1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users who are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
32 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements like notes, rests, and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
66 A note is printed by specifying its pitch and then its duration,
68 @lilypond[quote,verbatim,raggedright]
69 { cis'4 d'8 e'16 c'16 }
77 @cindex Note specification
79 @cindex entering notes
81 The most common syntax for pitch entry is used for standard notes and
82 @code{\chordmode} modes. In these modes, pitches may be designated by
83 names. The notes are specified by the letters @code{a} through
84 @code{g}. The octave is formed with notes ranging from @code{c}
85 to @code{b}. The pitch @code{c} is an octave below middle C and the
86 letters span the octave above that C
88 @lilypond[quote,fragment,verbatim]
90 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
93 @cindex note names, Dutch
95 A sharp is formed by adding @code{-is} to the end of a pitch name and
96 a flat is formed by adding @code{-es}. Double sharps and double flats
97 are obtained by adding @code{-isis} or @code{-eses}. These
98 names are the Dutch note names. In Dutch, @code{aes} is contracted to
99 @code{as}, but both forms are accepted. Similarly, both
100 @code{es} and @code{ees} are accepted
102 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
110 In accordance with standard typsetting rules, a natural sign is printed
111 before a sharp or flat if a previous accidental needs to be
112 cancelled. To change this behaviour, use
113 @code{\set Staff.extraNatural = ##f}
115 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
117 \set Staff.extraNatural = ##f
121 There are predefined sets of note names for various other languages.
122 To use them, include the language specific init file. For
123 example: @code{\include "english.ly"}. The available language files
124 and the note names they define are
129 Note Names sharp flat
130 nederlands.ly c d e f g a bes b -is -es
131 english.ly c d e f g a bf b -s/-sharp -f/-flat
133 deutsch.ly c d e f g a b h -is -es
134 norsk.ly c d e f g a b h -iss/-is -ess/-es
135 svenska.ly c d e f g a b h -iss -ess
136 italiano.ly do re mi fa sol la sib si -d -b
137 catalan.ly do re mi fa sol la sib si -d/-s -b
138 espanol.ly do re mi fa sol la sib si -s -b
146 The optional octave specification takes the form of a series of
147 single quote (`@code{'}') characters or a series of comma
148 (`@code{,}') characters. Each @code{'} raises the pitch by one
149 octave; each @code{,} lowers the pitch by an octave
151 @lilypond[quote,raggedright,fragment,verbatim]
152 c' c'' es' g' as' gisis' ais'
155 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
157 Notes can be hidden and unhidden with the following commands
159 @cindex @code{\hideNotes}
161 @cindex @code{\unHideNotes}
167 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
171 @node Chromatic alterations
172 @subsection Chromatic alterations
174 Normally accidentals are printed automatically, but you may also
175 print them manually. A reminder accidental
176 @cindex reminder accidental
178 can be forced by adding an exclamation mark @code{!}
179 after the pitch. A cautionary accidental
180 @cindex cautionary accidental
181 @cindex parenthesized accidental
182 (i.e., an accidental within parentheses) can be obtained by adding the
183 question mark `@code{?}' after the pitch.
185 @lilypond[quote,raggedright,fragment,verbatim]
186 cis' cis' cis'! cis'?
192 The automatic production of accidentals can be tuned in many
193 ways. For more information, refer to @ref{Automatic accidentals}.
198 @subsection Micro tones
200 Half-flats and half-sharps are formed by adding @code{-eh} and
201 @code{-ih}; the following is a series of Cs with increasing pitches
203 @cindex quarter tones
204 @cindex semi-flats, semi-sharps
206 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
207 { ceseh ceh cih cisih }
210 Micro tones are also exported to the MIDI file
215 There are no generally accepted standards for denoting three quarter
216 flats, so LilyPond's symbol does not conform to any standard.
221 A chord is formed by a enclosing a set of pitches in @code{<} and
222 @code{>}. A chord may be followed by a duration, and a set of
223 articulations, just like simple notes
225 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
237 Rests are entered like notes, with the note name @code{r}
239 @lilypond[fragment,quote,raggedright,verbatim]
243 Whole bar rests, centered in middle of the bar,
244 must be done with multi-measure rests. They are discussed in
245 @ref{Multi measure rests}.
248 A rest's vertical position may be explicitly specified by entering a
249 note with the @code{\rest} keyword appended, the rest will be placed at
250 the note's place. This makes manual formatting in polyphonic music
251 easier. Automatic rest collision formatting will leave these rests
254 @lilypond[fragment,quote,raggedright,verbatim]
260 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
267 @cindex Invisible rest
272 An invisible rest (also called a `skip') can be entered like a note
273 with note name `@code{s}' or with @code{\skip @var{duration}}
275 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
276 a4 a4 s4 a4 \skip 1 a4
279 The @code{s} syntax is only available in note mode and chord mode. In
280 other situations, for example, when entering lyrics, you should use
281 the @code{\skip} command
283 @lilypond[quote,raggedright,verbatim]
286 \new Lyrics \lyricmode { \skip 2 bla1 }
290 The skip command is merely an empty musical placeholder. It does not
291 produce any output, not even transparent output.
293 The @code{s} skip command does create @internalsref{Staff} and
294 @internalsref{Voice} when necessary, similar to note and rest
295 commands. For example, the following results in an empty staff.
297 @lilypond[quote,raggedright,verbatim]
301 The fragment @code{@{ \skip 4 @} } would produce an empty page.
305 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
310 @subsection Durations
314 @cindex @code{\longa}
315 @cindex @code{\breve}
316 @cindex @code{\maxima}
319 In Note, Chord, and Lyrics mode, durations are designated by numbers and
320 dots: durations are entered as their reciprocal values. For example, a
321 quarter note is entered using a @code{4} (since it is a 1/4 note), while
322 a half note is entered using a @code{2} (since it is a 1/2 note). For
323 notes longer than a whole you must use the variables @code{\longa} and
328 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
330 r1 r2 r4 r8 r16 r32 r64 r64
336 a\breve*1/2 \autoBeamOff
337 a1 a2 a4 a8 a16 a32 a64 a64
340 r\longa*1/4 r\breve *1/2
341 r1 r2 r4 r8 r16 r32 r64 r64
347 \remove "Clef_engraver"
348 \override StaffSymbol #'transparent = ##t
349 \override TimeSignature #'transparent = ##t
350 \override BarLine #'transparent = ##t
351 \consists "Pitch_squash_engraver"
357 If the duration is omitted then it is set to the previously entered
358 duration. The default for the first note is a quarter note.
360 @lilypond[quote,raggedright,verbatim,fragment]
361 { a a a2 a a4 a a1 a }
366 @node Augmentation dots
367 @subsection Augmentation dots
370 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
371 the number. Double-dotted notes are produced in a similar way.
373 @lilypond[quote,raggedright,fragment,verbatim]
374 a'4 b' c''4. b'8 a'4. b'4.. c''8.
379 Dots are normally moved up to avoid staff lines, except in polyphonic
380 situations. The following commands may be used to force a particular
383 @cindex @code{\dotsUp}
385 @cindex @code{\dotsDown}
387 @cindex @code{\dotsNeutral}
392 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
394 @node Scaling durations
395 @subsection Scaling durations
397 You can alter the length of duration by a fraction @var{N/M}
398 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
399 will not affect the appearance of the notes or rests produced.
401 In the following example, the first three notes take up exactly two
402 beats, but no triplet bracket is printed.
403 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
405 a4*2/3 gis4*2/3 a4*2/3
413 This manual: @ref{Tuplets}
416 @c TODO: I'm not certain that Stems belong here in the manual. -gp
420 Whenever a note is found, a @internalsref{Stem} object is created
421 automatically. For whole notes and rests, they are also created but
426 @cindex @code{\stemUp}
428 @cindex @code{\stemDown}
430 @cindex @code{\stemNeutral}
441 A tie connects two adjacent note heads of the same pitch. The tie in
442 effect extends the length of a note. Ties should not be confused with
443 slurs, which indicate articulation, or phrasing slurs, which indicate
444 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
446 @lilypond[quote,raggedright,fragment,verbatim]
447 e' ~ e' <c' e' g'> ~ <c' e' g'>
450 When a tie is applied to a chord, all note heads whose pitches match
451 are connected. When no note heads match, no ties will be created.
453 A tie is just a way of extending a note duration, similar to the
454 augmentation dot. The following example shows two ways of notating
455 exactly the same concept
457 @lilypond[quote,fragment,raggedright]
458 \time 3/4 c'2. c'2 ~ c'4
462 Ties are used either when the note crosses a bar line, or when dots
463 cannot be used to denote the rhythm. When using ties, larger note
464 values should be aligned to subdivisions of the measure, eg.
466 @lilypond[fragment,quote,raggedright]
468 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
472 If you need to tie a lot of notes over bars, it may be easier to use
473 automatic note splitting (see @ref{Automatic note splitting}). This
474 mechanism automatically splits long notes, and ties them across bar
480 @cindex @code{\tieUp}
482 @cindex @code{\tieDown}
484 @cindex @code{\tieNeutral}
486 @cindex @code{\tieDotted}
488 @cindex @code{\tieSolid}
493 In this manual: @ref{Automatic note splitting}.
495 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
500 Switching staves when a tie is active will not produce a slanted tie.
502 Formatting of ties is a difficult subject. The results are often not
510 @cindex @code{\times}
512 Tuplets are made out of a music expression by multiplying all durations
515 @cindex @code{\times}
517 \times @var{fraction} @var{musicexpr}
521 The duration of @var{musicexpr} will be multiplied by the fraction.
522 The fraction's denominator will be printed over the notes, optionally
523 with a bracket. The most common tuplet is the triplet in which 3
524 notes have the length of 2, so the notes are 2/3 of their written
527 @lilypond[quote,raggedright,fragment,verbatim]
528 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
531 The property @code{tupletSpannerDuration} specifies how long each
532 bracket should last. With this, you can make lots of tuplets while
533 typing @code{\times} only once, thus saving lots of typing. In the next
534 example, there are two triplets shown, while @code{\times} was only
537 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
538 \set tupletSpannerDuration = #(ly:make-moment 1 4)
539 \times 2/3 { c'8 c c c c c }
542 The format of the number is determined by the property
543 @code{tupletNumberFormatFunction}. The default prints only the
544 denominator, but if it is set to the Scheme function
545 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
549 @cindex @code{tupletNumberFormatFunction}
550 @cindex tuplet formatting
555 @cindex @code{\tupletUp}
557 @cindex @code{\tupletDown}
559 @cindex @code{\tupletNeutral}
560 @code{\tupletNeutral}.
564 User manual: @ref{Changing context properties on the fly} for the
568 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
570 Examples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
574 Nested tuplets are not formatted automatically. In this case, outer
575 tuplet brackets should be moved manually, which is demonstrated in
576 @inputfileref{input/@/regression,tuplet@/-nest@/.ly}.
580 @node Easier music entry
581 @section Easier music entry
584 This section deals with tricks and features of the input language that
585 were added solely to help entering music and finding and correcting
586 mistakes. There are also external tools that make debugging easier.
587 See @ref{Point and click} for more information.
589 It is also possible to enter and edit music using other programs, such as
590 GUI interfaces or MIDI sequencers. Refer to the LilyPond
591 website for more information.
598 * Skipping corrected music::
599 * Automatic note splitting::
605 @node Relative octaves
606 @subsection Relative octaves
608 @cindex relative octave specification
610 Octaves are specified by adding @code{'} and @code{,} to pitch names.
611 When you copy existing music, it is easy to accidentally put a pitch
612 in the wrong octave and hard to find such an error. The relative
613 octave mode prevents these errors by making the mistakes much
614 larger: a single error puts the rest of the piece off by one octave
616 @cindex @code{\relative}
618 \relative @var{startpitch} @var{musicexpr}
625 \relative @var{musicexpr}
628 The octave of notes that appear in @var{musicexpr} are calculated as
629 follows: if no octave changing marks are used, the basic interval
630 between this and the last note is always taken to be a fourth or
631 less. This distance is determined without regarding alterations; a
632 @code{fisis} following a @code{ceses} will be put above the
633 @code{ceses}. In other words, a doubly-augmented fourth is considered
634 a smaller interval than a diminshed fifth, even though the fourth is
635 seven semitones while the fifth is only six semitones.
637 The octave changing marks @code{'} and @code{,} can be added to raise
638 or lower the pitch by an extra octave. Upon entering relative mode,
639 an absolute starting pitch can be specified that will act as the
640 predecessor of the first note of @var{musicexpr}. If no starting pitch
641 is specified, then middle C is used as a start.
643 Here is the relative mode shown in action
644 @lilypond[quote,fragment,raggedright,verbatim]
650 Octave changing marks are used for intervals greater than a fourth
651 @lilypond[quote,raggedright,fragment,verbatim]
657 If the preceding item is a chord, the first note of the chord is used
658 to determine the first note of the next chord
660 @lilypond[quote,raggedright,fragment,verbatim]
668 The pitch after the @code{\relative} contains a note name.
671 The relative conversion will not affect @code{\transpose},
672 @code{\chordmode} or @code{\relative} sections in its argument. To use
673 relative within transposed music, an additional @code{\relative} must
674 be placed inside @code{\transpose}.
677 @subsection Octave check
680 Octave checks make octave errors easier to correct: a note may be
681 followed by @code{=}@var{quotes} which indicates what its absolute
682 octave should be. In the following example,
684 \relative c'' @{ c='' b=' d,='' @}
688 @c take care with @code, adds confusing quotes.
689 the @code{d} will generate a warning, because a @code{d''} is expected
690 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
691 found. In the output, the octave is corrected to be a @code{d''} and
692 the next note is calculated relative to @code{d''} instead of @code{d'}.
696 There is also a syntax that is separate from the notes. The syntax
702 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
703 quotes) in \relative mode. If not, a warning is printed, and the
706 In the example below, the first check passes without incident, since
707 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
708 the second check produces a warning, since the @code{e} is not within
709 a fifth of @code{b'}. The warning message is printed, and the octave
710 is adjusted so that the following notes are in the correct octave
722 The octave of a note following an octave check is determined with
723 respect to the note preceding it. In the next fragment, the last note
724 is a @code{a'}, above middle C. That means that the @code{\octave}
725 check passes successfully, so the check could be deleted without changing
726 the output of the piece.
728 @lilypond[quote,raggedright,verbatim,fragment]
737 @subsection Bar check
741 @cindex @code{barCheckSynchronize}
744 Bar checks help detect errors in the durations. A bar check is
745 entered using the bar symbol, `@code{|}'. Whenever it is encountered
746 during interpretation, it should fall on a measure boundary. If it
747 does not, a warning is printed. In the next example, the second bar
748 check will signal an error
750 \time 3/4 c2 e4 | g2 |
753 Bar checks can also be used in lyrics, for example
758 Twin -- kle | Twin -- kle
763 @cindex @code{skipTypesetting}
765 Failed bar checks are caused by entering incorrect
766 durations. Incorrect durations often completely garble up the score,
767 especially if the score is polyphonic, so a good place to start correcting
768 input is by scanning for failed bar checks and incorrect durations. To
769 speed up this process, the @code{skipTypesetting} feature may be
770 used. It is described in the next section.
773 @cindex @code{pipeSymbol}
775 It is also possible to redefine the meaning of @code{|}. This is done
776 by assigning a music expression to @code{pipeSymbol},
778 @lilypond[quote,raggedright,verbatim]
779 pipeSymbol = \bar "||"
785 @node Skipping corrected music
786 @subsection Skipping corrected music
788 The property @code{Score.skipTypesetting} can be used to switch on and
789 off typesetting completely during the interpretation phase. When
790 typesetting is switched off, the music is processed much more
791 quickly. This can be used to skip over the parts of a score that
792 have already been checked for errors
794 @lilypond[quote,fragment,raggedright,verbatim]
797 \set Score.skipTypesetting = ##t
799 \set Score.skipTypesetting = ##f
803 In polyphonic music, @code{Score.skipTypesetting} will affect all
804 voices and staves, saving even more time.
806 @node Automatic note splitting
807 @subsection Automatic note splitting
809 Long notes can be converted automatically to tied notes. This is done
810 by replacing the @internalsref{Note_heads_engraver} by the
811 @internalsref{Completion_heads_engraver}.
812 In the following examples, notes crossing the bar line are split and tied.
815 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
817 \remove "Note_heads_engraver"
818 \consists "Completion_heads_engraver"
820 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
824 This engraver splits all running notes at the bar line, and inserts
825 ties. One of its uses is to debug complex scores: if the measures are
826 not entirely filled, then the ties exactly show how much each measure
831 Not all durations (especially those containing tuplets) can be
832 represented exactly with normal notes and dots, but the engraver will
837 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
841 Program reference: @internalsref{Completion_heads_engraver}.
845 @section Staff notation
847 This section describes music notation that occurs on staff level,
848 such as key signatures, clefs and time signatures.
850 @cindex Staff notation
861 * Time administration::
862 * Controlling formatting of prefatory matter::
866 @subsection Staff symbol
868 @cindex adjusting staff symbol
870 Notes, dynamic signs, etc., are grouped
871 with a set of horizontal lines, into a staff (plural `staves'). In our
872 system, these lines are drawn using a separate layout object called
876 @cindex staff lines, setting number of
877 @cindex staff lines, setting thickness of
878 @cindex thickness of staff lines, setting
879 @cindex number of staff lines, setting
883 Program reference: @internalsref{StaffSymbol}.
885 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
886 @inputfileref{input/@/test,staff@/-size@/.ly}.
890 If a staff is ended halfway a piece, the staff symbol may not end
891 exactly on the bar line.
895 @subsection Key signature
896 @cindex Key signature
900 The key signature indicates the tonality in which a piece is played. It
901 is denoted by a set of alterations (flats or sharps) at the start of the
905 Setting or changing the key signature is done with the @code{\key}
908 @code{\key} @var{pitch} @var{type}
911 @cindex @code{\minor}
912 @cindex @code{\major}
913 @cindex @code{\minor}
914 @cindex @code{\ionian}
915 @cindex @code{\locrian}
916 @cindex @code{\aeolian}
917 @cindex @code{\mixolydian}
918 @cindex @code{\lydian}
919 @cindex @code{\phrygian}
920 @cindex @code{\dorian}
922 Here, @var{type} should be @code{\major} or @code{\minor} to get
923 @var{pitch}-major or @var{pitch}-minor, respectively.
924 The standard mode names @code{\ionian},
925 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
926 @code{\phrygian}, and @code{\dorian} are also defined.
928 This command sets the context property
929 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
930 can be specified by setting this property directly.
932 Accidentals and key signatures often confuse new users, because
933 unaltered notes get natural signs depending on the key signature. For
934 more information, see @ref{More about pitches}.
938 Program reference: @internalsref{KeyChangeEvent},
939 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
941 @cindex @code{keySignature}
948 The clef indicates which lines of the staff correspond to which
952 The clef can be set with the @code{\clef} command
953 @lilypond[quote,raggedright,fragment,verbatim]
954 { c''2 \clef alto g'2 }
957 Supported clef-names include
958 @c Moved standard clefs to the top /MB
962 @item treble, violin, G, G2
975 G clef on 1st line, so-called French violin clef
980 @cindex mezzosoprano clef
983 @cindex baritone clef
986 @cindex varbaritone clef
997 By adding @code{_8} or @code{^8} to the clef name, the clef is
998 transposed one octave down or up, respectively, and @code{_15} and
999 @code{^15} transposes by two octaves. The argument @var{clefname}
1000 must be enclosed in quotes when it contains underscores or digits. For
1004 @cindex choral tenor clef
1005 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
1009 This command is equivalent to setting @code{clefGlyph},
1010 @code{clefPosition} (which controls the Y position of the clef),
1011 @code{middleCPosition} and @code{clefOctavation}. A clef is printed
1012 when any of these properties are changed. The following example shows
1013 possibilities when setting properties manually.
1015 @lilypond[quote,raggedright,verbatim]
1017 \set Staff.clefGlyph = #"clefs.F"
1018 \set Staff.clefPosition = #2
1020 \set Staff.clefGlyph = #"clefs.G"
1022 \set Staff.clefGlyph = #"clefs.C"
1024 \set Staff.clefOctavation = #7
1026 \set Staff.clefOctavation = #0
1027 \set Staff.clefPosition = #0
1037 Program reference: @internalsref{Clef}.
1041 @node Ottava brackets
1042 @subsection Ottava brackets
1044 `Ottava' brackets introduce an extra transposition of an octave for
1045 the staff. They are created by invoking the function
1046 @code{set-octavation}
1052 @lilypond[quote,raggedright,verbatim,fragment]
1062 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1063 (for 15ma) as arguments. Internally the function sets the properties
1064 @code{ottavation} (e.g., to @code{"8va"}) and
1065 @code{centralCPosition}. For overriding the text of the bracket, set
1066 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1068 @lilypond[quote,raggedright,verbatim]
1071 \set Staff.ottavation = #"8"
1078 Program reference: @internalsref{OttavaBracket}.
1080 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1081 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1085 @code{set-octavation} will get confused when clef changes happen
1086 during an octavation bracket.
1091 @node Time signature
1092 @subsection Time signature
1093 @cindex Time signature
1095 @cindex @code{\time}
1097 Time signature indicates the metrum of a piece: a regular pattern of
1098 strong and weak beats. It is denoted by a fraction at the start of the
1102 The time signature is set or changed by the @code{\time}
1104 @lilypond[quote,raggedright,fragment,verbatim]
1105 \time 2/4 c'2 \time 3/4 c'2.
