1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Notation manual
11 This chapter describes all the different types of notation supported
12 by LilyPond. It is intended as a reference for users that are already
13 somewhat familiar with LilyPond.
17 * Easier music entry::
27 * Other instrument specific notation::
32 * Contemporary notation::
36 @c FIXME: Note entry vs Music entry at top level menu is confusing.
42 This section is about basic notation elements notes, rests and
43 related constructs, such as stems, tuplets and ties.
48 * Chromatic alterations::
66 A note is printed by specifying its pitch and then its duration,
68 @lilypond[quote,verbatim,raggedright]
69 { cis'4 d'8 e'16 c'16 }
77 @cindex Note specification
79 @cindex entering notes
81 The most common syntax for pitch entry is used for standard notes and
82 @code{\chordmode} modes. In these modes, pitches may be designated by
83 names. The notes are specified by the letters @code{a} through
84 @code{g}. The octave is formed with notes ranging from @code{c}
85 to @code{b}. The pitch @code{c} is an octave below middle C and the
86 letters span the octave above that C
88 @lilypond[quote,fragment,verbatim]
90 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
93 @cindex note names, Dutch
95 A sharp is formed by adding @code{-is} to the end of a pitch name and
96 a flat is formed by adding @code{-es}. Double sharps and double flats
97 are obtained by adding @code{-isis} or @code{-eses}. These
98 names are the Dutch note names. In Dutch, @code{aes} is contracted to
99 @code{as}, but both forms are accepted. Similarly, both
100 @code{es} and @code{ees} are accepted
102 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
110 There are predefined sets of note names for various other languages.
111 To use them, include the language specific init file. For
112 example: @code{\include "english.ly"}. The available language files
113 and the note names they define are
118 Note Names sharp flat
119 nederlands.ly c d e f g a bes b -is -es
120 english.ly c d e f g a bf b -s/-sharp -f/-flat
122 deutsch.ly c d e f g a b h -is -es
123 norsk.ly c d e f g a b h -iss/-is -ess/-es
124 svenska.ly c d e f g a b h -iss -ess
125 italiano.ly do re mi fa sol la sib si -d -b
126 catalan.ly do re mi fa sol la sib si -d/-s -b
127 espanol.ly do re mi fa sol la sib si -s -b
136 The optional octave specification takes the form of a series of
137 single quote (`@code{'}') characters or a series of comma
138 (`@code{,}') characters. Each @code{'} raises the pitch by one
139 octave; each @code{,} lowers the pitch by an octave
141 @lilypond[quote,raggedright,fragment,verbatim]
142 c' c'' es' g' as' gisis' ais'
145 @c FIXME: we need this info (hide/unhide) somewhere in the manual, but this ain't the place. -gp
147 Notes can be hidden and unhidden with the following commands
149 @cindex @code{\hideNotes}
151 @cindex @code{\unHideNotes}
157 Program reference: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
161 @node Chromatic alterations
162 @subsection Chromatic alterations
164 Normally accidentals are printed automatically, but you may also
165 print them manually. A reminder accidental
166 @cindex reminder accidental
168 can be forced by adding an exclamation mark @code{!}
169 after the pitch. A cautionary accidental
170 @cindex cautionary accidental
171 @cindex parenthesized accidental
172 (i.e. an accidental within parentheses) can be obtained by adding the
173 question mark `@code{?}' after the pitch.
175 @lilypond[quote,raggedright,fragment,verbatim]
176 cis' cis' cis'! cis'?
182 The automatic production of accidentals can be tuned in many
183 ways. For more information, refer to @ref{Automatic accidentals}.
188 @subsection Micro tones
190 Half-flats and half-sharps are formed by adding @code{-eh} and
191 @code{-ih}; the following is a series of Cs with increasing pitches
193 @cindex quarter tones
194 @cindex semi-flats, semi-sharps
196 @lilypond[verbatim,raggedright,quote,relative=2,fragment]
197 { ceseh ceh cih cisih }
200 Micro tones are also exported to the MIDI file
205 There are no generally accepted standards for denoting three quarter
206 flats, so LilyPond's symbol does not conform to any standard.
211 A chord is formed by a enclosing a set of pitches in @code{<} and
212 @code{>}. A chord may be followed by a duration, and a set of
213 articulations, just like simple notes
215 @lilypond[verbatim,raggedright,fragment,quote,relative=1]
227 Rests are entered like notes, with the note name @code{r}
229 @lilypond[fragment,quote,raggedright,verbatim]
233 Whole bar rests, centered in middle of the bar,
234 must be done with multi-measure rests. They are discussed in
235 @ref{Multi measure rests}.
238 A rest's vertical position may be explicitly specified by entering a
239 note with the @code{\rest} keyword appended, the rest will be placed at
240 the note's place. This makes manual formatting in polyphonic music
241 easier. Automatic rest collision formatting will leave these rests
244 @lilypond[fragment,quote,raggedright,verbatim]
250 Program reference: @internalsref{RestEvent}, and @internalsref{Rest}.
257 @cindex Invisible rest
262 An invisible rest (also called a `skip') can be entered like a note
263 with note name `@code{s}' or with @code{\skip @var{duration}}
265 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
266 a4 a4 s4 a4 \skip 1 a4
269 The @code{s} syntax is only available in note mode and chord mode. In
270 other situations, for example, when entering lyrics, you should use
271 the @code{\skip} command
273 @lilypond[quote,raggedright,verbatim]
276 \new Lyrics \lyricmode { \skip 2 bla1 }
280 The skip command is merely an empty musical placeholder. It does not
281 produce any output, not even transparent output.
283 The @code{s} skip command does create @internalsref{Staff} and
284 @internalsref{Voice} when necessary, similar to note and rest
285 commands. For example, the following results in an empty staff.
287 @lilypond[quote,raggedright,verbatim]
291 The fragment @code{@{ \skip 4 @} } would produce an empty page.
295 Program reference: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
300 @subsection Durations
304 @cindex @code{\longa}
305 @cindex @code{\breve}
306 @cindex @code{\maxima}
309 In Note, Chord, and Lyrics mode, durations are designated by numbers and
310 dots: durations are entered as their reciprocal values. For example, a
311 quarter note is entered using a @code{4} (since it is a 1/4 note), while
312 a half note is entered using a @code{2} (since it is a 1/2 note). For
313 notes longer than a whole you must use the variables @code{\longa} and
318 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
320 r1 r2 r4 r8 r16 r32 r64 r64
326 a\breve*1/2 \autoBeamOff
327 a1 a2 a4 a8 a16 a32 a64 a64
330 r\longa*1/4 r\breve *1/2
331 r1 r2 r4 r8 r16 r32 r64 r64
337 \remove "Clef_engraver"
338 \override StaffSymbol #'transparent = ##t
339 \override TimeSignature #'transparent = ##t
340 \override BarLine #'transparent = ##t
341 \consists "Pitch_squash_engraver"
347 If the duration is omitted then it is set to the previously entered
348 duration. The default for the first note is a quarter note.
350 @lilypond[quote,raggedright,verbatim,fragment]
351 { a a a2 a a4 a a1 a }
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}
615 \relative @var{musicexpr}
618 The octave of notes that appear in @var{musicexpr} are calculated as
619 follows: if no octave changing marks are used, the basic interval
620 between this and the last note is always taken to be a fourth or
621 less. This distance is determined without regarding alterations; a
622 @code{fisis} following a @code{ceses} will be put above the
623 @code{ceses}. In other words, a doubly-augmented fourth is considered
624 a smaller interval than a diminshed fifth, even though the fourth is
625 seven semitones while the fifth is only six semitones.
627 The octave changing marks @code{'} and @code{,} can be added to raise
628 or lower the pitch by an extra octave. Upon entering relative mode,
629 an absolute starting pitch can be specified that will act as the
630 predecessor of the first note of @var{musicexpr}. If no starting pitch
631 is specified, then middle C is used as a start.
633 Here is the relative mode shown in action
634 @lilypond[quote,fragment,raggedright,verbatim]
640 Octave changing marks are used for intervals greater than a fourth
641 @lilypond[quote,raggedright,fragment,verbatim]
647 If the preceding item is a chord, the first note of the chord is used
648 to determine the first note of the next chord
650 @lilypond[quote,raggedright,fragment,verbatim]
658 The pitch after the @code{\relative} contains a note name.
661 The relative conversion will not affect @code{\transpose},
662 @code{\chordmode} or @code{\relative} sections in its argument. To use
663 relative within transposed music, an additional @code{\relative} must
664 be placed inside @code{\transpose}.
667 @subsection Octave check
670 Octave checks make octave errors easier to correct: a note may be
671 followed by @code{=}@var{quotes} which indicates what its absolute
672 octave should be. In the following example,
674 \relative c'' @{ c='' b=' d,='' @}
678 @c take care with @code, adds confusing quotes.
679 the @code{d} will generate a warning, because a @code{d''} is expected
680 (because @code{b'} to @code{d''} is only a third), but a @code{d}' is
681 found. In the output, the octave is corrected to be a @code{d''} and
682 the next note is calculated relative to @code{d''} instead of @code{d'}.
686 There is also a syntax that is separate from the notes. The syntax
692 This checks that @var{pitch} (without quotes) yields @var{pitch} (with
693 quotes) in \relative mode. If not, a warning is printed, and the
696 In the example below, the first check passes without incident, since
697 the @code{e} (in relative mode) is within a fifth of @code{a'}. However,
698 the second check produces a warning, since the @code{e} is not within
699 a fifth of @code{b'}. The warning message is printed, and the octave
700 is adjusted so that the following notes are in the correct octave
712 The octave of a note following an octave check is determined with
713 respect to the note preceding it. In the next fragment, the last note
714 is a @code{a'}, above middle C. That means that the @code{\octave}
715 check passes successfully, so the check could be deleted without changing
716 the output of the piece.
718 @lilypond[quote,raggedright,verbatim,fragment]
727 @subsection Bar check
731 @cindex @code{barCheckSynchronize}
734 Bar checks help detect errors in the durations. A bar check is
735 entered using the bar symbol, `@code{|}'. Whenever it is encountered
736 during interpretation, it should fall on a measure boundary. If it
737 does not, a warning is printed. In the next example, the second bar
738 check will signal an error
740 \time 3/4 c2 e4 | g2 |
743 Bar checks can also be used in lyrics, for example
748 Twin -- kle | Twin -- kle
753 @cindex @code{skipTypesetting}
755 Failed bar checks are caused by entering incorrect
756 durations. Incorrect durations often completely garble up the score,
757 especially if the score is polyphonic, so a good place to start correcting
758 input is by scanning for failed bar checks and incorrect durations. To
759 speed up this process, the @code{skipTypesetting} feature may be
760 used. It is described in the next section.
763 @cindex @code{pipeSymbol}
765 It is also possible to redefine the meaning of @code{|}. This is done
766 by assigning a music expression to @code{pipeSymbol},
768 @lilypond[quote,raggedright,verbatim]
769 pipeSymbol = \bar "||"
775 @node Skipping corrected music
776 @subsection Skipping corrected music
778 The property @code{Score.skipTypesetting} can be used to switch on and
779 off typesetting completely during the interpretation phase. When
780 typesetting is switched off, the music is processed much more
781 quickly. This can be used to skip over the parts of a score that
782 have already been checked for errors
784 @lilypond[quote,fragment,raggedright,verbatim]
787 \set Score.skipTypesetting = ##t
789 \set Score.skipTypesetting = ##f
793 In polyphonic music, @code{Score.skipTypesetting} will affect all
794 voices and staves, saving even more time.
796 @node Automatic note splitting
797 @subsection Automatic note splitting
799 Long notes can be converted automatically to tied notes. This is done
800 by replacing the @internalsref{Note_heads_engraver} by the
801 @internalsref{Completion_heads_engraver}.
802 In the following examples, notes crossing the bar line are split and tied.
805 @lilypond[quote,fragment,verbatim,relative=1,linewidth=12\cm]
807 \remove "Note_heads_engraver"
808 \consists "Completion_heads_engraver"
810 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
814 This engraver splits all running notes at the bar line, and inserts
815 ties. One of its uses is to debug complex scores: if the measures are
816 not entirely filled, then the ties exactly show how much each measure
821 Not all durations (especially those containing tuplets) can be
822 represented exactly with normal notes and dots, but the engraver will
827 Examples: @inputfileref{input/@/regression,completion@/-heads@/.ly}.
831 Program reference: @internalsref{Completion_heads_engraver}.
835 @section Staff notation
837 This section describes music notation that occurs on staff level,
838 such as key signatures, clefs and time signatures.
840 @cindex Staff notation
851 * Time administration::
852 * Controlling formatting of prefatory matter::
856 @subsection Staff symbol
858 @cindex adjusting staff symbol
860 Notes, dynamic signs, etc. are grouped
861 with a set of horizontal lines, into a staff (plural `staves'). In our
862 system, these lines are drawn using a separate layout object called
866 @cindex staff lines, setting number of
867 @cindex staff lines, setting thickness of
868 @cindex thickness of staff lines, setting
869 @cindex number of staff lines, setting
873 Program reference: @internalsref{StaffSymbol}.
875 Examples: @inputfileref{input/@/test,staff@/-lines@/.ly},
876 @inputfileref{input/@/test,staff@/-size@/.ly}.
880 If a staff is ended halfway a piece, the staff symbol may not end
881 exactly on the bar line.
885 @subsection Key signature
886 @cindex Key signature
890 The key signature indicates the tonality in which a piece is played. It
891 is denoted by a set of alterations (flats or sharps) at the start of the
895 Setting or changing the key signature is done with the @code{\key}
898 @code{\key} @var{pitch} @var{type}
901 @cindex @code{\minor}
902 @cindex @code{\major}
903 @cindex @code{\minor}
904 @cindex @code{\ionian}
905 @cindex @code{\locrian}
906 @cindex @code{\aeolian}
907 @cindex @code{\mixolydian}
908 @cindex @code{\lydian}
909 @cindex @code{\phrygian}
910 @cindex @code{\dorian}
912 Here, @var{type} should be @code{\major} or @code{\minor} to get
913 @var{pitch}-major or @var{pitch}-minor, respectively.
914 The standard mode names @code{\ionian},
915 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
916 @code{\phrygian}, and @code{\dorian} are also defined.
918 This command sets the context property
919 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
920 can be specified by setting this property directly.
922 Accidentals and key signatures often confuse new users, because
923 unaltered notes get natural signs depending on the key signature. For
924 more information, see @ref{More about pitches}.
928 Program reference: @internalsref{KeyChangeEvent},
929 @internalsref{KeyCancellation} and @internalsref{KeySignature}.
931 @cindex @code{keySignature}
938 The clef indicates which lines of the staff correspond to which
942 The clef can be set with the @code{\clef} command
943 @lilypond[quote,raggedright,fragment,verbatim]
944 { c''2 \clef alto g'2 }
947 Supported clef-names include
948 @c Moved standard clefs to the top /MB
952 @item treble, violin, G, G2
965 G clef on 1st line, so-called French violin clef
970 @cindex mezzosoprano clef
973 @cindex baritone clef
976 @cindex varbaritone clef
987 By adding @code{_8} or @code{^8} to the clef name, the clef is
988 transposed one octave down or up, respectively, and @code{_15} and
989 @code{^15} transposes by two octaves. The argument @var{clefname}
990 must be enclosed in quotes when it contains underscores or digits. For
994 @cindex choral tenor clef
995 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
999 This command is equivalent to setting @code{clefGlyph},
1000 @code{clefPosition} (which controls the Y position of the clef),
1001 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
1002 when any of these properties are changed. The following example shows
1003 possibilities when setting properties manually.
1005 @lilypond[quote,raggedright,verbatim]
1007 \set Staff.clefGlyph = #"clefs-F"
1008 \set Staff.clefPosition = #2
1010 \set Staff.clefGlyph = #"clefs-G"
1012 \set Staff.clefGlyph = #"clefs-C"
1014 \set Staff.clefOctavation = #7
1016 \set Staff.clefOctavation = #0
1017 \set Staff.clefPosition = #0
1027 Program reference: @internalsref{Clef}.
1031 @node Ottava brackets
1032 @subsection Ottava brackets
1034 `Ottava' brackets introduce an extra transposition of an octave for
1035 the staff. They are created by invoking the function
1036 @code{set-octavation}
1042 @lilypond[quote,raggedright,verbatim,fragment]
1052 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1053 (for 15ma) as arguments. Internally the function sets the properties
1054 @code{ottavation} (e.g. to @code{"8va"}) and
1055 @code{centralCPosition}. For overriding the text of the bracket, set
1056 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1058 @lilypond[quote,raggedright,verbatim]
1061 \set Staff.ottavation = #"8"
1068 Program reference: @internalsref{OttavaBracket}.
1070 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1071 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1075 @code{set-octavation} will get confused when clef changes happen
1076 during an octavation bracket.
1081 @node Time signature
1082 @subsection Time signature
1083 @cindex Time signature
1085 @cindex @code{\time}
1087 Time signature indicates the metrum of a piece: a regular pattern of
1088 strong and weak beats. It is denoted by a fraction at the start of the
1092 The time signature is set or changed by the @code{\time}
1094 @lilypond[quote,raggedright,fragment,verbatim]
1095 \time 2/4 c'2 \time 3/4 c'2.
1098 The symbol that is printed can be customized with the @code{style}
1099 property. Setting it to @code{#'()} uses fraction style for 4/4 and
1102 @lilypond[fragment,quote,raggedright,verbatim]
1105 \override Staff.TimeSignature #'style = #'()
1112 There are many more options for its layout. See @ref{Ancient time
1113 signatures} for more examples.
1116 This command sets the property @code{timeSignatureFraction},
1117 @code{beatLength} and @code{measureLength} in the @code{Timing}
1118 context, which is normally aliased to @internalsref{Score}. The
1119 property @code{measureLength} determines where bar lines should be
1120 inserted, and how automatic beams should be generated. Changing the
1121 value of @code{timeSignatureFraction} also causes the symbol to be
1124 More options are available through the Scheme function
1125 @code{set-time-signature}. In combination with the
1126 @internalsref{Measure_grouping_engraver}, it will create
1127 @internalsref{MeasureGrouping} signs. Such signs ease reading
1128 rhythmically complex modern music. In the following example, the 9/8
1129 measure is subdivided in 2, 2, 2 and 3. This is passed to
1130 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
1132 @lilypond[quote,raggedright,verbatim]
1135 #(set-time-signature 9 8 '(2 2 2 3))
1136 g8[ g] d[ d] g[ g] a8[( bes g]) |
1137 #(set-time-signature 5 8 '(3 2))
1143 \consists "Measure_grouping_engraver"
1151 Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1156 Automatic beaming does not use the measure grouping specified with
1157 @code{set-time-signature}.
1159 @node Partial measures
1160 @subsection Partial measures
1163 @cindex partial measure
1164 @cindex measure, partial
1165 @cindex shorten measures
1166 @cindex @code{\partial}
1168 Partial measures, for example in upsteps, are entered using the
1169 @code{\partial} command
1170 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1171 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1174 The syntax for this command is
1176 \partial @var{duration}
1178 This is internally translated into
1180 \set Timing.measurePosition = -@var{length of duration}
1183 The property @code{measurePosition} contains a rational number
1184 indicating how much of the measure has passed at this point.
1188 This command does not take into account grace notes at the start of
1189 the music. When a piece starts with graces notes in the pickup, then
1190 the @code{\partial} should follow the grace notes
1192 @lilypond[verbatim,quote,raggedright,relative,fragment]
1202 @node Unmetered music
1203 @subsection Unmetered music
1207 Bar lines and bar numbers are calculated automatically. For unmetered
1208 music (e.g. cadenzas), this is not desirable. By setting
1209 @code{Score.timing} to false, this automatic timing can be switched
1210 off. Empty bar lines,
1217 indicate where line breaks can occur.
1221 @cindex @code{\cadenzaOn}
1223 @cindex @code{\cadenzaOff}
1230 @subsection Bar lines
1234 @cindex measure lines
1238 Bar lines delimit measures, but are also used to indicate repeats.
1239 Normally, they are inserted automatically. Line breaks may only
1240 happen on bar lines.
1242 Special types of bar lines can be forced with the @code{\bar} command
1244 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1248 The following bar types are available
1249 @lilypondfile[raggedright,quote]{bar-lines.ly}
1251 For allowing line breaks, there is a special command,
1255 This will insert an invisible bar line, and allow line breaks at this
1258 In scores with many staves, a @code{\bar} command in one staff is
1259 automatically applied to all staves. The resulting bar lines are
1260 connected between different staves of a @internalsref{StaffGroup}
1262 @lilypond[quote,raggedright,fragment,verbatim]
1264 \context StaffGroup <<
1270 \new Staff { \clef bass c4 g e g }
1272 \new Staff { \clef bass c2 c2 }
1277 The command @code{\bar }@var{bartype} is a short cut for doing
1278 @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar}
1279 is set to a string, a bar line of that type is created.
1281 A bar line is created whenever the @code{whichBar} property is set.
1282 At the start of a measure it is set to the contents of
1283 @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used
1284 to override default measure bars.
1286 @cindex @code{whichBar}
1287 @cindex @code{repeatCommands}
1288 @cindex @code{defaultBarType}
1290 You are encouraged to use @code{\repeat} for repetitions. See
1297 In this manual: @ref{Repeats}, @ref{System start delimiters}
1300 Program reference: @internalsref{BarLine} (created at
1301 @internalsref{Staff} level), @internalsref{SpanBar} (across staves).
