3 @c A menu is needed before every deeper *section nesting of @node's; run
4 @c M-x texinfo-all-menus-update
5 @c to automagically fill in these menus before saving changes
7 @c FIXME: singular vs. plural: Beams/Beam
11 @chapter Notation manual
15 * Easier music entry::
22 * Fingering instructions::
31 * Contemporary notation::
37 @c FIXME: Note entry vs Music entry at top level menu is confusing.
43 This chapter describes all the different types of notation supported
44 by LilyPond. It is intended as a reference for users that are already
45 somewhat familiar with using LilyPond.
51 * Chromatic alterations::
59 * Easy Notation note heads ::
67 A note is printed by specifying its pitch and then its duration:
68 @footnote{Notes constitute the most basic elements of LilyPond input,
69 but they do not form valid input on their own without a @code{\score}
70 block. However, for the sake of brevity and simplicity we will
71 generally omit @code{\score} blocks and @code{\paper} declarations in
74 @lilypond[fragment,verbatim]
83 @cindex Note specification
85 @cindex entering notes
87 The most common syntax for pitch entry is used in @code{\chords} and
88 @code{\notes} mode. In Note and Chord mode, pitches may be designated
89 by names. The notes are specified by the letters @code{a} through
90 @code{g}, while the octave is formed with notes ranging from @code{c}
91 to @code{b}. The pitch @code{c} is an octave below middle C and the
92 letters span the octave above that C:
94 @lilypond[fragment,verbatim]
96 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
99 @cindex note names, Dutch
101 A sharp is formed by adding @code{-is} to the end of a pitch name and
102 a flat is formed by adding @code{-es}. Double sharps and double flats
103 are obtained by adding @code{-isis} or @code{-eses}. These
104 names are the Dutch note names. In Dutch, @code{aes} is contracted to
105 @code{as} in Dutch, but both forms are accepted. Similarly, both
106 @code{es} and @code{ees} are accepted.
108 There are predefined sets of note names for various other languages.
109 To use them, include the language specific init file. For
110 example: @code{\include "english.ly"}. The available language files
111 and the note names they define are:
116 Note Names sharp flat
117 nederlands.ly c d e f g a bes b -is -es
118 english.ly c d e f g a bf b -s/-sharp -f/-flat
119 deutsch.ly c d e f g a b h -is -es
120 norsk.ly c d e f g a b h -iss/-is -ess/-es
121 svenska.ly c d e f g a b h -iss -ess
122 italiano.ly do re mi fa sol la sib si -d -b
123 catalan.ly do re mi fa sol la sib si -d/-s -b
124 espanol.ly do re mi fa sol la sib si -s -b
133 The optional octave specification takes the form of a series of
134 single quote (`@code{'}') characters or a series of comma
135 (`@code{,}') characters. Each @code{'} raises the pitch by one
136 octave; each @code{,} lowers the pitch by an octave:
138 @lilypond[fragment,verbatim,center]
139 c' c'' es' g' as' gisis' ais'
143 There is also a verbose syntax for pitch specification:
146 @cindex @code{\pitch}
148 \pitch @var{scmpitch}
152 where @var{scmpitch} is a Scheme object of the @code{Pitch} type.
156 Notes can be hidden and unhidden with the following commands:
158 @cindex @code{\hideNotes}
160 @cindex @code{\unHideNotes}
167 @internalsref{NoteEvent}, and @internalsref{NoteHead}.
169 @node Chromatic alterations
170 @subsection Chromatic alterations
172 Normally accidentals are printed automatically, but you may also
173 print them manually. A reminder accidental
174 @cindex reminder accidental
176 can be forced by adding an exclamation mark @code{!}
177 after the pitch. A cautionary accidental
178 @cindex cautionary accidental
179 @cindex parenthesized accidental
180 (an accidental within parentheses) can be obtained by adding the
181 question mark `@code{?}' after the pitch:
183 @lilypond[fragment,verbatim]
184 cis' cis' cis'! cis'?
188 The automatic production of accidentals can be tuned in many
189 ways. For more information, refer to @ref{Accidentals}.
194 A chord is formed by a enclosing a set of pitches in @code{<<} and
195 @code{>>}. A chord may be followed by a duration, and a set of
196 articulations, just like simple notes.
206 Rests are entered like notes, with the note name @code{r}:
208 @lilypond[singleline,verbatim]
212 Whole bar rests, centered in middle of the bar,
213 must be done with multi measure rests. They are discussed in
214 @ref{Multi measure rests}.
217 A rest's vertical position may be explicitly specified by entering a
218 note with the @code{\rest} keyword appended. This makes manual
219 formatting in polyphonic music easier. Rest collision testing will
220 leave these rests alone:
222 @lilypond[singleline,verbatim]
228 @internalsref{RestEvent}, and @internalsref{Rest}.
235 @cindex Invisible rest
238 An invisible rest (also called a `skip') can be entered like a note
239 with note name `@code{s}' or with @code{\skip @var{duration}}:
241 @lilypond[singleline,verbatim]
245 The @code{s} syntax is only available in Note mode and Chord mode. In
246 other situations, you should use the @code{\skip} command:
248 @lilypond[singleline,verbatim]
251 { \time 4/8 \skip 2 \time 4/4 }
252 \notes\relative c'' { a2 a1 }
257 The skip command is merely an empty musical placeholder. It does not
258 produce any output, not even transparent output.
262 @internalsref{SkipEvent}.
267 @subsection Durations
271 @cindex @code{\duration}
274 In Note, Chord, and Lyrics mode, durations are designated by numbers
275 and dots: durations are entered as their reciprocal values. For example,
276 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
277 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
278 longer than a whole you must use variables:
280 @c FIXME: what is an identifier? I do not think it's been introduced yet.
281 @c and if it has, I obviously skipped that part. - Graham
285 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
287 r1 r2 r4 r8 r16 r32 r64 r64
292 \notes \relative c'' {
294 a1 a2 a4 a8 a16 a32 a64 a64
296 r1 r2 r4 r8 r16 r32 r64 r64
301 \remove "Clef_engraver"
302 \remove "Staff_symbol_engraver"
303 \remove "Time_signature_engraver"
304 \consists "Pitch_squash_engraver"
311 If the duration is omitted then it is set to the previously entered
312 duration. The default for the first note is a quarter note. The duration
313 can be followed by dots (`@code{.}') in order to obtain dotted note
317 @lilypond[fragment,verbatim,center]
318 a' b' c''8 b' a'4 a'4. b'4.. c'8.
323 You can alter the length of duration by a fraction @var{N/M}
324 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
325 will not affect the appearance of the notes or rests produced.
326 In the following example, the first three notes take up exactly two
328 @lilypond[fragment,relative 2,verbatim]
330 a4*2/3 gis4*2/3 a4*2/3
334 Durations can also be produced using the verbose syntax
335 @code{\duration @var{Scheme object}}:
336 @lilypond[verbatim,fragment]
337 c'\duration #(ly:make-duration 4 1)
344 Dots are normally moved up to avoid staff lines, except in polyphonic
345 situations. The following commands may be used to force a particular
348 @cindex @code{\dotsUp}
350 @cindex @code{\dotsDown}
352 @cindex @code{\dotsBoth}
357 @internalsref{Dots}, and @internalsref{DotColumn}.
361 In dense chords, dots can overlap.
366 Whenever a note is found, a
367 @internalsref{Stem} object is created automatically. For whole notes
368 and rests, stem objects are also created, but in those cases, the stem
373 @cindex @code{\stemUp}
375 @cindex @code{\stemDown}
377 @cindex @code{\stemBoth}
388 A tie connects two adjacent note heads of the same pitch. The tie in
389 effect extends the length of a note. Ties should not be confused with
390 slurs, which indicate articulation, or phrasing slurs, which indicate
391 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
393 @lilypond[fragment,verbatim,center]
394 e' ~ e' <<c' e' g'>> ~ <<c' e' g'>>
397 When a tie is applied to a chord, all note heads whose pitches match
398 are connected. When no note heads match, no ties will be created.
400 In its meaning a tie is just a way of extending a note duration, similar
401 to the augmentation dot; in the following example there are two ways of
402 notating exactly the same concept:
404 @lilypond[fragment, singleline,quote]
405 \time 3/4 c'2. c'2 ~ c'4
407 If you need to tie a lot of notes over bars, it may be easier to use automatic
408 note splitting (See @ref{Automatic note splitting}).
413 @cindex @code{\tieUp}
415 @cindex @code{\tieDown}
417 @cindex @code{\tieBoth}
419 @cindex @code{\tieDotted}
421 @cindex @code{\tieSolid}
426 @internalsref{TieEvent}, @internalsref{NewTieEvent},
427 @internalsref{Tie}, and @ref{Automatic note splitting}.
430 ties created for a chord, see @inputfileref{input/test,tie-sparse.ly}.
434 Tieing only a subset of the note heads of a pair of chords is not
435 supported in a simple way. It can be achieved by moving the
436 tie-engraver into the @internalsref{Thread} context and turning on and
437 off ties per @internalsref{Thread}.
439 Switching staves when a tie is active, will not produce a slanted tie.
441 Formatting of ties is a difficult subject. The results are often not
451 @cindex @code{\times}
453 Tuplets are made out of a music expression by multiplying all durations
456 @cindex @code{\times}
458 \times @var{fraction} @var{musicexpr}
461 The duration of @var{musicexpr} will be multiplied by the fraction.
462 In the sheet music, the fraction's denominator will be printed over
463 the notes, optionally with a bracket. The most common tuplet is the
464 triplet in which 3 notes have the length of 2, so the notes are 2/3
465 of their written length:
467 @lilypond[fragment,verbatim,center]
468 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
471 The property @code{tupletSpannerDuration} specifies how long each
472 bracket should last. With this, you can make lots of tuplets while
473 typing @code{\times} only once, saving lots of typing. In the next
474 example, there are two triplets shown, while @code{\times} was only
477 @lilypond[fragment, relative, singleline, verbatim]
478 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
479 \times 2/3 { c'8 c c c c c }
482 The format of the number is determined by the property
483 @code{tupletNumberFormatFunction}. The default prints only the
484 denominator, but if it is set to the Scheme function
485 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
489 @cindex @code{tupletNumberFormatFunction}
490 @cindex tuplet formatting
495 @cindex @code{\tupletUp}
497 @cindex @code{\tupletDown}
499 @cindex @code{\tupletBoth}
504 @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
508 Nested tuplets are not formatted automatically. In this case, outer
509 tuplet brackets should be moved manually.
511 @node Easy Notation note heads
512 @subsection Easy Notation note heads
514 @cindex easy notation
517 The `easy play' note head includes a note name inside the head. It is
518 used in music aimed at beginners:
520 @lilypond[singleline,verbatim,26pt]
522 \notes { c'2 e'4 f' | g'1 }
523 \paper { \translator { \EasyNotation } }
527 The @code{EasyNotation} variable overrides a @internalsref{Score} context.
528 You probably will want to print it with magnification or a
529 large font size to make it more readable. To print with
530 magnification, you must create a DVI file (with @file{ly2dvi}) and
531 then enlarge it with something like @file{dvips -x 2000 file.dvi}.
532 See the @code{dvips} documentation for more details. To print with a
533 larger font, see @ref{Font Size}.
539 If you view the result with Xdvi, then staff lines will show through
540 the letters. Printing the PostScript file obtained with ly2dvi does
541 produce the correct result.
544 @node Easier music entry
545 @section Easier music entry
548 When entering music it is easy to introduce errors. This section deals
549 with tricks and features of the input language that help when entering
550 music, and find and correct mistakes. Some features of the input
551 language ease entering music, but also have other applications. They
552 are not described in this section.
554 It is also possible to use external programs, for example GUI
555 interfaces, or MIDI transcription programs, to enter or edit
556 music. Refer to the website for more information. Finally, there are
557 tools make debugging easier, by linking the input file and the output
558 shown on screen. See @ref{Point and click} for more information.
564 * Skipping corrected music::
565 * Automatic note splitting ::
571 @node Relative octaves
572 @subsection Relative octaves
574 @cindex relative octave specification
576 Octaves are specified by adding @code{'} and @code{,} to pitch names.
577 When you copy existing music, it is easy to accidentally put a pitch
578 in the wrong octave and hard to find such an error. The relative
579 octave mode prevents these errors: a single error puts the rest of the
580 piece off by one octave:
582 @cindex @code{\relative}
584 \relative @var{startpitch} @var{musicexpr}
587 The octave of notes that appear in @var{musicexpr} are calculated as
588 follows: If no octave changing marks are used, the basic interval
589 between this and the last note is always taken to be a fourth or less
590 (; this distance is determined without regarding alterations: a
591 @code{fisis} following a @code{ceses} will be put above the
594 The octave changing marks @code{'} and @code{,} can be added to raise
595 or lower the pitch by an extra octave. Upon entering relative mode,
596 an absolute starting pitch must be specified that will act as the
597 predecessor of the first note of @var{musicexpr}.
