.
1885 The normal behavior is to remember the accidentals on
1886 Staff-level. This variable, however, typesets accidentals
1887 individually for each voice. Apart from that, the rule is similar to
1890 As a result, accidentals from one voice do not get canceled in other
1891 voices, which is often an unwanted result
1893 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1895 #(set-accidental-style 'voice)
1902 The @code{voice} option should be used if the voices
1903 are to be read solely by individual musicians. If the staff is to be
1904 used by one musician (e.g., a conductor) then
1905 @code{modern} or @code{modern-cautionary}
1906 should be used instead.
1909 @cindex @code{modern} style accidentals
1910 This rule corresponds to the common practice in the 20th century. This rule
1911 prints the same accidentals as @code{default}, but temporary
1912 accidentals also are canceled in other octaves. Furthermore,
1913 in the same octave, they also get canceled in the following
1916 @lilypond[quote,raggedright,fragment,verbatim]
1917 #(set-accidental-style 'modern)
1918 cis' c'' cis'2 | c'' c'
1921 @item @code{modern-cautionary}
1922 @cindex @code{modern-cautionary}
1923 This rule is similar to @code{modern}, but the ``extra'' accidentals
1924 (the ones not typeset by @code{default}) are typeset as cautionary
1925 accidentals. They are printed in reduced size or with parentheses
1926 @lilypond[quote,raggedright,fragment,verbatim]
1927 #(set-accidental-style 'modern-cautionary)
1928 cis' c'' cis'2 | c'' c'
1931 @cindex @code{modern-voice}
1933 This rule is used for multivoice accidentals to be read both by musicians
1934 playing one voice and musicians playing all voices. Accidentals are
1935 typeset for each voice, but they @emph{are} canceled across voices in
1936 the same @internalsref{Staff}.
1938 @cindex @code{modern-voice-cautionary}
1939 @item modern-voice-cautionary
1940 This rule is the same as @code{modern-voice}, but with the extra
1941 accidentals (the ones not typeset by @code{voice}) typeset
1942 as cautionaries. Even though all accidentals typeset by
1943 @code{default} @emph{are} typeset by this variable,
1944 some of them are typeset as cautionaries.
1947 @cindex @code{piano} accidentals
1948 This rule reflects 20th century practice for piano notation. Very similar to
1949 @code{modern} but accidentals also get canceled
1950 across the staves in the same @internalsref{GrandStaff} or
1951 @internalsref{PianoStaff}.
1953 @item piano-cautionary
1954 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1955 Same as @code{#(set-accidental-style 'piano)} but with the extra
1956 accidentals typeset as cautionaries.
1959 @cindex @code{no-reset} accidental style
1960 This is the same as @code{default} but with accidentals lasting
1961 ``forever'' and not only until the next measure
1962 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1963 #(set-accidental-style 'no-reset)
1968 This is sort of the opposite of @code{no-reset}: Accidentals
1969 are not remembered at all---and hence all accidentals are
1970 typeset relative to the key signature, regardless of what was
1973 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1974 #(set-accidental-style 'forget)
1975 \key d\major c4 c cis cis d d dis dis
1982 Program reference: @internalsref{Accidental_engraver},
1983 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1988 Simultaneous notes are considered to be entered in sequential
1989 mode. This means that in a chord the accidentals are typeset as if the
1990 notes in the chord happened once at a time - in the order in which
1991 they appear in the input file.
1993 This is a problem when accidentals in a chord depend on each other,
1994 which does not happen for the default accidental style. The problem
1995 can be solved by manually inserting @code{!} and @code{?} for the
1999 @node Expressive marks
2000 @section Expressive marks
2003 @c todo: should change ordering
2004 @c where to put text spanners, metronome marks,
2007 Expressive marks help musicians to bring more to the music than simple
2017 * Analysis brackets::
2020 * Fingering instructions::
2030 A slur indicates that notes are to be played bound or @emph{legato}.
2032 They are entered using parentheses
2033 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2034 f( g a) a8 b( a4 g2 f4)
2038 The direction of a slur can be set with the
2042 \override Slur #'direction = #UP
2043 \slurUp % shortcut for the previous line
2047 However, there is a convenient shorthand for forcing slur
2048 directions. By adding @code{_} or @code{^} before the opening
2049 parentheses, the direction is also set. For example,
2051 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2055 Some composers write two slurs when they want legato chords. This can
2056 be achieved in LilyPond by setting @code{doubleSlurs},
2058 @lilypond[verbatim,raggedright,relative,fragment,quote]
2059 \set doubleSlurs = ##t
2060 <c e>4 ( <d f> <c e> <d f> )
2067 @cindex @code{\slurUp}
2069 @cindex @code{\slurDown}
2071 @cindex @code{\slurNeutral}
2072 @code{\slurNeutral},
2073 @cindex @code{\slurDotted}
2075 @cindex @code{\slurSolid}
2080 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2083 @node Phrasing slurs
2084 @subsection Phrasing slurs
2086 @cindex phrasing slurs
2087 @cindex phrasing marks
2089 A phrasing slur (or phrasing mark) connects chords and is used to
2090 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2093 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2094 \time 6/4 c'\( d( e) f( e) d\)
2097 Typographically, the phrasing slur behaves almost exactly like a
2098 normal slur. However, they are treated as different objects. A
2099 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2100 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2101 @code{\phrasingSlurNeutral}.
2103 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2104 will only affect normal slurs and not phrasing slurs.
2108 @cindex @code{\phrasingSlurUp}
2109 @code{\phrasingSlurUp},
2110 @cindex @code{\phrasingSlurDown}
2111 @code{\phrasingSlurDown},
2112 @cindex @code{\phrasingSlurNeutral}
2113 @code{\phrasingSlurNeutral}.
2117 Program reference: see also @internalsref{PhrasingSlur}, and
2118 @internalsref{PhrasingSlurEvent}.
2122 Putting phrasing slurs over rests leads to spurious warnings.
2125 @subsection Breath marks
2127 Breath marks are entered using @code{\breathe}
2130 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2134 The glyph of the breath mark can be tuned by overriding the
2135 @code{text} property of the @code{BreathingSign} layout object with
2136 any markup text. For example,
2137 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2139 \override BreathingSign #'text
2140 = #(make-musicglyph-markup "scripts-rvarcomma")
2147 Program reference: @internalsref{BreathingSign},
2148 @internalsref{BreathingSignEvent}.
2150 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2153 @node Metronome marks
2154 @subsection Metronome marks
2157 @cindex beats per minute
2158 @cindex metronome marking
2160 Metronome settings can be entered as follows
2162 \tempo @var{duration} = @var{per-minute}
2165 In the MIDI output, they are interpreted as a tempo change. In the
2166 layout output, a metronome marking is printed
2167 @cindex @code{\tempo}
2168 @lilypond[quote,raggedright,verbatim,fragment]
2174 Program reference: @internalsref{MetronomeChangeEvent}.
2178 @subsection Text scripts
2179 @cindex Text scripts
2181 @cindex text items, non-empty
2182 @cindex non-empty texts
2184 It is possible to place arbitrary strings of text or markup text (see
2185 @ref{Text markup}) above or below notes by using a string
2186 @code{c^"text"}. By default, these indications do not influence the
2187 note spacing, but by using the command @code{\fatText}, the widths
2188 will be taken into account
2190 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2191 c4^"longtext" \fatText c4_"longlongtext" c4
2194 More complex formatting may also be added to a note by using the
2196 @lilypond[fragment,raggedright,verbatim,quote]
2197 c'4^\markup { bla \bold bla }
2200 The @code{\markup} is described in more detail in
2206 @cindex @code{\fatText}
2208 @cindex @code{\emptyText}
2213 In this manual: @ref{Text markup}.
2215 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2219 @subsection Text spanners
2220 @cindex Text spanners
2222 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
2223 are written as text and are extended over many measures with dotted
2224 lines. Such texts are created using text spanners; attach
2225 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2226 notes of the spanner.
2228 The string to be printed, as well as the style, is set through object
2231 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2233 \override TextSpanner #'direction = #-1
2234 \override TextSpanner #'edge-text = #'("rall " . "")
2235 c2\startTextSpan b c\stopTextSpan a
2241 Internals @internalsref{TextSpanEvent},
2242 @internalsref{TextSpanner}.
2244 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
2247 @node Analysis brackets
2248 @subsection Analysis brackets
2250 @cindex phrasing brackets
2251 @cindex musicological analysis
2252 @cindex note grouping bracket
2254 Brackets are used in musical analysis to indicate structure in musical
2255 pieces. LilyPond supports a simple form of nested horizontal
2256 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2257 to @internalsref{Staff} context. A bracket is started with
2258 @code{\startGroup} and closed with @code{\stopGroup}
2260 @lilypond[quote,raggedright,verbatim]
2263 c4\startGroup\startGroup
2266 c4\stopGroup\stopGroup
2270 \Staff \consists "Horizontal_bracket_engraver"
2276 Program reference: @internalsref{HorizontalBracket},
2277 @internalsref{NoteGroupingEvent}.
2279 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2283 @subsection Articulations
2284 @cindex Articulations
2286 @cindex articulations
2290 A variety of symbols can appear above and below notes to indicate
2291 different characteristics of the performance. They are added to a note
2292 by adding a dash and the character signifying the
2293 articulation. They are demonstrated here
2295 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2297 The meanings of these shorthands can be changed. See
2298 @file{ly/@/script@/-init@/.ly} for examples.
2301 The script is automatically placed, but the direction can be forced as
2302 well. Like other pieces of LilyPond code, @code{_} will place them
2303 below the staff, and @code{^} will place them above.
2306 @lilypond[quote,raggedright,fragment,verbatim]
2310 Other symbols can be added using the syntax
2311 @var{note}@code{\}@var{name}. Again, they
2312 can be forced up or down using @code{^} and @code{_},
2315 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2316 c\fermata c^\fermata c_\fermata
2323 @cindex staccatissimo
2333 @cindex organ pedal marks
2342 @cindex prallmordent
2346 @cindex thumb marking
2351 Here is a chart showing all scripts available,
2353 @lilypondfile[raggedright,quote]{script-chart.ly}
2356 The vertical ordering of scripts is controlled with the
2357 @code{script-priority} property. The lower this number, the closer it
2358 will be put to the note. In this example, the
2359 @internalsref{TextScript} (the sharp symbol) first has the lowest
2360 priority, so it is put lowest in the first example. In the second, the
2361 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2362 inside. When two objects have the same priority, the order in which
2363 they are entered decides which one comes first.
2366 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2367 \once \override TextScript #'script-priority = #-100
2368 a4^\prall^\markup { \sharp }
2370 \once \override Script #'script-priority = #-100
2371 a4^\prall^\markup { \sharp }
2379 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2383 These signs appear in the printed output but have no effect on the
2384 MIDI rendering of the music.
2388 @node Running trills
2389 @subsection Running trills
2391 Long running trills are made with @code{\startTrillSpan} and
2392 @code{\stopTrillSpan},
2395 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2397 << { c1 \startTrillSpan }
2398 { s2. \grace { d16[\stopTrillSpan e] } } >>
2404 @code{\startTrillSpan},
2405 @cindex @code{\startTrillSpan}
2406 @code{\stopTrillSpan}.
2407 @cindex @code{\stopTrillSpan}
2411 Program reference: @internalsref{TrillSpanner},
2412 @internalsref{TrillSpanEvent}.
2414 @node Fingering instructions
2415 @subsection Fingering instructions
2419 Fingering instructions can be entered using
2421 @var{note}-@var{digit}
2423 For finger changes, use markup texts
2425 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2427 c^\markup { \finger "2-3" }
2430 @cindex finger change
2435 You can use the thumb-script to indicate that a note should be
2436 played with the thumb (e.g., in cello music)
2437 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2438 <a_\thumb a'-3>8 <b_\thumb b'-3>
2441 Fingerings for chords can also be added to individual notes
2442 of the chord by adding them after the pitches
2443 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2444 < c-1 e-2 g-3 b-5 >4
2448 In this case, setting @code{fingeringOrientations} will put fingerings next
2451 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2452 \set fingeringOrientations = #'(left down)
2453 <c-1 es-2 g-4 bes-5 > 4
2454 \set fingeringOrientations = #'(up right down)
2455 <c-1 es-2 g-4 bes-5 > 4
2458 Using this feature, it is also possible to put fingering instructions
2459 very close to note heads in monophonic music,
2461 @lilypond[verbatim,raggedright,quote,fragment]
2462 \set fingeringOrientations = #'(right)
2469 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2471 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2477 @subsection Grace notes
2480 @c should have blurb about accaciatura / appogiatura
2482 @cindex @code{\grace}
2486 Grace notes are ornaments that are written out. The most common ones
2487 are acciaccatura, which should be played as very short. It is denoted
2488 by a slurred small note with a slashed stem. The appoggiatura is a
2489 grace note that takes a fixed fraction of the main note, and is
2490 denoted as a slurred note in small print without a slash. They
2491 are entered with the commands @code{\acciaccatura} and
2492 @code{\appoggiatura}, as demonstrated in the following example
2495 @cindex appoggiatura
2496 @cindex acciaccatura
2498 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2499 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2500 \acciaccatura { g16[ f] } e4
2503 Both are special forms of the @code{\grace} command. By prefixing this
2504 keyword to a music expression, a new one is formed, which will be
2505 printed in a smaller font and takes up no logical time in a measure.
2507 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2509 \grace { c16[ d16] } c2 c4
2513 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2514 @code{\grace} command does not start a slur.
2516 Internally, timing for grace notes is done using a second, `grace'
2517 timing. Every point in time consists of two rational numbers: one
2518 denotes the logical time, one denotes the grace timing. The above
2519 example is shown here with timing tuples
2521 @lilypond[quote,raggedright]
2524 c4 \grace c16 c4 \grace {
2527 \new Lyrics \lyricmode {
2528 \override LyricText #'font-family = #'typewriter
2532 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2533 \markup { (\fraction 1 4 , 0 ) } 4
2535 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2536 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2538 \markup { ( \fraction 2 4 , 0 ) }
2544 The placement of grace notes is synchronized between different staves.
2545 In the following example, there are two sixteenth grace notes for
2546 every eighth grace note
2548 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2549 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2550 \new Staff { c4 \grace { g8[ b] } c4 } >>
2555 If you want to end a note with a grace, use the @code{\afterGrace}
2556 command. It takes two arguments: the main note, and the grace notes
2557 following the main note.
2559 @lilypond[raggedright, verbatim,relative=2,fragment]
2560 c1 \afterGrace d1 { c16[ d] } c4
2563 This will put the grace notes after a ``space'' lasting 3/4 of the
2564 length of the main note. The fraction 3/4 can be changed by setting
2565 @code{afterGraceFraction}, ie.
2568 afterGraceFraction = #(cons 7 8)
2572 will put the grace note at 7/8 of the main note.
2575 The same effect can be achieved manually by doing
2578 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2581 { s2 \grace { c16[ d] } } >>
2587 By adjusting the duration of the skip note (here it is a half-note),
2588 the space between the main-note and the grace is adjusted.
2593 A @code{\grace} section will introduce special typesetting settings,
2594 for example, to produce smaller type, and set directions. Hence, when
2595 introducing layout tweaks, they should be inside the grace section,
2597 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2609 The overrides should also be reverted inside the grace section.
2611 The layout of grace sections can be changed throughout the music using
2612 the function @code{add-grace-property}. The following example
2613 undefines the Stem direction for this grace, so stems do not always
2618 #(add-grace-property 'Voice 'Stem 'direction '())
2624 Another option is to change the variables @code{startGraceMusic},
2625 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2626 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2627 @code{stopAppoggiaturaMusic}. More information is in the file
2628 @file{ly/@/grace@/-init@/.ly}.
2633 Program reference: @internalsref{GraceMusic}.
2637 A score that starts with a @code{\grace} section needs an explicit
2638 @code{\context Voice} declaration, otherwise the main note and the grace
2639 note end up on different staves.
2641 Grace note synchronization can also lead to surprises. Staff notation,
2642 such as key signatures, bar lines, etc., are also synchronized. Take
2643 care when you mix staves with grace notes and staves without, for example,
2645 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2646 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2647 \new Staff { c4 \bar "|:" d4 } >>
2651 This can be remedied by inserting grace skips, for the above example
2654 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2657 Grace sections should only be used within sequential music
2658 expressions. Nesting or juxtaposing grace sections is not supported,
2659 and might produce crashes or other errors.
2663 @subsection Glissando
2666 @cindex @code{\glissando}
2668 A glissando is a smooth change in pitch. It is denoted by a line or a
2669 wavy line between two notes. It is requested by attaching
2670 @code{\glissando} to a note
2672 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2678 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2680 Example files: @file{input/@/regression/@/glissando@/.ly}.