1303 @cindex bar lines at start of system
1304 @cindex start of system
1308 Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
1311 @node Time administration
1312 @subsection Time administration
1314 Time is administered by the @internalsref{Time_signature_engraver},
1315 which usually lives in the @internalsref{Score} context.
1316 The bookkeeping deals with the following variables
1319 @item currentBarNumber
1322 the length of the measures in the current time signature. For a 4/4
1323 time this is 1, and for 6/8 it is 3/4.
1324 @item measurePosition
1325 the point within the measure where we currently are. This quantity
1326 is reset to 0 whenever it exceeds @code{measureLength}. When that happens,
1327 @code{currentBarNumber} is incremented.
1329 if set to true, the above variables are updated for every time
1330 step. When set to false, the engraver stays in the current measure
1334 Timing can be changed by setting any of these variables explicitly.
1335 In the next example, the 4/4 time signature is printed, but
1336 @code{measureLength} is set to 5/4. After a while, the measure is
1337 shortened by 1/8, by setting @code{measurePosition} to -3/8 at 2/4 in
1338 the measure, so the next bar line will fall at 2/4 + 3/8.
1340 @lilypond[raggedright,verbatim,relative,fragment]
1341 \set Score.measureLength = #(ly:make-moment 5 4)
1345 \set Score.measurePosition = #(ly:make-moment -3 8)
1351 @node Controlling formatting of prefatory matter
1352 @subsection Controlling formatting of prefatory matter
1354 TODO Somebody needs to explain this example, but I don't know what
1355 they're trying to do, so it won't be me. -gp
1359 \override Staff.Clef #'break-visibility = #end-of-line-visible
1360 \override Staff.KeySignature #'break-visibility = #end-of-line-visible
1361 \set Staff.explicitClefVisibility = #end-of-line-visible
1362 \set Staff.explicitKeySignatureVisibility = #end-of-line-visible
1364 % We want the time sig to take space, otherwise there is not
1365 % enough white at the start of the line.
1368 \override Staff.TimeSignature #'transparent = ##t
1369 \set Score.defaultBarType = #"empty"
1389 Polyphony in music refers to having more than one voice occuring in
1390 a piece of music. Polyphony in LilyPond refers to having more than
1391 one voice on the same staff.
1394 * Writing polyphonic music::
1397 @node Writing polyphonic music
1398 @subsection Writing polyphonic music
1401 The easiest way to enter fragments with more than one voice on a staff
1402 is to split chords using the separator @code{\\}. You can use it for
1403 small, short-lived voices or for single chords
1407 @lilypond[quote,raggedright,verbatim,fragment]
1408 \context Staff \relative c'' {
1409 c4 << { f d e } \\ { b c2 } >>
1410 c4 << g' \\ b, \\ f' \\ d >>
1414 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1415 voices are sometimes called ``layers'' in other notation packages}
1417 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1418 each of these contexts, vertical direction of slurs, stems, etc. is set
1421 @cindex @code{\voiceOne}
1422 @cindex @code{\voiceFour}
1424 This can also be done by instantiating @internalsref{Voice} contexts
1425 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1426 a stem directions and horizontal shift for each part
1429 @lilypond[quote,raggedright,verbatim]
1432 \new Voice { \voiceOne cis2 b }
1433 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1434 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1438 The command @code{\oneVoice} will revert back to the normal setting.
1439 @cindex @code{\oneVoice}
1442 Normally, note heads with a different number of dots are not merged, but
1443 when the object property @code{merge-differently-dotted} is set in
1444 the @internalsref{NoteCollision} object, they are merged
1445 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1448 \override Staff.NoteCollision
1449 #'merge-differently-dotted = ##t
1451 } \\ { g8.[ f16] g8.[ f16] } >>
1454 Similarly, you can merge half note heads with eighth notes, by setting
1455 @code{merge-differently-headed}
1456 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
1459 \override Staff.NoteCollision
1460 #'merge-differently-headed = ##t
1461 c8 c4. } \\ { c2 c2 } >>
1464 LilyPond also vertically shifts rests that are opposite of a stem,
1467 @lilypond[quote,raggedright,fragment,verbatim]
1468 \context Voice << c''4 \\ r4 >>
1476 @cindex @code{\oneVoice}
1478 @cindex @code{\voiceOne}
1480 @cindex @code{\voiceTwo}
1482 @cindex @code{\voiceThree}
1484 @cindex @code{\voiceFour}
1489 @cindex @code{\shiftOn}
1491 @cindex @code{\shiftOnn}
1493 @cindex @code{\shiftOnnn}
1495 @cindex @code{\shiftOff}
1496 @code{\shiftOff}: these commands specify in what chords of the current
1497 voice should be shifted. The outer voices (normally: voice one and
1498 two) have @code{\shiftOff}, while the inner voices (three and four)
1499 have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
1500 further shift levels.
1503 When LilyPond cannot cope, the @code{force-hshift}
1504 property of the @internalsref{NoteColumn} object and pitched rests can
1505 be used to override typesetting decisions.
1507 @lilypond[verbatim,raggedright]
1514 \once \override NoteColumn #'force-hshift = #1.7
1523 Program reference: the objects responsible for resolving collisions are
1524 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1527 @inputfileref{input/@/regression,collision@/-dots@/.ly},
1528 @inputfileref{input/@/regression,collision@/-head-chords@/.ly},
1529 @inputfileref{input/@/regression,collision@/-heads@/.ly},
1530 @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and
1531 @inputfileref{input/@/regression,collisions@/.ly}.
1537 When using @code{merge-differently-headed} with an upstem eighth or a
1538 shorter note, and a downstem half note, the eighth note gets the wrong
1541 There is no support for clusters where the same note occurs with
1542 different accidentals in the same chord. In this case, it is
1543 recommended to use enharmonic transcription, or to use special cluster
1544 notation (see @ref{Clusters}).
1549 Beams are used to group short notes into chunks that are aligned with
1550 the metrum. LilyPond normally inserts beams automatically, but if you
1551 wish you may control them manually or changed how beams are automatically
1554 @cindex Automatic beams
1558 * Setting automatic beam behavior::
1562 @node Automatic beams
1563 @subsection Automatic beams
1565 LilyPond inserts beams automatically
1567 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1568 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1571 When these automatic decisions are not good enough, beaming can be
1572 entered explicitly. It is also possible to define beaming patterns
1573 that differ from the defaults.
1575 Individual notes may be marked with @code{\noBeam}, to prevent them
1578 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
1579 \time 2/4 c8 c\noBeam c c
1585 Program reference: @internalsref{Beam}.
1589 @subsection Manual beams
1590 @cindex beams, manual
1594 In some cases it may be necessary to override the automatic beaming
1595 algorithm. For example, the autobeamer will not put beams over rests
1596 or bar lines. Such beams are specified manually by marking the begin
1597 and end point with @code{[} and @code{]}
1599 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1601 r4 r8[ g' a r8] r8 g[ | a] r8
1605 @cindex @code{stemLeftBeamCount}
1607 Normally, beaming patterns within a beam are determined automatically.
1608 If necessary, the properties @code{stemLeftBeamCount} and
1609 @code{stemRightBeamCount} can be used to override the defaults. If
1610 either property is set, its value will be used only once, and then it
1613 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
1618 \set stemLeftBeamCount = #1
1622 @cindex @code{stemRightBeamCount}
1625 The property @code{subdivideBeams} can be set in order to subdivide
1626 all 16th or shorter beams at beat positions, as defined by the
1627 @code{beatLength} property.
1630 @lilypond[fragment,quote,relative=2,verbatim]
1632 \set subdivideBeams = ##t
1634 \set Score.beatLength = #(ly:make-moment 1 8)
1637 @cindex @code{subdivideBeams}
1639 Normally, line breaks are forbidden when beams cross bar lines. This
1640 behavior can be changed by setting @code{allowBeamBreak}.
1642 @cindex @code{allowBeamBreak}
1643 @cindex beams and line breaks
1645 @cindex beams, kneed
1647 @cindex auto-knee-gap
1652 User manual: @ref{Changing context properties on the fly} for the
1658 @cindex Frenched staves
1659 Kneed beams are inserted automatically, when a large gap is detected
1660 between the note heads. This behavior can be tuned through the object.
1663 Automatically kneed cross-staff beams cannot be used together with
1664 hidden staves. See @ref{Hiding staves}.
1666 Beams do not avoid collisions with symbols around the notes, such as
1667 texts and accidentals.
1672 @node Setting automatic beam behavior
1673 @subsection Setting automatic beam behavior
1675 @cindex @code{autoBeamSettings}
1676 @cindex @code{(end * * * *)}
1677 @cindex @code{(begin * * * *)}
1678 @cindex automatic beams, tuning
1679 @cindex tuning automatic beaming
1681 @c [TODO: use \applycontext]
1683 In normal time signatures, automatic beams can start on any note but can
1684 only end in a few positions within the measure: beams can end on a beat,
1685 or at durations specified by the properties in
1686 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
1687 are defined in @file{scm/@/auto@/-beam@/.scm}.
1689 The value of @code{autoBeamSettings} is changed with two functions,
1691 #(override-auto-beam-setting
1692 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
1694 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m}))
1696 Here, @var{be} is the symbol @code{begin} or @code{end}, and
1697 @var{context} is an optional context (default: @code{'Voice}). It
1698 determines whether the rule applies to begin or end-points. The
1699 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
1700 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
1701 to a time signature (wildcards `@code{* *}' may be entered to
1702 designate all time signatures), @var{a}/@var{b} is a duration. By
1703 default, this command changes settings for the current voice. It is
1704 also possible to adjust settings at higher contexts, by adding a
1705 @var{context} argument.
1707 For example, if automatic beams should end on every quarter note, use
1710 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1712 Since the duration of a quarter note is 1/4 of a whole note, it is
1713 entered as @code{(ly:make-moment 1 4)}.
1715 The same syntax can be used to specify beam starting points. In this
1716 example, automatic beams can only end on a dotted quarter note
1718 #(override-auto-beam-setting '(end * * * *) 3 8)
1720 In 4/4 time signature, this means that automatic beams could end only on
1721 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1722 3/8, has passed within the measure).
1724 Rules can also be restricted to specific time signatures. A rule that
1725 should only be applied in @var{N}/@var{M} time signature is formed by
1726 replacing the second asterisks by @var{N} and @var{M}. For example, a
1727 rule for 6/8 time exclusively looks like
1729 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
1732 If a rule should be to applied only to certain types of beams, use the
1733 first pair of asterisks. Beams are classified according to the
1734 shortest note they contain. For a beam ending rule that only applies
1735 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1738 @cindex automatic beam generation
1740 @cindex @code{autoBeaming}
1743 If beams are used to indicate melismata in songs, then automatic
1744 beaming should be switched off. This is done by setting
1745 @code{autoBeaming} to @code{#f}.
1749 @cindex @code{\autoBeamOff}
1750 @code{\autoBeamOff},
1751 @cindex @code{\autoBeamOn}
1757 If a score ends while an automatic beam has not been ended and is
1758 still accepting notes, this last beam will not be typeset at all. The
1759 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1760 >>}. If a polyphonic voice ends while an automatic beam is still
1761 accepting notes, it is not typeset.
1763 The rules for ending a beam depend on the shortest note in a beam.
1764 So, while it is possible to have different ending rules for eight
1765 beams and sixteenth beams, a beam that contains both eight and
1766 sixteenth notes will use the rules for the sixteenth beam.
1768 In the example below, the autobeamer makes eighth beams and sixteenth
1769 end at three eighths. The third beam can only be corrected by
1770 specifying manual beaming.
1772 @lilypond[quote,raggedright,fragment,relative=1]
1773 #(override-auto-beam-setting '(end * * * *) 3 8)
1774 % rather show case where it goes wrong
1775 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1776 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1778 It is not possible to specify beaming parameters that act differently in
1779 different parts of a measure. This means that it is not possible to use
1780 automatic beaming in irregular meters such as @code{5/8}.
1782 @node Beam formatting
1783 @subsection Beam formatting
1786 When a beam falls in the middle of the staff, the beams point normally
1787 down. However, this behaviour can be altered with the
1788 @code{neutral-direction} property.
1791 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1794 \override Beam #'neutral-direction = #-1
1796 \override Beam #'neutral-direction = #1
1802 @section Accidentals
1804 This section describes how to change the way that accidentals are
1805 inserted automatically before notes.
1808 * Automatic accidentals::
1811 @node Automatic accidentals
1812 @subsection Automatic accidentals
1813 @cindex Automatic accidentals
1815 Common rules for typesetting accidents have been placed in a
1816 function. This function is called as follows
1818 @cindex @code{set-accidental-style}
1820 #(set-accidental-style 'STYLE #('CONTEXT#))
1823 The function can take two arguments: the name of the accidental style,
1824 and an optional argument that denotes the context which should be
1825 changed. If no context name is supplied, @code{Staff} is the default,
1826 but you may wish to apply the accidental style to a single @code{Voice}
1829 The following accidental styles are supported
1832 This is the default typesetting behavior. It corresponds
1833 to 18th century common practice: Accidentals are
1834 remembered to the end of the measure in which they occur and
1835 only on their own octave.
1838 The normal behavior is to remember the accidentals on
1839 Staff-level. This variable, however, typesets accidentals
1840 individually for each voice. Apart from that, the rule is similar to
1843 As a result, accidentals from one voice do not get canceled in other
1844 voices, which is often an unwanted result
1846 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1848 #(set-accidental-style 'voice)
1855 The @code{voice} option should be used if the voices
1856 are to be read solely by individual musicians. If the staff is to be
1857 used by one musician (e.g. a conductor) then
1858 @code{modern} or @code{modern-cautionary}
1859 should be used instead.
1862 @cindex @code{modern} style accidentals
1863 This rule corresponds to the common practice in the 20th century. This rule
1864 prints the same accidentals as @code{default}, but temporary
1865 accidentals also are canceled in other octaves. Furthermore,
1866 in the same octave, they also get canceled in the following
1869 @lilypond[quote,raggedright,fragment,verbatim]
1870 #(set-accidental-style 'modern)
1871 cis' c'' cis'2 | c'' c'
1874 @item @code{modern-cautionary}
1875 @cindex @code{modern-cautionary}
1876 This rule is similar to @code{modern}, but the ``extra'' accidentals
1877 (the ones not typeset by @code{default}) are typeset as cautionary
1878 accidentals. They are printed in reduced size or with parentheses
1879 @lilypond[quote,raggedright,fragment,verbatim]
1880 #(set-accidental-style 'modern-cautionary)
1881 cis' c'' cis'2 | c'' c'
1884 @cindex @code{modern-voice}
1886 This rule is used for multivoice accidentals to be read both by musicians
1887 playing one voice and musicians playing all voices. Accidentals are
1888 typeset for each voice, but they @emph{are} canceled across voices in
1889 the same @internalsref{Staff}.
1891 @cindex @code{modern-voice-cautionary}
1892 @item modern-voice-cautionary
1893 This rule is the same as @code{modern-voice}, but with the extra
1894 accidentals (the ones not typeset by @code{voice}) typeset
1895 as cautionaries. Even though all accidentals typeset by
1896 @code{default} @emph{are} typeset by this variable then
1897 some of them are typeset as cautionaries.
1900 @cindex @code{piano} accidentals
1901 This rule reflects 20th century practice for piano notation. Very similar to
1902 @code{modern} but accidentals also get canceled
1903 across the staves in the same @internalsref{GrandStaff} or
1904 @internalsref{PianoStaff}.
1906 @item piano-cautionary
1907 @cindex @code{#(set-accidental-style 'piano-cautionary)}
1908 As @code{#(set-accidental-style 'piano)} but with the extra accidentals
1909 typeset as cautionaries.
1912 @cindex @code{no-reset} accidental style
1913 This is the same as @code{default} but with accidentals lasting
1914 ``forever'' and not only until the next measure
1915 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1916 #(set-accidental-style 'no-reset)
1921 This is sort of the opposite of @code{no-reset}: Accidentals
1922 are not remembered at all---and hence all accidentals are
1923 typeset relative to the key signature, regardless of what was
1926 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
1927 #(set-accidental-style 'forget)
1928 \key d\major c4 c cis cis d d dis dis
1935 Program reference: @internalsref{Accidental_engraver},
1936 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1941 Simultaneous notes are considered to be entered in sequential
1942 mode. This means that in a chord the accidentals are typeset as if the
1943 notes in the chord happened once at a time - in the order in which
1944 they appear in the input file.
1946 This is a problem when accidentals in a chord depend on each other,
1947 which does not happen for the default accidental style. The problem
1948 can be solved by manually inserting @code{!} and @code{?} for the
1952 @node Expressive marks
1953 @section Expressive marks
1956 @c todo: should change ordering
1957 @c where to put text spanners, metronome marks,
1960 Expressive marks help musicians to bring more to the music than simple
1970 * Analysis brackets::
1973 * Fingering instructions::
1983 A slur indicates that notes are to be played bound or @emph{legato}.
1985 They are entered using parentheses
1986 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1987 f( g a) a8 b( a4 g2 f4)
1991 The direction of a slur can be set with the
1995 \override Slur #'direction = #UP
1996 \slurUp % shortcut for the previous line
2000 However, there is a convenient shorthand for forcing slur
2001 directions. By adding @code{_} or @code{^} before the opening
2002 parentheses, the direction is also set. For example,
2004 @lilypond[relative=2,raggedright,quote,verbatim,fragment]
2008 Some composers write two slurs when they want legato chords. This can
2009 be achieved in LilyPond by setting @code{doubleSlurs},
2011 @lilypond[verbatim,raggedright,relative,fragment,quote]
2012 \set doubleSlurs = ##t
2013 <c e>4 ( <d f> <c e> <d f> )
2020 @cindex @code{\slurUp}
2022 @cindex @code{\slurDown}
2024 @cindex @code{\slurNeutral}
2025 @code{\slurNeutral},
2026 @cindex @code{\slurDotted}
2028 @cindex @code{\slurSolid}
2033 Program reference: @seeinternals{Slur}, and @internalsref{SlurEvent}.
2036 @node Phrasing slurs
2037 @subsection Phrasing slurs
2039 @cindex phrasing slurs
2040 @cindex phrasing marks
2042 A phrasing slur (or phrasing mark) connects chords and is used to
2043 indicate a musical sentence. It is written using @code{\(} and @code{\)}
2046 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2047 \time 6/4 c'\( d( e) f( e) d\)
2050 Typographically, the phrasing slur behaves almost exactly like a
2051 normal slur. However, they are treated as different objects. A
2052 @code{\slurUp} will have no effect on a phrasing slur; instead, use
2053 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
2054 @code{\phrasingSlurNeutral}.
2056 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurNeutral}
2057 will only affect normal slurs and not phrasing slurs.
2061 @cindex @code{\phrasingSlurUp}
2062 @code{\phrasingSlurUp},
2063 @cindex @code{\phrasingSlurDown}
2064 @code{\phrasingSlurDown},
2065 @cindex @code{\phrasingSlurNeutral}
2066 @code{\phrasingSlurNeutral}.
2070 Program reference: see also @internalsref{PhrasingSlur}, and
2071 @internalsref{PhrasingSlurEvent}.
2075 Putting phrasing slurs over rests leads to spurious warnings.
2078 @subsection Breath marks
2080 Breath marks are entered using @code{\breathe}
2083 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2087 The glyph of the breath mark can be tuned by overriding the
2088 @code{text} property of the @code{BreathingSign} layout object with
2089 any markup text. For example,
2090 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2092 \override BreathingSign #'text
2093 = #(make-musicglyph-markup "scripts-rvarcomma")
2100 Program reference: @internalsref{BreathingSign},
2101 @internalsref{BreathingSignEvent}.
2103 Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}.
2106 @node Metronome marks
2107 @subsection Metronome marks
2110 @cindex beats per minute
2111 @cindex metronome marking
2113 Metronome settings can be entered as follows
2115 \tempo @var{duration} = @var{per-minute}
2118 In the MIDI output, they are interpreted as a tempo change. In the
2119 layout output, a metronome marking is printed
2120 @cindex @code{\tempo}
2121 @lilypond[quote,raggedright,verbatim,fragment]
2127 Program reference: @internalsref{MetronomeChangeEvent}.
2131 @subsection Text scripts
2132 @cindex Text scripts
2134 @cindex text items, non-empty
2135 @cindex non-empty texts
2137 It is possible to place arbitrary strings of text or markup text (see
2138 @ref{Text markup}) above or below notes by using a string
2139 @code{c^"text"}. By default, these indications do not influence the
2140 note spacing, but by using the command @code{\fatText}, the widths
2141 will be taken into account
2143 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
2144 c4^"longtext" \fatText c4_"longlongtext" c4
2147 More complex formatting may also be added to a note by using the
2149 @lilypond[fragment,raggedright,verbatim,quote]
2150 c'4^\markup { bla \bold bla }
2153 The @code{\markup} is described in more detail in
2159 @cindex @code{\fatText}
2161 @cindex @code{\emptyText}
2166 In this manual: @ref{Text markup}.
2168 Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.
2172 @subsection Text spanners
2173 @cindex Text spanners
2175 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
2176 are written as text and are extended over many measures with dotted
2177 lines. Such texts are created using text spanners; attach
2178 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
2179 notes of the spanner.
2181 The string to be printed, as well as the style, is set through object
2184 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2186 \override TextSpanner #'direction = #-1
2187 \override TextSpanner #'edge-text = #'("rall " . "")
2188 c2\startTextSpan b c\stopTextSpan a
2194 Internals @internalsref{TextSpanEvent},
2195 @internalsref{TextSpanner}.
