2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
32 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
66 A note is printed by specifying its pitch and then its duration,
68 @lilypond[quote,verbatim,raggedright]
69 { cis'4 d'8 e'16 c'16 }
77 @cindex Note specification
79 @cindex entering notes
81 The most common syntax for pitch entry is used for standard notes and
82 @code{\chordmode} modes. In these modes, pitches may be designated by
83 names. The notes are specified by the letters @code{a} through
84 @code{g}. The octave is formed with notes ranging from @code{c}
85 to @code{b}. The pitch @code{c} is an octave below middle C and the
86 letters span the octave above that C
88 @lilypond[fragment,verbatim,noindent]
90 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
93 @cindex note names, Dutch
95 A sharp is formed by adding @code{-is} to the end of a pitch name and
96 a flat is formed by adding @code{-es}. Double sharps and double flats
97 are obtained by adding @code{-isis} or @code{-eses}. These
98 names are the Dutch note names. In Dutch, @code{aes} is contracted to
99 @code{as}, but both forms are accepted. Similarly, both
100 @code{es} and @code{ees} are accepted
102 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
110 There are predefined sets of note names for various other languages.
111 To use them, include the language specific init file. For
112 example: @code{\include "english.ly"}. The available language files
113 and the note names they define are
118 Note Names sharp flat
119 nederlands.ly c d e f g a bes b -is -es
120 english.ly c d e f g a bf b -s/-sharp -f/-flat
122 deutsch.ly c d e f g a b h -is -es
123 norsk.ly c d e f g a b h -iss/-is -ess/-es
124 svenska.ly c d e f g a b h -iss -ess
125 italiano.ly do re mi fa sol la sib si -d -b
126 catalan.ly do re mi fa sol la sib si -d/-s -b
127 espanol.ly do re mi fa sol la sib si -s -b
136 The optional octave specification takes the form of a series of
137 single quote (`@code{'}') characters or a series of comma
138 (`@code{,}') characters. Each @code{'} raises the pitch by one
139 octave; each @code{,} lowers the pitch by an octave
141 @lilypond[quote,raggedright,fragment,verbatim]
142 c' c'' es' g' as' gisis' ais'
145 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
147 Notes can be hidden and unhidden with the following commands
149 @cindex @code{\hideNotes}
151 @cindex @code{\unHideNotes}
157 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
161 @node Chromatic alterations
162 @subsection Chromatic alterations
164 Normally accidentals are printed automatically, but you may also
165 print them manually. A reminder accidental
166 @cindex reminder accidental
168 can be forced by adding an exclamation mark @code{!}
169 after the pitch. A cautionary accidental
170 @cindex cautionary accidental
171 @cindex parenthesized accidental
172 (i.e. an accidental within parentheses) can be obtained by adding the
173 question mark `@code{?}' after the pitch.
175 @lilypond[quote,raggedright,fragment,verbatim]
176 cis' cis' cis'! cis'?
182 The automatic production of accidentals can be tuned in many
183 ways. For more information, refer to @ref{Automatic accidentals}.
188 @subsection Micro tones
190 Half-flats and half-sharps are formed by adding @code{-eh} and
191 @code{-ih}; the following is a series of Cs with increasing pitches
193 @cindex quarter tones
194 @cindex semi-flats, semi-sharps
196 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
197 { ceseh ceh cih cisih }
200 Micro tones are also exported to the MIDI file
205 There are no generally accepted standards for denoting three quarter
206 flats, so LilyPond's symbol does not conform to any standard.
211 A chord is formed by a enclosing a set of pitches in @code{<} and
212 @code{>}. A chord may be followed by a duration, and a set of
213 articulations, just like simple notes
215 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
227 Rests are entered like notes, with the note name @code{r}
229 @lilypond[fragment,quote,raggedright,verbatim]
233 Whole bar rests, centered in middle of the bar,
234 must be done with multi-measure rests. They are discussed in
235 @ref{Multi measure rests}.
238 A rest's vertical position may be explicitly specified by entering a
239 note with the @code{\rest} keyword appended. This makes manual
240 formatting in polyphonic music easier. Automatic rest collision
241 formatting will leave these rests alone
243 @lilypond[fragment,quote,raggedright,verbatim]
249 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
256 @cindex Invisible rest
261 An invisible rest (also called a `skip') can be entered like a note
262 with note name `@code{s}' or with @code{\skip @var{duration}}
264 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
265 a4 a4 s4 a4 \skip 1 a4
268 The @code{s} syntax is only available in note mode and chord mode. In
269 other situations, for example, when entering lyrics, you should use
270 the @code{\skip} command
272 @lilypond[quote,raggedright,verbatim]
275 \new Lyrics \lyricmode { \skip 2 bla1 }
279 The skip command is merely an empty musical placeholder. It does not
280 produce any output, not even transparent output.
282 The @code{s} skip command does create @internalsref{Staff} and
283 @internalsref{Voice} when necessary, similar to note and rest
284 commands. For example, the following results in an empty staff.
286 @lilypond[quote,raggedright,verbatim]
290 The fragment @code{@{ \skip 4 @} } would produce an empty page.
294 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
299 @subsection Durations
303 @cindex @code{\longa}
304 @cindex @code{\breve}
305 @cindex @code{\maxima}
308 In Note, Chord, and Lyrics mode, durations are designated by numbers
309 and dots: durations are entered as their reciprocal values. For example,
310 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
311 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
312 longer than a whole you must use variables
316 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
318 r1 r2 r4 r8 r16 r32 r64 r64
321 @lilypond[quote,noindent]
324 a\breve*1/2 \autoBeamOff
325 a1 a2 a4 a8 a16 a32 a64 a64
328 r\longa*1/4 r\breve *1/2
329 r1 r2 r4 r8 r16 r32 r64 r64
335 \remove "Clef_engraver"
336 \override StaffSymbol #'transparent = ##t
337 \override TimeSignature #'transparent = ##t
338 \override BarLine #'transparent = ##t
339 \consists "Pitch_squash_engraver"
345 If the duration is omitted then it is set to the previously entered
346 duration. The default for the first note is a quarter note.
348 @lilypond[quote,raggedright,verbatim,fragment]
356 @node Augmentation dots
357 @subsection Augmentation dots
360 To obtain dotted note lenghts, simply add a dot (`@code{.}') to
361 the number. Double-dotted notes are produced in a similar way.
363 @lilypond[quote,raggedright,fragment,verbatim]
364 a'4 b' c''4. b'8 a'4. b'4.. c''8.
369 Dots are normally moved up to avoid staff lines, except in polyphonic
370 situations. The following commands may be used to force a particular
373 @cindex @code{\dotsUp}
375 @cindex @code{\dotsDown}
377 @cindex @code{\dotsNeutral}
382 Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
384 @node Scaling durations
385 @subsection Scaling durations
387 You can alter the length of duration by a fraction @var{N/M}
388 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
389 will not affect the appearance of the notes or rests produced.
391 In the following example, the first three notes take up exactly two
392 beats, but no triplet bracket is printed.
393 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
395 a4*2/3 gis4*2/3 a4*2/3
403 This manual: @ref{Tuplets}
406 @c TODO: I'm not certain that Stems belong here in the manual. -gp
410 Whenever a note is found, a @internalsref{Stem} object is created
411 automatically. For whole notes and rests, they are also created but
416 @cindex @code{\stemUp}
418 @cindex @code{\stemDown}
420 @cindex @code{\stemNeutral}
431 A tie connects two adjacent note heads of the same pitch. The tie in
432 effect extends the length of a note. Ties should not be confused with
433 slurs, which indicate articulation, or phrasing slurs, which indicate
434 musical phrasing. A tie is entered using the tilde symbol `@code{~}'
436 @lilypond[quote,raggedright,fragment,verbatim]
437 e' ~ e' <c' e' g'> ~ <c' e' g'>
440 When a tie is applied to a chord, all note heads whose pitches match
441 are connected. When no note heads match, no ties will be created.
443 A tie is just a way of extending a note duration, similar to the
444 augmentation dot. The following example shows two ways of notating
445 exactly the same concept
447 @lilypond[quote,fragment,raggedright]
448 \time 3/4 c'2. c'2 ~ c'4
452 Ties are used either when the note crosses a bar line, or when dots
453 cannot be used to denote the rhythm. When using ties, larger note
454 values should be aligned to subdivisions of the measure, eg.
456 @lilypond[fragment,quote,raggedright]
458 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
462 If you need to tie a lot of notes over bars, it may be easier to use
463 automatic note splitting (see @ref{Automatic note splitting}). This
464 mechanism automatically splits long notes, and ties them across bar
470 @cindex @code{\tieUp}
472 @cindex @code{\tieDown}
474 @cindex @code{\tieNeutral}
476 @cindex @code{\tieDotted}
478 @cindex @code{\tieSolid}
483 In this manual: @ref{Automatic note splitting}.
485 Program reference: @internalsref{TieEvent}, @internalsref{Tie}.
490 Switching staves when a tie is active will not produce a slanted tie.
492 Formatting of ties is a difficult subject. The results are often not
500 @cindex @code{\times}
502 Tuplets are made out of a music expression by multiplying all durations
505 @cindex @code{\times}
507 \times @var{fraction} @var{musicexpr}
511 The duration of @var{musicexpr} will be multiplied by the fraction.
512 The fraction's denominator will be printed over the notes, optionally
513 with a bracket. The most common tuplet is the triplet in which 3
514 notes have the length of 2, so the notes are 2/3 of their written
517 @lilypond[quote,raggedright,fragment,verbatim]
518 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
521 The property @code{tupletSpannerDuration} specifies how long each
522 bracket should last. With this, you can make lots of tuplets while
523 typing @code{\times} only once, thus saving lots of typing. In the next
524 example, there are two triplets shown, while @code{\times} was only
527 @lilypond[quote,fragment,relative=1,raggedright,verbatim]
528 \set tupletSpannerDuration = #(ly:make-moment 1 4)
529 \times 2/3 { c'8 c c c c c }
532 The format of the number is determined by the property
533 @code{tupletNumberFormatFunction}. The default prints only the
534 denominator, but if it is set to the Scheme function
535 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
539 @cindex @code{tupletNumberFormatFunction}
540 @cindex tuplet formatting
545 @cindex @code{\tupletUp}
547 @cindex @code{\tupletDown}
549 @cindex @code{\tupletNeutral}
550 @code{\tupletNeutral}.
554 User manual: @ref{Changing context properties on the fly} for the
558 Program reference: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
560 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
564 Nested tuplets are not formatted automatically. In this case, outer
565 tuplet brackets should be moved manually, which is demonstrated in
566 @inputfileref{input/regression,tuplet-nest.ly}.
570 @node Easier music entry
571 @section Easier music entry
574 This section deals with tricks and features of the input language that
575 were added solely to help entering music and finding and correcting
576 mistakes. There are also external tools that make debugging easier.
577 See @ref{Point and click} for more information.
579 It is also possible to enter and edit music using other programs, such as
580 GUI interfaces or MIDI sequencers. Refer to the LilyPond
581 website for more information.
588 * Skipping corrected music::
589 * Automatic note splitting::
595 @node Relative octaves
596 @subsection Relative octaves
598 @cindex relative octave specification
600 Octaves are specified by adding @code{'} and @code{,} to pitch names.
601 When you copy existing music, it is easy to accidentally put a pitch
602 in the wrong octave and hard to find such an error. The relative
603 octave mode prevents these errors by making the mistakes much
604 larger: a single error puts the rest of the piece off by one octave
606 @cindex @code{\relative}
608 \relative @var{startpitch} @var{musicexpr}
612 \relative @var{musicexpr}
615 The octave of notes that appear in @var{musicexpr} are calculated as
616 follows: if no octave changing marks are used, the basic interval
617 between this and the last note is always taken to be a fourth or
618 less. This distance is determined without regarding alterations; a
619 @code{fisis} following a @code{ceses} will be put above the
620 @code{ceses}. In other words, a doubly-augmented fourth is considered
621 a smaller interval than a diminshed fifth, even though the fourth is
622 seven semitones while the fifth is only six semitones.
624 The octave changing marks @code{'} and @code{,} can be added to raise
625 or lower the pitch by an extra octave. Upon entering relative mode,
626 an absolute starting pitch can be specified that will act as the
627 predecessor of the first note of @var{musicexpr}. If no starting pitch
628 is specified, then middle C is used as a start.
630 Here is the relative mode shown in action
631 @lilypond[quote,fragment,raggedright,verbatim]
637 Octave changing marks are used for intervals greater than a fourth
638 @lilypond[quote,raggedright,fragment,verbatim]
644 If the preceding item is a chord, the first note of the chord is used
645 to determine the first note of the next chord
647 @lilypond[quote,raggedright,fragment,verbatim]
655 The pitch after the @code{\relative} contains a note name.
658 The relative conversion will not affect @code{\transpose},
659 @code{\chordmode} or @code{\relative} sections in its argument. To use
660 relative within transposed music, an additional @code{\relative} must
661 be placed inside @code{\transpose}.
664 @subsection Octave check
667 Octave checks make octave errors easier to correct: a note may be
668 followed by @code{=}@var{quotes} which indicates what its absolute
669 octave should be. In the following example,
671 \relative c'' @{ c='' b=' d,='' @}
675 @c take care with @code, adds confusing quotes.
676 the @code{d} will generate a warning, because a @code{d''} is expected
677 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
678 found. In the output, the octave is corrected to be a @code{d''} and
679 the next note is calculated relative to @code{d''} instead of @code{d'}.
683 There is also a syntax that is separate from the notes. The syntax
689 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
690 quotes) in \relative mode. If not, a warning is printed, and the
693 In the example below, the first check passes without incident, since
694 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
695 the second check produces a warning, since the @code{e} is not within
696 a fifth of @code{b'}. The warning message is printed, and the octave
697 is adjusted so that the following notes are in the correct octave
709 The octave of a note following an octave check is determined with
710 respect to the note preceding it. In the next fragment, the last note
711 is a @code{a'}, above middle C. That means that the @code{\octave}
712 check passes successfully, so the check could be deleted without changing
713 the output of the piece.
715 @lilypond[quote,raggedright,verbatim,fragment]
724 @subsection Bar check
728 @cindex @code{barCheckSynchronize}
731 Bar checks help detect errors in the durations. A bar check is
732 entered using the bar symbol, `@code{|}'. Whenever it is encountered
733 during interpretation, it should fall on a measure boundary. If it
734 does not, a warning is printed. In the next example, the second bar
735 check will signal an error
737 \time 3/4 c2 e4 | g2 |
740 Bar checks can also be used in lyrics, for example
745 Twin -- kle | Twin -- kle
750 @cindex @code{skipTypesetting}
752 Failed bar checks are caused by entering incorrect
753 durations. Incorrect durations often completely garble up the score,
754 especially if the score is polyphonic, so a good place to start correcting
755 input is by scanning for failed bar checks and incorrect durations. To
756 speed up this process, the @code{skipTypesetting} feature may be
757 used. It is described in the next section.
760 @cindex @code{pipeSymbol}
762 It is also possible to redefine the meaning of @code{|}. This is done
763 by assigning a music expression to @code{pipeSymbol},
765 @lilypond[quote,raggedright,verbatim]
766 pipeSymbol = \bar "||"
772 @node Skipping corrected music
773 @subsection Skipping corrected music
775 The property @code{Score.skipTypesetting} can be used to switch on and
776 off typesetting completely during the interpretation phase. When
777 typesetting is switched off, the music is processed much more
778 quickly. This can be used to skip over the parts of a score that
779 have already been checked for errors
781 @lilypond[quote,fragment,raggedright,verbatim]
784 \set Score.skipTypesetting = ##t
786 \set Score.skipTypesetting = ##f
790 In polyphonic music, @code{Score.skipTypesetting} will affect all
791 voices and staves, saving even more time.
793 @node Automatic note splitting
794 @subsection Automatic note splitting
796 Long notes can be converted automatically to tied notes. This is done
797 by replacing the @internalsref{Note_heads_engraver} by the
798 @internalsref{Completion_heads_engraver}.
799 In the following examples, notes crossing the bar line are split and tied.
802 @lilypond[quote,fragment,verbatim,relative=1,raggedright]
804 \remove "Note_heads_engraver"
805 \consists "Completion_heads_engraver"
807 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
811 This engraver splits all running notes at the bar line, and inserts
812 ties. One of its uses is to debug complex scores: if the measures are
813 not entirely filled, then the ties exactly show how much each measure
818 Not all durations (especially those containing tuplets) can be
819 represented exactly with normal notes and dots, but the engraver will
824 Examples: @inputfileref{input/regression,completion-heads.ly}.
828 Program reference: @internalsref{Completion_heads_engraver}.
832 @section Staff notation
834 This section describes music notation that occurs on staff level,
835 such as key signatures, clefs and time signatures.
837 @cindex Staff notation
848 * Time administration::
849 * Controlling formatting of prefatory matter::
853 @subsection Staff symbol
855 @cindex adjusting staff symbol
857 Notes, dynamic signs, etc. are grouped
858 with a set of horizontal lines, into a staff (plural `staves'). In our
859 system, these lines are drawn using a separate layout object called
863 @cindex staff lines, setting number of
864 @cindex staff lines, setting thickness of
865 @cindex thickness of staff lines, setting
866 @cindex number of staff lines, setting
870 Program reference: @internalsref{StaffSymbol}.
872 Examples: @inputfileref{input/test,staff-lines.ly},
873 @inputfileref{input/test,staff-size.ly}.
877 If a staff is ended halfway a piece, the staff symbol may not end
878 exactly on the bar line.
882 @subsection Key signature
883 @cindex Key signature
887 The key signature indicates the scale in which a piece is played. It
888 is denoted by a set of alterations (flats or sharps) at the start of
892 Setting or changing the key signature is done with the @code{\key}
895 @code{\key} @var{pitch} @var{type}
898 @cindex @code{\minor}
899 @cindex @code{\major}
900 @cindex @code{\minor}
901 @cindex @code{\ionian}
902 @cindex @code{\locrian}
903 @cindex @code{\aeolian}
904 @cindex @code{\mixolydian}
905 @cindex @code{\lydian}
906 @cindex @code{\phrygian}
907 @cindex @code{\dorian}
909 Here, @var{type} should be @code{\major} or @code{\minor} to get
910 @var{pitch}-major or @var{pitch}-minor, respectively.
911 The standard mode names @code{\ionian},
912 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
913 @code{\phrygian}, and @code{\dorian} are also defined.
915 This command sets the context property
916 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
917 can be specified by setting this property directly.
919 Accidentals and key signatures often confuse new users, because
920 unaltered notes get natural signs depending on the key signature. For
921 more information, see @ref{More about pitches}.
925 Program reference: @internalsref{KeyChangeEvent},
926 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
928 @cindex @code{keySignature}
935 The clef indicates which lines of the staff correspond to which
939 The clef can be set with the @code{\clef} command
940 @lilypond[quote,raggedright,fragment,verbatim]
941 { c''2 \clef alto g'2 }
944 Supported clef-names include
945 @c Moved standard clefs to the top /MB
949 @item treble, violin, G, G2
962 G clef on 1st line, so-called French violin clef
967 @cindex mezzosoprano clef
970 @cindex baritone clef
973 @cindex varbaritone clef
984 By adding @code{_8} or @code{^8} to the clef name, the clef is
985 transposed one octave down or up, respectively, and @code{_15} and
986 @code{^15} transposes by two octaves. The argument @var{clefname}
987 must be enclosed in quotes when it contains underscores or digits. For
991 @cindex choral tenor clef
992 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
996 This command is equivalent to setting @code{clefGlyph},
997 @code{clefPosition} (which controls the Y position of the clef),
998 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
999 when any of these properties are changed. The following example shows
1000 possibilities when setting properties manually.
1002 @lilypond[raggedright,verbatim]
1004 \set Staff.clefGlyph = #"clefs-F"
1005 \set Staff.clefPosition = #2
1007 \set Staff.clefGlyph = #"clefs-G"
1009 \set Staff.clefGlyph = #"clefs-C"
1011 \set Staff.clefOctavation = #7
1013 \set Staff.clefOctavation = #0
1014 \set Staff.clefPosition = #0
1024 Program reference: @internalsref{Clef}.
1028 @node Ottava brackets
1029 @subsection Ottava brackets
1031 `Ottava' brackets introduce an extra transposition of an octave for
1032 the staff. They are created by invoking the function
1033 @code{set-octavation}
1039 @lilypond[quote,raggedright,verbatim,fragment]
1049 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1050 (for 15ma) as arguments. Internally the function sets the properties
1051 @code{ottavation} (e.g. to @code{"8va"}) and
1052 @code{centralCPosition}. For overriding the text of the bracket, set
1053 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1055 @lilypond[quote,raggedright,verbatim]
1058 \set Staff.ottavation = #"8"
1065 Program reference: @internalsref{OttavaBracket}.
1067 Examples: @inputfileref{input/regression,ottava.ly},
1068 @inputfileref{input/regression,ottava-broken.ly}.