1108 The symbol that is printed can be customized with the @code{style}
1109 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1112 @lilypond[fragment,quote,raggedright,verbatim]
1115 \override Staff.TimeSignature #'style = #'()
1122 There are many more options for its layout. See @ref{Ancient time
1123 signatures} for more examples.
1126 This command sets the property @code{timeSignatureFraction},
1127 @code{beatLength} and @code{measureLength} in the @code{Timing}
1128 context, which is normally aliased to @internalsref{Score}. The
1129 property @code{measureLength} determines where bar lines should be
1130 inserted, and how automatic beams should be generated. Changing the
1131 value of @code{timeSignatureFraction} also causes the symbol to be
1134 More options are available through the Scheme function
1135 @code{set-time-signature}. In combination with the
1136 @internalsref{Measure_grouping_engraver}, it will create
1137 @internalsref{MeasureGrouping} signs. Such signs ease reading
1138 rhythmically complex modern music. In the following example, the 9/8
1139 measure is subdivided in 2, 2, 2 and 3. This is passed to
1140 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1142 @lilypond[quote,raggedright,verbatim]
1145 #(set-time-signature 9 8 '(2 2 2 3))
1146 g8[ g] d[ d] g[ g] a8[( bes g]) |
1147 #(set-time-signature 5 8 '(3 2))
1153 \consists "Measure_grouping_engraver"
1161 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1166 Automatic beaming does not use the measure grouping specified with
1167 @code{set-time-signature}.
1169 @node Partial measures
1170 @subsection Partial measures
1173 @cindex partial measure
1174 @cindex measure, partial
1175 @cindex shorten measures
1176 @cindex @code{\partial}
1178 Partial measures, for example in upsteps, are entered using the
1179 @code{\partial} command
1180 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1181 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1184 The syntax for this command is
1186 \partial @var{duration}
1188 This is internally translated into
1190 \set Timing.measurePosition = -@var{length of duration}
1193 The property @code{measurePosition} contains a rational number
1194 indicating how much of the measure has passed at this point.
1198 This command does not take into account grace notes at the start of
1199 the music. When a piece starts with graces notes in the pickup, then
1200 the @code{\partial} should follow the grace notes
1202 @lilypond[verbatim,quote,raggedright,relative,fragment]
1212 @node Unmetered music
1213 @subsection Unmetered music
1217 Bar lines and bar numbers are calculated automatically. For unmetered
1218 music (cadenzas, for example), this is not desirable. By setting
1219 @code{Score.timing} to false, this automatic timing can be switched
1220 off. Empty bar lines,
1227 indicate where line breaks can occur.
1231 @cindex @code{\cadenzaOn}
1233 @cindex @code{\cadenzaOff}
1240 @subsection Bar lines
1244 @cindex measure lines
1248 Bar lines delimit measures, but are also used to indicate repeats.
1249 Normally, they are inserted automatically. Line breaks may only
1250 happen on bar lines.
1252 Special types of bar lines can be forced with the @code{\bar} command
1254 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1258 The following bar types are available
1259 @lilypondfile[raggedright,quote]{bar-lines.ly}
1261 For allowing line breaks, there is a special command,
1265 This will insert an invisible bar line, and allow line breaks at this
1268 In scores with many staves, a @code{\bar} command in one staff is
1269 automatically applied to all staves. The resulting bar lines are
1270 connected between different staves of a @internalsref{StaffGroup}
1272 @lilypond[quote,raggedright,fragment,verbatim]
1274 \context StaffGroup <<
1280 \new Staff { \clef bass c4 g e g }
1282 \new Staff { \clef bass c2 c2 }
1287 The command @code{\bar }@var{bartype} is a short cut for doing
1288 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1289 is set to a string, a bar line of that type is created.
1291 A bar line is created whenever the @code{whichBar} property is set.
1292 At the start of a measure it is set to the contents of
1293 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1294 to override default measure bars.
1296 @cindex @code{whichBar}
1297 @cindex @code{repeatCommands}
1298 @cindex @code{defaultBarType}
1300 You are encouraged to use @code{\repeat} for repetitions. See
1307 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1310 Program reference: @internalsref{BarLine} (created at
1311 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1313 @cindex bar lines at start of system
1314 @cindex start of system
1318 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1321 @node Time administration
1322 @subsection Time administration
1324 Time is administered by the @internalsref{Time_signature_engraver},
1325 which usually lives in the @internalsref{Score} context.
1326 The bookkeeping deals with the following variables
1329 @item currentBarNumber
1333 The length of the measures in the current time signature. For a 4/4
1334 time this is@tie{}1, and for 6/8 it is 3/4.
1336 @item measurePosition
1337 The point within the measure where we currently are. This quantity
1338 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1339 happens, @code{currentBarNumber} is incremented.
1342 If set to true, the above variables are updated for every time
1343 step. When set to false, the engraver stays in the current measure
1347 Timing can be changed by setting any of these variables explicitly.
1348 In the next example, the 4/4 time signature is printed, but
1349 @code{measureLength} is set to 5/4. After a while, the measure is
1350 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1351 the measure, so the next bar line will fall at 2/4 + 3/8.
1353 @lilypond[quote,raggedright,verbatim,relative,fragment]
1354 \set Score.measureLength = #(ly:make-moment 5 4)
1358 \set Score.measurePosition = #(ly:make-moment -3 8)
1364 @node Controlling formatting of prefatory matter
1365 @subsection Controlling formatting of prefatory matter
1367 @c This section will be moved to somewhere else soon.
1368 This example demonstrates how to place prefactory matter
1369 (such as the clef and key signature) at the end of a line.
1371 @lilypond[quote,verbatim]
1373 \override Staff.Clef
1374 #'break-visibility = #end-of-line-visible
1375 \override Staff.KeySignature
1376 #'break-visibility = #end-of-line-visible
1377 \set Staff.explicitClefVisibility = #end-of-line-visible
1378 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1380 % We want the time sig to take space, otherwise there is not
1381 % enough white at the start of the line.
1383 \override Staff.TimeSignature #'transparent = ##t
1384 \set Score.defaultBarType = #"empty"
1404 Polyphony in music refers to having more than one voice occuring in
1405 a piece of music. Polyphony in LilyPond refers to having more than
1406 one voice on the same staff.
1409 * Writing polyphonic music::
1412 @node Writing polyphonic music
1413 @subsection Writing polyphonic music
1416 The easiest way to enter fragments with more than one voice on a staff
1417 is to split chords using the separator @code{\\}. You can use it for
1418 small, short-lived voices or for single chords
1422 @lilypond[quote,raggedright,verbatim,fragment]
1423 \context Staff \relative c'' {
1424 c4 << { f d e } \\ { b c2 } >>
1425 c4 << g' \\ b, \\ f' \\ d >>
1429 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1430 voices are sometimes called ``layers'' in other notation packages}
1432 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1433 each of these contexts, vertical direction of slurs, stems, etc., is set
1436 @cindex @code{\voiceOne}
1437 @cindex @code{\voiceFour}
1439 This can also be done by instantiating @internalsref{Voice} contexts
1440 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1441 a stem directions and horizontal shift for each part
1444 @lilypond[quote,raggedright,verbatim]
1447 \new Voice { \voiceOne cis2 b }
1448 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1449 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1453 The command @code{\oneVoice} will revert back to the normal setting.
1454 @cindex @code{\oneVoice}
1457 Normally, note heads with a different number of dots are not merged, but
1458 when the object property @code{merge-differently-dotted} is set in
1459 the @internalsref{NoteCollision} object, they are merged
1460 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1463 \override Staff.NoteCollision
1464 #'merge-differently-dotted = ##t
1466 } \\ { g8.[ f16] g8.[ f16] } >>
1469 Similarly, you can merge half note heads with eighth notes, by setting
1470 @code{merge-differently-headed}
1471 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1474 \override Staff.NoteCollision
1475 #'merge-differently-headed = ##t
1476 c8 c4. } \\ { c2 c2 } >>
1479 LilyPond also vertically shifts rests that are opposite of a stem,
1482 @lilypond[quote,raggedright,fragment,verbatim]
1483 \context Voice << c''4 \\ r4 >>
1491 @cindex @code{\oneVoice}
1493 @cindex @code{\voiceOne}
1495 @cindex @code{\voiceTwo}
1497 @cindex @code{\voiceThree}
1499 @cindex @code{\voiceFour}
1504 @cindex @code{\shiftOn}
1506 @cindex @code{\shiftOnn}
1508 @cindex @code{\shiftOnnn}
1510 @cindex @code{\shiftOff}
1511 @code{\shiftOff}: these commands specify in what chords of the current
1512 voice should be shifted. The outer voices (normally: voice one and
1513 two) have @code{\shiftOff}, while the inner voices (three and four)
1514 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1515 further shift levels.
1518 When LilyPond cannot cope, the @code{force-hshift}
1519 property of the @internalsref{NoteColumn} object and pitched rests can
1520 be used to override typesetting decisions.
1522 @lilypond[quote,verbatim,raggedright]
1529 \once \override NoteColumn #'force-hshift = #1.7
1538 Program reference: the objects responsible for resolving collisions are
1539 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1542 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1543 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1544 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1545 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1546 @inputfileref{input/@/regression,collisions@/.ly}.
1552 When using @code{merge-differently-headed} with an upstem eighth or a
1553 shorter note, and a downstem half note, the eighth note gets the wrong
1556 There is no support for clusters where the same note occurs with
1557 different accidentals in the same chord. In this case, it is
1558 recommended to use enharmonic transcription, or to use special cluster
1559 notation (see @ref{Clusters}).
1564 Beams are used to group short notes into chunks that are aligned with
1565 the metrum. LilyPond normally inserts beams automatically, but if you
1566 wish you may control them manually or changed how beams are automatically
1569 @cindex Automatic beams
1573 * Setting automatic beam behavior::
1577 @node Automatic beams
1578 @subsection Automatic beams
1580 LilyPond inserts beams automatically
1582 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1583 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1586 When these automatic decisions are not good enough, beaming can be
1587 entered explicitly. It is also possible to define beaming patterns
1588 that differ from the defaults.
1590 Individual notes may be marked with @code{\noBeam}, to prevent them
1593 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1594 \time 2/4 c8 c\noBeam c c
1600 Program reference: @internalsref{Beam}.
1604 @subsection Manual beams
1605 @cindex beams, manual
1609 In some cases it may be necessary to override the automatic beaming
1610 algorithm. For example, the autobeamer will not put beams over rests
1611 or bar lines. Such beams are specified manually by marking the begin
1612 and end point with @code{[} and @code{]}
1614 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1616 r4 r8[ g' a r8] r8 g[ | a] r8
1620 @cindex @code{stemLeftBeamCount}
1622 Normally, beaming patterns within a beam are determined automatically.
1623 If necessary, the properties @code{stemLeftBeamCount} and
1624 @code{stemRightBeamCount} can be used to override the defaults. If
1625 either property is set, its value will be used only once, and then it
1628 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1633 \set stemLeftBeamCount = #1
1637 @cindex @code{stemRightBeamCount}
1640 The property @code{subdivideBeams} can be set in order to subdivide
1641 all 16th or shorter beams at beat positions, as defined by the
1642 @code{beatLength} property.
1645 @lilypond[fragment,quote,relative=2,verbatim]
1647 \set subdivideBeams = ##t
1649 \set Score.beatLength = #(ly:make-moment 1 8)
1652 @cindex @code{subdivideBeams}
1654 Normally, line breaks are forbidden when beams cross bar lines. This
1655 behavior can be changed by setting @code{allowBeamBreak}.
1657 @cindex @code{allowBeamBreak}
1658 @cindex beams and line breaks
1660 @cindex beams, kneed
1662 @cindex auto-knee-gap
1667 User manual: @ref{Changing context properties on the fly} for the
1673 @cindex Frenched staves
1674 Kneed beams are inserted automatically, when a large gap is detected
1675 between the note heads. This behavior can be tuned through the object.
1678 Automatically kneed cross-staff beams cannot be used together with
1679 hidden staves. See @ref{Hiding staves}.
1681 Beams do not avoid collisions with symbols around the notes, such as
1682 texts and accidentals.
1687 @node Setting automatic beam behavior
1688 @subsection Setting automatic beam behavior
1690 @cindex @code{autoBeamSettings}
1691 @cindex @code{(end * * * *)}
1692 @cindex @code{(begin * * * *)}
1693 @cindex automatic beams, tuning
1694 @cindex tuning automatic beaming
1696 @c [TODO: use \applycontext]
1698 In normal time signatures, automatic beams can start on any note but can
1699 only end in a few positions within the measure: beams can end on a beat,
1700 or at durations specified by the properties in
1701 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1702 are defined in @file{scm/@/auto@/-beam@/.scm}.
1704 The value of @code{autoBeamSettings} is changed with two functions,
1706 #(override-auto-beam-setting
1707 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1709 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1711 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1712 @var{context} is an optional context (default: @code{'Voice}). It
1713 determines whether the rule applies to begin or end-points. The
1714 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1715 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1716 to a time signature (wildcards `@code{* *}' may be entered to
1717 designate all time signatures), @var{a}/@var{b} is a duration. By
1718 default, this command changes settings for the current voice. It is
1719 also possible to adjust settings at higher contexts, by adding a
1720 @var{context} argument.
1722 For example, if automatic beams should end on every quarter note, use
1725 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1727 Since the duration of a quarter note is 1/4 of a whole note, it is
1728 entered as @code{(ly:make-moment 1 4)}.
1730 The same syntax can be used to specify beam starting points. In this
1731 example, automatic beams can only end on a dotted quarter note
1733 #(override-auto-beam-setting '(end * * * *) 3 8)
1735 In 4/4 time signature, this means that automatic beams could end only on
1736 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1737 3/8, has passed within the measure).
1739 Rules can also be restricted to specific time signatures. A rule that
1740 should only be applied in @var{N}/@var{M} time signature is formed by
1741 replacing the second asterisks by @var{N} and @var{M}. For example, a
1742 rule for 6/8 time exclusively looks like
1744 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1747 If a rule should be to applied only to certain types of beams, use the
1748 first pair of asterisks. Beams are classified according to the
1749 shortest note they contain. For a beam ending rule that only applies
1750 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1753 @cindex automatic beam generation
1755 @cindex @code{autoBeaming}
1758 If beams are used to indicate melismata in songs, then automatic
1759 beaming should be switched off. This is done by setting
1760 @code{autoBeaming} to @code{#f}.
1764 @cindex @code{\autoBeamOff}
1765 @code{\autoBeamOff},
1766 @cindex @code{\autoBeamOn}
1772 If a score ends while an automatic beam has not been ended and is
1773 still accepting notes, this last beam will not be typeset at all. The
1774 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1775 >>}. If a polyphonic voice ends while an automatic beam is still
1776 accepting notes, it is not typeset.
1778 The rules for ending a beam depend on the shortest note in a beam.
1779 So, while it is possible to have different ending rules for eight
1780 beams and sixteenth beams, a beam that contains both eight and
1781 sixteenth notes will use the rules for the sixteenth beam.
1783 In the example below, the autobeamer makes eighth beams and sixteenth
1784 end at three eighths. The third beam can only be corrected by
1785 specifying manual beaming.
1787 @lilypond[quote,raggedright,fragment,relative=1]
1788 #(override-auto-beam-setting '(end * * * *) 3 8)
1789 % rather show case where it goes wrong
1790 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1791 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1793 It is not possible to specify beaming parameters that act differently in
1794 different parts of a measure. This means that it is not possible to use
1795 automatic beaming in irregular meters such as @code{5/8}.
1797 @node Beam formatting
1798 @subsection Beam formatting
1801 When a beam falls in the middle of the staff, the beams point normally
1802 down. However, this behaviour can be altered with the
1803 @code{neutral-direction} property.
1806 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1809 \override Beam #'neutral-direction = #-1
1811 \override Beam #'neutral-direction = #1
1818 @section Accidentals
1820 This section describes how to change the way that accidentals are
1821 inserted automatically before notes.
1824 * Automatic accidentals::
1827 @node Automatic accidentals
1828 @subsection Automatic accidentals
1829 @cindex Automatic accidentals
1831 Common rules for typesetting accidentals have been placed in a
1832 function. This function is called as follows
1834 @cindex @code{set-accidental-style}
1836 #(set-accidental-style 'STYLE #('CONTEXT#))
1839 The function can take two arguments: the name of the accidental style,
1840 and an optional argument that denotes the context that should be
1841 changed. If no context name is supplied, @code{Staff} is the default,
1842 but you may wish to apply the accidental style to a single @code{Voice}
1845 The following accidental styles are supported
1848 This is the default typesetting behavior. It corresponds
1849 to 18th century common practice: Accidentals are
1850 remembered to the end of the measure in which they occur and
1851 only on their own octave.
1854 The normal behavior is to remember the accidentals on
1855 Staff-level. This variable, however, typesets accidentals
1856 individually for each voice. Apart from that, the rule is similar to
1859 As a result, accidentals from one voice do not get canceled in other
1860 voices, which is often an unwanted result
1862 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1864 #(set-accidental-style 'voice)
1871 The @code{voice} option should be used if the voices
1872 are to be read solely by individual musicians. If the staff is to be
1873 used by one musician (e.g., a conductor) then
1874 @code{modern} or @code{modern-cautionary}
1875 should be used instead.
1878 @cindex @code{modern} style accidentals
1879 This rule corresponds to the common practice in the 20th century. This rule
1880 prints the same accidentals as @code{default}, but temporary
1881 accidentals also are canceled in other octaves. Furthermore,
1882 in the same octave, they also get canceled in the following
1885 @lilypond[quote,raggedright,fragment,verbatim]
1886 #(set-accidental-style 'modern)
1887 cis' c'' cis'2 | c'' c'
1890 @item @code{modern-cautionary}
1891 @cindex @code{modern-cautionary}
1892 This rule is similar to @code{modern}, but the ``extra'' accidentals
1893 (the ones not typeset by @code{default}) are typeset as cautionary
1894 accidentals. They are printed in reduced size or with parentheses
1895 @lilypond[quote,raggedright,fragment,verbatim]
1896 #(set-accidental-style 'modern-cautionary)
1897 cis' c'' cis'2 | c'' c'
1900 @cindex @code{modern-voice}
1902 This rule is used for multivoice accidentals to be read both by musicians
1903 playing one voice and musicians playing all voices. Accidentals are
1904 typeset for each voice, but they @emph{are} canceled across voices in
1905 the same @internalsref{Staff}.
1907 @cindex @code{modern-voice-cautionary}
1908 @item modern-voice-cautionary
1909 This rule is the same as @code{modern-voice}, but with the extra
1910 accidentals (the ones not typeset by @code{voice}) typeset
1911 as cautionaries. Even though all accidentals typeset by
1912 @code{default} @emph{are} typeset by this variable,
1913 some of them are typeset as cautionaries.
1916 @cindex @code{piano} accidentals
1917 This rule reflects 20th century practice for piano notation. Very similar to
1918 @code{modern} but accidentals also get canceled
1919 across the staves in the same @internalsref{GrandStaff} or
1920 @internalsref{PianoStaff}.
1922 @item piano-cautionary
1923 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1924 Same as @code{#(set-accidental-style 'piano)} but with the extra
1925 accidentals typeset as cautionaries.
1928 @cindex @code{no-reset} accidental style
1929 This is the same as @code{default} but with accidentals lasting
1930 ``forever'' and not only until the next measure
1931 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1932 #(set-accidental-style 'no-reset)
1937 This is sort of the opposite of @code{no-reset}: Accidentals
1938 are not remembered at all---and hence all accidentals are
1939 typeset relative to the key signature, regardless of what was
1942 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1943 #(set-accidental-style 'forget)
1944 \key d\major c4 c cis cis d d dis dis
1951 Program reference: @internalsref{Accidental_engraver},
1952 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1957 Simultaneous notes are considered to be entered in sequential
1958 mode. This means that in a chord the accidentals are typeset as if the
1959 notes in the chord happened once at a time - in the order in which
1960 they appear in the input file.
1962 This is a problem when accidentals in a chord depend on each other,
1963 which does not happen for the default accidental style. The problem
1964 can be solved by manually inserting @code{!} and @code{?} for the
1968 @node Expressive marks
1969 @section Expressive marks
1972 @c todo: should change ordering
1973 @c where to put text spanners, metronome marks,
1976 Expressive marks help musicians to bring more to the music than simple
1986 * Analysis brackets::
1989 * Fingering instructions::
1999 A slur indicates that notes are to be played bound or @emph{legato}.
2001 They are entered using parentheses
2002 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2003 f( g a) a8 b( a4 g2 f4)
2007 The direction of a slur can be set with the
2011 \override Slur #'direction = #UP
2012 \slurUp % shortcut for the previous line
2016 However, there is a convenient shorthand for forcing slur
2017 directions. By adding @code{_} or @code{^} before the opening
2018 parentheses, the direction is also set. For example,
2020 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2024 Some composers write two slurs when they want legato chords. This can
2025 be achieved in LilyPond by setting @code{doubleSlurs},
2027 @lilypond[verbatim,raggedright,relative,fragment,quote]
2028 \set doubleSlurs = ##t
2029 <c e>4 ( <d f> <c e> <d f> )
2036 @cindex @code{\slurUp}
2038 @cindex @code{\slurDown}
2040 @cindex @code{\slurNeutral}
2041 @code{\slurNeutral},
2042 @cindex @code{\slurDotted}
2044 @cindex @code{\slurSolid}
2049 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2052 @node Phrasing slurs
2053 @subsection Phrasing slurs
2055 @cindex phrasing slurs
2056 @cindex phrasing marks
2058 A phrasing slur (or phrasing mark) connects chords and is used to
2059 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2062 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2063 \time 6/4 c'\( d( e) f( e) d\)
2066 Typographically, the phrasing slur behaves almost exactly like a
2067 normal slur. However, they are treated as different objects. A
2068 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2069 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2070 @code{\phrasingSlurNeutral}.