2197 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
2200 @node Analysis brackets
2201 @subsection Analysis brackets
2203 @cindex phrasing brackets
2204 @cindex musicological analysis
2205 @cindex note grouping bracket
2207 Brackets are used in musical analysis to indicate structure in musical
2208 pieces. LilyPond supports a simple form of nested horizontal
2209 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2210 to @internalsref{Staff} context. A bracket is started with
2211 @code{\startGroup} and closed with @code{\stopGroup}
2213 @lilypond[quote,raggedright,verbatim]
2216 c4\startGroup\startGroup
2219 c4\stopGroup\stopGroup
2223 \Staff \consists "Horizontal_bracket_engraver"
2229 Program reference: @internalsref{HorizontalBracket},
2230 @internalsref{NoteGroupingEvent}.
2232 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2236 @subsection Articulations
2237 @cindex Articulations
2239 @cindex articulations
2243 A variety of symbols can appear above and below notes to indicate
2244 different characteristics of the performance. They are added to a note
2245 by adding a dash and the character signifying the
2246 articulation. They are demonstrated here
2248 @lilypondfile[quote,raggedright]{script-abbreviations.ly}
2250 The meanings of these shorthands can be changed. See
2251 @file{ly/@/script@/-init@/.ly} for examples.
2254 The script is automatically placed, but the direction can be forced as
2255 well. Like other pieces of LilyPond code, @code{_} will place them
2256 below the staff, and @code{^} will place them above.
2259 @lilypond[quote,raggedright,fragment,verbatim]
2263 Other symbols can be added using the syntax
2264 @var{note}@code{\}@var{name}. Again, they
2265 can be forced up or down using @code{^} and @code{_},
2268 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2269 c\fermata c^\fermata c_\fermata
2276 @cindex staccatissimo
2285 @cindex organ pedal marks
2294 @cindex prallmordent
2298 @cindex thumb marking
2303 Here is a chart showing all scripts available,
2305 @lilypondfile[raggedright,quote]{script-chart.ly}
2308 The vertical ordering of scripts is controlled with the
2309 @code{script-priority} property. The lower this number, the closer it
2310 will be put to the note. In this example, the
2311 @internalsref{TextScript} (the sharp symbol) first has the lowest
2312 priority, so it is put lowest in the first example. In the second, the
2313 prall trill (the @internalsref{Script}) has the lowest, so it on the
2314 inside. When two objects have the same priority, the order in which
2315 they are entered decides which one comes first.
2318 @lilypond[verbatim,relative=3,raggedright,fragment,quote]
2319 \once \override TextScript #'script-priority = #-100
2320 a4^\prall^\markup { \sharp }
2322 \once \override Script #'script-priority = #-100
2323 a4^\prall^\markup { \sharp }
2331 Program reference: @internalsref{ScriptEvent}, and @internalsref{Script}.
2335 These signs appear in the printed output but have no effect on the
2336 MIDI rendering of the music.
2340 @node Running trills
2341 @subsection Running trills
2343 Long running trills are made with @code{\startTrillSpan} and
2344 @code{\stopTrillSpan},
2347 @lilypond[verbatim,raggedright,relative=2,quote,fragment]
2349 << { c1 \startTrillSpan }
2350 { s2. \grace { d16[\stopTrillSpan e] } } >>
2356 @code{\startTrillSpan},
2357 @cindex @code{\startTrillSpan}
2358 @code{\stopTrillSpan}.
2359 @cindex @code{\stopTrillSpan}
2363 Program reference: @internalsref{TrillSpanner},
2364 @internalsref{TrillSpanEvent}.
2366 @node Fingering instructions
2367 @subsection Fingering instructions
2371 Fingering instructions can be entered using
2373 @var{note}-@var{digit}
2375 For finger changes, use markup texts
2377 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2379 c^\markup { \finger "2-3" }
2382 @cindex finger change
2387 You can use the thumb-script to indicate that a note should be
2388 played with the thumb (e.g. in cello music)
2390 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2391 <a_\thumb a'-3>8 <b_\thumb b'-3>
2394 Fingerings for chords can also be added to individual notes
2395 of the chord by adding them after the pitches
2396 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2397 < c-1 e-2 g-3 b-5 >4
2401 In this case, setting @code{fingeringOrientations} will put fingerings next
2404 @lilypond[quote,verbatim,raggedright,fragment,relative=1]
2405 \set fingeringOrientations = #'(left down)
2406 <c-1 es-2 g-4 bes-5 > 4
2407 \set fingeringOrientations = #'(up right down)
2408 <c-1 es-2 g-4 bes-5 > 4
2411 Using this feature, it is also possible to put fingering instructions
2412 very close to note heads in monophonic music,
2414 @lilypond[verbatim,raggedright,quote,fragment]
2415 \set fingeringOrientations = #'(right)
2422 Program reference: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2424 Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
2430 @subsection Grace notes
2433 @c should have blurb about accaciatura / appogiatura
2435 @cindex @code{\grace}
2439 Grace notes are ornaments that are written out. The most common ones
2440 are acciaccatura, which should be played as very short. It is denoted
2441 by a slurred small note with a slashed stem. The appoggiatura is a
2442 grace note that takes a fixed fraction of the main note, and is
2443 denoted as a slurred note in small print without a slash. They
2444 are entered with the commands @code{\acciaccatura} and
2445 @code{\appoggiatura}, as demonstrated in the following example
2448 @cindex appoggiatura
2449 @cindex acciaccatura
2451 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2452 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2453 \acciaccatura { g16[ f] } e4
2456 Both are special forms of the @code{\grace} command. By prefixing this
2457 keyword to a music expression, a new one is formed, which will be
2458 printed in a smaller font and takes up no logical time in a measure.
2460 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2462 \grace { c16[ d16] } c2 c4
2466 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2467 @code{\grace} command does not start a slur.
2469 Internally, timing for grace notes is done using a second, `grace'
2470 time. Every point in time consists of two rational numbers: one
2471 denotes the logical time, one denotes the grace timing. The above
2472 example is shown here with timing tuples
2474 @lilypond[quote,raggedright]
2477 c4 \grace c16 c4 \grace {
2480 \new Lyrics \lyricmode {
2481 \override LyricText #'font-family = #'typewriter
2485 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2486 \markup { (\fraction 1 4 , 0 ) } 4
2488 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2489 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2491 \markup { ( \fraction 2 4 , 0 ) }
2497 The placement of grace notes is synchronized between different staves.
2498 In the following example, there are two sixteenth graces notes for
2499 every eighth grace note
2501 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2502 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2503 \new Staff { c4 \grace { g8[ b] } c4 } >>
2508 If you want to end a note with a grace, the standard trick is to put
2509 the grace notes after a ``space note''
2511 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2514 { s2 \grace { c16[ d] } } >>
2520 By adjusting the duration of the skip note (here it is a half-note),
2521 the space between the main-note and the grace is adjusted.
2524 A @code{\grace} section will introduce special typesetting settings,
2525 for example, to produce smaller type, and set directions. Hence, when
2526 introducing layout tweaks, they should be inside the grace section,
2528 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2540 The overrides should also be reverted inside the grace section.
2542 The layout of grace sections can be changed throughout the music using
2543 the function @code{add-grace-property}. The following example
2544 undefines the Stem direction for this grace, so stems do not always
2549 #(add-grace-property 'Voice 'Stem 'direction '())
2555 Another option is to change the variables @code{startGraceMusic},
2556 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2557 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2558 @code{stopAppoggiaturaMusic}. More information is in the file
2559 @file{ly/@/grace@/-init@/.ly}.
2564 Program reference: @internalsref{GraceMusic}.
2568 A score that starts with a @code{\grace} section needs an explicit
2569 @code{\context Voice} declaration, otherwise the main note and grace
2570 note end up on different staves.
2572 Grace note synchronization can also lead to surprises. Staff notation,
2573 such as key signatures, bar lines, etc. are also synchronized. Take
2574 care when you mix staves with grace notes and staves without, for example,
2576 @lilypond[quote,raggedright,relative=2,verbatim,fragment]
2577 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2578 \new Staff { c4 \bar "|:" d4 } >>
2582 This can be remedied by inserting grace skips, for the above example
2585 \new Staff @{ c4 \bar "|:" \grace s16 d4 @}
2588 Grace sections should only be used within sequential music
2589 expressions. Nesting or juxtaposing grace sections is not supported,
2590 and might produce crashes or other errors.
2594 @subsection Glissando
2597 @cindex @code{\glissando}
2599 A glissando is a smooth change in pitch. It is denoted by a line or a
2600 wavy line between two notes. It is requested by attaching
2601 @code{\glissando} to a note
2603 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2609 Program reference: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2611 Example files: @file{input/@/regression/@/glissando@/.ly}.
2617 Printing text over the line (such as @emph{gliss.}) is not supported.
2621 @subsection Dynamics
2634 @cindex @code{\ffff}
2644 Absolute dynamic marks are specified using a command after a note
2645 @code{c4\ff}. The available dynamic marks are @code{\ppp},
2646 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2647 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2648 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}
2650 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
2651 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2652 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
2661 A crescendo mark is started with @code{\<} and terminated with
2662 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2663 with @code{\!}. Because these marks are bound to notes, if you must
2664 use spacer notes if multiple marks are needed during one note
2666 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2668 << f1 { s4 s4\< s4\! \> s4\! } >>
2670 This may give rise to very short hairpins. Use @code{minimum-length}
2671 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2675 \override Staff.Hairpin #'minimum-length = #5
2678 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2679 is an example how to do it
2681 @lilypond[quote,raggedright,fragment,relative=2,verbatim]
2691 You can also supply your own texts
2692 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
2693 \set crescendoText = \markup { \italic "cresc. poco" }
2694 \set crescendoSpanner = #'dashed-line
2703 @cindex @code{\dynamicUp}
2705 @cindex @code{\dynamicDown}
2706 @code{\dynamicDown},
2707 @cindex @code{\dynamicNeutral}
2708 @code{\dynamicNeutral}.
2710 @cindex direction, of dynamics
2714 Program reference: @internalsref{CrescendoEvent},
2715 @internalsref{DecrescendoEvent}, and
2716 @internalsref{AbsoluteDynamicEvent}.
2718 Dynamics are @internalsref{DynamicText} and @internalsref{Hairpin}
2719 objects. Vertical positioning of these symbols is handled by the
2720 @internalsref{DynamicLineSpanner} object.
2726 Repetition is a central concept in music, and multiple notations exist
2732 * Repeats and MIDI::
2733 * Manual repeat commands::
2735 * Tremolo subdivisions::
2740 @subsection Repeat types
2743 @cindex @code{\repeat}
2745 The following types of repetition are supported
2749 Repeated music is fully written (played) out. This is useful when
2750 entering repetitious music. This is the only kind of repeat that
2751 is included in MIDI output.
2754 Repeats are not written out, but alternative endings (volte) are
2755 printed, left to right with brackets. This is the standard notation
2756 for repeats with alternatives. These are not played in MIDI output by default.
2760 Alternative endings are written stacked. This has limited use but may be
2761 used to typeset two lines of lyrics in songs with repeats, see
2762 @inputfileref{input,star-spangled-banner@/.ly}.
2767 Make tremolo beams. These are not played in MIDI output by default.
2770 Make beat or measure repeats. These look like percent signs. These are not played
2771 in MIDI output by default.
2776 @subsection Repeat syntax
2779 LilyPond has one syntactic construct for specifying different types of
2780 repeats. The syntax is
2783 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2786 If you have alternative endings, you may add
2787 @cindex @code{\alternative}
2789 \alternative @code{@{} @var{alternative1}
2791 @var{alternative3} @dots{} @code{@}}
2793 where each @var{alternative} is a music expression. If you do not
2794 give enough alternatives for all of the repeats, the first alternative
2795 is assumed to be played more than once.
2797 Standard repeats are used like this
2798 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2800 \repeat volta 2 { c4 d e f }
2801 \repeat volta 2 { f e d c }
2804 With alternative endings
2805 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2807 \repeat volta 2 {c4 d e f}
2808 \alternative { {d2 d} {f f,} }
2812 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
2815 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2816 \alternative { { g4 g g } { a | a a a a | b2. } }
2820 It is possible to shorten volta brackets
2821 by setting @code{voltaSpannerDuration}. In the next example, the
2822 bracket only lasts one measure, which is a duration of 3/4.
2826 @lilypond[verbatim,raggedright,quote]
2830 \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4)
2831 \repeat "volta" 5 { d d d }
2832 \alternative { { e e e f f f }
2842 Brackets for the repeat are normally only printed over the topmost
2843 staff. This can be adjusted by setting the @code{voltaOnThisStaff}
2844 property @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly},
2845 @inputfileref{input/@/regression,volta@/-chord@/-names@/.ly}
2850 A nested repeat like
2859 is ambiguous, since it is is not clear to which @code{\repeat} the
2860 @code{\alternative} belongs. This ambiguity is resolved by always
2861 having the @code{\alternative} belong to the inner @code{\repeat}.
2862 For clarity, it is advisable to use braces in such situations.
2867 Timing information is not remembered at the start of an alternative,
2868 so after a repeat timing information must be reset by hand, for
2869 example by setting @code{Score.measurePosition} or entering
2870 @code{\partial}. Similarly, slurs or ties are also not repeated.
2875 @node Repeats and MIDI
2876 @subsection Repeats and MIDI
2878 @cindex expanding repeats
2880 With a little bit of tweaking, all types of repeats can be present
2881 in the MIDI output. This is achieved by applying the
2882 @code{\unfoldrepeats} music function. This functions changes all
2883 repeats to unfold repeats.
2885 @lilypond[verbatim,fragment,linewidth]
2887 \repeat tremolo 8 {c'32 e' }
2888 \repeat percent 2 { c''8 d'' }
2889 \repeat volta 2 {c'4 d' e' f'}
2898 When creating a score file using @code{\unfoldrepeats} for midi, then
2899 it is necessary to make two @code{\score} blocks. One for MIDI (with
2900 unfolded repeats) and one for notation (with volta, tremolo, and
2901 percent repeats). For example,
2909 \unfoldrepeats @var{..music..}
2914 @node Manual repeat commands
2915 @subsection Manual repeat commands
2917 @cindex @code{repeatCommands}
2919 The property @code{repeatCommands} can be used to control the layout of
2920 repeats. Its value is a Scheme list of repeat commands, where each repeat
2924 @item @code{start-repeat},
2925 which prints a @code{|:} bar line;
2926 @item @code{end-repeat},
2927 which prints a @code{:|} bar line;
2928 @item @code{(volta @var{text})},
2929 which prints a volta bracket saying @var{text}: The text can be specified as
2930 a text string or as a markup text, see @ref{Text markup}. Do not
2931 forget to change the font, as the default number font does not contain
2932 alphabetic characters;
2933 @item @code{(volta #f)}, which
2934 stops a running volta bracket.
2937 @lilypond[quote,raggedright,verbatim,fragment,relative=2]
2939 \set Score.repeatCommands = #'((volta "93") end-repeat)
2941 \set Score.repeatCommands = #'((volta #f))
2949 Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2950 @internalsref{VoltaRepeatedMusic},
2951 @internalsref{UnfoldedRepeatedMusic}, and
2952 @internalsref{FoldedRepeatedMusic}.
2954 @node Tremolo repeats
2955 @subsection Tremolo repeats
2956 @cindex tremolo beams
2958 To place tremolo marks between notes, use @code{\repeat} with tremolo
2960 @lilypond[quote,verbatim,raggedright]
2961 \new Voice \relative c' {
2962 \repeat "tremolo" 8 { c16 d16 }
2963 \repeat "tremolo" 4 { c16 d16 }
2964 \repeat "tremolo" 2 { c16 d16 }
2968 Tremolo marks can also be put on a single note. In this case, the
2969 note should not be surrounded by braces.
2970 @lilypond[quote,verbatim,raggedright]
2971 \repeat "tremolo" 4 c'16
2974 Similar output is obtained using the tremolo subdivision, described in
2975 @ref{Tremolo subdivisions}.
2979 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2981 Program reference: tremolo beams are @internalsref{Beam} objects. Single stem
2982 tremolos are @internalsref{StemTremolo} objects. The music expression is
2983 @internalsref{TremoloEvent}.
2985 Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
2986 @inputfileref{input/@/regression,stem@/-tremolo@/.ly}.
2988 @node Tremolo subdivisions
2989 @subsection Tremolo subdivisions
2990 @cindex tremolo marks
2991 @cindex @code{tremoloFlags}
2993 Tremolo marks can be printed on a single note by adding
2994 `@code{:}[@var{number}]' after the note. The number indicates the
2995 duration of the subdivision, and it must be at least 8. A
2996 @var{length} value of 8 gives one line across the note stem. If the
2997 length is omitted, the last value (stored in @code{tremoloFlags}) is
3000 @lilypond[quote,raggedright,verbatim,fragment]
3001 c'2:8 c':32 | c': c': |
3004 @c [TODO : stok is te kort bij 32en]
3005 @c somebody want to translate that into English? :)
3009 Tremolos entered in this way do not carry over into the MIDI output.
3013 In this manual: @ref{Tremolo repeats}.
3015 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
3017 @node Measure repeats
3018 @subsection Measure repeats
3020 @cindex percent repeats
3021 @cindex measure repeats
3023 In the @code{percent} style, a note pattern can be repeated. It is
3024 printed once, and then the pattern is replaced with a special sign.
3025 Patterns of one and two measures are replaced by percent-like signs,
3026 patterns that divide the measure length are replaced by slashes
3028 @lilypond[quote,verbatim,raggedright]
3029 \new Voice \relative c' {
3030 \repeat "percent" 4 { c4 }
3031 \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 }
3037 Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
3038 @internalsref{PercentRepeatedMusic}, and
3039 @internalsref{DoublePercentRepeat}.
3043 @node Rhythmic music
3044 @section Rhythmic music
3046 Rhythmic music is primarily used for percussion and drum notation, but it can
3047 also be used to show the rhythms of melodies.
3050 * Showing melody rhythms::
3051 * Entering percussion::
3052 * Percussion staves::
3056 @node Showing melody rhythms
3057 @subsection Showing melody rhythms
3059 Sometimes you might want to show only the rhythm of a melody. This
3060 can be done with the rhythmic staff. All pitches of notes on such a
3061 staff are squashed, and the staff itself has a single line
3063 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3064 \context RhythmicStaff {
3066 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
3072 Program reference: @internalsref{RhythmicStaff}.
3074 Examples: @inputfileref{input/@/regression,rhythmic@/-staff@/.ly}.
3077 @node Entering percussion
3078 @subsection Entering percussion
3084 Percussion notes may be entered in @code{\drummode} mode, which is
3085 similar to the standard mode for entering notes. Each piece of
3086 percussion has a full name and an abbreviated name, and both can be used
3089 @lilypond[quote,raggedright,verbatim]
3091 hihat hh bassdrum bd
3095 The complete list of drum names is in the init file
3096 @file{ly/@/drumpitch@/-init@/.ly}.
3097 @c TODO: properly document this.
3101 Program reference: @internalsref{DrumNoteEvent}.
3103 @node Percussion staves
3104 @subsection Percussion staves
3108 A percussion part for more than one instrument typically uses a
3109 multi line staff where each position in the staff refers to one piece
3113 To typeset the music, the notes must be interpreted in a
3114 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts
3117 @lilypond[quote,raggedright,verbatim]
3118 up = \drummode { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
3119 down = \drummode { bassdrum4 snare8 bd r bd sn4 }
3121 \new DrumVoice { \voiceOne \up }
3122 \new DrumVoice { \voiceTwo \down }
3126 The above example shows verbose polyphonic notation. The short
3127 polyphonic notation, described in @ref{Polyphony}, can also be used if
3128 the @internalsref{DrumVoices} are instantiated by hand first. For example,
3130 @lilypond[quote,raggedright,fragment,verbatim]
3132 \context DrumVoice = "1" { s1 *2 }
3133 \context DrumVoice = "2" { s1 *2 }
3137 { \repeat unfold 16 hh16 }
3146 There are also other layout possibilities. To use these, set the
3147 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
3148 The following variables have been predefined
3152 This is the default. It typesets a typical drum kit on a five-line staff
3154 @lilypond[quote,raggedright]
3155 nam = \lyricmode { cymc cyms cymr hh hhc hho hhho hhp cb hc
3156 bd sn ss tomh tommh tomml toml tomfh tomfl }
3157 mus = \drummode { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
3158 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
3160 << \new DrumStaff\with {
3161 \remove Bar_engraver
3162 \remove Time_signature_engraver
3163 \override Stem #'transparent = ##t
3164 \override Stem #'Y-extent-callback = ##f
3165 minimumVerticalExtent = #'(-4.0 . 5.0)
3167 \context Lyrics \nam
3170 %% need to do this, because of indented @itemize
3173 \override LyricText #'font-family = #'typewriter
3174 \override BarNumber #'transparent =##T
3178 The drum scheme supports six different toms. When there fewer toms, simply
3179 select the toms that produce the desired result, i.e. to get toms on
3180 the three middle lines you use @code{tommh}, @code{tomml} and
3183 @item timbales-style
3184 This typesets timbales on a two line staff
3186 @lilypond[quote,raggedright]
3187 nam = \lyricmode { timh ssh timl ssl cb }
3188 mus = \drummode { timh ssh timl ssl cb s16 }
3191 \context DrumStaff \with {
3192 \remove Bar_engraver
3193 \remove Time_signature_engraver
3194 \override Stem #'transparent = ##t
3195 \override Stem #'Y-extent-callback = ##f
3196 \override StaffSymbol #'line-count = #2
3197 \override StaffSymbol #'staff-space = #2
3198 minimumVerticalExtent = #'(-3.0 . 4.0)
3199 drumStyleTable = #timbales-style
3202 \override LyricText #'font-family = #'typewriter
3208 This typesets congas on a two line staff
3210 @lilypond[quote,raggedright]
3211 nam = \lyricmode { cgh cgho cghm ssh cgl cglo cglm ssl }
3212 mus = \drummode { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
3214 \context DrumStaff\with {
3215 \remove Bar_engraver
3216 \remove Time_signature_engraver
3217 drumStyleTable = #congas-style
3218 \override StaffSymbol #'line-count = #2
3220 %% this sucks; it will lengthen stems.