2686 Printing text over the line (such as @emph{gliss.}) is not supported.
2690 @subsection Dynamics
2703 @cindex @code{\ffff}
2713 Absolute dynamic marks are specified using a command after a note
2714 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2715 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2716 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2717 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2719 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2720 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2721 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2730 A crescendo mark is started with @code{\<} and terminated with
2731 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2732 with @code{\!}. Because these marks are bound to notes, you must
2733 use spacer notes if multiple marks are needed during one note
2735 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2737 << f1 { s4 s4\< s4\! \> s4\! } >>
2739 This may give rise to very short hairpins. Use @code{minimum-length}
2740 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2744 \override Staff.Hairpin #'minimum-length = #5
2747 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2748 is an example how to do it
2750 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2764 You can also supply your own texts
2765 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2766 \set crescendoText = \markup { \italic "cresc. poco" }
2767 \set crescendoSpanner = #'dashed-line
2773 To create new dynamic marks or text that should be aligned
2774 with dynamics, see @ref{New dynamic marks}.
2779 @cindex @code{\dynamicUp}
2781 @cindex @code{\dynamicDown}
2782 @code{\dynamicDown},
2783 @cindex @code{\dynamicNeutral}
2784 @code{\dynamicNeutral}.
2786 @cindex direction, of dynamics
2790 Program reference: @internalsref{CrescendoEvent},
2791 @internalsref{DecrescendoEvent}, and
2792 @internalsref{AbsoluteDynamicEvent}.
2794 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2795 objects. Vertical positioning of these symbols is handled by the
2796 @internalsref{DynamicLineSpanner} object.
2802 Repetition is a central concept in music, and multiple notations exist
2808 * Repeats and MIDI::
2809 * Manual repeat commands::
2811 * Tremolo subdivisions::
2816 @subsection Repeat types
2819 @cindex @code{\repeat}
2821 The following types of repetition are supported
2825 Repeated music is fully written (played) out. This is useful when
2826 entering repetitious music. This is the only kind of repeat that
2827 is included in MIDI output.
2830 Repeats are not written out, but alternative endings (volte) are
2831 printed, left to right with brackets. This is the standard notation
2832 for repeats with alternatives. These are not played in MIDI output by default.
2836 Alternative endings are written stacked. This has limited use but may be
2837 used to typeset two lines of lyrics in songs with repeats, see
2838 @inputfileref{input,star-spangled-banner@/.ly}.
2843 Make tremolo beams. These are not played in MIDI output by default.
2846 Make beat or measure repeats. These look like percent signs. These
2847 are not played in MIDI output by default.
2852 @subsection Repeat syntax
2855 LilyPond has one syntactic construct for specifying different types of
2856 repeats. The syntax is
2859 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2862 If you have alternative endings, you may add
2863 @cindex @code{\alternative}
2865 \alternative @{ @var{alternative1}
2867 @var{alternative3} @dots{} @}
2869 where each @var{alternative} is a music expression. If you do not
2870 give enough alternatives for all of the repeats, the first alternative
2871 is assumed to be played more than once.
2873 Standard repeats are used like this
2874 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2876 \repeat volta 2 { c4 d e f }
2877 \repeat volta 2 { f e d c }
2880 With alternative endings
2881 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2883 \repeat volta 2 {c4 d e f}
2884 \alternative { {d2 d} {f f,} }
2888 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2891 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2892 \alternative { { g4 g g } { a | a a a a | b2. } }
2896 It is possible to shorten volta brackets
2897 by setting @code{voltaSpannerDuration}. In the next example, the
2898 bracket only lasts one measure, which is a duration of 3/4.
2902 @lilypond[verbatim,raggedright,quote]
2906 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2907 \repeat "volta" 5 { d d d }
2908 \alternative { { e e e f f f }
2918 Brackets for the repeat are normally only printed over the topmost
2919 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2920 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2923 @c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
2928 A nested repeat like
2937 is ambiguous, since it is is not clear to which @code{\repeat} the
2938 @code{\alternative} belongs. This ambiguity is resolved by always
2939 having the @code{\alternative} belong to the inner @code{\repeat}.
2940 For clarity, it is advisable to use braces in such situations.
2945 Timing information is not remembered at the start of an alternative,
2946 so after a repeat timing information must be reset by hand, for
2947 example by setting @code{Score.measurePosition} or entering
2948 @code{\partial}. Similarly, slurs or ties are also not repeated.
2953 @node Repeats and MIDI
2954 @subsection Repeats and MIDI
2956 @cindex expanding repeats
2958 With a little bit of tweaking, all types of repeats can be present
2959 in the MIDI output. This is achieved by applying the
2960 @code{\unfoldrepeats} music function. This functions changes all
2961 repeats to unfold repeats.
2963 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2965 \repeat tremolo 8 {c'32 e' }
2966 \repeat percent 2 { c''8 d'' }
2967 \repeat volta 2 {c'4 d' e' f'}
2976 When creating a score file using @code{\unfoldrepeats} for midi, then
2977 it is necessary to make two @code{\score} blocks. One for MIDI (with
2978 unfolded repeats) and one for notation (with volta, tremolo, and
2979 percent repeats). For example,
2987 \unfoldrepeats @var{..music..}
2992 @node Manual repeat commands
2993 @subsection Manual repeat commands
2995 @cindex @code{repeatCommands}
2997 The property @code{repeatCommands} can be used to control the layout of
2998 repeats. Its value is a Scheme list of repeat commands.
3001 @item @code{start-repeat}
3002 Print a @code{|:} bar line.
3004 @item @code{end-repeat}
3005 Print a @code{:|} bar line.
3007 @item @code{(volta @var{text})}
3008 Print a volta bracket saying @var{text}: The text can be specified as
3009 a text string or as a markup text, see @ref{Text markup}. Do not
3010 forget to change the font, as the default number font does not contain
3011 alphabetic characters;
3013 @item @code{(volta #f)}
3014 Stop a running volta bracket.
3017 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
3019 \set Score.repeatCommands = #'((volta "93") end-repeat)
3021 \set Score.repeatCommands = #'((volta #f))
3029 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
3030 @internalsref{VoltaRepeatedMusic},
3031 @internalsref{UnfoldedRepeatedMusic}, and
3032 @internalsref{FoldedRepeatedMusic}.
3034 @node Tremolo repeats
3035 @subsection Tremolo repeats
3036 @cindex tremolo beams
3038 To place tremolo marks between notes, use @code{\repeat} with tremolo
3040 @lilypond[quote,verbatim,raggedright]
3041 \new Voice \relative c' {
3042 \repeat "tremolo" 8 { c16 d16 }
3043 \repeat "tremolo" 4 { c16 d16 }
3044 \repeat "tremolo" 2 { c16 d16 }
3048 Tremolo marks can also be put on a single note. In this case, the
3049 note should not be surrounded by braces.
3050 @lilypond[quote,verbatim,raggedright]
3051 \repeat "tremolo" 4 c'16
3054 Similar output is obtained using the tremolo subdivision, described in
3055 @ref{Tremolo subdivisions}.
3059 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3061 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
3062 tremolos are @internalsref{StemTremolo} objects. The music expression is
3063 @internalsref{TremoloEvent}.
3065 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3066 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3068 @node Tremolo subdivisions
3069 @subsection Tremolo subdivisions
3070 @cindex tremolo marks
3071 @cindex @code{tremoloFlags}
3073 Tremolo marks can be printed on a single note by adding
3074 `@code{:}[@var{number}]' after the note. The number indicates the
3075 duration of the subdivision, and it must be at least 8. A
3076 @var{length} value of 8 gives one line across the note stem. If the
3077 length is omitted, the last value (stored in @code{tremoloFlags}) is
3080 @lilypond[quote,raggedright,verbatim,fragment]
3081 c'2:8 c':32 | c': c': |
3084 @c [TODO: stok is te kort bij 32en]
3085 @c somebody want to translate that into English?
3086 @c `Stem is too short for 32nds' (wl)
3090 Tremolos entered in this way do not carry over into the MIDI output.
3094 In this manual: @ref{Tremolo repeats}.
3096 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3098 @node Measure repeats
3099 @subsection Measure repeats
3101 @cindex percent repeats
3102 @cindex measure repeats
3104 In the @code{percent} style, a note pattern can be repeated. It is
3105 printed once, and then the pattern is replaced with a special sign.
3106 Patterns of one and two measures are replaced by percent-like signs,
3107 patterns that divide the measure length are replaced by slashes
3109 @lilypond[quote,verbatim,raggedright]
3110 \new Voice \relative c' {
3111 \repeat "percent" 4 { c4 }
3112 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3118 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3119 @internalsref{PercentRepeatedMusic}, and
3120 @internalsref{DoublePercentRepeat}.
3124 @node Rhythmic music
3125 @section Rhythmic music
3127 Rhythmic music is primarily used for percussion and drum notation, but it can
3128 also be used to show the rhythms of melodies.
3131 * Showing melody rhythms::
3132 * Entering percussion::
3133 * Percussion staves::
3137 @node Showing melody rhythms
3138 @subsection Showing melody rhythms
3140 Sometimes you might want to show only the rhythm of a melody. This
3141 can be done with the rhythmic staff. All pitches of notes on such a
3142 staff are squashed, and the staff itself has a single line
3144 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3145 \context RhythmicStaff {
3147 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3153 Program reference: @internalsref{RhythmicStaff}.
3155 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
3158 @node Entering percussion
3159 @subsection Entering percussion
3165 Percussion notes may be entered in @code{\drummode} mode, which is
3166 similar to the standard mode for entering notes. Each piece of
3167 percussion has a full name and an abbreviated name, and both can be used
3170 @lilypond[quote,raggedright,verbatim]
3172 hihat hh bassdrum bd
3176 The complete list of drum names is in the init file
3177 @file{ly/@/drumpitch@/-init@/.ly}.
3178 @c TODO: properly document this.
3182 Program reference: @internalsref{DrumNoteEvent}.
3184 @node Percussion staves
3185 @subsection Percussion staves
3189 A percussion part for more than one instrument typically uses a
3190 multiline staff where each position in the staff refers to one piece
3194 To typeset the music, the notes must be interpreted in a
3195 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3197 @lilypond[quote,raggedright,verbatim]
3198 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3199 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3201 \new DrumVoice { \voiceOne \up }
3202 \new DrumVoice { \voiceTwo \down }
3206 The above example shows verbose polyphonic notation. The short
3207 polyphonic notation, described in @ref{Polyphony}, can also be used if
3208 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3210 @lilypond[quote,raggedright,fragment,verbatim]
3212 \context DrumVoice = "1" { s1 *2 }
3213 \context DrumVoice = "2" { s1 *2 }
3217 { \repeat unfold 16 hh16 }
3226 There are also other layout possibilities. To use these, set the
3227 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3228 The following variables have been predefined
3232 This is the default. It typesets a typical drum kit on a five-line staff
3234 @lilypond[quote,linewidth=10.0\cm]
3236 cymc cyms cymr hh hhc hho hhho hhp
3237 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
3239 cymc cyms cymr hh hhc hho hhho hhp \break
3240 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3242 << \new DrumStaff \with {
3243 \remove Bar_engraver
3244 \remove Time_signature_engraver
3245 \override Stem #'transparent = ##t
3246 \override Stem #'Y-extent-callback = ##f
3247 minimumVerticalExtent = #'(-4.0 . 5.0)
3249 \context Lyrics \nam
3254 \override LyricText #'font-family = #'typewriter
3255 \override BarNumber #'transparent =##T
3261 The drum scheme supports six different toms. When there are fewer toms,
3262 simply select the toms that produce the desired result, i.e., to get toms
3263 on the three middle lines you use @code{tommh}, @code{tomml}, and
3266 @item timbales-style
3267 This typesets timbales on a two line staff
3269 @lilypond[quote,raggedright]
3270 nam = \lyricmode { timh ssh timl ssl cb }
3271 mus = \drummode { timh ssh timl ssl cb s16 }
3274 \context DrumStaff \with {
3275 \remove Bar_engraver
3276 \remove Time_signature_engraver
3277 \override Stem #'transparent = ##t
3278 \override Stem #'Y-extent-callback = ##f
3279 \override StaffSymbol #'line-count = #2
3280 \override StaffSymbol #'staff-space = #2
3281 minimumVerticalExtent = #'(-3.0 . 4.0)
3282 drumStyleTable = #timbales-style
3285 \override LyricText #'font-family = #'typewriter
3292 This typesets congas on a two line staff
3294 @lilypond[quote,raggedright]
3295 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3296 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3299 \context DrumStaff \with {
3300 \remove Bar_engraver
3301 \remove Time_signature_engraver
3302 drumStyleTable = #congas-style
3303 \override StaffSymbol #'line-count = #2
3305 %% this sucks; it will lengthen stems.
3306 \override StaffSymbol #'staff-space = #2
3307 \override Stem #'transparent = ##t
3308 \override Stem #'Y-extent-callback = ##f
3311 \override LyricText #'font-family = #'typewriter
3318 This typesets bongos on a two line staff
3320 @lilypond[quote,raggedright]
3321 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3322 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3325 \context DrumStaff\with {
3326 \remove Bar_engraver
3327 \remove Time_signature_engraver
3328 \override StaffSymbol #'line-count = #2
3329 drumStyleTable = #bongos-style
3331 %% this sucks; it will lengthen stems.
3332 \override StaffSymbol #'staff-space = #2
3333 \override Stem #'transparent = ##t
3334 \override Stem #'Y-extent-callback = ##f
3337 \override LyricText #'font-family = #'typewriter
3343 @item percussion-style
3344 To typeset all kinds of simple percussion on one line staves.
3346 @lilypond[quote,raggedright]
3347 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3348 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3351 \context DrumStaff\with{
3352 \remove Bar_engraver
3353 drumStyleTable = #percussion-style
3354 \override StaffSymbol #'line-count = #1
3355 \remove Time_signature_engraver
3356 \override Stem #'transparent = ##t
3357 \override Stem #'Y-extent-callback = ##f
3360 \override LyricText #'font-family = #'typewriter
3367 If you do not like any of the predefined lists you can define your own
3368 list at the top of your file
3370 @lilypond[quote,raggedright,verbatim]
3372 (bassdrum default #f -1)
3373 (snare default #f 0)
3375 (pedalhihat xcircle "stopped" 2)
3376 (lowtom diamond #f 3)))
3377 up = \drummode { hh8 hh hh hh hhp4 hhp }
3378 down = \drummode { bd4 sn bd toml8 toml }
3381 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
3382 \new DrumVoice { \voiceOne \up }
3383 \new DrumVoice { \voiceTwo \down }
3390 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
3392 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3396 Because general MIDI does not contain rim shots, the sidestick is used
3397 for this purpose instead.
3400 @section Piano music
3402 Piano staves are two normal staves coupled with a brace. The staves
3403 are largely independent, but sometimes voices can cross between the
3404 two staves. The same notation is also used for harps and other key
3405 @c Is this `harp' or `harpsichord'?
3406 instruments. The @internalsref{PianoStaff} is especially built to
3407 handle this cross-staffing behavior. In this section we discuss the
3408 @internalsref{PianoStaff} and some other pianistic peculiarities.
3412 * Automatic staff changes::
3413 * Manual staff switches::
3416 * Staff switch lines::
3417 * Cross staff stems::
3422 Dynamics are not centered, but workarounds do exist. See the
3423 ``piano centered dynamics'' template in @ref{Piano templates}.
3425 @cindex cross staff stem
3426 @cindex stem, cross staff
3427 @cindex distance between staves in piano music
3429 The distance between the two staves is the same for all systems in the
3430 score. It is possible to override this per system, but it does require
3431 an arcane command incantation. See
3432 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
3435 @node Automatic staff changes
3436 @subsection Automatic staff changes
3437 @cindex Automatic staff changes
3439 Voices can be made to switch automatically between the top and the bottom
3440 staff. The syntax for this is
3444 \autochange @dots{}@var{music}@dots{}
3449 This will create two staves inside the current PianoStaff, called
3450 @code{up} and @code{down}. The lower staff will be in bass clef by
3453 A @code{\relative} section that is outside of @code{\autochange} has
3454 no effect on the pitches of @var{music}, so, if necessary, put
3455 @code{\relative} inside @code{\autochange} like
3459 \autochange \relative @dots{} @dots{}
3464 The autochanger switches on basis of the pitch (middle C is the turning
3465 point), and it looks ahead skipping over rests to switch in
3466 advance. Here is a practical example
3468 @lilypond[quote,verbatim,raggedright]
3470 \autochange \relative c'
3479 In this manual: @ref{Manual staff switches}.
3481 Program reference: @internalsref{AutoChangeMusic}.
3487 The staff switches may not end up in optimal places. For high
3488 quality output, staff switches should be specified manually.
3491 @code{\autochange} cannot be inside @code{\times}.