599 Here is the relative mode shown in action:
600 @lilypond[fragment,singleline,verbatim,center]
606 Octave changing marks are used for intervals greater than a fourth:
607 @lilypond[fragment,verbatim,center]
612 If the preceding item is a chord, the first note of the chord is used
613 to determine the first note of the next chord:
615 @lilypond[fragment,verbatim,center]
622 @cindex @code{\notes}
624 The pitch after the @code{\relative} contains a note name. To parse
625 the pitch as a note name, you have to be in note mode, so there must
626 be a surrounding @code{\notes} keyword (which is not
629 The relative conversion will not affect @code{\transpose},
630 @code{\chords} or @code{\relative} sections in its argument. If you
631 want to use relative within transposed music, you must place an
632 additional @code{\relative} inside the @code{\transpose}.
636 @subsection Bar check
640 @cindex @code{barCheckSynchronize}
643 Bar checks help detect errors in the durations. A bar check is
644 entered using the bar symbol, `@code{|}'. Whenever it is encountered
645 during interpretation, it should fall on a measure boundary. If it
646 does not, a warning is printed. Depending on the value of
647 @code{barCheckSynchronize}, the beginning of the measure will be
650 In the next example, the second bar check will signal an error:
652 \time 3/4 c2 e4 | g2 |
657 @cindex skipTypesetting
659 Failed bar checks are caused by entering incorrect
660 durations. Incorrect durations often completely garble up the score,
661 especially if it is polyphonic, so you should start correcting the
662 score by scanning for failed bar checks and incorrect durations. To
663 speed up this process, you can use @code{skipTypesetting}, described
666 @node Skipping corrected music
667 @subsection Skipping corrected music
669 The property @code{Score.skipTypesetting} can be used to switch on and
670 off typesetting completely during the interpretation phase. When
671 typesetting is switched off, the music is processed much more quickly.
672 This can be used to skip over the parts of a score that have already
673 been checked for errors:
675 @lilypond[fragment,singleline,verbatim]
677 \property Score.skipTypesetting = ##t
679 \property Score.skipTypesetting = ##f
683 @node Automatic note splitting
684 @subsection Automatic note splitting
686 Long notes can be converted automatically to tied notes. This is done
687 by replacing the @internalsref{Note_heads_engraver} by the
688 @internalsref{Completion_heads_engraver}:
691 \paper @{ \translator @{
693 \remove "Note_heads_engraver"
694 \consists "Completion_heads_engraver"
698 which will make long notes tied in the following example:
701 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
708 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
710 \paper { \translator {
712 \remove "Note_heads_engraver"
713 \consists "Completion_heads_engraver"
718 This engraver splits all running notes at the bar line, and inserts
719 ties. One of its uses is to debug complex scores: if the measures are
720 not entirely filled, then the ties exactly show how much each measure
725 Not all durations (especially those containing tuplets) can be
726 represented exactly; the engraver will not insert tuplets.
732 @section Staff notation
734 This section describes music notation that occurs on staff level,
735 such as keys, clefs and time signatures.
737 @cindex Staff notation
751 @subsection Staff symbol
753 @cindex adjusting staff symbol
754 @cindex StaffSymbol, using \property
755 @cindex staff lines, setting number of
757 Notes, dynamic signs, etc. are grouped
758 with a set of horizontal lines, into a staff (plural `staves'). In our
759 system, these lines are drawn using a separate layout object called
762 This object is created whenever a @internalsref{Staff} context is
763 created. The appearance of the staff symbol cannot be changed by
764 using @code{\override} or @code{\set}. At the moment that
765 @code{\property Staff} is interpreted, a @internalsref{Staff} context
766 is made, and the @internalsref{StaffSymbol} is created before any
767 @code{\override} is effective. Properties can be changed in a
768 @code{\translator} definition, or by using @code{\outputproperty}.
772 If a staff is ended halfway a piece, the staff symbol may not end
773 exactly on the barline.
777 @subsection Key signature
778 @cindex Key signature
782 The key signature indicates the scale in which a piece is played. It
783 is denoted by a set of alterations (flats or sharps) at the start of
788 Setting or changing the key signature is done with the @code{\key}
791 @code{\key} @var{pitch} @var{type}
794 @cindex @code{\minor}
795 @cindex @code{\major}
796 @cindex @code{\minor}
797 @cindex @code{\ionian}
798 @cindex @code{\locrian}
799 @cindex @code{\aeolian}
800 @cindex @code{\mixolydian}
801 @cindex @code{\lydian}
802 @cindex @code{\phrygian}
803 @cindex @code{\dorian}
805 Here, @var{type} should be @code{\major} or @code{\minor} to get
806 @var{pitch}-major or @var{pitch}-minor, respectively.
807 The standard mode names @code{\ionian},
808 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
809 @code{\phrygian}, and @code{\dorian} are also defined.
811 This command sets the context property
812 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
813 can be specified by setting this property directly.
817 The ordering of a key cancellation is wrong when it is combined with
818 repeat bar lines. The cancellation is also printed after a line break.
822 @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
824 @cindex @code{keySignature}
831 The clef indicates which lines of the staff correspond to which
836 The clef can be set or changed with the @code{\clef} command:
837 @lilypond[fragment,verbatim]
838 \key f\major c''2 \clef alto g'2
841 Supported clef-names include:
842 @c Moved standard clefs to the top /MB
844 @item treble, violin, G, G2
853 G clef on 1st line, so-called French violin clef
868 By adding @code{_8} or @code{^8} to the clef name, the clef is
869 transposed one octave down or up, respectively. Argument @var{clefname}
870 must be enclosed in quotes when it contains underscores or digits. For
876 This command is equivalent to setting @code{clefGlyph},
877 @code{clefPosition} (which controls the Y position of the clef),
878 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
879 when any of these properties are changed.
883 The object for this symbol is @internalsref{Clef}.
887 @node Ottava brackets
888 @subsection Ottava brackets
890 ``Ottava'' brackets introduce an extra transposition of an octave for
891 the staff. They are created by invoking the function
892 @code{set-octavation}:
898 @lilypond[verbatim,fragment]
907 Internally the @code{set-octavation} function sets the properties
908 @code{ottavation} (eg. to @code{"8va"}) and @code{centralCPosition}.
912 @internalsref{OttavaBracket}.
916 @code{set-octavation} will get confused when clef changes happen
917 during an octavation bracket.
920 @subsection Time signature
921 @cindex Time signature
925 Time signature indicates the metrum of a piece: a regular pattern of
926 strong and weak beats. It is denoted by a fraction at the start of the
931 The time signature is set or changed by the @code{\time}
933 @lilypond[fragment,verbatim]
934 \time 2/4 c'2 \time 3/4 c'2.
937 The symbol that is printed can be customized with the @code{style}
938 property. Setting it to @code{#'()} uses fraction style for 4/4 and
939 2/2 time. There are many more options for its layout. See
940 @inputfileref{input/test,time.ly} for more examples.
943 This command sets the property @code{timeSignatureFraction},
944 @code{beatLength} and @code{measureLength} in the @code{Timing}
945 context, which is normally aliased to @internalsref{Score}. The
946 property @code{measureLength} determines where bar lines should be
947 inserted, and how automatic beams should be generated. Changing the
948 value of @code{timeSignatureFraction} also causes the symbol to be
951 More options are available through the Scheme function
952 @code{set-time-signature}. In combination with the
953 @internalsref{Measure_grouping_engraver}, it will create
954 @internalsref{MeasureGrouping} signs. Such signs ease reading
955 rhythmically complex modern music. In the following example, the 9/8
956 measure is subdivided in 2, 2, 2 and 3. This is passed to
957 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
960 \score { \notes \relative c'' {
961 #(set-time-signature 9 8 '(2 2 2 3))
962 g8-[ g-] d-[ d-] g-[ g-] a8-[-( bes g-]-) |
963 #(set-time-signature 5 8 '(3 2))
968 \translator { \StaffContext
969 \consists "Measure_grouping_engraver"
975 @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
980 Automatic beaming does not use measure grouping specified with
981 @code{set-time-signature}.
983 @node Partial measures
984 @subsection Partial measures
987 @cindex partial measure
988 @cindex measure, partial
989 @cindex shorten measures
990 @cindex @code{\partial}
992 Partial measures, for example in upsteps, are entered using the
993 @code{\partial} command:
994 @lilypond[fragment,verbatim]
995 \partial 16*5 c'16 c4 | a'2. ~ a'8. a'16 | g'1
998 The syntax for this command is
1000 \partial @var{duration}
1002 This is internally translated into
1004 \property Timing.measurePosition = -@var{length of duration}
1007 The property @code{measurePosition} contains a rational number
1008 indicating how much of the measure has passed at this point.
1010 @node Unmetered music
1011 @subsection Unmetered music
1013 Bar lines and bar numbers are calculated automatically. For unmetered
1014 music (e.g. cadenzas), this is not desirable. By setting
1015 @code{Score.timing} to false, this automatic timing can be switched
1021 @cindex @code{\cadenzaOn}
1023 @cindex @code{\cadenzaOff}
1027 @subsection Bar lines
1031 @cindex measure lines
1035 Bar lines delimit measures, but are also used to indicate repeats.
1036 Normally, they are inserted automatically. Line breaks may only
1042 of barlines can be forced with the @code{\bar} command:
1043 @lilypond[relative=1,fragment,verbatim]
1047 The following bar types are available:
1048 @lilypond[fragment, relative, singleline, verbatim]
1060 In scores with many staves, a @code{\bar} command in one staff is
1061 automatically applied to all staves. The resulting bar lines are
1062 connected between different staves of a @internalsref{StaffGroup}:
1064 @lilypond[fragment, verbatim]
1065 < \context StaffGroup <
1066 \context Staff = up { e'4 d'
1069 \context Staff = down { \clef bass c4 g e g } >
1070 \context Staff = pedal { \clef bass c2 c2 } >
1074 The command @code{\bar @var{bartype}} is a short cut for doing
1075 @code{\property Score.whichBar = @var{bartype}} Whenever
1076 @code{whichBar} is set to a string, a bar line of that type is
1077 created. At the start of a measure it is set to
1078 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1079 to override default measure bars.
1081 Property @code{whichBar} can also be set directly, using @code{\property}
1082 or @code{\bar}. These settings take precedence over the automatic
1083 @code{whichBar} settings.
1086 @cindex repeatCommands
1087 @cindex defaultBarType
1089 You are encouraged to use @code{\repeat} for repetitions. See
1099 The bar line objects that are created at @internalsref{Staff} level
1100 are called @internalsref{BarLine}, the bar lines that span staves are
1101 @internalsref{SpanBar}s.
1103 @cindex bar lines at start of system
1104 @cindex start of system
1106 The barlines at the start of each system are
1107 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1108 @internalsref{SystemStartBracket}. They are spanner objects and
1109 typically must be tuned from a @code{\translator} block.
1116 The easiest way to enter fragments with more than one voice on a staff
1117 is to split chords using the separator @code{\\}. You can use it for
1118 small, short-lived voices or for single chords:
1120 @lilypond[verbatim,fragment]
1121 \context Voice = VA \relative c'' {
1122 c4 < { f d e } \\ { b c2 } > c4 < g' \\ b, \\ f' \\ d >
1126 The separator causes @internalsref{Voice} contexts to be
1128 bear the names @code{"1"}, @code{"2"}, etc. In each of these
1129 contexts, vertical direction of slurs, stems, etc. is set
1132 This can also be done by instantiating @internalsref{Voice} contexts
1133 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1134 a stem directions and horizontal shift for each part:
1137 @lilypond[singleline, verbatim]
1139 \context Staff < \context Voice = VA { \voiceOne cis2 b }
1140 \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
1141 \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
1144 Normally, note heads with a different number of dots are not merged, but
1145 when the object property @code{merge-differently-dotted} is set in
1146 the @internalsref{NoteCollision} object, they are merged:
1147 @lilypond[verbatim,fragment,singleline]
1148 \relative c'' \context Voice < {
1150 \property Staff.NoteCollision \override
1151 #'merge-differently-dotted = ##t
1153 } \\ { g8.-[ f16-] g8.-[ f16-] }
1157 Similarly, you can merge half note heads with eighth notes, by setting
1158 @code{merge-differently-headed}:
1159 @lilypond[fragment, relative=2,verbatim]
1162 \property Staff.NoteCollision
1163 \override #'merge-differently-headed = ##t
1164 c8 c4. } \\ { c2 c2 } >
1167 LilyPond also vertically shifts rests that are opposite of a stem:
1170 @lilypond[singleline,fragment,verbatim]
1171 \context Voice < c''4 \\ r4 >
1179 @cindex @code{\oneVoice}
1181 @cindex @code{\voiceOne}
1183 @cindex @code{\voiceTwo}
1185 @cindex @code{\voiceThree}
1187 @cindex @code{\voiceFour}
1190 The following commands specify in what chords of the current voice
1191 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1192 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1195 @cindex @code{\shiftOn}
1197 @cindex @code{\shiftOnn}
1199 @cindex @code{\shiftOnnn}
1201 @cindex @code{\shiftOff}
1208 The objects responsible for resolving collisions are
1209 @internalsref{NoteCollision} and @internalsref{RestCollision}. See
1210 also example files @inputfileref{input/regression,collision-dots.ly},
1211 @inputfileref{input/regression,collision-head-chords.ly},
1212 @inputfileref{input/regression,collision-heads.ly},
1213 @inputfileref{input/regression,collision-mesh.ly}, and
1214 @inputfileref{input/regression,collisions.ly}.