3221 \override StaffSymbol #'staff-space = #2
3222 \override Stem #'transparent = ##t
3223 \override Stem #'Y-extent-callback = ##f
3226 \override LyricText #'font-family = #'typewriter
3231 This typesets bongos on a two line staff
3233 @lilypond[quote,raggedright]
3234 nam = \lyricmode { boh boho bohm ssh bol bolo bolm ssl }
3235 mus = \drummode { boh boho bohm ssh bol bolo bolm ssl s16 }
3237 \context DrumStaff\with {
3238 \remove Bar_engraver
3239 \remove Time_signature_engraver
3240 \override StaffSymbol #'line-count = #2
3241 drumStyleTable = #bongos-style
3243 %% this sucks; it will lengthen stems.
3244 \override StaffSymbol #'staff-space = #2
3245 \override Stem #'transparent = ##t
3246 \override Stem #'Y-extent-callback = ##f
3249 \override LyricText #'font-family = #'typewriter
3254 @item percussion-style
3255 to typeset all kinds of simple percussion on one line staves
3256 @lilypond[quote,raggedright]
3257 nam = \lyricmode { tri trio trim gui guis guil cb cl tamb cab mar hc }
3258 mus = \drummode { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
3260 \context DrumStaff\with{
3261 \remove Bar_engraver
3262 drumStyleTable = #percussion-style
3263 \override StaffSymbol #'line-count = #1
3264 \remove Time_signature_engraver
3265 \override Stem #'transparent = ##t
3266 \override Stem #'Y-extent-callback = ##f
3269 \override LyricText #'font-family = #'typewriter
3276 If you do not like any of the predefined lists you can define your own
3277 list at the top of your file
3279 @lilypond[quote,raggedright,verbatim]
3281 (bassdrum default #f -1)
3282 (snare default #f 0)
3284 (pedalhihat xcircle "stopped" 2)
3285 (lowtom diamond #f 3)))
3286 up = \drummode { hh8 hh hh hh hhp4 hhp }
3287 down = \drummode { bd4 sn bd toml8 toml }
3290 \set DrumStaff.drumStyleTable
3291 = #(alist->hash-table mydrums)
3292 \new DrumVoice { \voiceOne \up }
3293 \new DrumVoice { \voiceTwo \down }
3300 Init files: @file{ly/@/drumpitch@/-init@/.ly}.
3302 Program reference: @internalsref{DrumStaff}, @internalsref{DrumVoice}.
3306 Because general MIDI does not contain rim shots, the sidestick is used
3307 for this purpose instead.
3310 @section Piano music
3312 Piano staves are two normal staves coupled with a brace. The staves
3313 are largely independent, but sometimes voices can cross between the
3314 two staves. The same notation is also used for harps and other key
3315 instruments. The @internalsref{PianoStaff} is especially built to
3316 handle this cross-staffing behavior. In this section we discuss the
3317 @internalsref{PianoStaff} and some other pianistic peculiarities.
3321 * Automatic staff changes::
3322 * Manual staff switches::
3325 * Staff switch lines::
3326 * Cross staff stems::
3331 Dynamics are not centered, but workarounds do exist. See the
3332 ``piano centered dynamics'' template in @ref{Piano templates}.
3334 @cindex cross staff stem
3335 @cindex stem, cross staff
3336 @cindex distance between staves in piano music
3338 The distance between the two staves is the same for all systems in the
3339 score. It is possible to override this per system, but it does require
3340 an arcane command incantation. See
3341 @inputfileref{input/@/test,piano@/-staff@/-distance@/.ly}.
3344 @node Automatic staff changes
3345 @subsection Automatic staff changes
3346 @cindex Automatic staff changes
3348 Voices can be made to switch automatically between the top and the bottom
3349 staff. The syntax for this is
3353 \autochange @dots{}@var{music}@dots{}
3358 This will create two staves inside the current PianoStaff, called
3359 @code{up} and @code{down}. The lower staff will be in bass clef by
3362 A @code{\relative} section that is outside of @code{\autochange} has
3363 no effect on the pitches of @var{music}, so, if necessary, put
3364 @code{\relative} inside @code{\autochange} like
3368 \autochange \relative @dots{} @dots{}
3373 The autochanger switches on basis of pitch (middle C is the turning
3374 point), and it looks ahead skipping over rests to switch in
3375 advance. Here is a practical example
3377 @lilypond[quote,verbatim,raggedright]
3379 \autochange \relative c'
3388 In this manual: @ref{Manual staff switches}.
3390 Program reference: @internalsref{AutoChangeMusic}.
3396 The staff switches may not end up in optimal places. For high
3397 quality output, staff switches should be specified manually.
3400 @code{\autochange} cannot be inside @code{\times}.
3402 Internally, the @code{\partcombine} interprets both arguments as
3403 @code{Voice}s named @code{one} and @code{two}, and then decides when
3404 the parts can be combined. Consequently, if the arguments switch to
3405 differently named @internalsref{Voice} contexts, the events in those
3409 @node Manual staff switches
3410 @subsection Manual staff switches
3412 @cindex manual staff switches
3413 @cindex staff switch, manual
3415 Voices can be switched between staves manually, using the command
3417 \change Staff = @var{staffname} @var{music}
3421 The string @var{staffname} is the name of the staff. It switches the
3422 current voice from its current staff to the Staff called
3423 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3424 @code{"down"}. The @context{Staff} referred to must already exist, so
3425 usually the setup for a score will start with a setup of the staves,
3429 \context Staff = up @{
3430 \skip 1 * 10 %@emph{ keep staff alive}
3432 \context Staff = down @{
3433 \skip 1 * 10 %@emph{idem}
3439 and the @context{Voice} is inserted afterwards
3442 \context Staff = down
3443 \new Voice @{ @dots{} \change Staff = up @dots{} @}
3451 Pianos have pedals that alter the way sound is produced. Generally, a
3452 piano has three pedals, sustain, una corda, and sostenuto.
3455 Piano pedal instruction can be expressed by attaching
3456 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3457 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3460 @lilypond[quote,raggedright,fragment,verbatim]
3461 c'4\sustainDown c'4\sustainUp
3464 What is printed can be modified by setting @code{pedal@var{X}Strings},
3465 where @var{X} is one of the pedal types: @code{Sustain},
3466 @code{Sostenuto} or @code{UnaCorda}. Refer to
3467 @internalsref{SustainPedal} in the program reference for more
3470 Pedals can also be indicated by a sequence of brackets, by setting the
3471 @code{pedalSustainStyle} property to bracket objects
3473 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3474 \set Staff.pedalSustainStyle = #'bracket
3476 b\sustainUp\sustainDown
3477 b g \sustainUp a \sustainDown \bar "|."
3480 A third style of pedal notation is a mixture of text and brackets,
3481 obtained by setting the @code{pedalSustainStyle} style property to
3484 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3485 \set Staff.pedalSustainStyle = #'mixed
3487 b\sustainUp\sustainDown
3488 b g \sustainUp a \sustainDown \bar "|."
3491 The default `*Ped.' style for sustain and damper pedals corresponds to
3492 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3495 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3496 c\sostenutoDown d e c, f g a\sostenutoUp
3499 For fine-tuning of the appearance of a pedal bracket, the properties
3500 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3501 @code{PianoPedalBracket} objects (see
3502 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3503 bracket may be extended to the right edge of the note head
3505 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
3506 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
3507 c\sostenutoDown d e c, f g a\sostenutoUp
3511 @subsection Arpeggio
3514 @cindex broken arpeggio
3515 @cindex @code{\arpeggio}
3517 You can specify an arpeggio sign on a chord by attaching an
3518 @code{\arpeggio} to a chord
3521 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3525 When an arpeggio crosses staves, you attach an arpeggio to the chords
3526 in both staves, and set
3527 @internalsref{PianoStaff}.@code{connectArpeggios}
3529 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3530 \context PianoStaff <<
3531 \set PianoStaff.connectArpeggios = ##t
3532 \new Staff { <c' e g c>\arpeggio }
3533 \new Staff { \clef bass <c,, e g>\arpeggio }
3537 The direction of the arpeggio is sometimes denoted by adding an
3538 arrowhead to the wiggly line
3540 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3549 A square bracket on the left indicates that the player should not
3550 arpeggiate the chord
3552 @c todo: ugh, lousy typography. Look for real example. --hwn
3554 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3561 @cindex @code{\arpeggio}
3563 @cindex @code{\arpeggioUp}
3565 @cindex @code{\arpeggioDown}
3566 @code{\arpeggioDown},
3567 @cindex @code{\arpeggioNeutral}
3568 @code{\arpeggioNeutral},
3569 @cindex @code{\arpeggioBracket}
3570 @code{\arpeggioBracket}.
3574 Program reference: @internalsref{ArpeggioEvent},
3575 @internalsref{Arpeggio}.
3579 It is not possible to mix connected arpeggios and unconnected
3580 arpeggios in one @internalsref{PianoStaff} at the same point in time.
3582 @node Staff switch lines
3583 @subsection Staff switch lines
3586 @cindex follow voice
3587 @cindex staff switching
3590 @cindex @code{followVoice}
3592 Whenever a voice switches to another staff a line connecting the notes
3593 can be printed automatically. This is switched on by setting
3594 @code{PianoStaff.followVoice} to true
3596 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
3597 \context PianoStaff <<
3598 \set PianoStaff.followVoice = ##t
3599 \context Staff \context Voice {
3604 \context Staff=two { \clef bass \skip 1*2 }
3610 Program reference: @internalsref{VoiceFollower}.
3614 @cindex @code{\showStaffSwitch}
3615 @code{\showStaffSwitch},
3616 @cindex @code{\hideStaffSwitch}
3617 @code{\hideStaffSwitch}.
3620 @node Cross staff stems
3621 @subsection Cross staff stems
3623 The chords which cross staves may be produced by increasing the length
3624 of the stem in the lower stave, so it reaches the stem in the upper
3625 stave, or vice versa.
3627 @lilypond[raggedright,verbatim,quote]
3628 stemExtend = \once \override Stem #'length = #22
3629 noFlag = \once \override Stem #'flag-style = #'no-flag
3630 \context PianoStaff <<
3632 \stemDown \stemExtend
3646 @section Vocal music
3648 There are three different issues when printing vocal music
3652 Song texts must be entered as texts, not notes. For example, the
3653 input @code{d} should be interpreted as a one letter syllable, not the note D.
3655 Song texts must be printed as text, not as notes.
3657 Song texts must be aligned with the notes of their melody
3660 The simplest solution to printing music uses the @code{\addlyrics}
3661 function to solve all these problems at once. However, these
3662 three functions can be controlled separately, which is necessary
3663 for complex vocal music.
3667 * Setting simple songs::
3669 * Hyphens and extenders::
3670 * The Lyrics context::
3671 * Flexibility in alignment::
3676 @node Setting simple songs
3677 @subsection Setting simple songs
3679 The easiest way to add lyrics to a melody is to append
3682 \addlyrics @{ @var{the lyrics} @}
3686 to a melody. Here is an example,
3688 @lilypond[raggedright,verbatim,fragment,quote]
3690 \relative { c2 e4 g2. }
3691 \addlyrics { play the game }
3694 More stanzas can be added by adding more
3695 @code{\addlyrics} sections
3697 @lilypond[raggedright,verbatim,fragment,quote]
3699 \relative { c2 e4 g2. }
3700 \addlyrics { play the game }
3701 \addlyrics { speel het spel }
3702 \addlyrics { joue le jeu }
3705 @c TODO - this isn't such a great place for this note, but I can't
3706 @c find a better place without rearranging a lot of lyric stuff.
3707 @c It's yet another thing to look at post-3.0.
3709 The @code{\addlyrics} command is actually just a convienient way
3710 to write a more complicated LilyPond structure that sets up the
3711 lyrics. You should use @code{\addlyrics} unless you need to
3712 fancy things, in which case you should investigate
3713 @code{\lyricsto} or @code{\lyricmode}.
3717 \addlyrics @{ LYRICS @}
3723 \context Voice = blah @{ music @}
3724 \lyricsto "blah" \lyricsmode \new lyrics @{ LYRICS @}
3728 @node Entering lyrics
3729 @subsection Entering lyrics
3733 @cindex @code{\lyricmode}
3736 Lyrics are entered in a special input mode. This mode is is introduced
3737 by the keyword @code{\lyricmode}, or by using @code{addlyrics} or
3738 @code{lyricsto}. In this mode you can enter lyrics,
3739 with punctuation and accents, and the input @code{d} is not parsed as
3740 a pitch, but rather as a one letter syllable. Syllables are entered
3741 like notes, but with pitches replaced by text. For example,
3743 \lyricmode @{ Twin-4 kle4 twin- kle litt- le star2 @}
3747 A word lyrics mode begins with an alphabetic character, and ends with
3748 any space or digit. The following characters can be any character
3749 that is not a digit or white space. One important consequence of this
3750 is that a word can end with @code{@}}. The following example is
3751 usually a mistake in the input file. The syllable includes a @code{@}}, so the
3752 opening brace is not balanced
3754 \lyricmode @{ twinkle@}
3757 @cindex @code{\property}, in @code{\lyricmode}
3759 Similarly, a period which follows an alphabetic sequence is included in
3760 the resulting string. As a consequence, spaces must be inserted around
3763 \override Score . LyricText #'font-shape = #'italic
3767 @cindex spaces, in lyrics
3768 @cindex quotes, in lyrics
3770 Any @code{_} character which appears in an unquoted word is converted
3771 to a space. This provides a mechanism for introducing spaces into words
3772 without using quotes. Quoted words can also be used in Lyrics mode to
3773 specify words that cannot be written with the above rules. The
3774 following example incorporates double quotes
3777 \lyricmode @{ He said: "\"Let" my peo ple "go\"" @}
3780 This example is slightly academic, since it gives better looking
3781 results to use single quotes, @code{``} and @code{''}
3783 \lyricmode @{ He said: ``Let my peo ple go'' @}
3787 The full definition of a word start in Lyrics mode is somewhat more
3790 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3791 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3792 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3793 any 8-bit character with ASCII code over 127, or a two-character
3794 combination of a backslash followed by one of @code{`}, @code{'},
3795 @code{"}, or @code{^}.
3801 Program reference: events @internalsref{LyricEvent}, and
3802 @internalsref{LyricText}.
3806 The definition of lyrics mode is too complex.
3808 @node Hyphens and extenders
3809 @subsection Hyphens and extenders
3813 Centered hyphens are entered as `@code{-}@code{-}' between syllables.
3814 The hyphen will have variable length depending on the space between
3815 the syllables and it will be centered between the syllables.
3820 When a lyric is sung over many notes (this is called a melisma), this is
3821 indicated with a horizontal line centered between a syllable and the
3822 next one. Such a line is called an extender line, and it is entered as
3828 Program reference: @internalsref{HyphenEvent},
3829 @internalsref{ExtenderEvent}, @internalsref{LyricHyphen}, and
3830 @internalsref{LyricExtender}
3832 Examples: @inputfileref{input/@/test,lyric@/-hyphen@/-retain@/.ly}.
3836 @node The Lyrics context
3837 @subsection The Lyrics context
3840 Lyrics are printed by interpreting them in a @internalsref{Lyrics} context
3842 \context Lyrics \lyricmode @dots{}
3845 @cindex automatic syllable durations
3846 @cindex @code{\lyricsto}
3847 @cindex lyrics and melodies
3849 This will place the lyrics according to the durations that were
3850 entered. The lyrics can also be aligned under a given melody
3851 automatically. In this case, it is no longer necessary to enter the
3852 correct duration for each syllable. This is achieved by combining the
3853 melody and the lyrics with the @code{\lyricsto} expression
3855 \lyricsto @var{name} \new Lyrics @dots{}
3858 This aligns the lyrics to the
3860 notes of the @internalsref{Voice} context called @var{name}, which has
3861 to exist. Therefore, normally the @code{Voice} is specified first, and
3862 then the lyrics are specified with @code{\lyricsto}. The command
3863 @code{\lyricsto} switches to @code{\lyricmode} mode automatically, so the
3864 @code{\lyricmode} keyword may be omitted.
3866 For different or more complex orderings, the best way is to setup the
3867 hierarchy of staves and lyrics first, e.g.
3869 \context ChoirStaff <<
3870 \context Lyrics = sopranoLyrics @{ s1 @}
3871 \context Voice = soprano @{ @emph{music} @}
3872 \context Lyrics = tenorLyrics @{ s1 @}
3873 \context Voice = tenor @{ @emph{music} @}
3876 and then combine the appropriate melodies and lyric lines
3878 \lyricsto "soprano" \context Lyrics = sopranoLyrics
3883 The final input would resemble
3886 <<\context ChoirStaff << @emph{setup the music} >>
3887 \lyricsto "soprano" @emph{etc}
3888 \lyricsto "alto" @emph{etc}
3894 The @code{\lyricsto} command detects melismata: it only puts one
3895 syllable under a tied or slurred group of notes. If you want to force
3896 an unslurred group of notes to be a melisma, insert @code{\melisma}
3897 after the first note of the group, and @code{\melismaEnd} after the
3900 @lilypond[quote,relative=2,raggedright,fragment,verbatim]
3902 \context Voice = "lala" {
3910 \lyricsto "lala" \new Lyrics {
3916 In addition, notes are considered a melisma if they are manually
3917 beamed, and automatic beaming (see @ref{Setting automatic beam
3918 behavior}) is switched off.
3924 The criteria for deciding melismata can
3925 be tuned with the property @code{melismaBusyProperties}. See
3926 @internalsref{Melisma_translator} in the program reference for more
3931 Lyrics can also be entered without @code{\lyricsto}. In this case the
3932 durations of each syllable must be entered explicitly, for example,
3939 The alignment to a melody can be specified with the
3940 @code{associatedVoice} property,
3943 \set associatedVoice = #"lala"
3947 The value of the property (here: @code{"lala"}) should be the name of
3948 a @internalsref{Voice} context. Without this setting, extender lines
3949 will not be formatted properly.
3951 Here is an example demonstrating manual lyric durations,
3953 @lilypond[relative=1,raggedright,verbatim,fragment,quote]
3954 << \context Voice = melody {
3958 \new Lyrics \lyricmode {
3959 \set associatedVoice = #"melody"
3965 @cindex choral score
3967 A complete example of a SATB score setup is in section
3968 @ref{Small ensembles}.
3973 @code{\melisma}, @code{\melismaEnd}
3974 @cindex @code{\melismaEnd}
3975 @cindex @code{\melisma}
3979 Program reference: @internalsref{LyricCombineMusic},
3980 @internalsref{Lyrics}, @internalsref{Melisma_translator}.
3982 Examples: @ref{Small ensembles},
3983 @inputfileref{input/@/regression,lyric@/-combine@/-new@/.ly},
3984 @c TODO: make separate section for melismata
3985 @inputfileref{input/@/test,lyrics@/-melisma@/-variants@/.ly}.
3986 @inputfileref{input/@/test,lyrics@/-melisma@/-faster@/.ly}.
3990 Melismata are not detected automatically, and extender lines must be
3994 @c TODO: document \new Staff << Voice \lyricsto >> bug
3996 @node Flexibility in alignment
3997 @subsection Flexibility in alignment
4000 Often, different stanzas of one song are put to one melody in slightly
4001 differing ways. Such variations can still be captured with
4004 One possibility is that the text has a melisma in one stanza, but
4005 multiple syllables in another one. One solution is to make the faster
4006 voice ignore the melisma. This is done by setting
4007 @code{ignoreMelismata} in the Lyrics context.
4009 There has one tricky aspect. The setting for @code{ignoreMelismata}
4010 must be set one syllable @emph{before} the non-melismatic syllable
4011 in the text, as shown here,
4013 @lilypond[verbatim,raggedright,quote]
4015 \relative \context Voice = "lahlah" {
4016 \set Staff.autoBeaming = ##f
4022 \new Lyrics \lyricsto "lahlah" {
4025 \new Lyrics \lyricsto "lahlah" {
4026 \set ignoreMelismata = ##t % applies to "fas"
4028 \unset ignoreMelismata
4035 The @code{ignoreMelismata} applies to the syllable ``fas'', so it
4036 should be entered before ``go''.
4038 The reverse is also possible: making a lyric line slower than the
4039 standard. This can be achieved by insert @code{\skip}s into the
4040 lyrics. For every @code{\skip}, the text will be delayed another note.
4043 @lilypond[verbatim,raggedright,quote]
4044 \relative { c c g' }
4051 More complex variations in text underlay are possible. It is possible
4052 to switch the melody for a line of lyrics during the text. This is
4053 done by setting the @code{associatedVoice} property. In the example
4055 @lilypond[raggedright,quote]
4058 \relative \context Voice = "lahlah" {
4059 \set Staff.autoBeaming = ##f
4062 \context Voice = alternative {
4065 % show associations clearly.
4066 \override NoteColumn #'force-hshift = #-3
4077 \new Lyrics \lyricsto "lahlah" {
4078 Ju -- ras -- sic Park
4080 \new Lyrics \lyricsto "lahlah" {
4081 % Tricky: need to set associatedVoice
4082 % one syllable too soon!
