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 that 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 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[fragment,verbatim,noindent]
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 There are predefined sets of note names for various other languages.
111 To use them, include the language specific init file. For
112 example: @code{\include "english.ly"}. The available language files
113 and the note names they define are
118 Note Names sharp flat
119 nederlands.ly c d e f g a bes b -is -es
120 english.ly c d e f g a bf b -s/-sharp -f/-flat
122 deutsch.ly c d e f g a b h -is -es
123 norsk.ly c d e f g a b h -iss/-is -ess/-es
124 svenska.ly c d e f g a b h -iss -ess
125 italiano.ly do re mi fa sol la sib si -d -b
126 catalan.ly do re mi fa sol la sib si -d/-s -b
127 espanol.ly do re mi fa sol la sib si -s -b
136 The optional octave specification takes the form of a series of
137 single quote (`@code{'}') characters or a series of comma
138 (`@code{,}') characters. Each @code{'} raises the pitch by one
139 octave; each @code{,} lowers the pitch by an octave
141 @lilypond[quote,raggedright,fragment,verbatim]
142 c' c'' es' g' as' gisis' ais'
145 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
147 Notes can be hidden and unhidden with the following commands
149 @cindex @code{\hideNotes}
151 @cindex @code{\unHideNotes}
157 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
161 @node Chromatic alterations
162 @subsection Chromatic alterations
164 Normally accidentals are printed automatically, but you may also
165 print them manually. A reminder accidental
166 @cindex reminder accidental
168 can be forced by adding an exclamation mark @code{!}
169 after the pitch. A cautionary accidental
170 @cindex cautionary accidental
171 @cindex parenthesized accidental
172 (i.e. an accidental within parentheses) can be obtained by adding the
173 question mark `@code{?}' after the pitch.
175 @lilypond[quote,raggedright,fragment,verbatim]
176 cis' cis' cis'! cis'?
182 The automatic production of accidentals can be tuned in many
183 ways. For more information, refer to @ref{Automatic accidentals}.
188 @subsection Micro tones
190 Half-flats and half-sharps are formed by adding @code{-eh} and
191 @code{-ih}; the following is a series of Cs with increasing pitches
193 @cindex quarter tones
194 @cindex semi-flats, semi-sharps
196 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
197 { ceseh ceh cih cisih }
200 Micro tones are also exported to the MIDI file
205 There are no generally accepted standards for denoting three quarter
206 flats, so LilyPond's symbol does not conform to any standard.
211 A chord is formed by a enclosing a set of pitches in @code{<} and
212 @code{>}. A chord may be followed by a duration, and a set of
213 articulations, just like simple notes
215 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
227 Rests are entered like notes, with the note name @code{r}
229 @lilypond[fragment,quote,raggedright,verbatim]
233 Whole bar rests, centered in middle of the bar,
234 must be done with multi-measure rests. They are discussed in
235 @ref{Multi measure rests}.
238 A rest's vertical position may be explicitly specified by entering a
239 note with the @code{\rest} keyword appended, the rest will be placed at
240 the note's place. This makes manual formatting in polyphonic music
241 easier. Automatic rest collision formatting will leave these rests
244 @lilypond[fragment,quote,raggedright,verbatim]
250 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
257 @cindex Invisible rest
262 An invisible rest (also called a `skip') can be entered like a note
263 with note name `@code{s}' or with @code{\skip @var{duration}}
265 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
266 a4 a4 s4 a4 \skip 1 a4
269 The @code{s} syntax is only available in note mode and chord mode. In
270 other situations, for example, when entering lyrics, you should use
271 the @code{\skip} command
273 @lilypond[quote,raggedright,verbatim]
276 \new Lyrics \lyricmode { \skip 2 bla1 }
280 The skip command is merely an empty musical placeholder. It does not
281 produce any output, not even transparent output.
283 The @code{s} skip command does create @internalsref{Staff} and
284 @internalsref{Voice} when necessary, similar to note and rest
285 commands. For example, the following results in an empty staff.
287 @lilypond[quote,raggedright,verbatim]
291 The fragment @code{@{ \skip 4 @} } would produce an empty page.
295 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
300 @subsection Durations
304 @cindex @code{\longa}
305 @cindex @code{\breve}
306 @cindex @code{\maxima}
309 In Note, Chord, and Lyrics mode, durations are designated by numbers and
310 dots: durations are entered as their reciprocal values. For example, a
311 quarter note is entered using a @code{4} (since it is a 1/4 note), while
312 a half note is entered using a @code{2} (since it is a 1/2 note). For
313 notes longer than a whole you must use the variables @code{\longa} and
318 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
320 r1 r2 r4 r8 r16 r32 r64 r64
323 @lilypond[quote,noindent]
326 a\breve*1/2 \autoBeamOff
327 a1 a2 a4 a8 a16 a32 a64 a64
330 r\longa*1/4 r\breve *1/2
331 r1 r2 r4 r8 r16 r32 r64 r64
337 \remove "Clef_engraver"
338 \override StaffSymbol #'transparent = ##t
339 \override TimeSignature #'transparent = ##t
340 \override BarLine #'transparent = ##t
341 \consists "Pitch_squash_engraver"
347 If the duration is omitted then it is set to the previously entered
348 duration. The default for the first note is a quarter note.
350 @lilypond[quote,raggedright,verbatim,fragment]
358 @node Augmentation dots
359 @subsection Augmentation dots
362 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
363 the number. Double-dotted notes are produced in a similar way.
365 @lilypond[quote,raggedright,fragment,verbatim]
366 a'4 b' c''4. b'8 a'4. b'4.. c''8.
371 Dots are normally moved up to avoid staff lines, except in polyphonic
372 situations. The following commands may be used to force a particular
375 @cindex @code{\dotsUp}
377 @cindex @code{\dotsDown}
379 @cindex @code{\dotsNeutral}
384 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
386 @node Scaling durations
387 @subsection Scaling durations
389 You can alter the length of duration by a fraction @var{N/M}
390 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
391 will not affect the appearance of the notes or rests produced.
393 In the following example, the first three notes take up exactly two
394 beats, but no triplet bracket is printed.
395 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
397 a4*2/3 gis4*2/3 a4*2/3
405 This manual: @ref{Tuplets}
408 @c TODO: I'm not certain that Stems belong here in the manual. -gp
412 Whenever a note is found, a @internalsref{Stem} object is created
413 automatically. For whole notes and rests, they are also created but
418 @cindex @code{\stemUp}
420 @cindex @code{\stemDown}
422 @cindex @code{\stemNeutral}
433 A tie connects two adjacent note heads of the same pitch. The tie in
434 effect extends the length of a note. Ties should not be confused with
435 slurs, which indicate articulation, or phrasing slurs, which indicate
436 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
438 @lilypond[quote,raggedright,fragment,verbatim]
439 e' ~ e' <c' e' g'> ~ <c' e' g'>
442 When a tie is applied to a chord, all note heads whose pitches match
443 are connected. When no note heads match, no ties will be created.
445 A tie is just a way of extending a note duration, similar to the
446 augmentation dot. The following example shows two ways of notating
447 exactly the same concept
449 @lilypond[quote,fragment,raggedright]
450 \time 3/4 c'2. c'2 ~ c'4
454 Ties are used either when the note crosses a bar line, or when dots
455 cannot be used to denote the rhythm. When using ties, larger note
456 values should be aligned to subdivisions of the measure, eg.
458 @lilypond[fragment,quote,raggedright]
460 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
464 If you need to tie a lot of notes over bars, it may be easier to use
465 automatic note splitting (see @ref{Automatic note splitting}). This
466 mechanism automatically splits long notes, and ties them across bar
472 @cindex @code{\tieUp}
474 @cindex @code{\tieDown}
476 @cindex @code{\tieNeutral}
478 @cindex @code{\tieDotted}
480 @cindex @code{\tieSolid}
485 In this manual: @ref{Automatic note splitting}.
487 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
492 Switching staves when a tie is active will not produce a slanted tie.
494 Formatting of ties is a difficult subject. The results are often not
502 @cindex @code{\times}
504 Tuplets are made out of a music expression by multiplying all durations
507 @cindex @code{\times}
509 \times @var{fraction} @var{musicexpr}
513 The duration of @var{musicexpr} will be multiplied by the fraction.
514 The fraction's denominator will be printed over the notes, optionally
515 with a bracket. The most common tuplet is the triplet in which 3
516 notes have the length of 2, so the notes are 2/3 of their written
519 @lilypond[quote,raggedright,fragment,verbatim]
520 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
523 The property @code{tupletSpannerDuration} specifies how long each
524 bracket should last. With this, you can make lots of tuplets while
525 typing @code{\times} only once, thus saving lots of typing. In the next
526 example, there are two triplets shown, while @code{\times} was only
529 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
530 \set tupletSpannerDuration = #(ly:make-moment 1 4)
531 \times 2/3 { c'8 c c c c c }
534 The format of the number is determined by the property
535 @code{tupletNumberFormatFunction}. The default prints only the
536 denominator, but if it is set to the Scheme function
537 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
541 @cindex @code{tupletNumberFormatFunction}
542 @cindex tuplet formatting
547 @cindex @code{\tupletUp}
549 @cindex @code{\tupletDown}
551 @cindex @code{\tupletNeutral}
552 @code{\tupletNeutral}.
556 User manual: @ref{Changing context properties on the fly} for the
560 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
562 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
566 Nested tuplets are not formatted automatically. In this case, outer
567 tuplet brackets should be moved manually, which is demonstrated in
568 @inputfileref{input/regression,tuplet-nest.ly}.
572 @node Easier music entry
573 @section Easier music entry
576 This section deals with tricks and features of the input language that
577 were added solely to help entering music and finding and correcting
578 mistakes. There are also external tools that make debugging easier.
579 See @ref{Point and click} for more information.
581 It is also possible to enter and edit music using other programs, such as
582 GUI interfaces or MIDI sequencers. Refer to the LilyPond
583 website for more information.
590 * Skipping corrected music::
591 * Automatic note splitting::
597 @node Relative octaves
598 @subsection Relative octaves
600 @cindex relative octave specification
602 Octaves are specified by adding @code{'} and @code{,} to pitch names.
603 When you copy existing music, it is easy to accidentally put a pitch
604 in the wrong octave and hard to find such an error. The relative
605 octave mode prevents these errors by making the mistakes much
606 larger: a single error puts the rest of the piece off by one octave
608 @cindex @code{\relative}
610 \relative @var{startpitch} @var{musicexpr}
614 \relative @var{musicexpr}
617 The octave of notes that appear in @var{musicexpr} are calculated as
618 follows: if no octave changing marks are used, the basic interval
619 between this and the last note is always taken to be a fourth or
620 less. This distance is determined without regarding alterations; a
621 @code{fisis} following a @code{ceses} will be put above the
622 @code{ceses}. In other words, a doubly-augmented fourth is considered
623 a smaller interval than a diminshed fifth, even though the fourth is
624 seven semitones while the fifth is only six semitones.
626 The octave changing marks @code{'} and @code{,} can be added to raise
627 or lower the pitch by an extra octave. Upon entering relative mode,
628 an absolute starting pitch can be specified that will act as the
629 predecessor of the first note of @var{musicexpr}. If no starting pitch
630 is specified, then middle C is used as a start.
632 Here is the relative mode shown in action
633 @lilypond[quote,fragment,raggedright,verbatim]
639 Octave changing marks are used for intervals greater than a fourth
640 @lilypond[quote,raggedright,fragment,verbatim]
646 If the preceding item is a chord, the first note of the chord is used
647 to determine the first note of the next chord
649 @lilypond[quote,raggedright,fragment,verbatim]
657 The pitch after the @code{\relative} contains a note name.
660 The relative conversion will not affect @code{\transpose},
661 @code{\chordmode} or @code{\relative} sections in its argument. To use
662 relative within transposed music, an additional @code{\relative} must
663 be placed inside @code{\transpose}.
666 @subsection Octave check
669 Octave checks make octave errors easier to correct: a note may be
670 followed by @code{=}@var{quotes} which indicates what its absolute
671 octave should be. In the following example,
673 \relative c'' @{ c='' b=' d,='' @}
677 @c take care with @code, adds confusing quotes.
678 the @code{d} will generate a warning, because a @code{d''} is expected
679 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
680 found. In the output, the octave is corrected to be a @code{d''} and
681 the next note is calculated relative to @code{d''} instead of @code{d'}.
685 There is also a syntax that is separate from the notes. The syntax
691 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
692 quotes) in \relative mode. If not, a warning is printed, and the
695 In the example below, the first check passes without incident, since
696 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
697 the second check produces a warning, since the @code{e} is not within
698 a fifth of @code{b'}. The warning message is printed, and the octave
699 is adjusted so that the following notes are in the correct octave
711 The octave of a note following an octave check is determined with
712 respect to the note preceding it. In the next fragment, the last note
713 is a @code{a'}, above middle C. That means that the @code{\octave}
714 check passes successfully, so the check could be deleted without changing
715 the output of the piece.
717 @lilypond[quote,raggedright,verbatim,fragment]
726 @subsection Bar check
730 @cindex @code{barCheckSynchronize}
733 Bar checks help detect errors in the durations. A bar check is
734 entered using the bar symbol, `@code{|}'. Whenever it is encountered
735 during interpretation, it should fall on a measure boundary. If it
736 does not, a warning is printed. In the next example, the second bar
737 check will signal an error
739 \time 3/4 c2 e4 | g2 |
742 Bar checks can also be used in lyrics, for example
747 Twin -- kle | Twin -- kle
752 @cindex @code{skipTypesetting}
754 Failed bar checks are caused by entering incorrect
755 durations. Incorrect durations often completely garble up the score,
756 especially if the score is polyphonic, so a good place to start correcting
757 input is by scanning for failed bar checks and incorrect durations. To
758 speed up this process, the @code{skipTypesetting} feature may be
759 used. It is described in the next section.
762 @cindex @code{pipeSymbol}
764 It is also possible to redefine the meaning of @code{|}. This is done
765 by assigning a music expression to @code{pipeSymbol},
767 @lilypond[quote,raggedright,verbatim]
768 pipeSymbol = \bar "||"
774 @node Skipping corrected music
775 @subsection Skipping corrected music
777 The property @code{Score.skipTypesetting} can be used to switch on and
778 off typesetting completely during the interpretation phase. When
779 typesetting is switched off, the music is processed much more
780 quickly. This can be used to skip over the parts of a score that
781 have already been checked for errors
783 @lilypond[quote,fragment,raggedright,verbatim]
786 \set Score.skipTypesetting = ##t
788 \set Score.skipTypesetting = ##f
792 In polyphonic music, @code{Score.skipTypesetting} will affect all
793 voices and staves, saving even more time.
795 @node Automatic note splitting
796 @subsection Automatic note splitting
798 Long notes can be converted automatically to tied notes. This is done
799 by replacing the @internalsref{Note_heads_engraver} by the
800 @internalsref{Completion_heads_engraver}.
801 In the following examples, notes crossing the bar line are split and tied.
804 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
806 \remove "Note_heads_engraver"
807 \consists "Completion_heads_engraver"
809 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
813 This engraver splits all running notes at the bar line, and inserts
814 ties. One of its uses is to debug complex scores: if the measures are
815 not entirely filled, then the ties exactly show how much each measure
820 Not all durations (especially those containing tuplets) can be
821 represented exactly with normal notes and dots, but the engraver will
826 Examples: @inputfileref{input/regression,completion-heads.ly}.
830 Program reference: @internalsref{Completion_heads_engraver}.
834 @section Staff notation
836 This section describes music notation that occurs on staff level,
837 such as key signatures, clefs and time signatures.
839 @cindex Staff notation
850 * Time administration::
851 * Controlling formatting of prefatory matter::
855 @subsection Staff symbol
857 @cindex adjusting staff symbol
859 Notes, dynamic signs, etc. are grouped
860 with a set of horizontal lines, into a staff (plural `staves'). In our
861 system, these lines are drawn using a separate layout object called
865 @cindex staff lines, setting number of
866 @cindex staff lines, setting thickness of
867 @cindex thickness of staff lines, setting
868 @cindex number of staff lines, setting
872 Program reference: @internalsref{StaffSymbol}.
874 Examples: @inputfileref{input/test,staff-lines.ly},
875 @inputfileref{input/test,staff-size.ly}.
879 If a staff is ended halfway a piece, the staff symbol may not end
880 exactly on the bar line.
884 @subsection Key signature
885 @cindex Key signature
889 The key signature indicates the tonality in which a piece is played. It
890 is denoted by a set of alterations (flats or sharps) at the start of the
894 Setting or changing the key signature is done with the @code{\key}
897 @code{\key} @var{pitch} @var{type}
900 @cindex @code{\minor}
901 @cindex @code{\major}
902 @cindex @code{\minor}
903 @cindex @code{\ionian}
904 @cindex @code{\locrian}
905 @cindex @code{\aeolian}
906 @cindex @code{\mixolydian}
907 @cindex @code{\lydian}
908 @cindex @code{\phrygian}
909 @cindex @code{\dorian}
911 Here, @var{type} should be @code{\major} or @code{\minor} to get
912 @var{pitch}-major or @var{pitch}-minor, respectively.
913 The standard mode names @code{\ionian},
914 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
915 @code{\phrygian}, and @code{\dorian} are also defined.
917 This command sets the context property
918 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
919 can be specified by setting this property directly.
921 Accidentals and key signatures often confuse new users, because
922 unaltered notes get natural signs depending on the key signature. For
923 more information, see @ref{More about pitches}.
927 Program reference: @internalsref{KeyChangeEvent},
928 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
930 @cindex @code{keySignature}
937 The clef indicates which lines of the staff correspond to which
941 The clef can be set with the @code{\clef} command
942 @lilypond[quote,raggedright,fragment,verbatim]
943 { c''2 \clef alto g'2 }
946 Supported clef-names include
947 @c Moved standard clefs to the top /MB
951 @item treble, violin, G, G2
964 G clef on 1st line, so-called French violin clef
969 @cindex mezzosoprano clef
972 @cindex baritone clef
975 @cindex varbaritone clef
986 By adding @code{_8} or @code{^8} to the clef name, the clef is
987 transposed one octave down or up, respectively, and @code{_15} and
988 @code{^15} transposes by two octaves. The argument @var{clefname}
989 must be enclosed in quotes when it contains underscores or digits. For
993 @cindex choral tenor clef
994 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
998 This command is equivalent to setting @code{clefGlyph},
999 @code{clefPosition} (which controls the Y position of the clef),
1000 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
1001 when any of these properties are changed. The following example shows
1002 possibilities when setting properties manually.
1004 @lilypond[raggedright,verbatim]
1006 \set Staff.clefGlyph = #"clefs-F"
1007 \set Staff.clefPosition = #2
1009 \set Staff.clefGlyph = #"clefs-G"
1011 \set Staff.clefGlyph = #"clefs-C"
1013 \set Staff.clefOctavation = #7
1015 \set Staff.clefOctavation = #0
1016 \set Staff.clefPosition = #0
1026 Program reference: @internalsref{Clef}.
1030 @node Ottava brackets
1031 @subsection Ottava brackets
1033 `Ottava' brackets introduce an extra transposition of an octave for
1034 the staff. They are created by invoking the function
1035 @code{set-octavation}
1041 @lilypond[quote,raggedright,verbatim,fragment]
1051 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1052 (for 15ma) as arguments. Internally the function sets the properties
1053 @code{ottavation} (e.g. to @code{"8va"}) and
1054 @code{centralCPosition}. For overriding the text of the bracket, set
1055 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1057 @lilypond[quote,raggedright,verbatim]
1060 \set Staff.ottavation = #"8"
1067 Program reference: @internalsref{OttavaBracket}.
1069 Examples: @inputfileref{input/regression,ottava.ly},
1070 @inputfileref{input/regression,ottava-broken.ly}.
1074 @code{set-octavation} will get confused when clef changes happen
1075 during an octavation bracket.
1080 @node Time signature
1081 @subsection Time signature
1082 @cindex Time signature
1084 @cindex @code{\time}
1086 Time signature indicates the metrum of a piece: a regular pattern of
1087 strong and weak beats. It is denoted by a fraction at the start of the
1091 The time signature is set or changed by the @code{\time}
1093 @lilypond[quote,raggedright,fragment,verbatim]
1094 \time 2/4 c'2 \time 3/4 c'2.
1097 The symbol that is printed can be customized with the @code{style}
1098 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1101 @lilypond[fragment,quote,raggedright,verbatim]
1104 \override Staff.TimeSignature #'style = #'()
1111 There are many more options for its layout. See @ref{Ancient time
1112 signatures} for more examples.