1219 Resolving collisions is a intricate subject, and only a few situations
1220 are handled. When LilyPond cannot cope, the @code{force-hshift}
1221 property of the @internalsref{NoteColumn} object and pitched rests can
1222 be used to override typesetting decisions.
1224 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1225 note, and a downstem half note, the 8th note gets the wrong offset.
1230 Beams are used to group short notes into chunks that are aligned with
1231 the metrum. They are inserted automatically in most cases:
1233 @lilypond[fragment,verbatim, relative=2]
1234 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1237 When these automatic decisions are not good enough, beaming can be
1238 entered explicitly. It is also possible to define beaming patterns
1239 that differ from the defaults.
1243 @internalsref{Beam}.
1246 @cindex Automatic beams
1247 @subsection Manual beams
1248 @cindex beams, manual
1252 In some cases it may be necessary to override the automatic beaming
1253 algorithm. For example, the auto beamer will not put beams over rests
1254 or bar lines. Such beams are specified by manually: the begin and end
1255 point are marked with @code{[} and @code{]}:
1257 @lilypond[fragment,relative,verbatim]
1259 r4 r8-[ g' a r8-] r8 g-[ | a-] r8
1263 @cindex @code{stemLeftBeamCount}
1265 Normally, beaming patterns within a beam are determined automatically.
1266 When this mechanism fouls up, the properties
1267 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1268 be used to control the beam subdivision on a stem. If either property
1269 is set, its value will be used only once, and then it is erased.
1271 @lilypond[fragment,relative,verbatim]
1274 f8-[ r16 \property Voice.stemLeftBeamCount = #1 f g a-]
1277 @cindex @code{stemRightBeamCount}
1280 The property @code{subdivideBeams} can be set in order to subdivide
1281 all 16th or shorter beams at beat positions, as defined by the
1282 @code{beatLength} property . This accomplishes the same effect as
1283 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1284 but it take less typing:
1287 @lilypond[relative=1,verbatim,noindent]
1288 c16-[ c c c c c c c-]
1289 \property Voice.subdivideBeams = ##t
1290 c16-[ c c c c c c c-]
1291 \property Score.beatLength = #(ly:make-moment 1 8)
1292 c16-[ c c c c c c c-]
1294 @cindex subdivideBeams
1296 Kneed beams are inserted automatically, when a large gap is detected
1297 between the note heads. This behavior can be tuned through the object
1298 property @code{auto-knee-gap}.
1300 Normally, line breaks are forbidden when beams cross bar lines. This
1301 behavior can be changed by setting @code{allowBeamBreak}.
1303 @cindex @code{allowBeamBreak}
1304 @cindex beams and line breaks
1306 @cindex beams, kneed
1308 @cindex auto-knee-gap
1314 @cindex Frenched staves
1316 Automatically kneed beams cannot be used together with hidden staves.
1321 * Setting automatic beam behavior ::
1325 @no de Beam typography
1326 @sub section Beam typography
1328 One of the strong points of LilyPond is how beams are formatted. Beams
1329 are quantized, meaning that the left and right endpoints beams start
1330 exactly on staff lines. Without quantization, small wedges of white
1331 space appear between the beam and staff line, and this looks untidy.
1333 Beams are also slope-damped: melodies that go up or down should also
1334 have beams that go up or down, but the slope of the beams should be
1335 less than the slope of the notes themselves.
1337 Some beams should be horizontal. These are so-called concave beams.
1339 [TODO: some pictures.]
1343 @node Setting automatic beam behavior
1344 @subsection Setting automatic beam behavior
1346 @cindex @code{autoBeamSettings}
1347 @cindex @code{(end * * * *)}
1348 @cindex @code{(begin * * * *)}
1349 @cindex automatic beams, tuning
1350 @cindex tuning automatic beaming
1352 @c [TODO: use \applycontext]
1354 In normal time signatures, automatic beams can start on any note but can
1355 only end in a few positions within the measure: beams can end on a beat,
1356 or at durations specified by the properties in
1357 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1358 are defined in @file{scm/auto-beam.scm}.
1360 The value of @code{autoBeamSettings} is changed using
1361 @code{\override} and restored with @code{\revert}:
1363 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1364 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1366 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1367 whether the rule applies to begin or end-points. The quantity
1368 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1369 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1370 signature (wildcards, `@code{* *}' may be entered to designate all time
1373 For example, if automatic beams should end on every quarter note, use
1376 \property Voice.autoBeamSettings \override
1377 #'(end * * * *) = #(ly:make-moment 1 4)
1379 Since the duration of a quarter note is 1/4 of a whole note, it is
1380 entered as @code{(ly:make-moment 1 4)}.
1382 The same syntax can be used to specify beam starting points. In this
1383 example, automatic beams can only end on a dotted quarter note:
1385 \property Voice.autoBeamSettings \override
1386 #'(end * * * *) = #(ly:make-moment 3 8)
1388 In 4/4 time signature, this means that automatic beams could end only on
1389 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1390 3/8 has passed within the measure).
1392 Rules can also be restricted to specific time signatures. A rule that
1393 should only be applied in @var{N}/@var{M} time signature is formed by
1394 replacing the second asterisks by @var{N} and @var{M}. For example, a
1395 rule for 6/8 time exclusively looks like
1397 \property Voice.autoBeamSettings \override
1398 #'(begin * * 6 8) = ...
1401 If a rule should be to applied only to certain types of beams, use the
1402 first pair of asterisks. Beams are classified according to the
1403 shortest note they contain. For a beam ending rule that only applies
1404 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1407 If a score ends while an automatic beam has not been ended and is still
1408 accepting notes, this last beam will not be typeset at all.
1410 @cindex automatic beam generation
1412 @cindex @code{Voice.autoBeaming}
1415 For melodies that have lyrics, you may want to switch off
1416 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1421 @cindex @code{\autoBeamOff}
1422 @code{\autoBeamOff},
1423 @cindex @code{\autoBeamOn}
1429 The rules for ending a beam depend on the shortest note in a beam.
1430 So, while it is possible to have different ending rules for eight
1431 beams and sixteenth beams, a beam that contains both eight and
1432 sixteenth notes will use the rules for the sixteenth beam.
1434 In the example below, the autobeamer makes eight beams and sixteenth
1435 end at 3 eights; the third beam can only be corrected by specifying
1438 @lilypond[singleline,fragment,relative,noverbatim,quote]
1439 \property Voice.autoBeamSettings
1440 \override #'(end * * * *) = #(ly:make-moment 3 8)
1441 % rather show case where it goes wrong
1442 %\time 12/8 c'8 c c c16 c c c c c c-[ c c c-] c8-[ c-] c4
1443 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1445 It is not possible to specify beaming parameters that act differently in
1446 different parts of a measure. This means that it is not possible to use
1447 automatic beaming in irregular meters such as @code{5/8}.
1450 @section Accidentals
1453 This section describes how to change the way that accidentals are
1454 inserted automatically before the running notes.
1458 * Using the predefined accidental variables::
1459 * Customized accidental rules::
1462 @node Using the predefined accidental variables
1463 @subsection Using the predefined accidental variables
1465 The constructs for describing the accidental typesetting rules are
1466 quite hairy, so non-experts should stick to the variables
1467 defined in @file{ly/property-init.ly}.
1468 @cindex @file{property-init.ly}
1470 The variables set properties in the ``@code{Current}'' context (see
1471 @ref{Context properties}). This means that the variables should
1472 normally be added right after the creation of the context in which the
1473 accidental typesetting described by the variable is to take
1474 effect. For example, if you want to use piano-accidentals in a piano
1475 staff then issue @code{\pianoAccidentals} first thing after the
1476 creation of the piano staff:
1479 \notes \relative c'' <
1480 \context Staff = sa @{ cis4 d e2 @}
1481 \context GrandStaff <
1483 \context Staff = sb @{ cis4 d e2 @}
1484 \context Staff = sc @{ es2 c @}
1486 \context Staff = sd @{ es2 c @}
1490 @lilypond[singleline]
1492 \notes \relative c'' <
1493 \context Staff = sa { cis4 d e2 }
1494 \context GrandStaff <
1496 \context Staff = sb { cis4 d e2 }
1497 \context Staff = sc { es2 c }
1499 \context Staff = sd { es2 c }
1504 minimumVerticalExtent = #'(-4.0 . 4.0)
1512 @item \defaultAccidentals
1513 @cindex @code{\defaultAccidentals}
1514 This is the default typesetting behaviour. It should correspond
1515 to 18th century common practice: Accidentals are
1516 remembered to the end of the measure in which they occur and
1517 only on their own octave.
1519 @item \voiceAccidentals
1520 @cindex @code{\voiceAccidentals}
1522 The normal behaviour is to
1523 remember the accidentals on Staff-level. This variable, however,
1524 typesets accidentals individually for each voice. Apart from that the
1525 rule is similar to @code{\defaultAccidentals}.
1527 This leads to some weird and often unwanted results
1528 because accidentals from one voice do not get cancelled in other
1530 @lilypond[singleline,relative,fragment,verbatim,quote]
1538 Hence you should only use @code{\voiceAccidentals} if the voices
1539 are to be read solely by individual musicians. If the staff is to be
1540 used by one musician (e.g. a conductor) then you use
1541 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1544 @item \modernAccidentals
1545 @cindex @code{\modernAccidentals}
1546 This rule corresponds to the common practice in the 20th
1548 The rule is more complex than @code{\defaultAccidentals}.
1549 You get all the same accidentals, but temporary
1550 accidentals also get cancelled in other octaves. Furthermore,
1551 in the same octave, they also get cancelled in the following measure:
1552 @lilypond[singleline,fragment,verbatim]
1554 cis' c'' cis'2 | c'' c'
1557 @item \modernCautionaries
1558 @cindex @code{\modernCautionaries}
1559 This rule is similar to @code{\modernAccidentals}, but the
1560 ``extra'' accidentals (the ones not typeset by
1561 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1562 They are printed in reduced size or with parentheses:
1563 @lilypond[singleline,fragment,verbatim]
1565 cis' c'' cis'2 | c'' c'
1568 @cindex @code{\modernVoiceAccidentals}
1569 @item \modernVoiceAccidentals
1570 is used for multivoice accidentals to be read both by musicians
1571 playing one voice and musicians playing all voices. Accidentals are
1572 typeset for each voice, but they @emph{are} cancelled across voices in
1573 the same @internalsref{Staff}.
1575 @cindex @code{\modernVoiceCautionaries}
1576 @item \modernVoiceCautionaries
1577 is the same as @code{\modernVoiceAccidentals}, but with the extra
1578 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1579 as cautionaries. Even though all accidentals typeset by
1580 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1581 some of them are typeset as cautionaries.
1583 @item \pianoAccidentals
1584 @cindex @code{\pianoAccidentals}
1585 20th century practice for piano notation. Very similar to
1586 @code{\modernAccidentals} but accidentals also get cancelled
1587 across the staves in the same @internalsref{GrandStaff} or
1588 @internalsref{PianoStaff}.
1590 @item \pianoCautionaries
1591 @cindex @code{\pianoCautionaries}
1592 As @code{\pianoAccidentals} but with the extra accidentals
1593 typeset as cautionaries.
1596 @cindex @code{\noResetKey}
1597 Same as @code{\defaultAccidentals} but with accidentals lasting
1598 ``forever'' and not only until the next measure:
1599 @lilypond[singleline,fragment,verbatim,relative]
1604 @item \forgetAccidentals
1605 @cindex @code{\forgetAccidentals}
1606 This is sort of the opposite of @code{\noResetKey}: Accidentals
1607 are not remembered at all---and hence all accidentals are
1608 typeset relative to the key signature, regardless of what was
1609 before in the music:
1610 @lilypond[singleline,fragment,verbatim,relative]
1612 \key d\major c4 c cis cis d d dis dis
1616 @node Customized accidental rules
1617 @subsection Customized accidental rules
1619 This section must be considered gurus-only, and hence it must be
1620 sufficient with a short description of the system and a reference to
1621 the internal documentation.
1623 The algorithm tries several different rules, and uses the rule
1624 that gives the highest number of accidentals. Each rule consists of
1627 In which context is the rule applied. For example, if
1628 @var{context} is @internalsref{Score} then all staves share
1629 accidentals, and if @var{context} is @internalsref{Staff} then all
1630 voices in the same staff share accidentals, but staves do not.
1632 Whether the accidental changes all octaves or only the current
1635 Over how many barlines the accidental lasts.
1636 If @var{lazyness} is @code{-1} then the accidental is forget
1637 immediately, and if @var{lazyness} is @code{#t} then the accidental
1640 @c [TODO: should use +infinity for this case?]