4083 \set associatedVoice = alternative % applies to "ran"
4087 \set associatedVoice = lahlah % applies to "rus"
4093 the text for the first stanza is set to a melody called ``lahlah'',
4096 \new Lyrics \lyricsto "lahlah" {
4097 Ju -- ras -- sic Park
4102 The second stanza initially is set to the @code{lahlah} context, but
4103 for the syllable ``ran'', it switches to a different melody.
4104 This is achieved with
4106 \set associatedVoice = alternative
4110 Here, @code{alternative} is the name of the @code{Voice} context
4111 containing the triplet.
4113 Again, the command must be one syllable too early, before ``Ty'' in
4117 \new Lyrics \lyricsto "lahlah" {
4118 \set associatedVoice = alternative % applies to "ran"
4122 \set associatedVoice = lahlah % applies to "rus"
4128 The underlay is switched back to the starting situation by assigning
4129 @code{lahlah} to @code{associatedVoice}.
4135 @subsection More stanzas
4137 @cindex phrasing, in lyrics
4140 @cindex stanza number
4141 @cindex singer's names
4142 @cindex name of singer
4144 Stanza numbers can be added by setting @code{stanza}, e.g.
4146 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
4148 \time 3/4 g2 e4 a2 f4 g2.
4151 Hi, my name is Bert.
4154 Oh, che -- ri, je t'aime
4158 These numbers are put just before the start of first syllable.
4160 Names of singers can also be added. They are printed at the start of
4161 the line, just like instrument names. They are created by setting
4162 @code{vocalName}. A short version may be entered as @code{vocNam}.
4165 @lilypond[fragment,raggedright,quote,verbatim,relative=2]
4167 \time 3/4 g2 e4 a2 f4 g2.
4169 \set vocalName = "Bert "
4170 Hi, my name is Bert.
4172 \set vocalName = "Ernie "
4173 Oh, che -- ri, je t'aime
4179 Program reference: Layout objects @internalsref{LyricText} and
4180 @internalsref{VocalName}. Music expressions
4181 @internalsref{LyricEvent}.
4189 The term @emph{ambitus} denotes a range of pitches for a given voice
4190 in a part of music. It also may denote the pitch range that a musical
4191 instrument is capable of playing. Ambits are printed on vocal parts,
4192 so performers can easily determine it meets their capabilities.
4194 It denoted at the beginning of a piece near the initial clef. The
4195 range is graphically specified by two note heads, that represent the
4196 minimum and maximum pitch. To print such ambits, add the
4197 @internalsref{Ambitus_engraver} to the @internalsref{Voice} context,
4204 \consists Ambitus_engraver
4209 This results in the following output
4211 @lilypond[quote,raggedright]
4215 \consists Ambitus_engraver
4219 \relative \new Staff {
4224 If you have multiple voices in a single staff, and you want a single
4225 ambitus per staff rather than per each voice, add the
4226 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
4227 rather than to the @internalsref{Voice} context. Here is an example,
4229 @lilypond[verbatim,raggedright,quote]
4232 \consists "Ambitus_engraver"
4234 \override Ambitus #'X-offset-callbacks
4235 = #(list (lambda (grob axis) -1.0))
4240 \consists "Ambitus_engraver"
4249 This example uses one advanced feature,
4252 \override Ambitus #'X-offset-callbacks
4253 = #(list (lambda (grob axis) -1.0))
4257 This code moves the ambitus to the left. The same effect could have
4258 been achieved with @code{extra-offset}, but then the formatting system
4259 would not reserve space for the moved object.
4263 Program reference: @internalsref{Ambitus},
4264 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
4265 @internalsref{AmbitusAccidental}.
4267 Examples: @inputfileref{input/@/regression,ambitus@/.ly}.
4271 There is no collision handling in the case of multiple per-voice
4274 @node Other instrument specific notation, Tablatures, Vocal music, Notation manual
4275 @section Other instrument specific notation
4277 This section includes extra information for writing string music, and may
4278 include extra information for other instruments in the future.
4284 @node Harmonic notes, , Other instrument specific notation, Other instrument specific notation
4285 @subsection Harmonic notes
4287 @cindex artificial harmonics
4290 Artificial harmonics are notated with a different notehead style. They
4292 marking the harmonic pitch with @code{\harmonic}.
4294 @lilypond[raggedright,verbatim,quote,fragment]
4299 @node Tablatures, Popular music, Other instrument specific notation, Notation manual
4303 @cindex guitar tablature
4305 Tablature notation is used for notating music for plucked string
4306 instruments. Pitches are not denoted with note heads, but by
4307 indicating on which string and fret a note must be played. LilyPond
4308 offers limited support for tablature.
4311 * Tablatures basic::
4312 * Non-guitar tablatures::
4315 @node Tablatures basic, Non-guitar tablatures, Tablatures, Tablatures
4316 @subsection Tablatures basic
4317 @cindex Tablatures basic
4319 The string number associated to a note is given as a backslash
4320 followed by a number, e.g. @code{c4\3} for a C quarter on the third
4321 string. By default, string 1 is the highest one, and the tuning
4322 defaults to the standard guitar tuning (with 6 strings). The notes
4323 are printed as tablature, by using @internalsref{TabStaff} and
4324 @internalsref{TabVoice} contexts
4326 @lilypond[quote,raggedright,fragment,verbatim]
4333 @cindex @code{minimumFret}
4336 When no string is specified, the first string that does not give a
4337 fret number less than @code{minimumFret} is selected. The default
4338 value for @code{minimumFret} is 0
4343 \set TabStaff.minimumFret = #8
4346 @lilypond[quote,raggedright]
4350 \set TabStaff.minimumFret = #8
4353 \context StaffGroup <<
4354 \context Staff { \clef "G_8" \frag }
4355 \context TabStaff { \frag }
4361 Program reference: @internalsref{TabStaff}, @internalsref{TabVoice}, and
4362 @internalsref{StringNumberEvent}.
4366 Chords are not handled in a special way, and hence the automatic
4367 string selector may easily select the same string to two notes in a
4371 @node Non-guitar tablatures, , Tablatures basic, Tablatures
4372 @subsection Non-guitar tablatures
4373 @cindex Non-guitar tablatures
4375 You can change the number of strings, by setting the number of lines
4376 in the @internalsref{TabStaff}.
4378 You can change the tuning of the strings. A string tuning is given as
4379 a Scheme list with one integer number for each string, the number
4380 being the pitch (measured in semitones relative to middle C) of an
4381 open string. The numbers specified for @code{stringTuning} are the
4382 numbers of semitones to subtract or add, starting the specified pitch
4383 by default middle C, in string order. In the next example,
4384 @code{stringTunings} is set for the pitches e, a, d, and g
4386 @lilypond[quote,raggedright,fragment,verbatim]
4387 \context TabStaff <<
4388 \set TabStaff.stringTunings = #'(-5 -10 -15 -20)
4391 a,4 c' a e' e c' a e'
4398 No guitar special effects have been implemented.
4402 Program reference: @internalsref{Tab_note_heads_engraver}.
4405 @node Popular music, Orchestral music, Tablatures, Notation manual
4406 @section Popular music
4408 This section discusses issues that arise when writing popular music.
4413 * Printing chord names::
4418 @node Chord names, Chords mode, Popular music, Popular music
4419 @subsection Chord names
4422 LilyPond has support for printing chord names. Chords may be entered
4423 in musical chord notation, i.e. @code{< .. >}, but they can also be
4424 entered by name. Internally, the chords are represented as a set of
4425 pitches, so they can be transposed
4428 @lilypond[quote,raggedright,verbatim,raggedright]
4429 twoWays = \transpose c c' {
4438 << \context ChordNames \twoWays
4439 \context Voice \twoWays >>
4442 This example also shows that the chord printing routines do not try to
4443 be intelligent. The last chord (@code{f bes d}) is not interpreted as
4446 @c this menu isn't needed.
4450 * Printing chord names::
4455 @subsection Chords mode
4458 In chord mode sets of pitches (chords) are entered with normal note
4459 names. A chord is entered by the root, which is entered like a
4462 @lilypond[quote,raggedright,fragment,verbatim]
4463 \chordmode { es4. d8 c2 }
4467 The mode is introduced by the keyword @code{\chordmode}.
4472 Other chords may be entered by suffixing a colon and introducing a
4473 modifier (which may include a number if desired)
4475 @lilypond[quote,fragment,verbatim]
4476 \chordmode { e1:m e1:7 e1:m7 }
4478 The first number following the root is taken to be the `type' of the
4479 chord, thirds are added to the root until it reaches the specified
4481 @lilypond[quote,fragment,verbatim]
4482 \chordmode { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
4485 @cindex root of chord
4486 @cindex additions, in chords
4487 @cindex removals, in chords
4489 More complex chords may also be constructed adding separate steps
4490 to a chord. Additions are added after the number following
4491 the colon, and are separated by dots
4493 @lilypond[quote,verbatim,fragment]
4494 \chordmode { c:5.6 c:3.7.8 c:3.6.13 }
4496 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
4498 @lilypond[quote,verbatim,fragment]
4499 \chordmode { c:7+ c:5+.3- c:3-.5-.7- }
4501 Removals are specified similarly, and are introduced by a caret. They
4502 must come after the additions
4503 @lilypond[quote,verbatim,fragment]
4504 \chordmode { c^3 c:7^5 c:9^3.5 }
4507 Modifiers can be used to change pitches. The following modifiers are
4511 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
4513 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
4516 is the augmented chord. This modifier raises the 5th step.
4518 is the major 7th chord. This modifier raises the 7th step if present.
4520 is the suspended 4th or 2nd. This modifier removes the 3rd
4521 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
4524 Modifiers can be mixed with additions
4525 @lilypond[quote,verbatim,fragment]
4526 \chordmode { c:sus4 c:7sus4 c:dim7 c:m6 }
4529 @cindex modifiers, in chords.
4536 Since an unaltered 11 does not sound good when combined with an
4537 unaltered 3, the 11 is removed in this case (unless it is added
4540 @lilypond[quote,raggedright,fragment,verbatim]
4541 \chordmode { c:13 c:13.11 c:m13 }
4546 An inversion (putting one pitch of the chord on the bottom), as well
4547 as bass notes, can be specified by appending
4548 @code{/}@var{pitch} to the chord
4549 @lilypond[quote,raggedright,fragment,verbatim]
4550 \chordmode { c1 c/g c/f }
4554 A bass note can be added instead of transposed out of the chord,
4555 by using @code{/+}@var{pitch}.
4557 @lilypond[quote,raggedright,fragment,verbatim]
4558 \chordmode { c1 c/+g c/+f }
4561 Chords is a mode similar to @code{\lyricmode} etc. Most
4562 of the commands continue to work, for example, @code{r} and
4563 @code{\skip} can be used to insert rests and spaces, and property
4564 commands may be used to change various settings.
4570 Each step can only be present in a chord once. The following
4571 simply produces the augmented chord, since @code{5+} is interpreted
4574 @lilypond[quote,raggedright,verbatim,fragment]
4575 \chordmode { c:5.5-.5+ }
4579 @node Printing chord names
4580 @subsection Printing chord names
4582 @cindex printing chord names
4586 For displaying printed chord names, use the @internalsref{ChordNames} context.
4587 The chords may be entered either using the notation
4588 described above, or directly using @code{<} and @code{>}
4590 @lilypond[quote,verbatim,raggedright]
4592 \chordmode {a1 b c} <d' f' a'> <e' g' b'>
4595 \context ChordNames \harmonies
4596 \context Staff \harmonies
4600 You can make the chord changes stand out by setting
4601 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
4602 display chord names when there is a change in the chords scheme and at
4603 the start of a new line
4605 @c originally this had linewidth=9\cm, but I though that raggedright would be better
4606 @lilypond[quote,verbatim,raggedright]
4607 harmonies = \chordmode {
4608 c1:m c:m \break c:m c:m d
4611 \context ChordNames {
4612 \set chordChanges = ##t
4614 \context Staff \transpose c c' \harmonies
4618 The previous examples all show chords over a staff. This is not
4619 necessary. Chords may also be printed separately. It may be necessary
4620 to add @internalsref{Volta_engraver} and @internalsref{Bar_engraver}
4621 for showing repeats.
4623 @lilypond[raggedright,verbatim]
4624 \new ChordNames \with {
4625 \override BarLine #'bar-size = #4
4626 voltaOnThisStaff = ##t
4627 \consists Bar_engraver
4628 \consists "Volta_engraver"
4630 \repeat volta 2 \chordmode {
4639 The default chord name layout is a system for Jazz music, proposed by
4640 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
4641 following properties
4644 @cindex @code{chordNameExceptions}
4645 @item chordNameExceptions
4646 This is a list that contains the chords that have special formatting.
4648 The exceptions list should be encoded as encoded as
4650 @{ <c f g bes>1 \markup @{ \\super \"7\" \"wahh\" @} @}
4653 To get this information into @code{chordNameExceptions} takes a little
4654 manoeuvring. The following code transforms @code{chExceptionMusic}
4655 (which is a sequential music) into a list of exceptions.
4657 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4662 (sequential-music-to-chord-exceptions chExceptionMusic #t)
4665 adds the new exceptions to the default ones, which are defined in
4666 @file{ly/@/chord@/-modifier@/-init@/.ly}.
4668 For an example of tuning this property, see also
4669 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly}.
4670 @cindex exceptions, chord names.
4673 @cindex @code{majorSevenSymbol}
4674 @item majorSevenSymbol
4675 This property contains the markup object used for the 7th step, when
4676 it is major. Predefined options are @code{whiteTriangleMarkup} and
4677 @code{blackTriangleMarkup}. See
4678 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
4680 @cindex @code{chordNameSeparator}
4681 @item chordNameSeparator
4682 Different parts of a chord name are normally separated by a
4683 slash. By setting @code{chordNameSeparator}, you can specify other
4685 @lilypond[quote,raggedright,fragment,verbatim]
4686 \context ChordNames \chordmode {
4688 \set chordNameSeparator
4689 = \markup { \typewriter "|" }
4694 @cindex @code{chordRootNamer}
4695 @item chordRootNamer
4696 The root of a chord is usually printed as a letter with an optional
4697 alteration. The transformation from pitch to letter is done by this
4698 function. Special note names (for example, the German ``H'' for a
4699 B-chord) can be produced by storing a new function in this property.
4701 @cindex @code{chordNoteNamer}
4702 @item chordNoteNamer
4703 The default is to print single pitch, e.g. the bass note, using the
4704 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4705 to a specialized function to change this behavior. For example, the
4706 base can be printed in lower case.
4710 The predefined variables @code{\germanChords},
4711 @code{\semiGermanChords} set these variables. The effect is
4714 @lilypondfile[raggedright]{chord-names-german.ly}
4716 There are also two other chord name schemes implemented: an alternate
4717 Jazz chord notation, and a systematic scheme called Banter chords. The
4718 alternate jazz notation is also shown on the chart in @ref{Chord name
4719 chart}. Turning on these styles is described in the input file
4720 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly}.
4724 @cindex chords, jazz
4729 @cindex @code{\germanChords}
4730 @code{\germanChords},
4731 @cindex @code{\semiGermanChords}
4732 @code{\semiGermanChords}.
4739 Examples: @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly},
4740 @inputfileref{input/@/regression,chord@/-name@/-exceptions@/.ly},
4741 @inputfileref{input/@/test,chord@/-names@/-jazz@/.ly},
4742 @inputfileref{input/@/test,chords@/-without@/-melody@/.ly}.
4745 Init files: @file{scm/@/chords@/-ignatzek@/.scm}, and
4746 @file{scm/@/chord@/-entry@/.scm}.
4751 Chord names are determined solely from the list of pitches. Chord
4752 inversions are not identified, and neither are added bass notes. This
4753 may result in strange chord names when chords are entered with the
4754 @code{< .. >} syntax.
4758 @subsection Fret diagrams
4759 @cindex fret diagrams
4760 @cindex chord diagrams
4762 Fret diagrams can be added to music as a markup to the desired note. The
4763 markup contains information about the desired fret diagram, as shown in the
4766 @lilypond[verbatim, raggedright, quote]
4768 d' ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
4770 fis' ^\markup \override #'(size . 0.75) {
4771 \override #'(finger-code . below-string) {
4772 \fret-diagram-verbose #'((place-fret 6 2 1) (barre 6 1 2)
4773 (place-fret 5 4 3) (place-fret 4 4 4)
4774 (place-fret 3 3 2) (place-fret 2 2 1)
4779 c' ^\markup \override #'(dot-radius . 0.35) {
4780 \override #'(finger-code . in-dot) {
4781 \override #'(dot-color . white) {
4782 \fret-diagram-terse #"x;3-1-(;5-2;5-3;5-4;3-1-);"
4791 There are three different fret-diagram markup interfaces: standard, terse,
4792 and verbose. The three interfaces produce equivalent markups, but have
4793 varying amounts of information in the markup string. Details about the
4794 markup interfaces are found at @ref{Overview of text markup commands}.
4796 You can set a number of graphical properties according to your preference.
4797 Details about the property interface to fret diagrams are found at
4798 @internalsref{fret-diagram-interface}.
4803 Examples: @inputfileref{input/@/test,fret@/-diagram@/.ly}
4807 @subsection Improvisation
4809 Improvisation is sometimes denoted with slashed note heads. Such note
4810 heads can be created by adding a @internalsref{Pitch_squash_engraver}
4811 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
4815 \set squashedPosition = #0
4816 \override NoteHead #'style = #'slash
4820 switches on the slashes.
4822 There are shortcuts @code{\improvisationOn} (and an accompanying
4823 @code{\improvisationOff}) for this command sequence. They are used in
4824 the following example
4826 @lilypond[verbatim,raggedright,quote]
4828 \consists Pitch_squash_engraver
4830 e8 e g a a16(bes)(a8) g \improvisationOn
4833 ~fis2 \improvisationOff a16(bes) a8 g e
4839 @node Orchestral music
4840 @section Orchestral music
4842 @cindex Writing parts
4844 Orchestral music involves some special notation, both in the full
4845 score and the individual parts. This section explains how to tackle
4846 some common problems in orchestral music.
4851 * System start delimiters::
4852 * Aligning to cadenzas::
4855 * Instrument names::
4857 * Instrument transpositions::
4858 * Multi measure rests::
4859 * Automatic part combining::
4861 * Different editions from one source::
4862 * Quoting other voices::
4863 * Formatting cue notes::
4866 @node System start delimiters
4867 @subsection System start delimiters
4869 Polyphonic scores consist of many staves. These staves can be
4870 constructed in three different ways
4872 @item The group is started with a brace at the left, and bar lines are
4873 connected. This is done with the @internalsref{GrandStaff} context.
4875 @lilypond[verbatim,raggedright,quote]
4884 @item The group is started with a bracket, and bar lines are connected. This is done with the
4885 @internalsref{StaffGroup} context
4887 @lilypond[verbatim,raggedright,quote]
4896 @item The group is started with a vertical line. Bar lines are not
4897 connected. This is the default for the score.
4899 @lilypond[verbatim,raggedright,quote]
4908 @cindex Staff, multiple
4909 @cindex bracket, vertical
4910 @cindex brace, vertical
4917 The bar lines at the start of each system are
4918 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
4919 @internalsref{SystemStartBracket}. Only one of these types is created
4920 in every context, and that type is determined by the property
4921 @code{systemStartDelimiter}.
4923 @node Aligning to cadenzas
4924 @subsection Aligning to cadenzas
4927 In an orchestral context, cadenzas present a special problem:
4928 when constructing a score that includes a cadenza, all other
4929 instruments should skip just as many notes as the length of the
4930 cadenza, otherwise they will start too soon or too late.
4932 A solution to this problem are the functions @code{mmrest-of-length}
4933 and @code{skip-of-length}. These Scheme functions take a piece music
4934 as argument, and generate a @code{\skip} or multi rest, exactly as
4935 long as the piece. The use of @code{mmrest-of-length} is demonstrated
4936 in the following example.
4938 @lilypond[verbatim,raggedright,quote]
4939 cadenza = \relative c' {
4940 c4 d8 << { e f g } \\ { d4. } >>
4945 \new Staff { \cadenza c'4 }
4947 #(ly:export (mmrest-of-length cadenza))
4957 @node Rehearsal marks
4958 @subsection Rehearsal marks
4959 @cindex Rehearsal marks
4961 @cindex @code{\mark}
4963 To print a rehearsal mark, use the @code{\mark} command
4965 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
4974 (The letter I is skipped in accordance with engraving traditions.)
4975 @c umm, is the manual the right place for feature requests? :) -gp
4976 @c FIXME - should make that tunable.
4978 The mark is incremented automatically if you use @code{\mark
4979 \default}, but you can also use an integer argument to set the mark
4980 manually. The value to use is stored in the property
4981 @code{rehearsalMark}.
4983 The style is defined by the property @code{markFormatter}. It is a
4984 function taking the current mark (an integer) and the current context
4985 as argument. It should return a markup object. In the following
4986 example, @code{markFormatter} is set to a canned procedure. After a
4987 few measures, it is set to function that produces a boxed number.
4990 @lilypond[quote,raggedright,verbatim,relative=2]
4992 \set Score.markFormatter = #format-mark-numbers
4995 \set Score.markFormatter
4996 = #(lambda (mark context)
4998 (make-box-markup (number->string mark))))
5004 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
5005 of @code{format-mark-numbers} (the default format) and
5006 @code{format-mark-letters}. These can be used as inspiration for other
5007 formatting functions.