2072 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2073 will only affect normal slurs and not phrasing slurs.
2077 @cindex @code{\phrasingSlurUp}
2078 @code{\phrasingSlurUp},
2079 @cindex @code{\phrasingSlurDown}
2080 @code{\phrasingSlurDown},
2081 @cindex @code{\phrasingSlurNeutral}
2082 @code{\phrasingSlurNeutral}.
2086 Program reference: see also @internalsref{PhrasingSlur}, and
2087 @internalsref{PhrasingSlurEvent}.
2091 Putting phrasing slurs over rests leads to spurious warnings.
2094 @subsection Breath marks
2096 Breath marks are entered using @code{\breathe}
2099 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2103 The glyph of the breath mark can be tuned by overriding the
2104 @code{text} property of the @code{BreathingSign} layout object with
2105 any markup text. For example,
2106 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2108 \override BreathingSign #'text
2109 = #(make-musicglyph-markup "scripts-rvarcomma")
2116 Program reference: @internalsref{BreathingSign},
2117 @internalsref{BreathingSignEvent}.
2119 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2122 @node Metronome marks
2123 @subsection Metronome marks
2126 @cindex beats per minute
2127 @cindex metronome marking
2129 Metronome settings can be entered as follows
2131 \tempo @var{duration} = @var{per-minute}
2134 In the MIDI output, they are interpreted as a tempo change. In the
2135 layout output, a metronome marking is printed
2136 @cindex @code{\tempo}
2137 @lilypond[quote,raggedright,verbatim,fragment]
2143 Program reference: @internalsref{MetronomeChangeEvent}.
2147 @subsection Text scripts
2148 @cindex Text scripts
2150 @cindex text items, non-empty
2151 @cindex non-empty texts
2153 It is possible to place arbitrary strings of text or markup text (see
2154 @ref{Text markup}) above or below notes by using a string
2155 @code{c^"text"}. By default, these indications do not influence the
2156 note spacing, but by using the command @code{\fatText}, the widths
2157 will be taken into account
2159 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2160 c4^"longtext" \fatText c4_"longlongtext" c4
2163 More complex formatting may also be added to a note by using the
2165 @lilypond[fragment,raggedright,verbatim,quote]
2166 c'4^\markup { bla \bold bla }
2169 The @code{\markup} is described in more detail in
2175 @cindex @code{\fatText}
2177 @cindex @code{\emptyText}
2182 In this manual: @ref{Text markup}.
2184 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2188 @subsection Text spanners
2189 @cindex Text spanners
2191 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
2192 are written as text and are extended over many measures with dotted
2193 lines. Such texts are created using text spanners; attach
2194 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2195 notes of the spanner.
2197 The string to be printed, as well as the style, is set through object
2200 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2202 \override TextSpanner #'direction = #-1
2203 \override TextSpanner #'edge-text = #'("rall " . "")
2204 c2\startTextSpan b c\stopTextSpan a
2210 Internals @internalsref{TextSpanEvent},
2211 @internalsref{TextSpanner}.
2213 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
2216 @node Analysis brackets
2217 @subsection Analysis brackets
2219 @cindex phrasing brackets
2220 @cindex musicological analysis
2221 @cindex note grouping bracket
2223 Brackets are used in musical analysis to indicate structure in musical
2224 pieces. LilyPond supports a simple form of nested horizontal
2225 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2226 to @internalsref{Staff} context. A bracket is started with
2227 @code{\startGroup} and closed with @code{\stopGroup}
2229 @lilypond[quote,raggedright,verbatim]
2232 c4\startGroup\startGroup
2235 c4\stopGroup\stopGroup
2239 \Staff \consists "Horizontal_bracket_engraver"
2245 Program reference: @internalsref{HorizontalBracket},
2246 @internalsref{NoteGroupingEvent}.
2248 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2252 @subsection Articulations
2253 @cindex Articulations
2255 @cindex articulations
2259 A variety of symbols can appear above and below notes to indicate
2260 different characteristics of the performance. They are added to a note
2261 by adding a dash and the character signifying the
2262 articulation. They are demonstrated here
2264 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2266 The meanings of these shorthands can be changed. See
2267 @file{ly/@/script@/-init@/.ly} for examples.
2270 The script is automatically placed, but the direction can be forced as
2271 well. Like other pieces of LilyPond code, @code{_} will place them
2272 below the staff, and @code{^} will place them above.
2275 @lilypond[quote,raggedright,fragment,verbatim]
2279 Other symbols can be added using the syntax
2280 @var{note}@code{\}@var{name}. Again, they
2281 can be forced up or down using @code{^} and @code{_},
2284 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2285 c\fermata c^\fermata c_\fermata
2292 @cindex staccatissimo
2302 @cindex organ pedal marks
2311 @cindex prallmordent
2315 @cindex thumb marking
2320 Here is a chart showing all scripts available,
2322 @lilypondfile[raggedright,quote]{script-chart.ly}
2325 The vertical ordering of scripts is controlled with the
2326 @code{script-priority} property. The lower this number, the closer it
2327 will be put to the note. In this example, the
2328 @internalsref{TextScript} (the sharp symbol) first has the lowest
2329 priority, so it is put lowest in the first example. In the second, the
2330 prall trill (the @internalsref{Script}) has the lowest, so it is on the
2331 inside. When two objects have the same priority, the order in which
2332 they are entered decides which one comes first.
2335 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2336 \once \override TextScript #'script-priority = #-100
2337 a4^\prall^\markup { \sharp }
2339 \once \override Script #'script-priority = #-100
2340 a4^\prall^\markup { \sharp }
2348 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2352 These signs appear in the printed output but have no effect on the
2353 MIDI rendering of the music.
2357 @node Running trills
2358 @subsection Running trills
2360 Long running trills are made with @code{\startTrillSpan} and
2361 @code{\stopTrillSpan},
2364 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2366 << { c1 \startTrillSpan }
2367 { s2. \grace { d16[\stopTrillSpan e] } } >>
2373 @code{\startTrillSpan},
2374 @cindex @code{\startTrillSpan}
2375 @code{\stopTrillSpan}.
2376 @cindex @code{\stopTrillSpan}
2380 Program reference: @internalsref{TrillSpanner},
2381 @internalsref{TrillSpanEvent}.
2383 @node Fingering instructions
2384 @subsection Fingering instructions
2388 Fingering instructions can be entered using
2390 @var{note}-@var{digit}
2392 For finger changes, use markup texts
2394 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2396 c^\markup { \finger "2-3" }
2399 @cindex finger change
2404 You can use the thumb-script to indicate that a note should be
2405 played with the thumb (e.g., in cello music)
2406 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2407 <a_\thumb a'-3>8 <b_\thumb b'-3>
2410 Fingerings for chords can also be added to individual notes
2411 of the chord by adding them after the pitches
2412 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2413 < c-1 e-2 g-3 b-5 >4
2417 In this case, setting @code{fingeringOrientations} will put fingerings next
2420 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2421 \set fingeringOrientations = #'(left down)
2422 <c-1 es-2 g-4 bes-5 > 4
2423 \set fingeringOrientations = #'(up right down)
2424 <c-1 es-2 g-4 bes-5 > 4
2427 Using this feature, it is also possible to put fingering instructions
2428 very close to note heads in monophonic music,
2430 @lilypond[verbatim,raggedright,quote,fragment]
2431 \set fingeringOrientations = #'(right)
2438 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2440 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2446 @subsection Grace notes
2449 @c should have blurb about accaciatura / appogiatura
2451 @cindex @code{\grace}
2455 Grace notes are ornaments that are written out. The most common ones
2456 are acciaccatura, which should be played as very short. It is denoted
2457 by a slurred small note with a slashed stem. The appoggiatura is a
2458 grace note that takes a fixed fraction of the main note, and is
2459 denoted as a slurred note in small print without a slash. They
2460 are entered with the commands @code{\acciaccatura} and
2461 @code{\appoggiatura}, as demonstrated in the following example
2464 @cindex appoggiatura
2465 @cindex acciaccatura
2467 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2468 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2469 \acciaccatura { g16[ f] } e4
2472 Both are special forms of the @code{\grace} command. By prefixing this
2473 keyword to a music expression, a new one is formed, which will be
2474 printed in a smaller font and takes up no logical time in a measure.
2476 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2478 \grace { c16[ d16] } c2 c4
2482 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2483 @code{\grace} command does not start a slur.
2485 Internally, timing for grace notes is done using a second, `grace'
2486 timing. Every point in time consists of two rational numbers: one
2487 denotes the logical time, one denotes the grace timing. The above
2488 example is shown here with timing tuples
2490 @lilypond[quote,raggedright]
2493 c4 \grace c16 c4 \grace {
2496 \new Lyrics \lyricmode {
2497 \override LyricText #'font-family = #'typewriter
2501 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2502 \markup { (\fraction 1 4 , 0 ) } 4
2504 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2505 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2507 \markup { ( \fraction 2 4 , 0 ) }
2513 The placement of grace notes is synchronized between different staves.
2514 In the following example, there are two sixteenth grace notes for
2515 every eighth grace note
2517 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2518 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2519 \new Staff { c4 \grace { g8[ b] } c4 } >>
2524 If you want to end a note with a grace, use the @code{\afterGrace}
2525 command. It takes two arguments: the main note, and the grace notes
2526 following the main note.
2528 @lilypond[raggedright, verbatim,relative=2,fragment]
2529 c1 \afterGrace d1 { c16[ d] } c4
2532 This will put the grace notes after a ``space'' lasting 3/4 of the
2533 length of the main note. The fraction 3/4 can be changed by setting
2534 @code{afterGraceFraction}, ie.
2537 afterGraceFraction = #(cons 7 8)
2541 will put the grace note at 7/8 of the main note.
2544 The same effect can be achieved manually by doing
2547 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2550 { s2 \grace { c16[ d] } } >>
2556 By adjusting the duration of the skip note (here it is a half-note),
2557 the space between the main-note and the grace is adjusted.
2562 A @code{\grace} section will introduce special typesetting settings,
2563 for example, to produce smaller type, and set directions. Hence, when
2564 introducing layout tweaks, they should be inside the grace section,
2566 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2578 The overrides should also be reverted inside the grace section.
2580 The layout of grace sections can be changed throughout the music using
2581 the function @code{add-grace-property}. The following example
2582 undefines the Stem direction for this grace, so stems do not always
2587 #(add-grace-property 'Voice 'Stem 'direction '())
2593 Another option is to change the variables @code{startGraceMusic},
2594 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2595 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2596 @code{stopAppoggiaturaMusic}. More information is in the file
2597 @file{ly/@/grace@/-init@/.ly}.
2602 Program reference: @internalsref{GraceMusic}.
2606 A score that starts with a @code{\grace} section needs an explicit
2607 @code{\context Voice} declaration, otherwise the main note and the grace
2608 note end up on different staves.
2610 Grace note synchronization can also lead to surprises. Staff notation,
2611 such as key signatures, bar lines, etc., are also synchronized. Take
2612 care when you mix staves with grace notes and staves without, for example,
2614 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2615 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2616 \new Staff { c4 \bar "|:" d4 } >>
2620 This can be remedied by inserting grace skips, for the above example
2623 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2626 Grace sections should only be used within sequential music
2627 expressions. Nesting or juxtaposing grace sections is not supported,
2628 and might produce crashes or other errors.
2632 @subsection Glissando
2635 @cindex @code{\glissando}
2637 A glissando is a smooth change in pitch. It is denoted by a line or a
2638 wavy line between two notes. It is requested by attaching
2639 @code{\glissando} to a note
2641 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2647 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2649 Example files: @file{input/@/regression/@/glissando@/.ly}.
2655 Printing text over the line (such as @emph{gliss.}) is not supported.
2659 @subsection Dynamics
2672 @cindex @code{\ffff}
2682 Absolute dynamic marks are specified using a command after a note
2683 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2684 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2685 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2686 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2688 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2689 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2690 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2699 A crescendo mark is started with @code{\<} and terminated with
2700 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2701 with @code{\!}. Because these marks are bound to notes, you must
2702 use spacer notes if multiple marks are needed during one note
2704 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2706 << f1 { s4 s4\< s4\! \> s4\! } >>
2708 This may give rise to very short hairpins. Use @code{minimum-length}
2709 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2713 \override Staff.Hairpin #'minimum-length = #5
2716 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2717 is an example how to do it
2719 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2733 You can also supply your own texts
2734 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2735 \set crescendoText = \markup { \italic "cresc. poco" }
2736 \set crescendoSpanner = #'dashed-line
2742 To create new dynamic marks or text that should be aligned
2743 with dynamics, see @ref{New dynamic marks}.
2748 @cindex @code{\dynamicUp}
2750 @cindex @code{\dynamicDown}
2751 @code{\dynamicDown},
2752 @cindex @code{\dynamicNeutral}
2753 @code{\dynamicNeutral}.
2755 @cindex direction, of dynamics
2759 Program reference: @internalsref{CrescendoEvent},
2760 @internalsref{DecrescendoEvent}, and
2761 @internalsref{AbsoluteDynamicEvent}.
2763 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2764 objects. Vertical positioning of these symbols is handled by the
2765 @internalsref{DynamicLineSpanner} object.
2771 Repetition is a central concept in music, and multiple notations exist
2777 * Repeats and MIDI::
2778 * Manual repeat commands::
2780 * Tremolo subdivisions::
2785 @subsection Repeat types
2788 @cindex @code{\repeat}
2790 The following types of repetition are supported
2794 Repeated music is fully written (played) out. This is useful when
2795 entering repetitious music. This is the only kind of repeat that
2796 is included in MIDI output.
2799 Repeats are not written out, but alternative endings (volte) are
2800 printed, left to right with brackets. This is the standard notation
2801 for repeats with alternatives. These are not played in MIDI output by default.
2805 Alternative endings are written stacked. This has limited use but may be
2806 used to typeset two lines of lyrics in songs with repeats, see
2807 @inputfileref{input,star-spangled-banner@/.ly}.
2812 Make tremolo beams. These are not played in MIDI output by default.
2815 Make beat or measure repeats. These look like percent signs. These
2816 are not played in MIDI output by default.
2821 @subsection Repeat syntax
2824 LilyPond has one syntactic construct for specifying different types of
2825 repeats. The syntax is
2828 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2831 If you have alternative endings, you may add
2832 @cindex @code{\alternative}
2834 \alternative @{ @var{alternative1}
2836 @var{alternative3} @dots{} @}
2838 where each @var{alternative} is a music expression. If you do not
2839 give enough alternatives for all of the repeats, the first alternative
2840 is assumed to be played more than once.
2842 Standard repeats are used like this
2843 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2845 \repeat volta 2 { c4 d e f }
2846 \repeat volta 2 { f e d c }
2849 With alternative endings
2850 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2852 \repeat volta 2 {c4 d e f}
2853 \alternative { {d2 d} {f f,} }
2857 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2860 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2861 \alternative { { g4 g g } { a | a a a a | b2. } }
2865 It is possible to shorten volta brackets
2866 by setting @code{voltaSpannerDuration}. In the next example, the
2867 bracket only lasts one measure, which is a duration of 3/4.
2871 @lilypond[verbatim,raggedright,quote]
2875 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2876 \repeat "volta" 5 { d d d }
2877 \alternative { { e e e f f f }
2887 Brackets for the repeat are normally only printed over the topmost
2888 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2889 property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}.
2892 @c @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}.
2897 A nested repeat like
2906 is ambiguous, since it is is not clear to which @code{\repeat} the
2907 @code{\alternative} belongs. This ambiguity is resolved by always
2908 having the @code{\alternative} belong to the inner @code{\repeat}.
2909 For clarity, it is advisable to use braces in such situations.
2914 Timing information is not remembered at the start of an alternative,
2915 so after a repeat timing information must be reset by hand, for
2916 example by setting @code{Score.measurePosition} or entering
2917 @code{\partial}. Similarly, slurs or ties are also not repeated.
2922 @node Repeats and MIDI
2923 @subsection Repeats and MIDI
2925 @cindex expanding repeats
2927 With a little bit of tweaking, all types of repeats can be present
2928 in the MIDI output. This is achieved by applying the
2929 @code{\unfoldrepeats} music function. This functions changes all
2930 repeats to unfold repeats.
2932 @lilypond[quote,verbatim,fragment,linewidth=8.0\cm]
2934 \repeat tremolo 8 {c'32 e' }
2935 \repeat percent 2 { c''8 d'' }
2936 \repeat volta 2 {c'4 d' e' f'}
2945 When creating a score file using @code{\unfoldrepeats} for midi, then
2946 it is necessary to make two @code{\score} blocks. One for MIDI (with
2947 unfolded repeats) and one for notation (with volta, tremolo, and
2948 percent repeats). For example,
2956 \unfoldrepeats @var{..music..}
2961 @node Manual repeat commands
2962 @subsection Manual repeat commands
2964 @cindex @code{repeatCommands}
2966 The property @code{repeatCommands} can be used to control the layout of
2967 repeats. Its value is a Scheme list of repeat commands.
2970 @item @code{start-repeat}
2971 Print a @code{|:} bar line.
2973 @item @code{end-repeat}
2974 Print a @code{:|} bar line.
2976 @item @code{(volta @var{text})}
2977 Print a volta bracket saying @var{text}: The text can be specified as
2978 a text string or as a markup text, see @ref{Text markup}. Do not
2979 forget to change the font, as the default number font does not contain
2980 alphabetic characters;
2982 @item @code{(volta #f)}
2983 Stop a running volta bracket.
2986 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2988 \set Score.repeatCommands = #'((volta "93") end-repeat)
2990 \set Score.repeatCommands = #'((volta #f))
2998 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2999 @internalsref{VoltaRepeatedMusic},
3000 @internalsref{UnfoldedRepeatedMusic}, and
3001 @internalsref{FoldedRepeatedMusic}.
3003 @node Tremolo repeats
3004 @subsection Tremolo repeats
3005 @cindex tremolo beams
3007 To place tremolo marks between notes, use @code{\repeat} with tremolo
3009 @lilypond[quote,verbatim,raggedright]
3010 \new Voice \relative c' {
3011 \repeat "tremolo" 8 { c16 d16 }
3012 \repeat "tremolo" 4 { c16 d16 }
3013 \repeat "tremolo" 2 { c16 d16 }
3017 Tremolo marks can also be put on a single note. In this case, the
3018 note should not be surrounded by braces.
3019 @lilypond[quote,verbatim,raggedright]
3020 \repeat "tremolo" 4 c'16
3023 Similar output is obtained using the tremolo subdivision, described in
3024 @ref{Tremolo subdivisions}.
3028 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
3030 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
3031 tremolos are @internalsref{StemTremolo} objects. The music expression is
3032 @internalsref{TremoloEvent}.
3034 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
3035 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
3037 @node Tremolo subdivisions
3038 @subsection Tremolo subdivisions
3039 @cindex tremolo marks
3040 @cindex @code{tremoloFlags}
3042 Tremolo marks can be printed on a single note by adding
3043 `@code{:}[@var{number}]' after the note. The number indicates the
3044 duration of the subdivision, and it must be at least 8. A
3045 @var{length} value of 8 gives one line across the note stem. If the
3046 length is omitted, the last value (stored in @code{tremoloFlags}) is
3049 @lilypond[quote,raggedright,verbatim,fragment]
3050 c'2:8 c':32 | c': c': |
3053 @c [TODO: stok is te kort bij 32en]
3054 @c somebody want to translate that into English?
3055 @c `Stem is too short for 32nds' (wl)
3059 Tremolos entered in this way do not carry over into the MIDI output.
3063 In this manual: @ref{Tremolo repeats}.
3065 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3067 @node Measure repeats
3068 @subsection Measure repeats
3070 @cindex percent repeats
3071 @cindex measure repeats
3073 In the @code{percent} style, a note pattern can be repeated. It is
3074 printed once, and then the pattern is replaced with a special sign.
3075 Patterns of one and two measures are replaced by percent-like signs,
3076 patterns that divide the measure length are replaced by slashes
3078 @lilypond[quote,verbatim,raggedright]
3079 \new Voice \relative c' {
3080 \repeat "percent" 4 { c4 }
3081 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3087 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3088 @internalsref{PercentRepeatedMusic}, and
3089 @internalsref{DoublePercentRepeat}.
3093 @node Rhythmic music
3094 @section Rhythmic music
3096 Rhythmic music is primarily used for percussion and drum notation, but it can
3097 also be used to show the rhythms of melodies.
3100 * Showing melody rhythms::
3101 * Entering percussion::
3102 * Percussion staves::
3106 @node Showing melody rhythms
3107 @subsection Showing melody rhythms
3109 Sometimes you might want to show only the rhythm of a melody. This
3110 can be done with the rhythmic staff. All pitches of notes on such a
3111 staff are squashed, and the staff itself has a single line
3113 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3114 \context RhythmicStaff {
3116 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3122 Program reference: @internalsref{RhythmicStaff}.
3124 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
3127 @node Entering percussion
3128 @subsection Entering percussion
3134 Percussion notes may be entered in @code{\drummode} mode, which is
3135 similar to the standard mode for entering notes. Each piece of
3136 percussion has a full name and an abbreviated name, and both can be used
3139 @lilypond[quote,raggedright,verbatim]
3141 hihat hh bassdrum bd
3145 The complete list of drum names is in the init file
3146 @file{ly/@/drumpitch@/-init@/.ly}.