1646 @cindex @code{\defaultAccidentals}
1647 @code{\defaultAccidentals},
1648 @cindex @code{\voiceAccidentals}
1649 @code{\voiceAccidentals},
1650 @cindex @code{\modernAccidentals}
1651 @code{\modernAccidentals},
1652 @cindex @code{\modernCautionaries}
1653 @code{\modernCautionaries},
1654 @cindex @code{\modernVoiceAccidentals}
1655 @code{\modernVoiceAccidentals},
1656 @cindex @code{\modernVoiceCautionaries}
1657 @code{\modernVoiceCautionaries},
1658 @cindex @code{\pianoAccidentals}
1659 @code{\pianoAccidentals},
1660 @cindex @code{\pianoCautionaries}
1661 @code{\pianoCautionaries},
1662 @cindex @code{\noResetKey}
1664 @cindex @code{\forgetAccidentals}
1665 @code{\forgetAccidentals}.
1669 @internalsref{Accidental_engraver}, @internalsref{Accidental}, and
1670 @internalsref{AccidentalPlacement}.
1675 Currently the simultaneous notes are considered to be entered in
1676 sequential mode. This means that in a chord the accidentals are
1677 typeset as if the notes in the chord happened once at a time - in the
1678 order in which they appear in the input file.
1680 This is only a problem when there are simultaneous notes whose
1681 accidentals depend on each other. The problem only occurs when using
1682 non-default accidentals. In the default scheme, accidentals only
1683 depend on other accidentals with the same pitch on the same staff, so
1684 no conflicts possible.
1686 This example shows two examples of the same music giving different
1687 accidentals depending on the order in which the notes occur in the
1690 @lilypond[singleline,fragment,verbatim]
1691 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1692 cis'4 <<c'' c'>> r2 | cis'4 <<c' c''>> r2
1693 | <<cis' c''>> r | <<c'' cis'>> r |
1696 This problem can be solved by manually inserting @code{!} and @code{?}
1697 for the problematic notes.
1699 @node Expressive marks
1700 @section Expressive marks
1708 * Analysis brackets::
1715 A slur indicates that notes are to be played bound or @emph{legato}.
1719 They are entered using parentheses:
1720 @lilypond[fragment,verbatim,center]
1721 f'-( g'-)-( a'-) a'8-[ b'-(-] a'4 g'2 f'4-)
1722 <<c' e'>>2-( <<b d'>>2-)
1726 @c TODO: should explain that ^( and _( set directions
1727 @c should set attachments with ^ and _ ?
1729 Slurs avoid crossing stems, and are generally attached to note heads.
1730 However, in some situations with beams, slurs may be attached to stem
1731 ends. If you want to override this layout you can do this through the
1732 object property @code{attachment} of @internalsref{Slur} in
1733 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1734 the attachment type of the left and right end points:
1736 @lilypond[fragment,relative,verbatim]
1738 \property Voice.Stem \set #'length = #5.5
1740 \property Voice.Slur \set #'attachment = #'(stem . stem)
1744 If a slur would strike through a stem or beam, the slur will be moved
1745 away upward or downward. If this happens, attaching the slur to the
1746 stems might look better:
1748 @lilypond[fragment,relative,verbatim]
1751 \property Voice.Slur \set #'attachment = #'(stem . stem)
1758 @cindex @code{\slurUp}
1760 @cindex @code{\slurDown}
1762 @cindex @code{\slurBoth}
1764 @cindex @code{\slurDotted}
1766 @cindex @code{\slurSolid}
1771 @seeinternals{Slur}, and @internalsref{SlurEvent}.
1776 Producing nice slurs is a difficult problem, and LilyPond currently
1777 uses a simple, empiric method to produce slurs. In some cases, its
1781 @cindex Adjusting slurs
1783 @node Phrasing slurs
1784 @subsection Phrasing slurs
1786 @cindex phrasing slurs
1787 @cindex phrasing marks
1789 A phrasing slur (or phrasing mark) connects chords and is used to
1790 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1793 @lilypond[fragment,verbatim,center,relative]
1794 \time 6/4 c'-\( d-( e-) f-( e-) d-\)
1797 Typographically, the phrasing slur behaves almost exactly like a
1798 normal slur. However, they are treated as different objects. A
1799 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1800 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1801 @code{\phrasingSlurBoth}.
1803 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1804 will only affect normal slurs and not phrasing slurs.
1808 @cindex @code{\phrasingSlurUp}
1809 @code{\phrasingSlurUp},
1810 @cindex @code{\phrasingSlurDown}
1811 @code{\phrasingSlurDown},
1812 @cindex @code{\phrasingSlurBoth}
1813 @code{\phrasingSlurBoth},
1817 See also @internalsref{PhrasingSlur}, and
1818 @internalsref{PhrasingSlurEvent}.
1822 Phrasing slurs have the same limitations in their formatting as normal
1823 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1826 @subsection Breath marks
1828 Breath marks are entered using @code{\breathe}:
1831 @lilypond[fragment,relative,verbatim]
1835 The glyph of the breath mark can be tweaked by overriding the
1836 @code{text} property of the @code{BreathingSign} layout object with the name of
1837 any glyph of @ref{The Feta font}. For example,
1838 @lilypond[fragment,verbatim,relative]
1840 \property Voice.BreathingSign \override #'text = #"scripts-rvarcomma"
1847 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent}, and
1848 @inputfileref{input/regression,breathing-sign.ly}.
1851 @node Metronome marks
1852 @subsection Metronome marks
1855 @cindex beats per minute
1856 @cindex metronome marking
1858 Metronome settings can be entered as follows:
1860 \tempo @var{duration} = @var{perminute}
1863 In the MIDI output, they are interpreted as a tempo change, and in the
1864 paper output, a metronome marking is printed:
1865 @cindex @code{\tempo}
1866 @lilypond[fragment,verbatim]
1872 @internalsref{TempoEvent}.
1877 @subsection Text spanners
1878 @cindex Text spanners
1880 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1881 are written as texts, and extended over many measures with dotted
1882 lines. You can create such texts using text spanners: attach
1883 @code{\startTextSpan} and @code{\stopTextSpan} to the
1884 start and ending note of the spanner.
1886 The string to be printed, as well as the style, is set through object
1889 @lilypond[fragment,relative,verbatim]
1891 \property Voice.TextSpanner \set #'direction = #-1
1892 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1893 c2-\startTextSpan b c-\stopTextSpan a }
1899 @internalsref{TextSpanEvent},
1900 @internalsref{TextSpanner}, and
1901 @inputfileref{input/regression,text-spanner.ly}.
1904 @node Analysis brackets
1905 @subsection Analysis brackets
1907 @cindex phrasing brackets
1908 @cindex musicological analysis
1909 @cindex note grouping bracket
1911 Brackets are used in musical analysis to indicate structure in musical
1912 pieces. LilyPond supports a simple form of nested horizontal brackets.
1913 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1914 @internalsref{Staff} context. A bracket is started with
1915 @code{\startGroup} and closed with @code{\stopGroup}:
1917 @lilypond[singleline,verbatim]
1918 \score { \notes \relative c'' {
1919 c4-\startGroup-\startGroup
1922 c4-\stopGroup-\stopGroup
1924 \paper { \translator {
1925 \StaffContext \consists "Horizontal_bracket_engraver"
1931 @internalsref{HorizontalBracket}, @internalsref{NoteGroupingEvent}, and
1932 @inputfileref{input/regression,note-group-bracket.ly}.
1936 @section Articulations
1937 @cindex Articulations
1939 @cindex articulations
1943 A variety of symbols can appear above and below notes to indicate
1944 different characteristics of the performance. They are added to a note
1945 by adding a dash and the character signifying the
1946 articulation. They are demonstrated here:
1948 @lilypondfile[notexidoc]{script-abbreviations.ly}
1950 The script is automatically placed, but if you need to force
1951 directions, you can use @code{_} to force them down, or @code{^} to
1953 @lilypond[fragment, verbatim]
1960 Other symbols can be added using the syntax
1961 @var{note}@code{-\}@var{name}, e.g. @code{c4-\fermata}. Again, they
1962 can be forced up or down using @code{^} and @code{_}:
1966 @cindex staccatissimo
1975 @cindex organ pedal marks
1984 @cindex prallmordent
1988 @cindex thumb marking
1993 @lilypondfile[notexidoc]{script-chart.ly}
1998 @cindex @code{\scriptUp}
2000 @cindex @code{\scriptDown}
2002 @cindex @code{\scriptBoth}
2007 @internalsref{ScriptEvent}, and @internalsref{Script}.
2011 All of these note ornaments appear in the printed output but have no
2012 effect on the MIDI rendering of the music.
2015 @node Fingering instructions
2016 @section Fingering instructions
2020 Fingering instructions can be entered using
2022 @var{note}-@var{digit}
2024 For finger changes, use markup texts:
2026 @lilypond[verbatim, singleline, fragment]
2027 c'4-1 c'4-2 c'4-3 c'4-4
2028 c'^\markup { \fontsize #-3 \number "2-3" }
2031 @cindex finger change
2036 You can use the thumb-script to indicate that a note should be
2037 played with your thumb (used in cello music):
2039 @lilypond[verbatim, singleline, fragment]
2040 <<a' a''-3>>8-(_\thumb-[ <<b' b''-3>>-)_\thumb
2041 <<c'' c'''-3>>-(_\thumb <<d'' d'''-3>>-)_\thumb-]
2044 Fingerings for chords can also be added to individual notes
2045 of the chord by adding them after the pitches:
2046 @lilypond[verbatim,singleline,fragment,relative=1]
2047 << c-1 e-2 g-3 b-5 >> 4
2050 Setting @code{fingerHorizontalDirection} will put the fingerings next
2053 @lilypond[verbatim,singleline,fragment,relative=1]
2054 \property Voice.fingerHorizontalDirection = #LEFT
2055 << c-1 es-2 g-4 bes-5 >> 4
2056 \property Voice.fingerHorizontalDirection = #RIGHT
2057 << c-1 es-2 g-4 bes-5 >> 4
2062 @internalsref{FingerEvent}, and @internalsref{Fingering}.
2073 @subsection Text scripts
2074 @cindex Text scripts
2076 It is possible to place arbitrary strings of text or markup text (see
2077 @ref{Text markup}) above or below notes by using a string:
2078 @code{c^"text"}. By default, these indications do not influence the
2079 note spacing, but by using the command @code{\fatText}, the widths
2080 will be taken into account:
2082 @lilypond[fragment,singleline,verbatim] \relative c' {
2083 c4^"longtext" \fatText c4_"longlongtext" c4 }
2086 It is possible to use @TeX{} commands in the strings, but this should
2087 be avoided because the exact dimensions of the string can then no
2093 @internalsref{TextScriptEvent}, @internalsref{TextScript}, and
2099 @subsection Grace notes
2102 @c should have blurb about accaciatura / appogiatura
2104 @cindex @code{\grace}
2108 Grace notes are ornaments that are written out, like accaciatura and
2110 @lilypond[relative=2,verbatim,fragment] c4 \grace c16 c4 \grace {
2114 From the point of view of typesetting, their characteristic is that
2115 grace notes take up take up no logical time in a measure. Internally,
2116 timing for grace notes is done using a second time. Every point in
2117 musical time consists of two rational numbers: one denotes the logical
2118 time, one denotes the grace timing. The above example is shown here
2122 \score { \notes \relative c''{
2123 c4^"(0,0)" \grace c16_" "_"(1/4,-1/16)" c4^"(1/4,0)" \grace {
2124 c16_"(2/4,-1/8)"-[ d16^"(2/4,-1/16)" ] } c4_" "_"(2/4,0)"
2126 \paper { linewidth = 12.\cm }
2131 The placement of grace notes is synchronized between different staves.
2132 In the following example, there are two sixteenth graces notes for
2133 every eighth grace note:
2135 @lilypond[relative=2,verbatim,fragment]
2136 < \context Staff = SA { e4 \grace { c16-[ d e f-] } e4 }
2137 \context Staff = SB { c'4 \grace { g8-[ b-] } c4 } >
2141 Unbeamed eighth notes and shorter by default have a slash through the
2142 stem. These notes are called accaciaturas, and should generally be
2143 played as short as possible. An appogiatura takes a fixed fraction of
2144 the main note, is and denoted without a slash.
2146 Such slashless notes are obtained by setting the object property
2147 @code{stroke-style} of the @internalsref{Stem} object. For proper
2148 matching of override and reverts of such properties, it is necessary
2149 to use a Scheme function.
2151 The following fragment overrides the default formatting Grace style stems:
2153 #(add-to-grace-init "Voice" 'Stem 'stroke-style '())
2156 The @code{\override} is carefully matched with a @code{\revert}:
2161 @lilypond[fragment,verbatim]
2162 \relative c'' \context Voice {
2163 \grace c8 c4 \grace { c16-[ c16-] } c4
2165 \property Voice.Stem \override #'stroke-style = #'()
2167 \property Voice.Stem \revert #'stroke-style
2172 If you want to end a note with a grace note, then the standard trick
2173 is to put the grace notes before a phantom ``space note'', e.g.
2174 @lilypond[fragment,verbatim, relative=2]
2177 { s2 \grace { c16-[ d-] } } >
2183 By adjusting the duration of the skip note (here it is a half-note),
2184 the space between the main-note and the grace is adjusted.