5010 @cindex coda on bar line
5011 @cindex segno on bar line
5012 @cindex fermata on bar line
5013 @cindex bar lines, symbols on
5015 The @code{\mark} command can also be used to put signs like coda,
5016 segno and fermatas on a bar line. Use @code{\markup} to
5017 to access the appropriate symbol
5020 @lilypond[quote,raggedright,verbatim,relative=2]
5022 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
5027 In the case of a line break, marks must also be printed at the end of
5028 the line, and not at the beginning. Use the following to force that
5031 \override Score.RehearsalMark
5032 #'break-visibility = #begin-of-line-invisible
5038 @cindex bar lines, putting symbols on
5042 Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.
5044 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
5045 definition of @code{format-mark-numbers} and
5046 @code{format-mark-letters}. They can be used as inspiration for other
5047 formatting functions.
5049 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
5051 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
5055 @subsection Bar numbers
5059 @cindex measure numbers
5060 @cindex @code{currentBarNumber}
5062 Bar numbers are printed by default at the start of the line. The
5063 number itself is stored in the @code{currentBarNumber} property, which
5064 is normally updated automatically for every measure.
5066 Bar numbers can be typeset at regular intervals instead of at the
5067 beginning of each line. This is illustrated in the following example,
5068 whose source is available as
5069 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
5071 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
5073 Bar numbers can be manually changed by setting the
5074 @code{Staff.currentBarNumber} property
5077 @lilypond[raggedright,quote]
5079 \repeat unfold 4 {c4 c c c} \break
5080 \set Score.currentBarNumber = #50
5081 \repeat unfold 4 {c4 c c c}
5087 Program reference: @internalsref{BarNumber}.
5090 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
5091 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
5095 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
5096 there is one at the top. To solve this, the
5097 @code{padding} property of @internalsref{BarNumber} can be
5098 used to position the number correctly.
5100 @node Instrument names
5101 @subsection Instrument names
5103 In an orchestral score, instrument names are printed left side of the
5106 This can be achieved by setting @internalsref{Staff}.@code{instrument}
5107 and @internalsref{Staff}.@code{instr}. This will print a string before
5108 the start of the staff. For the first start, @code{instrument} is
5109 used, for the next ones @code{instr} is used.
5111 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
5112 \set Staff.instrument = "Ploink "
5113 \set Staff.instr = "Plk "
5119 You can also use markup texts to construct more complicated instrument
5122 @lilypond[quote,fragment,verbatim,raggedright]
5123 \set Staff.instrument = \markup {
5124 \column < "Clarinetti" { "in B"
5125 \smaller \flat } > }
5129 For longer instrument names, it may be useful to increase the
5130 @code{indent} setting in the @code{\layout} block.
5134 Program reference: @internalsref{InstrumentName}.
5138 When you put a name on a grand staff or piano staff the width of the
5139 brace is not taken into account. You must add extra spaces to the end of
5140 the name to avoid a collision.
5143 @subsection Transpose
5145 @cindex transposition of pitches
5146 @cindex @code{\transpose}
5148 A music expression can be transposed with @code{\transpose}. The
5151 \transpose @var{from} @var{to} @var{musicexpr}
5154 This means that @var{musicexpr} is transposed by the interval between
5155 the pitches @var{from} and @var{to}: any note with pitch @code{from}
5156 is changed to @code{to}.
5159 For example, consider a piece written in the key of D major. If
5160 this piece is a little too low for its performer, it can be
5161 transposed up to E major with
5163 \transpose d e @dots{}
5166 Consider a part written for violin (a C instrument). If
5167 this part is to be played on the A clarinet, the following
5168 transposition will produce the appropriate part
5171 \transpose a c @dots{}
5174 @code{\transpose} distinguishes between enharmonic pitches: both
5175 @code{\transpose c cis} or @code{\transpose c des} will transpose up
5176 half a tone. The first version will print sharps and the second
5177 version will print flats
5179 @lilypond[quote,raggedright,verbatim]
5180 mus = { \key d \major cis d fis g }
5184 \transpose c g' \mus
5185 \transpose c f' \mus
5192 Program reference: @internalsref{TransposedMusic}, and
5193 @internalsref{UntransposableMusic}.
5197 If you want to use both @code{\transpose} and @code{\relative},
5198 you must put @code{\transpose} outside of @code{\relative}, since
5199 @code{\relative} will have no effect music that appears inside a
5202 @node Instrument transpositions
5203 @subsection Instrument transpositions
5205 The key of a transposing instrument can also be specified. This
5206 applies to many wind instruments, for example, clarinets (B-flat, A and
5207 E-flat), horn (F) and trumpet (B-flat, C, D and E-flat).
5209 The transposition is entered after the keyword @code{\transposition}
5212 \transposition bes %% B-flat clarinet
5216 This command sets the property @code{instrumentTransposition}. The value of
5217 this property is used for MIDI output and quotations. It does not
5218 affect how notes are printed in the current staff.
5220 The pitch to use for @code{\transposition} should correspond to the
5221 transposition of the notes. For example, when entering a score in
5222 concert pitch, typically all voices are entered in C, so
5223 they should be entered as
5236 The command @code{\transposition} should be used when the music is
5237 entered from a (transposed) orchestral part. For example, in
5238 classical horn parts, the tuning of the instrument is often changed
5239 during a piece. When copying the notes from the part, use
5240 @code{\transposition}, e.g.
5253 @cindex transposition, MIDI
5254 @cindex transposition, instrument
5257 @node Multi measure rests
5258 @subsection Multi measure rests
5259 @cindex multi measure rests
5260 @cindex Rests, multi measure
5264 Multi measure rests are entered using `@code{R}'. It is specifically
5265 meant for full bar rests and for entering parts: the rest can expand
5266 to fill a score with rests, or it can be printed as a single
5267 multimeasure rest. This expansion is controlled by the property
5268 @code{Score.skipBars}. If this is set to true, empty measures will not
5269 be expanded, and the appropriate number is added automatically
5271 @lilypond[quote,raggedright,fragment,verbatim]
5272 \time 4/4 r1 | R1 | R1*2
5273 \set Score.skipBars = ##t R1*17 R1*4
5276 The @code{1} in @code{R1} is similar to the duration notation used for
5277 notes. Hence, for time signatures other than 4/4, you must enter other
5278 durations. This can be done with augmentation dots or fractions
5280 @lilypond[quote,raggedright,fragment,verbatim]
5281 \set Score.skipBars = ##t
5290 An @code{R} spanning a single measure is printed as either a whole rest
5291 or a breve, centered in the measure regardless of the time signature.
5293 If there are only a few measures of rest, LilyPond prints ``church rests''
5294 (a series of rectangles) in the staff. To replace that with a simple
5295 rest, use @code{MultiMeasureRest.expand-limit}.
5297 @lilypond[quote,raggedright,fragment,verbatim]
5298 \set Score.skipBars = ##t
5300 \override MultiMeasureRest #'expand-limit = 1
5305 @cindex text on multi-measure rest
5306 @cindex script on multi-measure rest
5307 @cindex fermata on multi-measure rest
5309 Texts can be added to multi-measure rests by using the
5310 @var{note}-@code{markup} syntax (see @ref{Text markup}).
5311 A variable (@code{\fermataMarkup}) is provided for
5315 @lilypond[quote,raggedright,verbatim,fragment]
5316 \set Score.skipBars = ##t
5318 R2.*10^\markup { "Ad lib" }
5322 If you want to have a text on the left end of a multi-measure rest,
5323 attach the text to a zero-length skip note, i.e.
5331 @cindex whole rests for a full measure
5335 Program reference: @internalsref{MultiMeasureRestEvent},
5336 @internalsref{MultiMeasureTextEvent},
5337 @internalsref{MultiMeasureRestMusicGroup}, and
5338 @internalsref{MultiMeasureRest}.
5340 The layout object @internalsref{MultiMeasureRestNumber} is for the
5341 default number, and @internalsref{MultiMeasureRestText} for user
5346 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
5347 over multi-measure rests.
5349 @cindex condensing rests
5351 There is no way to automatically condense multiple rests into a single
5352 multimeasure rest. Multi measure rests do not take part in rest
5355 Be careful when entering multimeasure rests followed by whole
5356 notes. The following will enter two notes lasting four measures each
5360 When @code{skipBars} is set, the result will look OK, but the bar
5361 numbering will be off.
5363 @node Automatic part combining
5364 @subsection Automatic part combining
5365 @cindex automatic part combining
5366 @cindex part combiner
5369 Automatic part combining is used to merge two parts of music onto a
5370 staff. It is aimed at typesetting orchestral scores. When the two
5371 parts are identical for a period of time, only one is shown. In
5372 places where the two parts differ, they are typeset as separate
5373 voices, and stem directions are set automatically. Also, solo and
5374 @emph{a due} parts are identified and can be marked.
5376 The syntax for part combining is
5379 \partcombine @var{musicexpr1} @var{musicexpr2}
5384 The following example demonstrates the basic functionality of the part
5385 combiner: putting parts on one staff, and setting stem directions and
5388 @lilypond[quote,verbatim,raggedright,fragment]
5389 \new Staff \partcombine
5390 \relative g' { g g a( b) c c r r }
5391 \relative g' { g g r4 r e e g g }
5394 The first @code{g} appears only once, although it was
5395 specified twice (once in each part). Stem, slur and tie directions are
5396 set automatically, depending whether there is a solo or unisono. The
5397 first part (with context called @code{one}) always gets up stems, and
5398 `solo', while the second (called @code{two}) always gets down stems and
5401 If you just want the merging parts, and not the textual markings, you
5402 may set the property @code{printPartCombineTexts} to false
5404 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
5406 \set Staff.printPartCombineTexts = ##f
5408 \relative g' { g a( b) r }
5409 \relative g' { g r4 r f }
5414 Both arguments to @code{\partcombine} will be interpreted as
5415 @internalsref{Voice} contexts. If using relative octaves,
5416 @code{\relative} should be specified for both music expressions, i.e.
5420 \relative @dots{} @var{musicexpr1}
5421 \relative @dots{} @var{musicexpr2}
5425 A @code{\relative} section that is outside of @code{\partcombine} has
5426 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
5430 Program reference: @internalsref{PartCombineMusic},
5431 @internalsref{SoloOneEvent}, and
5432 @internalsref{SoloTwoEvent}, and
5433 @internalsref{UnisonoEvent}.
5437 When @code{printPartCombineTexts} is set, when the two voices play the
5438 same notes on and off, the part combiner may typeset @code{a2} more
5439 than once in a measure.
5441 @code{\partcombine} cannot be inside @code{\times}.
5443 @code{\partcombine} cannot be inside @code{\relative}.
5445 Internally, the @code{\partcombine} interprets both arguments as
5446 @code{Voice}s named @code{one} and @code{two}, and then decides when
5447 the parts can be combined. Consequently, if the arguments switch to
5448 differently named @internalsref{Voice} contexts, the events in those
5452 @subsection Hiding staves
5454 @cindex Frenched scores
5455 @cindex Hiding staves
5457 In orchestral scores, staff lines that only have rests are usually
5458 removed. This saves some space. This style is called `French Score'.
5459 For @internalsref{Lyrics},
5460 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
5461 switched on by default. When these line of these contexts turn out
5462 empty after the line-breaking process, they are removed.
5464 For normal staves, a specialized @internalsref{Staff} context is
5465 available, which does the same: staves containing nothing (or only
5466 multi measure rests) are removed. The context definition is stored in
5467 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
5468 in this example disappears in the second line
5471 @lilypond[quote,raggedright,verbatim]
5473 \context { \RemoveEmptyStaffContext }
5478 \new Staff { e4 f g a \break c1 }
5479 \new Staff { c4 d e f \break R1 }
5484 The first system shows all staves in full. If empty staves should be
5485 removed from the first system too, set @code{remove-first} to false in
5486 @internalsref{RemoveEmptyVerticalGroup}.
5488 Another application is making ossia sections, i.e. alternative
5489 melodies on a separate piece of staff, with help of a Frenched
5490 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
5493 @node Different editions from one source
5494 @subsection Different editions from one source
5496 The @code{\tag} command marks music expressions with a name. These
5497 tagged expressions can be filtered out later. With this mechanism it
5498 is possible to make different versions of the same music source.
5500 In the following example, we see two versions of a piece of music, one
5501 for the full score, and one with cue notes for the instrumental part
5517 The same can be applied to articulations, texts, etc.: they are
5520 -\tag #@var{your-tag}
5522 to an articulation, for example,
5527 This defines a note with a conditional fingering indication.
5529 By applying the @code{\keepWithTag} and @code{\removeWithTag}
5530 commands, tagged expressions can be filtered. For example,
5534 \keepWithTag #'score @var{the music}
5535 \keepWithTag #'part @var{the music}
5540 @lilypondfile[raggedright,quote]{tag-filter.ly}
5543 The argument of the @code{\tag} command should be a symbol, or a list
5544 of symbols, for example,
5546 \tag #'(original-part transposed-part) @dots{}
5553 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
5557 Multiple rests are not merged if you create the score with both tagged
5560 @node Quoting other voices
5561 @subsection Quoting other voices
5563 With quotations, fragments of other parts can be inserted into a part
5564 directly. Before a part can be quoted, it must be marked especially as
5565 quotable. This is done with code @code{\addquote} command.
5568 \addquote @var{name} @var{music}
5573 Here, @var{name} is an identifying string. The @var{music} is any kind
5574 of music. This is an example of @code{\addquote}
5577 \addquote clarinet \relative c' {
5582 This command must be entered at toplevel, i.e. outside any music
5585 After calling @code{\addquote}, the quotation may then be done with
5589 \quote @var{name} @var{duration}
5592 During a part, a piece of music can be quoted with the @code{\quote}
5599 This would cite three quarter notes (@code{2.} is a dotted half note)
5600 of the previously added @code{clarinet} voice.
5602 More precisely, it takes the current time-step of the part being
5603 printed, and extracts the notes at the corresponding point of the
5604 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
5605 should be the entire part of the voice to be quoted, including any
5606 rests at the beginning.
5608 Quotations take into account the transposition of both source and target
5609 instruments, if they are specified using the @code{\transposition} command.
5611 @lilypond[quote,raggedright,verbatim]
5612 \addquote clarinet \relative c' {
5618 e'8 f'8 \quote clarinet 2
5622 The type of events that are present in cue notes can be trimmed with
5623 the @code{quotedEventTypes} property. The default value is
5624 @code{(note-event rest-event)}, which means that only notes of and
5625 rests of the cued voice end up in the @code{\quote}.
5629 \set Staff.quotedEventTypes =
5630 #'(note-event articulation-event dynamic-event)
5634 will quote notes (but no rests), together with scripts and dynamics.
5638 Only the contents of the first @internalsref{Voice} occurring in an
5639 @code{\addquote} command will be considered for quotation, so
5640 @var{music} can not contain @code{\new} and @code{\context Voice}
5641 statements that would switch to a different Voice.
5643 Quoting grace notes is broken and can even cause LilyPond to crash.
5647 In this manual: @ref{Instrument transpositions}.
5649 Examples: @inputfileref{input/@/regression,quote@/.ly}
5650 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
5652 Program reference: @internalsref{QuoteMusic}.
5654 @node Formatting cue notes
5655 @subsection Formatting cue notes
5658 The previous section deals with inserting notes from another
5659 voice. When making a part, these notes need to be specially formatted.
5660 Here is an example of formatted cue notes
5662 @c TODO: This should be done with \quote stuff, not manually.
5664 @lilypond[raggedright,verbatim]
5667 \override Stem #'length = #5.5
5668 \override Beam #'thickness = #0.384
5669 \override Beam #'space-function =
5670 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
5674 \set Staff.instrument = #"Horn in F"
5675 \set Score.skipBars = ##t
5678 \once \override Staff.MultiMeasureRest #'staff-position = #-6
5685 r8^"Bsn." c'8 f'8[ f'8]
5695 There are a couple of points to take care of:
5699 The multi rest of the original part should be moved up or down during
5702 Cue notes have smaller font sizes.
5704 When cued notes have a clef change relative to the original part, the
5705 clef should be restored after the cue section. This minimizes
5706 confusion for the reader,
5708 When the original part starts, this should be marked with the name of
5709 the instrument, in this case ``Horn.'' Of course, the cue part is
5710 marked with the instrument playing the cue.
5713 @c really? Are you sure about that last point? I'll check after 3.0 -gp
5716 @node Ancient notation
5717 @section Ancient notation
5719 @cindex Vaticana, Editio
5720 @cindex Medicaea, Editio
5725 Support for ancient notation includes features for mensural notation
5726 and Gregorian Chant notation. There is also limited support for
5727 figured bass notation.
5729 Many graphical objects provide a @code{style} property, see
5732 @ref{Ancient note heads},
5734 @ref{Ancient accidentals},
5736 @ref{Ancient rests},
5738 @ref{Ancient clefs},
5740 @ref{Ancient flags},
5742 @ref{Ancient time signatures}.
5745 By manipulating such a grob property, the typographical appearance of
5746 the affected graphical objects can be accommodated for a specific
5747 notation flavor without need for introducing any new notational
5750 In addition to the standard articulation signs described in section
5751 @ref{Articulations}, specific articulation signs for ancient notation
5756 @ref{Ancient articulations}
5759 Other aspects of ancient notation can not that easily be expressed as
5760 in terms of just changing a style property of a graphical object or
5761 adding articulation signs. Some notational concepts are introduced
5762 specifically for ancient notation,
5773 If this all is too much of documentation for you, and you just want to
5774 dive into typesetting without worrying too much about the details on
5775 how to customize a context, you may have a look at the predefined
5776 contexts. Use them to set up predefined style-specific voice and
5777 staff contexts, and directly go ahead with the note entry,
5781 @ref{Gregorian Chant contexts},
5783 @ref{Mensural contexts}.
5786 There is limited support for figured bass notation which came
5787 up during the baroque period.
5794 Here are all suptopics at a glance:
5797 * Ancient note heads::
5798 * Ancient accidentals::
5802 * Ancient time signatures::
5803 * Ancient articulations::
5807 * Gregorian Chant contexts::
5808 * Mensural contexts::
5813 @node Ancient note heads
5814 @subsection Ancient note heads
5819 For ancient notation, a note head style other than the @code{default}
5820 style may be chosen. This is accomplished by setting the @code{style}
5821 property of the NoteHead object to @code{baroque}, @code{neomensural}
5822 or @code{mensural}. The @code{baroque} style differs from the
5823 @code{default} style only in using a square shape for @code{\breve}
5824 note heads. The @code{neomensural} style differs from the
5825 @code{baroque} style in that it uses rhomboidal heads for whole notes
5826 and all smaller durations. Stems are centered on the note heads.
5827 This style is in particular useful when transcribing mensural music,
5828 e.g. for the incipit. The @code{mensural} style finally produces note
5829 heads that mimic the look of note heads in historic printings of the
5832 The following example demonstrates the @code{neomensural} style
5834 @lilypond[quote,fragment,raggedright,verbatim]
5835 \set Score.skipBars = ##t
5836 \override NoteHead #'style = #'neomensural
5837 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
5840 When typesetting a piece in Gregorian Chant notation, the
5841 @internalsref{Gregorian_ligature_engraver} will automatically select
5842 the proper note heads, such there is no need to explicitly set the
5843 note head style. Still, the note head style can be set e.g.@: to
5844 @code{vaticana_punctum} to produce punctum neumes. Similarly, a
5845 @internalsref{Mensural_ligature_engraver} is used to automatically
5846 assemble mensural ligatures. See @ref{Ligatures} for how ligature
5851 Examples: @inputfileref{input/@/regression,note@/-head@/-style@/.ly} gives an
5852 overview over all available note head styles.
5855 @node Ancient accidentals
5856 @subsection Ancient accidentals
5861 Use the @code{style} property of grob @internalsref{Accidental} to
5862 select ancient accidentals. Supported styles are
5863 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
5865 @lilypond[quote,raggedright,staffsize=26]
5872 { " " \musicglyph #"accidentals-vaticana-1"
5873 " " \musicglyph #"accidentals-vaticana0" }
5877 { " " \musicglyph #"accidentals-medicaea-1" }
5881 { " " \musicglyph #"accidentals-hufnagel-1" }
5885 { " " \musicglyph #"accidentals-mensural-1"
5886 " " \musicglyph #"accidentals-mensural1" }
5892 \context { \Score \remove "Bar_number_engraver" }
5894 \remove "Clef_engraver"
5895 \remove "Key_engraver"
5896 \remove "Time_signature_engraver"
5897 \remove "Staff_symbol_engraver"
5898 minimumVerticalExtent = ##f
5904 As shown, not all accidentals are supported by each style. When
5905 trying to access an unsupported accidental, LilyPond will switch to a
5906 different style, as demonstrated in
5907 @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
5909 Similarly to local accidentals, the style of the key signature can be
5910 controlled by the @code{style} property of the
5911 @internalsref{KeySignature} grob.
5915 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
5916 @ref{Accidentals} give a general introduction into the use of
5917 accidentals. @ref{Key signature} gives a general introduction into
5918 the use of key signatures.
5920 Program reference: @internalsref{KeySignature}.
5922 Examples: @inputfileref{input/@/test,ancient@/-accidentals@/.ly}.
5925 @subsection Ancient rests
5930 Use the @code{style} property of grob @internalsref{Rest} to select
5931 ancient accidentals. Supported styles are @code{classical},
5932 @code{neomensural} and @code{mensural}. @code{classical} differs
5933 from the @code{default} style only in that the quarter rest looks like
5934 a horizontally mirrored 8th rest. The @code{neomensural} style suits
5935 well for e.g. the incipit of a transcribed mensural piece of music.