3493 Internally, the @code{\partcombine} interprets both arguments as
3494 @code{Voice}s named @code{one} and @code{two}, and then decides when
3495 the parts can be combined. Consequently, if the arguments switch to
3496 differently named @internalsref{Voice} contexts, the events in those
3500 @node Manual staff switches
3501 @subsection Manual staff switches
3503 @cindex manual staff switches
3504 @cindex staff switch, manual
3506 Voices can be switched between staves manually, using the command
3508 \change Staff = @var{staffname} @var{music}
3512 The string @var{staffname} is the name of the staff. It switches the
3513 current voice from its current staff to the Staff called
3514 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3515 @code{"down"}. The @context{Staff} referred to must already exist, so
3516 usually the setup for a score will start with a setup of the staves,
3520 \context Staff = up @{
3521 \skip 1 * 10 % @emph{keep staff alive}
3523 \context Staff = down @{
3524 \skip 1 * 10 % @emph{idem}
3530 and the @context{Voice} is inserted afterwards
3533 \context Staff = down
3534 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3542 Pianos have pedals that alter the way sound is produced. Generally, a
3543 piano has three pedals, sustain, una corda, and sostenuto.
3546 Piano pedal instruction can be expressed by attaching
3547 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3548 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3551 @lilypond[quote,raggedright,fragment,verbatim]
3552 c'4\sustainDown c'4\sustainUp
3555 What is printed can be modified by setting @code{pedal@var{X}Strings},
3556 where @var{X} is one of the pedal types: @code{Sustain},
3557 @code{Sostenuto} or @code{UnaCorda}. Refer to
3558 @internalsref{SustainPedal} in the program reference for more
3561 Pedals can also be indicated by a sequence of brackets, by setting the
3562 @code{pedalSustainStyle} property to bracket objects
3564 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3565 \set Staff.pedalSustainStyle = #'bracket
3567 b\sustainUp\sustainDown
3568 b g \sustainUp a \sustainDown \bar "|."
3571 A third style of pedal notation is a mixture of text and brackets,
3572 obtained by setting the @code{pedalSustainStyle} property to
3575 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3576 \set Staff.pedalSustainStyle = #'mixed
3578 b\sustainUp\sustainDown
3579 b g \sustainUp a \sustainDown \bar "|."
3582 The default `*Ped.' style for sustain and damper pedals corresponds to
3583 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3586 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3587 c\sostenutoDown d e c, f g a\sostenutoUp
3590 For fine-tuning the appearance of a pedal bracket, the properties
3591 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3592 @code{PianoPedalBracket} objects (see
3593 @internalsref{PianoPedalBracket} in the Program reference) can be
3594 modified. For example, the bracket may be extended to the right edge
3597 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3598 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3599 c\sostenutoDown d e c, f g a\sostenutoUp
3603 @subsection Arpeggio
3606 @cindex broken arpeggio
3607 @cindex @code{\arpeggio}
3609 You can specify an arpeggio sign on a chord by attaching an
3610 @code{\arpeggio} to a chord
3613 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3617 When an arpeggio crosses staves, you attach an arpeggio to the chords
3618 in both staves, and set
3619 @internalsref{PianoStaff}.@code{connectArpeggios}
3621 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3622 \context PianoStaff <<
3623 \set PianoStaff.connectArpeggios = ##t
3624 \new Staff { <c' e g c>\arpeggio }
3625 \new Staff { \clef bass <c,, e g>\arpeggio }
3629 The direction of the arpeggio is sometimes denoted by adding an
3630 arrowhead to the wiggly line
3632 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3641 A square bracket on the left indicates that the player should not
3642 arpeggiate the chord
3644 @c todo: ugh, lousy typography. Look for real example. --hwn
3646 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3653 @cindex @code{\arpeggio}
3655 @cindex @code{\arpeggioUp}
3657 @cindex @code{\arpeggioDown}
3658 @code{\arpeggioDown},
3659 @cindex @code{\arpeggioNeutral}
3660 @code{\arpeggioNeutral},
3661 @cindex @code{\arpeggioBracket}
3662 @code{\arpeggioBracket}.
3666 Program reference: @internalsref{ArpeggioEvent},
3667 @internalsref{Arpeggio}.
3671 It is not possible to mix connected arpeggios and unconnected
3672 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3674 @node Staff switch lines
3675 @subsection Staff switch lines
3678 @cindex follow voice
3679 @cindex staff switching
3682 @cindex @code{followVoice}
3684 Whenever a voice switches to another staff, a line connecting the notes
3685 can be printed automatically. This is switched on by setting
3686 @code{PianoStaff.followVoice} to true
3688 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3689 \context PianoStaff <<
3690 \set PianoStaff.followVoice = ##t
3691 \context Staff \context Voice {
3696 \context Staff=two { \clef bass \skip 1*2 }
3702 Program reference: @internalsref{VoiceFollower}.
3706 @cindex @code{\showStaffSwitch}
3707 @code{\showStaffSwitch},
3708 @cindex @code{\hideStaffSwitch}
3709 @code{\hideStaffSwitch}.
3712 @node Cross staff stems
3713 @subsection Cross staff stems
3715 Chords that cross staves may be produced by increasing the length
3716 of the stem in the lower staff, so it reaches the stem in the upper
3717 staff, or vice versa.
3719 @lilypond[raggedright,verbatim,quote]
3720 stemExtend = \once \override Stem #'length = #22
3721 noFlag = \once \override Stem #'flag-style = #'no-flag
3722 \context PianoStaff <<
3724 \stemDown \stemExtend
3738 @section Vocal music
3740 There are three different issues when printing vocal music
3744 Song texts must be entered as text, not notes. For example, the
3745 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
3749 Song texts must be printed as text, not as notes.
3752 Song texts must be aligned with the notes of their melody.
3755 The simplest solution for printing music uses the @code{\addlyrics}
3756 function to solve all these problems at once. However, these
3757 three functions can be controlled separately, which is necessary
3758 for complex vocal music.
3762 * Setting simple songs::
3764 * Hyphens and extenders::
3765 * The Lyrics context::
3766 * Flexibility in alignment::
3769 * Other vocal issues::
3772 @node Setting simple songs
3773 @subsection Setting simple songs
3775 The easiest way to add lyrics to a melody is to append
3778 \addlyrics @{ @var{the lyrics} @}
3782 to a melody. Here is an example,
3784 @lilypond[raggedright,verbatim,fragment,quote]
3786 \relative { c2 e4 g2. }
3787 \addlyrics { play the game }
3790 More stanzas can be added by adding more
3791 @code{\addlyrics} sections
3793 @lilypond[raggedright,verbatim,fragment,quote]
3795 \relative { c2 e4 g2. }
3796 \addlyrics { play the game }
3797 \addlyrics { speel het spel }
3798 \addlyrics { joue le jeu }
3801 @c TODO - this isn't such a great place for this note, but I can't
3802 @c find a better place without rearranging a lot of lyric stuff.
3803 @c It's yet another thing to look at post-3.0.
3805 The @code{\addlyrics} command is actually just a convienient way
3806 to write a more complicated LilyPond structure that sets up the
3807 lyrics. You should use @code{\addlyrics} unless you need to do
3808 fancy things, in which case you should investigate
3809 @code{\lyricsto} or @code{\lyricmode}.
3813 \addlyrics @{ LYRICS @}
3820 \context Voice = blah @{ music @}
3821 \lyricsto "blah" \new lyrics @{ LYRICS @}
3825 @node Entering lyrics
3826 @subsection Entering lyrics
3830 @cindex @code{\lyricmode}
3833 Lyrics are entered in a special input mode. This mode is introduced
3834 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3835 @code{lyricsto}. In this mode you can enter lyrics,
3836 with punctuation and accents, and the input @code{d} is not parsed as
3837 a pitch, but rather as a one letter syllable. Syllables are entered
3838 like notes, but with pitches replaced by text. For example,
3840 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3844 A word lyrics mode begins with an alphabetic character, and ends with
3845 any space or digit. The following characters can be any character
3846 that is not a digit or white space. One important consequence of this
3847 is that a word can end with @code{@}}. The following example is
3848 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3849 opening brace is not balanced
3851 \lyricmode @{ twinkle@}
3854 @cindex @code{\property}, in @code{\lyricmode}
3856 Similarly, a period which follows an alphabetic sequence is included in
3857 the resulting string. As a consequence, spaces must be inserted around
3860 \override Score . LyricText #'font-shape = #'italic
3864 @cindex spaces, in lyrics
3865 @cindex quotes, in lyrics
3867 Any @code{_} character that appears in an unquoted word is converted
3868 to a space. This provides a mechanism for introducing spaces into words
3869 without using quotes. Quoted words can also be used in Lyrics mode to
3870 specify words that cannot be written with the above rules. The
3871 following example incorporates double quotes
3874 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3877 This example is slightly academic, since it gives better looking
3878 results using single quotes, @code{``} and @code{''}
3880 \lyricmode @{ He said: ``Let my peo ple go'' @}
3884 The full definition of a word start in Lyrics mode is somewhat more
3887 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3888 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3889 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3890 any 8-bit character with ASCII code over 127, or a two-character
3891 combination of a backslash followed by one of @code{`}, @code{'},
3892 @code{"}, or @code{^}.
3898 Program reference: events @internalsref{LyricEvent}, and
3899 @internalsref{LyricText}.
3903 The definition of lyrics mode is too complex.
3905 @node Hyphens and extenders
3906 @subsection Hyphens and extenders
3910 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3911 The hyphen will have variable length depending on the space between
3912 the syllables and it will be centered between the syllables.
3917 When a lyric is sung over many notes (this is called a melisma), this is
3918 indicated with a horizontal line centered between a syllable and the
3919 next one. Such a line is called an extender line, and it is entered as
3923 FIXME: check that this compiles and displays correctly. I don't want
3924 to commit this part blindly.
3926 In tighly engraved music, hyphens can be removed. In some languages
3927 (e.g. German and Hungarian), hyphens should not disappear, since
3928 spelling depends on hyphenation. For that purpose, hyphens can be
3929 forced to remain by overriding @code{minimum-length} of
3930 the @code{LyricHyphen} grob.
3934 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
3941 \lyrics \new Lyrics \with {
3942 % Otherwise lyrics are so far apart that hyphens don't disappear
3943 \override SeparationItem #'padding = #0.0
3944 }{ bla -- bla -- bla -- bla --
3945 bla -- bla -- bla -- bla --
3947 \override LyricHyphen #'minimum-length = #0.7
3948 \override LyricHyphen #'spacing-procedure =
3949 #Hyphen_spanner::set_spacing_rods
3951 bla -- bla -- bla -- bla
3958 \StaffContext \remove "Time_signature_engraver"
3969 Program reference: @internalsref{HyphenEvent},
3970 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3971 @internalsref{LyricExtender}
3975 @node The Lyrics context
3976 @subsection The Lyrics context
3979 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3981 \context Lyrics \lyricmode @dots{}
3984 @cindex automatic syllable durations
3985 @cindex @code{\lyricsto}
3986 @cindex lyrics and melodies
3988 This will place the lyrics according to the durations that were
3989 entered. The lyrics can also be aligned under a given melody
3990 automatically. In this case, it is no longer necessary to enter the
3991 correct duration for each syllable. This is achieved by combining the
3992 melody and the lyrics with the @code{\lyricsto} expression
3994 \lyricsto @var{name} \new Lyrics @dots{}
3997 This aligns the lyrics to the
3998 notes of the @internalsref{Voice} context called @var{name}, which has
3999 to exist. Therefore, normally the @code{Voice} is specified first, and
4000 then the lyrics are specified with @code{\lyricsto}. The command
4001 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
4002 @code{\lyricmode} keyword may be omitted.
4004 For different or more complex orderings, the best way is to setup the
4005 hierarchy of staves and lyrics first, e.g.,
4007 \context ChoirStaff <<
4008 \context Lyrics = sopranoLyrics @{ s1 @}
4009 \context Voice = soprano @{ @emph{music} @}
4010 \context Lyrics = tenorLyrics @{ s1 @}
4011 \context Voice = tenor @{ @emph{music} @}
4014 and then combine the appropriate melodies and lyric lines
4016 \lyricsto "soprano" \context Lyrics = sopranoLyrics
4021 The final input would resemble
4024 <<\context ChoirStaff << @emph{setup the music} >>
4025 \lyricsto "soprano" @emph{etc}
4026 \lyricsto "alto" @emph{etc}
4032 The @code{\lyricsto} command detects melismata: it only puts one
4033 syllable under a tied or slurred group of notes. If you want to force
4034 an unslurred group of notes to be a melisma, insert @code{\melisma}
4035 after the first note of the group, and @code{\melismaEnd} after the
4038 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
4040 \context Voice = "lala" {
4048 \lyricsto "lala" \new Lyrics {
4054 In addition, notes are considered a melisma if they are manually
4055 beamed, and automatic beaming (see @ref{Setting automatic beam
4056 behavior}) is switched off.
4062 The criteria for deciding melismata can
4063 be tuned with the property @code{melismaBusyProperties}. See
4064 @internalsref{Melisma_translator} in the program reference for more
4069 Lyrics can also be entered without @code{\lyricsto}. In this case the
4070 duration of each syllable must be entered explicitly, for example,
4077 The alignment to a melody can be specified with the
4078 @code{associatedVoice} property,
4081 \set associatedVoice = #"lala"
4085 The value of the property (here: @code{"lala"}) should be the name of
4086 a @internalsref{Voice} context. Without this setting, extender lines
4087 will not be formatted properly.
4089 Here is an example demonstrating manual lyric durations,
4091 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
4092 << \context Voice = melody {
4096 \new Lyrics \lyricmode {
4097 \set associatedVoice = #"melody"
4103 @cindex choral score
4105 A complete example of a SATB score setup is in section
4106 @ref{Vocal ensembles}.
4111 @code{\melisma}, @code{\melismaEnd}
4112 @cindex @code{\melismaEnd}
4113 @cindex @code{\melisma}
4117 Program reference: @internalsref{LyricCombineMusic},
4118 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
4121 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
4122 @c TODO: make separate section for melismata
4124 @c I can't find these examples in 2.0 or 2.2; remove. -gp
4125 @c @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
4126 @c @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
4130 Melismata are not detected automatically, and extender lines must be
4134 @c TODO: document \new Staff << Voice \lyricsto >> bug
4136 @node Flexibility in alignment
4137 @subsection Flexibility in alignment
4140 Often, different stanzas of one song are put to one melody in slightly
4141 differing ways. Such variations can still be captured with
4144 One possibility is that the text has a melisma in one stanza, but
4145 multiple syllables in another one. One solution is to make the faster
4146 voice ignore the melisma. This is done by setting
4147 @code{ignoreMelismata} in the Lyrics context.
4149 There has one tricky aspect. The setting for @code{ignoreMelismata}
4150 must be set one syllable @emph{before} the non-melismatic syllable
4151 in the text, as shown here,
4153 @lilypond[verbatim,raggedright,quote]
4155 \relative \context Voice = "lahlah" {
4156 \set Staff.autoBeaming = ##f
4162 \new Lyrics \lyricsto "lahlah" {
4165 \new Lyrics \lyricsto "lahlah" {
4166 \set ignoreMelismata = ##t % applies to "fas"
4168 \unset ignoreMelismata
4175 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4176 should be entered before ``go''.
4178 The reverse is also possible: making a lyric line slower than the
4179 standard. This can be achieved by insert @code{\skip}s into the
4180 lyrics. For every @code{\skip}, the text will be delayed another note.
4183 @lilypond[verbatim,raggedright,quote]
4184 \relative { c c g' }
4191 More complex variations in text underlay are possible. It is possible
4192 to switch the melody for a line of lyrics during the text. This is
4193 done by setting the @code{associatedVoice} property. In the example
4195 @lilypond[raggedright,quote]
4197 \relative \context Voice = "lahlah" {
4198 \set Staff.autoBeaming = ##f
4201 \context Voice = alternative {
4204 % show associations clearly.
4205 \override NoteColumn #'force-hshift = #-3
4216 \new Lyrics \lyricsto "lahlah" {
4217 Ju -- ras -- sic Park
4219 \new Lyrics \lyricsto "lahlah" {
4220 % Tricky: need to set associatedVoice
4221 % one syllable too soon!
4222 \set associatedVoice = alternative % applies to "ran"
4226 \set associatedVoice = lahlah % applies to "rus"
4232 the text for the first stanza is set to a melody called ``lahlah'',
4235 \new Lyrics \lyricsto "lahlah" @{
4236 Ju -- ras -- sic Park
4241 The second stanza initially is set to the @code{lahlah} context, but
4242 for the syllable ``ran'', it switches to a different melody.
4243 This is achieved with
4245 \set associatedVoice = alternative
4249 Here, @code{alternative} is the name of the @code{Voice} context
4250 containing the triplet.
4252 Again, the command must be one syllable too early, before ``Ty'' in
4256 \new Lyrics \lyricsto "lahlah" @{
4257 \set associatedVoice = alternative % applies to "ran"
4261 \set associatedVoice = lahlah % applies to "rus"
4267 The underlay is switched back to the starting situation by assigning
4268 @code{lahlah} to @code{associatedVoice}.