1072 @code{set-octavation} will get confused when clef changes happen
1073 during an octavation bracket.
1078 @node Time signature
1079 @subsection Time signature
1080 @cindex Time signature
1082 @cindex @code{\time}
1084 Time signature indicates the metrum of a piece: a regular pattern of
1085 strong and weak beats. It is denoted by a fraction at the start of the
1089 The time signature is set or changed by the @code{\time}
1091 @lilypond[quote,raggedright,fragment,verbatim]
1092 \time 2/4 c'2 \time 3/4 c'2.
1095 The symbol that is printed can be customized with the @code{style}
1096 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1099 @lilypond[fragment,quote,raggedright,verbatim]
1102 \override Staff.TimeSignature #'style = #'()
1109 There are many more options for its layout. See @ref{Ancient time
1110 signatures} for more examples.
1113 This command sets the property @code{timeSignatureFraction},
1114 @code{beatLength} and @code{measureLength} in the @code{Timing}
1115 context, which is normally aliased to @internalsref{Score}. The
1116 property @code{measureLength} determines where bar lines should be
1117 inserted, and how automatic beams should be generated. Changing the
1118 value of @code{timeSignatureFraction} also causes the symbol to be
1121 More options are available through the Scheme function
1122 @code{set-time-signature}. In combination with the
1123 @internalsref{Measure_grouping_engraver}, it will create
1124 @internalsref{MeasureGrouping} signs. Such signs ease reading
1125 rhythmically complex modern music. In the following example, the 9/8
1126 measure is subdivided in 2, 2, 2 and 3. This is passed to
1127 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1129 @lilypond[quote,raggedright,verbatim]
1132 #(set-time-signature 9 8 '(2 2 2 3))
1133 g8[ g] d[ d] g[ g] a8[( bes g]) |
1134 #(set-time-signature 5 8 '(3 2))
1140 \consists "Measure_grouping_engraver"
1148 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1153 Automatic beaming does not use the measure grouping specified with
1154 @code{set-time-signature}.
1156 @node Partial measures
1157 @subsection Partial measures
1160 @cindex partial measure
1161 @cindex measure, partial
1162 @cindex shorten measures
1163 @cindex @code{\partial}
1165 Partial measures, for example in upsteps, are entered using the
1166 @code{\partial} command
1167 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1168 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1171 The syntax for this command is
1173 \partial @var{duration}
1175 This is internally translated into
1177 \set Timing.measurePosition = -@var{length of duration}
1180 The property @code{measurePosition} contains a rational number
1181 indicating how much of the measure has passed at this point.
1185 This command does not take into account grace notes at the start of
1186 the music. When a piece starts with graces notes in the pickup, then
1187 the @code{\partial} should follow the grace notes
1189 @lilypond[verbatim,quote,raggedright,relative,fragment]
1199 @node Unmetered music
1200 @subsection Unmetered music
1204 Bar lines and bar numbers are calculated automatically. For unmetered
1205 music (e.g. cadenzas), this is not desirable. By setting
1206 @code{Score.timing} to false, this automatic timing can be switched
1207 off. Empty bar lines,
1214 indicate where line breaks can occur.
1218 @cindex @code{\cadenzaOn}
1220 @cindex @code{\cadenzaOff}
1227 @subsection Bar lines
1231 @cindex measure lines
1235 Bar lines delimit measures, but are also used to indicate repeats.
1236 Normally, they are inserted automatically. Line breaks may only
1237 happen on bar lines.
1239 Special types of bar lines can be forced with the @code{\bar} command
1241 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1245 The following bar types are available
1246 @lilypondfile[raggedright,quote]{bar-lines.ly}
1248 For allowing line breaks, there is a special command,
1252 This will insert an invisible bar line, and allow line breaks at this
1255 In scores with many staves, a @code{\bar} command in one staff is
1256 automatically applied to all staves. The resulting bar lines are
1257 connected between different staves of a @internalsref{StaffGroup}
1259 @lilypond[quote,raggedright,fragment,verbatim]
1261 \context StaffGroup <<
1267 \new Staff { \clef bass c4 g e g }
1269 \new Staff { \clef bass c2 c2 }
1274 The command @code{\bar }@var{bartype} is a short cut for doing
1275 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1276 is set to a string, a bar line of that type is created.
1278 A bar line is created whenever the @code{whichBar} property is set.
1279 At the start of a measure it is set to the contents of
1280 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1281 to override default measure bars.
1283 @cindex @code{whichBar}
1284 @cindex @code{repeatCommands}
1285 @cindex @code{defaultBarType}
1287 You are encouraged to use @code{\repeat} for repetitions. See
1294 In this manual: @ref{Repeats}, @ref{System start delimiters}
1297 Program reference: @internalsref{BarLine} (created at
1298 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1300 @cindex bar lines at start of system
1301 @cindex start of system
1305 Examples: @inputfileref{input/test,bar-lines.ly},
1308 @node Time administration
1309 @subsection Time administration
1311 Time is administered by the @internalsref{Time_signature_engraver},
1312 which usually lives in the @internalsref{Score} context.
1313 The bookkeeping deals with the following variables
1316 @item currentBarNumber
1319 the length of the measures in the current time signature. For a 4/4
1320 time this is 1, and for 6/8 it is 3/4.
1321 @item measurePosition
1322 the point within the measure where we currently are. This quantity
1323 is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
1324 @code{currentBarNumber} is incremented.
1326 if set to true, the above variables are updated for every time
1327 step. When set to false, the engraver stays in the current measure
1331 Timing can be changed by setting any of these variables explicitly.
1332 In the next example, the 4/4 time signature is printed, but
1333 @code{measureLength} is set to 5/4. After a while, the measure is
1334 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1335 the measure, so the next bar line will fall at 2/4 + 3/8.
1337 @lilypond[raggedright,verbatim,relative,fragment]
1338 \set Score.measureLength = #(ly:make-moment 5 4)
1342 \set Score.measurePosition = #(ly:make-moment -3 8)
1348 @node Controlling formatting of prefatory matter
1349 @subsection Controlling formatting of prefatory matter
1351 TODO Somebody needs to explain this example, but I don't know what
1352 they're trying to do, so it won't be me. -gp
1356 \override Staff.Clef #'break-visibility = #end-of-line-visible
1357 \override Staff.KeySignature #'break-visibility = #end-of-line-visible
1358 \set Staff.explicitClefVisibility = #end-of-line-visible
1359 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1361 % We want the time sig to take space, otherwise there is not
1362 % enough white at the start of the line.
1365 \override Staff.TimeSignature #'transparent = ##t
1366 \set Score.defaultBarType = #"empty"
1386 Polyphony in music refers to having more than one voice occuring in
1387 a piece of music. Polyphony in LilyPond refers to having more than
1388 one voice on the same staff.
1391 * Writing polyphonic music::
1394 @node Writing polyphonic music
1395 @subsection Writing polyphonic music
1398 The easiest way to enter fragments with more than one voice on a staff
1399 is to split chords using the separator @code{\\}. You can use it for
1400 small, short-lived voices or for single chords
1404 @lilypond[quote,raggedright,verbatim,fragment]
1405 \context Staff \relative c'' {
1406 c4 << { f d e } \\ { b c2 } >>
1407 c4 << g' \\ b, \\ f' \\ d >>
1411 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1412 voices are sometimes called ``layers'' in other notation packages}
1414 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1415 each of these contexts, vertical direction of slurs, stems, etc. is set
1418 @cindex @code{\voiceOne}
1419 @cindex @code{\voiceFour}
1421 This can also be done by instantiating @internalsref{Voice} contexts
1422 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1423 a stem directions and horizontal shift for each part
1426 @lilypond[quote,raggedright,verbatim]
1429 \new Voice { \voiceOne cis2 b }
1430 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1431 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1435 The command @code{\oneVoice} will revert back to the normal setting.
1436 @cindex @code{\oneVoice}
1439 Normally, note heads with a different number of dots are not merged, but
1440 when the object property @code{merge-differently-dotted} is set in
1441 the @internalsref{NoteCollision} object, they are merged
1442 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1445 \override Staff.NoteCollision
1446 #'merge-differently-dotted = ##t
1448 } \\ { g8.[ f16] g8.[ f16] } >>
1451 Similarly, you can merge half note heads with eighth notes, by setting
1452 @code{merge-differently-headed}
1453 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1456 \override Staff.NoteCollision
1457 #'merge-differently-headed = ##t
1458 c8 c4. } \\ { c2 c2 } >>
1461 LilyPond also vertically shifts rests that are opposite of a stem,
1464 @lilypond[quote,raggedright,fragment,verbatim]
1465 \context Voice << c''4 \\ r4 >>
1473 @cindex @code{\oneVoice}
1475 @cindex @code{\voiceOne}
1477 @cindex @code{\voiceTwo}
1479 @cindex @code{\voiceThree}
1481 @cindex @code{\voiceFour}
1486 @cindex @code{\shiftOn}
1488 @cindex @code{\shiftOnn}
1490 @cindex @code{\shiftOnnn}
1492 @cindex @code{\shiftOff}
1493 @code{\shiftOff}: these commands specify in what chords of the current
1494 voice should be shifted. The outer voices (normally: voice one and
1495 two) have @code{\shiftOff}, while the inner voices (three and four)
1496 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1497 further shift levels.
1500 When LilyPond cannot cope, the @code{force-hshift}
1501 property of the @internalsref{NoteColumn} object and pitched rests can
1502 be used to override typesetting decisions.
1504 @lilypond[verbatim,raggedright]
1511 \once \override NoteColumn #'force-hshift = #1.7
1520 Program reference: the objects responsible for resolving collisions are
1521 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1524 @inputfileref{input/regression,collision-dots.ly},
1525 @inputfileref{input/regression,collision-head-chords.ly},
1526 @inputfileref{input/regression,collision-heads.ly},
1527 @inputfileref{input/regression,collision-mesh.ly}, and
1528 @inputfileref{input/regression,collisions.ly}.
1534 When using @code{merge-differently-headed} with an upstem eighth or a
1535 shorter note, and a downstem half note, the eighth note gets the wrong
1538 There is no support for clusters where the same note occurs with
1539 different accidentals in the same chord. In this case, it is
1540 recommended to use enharmonic transcription, or to use special cluster
1541 notation (see @ref{Clusters}).
1546 Beams are used to group short notes into chunks that are aligned with
1547 the metrum. LilyPond normally inserts beams automatically, but if you
1548 wish you may control them manually or changed how beams are automatically
1551 @cindex Automatic beams
1555 * Setting automatic beam behavior::
1559 @node Automatic beams
1560 @subsection Automatic beams
1562 LilyPond inserts beams automatically
1564 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1565 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1568 When these automatic decisions are not good enough, beaming can be
1569 entered explicitly. It is also possible to define beaming patterns
1570 that differ from the defaults.
1572 Individual notes may be marked with @code{\noBeam}, to prevent them
1575 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1576 \time 2/4 c8 c\noBeam c c
1582 Program reference: @internalsref{Beam}.
1586 @subsection Manual beams
1587 @cindex beams, manual
1591 In some cases it may be necessary to override the automatic beaming
1592 algorithm. For example, the autobeamer will not put beams over rests
1593 or bar lines. Such beams are specified manually by marking the begin
1594 and end point with @code{[} and @code{]}
1596 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1598 r4 r8[ g' a r8] r8 g[ | a] r8
1602 @cindex @code{stemLeftBeamCount}
1604 Normally, beaming patterns within a beam are determined automatically.
1605 If necessary, the properties @code{stemLeftBeamCount} and
1606 @code{stemRightBeamCount} can be used to override the defaults. If
1607 either property is set, its value will be used only once, and then it
1610 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1615 \set stemLeftBeamCount = #1
1619 @cindex @code{stemRightBeamCount}
1622 The property @code{subdivideBeams} can be set in order to subdivide
1623 all 16th or shorter beams at beat positions, as defined by the
1624 @code{beatLength} property.
1627 @lilypond[fragment,raggedright,quote,relative=2,verbatim,noindent]
1629 \set subdivideBeams = ##t
1631 \set Score.beatLength = #(ly:make-moment 1 8)
1634 @cindex @code{subdivideBeams}
1636 Normally, line breaks are forbidden when beams cross bar lines. This
1637 behavior can be changed by setting @code{allowBeamBreak}.
1639 @cindex @code{allowBeamBreak}
1640 @cindex beams and line breaks
1642 @cindex beams, kneed
1644 @cindex auto-knee-gap
1649 User manual: @ref{Changing context properties on the fly} for the
1655 @cindex Frenched staves
1656 Kneed beams are inserted automatically, when a large gap is detected
1657 between the note heads. This behavior can be tuned through the object.
1660 Automatically kneed cross-staff beams cannot be used together with
1661 hidden staves. See @ref{Hiding staves}.
1663 Beams do not avoid collisions with symbols around the notes, such as
1664 texts and accidentals.
1669 @node Setting automatic beam behavior
1670 @subsection Setting automatic beam behavior
1672 @cindex @code{autoBeamSettings}
1673 @cindex @code{(end * * * *)}
1674 @cindex @code{(begin * * * *)}
1675 @cindex automatic beams, tuning
1676 @cindex tuning automatic beaming
1678 @c [TODO: use \applycontext]
1680 In normal time signatures, automatic beams can start on any note but can
1681 only end in a few positions within the measure: beams can end on a beat,
1682 or at durations specified by the properties in
1683 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1684 are defined in @file{scm/auto-beam.scm}.
1686 The value of @code{autoBeamSettings} is changed with two functions,
1688 #(override-auto-beam-setting
1689 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1691 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1693 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1694 @var{context} is an optional context (default: @code{'Voice}). It
1695 determines whether the rule applies to begin or end-points. The
1696 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1697 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1698 to a time signature (wildcards `@code{* *}' may be entered to
1699 designate all time signatures), @var{a}/@var{b} is a duration. By
1700 default, this command changes settings for the current voice. It is
1701 also possible to adjust settings at higher contexts, by adding a
1702 @var{context} argument.
1704 For example, if automatic beams should end on every quarter note, use
1707 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1709 Since the duration of a quarter note is 1/4 of a whole note, it is
1710 entered as @code{(ly:make-moment 1 4)}.
1712 The same syntax can be used to specify beam starting points. In this
1713 example, automatic beams can only end on a dotted quarter note
1715 #(override-auto-beam-setting '(end * * * *) 3 8)
1717 In 4/4 time signature, this means that automatic beams could end only on
1718 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1719 3/8, has passed within the measure).
1721 Rules can also be restricted to specific time signatures. A rule that
1722 should only be applied in @var{N}/@var{M} time signature is formed by
1723 replacing the second asterisks by @var{N} and @var{M}. For example, a
1724 rule for 6/8 time exclusively looks like
1726 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1729 If a rule should be to applied only to certain types of beams, use the
1730 first pair of asterisks. Beams are classified according to the
1731 shortest note they contain. For a beam ending rule that only applies
1732 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1735 @cindex automatic beam generation
1737 @cindex @code{autoBeaming}
1740 If beams are used to indicate melismata in songs, then automatic
1741 beaming should be switched off. This is done by setting
1742 @code{autoBeaming} to @code{#f}.
1746 @cindex @code{\autoBeamOff}
1747 @code{\autoBeamOff},
1748 @cindex @code{\autoBeamOn}
1754 If a score ends while an automatic beam has not been ended and is
1755 still accepting notes, this last beam will not be typeset at all. The
1756 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1757 >>}. If a polyphonic voice ends while an automatic beam is still
1758 accepting notes, it is not typeset.
1760 The rules for ending a beam depend on the shortest note in a beam.
1761 So, while it is possible to have different ending rules for eight
1762 beams and sixteenth beams, a beam that contains both eight and
1763 sixteenth notes will use the rules for the sixteenth beam.
1765 In the example below, the autobeamer makes eighth beams and sixteenth
1766 end at three eighths. The third beam can only be corrected by
1767 specifying manual beaming.
1769 @lilypond[quote,raggedright,fragment,relative=1]
1770 #(override-auto-beam-setting '(end * * * *) 3 8)
1771 % rather show case where it goes wrong
1772 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1773 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1775 It is not possible to specify beaming parameters that act differently in
1776 different parts of a measure. This means that it is not possible to use
1777 automatic beaming in irregular meters such as @code{5/8}.
1779 @node Beam formatting
1780 @subsection Beam formatting
1783 When a beam falls in the middle of the staff, the beams point normally
1784 down. However, this behaviour can be altered with the
1785 @code{neutral-direction} property.
1788 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1791 \override Beam #'neutral-direction = #-1
1793 \override Beam #'neutral-direction = #1
1799 @section Accidentals
1801 This section describes how to change the way that accidentals are
1802 inserted automatically before notes.
1805 * Automatic accidentals::
1808 @node Automatic accidentals
1809 @subsection Automatic accidentals
1810 @cindex Automatic accidentals
1812 Common rules for typesetting accidents have been placed in a
1813 function. This function is called as follows
1815 @cindex @code{set-accidental-style}
1817 #(set-accidental-style 'STYLE #('CONTEXT#))
1820 The function can take two arguments: the name of the accidental style,
1821 and an optional argument that denotes the context which should be
1822 changed. If no context name is supplied, @code{Staff} is the default,
1823 but you may wish to apply the accidental style to a single @code{Voice}
1826 The following accidental styles are supported
1829 This is the default typesetting behavior. It corresponds
1830 to 18th century common practice: Accidentals are
1831 remembered to the end of the measure in which they occur and
1832 only on their own octave.
1835 The normal behavior is to remember the accidentals on
1836 Staff-level. This variable, however, typesets accidentals
1837 individually for each voice. Apart from that, the rule is similar to
1840 As a result, accidentals from one voice do not get canceled in other
1841 voices, which is often an unwanted result
1843 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1845 #(set-accidental-style 'voice)
1852 The @code{voice} option should be used if the voices
1853 are to be read solely by individual musicians. If the staff is to be
1854 used by one musician (e.g. a conductor) then
1855 @code{modern} or @code{modern-cautionary}
1856 should be used instead.
1859 @cindex @code{modern} style accidentals
1860 This rule corresponds to the common practice in the 20th century. This rule
1861 prints the same accidentals as @code{default}, but temporary
1862 accidentals also are canceled in other octaves. Furthermore,
1863 in the same octave, they also get canceled in the following
1866 @lilypond[quote,raggedright,fragment,verbatim]
1867 #(set-accidental-style 'modern)
1868 cis' c'' cis'2 | c'' c'
1871 @item @code{modern-cautionary}
1872 @cindex @code{modern-cautionary}
1873 This rule is similar to @code{modern}, but the ``extra'' accidentals
1874 (the ones not typeset by @code{default}) are typeset as cautionary
1875 accidentals. They are printed in reduced size or with parentheses
1876 @lilypond[quote,raggedright,fragment,verbatim]
1877 #(set-accidental-style 'modern-cautionary)
1878 cis' c'' cis'2 | c'' c'
1881 @cindex @code{modern-voice}
1883 This rule is used for multivoice accidentals to be read both by musicians
1884 playing one voice and musicians playing all voices. Accidentals are
1885 typeset for each voice, but they @emph{are} canceled across voices in
1886 the same @internalsref{Staff}.
1888 @cindex @code{modern-voice-cautionary}
1889 @item modern-voice-cautionary
1890 This rule is the same as @code{modern-voice}, but with the extra
1891 accidentals (the ones not typeset by @code{voice}) typeset
1892 as cautionaries. Even though all accidentals typeset by
1893 @code{default} @emph{are} typeset by this variable then
1894 some of them are typeset as cautionaries.
1897 @cindex @code{piano} accidentals
1898 This rule reflects 20th century practice for piano notation. Very similar to
1899 @code{modern} but accidentals also get canceled
1900 across the staves in the same @internalsref{GrandStaff} or
1901 @internalsref{PianoStaff}.
1903 @item piano-cautionary
1904 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1905 As @code{#(set-accidental-style 'piano)} but with the extra accidentals
1906 typeset as cautionaries.
1909 @cindex @code{no-reset} accidental style
1910 This is the same as @code{default} but with accidentals lasting
1911 ``forever'' and not only until the next measure
1912 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1913 #(set-accidental-style 'no-reset)
1918 This is sort of the opposite of @code{no-reset}: Accidentals
1919 are not remembered at all---and hence all accidentals are
1920 typeset relative to the key signature, regardless of what was
1923 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1924 #(set-accidental-style 'forget)
1925 \key d\major c4 c cis cis d d dis dis
1932 Program reference: @internalsref{Accidental_engraver},
1933 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1938 Simultaneous notes are considered to be entered in sequential
1939 mode. This means that in a chord the accidentals are typeset as if the
1940 notes in the chord happened once at a time - in the order in which
1941 they appear in the input file.