5936 The @code{mensural} style finally mimics the appearance of rests as
5937 in historic prints of the 16th century.
5939 The following example demonstrates the @code{neomensural} style
5941 @lilypond[quote,fragment,raggedright,verbatim]
5942 \set Score.skipBars = ##t
5943 \override Rest #'style = #'neomensural
5944 r\longa r\breve r1 r2 r4 r8 r16
5947 There are no 32th and 64th rests specifically for the mensural or
5948 neo-mensural style. Instead, the rests from the default style will be
5949 taken. See @inputfileref{input/@/test,rests@/.ly} for a chart of all
5952 There are no rests in Gregorian Chant notation; instead, it uses
5957 In this manual: @ref{Rests} gives a general introduction into the use of rests.
5961 @subsection Ancient clefs
5966 LilyPond supports a variety of clefs, many of them ancient.
5968 The following table shows all ancient clefs that are supported via the
5969 @code{\clef} command. Some of the clefs use the same glyph, but
5970 differ only with respect to the line they are printed on. In such
5971 cases, a trailing number in the name is used to enumerate these clefs.
5972 Still, you can manually force a clef glyph to be typeset on an
5973 arbitrary line, as described in @ref{Clef}. The note printed to the
5974 right side of each clef in the example column denotes the @code{c'}
5975 with respect to that clef.
5977 @multitable @columnfractions .4 .4 .2
5986 modern style mensural C clef
5988 @code{neomensural-c1}, @code{neomensural-c2},@*
5989 @code{neomensural-c3}, @code{neomensural-c4}
5991 @lilypond[fragment,relative=1,notime]
5992 \clef "neomensural-c2" c
5996 petrucci style mensural C clefs, for use on different staff lines
5997 (the examples shows the 2nd staff line C clef)
5999 @code{petrucci-c1}, @code{petrucci-c2},@*
6000 @code{petrucci-c3}, @code{petrucci-c4},@*
6003 @lilypond[fragment,relative=1,notime]
6004 \clef "petrucci-c2" c
6008 petrucci style mensural F clef
6012 @lilypond[fragment,relative=1,notime]
6013 \clef "petrucci-f" c
6017 petrucci style mensural G clef
6021 @lilypond[fragment,relative=1,notime]
6022 \clef "petrucci-g" c
6026 historic style mensural C clef
6028 @code{mensural-c1}, @code{mensural-c2},@*
6029 @code{mensural-c3}, @code{mensural-c4}
6031 @lilypond[fragment,relative=1,notime]
6032 \clef "mensural-c2" c
6036 historic style mensural F clef
6040 @lilypond[fragment,relative=1,notime]
6041 \clef "mensural-f" c
6045 historic style mensural G clef
6049 @lilypond[fragment,relative=1,notime]
6050 \clef "mensural-g" c
6054 Editio Vaticana style do clef
6056 @code{vaticana-do1}, @code{vaticana-do2},@*
6059 @lilypond[fragment,relative=1,notime]
6060 \override Staff.StaffSymbol #'line-count = #4
6061 \clef "vaticana-do2" c
6065 Editio Vaticana style fa clef
6067 @code{vaticana-fa1}, @code{vaticana-fa2}
6069 @lilypond[fragment,relative=1,notime]
6070 \override Staff.StaffSymbol #'line-count = #4
6071 \clef "vaticana-fa2" c
6075 Editio Medicaea style do clef
6077 @code{medicaea-do1}, @code{medicaea-do2},@*
6080 @lilypond[fragment,relative=1,notime]
6081 \override Staff.StaffSymbol #'line-count = #4
6082 \clef "medicaea-do2" c
6086 Editio Medicaea style fa clef
6088 @code{medicaea-fa1}, @code{medicaea-fa2}
6090 @lilypond[fragment,relative=1,notime]
6091 \override Staff.StaffSymbol #'line-count = #4
6092 \clef "medicaea-fa2" c
6096 historic style hufnagel do clef
6098 @code{hufnagel-do1}, @code{hufnagel-do2},@*
6101 @lilypond[fragment,relative=1,notime]
6102 \override Staff.StaffSymbol #'line-count = #4
6103 \clef "hufnagel-do2" c
6107 historic style hufnagel fa clef
6109 @code{hufnagel-fa1}, @code{hufnagel-fa2}
6111 @lilypond[fragment,relative=1,notime]
6112 \override Staff.StaffSymbol #'line-count = #4
6113 \clef "hufnagel-fa2" c
6117 historic style hufnagel combined do/fa clef
6119 @code{hufnagel-do-fa}
6121 @lilypond[fragment,relative=1,notime]
6122 \clef "hufnagel-do-fa" c
6128 @emph{Modern style} means ``as is typeset in contemporary editions of
6129 transcribed mensural music''.
6131 @emph{Petrucci style} means ``inspired by printings published by the
6132 famous engraver Petrucci (1466-1539)''.
6134 @emph{Historic style} means ``as was typeset or written in historic
6135 editions (other than those of Petrucci)''.
6137 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
6139 Petrucci used C clefs with differently balanced left-side vertical
6140 beams, depending on which staff line it is printed.
6144 In this manual: see @ref{Clef}.
6148 The mensural g clef is mapped to the Petrucci g clef.
6153 @subsection Ancient flags
6158 Use the @code{flag-style} property of grob @internalsref{Stem} to
6159 select ancient flags. Besides the @code{default} flag style,
6160 only @code{mensural} style is supported
6162 @lilypond[quote,fragment,raggedright,verbatim]
6163 \override Stem #'flag-style = #'mensural
6164 \override Stem #'thickness = #1.0
6165 \override NoteHead #'style = #'mensural
6167 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
6168 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
6171 Note that the innermost flare of each mensural flag always is
6172 vertically aligned with a staff line.
6174 There is no particular flag style for neo-mensural notation. Hence,
6175 when typesetting the incipit of a transcribed piece of mensural
6176 music, the default flag style should be used. There are no flags in
6177 Gregorian Chant notation.
6181 The attachment of ancient flags to stems is slightly off due to a
6182 change in early 2.3.x.
6184 Vertically aligning each flag with a staff line assumes that stems
6185 always end either exactly on or exactly in the middle between two
6186 staff lines. This may not always be true when using advanced layout
6187 features of classical notation (which however are typically out of
6188 scope for mensural notation).
6190 @node Ancient time signatures
6191 @subsection Ancient time signatures
6193 @cindex time signatures
6196 There is limited support for mensural time signatures. The
6197 glyphs are hard-wired to particular time fractions. In other words,
6198 to get a particular mensural signature glyph with the @code{\time n/m}
6199 command, @code{n} and @code{m} have to be chosen according to the
6202 @lilypond[quote,raggedright]
6206 \remove Staff_symbol_engraver
6207 \remove Clef_engraver
6208 \remove Time_signature_engraver
6211 \set Score.timing = ##f
6212 \set Score.barAlways = ##t
6213 s_\markup { "$\\backslash$time 4/4" }
6214 ^\markup { " " \musicglyph #"timesig-neomensural4/4" }
6216 s_\markup { "$\\backslash$time 2/2" }
6217 ^\markup { " " \musicglyph #"timesig-neomensural2/2" }
6219 s_\markup { "$\\backslash$time 6/4" }
6220 ^\markup { " " \musicglyph #"timesig-neomensural6/4" }
6222 s_\markup { "$\\backslash$time 6/8" }
6223 ^\markup { " " \musicglyph #"timesig-neomensural6/8" }
6225 s_\markup { "$\\backslash$time 3/2" }
6226 ^\markup { " " \musicglyph #"timesig-neomensural3/2" }
6228 s_\markup { "$\\backslash$time 3/4" }
6229 ^\markup { " " \musicglyph #"timesig-neomensural3/4" }
6231 s_\markup { "$\\backslash$time 9/4" }
6232 ^\markup { " " \musicglyph #"timesig-neomensural9/4" }
6234 s_\markup { "$\\backslash$time 9/8" }
6235 ^\markup { " " \musicglyph #"timesig-neomensural9/8" }
6237 s_\markup { "$\\backslash$time 4/8" }
6238 ^\markup { " " \musicglyph #"timesig-neomensural4/8" }
6240 s_\markup { "$\\backslash$time 2/4" }
6241 ^\markup { " " \musicglyph #"timesig-neomensural2/4" }
6245 Use the @code{style} property of grob @internalsref{TimeSignature} to
6246 select ancient time signatures. Supported styles are
6247 @code{neomensural} and @code{mensural}. The above table uses the
6248 @code{neomensural} style. This style is appropriate for the
6249 incipit of transcriptions of mensural pieces. The @code{mensural}
6250 style mimics the look of historical printings of the 16th century.
6252 The following examples shows the differences in style,
6254 @lilypond[raggedright,fragment,relative=1,quote]
6258 c1^\markup { \hspace #-2.0 \typewriter default }
6260 \override Staff.TimeSignature #'style = #'numbered
6262 c1^\markup { \hspace #-2.0 \typewriter numbered }
6264 \override Staff.TimeSignature #'style = #'mensural
6266 c1^\markup { \hspace #-2.0 \typewriter mensural }
6268 \override Staff.TimeSignature #'style = #'neomensural
6270 c1^\markup { \hspace #-2.0 \typewriter neomensural }
6271 \override Staff.TimeSignature #'style = #'single-digit
6273 c1^\markup { \hspace #-2.0 \typewriter single-digit }
6279 This manual: @ref{Time signature} gives a general introduction into
6280 the use of time signatures.
6284 Ratios of note durations do not change with the time signature. For
6285 example, the ratio of 1 brevis = 3 semibrevis (tempus perfectum) must
6286 be made by hand, by setting
6289 breveTP = #(ly:make-duration -1 0 3 2)
6295 This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
6297 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
6298 addressable with @code{\time}. Use a @code{\markup} instead
6300 @node Ancient articulations
6301 @subsection Ancient articulations
6303 @cindex articulations
6305 In addition to the standard articulation signs described in section
6306 @ref{Articulations}, articulation signs for ancient notation are
6307 provided. These are specifically designed for use with notation in
6308 Editio Vaticana style.
6310 @lilypond[quote,raggedright,verbatim]
6311 \include "gregorian-init.ly"
6313 \context VaticanaVoice {
6314 \override TextScript #'font-family = #'typewriter
6315 \override TextScript #'font-shape = #'upright
6316 \override Script #'padding = #-0.1
6318 a4\circulus_"circulus" s1
6319 a4\semicirculus_"semicirculus" s1 s
6320 a4\accentus_"accentus" s1
6321 \[ a4_"episem" \episemInitium \pes b \flexa a \episemFinis \]
6328 Some articulations are vertically placed too closely to the
6329 correpsonding note heads.
6332 @subsection Custodes
6337 A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
6338 symbol that appears at the end of a staff. It anticipates the pitch
6339 of the first note(s) of the following line thus helping the performer
6340 to manage line breaks during performance.
6342 Custodes were frequently used in music notation until the 17th
6343 century. Nowadays, they have survived only in a few particular forms
6344 of musical notation such as contemporary editions of Gregorian chant
6345 like the @emph{editio vaticana}. There are different custos glyphs
6346 used in different flavors of notational style.
6348 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
6349 @internalsref{Staff} context when declaring the @code{\layout} block,
6350 as shown in the following example
6356 \consists Custos_engraver
6357 Custos \override #'style = #'mensural
6362 The result looks like this
6364 @lilypond[quote,raggedright]
6368 \override Staff.Custos #'style = #'mensural
6373 \context { \Staff \consists Custos_engraver }
6378 The custos glyph is selected by the @code{style} property. The styles
6379 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
6380 @code{mensural}. They are demonstrated in the following fragment
6382 @lilypond[quote,raggedright,fragment]
6383 \new Lyrics \lyricmode {
6385 \typewriter "vaticana"
6386 { " " \musicglyph #"custodes-vaticana-u0" }
6389 \typewriter "medicaea"
6390 { " " \musicglyph #"custodes-medicaea-u0" }
6393 \typewriter "hufnagel"
6394 { " " \musicglyph #"custodes-hufnagel-u0" }
6397 \typewriter "mensural"
6398 { " " \musicglyph #"custodes-mensural-u0" }
6406 Program reference: @internalsref{Custos}.
6408 Examples: @inputfileref{input/@/regression,custos@/.ly}.
6412 @subsection Divisiones
6418 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
6419 `division') is a staff context symbol that is used to structure
6420 Gregorian music into phrases and sections. The musical meaning of
6421 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
6422 can be characterized as short, medium and long pause, somewhat like
6423 the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
6424 only marks the end of a chant, but is also frequently used within a
6425 single antiphonal/responsorial chant to mark the end of each section.
6428 To use divisiones, include the file @file{gregorian@/-init@/.ly}. It
6429 contains definitions that you can apply by just inserting
6430 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
6431 and @code{\finalis} at proper places in the input. Some editions use
6432 @emph{virgula} or @emph{caesura} instead of divisio minima.
6433 Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
6436 @lilypondfile[quote,raggedright]{divisiones.ly}
6440 @cindex @code{\virgula}
6442 @cindex @code{\caesura}
6444 @cindex @code{\divisioMinima}
6445 @code{\divisioMinima},
6446 @cindex @code{\divisioMaior}
6447 @code{\divisioMaior},
6448 @cindex @code{\divisioMaxima}
6449 @code{\divisioMaxima},
6450 @cindex @code{\finalis}
6455 In this manual: @ref{Breath marks}.
6457 Program reference: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}.
6459 Examples: @inputfileref{input/@/test,divisiones@/.ly}.
6462 @subsection Ligatures
6466 @c TODO: Should double check if I recalled things correctly when I wrote
6467 @c down the following paragraph by heart.
6469 A ligature is a graphical symbol that represents at least two distinct
6470 notes. Ligatures originally appeared in the manuscripts of Gregorian
6471 chant notation to denote ascending or descending sequences of notes.
6473 Ligatures are entered by enclosing them in @code{\[} and @code{\]}.
6474 Some ligature styles may need additional input syntax specific for
6475 this particular type of ligature. By default, the
6476 @internalsref{LigatureBracket} engraver just puts a square bracket
6479 @lilypond[quote,raggedright,verbatim]
6487 To select a specific style of ligatures, a proper ligature engraver
6488 has to be added to the @internalsref{Voice} context, as explained in
6489 the following subsections. Only white mensural ligatures
6490 are supported with certain limitations.
6496 Ligatures need special spacing that has not yet been implemented. As
6497 a result, there is too much space between ligatures most of the time,
6498 and line breaking often is unsatisfactory. Also, lyrics do not
6499 correctly align with ligatures.
6501 Accidentals must not be printed within a ligature, but instead need to
6502 be collected and printed in front of it.
6504 Augmentum dots within ligatures are not handled correctly.
6508 * White mensural ligatures::
6509 * Gregorian square neumes ligatures::
6512 @node White mensural ligatures
6513 @subsubsection White mensural ligatures
6515 @cindex Mensural ligatures
6516 @cindex White mensural ligatures
6518 There is limited support for white mensural ligatures.
6520 To engrave white mensural ligatures, in the layout block the
6521 @internalsref{Mensural_ligature_engraver} has to be put into the
6522 @internalsref{Voice} context, and remove the
6523 @internalsref{Ligature_bracket_engraver}
6529 \remove Ligature_bracket_engraver
6530 \consists Mensural_ligature_engraver
6535 There is no additional input language to describe the shape of a
6536 white mensural ligature. The shape is rather determined solely from
6537 the pitch and duration of the enclosed notes. While this approach may
6538 take a new user a while to get accustomed, it has the great advantage
6539 that the full musical information of the ligature is known internally.
6540 This is not only required for correct MIDI output, but also allows for
6541 automatic transcription of the ligatures.
6546 \set Score.timing = ##f
6547 \set Score.defaultBarType = "empty"
6548 \override NoteHead #'style = #'neomensural
6549 \override Staff.TimeSignature #'style = #'neomensural
6551 \[ g\longa c\breve a\breve f\breve d'\longa \]
6553 \[ e1 f1 a\breve g\longa \]
6555 @lilypond[quote,raggedright]
6558 \set Score.timing = ##f
6559 \set Score.defaultBarType = "empty"
6560 \override NoteHead #'style = #'neomensural
6561 \override Staff.TimeSignature #'style = #'neomensural
6563 \[ g\longa c\breve a\breve f\breve d'\longa \]
6565 \[ e1 f1 a\breve g\longa \]
6570 \remove Ligature_bracket_engraver
6571 \consists Mensural_ligature_engraver
6577 Without replacing @internalsref{Ligature_bracket_engraver} with
6578 @internalsref{Mensural_ligature_engraver}, the same music transcribes
6581 @lilypond[quote,raggedright]
6583 \set Score.timing = ##f
6584 \set Score.defaultBarType = "empty"
6585 \override NoteHead #'style = #'neomensural
6586 \override Staff.TimeSignature #'style = #'neomensural
6588 \[ g\longa c\breve a\breve f\breve d'\longa \]
6590 \[ e1 f1 a\breve g\longa \]
6596 The implementation is experimental. It may output strange warnings,
6597 incorrect results, and might even crash on more complex ligatures.
6599 @node Gregorian square neumes ligatures
6600 @subsubsection Gregorian square neumes ligatures
6602 @cindex Square neumes ligatures
6603 @cindex Gregorian square neumes ligatures
6605 There is limited support for Gregorian square neumes notation
6606 (following the style of the Editio Vaticana). Core ligatures can
6607 already be typeset, but essential issues for serious typesetting are
6608 still lacking, such as (among others) horizontal alignment of multiple
6609 ligatures, lyrics alignment and proper accidentals handling.
6612 The following table contains the extended neumes table of the 2nd
6613 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
6614 1983 by the monks of Solesmes.
6616 @multitable @columnfractions .4 .2 .2 .2
6633 @c TODO: \layout block is identical in all of the below examples.