3147 @c TODO: properly document this.
3151 Program reference: @internalsref{DrumNoteEvent}.
3153 @node Percussion staves
3154 @subsection Percussion staves
3158 A percussion part for more than one instrument typically uses a
3159 multiline staff where each position in the staff refers to one piece
3163 To typeset the music, the notes must be interpreted in a
3164 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3166 @lilypond[quote,raggedright,verbatim]
3167 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3168 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3170 \new DrumVoice { \voiceOne \up }
3171 \new DrumVoice { \voiceTwo \down }
3175 The above example shows verbose polyphonic notation. The short
3176 polyphonic notation, described in @ref{Polyphony}, can also be used if
3177 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3179 @lilypond[quote,raggedright,fragment,verbatim]
3181 \context DrumVoice = "1" { s1 *2 }
3182 \context DrumVoice = "2" { s1 *2 }
3186 { \repeat unfold 16 hh16 }
3195 There are also other layout possibilities. To use these, set the
3196 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3197 The following variables have been predefined
3201 This is the default. It typesets a typical drum kit on a five-line staff
3203 @lilypond[quote,linewidth=10.0\cm]
3205 cymc cyms cymr hh hhc hho hhho hhp
3206 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl }
3208 cymc cyms cymr hh hhc hho hhho hhp \break
3209 cb hc bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3211 << \new DrumStaff \with {
3212 \remove Bar_engraver
3213 \remove Time_signature_engraver
3214 \override Stem #'transparent = ##t
3215 \override Stem #'Y-extent-callback = ##f
3216 minimumVerticalExtent = #'(-4.0 . 5.0)
3218 \context Lyrics \nam
3223 \override LyricText #'font-family = #'typewriter
3224 \override BarNumber #'transparent =##T
3230 The drum scheme supports six different toms. When there are fewer toms,
3231 simply select the toms that produce the desired result, i.e., to get toms
3232 on the three middle lines you use @code{tommh}, @code{tomml}, and
3235 @item timbales-style
3236 This typesets timbales on a two line staff
3238 @lilypond[quote,raggedright]
3239 nam = \lyricmode { timh ssh timl ssl cb }
3240 mus = \drummode { timh ssh timl ssl cb s16 }
3243 \context DrumStaff \with {
3244 \remove Bar_engraver
3245 \remove Time_signature_engraver
3246 \override Stem #'transparent = ##t
3247 \override Stem #'Y-extent-callback = ##f
3248 \override StaffSymbol #'line-count = #2
3249 \override StaffSymbol #'staff-space = #2
3250 minimumVerticalExtent = #'(-3.0 . 4.0)
3251 drumStyleTable = #timbales-style
3254 \override LyricText #'font-family = #'typewriter
3261 This typesets congas on a two line staff
3263 @lilypond[quote,raggedright]
3264 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3265 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3268 \context DrumStaff \with {
3269 \remove Bar_engraver
3270 \remove Time_signature_engraver
3271 drumStyleTable = #congas-style
3272 \override StaffSymbol #'line-count = #2
3274 %% this sucks; it will lengthen stems.
3275 \override StaffSymbol #'staff-space = #2
3276 \override Stem #'transparent = ##t
3277 \override Stem #'Y-extent-callback = ##f
3280 \override LyricText #'font-family = #'typewriter
3287 This typesets bongos on a two line staff
3289 @lilypond[quote,raggedright]
3290 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3291 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3294 \context DrumStaff\with {
3295 \remove Bar_engraver
3296 \remove Time_signature_engraver
3297 \override StaffSymbol #'line-count = #2
3298 drumStyleTable = #bongos-style
3300 %% this sucks; it will lengthen stems.
3301 \override StaffSymbol #'staff-space = #2
3302 \override Stem #'transparent = ##t
3303 \override Stem #'Y-extent-callback = ##f
3306 \override LyricText #'font-family = #'typewriter
3312 @item percussion-style
3313 To typeset all kinds of simple percussion on one line staves.
3315 @lilypond[quote,raggedright]
3316 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3317 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3320 \context DrumStaff\with{
3321 \remove Bar_engraver
3322 drumStyleTable = #percussion-style
3323 \override StaffSymbol #'line-count = #1
3324 \remove Time_signature_engraver
3325 \override Stem #'transparent = ##t
3326 \override Stem #'Y-extent-callback = ##f
3329 \override LyricText #'font-family = #'typewriter
3336 If you do not like any of the predefined lists you can define your own
3337 list at the top of your file
3339 @lilypond[quote,raggedright,verbatim]
3341 (bassdrum default #f -1)
3342 (snare default #f 0)
3344 (pedalhihat xcircle "stopped" 2)
3345 (lowtom diamond #f 3)))
3346 up = \drummode { hh8 hh hh hh hhp4 hhp }
3347 down = \drummode { bd4 sn bd toml8 toml }
3350 \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
3351 \new DrumVoice { \voiceOne \up }
3352 \new DrumVoice { \voiceTwo \down }
3359 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
3361 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3365 Because general MIDI does not contain rim shots, the sidestick is used
3366 for this purpose instead.
3369 @section Piano music
3371 Piano staves are two normal staves coupled with a brace. The staves
3372 are largely independent, but sometimes voices can cross between the
3373 two staves. The same notation is also used for harps and other key
3374 @c Is this `harp' or `harpsichord'?
3375 instruments. The @internalsref{PianoStaff} is especially built to
3376 handle this cross-staffing behavior. In this section we discuss the
3377 @internalsref{PianoStaff} and some other pianistic peculiarities.
3381 * Automatic staff changes::
3382 * Manual staff switches::
3385 * Staff switch lines::
3386 * Cross staff stems::
3391 Dynamics are not centered, but workarounds do exist. See the
3392 ``piano centered dynamics'' template in @ref{Piano templates}.
3394 @cindex cross staff stem
3395 @cindex stem, cross staff
3396 @cindex distance between staves in piano music
3398 The distance between the two staves is the same for all systems in the
3399 score. It is possible to override this per system, but it does require
3400 an arcane command incantation. See
3401 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
3404 @node Automatic staff changes
3405 @subsection Automatic staff changes
3406 @cindex Automatic staff changes
3408 Voices can be made to switch automatically between the top and the bottom
3409 staff. The syntax for this is
3413 \autochange @dots{}@var{music}@dots{}
3418 This will create two staves inside the current PianoStaff, called
3419 @code{up} and @code{down}. The lower staff will be in bass clef by
3422 A @code{\relative} section that is outside of @code{\autochange} has
3423 no effect on the pitches of @var{music}, so, if necessary, put
3424 @code{\relative} inside @code{\autochange} like
3428 \autochange \relative @dots{} @dots{}
3433 The autochanger switches on basis of the pitch (middle C is the turning
3434 point), and it looks ahead skipping over rests to switch in
3435 advance. Here is a practical example
3437 @lilypond[quote,verbatim,raggedright]
3439 \autochange \relative c'
3448 In this manual: @ref{Manual staff switches}.
3450 Program reference: @internalsref{AutoChangeMusic}.
3456 The staff switches may not end up in optimal places. For high
3457 quality output, staff switches should be specified manually.
3460 @code{\autochange} cannot be inside @code{\times}.
3462 Internally, the @code{\partcombine} interprets both arguments as
3463 @code{Voice}s named @code{one} and @code{two}, and then decides when
3464 the parts can be combined. Consequently, if the arguments switch to
3465 differently named @internalsref{Voice} contexts, the events in those
3469 @node Manual staff switches
3470 @subsection Manual staff switches
3472 @cindex manual staff switches
3473 @cindex staff switch, manual
3475 Voices can be switched between staves manually, using the command
3477 \change Staff = @var{staffname} @var{music}
3481 The string @var{staffname} is the name of the staff. It switches the
3482 current voice from its current staff to the Staff called
3483 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3484 @code{"down"}. The @context{Staff} referred to must already exist, so
3485 usually the setup for a score will start with a setup of the staves,
3489 \context Staff = up @{
3490 \skip 1 * 10 % @emph{keep staff alive}
3492 \context Staff = down @{
3493 \skip 1 * 10 % @emph{idem}
3499 and the @context{Voice} is inserted afterwards
3502 \context Staff = down
3503 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3511 Pianos have pedals that alter the way sound is produced. Generally, a
3512 piano has three pedals, sustain, una corda, and sostenuto.
3515 Piano pedal instruction can be expressed by attaching
3516 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3517 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3520 @lilypond[quote,raggedright,fragment,verbatim]
3521 c'4\sustainDown c'4\sustainUp
3524 What is printed can be modified by setting @code{pedal@var{X}Strings},
3525 where @var{X} is one of the pedal types: @code{Sustain},
3526 @code{Sostenuto} or @code{UnaCorda}. Refer to
3527 @internalsref{SustainPedal} in the program reference for more
3530 Pedals can also be indicated by a sequence of brackets, by setting the
3531 @code{pedalSustainStyle} property to bracket objects
3533 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3534 \set Staff.pedalSustainStyle = #'bracket
3536 b\sustainUp\sustainDown
3537 b g \sustainUp a \sustainDown \bar "|."
3540 A third style of pedal notation is a mixture of text and brackets,
3541 obtained by setting the @code{pedalSustainStyle} property to
3544 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3545 \set Staff.pedalSustainStyle = #'mixed
3547 b\sustainUp\sustainDown
3548 b g \sustainUp a \sustainDown \bar "|."
3551 The default `*Ped.' style for sustain and damper pedals corresponds to
3552 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3555 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3556 c\sostenutoDown d e c, f g a\sostenutoUp
3559 For fine-tuning the appearance of a pedal bracket, the properties
3560 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3561 @code{PianoPedalBracket} objects (see
3562 @internalsref{PianoPedalBracket} in the Program reference) can be
3563 modified. For example, the bracket may be extended to the right edge
3566 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3567 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3568 c\sostenutoDown d e c, f g a\sostenutoUp
3572 @subsection Arpeggio
3575 @cindex broken arpeggio
3576 @cindex @code{\arpeggio}
3578 You can specify an arpeggio sign on a chord by attaching an
3579 @code{\arpeggio} to a chord
3582 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3586 When an arpeggio crosses staves, you attach an arpeggio to the chords
3587 in both staves, and set
3588 @internalsref{PianoStaff}.@code{connectArpeggios}
3590 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3591 \context PianoStaff <<
3592 \set PianoStaff.connectArpeggios = ##t
3593 \new Staff { <c' e g c>\arpeggio }
3594 \new Staff { \clef bass <c,, e g>\arpeggio }
3598 The direction of the arpeggio is sometimes denoted by adding an
3599 arrowhead to the wiggly line
3601 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3610 A square bracket on the left indicates that the player should not
3611 arpeggiate the chord
3613 @c todo: ugh, lousy typography. Look for real example. --hwn
3615 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3622 @cindex @code{\arpeggio}
3624 @cindex @code{\arpeggioUp}
3626 @cindex @code{\arpeggioDown}
3627 @code{\arpeggioDown},
3628 @cindex @code{\arpeggioNeutral}
3629 @code{\arpeggioNeutral},
3630 @cindex @code{\arpeggioBracket}
3631 @code{\arpeggioBracket}.
3635 Program reference: @internalsref{ArpeggioEvent},
3636 @internalsref{Arpeggio}.
3640 It is not possible to mix connected arpeggios and unconnected
3641 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3643 @node Staff switch lines
3644 @subsection Staff switch lines
3647 @cindex follow voice
3648 @cindex staff switching
3651 @cindex @code{followVoice}
3653 Whenever a voice switches to another staff, a line connecting the notes
3654 can be printed automatically. This is switched on by setting
3655 @code{PianoStaff.followVoice} to true
3657 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3658 \context PianoStaff <<
3659 \set PianoStaff.followVoice = ##t
3660 \context Staff \context Voice {
3665 \context Staff=two { \clef bass \skip 1*2 }
3671 Program reference: @internalsref{VoiceFollower}.
3675 @cindex @code{\showStaffSwitch}
3676 @code{\showStaffSwitch},
3677 @cindex @code{\hideStaffSwitch}
3678 @code{\hideStaffSwitch}.
3681 @node Cross staff stems
3682 @subsection Cross staff stems
3684 Chords that cross staves may be produced by increasing the length
3685 of the stem in the lower staff, so it reaches the stem in the upper
3686 staff, or vice versa.
3688 @lilypond[raggedright,verbatim,quote]
3689 stemExtend = \once \override Stem #'length = #22
3690 noFlag = \once \override Stem #'flag-style = #'no-flag
3691 \context PianoStaff <<
3693 \stemDown \stemExtend
3707 @section Vocal music
3709 There are three different issues when printing vocal music
3713 Song texts must be entered as text, not notes. For example, the
3714 input@tie{}@code{d} should be interpreted as a one letter syllable, not the
3718 Song texts must be printed as text, not as notes.
3721 Song texts must be aligned with the notes of their melody.
3724 The simplest solution for printing music uses the @code{\addlyrics}
3725 function to solve all these problems at once. However, these
3726 three functions can be controlled separately, which is necessary
3727 for complex vocal music.
3731 * Setting simple songs::
3733 * Hyphens and extenders::
3734 * The Lyrics context::
3735 * Flexibility in alignment::
3740 @node Setting simple songs
3741 @subsection Setting simple songs
3743 The easiest way to add lyrics to a melody is to append
3746 \addlyrics @{ @var{the lyrics} @}
3750 to a melody. Here is an example,
3752 @lilypond[raggedright,verbatim,fragment,quote]
3754 \relative { c2 e4 g2. }
3755 \addlyrics { play the game }
3758 More stanzas can be added by adding more
3759 @code{\addlyrics} sections
3761 @lilypond[raggedright,verbatim,fragment,quote]
3763 \relative { c2 e4 g2. }
3764 \addlyrics { play the game }
3765 \addlyrics { speel het spel }
3766 \addlyrics { joue le jeu }
3769 @c TODO - this isn't such a great place for this note, but I can't
3770 @c find a better place without rearranging a lot of lyric stuff.
3771 @c It's yet another thing to look at post-3.0.
3773 The @code{\addlyrics} command is actually just a convienient way
3774 to write a more complicated LilyPond structure that sets up the
3775 lyrics. You should use @code{\addlyrics} unless you need to do
3776 fancy things, in which case you should investigate
3777 @code{\lyricsto} or @code{\lyricmode}.
3781 \addlyrics @{ LYRICS @}
3788 \context Voice = blah @{ music @}
3789 \lyricsto "blah" \new lyrics @{ LYRICS @}
3793 @node Entering lyrics
3794 @subsection Entering lyrics
3798 @cindex @code{\lyricmode}
3801 Lyrics are entered in a special input mode. This mode is introduced
3802 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3803 @code{lyricsto}. In this mode you can enter lyrics,
3804 with punctuation and accents, and the input @code{d} is not parsed as
3805 a pitch, but rather as a one letter syllable. Syllables are entered
3806 like notes, but with pitches replaced by text. For example,
3808 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3812 A word lyrics mode begins with an alphabetic character, and ends with
3813 any space or digit. The following characters can be any character
3814 that is not a digit or white space. One important consequence of this
3815 is that a word can end with @code{@}}. The following example is
3816 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3817 opening brace is not balanced
3819 \lyricmode @{ twinkle@}
3822 @cindex @code{\property}, in @code{\lyricmode}
3824 Similarly, a period which follows an alphabetic sequence is included in
3825 the resulting string. As a consequence, spaces must be inserted around
3828 \override Score . LyricText #'font-shape = #'italic
3832 @cindex spaces, in lyrics
3833 @cindex quotes, in lyrics
3835 Any @code{_} character that appears in an unquoted word is converted
3836 to a space. This provides a mechanism for introducing spaces into words
3837 without using quotes. Quoted words can also be used in Lyrics mode to
3838 specify words that cannot be written with the above rules. The
3839 following example incorporates double quotes
3842 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3845 This example is slightly academic, since it gives better looking
3846 results using single quotes, @code{``} and @code{''}
3848 \lyricmode @{ He said: ``Let my peo ple go'' @}
3852 The full definition of a word start in Lyrics mode is somewhat more
3855 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3856 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3857 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3858 any 8-bit character with ASCII code over 127, or a two-character
3859 combination of a backslash followed by one of @code{`}, @code{'},
3860 @code{"}, or @code{^}.
3866 Program reference: events @internalsref{LyricEvent}, and
3867 @internalsref{LyricText}.
3871 The definition of lyrics mode is too complex.
3873 @node Hyphens and extenders
3874 @subsection Hyphens and extenders
3878 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3879 The hyphen will have variable length depending on the space between
3880 the syllables and it will be centered between the syllables.
3885 When a lyric is sung over many notes (this is called a melisma), this is
3886 indicated with a horizontal line centered between a syllable and the
3887 next one. Such a line is called an extender line, and it is entered as
3891 FIXME: check that this compiles and displays correctly. I don't want
3892 to commit this part blindly.
3894 In tighly engraved music, hyphens can be removed. In some languages
3895 (e.g. German and Hungarian), hyphens should not disappear, since
3896 spelling depends on hyphenation. For that purpose, hyphens can be
3897 forced to remain by overriding @code{minimum-length} of
3898 the @code{LyricHyphen} grob.
3902 << \notes \new Staff \relative c'' { \time 1/4 c16[ c c c]
3909 \lyrics \new Lyrics \with {
3910 % Otherwise lyrics are so far apart that hyphens don't disappear
3911 \override SeparationItem #'padding = #0.0
3912 }{ bla -- bla -- bla -- bla --
3913 bla -- bla -- bla -- bla --
3915 \override LyricHyphen #'minimum-length = #0.7
3916 \override LyricHyphen #'spacing-procedure =
3917 #Hyphen_spanner::set_spacing_rods
3919 bla -- bla -- bla -- bla
3926 \StaffContext \remove "Time_signature_engraver"
3937 Program reference: @internalsref{HyphenEvent},
3938 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3939 @internalsref{LyricExtender}
3943 @node The Lyrics context
3944 @subsection The Lyrics context
3947 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3949 \context Lyrics \lyricmode @dots{}
3952 @cindex automatic syllable durations
3953 @cindex @code{\lyricsto}
3954 @cindex lyrics and melodies
3956 This will place the lyrics according to the durations that were
3957 entered. The lyrics can also be aligned under a given melody
3958 automatically. In this case, it is no longer necessary to enter the
3959 correct duration for each syllable. This is achieved by combining the
3960 melody and the lyrics with the @code{\lyricsto} expression
3962 \lyricsto @var{name} \new Lyrics @dots{}
3965 This aligns the lyrics to the
3966 notes of the @internalsref{Voice} context called @var{name}, which has
3967 to exist. Therefore, normally the @code{Voice} is specified first, and
3968 then the lyrics are specified with @code{\lyricsto}. The command
3969 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
3970 @code{\lyricmode} keyword may be omitted.
3972 For different or more complex orderings, the best way is to setup the
3973 hierarchy of staves and lyrics first, e.g.,
3975 \context ChoirStaff <<
3976 \context Lyrics = sopranoLyrics @{ s1 @}
3977 \context Voice = soprano @{ @emph{music} @}
3978 \context Lyrics = tenorLyrics @{ s1 @}
3979 \context Voice = tenor @{ @emph{music} @}
3982 and then combine the appropriate melodies and lyric lines
3984 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3989 The final input would resemble
3992 <<\context ChoirStaff << @emph{setup the music} >>
3993 \lyricsto "soprano" @emph{etc}
3994 \lyricsto "alto" @emph{etc}
4000 The @code{\lyricsto} command detects melismata: it only puts one
4001 syllable under a tied or slurred group of notes. If you want to force
4002 an unslurred group of notes to be a melisma, insert @code{\melisma}
4003 after the first note of the group, and @code{\melismaEnd} after the
4006 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
4008 \context Voice = "lala" {
4016 \lyricsto "lala" \new Lyrics {
4022 In addition, notes are considered a melisma if they are manually
4023 beamed, and automatic beaming (see @ref{Setting automatic beam
4024 behavior}) is switched off.
4030 The criteria for deciding melismata can
4031 be tuned with the property @code{melismaBusyProperties}. See
4032 @internalsref{Melisma_translator} in the program reference for more
4037 Lyrics can also be entered without @code{\lyricsto}. In this case the
4038 duration of each syllable must be entered explicitly, for example,
4045 The alignment to a melody can be specified with the
4046 @code{associatedVoice} property,
4049 \set associatedVoice = #"lala"
4053 The value of the property (here: @code{"lala"}) should be the name of
4054 a @internalsref{Voice} context. Without this setting, extender lines
4055 will not be formatted properly.
4057 Here is an example demonstrating manual lyric durations,
4059 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
4060 << \context Voice = melody {
4064 \new Lyrics \lyricmode {
4065 \set associatedVoice = #"melody"
4071 @cindex choral score
4073 A complete example of a SATB score setup is in section
4074 @ref{Vocal ensembles}.
4079 @code{\melisma}, @code{\melismaEnd}
4080 @cindex @code{\melismaEnd}
4081 @cindex @code{\melisma}
4085 Program reference: @internalsref{LyricCombineMusic},
4086 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
4089 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly}.