1943 This is a problem when accidentals in a chord depend on each other,
1944 which does not happen for the default accidental style. The problem
1945 can be solved by manually inserting @code{!} and @code{?} for the
1949 @node Expressive marks
1950 @section Expressive marks
1953 @c todo: should change ordering
1954 @c where to put text spanners, metronome marks,
1957 Expressive marks help musicians to bring more to the music than simple
1967 * Analysis brackets::
1970 * Fingering instructions::
1980 A slur indicates that notes are to be played bound or @emph{legato}.
1982 They are entered using parentheses
1983 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1984 f( g a) a8 b( a4 g2 f4)
1988 The direction of a slur can be set with the
1992 \override Slur #'direction = #UP
1993 \slurUp % shortcut for the previous line
1997 However, there is a convenient shorthand for forcing slur
1998 directions. By adding @code{_} or @code{^} before the opening
1999 parentheses, the direction is also set. For example,
2001 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2005 Some composers write two slurs when they want legato chords. This can
2006 be achieved in LilyPond by setting @code{doubleSlurs},
2008 @lilypond[verbatim,raggedright,relative,fragment,quote]
2009 \set doubleSlurs = ##t
2010 <c e>4 ( <d f> <c e> <d f> )
2017 @cindex @code{\slurUp}
2019 @cindex @code{\slurDown}
2021 @cindex @code{\slurNeutral}
2022 @code{\slurNeutral},
2023 @cindex @code{\slurDotted}
2025 @cindex @code{\slurSolid}
2030 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2033 @node Phrasing slurs
2034 @subsection Phrasing slurs
2036 @cindex phrasing slurs
2037 @cindex phrasing marks
2039 A phrasing slur (or phrasing mark) connects chords and is used to
2040 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2043 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2044 \time 6/4 c'\( d( e) f( e) d\)
2047 Typographically, the phrasing slur behaves almost exactly like a
2048 normal slur. However, they are treated as different objects. A
2049 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2050 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2051 @code{\phrasingSlurNeutral}.
2053 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2054 will only affect normal slurs and not phrasing slurs.
2058 @cindex @code{\phrasingSlurUp}
2059 @code{\phrasingSlurUp},
2060 @cindex @code{\phrasingSlurDown}
2061 @code{\phrasingSlurDown},
2062 @cindex @code{\phrasingSlurNeutral}
2063 @code{\phrasingSlurNeutral}.
2067 Program reference: see also @internalsref{PhrasingSlur}, and
2068 @internalsref{PhrasingSlurEvent}.
2072 Putting phrasing slurs over rests leads to spurious warnings.
2075 @subsection Breath marks
2077 Breath marks are entered using @code{\breathe}
2080 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2084 The glyph of the breath mark can be tuned by overriding the
2085 @code{text} property of the @code{BreathingSign} layout object with
2086 any markup text. For example,
2087 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2089 \override BreathingSign #'text
2090 = #(make-musicglyph-markup "scripts-rvarcomma")
2097 Program reference: @internalsref{BreathingSign},
2098 @internalsref{BreathingSignEvent}.
2100 Examples: @inputfileref{input/regression,breathing-sign.ly}.
2103 @node Metronome marks
2104 @subsection Metronome marks
2107 @cindex beats per minute
2108 @cindex metronome marking
2110 Metronome settings can be entered as follows
2112 \tempo @var{duration} = @var{per-minute}
2115 In the MIDI output, they are interpreted as a tempo change. In the
2116 layout output, a metronome marking is printed
2117 @cindex @code{\tempo}
2118 @lilypond[quote,raggedright,verbatim,fragment]
2124 Program reference: @internalsref{MetronomeChangeEvent}.
2128 @subsection Text scripts
2129 @cindex Text scripts
2131 @cindex text items, non-empty
2132 @cindex non-empty texts
2134 It is possible to place arbitrary strings of text or markup text (see
2135 @ref{Text markup}) above or below notes by using a string
2136 @code{c^"text"}. By default, these indications do not influence the
2137 note spacing, but by using the command @code{\fatText}, the widths
2138 will be taken into account
2140 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2141 c4^"longtext" \fatText c4_"longlongtext" c4
2144 More complex formatting may also be added to a note by using the
2146 @lilypond[fragment,raggedright,verbatim,quote]
2147 c'4^\markup { bla \bold bla }
2150 The @code{\markup} is described in more detail in
2156 @cindex @code{\fatText}
2158 @cindex @code{\emptyText}
2163 In this manual: @ref{Text markup}.
2165 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2169 @subsection Text spanners
2170 @cindex Text spanners
2172 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2173 are written as text and are extended over many measures with dotted
2174 lines. Such texts are created using text spanners; attach
2175 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2176 notes of the spanner.
2178 The string to be printed, as well as the style, is set through object
2181 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2183 \override TextSpanner #'direction = #-1
2184 \override TextSpanner #'edge-text = #'("rall " . "")
2185 c2\startTextSpan b c\stopTextSpan a
2191 Internals @internalsref{TextSpanEvent},
2192 @internalsref{TextSpanner}.
2194 Examples: @inputfileref{input/regression,text-spanner.ly}.
2197 @node Analysis brackets
2198 @subsection Analysis brackets
2200 @cindex phrasing brackets
2201 @cindex musicological analysis
2202 @cindex note grouping bracket
2204 Brackets are used in musical analysis to indicate structure in musical
2205 pieces. LilyPond supports a simple form of nested horizontal
2206 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2207 to @internalsref{Staff} context. A bracket is started with
2208 @code{\startGroup} and closed with @code{\stopGroup}
2210 @lilypond[quote,raggedright,verbatim]
2213 c4\startGroup\startGroup
2216 c4\stopGroup\stopGroup
2220 \Staff \consists "Horizontal_bracket_engraver"
2226 Program reference: @internalsref{HorizontalBracket},
2227 @internalsref{NoteGroupingEvent}.
2229 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2233 @subsection Articulations
2234 @cindex Articulations
2236 @cindex articulations
2240 A variety of symbols can appear above and below notes to indicate
2241 different characteristics of the performance. They are added to a note
2242 by adding a dash and the character signifying the
2243 articulation. They are demonstrated here
2245 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2247 The meanings of these shorthands can be changed. See
2248 @file{ly/script-init.ly} for examples.
2251 The script is automatically placed, but the direction can be forced as
2252 well. Like other pieces of LilyPond code, @code{_} will place them
2253 below the staff, and @code{^} will place them above.
2256 @lilypond[quote,raggedright,fragment,verbatim]
2260 Other symbols can be added using the syntax
2261 @var{note}@code{\}@var{name}. Again, they
2262 can be forced up or down using @code{^} and @code{_},
2265 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2266 c\fermata c^\fermata c_\fermata
2273 @cindex staccatissimo
2282 @cindex organ pedal marks
2291 @cindex prallmordent
2295 @cindex thumb marking
2300 Here is a chart showing all scripts available,
2302 @lilypondfile[raggedright,quote]{script-chart.ly}
2305 The vertical ordering of scripts is controlled with the
2306 @code{script-priority} property. The lower this number, the closer it
2307 will be put to the note. In this example, the
2308 @internalsref{TextScript} (the sharp symbol) first has the lowest
2309 priority, so it is put lowest in the first example. In the second, the
2310 prall trill (the @internalsref{Script}) has the lowest, so it on the
2311 inside. When two objects have the same priority, the order in which
2312 they are entered decides which one comes first.
2315 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2316 \once \override TextScript #'script-priority = #-100
2317 a4^\prall^\markup { \sharp }
2319 \once \override Script #'script-priority = #-100
2320 a4^\prall^\markup { \sharp }
2328 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2332 These signs appear in the printed output but have no effect on the
2333 MIDI rendering of the music.
2337 @node Running trills
2338 @subsection Running trills
2340 Long running trills are made with @code{\startTrillSpan} and
2341 @code{\stopTrillSpan},
2344 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2346 << { c1 \startTrillSpan }
2347 { s2. \grace { d16[\stopTrillSpan e] } } >>
2353 @code{\startTrillSpan},
2354 @cindex @code{\startTrillSpan}
2355 @code{\stopTrillSpan}.
2356 @cindex @code{\stopTrillSpan}
2360 Program reference: @internalsref{TrillSpanner},
2361 @internalsref{TrillSpanEvent}.
2363 @node Fingering instructions
2364 @subsection Fingering instructions
2368 Fingering instructions can be entered using
2370 @var{note}-@var{digit}
2372 For finger changes, use markup texts
2374 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2376 c^\markup { \finger "2-3" }
2379 @cindex finger change
2384 You can use the thumb-script to indicate that a note should be
2385 played with the thumb (e.g. in cello music)
2387 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2388 <a_\thumb a'-3>8 <b_\thumb b'-3>
2391 Fingerings for chords can also be added to individual notes
2392 of the chord by adding them after the pitches
2393 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2394 < c-1 e-2 g-3 b-5 >4
2398 In this case, setting @code{fingeringOrientations} will put fingerings next
2401 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2402 \set fingeringOrientations = #'(left down)
2403 <c-1 es-2 g-4 bes-5 > 4
2404 \set fingeringOrientations = #'(up right down)
2405 <c-1 es-2 g-4 bes-5 > 4
2408 Using this feature, it is also possible to put fingering instructions
2409 very close to note heads in monophonic music,
2411 @lilypond[verbatim,raggedright,quote,fragment]
2412 \set fingeringOrientations = #'(right)
2419 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2421 Examples: @inputfileref{input/regression,finger-chords.ly}.
2427 @subsection Grace notes
2430 @c should have blurb about accaciatura / appogiatura
2432 @cindex @code{\grace}
2436 Grace notes are ornaments that are written out. The most common ones
2437 are acciaccatura, which should be played as very short. It is denoted
2438 by a slurred small note with a slashed stem. The appoggiatura is a
2439 grace note that takes a fixed fraction of the main note, and is
2440 denoted as a slurred note in small print without a slash. They
2441 are entered with the commands @code{\acciaccatura} and
2442 @code{\appoggiatura}, as demonstrated in the following example
2445 @cindex appoggiatura
2446 @cindex acciaccatura
2448 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2449 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2450 \acciaccatura { g16[ f] } e4
2453 Both are special forms of the @code{\grace} command. By prefixing this
2454 keyword to a music expression, a new one is formed, which will be
2455 printed in a smaller font and takes up no logical time in a measure.
2457 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2459 \grace { c16[ d16] } c2 c4
2463 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2464 @code{\grace} command does not start a slur.
2466 Internally, timing for grace notes is done using a second, `grace'
2467 time. Every point in time consists of two rational numbers: one
2468 denotes the logical time, one denotes the grace timing. The above
2469 example is shown here with timing tuples
2471 @lilypond[quote,raggedright]
2474 c4 \grace c16 c4 \grace {
2477 \new Lyrics \lyricmode {
2478 \override LyricText #'font-family = #'typewriter
2482 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2483 \markup { (\fraction 1 4 , 0 ) } 4
2485 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2486 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2488 \markup { ( \fraction 2 4 , 0 ) }
2494 The placement of grace notes is synchronized between different staves.
2495 In the following example, there are two sixteenth graces notes for
2496 every eighth grace note
2498 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2499 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2500 \new Staff { c4 \grace { g8[ b] } c4 } >>
2505 If you want to end a note with a grace, the standard trick is to put
2506 the grace notes after a ``space note''
2508 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2511 { s2 \grace { c16[ d] } } >>
2517 By adjusting the duration of the skip note (here it is a half-note),
2518 the space between the main-note and the grace is adjusted.
2521 A @code{\grace} section will introduce special typesetting settings,
2522 for example, to produce smaller type, and set directions. Hence, when
2523 introducing layout tweaks, they should be inside the grace section,
2525 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2537 The overrides should also be reverted inside the grace section.
2539 The layout of grace sections can be changed throughout the music using
2540 the function @code{add-grace-property}. The following example
2541 undefines the Stem direction for this grace, so stems do not always
2546 #(add-grace-property 'Voice 'Stem 'direction '())
2552 Another option is to change the variables @code{startGraceMusic},
2553 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2554 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2555 @code{stopAppoggiaturaMusic}. More information is in the file
2556 @file{ly/grace-init.ly}.
2561 Program reference: @internalsref{GraceMusic}.
2565 A score that starts with a @code{\grace} section needs an explicit
2566 @code{\context Voice} declaration, otherwise the main note and grace
2567 note end up on different staves.
2569 Grace note synchronization can also lead to surprises. Staff notation,
2570 such as key signatures, bar lines, etc. are also synchronized. Take
2571 care when you mix staves with grace notes and staves without, for example,
2573 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2574 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2575 \new Staff { c4 \bar "|:" d4 } >>
2579 This can be remedied by inserting grace skips, for the above example
2582 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2585 Grace sections should only be used within sequential music
2586 expressions. Nesting or juxtaposing grace sections is not supported,
2587 and might produce crashes or other errors.
2591 @subsection Glissando
2594 @cindex @code{\glissando}
2596 A glissando is a smooth change in pitch. It is denoted by a line or a
2597 wavy line between two notes. It is requested by attaching
2598 @code{\glissando} to a note
2600 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2606 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2608 Example files: @file{input/regression/glissando.ly}.
2614 Printing text over the line (such as @emph{gliss.}) is not supported.
2618 @subsection Dynamics
2631 @cindex @code{\ffff}
2641 Absolute dynamic marks are specified using a command after a note
2642 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2643 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2644 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2645 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2647 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2648 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2649 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2658 A crescendo mark is started with @code{\<} and terminated with
2659 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2660 with @code{\!}. Because these marks are bound to notes, if you must
2661 use spacer notes if multiple marks are needed during one note
2663 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2665 << f1 { s4 s4\< s4\! \> s4\! } >>
2667 This may give rise to very short hairpins. Use @code{minimum-length}
2668 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2672 \override Staff.Hairpin #'minimum-length = #5
2675 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2676 is an example how to do it
2678 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2688 You can also supply your own texts
2689 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2690 \set crescendoText = \markup { \italic "cresc. poco" }
2691 \set crescendoSpanner = #'dashed-line
2700 @cindex @code{\dynamicUp}
2702 @cindex @code{\dynamicDown}
2703 @code{\dynamicDown},
2704 @cindex @code{\dynamicNeutral}
2705 @code{\dynamicNeutral}.
2707 @cindex direction, of dynamics
2711 Program reference: @internalsref{CrescendoEvent},
2712 @internalsref{DecrescendoEvent}, and
2713 @internalsref{AbsoluteDynamicEvent}.
2715 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2716 objects. Vertical positioning of these symbols is handled by the
2717 @internalsref{DynamicLineSpanner} object.
2723 Repetition is a central concept in music, and multiple notations exist
2729 * Repeats and MIDI::
2730 * Manual repeat commands::
2732 * Tremolo subdivisions::
2737 @subsection Repeat types
2740 @cindex @code{\repeat}
2742 The following types of repetition are supported
2746 Repeated music is fully written (played) out. This is useful when
2747 entering repetitious music. This is the only kind of repeat that
2748 is included in MIDI output.
2751 Repeats are not written out, but alternative endings (volte) are
2752 printed, left to right with brackets. This is the standard notation
2753 for repeats with alternatives. These are not played in MIDI output by default.
2757 Alternative endings are written stacked. This has limited use but may be
2758 used to typeset two lines of lyrics in songs with repeats, see
2759 @inputfileref{input,star-spangled-banner.ly}.
2764 Make tremolo beams. These are not played in MIDI output by default.
2767 Make beat or measure repeats. These look like percent signs. These are not played
2768 in MIDI output by default.
2773 @subsection Repeat syntax
2776 LilyPond has one syntactic construct for specifying different types of
2777 repeats. The syntax is
2780 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2783 If you have alternative endings, you may add
2784 @cindex @code{\alternative}
2786 \alternative @code{@{} @var{alternative1}
2788 @var{alternative3} @dots{} @code{@}}
2790 where each @var{alternative} is a music expression. If you do not
2791 give enough alternatives for all of the repeats, the first alternative
2792 is assumed to be played more than once.
2794 Standard repeats are used like this
2795 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2797 \repeat volta 2 { c4 d e f }
2798 \repeat volta 2 { f e d c }
2801 With alternative endings
2802 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2804 \repeat volta 2 {c4 d e f}
2805 \alternative { {d2 d} {f f,} }
2809 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2812 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2813 \alternative { { g4 g g } { a | a a a a | b2. } }
2817 It is possible to shorten volta brackets
2818 by setting @code{voltaSpannerDuration}. In the next example, the
2819 bracket only lasts one measure, which is a duration of 3/4.
2823 @lilypond[verbatim,raggedright,quote]
2827 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2828 \repeat "volta" 5 { d d d }
2829 \alternative { { e e e f f f }
2839 Brackets for the repeat are normally only printed over the topmost
2840 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2841 property @inputfileref{input/regression,volta-multi-staff.ly},
2842 @inputfileref{input/regression,volta-chord-names.ly}
2847 A nested repeat like
2856 is ambiguous, since it is is not clear to which @code{\repeat} the
2857 @code{\alternative} belongs. This ambiguity is resolved by always
2858 having the @code{\alternative} belong to the inner @code{\repeat}.
2859 For clarity, it is advisable to use braces in such situations.
2864 Timing information is not remembered at the start of an alternative,
2865 so after a repeat timing information must be reset by hand, for
2866 example by setting @code{Score.measurePosition} or entering
2867 @code{\partial}. Similarly, slurs or ties are also not repeated.
2872 @node Repeats and MIDI
2873 @subsection Repeats and MIDI
2875 @cindex expanding repeats
2877 With a little bit of tweaking, all types of repeats can be present
2878 in the MIDI output. This is achieved by applying the
2879 @code{\unfoldrepeats} music function. This functions changes all
2880 repeats to unfold repeats.
2882 @lilypond[verbatim,raggedright,fragment]
2884 \repeat tremolo 8 {c'32 e' }
2885 \repeat percent 2 { c''8 d'' }
2886 \repeat volta 2 {c'4 d' e' f'}
2895 When creating a score file using @code{\unfoldrepeats} for midi, then
2896 it is necessary to make two @code{\score} blocks. One for MIDI (with
2897 unfolded repeats) and one for notation (with volta, tremolo, and
2898 percent repeats). For example,
2906 \unfoldrepeats @var{..music..}
2911 @node Manual repeat commands
2912 @subsection Manual repeat commands
2914 @cindex @code{repeatCommands}
2916 The property @code{repeatCommands} can be used to control the layout of
2917 repeats. Its value is a Scheme list of repeat commands, where each repeat
2921 @item @code{start-repeat},
2922 which prints a @code{|:} bar line;
2923 @item @code{end-repeat},
2924 which prints a @code{:|} bar line;
2925 @item @code{(volta @var{text})},
2926 which prints a volta bracket saying @var{text}: The text can be specified as
2927 a text string or as a markup text, see @ref{Text markup}. Do not
2928 forget to change the font, as the default number font does not contain
2929 alphabetic characters;
2930 @item @code{(volta #f)}, which
2931 stops a running volta bracket.
2934 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2936 \set Score.repeatCommands = #'((volta "93") end-repeat)
2938 \set Score.repeatCommands = #'((volta #f))
2946 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2947 @internalsref{VoltaRepeatedMusic},
2948 @internalsref{UnfoldedRepeatedMusic}, and
2949 @internalsref{FoldedRepeatedMusic}.
2951 @node Tremolo repeats
2952 @subsection Tremolo repeats
2953 @cindex tremolo beams
2955 To place tremolo marks between notes, use @code{\repeat} with tremolo
2957 @lilypond[quote,verbatim,raggedright]
2958 \new Voice \relative c' {
2959 \repeat "tremolo" 8 { c16 d16 }
2960 \repeat "tremolo" 4 { c16 d16 }
2961 \repeat "tremolo" 2 { c16 d16 }
2965 Tremolo marks can also be put on a single note. In this case, the
2966 note should not be surrounded by braces.
2967 @lilypond[quote,verbatim,raggedright]
2968 \repeat "tremolo" 4 c'16
2971 Similar output is obtained using the tremolo subdivision, described in
2972 @ref{Tremolo subdivisions}.
2976 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2978 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2979 tremolos are @internalsref{StemTremolo} objects. The music expression is
2980 @internalsref{TremoloEvent}.
2982 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2983 @inputfileref{input/regression,stem-tremolo.ly}.
2985 @node Tremolo subdivisions
2986 @subsection Tremolo subdivisions
2987 @cindex tremolo marks
2988 @cindex @code{tremoloFlags}
2990 Tremolo marks can be printed on a single note by adding
2991 `@code{:}[@var{number}]' after the note. The number indicates the
2992 duration of the subdivision, and it must be at least 8. A
2993 @var{length} value of 8 gives one line across the note stem. If the
2994 length is omitted, the last value (stored in @code{tremoloFlags}) is
2997 @lilypond[quote,raggedright,verbatim,fragment]
2998 c'2:8 c':32 | c': c': |
3001 @c [TODO : stok is te kort bij 32en]
3002 @c somebody want to translate that into English? :)
3006 Tremolos entered in this way do not carry over into the MIDI output.
3010 In this manual: @ref{Tremolo repeats}.
3012 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3014 @node Measure repeats
3015 @subsection Measure repeats
3017 @cindex percent repeats
3018 @cindex measure repeats
3020 In the @code{percent} style, a note pattern can be repeated. It is
3021 printed once, and then the pattern is replaced with a special sign.