2186 A @code{\grace} section has some default values, and LilyPond will
2187 use those default values unless you specify otherwise inside the
2188 @code{\grace} section. For example, if you specify \slurUp
2189 @emph{before} your @code{\grace} section, a slur which starts inside
2190 the @code{\grace} will not be forced up, even if the slur ends outside
2191 of the @code{\grace}. Note the difference between the first and
2192 second bars in this example:
2194 @lilypond[fragment,verbatim]
2195 \relative c'' \context Voice {
2213 @internalsref{GraceMusic}.
2217 Grace notes cannot be used in the smallest size (@file{paper11.ly}).
2219 A score that starts with an @code{\grace} section needs an explicit
2220 @code{\context Voice} declaration, otherwise the main note and grace
2221 note end up on different staves.
2223 Grace note synchronization can also lead to surprises. Staff notation,
2224 such as key signatures, barlines, etc. are also synchronized. Take
2225 care when you mix staves with grace notes and staves without, for example,
2227 @lilypond[relative=2,verbatim,fragment]
2228 < \context Staff = SA { e4 \bar "|:" \grace c16 d4 }
2229 \context Staff = SB { c4 \bar "|:" d4 } >
2232 Grace sections should only be used within sequential music
2233 expressions. Nesting or juxtaposing grace sections is not supported,
2234 and might produce crashes or other errors.
2236 Overriding settings for grace music globally cannot be done in a
2237 modular way. A kludge (@code{add-to-grace-init}) is defined in
2238 @file{ly/grace-init.ly}.
2242 @subsection Glissando
2245 @cindex @code{\glissando}
2247 A glissando is a smooth change in pitch. It is denoted by a line or a
2248 wavy line between two notes.
2252 A glissando line can be requested by attaching a @code{\glissando} to
2255 @lilypond[fragment,relative,verbatim]
2261 @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2266 Additional texts (such as @emph{gliss.}) is not supported.
2270 @subsection Dynamics
2283 @cindex @code{\ffff}
2293 Absolute dynamic marks are specified using an variable after a
2294 note: @code{c4-\ff}. The available dynamic marks are @code{\ppp},
2295 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2296 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2297 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2299 @lilypond[verbatim,singleline,fragment,relative]
2300 c'-\ppp c-\pp c -\p c-\mp c-\mf c-\f c-\ff c-\fff
2306 @cindex @code{\decr}
2307 @cindex @code{\rced}
2314 A crescendo mark is started with @code{\<} and terminated with
2315 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2316 with @code{\!}. Because these marks are bound to notes, if you must
2317 use spacer notes if multiple marks during one note are needed:
2319 @lilypond[fragment,verbatim,center,quote]
2320 c''-\< c''-\! d''-\decr e''-\rced
2321 < f''1 { s4 s4-\< s4-\! \> s4-\! } >
2323 This may give rise to very short hairpins. Use @code{minimum-length}
2324 in @internalsref{Voice}.@internalsref{HairPin} to lengthen them, for
2328 \property Staff.Hairpin \override #'minimum-length = #5
2331 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2332 is an example how to do it:
2334 @lilypond[fragment,relative=2,verbatim]
2335 c4 \cresc c4 c c c \endcresc c4
2341 You can also supply your own texts:
2342 @lilypond[fragment,relative,verbatim]
2344 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2345 \property Voice.crescendoSpanner = #'dashed-line
2355 @cindex @code{\dynamicUp}
2357 @cindex @code{\dynamicDown}
2358 @code{\dynamicDown},
2359 @cindex @code{\dynamicBoth}
2360 @code{\dynamicBoth}.
2362 @cindex direction, of dynamics
2366 @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2367 @internalsref{AbsoluteDynamicEvent}.
2369 Dynamics are objects of @internalsref{DynamicText} and
2370 @internalsref{Hairpin}. Vertical positioning of these symbols is
2371 handled by the @internalsref{DynamicLineSpanner} object.
2373 If you want to adjust padding or vertical direction of the dynamics, you
2374 must set properties for the @internalsref{DynamicLineSpanner} object.
2382 @cindex @code{\repeat}
2385 Repetition is a central concept in music, and multiple notations exist
2386 for repetitions. In LilyPond, most of these notations can be captured
2387 in a uniform syntax. One of the advantages is, all these repetitions
2388 can be rendered in MIDI accurately.
2390 The following types of repetition are supported:
2394 Repeated music is fully written (played) out. Useful for MIDI
2395 output, and entering repetitive music.
2398 This is the normal notation: Repeats are not written out, but
2399 alternative endings (voltas) are printed, left to right.
2403 Alternative endings are written stacked. This has limited use but may be
2404 used to typeset two lines of lyrics in songs with repeats, see
2405 @inputfileref{input,star-spangled-banner.ly}.
2412 Make beat or measure repeats. These look like percent signs.
2418 * Repeats and MIDI::
2419 * Manual repeat commands::
2421 * Tremolo subdivisions::
2426 @subsection Repeat syntax
2430 LilyPond has one syntactic construct for specifying different types of
2431 repeats. The syntax is
2434 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2437 If you have alternative endings, you may add
2438 @cindex @code{\alternative}
2440 \alternative @code{@{} @var{alternative1}
2442 @var{alternative3} @dots{} @code{@}}
2444 where each @var{alternative} is a music expression. If you do not
2445 give enough alternatives for all of the repeats, then the first
2446 alternative is assumed to be played more than once.
2448 Normal notation repeats are used like this:
2449 @lilypond[fragment,verbatim]
2451 \repeat volta 2 { c'4 d' e' f' }
2452 \repeat volta 2 { f' e' d' c' }
2455 With alternative endings:
2456 @lilypond[fragment,verbatim]
2458 \repeat volta 2 {c'4 d' e' f'}
2459 \alternative { {d'2 d'} {f' f} }
2463 @lilypond[fragment,verbatim]
2467 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2468 \alternative { { g4 g g } { a | a a a a | b2. } }
2475 If you do a nested repeat like
2484 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2485 belongs. This ambiguity is resolved by always having the
2486 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2487 it is advisable to use braces in such situations.
2490 @node Repeats and MIDI
2491 @subsection Repeats and MIDI
2493 @cindex expanding repeats
2495 For instructions on how to unfold repeats for MIDI output, see the
2496 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2501 Timing information is not remembered at the start of an alternative,
2502 so after a repeat timing information must be reset by hand, for
2503 example by setting @code{Score.measurePosition} or entering
2504 @code{\partial}. Similarly, slurs or ties are also not repeated.
2507 @node Manual repeat commands
2508 @subsection Manual repeat commands
2510 @cindex @code{repeatCommands}
2512 The property @code{repeatCommands} can be used to control the layout of
2513 repeats. Its value is a Scheme list of repeat commands, where each repeat
2517 @item the symbol @code{start-repeat},
2518 which prints a @code{|:} bar line,
2519 @item the symbol @code{end-repeat},
2520 which prints a @code{:|} bar line,
2521 @item the list @code{(volta @var{text})},
2522 which prints a volta bracket saying @var{text}: The text can be specified as
2523 a text string or as a markup text, see @ref{Text markup}. Do not
2524 forget to change the font, as the default number font does not contain
2525 alphabetic characters. Or,
2526 @item the list @code{(volta #f)}, which
2527 stops a running volta bracket:
2530 @lilypond[verbatim, fragment]
2532 \property Score.repeatCommands = #'((volta "93") end-repeat)
2534 \property Score.repeatCommands = #'((volta #f))
2541 @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2542 @internalsref{VoltaRepeatedMusic},
2543 @internalsref{UnfoldedRepeatedMusic}, and
2544 @internalsref{FoldedRepeatedMusic}.
2546 @node Tremolo repeats
2547 @subsection Tremolo repeats
2548 @cindex tremolo beams
2550 To place tremolo marks between notes, use @code{\repeat} with tremolo
2552 @lilypond[verbatim,center,singleline]
2554 \context Voice \notes\relative c' {
2555 \repeat "tremolo" 8 { c16 d16 }
2556 \repeat "tremolo" 4 { c16 d16 }
2557 \repeat "tremolo" 2 { c16 d16 }
2558 \repeat "tremolo" 4 c16
2565 Tremolo beams are @internalsref{Beam} objects. Single stem tremolos
2566 are @internalsref{StemTremolo}s. The music expression is
2567 @internalsref{TremoloEvent}.
2572 The single stem tremolo must be entered without @code{@{} and
2575 @node Tremolo subdivisions
2576 @subsection Tremolo subdivisions
2577 @cindex tremolo marks
2578 @cindex @code{tremoloFlags}
2580 Tremolo marks can be printed on a single note by adding
2581 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2582 A @var{length} value of 8 gives one line across the note stem. If the
2583 length is omitted, then then the last value (stored in
2584 @code{Voice.tremoloFlags}) is used:
2586 @lilypond[verbatim,fragment,center]
2587 c'2:8 c':32 | c': c': |
2590 @c [TODO : stok is te kort bij 32en]
2594 Tremolos in this style do not carry over into the MIDI output.
2597 @node Measure repeats
2598 @subsection Measure repeats
2600 @cindex percent repeats
2601 @cindex measure repeats
2603 In the @code{percent} style, a note pattern can be repeated. It is
2604 printed once, and then the pattern is replaced with a special sign.
2605 Patterns of a one and two measures are replaced by percent-like signs,
2606 patterns that divide the measure length are replaced by slashes:
2608 @lilypond[verbatim,singleline]
2609 \context Voice { \repeat "percent" 4 { c'4 }
2610 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2616 @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2617 @internalsref{PercentRepeatedMusic}, and
2618 @internalsref{DoublePercentRepeat}.
2622 @node Rhythmic music
2623 @section Rhythmic music
2625 Sometimes you might want to show only the rhythm of a melody. This
2626 can be done with the rhythmic staff. All pitches of notes on such a
2627 staff are squashed, and the staff itself has a single line:
2629 @lilypond[fragment,relative,verbatim]
2630 \context RhythmicStaff {
2632 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2637 * Percussion staves::
2638 * Percussion MIDI output::
2641 @node Percussion staves
2642 @subsection Percussion staves
2646 A percussion part for more than one instrument typically uses a
2647 multiline staff where each position in the staff refers to one piece
2652 Percussion staves are typeset with help of a set of Scheme
2653 functions. The system is based on the general MIDI drum-pitches.
2654 Include @file{drumpitch-init.ly} to use drum pitches. This file
2655 defines the pitches from the Scheme variable @code{drum-pitch-names},
2656 the definition of which can be read in @file{scm/drums.scm}. Each
2657 piece of percussion has a full name and an abbreviated name, and either
2658 the full name or the abbreviation may be used in input files.
2660 To typeset the music on a staff apply the function @code{drums->paper}
2661 to the percussion music. This function takes a list of percussion
2662 instrument names, notehead scripts and staff positions (that is:
2663 pitches relative to the C-clef) and transforms the input
2664 music by moving the pitch, changing the notehead and (optionally)
2667 @lilypond[singleline,verbatim,quote]
2668 \include "drumpitch-init.ly"
2669 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2670 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2672 \apply #(drums->paper 'drums) \context Staff <
2674 \context Voice = up { \voiceOne \up }
2675 \context Voice = down { \voiceTwo \down }
2680 In the above example the music was transformed using the list @code{'drums}.
2681 Currently the following lists are defined in @file{scm/drums.scm}:
2684 to typeset a typical drum kit on a five-line staff:
2687 \include "drumpitch-init.ly"
2688 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2689 bd sn ss tomh tommh tomml toml tomfh tomfl }
2690 mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc
2691 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2694 \apply #(drums->paper 'drums) \context Staff <
2698 \context Lyrics \nam
2701 linewidth = 100.0\mm
2704 \remove Bar_engraver
2705 \remove Time_signature_engraver
2706 minimumVerticalExtent = #'(-4.0 . 5.0)
2710 \remove Stem_engraver
2716 The drum scheme supports six different toms. When there fewer toms, simply
2717 select the toms that produce the desired result, i.e. to get toms on
2718 the three middle lines you use @code{tommh}, @code{tomml} and
2721 Because general MIDI does not contain rimshots the sidestick is used
2722 for this purpose instead.