1115 This command sets the property @code{timeSignatureFraction},
1116 @code{beatLength} and @code{measureLength} in the @code{Timing}
1117 context, which is normally aliased to @internalsref{Score}. The
1118 property @code{measureLength} determines where bar lines should be
1119 inserted, and how automatic beams should be generated. Changing the
1120 value of @code{timeSignatureFraction} also causes the symbol to be
1123 More options are available through the Scheme function
1124 @code{set-time-signature}. In combination with the
1125 @internalsref{Measure_grouping_engraver}, it will create
1126 @internalsref{MeasureGrouping} signs. Such signs ease reading
1127 rhythmically complex modern music. In the following example, the 9/8
1128 measure is subdivided in 2, 2, 2 and 3. This is passed to
1129 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1131 @lilypond[quote,raggedright,verbatim]
1134 #(set-time-signature 9 8 '(2 2 2 3))
1135 g8[ g] d[ d] g[ g] a8[( bes g]) |
1136 #(set-time-signature 5 8 '(3 2))
1142 \consists "Measure_grouping_engraver"
1150 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1155 Automatic beaming does not use the measure grouping specified with
1156 @code{set-time-signature}.
1158 @node Partial measures
1159 @subsection Partial measures
1162 @cindex partial measure
1163 @cindex measure, partial
1164 @cindex shorten measures
1165 @cindex @code{\partial}
1167 Partial measures, for example in upsteps, are entered using the
1168 @code{\partial} command
1169 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1170 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1173 The syntax for this command is
1175 \partial @var{duration}
1177 This is internally translated into
1179 \set Timing.measurePosition = -@var{length of duration}
1182 The property @code{measurePosition} contains a rational number
1183 indicating how much of the measure has passed at this point.
1187 This command does not take into account grace notes at the start of
1188 the music. When a piece starts with graces notes in the pickup, then
1189 the @code{\partial} should follow the grace notes
1191 @lilypond[verbatim,quote,raggedright,relative,fragment]
1201 @node Unmetered music
1202 @subsection Unmetered music
1206 Bar lines and bar numbers are calculated automatically. For unmetered
1207 music (e.g. cadenzas), this is not desirable. By setting
1208 @code{Score.timing} to false, this automatic timing can be switched
1209 off. Empty bar lines,
1216 indicate where line breaks can occur.
1220 @cindex @code{\cadenzaOn}
1222 @cindex @code{\cadenzaOff}
1229 @subsection Bar lines
1233 @cindex measure lines
1237 Bar lines delimit measures, but are also used to indicate repeats.
1238 Normally, they are inserted automatically. Line breaks may only
1239 happen on bar lines.
1241 Special types of bar lines can be forced with the @code{\bar} command
1243 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1247 The following bar types are available
1248 @lilypondfile[raggedright,quote]{bar-lines.ly}
1250 For allowing line breaks, there is a special command,
1254 This will insert an invisible bar line, and allow line breaks at this
1257 In scores with many staves, a @code{\bar} command in one staff is
1258 automatically applied to all staves. The resulting bar lines are
1259 connected between different staves of a @internalsref{StaffGroup}
1261 @lilypond[quote,raggedright,fragment,verbatim]
1263 \context StaffGroup <<
1269 \new Staff { \clef bass c4 g e g }
1271 \new Staff { \clef bass c2 c2 }
1276 The command @code{\bar }@var{bartype} is a short cut for doing
1277 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1278 is set to a string, a bar line of that type is created.
1280 A bar line is created whenever the @code{whichBar} property is set.
1281 At the start of a measure it is set to the contents of
1282 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1283 to override default measure bars.
1285 @cindex @code{whichBar}
1286 @cindex @code{repeatCommands}
1287 @cindex @code{defaultBarType}
1289 You are encouraged to use @code{\repeat} for repetitions. See
1296 In this manual: @ref{Repeats}, @ref{System start delimiters}
1299 Program reference: @internalsref{BarLine} (created at
1300 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1302 @cindex bar lines at start of system
1303 @cindex start of system
1307 Examples: @inputfileref{input/test,bar-lines.ly},
1310 @node Time administration
1311 @subsection Time administration
1313 Time is administered by the @internalsref{Time_signature_engraver},
1314 which usually lives in the @internalsref{Score} context.
1315 The bookkeeping deals with the following variables
1318 @item currentBarNumber
1321 the length of the measures in the current time signature. For a 4/4
1322 time this is 1, and for 6/8 it is 3/4.
1323 @item measurePosition
1324 the point within the measure where we currently are. This quantity
1325 is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
1326 @code{currentBarNumber} is incremented.
1328 if set to true, the above variables are updated for every time
1329 step. When set to false, the engraver stays in the current measure
1333 Timing can be changed by setting any of these variables explicitly.
1334 In the next example, the 4/4 time signature is printed, but
1335 @code{measureLength} is set to 5/4. After a while, the measure is
1336 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1337 the measure, so the next bar line will fall at 2/4 + 3/8.
1339 @lilypond[raggedright,verbatim,relative,fragment]
1340 \set Score.measureLength = #(ly:make-moment 5 4)
1344 \set Score.measurePosition = #(ly:make-moment -3 8)
1350 @node Controlling formatting of prefatory matter
1351 @subsection Controlling formatting of prefatory matter
1353 TODO Somebody needs to explain this example, but I don't know what
1354 they're trying to do, so it won't be me. -gp
1358 \override Staff.Clef #'break-visibility = #end-of-line-visible
1359 \override Staff.KeySignature #'break-visibility = #end-of-line-visible
1360 \set Staff.explicitClefVisibility = #end-of-line-visible
1361 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1363 % We want the time sig to take space, otherwise there is not
1364 % enough white at the start of the line.
1367 \override Staff.TimeSignature #'transparent = ##t
1368 \set Score.defaultBarType = #"empty"
1388 Polyphony in music refers to having more than one voice occuring in
1389 a piece of music. Polyphony in LilyPond refers to having more than
1390 one voice on the same staff.
1393 * Writing polyphonic music::
1396 @node Writing polyphonic music
1397 @subsection Writing polyphonic music
1400 The easiest way to enter fragments with more than one voice on a staff
1401 is to split chords using the separator @code{\\}. You can use it for
1402 small, short-lived voices or for single chords
1406 @lilypond[quote,raggedright,verbatim,fragment]
1407 \context Staff \relative c'' {
1408 c4 << { f d e } \\ { b c2 } >>
1409 c4 << g' \\ b, \\ f' \\ d >>
1413 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1414 voices are sometimes called ``layers'' in other notation packages}
1416 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1417 each of these contexts, vertical direction of slurs, stems, etc. is set
1420 @cindex @code{\voiceOne}
1421 @cindex @code{\voiceFour}
1423 This can also be done by instantiating @internalsref{Voice} contexts
1424 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1425 a stem directions and horizontal shift for each part
1428 @lilypond[quote,raggedright,verbatim]
1431 \new Voice { \voiceOne cis2 b }
1432 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1433 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1437 The command @code{\oneVoice} will revert back to the normal setting.
1438 @cindex @code{\oneVoice}
1441 Normally, note heads with a different number of dots are not merged, but
1442 when the object property @code{merge-differently-dotted} is set in
1443 the @internalsref{NoteCollision} object, they are merged
1444 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1447 \override Staff.NoteCollision
1448 #'merge-differently-dotted = ##t
1450 } \\ { g8.[ f16] g8.[ f16] } >>
1453 Similarly, you can merge half note heads with eighth notes, by setting
1454 @code{merge-differently-headed}
1455 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1458 \override Staff.NoteCollision
1459 #'merge-differently-headed = ##t
1460 c8 c4. } \\ { c2 c2 } >>
1463 LilyPond also vertically shifts rests that are opposite of a stem,
1466 @lilypond[quote,raggedright,fragment,verbatim]
1467 \context Voice << c''4 \\ r4 >>
1475 @cindex @code{\oneVoice}
1477 @cindex @code{\voiceOne}
1479 @cindex @code{\voiceTwo}
1481 @cindex @code{\voiceThree}
1483 @cindex @code{\voiceFour}
1488 @cindex @code{\shiftOn}
1490 @cindex @code{\shiftOnn}
1492 @cindex @code{\shiftOnnn}
1494 @cindex @code{\shiftOff}
1495 @code{\shiftOff}: these commands specify in what chords of the current
1496 voice should be shifted. The outer voices (normally: voice one and
1497 two) have @code{\shiftOff}, while the inner voices (three and four)
1498 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1499 further shift levels.
1502 When LilyPond cannot cope, the @code{force-hshift}
1503 property of the @internalsref{NoteColumn} object and pitched rests can
1504 be used to override typesetting decisions.
1506 @lilypond[verbatim,raggedright]
1513 \once \override NoteColumn #'force-hshift = #1.7
1522 Program reference: the objects responsible for resolving collisions are
1523 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1526 @inputfileref{input/regression,collision-dots.ly},
1527 @inputfileref{input/regression,collision-head-chords.ly},
1528 @inputfileref{input/regression,collision-heads.ly},
1529 @inputfileref{input/regression,collision-mesh.ly}, and
1530 @inputfileref{input/regression,collisions.ly}.
1536 When using @code{merge-differently-headed} with an upstem eighth or a
1537 shorter note, and a downstem half note, the eighth note gets the wrong
1540 There is no support for clusters where the same note occurs with
1541 different accidentals in the same chord. In this case, it is
1542 recommended to use enharmonic transcription, or to use special cluster
1543 notation (see @ref{Clusters}).
1548 Beams are used to group short notes into chunks that are aligned with
1549 the metrum. LilyPond normally inserts beams automatically, but if you
1550 wish you may control them manually or changed how beams are automatically
1553 @cindex Automatic beams
1557 * Setting automatic beam behavior::
1561 @node Automatic beams
1562 @subsection Automatic beams
1564 LilyPond inserts beams automatically
1566 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1567 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1570 When these automatic decisions are not good enough, beaming can be
1571 entered explicitly. It is also possible to define beaming patterns
1572 that differ from the defaults.
1574 Individual notes may be marked with @code{\noBeam}, to prevent them
1577 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1578 \time 2/4 c8 c\noBeam c c
1584 Program reference: @internalsref{Beam}.
1588 @subsection Manual beams
1589 @cindex beams, manual
1593 In some cases it may be necessary to override the automatic beaming
1594 algorithm. For example, the autobeamer will not put beams over rests
1595 or bar lines. Such beams are specified manually by marking the begin
1596 and end point with @code{[} and @code{]}
1598 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1600 r4 r8[ g' a r8] r8 g[ | a] r8
1604 @cindex @code{stemLeftBeamCount}
1606 Normally, beaming patterns within a beam are determined automatically.
1607 If necessary, the properties @code{stemLeftBeamCount} and
1608 @code{stemRightBeamCount} can be used to override the defaults. If
1609 either property is set, its value will be used only once, and then it
1612 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1617 \set stemLeftBeamCount = #1
1621 @cindex @code{stemRightBeamCount}
1624 The property @code{subdivideBeams} can be set in order to subdivide
1625 all 16th or shorter beams at beat positions, as defined by the
1626 @code{beatLength} property.
1629 @lilypond[fragment,raggedright,quote,relative=2,verbatim,noindent]
1631 \set subdivideBeams = ##t
1633 \set Score.beatLength = #(ly:make-moment 1 8)
1636 @cindex @code{subdivideBeams}
1638 Normally, line breaks are forbidden when beams cross bar lines. This
1639 behavior can be changed by setting @code{allowBeamBreak}.
1641 @cindex @code{allowBeamBreak}
1642 @cindex beams and line breaks
1644 @cindex beams, kneed
1646 @cindex auto-knee-gap
1651 User manual: @ref{Changing context properties on the fly} for the
1657 @cindex Frenched staves
1658 Kneed beams are inserted automatically, when a large gap is detected
1659 between the note heads. This behavior can be tuned through the object.
1662 Automatically kneed cross-staff beams cannot be used together with
1663 hidden staves. See @ref{Hiding staves}.
1665 Beams do not avoid collisions with symbols around the notes, such as
1666 texts and accidentals.
1671 @node Setting automatic beam behavior
1672 @subsection Setting automatic beam behavior
1674 @cindex @code{autoBeamSettings}
1675 @cindex @code{(end * * * *)}
1676 @cindex @code{(begin * * * *)}
1677 @cindex automatic beams, tuning
1678 @cindex tuning automatic beaming
1680 @c [TODO: use \applycontext]
1682 In normal time signatures, automatic beams can start on any note but can
1683 only end in a few positions within the measure: beams can end on a beat,
1684 or at durations specified by the properties in
1685 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1686 are defined in @file{scm/auto-beam.scm}.
1688 The value of @code{autoBeamSettings} is changed with two functions,
1690 #(override-auto-beam-setting
1691 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1693 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1695 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1696 @var{context} is an optional context (default: @code{'Voice}). It
1697 determines whether the rule applies to begin or end-points. The
1698 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1699 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1700 to a time signature (wildcards `@code{* *}' may be entered to
1701 designate all time signatures), @var{a}/@var{b} is a duration. By
1702 default, this command changes settings for the current voice. It is
1703 also possible to adjust settings at higher contexts, by adding a
1704 @var{context} argument.
1706 For example, if automatic beams should end on every quarter note, use
1709 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1711 Since the duration of a quarter note is 1/4 of a whole note, it is
1712 entered as @code{(ly:make-moment 1 4)}.
1714 The same syntax can be used to specify beam starting points. In this
1715 example, automatic beams can only end on a dotted quarter note
1717 #(override-auto-beam-setting '(end * * * *) 3 8)
1719 In 4/4 time signature, this means that automatic beams could end only on
1720 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1721 3/8, has passed within the measure).
1723 Rules can also be restricted to specific time signatures. A rule that
1724 should only be applied in @var{N}/@var{M} time signature is formed by
1725 replacing the second asterisks by @var{N} and @var{M}. For example, a
1726 rule for 6/8 time exclusively looks like
1728 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1731 If a rule should be to applied only to certain types of beams, use the
1732 first pair of asterisks. Beams are classified according to the
1733 shortest note they contain. For a beam ending rule that only applies
1734 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1737 @cindex automatic beam generation
1739 @cindex @code{autoBeaming}
1742 If beams are used to indicate melismata in songs, then automatic
1743 beaming should be switched off. This is done by setting
1744 @code{autoBeaming} to @code{#f}.
1748 @cindex @code{\autoBeamOff}
1749 @code{\autoBeamOff},
1750 @cindex @code{\autoBeamOn}
1756 If a score ends while an automatic beam has not been ended and is
1757 still accepting notes, this last beam will not be typeset at all. The
1758 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1759 >>}. If a polyphonic voice ends while an automatic beam is still
1760 accepting notes, it is not typeset.
1762 The rules for ending a beam depend on the shortest note in a beam.
1763 So, while it is possible to have different ending rules for eight
1764 beams and sixteenth beams, a beam that contains both eight and
1765 sixteenth notes will use the rules for the sixteenth beam.
1767 In the example below, the autobeamer makes eighth beams and sixteenth
1768 end at three eighths. The third beam can only be corrected by
1769 specifying manual beaming.
1771 @lilypond[quote,raggedright,fragment,relative=1]
1772 #(override-auto-beam-setting '(end * * * *) 3 8)
1773 % rather show case where it goes wrong
1774 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1775 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1777 It is not possible to specify beaming parameters that act differently in
1778 different parts of a measure. This means that it is not possible to use
1779 automatic beaming in irregular meters such as @code{5/8}.
1781 @node Beam formatting
1782 @subsection Beam formatting
1785 When a beam falls in the middle of the staff, the beams point normally
1786 down. However, this behaviour can be altered with the
1787 @code{neutral-direction} property.
1790 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1793 \override Beam #'neutral-direction = #-1
1795 \override Beam #'neutral-direction = #1
1801 @section Accidentals
1803 This section describes how to change the way that accidentals are
1804 inserted automatically before notes.
1807 * Automatic accidentals::
1810 @node Automatic accidentals
1811 @subsection Automatic accidentals
1812 @cindex Automatic accidentals
1814 Common rules for typesetting accidents have been placed in a
1815 function. This function is called as follows
1817 @cindex @code{set-accidental-style}
1819 #(set-accidental-style 'STYLE #('CONTEXT#))
1822 The function can take two arguments: the name of the accidental style,
1823 and an optional argument that denotes the context which should be
1824 changed. If no context name is supplied, @code{Staff} is the default,
1825 but you may wish to apply the accidental style to a single @code{Voice}
1828 The following accidental styles are supported
1831 This is the default typesetting behavior. It corresponds
1832 to 18th century common practice: Accidentals are
1833 remembered to the end of the measure in which they occur and
1834 only on their own octave.
1837 The normal behavior is to remember the accidentals on
1838 Staff-level. This variable, however, typesets accidentals
1839 individually for each voice. Apart from that, the rule is similar to
1842 As a result, accidentals from one voice do not get canceled in other
1843 voices, which is often an unwanted result
1845 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1847 #(set-accidental-style 'voice)
1854 The @code{voice} option should be used if the voices
1855 are to be read solely by individual musicians. If the staff is to be
1856 used by one musician (e.g. a conductor) then
1857 @code{modern} or @code{modern-cautionary}
1858 should be used instead.
1861 @cindex @code{modern} style accidentals
1862 This rule corresponds to the common practice in the 20th century. This rule
1863 prints the same accidentals as @code{default}, but temporary
1864 accidentals also are canceled in other octaves. Furthermore,
1865 in the same octave, they also get canceled in the following
1868 @lilypond[quote,raggedright,fragment,verbatim]
1869 #(set-accidental-style 'modern)
1870 cis' c'' cis'2 | c'' c'
1873 @item @code{modern-cautionary}
1874 @cindex @code{modern-cautionary}
1875 This rule is similar to @code{modern}, but the ``extra'' accidentals
1876 (the ones not typeset by @code{default}) are typeset as cautionary
1877 accidentals. They are printed in reduced size or with parentheses
1878 @lilypond[quote,raggedright,fragment,verbatim]
1879 #(set-accidental-style 'modern-cautionary)
1880 cis' c'' cis'2 | c'' c'
1883 @cindex @code{modern-voice}
1885 This rule is used for multivoice accidentals to be read both by musicians
1886 playing one voice and musicians playing all voices. Accidentals are
1887 typeset for each voice, but they @emph{are} canceled across voices in
1888 the same @internalsref{Staff}.
1890 @cindex @code{modern-voice-cautionary}
1891 @item modern-voice-cautionary
1892 This rule is the same as @code{modern-voice}, but with the extra
1893 accidentals (the ones not typeset by @code{voice}) typeset
1894 as cautionaries. Even though all accidentals typeset by
1895 @code{default} @emph{are} typeset by this variable then
1896 some of them are typeset as cautionaries.
1899 @cindex @code{piano} accidentals
1900 This rule reflects 20th century practice for piano notation. Very similar to
1901 @code{modern} but accidentals also get canceled
1902 across the staves in the same @internalsref{GrandStaff} or
1903 @internalsref{PianoStaff}.
1905 @item piano-cautionary
1906 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1907 As @code{#(set-accidental-style 'piano)} but with the extra accidentals
1908 typeset as cautionaries.
1911 @cindex @code{no-reset} accidental style
1912 This is the same as @code{default} but with accidentals lasting
1913 ``forever'' and not only until the next measure
1914 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1915 #(set-accidental-style 'no-reset)
1920 This is sort of the opposite of @code{no-reset}: Accidentals
1921 are not remembered at all---and hence all accidentals are
1922 typeset relative to the key signature, regardless of what was
1925 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1926 #(set-accidental-style 'forget)
1927 \key d\major c4 c cis cis d d dis dis
1934 Program reference: @internalsref{Accidental_engraver},
1935 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1940 Simultaneous notes are considered to be entered in sequential
1941 mode. This means that in a chord the accidentals are typeset as if the
1942 notes in the chord happened once at a time - in the order in which
1943 they appear in the input file.
1945 This is a problem when accidentals in a chord depend on each other,
1946 which does not happen for the default accidental style. The problem
1947 can be solved by manually inserting @code{!} and @code{?} for the
1951 @node Expressive marks
1952 @section Expressive marks
1955 @c todo: should change ordering
1956 @c where to put text spanners, metronome marks,
1959 Expressive marks help musicians to bring more to the music than simple
1969 * Analysis brackets::
1972 * Fingering instructions::
1982 A slur indicates that notes are to be played bound or @emph{legato}.
1984 They are entered using parentheses
1985 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1986 f( g a) a8 b( a4 g2 f4)
1990 The direction of a slur can be set with the
1994 \override Slur #'direction = #UP
1995 \slurUp % shortcut for the previous line
1999 However, there is a convenient shorthand for forcing slur
2000 directions. By adding @code{_} or @code{^} before the opening
2001 parentheses, the direction is also set. For example,
2003 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2007 Some composers write two slurs when they want legato chords. This can
2008 be achieved in LilyPond by setting @code{doubleSlurs},
2010 @lilypond[verbatim,raggedright,relative,fragment,quote]
2011 \set doubleSlurs = ##t
2012 <c e>4 ( <d f> <c e> <d f> )
2019 @cindex @code{\slurUp}
2021 @cindex @code{\slurDown}
2023 @cindex @code{\slurNeutral}
2024 @code{\slurNeutral},
2025 @cindex @code{\slurDotted}
2027 @cindex @code{\slurSolid}
2032 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2035 @node Phrasing slurs
2036 @subsection Phrasing slurs
2038 @cindex phrasing slurs
2039 @cindex phrasing marks
2041 A phrasing slur (or phrasing mark) connects chords and is used to
2042 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2045 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2046 \time 6/4 c'\( d( e) f( e) d\)
2049 Typographically, the phrasing slur behaves almost exactly like a
2050 normal slur. However, they are treated as different objects. A
2051 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2052 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2053 @code{\phrasingSlurNeutral}.