3022 Patterns of one and two measures are replaced by percent-like signs,
3023 patterns that divide the measure length are replaced by slashes
3025 @lilypond[quote,verbatim,raggedright]
3026 \new Voice \relative c' {
3027 \repeat "percent" 4 { c4 }
3028 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3034 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3035 @internalsref{PercentRepeatedMusic}, and
3036 @internalsref{DoublePercentRepeat}.
3040 @node Rhythmic music
3041 @section Rhythmic music
3043 Rhythmic music is primarily used for percussion and drum notation, but it can
3044 also be used to show the rhythms of melodies.
3047 * Showing melody rhythms::
3048 * Entering percussion::
3049 * Percussion staves::
3053 @node Showing melody rhythms
3054 @subsection Showing melody rhythms
3056 Sometimes you might want to show only the rhythm of a melody. This
3057 can be done with the rhythmic staff. All pitches of notes on such a
3058 staff are squashed, and the staff itself has a single line
3060 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3061 \context RhythmicStaff {
3063 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3069 Program reference: @internalsref{RhythmicStaff}.
3071 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
3074 @node Entering percussion
3075 @subsection Entering percussion
3081 Percussion notes may be entered in @code{\drummode} mode, which is
3082 similar to the standard mode for entering notes. Each piece of
3083 percussion has a full name and an abbreviated name, and both can be used
3086 @lilypond[quote,raggedright,verbatim]
3088 hihat hh bassdrum bd
3092 The complete list of drum names is in the init file
3093 @file{ly/drumpitch-init.ly}.
3094 @c TODO: properly document this.
3098 Program reference: @internalsref{DrumNoteEvent}.
3100 @node Percussion staves
3101 @subsection Percussion staves
3105 A percussion part for more than one instrument typically uses a
3106 multi line staff where each position in the staff refers to one piece
3110 To typeset the music, the notes must be interpreted in a
3111 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3114 @lilypond[quote,raggedright,verbatim]
3115 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3116 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3118 \new DrumVoice { \voiceOne \up }
3119 \new DrumVoice { \voiceTwo \down }
3123 The above example shows verbose polyphonic notation. The short
3124 polyphonic notation, described in @ref{Polyphony}, can also be used if
3125 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3127 @lilypond[quote,raggedright,fragment,verbatim]
3129 \context DrumVoice = "1" { s1 *2 }
3130 \context DrumVoice = "2" { s1 *2 }
3134 { \repeat unfold 16 hh16 }
3143 There are also other layout possibilities. To use these, set the
3144 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3145 The following variables have been predefined
3149 This is the default. It typesets a typical drum kit on a five-line staff
3151 @lilypond[quote,raggedright,noindent]
3152 nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc
3153 bd sn ss tomh tommh tomml toml tomfh tomfl }
3154 mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
3155 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3157 << \new DrumStaff\with {
3158 \remove Bar_engraver
3159 \remove Time_signature_engraver
3160 \override Stem #'transparent = ##t
3161 \override Stem #'Y-extent-callback = ##f
3162 minimumVerticalExtent = #'(-4.0 . 5.0)
3164 \context Lyrics \nam
3167 %% need to do this, because of indented @itemize
3170 \override LyricText #'font-family = #'typewriter
3171 \override BarNumber #'transparent =##T
3175 The drum scheme supports six different toms. When there fewer toms, simply
3176 select the toms that produce the desired result, i.e. to get toms on
3177 the three middle lines you use @code{tommh}, @code{tomml} and
3180 @item timbales-style
3181 This typesets timbales on a two line staff
3183 @lilypond[quote,raggedright]
3184 nam = \lyricmode { timh ssh timl ssl cb }
3185 mus = \drummode { timh ssh timl ssl cb s16 }
3188 \context DrumStaff \with {
3189 \remove Bar_engraver
3190 \remove Time_signature_engraver
3191 \override Stem #'transparent = ##t
3192 \override Stem #'Y-extent-callback = ##f
3193 \override StaffSymbol #'line-count = #2
3194 \override StaffSymbol #'staff-space = #2
3195 minimumVerticalExtent = #'(-3.0 . 4.0)
3196 drumStyleTable = #timbales-style
3199 \override LyricText #'font-family = #'typewriter
3205 This typesets congas on a two line staff
3207 @lilypond[quote,raggedright]
3208 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3209 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3211 \context DrumStaff\with {
3212 \remove Bar_engraver
3213 \remove Time_signature_engraver
3214 drumStyleTable = #congas-style
3215 \override StaffSymbol #'line-count = #2
3217 %% this sucks; it will lengthen stems.
3218 \override StaffSymbol #'staff-space = #2
3219 \override Stem #'transparent = ##t
3220 \override Stem #'Y-extent-callback = ##f
3223 \override LyricText #'font-family = #'typewriter
3228 This typesets bongos on a two line staff
3230 @lilypond[quote,raggedright]
3231 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3232 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3234 \context DrumStaff\with {
3235 \remove Bar_engraver
3236 \remove Time_signature_engraver
3237 \override StaffSymbol #'line-count = #2
3238 drumStyleTable = #bongos-style
3240 %% this sucks; it will lengthen stems.
3241 \override StaffSymbol #'staff-space = #2
3242 \override Stem #'transparent = ##t
3243 \override Stem #'Y-extent-callback = ##f
3246 \override LyricText #'font-family = #'typewriter
3251 @item percussion-style
3252 to typeset all kinds of simple percussion on one line staves
3253 @lilypond[quote,raggedright]
3254 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3255 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3257 \context DrumStaff\with{
3258 \remove Bar_engraver
3259 drumStyleTable = #percussion-style
3260 \override StaffSymbol #'line-count = #1
3261 \remove Time_signature_engraver
3262 \override Stem #'transparent = ##t
3263 \override Stem #'Y-extent-callback = ##f
3266 \override LyricText #'font-family = #'typewriter
3273 If you do not like any of the predefined lists you can define your own
3274 list at the top of your file
3276 @lilypond[quote,raggedright,verbatim]
3278 (bassdrum default #f -1)
3279 (snare default #f 0)
3281 (pedalhihat xcircle "stopped" 2)
3282 (lowtom diamond #f 3)))
3283 up = \drummode { hh8 hh hh hh hhp4 hhp }
3284 down = \drummode { bd4 sn bd toml8 toml }
3287 \set DrumStaff.drumStyleTable
3288 = #(alist->hash-table mydrums)
3289 \new DrumVoice { \voiceOne \up }
3290 \new DrumVoice { \voiceTwo \down }
3297 Init files: @file{ly/drumpitch-init.ly}.
3299 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3303 Because general MIDI does not contain rim shots, the sidestick is used
3304 for this purpose instead.
3307 @section Piano music
3309 Piano staves are two normal staves coupled with a brace. The staves
3310 are largely independent, but sometimes voices can cross between the
3311 two staves. The same notation is also used for harps and other key
3312 instruments. The @internalsref{PianoStaff} is especially built to
3313 handle this cross-staffing behavior. In this section we discuss the
3314 @internalsref{PianoStaff} and some other pianistic peculiarities.
3318 * Automatic staff changes::
3319 * Manual staff switches::
3322 * Staff switch lines::
3323 * Cross staff stems::
3328 Dynamics are not centered, but workarounds do exist. See the
3329 ``piano centered dynamics'' template in @ref{Piano templates}.
3331 @cindex cross staff stem
3332 @cindex stem, cross staff
3333 @cindex distance between staves in piano music
3335 The distance between the two staves is the same for all systems in the
3336 score. It is possible to override this per system, but it does require
3337 an arcane command incantation. See
3338 @inputfileref{input/test,piano-staff-distance.ly}.
3341 @node Automatic staff changes
3342 @subsection Automatic staff changes
3343 @cindex Automatic staff changes
3345 Voices can be made to switch automatically between the top and the bottom
3346 staff. The syntax for this is
3350 \autochange @dots{}@var{music}@dots{}
3355 This will create two staves inside the current PianoStaff, called
3356 @code{up} and @code{down}. The lower staff will be in bass clef by
3359 A @code{\relative} section that is outside of @code{\autochange} has
3360 no effect on the pitches of @var{music}, so, if necessary, put
3361 @code{\relative} inside @code{\autochange} like
3365 \autochange \relative @dots{} @dots{}
3370 The autochanger switches on basis of pitch (middle C is the turning
3371 point), and it looks ahead skipping over rests to switch in
3372 advance. Here is a practical example
3374 @lilypond[quote,verbatim,raggedright]
3376 \autochange \relative c'
3385 In this manual: @ref{Manual staff switches}.
3387 Program reference: @internalsref{AutoChangeMusic}.
3393 The staff switches may not end up in optimal places. For high
3394 quality output, staff switches should be specified manually.
3397 @code{\autochange} cannot be inside @code{\times}.
3399 Internally, the @code{\partcombine} interprets both arguments as
3400 @code{Voice}s named @code{one} and @code{two}, and then decides when
3401 the parts can be combined. Consequently, if the arguments switch to
3402 differently named @internalsref{Voice} contexts, the events in those
3406 @node Manual staff switches
3407 @subsection Manual staff switches
3409 @cindex manual staff switches
3410 @cindex staff switch, manual
3412 Voices can be switched between staves manually, using the command
3414 \change Staff = @var{staffname} @var{music}
3418 The string @var{staffname} is the name of the staff. It switches the
3419 current voice from its current staff to the Staff called
3420 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3421 @code{"down"}. The @context{Staff} referred to must already exist, so
3422 usually the setup for a score will start with a setup of the staves,
3426 \context Staff = up @{
3427 \skip 1 * 10 %@emph{ keep staff alive}
3429 \context Staff = down @{
3430 \skip 1 * 10 %@emph{idem}
3436 and the @context{Voice} is inserted afterwards
3439 \context Staff = down
3440 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3448 Pianos have pedals that alter the way sound is produced. Generally, a
3449 piano has three pedals, sustain, una corda, and sostenuto.
3452 Piano pedal instruction can be expressed by attaching
3453 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3454 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3457 @lilypond[quote,raggedright,fragment,verbatim]
3458 c'4\sustainDown c'4\sustainUp
3461 What is printed can be modified by setting @code{pedal@var{X}Strings},
3462 where @var{X} is one of the pedal types: @code{Sustain},
3463 @code{Sostenuto} or @code{UnaCorda}. Refer to
3464 @internalsref{SustainPedal} in the program reference for more
3467 Pedals can also be indicated by a sequence of brackets, by setting the
3468 @code{pedalSustainStyle} property to bracket objects
3470 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3471 \set Staff.pedalSustainStyle = #'bracket
3473 b\sustainUp\sustainDown
3474 b g \sustainUp a \sustainDown \bar "|."
3477 A third style of pedal notation is a mixture of text and brackets,
3478 obtained by setting the @code{pedalSustainStyle} style property to
3481 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3482 \set Staff.pedalSustainStyle = #'mixed
3484 b\sustainUp\sustainDown
3485 b g \sustainUp a \sustainDown \bar "|."
3488 The default `*Ped.' style for sustain and damper pedals corresponds to
3489 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3492 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3493 c\sostenutoDown d e c, f g a\sostenutoUp
3496 For fine-tuning of the appearance of a pedal bracket, the properties
3497 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3498 @code{PianoPedalBracket} objects (see
3499 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3500 bracket may be extended to the right edge of the note head
3502 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3503 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3504 c\sostenutoDown d e c, f g a\sostenutoUp
3508 @subsection Arpeggio
3511 @cindex broken arpeggio
3512 @cindex @code{\arpeggio}
3514 You can specify an arpeggio sign on a chord by attaching an
3515 @code{\arpeggio} to a chord
3518 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3522 When an arpeggio crosses staves, you attach an arpeggio to the chords
3523 in both staves, and set
3524 @internalsref{PianoStaff}.@code{connectArpeggios}
3526 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3527 \context PianoStaff <<
3528 \set PianoStaff.connectArpeggios = ##t
3529 \new Staff { <c' e g c>\arpeggio }
3530 \new Staff { \clef bass <c,, e g>\arpeggio }
3534 The direction of the arpeggio is sometimes denoted by adding an
3535 arrowhead to the wiggly line
3537 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3546 A square bracket on the left indicates that the player should not
3547 arpeggiate the chord
3549 @c todo: ugh, lousy typography. Look for real example. --hwn
3551 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3558 @cindex @code{\arpeggio}
3560 @cindex @code{\arpeggioUp}
3562 @cindex @code{\arpeggioDown}
3563 @code{\arpeggioDown},
3564 @cindex @code{\arpeggioNeutral}
3565 @code{\arpeggioNeutral},
3566 @cindex @code{\arpeggioBracket}
3567 @code{\arpeggioBracket}.
3571 Program reference: @internalsref{ArpeggioEvent},
3572 @internalsref{Arpeggio}.
3576 It is not possible to mix connected arpeggios and unconnected
3577 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3579 @node Staff switch lines
3580 @subsection Staff switch lines
3583 @cindex follow voice
3584 @cindex staff switching
3587 @cindex @code{followVoice}
3589 Whenever a voice switches to another staff a line connecting the notes
3590 can be printed automatically. This is switched on by setting
3591 @code{PianoStaff.followVoice} to true
3593 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3594 \context PianoStaff <<
3595 \set PianoStaff.followVoice = ##t
3596 \context Staff \context Voice {
3601 \context Staff=two { \clef bass \skip 1*2 }
3607 Program reference: @internalsref{VoiceFollower}.
3611 @cindex @code{\showStaffSwitch}
3612 @code{\showStaffSwitch},
3613 @cindex @code{\hideStaffSwitch}
3614 @code{\hideStaffSwitch}.
3617 @node Cross staff stems
3618 @subsection Cross staff stems
3620 The chords which cross staves may be produced by increasing the length
3621 of the stem in the lower stave, so it reaches the stem in the upper
3622 stave, or vice versa.
3624 @lilypond[raggedright,verbatim,quote]
3625 stemExtend = \once \override Stem #'length = #22
3626 noFlag = \once \override Stem #'flag-style = #'no-flag
3627 \context PianoStaff <<
3629 \stemDown \stemExtend
3643 @section Vocal music
3645 There are three different issues when printing vocal music
3649 Song texts must be entered as texts, not notes. For example, the
3650 input @code{d} should be interpreted as a one letter syllable, not the note D.
3652 Song texts must be printed as text, not as notes.
3654 Song texts must be aligned with the notes of their melody
3657 The simplest solution to printing music uses the @code{\addlyrics}
3658 function to solve all these problems at once. However, these
3659 three functions can be controlled separately, which is necessary
3660 for complex vocal music.
3664 * Setting simple songs::
3666 * Hyphens and extenders::
3667 * The Lyrics context::
3668 * Flexibility in alignment::
3673 @node Setting simple songs
3674 @subsection Setting simple songs
3676 The easiest way to add lyrics to a melody is to append
3679 \addlyrics @{ @var{the lyrics} @}
3683 to a melody. Here is an example,
3685 @lilypond[raggedright,verbatim,fragment,quote]
3687 \relative { c2 e4 g2. }
3688 \addlyrics { play the game }
3691 More stanzas can be added by adding more
3692 @code{\addlyrics} sections
3694 @lilypond[raggedright,verbatim,fragment,quote]
3696 \relative { c2 e4 g2. }
3697 \addlyrics { play the game }
3698 \addlyrics { speel het spel }
3699 \addlyrics { joue le jeu }
3702 @c TODO - this isn't such a great place for this note, but I can't
3703 @c find a better place without rearranging a lot of lyric stuff.
3704 @c It's yet another thing to look at post-3.0.
3706 The @code{\addlyrics} command is actually just a convienient way
3707 to write a more complicated LilyPond structure that sets up the
3708 lyrics. You should use @code{\addlyrics} unless you need to
3709 fancy things, in which case you should investigate
3710 @code{\lyricsto} or @code{\lyricmode}.
3714 \addlyrics @{ LYRICS @}
3720 \context Voice = blah @{ music @}
3721 \lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
3725 @node Entering lyrics
3726 @subsection Entering lyrics
3730 @cindex @code{\lyricmode}
3733 Lyrics are entered in a special input mode. This mode is is introduced
3734 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3735 @code{lyricsto}. In this mode you can enter lyrics,
3736 with punctuation and accents, and the input @code{d} is not parsed as
3737 a pitch, but rather as a one letter syllable. Syllables are entered
3738 like notes, but with pitches replaced by text. For example,
3740 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3744 A word lyrics mode begins with an alphabetic character, and ends with
3745 any space or digit. The following characters can be any character
3746 that is not a digit or white space. One important consequence of this
3747 is that a word can end with @code{@}}. The following example is
3748 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3749 opening brace is not balanced
3751 \lyricmode @{ twinkle@}
3754 @cindex @code{\property}, in @code{\lyricmode}
3756 Similarly, a period which follows an alphabetic sequence is included in
3757 the resulting string. As a consequence, spaces must be inserted around
3760 \override Score . LyricText #'font-shape = #'italic
3764 @cindex spaces, in lyrics
3765 @cindex quotes, in lyrics
3767 Any @code{_} character which appears in an unquoted word is converted
3768 to a space. This provides a mechanism for introducing spaces into words
3769 without using quotes. Quoted words can also be used in Lyrics mode to
3770 specify words that cannot be written with the above rules. The
3771 following example incorporates double quotes
3774 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3777 This example is slightly academic, since it gives better looking
3778 results to use single quotes, @code{``} and @code{''}
3780 \lyricmode @{ He said: ``Let my peo ple go'' @}
3784 The full definition of a word start in Lyrics mode is somewhat more
3787 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3788 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3789 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3790 any 8-bit character with ASCII code over 127, or a two-character
3791 combination of a backslash followed by one of @code{`}, @code{'},
3792 @code{"}, or @code{^}.
3798 Program reference: events @internalsref{LyricEvent}, and
3799 @internalsref{LyricText}.
3803 The definition of lyrics mode is too complex.
3805 @node Hyphens and extenders
3806 @subsection Hyphens and extenders
3810 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3811 The hyphen will have variable length depending on the space between
3812 the syllables and it will be centered between the syllables.
3817 When a lyric is sung over many notes (this is called a melisma), this is
3818 indicated with a horizontal line centered between a syllable and the
3819 next one. Such a line is called an extender line, and it is entered as
3825 Program reference: @internalsref{HyphenEvent},
3826 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3827 @internalsref{LyricExtender}
3829 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}.
3833 @node The Lyrics context
3834 @subsection The Lyrics context
3837 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3839 \context Lyrics \lyricmode @dots{}
3842 @cindex automatic syllable durations
3843 @cindex @code{\lyricsto}
3844 @cindex lyrics and melodies
3846 This will place the lyrics according to the durations that were
3847 entered. The lyrics can also be aligned under a given melody
3848 automatically. In this case, it is no longer necessary to enter the
3849 correct duration for each syllable. This is achieved by combining the
3850 melody and the lyrics with the @code{\lyricsto} expression
3852 \lyricsto @var{name} \new Lyrics @dots{}
3855 This aligns the lyrics to the
3857 notes of the @internalsref{Voice} context called @var{name}, which has
3858 to exist. Therefore, normally the @code{Voice} is specified first, and
3859 then the lyrics are specified with @code{\lyricsto}. The command
3860 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
3861 @code{\lyricmode} keyword may be omitted.
3863 For different or more complex orderings, the best way is to setup the
3864 hierarchy of staves and lyrics first, e.g.
3866 \context ChoirStaff <<
3867 \context Lyrics = sopranoLyrics @{ s1 @}
3868 \context Voice = soprano @{ @emph{music} @}
3869 \context Lyrics = tenorLyrics @{ s1 @}
3870 \context Voice = tenor @{ @emph{music} @}
3873 and then combine the appropriate melodies and lyric lines
3875 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3880 The final input would resemble
3883 <<\context ChoirStaff << @emph{setup the music} >>
3884 \lyricsto "soprano" @emph{etc}
3885 \lyricsto "alto" @emph{etc}
3891 The @code{\lyricsto} command detects melismata: it only puts one
3892 syllable under a tied or slurred group of notes. If you want to force
3893 an unslurred group of notes to be a melisma, insert @code{\melisma}
3894 after the first note of the group, and @code{\melismaEnd} after the
3897 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3899 \context Voice = "lala" {
3907 \lyricsto "lala" \new Lyrics {
3913 In addition, notes are considered a melisma if they are manually
3914 beamed, and automatic beaming (see @ref{Setting automatic beam
3915 behavior}) is switched off.