4274 @subsection More stanzas
4276 @cindex phrasing, in lyrics
4279 @cindex stanza number
4280 @cindex singer's names
4281 @cindex name of singer
4283 Stanza numbers can be added by setting @code{stanza}, e.g.,
4285 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4287 \time 3/4 g2 e4 a2 f4 g2.
4290 Hi, my name is Bert.
4293 Oh, che -- ri, je t'aime
4297 These numbers are put just before the start of first syllable.
4299 Names of singers can also be added. They are printed at the start of
4300 the line, just like instrument names. They are created by setting
4301 @code{vocalName}. A short version may be entered as @code{vocNam}.
4304 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4306 \time 3/4 g2 e4 a2 f4 g2.
4308 \set vocalName = "Bert "
4309 Hi, my name is Bert.
4311 \set vocalName = "Ernie "
4312 Oh, che -- ri, je t'aime
4318 Program reference: Layout objects @internalsref{LyricText} and
4319 @internalsref{VocalName}. Music expressions
4320 @internalsref{LyricEvent}.
4328 The term @emph{ambitus} denotes a range of pitches for a given voice
4329 in a part of music. It may also denote the pitch range that a musical
4330 instrument is capable of playing. Ambits are printed on vocal parts,
4331 so performers can easily determine it meets their capabilities.
4333 Ambits are denoted at the beginning of a piece near the initial clef.
4334 The range is graphically specified by two note heads that represent the
4335 minimum and maximum pitch. To print such ambits, add the
4336 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4343 \consists Ambitus_engraver
4348 This results in the following output
4350 @lilypond[quote,raggedright]
4354 \consists Ambitus_engraver
4358 \relative \new Staff {
4363 If you have multiple voices in a single staff and you want a single
4364 ambitus per staff rather than per each voice, add the
4365 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4366 rather than to the @internalsref{Voice} context. Here is an example,
4368 @lilypond[verbatim,raggedright,quote]
4370 \consists "Ambitus_engraver"
4374 \remove "Ambitus_engraver"
4376 \override Ambitus #'X-offset-callbacks
4377 = #(list (lambda (grob axis) -1.0))
4382 \remove "Ambitus_engraver"
4391 This example uses one advanced feature,
4394 \override Ambitus #'X-offset-callbacks
4395 = #(list (lambda (grob axis) -1.0))
4399 This code moves the ambitus to the left. The same effect could have
4400 been achieved with @code{extra-offset}, but then the formatting system
4401 would not reserve space for the moved object.
4405 Program reference: @internalsref{Ambitus},
4406 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4407 @internalsref{AmbitusAccidental}.
4409 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
4413 There is no collision handling in the case of multiple per-voice
4416 @node Other vocal issues
4417 @subsection Other vocal issue
4420 yeah, I'm giving up somewhat by stuffing a bunch of things in
4421 here. But at least they're in the manual now; it's easier to
4422 move them around in the manual once they're already here.
4424 Besides, if users complain about everything stuffed in here, I
4425 can ask them for specific instructions about where to move these
4426 examples, and that might get them more involved in the docs. -gp
4429 You can display alternate (or divisi) lyrics by naming voice
4430 contexts and attaching lyrics to those specific contexts.
4432 @lilypond[verbatim,raggedright,quote]
4434 \context Voice = "melody" {
4439 \context Voice = splitpart { \voiceTwo c4 }
4444 \new Lyrics \lyricsto "melody" { we shall not o- ver- come }
4445 \new Lyrics \lyricsto "splitpart" { shall }
4450 You can use this trick to display different lyrics for a repeated
4453 @lilypond[verbatim,raggedright,quote]
4455 \context Voice = melody \relative c' {
4457 \context Voice = verse \repeat volta 2 {c4 d e f | g1 | }
4459 \lyricsto melody \context Lyrics = mainlyrics \lyricmode {
4462 \lyricsto verse \context Lyrics = mainlyrics \lyricmode {
4464 \lyricsto verse \context Lyrics = repeatlyrics \lyricmode {
4465 dodo rere mimi fafa solsol }
4471 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4472 @section Other instrument specific notation
4474 This section includes extra information for writing string music, and may
4475 include extra information for other instruments in the future.
4481 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4482 @subsection Harmonic notes
4484 @cindex artificial harmonics
4487 Artificial harmonics are notated with a different notehead style. They
4488 are entered by marking the harmonic pitch with @code{\harmonic}.
4490 @lilypond[raggedright,verbatim,quote,fragment]
4495 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4499 @cindex guitar tablature
4501 Tablature notation is used for notating music for plucked string
4502 instruments. Pitches are not denoted with note heads, but by
4503 indicating on which string and fret a note must be played. LilyPond
4504 offers limited support for tablature.
4507 * Tablatures basic::
4508 * Non-guitar tablatures::
4511 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4512 @subsection Tablatures basic
4513 @cindex Tablatures basic
4515 The string number associated to a note is given as a backslash
4516 followed by a number, e.g., @code{c4\3} for a C quarter on the third
4517 string. By default, string 1 is the highest one, and the tuning
4518 defaults to the standard guitar tuning (with 6 strings). The notes
4519 are printed as tablature, by using @internalsref{TabStaff} and
4520 @internalsref{TabVoice} contexts
4522 @lilypond[quote,raggedright,fragment,verbatim]
4529 @cindex @code{minimumFret}
4532 When no string is specified, the first string that does not give a
4533 fret number less than @code{minimumFret} is selected. The default
4534 value for @code{minimumFret} is 0
4539 \set TabStaff.minimumFret = #8
4542 @lilypond[quote,raggedright]
4546 \set TabStaff.minimumFret = #8
4549 \context StaffGroup <<
4550 \context Staff { \clef "G_8" \frag }
4551 \context TabStaff { \frag }
4557 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4558 @internalsref{StringNumberEvent}.
4562 Chords are not handled in a special way, and hence the automatic
4563 string selector may easily select the same string to two notes in a
4567 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4568 @subsection Non-guitar tablatures
4569 @cindex Non-guitar tablatures
4571 You can change the number of strings, by setting the number of lines
4572 in the @internalsref{TabStaff}.
4574 You can change the tuning of the strings. A string tuning is given as
4575 a Scheme list with one integer number for each string, the number
4576 being the pitch (measured in semitones relative to middle C) of an
4577 open string. The numbers specified for @code{stringTuning} are the
4578 numbers of semitones to subtract or add, starting the specified pitch
4579 by default middle C, in string order. In the next example,
4580 @code{stringTunings} is set for the pitches e, a, d, and g
4582 @lilypond[quote,raggedright,fragment,verbatim]
4583 \context TabStaff <<
4584 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4586 a,4 c' a e' e c' a e'
4593 No guitar special effects have been implemented.
4597 Program reference: @internalsref{Tab_note_heads_engraver}.
4600 @node Popular music, Orchestral music, Tablatures, Notation manual
4601 @section Popular music
4603 This section discusses issues that arise when writing popular music.
4608 * Printing chord names::
4613 @node Chord names, Chords mode, Popular music, Popular music
4614 @subsection Chord names
4617 LilyPond has support for printing chord names. Chords may be entered
4618 in musical chord notation, i.e., @code{< .. >}, but they can also be
4619 entered by name. Internally, the chords are represented as a set of
4620 pitches, so they can be transposed
4623 @lilypond[quote,raggedright,verbatim,raggedright]
4624 twoWays = \transpose c c' {
4633 << \context ChordNames \twoWays
4634 \context Voice \twoWays >>
4637 This example also shows that the chord printing routines do not try to
4638 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4641 @c this menu isn't needed.
4645 * Printing chord names::
4650 @subsection Chords mode
4653 In chord mode sets of pitches (chords) are entered with normal note
4654 names. A chord is entered by the root, which is entered like a
4657 @lilypond[quote,raggedright,fragment,verbatim]
4658 \chordmode { es4. d8 c2 }
4662 The mode is introduced by the keyword @code{\chordmode}.
4667 Other chords may be entered by suffixing a colon and introducing a
4668 modifier (which may include a number if desired)
4669 @lilypond[quote,fragment,verbatim]
4670 \chordmode { e1:m e1:7 e1:m7 }
4672 The first number following the root is taken to be the `type' of the
4673 chord, thirds are added to the root until it reaches the specified
4675 @lilypond[quote,fragment,verbatim]
4676 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4679 @cindex root of chord
4680 @cindex additions, in chords
4681 @cindex removals, in chords
4683 More complex chords may also be constructed adding separate steps
4684 to a chord. Additions are added after the number following
4685 the colon and are separated by dots
4686 @lilypond[quote,verbatim,fragment]
4687 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4689 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4691 @lilypond[quote,verbatim,fragment]
4692 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4694 Removals are specified similarly and are introduced by a caret. They
4695 must come after the additions
4696 @lilypond[quote,verbatim,fragment]
4697 \chordmode { c^3 c:7^5 c:9^3.5 }
4700 Modifiers can be used to change pitches. The following modifiers are
4705 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4708 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
4712 The augmented chord. This modifier raises the 5th step.
4715 The major 7th chord. This modifier raises the 7th step if present.
4718 The suspended 4th or 2nd. This modifier removes the 3rd
4719 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4723 Modifiers can be mixed with additions
4724 @lilypond[quote,verbatim,fragment]
4725 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4728 @cindex modifiers, in chords.
4735 Since an unaltered 11 does not sound good when combined with an
4736 unaltered 3, the 11 is removed in this case (unless it is added
4738 @lilypond[quote,raggedright,fragment,verbatim]
4739 \chordmode { c:13 c:13.11 c:m13 }
4744 An inversion (putting one pitch of the chord on the bottom), as well
4745 as bass notes, can be specified by appending
4746 @code{/}@var{pitch} to the chord
4747 @lilypond[quote,raggedright,fragment,verbatim]
4748 \chordmode { c1 c/g c/f }
4752 A bass note can be added instead transposed out of the chord,
4753 by using @code{/+}@var{pitch}.
4755 @lilypond[quote,raggedright,fragment,verbatim]
4756 \chordmode { c1 c/+g c/+f }
4759 Chords is a mode similar to @code{\lyricmode}, etc. Most
4760 of the commands continue to work, for example, @code{r} and
4761 @code{\skip} can be used to insert rests and spaces, and property
4762 commands may be used to change various settings.
4768 Each step can only be present in a chord once. The following
4769 simply produces the augmented chord, since @code{5+} is interpreted
4772 @lilypond[quote,raggedright,verbatim,fragment]
4773 \chordmode { c:5.5-.5+ }
4777 @node Printing chord names
4778 @subsection Printing chord names
4780 @cindex printing chord names
4784 For displaying printed chord names, use the @internalsref{ChordNames} context.
4785 The chords may be entered either using the notation
4786 described above, or directly using @code{<} and @code{>}
4788 @lilypond[quote,verbatim,raggedright]
4790 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4793 \context ChordNames \harmonies
4794 \context Staff \harmonies
4798 You can make the chord changes stand out by setting
4799 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4800 display chord names when there is a change in the chords scheme and at
4801 the start of a new line
4803 @lilypond[quote,verbatim,raggedright]
4804 harmonies = \chordmode {
4805 c1:m c:m \break c:m c:m d
4808 \context ChordNames {
4809 \set chordChanges = ##t
4811 \context Staff \transpose c c' \harmonies
4815 The previous examples all show chords over a staff. This is not
4816 necessary. Chords may also be printed separately. It may be necessary
4817 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4818 for showing repeats.
4820 @lilypond[raggedright,verbatim]
4821 \new ChordNames \with {
4822 \override BarLine #'bar-size = #4
4823 voltaOnThisStaff = ##t
4824 \consists Bar_engraver
4825 \consists "Volta_engraver"
4827 \repeat volta 2 \chordmode {
4836 The default chord name layout is a system for Jazz music, proposed by
4837 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4838 following properties
4841 @cindex @code{chordNameExceptions}
4842 @item chordNameExceptions
4843 This is a list that contains the chords that have special formatting.
4845 The exceptions list should be encoded as
4847 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
4850 To get this information into @code{chordNameExceptions} takes a little
4851 manoeuvring. The following code transforms @code{chExceptionMusic}
4852 (which is a sequential music) into a list of exceptions.
4854 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4859 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4862 adds the new exceptions to the default ones, which are defined in
4863 @file{ly/@/chord@/-modifier@/-init@/.ly}.
4865 For an example of tuning this property, see also
4866 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
4867 @cindex exceptions, chord names.
4870 @cindex @code{majorSevenSymbol}
4871 @item majorSevenSymbol
4872 This property contains the markup object used for the 7th step, when
4873 it is major. Predefined options are @code{whiteTriangleMarkup} and
4874 @code{blackTriangleMarkup}. See
4875 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
4877 @cindex @code{chordNameSeparator}
4878 @item chordNameSeparator
4879 Different parts of a chord name are normally separated by a
4880 slash. By setting @code{chordNameSeparator}, you can specify other
4882 @lilypond[quote,raggedright,fragment,verbatim]
4883 \context ChordNames \chordmode {
4885 \set chordNameSeparator
4886 = \markup { \typewriter "|" }
4891 @cindex @code{chordRootNamer}
4892 @item chordRootNamer
4893 The root of a chord is usually printed as a letter with an optional
4894 alteration. The transformation from pitch to letter is done by this
4895 function. Special note names (for example, the German ``H'' for a
4896 B-chord) can be produced by storing a new function in this property.
4898 @cindex @code{chordNoteNamer}
4899 @item chordNoteNamer
4900 The default is to print single pitch, e.g., the bass note, using the
4901 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4902 to a specialized function to change this behavior. For example, the
4903 base can be printed in lower case.
4907 The predefined variables @code{\germanChords},
4908 @code{\semiGermanChords} set these variables. The effect is
4911 @lilypondfile[raggedright]{chord-names-german.ly}
4913 There are also two other chord name schemes implemented: an alternate
4914 Jazz chord notation, and a systematic scheme called Banter chords. The
4915 alternate Jazz notation is also shown on the chart in @ref{Chord name
4916 chart}. Turning on these styles is described in the input file
4917 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4921 @cindex chords, jazz
4926 @cindex @code{\germanChords}
4927 @code{\germanChords},
4928 @cindex @code{\semiGermanChords}
4929 @code{\semiGermanChords}.
4936 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
4937 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
4938 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4941 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
4942 @file{scm/@/chord@/-entry@/.scm}.
4947 Chord names are determined solely from the list of pitches. Chord
4948 inversions are not identified, and neither are added bass notes. This
4949 may result in strange chord names when chords are entered with the
4950 @code{< .. >} syntax.
4954 @subsection Fret diagrams
4955 @cindex fret diagrams
4956 @cindex chord diagrams
4958 Fret diagrams can be added to music as a markup to the desired note. The
4959 markup contains information about the desired fret diagram, as shown in the
4962 @lilypond[verbatim, raggedright, quote]
4964 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4966 fis' ^\markup \override #'(size . 0.75) {
4967 \override #'(finger-code . below-string) {
4968 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4969 (place-fret 5 4 3) (place-fret 4 4 4)
4970 (place-fret 3 3 2) (place-fret 2 2 1)
4975 c' ^\markup \override #'(dot-radius . 0.35) {
4976 \override #'(finger-code . in-dot) {
4977 \override #'(dot-color . white) {
4978 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
4987 There are three different fret-diagram markup interfaces: standard, terse,
4988 and verbose. The three interfaces produce equivalent markups, but have
4989 varying amounts of information in the markup string. Details about the
4990 markup interfaces are found at @ref{Overview of text markup commands}.
4992 You can set a number of graphical properties according to your preference.
4993 Details about the property interface to fret diagrams are found at
4994 @internalsref{fret-diagram-interface}.
4999 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
5003 @subsection Improvisation
5005 Improvisation is sometimes denoted with slashed note heads. Such note
5006 heads can be created by adding a @internalsref{Pitch_squash_engraver}
5007 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
5011 \set squashedPosition = #0
5012 \override NoteHead #'style = #'slash
5016 switches on the slashes.
5018 There are shortcuts @code{\improvisationOn} (and an accompanying
5019 @code{\improvisationOff}) for this command sequence. They are used in
5020 the following example
5022 @lilypond[verbatim,raggedright,quote]
5024 \consists Pitch_squash_engraver
5026 e8 e g a a16(bes)(a8) g \improvisationOn
5029 ~fis2 \improvisationOff a16(bes) a8 g e
5035 @node Orchestral music
5036 @section Orchestral music
5038 @cindex Writing parts
5040 Orchestral music involves some special notation, both in the full
5041 score and the individual parts. This section explains how to tackle
5042 some common problems in orchestral music.
5047 * System start delimiters::
5048 * Aligning to cadenzas::
5051 * Instrument names::
5053 * Instrument transpositions::
5054 * Multi measure rests::
5055 * Automatic part combining::
5057 * Different editions from one source::
5058 * Quoting other voices::
5059 * Formatting cue notes::
5062 @node System start delimiters
5063 @subsection System start delimiters
5065 Polyphonic scores consist of many staves. These staves can be
5066 constructed in three different ways
5068 @item The group is started with a brace at the left, and bar lines are
5069 connected. This is done with the @internalsref{GrandStaff} context.