2055 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2056 will only affect normal slurs and not phrasing slurs.
2060 @cindex @code{\phrasingSlurUp}
2061 @code{\phrasingSlurUp},
2062 @cindex @code{\phrasingSlurDown}
2063 @code{\phrasingSlurDown},
2064 @cindex @code{\phrasingSlurNeutral}
2065 @code{\phrasingSlurNeutral}.
2069 Program reference: see also @internalsref{PhrasingSlur}, and
2070 @internalsref{PhrasingSlurEvent}.
2074 Putting phrasing slurs over rests leads to spurious warnings.
2077 @subsection Breath marks
2079 Breath marks are entered using @code{\breathe}
2082 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2086 The glyph of the breath mark can be tuned by overriding the
2087 @code{text} property of the @code{BreathingSign} layout object with
2088 any markup text. For example,
2089 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2091 \override BreathingSign #'text
2092 = #(make-musicglyph-markup "scripts-rvarcomma")
2099 Program reference: @internalsref{BreathingSign},
2100 @internalsref{BreathingSignEvent}.
2102 Examples: @inputfileref{input/regression,breathing-sign.ly}.
2105 @node Metronome marks
2106 @subsection Metronome marks
2109 @cindex beats per minute
2110 @cindex metronome marking
2112 Metronome settings can be entered as follows
2114 \tempo @var{duration} = @var{per-minute}
2117 In the MIDI output, they are interpreted as a tempo change. In the
2118 layout output, a metronome marking is printed
2119 @cindex @code{\tempo}
2120 @lilypond[quote,raggedright,verbatim,fragment]
2126 Program reference: @internalsref{MetronomeChangeEvent}.
2130 @subsection Text scripts
2131 @cindex Text scripts
2133 @cindex text items, non-empty
2134 @cindex non-empty texts
2136 It is possible to place arbitrary strings of text or markup text (see
2137 @ref{Text markup}) above or below notes by using a string
2138 @code{c^"text"}. By default, these indications do not influence the
2139 note spacing, but by using the command @code{\fatText}, the widths
2140 will be taken into account
2142 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2143 c4^"longtext" \fatText c4_"longlongtext" c4
2146 More complex formatting may also be added to a note by using the
2148 @lilypond[fragment,raggedright,verbatim,quote]
2149 c'4^\markup { bla \bold bla }
2152 The @code{\markup} is described in more detail in
2158 @cindex @code{\fatText}
2160 @cindex @code{\emptyText}
2165 In this manual: @ref{Text markup}.
2167 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2171 @subsection Text spanners
2172 @cindex Text spanners
2174 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2175 are written as text and are extended over many measures with dotted
2176 lines. Such texts are created using text spanners; attach
2177 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2178 notes of the spanner.
2180 The string to be printed, as well as the style, is set through object
2183 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2185 \override TextSpanner #'direction = #-1
2186 \override TextSpanner #'edge-text = #'("rall " . "")
2187 c2\startTextSpan b c\stopTextSpan a
2193 Internals @internalsref{TextSpanEvent},
2194 @internalsref{TextSpanner}.
2196 Examples: @inputfileref{input/regression,text-spanner.ly}.
2199 @node Analysis brackets
2200 @subsection Analysis brackets
2202 @cindex phrasing brackets
2203 @cindex musicological analysis
2204 @cindex note grouping bracket
2206 Brackets are used in musical analysis to indicate structure in musical
2207 pieces. LilyPond supports a simple form of nested horizontal
2208 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2209 to @internalsref{Staff} context. A bracket is started with
2210 @code{\startGroup} and closed with @code{\stopGroup}
2212 @lilypond[quote,raggedright,verbatim]
2215 c4\startGroup\startGroup
2218 c4\stopGroup\stopGroup
2222 \Staff \consists "Horizontal_bracket_engraver"
2228 Program reference: @internalsref{HorizontalBracket},
2229 @internalsref{NoteGroupingEvent}.
2231 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2235 @subsection Articulations
2236 @cindex Articulations
2238 @cindex articulations
2242 A variety of symbols can appear above and below notes to indicate
2243 different characteristics of the performance. They are added to a note
2244 by adding a dash and the character signifying the
2245 articulation. They are demonstrated here
2247 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2249 The meanings of these shorthands can be changed. See
2250 @file{ly/script-init.ly} for examples.
2253 The script is automatically placed, but the direction can be forced as
2254 well. Like other pieces of LilyPond code, @code{_} will place them
2255 below the staff, and @code{^} will place them above.
2258 @lilypond[quote,raggedright,fragment,verbatim]
2262 Other symbols can be added using the syntax
2263 @var{note}@code{\}@var{name}. Again, they
2264 can be forced up or down using @code{^} and @code{_},
2267 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2268 c\fermata c^\fermata c_\fermata
2275 @cindex staccatissimo
2284 @cindex organ pedal marks
2293 @cindex prallmordent
2297 @cindex thumb marking
2302 Here is a chart showing all scripts available,
2304 @lilypondfile[raggedright,quote]{script-chart.ly}
2307 The vertical ordering of scripts is controlled with the
2308 @code{script-priority} property. The lower this number, the closer it
2309 will be put to the note. In this example, the
2310 @internalsref{TextScript} (the sharp symbol) first has the lowest
2311 priority, so it is put lowest in the first example. In the second, the
2312 prall trill (the @internalsref{Script}) has the lowest, so it on the
2313 inside. When two objects have the same priority, the order in which
2314 they are entered decides which one comes first.
2317 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2318 \once \override TextScript #'script-priority = #-100
2319 a4^\prall^\markup { \sharp }
2321 \once \override Script #'script-priority = #-100
2322 a4^\prall^\markup { \sharp }
2330 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2334 These signs appear in the printed output but have no effect on the
2335 MIDI rendering of the music.
2339 @node Running trills
2340 @subsection Running trills
2342 Long running trills are made with @code{\startTrillSpan} and
2343 @code{\stopTrillSpan},
2346 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2348 << { c1 \startTrillSpan }
2349 { s2. \grace { d16[\stopTrillSpan e] } } >>
2355 @code{\startTrillSpan},
2356 @cindex @code{\startTrillSpan}
2357 @code{\stopTrillSpan}.
2358 @cindex @code{\stopTrillSpan}
2362 Program reference: @internalsref{TrillSpanner},
2363 @internalsref{TrillSpanEvent}.
2365 @node Fingering instructions
2366 @subsection Fingering instructions
2370 Fingering instructions can be entered using
2372 @var{note}-@var{digit}
2374 For finger changes, use markup texts
2376 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2378 c^\markup { \finger "2-3" }
2381 @cindex finger change
2386 You can use the thumb-script to indicate that a note should be
2387 played with the thumb (e.g. in cello music)
2389 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2390 <a_\thumb a'-3>8 <b_\thumb b'-3>
2393 Fingerings for chords can also be added to individual notes
2394 of the chord by adding them after the pitches
2395 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2396 < c-1 e-2 g-3 b-5 >4
2400 In this case, setting @code{fingeringOrientations} will put fingerings next
2403 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2404 \set fingeringOrientations = #'(left down)
2405 <c-1 es-2 g-4 bes-5 > 4
2406 \set fingeringOrientations = #'(up right down)
2407 <c-1 es-2 g-4 bes-5 > 4
2410 Using this feature, it is also possible to put fingering instructions
2411 very close to note heads in monophonic music,
2413 @lilypond[verbatim,raggedright,quote,fragment]
2414 \set fingeringOrientations = #'(right)
2421 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2423 Examples: @inputfileref{input/regression,finger-chords.ly}.
2429 @subsection Grace notes
2432 @c should have blurb about accaciatura / appogiatura
2434 @cindex @code{\grace}
2438 Grace notes are ornaments that are written out. The most common ones
2439 are acciaccatura, which should be played as very short. It is denoted
2440 by a slurred small note with a slashed stem. The appoggiatura is a
2441 grace note that takes a fixed fraction of the main note, and is
2442 denoted as a slurred note in small print without a slash. They
2443 are entered with the commands @code{\acciaccatura} and
2444 @code{\appoggiatura}, as demonstrated in the following example
2447 @cindex appoggiatura
2448 @cindex acciaccatura
2450 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2451 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2452 \acciaccatura { g16[ f] } e4
2455 Both are special forms of the @code{\grace} command. By prefixing this
2456 keyword to a music expression, a new one is formed, which will be
2457 printed in a smaller font and takes up no logical time in a measure.
2459 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2461 \grace { c16[ d16] } c2 c4
2465 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2466 @code{\grace} command does not start a slur.
2468 Internally, timing for grace notes is done using a second, `grace'
2469 time. Every point in time consists of two rational numbers: one
2470 denotes the logical time, one denotes the grace timing. The above
2471 example is shown here with timing tuples
2473 @lilypond[quote,raggedright]
2476 c4 \grace c16 c4 \grace {
2479 \new Lyrics \lyricmode {
2480 \override LyricText #'font-family = #'typewriter
2484 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2485 \markup { (\fraction 1 4 , 0 ) } 4
2487 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2488 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2490 \markup { ( \fraction 2 4 , 0 ) }
2496 The placement of grace notes is synchronized between different staves.
2497 In the following example, there are two sixteenth graces notes for
2498 every eighth grace note
2500 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2501 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2502 \new Staff { c4 \grace { g8[ b] } c4 } >>
2507 If you want to end a note with a grace, the standard trick is to put
2508 the grace notes after a ``space note''
2510 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2513 { s2 \grace { c16[ d] } } >>
2519 By adjusting the duration of the skip note (here it is a half-note),
2520 the space between the main-note and the grace is adjusted.
2523 A @code{\grace} section will introduce special typesetting settings,
2524 for example, to produce smaller type, and set directions. Hence, when
2525 introducing layout tweaks, they should be inside the grace section,
2527 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2539 The overrides should also be reverted inside the grace section.
2541 The layout of grace sections can be changed throughout the music using
2542 the function @code{add-grace-property}. The following example
2543 undefines the Stem direction for this grace, so stems do not always
2548 #(add-grace-property 'Voice 'Stem 'direction '())
2554 Another option is to change the variables @code{startGraceMusic},
2555 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2556 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2557 @code{stopAppoggiaturaMusic}. More information is in the file
2558 @file{ly/grace-init.ly}.
2563 Program reference: @internalsref{GraceMusic}.
2567 A score that starts with a @code{\grace} section needs an explicit
2568 @code{\context Voice} declaration, otherwise the main note and grace
2569 note end up on different staves.
2571 Grace note synchronization can also lead to surprises. Staff notation,
2572 such as key signatures, bar lines, etc. are also synchronized. Take
2573 care when you mix staves with grace notes and staves without, for example,
2575 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2576 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2577 \new Staff { c4 \bar "|:" d4 } >>
2581 This can be remedied by inserting grace skips, for the above example
2584 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2587 Grace sections should only be used within sequential music
2588 expressions. Nesting or juxtaposing grace sections is not supported,
2589 and might produce crashes or other errors.
2593 @subsection Glissando
2596 @cindex @code{\glissando}
2598 A glissando is a smooth change in pitch. It is denoted by a line or a
2599 wavy line between two notes. It is requested by attaching
2600 @code{\glissando} to a note
2602 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2608 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2610 Example files: @file{input/regression/glissando.ly}.
2616 Printing text over the line (such as @emph{gliss.}) is not supported.
2620 @subsection Dynamics
2633 @cindex @code{\ffff}
2643 Absolute dynamic marks are specified using a command after a note
2644 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2645 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2646 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2647 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2649 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2650 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2651 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2660 A crescendo mark is started with @code{\<} and terminated with
2661 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2662 with @code{\!}. Because these marks are bound to notes, if you must
2663 use spacer notes if multiple marks are needed during one note
2665 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2667 << f1 { s4 s4\< s4\! \> s4\! } >>
2669 This may give rise to very short hairpins. Use @code{minimum-length}
2670 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2674 \override Staff.Hairpin #'minimum-length = #5
2677 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2678 is an example how to do it
2680 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2690 You can also supply your own texts
2691 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2692 \set crescendoText = \markup { \italic "cresc. poco" }
2693 \set crescendoSpanner = #'dashed-line
2702 @cindex @code{\dynamicUp}
2704 @cindex @code{\dynamicDown}
2705 @code{\dynamicDown},
2706 @cindex @code{\dynamicNeutral}
2707 @code{\dynamicNeutral}.
2709 @cindex direction, of dynamics
2713 Program reference: @internalsref{CrescendoEvent},
2714 @internalsref{DecrescendoEvent}, and
2715 @internalsref{AbsoluteDynamicEvent}.
2717 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2718 objects. Vertical positioning of these symbols is handled by the
2719 @internalsref{DynamicLineSpanner} object.
2725 Repetition is a central concept in music, and multiple notations exist
2731 * Repeats and MIDI::
2732 * Manual repeat commands::
2734 * Tremolo subdivisions::
2739 @subsection Repeat types
2742 @cindex @code{\repeat}
2744 The following types of repetition are supported
2748 Repeated music is fully written (played) out. This is useful when
2749 entering repetitious music. This is the only kind of repeat that
2750 is included in MIDI output.
2753 Repeats are not written out, but alternative endings (volte) are
2754 printed, left to right with brackets. This is the standard notation
2755 for repeats with alternatives. These are not played in MIDI output by default.
2759 Alternative endings are written stacked. This has limited use but may be
2760 used to typeset two lines of lyrics in songs with repeats, see
2761 @inputfileref{input,star-spangled-banner.ly}.
2766 Make tremolo beams. These are not played in MIDI output by default.
2769 Make beat or measure repeats. These look like percent signs. These are not played
2770 in MIDI output by default.
2775 @subsection Repeat syntax
2778 LilyPond has one syntactic construct for specifying different types of
2779 repeats. The syntax is
2782 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2785 If you have alternative endings, you may add
2786 @cindex @code{\alternative}
2788 \alternative @code{@{} @var{alternative1}
2790 @var{alternative3} @dots{} @code{@}}
2792 where each @var{alternative} is a music expression. If you do not
2793 give enough alternatives for all of the repeats, the first alternative
2794 is assumed to be played more than once.
2796 Standard repeats are used like this
2797 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2799 \repeat volta 2 { c4 d e f }
2800 \repeat volta 2 { f e d c }
2803 With alternative endings
2804 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2806 \repeat volta 2 {c4 d e f}
2807 \alternative { {d2 d} {f f,} }
2811 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2814 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2815 \alternative { { g4 g g } { a | a a a a | b2. } }
2819 It is possible to shorten volta brackets
2820 by setting @code{voltaSpannerDuration}. In the next example, the
2821 bracket only lasts one measure, which is a duration of 3/4.
2825 @lilypond[verbatim,raggedright,quote]
2829 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2830 \repeat "volta" 5 { d d d }
2831 \alternative { { e e e f f f }
2841 Brackets for the repeat are normally only printed over the topmost
2842 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2843 property @inputfileref{input/regression,volta-multi-staff.ly},
2844 @inputfileref{input/regression,volta-chord-names.ly}
2849 A nested repeat like
2858 is ambiguous, since it is is not clear to which @code{\repeat} the
2859 @code{\alternative} belongs. This ambiguity is resolved by always
2860 having the @code{\alternative} belong to the inner @code{\repeat}.
2861 For clarity, it is advisable to use braces in such situations.
2866 Timing information is not remembered at the start of an alternative,
2867 so after a repeat timing information must be reset by hand, for
2868 example by setting @code{Score.measurePosition} or entering
2869 @code{\partial}. Similarly, slurs or ties are also not repeated.
2874 @node Repeats and MIDI
2875 @subsection Repeats and MIDI
2877 @cindex expanding repeats
2879 With a little bit of tweaking, all types of repeats can be present
2880 in the MIDI output. This is achieved by applying the
2881 @code{\unfoldrepeats} music function. This functions changes all
2882 repeats to unfold repeats.
2884 @lilypond[verbatim,raggedright,fragment]
2886 \repeat tremolo 8 {c'32 e' }
2887 \repeat percent 2 { c''8 d'' }
2888 \repeat volta 2 {c'4 d' e' f'}
2897 When creating a score file using @code{\unfoldrepeats} for midi, then
2898 it is necessary to make two @code{\score} blocks. One for MIDI (with
2899 unfolded repeats) and one for notation (with volta, tremolo, and
2900 percent repeats). For example,
2908 \unfoldrepeats @var{..music..}
2913 @node Manual repeat commands
2914 @subsection Manual repeat commands
2916 @cindex @code{repeatCommands}
2918 The property @code{repeatCommands} can be used to control the layout of
2919 repeats. Its value is a Scheme list of repeat commands, where each repeat
2923 @item @code{start-repeat},
2924 which prints a @code{|:} bar line;
2925 @item @code{end-repeat},
2926 which prints a @code{:|} bar line;
2927 @item @code{(volta @var{text})},
2928 which prints a volta bracket saying @var{text}: The text can be specified as
2929 a text string or as a markup text, see @ref{Text markup}. Do not
2930 forget to change the font, as the default number font does not contain
2931 alphabetic characters;
2932 @item @code{(volta #f)}, which
2933 stops a running volta bracket.
2936 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2938 \set Score.repeatCommands = #'((volta "93") end-repeat)
2940 \set Score.repeatCommands = #'((volta #f))
2948 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2949 @internalsref{VoltaRepeatedMusic},
2950 @internalsref{UnfoldedRepeatedMusic}, and
2951 @internalsref{FoldedRepeatedMusic}.
2953 @node Tremolo repeats
2954 @subsection Tremolo repeats
2955 @cindex tremolo beams
2957 To place tremolo marks between notes, use @code{\repeat} with tremolo
2959 @lilypond[quote,verbatim,raggedright]
2960 \new Voice \relative c' {
2961 \repeat "tremolo" 8 { c16 d16 }
2962 \repeat "tremolo" 4 { c16 d16 }
2963 \repeat "tremolo" 2 { c16 d16 }
2967 Tremolo marks can also be put on a single note. In this case, the
2968 note should not be surrounded by braces.
2969 @lilypond[quote,verbatim,raggedright]
2970 \repeat "tremolo" 4 c'16
2973 Similar output is obtained using the tremolo subdivision, described in
2974 @ref{Tremolo subdivisions}.
2978 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2980 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2981 tremolos are @internalsref{StemTremolo} objects. The music expression is
2982 @internalsref{TremoloEvent}.
2984 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2985 @inputfileref{input/regression,stem-tremolo.ly}.
2987 @node Tremolo subdivisions
2988 @subsection Tremolo subdivisions
2989 @cindex tremolo marks
2990 @cindex @code{tremoloFlags}
2992 Tremolo marks can be printed on a single note by adding
2993 `@code{:}[@var{number}]' after the note. The number indicates the
2994 duration of the subdivision, and it must be at least 8. A
2995 @var{length} value of 8 gives one line across the note stem. If the
2996 length is omitted, the last value (stored in @code{tremoloFlags}) is
2999 @lilypond[quote,raggedright,verbatim,fragment]
3000 c'2:8 c':32 | c': c': |
3003 @c [TODO : stok is te kort bij 32en]
3004 @c somebody want to translate that into English? :)
3008 Tremolos entered in this way do not carry over into the MIDI output.
3012 In this manual: @ref{Tremolo repeats}.
3014 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3016 @node Measure repeats
3017 @subsection Measure repeats
3019 @cindex percent repeats
3020 @cindex measure repeats
3022 In the @code{percent} style, a note pattern can be repeated. It is
3023 printed once, and then the pattern is replaced with a special sign.
3024 Patterns of one and two measures are replaced by percent-like signs,
3025 patterns that divide the measure length are replaced by slashes
3027 @lilypond[quote,verbatim,raggedright]
3028 \new Voice \relative c' {
3029 \repeat "percent" 4 { c4 }
3030 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3036 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3037 @internalsref{PercentRepeatedMusic}, and
3038 @internalsref{DoublePercentRepeat}.
3042 @node Rhythmic music
3043 @section Rhythmic music
3045 Rhythmic music is primarily used for percussion and drum notation, but it can
3046 also be used to show the rhythms of melodies.