4090 @c TODO: make separate section for melismata
4092 @c I can't find these examples in 2.0 or 2.2; remove. -gp
4093 @c @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
4094 @c @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
4098 Melismata are not detected automatically, and extender lines must be
4102 @c TODO: document \new Staff << Voice \lyricsto >> bug
4104 @node Flexibility in alignment
4105 @subsection Flexibility in alignment
4108 Often, different stanzas of one song are put to one melody in slightly
4109 differing ways. Such variations can still be captured with
4112 One possibility is that the text has a melisma in one stanza, but
4113 multiple syllables in another one. One solution is to make the faster
4114 voice ignore the melisma. This is done by setting
4115 @code{ignoreMelismata} in the Lyrics context.
4117 There has one tricky aspect. The setting for @code{ignoreMelismata}
4118 must be set one syllable @emph{before} the non-melismatic syllable
4119 in the text, as shown here,
4121 @lilypond[verbatim,raggedright,quote]
4123 \relative \context Voice = "lahlah" {
4124 \set Staff.autoBeaming = ##f
4130 \new Lyrics \lyricsto "lahlah" {
4133 \new Lyrics \lyricsto "lahlah" {
4134 \set ignoreMelismata = ##t % applies to "fas"
4136 \unset ignoreMelismata
4143 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4144 should be entered before ``go''.
4146 The reverse is also possible: making a lyric line slower than the
4147 standard. This can be achieved by insert @code{\skip}s into the
4148 lyrics. For every @code{\skip}, the text will be delayed another note.
4151 @lilypond[verbatim,raggedright,quote]
4152 \relative { c c g' }
4159 More complex variations in text underlay are possible. It is possible
4160 to switch the melody for a line of lyrics during the text. This is
4161 done by setting the @code{associatedVoice} property. In the example
4163 @lilypond[raggedright,quote]
4165 \relative \context Voice = "lahlah" {
4166 \set Staff.autoBeaming = ##f
4169 \context Voice = alternative {
4172 % show associations clearly.
4173 \override NoteColumn #'force-hshift = #-3
4184 \new Lyrics \lyricsto "lahlah" {
4185 Ju -- ras -- sic Park
4187 \new Lyrics \lyricsto "lahlah" {
4188 % Tricky: need to set associatedVoice
4189 % one syllable too soon!
4190 \set associatedVoice = alternative % applies to "ran"
4194 \set associatedVoice = lahlah % applies to "rus"
4200 the text for the first stanza is set to a melody called ``lahlah'',
4203 \new Lyrics \lyricsto "lahlah" @{
4204 Ju -- ras -- sic Park
4209 The second stanza initially is set to the @code{lahlah} context, but
4210 for the syllable ``ran'', it switches to a different melody.
4211 This is achieved with
4213 \set associatedVoice = alternative
4217 Here, @code{alternative} is the name of the @code{Voice} context
4218 containing the triplet.
4220 Again, the command must be one syllable too early, before ``Ty'' in
4224 \new Lyrics \lyricsto "lahlah" @{
4225 \set associatedVoice = alternative % applies to "ran"
4229 \set associatedVoice = lahlah % applies to "rus"
4235 The underlay is switched back to the starting situation by assigning
4236 @code{lahlah} to @code{associatedVoice}.
4242 @subsection More stanzas
4244 @cindex phrasing, in lyrics
4247 @cindex stanza number
4248 @cindex singer's names
4249 @cindex name of singer
4251 Stanza numbers can be added by setting @code{stanza}, e.g.,
4253 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4255 \time 3/4 g2 e4 a2 f4 g2.
4258 Hi, my name is Bert.
4261 Oh, che -- ri, je t'aime
4265 These numbers are put just before the start of first syllable.
4267 Names of singers can also be added. They are printed at the start of
4268 the line, just like instrument names. They are created by setting
4269 @code{vocalName}. A short version may be entered as @code{vocNam}.
4272 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4274 \time 3/4 g2 e4 a2 f4 g2.
4276 \set vocalName = "Bert "
4277 Hi, my name is Bert.
4279 \set vocalName = "Ernie "
4280 Oh, che -- ri, je t'aime
4286 Program reference: Layout objects @internalsref{LyricText} and
4287 @internalsref{VocalName}. Music expressions
4288 @internalsref{LyricEvent}.
4296 The term @emph{ambitus} denotes a range of pitches for a given voice
4297 in a part of music. It may also denote the pitch range that a musical
4298 instrument is capable of playing. Ambits are printed on vocal parts,
4299 so performers can easily determine it meets their capabilities.
4301 Ambits are denoted at the beginning of a piece near the initial clef.
4302 The range is graphically specified by two note heads that represent the
4303 minimum and maximum pitch. To print such ambits, add the
4304 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4311 \consists Ambitus_engraver
4316 This results in the following output
4318 @lilypond[quote,raggedright]
4322 \consists Ambitus_engraver
4326 \relative \new Staff {
4331 If you have multiple voices in a single staff and you want a single
4332 ambitus per staff rather than per each voice, add the
4333 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4334 rather than to the @internalsref{Voice} context. Here is an example,
4336 @lilypond[verbatim,raggedright,quote]
4338 \consists "Ambitus_engraver"
4342 \remove "Ambitus_engraver"
4344 \override Ambitus #'X-offset-callbacks
4345 = #(list (lambda (grob axis) -1.0))
4350 \remove "Ambitus_engraver"
4359 This example uses one advanced feature,
4362 \override Ambitus #'X-offset-callbacks
4363 = #(list (lambda (grob axis) -1.0))
4367 This code moves the ambitus to the left. The same effect could have
4368 been achieved with @code{extra-offset}, but then the formatting system
4369 would not reserve space for the moved object.
4373 Program reference: @internalsref{Ambitus},
4374 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4375 @internalsref{AmbitusAccidental}.
4377 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
4381 There is no collision handling in the case of multiple per-voice
4384 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4385 @section Other instrument specific notation
4387 This section includes extra information for writing string music, and may
4388 include extra information for other instruments in the future.
4394 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4395 @subsection Harmonic notes
4397 @cindex artificial harmonics
4400 Artificial harmonics are notated with a different notehead style. They
4401 are entered by marking the harmonic pitch with @code{\harmonic}.
4403 @lilypond[raggedright,verbatim,quote,fragment]
4408 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4412 @cindex guitar tablature
4414 Tablature notation is used for notating music for plucked string
4415 instruments. Pitches are not denoted with note heads, but by
4416 indicating on which string and fret a note must be played. LilyPond
4417 offers limited support for tablature.
4420 * Tablatures basic::
4421 * Non-guitar tablatures::
4424 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4425 @subsection Tablatures basic
4426 @cindex Tablatures basic
4428 The string number associated to a note is given as a backslash
4429 followed by a number, e.g., @code{c4\3} for a C quarter on the third
4430 string. By default, string 1 is the highest one, and the tuning
4431 defaults to the standard guitar tuning (with 6 strings). The notes
4432 are printed as tablature, by using @internalsref{TabStaff} and
4433 @internalsref{TabVoice} contexts
4435 @lilypond[quote,raggedright,fragment,verbatim]
4442 @cindex @code{minimumFret}
4445 When no string is specified, the first string that does not give a
4446 fret number less than @code{minimumFret} is selected. The default
4447 value for @code{minimumFret} is 0
4452 \set TabStaff.minimumFret = #8
4455 @lilypond[quote,raggedright]
4459 \set TabStaff.minimumFret = #8
4462 \context StaffGroup <<
4463 \context Staff { \clef "G_8" \frag }
4464 \context TabStaff { \frag }
4470 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4471 @internalsref{StringNumberEvent}.
4475 Chords are not handled in a special way, and hence the automatic
4476 string selector may easily select the same string to two notes in a
4480 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4481 @subsection Non-guitar tablatures
4482 @cindex Non-guitar tablatures
4484 You can change the number of strings, by setting the number of lines
4485 in the @internalsref{TabStaff}.
4487 You can change the tuning of the strings. A string tuning is given as
4488 a Scheme list with one integer number for each string, the number
4489 being the pitch (measured in semitones relative to middle C) of an
4490 open string. The numbers specified for @code{stringTuning} are the
4491 numbers of semitones to subtract or add, starting the specified pitch
4492 by default middle C, in string order. In the next example,
4493 @code{stringTunings} is set for the pitches e, a, d, and g
4495 @lilypond[quote,raggedright,fragment,verbatim]
4496 \context TabStaff <<
4497 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4499 a,4 c' a e' e c' a e'
4506 No guitar special effects have been implemented.
4510 Program reference: @internalsref{Tab_note_heads_engraver}.
4513 @node Popular music, Orchestral music, Tablatures, Notation manual
4514 @section Popular music
4516 This section discusses issues that arise when writing popular music.
4521 * Printing chord names::
4526 @node Chord names, Chords mode, Popular music, Popular music
4527 @subsection Chord names
4530 LilyPond has support for printing chord names. Chords may be entered
4531 in musical chord notation, i.e., @code{< .. >}, but they can also be
4532 entered by name. Internally, the chords are represented as a set of
4533 pitches, so they can be transposed
4536 @lilypond[quote,raggedright,verbatim,raggedright]
4537 twoWays = \transpose c c' {
4546 << \context ChordNames \twoWays
4547 \context Voice \twoWays >>
4550 This example also shows that the chord printing routines do not try to
4551 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4554 @c this menu isn't needed.
4558 * Printing chord names::
4563 @subsection Chords mode
4566 In chord mode sets of pitches (chords) are entered with normal note
4567 names. A chord is entered by the root, which is entered like a
4570 @lilypond[quote,raggedright,fragment,verbatim]
4571 \chordmode { es4. d8 c2 }
4575 The mode is introduced by the keyword @code{\chordmode}.
4580 Other chords may be entered by suffixing a colon and introducing a
4581 modifier (which may include a number if desired)
4582 @lilypond[quote,fragment,verbatim]
4583 \chordmode { e1:m e1:7 e1:m7 }
4585 The first number following the root is taken to be the `type' of the
4586 chord, thirds are added to the root until it reaches the specified
4588 @lilypond[quote,fragment,verbatim]
4589 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4592 @cindex root of chord
4593 @cindex additions, in chords
4594 @cindex removals, in chords
4596 More complex chords may also be constructed adding separate steps
4597 to a chord. Additions are added after the number following
4598 the colon and are separated by dots
4599 @lilypond[quote,verbatim,fragment]
4600 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4602 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4604 @lilypond[quote,verbatim,fragment]
4605 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4607 Removals are specified similarly and are introduced by a caret. They
4608 must come after the additions
4609 @lilypond[quote,verbatim,fragment]
4610 \chordmode { c^3 c:7^5 c:9^3.5 }
4613 Modifiers can be used to change pitches. The following modifiers are
4618 The minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4621 The diminished chord. This modifier lowers the 3rd, 5th and (if present)
4625 The augmented chord. This modifier raises the 5th step.
4628 The major 7th chord. This modifier raises the 7th step if present.
4631 The suspended 4th or 2nd. This modifier removes the 3rd
4632 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4636 Modifiers can be mixed with additions
4637 @lilypond[quote,verbatim,fragment]
4638 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4641 @cindex modifiers, in chords.
4648 Since an unaltered 11 does not sound good when combined with an
4649 unaltered 3, the 11 is removed in this case (unless it is added
4651 @lilypond[quote,raggedright,fragment,verbatim]
4652 \chordmode { c:13 c:13.11 c:m13 }
4657 An inversion (putting one pitch of the chord on the bottom), as well
4658 as bass notes, can be specified by appending
4659 @code{/}@var{pitch} to the chord
4660 @lilypond[quote,raggedright,fragment,verbatim]
4661 \chordmode { c1 c/g c/f }
4665 A bass note can be added instead transposed out of the chord,
4666 by using @code{/+}@var{pitch}.
4668 @lilypond[quote,raggedright,fragment,verbatim]
4669 \chordmode { c1 c/+g c/+f }
4672 Chords is a mode similar to @code{\lyricmode}, etc. Most
4673 of the commands continue to work, for example, @code{r} and
4674 @code{\skip} can be used to insert rests and spaces, and property
4675 commands may be used to change various settings.
4681 Each step can only be present in a chord once. The following
4682 simply produces the augmented chord, since @code{5+} is interpreted
4685 @lilypond[quote,raggedright,verbatim,fragment]
4686 \chordmode { c:5.5-.5+ }
4690 @node Printing chord names
4691 @subsection Printing chord names
4693 @cindex printing chord names
4697 For displaying printed chord names, use the @internalsref{ChordNames} context.
4698 The chords may be entered either using the notation
4699 described above, or directly using @code{<} and @code{>}
4701 @lilypond[quote,verbatim,raggedright]
4703 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4706 \context ChordNames \harmonies
4707 \context Staff \harmonies
4711 You can make the chord changes stand out by setting
4712 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4713 display chord names when there is a change in the chords scheme and at
4714 the start of a new line
4716 @lilypond[quote,verbatim,raggedright]
4717 harmonies = \chordmode {
4718 c1:m c:m \break c:m c:m d
4721 \context ChordNames {
4722 \set chordChanges = ##t
4724 \context Staff \transpose c c' \harmonies
4728 The previous examples all show chords over a staff. This is not
4729 necessary. Chords may also be printed separately. It may be necessary
4730 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4731 for showing repeats.
4733 @lilypond[raggedright,verbatim]
4734 \new ChordNames \with {
4735 \override BarLine #'bar-size = #4
4736 voltaOnThisStaff = ##t
4737 \consists Bar_engraver
4738 \consists "Volta_engraver"
4740 \repeat volta 2 \chordmode {
4749 The default chord name layout is a system for Jazz music, proposed by
4750 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4751 following properties
4754 @cindex @code{chordNameExceptions}
4755 @item chordNameExceptions
4756 This is a list that contains the chords that have special formatting.
4758 The exceptions list should be encoded as
4760 @{ <c f g bes>1 \markup @{ \super "7" "wahh" @} @}
4763 To get this information into @code{chordNameExceptions} takes a little
4764 manoeuvring. The following code transforms @code{chExceptionMusic}
4765 (which is a sequential music) into a list of exceptions.
4767 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4772 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4775 adds the new exceptions to the default ones, which are defined in
4776 @file{ly/@/chord@/-modifier@/-init@/.ly}.
4778 For an example of tuning this property, see also
4779 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
4780 @cindex exceptions, chord names.
4783 @cindex @code{majorSevenSymbol}
4784 @item majorSevenSymbol
4785 This property contains the markup object used for the 7th step, when
4786 it is major. Predefined options are @code{whiteTriangleMarkup} and
4787 @code{blackTriangleMarkup}. See
4788 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
4790 @cindex @code{chordNameSeparator}
4791 @item chordNameSeparator
4792 Different parts of a chord name are normally separated by a
4793 slash. By setting @code{chordNameSeparator}, you can specify other
4795 @lilypond[quote,raggedright,fragment,verbatim]
4796 \context ChordNames \chordmode {
4798 \set chordNameSeparator
4799 = \markup { \typewriter "|" }
4804 @cindex @code{chordRootNamer}
4805 @item chordRootNamer
4806 The root of a chord is usually printed as a letter with an optional
4807 alteration. The transformation from pitch to letter is done by this
4808 function. Special note names (for example, the German ``H'' for a
4809 B-chord) can be produced by storing a new function in this property.
4811 @cindex @code{chordNoteNamer}
4812 @item chordNoteNamer
4813 The default is to print single pitch, e.g., the bass note, using the
4814 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4815 to a specialized function to change this behavior. For example, the
4816 base can be printed in lower case.
4820 The predefined variables @code{\germanChords},
4821 @code{\semiGermanChords} set these variables. The effect is
4824 @lilypondfile[raggedright]{chord-names-german.ly}
4826 There are also two other chord name schemes implemented: an alternate
4827 Jazz chord notation, and a systematic scheme called Banter chords. The
4828 alternate Jazz notation is also shown on the chart in @ref{Chord name
4829 chart}. Turning on these styles is described in the input file
4830 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4834 @cindex chords, jazz
4839 @cindex @code{\germanChords}
4840 @code{\germanChords},
4841 @cindex @code{\semiGermanChords}
4842 @code{\semiGermanChords}.
4849 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
4850 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
4851 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4854 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
4855 @file{scm/@/chord@/-entry@/.scm}.
4860 Chord names are determined solely from the list of pitches. Chord
4861 inversions are not identified, and neither are added bass notes. This
4862 may result in strange chord names when chords are entered with the
4863 @code{< .. >} syntax.
4867 @subsection Fret diagrams
4868 @cindex fret diagrams
4869 @cindex chord diagrams
4871 Fret diagrams can be added to music as a markup to the desired note. The
4872 markup contains information about the desired fret diagram, as shown in the
4875 @lilypond[verbatim, raggedright, quote]
4877 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4879 fis' ^\markup \override #'(size . 0.75) {
4880 \override #'(finger-code . below-string) {
4881 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4882 (place-fret 5 4 3) (place-fret 4 4 4)
4883 (place-fret 3 3 2) (place-fret 2 2 1)
4888 c' ^\markup \override #'(dot-radius . 0.35) {
4889 \override #'(finger-code . in-dot) {
4890 \override #'(dot-color . white) {
4891 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
4900 There are three different fret-diagram markup interfaces: standard, terse,
4901 and verbose. The three interfaces produce equivalent markups, but have
4902 varying amounts of information in the markup string. Details about the
4903 markup interfaces are found at @ref{Overview of text markup commands}.
4905 You can set a number of graphical properties according to your preference.
4906 Details about the property interface to fret diagrams are found at
4907 @internalsref{fret-diagram-interface}.
4912 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
4916 @subsection Improvisation
4918 Improvisation is sometimes denoted with slashed note heads. Such note
4919 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4920 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4924 \set squashedPosition = #0
4925 \override NoteHead #'style = #'slash
4929 switches on the slashes.
4931 There are shortcuts @code{\improvisationOn} (and an accompanying
4932 @code{\improvisationOff}) for this command sequence. They are used in
4933 the following example
4935 @lilypond[verbatim,raggedright,quote]
4937 \consists Pitch_squash_engraver
4939 e8 e g a a16(bes)(a8) g \improvisationOn
4942 ~fis2 \improvisationOff a16(bes) a8 g e
4948 @node Orchestral music
4949 @section Orchestral music
4951 @cindex Writing parts
4953 Orchestral music involves some special notation, both in the full
4954 score and the individual parts. This section explains how to tackle
4955 some common problems in orchestral music.
4960 * System start delimiters::
4961 * Aligning to cadenzas::
4964 * Instrument names::
4966 * Instrument transpositions::
4967 * Multi measure rests::
4968 * Automatic part combining::
4970 * Different editions from one source::
4971 * Quoting other voices::
4972 * Formatting cue notes::
4975 @node System start delimiters
4976 @subsection System start delimiters
4978 Polyphonic scores consist of many staves. These staves can be
4979 constructed in three different ways
4981 @item The group is started with a brace at the left, and bar lines are
4982 connected. This is done with the @internalsref{GrandStaff} context.
4984 @lilypond[verbatim,raggedright,quote]
4993 @item The group is started with a bracket, and bar lines are connected.
4994 This is done with the
4995 @internalsref{StaffGroup} context
4997 @lilypond[verbatim,raggedright,quote]
5006 @item The group is started with a vertical line. Bar lines are not
5007 connected. This is the default for the score.
5009 @lilypond[verbatim,raggedright,quote]
5018 @cindex Staff, multiple
5019 @cindex bracket, vertical
5020 @cindex brace, vertical
5027 The bar lines at the start of each system are
5028 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
5029 @internalsref{SystemStartBracket}. Only one of these types is created
5030 in every context, and that type is determined by the property
5031 @code{systemStartDelimiter}.
5033 @node Aligning to cadenzas
5034 @subsection Aligning to cadenzas
5037 In an orchestral context, cadenzas present a special problem:
5038 when constructing a score that includes a cadenza, all other
5039 instruments should skip just as many notes as the length of the
5040 cadenza, otherwise they will start too soon or too late.
5042 A solution to this problem are the functions @code{mmrest-of-length}
5043 and @code{skip-of-length}. These Scheme functions take a piece of music
5044 as argument, and generate a @code{\skip} or multi-rest, exactly as
5045 long as the piece. The use of @code{mmrest-of-length} is demonstrated
5046 in the following example.
5048 @lilypond[verbatim,raggedright,quote]
5049 cadenza = \relative c' {
5050 c4 d8 << { e f g } \\ { d4. } >>
5055 \new Staff { \cadenza c'4 }
5057 #(ly:export (mmrest-of-length cadenza))
5067 @node Rehearsal marks
5068 @subsection Rehearsal marks
5069 @cindex Rehearsal marks
5071 @cindex @code{\mark}
5073 To print a rehearsal mark, use the @code{\mark} command
5075 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
5084 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
5085 @c umm, is the manual the right place for feature requests? :) -gp
5086 @c FIXME - should make that tunable.
5088 The mark is incremented automatically if you use @code{\mark
5089 \default}, but you can also use an integer argument to set the mark
5090 manually. The value to use is stored in the property
5091 @code{rehearsalMark}.
5093 The style is defined by the property @code{markFormatter}. It is a
5094 function taking the current mark (an integer) and the current context
5095 as argument. It should return a markup object. In the following
5096 example, @code{markFormatter} is set to a canned procedure. After a
5097 few measures, it is set to function that produces a boxed number.
5099 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5100 \set Score.markFormatter = #format-mark-numbers
5103 \set Score.markFormatter = #format-mark-box-numbers
5109 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
5110 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
5111 @code{format-mark-letters} and @code{format-mark-box-letters}.