5071 @lilypond[verbatim,raggedright,quote]
5080 @item The group is started with a bracket, and bar lines are connected.
5081 This is done with the
5082 @internalsref{StaffGroup} context
5084 @lilypond[verbatim,raggedright,quote]
5093 @item The group is started with a vertical line. Bar lines are not
5094 connected. This is the default for the score.
5096 @lilypond[verbatim,raggedright,quote]
5105 @cindex Staff, multiple
5106 @cindex bracket, vertical
5107 @cindex brace, vertical
5114 The bar lines at the start of each system are
5115 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
5116 @internalsref{SystemStartBracket}. Only one of these types is created
5117 in every context, and that type is determined by the property
5118 @code{systemStartDelimiter}.
5120 @node Aligning to cadenzas
5121 @subsection Aligning to cadenzas
5124 In an orchestral context, cadenzas present a special problem:
5125 when constructing a score that includes a cadenza, all other
5126 instruments should skip just as many notes as the length of the
5127 cadenza, otherwise they will start too soon or too late.
5129 A solution to this problem are the functions @code{mmrest-of-length}
5130 and @code{skip-of-length}. These Scheme functions take a piece of music
5131 as argument, and generate a @code{\skip} or multi-rest, exactly as
5132 long as the piece. The use of @code{mmrest-of-length} is demonstrated
5133 in the following example.
5135 @lilypond[verbatim,raggedright,quote]
5136 cadenza = \relative c' {
5137 c4 d8 << { e f g } \\ { d4. } >>
5142 \new Staff { \cadenza c'4 }
5144 #(ly:export (mmrest-of-length cadenza))
5154 @node Rehearsal marks
5155 @subsection Rehearsal marks
5156 @cindex Rehearsal marks
5158 @cindex @code{\mark}
5160 To print a rehearsal mark, use the @code{\mark} command
5162 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
5171 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
5172 @c umm, is the manual the right place for feature requests? :) -gp
5173 @c FIXME - should make that tunable.
5175 The mark is incremented automatically if you use @code{\mark
5176 \default}, but you can also use an integer argument to set the mark
5177 manually. The value to use is stored in the property
5178 @code{rehearsalMark}.
5180 The style is defined by the property @code{markFormatter}. It is a
5181 function taking the current mark (an integer) and the current context
5182 as argument. It should return a markup object. In the following
5183 example, @code{markFormatter} is set to a canned procedure. After a
5184 few measures, it is set to function that produces a boxed number.
5186 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5187 \set Score.markFormatter = #format-mark-numbers
5190 \set Score.markFormatter = #format-mark-box-numbers
5196 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
5197 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
5198 @code{format-mark-letters} and @code{format-mark-box-letters}.
5199 These can be used as inspiration for other formatting functions.
5202 @cindex coda on bar line
5203 @cindex segno on bar line
5204 @cindex fermata on bar line
5205 @cindex bar lines, symbols on
5207 The @code{\mark} command can also be used to put signs like coda,
5208 segno, and fermata on a bar line. Use @code{\markup} to
5209 access the appropriate symbol
5211 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5212 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
5216 In the case of a line break, marks must also be printed at the end of
5217 the line, and not at the beginning. Use the following to force that
5220 \override Score.RehearsalMark
5221 #'break-visibility = #begin-of-line-invisible
5227 @cindex bar lines, putting symbols on
5231 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5233 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
5234 definition of @code{format-mark-numbers} and
5235 @code{format-mark-letters}. They can be used as inspiration for other
5236 formatting functions.
5238 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
5240 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
5244 @subsection Bar numbers
5248 @cindex measure numbers
5249 @cindex @code{currentBarNumber}
5251 Bar numbers are printed by default at the start of the line. The
5252 number itself is stored in the @code{currentBarNumber} property, which
5253 is normally updated automatically for every measure.
5255 Bar numbers can be typeset at regular intervals instead of at the
5256 beginning of each line. This is illustrated in the following example,
5257 whose source is available as
5258 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
5260 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5262 Bar numbers can be typeset manually by tweaking the
5263 @code{markFormatter} property
5265 @lilypond[verbatim,raggedright,quote]
5267 \set Score.markFormatter
5268 = #(lambda (mark context)
5271 (number->string (ly:context-property context
5272 'currentBarNumber)))))
5274 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
5278 Bar numbers can be manually changed by setting the
5279 @code{Staff.currentBarNumber} property
5281 @lilypond[verbatim,raggedright,quote]
5283 \repeat unfold 4 {c4 c c c} \break
5284 \set Score.currentBarNumber = #50
5285 \repeat unfold 4 {c4 c c c}
5291 Program reference: @internalsref{BarNumber}.
5294 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
5295 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
5299 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5300 there is one at the top. To solve this, the
5301 @code{padding} property of @internalsref{BarNumber} can be
5302 used to position the number correctly.
5304 @node Instrument names
5305 @subsection Instrument names
5307 In an orchestral score, instrument names are printed at the left side
5310 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5311 and @internalsref{Staff}.@code{instr}. This will print a string before
5312 the start of the staff. For the first staff, @code{instrument} is
5313 used, for the following ones, @code{instr} is used.
5315 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5316 \set Staff.instrument = "Ploink "
5317 \set Staff.instr = "Plk "
5323 You can also use markup texts to construct more complicated instrument
5326 @lilypond[quote,fragment,verbatim,raggedright]
5327 \set Staff.instrument = \markup {
5328 \column { "Clarinetti"
5329 \line { "in B" \smaller \flat } } }
5333 For longer instrument names, it may be useful to increase the
5334 @code{indent} setting in the @code{\layout} block.
5338 Program reference: @internalsref{InstrumentName}.
5342 When you put a name on a grand staff or piano staff, the width of the
5343 brace is not taken into account. You must add extra spaces to the end of
5344 the name to avoid a collision.
5347 @subsection Transpose
5349 @cindex transposition of pitches
5350 @cindex @code{\transpose}
5352 A music expression can be transposed with @code{\transpose}. The
5355 \transpose @var{from} @var{to} @var{musicexpr}
5358 This means that @var{musicexpr} is transposed by the interval between
5359 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5360 is changed to @code{to}.
5363 For example, consider a piece written in the key of D-major. If
5364 this piece is a little too low for its performer, it can be
5365 transposed up to E-major with
5367 \transpose d e @dots{}
5370 Consider a part written for violin (a C instrument). If
5371 this part is to be played on the A clarinet, the following
5372 transposition will produce the appropriate part
5375 \transpose a c @dots{}
5378 @code{\transpose} distinguishes between enharmonic pitches: both
5379 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5380 half a tone. The first version will print sharps and the second
5381 version will print flats
5383 @lilypond[quote,raggedright,verbatim]
5384 mus = { \key d \major cis d fis g }
5388 \transpose c g' \mus
5389 \transpose c f' \mus
5396 Program reference: @internalsref{TransposedMusic}, and
5397 @internalsref{UntransposableMusic}.
5401 If you want to use both @code{\transpose} and @code{\relative},
5402 you must put @code{\transpose} outside of @code{\relative}, since
5403 @code{\relative} will have no effect music that appears inside a
5406 @node Instrument transpositions
5407 @subsection Instrument transpositions
5409 The key of a transposing instrument can also be specified. This
5410 applies to many wind instruments, for example, clarinets (B-flat, A, and
5411 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
5413 The transposition is entered after the keyword @code{\transposition}
5416 \transposition bes %% B-flat clarinet
5420 This command sets the property @code{instrumentTransposition}. The value of
5421 this property is used for MIDI output and quotations. It does not
5422 affect how notes are printed in the current staff.
5424 The pitch to use for @code{\transposition} should correspond to the
5425 transposition of the notes. For example, when entering a score in
5426 concert pitch, typically all voices are entered in C, so
5427 they should be entered as
5440 The command @code{\transposition} should be used when the music is
5441 entered from a (transposed) orchestral part. For example, in
5442 classical horn parts, the tuning of the instrument is often changed
5443 during a piece. When copying the notes from the part, use
5444 @code{\transposition}, e.g.,
5457 @cindex transposition, MIDI
5458 @cindex transposition, instrument
5461 @node Multi measure rests
5462 @subsection Multi measure rests
5463 @cindex multi measure rests
5464 @cindex Rests, multi measure
5468 Multi-measure rests are entered using `@code{R}'. It is specifically
5469 meant for full bar rests and for entering parts: the rest can expand
5470 to fill a score with rests, or it can be printed as a single
5471 multi-measure rest. This expansion is controlled by the property
5472 @code{Score.skipBars}. If this is set to true, empty measures will not
5473 be expanded, and the appropriate number is added automatically
5475 @lilypond[quote,raggedright,fragment,verbatim]
5476 \time 4/4 r1 | R1 | R1*2
5477 \set Score.skipBars = ##t R1*17 R1*4
5480 The @code{1} in @code{R1} is similar to the duration notation used for
5481 notes. Hence, for time signatures other than 4/4, you must enter other
5482 durations. This can be done with augmentation dots or fractions
5484 @lilypond[quote,raggedright,fragment,verbatim]
5485 \set Score.skipBars = ##t
5494 An @code{R} spanning a single measure is printed as either a whole rest
5495 or a breve, centered in the measure regardless of the time signature.
5497 If there are only a few measures of rest, LilyPond prints ``church rests''
5498 (a series of rectangles) in the staff. To replace that with a simple
5499 rest, use @code{MultiMeasureRest.expand-limit}.
5501 @lilypond[quote,raggedright,fragment,verbatim]
5502 \set Score.skipBars = ##t
5504 \override MultiMeasureRest #'expand-limit = 1
5509 @cindex text on multi-measure rest
5510 @cindex script on multi-measure rest
5511 @cindex fermata on multi-measure rest
5513 Texts can be added to multi-measure rests by using the
5514 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5515 A variable (@code{\fermataMarkup}) is provided for
5518 @lilypond[quote,raggedright,verbatim,fragment]
5519 \set Score.skipBars = ##t
5521 R2.*10^\markup { \italic "ad lib." }
5525 If you want to have text on the left end of a multi-measure rest,
5526 attach the text to a zero-length skip note, i.e.,
5534 @cindex whole rests for a full measure
5538 Program reference: @internalsref{MultiMeasureRestEvent},
5539 @internalsref{MultiMeasureTextEvent},
5540 @internalsref{MultiMeasureRestMusicGroup}, and
5541 @internalsref{MultiMeasureRest}.
5543 The layout object @internalsref{MultiMeasureRestNumber} is for the
5544 default number, and @internalsref{MultiMeasureRestText} for user
5549 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
5550 over multi-measure rests. And the pitch of multi-measure rests (or
5551 staff-centered rests) can not be influenced.
5553 @cindex condensing rests
5555 There is no way to automatically condense multiple rests into a single
5556 multi-measure rest. Multi-measure rests do not take part in rest
5559 Be careful when entering multi-measure rests followed by whole
5560 notes. The following will enter two notes lasting four measures each
5564 When @code{skipBars} is set, the result will look OK, but the bar
5565 numbering will be off.
5567 @node Automatic part combining
5568 @subsection Automatic part combining
5569 @cindex automatic part combining
5570 @cindex part combiner
5573 Automatic part combining is used to merge two parts of music onto a
5574 staff. It is aimed at typesetting orchestral scores. When the two
5575 parts are identical for a period of time, only one is shown. In
5576 places where the two parts differ, they are typeset as separate
5577 voices, and stem directions are set automatically. Also, solo and
5578 @emph{a due} parts are identified and can be marked.
5580 The syntax for part combining is
5583 \partcombine @var{musicexpr1} @var{musicexpr2}
5588 The following example demonstrates the basic functionality of the part
5589 combiner: putting parts on one staff, and setting stem directions and
5592 @lilypond[quote,verbatim,raggedright,fragment]
5593 \new Staff \partcombine
5594 \relative g' { g g a( b) c c r r }
5595 \relative g' { g g r4 r e e g g }
5598 The first @code{g} appears only once, although it was
5599 specified twice (once in each part). Stem, slur, and tie directions are
5600 set automatically, depending whether there is a solo or unisono. The
5601 first part (with context called @code{one}) always gets up stems, and
5602 `Solo', while the second (called @code{two}) always gets down stems and
5605 If you just want the merging parts, and not the textual markings, you
5606 may set the property @code{printPartCombineTexts} to false
5608 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5610 \set Staff.printPartCombineTexts = ##f
5612 \relative g' { g a( b) r }
5613 \relative g' { g r4 r f }
5617 To change the text that is printed for solos or merging, you may
5618 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
5621 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5623 \set Score.soloText = #"ichi"
5624 \set Score.soloIIText = #"ni"
5625 \set Score.aDueText = #"tachi"
5627 \relative g' { g a( b) r }
5628 \relative g' { g r4 r f }
5632 Both arguments to @code{\partcombine} will be interpreted as
5633 @internalsref{Voice} contexts. If using relative octaves,
5634 @code{\relative} should be specified for both music expressions, i.e.,
5638 \relative @dots{} @var{musicexpr1}
5639 \relative @dots{} @var{musicexpr2}
5643 A @code{\relative} section that is outside of @code{\partcombine} has
5644 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5648 Program reference: @internalsref{PartCombineMusic},
5649 @internalsref{SoloOneEvent}, and
5650 @internalsref{SoloTwoEvent}, and
5651 @internalsref{UnisonoEvent}.
5655 When @code{printPartCombineTexts} is set, when the two voices play the
5656 same notes on and off, the part combiner may typeset @code{a2} more
5657 than once in a measure.
5659 @code{\partcombine} cannot be inside @code{\times}.
5661 @code{\partcombine} cannot be inside @code{\relative}.
5663 Internally, the @code{\partcombine} interprets both arguments as
5664 @code{Voice}s named @code{one} and @code{two}, and then decides when
5665 the parts can be combined. Consequently, if the arguments switch to
5666 differently named @internalsref{Voice} contexts, the events in those
5670 @subsection Hiding staves
5672 @cindex Frenched scores
5673 @cindex Hiding staves
5675 In orchestral scores, staff lines that only have rests are usually
5676 removed. This saves some space. This style is called `French Score'.
5677 For @internalsref{Lyrics},
5678 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5679 switched on by default. When the lines of these contexts turn out
5680 empty after the line-breaking process, they are removed.
5682 For normal staves, a specialized @internalsref{Staff} context is
5683 available, which does the same: staves containing nothing (or only
5684 multi-measure rests) are removed. The context definition is stored in
5685 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5686 in this example disappears in the second line
5688 @lilypond[quote,raggedright,verbatim]
5690 \context { \RemoveEmptyStaffContext }
5695 \new Staff { e4 f g a \break c1 }
5696 \new Staff { c4 d e f \break R1 }
5701 The first system shows all staves in full. If empty staves should be
5702 removed from the first system too, set @code{remove-first} to false in
5703 @internalsref{RemoveEmptyVerticalGroup}.
5705 Another application is making ossia sections, i.e., alternative
5706 melodies on a separate piece of staff, with help of a Frenched
5707 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
5710 @node Different editions from one source
5711 @subsection Different editions from one source
5714 The @code{\tag} command marks music expressions with a name. These
5715 tagged expressions can be filtered out later. With this mechanism it
5716 is possible to make different versions of the same music source.
5718 In the following example, we see two versions of a piece of music, one
5719 for the full score, and one with cue notes for the instrumental part
5735 The same can be applied to articulations, texts, etc.: they are
5738 -\tag #@var{your-tag}
5740 to an articulation, for example,
5745 This defines a note with a conditional fingering indication.
5748 @cindex removeWithTag
5749 By applying the @code{\keepWithTag} and @code{\removeWithTag}
5750 commands, tagged expressions can be filtered. For example,
5754 \keepWithTag #'score @var{the music}
5755 \keepWithTag #'part @var{the music}
5760 @lilypondfile[raggedright,quote]{tag-filter.ly}
5763 The argument of the @code{\tag} command should be a symbol, or a list
5764 of symbols, for example,
5766 \tag #'(original-part transposed-part) @dots{}
5773 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
5777 Multiple rests are not merged if you create the score with both tagged
5781 @node Quoting other voices
5782 @subsection Quoting other voices
5784 With quotations, fragments of other parts can be inserted into a part
5785 directly. Before a part can be quoted, it must be marked especially as
5786 quotable. This is done with the @code{\addquote} command.
5789 \addquote @var{name} @var{music}
5794 Here, @var{name} is an identifying string. The @var{music} is any kind
5795 of music. Here is an example of @code{\addquote}
5798 \addquote clarinet \relative c' @{
5803 This command must be entered at toplevel, i.e., outside any music
5806 After calling @code{\addquote}, the quotation may then be done with
5807 @code{\quoteDuring} or @code{\cueDuring},
5810 \quoteDuring #@var{name} @var{music}
5813 During a part, a piece of music can be quoted with the @code{\quoteDuring}
5817 \quoteDuring #"clarinet" @{ s2. @}
5820 This would cite three quarter notes (the duration of @code{s2.}) of
5821 the previously added @code{clarinet} voice.