6634 @c Therefore, it should somehow be included rather than duplicated all
6637 @c why not make identifiers in ly/engraver-init.ly? --hwn
6639 @c Because it's just used to typeset plain notes without
6640 @c a staff for demonstration purposes rather than something
6641 @c special of Gregorian chant notation. --jr
6646 @lilypond[staffsize=26,linewidth=1.5\cm]
6647 \include "gregorian-init.ly"
6652 \noBreak s^\markup {"a"} \noBreak
6654 % Punctum Inclinatum
6656 \noBreak s^\markup {"b"}
6658 \layout { \neumeDemoLayout }}
6661 @lilypond[staffsize=26,linewidth=2.5\cm]
6662 \include "gregorian-init.ly"
6665 % Punctum Auctum Ascendens
6666 \[ \auctum \ascendens b \]
6667 \noBreak s^\markup {"c"} \noBreak
6669 % Punctum Auctum Descendens
6670 \[ \auctum \descendens b \]
6671 \noBreak s^\markup {"d"} \noBreak
6673 % Punctum Inclinatum Auctum
6674 \[ \inclinatum \auctum b \]
6675 \noBreak s^\markup {"e"}
6677 \layout { \neumeDemoLayout }}
6680 @lilypond[staffsize=26,linewidth=1.0\cm]
6681 \include "gregorian-init.ly"
6684 % Punctum Inclinatum Parvum
6685 \[ \inclinatum \deminutum b \]
6686 \noBreak s^\markup {"f"}
6688 \layout { \neumeDemoLayout }}
6694 @lilypond[staffsize=26,linewidth=1.0\cm]
6695 \include "gregorian-init.ly"
6700 \noBreak s^\markup {"g"}
6702 \layout { \neumeDemoLayout }}
6708 @code{3. Apostropha vel Stropha}
6710 @lilypond[staffsize=26,linewidth=1.0\cm]
6711 \include "gregorian-init.ly"
6716 \noBreak s^\markup {"h"}
6718 \layout { \neumeDemoLayout }}
6721 @lilypond[staffsize=26,linewidth=1.0\cm]
6722 \include "gregorian-init.ly"
6726 \[ \stropha \auctum b \]
6727 \noBreak s^\markup {"i"}
6729 \layout { \neumeDemoLayout }}
6736 @lilypond[staffsize=26,linewidth=1.0\cm]
6737 \include "gregorian-init.ly"
6742 \noBreak s^\markup {"j"}
6744 \layout { \neumeDemoLayout }}
6750 @code{5. Clivis vel Flexa}
6752 @lilypond[staffsize=26,linewidth=1.0\cm]
6753 \include "gregorian-init.ly"
6760 \layout { \neumeDemoLayout }}
6763 @lilypond[staffsize=26,linewidth=2.0\cm]
6764 \include "gregorian-init.ly"
6767 % Clivis Aucta Descendens
6768 \[ b \flexa \auctum \descendens g \]
6769 \noBreak s^\markup {"l"} \noBreak
6771 % Clivis Aucta Ascendens
6772 \[ b \flexa \auctum \ascendens g \]
6773 \noBreak s^\markup {"m"}
6775 \layout { \neumeDemoLayout }}
6778 @lilypond[staffsize=26,linewidth=1.0\cm]
6779 \include "gregorian-init.ly"
6783 \[ b \flexa \deminutum g \]
6786 \layout { \neumeDemoLayout }}
6790 @code{6. Podatus vel Pes}
6792 @lilypond[staffsize=26,linewidth=1.0\cm]
6793 \include "gregorian-init.ly"
6800 \layout { \neumeDemoLayout }}
6803 @lilypond[staffsize=26,linewidth=2.0\cm]
6804 \include "gregorian-init.ly"
6807 % Pes Auctus Descendens
6808 \[ g \pes \auctum \descendens b \]
6809 \noBreak s^\markup {"p"} \noBreak
6811 % Pes Auctus Ascendens
6812 \[ g \pes \auctum \ascendens b \]
6813 \noBreak s^\markup {"q"}
6815 \layout { \neumeDemoLayout }}
6818 @lilypond[staffsize=26,linewidth=1.0\cm]
6819 \include "gregorian-init.ly"
6823 \[ g \pes \deminutum b \]
6826 \layout { \neumeDemoLayout }}
6830 @code{7. Pes Quassus}
6832 @lilypond[staffsize=26,linewidth=1.0\cm]
6833 \include "gregorian-init.ly"
6837 \[ \oriscus g \pes \virga b \]
6840 \layout { \neumeDemoLayout }}
6843 @lilypond[staffsize=26,linewidth=1.0\cm]
6844 \include "gregorian-init.ly"
6847 % Pes Quassus Auctus Descendens
6848 \[ \oriscus g \pes \auctum \descendens b \]
6851 \layout { \neumeDemoLayout }}
6856 @code{8. Quilisma Pes}
6858 @lilypond[staffsize=26,linewidth=1.0\cm]
6859 \include "gregorian-init.ly"
6863 \[ \quilisma g \pes b \]
6866 \layout { \neumeDemoLayout }}
6869 @lilypond[staffsize=26,linewidth=1.0\cm]
6870 \include "gregorian-init.ly"
6873 % Quilisma Pes Auctus Descendens
6874 \[ \quilisma g \pes \auctum \descendens b \]
6877 \layout { \neumeDemoLayout }}
6882 @code{9. Podatus Initio Debilis}
6884 @lilypond[staffsize=26,linewidth=1.0\cm]
6885 \include "gregorian-init.ly"
6888 % Pes Initio Debilis
6889 \[ \deminutum g \pes b \]
6892 \layout { \neumeDemoLayout }}
6895 @lilypond[staffsize=26,linewidth=1.0\cm]
6896 \include "gregorian-init.ly"
6899 % Pes Auctus Descendens Initio Debilis
6900 \[ \deminutum g \pes \auctum \descendens b \]
6903 \layout { \neumeDemoLayout }}
6910 @lilypond[staffsize=26,linewidth=1.0\cm]
6911 \include "gregorian-init.ly"
6915 \[ a \pes b \flexa g \]
6918 \layout { \neumeDemoLayout }}
6921 @lilypond[staffsize=26,linewidth=1.0\cm]
6922 \include "gregorian-init.ly"
6925 % Torculus Auctus Descendens
6926 \[ a \pes b \flexa \auctum \descendens g \]
6929 \layout { \neumeDemoLayout }}
6932 @lilypond[staffsize=26,linewidth=1.0\cm]
6933 \include "gregorian-init.ly"
6936 % Torculus Deminutus
6937 \[ a \pes b \flexa \deminutum g \]
6940 \layout { \neumeDemoLayout }}
6944 @code{11. Torculus Initio Debilis}
6946 @lilypond[staffsize=26,linewidth=1.0\cm]
6947 \include "gregorian-init.ly"
6950 % Torculus Initio Debilis
6951 \[ \deminutum a \pes b \flexa g \]
6954 \layout { \neumeDemoLayout }}
6957 @lilypond[staffsize=26,linewidth=1.0\cm]
6958 \include "gregorian-init.ly"
6961 % Torculus Auctus Descendens Initio Debilis
6962 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6965 \layout { \neumeDemoLayout }}
6968 @lilypond[staffsize=26,linewidth=1.0\cm]
6969 \include "gregorian-init.ly"
6972 % Torculus Deminutus Initio Debilis
6973 \[ \deminutum a \pes b \flexa \deminutum g \]
6976 \layout { \neumeDemoLayout }}
6980 @code{12. Porrectus}
6982 @lilypond[staffsize=26,linewidth=1.0\cm]
6983 \include "gregorian-init.ly"
6987 \[ a \flexa g \pes b \]
6990 \layout { \neumeDemoLayout }}
6993 @lilypond[staffsize=26,linewidth=1.0\cm]
6994 \include "gregorian-init.ly"
6997 % Porrectus Auctus Descendens
6998 \[ a \flexa g \pes \auctum \descendens b \]
7001 \layout { \neumeDemoLayout }}
7004 @lilypond[staffsize=26,linewidth=1.0\cm]
7005 \include "gregorian-init.ly"
7008 % Porrectus Deminutus
7009 \[ a \flexa g \pes \deminutum b \]
7012 \layout { \neumeDemoLayout }}
7018 @lilypond[staffsize=26,linewidth=1.0\cm]
7019 \include "gregorian-init.ly"
7023 \[ \virga b \inclinatum a \inclinatum g \]
7026 \layout { \neumeDemoLayout }
7030 @lilypond[staffsize=26,linewidth=1.0\cm]
7031 \include "gregorian-init.ly"
7035 \[ \virga b \inclinatum a \inclinatum \auctum g \]
7038 \layout { \neumeDemoLayout }}
7041 @lilypond[staffsize=26,linewidth=1.0\cm]
7042 \include "gregorian-init.ly"
7045 % Climacus Deminutus
7046 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
7049 \layout { \neumeDemoLayout }}
7053 @code{14. Scandicus}
7055 @lilypond[staffsize=26,linewidth=1.0\cm]
7056 \include "gregorian-init.ly"
7060 \[ g \pes a \virga b \]
7063 \layout { \neumeDemoLayout }}
7066 @lilypond[staffsize=26,linewidth=1.0\cm]
7067 \include "gregorian-init.ly"
7070 % Scandicus Auctus Descendens
7071 \[ g \pes a \pes \auctum \descendens b \]
7074 \layout { \neumeDemoLayout }}
7077 @lilypond[staffsize=26,linewidth=1.0\cm]
7078 \include "gregorian-init.ly"
7081 % Scandicus Deminutus
7082 \[ g \pes a \pes \deminutum b \]
7085 \layout { \neumeDemoLayout }}
7091 @lilypond[staffsize=26,linewidth=1.0\cm]
7092 \include "gregorian-init.ly"
7096 \[ g \oriscus a \pes \virga b \]
7099 \layout { \neumeDemoLayout }}
7102 @lilypond[staffsize=26,linewidth=1.0\cm]
7103 \include "gregorian-init.ly"
7106 % Salicus Auctus Descendens
7107 \[ g \oriscus a \pes \auctum \descendens b \]
7110 \layout { \neumeDemoLayout }}
7117 @lilypond[staffsize=26,linewidth=1.0\cm]
7118 \include "gregorian-init.ly"
7122 \[ \stropha b \stropha b \stropha a \]
7125 \layout { \neumeDemoLayout }
7134 Unlike most other neumes notation systems, the input language for
7135 neumes does not reflect the typographical appearance, but is designed
7136 to focus on musical meaning. For example, @code{\[ a \pes b
7137 \flexa g \]} produces a Torculus consisting of three Punctum heads,
7138 while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a
7139 curved flexa shape and only a single Punctum head. There is no
7140 command to explicitly typeset the curved flexa shape; the decision of
7141 when to typeset a curved flexa shape is based on the musical
7142 input. The idea of this approach is to separate the musical aspects
7143 of the input from the notation style of the output. This way, the
7144 same input can be reused to typeset the same music in a different
7145 style of Gregorian chant notation.
7147 The following table shows the code fragments that produce the
7148 ligatures in the above neumes table. The letter in the first column
7149 in each line of the below table indicates to which ligature in the
7150 above table it refers. The second column gives the name of the
7151 ligature. The third column shows the code fragment that produces this
7152 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
7154 @multitable @columnfractions .02 .31 .67
7174 @code{\[ \inclinatum b \]}
7182 @code{\[ \auctum \ascendens b \]}
7190 @code{\[ \auctum \descendens b \]}
7195 Punctum Inclinatum@*
7198 @code{\[ \inclinatum \auctum b \]}
7203 Punctum Inclinatum@*
7205 @code{\[ \inclinatum \deminutum b \]}
7212 @code{\[ \virga b \]}
7219 @code{\[ \stropha b \]}
7226 @code{\[ \stropha \auctum b \]}
7233 @code{\[ \oriscus b \]}
7240 @code{\[ b \flexa g \]}
7248 @code{\[ b \flexa \auctum \descendens g \]}
7256 @code{\[ b \flexa \auctum \ascendens g \]}
7263 @code{\[ b \flexa \deminutum g \]}
7270 @code{\[ g \pes b \]}
7278 @code{\[ g \pes \auctum \descendens b \]}
7286 @code{\[ g \pes \auctum \ascendens b \]}
7293 @code{\[ g \pes \deminutum b \]}
7300 @code{\[ \oriscus g \pes \virga b \]}
7306 Auctus Descendens @tab
7307 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7314 @code{\[ \quilisma g \pes b \]}
7322 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7329 @code{\[ \deminutum g \pes b \]}
7334 Pes Auctus Descendens@*
7337 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7344 @code{\[ a \pes b \flexa g \]}
7352 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7359 @code{\[ a \pes b \flexa \deminutum g \]}
7364 Torculus Initio Debilis
7366 @code{\[ \deminutum a \pes b \flexa g \]}
7372 Descendens Initio Debilis
7374 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7379 Torculus Deminutus@*
7382 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7389 @code{\[ a \flexa g \pes b \]}
7397 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7404 @code{\[ a \flexa g \pes \deminutum b \]}
7411 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7418 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7425 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7432 @code{\[ g \pes a \virga b \]}
7440 @code{\[ g \pes a \pes \auctum \descendens b \]}
7447 @code{\[ g \pes a \pes \deminutum b \]}
7454 @code{\[ g \oriscus a \pes \virga b \]}
7459 Salicus Auctus Descendens
7461 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7468 @code{\[ \stropha b \stropha b \stropha a \]}
7473 The following head prefixes are supported
7475 @cindex @code{\virga}
7477 @cindex @code{\stropha}
7479 @cindex @code{\inclinatum}
7481 @cindex @code{\auctum}
7483 @cindex @code{\descendens}
7485 @cindex @code{\ascendens}
7487 @cindex @code{\oriscus}
7489 @cindex @code{\quilisma}
7491 @cindex @code{\deminutum}
7494 Head prefixes can be accumulated, though restrictions apply. For
7495 example, either @code{\descendens} or @code{\ascendens} can be applied
7496 to a head, but not both to the same head.
7499 @cindex @code{\flexa}
7500 Two adjacent heads can be tied together with the @code{\pes} and
7501 @code{\flexa} infix commands for a rising and falling line of melody,
7506 @node Gregorian Chant contexts
7507 @subsection Gregorian Chant contexts
7509 @cindex VaticanaVoiceContext
7510 @cindex VaticanaStaffContext
7512 The predefined @code{VaticanaVoiceContext} and
7513 @code{VaticanaStaffContext} can be used to engrave a piece of
7514 Gregorian Chant in the style of the Editio Vaticana. These contexts
7515 initialize all relevant context properties and grob properties to
7516 proper values, so you can immediately go ahead entering the chant, as
7517 the following excerpt demonstrates
7519 @lilypond[quote,raggedright,verbatim]
7520 \include "gregorian-init.ly"
7523 \context VaticanaVoice = "cantus" {
7524 \override Score.BarNumber #'transparent = ##t {
7525 \[ c'\melisma c' \flexa a \]
7526 \[ a \flexa \deminutum g\melismaEnd \]
7528 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \]
7529 c' \divisioMinima \break
7530 \[ c'\melisma c' \flexa a \]
7531 \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7534 \lyricsto "cantus" \new Lyrics {
7535 San- ctus, San- ctus, San- ctus
7542 @node Mensural contexts
7543 @subsection Mensural contexts
7545 @cindex MensuralVoiceContext
7546 @cindex MensuralStaffContext
7548 The predefined @code{MensuralVoiceContext} and
7549 @code{MensuralStaffContext} can be used to engrave a piece in mensural
7550 style. These contexts initialize all relevant context properties and
7551 grob properties to proper values, so you can immediately go ahead
7552 entering the chant, as the following excerpt demonstrates
7554 @lilypond[quote,raggedright,verbatim]
7557 \context MensuralVoice = "discantus" \transpose c c' {
7558 \override Score.BarNumber #'transparent = ##t {
7559 c'1\melisma bes a g\melismaEnd
7561 \[ f1\melisma a c'\breve d'\melismaEnd \]
7563 c'\breve\melisma a1 g1\melismaEnd
7564 fis\longa^\signumcongruentiae
7567 \lyricsto "discantus" \new Lyrics {
7568 San -- ctus, San -- ctus, San -- ctus
7576 @subsection Figured bass
7578 @cindex Basso continuo
7580 @c TODO: musicological blurb about FB
7583 LilyPond has limited support for figured bass
7585 @lilypond[quote,raggedright,verbatim,fragment]
7587 \context Voice { \clef bass dis4 c d ais }
7588 \context FiguredBass \figuremode {
7589 < 6 >4 < 7 >8 < 6+ [_!] >
7595 The support for figured bass consists of two parts: there is an input
7596 mode, introduced by @code{\figuremode}, where you can enter bass figures
7597 as numbers, and there is a context called @internalsref{FiguredBass} that
7598 takes care of making @internalsref{BassFigure} objects.
7600 In figures input mode, a group of bass figures is delimited by
7601 @code{<} and @code{>}. The duration is entered after the @code{>}
7605 @lilypond[quote,raggedright,fragment]
7606 \context FiguredBass
7607 \figuremode { <4 6> }
7610 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7616 @lilypond[quote,raggedright,fragment]
7617 \context FiguredBass
7618 \figuremode { <4- 6+ 7!> }
7621 Spaces or dashes may be inserted by using @code{_}. Brackets are
7622 introduced with @code{[} and @code{]}
7627 @lilypond[quote,raggedright,fragment]
7628 \context FiguredBass
7629 \figuremode { < [4 6] 8 [_! 12]> }
7632 Although the support for figured bass may superficially resemble chord
7633 support, it works much simpler. The @code{\figuremode} mode simply
7634 stores the numbers , and @internalsref{FiguredBass} context prints
7635 them as entered. There is no conversion to pitches, and no
7636 realizations of the bass are played in the MIDI file.
7638 Internally, the code produces markup texts. You can use any of the
7639 markup text properties to override formatting. For example, the
7640 vertical spacing of the figures may be set with @code{baseline-skip}.
7644 Program reference: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7645 and @internalsref{FiguredBass} context.
7649 Slash notation for alterations is not supported.
7651 @node Contemporary notation
7652 @section Contemporary notation
7654 In the 20th century, composers have greatly expanded the musical
7655 vocabulary. With this expansion, many innovations in musical notation
7656 have been tried. The book ``Music Notation in the 20th century'' by
7657 Kurt Stone gives a comprehensive overview (see @ref{Literature
7658 list}). In general, the use of new, innovative notation makes a piece
7659 harder to understand and perform and its use should therefore be
7660 avoided. For this reason, support for contemporary notation in
7661 LilyPond is limited.
7665 * Polymetric notation::
7667 * Special fermatas::
7671 @node Polymetric notation
7672 @subsection Polymetric notation
7674 Double time signatures are not supported explicitly, but they can be
7675 faked. In the next example, the markup for the time signature is
7676 created with a markup text. This markup text is inserted in the
7677 @internalsref{TimeSignature} grob.
7679 @lilypond[verbatim,raggedright]
7685 \musicglyph #"scripts-stopped"
7686 \bracket \column < "5" "8" >
7691 \override Staff.TimeSignature #'print-function = #Text_interface::print
7692 \override Staff.TimeSignature #'text = #tsMarkup
7694 c'2 \bar ":" c'4 c'4.
7698 Each staff can also have its own time signature. This is done by
7699 moving the @internalsref{Timing_engraver} to @internalsref{Staff}
7704 \context{ \Score \remove "Timing_engraver" }
7705 \context{ \Staff \consists "Timing_engraver" }
7710 Now, each staff has its own time signature.
7723 c4. c8 c c c4. c8 c c
7728 @lilypond[quote,raggedright]
7730 \context{ \Score \remove "Timing_engraver" }
7731 \context{ \Staff \consists "Timing_engraver" }
7745 c4. c8 c c c4. c8 c c
7751 A different form of polymetric notation is where note lengths have
7752 different values across staves.
7754 This notation can be created by setting a common time signature for
7755 each staff but replacing it manually using
7756 @code{timeSignatureFraction} to the desired fraction. Then the printed
7757 durations in each staff are scaled to the common time signature.
7758 The latter is done with @code{\compressmusic}, which is similar to
7759 @code{\times}, but does not create a tuplet bracket.
7762 In this example, music with the time signatures of 3/4, 9/8 and 10/8 are
7763 used in parallel. In the second staff, shown durations are multiplied by
7764 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
7765 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
7767 @lilypond[raggedright,verbatim,fragment]
7775 \set Staff.timeSignatureFraction = #'(9 . 8)
7776 \compressmusic #'(2 . 3)
7777 \repeat unfold 6 { c8[ c c] }
7781 \set Staff.timeSignatureFraction = #'(10 . 8)
7782 \compressmusic #'(3 . 5) {
7783 \repeat unfold 2 { c8[ c c] }
7784 \repeat unfold 2 { c8[ c] }
7785 | c4. c4. \times 2/3 { c8 c c } c4
7796 When using different time signatures in parallel, the spacing is
7797 aligned vertically, but bar lines distort the regular spacing.
7802 @subsection Clusters
7806 A cluster indicates a continuous range of pitches to be played. They
7807 can be denoted as the envelope of a set of notes. They are entered by
7808 applying the function @code{makeClusters} to a sequence of
7811 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
7812 \makeClusters { <c e > <b f'> }
7815 The following example (from
7816 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
7819 @lilypondfile[raggedright,quote]{cluster.ly}
7821 Ordinary notes and clusters can be put together in the same staff,
7822 even simultaneously. In such a case no attempt is made to
7823 automatically avoid collisions between ordinary notes and clusters.
7827 Program reference: @internalsref{ClusterSpanner},
7828 @internalsref{ClusterSpannerBeacon},
7829 @internalsref{Cluster_spanner_engraver}, and
7830 @internalsref{ClusterNoteEvent}.
7832 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
7836 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7837 accurately. Use @code{<g a>8 <e a>8} instead.
7841 @node Special fermatas
7842 @subsection Special fermatas
7844 @cindex fermatas, special
7846 In contemporary music notation, special fermata symbols denote breaks
7847 of differing lengths. The following fermatas are supported
7849 @lilypond[quote,raggedright]
7872 \context Lyrics \lyricmode {
7873 \override LyricText #'font-family = #'typewriter
7874 "shortfermata" "fermata" "longfermata" "verylongfermata"
7879 See @ref{Articulations} for general instructions how to apply scripts
7880 such as fermatas to notes.
7882 @node Feathered beams
7883 @subsection Feathered beams
7885 Feathered beams are not supported natively, but they can be faked by
7886 forcing two beams to overlap. Here is an example,
7888 @c don't change relative setting witout changing positions!
7889 @lilypond[raggedright,relative=1,fragment,verbatim]
7894 \once \override Voice.Beam #'positions = #'(0 . 0.5)
7899 \once \override Voice.Beam #'positions = #'(0 . -0.5)
7907 @node Educational use
7908 @section Educational use
7910 With the amount of control that LilyPond offers, one can make great
7911 teaching tools in addition to great musical scores.
7915 * Blank music sheet::
7917 * Easy Notation note heads::
7921 @subsection Balloon help
7923 Elements of notation can be marked and named with the help of a square
7924 balloon. The primary purpose of this feature is to explain notation.
7926 The following example demonstrates its use.
7928 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
7931 #(add-balloon-text 'NoteHead "heads, or tails?"
7938 The function @code{add-balloon-text} takes the name of a grob, the
7939 label to print, and the position where to put the label relative to
7940 the object. In the above example, the text ``heads or tails?'' ends
7941 3 spaces below and 1 space to the right of the marked head.
7944 @cindex notation, explaining
7948 Program reference: @internalsref{text-balloon-interface}.
7950 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
7955 @node Blank music sheet
7956 @subsection Blank music sheet
7958 A blank music sheet can be produced also by using invisible notes, and
7959 removing @code{Bar_number_engraver}.
7964 \repeat unfold 2 % Change this for more lines.
7969 \override TimeSignature #'transparent = ##t
7970 defaultBarType = #""
7971 \remove Bar_number_engraver
7973 \context Staff \emptymusic
7974 \context TabStaff \emptymusic
7980 @subsection Hidden notes
7982 @cindex Hidden notes
7983 @cindex Invisible notes
7984 @cindex Transparent notes
7986 Hidden (or invisible or transparent) notes can be useful in preparing theory
7987 or composition exercises.
7989 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
7997 Hidden notes are also great for performing weird tricks. For example,
7998 slurs cannot be attached to rests or spacer rests, but you may with
7999 to include that in your score -- string instruments use this notation
8000 when doing pizzicato to indicate that the note should ring for as long
8003 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
8006 c4^"pizz"( \hideNotes c)
8007 \unHideNotes c( \hideNotes c)
8014 @node Easy Notation note heads
8015 @subsection Easy Notation note heads
8017 @cindex easy notation
8020 The `easy play' note head includes a note name inside the head. It is
8021 used in music for beginners
8023 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
8028 The command @code{\setEasyHeads} overrides settings for the
8029 @internalsref{NoteHead} object. To make the letters readable, it has
8030 to be printed in a large font size. To print with a larger font, see
8031 @ref{Setting global staff size}.
8035 @cindex @code{\setEasyHeads}
8036 @code{\setEasyHeads}