3049 * Showing melody rhythms::
3050 * Entering percussion::
3051 * Percussion staves::
3055 @node Showing melody rhythms
3056 @subsection Showing melody rhythms
3058 Sometimes you might want to show only the rhythm of a melody. This
3059 can be done with the rhythmic staff. All pitches of notes on such a
3060 staff are squashed, and the staff itself has a single line
3062 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3063 \context RhythmicStaff {
3065 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3071 Program reference: @internalsref{RhythmicStaff}.
3073 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
3076 @node Entering percussion
3077 @subsection Entering percussion
3083 Percussion notes may be entered in @code{\drummode} mode, which is
3084 similar to the standard mode for entering notes. Each piece of
3085 percussion has a full name and an abbreviated name, and both can be used
3088 @lilypond[quote,raggedright,verbatim]
3090 hihat hh bassdrum bd
3094 The complete list of drum names is in the init file
3095 @file{ly/drumpitch-init.ly}.
3096 @c TODO: properly document this.
3100 Program reference: @internalsref{DrumNoteEvent}.
3102 @node Percussion staves
3103 @subsection Percussion staves
3107 A percussion part for more than one instrument typically uses a
3108 multi line staff where each position in the staff refers to one piece
3112 To typeset the music, the notes must be interpreted in a
3113 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3116 @lilypond[quote,raggedright,verbatim]
3117 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3118 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3120 \new DrumVoice { \voiceOne \up }
3121 \new DrumVoice { \voiceTwo \down }
3125 The above example shows verbose polyphonic notation. The short
3126 polyphonic notation, described in @ref{Polyphony}, can also be used if
3127 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3129 @lilypond[quote,raggedright,fragment,verbatim]
3131 \context DrumVoice = "1" { s1 *2 }
3132 \context DrumVoice = "2" { s1 *2 }
3136 { \repeat unfold 16 hh16 }
3145 There are also other layout possibilities. To use these, set the
3146 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3147 The following variables have been predefined
3151 This is the default. It typesets a typical drum kit on a five-line staff
3153 @lilypond[quote,raggedright,noindent]
3154 nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc
3155 bd sn ss tomh tommh tomml toml tomfh tomfl }
3156 mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
3157 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3159 << \new DrumStaff\with {
3160 \remove Bar_engraver
3161 \remove Time_signature_engraver
3162 \override Stem #'transparent = ##t
3163 \override Stem #'Y-extent-callback = ##f
3164 minimumVerticalExtent = #'(-4.0 . 5.0)
3166 \context Lyrics \nam
3169 %% need to do this, because of indented @itemize
3172 \override LyricText #'font-family = #'typewriter
3173 \override BarNumber #'transparent =##T
3177 The drum scheme supports six different toms. When there fewer toms, simply
3178 select the toms that produce the desired result, i.e. to get toms on
3179 the three middle lines you use @code{tommh}, @code{tomml} and
3182 @item timbales-style
3183 This typesets timbales on a two line staff
3185 @lilypond[quote,raggedright]
3186 nam = \lyricmode { timh ssh timl ssl cb }
3187 mus = \drummode { timh ssh timl ssl cb s16 }
3190 \context DrumStaff \with {
3191 \remove Bar_engraver
3192 \remove Time_signature_engraver
3193 \override Stem #'transparent = ##t
3194 \override Stem #'Y-extent-callback = ##f
3195 \override StaffSymbol #'line-count = #2
3196 \override StaffSymbol #'staff-space = #2
3197 minimumVerticalExtent = #'(-3.0 . 4.0)
3198 drumStyleTable = #timbales-style
3201 \override LyricText #'font-family = #'typewriter
3207 This typesets congas on a two line staff
3209 @lilypond[quote,raggedright]
3210 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3211 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3213 \context DrumStaff\with {
3214 \remove Bar_engraver
3215 \remove Time_signature_engraver
3216 drumStyleTable = #congas-style
3217 \override StaffSymbol #'line-count = #2
3219 %% this sucks; it will lengthen stems.
3220 \override StaffSymbol #'staff-space = #2
3221 \override Stem #'transparent = ##t
3222 \override Stem #'Y-extent-callback = ##f
3225 \override LyricText #'font-family = #'typewriter
3230 This typesets bongos on a two line staff
3232 @lilypond[quote,raggedright]
3233 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3234 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3236 \context DrumStaff\with {
3237 \remove Bar_engraver
3238 \remove Time_signature_engraver
3239 \override StaffSymbol #'line-count = #2
3240 drumStyleTable = #bongos-style
3242 %% this sucks; it will lengthen stems.
3243 \override StaffSymbol #'staff-space = #2
3244 \override Stem #'transparent = ##t
3245 \override Stem #'Y-extent-callback = ##f
3248 \override LyricText #'font-family = #'typewriter
3253 @item percussion-style
3254 to typeset all kinds of simple percussion on one line staves
3255 @lilypond[quote,raggedright]
3256 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3257 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3259 \context DrumStaff\with{
3260 \remove Bar_engraver
3261 drumStyleTable = #percussion-style
3262 \override StaffSymbol #'line-count = #1
3263 \remove Time_signature_engraver
3264 \override Stem #'transparent = ##t
3265 \override Stem #'Y-extent-callback = ##f
3268 \override LyricText #'font-family = #'typewriter
3275 If you do not like any of the predefined lists you can define your own
3276 list at the top of your file
3278 @lilypond[quote,raggedright,verbatim]
3280 (bassdrum default #f -1)
3281 (snare default #f 0)
3283 (pedalhihat xcircle "stopped" 2)
3284 (lowtom diamond #f 3)))
3285 up = \drummode { hh8 hh hh hh hhp4 hhp }
3286 down = \drummode { bd4 sn bd toml8 toml }
3289 \set DrumStaff.drumStyleTable
3290 = #(alist->hash-table mydrums)
3291 \new DrumVoice { \voiceOne \up }
3292 \new DrumVoice { \voiceTwo \down }
3299 Init files: @file{ly/drumpitch-init.ly}.
3301 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3305 Because general MIDI does not contain rim shots, the sidestick is used
3306 for this purpose instead.
3309 @section Piano music
3311 Piano staves are two normal staves coupled with a brace. The staves
3312 are largely independent, but sometimes voices can cross between the
3313 two staves. The same notation is also used for harps and other key
3314 instruments. The @internalsref{PianoStaff} is especially built to
3315 handle this cross-staffing behavior. In this section we discuss the
3316 @internalsref{PianoStaff} and some other pianistic peculiarities.
3320 * Automatic staff changes::
3321 * Manual staff switches::
3324 * Staff switch lines::
3325 * Cross staff stems::
3330 Dynamics are not centered, but workarounds do exist. See the
3331 ``piano centered dynamics'' template in @ref{Piano templates}.
3333 @cindex cross staff stem
3334 @cindex stem, cross staff
3335 @cindex distance between staves in piano music
3337 The distance between the two staves is the same for all systems in the
3338 score. It is possible to override this per system, but it does require
3339 an arcane command incantation. See
3340 @inputfileref{input/test,piano-staff-distance.ly}.
3343 @node Automatic staff changes
3344 @subsection Automatic staff changes
3345 @cindex Automatic staff changes
3347 Voices can be made to switch automatically between the top and the bottom
3348 staff. The syntax for this is
3352 \autochange @dots{}@var{music}@dots{}
3357 This will create two staves inside the current PianoStaff, called
3358 @code{up} and @code{down}. The lower staff will be in bass clef by
3361 A @code{\relative} section that is outside of @code{\autochange} has
3362 no effect on the pitches of @var{music}, so, if necessary, put
3363 @code{\relative} inside @code{\autochange} like
3367 \autochange \relative @dots{} @dots{}
3372 The autochanger switches on basis of pitch (middle C is the turning
3373 point), and it looks ahead skipping over rests to switch in
3374 advance. Here is a practical example
3376 @lilypond[quote,verbatim,raggedright]
3378 \autochange \relative c'
3387 In this manual: @ref{Manual staff switches}.
3389 Program reference: @internalsref{AutoChangeMusic}.
3395 The staff switches may not end up in optimal places. For high
3396 quality output, staff switches should be specified manually.
3399 @code{\autochange} cannot be inside @code{\times}.
3401 Internally, the @code{\partcombine} interprets both arguments as
3402 @code{Voice}s named @code{one} and @code{two}, and then decides when
3403 the parts can be combined. Consequently, if the arguments switch to
3404 differently named @internalsref{Voice} contexts, the events in those
3408 @node Manual staff switches
3409 @subsection Manual staff switches
3411 @cindex manual staff switches
3412 @cindex staff switch, manual
3414 Voices can be switched between staves manually, using the command
3416 \change Staff = @var{staffname} @var{music}
3420 The string @var{staffname} is the name of the staff. It switches the
3421 current voice from its current staff to the Staff called
3422 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3423 @code{"down"}. The @context{Staff} referred to must already exist, so
3424 usually the setup for a score will start with a setup of the staves,
3428 \context Staff = up @{
3429 \skip 1 * 10 %@emph{ keep staff alive}
3431 \context Staff = down @{
3432 \skip 1 * 10 %@emph{idem}
3438 and the @context{Voice} is inserted afterwards
3441 \context Staff = down
3442 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3450 Pianos have pedals that alter the way sound is produced. Generally, a
3451 piano has three pedals, sustain, una corda, and sostenuto.
3454 Piano pedal instruction can be expressed by attaching
3455 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3456 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3459 @lilypond[quote,raggedright,fragment,verbatim]
3460 c'4\sustainDown c'4\sustainUp
3463 What is printed can be modified by setting @code{pedal@var{X}Strings},
3464 where @var{X} is one of the pedal types: @code{Sustain},
3465 @code{Sostenuto} or @code{UnaCorda}. Refer to
3466 @internalsref{SustainPedal} in the program reference for more
3469 Pedals can also be indicated by a sequence of brackets, by setting the
3470 @code{pedalSustainStyle} property to bracket objects
3472 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3473 \set Staff.pedalSustainStyle = #'bracket
3475 b\sustainUp\sustainDown
3476 b g \sustainUp a \sustainDown \bar "|."
3479 A third style of pedal notation is a mixture of text and brackets,
3480 obtained by setting the @code{pedalSustainStyle} style property to
3483 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3484 \set Staff.pedalSustainStyle = #'mixed
3486 b\sustainUp\sustainDown
3487 b g \sustainUp a \sustainDown \bar "|."
3490 The default `*Ped.' style for sustain and damper pedals corresponds to
3491 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3494 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3495 c\sostenutoDown d e c, f g a\sostenutoUp
3498 For fine-tuning of the appearance of a pedal bracket, the properties
3499 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3500 @code{PianoPedalBracket} objects (see
3501 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3502 bracket may be extended to the right edge of the note head
3504 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3505 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3506 c\sostenutoDown d e c, f g a\sostenutoUp
3510 @subsection Arpeggio
3513 @cindex broken arpeggio
3514 @cindex @code{\arpeggio}
3516 You can specify an arpeggio sign on a chord by attaching an
3517 @code{\arpeggio} to a chord
3520 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3524 When an arpeggio crosses staves, you attach an arpeggio to the chords
3525 in both staves, and set
3526 @internalsref{PianoStaff}.@code{connectArpeggios}
3528 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3529 \context PianoStaff <<
3530 \set PianoStaff.connectArpeggios = ##t
3531 \new Staff { <c' e g c>\arpeggio }
3532 \new Staff { \clef bass <c,, e g>\arpeggio }
3536 The direction of the arpeggio is sometimes denoted by adding an
3537 arrowhead to the wiggly line
3539 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3548 A square bracket on the left indicates that the player should not
3549 arpeggiate the chord
3551 @c todo: ugh, lousy typography. Look for real example. --hwn
3553 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3560 @cindex @code{\arpeggio}
3562 @cindex @code{\arpeggioUp}
3564 @cindex @code{\arpeggioDown}
3565 @code{\arpeggioDown},
3566 @cindex @code{\arpeggioNeutral}
3567 @code{\arpeggioNeutral},
3568 @cindex @code{\arpeggioBracket}
3569 @code{\arpeggioBracket}.
3573 Program reference: @internalsref{ArpeggioEvent},
3574 @internalsref{Arpeggio}.
3578 It is not possible to mix connected arpeggios and unconnected
3579 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3581 @node Staff switch lines
3582 @subsection Staff switch lines
3585 @cindex follow voice
3586 @cindex staff switching
3589 @cindex @code{followVoice}
3591 Whenever a voice switches to another staff a line connecting the notes
3592 can be printed automatically. This is switched on by setting
3593 @code{PianoStaff.followVoice} to true
3595 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3596 \context PianoStaff <<
3597 \set PianoStaff.followVoice = ##t
3598 \context Staff \context Voice {
3603 \context Staff=two { \clef bass \skip 1*2 }
3609 Program reference: @internalsref{VoiceFollower}.
3613 @cindex @code{\showStaffSwitch}
3614 @code{\showStaffSwitch},
3615 @cindex @code{\hideStaffSwitch}
3616 @code{\hideStaffSwitch}.
3619 @node Cross staff stems
3620 @subsection Cross staff stems
3622 The chords which cross staves may be produced by increasing the length
3623 of the stem in the lower stave, so it reaches the stem in the upper
3624 stave, or vice versa.
3626 @lilypond[raggedright,verbatim,quote]
3627 stemExtend = \once \override Stem #'length = #22
3628 noFlag = \once \override Stem #'flag-style = #'no-flag
3629 \context PianoStaff <<
3631 \stemDown \stemExtend
3645 @section Vocal music
3647 There are three different issues when printing vocal music
3651 Song texts must be entered as texts, not notes. For example, the
3652 input @code{d} should be interpreted as a one letter syllable, not the note D.
3654 Song texts must be printed as text, not as notes.
3656 Song texts must be aligned with the notes of their melody
3659 The simplest solution to printing music uses the @code{\addlyrics}
3660 function to solve all these problems at once. However, these
3661 three functions can be controlled separately, which is necessary
3662 for complex vocal music.
3666 * Setting simple songs::
3668 * Hyphens and extenders::
3669 * The Lyrics context::
3670 * Flexibility in alignment::
3675 @node Setting simple songs
3676 @subsection Setting simple songs
3678 The easiest way to add lyrics to a melody is to append
3681 \addlyrics @{ @var{the lyrics} @}
3685 to a melody. Here is an example,
3687 @lilypond[raggedright,verbatim,fragment,quote]
3689 \relative { c2 e4 g2. }
3690 \addlyrics { play the game }
3693 More stanzas can be added by adding more
3694 @code{\addlyrics} sections
3696 @lilypond[raggedright,verbatim,fragment,quote]
3698 \relative { c2 e4 g2. }
3699 \addlyrics { play the game }
3700 \addlyrics { speel het spel }
3701 \addlyrics { joue le jeu }
3704 @c TODO - this isn't such a great place for this note, but I can't
3705 @c find a better place without rearranging a lot of lyric stuff.
3706 @c It's yet another thing to look at post-3.0.
3708 The @code{\addlyrics} command is actually just a convienient way
3709 to write a more complicated LilyPond structure that sets up the
3710 lyrics. You should use @code{\addlyrics} unless you need to
3711 fancy things, in which case you should investigate
3712 @code{\lyricsto} or @code{\lyricmode}.
3716 \addlyrics @{ LYRICS @}
3722 \context Voice = blah @{ music @}
3723 \lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
3727 @node Entering lyrics
3728 @subsection Entering lyrics
3732 @cindex @code{\lyricmode}
3735 Lyrics are entered in a special input mode. This mode is is introduced
3736 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3737 @code{lyricsto}. In this mode you can enter lyrics,
3738 with punctuation and accents, and the input @code{d} is not parsed as
3739 a pitch, but rather as a one letter syllable. Syllables are entered
3740 like notes, but with pitches replaced by text. For example,
3742 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3746 A word lyrics mode begins with an alphabetic character, and ends with
3747 any space or digit. The following characters can be any character
3748 that is not a digit or white space. One important consequence of this
3749 is that a word can end with @code{@}}. The following example is
3750 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3751 opening brace is not balanced
3753 \lyricmode @{ twinkle@}
3756 @cindex @code{\property}, in @code{\lyricmode}
3758 Similarly, a period which follows an alphabetic sequence is included in
3759 the resulting string. As a consequence, spaces must be inserted around
3762 \override Score . LyricText #'font-shape = #'italic
3766 @cindex spaces, in lyrics
3767 @cindex quotes, in lyrics
3769 Any @code{_} character which appears in an unquoted word is converted
3770 to a space. This provides a mechanism for introducing spaces into words
3771 without using quotes. Quoted words can also be used in Lyrics mode to
3772 specify words that cannot be written with the above rules. The
3773 following example incorporates double quotes
3776 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3779 This example is slightly academic, since it gives better looking
3780 results to use single quotes, @code{``} and @code{''}
3782 \lyricmode @{ He said: ``Let my peo ple go'' @}
3786 The full definition of a word start in Lyrics mode is somewhat more
3789 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3790 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3791 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3792 any 8-bit character with ASCII code over 127, or a two-character
3793 combination of a backslash followed by one of @code{`}, @code{'},
3794 @code{"}, or @code{^}.
3800 Program reference: events @internalsref{LyricEvent}, and
3801 @internalsref{LyricText}.
3805 The definition of lyrics mode is too complex.
3807 @node Hyphens and extenders
3808 @subsection Hyphens and extenders
3812 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3813 The hyphen will have variable length depending on the space between
3814 the syllables and it will be centered between the syllables.
3819 When a lyric is sung over many notes (this is called a melisma), this is
3820 indicated with a horizontal line centered between a syllable and the
3821 next one. Such a line is called an extender line, and it is entered as
3827 Program reference: @internalsref{HyphenEvent},
3828 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3829 @internalsref{LyricExtender}
3831 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3835 @node The Lyrics context
3836 @subsection The Lyrics context
3839 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3841 \context Lyrics \lyricmode @dots{}
3844 @cindex automatic syllable durations
3845 @cindex @code{\lyricsto}
3846 @cindex lyrics and melodies
3848 This will place the lyrics according to the durations that were
3849 entered. The lyrics can also be aligned under a given melody
3850 automatically. In this case, it is no longer necessary to enter the
3851 correct duration for each syllable. This is achieved by combining the
3852 melody and the lyrics with the @code{\lyricsto} expression
3854 \lyricsto @var{name} \new Lyrics @dots{}
3857 This aligns the lyrics to the
3859 notes of the @internalsref{Voice} context called @var{name}, which has
3860 to exist. Therefore, normally the @code{Voice} is specified first, and
3861 then the lyrics are specified with @code{\lyricsto}. The command
3862 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
3863 @code{\lyricmode} keyword may be omitted.
3865 For different or more complex orderings, the best way is to setup the
3866 hierarchy of staves and lyrics first, e.g.
3868 \context ChoirStaff <<
3869 \context Lyrics = sopranoLyrics @{ s1 @}
3870 \context Voice = soprano @{ @emph{music} @}
3871 \context Lyrics = tenorLyrics @{ s1 @}
3872 \context Voice = tenor @{ @emph{music} @}
3875 and then combine the appropriate melodies and lyric lines
3877 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3882 The final input would resemble
3885 <<\context ChoirStaff << @emph{setup the music} >>
3886 \lyricsto "soprano" @emph{etc}
3887 \lyricsto "alto" @emph{etc}
3893 The @code{\lyricsto} command detects melismata: it only puts one
3894 syllable under a tied or slurred group of notes. If you want to force
3895 an unslurred group of notes to be a melisma, insert @code{\melisma}
3896 after the first note of the group, and @code{\melismaEnd} after the
3899 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3901 \context Voice = "lala" {
3909 \lyricsto "lala" \new Lyrics {
3915 In addition, notes are considered a melisma if they are manually
3916 beamed, and automatic beaming (see @ref{Setting automatic beam
3917 behavior}) is switched off.
3923 The criteria for deciding melismata can
3924 be tuned with the property @code{melismaBusyProperties}. See
3925 @internalsref{Melisma_translator} in the program reference for more
3930 Lyrics can also be entered without @code{\lyricsto}. In this case the
3931 durations of each syllable must be entered explicitly, for example,
3938 The alignment to a melody can be specified with the
3939 @code{associatedVoice} property,
3942 \set associatedVoice = #"lala"
3946 The value of the property (here: @code{"lala"}) should be the name of
3947 a @internalsref{Voice} context. Without this setting, extender lines
3948 will not be formatted properly.
3950 Here is an example demonstrating manual lyric durations,
3952 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
3953 << \context Voice = melody {
3957 \new Lyrics \lyricmode {
3958 \set associatedVoice = #"melody"
3964 @cindex choral score
3966 A complete example of a SATB score setup is in section
3967 @ref{Small ensembles}.