3921 The criteria for deciding melismata can
3922 be tuned with the property @code{melismaBusyProperties}. See
3923 @internalsref{Melisma_translator} in the program reference for more
3928 Lyrics can also be entered without @code{\lyricsto}. In this case the
3929 durations of each syllable must be entered explicitly, for example,
3936 The alignment to a melody can be specified with the
3937 @code{associatedVoice} property,
3940 \set associatedVoice = #"lala"
3944 The value of the property (here: @code{"lala"}) should be the name of
3945 a @internalsref{Voice} context. Without this setting, extender lines
3946 will not be formatted properly.
3948 Here is an example demonstrating manual lyric durations,
3950 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
3951 << \context Voice = melody {
3955 \new Lyrics \lyricmode {
3956 \set associatedVoice = #"melody"
3962 @cindex choral score
3964 A complete example of a SATB score setup is in section
3965 @ref{Small ensembles}.
3970 @code{\melisma}, @code{\melismaEnd}
3971 @cindex @code{\melismaEnd}
3972 @cindex @code{\melisma}
3976 Program reference: @internalsref{LyricCombineMusic},
3977 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3979 Examples: @ref{Small ensembles},
3980 @inputfileref{input/regression,lyric-combine-new.ly},
3981 @c TODO: make separate section for melismata
3982 @inputfileref{input/test,lyrics-melisma-variants.ly}.
3983 @inputfileref{input/test,lyrics-melisma-faster.ly}.
3987 Melismata are not detected automatically, and extender lines must be
3991 @c TODO: document \new Staff << Voice \lyricsto >> bug
3993 @node Flexibility in alignment
3994 @subsection Flexibility in alignment
3997 Often, different stanzas of one song are put to one melody in slightly
3998 differing ways. Such variations can still be captured with
4001 One possibility is that the text has a melisma in one stanza, but
4002 multiple syllables in another one. One solution is to make the faster
4003 voice ignore the melisma. This is done by setting
4004 @code{ignoreMelismata} in the Lyrics context.
4006 There has one tricky aspect. The setting for @code{ignoreMelismata}
4007 must be set one syllable @emph{before} the non-melismatic syllable
4008 in the text, as shown here,
4010 @lilypond[verbatim,raggedright,quote]
4012 \relative \context Voice = "lahlah" {
4013 \set Staff.autoBeaming = ##f
4019 \new Lyrics \lyricsto "lahlah" {
4022 \new Lyrics \lyricsto "lahlah" {
4023 \set ignoreMelismata = ##t % applies to "fas"
4025 \unset ignoreMelismata
4032 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4033 should be entered before ``go''.
4035 The reverse is also possible: making a lyric line slower than the
4036 standard. This can be achieved by insert @code{\skip}s into the
4037 lyrics. For every @code{\skip}, the text will be delayed another note.
4040 @lilypond[verbatim,raggedright,quote]
4041 \relative { c c g' }
4048 More complex variations in text underlay are possible. It is possible
4049 to switch the melody for a line of lyrics during the text. This is
4050 done by setting the @code{associatedVoice} property. In the example
4052 @lilypond[raggedright,quote]
4055 \relative \context Voice = "lahlah" {
4056 \set Staff.autoBeaming = ##f
4059 \context Voice = alternative {
4062 % show associations clearly.
4063 \override NoteColumn #'force-hshift = #-3
4074 \new Lyrics \lyricsto "lahlah" {
4075 Ju -- ras -- sic Park
4077 \new Lyrics \lyricsto "lahlah" {
4078 % Tricky: need to set associatedVoice
4079 % one syllable too soon!
4080 \set associatedVoice = alternative % applies to "ran"
4084 \set associatedVoice = lahlah % applies to "rus"
4090 the text for the first stanza is set to a melody called ``lahlah'',
4093 \new Lyrics \lyricsto "lahlah" {
4094 Ju -- ras -- sic Park
4099 The second stanza initially is set to the @code{lahlah} context, but
4100 for the syllable ``ran'', it switches to a different melody.
4101 This is achieved with
4103 \set associatedVoice = alternative
4107 Here, @code{alternative} is the name of the @code{Voice} context
4108 containing the triplet.
4110 Again, the command must be one syllable too early, before ``Ty'' in
4114 \new Lyrics \lyricsto "lahlah" {
4115 \set associatedVoice = alternative % applies to "ran"
4119 \set associatedVoice = lahlah % applies to "rus"
4125 The underlay is switched back to the starting situation by assigning
4126 @code{lahlah} to @code{associatedVoice}.
4132 @subsection More stanzas
4134 @cindex phrasing, in lyrics
4137 @cindex stanza number
4138 @cindex singer's names
4139 @cindex name of singer
4141 Stanza numbers can be added by setting @code{stanza}, e.g.
4143 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4145 \time 3/4 g2 e4 a2 f4 g2.
4148 Hi, my name is Bert.
4151 Oh, che -- ri, je t'aime
4155 These numbers are put just before the start of first syllable.
4157 Names of singers can also be added. They are printed at the start of
4158 the line, just like instrument names. They are created by setting
4159 @code{vocalName}. A short version may be entered as @code{vocNam}.
4162 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4164 \time 3/4 g2 e4 a2 f4 g2.
4166 \set vocalName = "Bert "
4167 Hi, my name is Bert.
4169 \set vocalName = "Ernie "
4170 Oh, che -- ri, je t'aime
4176 Program reference: Layout objects @internalsref{LyricText} and
4177 @internalsref{VocalName}. Music expressions
4178 @internalsref{LyricEvent}.
4186 The term @emph{ambitus} denotes a range of pitches for a given voice
4187 in a part of music. It also may denote the pitch range that a musical
4188 instrument is capable of playing. Ambits are printed on vocal parts,
4189 so performers can easily determine it meets their capabilities.
4191 It denoted at the beginning of a piece near the initial clef. The
4192 range is graphically specified by two note heads, that represent the
4193 minimum and maximum pitch. To print such ambits, add the
4194 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4201 \consists Ambitus_engraver
4206 This results in the following output
4208 @lilypond[quote,raggedright]
4212 \consists Ambitus_engraver
4216 \relative \new Staff {
4221 If you have multiple voices in a single staff, and you want a single
4222 ambitus per staff rather than per each voice, add the
4223 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4224 rather than to the @internalsref{Voice} context. Here is an example,
4226 @lilypond[verbatim,raggedright,quote]
4229 \consists "Ambitus_engraver"
4231 \override Ambitus #'X-offset-callbacks
4232 = #(list (lambda (grob axis) -1.0))
4237 \consists "Ambitus_engraver"
4246 This example uses one advanced feature,
4249 \override Ambitus #'X-offset-callbacks
4250 = #(list (lambda (grob axis) -1.0))
4254 This code moves the ambitus to the left. The same effect could have
4255 been achieved with @code{extra-offset}, but then the formatting system
4256 would not reserve space for the moved object.
4260 Program reference: @internalsref{Ambitus},
4261 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4262 @internalsref{AmbitusAccidental}.
4264 Examples: @inputfileref{input/regression,ambitus.ly}.
4268 There is no collision handling in the case of multiple per-voice
4271 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4272 @section Other instrument specific notation
4274 This section includes extra information for writing string music, and may
4275 include extra information for other instruments in the future.
4281 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4282 @subsection Harmonic notes
4284 @cindex artificial harmonics
4287 Artificial harmonics are notated with a different notehead style. They
4289 marking the harmonic pitch with @code{\harmonic}.
4291 @lilypond[raggedright,verbatim,quote,fragment]
4296 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4300 @cindex guitar tablature
4302 Tablature notation is used for notating music for plucked string
4303 instruments. Pitches are not denoted with note heads, but by
4304 indicating on which string and fret a note must be played. LilyPond
4305 offers limited support for tablature.
4308 * Tablatures basic::
4309 * Non-guitar tablatures::
4312 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4313 @subsection Tablatures basic
4314 @cindex Tablatures basic
4316 The string number associated to a note is given as a backslash
4317 followed by a number, e.g. @code{c4\3} for a C quarter on the third
4318 string. By default, string 1 is the highest one, and the tuning
4319 defaults to the standard guitar tuning (with 6 strings). The notes
4320 are printed as tablature, by using @internalsref{TabStaff} and
4321 @internalsref{TabVoice} contexts
4323 @lilypond[quote,raggedright,fragment,verbatim]
4330 @cindex @code{minimumFret}
4333 When no string is specified, the first string that does not give a
4334 fret number less than @code{minimumFret} is selected. The default
4335 value for @code{minimumFret} is 0
4340 \set TabStaff.minimumFret = #8
4343 @lilypond[quote,noindent,raggedright]
4347 \set TabStaff.minimumFret = #8
4350 \context StaffGroup <<
4351 \context Staff { \clef "G_8" \frag }
4352 \context TabStaff { \frag }
4358 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4359 @internalsref{StringNumberEvent}.
4363 Chords are not handled in a special way, and hence the automatic
4364 string selector may easily select the same string to two notes in a
4368 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4369 @subsection Non-guitar tablatures
4370 @cindex Non-guitar tablatures
4372 You can change the number of strings, by setting the number of lines
4373 in the @internalsref{TabStaff}.
4375 You can change the tuning of the strings. A string tuning is given as
4376 a Scheme list with one integer number for each string, the number
4377 being the pitch (measured in semitones relative to middle C) of an
4378 open string. The numbers specified for @code{stringTuning} are the
4379 numbers of semitones to subtract or add, starting the specified pitch
4380 by default middle C, in string order. In the next example,
4381 @code{stringTunings} is set for the pitches e, a, d, and g
4383 @lilypond[quote,raggedright,fragment,verbatim]
4384 \context TabStaff <<
4385 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4388 a,4 c' a e' e c' a e'
4395 No guitar special effects have been implemented.
4399 Program reference: @internalsref{Tab_note_heads_engraver}.
4402 @node Popular music, Orchestral music, Tablatures, Notation manual
4403 @section Popular music
4405 This section discusses issues that arise when writing popular music.
4410 * Printing chord names::
4414 @node Chord names, Chords mode, Popular music, Popular music
4415 @subsection Chord names
4418 LilyPond has support for both printing chord names. Chords may be
4419 entered in musical chord notation, i.e. @code{< .. >}, but they can
4420 also be entered by name. Internally, the chords are represented as a
4421 set of pitches, so they can be transposed
4424 @lilypond[quote,raggedright,verbatim,raggedright]
4425 twoWays = \transpose c c' {
4434 << \context ChordNames \twoWays
4435 \context Voice \twoWays >>
4438 This example also shows that the chord printing routines do not try to
4439 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4442 @c this menu isn't needed.
4446 * Printing chord names::
4451 @subsection Chords mode
4454 In chord mode sets of pitches (chords) are entered with normal note
4455 names. A chord is entered by the root, which is entered like a
4458 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
4459 \chordmode { es4. d8 c2 }
4463 The mode is introduced by the keyword @code{\chordmode}.
4468 Other chords may be entered by suffixing a colon and introducing a
4469 modifier (which may include a number if desired)
4471 @lilypond[quote,fragment,verbatim]
4472 \chordmode { e1:m e1:7 e1:m7 }
4474 The first number following the root is taken to be the `type' of the
4475 chord, thirds are added to the root until it reaches the specified
4477 @lilypond[quote,fragment,verbatim]
4478 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4481 @cindex root of chord
4482 @cindex additions, in chords
4483 @cindex removals, in chords
4485 More complex chords may also be constructed adding separate steps
4486 to a chord. Additions are added after the number following
4487 the colon, and are separated by dots
4489 @lilypond[quote,verbatim,fragment]
4490 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4492 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4494 @lilypond[quote,verbatim,fragment]
4495 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4497 Removals are specified similarly, and are introduced by a caret. They
4498 must come after the additions
4499 @lilypond[quote,verbatim,fragment]
4500 \chordmode { c^3 c:7^5 c:9^3.5 }
4503 Modifiers can be used to change pitches. The following modifiers are
4507 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4509 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
4512 is the augmented chord. This modifier raises the 5th step.
4514 is the major 7th chord. This modifier raises the 7th step if present.
4516 is the suspended 4th or 2nd. This modifier removes the 3rd
4517 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4520 Modifiers can be mixed with additions
4521 @lilypond[quote,verbatim,fragment]
4522 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4525 @cindex modifiers, in chords.
4532 Since an unaltered 11 does not sound good when combined with an
4533 unaltered 3, the 11 is removed in this case (unless it is added
4536 @lilypond[quote,raggedright,fragment,verbatim]
4537 \chordmode { c:13 c:13.11 c:m13 }
4542 An inversion (putting one pitch of the chord on the bottom), as well
4543 as bass notes, can be specified by appending
4544 @code{/}@var{pitch} to the chord
4545 @lilypond[quote,raggedright,fragment,verbatim]
4546 \chordmode { c1 c/g c/f }
4550 A bass note can be added instead of transposed out of the chord,
4551 by using @code{/+}@var{pitch}.
4553 @lilypond[quote,raggedright,fragment,verbatim]
4554 \chordmode { c1 c/+g c/+f }
4557 Chords is a mode similar to @code{\lyricmode} etc. Most
4558 of the commands continue to work, for example, @code{r} and
4559 @code{\skip} can be used to insert rests and spaces, and property
4560 commands may be used to change various settings.
4566 Each step can only be present in a chord once. The following
4567 simply produces the augmented chord, since @code{5+} is interpreted
4570 @lilypond[quote,raggedright,verbatim,fragment]
4571 \chordmode { c:5.5-.5+ }
4575 @node Printing chord names
4576 @subsection Printing chord names
4578 @cindex printing chord names
4582 For displaying printed chord names, use the @internalsref{ChordNames} context.
4583 The chords may be entered either using the notation
4584 described above, or directly using @code{<} and @code{>}
4586 @lilypond[quote,verbatim,raggedright]
4588 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4591 \context ChordNames \harmonies
4592 \context Staff \harmonies
4596 You can make the chord changes stand out by setting
4597 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4598 display chord names when there is a change in the chords scheme and at
4599 the start of a new line
4601 @c originally this had linewidth=9\cm, but I though that raggedright would be better
4602 @lilypond[quote,verbatim,raggedright]
4603 harmonies = \chordmode {
4604 c1:m c:m \break c:m c:m d
4607 \context ChordNames {
4608 \set chordChanges = ##t
4610 \context Staff \transpose c c' \harmonies
4614 The previous examples all show chords over a staff. This is not
4615 necessary. Chords may also be printed separately. It may be necessary
4616 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4617 for showing repeats.
4619 @lilypond[raggedright,verbatim]
4620 \new ChordNames \with {
4621 \override BarLine #'bar-size = #4
4622 voltaOnThisStaff = ##t
4623 \consists Bar_engraver
4624 \consists "Volta_engraver"
4626 \repeat volta 2 \chordmode {
4635 The default chord name layout is a system for Jazz music, proposed by
4636 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4637 following properties
4640 @cindex @code{chordNameExceptions}
4641 @item chordNameExceptions
4642 This is a list that contains the chords that have special formatting.
4643 For an example of tuning this property, see
4644 @inputfileref{input/regression,chord-name-exceptions.ly}.
4645 @cindex exceptions, chord names.
4648 @cindex @code{majorSevenSymbol}
4649 @item majorSevenSymbol
4650 This property contains the markup object used for the 7th step, when
4651 it is major. Predefined options are @code{whiteTriangleMarkup} and
4652 @code{blackTriangleMarkup}. See
4653 @inputfileref{input/regression,chord-name-major7.ly} for an example.
4655 @cindex @code{chordNameSeparator}
4656 @item chordNameSeparator
4657 Different parts of a chord name are normally separated by a
4658 slash. By setting @code{chordNameSeparator}, you can specify other
4660 @lilypond[quote,raggedright,fragment,verbatim]
4661 \context ChordNames \chordmode {
4663 \set chordNameSeparator
4664 = \markup { \typewriter "|" }
4669 @cindex @code{chordRootNamer}
4670 @item chordRootNamer
4671 The root of a chord is usually printed as a letter with an optional
4672 alteration. The transformation from pitch to letter is done by this
4673 function. Special note names (for example, the German ``H'' for a
4674 B-chord) can be produced by storing a new function in this property.
4676 @cindex @code{chordNoteNamer}
4677 @item chordNoteNamer
4678 The default is to print single pitch, e.g. the bass note, using the
4679 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4680 to a specialized function to change this behavior. For example, the
4681 base can be printed in lower case.
4685 The predefined variables @code{\germanChords},
4686 @code{\semiGermanChords} set these variables. The effect is
4689 @lilypondfile[raggedright,]{chord-names-german.ly}
4691 There are also two other chord name schemes implemented: an alternate
4692 Jazz chord notation, and a systematic scheme called Banter chords. The
4693 alternate jazz notation is also shown on the chart in @ref{Chord name
4694 chart}. Turning on these styles is described in the input file
4695 @inputfileref{input/test,chord-names-jazz.ly}.
4699 @cindex chords, jazz
4704 @cindex @code{\germanChords}
4705 @code{\germanChords},
4706 @cindex @code{\semiGermanChords}
4707 @code{\semiGermanChords}.
4714 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4715 @inputfileref{input/regression,chord-name-exceptions.ly},
4716 @inputfileref{input/test,chord-names-jazz.ly},
4717 @inputfileref{input/test,chords-without-melody.ly}.
4720 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4725 Chord names are determined solely from the list of pitches. Chord
4726 inversions are not identified, and neither are added bass notes. This
4727 may result in strange chord names when chords are entered with the
4728 @code{< .. >} syntax.
4732 @subsection Improvisation
4734 Improvisation is sometimes denoted with slashed note heads. Such note
4735 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4736 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4740 \set squashedPosition = #0
4741 \override NoteHead #'style = #'slash
4745 switches on the slashes.
4747 There are shortcuts @code{\improvisationOn} (and an accompanying
4748 @code{\improvisationOff}) for this command sequence. They are used in
4749 the following example
4751 @lilypond[verbatim,raggedright,quote]
4753 \consists Pitch_squash_engraver
4755 e8 e g a a16(bes)(a8) g \improvisationOn
4758 ~fis2 \improvisationOff a16(bes) a8 g e
4764 @node Orchestral music
4765 @section Orchestral music
4767 @cindex Writing parts
4769 Orchestral music involves some special notation, both in the full
4770 score and the individual parts. This section explains how to tackle
4771 some common problems in orchestral music.
4776 * System start delimiters::
4777 * Aligning to cadenzas::
4780 * Instrument names::
4782 * Instrument transpositions::
4783 * Multi measure rests::
4784 * Automatic part combining::
4786 * Different editions from one source::
4787 * Quoting other voices::
4788 * Formatting cue notes::
4791 @node System start delimiters
4792 @subsection System start delimiters
4794 Polyphonic scores consist of many staves. These staves can be
4795 constructed in three different ways
4797 @item The group is started with a brace at the left, and bar lines are
4798 connected. This is done with the @internalsref{GrandStaff} context.
4800 @lilypond[verbatim,raggedright,quote]
4809 @item The group is started with a bracket, and bar lines are connected. This is done with the
4810 @internalsref{StaffGroup} context
4812 @lilypond[verbatim,raggedright,quote]
4821 @item The group is started with a vertical line. Bar lines are not
4822 connected. This is the default for the score.
4824 @lilypond[verbatim,raggedright,quote]
4833 @cindex Staff, multiple
4834 @cindex bracket, vertical
4835 @cindex brace, vertical
4842 The bar lines at the start of each system are
4843 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
4844 @internalsref{SystemStartBracket}. Only one of these types is created
4845 in every context, and that type is determined by the property
4846 @code{systemStartDelimiter}.
4848 @node Aligning to cadenzas
4849 @subsection Aligning to cadenzas
4852 In an orchestral context, cadenzas present a special problem:
4853 when constructing a score that includes a cadenza, all other
4854 instruments should skip just as many notes as the length of the
4855 cadenza, otherwise they will start too soon or too late.
4857 A solution to this problem are the functions @code{mmrest-of-length}
4858 and @code{skip-of-length}. These Scheme functions take a piece music
4859 as argument, and generate a @code{\skip} or multi rest, exactly as
4860 long as the piece. The use of @code{mmrest-of-length} is demonstrated
4861 in the following example.
4863 @lilypond[verbatim,raggedright,quote]
4864 cadenza = \relative c' {
4865 c4 d8 << { e f g } \\ { d4. } >>
4870 \new Staff { \cadenza c'4 }
4872 #(ly:export (mmrest-of-length cadenza))
4882 @node Rehearsal marks
4883 @subsection Rehearsal marks
4884 @cindex Rehearsal marks
4886 @cindex @code{\mark}
4888 To print a rehearsal mark, use the @code{\mark} command
4890 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
4899 (The letter I is skipped in accordance with engraving traditions.)