2724 to typeset timbales on a two line staff:
2726 @lilypond[singleline]
2727 \include "drumpitch-init.ly"
2728 nam = \lyrics { timh ssh timl ssl cb }
2729 mus = \notes { timh ssh timl ssl cb s16 }
2732 \apply #(drums->paper 'timbales) \context Staff <
2736 \context Lyrics \nam
2741 \remove Bar_engraver
2742 \remove Time_signature_engraver
2743 StaffSymbol \override #'line-count = #2
2744 StaffSymbol \override #'staff-space = #2
2745 minimumVerticalExtent = #'(-3.0 . 4.0)
2749 \remove Stem_engraver
2756 to typeset congas on a two line staff:
2758 @lilypond[singleline]
2759 \include "drumpitch-init.ly"
2760 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2761 mus = \notes { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2764 \apply #(drums->paper 'congas) \context Staff <
2768 \context Lyrics \nam
2773 \remove Bar_engraver
2774 \remove Time_signature_engraver
2775 StaffSymbol \override #'line-count = #2
2776 StaffSymbol \override #'staff-space = #2
2777 minimumVerticalExtent = #'(-3.0 . 4.0)
2781 \remove Stem_engraver
2787 to typeset bongos on a two line staff:
2789 @lilypond[singleline]
2790 \include "drumpitch-init.ly"
2791 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2792 mus = \notes { boh boho bohm ssh bol bolo bolm ssl s16 }
2795 \apply #(drums->paper 'bongos) \context Staff <
2799 \context Lyrics \nam
2804 \remove Bar_engraver
2805 \remove Time_signature_engraver
2806 StaffSymbol \override #'line-count = #2
2807 StaffSymbol \override #'staff-space = #2
2808 minimumVerticalExtent = #'(-3.0 . 4.0)
2812 \remove Stem_engraver
2818 to typeset all kinds of simple percussion on one line staves:
2819 @lilypond[singleline]
2820 \include "drumpitch-init.ly"
2821 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2822 mus = \notes { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2825 \apply #(drums->paper 'percussion) \context Staff <
2829 \context Lyrics \nam
2834 \remove Bar_engraver
2835 \remove Time_signature_engraver
2836 StaffSymbol \override #'line-count = #1
2837 minimumVerticalExtent = #'(-2.0 . 3.0)
2841 \remove Stem_engraver
2848 If you do not like any of the predefined lists you can define your own
2849 list at the top of your file:
2851 @lilypond[singleline, verbatim]
2852 #(set-drum-kit 'mydrums `(
2853 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2854 (snare default #f ,(ly:make-pitch 0 1 0))
2855 (hihat cross #f ,(ly:make-pitch 0 5 0))
2856 (pedalhihat xcircle "stopped" ,(ly:make-pitch 0 5 0))
2857 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2859 \include "drumpitch-init.ly"
2860 up = \notes { hh8 hh hh hh hhp4 hhp }
2861 down = \notes { bd4 sn bd toml8 toml }
2863 \apply #(drums->paper 'mydrums) \context Staff <
2865 \context Voice = up { \voiceOne \up }
2866 \context Voice = down { \voiceTwo \down }
2871 To use a modified existing list, one can prepend modifications to the
2875 #(set-drum-kit 'mydrums (append `(
2876 (bassdrum default #f ,(ly:make-pitch -1 2 0))
2877 (lowtom diamond #f ,(ly:make-pitch -1 6 0))
2878 ) (get-drum-kit 'drums)))
2881 You can easily combine percussion notation with pitched notation.
2882 Indeed, the file @file{drumpitch-init.ly} replaces the normal pitch
2883 names, so you will have to reinclude @file{nederlands.ly} after the
2884 drum-pattern-definitions to enter normal notes:
2886 @lilypond[singleline,verbatim]
2887 \include "drumpitch-init.ly"
2888 up = \notes { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2889 down = \notes { bassdrum4 snare8 bd r bd sn4 }
2890 \include "nederlands.ly"
2891 bass = \notes \transpose c c,, { a4. e8 r e g e }
2894 \apply #(drums->paper 'drums) \context Staff = drums <
2896 \context Voice = up { \voiceOne \up }
2897 \context Voice = down { \voiceTwo \down }
2899 \context Staff = bass { \clef "F_8" \bass }
2904 @node Percussion MIDI output
2905 @subsection Percussion MIDI output
2907 In order to produce correct MIDI output you need to produce two score
2908 blocks---one for the paper and one for the MIDI output. To use the
2909 percussion channel you set the property @code{instrument} to
2910 @code{'drums}. Because the drum-pitches themselves are similar to the
2911 general MIDI pitches all you have to do is to insert the voices with
2912 none of the scheme functions to get the correct MIDI output:
2916 \apply #(drums->paper 'mydrums) \context Staff <
2925 \property Staff.instrument = #'drums
2934 This scheme is a temporary implementation.
2938 @section Piano music
2940 Piano staves are two normal staves coupled with a brace. The staves
2941 are largely independent, but sometimes voices can cross between the
2942 two staves. The same notation is also used for harps and other key
2943 instruments. The @internalsref{PianoStaff} is especially built to
2944 handle this cross-staffing behavior. In this section we discuss the
2945 @internalsref{PianoStaff} and some other pianistic peculiarities.
2949 * Automatic staff changes::
2950 * Manual staff switches::
2953 * Staff switch lines::
2958 There is no support for putting chords across staves. You can get
2959 this result by increasing the length of the stem in the lower stave so
2960 it reaches the stem in the upper stave, or vice versa. An example is
2961 included with the distribution as @inputfileref{input/test,stem-cross-staff.ly}.
2963 Dynamics are not centered, but kludges do exist. See
2964 @inputfileref{input/templates,piano-dynamics.ly}.
2966 @cindex cross staff stem
2967 @cindex stem, cross staff
2970 @c fixme: should have hyperlinks as well.
2976 @node Automatic staff changes
2977 @subsection Automatic staff changes
2978 @cindex Automatic staff changes
2980 Voices can switch automatically between the top and the bottom
2981 staff. The syntax for this is
2983 \autochange Staff \context Voice @{ @dots{}@var{music}@dots{} @}
2985 The autochanger switches on basis of pitch (central C is the turning
2986 point), and it looks ahead skipping over rests to switch in
2987 advance. Here is a practical example:
2989 @lilypond[verbatim,singleline,quote]
2990 \score { \notes \context PianoStaff <
2991 \context Staff = "up" {
2992 \autochange Staff \context Voice = VA < \relative c' {
2993 g4 a b c d r4 a g } > }
2994 \context Staff = "down" {
3001 In this example, spacer rests are used to prevent the bottom staff from
3002 terminating too soon.
3007 @internalsref{AutoChangeMusic}.
3011 The staff switches often do not end up in optimal places. For high
3012 quality output staff switches should be specified manually.
3016 @node Manual staff switches
3017 @subsection Manual staff switches
3019 @cindex manual staff switches
3020 @cindex staff switch, manual
3022 Voices can be switched between staves manually, using the following command:
3024 \translator Staff = @var{staffname} @var{music}
3028 The string @var{staffname} is the name of the staff. It switches the
3029 current voice from its current staff to the Staff called
3030 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3038 Pianos have pedals that alter the way sound are produced. Generally, a
3039 piano has three pedals, sustain, una corda, and sostenuto.
3043 Piano pedal instruction can be expressed by attaching
3044 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3045 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3048 @lilypond[fragment,verbatim]
3049 c'4-\sustainDown c'4-\sustainUp
3052 What is printed can be modified by setting @code{pedal@var{X}Strings},
3053 where @var{X} is one of the pedal types: @code{Sustain},
3054 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3055 documentation of @internalsref{SustainPedal} for more information.
3057 Pedals can also be indicated by a sequence of brackets, by setting the
3058 @code{pedalSustainStyle} property to @code{bracket} objects:
3060 @lilypond[fragment,verbatim]
3061 \property Staff.pedalSustainStyle = #'bracket
3062 c''4-\sustainDown d''4 e''4
3063 a'4-\sustainUp-\sustainDown
3064 f'4 g'4 a'4-\sustainUp
3067 A third style of pedal notation is a mixture of text and brackets,
3068 obtained by setting @code{pedal-type} to @code{mixed}:
3070 @lilypond[fragment,verbatim]
3071 \property Staff.pedalSustainStyle = #'mixed
3072 c''4-\sustainDown d''4 e''4
3073 c'4-\sustainUp-\sustainDown
3074 f'4 g'4 a'4-\sustainUp
3077 The default `*Ped' style for sustain and damper pedals corresponds to
3078 @code{\pedal-type = #'text}. However, @code{mixed} is the default style
3079 for a sostenuto pedal:
3081 @lilypond[fragment,verbatim]
3082 c''4-\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4-\sostenutoUp
3085 For fine-tuning of the appearance of a pedal bracket, the properties
3086 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3087 @code{PianoPedalBracket} objects (, see the detailed documentation of
3088 @internalsref{PianoPedalBracket},) can be modified. For example, the bracket
3089 may be extended to the end of the note head:
3091 @lilypond[fragment,verbatim]
3092 \property Staff.PianoPedalBracket \override
3093 #'shorten-pair = #'(0 . -1.0)
3094 c''4-\sostenutoDown d''4 e''4 c'4
3095 f'4 g'4 a'4-\sostenutoUp
3099 @subsection Arpeggio
3102 @cindex broken arpeggio
3103 @cindex @code{\arpeggio}
3105 You can specify an arpeggio sign on a chord by attaching an
3106 @code{\arpeggio} to a chord:
3109 @lilypond[fragment,relative,verbatim]
3110 <<c e g c>>-\arpeggio
3113 When an arpeggio crosses staves, you attach an arpeggio to the chords
3114 in both staves, and set
3115 @internalsref{PianoStaff}.@code{connectArpeggios}:
3117 @lilypond[fragment,relative,verbatim]
3118 \context PianoStaff <
3119 \property PianoStaff.connectArpeggios = ##t
3120 \context Voice = one { <<c' e g c>>-\arpeggio }
3121 \context Voice = other { \clef bass <<c,, e g>>-\arpeggio }
3125 The direction of the arpeggio is sometimes denoted by adding an
3126 arrowhead to the wiggly line. This can be typeset by setting
3127 @code{arpeggio-direction}:
3129 @lilypond[fragment,relative,verbatim]
3131 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3132 <<c e g c>>-\arpeggio
3133 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3134 <<c e g c>>-\arpeggio
3138 A square bracket on the left indicates that the player should not
3139 arpeggiate the chord. To draw these brackets, set the
3140 @code{molecule-callback} property of @code{Arpeggio} or
3141 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3142 @code{\arpeggio} statements within the chords as before:
3144 @lilypond[fragment,relative,verbatim]
3145 \property PianoStaff.Arpeggio \override
3146 #'molecule-callback = \arpeggioBracket
3147 <<c' e g c>>-\arpeggio
3152 @cindex @code{\arpeggioBracket}
3153 @code{\arpeggioBracket},
3154 @cindex @code{\arpeggio}
3159 @internalsref{ArpeggioEvent} expression lead to
3160 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3161 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3165 It is not possible to mix connected arpeggios and unconnected
3166 arpeggios in one @internalsref{PianoStaff} at the same time.
3168 @node Staff switch lines
3169 @subsection Staff switch lines
3172 @cindex follow voice
3173 @cindex staff switching
3176 @cindex @code{followVoice}
3178 Whenever a voice switches to another staff a line connecting the notes
3179 can be printed automatically. This is enabled if the property
3180 @code{PianoStaff.followVoice} is set to true:
3182 @lilypond[fragment,relative,verbatim]
3183 \context PianoStaff <
3184 \property PianoStaff.followVoice = ##t
3185 \context Staff \context Voice {
3187 \translator Staff=two
3190 \context Staff=two { \clef bass \skip 1*2 }
3194 The associated object is @internalsref{VoiceFollower}.
3198 @cindex @code{\showStaffSwitch}
3199 @code{\showStaffSwitch},
3200 @cindex @code{\hideStaffSwitch}
3201 @code{\hideStaffSwitch}.
3205 @section Vocal music
3207 This section discusses how to enter and print lyrics.
3211 * The Lyrics context::
3216 @node Entering lyrics
3217 @subsection Entering lyrics
3221 @cindex @code{\lyrics}
3224 Lyrics are entered in a special input mode. This mode is is introduced
3225 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3226 punctuation and accents without any hassle. Syllables are entered like
3227 notes, but with pitches replaced by text. For example,
3229 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3232 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3233 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3234 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3235 any 8-bit character with ASCII code over 127, or a two-character
3236 combination of a backslash followed by one of @code{`}, @code{'},
3237 @code{"}, or @code{^}.
3239 Subsequent characters of a word can be any character that is not a digit
3240 and not white space. One important consequence of this is that a word
3241 can end with @code{@}}. The following example is usually a bug. The
3242 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3244 \lyrics @{ twinkle@}
3247 @cindex @code{\property}, in @code{\lyrics}
3248 Similarly, a period following a alphabetic sequence, is included in the
3249 resulting string. As a consequence, spaces must be inserted around
3250 @code{\property} commands:
3252 \property Lyrics . LyricText \set #'font-shape = #'italic
3256 @cindex spaces, in lyrics
3257 @cindex quotes, in lyrics
3259 Any @code{_} character which appears in an unquoted word is converted
3260 to a space. This provides a mechanism for introducing spaces into words
3261 without using quotes. Quoted words can also be used in Lyrics mode to
3262 specify words that cannot be written with the above rules:
3265 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3269 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3274 These will be attached to the end of the first syllable.
3276 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3277 as a separate word between syllables. The hyphen will have variable
3278 length depending on the space between the syllables and it will be
3279 centered between the syllables.
3284 When a lyric is sung over many notes (this is called a melisma), this is
3285 indicated with a horizontal line centered between a syllable and the
3286 next one. Such a line is called an extender line, and it is entered as
3291 @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3292 @internalsref{ExtenderEvent}.