5824 More precisely, it takes the current time-step of the part being
5825 printed, and extracts the notes at the corresponding point of the
5826 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5827 should be the entire part of the voice to be quoted, including any
5828 rests at the beginning.
5830 Quotations take into account the transposition of both source and target
5831 instruments, if they are specified using the @code{\transposition} command.
5833 @lilypond[quote,raggedright,verbatim]
5834 \addquote clarinet \relative c' {
5840 e'8 f'8 \quoteDuring #"clarinet" { s2 }
5844 The type of events that are present in cue notes can be trimmed with
5845 the @code{quotedEventTypes} property. The default value is
5846 @code{(note-event rest-event)}, which means that only notes and
5847 rests of the cued voice end up in the @code{\quoteDuring}.
5851 \set Staff.quotedEventTypes =
5852 #'(note-event articulation-event dynamic-event)
5856 will quote notes (but no rests), together with scripts and dynamics.
5860 Only the contents of the first @internalsref{Voice} occurring in an
5861 @code{\addquote} command will be considered for quotation, so
5862 @var{music} can not contain @code{\new} and @code{\context Voice}
5863 statements that would switch to a different Voice.
5865 Quoting grace notes is broken and can even cause LilyPond to crash.
5869 In this manual: @ref{Instrument transpositions}.
5871 Examples: @inputfileref{input/@/regression,quote@/.ly}
5872 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
5874 Program reference: @internalsref{QuoteMusic}.
5876 @node Formatting cue notes
5877 @subsection Formatting cue notes
5879 The previous section deals with inserting notes from another voice.
5880 There is a more advanced music function called @code{\cueDuring},
5881 which makes formatting cue notes easier.
5886 \cueDuring #@var{name} #@var{updown} @var{music}
5889 This will insert notes from the part @var{name} into a
5890 @internalsref{Voice} called @code{cue}. This happens simultaneously
5891 with @var{music}, which usually is a rest. When the cue notes start,
5892 the staff in effect becomes polyphonic for a moment. The argument
5893 @var{updown} determines whether the cue notes should be notated as a
5894 first or second voice.
5897 @lilypond[verbatim,raggedright]
5900 \override Stem #'length = #5.5
5901 \override Beam #'thickness = #0.384
5902 \override Beam #'space-function =
5903 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5906 \addquote clarinet \relative {
5911 \new Staff \relative <<
5913 % setup a context for cue notes.
5914 \context Voice = cue { \smaller \skip 1*21 }
5916 \set Score.skipBars = ##t
5920 \cueDuring #"clarinet" #1 {
5929 Here are a couple of hints for successful cue notes
5933 Cue notes have smaller font sizes.
5935 the cued part is marked with the instrument playing the cue.
5937 when the original part takes over again, this should be marked with
5938 the name of the original instrument.
5940 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5942 @c Yes, this is good practice. Otherwise, the start of the original
5943 @c part can only be seen from the font size. This is not good enough
5944 @c for sight-reading. It is possilbe to use other
5945 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
5950 any other changes introduced by the cued part should also be
5951 undone. For example, if the cued instrument plays in a different clef,
5952 the original clef should be stated once again.
5960 @node Ancient notation
5961 @section Ancient notation
5963 @cindex Vaticana, Editio
5964 @cindex Medicaea, Editio
5969 Support for ancient notation includes features for mensural notation
5970 and Gregorian Chant notation. There is also limited support for
5971 figured bass notation.
5973 Many graphical objects provide a @code{style} property, see
5976 @ref{Ancient note heads},
5978 @ref{Ancient accidentals},
5980 @ref{Ancient rests},
5982 @ref{Ancient clefs},
5984 @ref{Ancient flags},
5986 @ref{Ancient time signatures}.
5989 By manipulating such a grob property, the typographical appearance of
5990 the affected graphical objects can be accommodated for a specific
5991 notation flavor without the need for introducing any new notational
5994 In addition to the standard articulation signs described in section
5995 @ref{Articulations}, specific articulation signs for ancient notation
6000 @ref{Ancient articulations}
6003 Other aspects of ancient notation can not that easily be expressed
6004 in terms of just changing a style property of a graphical object or
6005 adding articulation signs. Some notational concepts are introduced
6006 specifically for ancient notation,
6017 If this all is too much of documentation for you, and you just want to
6018 dive into typesetting without worrying too much about the details on
6019 how to customize a context, you may have a look at the predefined
6020 contexts. Use them to set up predefined style-specific voice and
6021 staff contexts, and directly go ahead with the note entry,
6025 @ref{Gregorian Chant contexts},
6027 @ref{Mensural contexts}.
6030 There is limited support for figured bass notation which came
6031 up during the baroque period.
6038 Here are all suptopics at a glance:
6041 * Ancient note heads::
6042 * Ancient accidentals::
6046 * Ancient time signatures::
6047 * Ancient articulations::
6051 * Gregorian Chant contexts::
6052 * Mensural contexts::
6057 @node Ancient note heads
6058 @subsection Ancient note heads
6063 For ancient notation, a note head style other than the @code{default}
6064 style may be chosen. This is accomplished by setting the @code{style}
6065 property of the @internalsref{NoteHead} object to @code{baroque},
6066 @code{neomensural} or @code{mensural}. The @code{baroque} style
6067 differs from the @code{default} style only in using a square shape
6068 for @code{\breve} note heads. The @code{neomensural} style differs from
6069 the @code{baroque} style in that it uses rhomboidal heads for whole notes
6070 and all smaller durations. Stems are centered on the note heads.
6071 This style is particularly useful when transcribing mensural music,
6072 e.g., for the incipit. The @code{mensural} style finally produces note
6073 heads that mimic the look of note heads in historic printings of the
6076 The following example demonstrates the @code{neomensural} style
6078 @lilypond[quote,fragment,raggedright,verbatim]
6079 \set Score.skipBars = ##t
6080 \override NoteHead #'style = #'neomensural
6081 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
6084 When typesetting a piece in Gregorian Chant notation, the
6085 @internalsref{Gregorian_ligature_engraver} will automatically select
6086 the proper note heads, so there is no need to explicitly set the
6087 note head style. Still, the note head style can be set, e.g., to
6088 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
6089 @internalsref{Mensural_ligature_engraver} is used to automatically
6090 assemble mensural ligatures. See @ref{Ligatures} for how ligature
6095 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
6096 overview over all available note head styles.
6099 @node Ancient accidentals
6100 @subsection Ancient accidentals
6105 Use the @code{style} property of grob @internalsref{Accidental} to
6106 select ancient accidentals. Supported styles are
6107 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
6109 @lilypond[quote,raggedright,staffsize=26]
6116 \line { " " \musicglyph #"accidentals-vaticana-1"
6117 " " \musicglyph #"accidentals-vaticana0" }
6121 \line { " " \musicglyph #"accidentals-medicaea-1" }
6125 \line { " " \musicglyph #"accidentals-hufnagel-1" }
6129 \line { " " \musicglyph #"accidentals-mensural-1"
6130 " " \musicglyph #"accidentals-mensural1" }
6136 \context { \Score \remove "Bar_number_engraver" }
6138 \remove "Clef_engraver"
6139 \remove "Key_engraver"
6140 \remove "Time_signature_engraver"
6141 \remove "Staff_symbol_engraver"
6142 minimumVerticalExtent = ##f
6148 As shown, not all accidentals are supported by each style. When
6149 trying to access an unsupported accidental, LilyPond will switch to a
6150 different style, as demonstrated in
6151 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6153 Similarly to local accidentals, the style of the key signature can be
6154 controlled by the @code{style} property of the
6155 @internalsref{KeySignature} grob.
6159 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
6160 @ref{Accidentals} give a general introduction of the use of
6161 accidentals. @ref{Key signature} gives a general introduction of
6162 the use of key signatures.
6164 Program reference: @internalsref{KeySignature}.
6166 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6169 @subsection Ancient rests
6174 Use the @code{style} property of grob @internalsref{Rest} to select
6175 ancient rests. Supported styles are @code{classical},
6176 @code{neomensural}, and @code{mensural}. @code{classical} differs
6177 from the @code{default} style only in that the quarter rest looks like
6178 a horizontally mirrored 8th rest. The @code{neomensural} style suits
6179 well for, e.g., the incipit of a transcribed mensural piece of music.
6180 The @code{mensural} style finally mimics the appearance of rests as
6181 in historic prints of the 16th century.
6183 The following example demonstrates the @code{neomensural} style
6185 @lilypond[quote,fragment,raggedright,verbatim]
6186 \set Score.skipBars = ##t
6187 \override Rest #'style = #'neomensural
6188 r\longa r\breve r1 r2 r4 r8 r16
6191 There are no 32th and 64th rests specifically for the mensural or
6192 neo-mensural style. Instead, the rests from the default style will be
6193 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
6196 There are no rests in Gregorian Chant notation; instead, it uses
6201 In this manual: @ref{Rests} gives a general introduction into the use of rests.
6205 @subsection Ancient clefs
6210 LilyPond supports a variety of clefs, many of them ancient.
6212 The following table shows all ancient clefs that are supported via the
6213 @code{\clef} command. Some of the clefs use the same glyph, but
6214 differ only with respect to the line they are printed on. In such
6215 cases, a trailing number in the name is used to enumerate these clefs.
6216 Still, you can manually force a clef glyph to be typeset on an
6217 arbitrary line, as described in @ref{Clef}. The note printed to the
6218 right side of each clef in the example column denotes the @code{c'}
6219 with respect to that clef.
6221 @multitable @columnfractions .4 .4 .2
6230 modern style mensural C clef
6232 @code{neomensural-c1}, @code{neomensural-c2},@*
6233 @code{neomensural-c3}, @code{neomensural-c4}
6235 @lilypond[fragment,relative=1,notime]
6236 \clef "neomensural-c2" c
6240 petrucci style mensural C clefs, for use on different staff lines
6241 (the examples show the 2nd staff line C clef)
6243 @code{petrucci-c1}, @code{petrucci-c2},@*
6244 @code{petrucci-c3}, @code{petrucci-c4},@*
6247 @lilypond[fragment,relative=1,notime]
6248 \clef "petrucci-c2" c
6252 petrucci style mensural F clef
6256 @lilypond[fragment,relative=1,notime]
6257 \clef "petrucci-f" c
6261 petrucci style mensural G clef
6265 @lilypond[fragment,relative=1,notime]
6266 \clef "petrucci-g" c
6270 historic style mensural C clef
6272 @code{mensural-c1}, @code{mensural-c2},@*
6273 @code{mensural-c3}, @code{mensural-c4}
6275 @lilypond[fragment,relative=1,notime]
6276 \clef "mensural-c2" c
6280 historic style mensural F clef
6284 @lilypond[fragment,relative=1,notime]
6285 \clef "mensural-f" c
6289 historic style mensural G clef
6293 @lilypond[fragment,relative=1,notime]
6294 \clef "mensural-g" c
6298 Editio Vaticana style do clef
6300 @code{vaticana-do1}, @code{vaticana-do2},@*
6303 @lilypond[fragment,relative=1,notime]
6304 \override Staff.StaffSymbol #'line-count = #4
6305 \clef "vaticana-do2" c
6309 Editio Vaticana style fa clef
6311 @code{vaticana-fa1}, @code{vaticana-fa2}
6313 @lilypond[fragment,relative=1,notime]
6314 \override Staff.StaffSymbol #'line-count = #4
6315 \clef "vaticana-fa2" c
6319 Editio Medicaea style do clef
6321 @code{medicaea-do1}, @code{medicaea-do2},@*
6324 @lilypond[fragment,relative=1,notime]
6325 \override Staff.StaffSymbol #'line-count = #4
6326 \clef "medicaea-do2" c
6330 Editio Medicaea style fa clef
6332 @code{medicaea-fa1}, @code{medicaea-fa2}
6334 @lilypond[fragment,relative=1,notime]
6335 \override Staff.StaffSymbol #'line-count = #4
6336 \clef "medicaea-fa2" c
6340 historic style hufnagel do clef
6342 @code{hufnagel-do1}, @code{hufnagel-do2},@*
6345 @lilypond[fragment,relative=1,notime]
6346 \override Staff.StaffSymbol #'line-count = #4
6347 \clef "hufnagel-do2" c
6351 historic style hufnagel fa clef
6353 @code{hufnagel-fa1}, @code{hufnagel-fa2}
6355 @lilypond[fragment,relative=1,notime]
6356 \override Staff.StaffSymbol #'line-count = #4
6357 \clef "hufnagel-fa2" c
6361 historic style hufnagel combined do/fa clef
6363 @code{hufnagel-do-fa}
6365 @lilypond[fragment,relative=1,notime]
6366 \clef "hufnagel-do-fa" c
6372 @emph{Modern style} means ``as is typeset in contemporary editions of
6373 transcribed mensural music''.
6375 @emph{Petrucci style} means ``inspired by printings published by the
6376 famous engraver Petrucci (1466-1539)''.
6378 @emph{Historic style} means ``as was typeset or written in historic
6379 editions (other than those of Petrucci)''.
6381 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6383 Petrucci used C clefs with differently balanced left-side vertical
6384 beams, depending on which staff line it is printed.
6388 In this manual: see @ref{Clef}.
6392 The mensural g clef is mapped to the Petrucci g clef.
6397 @subsection Ancient flags
6402 Use the @code{flag-style} property of grob @internalsref{Stem} to
6403 select ancient flags. Besides the @code{default} flag style,
6404 only the @code{mensural} style is supported
6406 @lilypond[quote,fragment,raggedright,verbatim]
6407 \override Stem #'flag-style = #'mensural
6408 \override Stem #'thickness = #1.0
6409 \override NoteHead #'style = #'mensural
6411 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
6412 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6415 Note that the innermost flare of each mensural flag always is
6416 vertically aligned with a staff line.
6418 There is no particular flag style for neo-mensural notation. Hence,
6419 when typesetting the incipit of a transcribed piece of mensural
6420 music, the default flag style should be used. There are no flags in
6421 Gregorian Chant notation.
6425 The attachment of ancient flags to stems is slightly off due to a
6426 change in early 2.3.x.
6428 Vertically aligning each flag with a staff line assumes that stems
6429 always end either exactly on or exactly in the middle between two
6430 staff lines. This may not always be true when using advanced layout
6431 features of classical notation (which however are typically out of
6432 scope for mensural notation).
6434 @node Ancient time signatures
6435 @subsection Ancient time signatures
6437 @cindex time signatures
6440 There is limited support for mensural time signatures. The
6441 glyphs are hard-wired to particular time fractions. In other words,
6442 to get a particular mensural signature glyph with the @code{\time n/m}
6443 command, @code{n} and @code{m} have to be chosen according to the
6446 @lilypond[quote,raggedright]
6450 \remove Staff_symbol_engraver
6451 \remove Clef_engraver
6452 \remove Time_signature_engraver
6455 \set Score.timing = ##f
6456 \set Score.barAlways = ##t
6457 s_\markup { "$\\backslash$time 4/4" }
6458 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6460 s_\markup { "$\\backslash$time 2/2" }
6461 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6463 s_\markup { "$\\backslash$time 6/4" }
6464 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6466 s_\markup { "$\\backslash$time 6/8" }
6467 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6469 s_\markup { "$\\backslash$time 3/2" }
6470 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6472 s_\markup { "$\\backslash$time 3/4" }
6473 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6475 s_\markup { "$\\backslash$time 9/4" }
6476 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6478 s_\markup { "$\\backslash$time 9/8" }
6479 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6481 s_\markup { "$\\backslash$time 4/8" }
6482 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6484 s_\markup { "$\\backslash$time 2/4" }
6485 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6489 Use the @code{style} property of grob @internalsref{TimeSignature} to
6490 select ancient time signatures. Supported styles are
6491 @code{neomensural} and @code{mensural}. The above table uses the
6492 @code{neomensural} style. This style is appropriate for the
6493 incipit of transcriptions of mensural pieces. The @code{mensural}
6494 style mimics the look of historical printings of the 16th century.
6496 The following examples show the differences in style,
6498 @lilypond[raggedright,fragment,relative=1,quote]
6502 c1^\markup { \hspace #-2.0 \typewriter default }
6504 \override Staff.TimeSignature #'style = #'numbered
6506 c1^\markup { \hspace #-2.0 \typewriter numbered }
6508 \override Staff.TimeSignature #'style = #'mensural
6510 c1^\markup { \hspace #-2.0 \typewriter mensural }
6512 \override Staff.TimeSignature #'style = #'neomensural
6514 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6515 \override Staff.TimeSignature #'style = #'single-digit
6517 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6523 This manual: @ref{Time signature} gives a general introduction to
6524 the use of time signatures.