4900 @c umm, is the manual the right place for feature requests? :) -gp
4901 @c FIXME - should make that tunable.
4903 The mark is incremented automatically if you use @code{\mark
4904 \default}, but you can also use an integer argument to set the mark
4905 manually. The value to use is stored in the property
4906 @code{rehearsalMark}.
4908 The style is defined by the property @code{markFormatter}. It is a
4909 function taking the current mark (an integer) and the current context
4910 as argument. It should return a markup object. In the following
4911 example, @code{markFormatter} is set to a canned procedure. After a
4912 few measures, it is set to function that produces a boxed number.
4915 @lilypond[quote,raggedright,verbatim,relative=2]
4917 \set Score.markFormatter = #format-mark-numbers
4920 \set Score.markFormatter
4921 = #(lambda (mark context)
4923 (make-box-markup (number->string mark))))
4929 The file @file{scm/translation-functions.scm} contains the definitions
4930 of @code{format-mark-numbers} (the default format) and
4931 @code{format-mark-letters}. These can be used as inspiration for other
4932 formatting functions.
4935 @cindex coda on bar line
4936 @cindex segno on bar line
4937 @cindex fermata on bar line
4938 @cindex bar lines, symbols on
4940 The @code{\mark} command can also be used to put signs like coda,
4941 segno and fermatas on a bar line. Use @code{\markup} to
4942 to access the appropriate symbol
4945 @lilypond[quote,raggedright,verbatim,relative=2]
4947 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4952 In the case of a line break, marks must also be printed at the end of
4953 the line, and not at the beginning. Use the following to force that
4956 \override Score.RehearsalMark
4957 #'break-visibility = #begin-of-line-invisible
4963 @cindex bar lines, putting symbols on
4967 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
4969 Init files: @file{scm/translation-functions.scm} contains the
4970 definition of @code{format-mark-numbers} and
4971 @code{format-mark-letters}. They can be used as inspiration for other
4972 formatting functions.
4974 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4976 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4980 @subsection Bar numbers
4984 @cindex measure numbers
4985 @cindex @code{currentBarNumber}
4987 Bar numbers are printed by default at the start of the line. The
4988 number itself is stored in the @code{currentBarNumber} property, which
4989 is normally updated automatically for every measure.
4991 Bar numbers can be typeset at regular intervals instead of at the
4992 beginning of each line. This is illustrated in the following example,
4993 whose source is available as
4994 @inputfileref{input/test,bar-number-regular-interval.ly}
4996 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5000 Program reference: @internalsref{BarNumber}.
5002 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
5003 and @inputfileref{input/test,bar-number-regular-interval.ly}.
5007 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5008 there is one at the top. To solve this, the
5009 @code{padding} property of @internalsref{BarNumber} can be
5010 used to position the number correctly.
5012 @node Instrument names
5013 @subsection Instrument names
5015 In an orchestral score, instrument names are printed left side of the
5018 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5019 and @internalsref{Staff}.@code{instr}. This will print a string before
5020 the start of the staff. For the first start, @code{instrument} is
5021 used, for the next ones @code{instr} is used.
5023 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5024 \set Staff.instrument = "Ploink "
5025 \set Staff.instr = "Plk "
5031 You can also use markup texts to construct more complicated instrument
5034 @lilypond[quote,fragment,verbatim,raggedright]
5035 \set Staff.instrument = \markup {
5036 \column < "Clarinetti" { "in B"
5037 \smaller \flat } > }
5041 For longer instrument names, it may be useful to increase the
5042 @code{indent} setting in the @code{\layout} block.
5046 Program reference: @internalsref{InstrumentName}.
5050 When you put a name on a grand staff or piano staff the width of the
5051 brace is not taken into account. You must add extra spaces to the end of
5052 the name to avoid a collision.
5055 @subsection Transpose
5057 @cindex transposition of pitches
5058 @cindex @code{\transpose}
5060 A music expression can be transposed with @code{\transpose}. The
5063 \transpose @var{from} @var{to} @var{musicexpr}
5066 This means that @var{musicexpr} is transposed by the interval between
5067 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5068 is changed to @code{to}.
5071 For example, consider a piece written in the key of D major. If
5072 this piece is a little too low for its performer, it can be
5073 transposed up to E major with
5075 \transpose d e @dots{}
5078 Consider a part written for violin (a C instrument). If
5079 this part is to be played on the A clarinet, the following
5080 transposition will produce the appropriate part
5083 \transpose a c @dots{}
5086 @code{\transpose} distinguishes between enharmonic pitches: both
5087 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5088 half a tone. The first version will print sharps and the second
5089 version will print flats
5091 @lilypond[quote,raggedright,verbatim]
5092 mus = { \key d \major cis d fis g }
5096 \transpose c g' \mus
5097 \transpose c f' \mus
5104 Program reference: @internalsref{TransposedMusic}, and
5105 @internalsref{UntransposableMusic}.
5109 If you want to use both @code{\transpose} and @code{\relative},
5110 you must put @code{\transpose} outside of @code{\relative}, since
5111 @code{\relative} will have no effect music that appears inside a
5114 @node Instrument transpositions
5115 @subsection Instrument transpositions
5117 The key of a transposing instrument can also be specified. This
5118 applies to many wind instruments, for example, clarinets (B-flat, A and
5119 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
5121 The transposition is entered after the keyword @code{\transposition}
5124 \transposition bes %% B-flat clarinet
5128 This command sets the property @code{instrumentTransposition}. The value of
5129 this property is used for MIDI output and quotations. It does not
5130 affect how notes are printed in the current staff.
5132 The pitch to use for @code{\transposition} should correspond to the
5133 transposition of the notes. For example, when entering a score in
5134 concert pitch, typically all voices are entered in C, so
5135 they should be entered as
5148 The command @code{\transposition} should be used when the music is
5149 entered from a (transposed) orchestral part. For example, in
5150 classical horn parts, the tuning of the instrument is often changed
5151 during a piece. When copying the notes from the part, use
5152 @code{\transposition}, e.g.
5165 @cindex transposition, MIDI
5166 @cindex transposition, instrument
5169 @node Multi measure rests
5170 @subsection Multi measure rests
5171 @cindex multi measure rests
5172 @cindex Rests, multi measure
5176 Multi measure rests are entered using `@code{R}'. It is specifically
5177 meant for full bar rests and for entering parts: the rest can expand
5178 to fill a score with rests, or it can be printed as a single
5179 multimeasure rest. This expansion is controlled by the property
5180 @code{Score.skipBars}. If this is set to true, empty measures will not
5181 be expanded, and the appropriate number is added automatically
5183 @lilypond[quote,raggedright,fragment,verbatim]
5184 \time 4/4 r1 | R1 | R1*2
5185 \set Score.skipBars = ##t R1*17 R1*4
5188 The @code{1} in @code{R1} is similar to the duration notation used for
5189 notes. Hence, for time signatures other than 4/4, you must enter other
5190 durations. This can be done with augmentation dots or fractions
5192 @lilypond[quote,raggedright,fragment,verbatim]
5193 \set Score.skipBars = ##t
5202 An @code{R} spanning a single measure is printed as either a whole rest
5203 or a breve, centered in the measure regardless of the time signature.
5205 If there are only a few measures of rest, LilyPond prints ``church rests''
5206 (a series of rectangles) in the staff. To replace that with a simple
5207 rest, use @code{MultiMeasureRest.expand-limit}.
5209 @lilypond[quote,raggedright,fragment,verbatim]
5210 \set Score.skipBars = ##t
5212 \override MultiMeasureRest #'expand-limit = 1
5217 @cindex text on multi-measure rest
5218 @cindex script on multi-measure rest
5219 @cindex fermata on multi-measure rest
5221 Texts can be added to multi-measure rests by using the
5222 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5223 A variable (@code{\fermataMarkup}) is provided for
5227 @lilypond[quote,raggedright,verbatim,fragment]
5228 \set Score.skipBars = ##t
5230 R2.*10^\markup { "Ad lib" }
5234 If you want to have a text on the left end of a multi-measure rest,
5235 attach the text to a zero-length skip note, i.e.
5243 @cindex whole rests for a full measure
5247 Program reference: @internalsref{MultiMeasureRestEvent},
5248 @internalsref{MultiMeasureTextEvent},
5249 @internalsref{MultiMeasureRestMusicGroup}, and
5250 @internalsref{MultiMeasureRest}.
5252 The layout object @internalsref{MultiMeasureRestNumber} is for the
5253 default number, and @internalsref{MultiMeasureRestText} for user
5258 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
5259 over multi-measure rests.
5261 @cindex condensing rests
5263 There is no way to automatically condense multiple rests into a single
5264 multimeasure rest. Multi measure rests do not take part in rest
5267 Be careful when entering multimeasure rests followed by whole
5268 notes. The following will enter two notes lasting four measures each
5272 When @code{skipBars} is set, the result will look OK, but the bar
5273 numbering will be off.
5275 @node Automatic part combining
5276 @subsection Automatic part combining
5277 @cindex automatic part combining
5278 @cindex part combiner
5281 Automatic part combining is used to merge two parts of music onto a
5282 staff. It is aimed at typesetting orchestral scores. When the two
5283 parts are identical for a period of time, only one is shown. In
5284 places where the two parts differ, they are typeset as separate
5285 voices, and stem directions are set automatically. Also, solo and
5286 @emph{a due} parts are identified and can be marked.
5288 The syntax for part combining is
5291 \partcombine @var{musicexpr1} @var{musicexpr2}
5296 The following example demonstrates the basic functionality of the part
5297 combiner: putting parts on one staff, and setting stem directions and
5300 @lilypond[quote,verbatim,raggedright,fragment]
5301 \new Staff \partcombine
5302 \relative g' { g g a( b) c c r r }
5303 \relative g' { g g r4 r e e g g }
5306 The first @code{g} appears only once, although it was
5307 specified twice (once in each part). Stem, slur and tie directions are
5308 set automatically, depending whether there is a solo or unisono. The
5309 first part (with context called @code{one}) always gets up stems, and
5310 `solo', while the second (called @code{two}) always gets down stems and
5313 If you just want the merging parts, and not the textual markings, you
5314 may set the property @code{printPartCombineTexts} to false
5316 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5318 \set Staff.printPartCombineTexts = ##f
5320 \relative g' { g a( b) r }
5321 \relative g' { g r4 r f }
5326 Both arguments to @code{\partcombine} will be interpreted as
5327 @internalsref{Voice} contexts. If using relative octaves,
5328 @code{\relative} should be specified for both music expressions, i.e.
5332 \relative @dots{} @var{musicexpr1}
5333 \relative @dots{} @var{musicexpr2}
5337 A @code{\relative} section that is outside of @code{\partcombine} has
5338 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5342 Program reference: @internalsref{PartCombineMusic},
5343 @internalsref{SoloOneEvent}, and
5344 @internalsref{SoloTwoEvent}, and
5345 @internalsref{UnisonoEvent}.
5349 When @code{printPartCombineTexts} is set, when the two voices play the
5350 same notes on and off, the part combiner may typeset @code{a2} more
5351 than once in a measure.
5353 @code{\partcombine} cannot be inside @code{\times}.
5355 @code{\partcombine} cannot be inside @code{\relative}.
5357 Internally, the @code{\partcombine} interprets both arguments as
5358 @code{Voice}s named @code{one} and @code{two}, and then decides when
5359 the parts can be combined. Consequently, if the arguments switch to
5360 differently named @internalsref{Voice} contexts, the events in those
5364 @subsection Hiding staves
5366 @cindex Frenched scores
5367 @cindex Hiding staves
5369 In orchestral scores, staff lines that only have rests are usually
5370 removed. This saves some space. This style is called `French Score'.
5371 For @internalsref{Lyrics},
5372 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5373 switched on by default. When these line of these contexts turn out
5374 empty after the line-breaking process, they are removed.
5376 For normal staves, a specialized @internalsref{Staff} context is
5377 available, which does the same: staves containing nothing (or only
5378 multi measure rests) are removed. The context definition is stored in
5379 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5380 in this example disappears in the second line
5383 @lilypond[quote,raggedright,verbatim]
5385 \context { \RemoveEmptyStaffContext }
5390 \new Staff { e4 f g a \break c1 }
5391 \new Staff { c4 d e f \break R1 }
5396 The first system shows all staves in full. If empty staves should be
5397 removed from the first system too, set @code{remove-first} to false in
5398 @internalsref{RemoveEmptyVerticalGroup}.
5400 Another application is making ossia sections, i.e. alternative
5401 melodies on a separate piece of staff, with help of a Frenched
5402 staff. See @inputfileref{input/test,ossia.ly} for an example.
5405 @node Different editions from one source
5406 @subsection Different editions from one source
5408 The @code{\tag} command marks music expressions with a name. These
5409 tagged expressions can be filtered out later. With this mechanism it
5410 is possible to make different versions of the same music source.
5412 In the following example, we see two versions of a piece of music, one
5413 for the full score, and one with cue notes for the instrumental part
5429 The same can be applied to articulations, texts, etc.: they are
5432 -\tag #@var{your-tag}
5434 to an articulation, for example,
5439 This defines a note with a conditional fingering indication.
5441 By applying the @code{\keepWithTag} command, tagged expressions
5442 can be filtered. For example,
5446 \keepWithTag #'score @var{the music}
5447 \keepWithTag #'part @var{the music}
5452 @lilypondfile[raggedright,quote]{tag-filter.ly}
5455 The argument of the @code{\tag} command should be a symbol, or a list
5456 of symbols, for example,
5458 \tag #'(original-part transposed-part) @dots{}
5463 Examples: @inputfileref{input/regression,tag-filter.ly}.
5467 Multiple rests are not merged if you create the score with both tagged
5470 @node Quoting other voices
5471 @subsection Quoting other voices
5473 With quotations, fragments of other parts can be inserted into a part
5474 directly. Before a part can be quoted, it must be marked especially as
5475 quotable. This is done with code @code{\addquote} command.
5478 \addquote @var{name} @var{music}
5483 Here, @var{name} is an identifying string. The @var{music} is any kind
5484 of music. This is an example of @code{\addquote}
5487 \addquote clarinet \relative c' {
5492 This command must be entered at toplevel, i.e. outside any music
5495 After calling @code{\addquote}, the quotation may then be done with
5499 \quote @var{name} @var{duration}
5502 During a part, a piece of music can be quoted with the @code{\quote}
5509 This would cite three quarter notes (@code{2.} is a dotted half note)
5510 of the previously added @code{clarinet} voice.
5512 More precisely, it takes the current time-step of the part being
5513 printed, and extracts the notes at the corresponding point of the
5514 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5515 should be the entire part of the voice to be quoted, including any
5516 rests at the beginning.
5518 Quotations take into account the transposition of both source and target
5519 instruments, if they are specified using the @code{\transposition} command.
5521 @lilypond[quote,raggedright,verbatim]
5522 \addquote clarinet \relative c' {
5528 e'8 f'8 \quote clarinet 2
5532 The type of events that are present in cue notes can be trimmed with
5533 the @code{quotedEventTypes} property. The default value is
5534 @code{(note-event rest-event)}, which means that only notes of and
5535 rests of the cued voice end up in the @code{\quote}.
5539 \set Staff.quotedEventTypes = #'(note-event articulation-event dynamic-event)
5543 will quote notes (but no rests), together with scripts and dynamics.
5547 Only the contents of the first @internalsref{Voice} occurring in an
5548 @code{\addquote} command will be considered for quotation, so
5549 @var{music} can not contain @code{\new} and @code{\context Voice}
5550 statements that would switch to a different Voice.
5555 In this manual: @ref{Instrument transpositions}.
5557 Examples: @inputfileref{input/regression,quote.ly}
5558 @inputfileref{input/regression,quote-transposition.ly}
5560 Program reference: @internalsref{QuoteMusic}.
5562 @node Formatting cue notes
5563 @subsection Formatting cue notes
5566 The previous section deals with inserting notes from another
5567 voice. When making a part, these notes need to be specially formatted.
5568 Here is an example of formatted cue notes
5570 @c TODO: This should be done with \quote stuff, not manually.
5572 @lilypond[raggedright,verbatim]
5575 \override Stem #'length = #5.5
5576 \override Beam #'thickness = #0.384
5577 \override Beam #'space-function =
5578 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5582 \set Staff.instrument = #"Horn in F"
5583 \set Score.skipBars = ##t
5586 \once \override Staff.MultiMeasureRest #'staff-position = #-6
5593 r8^"Bsn." c'8 f'8[ f'8]
5603 There are a couple of points to take care of:
5607 The multi rest of the original part should be moved up or down during
5610 Cue notes have smaller font sizes.
5612 When cued notes have a clef change relative to the original part, the
5613 clef should be restored after the cue section. This minimizes
5614 confusion for the reader,
5616 When the original part starts, this should be marked with the name of
5617 the instrument, in this case ``Horn.'' Of course, the cue part is
5618 marked with the instrument playing the cue.
5621 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5624 @node Ancient notation
5625 @section Ancient notation
5627 @cindex Vaticana, Editio
5628 @cindex Medicaea, Editio
5633 Support for ancient notation includes features for mensural notation
5634 and Gregorian Chant notation. There is also limited support for
5635 figured bass notation.
5637 Many graphical objects provide a @code{style} property, see
5640 @ref{Ancient note heads},
5642 @ref{Ancient accidentals},
5644 @ref{Ancient rests},
5646 @ref{Ancient clefs},
5648 @ref{Ancient flags},
5650 @ref{Ancient time signatures}.
5653 By manipulating such a grob property, the typographical appearance of
5654 the affected graphical objects can be accommodated for a specific
5655 notation flavor without need for introducing any new notational
5658 In addition to the standard articulation signs described in section
5659 @ref{Articulations}, specific articulation signs for ancient notation
5664 @ref{Ancient articulations}
5667 Other aspects of ancient notation can not that easily be expressed as
5668 in terms of just changing a style property of a graphical object or
5669 adding articulation signs. Some notational concepts are introduced
5670 specifically for ancient notation,
5681 If this all is too much of documentation for you, and you just want to
5682 dive into typesetting without worrying too much about the details on
5683 how to customize a context, you may have a look at the predefined
5684 contexts. Use them to set up predefined style-specific voice and
5685 staff contexts, and directly go ahead with the note entry,
5689 @ref{Gregorian Chant contexts},
5691 @ref{Mensural contexts}.
5694 There is limited support for figured bass notation which came
5695 up during the baroque period.
5702 Here are all suptopics at a glance:
5705 * Ancient note heads::
5706 * Ancient accidentals::
5710 * Ancient time signatures::
5711 * Ancient articulations::
5715 * Gregorian Chant contexts::
5716 * Mensural contexts::
5721 @node Ancient note heads
5722 @subsection Ancient note heads
5727 For ancient notation, a note head style other than the @code{default}
5728 style may be chosen. This is accomplished by setting the @code{style}
5729 property of the NoteHead object to @code{baroque}, @code{neomensural}
5730 or @code{mensural}. The @code{baroque} style differs from the
5731 @code{default} style only in using a square shape for @code{\breve}
5732 note heads. The @code{neomensural} style differs from the
5733 @code{baroque} style in that it uses rhomboidal heads for whole notes
5734 and all smaller durations. Stems are centered on the note heads.
5735 This style is in particular useful when transcribing mensural music,
5736 e.g. for the incipit. The @code{mensural} style finally produces note
5737 heads that mimic the look of note heads in historic printings of the
5740 The following example demonstrates the @code{neomensural} style
5742 @lilypond[quote,fragment,raggedright,verbatim]
5743 \set Score.skipBars = ##t
5744 \override NoteHead #'style = #'neomensural
5745 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5748 When typesetting a piece in Gregorian Chant notation, the
5749 @internalsref{Gregorian_ligature_engraver} will automatically select
5750 the proper note heads, such there is no need to explicitly set the
5751 note head style. Still, the note head style can be set e.g.@: to
5752 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5753 @internalsref{Mensural_ligature_engraver} is used to automatically
5754 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5759 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
5760 overview over all available note head styles.
5763 @node Ancient accidentals
5764 @subsection Ancient accidentals
5769 Use the @code{style} property of grob @internalsref{Accidental} to
5770 select ancient accidentals. Supported styles are
5771 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5773 @lilypond[quote,raggedright,staffsize=26]
5780 { " " \musicglyph #"accidentals-vaticana-1"
5781 " " \musicglyph #"accidentals-vaticana0" }
5785 { " " \musicglyph #"accidentals-medicaea-1" }
5789 { " " \musicglyph #"accidentals-hufnagel-1" }
5793 { " " \musicglyph #"accidentals-mensural-1"
5794 " " \musicglyph #"accidentals-mensural1" }
5800 \context { \Score \remove "Bar_number_engraver" }
5802 \remove "Clef_engraver"
5803 \remove "Key_engraver"
5804 \remove "Time_signature_engraver"
5805 \remove "Staff_symbol_engraver"
5806 minimumVerticalExtent = ##f
5812 As shown, not all accidentals are supported by each style. When
5813 trying to access an unsupported accidental, LilyPond will switch to a
5814 different style, as demonstrated in
5815 @inputfileref{input/test,ancient-accidentals.ly}.