3972 @code{\melisma}, @code{\melismaEnd}
3973 @cindex @code{\melismaEnd}
3974 @cindex @code{\melisma}
3978 Program reference: @internalsref{LyricCombineMusic},
3979 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3981 Examples: @ref{Small ensembles},
3982 @inputfileref{input/regression,lyric-combine-new.ly},
3983 @c TODO: make separate section for melismata
3984 @inputfileref{input/test,lyrics-melisma-variants.ly}.
3985 @inputfileref{input/test,lyrics-melisma-faster.ly}.
3989 Melismata are not detected automatically, and extender lines must be
3993 @c TODO: document \new Staff << Voice \lyricsto >> bug
3995 @node Flexibility in alignment
3996 @subsection Flexibility in alignment
3999 Often, different stanzas of one song are put to one melody in slightly
4000 differing ways. Such variations can still be captured with
4003 One possibility is that the text has a melisma in one stanza, but
4004 multiple syllables in another one. One solution is to make the faster
4005 voice ignore the melisma. This is done by setting
4006 @code{ignoreMelismata} in the Lyrics context.
4008 There has one tricky aspect. The setting for @code{ignoreMelismata}
4009 must be set one syllable @emph{before} the non-melismatic syllable
4010 in the text, as shown here,
4012 @lilypond[verbatim,raggedright,quote]
4014 \relative \context Voice = "lahlah" {
4015 \set Staff.autoBeaming = ##f
4021 \new Lyrics \lyricsto "lahlah" {
4024 \new Lyrics \lyricsto "lahlah" {
4025 \set ignoreMelismata = ##t % applies to "fas"
4027 \unset ignoreMelismata
4034 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4035 should be entered before ``go''.
4037 The reverse is also possible: making a lyric line slower than the
4038 standard. This can be achieved by insert @code{\skip}s into the
4039 lyrics. For every @code{\skip}, the text will be delayed another note.
4042 @lilypond[verbatim,raggedright,quote]
4043 \relative { c c g' }
4050 More complex variations in text underlay are possible. It is possible
4051 to switch the melody for a line of lyrics during the text. This is
4052 done by setting the @code{associatedVoice} property. In the example
4054 @lilypond[raggedright,quote]
4057 \relative \context Voice = "lahlah" {
4058 \set Staff.autoBeaming = ##f
4061 \context Voice = alternative {
4064 % show associations clearly.
4065 \override NoteColumn #'force-hshift = #-3
4076 \new Lyrics \lyricsto "lahlah" {
4077 Ju -- ras -- sic Park
4079 \new Lyrics \lyricsto "lahlah" {
4080 % Tricky: need to set associatedVoice
4081 % one syllable too soon!
4082 \set associatedVoice = alternative % applies to "ran"
4086 \set associatedVoice = lahlah % applies to "rus"
4092 the text for the first stanza is set to a melody called ``lahlah'',
4095 \new Lyrics \lyricsto "lahlah" {
4096 Ju -- ras -- sic Park
4101 The second stanza initially is set to the @code{lahlah} context, but
4102 for the syllable ``ran'', it switches to a different melody.
4103 This is achieved with
4105 \set associatedVoice = alternative
4109 Here, @code{alternative} is the name of the @code{Voice} context
4110 containing the triplet.
4112 Again, the command must be one syllable too early, before ``Ty'' in
4116 \new Lyrics \lyricsto "lahlah" {
4117 \set associatedVoice = alternative % applies to "ran"
4121 \set associatedVoice = lahlah % applies to "rus"
4127 The underlay is switched back to the starting situation by assigning
4128 @code{lahlah} to @code{associatedVoice}.
4134 @subsection More stanzas
4136 @cindex phrasing, in lyrics
4139 @cindex stanza number
4140 @cindex singer's names
4141 @cindex name of singer
4143 Stanza numbers can be added by setting @code{stanza}, e.g.
4145 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4147 \time 3/4 g2 e4 a2 f4 g2.
4150 Hi, my name is Bert.
4153 Oh, che -- ri, je t'aime
4157 These numbers are put just before the start of first syllable.
4159 Names of singers can also be added. They are printed at the start of
4160 the line, just like instrument names. They are created by setting
4161 @code{vocalName}. A short version may be entered as @code{vocNam}.
4164 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4166 \time 3/4 g2 e4 a2 f4 g2.
4168 \set vocalName = "Bert "
4169 Hi, my name is Bert.
4171 \set vocalName = "Ernie "
4172 Oh, che -- ri, je t'aime
4178 Program reference: Layout objects @internalsref{LyricText} and
4179 @internalsref{VocalName}. Music expressions
4180 @internalsref{LyricEvent}.
4188 The term @emph{ambitus} denotes a range of pitches for a given voice
4189 in a part of music. It also may denote the pitch range that a musical
4190 instrument is capable of playing. Ambits are printed on vocal parts,
4191 so performers can easily determine it meets their capabilities.
4193 It denoted at the beginning of a piece near the initial clef. The
4194 range is graphically specified by two note heads, that represent the
4195 minimum and maximum pitch. To print such ambits, add the
4196 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4203 \consists Ambitus_engraver
4208 This results in the following output
4210 @lilypond[quote,raggedright]
4214 \consists Ambitus_engraver
4218 \relative \new Staff {
4223 If you have multiple voices in a single staff, and you want a single
4224 ambitus per staff rather than per each voice, add the
4225 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4226 rather than to the @internalsref{Voice} context. Here is an example,
4228 @lilypond[verbatim,raggedright,quote]
4231 \consists "Ambitus_engraver"
4233 \override Ambitus #'X-offset-callbacks
4234 = #(list (lambda (grob axis) -1.0))
4239 \consists "Ambitus_engraver"
4248 This example uses one advanced feature,
4251 \override Ambitus #'X-offset-callbacks
4252 = #(list (lambda (grob axis) -1.0))
4256 This code moves the ambitus to the left. The same effect could have
4257 been achieved with @code{extra-offset}, but then the formatting system
4258 would not reserve space for the moved object.
4262 Program reference: @internalsref{Ambitus},
4263 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4264 @internalsref{AmbitusAccidental}.
4266 Examples: @inputfileref{input/regression,ambitus.ly}.
4270 There is no collision handling in the case of multiple per-voice
4273 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4274 @section Other instrument specific notation
4276 This section includes extra information for writing string music, and may
4277 include extra information for other instruments in the future.
4283 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4284 @subsection Harmonic notes
4286 @cindex artificial harmonics
4289 Artificial harmonics are notated with a different notehead style. They
4291 marking the harmonic pitch with @code{\harmonic}.
4293 @lilypond[raggedright,verbatim,quote,fragment]
4298 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4302 @cindex guitar tablature
4304 Tablature notation is used for notating music for plucked string
4305 instruments. Pitches are not denoted with note heads, but by
4306 indicating on which string and fret a note must be played. LilyPond
4307 offers limited support for tablature.
4310 * Tablatures basic::
4311 * Non-guitar tablatures::
4314 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4315 @subsection Tablatures basic
4316 @cindex Tablatures basic
4318 The string number associated to a note is given as a backslash
4319 followed by a number, e.g. @code{c4\3} for a C quarter on the third
4320 string. By default, string 1 is the highest one, and the tuning
4321 defaults to the standard guitar tuning (with 6 strings). The notes
4322 are printed as tablature, by using @internalsref{TabStaff} and
4323 @internalsref{TabVoice} contexts
4325 @lilypond[quote,raggedright,fragment,verbatim]
4332 @cindex @code{minimumFret}
4335 When no string is specified, the first string that does not give a
4336 fret number less than @code{minimumFret} is selected. The default
4337 value for @code{minimumFret} is 0
4342 \set TabStaff.minimumFret = #8
4345 @lilypond[quote,noindent,raggedright]
4349 \set TabStaff.minimumFret = #8
4352 \context StaffGroup <<
4353 \context Staff { \clef "G_8" \frag }
4354 \context TabStaff { \frag }
4360 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4361 @internalsref{StringNumberEvent}.
4365 Chords are not handled in a special way, and hence the automatic
4366 string selector may easily select the same string to two notes in a
4370 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4371 @subsection Non-guitar tablatures
4372 @cindex Non-guitar tablatures
4374 You can change the number of strings, by setting the number of lines
4375 in the @internalsref{TabStaff}.
4377 You can change the tuning of the strings. A string tuning is given as
4378 a Scheme list with one integer number for each string, the number
4379 being the pitch (measured in semitones relative to middle C) of an
4380 open string. The numbers specified for @code{stringTuning} are the
4381 numbers of semitones to subtract or add, starting the specified pitch
4382 by default middle C, in string order. In the next example,
4383 @code{stringTunings} is set for the pitches e, a, d, and g
4385 @lilypond[quote,raggedright,fragment,verbatim]
4386 \context TabStaff <<
4387 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4390 a,4 c' a e' e c' a e'
4397 No guitar special effects have been implemented.
4401 Program reference: @internalsref{Tab_note_heads_engraver}.
4404 @node Popular music, Orchestral music, Tablatures, Notation manual
4405 @section Popular music
4407 This section discusses issues that arise when writing popular music.
4412 * Printing chord names::
4417 @node Chord names, Chords mode, Popular music, Popular music
4418 @subsection Chord names
4421 LilyPond has support for printing chord names. Chords may be entered
4422 in musical chord notation, i.e. @code{< .. >}, but they can also be
4423 entered by name. Internally, the chords are represented as a set of
4424 pitches, so they can be transposed
4427 @lilypond[quote,raggedright,verbatim,raggedright]
4428 twoWays = \transpose c c' {
4437 << \context ChordNames \twoWays
4438 \context Voice \twoWays >>
4441 This example also shows that the chord printing routines do not try to
4442 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4445 @c this menu isn't needed.
4449 * Printing chord names::
4454 @subsection Chords mode
4457 In chord mode sets of pitches (chords) are entered with normal note
4458 names. A chord is entered by the root, which is entered like a
4461 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
4462 \chordmode { es4. d8 c2 }
4466 The mode is introduced by the keyword @code{\chordmode}.
4471 Other chords may be entered by suffixing a colon and introducing a
4472 modifier (which may include a number if desired)
4474 @lilypond[quote,fragment,verbatim]
4475 \chordmode { e1:m e1:7 e1:m7 }
4477 The first number following the root is taken to be the `type' of the
4478 chord, thirds are added to the root until it reaches the specified
4480 @lilypond[quote,fragment,verbatim]
4481 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4484 @cindex root of chord
4485 @cindex additions, in chords
4486 @cindex removals, in chords
4488 More complex chords may also be constructed adding separate steps
4489 to a chord. Additions are added after the number following
4490 the colon, and are separated by dots
4492 @lilypond[quote,verbatim,fragment]
4493 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4495 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4497 @lilypond[quote,verbatim,fragment]
4498 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4500 Removals are specified similarly, and are introduced by a caret. They
4501 must come after the additions
4502 @lilypond[quote,verbatim,fragment]
4503 \chordmode { c^3 c:7^5 c:9^3.5 }
4506 Modifiers can be used to change pitches. The following modifiers are
4510 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4512 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
4515 is the augmented chord. This modifier raises the 5th step.
4517 is the major 7th chord. This modifier raises the 7th step if present.
4519 is the suspended 4th or 2nd. This modifier removes the 3rd
4520 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4523 Modifiers can be mixed with additions
4524 @lilypond[quote,verbatim,fragment]
4525 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4528 @cindex modifiers, in chords.
4535 Since an unaltered 11 does not sound good when combined with an
4536 unaltered 3, the 11 is removed in this case (unless it is added
4539 @lilypond[quote,raggedright,fragment,verbatim]
4540 \chordmode { c:13 c:13.11 c:m13 }
4545 An inversion (putting one pitch of the chord on the bottom), as well
4546 as bass notes, can be specified by appending
4547 @code{/}@var{pitch} to the chord
4548 @lilypond[quote,raggedright,fragment,verbatim]
4549 \chordmode { c1 c/g c/f }
4553 A bass note can be added instead of transposed out of the chord,
4554 by using @code{/+}@var{pitch}.
4556 @lilypond[quote,raggedright,fragment,verbatim]
4557 \chordmode { c1 c/+g c/+f }
4560 Chords is a mode similar to @code{\lyricmode} etc. Most
4561 of the commands continue to work, for example, @code{r} and
4562 @code{\skip} can be used to insert rests and spaces, and property
4563 commands may be used to change various settings.
4569 Each step can only be present in a chord once. The following
4570 simply produces the augmented chord, since @code{5+} is interpreted
4573 @lilypond[quote,raggedright,verbatim,fragment]
4574 \chordmode { c:5.5-.5+ }
4578 @node Printing chord names
4579 @subsection Printing chord names
4581 @cindex printing chord names
4585 For displaying printed chord names, use the @internalsref{ChordNames} context.
4586 The chords may be entered either using the notation
4587 described above, or directly using @code{<} and @code{>}
4589 @lilypond[quote,verbatim,raggedright]
4591 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4594 \context ChordNames \harmonies
4595 \context Staff \harmonies
4599 You can make the chord changes stand out by setting
4600 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4601 display chord names when there is a change in the chords scheme and at
4602 the start of a new line
4604 @c originally this had linewidth=9\cm, but I though that raggedright would be better
4605 @lilypond[quote,verbatim,raggedright]
4606 harmonies = \chordmode {
4607 c1:m c:m \break c:m c:m d
4610 \context ChordNames {
4611 \set chordChanges = ##t
4613 \context Staff \transpose c c' \harmonies
4617 The previous examples all show chords over a staff. This is not
4618 necessary. Chords may also be printed separately. It may be necessary
4619 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4620 for showing repeats.
4622 @lilypond[raggedright,verbatim]
4623 \new ChordNames \with {
4624 \override BarLine #'bar-size = #4
4625 voltaOnThisStaff = ##t
4626 \consists Bar_engraver
4627 \consists "Volta_engraver"
4629 \repeat volta 2 \chordmode {
4638 The default chord name layout is a system for Jazz music, proposed by
4639 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4640 following properties
4643 @cindex @code{chordNameExceptions}
4644 @item chordNameExceptions
4645 This is a list that contains the chords that have special formatting.
4646 For an example of tuning this property, see
4647 @inputfileref{input/regression,chord-name-exceptions.ly}.
4648 @cindex exceptions, chord names.
4651 @cindex @code{majorSevenSymbol}
4652 @item majorSevenSymbol
4653 This property contains the markup object used for the 7th step, when
4654 it is major. Predefined options are @code{whiteTriangleMarkup} and
4655 @code{blackTriangleMarkup}. See
4656 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4658 @cindex @code{chordNameSeparator}
4659 @item chordNameSeparator
4660 Different parts of a chord name are normally separated by a
4661 slash. By setting @code{chordNameSeparator}, you can specify other
4663 @lilypond[quote,raggedright,fragment,verbatim]
4664 \context ChordNames \chordmode {
4666 \set chordNameSeparator
4667 = \markup { \typewriter "|" }
4672 @cindex @code{chordRootNamer}
4673 @item chordRootNamer
4674 The root of a chord is usually printed as a letter with an optional
4675 alteration. The transformation from pitch to letter is done by this
4676 function. Special note names (for example, the German ``H'' for a
4677 B-chord) can be produced by storing a new function in this property.
4679 @cindex @code{chordNoteNamer}
4680 @item chordNoteNamer
4681 The default is to print single pitch, e.g. the bass note, using the
4682 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4683 to a specialized function to change this behavior. For example, the
4684 base can be printed in lower case.
4688 The predefined variables @code{\germanChords},
4689 @code{\semiGermanChords} set these variables. The effect is
4692 @lilypondfile[raggedright]{chord-names-german.ly}
4694 There are also two other chord name schemes implemented: an alternate
4695 Jazz chord notation, and a systematic scheme called Banter chords. The
4696 alternate jazz notation is also shown on the chart in @ref{Chord name
4697 chart}. Turning on these styles is described in the input file
4698 @inputfileref{input/test,chord-names-jazz.ly}.
4702 @cindex chords, jazz
4707 @cindex @code{\germanChords}
4708 @code{\germanChords},
4709 @cindex @code{\semiGermanChords}
4710 @code{\semiGermanChords}.
4717 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4718 @inputfileref{input/regression,chord-name-exceptions.ly},
4719 @inputfileref{input/test,chord-names-jazz.ly},
4720 @inputfileref{input/test,chords-without-melody.ly}.
4723 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4728 Chord names are determined solely from the list of pitches. Chord
4729 inversions are not identified, and neither are added bass notes. This
4730 may result in strange chord names when chords are entered with the
4731 @code{< .. >} syntax.
4735 @subsection Fret diagrams
4736 @cindex fret diagrams
4737 @cindex chord diagrams
4739 Fret diagrams can be added to music as a markup to the desired note. The
4740 markup contains information about the desired fret diagram, as shown in the
4743 @lilypond[verbatim, quote]
4745 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4746 fis' ^\markup \override #'(size . 0.75) {
4747 \override #'(finger-code . below-string) {
4748 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4749 (place-fret 5 4 3) (place-fret 4 4 4)
4750 (place-fret 3 3 2) (place-fret 2 2 1)
4754 c' ^\markup \override #'(dot-radius . 0.35) {
4755 \override #'(finger-code . in-dot) {
4756 \override #'(dot-color . white) {
4757 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
4765 There are three different fret-diagram markup interfaces: standard, terse,
4766 and verbose. The three interfaces produce equivalent markups, but have
4767 varying amounts of information in the markup string. Details about the
4768 markup interfaces are found at @ref{Overview of text markup commands}.
4770 You can set a number of graphical properties according to your preference.
4771 Details about the property interface to fret diagrams are found at
4772 @internalsref{fret-diagram-interface}.
4777 Examples: @inputfileref{input/test,fret-diagram.ly}
4781 @subsection Improvisation
4783 Improvisation is sometimes denoted with slashed note heads. Such note
4784 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4785 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4789 \set squashedPosition = #0
4790 \override NoteHead #'style = #'slash
4794 switches on the slashes.
4796 There are shortcuts @code{\improvisationOn} (and an accompanying
4797 @code{\improvisationOff}) for this command sequence. They are used in
4798 the following example
4800 @lilypond[verbatim,raggedright,quote]
4802 \consists Pitch_squash_engraver
4804 e8 e g a a16(bes)(a8) g \improvisationOn
4807 ~fis2 \improvisationOff a16(bes) a8 g e
4813 @node Orchestral music
4814 @section Orchestral music
4816 @cindex Writing parts
4818 Orchestral music involves some special notation, both in the full
4819 score and the individual parts. This section explains how to tackle
4820 some common problems in orchestral music.
4825 * System start delimiters::
4826 * Aligning to cadenzas::
4829 * Instrument names::
4831 * Instrument transpositions::
4832 * Multi measure rests::
4833 * Automatic part combining::
4835 * Different editions from one source::
4836 * Quoting other voices::
4837 * Formatting cue notes::
4840 @node System start delimiters
4841 @subsection System start delimiters
4843 Polyphonic scores consist of many staves. These staves can be
4844 constructed in three different ways
4846 @item The group is started with a brace at the left, and bar lines are
4847 connected. This is done with the @internalsref{GrandStaff} context.
4849 @lilypond[verbatim,raggedright,quote]
4858 @item The group is started with a bracket, and bar lines are connected. This is done with the
4859 @internalsref{StaffGroup} context
4861 @lilypond[verbatim,raggedright,quote]
4870 @item The group is started with a vertical line. Bar lines are not
4871 connected. This is the default for the score.
4873 @lilypond[verbatim,raggedright,quote]
4882 @cindex Staff, multiple
4883 @cindex bracket, vertical
4884 @cindex brace, vertical
4891 The bar lines at the start of each system are
4892 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
4893 @internalsref{SystemStartBracket}. Only one of these types is created
4894 in every context, and that type is determined by the property
4895 @code{systemStartDelimiter}.
4897 @node Aligning to cadenzas
4898 @subsection Aligning to cadenzas
4901 In an orchestral context, cadenzas present a special problem:
4902 when constructing a score that includes a cadenza, all other
4903 instruments should skip just as many notes as the length of the
4904 cadenza, otherwise they will start too soon or too late.
4906 A solution to this problem are the functions @code{mmrest-of-length}
4907 and @code{skip-of-length}. These Scheme functions take a piece music
4908 as argument, and generate a @code{\skip} or multi rest, exactly as
4909 long as the piece. The use of @code{mmrest-of-length} is demonstrated
4910 in the following example.
4912 @lilypond[verbatim,raggedright,quote]
4913 cadenza = \relative c' {
4914 c4 d8 << { e f g } \\ { d4. } >>
4919 \new Staff { \cadenza c'4 }
4921 #(ly:export (mmrest-of-length cadenza))
4931 @node Rehearsal marks
4932 @subsection Rehearsal marks
4933 @cindex Rehearsal marks
4935 @cindex @code{\mark}
4937 To print a rehearsal mark, use the @code{\mark} command
4939 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
4948 (The letter I is skipped in accordance with engraving traditions.)