3296 The definition of lyrics mode is too complex.
3298 @node The Lyrics context
3299 @subsection The Lyrics context
3301 Lyrics are printed by interpreting them in @internalsref{Lyrics} context:
3303 \context Lyrics \lyrics @dots{}
3306 @cindex automatic syllable durations
3307 @cindex @code{\addlyrics}
3308 @cindex lyrics and melodies
3310 This will place the lyrics according to the durations that were
3311 entered. The lyrics can also be aligned under a given melody
3312 automatically. In this case, it is no longer necessary to enter the
3313 correct duration for each syllable. This is achieved by combining the
3314 melody and the lyrics with the @code{\addlyrics} expression:
3318 \context Lyrics @dots{}
3321 @cindex staff order, with @code{\addlyrics}
3323 Normally, this will put the lyrics below the staff. For different or
3324 more complex orderings, the best way is to setup the hierarchy of
3325 staves and lyrics first, e.g.
3327 \context ChoirStaff \notes <
3328 \context Lyrics = LA @{ s1 @}
3329 \context Staff = SA @{ s1 @}
3330 \context Lyrics = LB @{ s1 @}
3331 \context Staff = SB @{ s1 @}
3334 and then combine the appropriate melodies and lyric lines:
3337 \context Staff = SA @emph{the music}
3338 \context Lyrics = LA @emph{the lyrics}
3341 putting both together, you would get
3343 \context ChoirStaff \notes <
3344 \context Lyrics = LA @dots{}
3345 \context Staff = SB @dots{}
3351 @cindex choral score
3353 A complete example of a SATB score setup is in the file
3354 @inputfileref{input/template,satb}.
3358 @internalsref{LyricCombineMusic}, @internalsref{Lyrics}, and
3359 @inputfileref{input/template,satb}.
3363 @code{\addlyrics} is not automatic enough: melismata are not detected
3364 automatically, and melismata are not stopped when they hit a rest. A
3365 melisma on the last note in a melody is not printed.
3369 @subsection More stanzas
3372 @cindex phrasing, in lyrics
3374 When multiple stanzas are printed underneath each other, the vertical
3375 groups of syllables should be aligned around punctuation. This can be
3376 done automatically when corresponding lyric lines and melodies are
3379 To this end, give the @internalsref{Voice} context an identity:
3381 \context Voice = duet @{
3386 Then set the @internalsref{LyricsVoice} contexts to names starting with
3387 that identity followed by a dash. In the preceding example, the
3388 @internalsref{Voice} identity is @code{duet}, so the identities of the
3389 @internalsref{LyricsVoices} are marked @code{duet-1} and @code{duet-2}:
3391 \context LyricsVoice = "duet-1" @{
3392 Hi, my name is bert. @}
3393 \context LyricsVoice = "duet-2" @{
3394 Ooooo, ch\'e -- ri, je t'aime. @}
3396 The convention for naming @internalsref{LyricsVoice} and
3397 @internalsref{Voice} must also be used to get melismata correct in
3398 conjunction with rests.
3400 The complete example is shown here:
3401 @lilypond[singleline,verbatim]
3404 \notes \relative c'' \context Voice = duet { \time 3/4
3406 \lyrics \context Lyrics <
3407 \context LyricsVoice = "duet-1" {
3408 \property LyricsVoice . stanza = "Bert"
3409 Hi, my name is bert. }
3410 \context LyricsVoice = "duet-2" {
3411 \property LyricsVoice . stanza = "Ernie"
3412 Ooooo, ch\'e -- ri, je t'aime. }
3417 Stanza numbers, or the names of the singers can be added by setting
3418 @code{LyricsVoice.Stanza} (for the first system) and
3419 @code{LyricsVoice.stz} for the following systems. Notice how dots are
3420 surrounded with spaces in @code{\lyrics} mode:
3423 \property LyricsVoice . stanza = "Bert"
3425 \property LyricsVoice . stanza = "Ernie"
3428 To make empty spaces in lyrics, use @code{\skip}.
3436 Input for lyrics introduces a syntactical ambiguity:
3443 is interpreted as assigning a string identifier @code{\foo} such that
3444 it contains @code{"bar"}. However, it could also be interpreted as
3445 making or a music identifier @code{\foo} containing the syllable
3446 `bar'. The force the latter interpretation, use
3456 The term @emph{ambitus} denotes a range of pitches for a given voice in
3457 a part of music. It also may denote the pitch range that a musical
3458 instrument is capable of playing. Most musical instruments have their
3459 ambitus standardized (or at least there is agreement upon the minimal
3460 ambitus of a particular type of instrument), such that a composer or
3461 arranger of a piece of music can easily meet the ambitus constraints of
3462 the targeted instrument. However, the ambitus of the human voice
3463 depends on individual physiological state, including education and
3464 training of the voice. Therefore, a singer potentially has to check for
3465 each piece of music if the ambitus of that piece meets his individual
3466 capabilities. This is why the ambitus of a piece may be of particular
3467 value to vocal performers.
3469 The ambitus is typically notated on a per-voice basis at the very
3470 beginning of a piece, e.g. nearby the initial clef or time signature of
3471 each staff. The range is graphically specified by two noteheads, that
3472 represent the minimum and maximum pitch. Some publishers use a textual
3473 notation: they put the range in words in front of the corresponding
3474 staff. LilyPond currently only supports the graphical ambitus notation.
3476 To apply, add the @internalsref{Ambitus_engraver} to the
3477 @internalsref{Voice} context, i.e.
3480 \paper @{ \translator @{
3482 \consists Ambitus_engraver
3488 @lilypond[singleline]
3489 upper = \notes \relative c {
3492 as'' c e2 bes f cis d4 e f2 g
3494 lower = \notes \relative c {
3497 e'4 b g a c es fis a cis b a g f e d2
3500 \context ChoirStaff {
3502 \context Staff = one { \upper }
3503 \context Staff = three { \lower }
3509 \consists Ambitus_engraver
3518 @internalsref{Ambitus}, and @inputfileref{input/regression,ambitus.ly}.
3523 Tablature notation is used for notating music for plucked string
3524 instruments. It notates pitches not by using note heads, but by
3525 indicating on which string and fret a note must be played. LilyPond
3526 offers limited support for tablature.
3529 * Tablatures basic::
3530 * Non-guitar tablatures::
3533 @node Tablatures basic
3534 @subsection Tablatures basic
3535 @cindex Tablatures basic
3537 The string number associated to a note is given as a backslash
3538 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3539 string. By default, string 1 is the highest one, and the tuning
3540 defaults to the standard guitar tuning (with 6 strings). The notes
3541 are printed as tablature, by using @internalsref{TabStaff} and
3542 @internalsref{TabVoice} contexts:
3544 @lilypond[fragment,verbatim]
3545 \notes \context TabStaff {
3551 When no string is specified, the first string that does not give a
3552 fret number less than @code{minimumFret} is selected. The default
3553 value for @code{minimumFret} is 0:
3557 e8 fis gis a b cis' dis' e'
3558 \property TabStaff.minimumFret = #8
3559 e8 fis gis a b cis' dis' e'
3564 e8 fis gis a b cis' dis' e'
3565 \property TabStaff.minimumFret = #8
3566 e8 fis gis a b cis' dis' e'
3569 \context StaffGroup <
3570 \context Staff { \clef "G_8" \frag }
3571 \context TabStaff { \frag }
3578 @internalsref{TabStaff}, @internalsref{TabVoice}, and
3579 @internalsref{StringNumberEvent}.
3583 Chords are not handled in a special way, and hence the automatic
3584 string selector may easily select the same string to two notes in a
3588 @node Non-guitar tablatures
3589 @subsection Non-guitar tablatures
3590 @cindex Non-guitar tablatures
3592 You can change the number of strings, by setting the number of lines
3593 in the @internalsref{TabStaff} (the @code{line-count} property of
3594 @internalsref{TabStaff} can only be changed using
3595 @code{\outputproperty}, for more information, see @ref{Tuning
3598 You can change the tuning of the strings. A string tuning is given as
3599 a Scheme list with one integer number for each string, the number
3600 being the pitch (measured in semitones relative to central C) of an
3601 open string. The numbers specified for @code{stringTuning} are the
3602 numbers of semitones to subtract or add, starting the specified pitch
3603 by default middle C, in string order. Thus, the notes are e, a, d, and
3606 @lilypond[fragment,verbatim]
3609 \outputproperty #(make-type-checker 'staff-symbol-interface)
3611 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3614 a,4 c' a e' e c' a e'
3619 It is possible to change the Scheme function to format the tablature
3620 note text. The default is @code{fret-number-tablature-format}, which
3621 uses the fret number. For instruments that do not use this notation,
3622 you can create a special tablature formatting function. This function
3623 takes three argument: string number, string tuning and note pitch.
3627 Most of the guitar special effects such as bend have not been
3633 @section Chord names
3636 LilyPond has support for both printing chord names. Chords may be
3637 entered in musical chord notation, i.e. @code{<< .. >>}, but they can
3638 also be entered by name. Internally, the chords are represented as a
3639 set of pitches, so they can be transposed:
3642 @lilypond[verbatim,singleline]
3643 twoWays = \notes \transpose c c' {
3653 < \context ChordNames \twoWays
3654 \context Voice \twoWays > }
3657 This example also shows that the chord printing routines do not try to
3658 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3664 * Printing chord names::
3669 @subsection Chords mode
3672 Chord mode is a mode where you can input sets of pitches using common
3673 names. It is introduced by the keyword @code{\chords}.
3674 In chords mode, a chord is entered by the root, which is entered
3675 like a common pitch:
3676 @lilypond[fragment,verbatim,quote, relative=1]
3677 \chords { es4. d8 c2 }
3682 Other chords may be entered by suffixing a colon, and introducing a
3683 modifier, and optionally, a number:
3685 @lilypond[fragment,verbatim,quote]
3686 \chords { e1:m e1:7 e1:m7 }
3688 The first number following the root is taken to be the `type' of the
3689 chord, thirds are added to the root until it reaches the specified
3691 @lilypond[fragment,verbatim]
3692 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3695 @cindex root of chord
3696 @cindex additions, in chords
3697 @cindex removals, in chords
3699 More complex chords may also be constructed adding separate steps
3700 to a chord. Additions are added after the number following
3701 the colon, and are separated by dots:
3703 @lilypond[verbatim,fragment,quote]
3704 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3706 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3708 @lilypond[verbatim,fragment,quote]
3709 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3711 Removals are specified similarly, and are introduced by a caret. They
3712 must come after the additions:
3713 @lilypond[verbatim,fragment]
3714 \chords { c^3 c:7^5 c:9^3.5 }
3717 Modifiers can be used to change pitches. The following modifiers are
3721 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3723 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3726 is the augmented chord. This modifier raises the 5th step.
3728 is the major 7th chord. This modifier raises the 7th step if present.
3730 is the suspended 4th or 2nd. This modifier removes the 3rd
3731 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3734 Modifiers can be mixed with additions:
3735 @lilypond[verbatim,fragment]
3736 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3739 @cindex modifiers, in chords.
3746 Since an unaltered 11 does not sound good when combined with an
3747 unaltered 13, the 11 is removed in this case (, unless it is added
3749 @lilypond[fragment,verbatim]
3750 \chords { c:13 c:13.11 c:m13 }
3755 An inversion (putting one pitch of the chord on the bottom), as well
3756 as bass notes, can be specified by appending
3757 @code{/}@var{pitch} to the chord:
3758 @lilypond[fragment,verbatim,center]
3759 \chords { c1 c/g c/f }
3763 A bass note can be added instead of transposed out of the chord,
3764 by using @code{/+}@var{pitch}.
3766 @lilypond[fragment,verbatim,center]
3767 \chords { c1 c/+g c/+f }
3770 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3771 of the commands continue to work, for example, @code{r} and
3772 @code{\skip} can be used to insert rests and spaces, and
3773 @code{\property} may be used to change various settings.
3779 Each step can only be present in a chord once. The following
3780 simply produces the augmented chord, since @code{5+} is interpreted
3783 @lilypond[verbatim,fragment]
3784 \chords { c:5.5-.5+ }
3788 @node Printing chord names
3789 @subsection Printing chord names
3791 @cindex printing chord names
3795 For displaying printed chord names, use the @internalsref{ChordNames} context.
3796 The chords may be entered either using the notation
3797 described above, or directly using @code{<<} and @code{>>}:
3799 @lilypond[verbatim,singleline]
3801 \chords {a1 b c} <<d' f' a'>> <<e' g' b'>>
3805 \context ChordNames \scheme
3806 \context Staff \scheme
3811 You can make the chord changes stand out by setting
3812 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3813 display chord names when there is a change in the chords scheme and at
3814 the start of a new line:
3816 @lilypond[verbatim, linewidth=9cm]
3818 c1:m c:m \break c:m c:m d
3822 \context ChordNames {
3823 \property ChordNames.chordChanges = ##t
3825 \context Staff \transpose c c' \scheme
3830 The default chord name layout is a system for Jazz music, proposed by
3831 Klaus Ignatzek (see @ref{Literature}). It can be tuned through the
3832 following properties:
3835 @cindex chordNameExceptions
3836 @item chordNameExceptions
3837 This is a list that contains the chords that have special formatting.
3839 @inputfileref{input/regression,chord-name-exceptions.ly}.
3840 @cindex exceptions, chord names.