6528 Ratios of note durations do not change with the time signature. For
6529 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6530 be made by hand, by setting
6533 breveTP = #(ly:make-duration -1 0 3 2)
6539 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6541 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6542 addressable with @code{\time}. Use a @code{\markup} instead
6544 @node Ancient articulations
6545 @subsection Ancient articulations
6547 @cindex articulations
6549 In addition to the standard articulation signs described in section
6550 @ref{Articulations}, articulation signs for ancient notation are
6551 provided. These are specifically designed for use with notation in
6552 Editio Vaticana style.
6554 @lilypond[quote,raggedright,verbatim]
6555 \include "gregorian-init.ly"
6557 \context VaticanaVoice {
6558 \override TextScript #'font-family = #'typewriter
6559 \override TextScript #'font-shape = #'upright
6560 \override Script #'padding = #-0.1
6562 a4\circulus_"circulus" s1
6563 a4\semicirculus_"semicirculus" s1 s
6564 a4\accentus_"accentus" s1
6565 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6572 Some articulations are vertically placed too closely to the
6573 correpsonding note heads.
6576 @subsection Custodes
6581 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6582 symbol that appears at the end of a staff. It anticipates the pitch
6583 of the first note(s) of the following line thus helping the performer
6584 to manage line breaks during performance.
6586 Custodes were frequently used in music notation until the 17th
6587 century. Nowadays, they have survived only in a few particular forms
6588 of musical notation such as contemporary editions of Gregorian chant
6589 like the @emph{editio vaticana}. There are different custos glyphs
6590 used in different flavors of notational style.
6592 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6593 @internalsref{Staff} context when declaring the @code{\layout} block,
6594 as shown in the following example
6600 \consists Custos_engraver
6601 Custos \override #'style = #'mensural
6606 The result looks like this
6608 @lilypond[quote,raggedright]
6612 \override Staff.Custos #'style = #'mensural
6617 \context { \Staff \consists Custos_engraver }
6622 The custos glyph is selected by the @code{style} property. The styles
6623 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
6624 @code{mensural}. They are demonstrated in the following fragment
6626 @lilypond[quote,raggedright,fragment]
6627 \new Lyrics \lyricmode {
6629 \typewriter "vaticana"
6630 \line { " " \musicglyph #"custodes-vaticana-u0" }
6633 \typewriter "medicaea"
6634 \line { " " \musicglyph #"custodes-medicaea-u0" }
6637 \typewriter "hufnagel"
6638 \line { " " \musicglyph #"custodes-hufnagel-u0" }
6641 \typewriter "mensural"
6642 \line { " " \musicglyph #"custodes-mensural-u0" }
6649 Program reference: @internalsref{Custos}.
6651 Examples: @inputfileref{input/@/regression,custos@/.ly}.
6655 @subsection Divisiones
6661 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6662 `division') is a staff context symbol that is used to structure
6663 Gregorian music into phrases and sections. The musical meaning of
6664 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
6665 can be characterized as short, medium, and long pause, somewhat like
6666 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6667 only marks the end of a chant, but is also frequently used within a
6668 single antiphonal/responsorial chant to mark the end of each section.
6671 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
6672 contains definitions that you can apply by just inserting
6673 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6674 and @code{\finalis} at proper places in the input. Some editions use
6675 @emph{virgula} or @emph{caesura} instead of divisio minima.
6676 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
6679 @lilypondfile[quote,raggedright]{divisiones.ly}
6683 @cindex @code{\virgula}
6685 @cindex @code{\caesura}
6687 @cindex @code{\divisioMinima}
6688 @code{\divisioMinima},
6689 @cindex @code{\divisioMaior}
6690 @code{\divisioMaior},
6691 @cindex @code{\divisioMaxima}
6692 @code{\divisioMaxima},
6693 @cindex @code{\finalis}
6698 In this manual: @ref{Breath marks}.
6700 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6702 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
6705 @subsection Ligatures
6709 @c TODO: Should double check if I recalled things correctly when I wrote
6710 @c down the following paragraph by heart.
6712 A ligature is a graphical symbol that represents at least two distinct
6713 notes. Ligatures originally appeared in the manuscripts of Gregorian
6714 chant notation to denote ascending or descending sequences of notes.
6716 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6717 Some ligature styles may need additional input syntax specific for
6718 this particular type of ligature. By default, the
6719 @internalsref{LigatureBracket} engraver just puts a square bracket
6722 @lilypond[quote,raggedright,verbatim]
6730 To select a specific style of ligatures, a proper ligature engraver
6731 has to be added to the @internalsref{Voice} context, as explained in
6732 the following subsections. Only white mensural ligatures
6733 are supported with certain limitations.
6739 Ligatures need special spacing that has not yet been implemented. As
6740 a result, there is too much space between ligatures most of the time,
6741 and line breaking often is unsatisfactory. Also, lyrics do not
6742 correctly align with ligatures.
6744 Accidentals must not be printed within a ligature, but instead need to
6745 be collected and printed in front of it.
6747 Augmentum dots within ligatures are not handled correctly.
6751 * White mensural ligatures::
6752 * Gregorian square neumes ligatures::
6755 @node White mensural ligatures
6756 @subsubsection White mensural ligatures
6758 @cindex Mensural ligatures
6759 @cindex White mensural ligatures
6761 There is limited support for white mensural ligatures.
6763 To engrave white mensural ligatures, in the layout block put the
6764 @internalsref{Mensural_ligature_engraver} into the
6765 @internalsref{Voice} context, and remove the
6766 @internalsref{Ligature_bracket_engraver}, like this
6772 \remove Ligature_bracket_engraver
6773 \consists Mensural_ligature_engraver
6778 There is no additional input language to describe the shape of a
6779 white mensural ligature. The shape is rather determined solely from
6780 the pitch and duration of the enclosed notes. While this approach may
6781 take a new user a while to get accustomed to, it has the great advantage
6782 that the full musical information of the ligature is known internally.
6783 This is not only required for correct MIDI output, but also allows for
6784 automatic transcription of the ligatures.
6789 \set Score.timing = ##f
6790 \set Score.defaultBarType = "empty"
6791 \override NoteHead #'style = #'neomensural
6792 \override Staff.TimeSignature #'style = #'neomensural
6794 \[ g\longa c\breve a\breve f\breve d'\longa \]
6796 \[ e1 f1 a\breve g\longa \]
6798 @lilypond[quote,raggedright]
6801 \set Score.timing = ##f
6802 \set Score.defaultBarType = "empty"
6803 \override NoteHead #'style = #'neomensural
6804 \override Staff.TimeSignature #'style = #'neomensural
6806 \[ g\longa c\breve a\breve f\breve d'\longa \]
6808 \[ e1 f1 a\breve g\longa \]
6813 \remove Ligature_bracket_engraver
6814 \consists Mensural_ligature_engraver
6820 Without replacing @internalsref{Ligature_bracket_engraver} with
6821 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6824 @lilypond[quote,raggedright]
6826 \set Score.timing = ##f
6827 \set Score.defaultBarType = "empty"
6828 \override NoteHead #'style = #'neomensural
6829 \override Staff.TimeSignature #'style = #'neomensural
6831 \[ g\longa c\breve a\breve f\breve d'\longa \]
6833 \[ e1 f1 a\breve g\longa \]
6839 The implementation is experimental. It may output strange warnings,
6840 incorrect results, and might even crash on more complex ligatures.
6842 @node Gregorian square neumes ligatures
6843 @subsubsection Gregorian square neumes ligatures
6845 @cindex Square neumes ligatures
6846 @cindex Gregorian square neumes ligatures
6848 There is limited support for Gregorian square neumes notation
6849 (following the style of the Editio Vaticana). Core ligatures can
6850 already be typeset, but essential issues for serious typesetting are
6851 still lacking, such as (among others) horizontal alignment of multiple
6852 ligatures, lyrics alignment and proper handling of accidentals.
6855 The following table contains the extended neumes table of the 2nd
6856 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6857 1983 by the monks of Solesmes.
6859 @multitable @columnfractions .4 .2 .2 .2
6876 @c TODO: \layout block is identical in all of the below examples.
6877 @c Therefore, it should somehow be included rather than duplicated all
6880 @c why not make identifiers in ly/engraver-init.ly? --hwn
6882 @c Because it's just used to typeset plain notes without
6883 @c a staff for demonstration purposes rather than something
6884 @c special of Gregorian chant notation. --jr
6889 @lilypond[staffsize=26,linewidth=1.5\cm]
6890 \include "gregorian-init.ly"
6895 \noBreak s^\markup {"a"} \noBreak
6897 % Punctum Inclinatum
6899 \noBreak s^\markup {"b"}
6901 \layout { \neumeDemoLayout }}
6904 @lilypond[staffsize=26,linewidth=2.5\cm]
6905 \include "gregorian-init.ly"
6908 % Punctum Auctum Ascendens
6909 \[ \auctum \ascendens b \]
6910 \noBreak s^\markup {"c"} \noBreak
6912 % Punctum Auctum Descendens
6913 \[ \auctum \descendens b \]
6914 \noBreak s^\markup {"d"} \noBreak
6916 % Punctum Inclinatum Auctum
6917 \[ \inclinatum \auctum b \]
6918 \noBreak s^\markup {"e"}
6920 \layout { \neumeDemoLayout }}
6923 @lilypond[staffsize=26,linewidth=1.0\cm]
6924 \include "gregorian-init.ly"
6927 % Punctum Inclinatum Parvum
6928 \[ \inclinatum \deminutum b \]
6929 \noBreak s^\markup {"f"}
6931 \layout { \neumeDemoLayout }}
6937 @lilypond[staffsize=26,linewidth=1.0\cm]
6938 \include "gregorian-init.ly"
6943 \noBreak s^\markup {"g"}
6945 \layout { \neumeDemoLayout }}
6951 @code{3. Apostropha vel Stropha}
6953 @lilypond[staffsize=26,linewidth=1.0\cm]
6954 \include "gregorian-init.ly"
6959 \noBreak s^\markup {"h"}
6961 \layout { \neumeDemoLayout }}
6964 @lilypond[staffsize=26,linewidth=1.0\cm]
6965 \include "gregorian-init.ly"
6969 \[ \stropha \auctum b \]
6970 \noBreak s^\markup {"i"}
6972 \layout { \neumeDemoLayout }}
6979 @lilypond[staffsize=26,linewidth=1.0\cm]
6980 \include "gregorian-init.ly"
6985 \noBreak s^\markup {"j"}
6987 \layout { \neumeDemoLayout }}
6993 @code{5. Clivis vel Flexa}
6995 @lilypond[staffsize=26,linewidth=1.0\cm]
6996 \include "gregorian-init.ly"
7003 \layout { \neumeDemoLayout }}
7006 @lilypond[staffsize=26,linewidth=2.0\cm]
7007 \include "gregorian-init.ly"
7010 % Clivis Aucta Descendens
7011 \[ b \flexa \auctum \descendens g \]
7012 \noBreak s^\markup {"l"} \noBreak
7014 % Clivis Aucta Ascendens
7015 \[ b \flexa \auctum \ascendens g \]
7016 \noBreak s^\markup {"m"}
7018 \layout { \neumeDemoLayout }}
7021 @lilypond[staffsize=26,linewidth=1.0\cm]
7022 \include "gregorian-init.ly"
7026 \[ b \flexa \deminutum g \]
7029 \layout { \neumeDemoLayout }}
7033 @code{6. Podatus vel Pes}
7035 @lilypond[staffsize=26,linewidth=1.0\cm]
7036 \include "gregorian-init.ly"
7043 \layout { \neumeDemoLayout }}
7046 @lilypond[staffsize=26,linewidth=2.0\cm]
7047 \include "gregorian-init.ly"
7050 % Pes Auctus Descendens
7051 \[ g \pes \auctum \descendens b \]
7052 \noBreak s^\markup {"p"} \noBreak
7054 % Pes Auctus Ascendens
7055 \[ g \pes \auctum \ascendens b \]
7056 \noBreak s^\markup {"q"}
7058 \layout { \neumeDemoLayout }}
7061 @lilypond[staffsize=26,linewidth=1.0\cm]
7062 \include "gregorian-init.ly"
7066 \[ g \pes \deminutum b \]
7069 \layout { \neumeDemoLayout }}
7073 @code{7. Pes Quassus}
7075 @lilypond[staffsize=26,linewidth=1.0\cm]
7076 \include "gregorian-init.ly"
7080 \[ \oriscus g \pes \virga b \]
7083 \layout { \neumeDemoLayout }}
7086 @lilypond[staffsize=26,linewidth=1.0\cm]
7087 \include "gregorian-init.ly"
7090 % Pes Quassus Auctus Descendens
7091 \[ \oriscus g \pes \auctum \descendens b \]
7094 \layout { \neumeDemoLayout }}
7099 @code{8. Quilisma Pes}
7101 @lilypond[staffsize=26,linewidth=1.0\cm]
7102 \include "gregorian-init.ly"
7106 \[ \quilisma g \pes b \]
7109 \layout { \neumeDemoLayout }}
7112 @lilypond[staffsize=26,linewidth=1.0\cm]
7113 \include "gregorian-init.ly"
7116 % Quilisma Pes Auctus Descendens
7117 \[ \quilisma g \pes \auctum \descendens b \]
7120 \layout { \neumeDemoLayout }}
7125 @code{9. Podatus Initio Debilis}
7127 @lilypond[staffsize=26,linewidth=1.0\cm]
7128 \include "gregorian-init.ly"
7131 % Pes Initio Debilis
7132 \[ \deminutum g \pes b \]
7135 \layout { \neumeDemoLayout }}
7138 @lilypond[staffsize=26,linewidth=1.0\cm]
7139 \include "gregorian-init.ly"
7142 % Pes Auctus Descendens Initio Debilis
7143 \[ \deminutum g \pes \auctum \descendens b \]
7146 \layout { \neumeDemoLayout }}
7153 @lilypond[staffsize=26,linewidth=1.0\cm]
7154 \include "gregorian-init.ly"
7158 \[ a \pes b \flexa g \]
7161 \layout { \neumeDemoLayout }}
7164 @lilypond[staffsize=26,linewidth=1.0\cm]
7165 \include "gregorian-init.ly"
7168 % Torculus Auctus Descendens
7169 \[ a \pes b \flexa \auctum \descendens g \]
7172 \layout { \neumeDemoLayout }}
7175 @lilypond[staffsize=26,linewidth=1.0\cm]
7176 \include "gregorian-init.ly"
7179 % Torculus Deminutus
7180 \[ a \pes b \flexa \deminutum g \]
7183 \layout { \neumeDemoLayout }}
7187 @code{11. Torculus Initio Debilis}
7189 @lilypond[staffsize=26,linewidth=1.0\cm]
7190 \include "gregorian-init.ly"
7193 % Torculus Initio Debilis
7194 \[ \deminutum a \pes b \flexa g \]
7197 \layout { \neumeDemoLayout }}
7200 @lilypond[staffsize=26,linewidth=1.0\cm]
7201 \include "gregorian-init.ly"
7204 % Torculus Auctus Descendens Initio Debilis
7205 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
7208 \layout { \neumeDemoLayout }}
7211 @lilypond[staffsize=26,linewidth=1.0\cm]
7212 \include "gregorian-init.ly"
7215 % Torculus Deminutus Initio Debilis
7216 \[ \deminutum a \pes b \flexa \deminutum g \]
7219 \layout { \neumeDemoLayout }}
7223 @code{12. Porrectus}
7225 @lilypond[staffsize=26,linewidth=1.0\cm]
7226 \include "gregorian-init.ly"
7230 \[ a \flexa g \pes b \]
7233 \layout { \neumeDemoLayout }}
7236 @lilypond[staffsize=26,linewidth=1.0\cm]
7237 \include "gregorian-init.ly"
7240 % Porrectus Auctus Descendens
7241 \[ a \flexa g \pes \auctum \descendens b \]
7244 \layout { \neumeDemoLayout }}
7247 @lilypond[staffsize=26,linewidth=1.0\cm]
7248 \include "gregorian-init.ly"
7251 % Porrectus Deminutus
7252 \[ a \flexa g \pes \deminutum b \]
7255 \layout { \neumeDemoLayout }}
7261 @lilypond[staffsize=26,linewidth=1.0\cm]
7262 \include "gregorian-init.ly"
7266 \[ \virga b \inclinatum a \inclinatum g \]
7269 \layout { \neumeDemoLayout }
7273 @lilypond[staffsize=26,linewidth=1.0\cm]
7274 \include "gregorian-init.ly"
7278 \[ \virga b \inclinatum a \inclinatum \auctum g \]
7281 \layout { \neumeDemoLayout }}
7284 @lilypond[staffsize=26,linewidth=1.0\cm]
7285 \include "gregorian-init.ly"
7288 % Climacus Deminutus
7289 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7292 \layout { \neumeDemoLayout }}
7296 @code{14. Scandicus}
7298 @lilypond[staffsize=26,linewidth=1.0\cm]
7299 \include "gregorian-init.ly"
7303 \[ g \pes a \virga b \]
7306 \layout { \neumeDemoLayout }}
7309 @lilypond[staffsize=26,linewidth=1.0\cm]
7310 \include "gregorian-init.ly"
7313 % Scandicus Auctus Descendens
7314 \[ g \pes a \pes \auctum \descendens b \]
7317 \layout { \neumeDemoLayout }}
7320 @lilypond[staffsize=26,linewidth=1.0\cm]
7321 \include "gregorian-init.ly"
7324 % Scandicus Deminutus
7325 \[ g \pes a \pes \deminutum b \]
7328 \layout { \neumeDemoLayout }}
7334 @lilypond[staffsize=26,linewidth=1.0\cm]
7335 \include "gregorian-init.ly"
7339 \[ g \oriscus a \pes \virga b \]
7342 \layout { \neumeDemoLayout }}
7345 @lilypond[staffsize=26,linewidth=1.0\cm]
7346 \include "gregorian-init.ly"
7349 % Salicus Auctus Descendens
7350 \[ g \oriscus a \pes \auctum \descendens b \]
7353 \layout { \neumeDemoLayout }}
7360 @lilypond[staffsize=26,linewidth=1.0\cm]
7361 \include "gregorian-init.ly"
7365 \[ \stropha b \stropha b \stropha a \]
7368 \layout { \neumeDemoLayout }
7377 Unlike most other neumes notation systems, the input language for
7378 neumes does not reflect the typographical appearance, but is designed
7379 to focus on musical meaning. For example, @code{\[ a \pes b
7380 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7381 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7382 curved flexa shape and only a single Punctum head. There is no
7383 command to explicitly typeset the curved flexa shape; the decision of
7384 when to typeset a curved flexa shape is based on the musical
7385 input. The idea of this approach is to separate the musical aspects
7386 of the input from the notation style of the output. This way, the
7387 same input can be reused to typeset the same music in a different
7388 style of Gregorian chant notation.