4949 @c umm, is the manual the right place for feature requests? :) -gp
4950 @c FIXME - should make that tunable.
4952 The mark is incremented automatically if you use @code{\mark
4953 \default}, but you can also use an integer argument to set the mark
4954 manually. The value to use is stored in the property
4955 @code{rehearsalMark}.
4957 The style is defined by the property @code{markFormatter}. It is a
4958 function taking the current mark (an integer) and the current context
4959 as argument. It should return a markup object. In the following
4960 example, @code{markFormatter} is set to a canned procedure. After a
4961 few measures, it is set to function that produces a boxed number.
4964 @lilypond[quote,raggedright,verbatim,relative=2]
4966 \set Score.markFormatter = #format-mark-numbers
4969 \set Score.markFormatter
4970 = #(lambda (mark context)
4972 (make-box-markup (number->string mark))))
4978 The file @file{scm/translation-functions.scm} contains the definitions
4979 of @code{format-mark-numbers} (the default format) and
4980 @code{format-mark-letters}. These can be used as inspiration for other
4981 formatting functions.
4984 @cindex coda on bar line
4985 @cindex segno on bar line
4986 @cindex fermata on bar line
4987 @cindex bar lines, symbols on
4989 The @code{\mark} command can also be used to put signs like coda,
4990 segno and fermatas on a bar line. Use @code{\markup} to
4991 to access the appropriate symbol
4994 @lilypond[quote,raggedright,verbatim,relative=2]
4996 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
5001 In the case of a line break, marks must also be printed at the end of
5002 the line, and not at the beginning. Use the following to force that
5005 \override Score.RehearsalMark
5006 #'break-visibility = #begin-of-line-invisible
5012 @cindex bar lines, putting symbols on
5016 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5018 Init files: @file{scm/translation-functions.scm} contains the
5019 definition of @code{format-mark-numbers} and
5020 @code{format-mark-letters}. They can be used as inspiration for other
5021 formatting functions.
5023 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
5025 @inputfileref{input/regression,rehearsal-mark-number.ly}.
5029 @subsection Bar numbers
5033 @cindex measure numbers
5034 @cindex @code{currentBarNumber}
5036 Bar numbers are printed by default at the start of the line. The
5037 number itself is stored in the @code{currentBarNumber} property, which
5038 is normally updated automatically for every measure.
5040 Bar numbers can be typeset at regular intervals instead of at the
5041 beginning of each line. This is illustrated in the following example,
5042 whose source is available as
5043 @inputfileref{input/test,bar-number-regular-interval.ly}
5045 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5049 Program reference: @internalsref{BarNumber}.
5051 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
5052 and @inputfileref{input/test,bar-number-regular-interval.ly}.
5056 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5057 there is one at the top. To solve this, the
5058 @code{padding} property of @internalsref{BarNumber} can be
5059 used to position the number correctly.
5061 @node Instrument names
5062 @subsection Instrument names
5064 In an orchestral score, instrument names are printed left side of the
5067 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5068 and @internalsref{Staff}.@code{instr}. This will print a string before
5069 the start of the staff. For the first start, @code{instrument} is
5070 used, for the next ones @code{instr} is used.
5072 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5073 \set Staff.instrument = "Ploink "
5074 \set Staff.instr = "Plk "
5080 You can also use markup texts to construct more complicated instrument
5083 @lilypond[quote,fragment,verbatim,raggedright]
5084 \set Staff.instrument = \markup {
5085 \column < "Clarinetti" { "in B"
5086 \smaller \flat } > }
5090 For longer instrument names, it may be useful to increase the
5091 @code{indent} setting in the @code{\layout} block.
5095 Program reference: @internalsref{InstrumentName}.
5099 When you put a name on a grand staff or piano staff the width of the
5100 brace is not taken into account. You must add extra spaces to the end of
5101 the name to avoid a collision.
5104 @subsection Transpose
5106 @cindex transposition of pitches
5107 @cindex @code{\transpose}
5109 A music expression can be transposed with @code{\transpose}. The
5112 \transpose @var{from} @var{to} @var{musicexpr}
5115 This means that @var{musicexpr} is transposed by the interval between
5116 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5117 is changed to @code{to}.
5120 For example, consider a piece written in the key of D major. If
5121 this piece is a little too low for its performer, it can be
5122 transposed up to E major with
5124 \transpose d e @dots{}
5127 Consider a part written for violin (a C instrument). If
5128 this part is to be played on the A clarinet, the following
5129 transposition will produce the appropriate part
5132 \transpose a c @dots{}
5135 @code{\transpose} distinguishes between enharmonic pitches: both
5136 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5137 half a tone. The first version will print sharps and the second
5138 version will print flats
5140 @lilypond[quote,raggedright,verbatim]
5141 mus = { \key d \major cis d fis g }
5145 \transpose c g' \mus
5146 \transpose c f' \mus
5153 Program reference: @internalsref{TransposedMusic}, and
5154 @internalsref{UntransposableMusic}.
5158 If you want to use both @code{\transpose} and @code{\relative},
5159 you must put @code{\transpose} outside of @code{\relative}, since
5160 @code{\relative} will have no effect music that appears inside a
5163 @node Instrument transpositions
5164 @subsection Instrument transpositions
5166 The key of a transposing instrument can also be specified. This
5167 applies to many wind instruments, for example, clarinets (B-flat, A and
5168 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
5170 The transposition is entered after the keyword @code{\transposition}
5173 \transposition bes %% B-flat clarinet
5177 This command sets the property @code{instrumentTransposition}. The value of
5178 this property is used for MIDI output and quotations. It does not
5179 affect how notes are printed in the current staff.
5181 The pitch to use for @code{\transposition} should correspond to the
5182 transposition of the notes. For example, when entering a score in
5183 concert pitch, typically all voices are entered in C, so
5184 they should be entered as
5197 The command @code{\transposition} should be used when the music is
5198 entered from a (transposed) orchestral part. For example, in
5199 classical horn parts, the tuning of the instrument is often changed
5200 during a piece. When copying the notes from the part, use
5201 @code{\transposition}, e.g.
5214 @cindex transposition, MIDI
5215 @cindex transposition, instrument
5218 @node Multi measure rests
5219 @subsection Multi measure rests
5220 @cindex multi measure rests
5221 @cindex Rests, multi measure
5225 Multi measure rests are entered using `@code{R}'. It is specifically
5226 meant for full bar rests and for entering parts: the rest can expand
5227 to fill a score with rests, or it can be printed as a single
5228 multimeasure rest. This expansion is controlled by the property
5229 @code{Score.skipBars}. If this is set to true, empty measures will not
5230 be expanded, and the appropriate number is added automatically
5232 @lilypond[quote,raggedright,fragment,verbatim]
5233 \time 4/4 r1 | R1 | R1*2
5234 \set Score.skipBars = ##t R1*17 R1*4
5237 The @code{1} in @code{R1} is similar to the duration notation used for
5238 notes. Hence, for time signatures other than 4/4, you must enter other
5239 durations. This can be done with augmentation dots or fractions
5241 @lilypond[quote,raggedright,fragment,verbatim]
5242 \set Score.skipBars = ##t
5251 An @code{R} spanning a single measure is printed as either a whole rest
5252 or a breve, centered in the measure regardless of the time signature.
5254 If there are only a few measures of rest, LilyPond prints ``church rests''
5255 (a series of rectangles) in the staff. To replace that with a simple
5256 rest, use @code{MultiMeasureRest.expand-limit}.
5258 @lilypond[quote,raggedright,fragment,verbatim]
5259 \set Score.skipBars = ##t
5261 \override MultiMeasureRest #'expand-limit = 1
5266 @cindex text on multi-measure rest
5267 @cindex script on multi-measure rest
5268 @cindex fermata on multi-measure rest
5270 Texts can be added to multi-measure rests by using the
5271 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5272 A variable (@code{\fermataMarkup}) is provided for
5276 @lilypond[quote,raggedright,verbatim,fragment]
5277 \set Score.skipBars = ##t
5279 R2.*10^\markup { "Ad lib" }
5283 If you want to have a text on the left end of a multi-measure rest,
5284 attach the text to a zero-length skip note, i.e.
5292 @cindex whole rests for a full measure
5296 Program reference: @internalsref{MultiMeasureRestEvent},
5297 @internalsref{MultiMeasureTextEvent},
5298 @internalsref{MultiMeasureRestMusicGroup}, and
5299 @internalsref{MultiMeasureRest}.
5301 The layout object @internalsref{MultiMeasureRestNumber} is for the
5302 default number, and @internalsref{MultiMeasureRestText} for user
5307 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
5308 over multi-measure rests.
5310 @cindex condensing rests
5312 There is no way to automatically condense multiple rests into a single
5313 multimeasure rest. Multi measure rests do not take part in rest
5316 Be careful when entering multimeasure rests followed by whole
5317 notes. The following will enter two notes lasting four measures each
5321 When @code{skipBars} is set, the result will look OK, but the bar
5322 numbering will be off.
5324 @node Automatic part combining
5325 @subsection Automatic part combining
5326 @cindex automatic part combining
5327 @cindex part combiner
5330 Automatic part combining is used to merge two parts of music onto a
5331 staff. It is aimed at typesetting orchestral scores. When the two
5332 parts are identical for a period of time, only one is shown. In
5333 places where the two parts differ, they are typeset as separate
5334 voices, and stem directions are set automatically. Also, solo and
5335 @emph{a due} parts are identified and can be marked.
5337 The syntax for part combining is
5340 \partcombine @var{musicexpr1} @var{musicexpr2}
5345 The following example demonstrates the basic functionality of the part
5346 combiner: putting parts on one staff, and setting stem directions and
5349 @lilypond[quote,verbatim,raggedright,fragment]
5350 \new Staff \partcombine
5351 \relative g' { g g a( b) c c r r }
5352 \relative g' { g g r4 r e e g g }
5355 The first @code{g} appears only once, although it was
5356 specified twice (once in each part). Stem, slur and tie directions are
5357 set automatically, depending whether there is a solo or unisono. The
5358 first part (with context called @code{one}) always gets up stems, and
5359 `solo', while the second (called @code{two}) always gets down stems and
5362 If you just want the merging parts, and not the textual markings, you
5363 may set the property @code{printPartCombineTexts} to false
5365 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5367 \set Staff.printPartCombineTexts = ##f
5369 \relative g' { g a( b) r }
5370 \relative g' { g r4 r f }
5375 Both arguments to @code{\partcombine} will be interpreted as
5376 @internalsref{Voice} contexts. If using relative octaves,
5377 @code{\relative} should be specified for both music expressions, i.e.
5381 \relative @dots{} @var{musicexpr1}
5382 \relative @dots{} @var{musicexpr2}
5386 A @code{\relative} section that is outside of @code{\partcombine} has
5387 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5391 Program reference: @internalsref{PartCombineMusic},
5392 @internalsref{SoloOneEvent}, and
5393 @internalsref{SoloTwoEvent}, and
5394 @internalsref{UnisonoEvent}.
5398 When @code{printPartCombineTexts} is set, when the two voices play the
5399 same notes on and off, the part combiner may typeset @code{a2} more
5400 than once in a measure.
5402 @code{\partcombine} cannot be inside @code{\times}.
5404 @code{\partcombine} cannot be inside @code{\relative}.
5406 Internally, the @code{\partcombine} interprets both arguments as
5407 @code{Voice}s named @code{one} and @code{two}, and then decides when
5408 the parts can be combined. Consequently, if the arguments switch to
5409 differently named @internalsref{Voice} contexts, the events in those
5413 @subsection Hiding staves
5415 @cindex Frenched scores
5416 @cindex Hiding staves
5418 In orchestral scores, staff lines that only have rests are usually
5419 removed. This saves some space. This style is called `French Score'.
5420 For @internalsref{Lyrics},
5421 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5422 switched on by default. When these line of these contexts turn out
5423 empty after the line-breaking process, they are removed.
5425 For normal staves, a specialized @internalsref{Staff} context is
5426 available, which does the same: staves containing nothing (or only
5427 multi measure rests) are removed. The context definition is stored in
5428 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5429 in this example disappears in the second line
5432 @lilypond[quote,raggedright,verbatim]
5434 \context { \RemoveEmptyStaffContext }
5439 \new Staff { e4 f g a \break c1 }
5440 \new Staff { c4 d e f \break R1 }
5445 The first system shows all staves in full. If empty staves should be
5446 removed from the first system too, set @code{remove-first} to false in
5447 @internalsref{RemoveEmptyVerticalGroup}.
5449 Another application is making ossia sections, i.e. alternative
5450 melodies on a separate piece of staff, with help of a Frenched
5451 staff. See @inputfileref{input/test,ossia.ly} for an example.
5454 @node Different editions from one source
5455 @subsection Different editions from one source
5457 The @code{\tag} command marks music expressions with a name. These
5458 tagged expressions can be filtered out later. With this mechanism it
5459 is possible to make different versions of the same music source.
5461 In the following example, we see two versions of a piece of music, one
5462 for the full score, and one with cue notes for the instrumental part
5478 The same can be applied to articulations, texts, etc.: they are
5481 -\tag #@var{your-tag}
5483 to an articulation, for example,
5488 This defines a note with a conditional fingering indication.
5490 By applying the @code{\keepWithTag} command, tagged expressions
5491 can be filtered. For example,
5495 \keepWithTag #'score @var{the music}
5496 \keepWithTag #'part @var{the music}
5501 @lilypondfile[raggedright,quote]{tag-filter.ly}
5504 The argument of the @code{\tag} command should be a symbol, or a list
5505 of symbols, for example,
5507 \tag #'(original-part transposed-part) @dots{}
5512 Examples: @inputfileref{input/regression,tag-filter.ly}.
5516 Multiple rests are not merged if you create the score with both tagged
5519 @node Quoting other voices
5520 @subsection Quoting other voices
5522 With quotations, fragments of other parts can be inserted into a part
5523 directly. Before a part can be quoted, it must be marked especially as
5524 quotable. This is done with code @code{\addquote} command.
5527 \addquote @var{name} @var{music}
5532 Here, @var{name} is an identifying string. The @var{music} is any kind
5533 of music. This is an example of @code{\addquote}
5536 \addquote clarinet \relative c' {
5541 This command must be entered at toplevel, i.e. outside any music
5544 After calling @code{\addquote}, the quotation may then be done with
5548 \quote @var{name} @var{duration}
5551 During a part, a piece of music can be quoted with the @code{\quote}
5558 This would cite three quarter notes (@code{2.} is a dotted half note)
5559 of the previously added @code{clarinet} voice.
5561 More precisely, it takes the current time-step of the part being
5562 printed, and extracts the notes at the corresponding point of the
5563 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5564 should be the entire part of the voice to be quoted, including any
5565 rests at the beginning.
5567 Quotations take into account the transposition of both source and target
5568 instruments, if they are specified using the @code{\transposition} command.
5570 @lilypond[quote,raggedright,verbatim]
5571 \addquote clarinet \relative c' {
5577 e'8 f'8 \quote clarinet 2
5581 The type of events that are present in cue notes can be trimmed with
5582 the @code{quotedEventTypes} property. The default value is
5583 @code{(note-event rest-event)}, which means that only notes of and
5584 rests of the cued voice end up in the @code{\quote}.
5588 \set Staff.quotedEventTypes = #'(note-event articulation-event dynamic-event)
5592 will quote notes (but no rests), together with scripts and dynamics.
5596 Only the contents of the first @internalsref{Voice} occurring in an
5597 @code{\addquote} command will be considered for quotation, so
5598 @var{music} can not contain @code{\new} and @code{\context Voice}
5599 statements that would switch to a different Voice.
5604 In this manual: @ref{Instrument transpositions}.
5606 Examples: @inputfileref{input/regression,quote.ly}
5607 @inputfileref{input/regression,quote-transposition.ly}
5609 Program reference: @internalsref{QuoteMusic}.
5611 @node Formatting cue notes
5612 @subsection Formatting cue notes
5615 The previous section deals with inserting notes from another
5616 voice. When making a part, these notes need to be specially formatted.
5617 Here is an example of formatted cue notes
5619 @c TODO: This should be done with \quote stuff, not manually.
5621 @lilypond[raggedright,verbatim]
5624 \override Stem #'length = #5.5
5625 \override Beam #'thickness = #0.384
5626 \override Beam #'space-function =
5627 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5631 \set Staff.instrument = #"Horn in F"
5632 \set Score.skipBars = ##t
5635 \once \override Staff.MultiMeasureRest #'staff-position = #-6
5642 r8^"Bsn." c'8 f'8[ f'8]
5652 There are a couple of points to take care of:
5656 The multi rest of the original part should be moved up or down during
5659 Cue notes have smaller font sizes.
5661 When cued notes have a clef change relative to the original part, the
5662 clef should be restored after the cue section. This minimizes
5663 confusion for the reader,
5665 When the original part starts, this should be marked with the name of
5666 the instrument, in this case ``Horn.'' Of course, the cue part is
5667 marked with the instrument playing the cue.
5670 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5673 @node Ancient notation
5674 @section Ancient notation
5676 @cindex Vaticana, Editio
5677 @cindex Medicaea, Editio
5682 Support for ancient notation includes features for mensural notation
5683 and Gregorian Chant notation. There is also limited support for
5684 figured bass notation.
5686 Many graphical objects provide a @code{style} property, see
5689 @ref{Ancient note heads},
5691 @ref{Ancient accidentals},
5693 @ref{Ancient rests},
5695 @ref{Ancient clefs},
5697 @ref{Ancient flags},
5699 @ref{Ancient time signatures}.
5702 By manipulating such a grob property, the typographical appearance of
5703 the affected graphical objects can be accommodated for a specific
5704 notation flavor without need for introducing any new notational
5707 In addition to the standard articulation signs described in section
5708 @ref{Articulations}, specific articulation signs for ancient notation
5713 @ref{Ancient articulations}
5716 Other aspects of ancient notation can not that easily be expressed as
5717 in terms of just changing a style property of a graphical object or
5718 adding articulation signs. Some notational concepts are introduced
5719 specifically for ancient notation,
5730 If this all is too much of documentation for you, and you just want to
5731 dive into typesetting without worrying too much about the details on
5732 how to customize a context, you may have a look at the predefined
5733 contexts. Use them to set up predefined style-specific voice and
5734 staff contexts, and directly go ahead with the note entry,
5738 @ref{Gregorian Chant contexts},
5740 @ref{Mensural contexts}.
5743 There is limited support for figured bass notation which came
5744 up during the baroque period.
5751 Here are all suptopics at a glance:
5754 * Ancient note heads::
5755 * Ancient accidentals::
5759 * Ancient time signatures::
5760 * Ancient articulations::
5764 * Gregorian Chant contexts::
5765 * Mensural contexts::
5770 @node Ancient note heads
5771 @subsection Ancient note heads
5776 For ancient notation, a note head style other than the @code{default}
5777 style may be chosen. This is accomplished by setting the @code{style}
5778 property of the NoteHead object to @code{baroque}, @code{neomensural}
5779 or @code{mensural}. The @code{baroque} style differs from the
5780 @code{default} style only in using a square shape for @code{\breve}
5781 note heads. The @code{neomensural} style differs from the
5782 @code{baroque} style in that it uses rhomboidal heads for whole notes
5783 and all smaller durations. Stems are centered on the note heads.
5784 This style is in particular useful when transcribing mensural music,
5785 e.g. for the incipit. The @code{mensural} style finally produces note
5786 heads that mimic the look of note heads in historic printings of the
5789 The following example demonstrates the @code{neomensural} style
5791 @lilypond[quote,fragment,raggedright,verbatim]
5792 \set Score.skipBars = ##t
5793 \override NoteHead #'style = #'neomensural
5794 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5797 When typesetting a piece in Gregorian Chant notation, the
5798 @internalsref{Gregorian_ligature_engraver} will automatically select
5799 the proper note heads, such there is no need to explicitly set the
5800 note head style. Still, the note head style can be set e.g.@: to
5801 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5802 @internalsref{Mensural_ligature_engraver} is used to automatically
5803 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5808 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
5809 overview over all available note head styles.
5812 @node Ancient accidentals
5813 @subsection Ancient accidentals
5818 Use the @code{style} property of grob @internalsref{Accidental} to
5819 select ancient accidentals. Supported styles are
5820 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5822 @lilypond[quote,raggedright,staffsize=26]
5829 { " " \musicglyph #"accidentals-vaticana-1"
5830 " " \musicglyph #"accidentals-vaticana0" }
5834 { " " \musicglyph #"accidentals-medicaea-1" }
5838 { " " \musicglyph #"accidentals-hufnagel-1" }
5842 { " " \musicglyph #"accidentals-mensural-1"
5843 " " \musicglyph #"accidentals-mensural1" }
5849 \context { \Score \remove "Bar_number_engraver" }
5851 \remove "Clef_engraver"
5852 \remove "Key_engraver"
5853 \remove "Time_signature_engraver"
5854 \remove "Staff_symbol_engraver"
5855 minimumVerticalExtent = ##f
5861 As shown, not all accidentals are supported by each style. When
5862 trying to access an unsupported accidental, LilyPond will switch to a
5863 different style, as demonstrated in
5864 @inputfileref{input/test,ancient-accidentals.ly}.