5112 These can be used as inspiration for other formatting functions.
5115 @cindex coda on bar line
5116 @cindex segno on bar line
5117 @cindex fermata on bar line
5118 @cindex bar lines, symbols on
5120 The @code{\mark} command can also be used to put signs like coda,
5121 segno, and fermata on a bar line. Use @code{\markup} to
5122 access the appropriate symbol
5124 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
5125 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
5129 In the case of a line break, marks must also be printed at the end of
5130 the line, and not at the beginning. Use the following to force that
5133 \override Score.RehearsalMark
5134 #'break-visibility = #begin-of-line-invisible
5140 @cindex bar lines, putting symbols on
5144 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5146 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
5147 definition of @code{format-mark-numbers} and
5148 @code{format-mark-letters}. They can be used as inspiration for other
5149 formatting functions.
5151 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
5153 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
5157 @subsection Bar numbers
5161 @cindex measure numbers
5162 @cindex @code{currentBarNumber}
5164 Bar numbers are printed by default at the start of the line. The
5165 number itself is stored in the @code{currentBarNumber} property, which
5166 is normally updated automatically for every measure.
5168 Bar numbers can be typeset at regular intervals instead of at the
5169 beginning of each line. This is illustrated in the following example,
5170 whose source is available as
5171 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
5173 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5175 Bar numbers can be typeset manually by tweaking the
5176 @code{markFormatter} property
5178 @lilypond[verbatim,raggedright,quote]
5180 \set Score.markFormatter
5181 = #(lambda (mark context)
5184 (number->string (ly:context-property context
5185 'currentBarNumber)))))
5187 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
5191 Bar numbers can be manually changed by setting the
5192 @code{Staff.currentBarNumber} property
5194 @lilypond[verbatim,raggedright,quote]
5196 \repeat unfold 4 {c4 c c c} \break
5197 \set Score.currentBarNumber = #50
5198 \repeat unfold 4 {c4 c c c}
5204 Program reference: @internalsref{BarNumber}.
5207 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
5208 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
5212 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5213 there is one at the top. To solve this, the
5214 @code{padding} property of @internalsref{BarNumber} can be
5215 used to position the number correctly.
5217 @node Instrument names
5218 @subsection Instrument names
5220 In an orchestral score, instrument names are printed at the left side
5223 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5224 and @internalsref{Staff}.@code{instr}. This will print a string before
5225 the start of the staff. For the first staff, @code{instrument} is
5226 used, for the following ones, @code{instr} is used.
5228 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5229 \set Staff.instrument = "Ploink "
5230 \set Staff.instr = "Plk "
5236 You can also use markup texts to construct more complicated instrument
5239 @lilypond[quote,fragment,verbatim,raggedright]
5240 \set Staff.instrument = \markup {
5241 \column { "Clarinetti"
5242 \line { "in B" \smaller \flat } } }
5246 For longer instrument names, it may be useful to increase the
5247 @code{indent} setting in the @code{\layout} block.
5251 Program reference: @internalsref{InstrumentName}.
5255 When you put a name on a grand staff or piano staff, the width of the
5256 brace is not taken into account. You must add extra spaces to the end of
5257 the name to avoid a collision.
5260 @subsection Transpose
5262 @cindex transposition of pitches
5263 @cindex @code{\transpose}
5265 A music expression can be transposed with @code{\transpose}. The
5268 \transpose @var{from} @var{to} @var{musicexpr}
5271 This means that @var{musicexpr} is transposed by the interval between
5272 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5273 is changed to @code{to}.
5276 For example, consider a piece written in the key of D-major. If
5277 this piece is a little too low for its performer, it can be
5278 transposed up to E-major with
5280 \transpose d e @dots{}
5283 Consider a part written for violin (a C instrument). If
5284 this part is to be played on the A clarinet, the following
5285 transposition will produce the appropriate part
5288 \transpose a c @dots{}
5291 @code{\transpose} distinguishes between enharmonic pitches: both
5292 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5293 half a tone. The first version will print sharps and the second
5294 version will print flats
5296 @lilypond[quote,raggedright,verbatim]
5297 mus = { \key d \major cis d fis g }
5301 \transpose c g' \mus
5302 \transpose c f' \mus
5309 Program reference: @internalsref{TransposedMusic}, and
5310 @internalsref{UntransposableMusic}.
5314 If you want to use both @code{\transpose} and @code{\relative},
5315 you must put @code{\transpose} outside of @code{\relative}, since
5316 @code{\relative} will have no effect music that appears inside a
5319 @node Instrument transpositions
5320 @subsection Instrument transpositions
5322 The key of a transposing instrument can also be specified. This
5323 applies to many wind instruments, for example, clarinets (B-flat, A, and
5324 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
5326 The transposition is entered after the keyword @code{\transposition}
5329 \transposition bes %% B-flat clarinet
5333 This command sets the property @code{instrumentTransposition}. The value of
5334 this property is used for MIDI output and quotations. It does not
5335 affect how notes are printed in the current staff.
5337 The pitch to use for @code{\transposition} should correspond to the
5338 transposition of the notes. For example, when entering a score in
5339 concert pitch, typically all voices are entered in C, so
5340 they should be entered as
5353 The command @code{\transposition} should be used when the music is
5354 entered from a (transposed) orchestral part. For example, in
5355 classical horn parts, the tuning of the instrument is often changed
5356 during a piece. When copying the notes from the part, use
5357 @code{\transposition}, e.g.,
5370 @cindex transposition, MIDI
5371 @cindex transposition, instrument
5374 @node Multi measure rests
5375 @subsection Multi measure rests
5376 @cindex multi measure rests
5377 @cindex Rests, multi measure
5381 Multi-measure rests are entered using `@code{R}'. It is specifically
5382 meant for full bar rests and for entering parts: the rest can expand
5383 to fill a score with rests, or it can be printed as a single
5384 multi-measure rest. This expansion is controlled by the property
5385 @code{Score.skipBars}. If this is set to true, empty measures will not
5386 be expanded, and the appropriate number is added automatically
5388 @lilypond[quote,raggedright,fragment,verbatim]
5389 \time 4/4 r1 | R1 | R1*2
5390 \set Score.skipBars = ##t R1*17 R1*4
5393 The @code{1} in @code{R1} is similar to the duration notation used for
5394 notes. Hence, for time signatures other than 4/4, you must enter other
5395 durations. This can be done with augmentation dots or fractions
5397 @lilypond[quote,raggedright,fragment,verbatim]
5398 \set Score.skipBars = ##t
5407 An @code{R} spanning a single measure is printed as either a whole rest
5408 or a breve, centered in the measure regardless of the time signature.
5410 If there are only a few measures of rest, LilyPond prints ``church rests''
5411 (a series of rectangles) in the staff. To replace that with a simple
5412 rest, use @code{MultiMeasureRest.expand-limit}.
5414 @lilypond[quote,raggedright,fragment,verbatim]
5415 \set Score.skipBars = ##t
5417 \override MultiMeasureRest #'expand-limit = 1
5422 @cindex text on multi-measure rest
5423 @cindex script on multi-measure rest
5424 @cindex fermata on multi-measure rest
5426 Texts can be added to multi-measure rests by using the
5427 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5428 A variable (@code{\fermataMarkup}) is provided for
5431 @lilypond[quote,raggedright,verbatim,fragment]
5432 \set Score.skipBars = ##t
5434 R2.*10^\markup { \italic "ad lib." }
5438 If you want to have text on the left end of a multi-measure rest,
5439 attach the text to a zero-length skip note, i.e.,
5447 @cindex whole rests for a full measure
5451 Program reference: @internalsref{MultiMeasureRestEvent},
5452 @internalsref{MultiMeasureTextEvent},
5453 @internalsref{MultiMeasureRestMusicGroup}, and
5454 @internalsref{MultiMeasureRest}.
5456 The layout object @internalsref{MultiMeasureRestNumber} is for the
5457 default number, and @internalsref{MultiMeasureRestText} for user
5462 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
5463 over multi-measure rests. And the pitch of multi-measure rests (or
5464 staff-centered rests) can not be influenced.
5466 @cindex condensing rests
5468 There is no way to automatically condense multiple rests into a single
5469 multi-measure rest. Multi-measure rests do not take part in rest
5472 Be careful when entering multi-measure rests followed by whole
5473 notes. The following will enter two notes lasting four measures each
5477 When @code{skipBars} is set, the result will look OK, but the bar
5478 numbering will be off.
5480 @node Automatic part combining
5481 @subsection Automatic part combining
5482 @cindex automatic part combining
5483 @cindex part combiner
5486 Automatic part combining is used to merge two parts of music onto a
5487 staff. It is aimed at typesetting orchestral scores. When the two
5488 parts are identical for a period of time, only one is shown. In
5489 places where the two parts differ, they are typeset as separate
5490 voices, and stem directions are set automatically. Also, solo and
5491 @emph{a due} parts are identified and can be marked.
5493 The syntax for part combining is
5496 \partcombine @var{musicexpr1} @var{musicexpr2}
5501 The following example demonstrates the basic functionality of the part
5502 combiner: putting parts on one staff, and setting stem directions and
5505 @lilypond[quote,verbatim,raggedright,fragment]
5506 \new Staff \partcombine
5507 \relative g' { g g a( b) c c r r }
5508 \relative g' { g g r4 r e e g g }
5511 The first @code{g} appears only once, although it was
5512 specified twice (once in each part). Stem, slur, and tie directions are
5513 set automatically, depending whether there is a solo or unisono. The
5514 first part (with context called @code{one}) always gets up stems, and
5515 `solo', while the second (called @code{two}) always gets down stems and
5518 If you just want the merging parts, and not the textual markings, you
5519 may set the property @code{printPartCombineTexts} to false
5521 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5523 \set Staff.printPartCombineTexts = ##f
5525 \relative g' { g a( b) r }
5526 \relative g' { g r4 r f }
5531 Both arguments to @code{\partcombine} will be interpreted as
5532 @internalsref{Voice} contexts. If using relative octaves,
5533 @code{\relative} should be specified for both music expressions, i.e.,
5537 \relative @dots{} @var{musicexpr1}
5538 \relative @dots{} @var{musicexpr2}
5542 A @code{\relative} section that is outside of @code{\partcombine} has
5543 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5547 Program reference: @internalsref{PartCombineMusic},
5548 @internalsref{SoloOneEvent}, and
5549 @internalsref{SoloTwoEvent}, and
5550 @internalsref{UnisonoEvent}.
5554 When @code{printPartCombineTexts} is set, when the two voices play the
5555 same notes on and off, the part combiner may typeset @code{a2} more
5556 than once in a measure.
5558 @code{\partcombine} cannot be inside @code{\times}.
5560 @code{\partcombine} cannot be inside @code{\relative}.
5562 Internally, the @code{\partcombine} interprets both arguments as
5563 @code{Voice}s named @code{one} and @code{two}, and then decides when
5564 the parts can be combined. Consequently, if the arguments switch to
5565 differently named @internalsref{Voice} contexts, the events in those
5569 @subsection Hiding staves
5571 @cindex Frenched scores
5572 @cindex Hiding staves
5574 In orchestral scores, staff lines that only have rests are usually
5575 removed. This saves some space. This style is called `French Score'.
5576 For @internalsref{Lyrics},
5577 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5578 switched on by default. When the lines of these contexts turn out
5579 empty after the line-breaking process, they are removed.
5581 For normal staves, a specialized @internalsref{Staff} context is
5582 available, which does the same: staves containing nothing (or only
5583 multi-measure rests) are removed. The context definition is stored in
5584 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5585 in this example disappears in the second line
5587 @lilypond[quote,raggedright,verbatim]
5589 \context { \RemoveEmptyStaffContext }
5594 \new Staff { e4 f g a \break c1 }
5595 \new Staff { c4 d e f \break R1 }
5600 The first system shows all staves in full. If empty staves should be
5601 removed from the first system too, set @code{remove-first} to false in
5602 @internalsref{RemoveEmptyVerticalGroup}.
5604 Another application is making ossia sections, i.e., alternative
5605 melodies on a separate piece of staff, with help of a Frenched
5606 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
5609 @node Different editions from one source
5610 @subsection Different editions from one source
5613 The @code{\tag} command marks music expressions with a name. These
5614 tagged expressions can be filtered out later. With this mechanism it
5615 is possible to make different versions of the same music source.
5617 In the following example, we see two versions of a piece of music, one
5618 for the full score, and one with cue notes for the instrumental part
5634 The same can be applied to articulations, texts, etc.: they are
5637 -\tag #@var{your-tag}
5639 to an articulation, for example,
5644 This defines a note with a conditional fingering indication.
5647 @cindex removeWithTag
5648 By applying the @code{\keepWithTag} and @code{\removeWithTag}
5649 commands, tagged expressions can be filtered. For example,
5653 \keepWithTag #'score @var{the music}
5654 \keepWithTag #'part @var{the music}
5659 @lilypondfile[raggedright,quote]{tag-filter.ly}
5662 The argument of the @code{\tag} command should be a symbol, or a list
5663 of symbols, for example,
5665 \tag #'(original-part transposed-part) @dots{}
5672 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
5676 Multiple rests are not merged if you create the score with both tagged
5680 @node Quoting other voices
5681 @subsection Quoting other voices
5683 With quotations, fragments of other parts can be inserted into a part
5684 directly. Before a part can be quoted, it must be marked especially as
5685 quotable. This is done with the @code{\addquote} command.
5688 \addquote @var{name} @var{music}
5693 Here, @var{name} is an identifying string. The @var{music} is any kind
5694 of music. Here is an example of @code{\addquote}
5697 \addquote clarinet \relative c' @{
5702 This command must be entered at toplevel, i.e., outside any music
5705 After calling @code{\addquote}, the quotation may then be done with
5706 @code{\quoteDuring} or @code{\cueDuring},
5709 \quoteDuring #@var{name} @var{music}
5712 During a part, a piece of music can be quoted with the @code{\quoteDuring}
5716 \quoteDuring #"clarinet" @{ s2. @}
5719 This would cite three quarter notes (the duration of @code{s2.}) of
5720 the previously added @code{clarinet} voice.
5723 More precisely, it takes the current time-step of the part being
5724 printed, and extracts the notes at the corresponding point of the
5725 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5726 should be the entire part of the voice to be quoted, including any
5727 rests at the beginning.
5729 Quotations take into account the transposition of both source and target
5730 instruments, if they are specified using the @code{\transposition} command.
5732 @lilypond[quote,raggedright,verbatim]
5733 \addquote clarinet \relative c' {
5739 e'8 f'8 \quoteDuring #"clarinet" { s2 }
5743 The type of events that are present in cue notes can be trimmed with
5744 the @code{quotedEventTypes} property. The default value is
5745 @code{(note-event rest-event)}, which means that only notes and
5746 rests of the cued voice end up in the @code{\quoteDuring}.
5750 \set Staff.quotedEventTypes =
5751 #'(note-event articulation-event dynamic-event)
5755 will quote notes (but no rests), together with scripts and dynamics.
5759 Only the contents of the first @internalsref{Voice} occurring in an
5760 @code{\addquote} command will be considered for quotation, so
5761 @var{music} can not contain @code{\new} and @code{\context Voice}
5762 statements that would switch to a different Voice.
5764 Quoting grace notes is broken and can even cause LilyPond to crash.
5768 In this manual: @ref{Instrument transpositions}.
5770 Examples: @inputfileref{input/@/regression,quote@/.ly}
5771 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
5773 Program reference: @internalsref{QuoteMusic}.
5775 @node Formatting cue notes
5776 @subsection Formatting cue notes
5778 The previous section deals with inserting notes from another voice.
5779 There is a more advanced music function called @code{\cueDuring},
5780 which makes formatting cue notes easier.
5785 \cueDuring #@var{name} #@var{updown} @var{music}
5788 This will insert notes from the part @var{name} into a
5789 @internalsref{Voice} called @code{cue}. This happens simultaneously
5790 with @var{music}, which usually is a rest. When the cue notes start,
5791 the staff in effect becomes polyphonic for a moment. The argument
5792 @var{updown} determines whether the cue notes should be notated as a
5793 first or second voice.
5796 @lilypond[verbatim,raggedright]
5799 \override Stem #'length = #5.5
5800 \override Beam #'thickness = #0.384
5801 \override Beam #'space-function =
5802 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5805 \addquote clarinet \relative {
5810 \new Staff \relative <<
5812 % setup a context for cue notes.
5813 \context Voice = cue { \smaller \skip 1*21 }
5815 \set Score.skipBars = ##t
5819 \cueDuring #"clarinet" #1 {
5828 Here are a couple of hints for successful cue notes
5832 Cue notes have smaller font sizes.
5834 the cued part is marked with the instrument playing the cue.
5836 when the original part takes over again, this should be marked with
5837 the name of the original instrument.
5839 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5841 @c Yes, this is good practice. Otherwise, the start of the original
5842 @c part can only be seen from the font size. This is not good enough
5843 @c for sight-reading. It is possilbe to use other
5844 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
5849 any other changes introduced by the cued part should also be
5850 undone. For example, if the cued instrument plays in a different clef,
5851 the original clef should be stated once again.
5859 @node Ancient notation
5860 @section Ancient notation
5862 @cindex Vaticana, Editio
5863 @cindex Medicaea, Editio
5868 Support for ancient notation includes features for mensural notation
5869 and Gregorian Chant notation. There is also limited support for
5870 figured bass notation.
5872 Many graphical objects provide a @code{style} property, see
5875 @ref{Ancient note heads},
5877 @ref{Ancient accidentals},
5879 @ref{Ancient rests},
5881 @ref{Ancient clefs},
5883 @ref{Ancient flags},
5885 @ref{Ancient time signatures}.
5888 By manipulating such a grob property, the typographical appearance of
5889 the affected graphical objects can be accommodated for a specific
5890 notation flavor without the need for introducing any new notational
5893 In addition to the standard articulation signs described in section
5894 @ref{Articulations}, specific articulation signs for ancient notation
5899 @ref{Ancient articulations}
5902 Other aspects of ancient notation can not that easily be expressed
5903 in terms of just changing a style property of a graphical object or
5904 adding articulation signs. Some notational concepts are introduced
5905 specifically for ancient notation,
5916 If this all is too much of documentation for you, and you just want to
5917 dive into typesetting without worrying too much about the details on
5918 how to customize a context, you may have a look at the predefined
5919 contexts. Use them to set up predefined style-specific voice and
5920 staff contexts, and directly go ahead with the note entry,
5924 @ref{Gregorian Chant contexts},
5926 @ref{Mensural contexts}.
5929 There is limited support for figured bass notation which came
5930 up during the baroque period.
5937 Here are all suptopics at a glance:
5940 * Ancient note heads::
5941 * Ancient accidentals::
5945 * Ancient time signatures::
5946 * Ancient articulations::
5950 * Gregorian Chant contexts::
5951 * Mensural contexts::
5956 @node Ancient note heads
5957 @subsection Ancient note heads
5962 For ancient notation, a note head style other than the @code{default}
5963 style may be chosen. This is accomplished by setting the @code{style}
5964 property of the @internalsref{NoteHead} object to @code{baroque},
5965 @code{neomensural} or @code{mensural}. The @code{baroque} style
5966 differs from the @code{default} style only in using a square shape
5967 for @code{\breve} note heads. The @code{neomensural} style differs from
5968 the @code{baroque} style in that it uses rhomboidal heads for whole notes
5969 and all smaller durations. Stems are centered on the note heads.
5970 This style is particularly useful when transcribing mensural music,
5971 e.g., for the incipit. The @code{mensural} style finally produces note
5972 heads that mimic the look of note heads in historic printings of the
5975 The following example demonstrates the @code{neomensural} style
5977 @lilypond[quote,fragment,raggedright,verbatim]
5978 \set Score.skipBars = ##t
5979 \override NoteHead #'style = #'neomensural
5980 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5983 When typesetting a piece in Gregorian Chant notation, the
5984 @internalsref{Gregorian_ligature_engraver} will automatically select
5985 the proper note heads, so there is no need to explicitly set the
5986 note head style. Still, the note head style can be set, e.g., to
5987 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5988 @internalsref{Mensural_ligature_engraver} is used to automatically
5989 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5994 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
5995 overview over all available note head styles.
5998 @node Ancient accidentals
5999 @subsection Ancient accidentals
6004 Use the @code{style} property of grob @internalsref{Accidental} to
6005 select ancient accidentals. Supported styles are
6006 @code{mensural}, @code{vaticana}, @code{hufnagel}, and @code{medicaea}.
6008 @lilypond[quote,raggedright,staffsize=26]
6015 \line { " " \musicglyph #"accidentals-vaticana-1"
6016 " " \musicglyph #"accidentals-vaticana0" }
6020 \line { " " \musicglyph #"accidentals-medicaea-1" }
6024 \line { " " \musicglyph #"accidentals-hufnagel-1" }
6028 \line { " " \musicglyph #"accidentals-mensural-1"
6029 " " \musicglyph #"accidentals-mensural1" }
6035 \context { \Score \remove "Bar_number_engraver" }
6037 \remove "Clef_engraver"
6038 \remove "Key_engraver"
6039 \remove "Time_signature_engraver"
6040 \remove "Staff_symbol_engraver"
6041 minimumVerticalExtent = ##f
6047 As shown, not all accidentals are supported by each style. When
6048 trying to access an unsupported accidental, LilyPond will switch to a
6049 different style, as demonstrated in
6050 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6052 Similarly to local accidentals, the style of the key signature can be
6053 controlled by the @code{style} property of the
6054 @internalsref{KeySignature} grob.
6058 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
6059 @ref{Accidentals} give a general introduction of the use of
6060 accidentals. @ref{Key signature} gives a general introduction of
6061 the use of key signatures.