7390 The following table shows the code fragments that produce the
7391 ligatures in the above neumes table. The letter in the first column
7392 in each line of the below table indicates to which ligature in the
7393 above table it refers. The second column gives the name of the
7394 ligature. The third column shows the code fragment that produces this
7395 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
7397 @multitable @columnfractions .02 .31 .67
7417 @code{\[ \inclinatum b \]}
7425 @code{\[ \auctum \ascendens b \]}
7433 @code{\[ \auctum \descendens b \]}
7438 Punctum Inclinatum@*
7441 @code{\[ \inclinatum \auctum b \]}
7446 Punctum Inclinatum@*
7448 @code{\[ \inclinatum \deminutum b \]}
7455 @code{\[ \virga b \]}
7462 @code{\[ \stropha b \]}
7469 @code{\[ \stropha \auctum b \]}
7476 @code{\[ \oriscus b \]}
7483 @code{\[ b \flexa g \]}
7491 @code{\[ b \flexa \auctum \descendens g \]}
7499 @code{\[ b \flexa \auctum \ascendens g \]}
7506 @code{\[ b \flexa \deminutum g \]}
7513 @code{\[ g \pes b \]}
7521 @code{\[ g \pes \auctum \descendens b \]}
7529 @code{\[ g \pes \auctum \ascendens b \]}
7536 @code{\[ g \pes \deminutum b \]}
7543 @code{\[ \oriscus g \pes \virga b \]}
7549 Auctus Descendens @tab
7550 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7557 @code{\[ \quilisma g \pes b \]}
7565 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7572 @code{\[ \deminutum g \pes b \]}
7577 Pes Auctus Descendens@*
7580 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7587 @code{\[ a \pes b \flexa g \]}
7595 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7602 @code{\[ a \pes b \flexa \deminutum g \]}
7607 Torculus Initio Debilis
7609 @code{\[ \deminutum a \pes b \flexa g \]}
7615 Descendens Initio Debilis
7617 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7622 Torculus Deminutus@*
7625 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7632 @code{\[ a \flexa g \pes b \]}
7640 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7647 @code{\[ a \flexa g \pes \deminutum b \]}
7654 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7661 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7668 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7675 @code{\[ g \pes a \virga b \]}
7683 @code{\[ g \pes a \pes \auctum \descendens b \]}
7690 @code{\[ g \pes a \pes \deminutum b \]}
7697 @code{\[ g \oriscus a \pes \virga b \]}
7702 Salicus Auctus Descendens
7704 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7711 @code{\[ \stropha b \stropha b \stropha a \]}
7716 The following head prefixes are supported
7718 @cindex @code{\virga}
7720 @cindex @code{\stropha}
7722 @cindex @code{\inclinatum}
7724 @cindex @code{\auctum}
7726 @cindex @code{\descendens}
7728 @cindex @code{\ascendens}
7730 @cindex @code{\oriscus}
7732 @cindex @code{\quilisma}
7734 @cindex @code{\deminutum}
7737 Head prefixes can be accumulated, though restrictions apply. For
7738 example, either @code{\descendens} or @code{\ascendens} can be applied
7739 to a head, but not both to the same head.
7742 @cindex @code{\flexa}
7743 Two adjacent heads can be tied together with the @code{\pes} and
7744 @code{\flexa} infix commands for a rising and falling line of melody,
7749 @node Gregorian Chant contexts
7750 @subsection Gregorian Chant contexts
7752 @cindex VaticanaVoiceContext
7753 @cindex VaticanaStaffContext
7755 The predefined @code{VaticanaVoiceContext} and
7756 @code{VaticanaStaffContext} can be used to engrave a piece of
7757 Gregorian Chant in the style of the Editio Vaticana. These contexts
7758 initialize all relevant context properties and grob properties to
7759 proper values, so you can immediately go ahead entering the chant, as
7760 the following excerpt demonstrates
7762 @lilypond[quote,raggedright,verbatim]
7763 \include "gregorian-init.ly"
7766 \context VaticanaVoice = "cantus" {
7767 \override Score.BarNumber #'transparent = ##t {
7768 \[ c'\melisma c' \flexa a \]
7769 \[ a \flexa \deminutum g\melismaEnd \]
7771 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7772 c' \divisioMinima \break
7773 \[ c'\melisma c' \flexa a \]
7774 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7777 \lyricsto "cantus" \new Lyrics {
7778 San- ctus, San- ctus, San- ctus
7785 @node Mensural contexts
7786 @subsection Mensural contexts
7788 @cindex MensuralVoiceContext
7789 @cindex MensuralStaffContext
7791 The predefined @code{MensuralVoiceContext} and
7792 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7793 style. These contexts initialize all relevant context properties and
7794 grob properties to proper values, so you can immediately go ahead
7795 entering the chant, as the following excerpt demonstrates
7797 @lilypond[quote,raggedright,verbatim]
7800 \context MensuralVoice = "discantus" \transpose c c' {
7801 \override Score.BarNumber #'transparent = ##t {
7802 c'1\melisma bes a g\melismaEnd
7804 \[ f1\melisma a c'\breve d'\melismaEnd \]
7806 c'\breve\melisma a1 g1\melismaEnd
7807 fis\longa^\signumcongruentiae
7810 \lyricsto "discantus" \new Lyrics {
7811 San -- ctus, San -- ctus, San -- ctus
7819 @subsection Figured bass
7821 @cindex Basso continuo
7823 @c TODO: musicological blurb about FB
7826 LilyPond has limited support for figured bass
7828 @lilypond[quote,raggedright,verbatim,fragment]
7830 \context Voice { \clef bass dis4 c d ais g fis}
7831 \context FiguredBass \figuremode {
7832 < 6 >4 < 7 >8 < 6+ [_!] >
7839 The support for figured bass consists of two parts: there is an input
7840 mode, introduced by @code{\figuremode}, where you can enter bass figures
7841 as numbers, and there is a context called @internalsref{FiguredBass} that
7842 takes care of making @internalsref{BassFigure} objects.
7844 In figures input mode, a group of bass figures is delimited by
7845 @code{<} and @code{>}. The duration is entered after the @code{>}
7849 @lilypond[quote,raggedright,fragment]
7850 \context FiguredBass
7851 \figuremode { <4 6> }
7854 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
7860 @lilypond[quote,raggedright,fragment]
7861 \context FiguredBass
7862 \figuremode { <4- 6+ 7!> }
7865 Spaces or dashes may be inserted by using @code{_}. Brackets are
7866 introduced with @code{[} and @code{]}
7871 @lilypond[quote,raggedright,fragment]
7872 \context FiguredBass
7873 \figuremode { < [4 6] 8 [_! 12] > }
7876 Although the support for figured bass may superficially resemble chord
7877 support, it works much simpler. The @code{\figuremode} mode simply
7878 stores the numbers and @internalsref{FiguredBass} context prints
7879 them as entered. There is no conversion to pitches and no
7880 realizations of the bass are played in the MIDI file.
7882 Internally, the code produces markup texts. You can use any of the
7883 markup text properties to override formatting. For example, the
7884 vertical spacing of the figures may be set with @code{baseline-skip}.
7888 Program reference: @internalsref{BassFigureEvent} music,
7889 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
7893 Slash notation for alterations is not supported.
7895 @node Contemporary notation
7896 @section Contemporary notation
7898 In the 20th century, composers have greatly expanded the musical
7899 vocabulary. With this expansion, many innovations in musical notation
7900 have been tried. The book ``Music Notation in the 20th century'' by
7901 Kurt Stone gives a comprehensive overview (see @ref{Literature
7902 list}). In general, the use of new, innovative notation makes a piece
7903 harder to understand and perform and its use should therefore be
7904 avoided. For this reason, support for contemporary notation in
7905 LilyPond is limited.
7909 * Polymetric notation::
7911 * Special fermatas::
7915 @node Polymetric notation
7916 @subsection Polymetric notation
7918 Double time signatures are not supported explicitly, but they can be
7919 faked. In the next example, the markup for the time signature is
7920 created with a markup text. This markup text is inserted in the
7921 @internalsref{TimeSignature} grob.
7923 @lilypond[verbatim,raggedright]
7928 \musicglyph #"scripts-stopped"
7929 \bracket \column { "5" "8" }
7934 \override Staff.TimeSignature #'print-function = #Text_interface::print
7935 \override Staff.TimeSignature #'text = #tsMarkup
7937 c'2 \bar ":" c'4 c'4.
7941 Each staff can also have its own time signature. This is done by
7942 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
7947 \context @{ \Score \remove "Timing_engraver" @}
7948 \context @{ \Staff \consists "Timing_engraver" @}
7953 Now, each staff has its own time signature.
7966 c4. c8 c c c4. c8 c c
7971 @lilypond[quote,raggedright]
7973 \context{ \Score \remove "Timing_engraver" }
7974 \context{ \Staff \consists "Timing_engraver" }
7988 c4. c8 c c c4. c8 c c
7994 A different form of polymetric notation is where note lengths have
7995 different values across staves.
7997 This notation can be created by setting a common time signature for
7998 each staff but replacing it manually using
7999 @code{timeSignatureFraction} to the desired fraction. Then the printed
8000 durations in each staff are scaled to the common time signature.
8001 The latter is done with @code{\compressmusic}, which is similar to
8002 @code{\times}, but does not create a tuplet bracket.
8005 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
8006 used in parallel. In the second staff, shown durations are multiplied by
8007 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
8008 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
8010 @lilypond[quote,raggedright,verbatim,fragment]
8018 \set Staff.timeSignatureFraction = #'(9 . 8)
8019 \compressmusic #'(2 . 3)
8020 \repeat unfold 6 { c8[ c c] }
8024 \set Staff.timeSignatureFraction = #'(10 . 8)
8025 \compressmusic #'(3 . 5) {
8026 \repeat unfold 2 { c8[ c c] }
8027 \repeat unfold 2 { c8[ c] }
8028 | c4. c4. \times 2/3 { c8 c c } c4
8039 When using different time signatures in parallel, the spacing is
8040 aligned vertically, but bar lines distort the regular spacing.
8045 @subsection Clusters
8049 A cluster indicates a continuous range of pitches to be played. They
8050 can be denoted as the envelope of a set of notes. They are entered by
8051 applying the function @code{makeClusters} to a sequence of
8053 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
8054 \makeClusters { <c e > <b f'> }
8057 The following example (from
8058 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
8061 @lilypondfile[raggedright,quote]{cluster.ly}
8063 Ordinary notes and clusters can be put together in the same staff,
8064 even simultaneously. In such a case no attempt is made to
8065 automatically avoid collisions between ordinary notes and clusters.
8069 Program reference: @internalsref{ClusterSpanner},
8070 @internalsref{ClusterSpannerBeacon},
8071 @internalsref{Cluster_spanner_engraver}, and
8072 @internalsref{ClusterNoteEvent}.
8074 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
8078 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
8079 accurately. Use @code{<g a>8 <e a>8} instead.
8083 @node Special fermatas
8084 @subsection Special fermatas
8086 @cindex fermatas, special
8088 In contemporary music notation, special fermata symbols denote breaks
8089 of differing lengths. The following fermatas are supported
8091 @lilypond[quote,raggedright]
8114 \context Lyrics \lyricmode {
8115 \override LyricText #'font-family = #'typewriter
8116 "shortfermata" "fermata" "longfermata" "verylongfermata"
8121 See @ref{Articulations} for general instructions how to apply scripts
8122 such as fermatas to notes.
8124 @node Feathered beams
8125 @subsection Feathered beams
8127 Feathered beams are not supported natively, but they can be faked by
8128 forcing two beams to overlap. Here is an example,
8130 @c don't change relative setting witout changing positions!
8131 @lilypond[raggedright,relative=1,fragment,verbatim]
8136 \once \override Voice.Beam #'positions = #'(0 . 0.5)
8141 \once \override Voice.Beam #'positions = #'(0 . -0.5)
8149 @node Educational use
8150 @section Educational use
8152 With the amount of control that LilyPond offers, one can make great
8153 teaching tools in addition to great musical scores.
8157 * Blank music sheet::
8159 * Shaped note heads ::
8160 * Easy Notation note heads::
8164 @subsection Balloon help
8166 Elements of notation can be marked and named with the help of a square
8167 balloon. The primary purpose of this feature is to explain notation.
8169 The following example demonstrates its use.
8171 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
8174 #(add-balloon-text 'NoteHead "heads, or tails?"
8181 The function @code{add-balloon-text} takes the name of a grob, the
8182 label to print, and the position where to put the label relative to
8183 the object. In the above example, the text ``heads or tails?'' ends
8184 3 spaces below and 1 space to the right of the marked head.
8187 @cindex notation, explaining
8191 Program reference: @internalsref{text-balloon-interface}.
8193 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
8198 @node Blank music sheet
8199 @subsection Blank music sheet
8201 A blank music sheet can be produced also by using invisible notes, and
8202 removing @code{Bar_number_engraver}.
8205 @lilypond[quote,verbatim]
8207 \repeat unfold 2 % Change this for more lines.
8212 \override TimeSignature #'transparent = ##t
8213 defaultBarType = #""
8214 \remove Bar_number_engraver
8216 \context Staff \emptymusic
8217 \context TabStaff \emptymusic
8223 @subsection Hidden notes
8225 @cindex Hidden notes
8226 @cindex Invisible notes
8227 @cindex Transparent notes
8229 Hidden (or invisible or transparent) notes can be useful in preparing theory
8230 or composition exercises.
8232 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
8240 Hidden notes are also great for performing weird tricks. For example,
8241 slurs cannot be attached to rests or spacer rests, but you may wish
8242 to include that in your score -- string instruments use this notation
8243 when doing pizzicato to indicate that the note should ring for as long
8246 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
8249 c4^"pizz"( \hideNotes c)
8250 \unHideNotes c( \hideNotes c)
8257 @node Shaped note heads
8258 @subsection Shaped note heads
8260 In shaped note head notation, the shape of the note head corresponds
8261 to the harmonic function of a note in the scale. This notation was
8262 popular in the 19th century American song books.
8264 Shaped note heads can be produced by setting @code{\aikenHeads} or
8265 @code{\sacredHarpHeads}, depending on the style desired.
8267 @lilypond[verbatim,relative=1,fragment]
8274 Shapes are determined on the step in the scale, where the base of the
8275 scale is determined by the @code{\key} command
8278 @findex shapeNoteStyles
8280 @findex \sacredHarpHeads
8282 Shaped note heads are implemented through the @code{shapeNoteStyles}
8283 property. Its value is a vector of symbols. The k-th element indicates
8284 the style to use for the k-th step of the scale. Arbitrary
8285 combinations are possible, eg.,
8288 @lilypond[verbatim,relative=1,fragment]
8289 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
8294 @node Easy Notation note heads
8295 @subsection Easy Notation note heads
8297 @cindex easy notation
8300 The `easy play' note head includes a note name inside the head. It is
8301 used in music for beginners
8303 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
8308 The command @code{\setEasyHeads} overrides settings for the
8309 @internalsref{NoteHead} object. To make the letters readable, it has
8310 to be printed in a large font size. To print with a larger font, see
8311 @ref{Setting global staff size}.
8315 @cindex @code{\setEasyHeads}
8316 @code{\setEasyHeads}