5866 Similarly to local accidentals, the style of the key signature can be
5867 controlled by the @code{style} property of the
5868 @internalsref{KeySignature} grob.
5872 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5873 @ref{Accidentals} give a general introduction into the use of
5874 accidentals. @ref{Key signature} gives a general introduction into
5875 the use of key signatures.
5877 Program reference: @internalsref{KeySignature}.
5879 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
5882 @subsection Ancient rests
5887 Use the @code{style} property of grob @internalsref{Rest} to select
5888 ancient accidentals. Supported styles are @code{classical},
5889 @code{neomensural} and @code{mensural}. @code{classical} differs
5890 from the @code{default} style only in that the quarter rest looks like
5891 a horizontally mirrored 8th rest. The @code{neomensural} style suits
5892 well for e.g. the incipit of a transcribed mensural piece of music.
5893 The @code{mensural} style finally mimics the appearance of rests as
5894 in historic prints of the 16th century.
5896 The following example demonstrates the @code{neomensural} style
5898 @lilypond[quote,fragment,raggedright,verbatim]
5899 \set Score.skipBars = ##t
5900 \override Rest #'style = #'neomensural
5901 r\longa r\breve r1 r2 r4 r8 r16
5904 There are no 32th and 64th rests specifically for the mensural or
5905 neo-mensural style. Instead, the rests from the default style will be
5906 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5909 There are no rests in Gregorian Chant notation; instead, it uses
5914 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5918 @subsection Ancient clefs
5923 LilyPond supports a variety of clefs, many of them ancient.
5925 The following table shows all ancient clefs that are supported via the
5926 @code{\clef} command. Some of the clefs use the same glyph, but
5927 differ only with respect to the line they are printed on. In such
5928 cases, a trailing number in the name is used to enumerate these clefs.
5929 Still, you can manually force a clef glyph to be typeset on an
5930 arbitrary line, as described in @ref{Clef}. The note printed to the
5931 right side of each clef in the example column denotes the @code{c'}
5932 with respect to that clef.
5934 @multitable @columnfractions .4 .4 .2
5937 @b{Description} @tab
5938 @b{Supported Clefs} @tab
5942 modern style mensural C clef @tab
5943 @code{neomensural-c1}, @code{neomensural-c2},
5944 @code{neomensural-c3}, @code{neomensural-c4} @tab
5945 @lilypond[fragment,raggedright,quote,relative=1,notime]
5946 \clef "neomensural-c2" c
5950 petrucci style mensural C clefs, for use on different staff lines
5951 (the examples shows the 2nd staff line C clef).
5961 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5962 \clef "petrucci-c2" c
5966 petrucci style mensural F clef @tab
5967 @code{petrucci-f} @tab
5968 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5969 \clef "petrucci-f" c
5973 petrucci style mensural G clef @tab
5974 @code{petrucci-g} @tab
5975 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5976 \clef "petrucci-g" c
5980 historic style mensural C clef @tab
5981 @code{mensural-c1}, @code{mensural-c2}, @code{mensural-c3},
5982 @code{mensural-c4} @tab
5983 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5984 \clef "mensural-c2" c
5988 historic style mensural F clef @tab
5989 @code{mensural-f} @tab
5990 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5991 \clef "mensural-f" c
5995 historic style mensural G clef @tab
5996 @code{mensural-g} @tab
5997 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5998 \clef "mensural-g" c
6002 Editio Vaticana style do clef @tab
6003 @code{vaticana-do1}, @code{vaticana-do2}, @code{vaticana-do3} @tab
6004 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6005 \override Staff.StaffSymbol #'line-count = #4
6006 \clef "vaticana-do2" c
6010 Editio Vaticana style fa clef @tab
6011 @code{vaticana-fa1}, @code{vaticana-fa2} @tab
6012 @lilypond[quote,relative=1,notime,indent=0.0\mm,fragment]
6013 \override Staff.StaffSymbol #'line-count = #4
6014 \clef "vaticana-fa2" c
6018 Editio Medicaea style do clef @tab
6019 @code{medicaea-do1}, @code{medicaea-do2}, @code{medicaea-do3} @tab
6020 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6021 \override Staff.StaffSymbol #'line-count = #4
6022 \clef "medicaea-do2" c
6026 Editio Medicaea style fa clef @tab
6027 @code{medicaea-fa1}, @code{medicaea-fa2} @tab
6028 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6029 \override Staff.StaffSymbol #'line-count = #4
6030 \clef "medicaea-fa2" c
6034 historic style hufnagel do clef @tab
6035 @code{hufnagel-do1}, @code{hufnagel-do2}, @code{hufnagel-do3} @tab
6036 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6037 \override Staff.StaffSymbol #'line-count = #4
6038 \clef "hufnagel-do2" c
6042 historic style hufnagel fa clef @tab
6043 @code{hufnagel-fa1}, @code{hufnagel-fa2} @tab
6044 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6045 \override Staff.StaffSymbol #'line-count = #4
6046 \clef "hufnagel-fa2" c
6050 historic style hufnagel combined do/fa clef @tab
6051 @code{hufnagel-do-fa} @tab
6052 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6053 \clef "hufnagel-do-fa" c
6060 @emph{Modern style} means ``as is typeset in contemporary editions of
6061 transcribed mensural music''.
6063 @emph{Petrucci style} means ``inspired by printings published by the
6064 famous engraver Petrucci (1466-1539)''.
6066 @emph{Historic style} means ``as was typeset or written in historic
6067 editions (other than those of Petrucci)''.
6069 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6071 Petrucci used C clefs with differently balanced left-side vertical
6072 beams, depending on which staff line it is printed.
6076 In this manual: see @ref{Clef}.
6080 The mensural g clef is mapped to the Petrucci g clef.
6085 @subsection Ancient flags
6090 Use the @code{flag-style} property of grob @internalsref{Stem} to
6091 select ancient flags. Besides the @code{default} flag style,
6092 only @code{mensural} style is supported
6094 @lilypond[quote,fragment,raggedright,verbatim]
6095 \override Stem #'flag-style = #'mensural
6096 \override Stem #'thickness = #1.0
6097 \override NoteHead #'style = #'mensural
6099 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
6100 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6103 Note that the innermost flare of each mensural flag always is
6104 vertically aligned with a staff line.
6106 There is no particular flag style for neo-mensural notation. Hence,
6107 when typesetting the incipit of a transcribed piece of mensural
6108 music, the default flag style should be used. There are no flags in
6109 Gregorian Chant notation.
6113 The attachment of ancient flags to stems is slightly off due to a
6114 change in early 2.3.x.
6116 Vertically aligning each flag with a staff line assumes that stems
6117 always end either exactly on or exactly in the middle between two
6118 staff lines. This may not always be true when using advanced layout
6119 features of classical notation (which however are typically out of
6120 scope for mensural notation).
6122 @node Ancient time signatures
6123 @subsection Ancient time signatures
6125 @cindex time signatures
6128 There is limited support for mensural time signatures. The
6129 glyphs are hard-wired to particular time fractions. In other words,
6130 to get a particular mensural signature glyph with the @code{\time n/m}
6131 command, @code{n} and @code{m} have to be chosen according to the
6134 @lilypond[quote,raggedright]
6138 \remove Staff_symbol_engraver
6139 \remove Clef_engraver
6140 \remove Time_signature_engraver
6143 \set Score.timing = ##f
6144 \set Score.barAlways = ##t
6145 s_\markup { "$\\backslash$time 4/4" }
6146 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6148 s_\markup { "$\\backslash$time 2/2" }
6149 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6151 s_\markup { "$\\backslash$time 6/4" }
6152 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6154 s_\markup { "$\\backslash$time 6/8" }
6155 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6157 s_\markup { "$\\backslash$time 3/2" }
6158 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6160 s_\markup { "$\\backslash$time 3/4" }
6161 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6163 s_\markup { "$\\backslash$time 9/4" }
6164 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6166 s_\markup { "$\\backslash$time 9/8" }
6167 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6169 s_\markup { "$\\backslash$time 4/8" }
6170 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6172 s_\markup { "$\\backslash$time 2/4" }
6173 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6177 Use the @code{style} property of grob @internalsref{TimeSignature} to
6178 select ancient time signatures. Supported styles are
6179 @code{neomensural} and @code{mensural}. The above table uses the
6180 @code{neomensural} style. This style is appropriate for the
6181 incipit of transcriptions of mensural pieces. The @code{mensural}
6182 style mimics the look of historical printings of the 16th century.
6184 The following examples shows the differences in style,
6186 @lilypond[raggedright,fragment,relative=1,quote]
6190 c1^\markup { \hspace #-2.0 \typewriter default }
6192 \override Staff.TimeSignature #'style = #'numbered
6194 c1^\markup { \hspace #-2.0 \typewriter numbered }
6196 \override Staff.TimeSignature #'style = #'mensural
6198 c1^\markup { \hspace #-2.0 \typewriter mensural }
6200 \override Staff.TimeSignature #'style = #'neomensural
6202 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6203 \override Staff.TimeSignature #'style = #'single-digit
6205 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6211 This manual: @ref{Time signature} gives a general introduction into
6212 the use of time signatures.
6216 Ratios of note durations do not change with the time signature. For
6217 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6218 be made by hand, by setting
6221 breveTP = #(ly:make-duration -1 0 3 2)
6227 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6229 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6230 addressable with @code{\time}. Use a @code{\markup} instead
6232 @node Ancient articulations
6233 @subsection Ancient articulations
6235 @cindex articulations
6237 In addition to the standard articulation signs described in section
6238 @ref{Articulations}, articulation signs for ancient notation are
6239 provided. These are specifically designed for use with notation in
6240 Editio Vaticana style.
6242 @lilypond[quote,raggedright,verbatim,noindent]
6243 \include "gregorian-init.ly"
6245 \context VaticanaVoice {
6246 \override TextScript #'font-family = #'typewriter
6247 \override TextScript #'font-shape = #'upright
6248 \override Script #'padding = #-0.1
6250 a4\circulus_"circulus" s1
6251 a4\semicirculus_"semicirculus" s1 s
6252 a4\accentus_"accentus" s1
6253 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6260 Some articulations are vertically placed too closely to the
6261 correpsonding note heads.
6264 @subsection Custodes
6269 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6270 symbol that appears at the end of a staff. It anticipates the pitch
6271 of the first note(s) of the following line thus helping the performer
6272 to manage line breaks during performance.
6274 Custodes were frequently used in music notation until the 17th
6275 century. Nowadays, they have survived only in a few particular forms
6276 of musical notation such as contemporary editions of Gregorian chant
6277 like the @emph{editio vaticana}. There are different custos glyphs
6278 used in different flavors of notational style.
6280 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6281 @internalsref{Staff} context when declaring the @code{\layout} block,
6282 as shown in the following example
6288 \consists Custos_engraver
6289 Custos \override #'style = #'mensural
6294 The result looks like this
6296 @lilypond[quote,raggedright]
6300 \override Staff.Custos #'style = #'mensural
6305 \context { \Staff \consists Custos_engraver }
6310 The custos glyph is selected by the @code{style} property. The styles
6311 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
6312 @code{mensural}. They are demonstrated in the following fragment
6314 @lilypond[quote,raggedright,fragment]
6315 \new Lyrics \lyricmode {
6317 \typewriter "vaticana"
6318 { " " \musicglyph #"custodes-vaticana-u0" }
6321 \typewriter "medicaea"
6322 { " " \musicglyph #"custodes-medicaea-u0" }
6325 \typewriter "hufnagel"
6326 { " " \musicglyph #"custodes-hufnagel-u0" }
6329 \typewriter "mensural"
6330 { " " \musicglyph #"custodes-mensural-u0" }
6338 Program reference: @internalsref{Custos}.
6340 Examples: @inputfileref{input/regression,custos.ly}.
6344 @subsection Divisiones
6350 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6351 `division') is a staff context symbol that is used to structure
6352 Gregorian music into phrases and sections. The musical meaning of
6353 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
6354 can be characterized as short, medium and long pause, somewhat like
6355 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6356 only marks the end of a chant, but is also frequently used within a
6357 single antiphonal/responsorial chant to mark the end of each section.
6360 To use divisiones, include the file @code{gregorian-init.ly}. It
6361 contains definitions that you can apply by just inserting
6362 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6363 and @code{\finalis} at proper places in the input. Some editions use
6364 @emph{virgula} or @emph{caesura} instead of divisio minima.
6365 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
6368 @lilypondfile[quote,raggedright]{divisiones.ly}
6372 @cindex @code{\virgula}
6374 @cindex @code{\caesura}
6376 @cindex @code{\divisioMinima}
6377 @code{\divisioMinima},
6378 @cindex @code{\divisioMaior}
6379 @code{\divisioMaior},
6380 @cindex @code{\divisioMaxima}
6381 @code{\divisioMaxima},
6382 @cindex @code{\finalis}
6387 In this manual: @ref{Breath marks}.
6389 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6391 Examples: @inputfileref{input/test,divisiones.ly}.
6394 @subsection Ligatures
6398 @c TODO: Should double check if I recalled things correctly when I wrote
6399 @c down the following paragraph by heart.
6401 A ligature is a graphical symbol that represents at least two distinct
6402 notes. Ligatures originally appeared in the manuscripts of Gregorian
6403 chant notation to denote ascending or descending sequences of notes.
6405 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6406 Some ligature styles may need additional input syntax specific for
6407 this particular type of ligature. By default, the
6408 @internalsref{LigatureBracket} engraver just puts a square bracket
6411 @lilypond[quote,raggedright,verbatim]
6419 To select a specific style of ligatures, a proper ligature engraver
6420 has to be added to the @internalsref{Voice} context, as explained in
6421 the following subsections. Only white mensural ligatures
6422 are supported with certain limitations.
6428 Ligatures need special spacing that has not yet been implemented. As
6429 a result, there is too much space between ligatures most of the time,
6430 and line breaking often is unsatisfactory. Also, lyrics do not
6431 correctly align with ligatures.
6433 Accidentals must not be printed within a ligature, but instead need to
6434 be collected and printed in front of it.
6436 Augmentum dots within ligatures are not handled correctly.
6440 * White mensural ligatures::
6441 * Gregorian square neumes ligatures::
6444 @node White mensural ligatures
6445 @subsubsection White mensural ligatures
6447 @cindex Mensural ligatures
6448 @cindex White mensural ligatures
6450 There is limited support for white mensural ligatures.
6452 To engrave white mensural ligatures, in the layout block the
6453 @internalsref{Mensural_ligature_engraver} has to be put into the
6454 @internalsref{Voice} context, and remove the
6455 @internalsref{Ligature_bracket_engraver}
6461 \remove Ligature_bracket_engraver
6462 \consists Mensural_ligature_engraver
6467 There is no additional input language to describe the shape of a
6468 white mensural ligature. The shape is rather determined solely from
6469 the pitch and duration of the enclosed notes. While this approach may
6470 take a new user a while to get accustomed, it has the great advantage
6471 that the full musical information of the ligature is known internally.
6472 This is not only required for correct MIDI output, but also allows for
6473 automatic transcription of the ligatures.
6478 \set Score.timing = ##f
6479 \set Score.defaultBarType = "empty"
6480 \override NoteHead #'style = #'neomensural
6481 \override Staff.TimeSignature #'style = #'neomensural
6483 \[ g\longa c\breve a\breve f\breve d'\longa \]
6485 \[ e1 f1 a\breve g\longa \]
6487 @lilypond[quote,raggedright]
6490 \set Score.timing = ##f
6491 \set Score.defaultBarType = "empty"
6492 \override NoteHead #'style = #'neomensural
6493 \override Staff.TimeSignature #'style = #'neomensural
6495 \[ g\longa c\breve a\breve f\breve d'\longa \]
6497 \[ e1 f1 a\breve g\longa \]
6502 \remove Ligature_bracket_engraver
6503 \consists Mensural_ligature_engraver
6509 Without replacing @internalsref{Ligature_bracket_engraver} with
6510 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6513 @lilypond[quote,raggedright]
6515 \set Score.timing = ##f
6516 \set Score.defaultBarType = "empty"
6517 \override NoteHead #'style = #'neomensural
6518 \override Staff.TimeSignature #'style = #'neomensural
6520 \[ g\longa c\breve a\breve f\breve d'\longa \]
6522 \[ e1 f1 a\breve g\longa \]
6528 The implementation is experimental. It may output strange warnings,
6529 incorrect results, and might even crash on more complex ligatures.
6531 @node Gregorian square neumes ligatures
6532 @subsubsection Gregorian square neumes ligatures
6534 @cindex Square neumes ligatures
6535 @cindex Gregorian square neumes ligatures
6537 There is limited support for Gregorian square neumes notation
6538 (following the style of the Editio Vaticana). Core ligatures can
6539 already be typeset, but essential issues for serious typesetting are
6540 still lacking, such as (among others) horizontal alignment of multiple
6541 ligatures, lyrics alignment and proper accidentals handling.
6544 The following table contains the extended neumes table of the 2nd
6545 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6546 1983 by the monks of Solesmes.
6548 @multitable @columnfractions .4 .2 .2 .2
6551 @b{Neuma aut@*Neumarum Elementa} @tab
6552 @b{Figurae@*Rectae} @tab
6553 @b{Figurae@*Liquescentes Auctae} @tab
6554 @b{Figurae@*Liquescentes Deminutae}
6556 @c TODO: \layout block is identical in all of the below examples.