5817 Similarly to local accidentals, the style of the key signature can be
5818 controlled by the @code{style} property of the
5819 @internalsref{KeySignature} grob.
5823 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5824 @ref{Accidentals} give a general introduction into the use of
5825 accidentals. @ref{Key signature} gives a general introduction into
5826 the use of key signatures.
5828 Program reference: @internalsref{KeySignature}.
5830 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
5833 @subsection Ancient rests
5838 Use the @code{style} property of grob @internalsref{Rest} to select
5839 ancient accidentals. Supported styles are @code{classical},
5840 @code{neomensural} and @code{mensural}. @code{classical} differs
5841 from the @code{default} style only in that the quarter rest looks like
5842 a horizontally mirrored 8th rest. The @code{neomensural} style suits
5843 well for e.g. the incipit of a transcribed mensural piece of music.
5844 The @code{mensural} style finally mimics the appearance of rests as
5845 in historic prints of the 16th century.
5847 The following example demonstrates the @code{neomensural} style
5849 @lilypond[quote,fragment,raggedright,verbatim]
5850 \set Score.skipBars = ##t
5851 \override Rest #'style = #'neomensural
5852 r\longa r\breve r1 r2 r4 r8 r16
5855 There are no 32th and 64th rests specifically for the mensural or
5856 neo-mensural style. Instead, the rests from the default style will be
5857 taken. See @inputfileref{input/test,rests.ly} for a chart of all
5860 There are no rests in Gregorian Chant notation; instead, it uses
5865 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5869 @subsection Ancient clefs
5874 LilyPond supports a variety of clefs, many of them ancient.
5876 The following table shows all ancient clefs that are supported via the
5877 @code{\clef} command. Some of the clefs use the same glyph, but
5878 differ only with respect to the line they are printed on. In such
5879 cases, a trailing number in the name is used to enumerate these clefs.
5880 Still, you can manually force a clef glyph to be typeset on an
5881 arbitrary line, as described in @ref{Clef}. The note printed to the
5882 right side of each clef in the example column denotes the @code{c'}
5883 with respect to that clef.
5885 @multitable @columnfractions .4 .4 .2
5888 @b{Description} @tab
5889 @b{Supported Clefs} @tab
5893 modern style mensural C clef @tab
5894 @code{neomensural-c1}, @code{neomensural-c2},
5895 @code{neomensural-c3}, @code{neomensural-c4} @tab
5896 @lilypond[fragment,raggedright,quote,relative=1,notime]
5897 \clef "neomensural-c2" c
5901 petrucci style mensural C clefs, for use on different staff lines
5902 (the examples shows the 2nd staff line C clef).
5912 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5913 \clef "petrucci-c2" c
5917 petrucci style mensural F clef @tab
5918 @code{petrucci-f} @tab
5919 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5920 \clef "petrucci-f" c
5924 petrucci style mensural G clef @tab
5925 @code{petrucci-g} @tab
5926 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5927 \clef "petrucci-g" c
5931 historic style mensural C clef @tab
5932 @code{mensural-c1}, @code{mensural-c2}, @code{mensural-c3},
5933 @code{mensural-c4} @tab
5934 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5935 \clef "mensural-c2" c
5939 historic style mensural F clef @tab
5940 @code{mensural-f} @tab
5941 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5942 \clef "mensural-f" c
5946 historic style mensural G clef @tab
5947 @code{mensural-g} @tab
5948 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5949 \clef "mensural-g" c
5953 Editio Vaticana style do clef @tab
5954 @code{vaticana-do1}, @code{vaticana-do2}, @code{vaticana-do3} @tab
5955 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5956 \override Staff.StaffSymbol #'line-count = #4
5957 \clef "vaticana-do2" c
5961 Editio Vaticana style fa clef @tab
5962 @code{vaticana-fa1}, @code{vaticana-fa2} @tab
5963 @lilypond[quote,relative=1,notime,indent=0.0\mm,fragment]
5964 \override Staff.StaffSymbol #'line-count = #4
5965 \clef "vaticana-fa2" c
5969 Editio Medicaea style do clef @tab
5970 @code{medicaea-do1}, @code{medicaea-do2}, @code{medicaea-do3} @tab
5971 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5972 \override Staff.StaffSymbol #'line-count = #4
5973 \clef "medicaea-do2" c
5977 Editio Medicaea style fa clef @tab
5978 @code{medicaea-fa1}, @code{medicaea-fa2} @tab
5979 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5980 \override Staff.StaffSymbol #'line-count = #4
5981 \clef "medicaea-fa2" c
5985 historic style hufnagel do clef @tab
5986 @code{hufnagel-do1}, @code{hufnagel-do2}, @code{hufnagel-do3} @tab
5987 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5988 \override Staff.StaffSymbol #'line-count = #4
5989 \clef "hufnagel-do2" c
5993 historic style hufnagel fa clef @tab
5994 @code{hufnagel-fa1}, @code{hufnagel-fa2} @tab
5995 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
5996 \override Staff.StaffSymbol #'line-count = #4
5997 \clef "hufnagel-fa2" c
6001 historic style hufnagel combined do/fa clef @tab
6002 @code{hufnagel-do-fa} @tab
6003 @lilypond[fragment,quote,relative=1,notime,indent=0.0\mm]
6004 \clef "hufnagel-do-fa" c
6011 @emph{Modern style} means ``as is typeset in contemporary editions of
6012 transcribed mensural music''.
6014 @emph{Petrucci style} means ``inspired by printings published by the
6015 famous engraver Petrucci (1466-1539)''.
6017 @emph{Historic style} means ``as was typeset or written in historic
6018 editions (other than those of Petrucci)''.
6020 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6022 Petrucci used C clefs with differently balanced left-side vertical
6023 beams, depending on which staff line it is printed.
6027 In this manual: see @ref{Clef}.
6031 The mensural g clef is mapped to the Petrucci g clef.
6036 @subsection Ancient flags
6041 Use the @code{flag-style} property of grob @internalsref{Stem} to
6042 select ancient flags. Besides the @code{default} flag style,
6043 only @code{mensural} style is supported
6045 @lilypond[quote,fragment,raggedright,verbatim]
6046 \override Stem #'flag-style = #'mensural
6047 \override Stem #'thickness = #1.0
6048 \override NoteHead #'style = #'mensural
6050 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
6051 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6054 Note that the innermost flare of each mensural flag always is
6055 vertically aligned with a staff line.
6057 There is no particular flag style for neo-mensural notation. Hence,
6058 when typesetting the incipit of a transcribed piece of mensural
6059 music, the default flag style should be used. There are no flags in
6060 Gregorian Chant notation.
6064 The attachment of ancient flags to stems is slightly off due to a
6065 change in early 2.3.x.
6067 Vertically aligning each flag with a staff line assumes that stems
6068 always end either exactly on or exactly in the middle between two
6069 staff lines. This may not always be true when using advanced layout
6070 features of classical notation (which however are typically out of
6071 scope for mensural notation).
6073 @node Ancient time signatures
6074 @subsection Ancient time signatures
6076 @cindex time signatures
6079 There is limited support for mensural time signatures. The
6080 glyphs are hard-wired to particular time fractions. In other words,
6081 to get a particular mensural signature glyph with the @code{\time n/m}
6082 command, @code{n} and @code{m} have to be chosen according to the
6085 @lilypond[quote,raggedright]
6089 \remove Staff_symbol_engraver
6090 \remove Clef_engraver
6091 \remove Time_signature_engraver
6094 \set Score.timing = ##f
6095 \set Score.barAlways = ##t
6096 s_\markup { "$\\backslash$time 4/4" }
6097 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6099 s_\markup { "$\\backslash$time 2/2" }
6100 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6102 s_\markup { "$\\backslash$time 6/4" }
6103 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6105 s_\markup { "$\\backslash$time 6/8" }
6106 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6108 s_\markup { "$\\backslash$time 3/2" }
6109 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6111 s_\markup { "$\\backslash$time 3/4" }
6112 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6114 s_\markup { "$\\backslash$time 9/4" }
6115 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6117 s_\markup { "$\\backslash$time 9/8" }
6118 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6120 s_\markup { "$\\backslash$time 4/8" }
6121 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6123 s_\markup { "$\\backslash$time 2/4" }
6124 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6128 Use the @code{style} property of grob @internalsref{TimeSignature} to
6129 select ancient time signatures. Supported styles are
6130 @code{neomensural} and @code{mensural}. The above table uses the
6131 @code{neomensural} style. This style is appropriate for the
6132 incipit of transcriptions of mensural pieces. The @code{mensural}
6133 style mimics the look of historical printings of the 16th century.
6135 The following examples shows the differences in style,
6137 @lilypond[raggedright,fragment,relative=1,quote]
6141 c1^\markup { \hspace #-2.0 \typewriter default }
6143 \override Staff.TimeSignature #'style = #'numbered
6145 c1^\markup { \hspace #-2.0 \typewriter numbered }
6147 \override Staff.TimeSignature #'style = #'mensural
6149 c1^\markup { \hspace #-2.0 \typewriter mensural }
6151 \override Staff.TimeSignature #'style = #'neomensural
6153 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6154 \override Staff.TimeSignature #'style = #'single-digit
6156 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6162 This manual: @ref{Time signature} gives a general introduction into
6163 the use of time signatures.
6167 Ratios of note durations do not change with the time signature. For
6168 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6169 be made by hand, by setting
6172 breveTP = #(ly:make-duration -1 0 3 2)
6178 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6180 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6181 addressable with @code{\time}. Use a @code{\markup} instead
6183 @node Ancient articulations
6184 @subsection Ancient articulations
6186 @cindex articulations
6188 In addition to the standard articulation signs described in section
6189 @ref{Articulations}, articulation signs for ancient notation are
6190 provided. These are specifically designed for use with notation in
6191 Editio Vaticana style.
6193 @lilypond[quote,raggedright,verbatim,noindent]
6194 \include "gregorian-init.ly"
6196 \context VaticanaVoice {
6197 \override TextScript #'font-family = #'typewriter
6198 \override TextScript #'font-shape = #'upright
6199 \override Script #'padding = #-0.1
6201 a4\circulus_"circulus" s1
6202 a4\semicirculus_"semicirculus" s1 s
6203 a4\accentus_"accentus" s1
6204 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6211 Some articulations are vertically placed too closely to the
6212 correpsonding note heads.
6215 @subsection Custodes
6220 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6221 symbol that appears at the end of a staff. It anticipates the pitch
6222 of the first note(s) of the following line thus helping the performer
6223 to manage line breaks during performance.
6225 Custodes were frequently used in music notation until the 17th
6226 century. Nowadays, they have survived only in a few particular forms
6227 of musical notation such as contemporary editions of Gregorian chant
6228 like the @emph{editio vaticana}. There are different custos glyphs
6229 used in different flavors of notational style.
6231 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6232 @internalsref{Staff} context when declaring the @code{\layout} block,
6233 as shown in the following example
6239 \consists Custos_engraver
6240 Custos \override #'style = #'mensural
6245 The result looks like this
6247 @lilypond[quote,raggedright]
6251 \override Staff.Custos #'style = #'mensural
6256 \context { \Staff \consists Custos_engraver }
6261 The custos glyph is selected by the @code{style} property. The styles
6262 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
6263 @code{mensural}. They are demonstrated in the following fragment
6265 @lilypond[quote,raggedright,fragment]
6266 \new Lyrics \lyricmode {
6268 \typewriter "vaticana"
6269 { " " \musicglyph #"custodes-vaticana-u0" }
6272 \typewriter "medicaea"
6273 { " " \musicglyph #"custodes-medicaea-u0" }
6276 \typewriter "hufnagel"
6277 { " " \musicglyph #"custodes-hufnagel-u0" }
6280 \typewriter "mensural"
6281 { " " \musicglyph #"custodes-mensural-u0" }
6289 Program reference: @internalsref{Custos}.
6291 Examples: @inputfileref{input/regression,custos.ly}.
6295 @subsection Divisiones
6301 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6302 `division') is a staff context symbol that is used to structure
6303 Gregorian music into phrases and sections. The musical meaning of
6304 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
6305 can be characterized as short, medium and long pause, somewhat like
6306 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6307 only marks the end of a chant, but is also frequently used within a
6308 single antiphonal/responsorial chant to mark the end of each section.
6311 To use divisiones, include the file @code{gregorian-init.ly}. It
6312 contains definitions that you can apply by just inserting
6313 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6314 and @code{\finalis} at proper places in the input. Some editions use
6315 @emph{virgula} or @emph{caesura} instead of divisio minima.
6316 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
6319 @lilypondfile[quote,raggedright]{divisiones.ly}
6323 @cindex @code{\virgula}
6325 @cindex @code{\caesura}
6327 @cindex @code{\divisioMinima}
6328 @code{\divisioMinima},
6329 @cindex @code{\divisioMaior}
6330 @code{\divisioMaior},
6331 @cindex @code{\divisioMaxima}
6332 @code{\divisioMaxima},
6333 @cindex @code{\finalis}
6338 In this manual: @ref{Breath marks}.
6340 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6342 Examples: @inputfileref{input/test,divisiones.ly}.
6345 @subsection Ligatures
6349 @c TODO: Should double check if I recalled things correctly when I wrote
6350 @c down the following paragraph by heart.
6352 A ligature is a graphical symbol that represents at least two distinct
6353 notes. Ligatures originally appeared in the manuscripts of Gregorian
6354 chant notation to denote ascending or descending sequences of notes.
6356 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6357 Some ligature styles may need additional input syntax specific for
6358 this particular type of ligature. By default, the
6359 @internalsref{LigatureBracket} engraver just puts a square bracket
6362 @lilypond[quote,raggedright,verbatim]
6370 To select a specific style of ligatures, a proper ligature engraver
6371 has to be added to the @internalsref{Voice} context, as explained in
6372 the following subsections. Only white mensural ligatures
6373 are supported with certain limitations.
6379 Ligatures need special spacing that has not yet been implemented. As
6380 a result, there is too much space between ligatures most of the time,
6381 and line breaking often is unsatisfactory. Also, lyrics do not
6382 correctly align with ligatures.
6384 Accidentals must not be printed within a ligature, but instead need to
6385 be collected and printed in front of it.
6387 Augmentum dots within ligatures are not handled correctly.
6391 * White mensural ligatures::
6392 * Gregorian square neumes ligatures::
6395 @node White mensural ligatures
6396 @subsubsection White mensural ligatures
6398 @cindex Mensural ligatures
6399 @cindex White mensural ligatures
6401 There is limited support for white mensural ligatures.
6403 To engrave white mensural ligatures, in the layout block the
6404 @internalsref{Mensural_ligature_engraver} has to be put into the
6405 @internalsref{Voice} context, and remove the
6406 @internalsref{Ligature_bracket_engraver}
6412 \remove Ligature_bracket_engraver
6413 \consists Mensural_ligature_engraver
6418 There is no additional input language to describe the shape of a
6419 white mensural ligature. The shape is rather determined solely from
6420 the pitch and duration of the enclosed notes. While this approach may
6421 take a new user a while to get accustomed, it has the great advantage
6422 that the full musical information of the ligature is known internally.
6423 This is not only required for correct MIDI output, but also allows for
6424 automatic transcription of the ligatures.
6429 \set Score.timing = ##f
6430 \set Score.defaultBarType = "empty"
6431 \override NoteHead #'style = #'neomensural
6432 \override Staff.TimeSignature #'style = #'neomensural
6434 \[ g\longa c\breve a\breve f\breve d'\longa \]
6436 \[ e1 f1 a\breve g\longa \]
6438 @lilypond[quote,raggedright]
6441 \set Score.timing = ##f
6442 \set Score.defaultBarType = "empty"
6443 \override NoteHead #'style = #'neomensural
6444 \override Staff.TimeSignature #'style = #'neomensural
6446 \[ g\longa c\breve a\breve f\breve d'\longa \]
6448 \[ e1 f1 a\breve g\longa \]
6453 \remove Ligature_bracket_engraver
6454 \consists Mensural_ligature_engraver
6460 Without replacing @internalsref{Ligature_bracket_engraver} with
6461 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6464 @lilypond[quote,raggedright]
6466 \set Score.timing = ##f
6467 \set Score.defaultBarType = "empty"
6468 \override NoteHead #'style = #'neomensural
6469 \override Staff.TimeSignature #'style = #'neomensural
6471 \[ g\longa c\breve a\breve f\breve d'\longa \]
6473 \[ e1 f1 a\breve g\longa \]
6479 The implementation is experimental. It may output strange warnings,
6480 incorrect results, and might even crash on more complex ligatures.
6482 @node Gregorian square neumes ligatures
6483 @subsubsection Gregorian square neumes ligatures
6485 @cindex Square neumes ligatures
6486 @cindex Gregorian square neumes ligatures
6488 There is limited support for Gregorian square neumes notation
6489 (following the style of the Editio Vaticana). Core ligatures can
6490 already be typeset, but essential issues for serious typesetting are
6491 still lacking, such as (among others) horizontal alignment of multiple
6492 ligatures, lyrics alignment and proper accidentals handling.
6495 The following table contains the extended neumes table of the 2nd
6496 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6497 1983 by the monks of Solesmes.
6499 @multitable @columnfractions .4 .2 .2 .2
6502 @b{Neuma aut@*Neumarum Elementa} @tab
6503 @b{Figurae@*Rectae} @tab
6504 @b{Figurae@*Liquescentes Auctae} @tab
6505 @b{Figurae@*Liquescentes Deminutae}
6507 @c TODO: \layout block is identical in all of the below examples.