6063 Program reference: @internalsref{KeySignature}.
6065 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
6068 @subsection Ancient rests
6073 Use the @code{style} property of grob @internalsref{Rest} to select
6074 ancient accidentals. Supported styles are @code{classical},
6075 @code{neomensural}, and @code{mensural}. @code{classical} differs
6076 from the @code{default} style only in that the quarter rest looks like
6077 a horizontally mirrored 8th rest. The @code{neomensural} style suits
6078 well for, e.g., the incipit of a transcribed mensural piece of music.
6079 The @code{mensural} style finally mimics the appearance of rests as
6080 in historic prints of the 16th century.
6082 The following example demonstrates the @code{neomensural} style
6084 @lilypond[quote,fragment,raggedright,verbatim]
6085 \set Score.skipBars = ##t
6086 \override Rest #'style = #'neomensural
6087 r\longa r\breve r1 r2 r4 r8 r16
6090 There are no 32th and 64th rests specifically for the mensural or
6091 neo-mensural style. Instead, the rests from the default style will be
6092 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
6095 There are no rests in Gregorian Chant notation; instead, it uses
6100 In this manual: @ref{Rests} gives a general introduction into the use of rests.
6104 @subsection Ancient clefs
6109 LilyPond supports a variety of clefs, many of them ancient.
6111 The following table shows all ancient clefs that are supported via the
6112 @code{\clef} command. Some of the clefs use the same glyph, but
6113 differ only with respect to the line they are printed on. In such
6114 cases, a trailing number in the name is used to enumerate these clefs.
6115 Still, you can manually force a clef glyph to be typeset on an
6116 arbitrary line, as described in @ref{Clef}. The note printed to the
6117 right side of each clef in the example column denotes the @code{c'}
6118 with respect to that clef.
6120 @multitable @columnfractions .4 .4 .2
6129 modern style mensural C clef
6131 @code{neomensural-c1}, @code{neomensural-c2},@*
6132 @code{neomensural-c3}, @code{neomensural-c4}
6134 @lilypond[fragment,relative=1,notime]
6135 \clef "neomensural-c2" c
6139 petrucci style mensural C clefs, for use on different staff lines
6140 (the examples show the 2nd staff line C clef)
6142 @code{petrucci-c1}, @code{petrucci-c2},@*
6143 @code{petrucci-c3}, @code{petrucci-c4},@*
6146 @lilypond[fragment,relative=1,notime]
6147 \clef "petrucci-c2" c
6151 petrucci style mensural F clef
6155 @lilypond[fragment,relative=1,notime]
6156 \clef "petrucci-f" c
6160 petrucci style mensural G clef
6164 @lilypond[fragment,relative=1,notime]
6165 \clef "petrucci-g" c
6169 historic style mensural C clef
6171 @code{mensural-c1}, @code{mensural-c2},@*
6172 @code{mensural-c3}, @code{mensural-c4}
6174 @lilypond[fragment,relative=1,notime]
6175 \clef "mensural-c2" c
6179 historic style mensural F clef
6183 @lilypond[fragment,relative=1,notime]
6184 \clef "mensural-f" c
6188 historic style mensural G clef
6192 @lilypond[fragment,relative=1,notime]
6193 \clef "mensural-g" c
6197 Editio Vaticana style do clef
6199 @code{vaticana-do1}, @code{vaticana-do2},@*
6202 @lilypond[fragment,relative=1,notime]
6203 \override Staff.StaffSymbol #'line-count = #4
6204 \clef "vaticana-do2" c
6208 Editio Vaticana style fa clef
6210 @code{vaticana-fa1}, @code{vaticana-fa2}
6212 @lilypond[fragment,relative=1,notime]
6213 \override Staff.StaffSymbol #'line-count = #4
6214 \clef "vaticana-fa2" c
6218 Editio Medicaea style do clef
6220 @code{medicaea-do1}, @code{medicaea-do2},@*
6223 @lilypond[fragment,relative=1,notime]
6224 \override Staff.StaffSymbol #'line-count = #4
6225 \clef "medicaea-do2" c
6229 Editio Medicaea style fa clef
6231 @code{medicaea-fa1}, @code{medicaea-fa2}
6233 @lilypond[fragment,relative=1,notime]
6234 \override Staff.StaffSymbol #'line-count = #4
6235 \clef "medicaea-fa2" c
6239 historic style hufnagel do clef
6241 @code{hufnagel-do1}, @code{hufnagel-do2},@*
6244 @lilypond[fragment,relative=1,notime]
6245 \override Staff.StaffSymbol #'line-count = #4
6246 \clef "hufnagel-do2" c
6250 historic style hufnagel fa clef
6252 @code{hufnagel-fa1}, @code{hufnagel-fa2}
6254 @lilypond[fragment,relative=1,notime]
6255 \override Staff.StaffSymbol #'line-count = #4
6256 \clef "hufnagel-fa2" c
6260 historic style hufnagel combined do/fa clef
6262 @code{hufnagel-do-fa}
6264 @lilypond[fragment,relative=1,notime]
6265 \clef "hufnagel-do-fa" c
6271 @emph{Modern style} means ``as is typeset in contemporary editions of
6272 transcribed mensural music''.
6274 @emph{Petrucci style} means ``inspired by printings published by the
6275 famous engraver Petrucci (1466-1539)''.
6277 @emph{Historic style} means ``as was typeset or written in historic
6278 editions (other than those of Petrucci)''.
6280 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6282 Petrucci used C clefs with differently balanced left-side vertical
6283 beams, depending on which staff line it is printed.
6287 In this manual: see @ref{Clef}.
6291 The mensural g clef is mapped to the Petrucci g clef.
6296 @subsection Ancient flags
6301 Use the @code{flag-style} property of grob @internalsref{Stem} to
6302 select ancient flags. Besides the @code{default} flag style,
6303 only the @code{mensural} style is supported
6305 @lilypond[quote,fragment,raggedright,verbatim]
6306 \override Stem #'flag-style = #'mensural
6307 \override Stem #'thickness = #1.0
6308 \override NoteHead #'style = #'mensural
6310 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
6311 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6314 Note that the innermost flare of each mensural flag always is
6315 vertically aligned with a staff line.
6317 There is no particular flag style for neo-mensural notation. Hence,
6318 when typesetting the incipit of a transcribed piece of mensural
6319 music, the default flag style should be used. There are no flags in
6320 Gregorian Chant notation.
6324 The attachment of ancient flags to stems is slightly off due to a
6325 change in early 2.3.x.
6327 Vertically aligning each flag with a staff line assumes that stems
6328 always end either exactly on or exactly in the middle between two
6329 staff lines. This may not always be true when using advanced layout
6330 features of classical notation (which however are typically out of
6331 scope for mensural notation).
6333 @node Ancient time signatures
6334 @subsection Ancient time signatures
6336 @cindex time signatures
6339 There is limited support for mensural time signatures. The
6340 glyphs are hard-wired to particular time fractions. In other words,
6341 to get a particular mensural signature glyph with the @code{\time n/m}
6342 command, @code{n} and @code{m} have to be chosen according to the
6345 @lilypond[quote,raggedright]
6349 \remove Staff_symbol_engraver
6350 \remove Clef_engraver
6351 \remove Time_signature_engraver
6354 \set Score.timing = ##f
6355 \set Score.barAlways = ##t
6356 s_\markup { "$\\backslash$time 4/4" }
6357 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6359 s_\markup { "$\\backslash$time 2/2" }
6360 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6362 s_\markup { "$\\backslash$time 6/4" }
6363 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6365 s_\markup { "$\\backslash$time 6/8" }
6366 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6368 s_\markup { "$\\backslash$time 3/2" }
6369 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6371 s_\markup { "$\\backslash$time 3/4" }
6372 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6374 s_\markup { "$\\backslash$time 9/4" }
6375 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6377 s_\markup { "$\\backslash$time 9/8" }
6378 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6380 s_\markup { "$\\backslash$time 4/8" }
6381 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6383 s_\markup { "$\\backslash$time 2/4" }
6384 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6388 Use the @code{style} property of grob @internalsref{TimeSignature} to
6389 select ancient time signatures. Supported styles are
6390 @code{neomensural} and @code{mensural}. The above table uses the
6391 @code{neomensural} style. This style is appropriate for the
6392 incipit of transcriptions of mensural pieces. The @code{mensural}
6393 style mimics the look of historical printings of the 16th century.
6395 The following examples show the differences in style,
6397 @lilypond[raggedright,fragment,relative=1,quote]
6401 c1^\markup { \hspace #-2.0 \typewriter default }
6403 \override Staff.TimeSignature #'style = #'numbered
6405 c1^\markup { \hspace #-2.0 \typewriter numbered }
6407 \override Staff.TimeSignature #'style = #'mensural
6409 c1^\markup { \hspace #-2.0 \typewriter mensural }
6411 \override Staff.TimeSignature #'style = #'neomensural
6413 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6414 \override Staff.TimeSignature #'style = #'single-digit
6416 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6422 This manual: @ref{Time signature} gives a general introduction to
6423 the use of time signatures.
6427 Ratios of note durations do not change with the time signature. For
6428 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6429 be made by hand, by setting
6432 breveTP = #(ly:make-duration -1 0 3 2)
6438 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6440 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6441 addressable with @code{\time}. Use a @code{\markup} instead
6443 @node Ancient articulations
6444 @subsection Ancient articulations
6446 @cindex articulations
6448 In addition to the standard articulation signs described in section
6449 @ref{Articulations}, articulation signs for ancient notation are
6450 provided. These are specifically designed for use with notation in
6451 Editio Vaticana style.
6453 @lilypond[quote,raggedright,verbatim]
6454 \include "gregorian-init.ly"
6456 \context VaticanaVoice {
6457 \override TextScript #'font-family = #'typewriter
6458 \override TextScript #'font-shape = #'upright
6459 \override Script #'padding = #-0.1
6461 a4\circulus_"circulus" s1
6462 a4\semicirculus_"semicirculus" s1 s
6463 a4\accentus_"accentus" s1
6464 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6471 Some articulations are vertically placed too closely to the
6472 correpsonding note heads.
6475 @subsection Custodes
6480 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6481 symbol that appears at the end of a staff. It anticipates the pitch
6482 of the first note(s) of the following line thus helping the performer
6483 to manage line breaks during performance.
6485 Custodes were frequently used in music notation until the 17th
6486 century. Nowadays, they have survived only in a few particular forms
6487 of musical notation such as contemporary editions of Gregorian chant
6488 like the @emph{editio vaticana}. There are different custos glyphs
6489 used in different flavors of notational style.
6491 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6492 @internalsref{Staff} context when declaring the @code{\layout} block,
6493 as shown in the following example
6499 \consists Custos_engraver
6500 Custos \override #'style = #'mensural
6505 The result looks like this
6507 @lilypond[quote,raggedright]
6511 \override Staff.Custos #'style = #'mensural
6516 \context { \Staff \consists Custos_engraver }
6521 The custos glyph is selected by the @code{style} property. The styles
6522 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
6523 @code{mensural}. They are demonstrated in the following fragment
6525 @lilypond[quote,raggedright,fragment]
6526 \new Lyrics \lyricmode {
6528 \typewriter "vaticana"
6529 \line { " " \musicglyph #"custodes-vaticana-u0" }
6532 \typewriter "medicaea"
6533 \line { " " \musicglyph #"custodes-medicaea-u0" }
6536 \typewriter "hufnagel"
6537 \line { " " \musicglyph #"custodes-hufnagel-u0" }
6540 \typewriter "mensural"
6541 \line { " " \musicglyph #"custodes-mensural-u0" }
6548 Program reference: @internalsref{Custos}.
6550 Examples: @inputfileref{input/@/regression,custos@/.ly}.
6554 @subsection Divisiones
6560 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6561 `division') is a staff context symbol that is used to structure
6562 Gregorian music into phrases and sections. The musical meaning of
6563 @emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
6564 can be characterized as short, medium, and long pause, somewhat like
6565 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6566 only marks the end of a chant, but is also frequently used within a
6567 single antiphonal/responsorial chant to mark the end of each section.
6570 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
6571 contains definitions that you can apply by just inserting
6572 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6573 and @code{\finalis} at proper places in the input. Some editions use
6574 @emph{virgula} or @emph{caesura} instead of divisio minima.
6575 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
6578 @lilypondfile[quote,raggedright]{divisiones.ly}
6582 @cindex @code{\virgula}
6584 @cindex @code{\caesura}
6586 @cindex @code{\divisioMinima}
6587 @code{\divisioMinima},
6588 @cindex @code{\divisioMaior}
6589 @code{\divisioMaior},
6590 @cindex @code{\divisioMaxima}
6591 @code{\divisioMaxima},
6592 @cindex @code{\finalis}
6597 In this manual: @ref{Breath marks}.
6599 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6601 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
6604 @subsection Ligatures
6608 @c TODO: Should double check if I recalled things correctly when I wrote
6609 @c down the following paragraph by heart.
6611 A ligature is a graphical symbol that represents at least two distinct
6612 notes. Ligatures originally appeared in the manuscripts of Gregorian
6613 chant notation to denote ascending or descending sequences of notes.
6615 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6616 Some ligature styles may need additional input syntax specific for
6617 this particular type of ligature. By default, the
6618 @internalsref{LigatureBracket} engraver just puts a square bracket
6621 @lilypond[quote,raggedright,verbatim]
6629 To select a specific style of ligatures, a proper ligature engraver
6630 has to be added to the @internalsref{Voice} context, as explained in
6631 the following subsections. Only white mensural ligatures
6632 are supported with certain limitations.
6638 Ligatures need special spacing that has not yet been implemented. As
6639 a result, there is too much space between ligatures most of the time,
6640 and line breaking often is unsatisfactory. Also, lyrics do not
6641 correctly align with ligatures.
6643 Accidentals must not be printed within a ligature, but instead need to
6644 be collected and printed in front of it.
6646 Augmentum dots within ligatures are not handled correctly.
6650 * White mensural ligatures::
6651 * Gregorian square neumes ligatures::
6654 @node White mensural ligatures
6655 @subsubsection White mensural ligatures
6657 @cindex Mensural ligatures
6658 @cindex White mensural ligatures
6660 There is limited support for white mensural ligatures.
6662 To engrave white mensural ligatures, in the layout block put the
6663 @internalsref{Mensural_ligature_engraver} into the
6664 @internalsref{Voice} context, and remove the
6665 @internalsref{Ligature_bracket_engraver}, like this
6671 \remove Ligature_bracket_engraver
6672 \consists Mensural_ligature_engraver
6677 There is no additional input language to describe the shape of a
6678 white mensural ligature. The shape is rather determined solely from
6679 the pitch and duration of the enclosed notes. While this approach may
6680 take a new user a while to get accustomed to, it has the great advantage
6681 that the full musical information of the ligature is known internally.
6682 This is not only required for correct MIDI output, but also allows for
6683 automatic transcription of the ligatures.
6688 \set Score.timing = ##f
6689 \set Score.defaultBarType = "empty"
6690 \override NoteHead #'style = #'neomensural
6691 \override Staff.TimeSignature #'style = #'neomensural
6693 \[ g\longa c\breve a\breve f\breve d'\longa \]
6695 \[ e1 f1 a\breve g\longa \]
6697 @lilypond[quote,raggedright]
6700 \set Score.timing = ##f
6701 \set Score.defaultBarType = "empty"
6702 \override NoteHead #'style = #'neomensural
6703 \override Staff.TimeSignature #'style = #'neomensural
6705 \[ g\longa c\breve a\breve f\breve d'\longa \]
6707 \[ e1 f1 a\breve g\longa \]
6712 \remove Ligature_bracket_engraver
6713 \consists Mensural_ligature_engraver
6719 Without replacing @internalsref{Ligature_bracket_engraver} with
6720 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6723 @lilypond[quote,raggedright]
6725 \set Score.timing = ##f
6726 \set Score.defaultBarType = "empty"
6727 \override NoteHead #'style = #'neomensural
6728 \override Staff.TimeSignature #'style = #'neomensural
6730 \[ g\longa c\breve a\breve f\breve d'\longa \]
6732 \[ e1 f1 a\breve g\longa \]
6738 The implementation is experimental. It may output strange warnings,
6739 incorrect results, and might even crash on more complex ligatures.
6741 @node Gregorian square neumes ligatures
6742 @subsubsection Gregorian square neumes ligatures
6744 @cindex Square neumes ligatures
6745 @cindex Gregorian square neumes ligatures
6747 There is limited support for Gregorian square neumes notation
6748 (following the style of the Editio Vaticana). Core ligatures can
6749 already be typeset, but essential issues for serious typesetting are
6750 still lacking, such as (among others) horizontal alignment of multiple
6751 ligatures, lyrics alignment and proper handling of accidentals.
6754 The following table contains the extended neumes table of the 2nd
6755 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6756 1983 by the monks of Solesmes.
6758 @multitable @columnfractions .4 .2 .2 .2
6775 @c TODO: \layout block is identical in all of the below examples.