6557 @c Therefore, it should somehow be included rather than duplicated all
6560 @c why not make identifiers in ly/engraver-init.ly? --hwn
6562 @c Because it's just used to typeset plain notes without
6563 @c a staff for demonstration purposes rather than something
6564 @c special of Gregorian chant notation. --jr
6569 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
6570 \include "gregorian-init.ly"
6575 \noBreak s^\markup {"a"} \noBreak
6577 % Punctum Inclinatum
6579 \noBreak s^\markup {"b"}
6581 \layout { \neumeDemoLayout }}
6584 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
6585 \include "gregorian-init.ly"
6588 % Punctum Auctum Ascendens
6589 \[ \auctum \ascendens b \]
6590 \noBreak s^\markup {"c"} \noBreak
6592 % Punctum Auctum Descendens
6593 \[ \auctum \descendens b \]
6594 \noBreak s^\markup {"d"} \noBreak
6596 % Punctum Inclinatum Auctum
6597 \[ \inclinatum \auctum b \]
6598 \noBreak s^\markup {"e"}
6600 \layout { \neumeDemoLayout }}
6603 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6604 \include "gregorian-init.ly"
6607 % Punctum Inclinatum Parvum
6608 \[ \inclinatum \deminutum b \]
6609 \noBreak s^\markup {"f"}
6611 \layout { \neumeDemoLayout }}
6617 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6618 \include "gregorian-init.ly"
6623 \noBreak s^\markup {"g"}
6625 \layout { \neumeDemoLayout }}
6631 @code{3. Apostropha vel Stropha}
6633 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6634 \include "gregorian-init.ly"
6639 \noBreak s^\markup {"h"}
6641 \layout { \neumeDemoLayout }}
6644 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6645 \include "gregorian-init.ly"
6649 \[ \stropha \auctum b \]
6650 \noBreak s^\markup {"i"}
6652 \layout { \neumeDemoLayout }}
6659 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6660 \include "gregorian-init.ly"
6665 \noBreak s^\markup {"j"}
6667 \layout { \neumeDemoLayout }}
6673 @code{5. Clivis vel Flexa}
6675 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6676 \include "gregorian-init.ly"
6683 \layout { \neumeDemoLayout }}
6686 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6687 \include "gregorian-init.ly"
6690 % Clivis Aucta Descendens
6691 \[ b \flexa \auctum \descendens g \]
6692 \noBreak s^\markup {"l"} \noBreak
6694 % Clivis Aucta Ascendens
6695 \[ b \flexa \auctum \ascendens g \]
6696 \noBreak s^\markup {"m"}
6698 \layout { \neumeDemoLayout }}
6701 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6702 \include "gregorian-init.ly"
6706 \[ b \flexa \deminutum g \]
6709 \layout { \neumeDemoLayout }}
6713 @code{6. Podatus vel Pes}
6715 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6716 \include "gregorian-init.ly"
6723 \layout { \neumeDemoLayout }}
6726 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6727 \include "gregorian-init.ly"
6730 % Pes Auctus Descendens
6731 \[ g \pes \auctum \descendens b \]
6732 \noBreak s^\markup {"p"} \noBreak
6734 % Pes Auctus Ascendens
6735 \[ g \pes \auctum \ascendens b \]
6736 \noBreak s^\markup {"q"}
6738 \layout { \neumeDemoLayout }}
6741 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6742 \include "gregorian-init.ly"
6746 \[ g \pes \deminutum b \]
6749 \layout { \neumeDemoLayout }}
6753 @code{7. Pes Quassus}
6755 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6756 \include "gregorian-init.ly"
6760 \[ \oriscus g \pes \virga b \]
6763 \layout { \neumeDemoLayout }}
6766 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6767 \include "gregorian-init.ly"
6770 % Pes Quassus Auctus Descendens
6771 \[ \oriscus g \pes \auctum \descendens b \]
6774 \layout { \neumeDemoLayout }}
6779 @code{8. Quilisma Pes}
6781 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6782 \include "gregorian-init.ly"
6786 \[ \quilisma g \pes b \]
6789 \layout { \neumeDemoLayout }}
6792 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6793 \include "gregorian-init.ly"
6796 % Quilisma Pes Auctus Descendens
6797 \[ \quilisma g \pes \auctum \descendens b \]
6800 \layout { \neumeDemoLayout }}
6805 @code{9. Podatus Initio Debilis}
6807 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6808 \include "gregorian-init.ly"
6811 % Pes Initio Debilis
6812 \[ \deminutum g \pes b \]
6815 \layout { \neumeDemoLayout }}
6818 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6819 \include "gregorian-init.ly"
6822 % Pes Auctus Descendens Initio Debilis
6823 \[ \deminutum g \pes \auctum \descendens b \]
6826 \layout { \neumeDemoLayout }}
6833 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6834 \include "gregorian-init.ly"
6838 \[ a \pes b \flexa g \]
6841 \layout { \neumeDemoLayout }}
6844 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6845 \include "gregorian-init.ly"
6848 % Torculus Auctus Descendens
6849 \[ a \pes b \flexa \auctum \descendens g \]
6852 \layout { \neumeDemoLayout }}
6855 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6856 \include "gregorian-init.ly"
6859 % Torculus Deminutus
6860 \[ a \pes b \flexa \deminutum g \]
6863 \layout { \neumeDemoLayout }}
6867 @code{11. Torculus Initio Debilis}
6869 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6870 \include "gregorian-init.ly"
6873 % Torculus Initio Debilis
6874 \[ \deminutum a \pes b \flexa g \]
6877 \layout { \neumeDemoLayout }}
6880 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6881 \include "gregorian-init.ly"
6884 % Torculus Auctus Descendens Initio Debilis
6885 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6888 \layout { \neumeDemoLayout }}
6891 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6892 \include "gregorian-init.ly"
6895 % Torculus Deminutus Initio Debilis
6896 \[ \deminutum a \pes b \flexa \deminutum g \]
6899 \layout { \neumeDemoLayout }}
6903 @code{12. Porrectus}
6905 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6906 \include "gregorian-init.ly"
6910 \[ a \flexa g \pes b \]
6913 \layout { \neumeDemoLayout }}
6916 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6917 \include "gregorian-init.ly"
6920 % Porrectus Auctus Descendens
6921 \[ a \flexa g \pes \auctum \descendens b \]
6924 \layout { \neumeDemoLayout }}
6927 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6928 \include "gregorian-init.ly"
6931 % Porrectus Deminutus
6932 \[ a \flexa g \pes \deminutum b \]
6935 \layout { \neumeDemoLayout }}
6941 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6942 \include "gregorian-init.ly"
6946 \[ \virga b \inclinatum a \inclinatum g \]
6949 \layout { \neumeDemoLayout }
6953 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6954 \include "gregorian-init.ly"
6958 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6961 \layout { \neumeDemoLayout }}
6964 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6965 \include "gregorian-init.ly"
6968 % Climacus Deminutus
6969 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6972 \layout { \neumeDemoLayout }}
6976 @code{14. Scandicus}
6978 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6979 \include "gregorian-init.ly"
6983 \[ g \pes a \virga b \]
6986 \layout { \neumeDemoLayout }}
6989 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6990 \include "gregorian-init.ly"
6993 % Scandicus Auctus Descendens
6994 \[ g \pes a \pes \auctum \descendens b \]
6997 \layout { \neumeDemoLayout }}
7000 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7001 \include "gregorian-init.ly"
7004 % Scandicus Deminutus
7005 \[ g \pes a \pes \deminutum b \]
7008 \layout { \neumeDemoLayout }}
7014 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7015 \include "gregorian-init.ly"
7019 \[ g \oriscus a \pes \virga b \]
7022 \layout { \neumeDemoLayout }}
7025 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7026 \include "gregorian-init.ly"
7029 % Salicus Auctus Descendens
7030 \[ g \oriscus a \pes \auctum \descendens b \]
7033 \layout { \neumeDemoLayout }}
7040 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
7041 \include "gregorian-init.ly"
7045 \[ \stropha b \stropha b \stropha a \]
7048 \layout { \neumeDemoLayout }
7057 Unlike most other neumes notation systems, the input language for
7058 neumes does not reflect the typographical appearance, but is designed
7059 to focus on musical meaning. For example, @code{\[ a \pes b
7060 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7061 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7062 curved flexa shape and only a single Punctum head. There is no
7063 command to explicitly typeset the curved flexa shape; the decision of
7064 when to typeset a curved flexa shape is based on the musical
7065 input. The idea of this approach is to separate the musical aspects
7066 of the input from the notation style of the output. This way, the
7067 same input can be reused to typeset the same music in a different
7068 style of Gregorian chant notation.
7070 The following table shows the code fragments that produce the
7071 ligatures in the above neumes table. The letter in the first column
7072 in each line of the below table indicates to which ligature in the
7073 above table it refers. The second column gives the name of the
7074 ligature. The third column shows the code fragment that produces this
7075 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7077 @multitable @columnfractions .1 .4 .5
7091 Punctum Inclinatum @tab
7092 @code{\[ \inclinatum b \]}
7096 Punctum Auctum Ascendens @tab
7097 @code{\[ \auctum \ascendens b \]}
7101 Punctum Auctum Descendens @tab
7102 @code{\[ \auctum \descendens b \]}
7106 Punctum Inclinatum Auctum @tab
7107 @code{\[ \inclinatum \auctum b \]}
7111 Punctum Inclinatum Parvum @tab
7112 @code{\[ \inclinatum \deminutum b \]}
7117 @code{\[ \virga b \]}
7122 @code{\[ \stropha b \]}
7127 @code{\[ \stropha \auctum b \]}
7132 @code{\[ \oriscus b \]}
7136 Clivis vel Flexa @tab
7137 @code{\[ b \flexa g \]}
7141 Clivis Aucta Descendens @tab
7142 @code{\[ b \flexa \auctum \descendens g \]}
7146 Clivis Aucta Ascendens @tab
7147 @code{\[ b \flexa \auctum \ascendens g \]}
7152 @code{\[ b \flexa \deminutum g \]}
7156 Podatus vel Pes @tab
7157 @code{\[ g \pes b \]}
7161 Pes Auctus Descendens @tab
7162 @code{\[ g \pes \auctum \descendens b \]}
7166 Pes Auctus Ascendens @tab
7167 @code{\[ g \pes \auctum \ascendens b \]}
7172 @code{\[ g \pes \deminutum b \]}
7177 @code{\[ \oriscus g \pes \virga b \]}
7181 Pes Quassus Auctus Descendens @tab
7182 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7187 @code{\[ \quilisma g \pes b \]}
7191 Quilisma Pes Auctus Descendens @tab
7192 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7196 Pes Initio Debilis @tab
7197 @code{\[ \deminutum g \pes b \]}
7201 Pes Auctus Descendens Initio Debilis @tab
7202 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7207 @code{\[ a \pes b \flexa g \]}
7211 Torculus Auctus Descendens @tab
7212 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7216 Torculus Deminutus @tab
7217 @code{\[ a \pes b \flexa \deminutum g \]}
7221 Torculus Initio Debilis @tab
7222 @code{\[ \deminutum a \pes b \flexa g \]}
7226 Torculus Auctus Descendens Initio Debilis @tab
7227 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7231 Torculus Deminutus Initio Debilis @tab
7232 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7237 @code{\[ a \flexa g \pes b \]}
7241 Porrectus Auctus Descendens @tab
7242 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7246 Porrectus Deminutus @tab
7247 @code{\[ a \flexa g \pes \deminutum b \]}
7252 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7256 Climacus Auctus @tab
7257 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7261 Climacus Deminutus @tab
7262 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7267 @code{\[ g \pes a \virga b \]}
7271 Scandicus Auctus Descendens @tab
7272 @code{\[ g \pes a \pes \auctum \descendens b \]}
7276 Scandicus Deminutus @tab
7277 @code{\[ g \pes a \pes \deminutum b \]}
7282 @code{\[ g \oriscus a \pes \virga b \]}
7286 Salicus Auctus Descendens @tab
7287 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7292 @code{\[ \stropha b \stropha b \stropha a \]}
7298 The following head prefixes are supported
7300 @cindex @code{\virga}
7302 @cindex @code{\stropha}
7304 @cindex @code{\inclinatum}
7306 @cindex @code{\auctum}
7308 @cindex @code{\descendens}
7310 @cindex @code{\ascendens}
7312 @cindex @code{\oriscus}
7314 @cindex @code{\quilisma}
7316 @cindex @code{\deminutum}
7319 Head prefixes can be accumulated, though restrictions apply. For
7320 example, either @code{\descendens} or @code{\ascendens} can be applied
7321 to a head, but not both to the same head.
7324 @cindex @code{\flexa}
7325 Two adjacent heads can be tied together with the @code{\pes} and
7326 @code{\flexa} infix commands for a rising and falling line of melody,
7331 @node Gregorian Chant contexts
7332 @subsection Gregorian Chant contexts
7334 @cindex VaticanaVoiceContext
7335 @cindex VaticanaStaffContext
7337 The predefined @code{VaticanaVoiceContext} and
7338 @code{VaticanaStaffContext} can be used to engrave a piece of
7339 Gregorian Chant in the style of the Editio Vaticana. These contexts
7340 initialize all relevant context properties and grob properties to
7341 proper values, so you can immediately go ahead entering the chant, as
7342 the following excerpt demonstrates
7344 @lilypond[quote,raggedright,verbatim,noindent]
7345 \include "gregorian-init.ly"
7348 \context VaticanaVoice = "cantus" {
7349 \override Score.BarNumber #'transparent = ##t {
7350 \[ c'\melisma c' \flexa a \]
7351 \[ a \flexa \deminutum g\melismaEnd \]
7353 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7354 c' \divisioMinima \break
7355 \[ c'\melisma c' \flexa a \]
7356 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7359 \lyricsto "cantus" \new Lyrics {
7360 San- ctus, San- ctus, San- ctus
7367 @node Mensural contexts
7368 @subsection Mensural contexts
7370 @cindex MensuralVoiceContext
7371 @cindex MensuralStaffContext
7373 The predefined @code{MensuralVoiceContext} and
7374 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7375 style. These contexts initialize all relevant context properties and
7376 grob properties to proper values, so you can immediately go ahead
7377 entering the chant, as the following excerpt demonstrates
7379 @lilypond[quote,raggedright,verbatim,noindent]
7382 \context MensuralVoice = "discantus" \transpose c c' {
7383 \override Score.BarNumber #'transparent = ##t {
7384 c'1\melisma bes a g\melismaEnd
7386 \[ f1\melisma a c'\breve d'\melismaEnd \]
7388 c'\breve\melisma a1 g1\melismaEnd
7389 fis\longa^\signumcongruentiae
7392 \lyricsto "discantus" \new Lyrics {
7393 San -- ctus, San -- ctus, San -- ctus
7401 @subsection Figured bass
7403 @cindex Basso continuo
7405 @c TODO: musicological blurb about FB
7408 LilyPond has limited support for figured bass
7410 @lilypond[quote,raggedright,verbatim,fragment]
7412 \context Voice { \clef bass dis4 c d ais }
7413 \context FiguredBass \figuremode {
7414 < 6 >4 < 7 >8 < 6+ [_!] >
7420 The support for figured bass consists of two parts: there is an input
7421 mode, introduced by @code{\figuremode}, where you can enter bass figures
7422 as numbers, and there is a context called @internalsref{FiguredBass} that
7423 takes care of making @internalsref{BassFigure} objects.
7425 In figures input mode, a group of bass figures is delimited by
7426 @code{<} and @code{>}. The duration is entered after the @code{>}
7430 @lilypond[quote,raggedright,fragment]
7431 \context FiguredBass
7432 \figuremode { <4 6> }
7435 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7441 @lilypond[quote,raggedright,fragment]
7442 \context FiguredBass
7443 \figuremode { <4- 6+ 7!> }
7446 Spaces or dashes may be inserted by using @code{_}. Brackets are
7447 introduced with @code{[} and @code{]}
7452 @lilypond[quote,raggedright,fragment]
7453 \context FiguredBass
7454 \figuremode { < [4 6] 8 [_! 12]> }
7457 Although the support for figured bass may superficially resemble chord
7458 support, it works much simpler. The @code{\figuremode} mode simply
7459 stores the numbers , and @internalsref{FiguredBass} context prints
7460 them as entered. There is no conversion to pitches, and no
7461 realizations of the bass are played in the MIDI file.
7463 Internally, the code produces markup texts. You can use any of the
7464 markup text properties to override formatting. For example, the
7465 vertical spacing of the figures may be set with @code{baseline-skip}.
7469 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7470 and @internalsref{FiguredBass} context.
7474 Slash notation for alterations is not supported.
7476 @node Contemporary notation
7477 @section Contemporary notation
7479 In the 20th century, composers have greatly expanded the musical
7480 vocabulary. With this expansion, many innovations in musical notation
7481 have been tried. The book ``Music Notation in the 20th century'' by
7482 Kurt Stone gives a comprehensive overview (see @ref{Literature
7483 list}). In general, the use of new, innovative notation makes a piece
7484 harder to understand and perform and its use should therefore be
7485 avoided. For this reason, support for contemporary notation in
7486 LilyPond is limited.
7490 * Polymetric notation::
7492 * Special fermatas::
7496 @node Polymetric notation
7497 @subsection Polymetric notation
7499 Double time signatures are not supported explicitly, but they can be
7500 faked. In the next example, the markup for the time signature is
7501 created with a markup text. This markup text is inserted in the
7502 @internalsref{TimeSignature} grob.
7504 @lilypond[verbatim,raggedright]
7510 \musicglyph #"scripts-stopped"
7511 \bracket \column < "5" "8" >
7516 \override Staff.TimeSignature #'print-function = #Text_interface::print
7517 \override Staff.TimeSignature #'text = #tsMarkup
7519 c'2 \bar ":" c'4 c'4.
7523 Each staff can also have its own time signature. This is done by
7524 moving the @internalsref{Timing_engraver} to @internalsref{Staff}
7529 \context{ \Score \remove "Timing_engraver" }
7530 \context{ \Staff \consists "Timing_engraver" }
7535 Now, each staff has its own time signature.
7548 c4. c8 c c c4. c8 c c
7553 @lilypond[quote,raggedright]
7555 \context{ \Score \remove "Timing_engraver" }
7556 \context{ \Staff \consists "Timing_engraver" }
7570 c4. c8 c c c4. c8 c c
7576 A different form of polymetric notation is where note lengths have
7577 different values across staves.
7579 This notation can be created by setting a common time signature for
7580 each staff but replacing it manually using
7581 @code{timeSignatureFraction} to the desired fraction. Then the printed
7582 durations in each staff are scaled to the common time signature.
7583 The latter is done with @code{\compressmusic}, which is similar to
7584 @code{\times}, but does not create a tuplet bracket.
7587 In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
7588 used in parallel. In the second staff, shown durations are multiplied by
7589 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7590 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7592 @lilypond[raggedright,verbatim,fragment]
7600 \set Staff.timeSignatureFraction = #'(9 . 8)
7601 \compressmusic #'(2 . 3)
7602 \repeat unfold 6 { c8[ c c] }
7606 \set Staff.timeSignatureFraction = #'(10 . 8)
7607 \compressmusic #'(3 . 5) {
7608 \repeat unfold 2 { c8[ c c] }
7609 \repeat unfold 2 { c8[ c] }
7610 | c4. c4. \times 2/3 { c8 c c } c4
7621 When using different time signatures in parallel, the spacing is
7622 aligned vertically, but bar lines distort the regular spacing.
7627 @subsection Clusters
7631 A cluster indicates a continuous range of pitches to be played. They
7632 can be denoted as the envelope of a set of notes. They are entered by
7633 applying the function @code{makeClusters} to a sequence of
7636 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
7637 \makeClusters { <c e > <b f'> }
7640 The following example (from
7641 @inputfileref{input/regression,cluster.ly}) shows what the result
7644 @lilypondfile[raggedright,quote]{cluster.ly}
7646 Ordinary notes and clusters can be put together in the same staff,
7647 even simultaneously. In such a case no attempt is made to
7648 automatically avoid collisions between ordinary notes and clusters.
7652 Program reference: @internalsref{ClusterSpanner},
7653 @internalsref{ClusterSpannerBeacon},
7654 @internalsref{Cluster_spanner_engraver}, and
7655 @internalsref{ClusterNoteEvent}.
7657 Examples: @inputfileref{input/regression,cluster.ly}.
7661 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7662 accurately. Use @code{<g a>8 <e a>8} instead.
7666 @node Special fermatas
7667 @subsection Special fermatas
7669 @cindex fermatas, special
7671 In contemporary music notation, special fermata symbols denote breaks
7672 of differing lengths. The following fermatas are supported
7674 @lilypond[quote,raggedright]
7697 \context Lyrics \lyricmode {
7698 \override LyricText #'font-family = #'typewriter
7699 "shortfermata" "fermata" "longfermata" "verylongfermata"
7704 See @ref{Articulations} for general instructions how to apply scripts
7705 such as fermatas to notes.
7707 @node Feathered beams
7708 @subsection Feathered beams
7710 Feathered beams are not supported natively, but they can be faked by
7711 forcing two beams to overlap. Here is an example,
7713 @c don't change relative setting witout changing positions!
7714 @lilypond[raggedright,relative=1,fragment,verbatim]
7719 \once \override Voice.Beam #'positions = #'(0 . 0.5)
7724 \once \override Voice.Beam #'positions = #'(0 . -0.5)
7732 @node Educational use
7733 @section Educational use
7735 With the amount of control that LilyPond offers, one can make great
7736 teaching tools in addition to great musical scores.
7740 * Blank music sheet::
7742 * Easy Notation note heads::
7746 @subsection Balloon help
7748 Elements of notation can be marked and named with the help of a square
7749 balloon. The primary purpose of this feature is to explain notation.
7751 The following example demonstrates its use.
7753 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7756 #(add-balloon-text 'NoteHead "heads, or tails?"
7763 The function @code{add-balloon-text} takes the name of a grob, the
7764 label to print, and the position where to put the label relative to
7765 the object. In the above example, the text ``heads or tails?'' ends
7766 3 spaces below and 1 space to the right of the marked head.
7769 @cindex notation, explaining
7773 Program reference: @internalsref{text-balloon-interface}.
7775 Examples: @inputfileref{input/regression,balloon.ly}.
7780 @node Blank music sheet
7781 @subsection Blank music sheet
7783 A blank music sheet can be produced also by using invisible notes, and
7784 removing @code{Bar_number_engraver}.
7789 \repeat unfold 2 % Change this for more lines.
7794 \override TimeSignature #'transparent = ##t
7795 defaultBarType = #""
7796 \remove Bar_number_engraver
7798 \context Staff \emptymusic
7799 \context TabStaff \emptymusic
7805 @subsection Hidden notes
7807 @cindex Hidden notes
7808 @cindex Invisible notes
7809 @cindex Transparent notes
7811 Hidden (or invisible or transparent) notes can be useful in preparing theory
7812 or composition exercises.
7814 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
7822 Hidden notes are also great for performing weird tricks. For example,
7823 slurs cannot be attached to rests or spacer rests, but you may with
7824 to include that in your score -- string instruments use this notation
7825 when doing pizzicato to indicate that the note should ring for as long
7828 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
7831 c4^"pizz"( \hideNotes c)
7832 \unHideNotes c( \hideNotes c)
7839 @node Easy Notation note heads
7840 @subsection Easy Notation note heads
7842 @cindex easy notation
7845 The `easy play' note head includes a note name inside the head. It is
7846 used in music for beginners
7848 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
7853 The command @code{\setEasyHeads} overrides settings for the
7854 @internalsref{NoteHead} object. To make the letters readable, it has
7855 to be printed in a large font size. To print with a larger font, see
7856 @ref{Setting global staff size}.
7860 @cindex @code{\setEasyHeads}
7861 @code{\setEasyHeads}