6508 @c Therefore, it should somehow be included rather than duplicated all
6511 @c why not make identifiers in ly/engraver-init.ly? --hwn
6513 @c Because it's just used to typeset plain notes without
6514 @c a staff for demonstration purposes rather than something
6515 @c special of Gregorian chant notation. --jr
6520 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.5\cm]
6521 \include "gregorian-init.ly"
6526 \noBreak s^\markup {"a"} \noBreak
6528 % Punctum Inclinatum
6530 \noBreak s^\markup {"b"}
6532 \layout { \neumeDemoLayout }}
6535 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.5\cm]
6536 \include "gregorian-init.ly"
6539 % Punctum Auctum Ascendens
6540 \[ \auctum \ascendens b \]
6541 \noBreak s^\markup {"c"} \noBreak
6543 % Punctum Auctum Descendens
6544 \[ \auctum \descendens b \]
6545 \noBreak s^\markup {"d"} \noBreak
6547 % Punctum Inclinatum Auctum
6548 \[ \inclinatum \auctum b \]
6549 \noBreak s^\markup {"e"}
6551 \layout { \neumeDemoLayout }}
6554 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6555 \include "gregorian-init.ly"
6558 % Punctum Inclinatum Parvum
6559 \[ \inclinatum \deminutum b \]
6560 \noBreak s^\markup {"f"}
6562 \layout { \neumeDemoLayout }}
6568 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6569 \include "gregorian-init.ly"
6574 \noBreak s^\markup {"g"}
6576 \layout { \neumeDemoLayout }}
6582 @code{3. Apostropha vel Stropha}
6584 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6585 \include "gregorian-init.ly"
6590 \noBreak s^\markup {"h"}
6592 \layout { \neumeDemoLayout }}
6595 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6596 \include "gregorian-init.ly"
6600 \[ \stropha \auctum b \]
6601 \noBreak s^\markup {"i"}
6603 \layout { \neumeDemoLayout }}
6610 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6611 \include "gregorian-init.ly"
6616 \noBreak s^\markup {"j"}
6618 \layout { \neumeDemoLayout }}
6624 @code{5. Clivis vel Flexa}
6626 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6627 \include "gregorian-init.ly"
6634 \layout { \neumeDemoLayout }}
6637 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6638 \include "gregorian-init.ly"
6641 % Clivis Aucta Descendens
6642 \[ b \flexa \auctum \descendens g \]
6643 \noBreak s^\markup {"l"} \noBreak
6645 % Clivis Aucta Ascendens
6646 \[ b \flexa \auctum \ascendens g \]
6647 \noBreak s^\markup {"m"}
6649 \layout { \neumeDemoLayout }}
6652 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6653 \include "gregorian-init.ly"
6657 \[ b \flexa \deminutum g \]
6660 \layout { \neumeDemoLayout }}
6664 @code{6. Podatus vel Pes}
6666 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6667 \include "gregorian-init.ly"
6674 \layout { \neumeDemoLayout }}
6677 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=2.0\cm]
6678 \include "gregorian-init.ly"
6681 % Pes Auctus Descendens
6682 \[ g \pes \auctum \descendens b \]
6683 \noBreak s^\markup {"p"} \noBreak
6685 % Pes Auctus Ascendens
6686 \[ g \pes \auctum \ascendens b \]
6687 \noBreak s^\markup {"q"}
6689 \layout { \neumeDemoLayout }}
6692 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6693 \include "gregorian-init.ly"
6697 \[ g \pes \deminutum b \]
6700 \layout { \neumeDemoLayout }}
6704 @code{7. Pes Quassus}
6706 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6707 \include "gregorian-init.ly"
6711 \[ \oriscus g \pes \virga b \]
6714 \layout { \neumeDemoLayout }}
6717 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6718 \include "gregorian-init.ly"
6721 % Pes Quassus Auctus Descendens
6722 \[ \oriscus g \pes \auctum \descendens b \]
6725 \layout { \neumeDemoLayout }}
6730 @code{8. Quilisma Pes}
6732 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6733 \include "gregorian-init.ly"
6737 \[ \quilisma g \pes b \]
6740 \layout { \neumeDemoLayout }}
6743 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6744 \include "gregorian-init.ly"
6747 % Quilisma Pes Auctus Descendens
6748 \[ \quilisma g \pes \auctum \descendens b \]
6751 \layout { \neumeDemoLayout }}
6756 @code{9. Podatus Initio Debilis}
6758 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6759 \include "gregorian-init.ly"
6762 % Pes Initio Debilis
6763 \[ \deminutum g \pes b \]
6766 \layout { \neumeDemoLayout }}
6769 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6770 \include "gregorian-init.ly"
6773 % Pes Auctus Descendens Initio Debilis
6774 \[ \deminutum g \pes \auctum \descendens b \]
6777 \layout { \neumeDemoLayout }}
6784 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6785 \include "gregorian-init.ly"
6789 \[ a \pes b \flexa g \]
6792 \layout { \neumeDemoLayout }}
6795 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6796 \include "gregorian-init.ly"
6799 % Torculus Auctus Descendens
6800 \[ a \pes b \flexa \auctum \descendens g \]
6803 \layout { \neumeDemoLayout }}
6806 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6807 \include "gregorian-init.ly"
6810 % Torculus Deminutus
6811 \[ a \pes b \flexa \deminutum g \]
6814 \layout { \neumeDemoLayout }}
6818 @code{11. Torculus Initio Debilis}
6820 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6821 \include "gregorian-init.ly"
6824 % Torculus Initio Debilis
6825 \[ \deminutum a \pes b \flexa g \]
6828 \layout { \neumeDemoLayout }}
6831 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6832 \include "gregorian-init.ly"
6835 % Torculus Auctus Descendens Initio Debilis
6836 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6839 \layout { \neumeDemoLayout }}
6842 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6843 \include "gregorian-init.ly"
6846 % Torculus Deminutus Initio Debilis
6847 \[ \deminutum a \pes b \flexa \deminutum g \]
6850 \layout { \neumeDemoLayout }}
6854 @code{12. Porrectus}
6856 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6857 \include "gregorian-init.ly"
6861 \[ a \flexa g \pes b \]
6864 \layout { \neumeDemoLayout }}
6867 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6868 \include "gregorian-init.ly"
6871 % Porrectus Auctus Descendens
6872 \[ a \flexa g \pes \auctum \descendens b \]
6875 \layout { \neumeDemoLayout }}
6878 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6879 \include "gregorian-init.ly"
6882 % Porrectus Deminutus
6883 \[ a \flexa g \pes \deminutum b \]
6886 \layout { \neumeDemoLayout }}
6892 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6893 \include "gregorian-init.ly"
6897 \[ \virga b \inclinatum a \inclinatum g \]
6900 \layout { \neumeDemoLayout }
6904 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6905 \include "gregorian-init.ly"
6909 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6912 \layout { \neumeDemoLayout }}
6915 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6916 \include "gregorian-init.ly"
6919 % Climacus Deminutus
6920 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6923 \layout { \neumeDemoLayout }}
6927 @code{14. Scandicus}
6929 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6930 \include "gregorian-init.ly"
6934 \[ g \pes a \virga b \]
6937 \layout { \neumeDemoLayout }}
6940 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6941 \include "gregorian-init.ly"
6944 % Scandicus Auctus Descendens
6945 \[ g \pes a \pes \auctum \descendens b \]
6948 \layout { \neumeDemoLayout }}
6951 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6952 \include "gregorian-init.ly"
6955 % Scandicus Deminutus
6956 \[ g \pes a \pes \deminutum b \]
6959 \layout { \neumeDemoLayout }}
6965 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6966 \include "gregorian-init.ly"
6970 \[ g \oriscus a \pes \virga b \]
6973 \layout { \neumeDemoLayout }}
6976 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6977 \include "gregorian-init.ly"
6980 % Salicus Auctus Descendens
6981 \[ g \oriscus a \pes \auctum \descendens b \]
6984 \layout { \neumeDemoLayout }}
6991 @lilypond[quote,noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6992 \include "gregorian-init.ly"
6996 \[ \stropha b \stropha b \stropha a \]
6999 \layout { \neumeDemoLayout }
7008 Unlike most other neumes notation systems, the input language for
7009 neumes does not reflect the typographical appearance, but is designed
7010 to focus on musical meaning. For example, @code{\[ a \pes b
7011 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7012 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7013 curved flexa shape and only a single Punctum head. There is no
7014 command to explicitly typeset the curved flexa shape; the decision of
7015 when to typeset a curved flexa shape is based on the musical
7016 input. The idea of this approach is to separate the musical aspects
7017 of the input from the notation style of the output. This way, the
7018 same input can be reused to typeset the same music in a different
7019 style of Gregorian chant notation.
7021 The following table shows the code fragments that produce the
7022 ligatures in the above neumes table. The letter in the first column
7023 in each line of the below table indicates to which ligature in the
7024 above table it refers. The second column gives the name of the
7025 ligature. The third column shows the code fragment that produces this
7026 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7028 @multitable @columnfractions .1 .4 .5
7042 Punctum Inclinatum @tab
7043 @code{\[ \inclinatum b \]}
7047 Punctum Auctum Ascendens @tab
7048 @code{\[ \auctum \ascendens b \]}
7052 Punctum Auctum Descendens @tab
7053 @code{\[ \auctum \descendens b \]}
7057 Punctum Inclinatum Auctum @tab
7058 @code{\[ \inclinatum \auctum b \]}
7062 Punctum Inclinatum Parvum @tab
7063 @code{\[ \inclinatum \deminutum b \]}
7068 @code{\[ \virga b \]}
7073 @code{\[ \stropha b \]}
7078 @code{\[ \stropha \auctum b \]}
7083 @code{\[ \oriscus b \]}
7087 Clivis vel Flexa @tab
7088 @code{\[ b \flexa g \]}
7092 Clivis Aucta Descendens @tab
7093 @code{\[ b \flexa \auctum \descendens g \]}
7097 Clivis Aucta Ascendens @tab
7098 @code{\[ b \flexa \auctum \ascendens g \]}
7103 @code{\[ b \flexa \deminutum g \]}
7107 Podatus vel Pes @tab
7108 @code{\[ g \pes b \]}
7112 Pes Auctus Descendens @tab
7113 @code{\[ g \pes \auctum \descendens b \]}
7117 Pes Auctus Ascendens @tab
7118 @code{\[ g \pes \auctum \ascendens b \]}
7123 @code{\[ g \pes \deminutum b \]}
7128 @code{\[ \oriscus g \pes \virga b \]}
7132 Pes Quassus Auctus Descendens @tab
7133 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7138 @code{\[ \quilisma g \pes b \]}
7142 Quilisma Pes Auctus Descendens @tab
7143 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7147 Pes Initio Debilis @tab
7148 @code{\[ \deminutum g \pes b \]}
7152 Pes Auctus Descendens Initio Debilis @tab
7153 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7158 @code{\[ a \pes b \flexa g \]}
7162 Torculus Auctus Descendens @tab
7163 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7167 Torculus Deminutus @tab
7168 @code{\[ a \pes b \flexa \deminutum g \]}
7172 Torculus Initio Debilis @tab
7173 @code{\[ \deminutum a \pes b \flexa g \]}
7177 Torculus Auctus Descendens Initio Debilis @tab
7178 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7182 Torculus Deminutus Initio Debilis @tab
7183 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7188 @code{\[ a \flexa g \pes b \]}
7192 Porrectus Auctus Descendens @tab
7193 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7197 Porrectus Deminutus @tab
7198 @code{\[ a \flexa g \pes \deminutum b \]}
7203 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7207 Climacus Auctus @tab
7208 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7212 Climacus Deminutus @tab
7213 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7218 @code{\[ g \pes a \virga b \]}
7222 Scandicus Auctus Descendens @tab
7223 @code{\[ g \pes a \pes \auctum \descendens b \]}
7227 Scandicus Deminutus @tab
7228 @code{\[ g \pes a \pes \deminutum b \]}
7233 @code{\[ g \oriscus a \pes \virga b \]}
7237 Salicus Auctus Descendens @tab
7238 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7243 @code{\[ \stropha b \stropha b \stropha a \]}
7249 The following head prefixes are supported
7251 @cindex @code{\virga}
7253 @cindex @code{\stropha}
7255 @cindex @code{\inclinatum}
7257 @cindex @code{\auctum}
7259 @cindex @code{\descendens}
7261 @cindex @code{\ascendens}
7263 @cindex @code{\oriscus}
7265 @cindex @code{\quilisma}
7267 @cindex @code{\deminutum}
7270 Head prefixes can be accumulated, though restrictions apply. For
7271 example, either @code{\descendens} or @code{\ascendens} can be applied
7272 to a head, but not both to the same head.
7275 @cindex @code{\flexa}
7276 Two adjacent heads can be tied together with the @code{\pes} and
7277 @code{\flexa} infix commands for a rising and falling line of melody,
7282 @node Gregorian Chant contexts
7283 @subsection Gregorian Chant contexts
7285 @cindex VaticanaVoiceContext
7286 @cindex VaticanaStaffContext
7288 The predefined @code{VaticanaVoiceContext} and
7289 @code{VaticanaStaffContext} can be used to engrave a piece of
7290 Gregorian Chant in the style of the Editio Vaticana. These contexts
7291 initialize all relevant context properties and grob properties to
7292 proper values, so you can immediately go ahead entering the chant, as
7293 the following excerpt demonstrates
7295 @lilypond[quote,raggedright,verbatim,noindent]
7296 \include "gregorian-init.ly"
7299 \context VaticanaVoice = "cantus" {
7300 \override Score.BarNumber #'transparent = ##t {
7301 \[ c'\melisma c' \flexa a \]
7302 \[ a \flexa \deminutum g\melismaEnd \]
7304 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7305 c' \divisioMinima \break
7306 \[ c'\melisma c' \flexa a \]
7307 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7310 \lyricsto "cantus" \new Lyrics {
7311 San- ctus, San- ctus, San- ctus
7318 @node Mensural contexts
7319 @subsection Mensural contexts
7321 @cindex MensuralVoiceContext
7322 @cindex MensuralStaffContext
7324 The predefined @code{MensuralVoiceContext} and
7325 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7326 style. These contexts initialize all relevant context properties and
7327 grob properties to proper values, so you can immediately go ahead
7328 entering the chant, as the following excerpt demonstrates
7330 @lilypond[quote,raggedright,verbatim,noindent]
7333 \context MensuralVoice = "discantus" \transpose c c' {
7334 \override Score.BarNumber #'transparent = ##t {
7335 c'1\melisma bes a g\melismaEnd
7337 \[ f1\melisma a c'\breve d'\melismaEnd \]
7339 c'\breve\melisma a1 g1\melismaEnd
7340 fis\longa^\signumcongruentiae
7343 \lyricsto "discantus" \new Lyrics {
7344 San -- ctus, San -- ctus, San -- ctus
7352 @subsection Figured bass
7354 @cindex Basso continuo
7356 @c TODO: musicological blurb about FB
7359 LilyPond has limited support for figured bass
7361 @lilypond[quote,raggedright,verbatim,fragment]
7363 \context Voice { \clef bass dis4 c d ais }
7364 \context FiguredBass \figuremode {
7365 < 6 >4 < 7 >8 < 6+ [_!] >
7371 The support for figured bass consists of two parts: there is an input
7372 mode, introduced by @code{\figuremode}, where you can enter bass figures
7373 as numbers, and there is a context called @internalsref{FiguredBass} that
7374 takes care of making @internalsref{BassFigure} objects.
7376 In figures input mode, a group of bass figures is delimited by
7377 @code{<} and @code{>}. The duration is entered after the @code{>}
7381 @lilypond[quote,raggedright,fragment]
7382 \context FiguredBass
7383 \figuremode { <4 6> }
7386 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7392 @lilypond[quote,raggedright,fragment]
7393 \context FiguredBass
7394 \figuremode { <4- 6+ 7!> }
7397 Spaces or dashes may be inserted by using @code{_}. Brackets are
7398 introduced with @code{[} and @code{]}
7403 @lilypond[quote,raggedright,fragment]
7404 \context FiguredBass
7405 \figuremode { < [4 6] 8 [_! 12]> }
7408 Although the support for figured bass may superficially resemble chord
7409 support, it works much simpler. The @code{\figuremode} mode simply
7410 stores the numbers , and @internalsref{FiguredBass} context prints
7411 them as entered. There is no conversion to pitches, and no
7412 realizations of the bass are played in the MIDI file.
7414 Internally, the code produces markup texts. You can use any of the
7415 markup text properties to override formatting. For example, the
7416 vertical spacing of the figures may be set with @code{baseline-skip}.
7420 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7421 and @internalsref{FiguredBass} context.
7425 Slash notation for alterations is not supported.
7427 @node Contemporary notation
7428 @section Contemporary notation
7430 In the 20th century, composers have greatly expanded the musical
7431 vocabulary. With this expansion, many innovations in musical notation
7432 have been tried. The book ``Music Notation in the 20th century'' by
7433 Kurt Stone gives a comprehensive overview (see @ref{Literature
7434 list}). In general, the use of new, innovative notation makes a piece
7435 harder to understand and perform and its use should therefore be
7436 avoided. For this reason, support for contemporary notation in
7437 LilyPond is limited.
7441 * Polymetric notation::
7443 * Special fermatas::
7447 @node Polymetric notation
7448 @subsection Polymetric notation
7450 Double time signatures are not supported explicitly, but they can be
7451 faked. In the next example, the markup for the time signature is
7452 created with a markup text. This markup text is inserted in the
7453 @internalsref{TimeSignature} grob.
7455 @lilypond[verbatim,raggedright]
7461 \musicglyph #"scripts-stopped"
7462 \bracket \column < "5" "8" >
7467 \override Staff.TimeSignature #'print-function = #Text_interface::print
7468 \override Staff.TimeSignature #'text = #tsMarkup
7470 c'2 \bar ":" c'4 c'4.
7474 Each staff can also have its own time signature. This is done by
7475 moving the @internalsref{Timing_engraver} to @internalsref{Staff}
7480 \context{ \Score \remove "Timing_engraver" }
7481 \context{ \Staff \consists "Timing_engraver" }
7486 Now, each staff has its own time signature.
7499 c4. c8 c c c4. c8 c c
7504 @lilypond[quote,raggedright]
7506 \context{ \Score \remove "Timing_engraver" }
7507 \context{ \Staff \consists "Timing_engraver" }
7521 c4. c8 c c c4. c8 c c
7527 A different form of polymetric notation is where note lengths have
7528 different values across staves.
7530 This notation can be created by setting a common time signature for
7531 each staff but replacing it manually using
7532 @code{timeSignatureFraction} to the desired fraction. Then the printed
7533 durations in each staff are scaled to the common time signature.
7534 The latter is done with @code{\compressmusic}, which is similar to
7535 @code{\times}, but does not create a tuplet bracket.
7538 In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
7539 used in parallel. In the second staff, shown durations are multiplied by
7540 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7541 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7543 @lilypond[raggedright,verbatim,fragment]
7551 \set Staff.timeSignatureFraction = #'(9 . 8)
7552 \compressmusic #'(2 . 3)
7553 \repeat unfold 6 { c8[ c c] }
7557 \set Staff.timeSignatureFraction = #'(10 . 8)
7558 \compressmusic #'(3 . 5) {
7559 \repeat unfold 2 { c8[ c c] }
7560 \repeat unfold 2 { c8[ c] }
7561 | c4. c4. \times 2/3 { c8 c c } c4
7572 When using different time signatures in parallel, the spacing is
7573 aligned vertically, but bar lines distort the regular spacing.
7578 @subsection Clusters
7582 A cluster indicates a continuous range of pitches to be played. They
7583 can be denoted as the envelope of a set of notes. They are entered by
7584 applying the function @code{makeClusters} to a sequence of
7587 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
7588 \makeClusters { <c e > <b f'> }
7591 The following example (from
7592 @inputfileref{input/regression,cluster.ly}) shows what the result
7595 @lilypondfile[raggedright,quote]{cluster.ly}
7597 Ordinary notes and clusters can be put together in the same staff,
7598 even simultaneously. In such a case no attempt is made to
7599 automatically avoid collisions between ordinary notes and clusters.
7603 Program reference: @internalsref{ClusterSpanner},
7604 @internalsref{ClusterSpannerBeacon},
7605 @internalsref{Cluster_spanner_engraver}, and
7606 @internalsref{ClusterNoteEvent}.
7608 Examples: @inputfileref{input/regression,cluster.ly}.
7612 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7613 accurately. Use @code{<g a>8 <e a>8} instead.
7617 @node Special fermatas
7618 @subsection Special fermatas
7620 @cindex fermatas, special
7622 In contemporary music notation, special fermata symbols denote breaks
7623 of differing lengths. The following fermatas are supported
7625 @lilypond[quote,raggedright]
7648 \context Lyrics \lyricmode {
7649 \override LyricText #'font-family = #'typewriter
7650 "shortfermata" "fermata" "longfermata" "verylongfermata"
7655 See @ref{Articulations} for general instructions how to apply scripts
7656 such as fermatas to notes.
7658 @node Feathered beams
7659 @subsection Feathered beams
7661 Feathered beams are not supported natively, but they can be faked by
7662 forcing two beams to overlap. Here is an example,
7664 @c don't change relative setting witout changing positions!
7665 @lilypond[raggedright,relative=1,fragment,verbatim]
7670 \once \override Voice.Beam #'positions = #'(0 . 0.5)
7675 \once \override Voice.Beam #'positions = #'(0 . -0.5)
7683 @node Educational use
7684 @section Educational use
7686 With the amount of control that LilyPond offers, one can make great
7687 teaching tools in addition to great musical scores.
7691 * Blank music sheet::
7693 * Easy Notation note heads::
7697 @subsection Balloon help
7699 Elements of notation can be marked and named with the help of a square
7700 balloon. The primary purpose of this feature is to explain notation.
7702 The following example demonstrates its use.
7704 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7707 #(add-balloon-text 'NoteHead "heads, or tails?"
7714 The function @code{add-balloon-text} takes the name of a grob, the
7715 label to print, and the position where to put the label relative to
7716 the object. In the above example, the text ``heads or tails?'' ends
7717 3 spaces below and 1 space to the right of the marked head.
7720 @cindex notation, explaining
7724 Program reference: @internalsref{text-balloon-interface}.
7726 Examples: @inputfileref{input/regression,balloon.ly}.
7731 @node Blank music sheet
7732 @subsection Blank music sheet
7734 A blank music sheet can be produced also by using invisible notes, and
7735 removing @code{Bar_number_engraver}.
7740 \repeat unfold 2 % Change this for more lines.
7745 \override TimeSignature #'transparent = ##t
7746 defaultBarType = #""
7747 \remove Bar_number_engraver
7749 \context Staff \emptymusic
7750 \context TabStaff \emptymusic
7756 @subsection Hidden notes
7758 @cindex Hidden notes
7759 @cindex Invisible notes
7760 @cindex Transparent notes
7762 Hidden (or invisible or transparent) notes can be useful in preparing theory
7763 or composition exercises.
7765 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
7773 Hidden notes are also great for performing weird tricks. For example,
7774 slurs cannot be attached to rests or spacer rests, but you may with
7775 to include that in your score -- string instruments use this notation
7776 when doing pizzicato to indicate that the note should ring for as long
7779 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
7782 c4^"pizz"( \hideNotes c)
7783 \unHideNotes c( \hideNotes c)
7790 @node Easy Notation note heads
7791 @subsection Easy Notation note heads
7793 @cindex easy notation
7796 The `easy play' note head includes a note name inside the head. It is
7797 used in music for beginners
7799 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
7804 The command @code{\setEasyHeads} overrides settings for the
7805 @internalsref{NoteHead} object. To make the letters readable, it has
7806 to be printed in a large font size. To print with a larger font, see
7807 @ref{Setting global staff size}.
7811 @cindex @code{\setEasyHeads}
7812 @code{\setEasyHeads}