6776 @c Therefore, it should somehow be included rather than duplicated all
6779 @c why not make identifiers in ly/engraver-init.ly? --hwn
6781 @c Because it's just used to typeset plain notes without
6782 @c a staff for demonstration purposes rather than something
6783 @c special of Gregorian chant notation. --jr
6788 @lilypond[staffsize=26,linewidth=1.5\cm]
6789 \include "gregorian-init.ly"
6794 \noBreak s^\markup {"a"} \noBreak
6796 % Punctum Inclinatum
6798 \noBreak s^\markup {"b"}
6800 \layout { \neumeDemoLayout }}
6803 @lilypond[staffsize=26,linewidth=2.5\cm]
6804 \include "gregorian-init.ly"
6807 % Punctum Auctum Ascendens
6808 \[ \auctum \ascendens b \]
6809 \noBreak s^\markup {"c"} \noBreak
6811 % Punctum Auctum Descendens
6812 \[ \auctum \descendens b \]
6813 \noBreak s^\markup {"d"} \noBreak
6815 % Punctum Inclinatum Auctum
6816 \[ \inclinatum \auctum b \]
6817 \noBreak s^\markup {"e"}
6819 \layout { \neumeDemoLayout }}
6822 @lilypond[staffsize=26,linewidth=1.0\cm]
6823 \include "gregorian-init.ly"
6826 % Punctum Inclinatum Parvum
6827 \[ \inclinatum \deminutum b \]
6828 \noBreak s^\markup {"f"}
6830 \layout { \neumeDemoLayout }}
6836 @lilypond[staffsize=26,linewidth=1.0\cm]
6837 \include "gregorian-init.ly"
6842 \noBreak s^\markup {"g"}
6844 \layout { \neumeDemoLayout }}
6850 @code{3. Apostropha vel Stropha}
6852 @lilypond[staffsize=26,linewidth=1.0\cm]
6853 \include "gregorian-init.ly"
6858 \noBreak s^\markup {"h"}
6860 \layout { \neumeDemoLayout }}
6863 @lilypond[staffsize=26,linewidth=1.0\cm]
6864 \include "gregorian-init.ly"
6868 \[ \stropha \auctum b \]
6869 \noBreak s^\markup {"i"}
6871 \layout { \neumeDemoLayout }}
6878 @lilypond[staffsize=26,linewidth=1.0\cm]
6879 \include "gregorian-init.ly"
6884 \noBreak s^\markup {"j"}
6886 \layout { \neumeDemoLayout }}
6892 @code{5. Clivis vel Flexa}
6894 @lilypond[staffsize=26,linewidth=1.0\cm]
6895 \include "gregorian-init.ly"
6902 \layout { \neumeDemoLayout }}
6905 @lilypond[staffsize=26,linewidth=2.0\cm]
6906 \include "gregorian-init.ly"
6909 % Clivis Aucta Descendens
6910 \[ b \flexa \auctum \descendens g \]
6911 \noBreak s^\markup {"l"} \noBreak
6913 % Clivis Aucta Ascendens
6914 \[ b \flexa \auctum \ascendens g \]
6915 \noBreak s^\markup {"m"}
6917 \layout { \neumeDemoLayout }}
6920 @lilypond[staffsize=26,linewidth=1.0\cm]
6921 \include "gregorian-init.ly"
6925 \[ b \flexa \deminutum g \]
6928 \layout { \neumeDemoLayout }}
6932 @code{6. Podatus vel Pes}
6934 @lilypond[staffsize=26,linewidth=1.0\cm]
6935 \include "gregorian-init.ly"
6942 \layout { \neumeDemoLayout }}
6945 @lilypond[staffsize=26,linewidth=2.0\cm]
6946 \include "gregorian-init.ly"
6949 % Pes Auctus Descendens
6950 \[ g \pes \auctum \descendens b \]
6951 \noBreak s^\markup {"p"} \noBreak
6953 % Pes Auctus Ascendens
6954 \[ g \pes \auctum \ascendens b \]
6955 \noBreak s^\markup {"q"}
6957 \layout { \neumeDemoLayout }}
6960 @lilypond[staffsize=26,linewidth=1.0\cm]
6961 \include "gregorian-init.ly"
6965 \[ g \pes \deminutum b \]
6968 \layout { \neumeDemoLayout }}
6972 @code{7. Pes Quassus}
6974 @lilypond[staffsize=26,linewidth=1.0\cm]
6975 \include "gregorian-init.ly"
6979 \[ \oriscus g \pes \virga b \]
6982 \layout { \neumeDemoLayout }}
6985 @lilypond[staffsize=26,linewidth=1.0\cm]
6986 \include "gregorian-init.ly"
6989 % Pes Quassus Auctus Descendens
6990 \[ \oriscus g \pes \auctum \descendens b \]
6993 \layout { \neumeDemoLayout }}
6998 @code{8. Quilisma Pes}
7000 @lilypond[staffsize=26,linewidth=1.0\cm]
7001 \include "gregorian-init.ly"
7005 \[ \quilisma g \pes b \]
7008 \layout { \neumeDemoLayout }}
7011 @lilypond[staffsize=26,linewidth=1.0\cm]
7012 \include "gregorian-init.ly"
7015 % Quilisma Pes Auctus Descendens
7016 \[ \quilisma g \pes \auctum \descendens b \]
7019 \layout { \neumeDemoLayout }}
7024 @code{9. Podatus Initio Debilis}
7026 @lilypond[staffsize=26,linewidth=1.0\cm]
7027 \include "gregorian-init.ly"
7030 % Pes Initio Debilis
7031 \[ \deminutum g \pes b \]
7034 \layout { \neumeDemoLayout }}
7037 @lilypond[staffsize=26,linewidth=1.0\cm]
7038 \include "gregorian-init.ly"
7041 % Pes Auctus Descendens Initio Debilis
7042 \[ \deminutum g \pes \auctum \descendens b \]
7045 \layout { \neumeDemoLayout }}
7052 @lilypond[staffsize=26,linewidth=1.0\cm]
7053 \include "gregorian-init.ly"
7057 \[ a \pes b \flexa g \]
7060 \layout { \neumeDemoLayout }}
7063 @lilypond[staffsize=26,linewidth=1.0\cm]
7064 \include "gregorian-init.ly"
7067 % Torculus Auctus Descendens
7068 \[ a \pes b \flexa \auctum \descendens g \]
7071 \layout { \neumeDemoLayout }}
7074 @lilypond[staffsize=26,linewidth=1.0\cm]
7075 \include "gregorian-init.ly"
7078 % Torculus Deminutus
7079 \[ a \pes b \flexa \deminutum g \]
7082 \layout { \neumeDemoLayout }}
7086 @code{11. Torculus Initio Debilis}
7088 @lilypond[staffsize=26,linewidth=1.0\cm]
7089 \include "gregorian-init.ly"
7092 % Torculus Initio Debilis
7093 \[ \deminutum a \pes b \flexa g \]
7096 \layout { \neumeDemoLayout }}
7099 @lilypond[staffsize=26,linewidth=1.0\cm]
7100 \include "gregorian-init.ly"
7103 % Torculus Auctus Descendens Initio Debilis
7104 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
7107 \layout { \neumeDemoLayout }}
7110 @lilypond[staffsize=26,linewidth=1.0\cm]
7111 \include "gregorian-init.ly"
7114 % Torculus Deminutus Initio Debilis
7115 \[ \deminutum a \pes b \flexa \deminutum g \]
7118 \layout { \neumeDemoLayout }}
7122 @code{12. Porrectus}
7124 @lilypond[staffsize=26,linewidth=1.0\cm]
7125 \include "gregorian-init.ly"
7129 \[ a \flexa g \pes b \]
7132 \layout { \neumeDemoLayout }}
7135 @lilypond[staffsize=26,linewidth=1.0\cm]
7136 \include "gregorian-init.ly"
7139 % Porrectus Auctus Descendens
7140 \[ a \flexa g \pes \auctum \descendens b \]
7143 \layout { \neumeDemoLayout }}
7146 @lilypond[staffsize=26,linewidth=1.0\cm]
7147 \include "gregorian-init.ly"
7150 % Porrectus Deminutus
7151 \[ a \flexa g \pes \deminutum b \]
7154 \layout { \neumeDemoLayout }}
7160 @lilypond[staffsize=26,linewidth=1.0\cm]
7161 \include "gregorian-init.ly"
7165 \[ \virga b \inclinatum a \inclinatum g \]
7168 \layout { \neumeDemoLayout }
7172 @lilypond[staffsize=26,linewidth=1.0\cm]
7173 \include "gregorian-init.ly"
7177 \[ \virga b \inclinatum a \inclinatum \auctum g \]
7180 \layout { \neumeDemoLayout }}
7183 @lilypond[staffsize=26,linewidth=1.0\cm]
7184 \include "gregorian-init.ly"
7187 % Climacus Deminutus
7188 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7191 \layout { \neumeDemoLayout }}
7195 @code{14. Scandicus}
7197 @lilypond[staffsize=26,linewidth=1.0\cm]
7198 \include "gregorian-init.ly"
7202 \[ g \pes a \virga b \]
7205 \layout { \neumeDemoLayout }}
7208 @lilypond[staffsize=26,linewidth=1.0\cm]
7209 \include "gregorian-init.ly"
7212 % Scandicus Auctus Descendens
7213 \[ g \pes a \pes \auctum \descendens b \]
7216 \layout { \neumeDemoLayout }}
7219 @lilypond[staffsize=26,linewidth=1.0\cm]
7220 \include "gregorian-init.ly"
7223 % Scandicus Deminutus
7224 \[ g \pes a \pes \deminutum b \]
7227 \layout { \neumeDemoLayout }}
7233 @lilypond[staffsize=26,linewidth=1.0\cm]
7234 \include "gregorian-init.ly"
7238 \[ g \oriscus a \pes \virga b \]
7241 \layout { \neumeDemoLayout }}
7244 @lilypond[staffsize=26,linewidth=1.0\cm]
7245 \include "gregorian-init.ly"
7248 % Salicus Auctus Descendens
7249 \[ g \oriscus a \pes \auctum \descendens b \]
7252 \layout { \neumeDemoLayout }}
7259 @lilypond[staffsize=26,linewidth=1.0\cm]
7260 \include "gregorian-init.ly"
7264 \[ \stropha b \stropha b \stropha a \]
7267 \layout { \neumeDemoLayout }
7276 Unlike most other neumes notation systems, the input language for
7277 neumes does not reflect the typographical appearance, but is designed
7278 to focus on musical meaning. For example, @code{\[ a \pes b
7279 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7280 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7281 curved flexa shape and only a single Punctum head. There is no
7282 command to explicitly typeset the curved flexa shape; the decision of
7283 when to typeset a curved flexa shape is based on the musical
7284 input. The idea of this approach is to separate the musical aspects
7285 of the input from the notation style of the output. This way, the
7286 same input can be reused to typeset the same music in a different
7287 style of Gregorian chant notation.
7289 The following table shows the code fragments that produce the
7290 ligatures in the above neumes table. The letter in the first column
7291 in each line of the below table indicates to which ligature in the
7292 above table it refers. The second column gives the name of the
7293 ligature. The third column shows the code fragment that produces this
7294 ligature, using @code{g}, @code{a}, and @code{b} as example pitches.
7296 @multitable @columnfractions .02 .31 .67
7316 @code{\[ \inclinatum b \]}
7324 @code{\[ \auctum \ascendens b \]}
7332 @code{\[ \auctum \descendens b \]}
7337 Punctum Inclinatum@*
7340 @code{\[ \inclinatum \auctum b \]}
7345 Punctum Inclinatum@*
7347 @code{\[ \inclinatum \deminutum b \]}
7354 @code{\[ \virga b \]}
7361 @code{\[ \stropha b \]}
7368 @code{\[ \stropha \auctum b \]}
7375 @code{\[ \oriscus b \]}
7382 @code{\[ b \flexa g \]}
7390 @code{\[ b \flexa \auctum \descendens g \]}
7398 @code{\[ b \flexa \auctum \ascendens g \]}
7405 @code{\[ b \flexa \deminutum g \]}
7412 @code{\[ g \pes b \]}
7420 @code{\[ g \pes \auctum \descendens b \]}
7428 @code{\[ g \pes \auctum \ascendens b \]}
7435 @code{\[ g \pes \deminutum b \]}
7442 @code{\[ \oriscus g \pes \virga b \]}
7448 Auctus Descendens @tab
7449 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7456 @code{\[ \quilisma g \pes b \]}
7464 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7471 @code{\[ \deminutum g \pes b \]}
7476 Pes Auctus Descendens@*
7479 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7486 @code{\[ a \pes b \flexa g \]}
7494 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7501 @code{\[ a \pes b \flexa \deminutum g \]}
7506 Torculus Initio Debilis
7508 @code{\[ \deminutum a \pes b \flexa g \]}
7514 Descendens Initio Debilis
7516 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7521 Torculus Deminutus@*
7524 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7531 @code{\[ a \flexa g \pes b \]}
7539 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7546 @code{\[ a \flexa g \pes \deminutum b \]}
7553 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7560 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7567 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7574 @code{\[ g \pes a \virga b \]}
7582 @code{\[ g \pes a \pes \auctum \descendens b \]}
7589 @code{\[ g \pes a \pes \deminutum b \]}
7596 @code{\[ g \oriscus a \pes \virga b \]}
7601 Salicus Auctus Descendens
7603 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7610 @code{\[ \stropha b \stropha b \stropha a \]}
7615 The following head prefixes are supported
7617 @cindex @code{\virga}
7619 @cindex @code{\stropha}
7621 @cindex @code{\inclinatum}
7623 @cindex @code{\auctum}
7625 @cindex @code{\descendens}
7627 @cindex @code{\ascendens}
7629 @cindex @code{\oriscus}
7631 @cindex @code{\quilisma}
7633 @cindex @code{\deminutum}
7636 Head prefixes can be accumulated, though restrictions apply. For
7637 example, either @code{\descendens} or @code{\ascendens} can be applied
7638 to a head, but not both to the same head.
7641 @cindex @code{\flexa}
7642 Two adjacent heads can be tied together with the @code{\pes} and
7643 @code{\flexa} infix commands for a rising and falling line of melody,
7648 @node Gregorian Chant contexts
7649 @subsection Gregorian Chant contexts
7651 @cindex VaticanaVoiceContext
7652 @cindex VaticanaStaffContext
7654 The predefined @code{VaticanaVoiceContext} and
7655 @code{VaticanaStaffContext} can be used to engrave a piece of
7656 Gregorian Chant in the style of the Editio Vaticana. These contexts
7657 initialize all relevant context properties and grob properties to
7658 proper values, so you can immediately go ahead entering the chant, as
7659 the following excerpt demonstrates
7661 @lilypond[quote,raggedright,verbatim]
7662 \include "gregorian-init.ly"
7665 \context VaticanaVoice = "cantus" {
7666 \override Score.BarNumber #'transparent = ##t {
7667 \[ c'\melisma c' \flexa a \]
7668 \[ a \flexa \deminutum g\melismaEnd \]
7670 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7671 c' \divisioMinima \break
7672 \[ c'\melisma c' \flexa a \]
7673 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7676 \lyricsto "cantus" \new Lyrics {
7677 San- ctus, San- ctus, San- ctus
7684 @node Mensural contexts
7685 @subsection Mensural contexts
7687 @cindex MensuralVoiceContext
7688 @cindex MensuralStaffContext
7690 The predefined @code{MensuralVoiceContext} and
7691 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7692 style. These contexts initialize all relevant context properties and
7693 grob properties to proper values, so you can immediately go ahead
7694 entering the chant, as the following excerpt demonstrates
7696 @lilypond[quote,raggedright,verbatim]
7699 \context MensuralVoice = "discantus" \transpose c c' {
7700 \override Score.BarNumber #'transparent = ##t {
7701 c'1\melisma bes a g\melismaEnd
7703 \[ f1\melisma a c'\breve d'\melismaEnd \]
7705 c'\breve\melisma a1 g1\melismaEnd
7706 fis\longa^\signumcongruentiae
7709 \lyricsto "discantus" \new Lyrics {
7710 San -- ctus, San -- ctus, San -- ctus
7718 @subsection Figured bass
7720 @cindex Basso continuo
7722 @c TODO: musicological blurb about FB
7725 LilyPond has limited support for figured bass
7727 @lilypond[quote,raggedright,verbatim,fragment]
7729 \context Voice { \clef bass dis4 c d ais g fis}
7730 \context FiguredBass \figuremode {
7731 < 6 >4 < 7 >8 < 6+ [_!] >
7738 The support for figured bass consists of two parts: there is an input
7739 mode, introduced by @code{\figuremode}, where you can enter bass figures
7740 as numbers, and there is a context called @internalsref{FiguredBass} that
7741 takes care of making @internalsref{BassFigure} objects.
7743 In figures input mode, a group of bass figures is delimited by
7744 @code{<} and @code{>}. The duration is entered after the @code{>}
7748 @lilypond[quote,raggedright,fragment]
7749 \context FiguredBass
7750 \figuremode { <4 6> }
7753 Accidentals are added when you append @code{-}, @code{!}, and @code{+}
7759 @lilypond[quote,raggedright,fragment]
7760 \context FiguredBass
7761 \figuremode { <4- 6+ 7!> }
7764 Spaces or dashes may be inserted by using @code{_}. Brackets are
7765 introduced with @code{[} and @code{]}
7770 @lilypond[quote,raggedright,fragment]
7771 \context FiguredBass
7772 \figuremode { < [4 6] 8 [_! 12] > }
7775 Although the support for figured bass may superficially resemble chord
7776 support, it works much simpler. The @code{\figuremode} mode simply
7777 stores the numbers and @internalsref{FiguredBass} context prints
7778 them as entered. There is no conversion to pitches and no
7779 realizations of the bass are played in the MIDI file.
7781 Internally, the code produces markup texts. You can use any of the
7782 markup text properties to override formatting. For example, the
7783 vertical spacing of the figures may be set with @code{baseline-skip}.
7787 Program reference: @internalsref{BassFigureEvent} music,
7788 @internalsref{BassFigure} object, and @internalsref{FiguredBass} context.
7792 Slash notation for alterations is not supported.
7794 @node Contemporary notation
7795 @section Contemporary notation
7797 In the 20th century, composers have greatly expanded the musical
7798 vocabulary. With this expansion, many innovations in musical notation
7799 have been tried. The book ``Music Notation in the 20th century'' by
7800 Kurt Stone gives a comprehensive overview (see @ref{Literature
7801 list}). In general, the use of new, innovative notation makes a piece
7802 harder to understand and perform and its use should therefore be
7803 avoided. For this reason, support for contemporary notation in
7804 LilyPond is limited.
7808 * Polymetric notation::
7810 * Special fermatas::
7814 @node Polymetric notation
7815 @subsection Polymetric notation
7817 Double time signatures are not supported explicitly, but they can be
7818 faked. In the next example, the markup for the time signature is
7819 created with a markup text. This markup text is inserted in the
7820 @internalsref{TimeSignature} grob.
7822 @lilypond[verbatim,raggedright]
7827 \musicglyph #"scripts-stopped"
7828 \bracket \column { "5" "8" }
7833 \override Staff.TimeSignature #'print-function = #Text_interface::print
7834 \override Staff.TimeSignature #'text = #tsMarkup
7836 c'2 \bar ":" c'4 c'4.
7840 Each staff can also have its own time signature. This is done by
7841 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
7846 \context @{ \Score \remove "Timing_engraver" @}
7847 \context @{ \Staff \consists "Timing_engraver" @}
7852 Now, each staff has its own time signature.
7865 c4. c8 c c c4. c8 c c
7870 @lilypond[quote,raggedright]
7872 \context{ \Score \remove "Timing_engraver" }
7873 \context{ \Staff \consists "Timing_engraver" }
7887 c4. c8 c c c4. c8 c c
7893 A different form of polymetric notation is where note lengths have
7894 different values across staves.
7896 This notation can be created by setting a common time signature for
7897 each staff but replacing it manually using
7898 @code{timeSignatureFraction} to the desired fraction. Then the printed
7899 durations in each staff are scaled to the common time signature.
7900 The latter is done with @code{\compressmusic}, which is similar to
7901 @code{\times}, but does not create a tuplet bracket.
7904 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
7905 used in parallel. In the second staff, shown durations are multiplied by
7906 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7907 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7909 @lilypond[quote,raggedright,verbatim,fragment]
7917 \set Staff.timeSignatureFraction = #'(9 . 8)
7918 \compressmusic #'(2 . 3)
7919 \repeat unfold 6 { c8[ c c] }
7923 \set Staff.timeSignatureFraction = #'(10 . 8)
7924 \compressmusic #'(3 . 5) {
7925 \repeat unfold 2 { c8[ c c] }
7926 \repeat unfold 2 { c8[ c] }
7927 | c4. c4. \times 2/3 { c8 c c } c4
7938 When using different time signatures in parallel, the spacing is
7939 aligned vertically, but bar lines distort the regular spacing.
7944 @subsection Clusters
7948 A cluster indicates a continuous range of pitches to be played. They
7949 can be denoted as the envelope of a set of notes. They are entered by
7950 applying the function @code{makeClusters} to a sequence of
7952 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
7953 \makeClusters { <c e > <b f'> }
7956 The following example (from
7957 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
7960 @lilypondfile[raggedright,quote]{cluster.ly}
7962 Ordinary notes and clusters can be put together in the same staff,
7963 even simultaneously. In such a case no attempt is made to
7964 automatically avoid collisions between ordinary notes and clusters.
7968 Program reference: @internalsref{ClusterSpanner},
7969 @internalsref{ClusterSpannerBeacon},
7970 @internalsref{Cluster_spanner_engraver}, and
7971 @internalsref{ClusterNoteEvent}.
7973 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
7977 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7978 accurately. Use @code{<g a>8 <e a>8} instead.
7982 @node Special fermatas
7983 @subsection Special fermatas
7985 @cindex fermatas, special
7987 In contemporary music notation, special fermata symbols denote breaks
7988 of differing lengths. The following fermatas are supported
7990 @lilypond[quote,raggedright]
8013 \context Lyrics \lyricmode {
8014 \override LyricText #'font-family = #'typewriter
8015 "shortfermata" "fermata" "longfermata" "verylongfermata"
8020 See @ref{Articulations} for general instructions how to apply scripts
8021 such as fermatas to notes.
8023 @node Feathered beams
8024 @subsection Feathered beams
8026 Feathered beams are not supported natively, but they can be faked by
8027 forcing two beams to overlap. Here is an example,
8029 @c don't change relative setting witout changing positions!
8030 @lilypond[raggedright,relative=1,fragment,verbatim]
8035 \once \override Voice.Beam #'positions = #'(0 . 0.5)
8040 \once \override Voice.Beam #'positions = #'(0 . -0.5)
8048 @node Educational use
8049 @section Educational use
8051 With the amount of control that LilyPond offers, one can make great
8052 teaching tools in addition to great musical scores.
8056 * Blank music sheet::
8058 * Shaped note heads ::
8059 * Easy Notation note heads::
8063 @subsection Balloon help
8065 Elements of notation can be marked and named with the help of a square
8066 balloon. The primary purpose of this feature is to explain notation.
8068 The following example demonstrates its use.
8070 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
8073 #(add-balloon-text 'NoteHead "heads, or tails?"
8080 The function @code{add-balloon-text} takes the name of a grob, the
8081 label to print, and the position where to put the label relative to
8082 the object. In the above example, the text ``heads or tails?'' ends
8083 3 spaces below and 1 space to the right of the marked head.
8086 @cindex notation, explaining
8090 Program reference: @internalsref{text-balloon-interface}.
8092 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
8097 @node Blank music sheet
8098 @subsection Blank music sheet
8100 A blank music sheet can be produced also by using invisible notes, and
8101 removing @code{Bar_number_engraver}.
8104 @lilypond[quote,verbatim]
8106 \repeat unfold 2 % Change this for more lines.
8111 \override TimeSignature #'transparent = ##t
8112 defaultBarType = #""
8113 \remove Bar_number_engraver
8115 \context Staff \emptymusic
8116 \context TabStaff \emptymusic
8122 @subsection Hidden notes
8124 @cindex Hidden notes
8125 @cindex Invisible notes
8126 @cindex Transparent notes
8128 Hidden (or invisible or transparent) notes can be useful in preparing theory
8129 or composition exercises.
8131 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
8139 Hidden notes are also great for performing weird tricks. For example,
8140 slurs cannot be attached to rests or spacer rests, but you may wish
8141 to include that in your score -- string instruments use this notation
8142 when doing pizzicato to indicate that the note should ring for as long
8145 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
8148 c4^"pizz"( \hideNotes c)
8149 \unHideNotes c( \hideNotes c)
8156 @node Shaped note heads
8157 @subsection Shaped note heads
8159 In shaped note head notation, the shape of the note head corresponds
8160 to the harmonic function of a note in the scale. This notation was
8161 popular in the 19th century American song books.
8163 Shaped note heads can be produced by setting @code{\aikenHeads} or
8164 @code{\sacredHarpHeads}, depending on the style desired.
8166 @lilypond[verbatim,relative=1,fragment]
8173 Shapes are determined on the step in the scale, where the base of the
8174 scale is determined by the @code{\key} command
8177 @findex shapeNoteStyles
8179 @findex \sacredHarpHeads
8181 Shaped note heads are implemented through the @code{shapeNoteStyles}
8182 property. Its value is a vector of symbols. The k-th element indicates
8183 the style to use for the k-th step of the scale. Arbitrary
8184 combinations are possible, eg.,
8187 @lilypond[verbatim,relative=1,fragment]
8188 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
8193 @node Easy Notation note heads
8194 @subsection Easy Notation note heads
8196 @cindex easy notation
8199 The `easy play' note head includes a note name inside the head. It is
8200 used in music for beginners
8202 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
8207 The command @code{\setEasyHeads} overrides settings for the
8208 @internalsref{NoteHead} object. To make the letters readable, it has
8209 to be printed in a large font size. To print with a larger font, see
8210 @ref{Setting global staff size}.
8214 @cindex @code{\setEasyHeads}
8215 @code{\setEasyHeads}