3843 @cindex majorSevenSymbol
3844 @item majorSevenSymbol
3845 This property contains the markup object used for the 7th step, when
3846 it is major. Predefined options are @code{whiteTriangleMarkup} and
3847 @code{blackTriangleMarkup}. See
3848 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3850 @cindex chordNameSeparator
3851 @item chordNameSeparator
3852 Different parts of a chord name are normally separated by a
3853 slash. By setting @code{chordNameSeparator}, you can specify other
3855 @lilypond[fragment,verbatim]
3856 \context ChordNames \chords {
3858 \property ChordNames.chordNameSeparator
3859 = \markup { \typewriter "|" }
3863 @cindex chordRootNamer
3864 @item chordRootNamer
3865 The root of a chord is usually printed as a letter with an optional
3866 alteration. The transformation from pitch to letter is done by this
3867 function. Special note names (for example, the German ``H'' for a
3868 B-chord) can be produced by storing a new function in this property.
3870 @cindex chordNoteNamer
3871 @item chordNoteNamer
3872 The default is to print single pitch, e.g. the bass note, using the
3873 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
3874 to a specialized function to change this behavior. For example, the
3875 base can be printed in lower case.
3880 There are also two other chord name schemes implemented: an alternate
3881 Jazz chord notation, and a systematic scheme called Banter chords. The
3882 alternate jazz notation is also shown on the chart in @ref{Chord name
3883 chart}. Turning on these styles is described in the input file
3884 @inputfileref{input/test/,chord-names-jazz.ly}.
3888 @cindex chords, jazz
3893 @cindex @code{\germanChords}
3894 @code{\germanChords},
3895 @cindex @code{\semiGermanChords}
3896 @code{\semiGermanChords}.
3903 @inputfileref{input/regression,chord-name-major7.ly},
3904 @inputfileref{input/regression,chord-name-exceptions.ly},
3905 @inputfileref{input/test,chord-names-jazz.ly},
3906 @inputfileref{input/test,chord-names-german.ly},
3907 @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
3912 Chord names are determined solely from the list of pitches. Chord
3913 inversions are not identified, and neither are added bass notes. This
3914 may result in strange chord names when chords are entered with the
3915 @code{<< .. >>} syntax.
3920 @node Orchestral music
3921 @section Orchestral music
3923 @cindex Writing parts
3925 Orchestral music involves some special notation, both in the full
3926 score and the individual parts. This section explains how to tackle
3927 some common problems in orchestral music.
3932 * Multiple staff contexts::
3935 * Instrument names::
3937 * Multi measure rests::
3938 * Automatic part combining::
3940 * Sound output for transposing instruments::
3943 @node Multiple staff contexts
3944 @subsection Multiple staff contexts
3946 Polyphonic scores consist of many staves. These staves can be
3947 constructed in three different ways:
3949 @item The group is started with a brace at the left. This is done with the
3950 @internalsref{GrandStaff} context.
3951 @item The group is started with a bracket. This is done with the
3952 @internalsref{StaffGroup} context
3953 @item The group is started with a vertical line. This is the default
3957 @cindex Staff, multiple
3958 @cindex bracket, vertical
3959 @cindex brace, vertical
3966 @node Rehearsal marks
3967 @subsection Rehearsal marks
3968 @cindex Rehearsal marks
3970 @cindex @code{\mark}
3972 To print a rehearsal mark, use the @code{\mark} command:
3973 @lilypond[fragment,verbatim]
3983 The mark is incremented automatically if you use @code{\mark
3984 \default}. The value to use is stored in the property
3985 @code{rehearsalMark} is used and automatically incremented.
3987 The @code{\mark} command can also be used to put signs like coda,
3988 segno and fermatas on a barline. Use @code{\markup} to
3989 to access the appropriate symbol:
3991 @lilypond[fragment,verbatim,relative=1]
3992 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
3996 In this case, during line breaks,
3997 marks must also be printed at the end of the line, and not at the
3998 beginning. Use the following to force that behavior:
4000 \property Score.RehearsalMark \override
4001 #'break-visibility = #begin-of-line-invisible
4004 See @inputfileref{input/test,boxed-molecule.ly} for putting boxes
4010 @cindex barlines, putting symbols on
4014 @internalsref{MarkEvent}, @internalsref{RehearsalMark}, and
4015 @inputfileref{input/test,boxed-molecule.ly}.
4019 @subsection Bar numbers
4023 @cindex measure numbers
4024 @cindex currentBarNumber
4026 Bar numbers are printed by default at the start of the line. The
4027 number itself is stored in the
4028 @code{currentBarNumber} property,
4029 which is normally updated automatically for every measure.
4031 Bar numbers can be typeset at regular intervals instead of at the
4032 beginning of each line. This is illustrated in the following example,
4033 whose source is available as
4034 @inputfileref{input/test,bar-number-regular-interval.ly}:
4036 @lilypondfile[notexidoc]{bar-number-regular-interval.ly}
4041 @internalsref{BarNumber},
4042 @inputfileref{input/test,bar-number-every-five-reset.ly}, and
4043 @inputfileref{input/test,bar-number-regular-interval.ly}.
4047 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4048 there is one at the top. To solve this, the
4049 @internalsref{padding} property of @internalsref{BarNumber} can be
4050 used to position the number correctly.
4052 @node Instrument names
4053 @subsection Instrument names
4055 In an orchestral score, instrument names are printed left side of the
4058 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4059 and @internalsref{Staff}.@code{instr}. This will print a string before
4060 the start of the staff. For the first start, @code{instrument} is
4061 used, for the next ones @code{instr} is used:
4063 @lilypond[verbatim,singleline]
4064 \property Staff.instrument = "ploink " { c''4 }
4067 You can also use markup texts to construct more complicated instrument
4070 @lilypond[fragment,verbatim,singleline]
4071 \notes \context Staff = treble {
4072 \property Staff.instrument = \markup {
4073 \column << "Clarinetti"
4075 \smaller \musicglyph #"accidentals--1"
4086 @internalsref{InstrumentName}.
4090 When you put a name on a grand staff or piano staff the width of the
4091 brace is not taken into account. You must add extra spaces to the end of
4092 the name to avoid a collision.
4095 @subsection Transpose
4097 @cindex transposition of pitches
4098 @cindex @code{\transpose}
4100 A music expression can be transposed with @code{\transpose}. The syntax
4103 \transpose @var{from} @var{to} @var{musicexpr}
4106 This means that @var{musicexpr} is transposed by the interval
4107 between @var{from} and @var{to}.
4109 @code{\transpose} distinguishes between enharmonic pitches: both
4110 @code{\transpose c cis} or @code{\transpose c des} will transpose up
4111 half a tone. The first version will print sharps and the second
4112 version will print flats:
4114 @lilypond[singleline, verbatim]
4115 mus =\notes { \key d \major cis d fis g }
4116 \score { \notes \context Staff {
4119 \transpose c g' \mus
4120 \transpose c f' \mus
4126 @internalsref{TransposedMusic}, and @internalsref{UntransposableMusic}.
4130 If you want to use both @code{\transpose} and @code{\relative}, then
4131 you must put @code{\transpose} outside of @code{\relative}, since
4132 @code{\relative} will have no effect music that appears inside a
4138 @node Multi measure rests
4139 @subsection Multi measure rests
4140 @cindex multi measure rests
4141 @cindex Rests, multi measure
4145 Multi measure rests are entered using `@code{R}'. It is specifically
4146 meant for full bar rests and for entering parts: the rest can expand to
4147 fill a score with rests, or it can be printed as a single multimeasure
4148 rest. This expansion is controlled by the property
4149 @code{Score.skipBars}. If this is set to true, Lily will not expand
4150 empty measures, and the appropriate number is added automatically:
4152 @lilypond[fragment,verbatim]
4153 \time 4/4 r1 | R1 | R1*2
4154 \property Score.skipBars = ##t R1*17 R1*4
4157 The @code{1} in @code{R1} is similar to the duration notation used for
4158 notes. Hence, for time signatures other than 4/4, you must enter other
4159 durations. This can be done with augmentation dots or fractions:
4161 @lilypond[fragment,verbatim]
4162 \property Score.skipBars = ##t
4170 An @code{R} spanning a single measure is printed as either a whole rest
4171 or a breve, centered in the measure regardless of the time signature.
4173 @cindex text on multi-measure rest
4174 @cindex script on multi-measure rest
4175 @cindex fermata on multi-measure rest
4177 Texts can be added to multi-measure rests by using the
4178 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4179 replaced. If you need both texts and the number, you must add the
4180 number by hand. A variable (@code{\fermataMarkup}) is provided for
4184 @lilypond[verbatim,fragment]
4186 R2._\markup { "Ad lib" }
4191 @cindex whole rests for a full measure
4195 @internalsref{MultiMeasureRestEvent},
4196 @internalsref{MultiMeasureTextEvent},
4197 @internalsref{MultiMeasureRestMusicGroup}, and
4198 @internalsref{MultiMeasureRest}.
4200 The layout object @internalsref{MultiMeasureRestNumber} is for the
4201 default number, and @internalsref{MultiMeasureRestText} for user
4206 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4207 over multi-measure rests.
4209 @cindex condensing rests
4211 There is no way to automatically condense multiple rests into a single
4212 multimeasure rest. Multi measure rests do not take part in rest
4215 Be careful when entering multimeasure rests followed by whole notes,
4219 will enter two notes lasting four measures each. When @code{skipBars}
4220 is set, then the result will look OK, but the bar numbering will be
4223 @node Automatic part combining
4224 @subsection Automatic part combining
4225 @cindex automatic part combining
4226 @cindex part combiner
4229 Automatic part combining is used to merge two parts of music onto a
4230 staff. It is aimed at typesetting orchestral scores. When the two
4231 parts are identical for a period of time, only one is shown. In
4232 places where the two parts differ, they are typeset as separate
4233 voices, and stem directions are set automatically. Also, solo and
4234 @emph{a due} parts are identified and can be marked.
4238 The syntax for part combining is
4241 \partcombine @var{context} @var{musicexpr1} @var{musicexpr2}
4243 where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
4244 combined into one context of type @var{context}. The music expressions
4245 must be interpreted by contexts whose names should start with @code{one}
4248 The following example demonstrates the basic functionality of the part
4249 combiner: putting parts on one staff, and setting stem directions and
4252 @lilypond[verbatim,singleline,fragment]
4254 \context Voice=one \partcombine Voice
4255 \context Thread=one \relative c'' {
4258 \context Thread=two \relative c'' {
4264 The first @code{g} appears only once, although it was
4265 specified twice (once in each part). Stem, slur and tie directions are
4266 set automatically, depending whether there is a solo or unisono. The
4267 first part (with context called @code{one}) always gets up stems, and
4268 `solo', while the second (called @code{two}) always gets down stems and
4271 If you just want the merging parts, and not the textual markings, you
4272 may set the property @var{soloADue} to false:
4274 @lilypond[verbatim,singleline,fragment]
4276 \property Staff.soloADue = ##f
4277 \context Voice=one \partcombine Voice
4278 \context Thread=one \relative c'' {
4281 \context Thread=two \relative c'' {
4289 @internalsref{PartCombineMusic},
4290 @internalsref{Thread_devnull_engraver}, and
4291 @internalsref{Voice_devnull_engraver} and @internalsref{A2_engraver}.
4295 The syntax for naming contexts in inconsistent with the syntax for
4298 In @code{soloADue} mode, when the two voices play the same notes on and
4299 off, the part combiner may typeset @code{a2} more than once in a
4302 @lilypond[fragment,singleline]
4304 \context Voice=one \partcombine Voice
4305 \context Thread=one \relative c'' {
4308 \context Thread=two \relative c'' {
4314 The part combiner is slated to be rewritten [TODO: explain why].
4316 @cindex @code{Thread_devnull_engraver}
4317 @cindex @code{Voice_engraver}
4318 @cindex @code{A2_engraver}
4321 @subsection Hiding staves
4323 @cindex Frenched scores
4324 @cindex Hiding staves
4326 In orchestral scores, staff lines that only have rests are usually
4327 removed. This saves some space. This style is called `French Score'.
4328 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4329 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4330 switched on by default. When these line of these contexts turn out
4331 empty after the line-breaking process, they are removed.
4333 For normal staves, a specialized @internalsref{Staff} context is
4334 available, which does the same: staves containing nothing (or only
4335 multi measure rests) are removed. The context definition is stored in
4336 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4337 in this example disappears in the second line:
4342 \notes \relative c' <
4343 \context Staff = SA { e4 f g a \break c1 }
4344 \context Staff = SB { c4 d e f \break R1 }
4348 \translator { \RemoveEmptyStaffContext }
4354 @node Sound output for transposing instruments
4355 @subsection Sound output for transposing instruments
4357 When you want to make a MIDI file from a score containing transposed
4358 and untransposed instruments, you have to instruct LilyPond the pitch
4359 offset (in semitones) for the transposed instruments. This is done
4360 using the @code{transposing} property. It does not affect printed
4363 @cindex @code{transposing}
4366 \property Staff.instrument = #"Cl. in B-flat"
4367 \property Staff.transposing = #-2
4371 @node Ancient notation
4372 @section Ancient notation
4374 @cindex Vaticana, Editio
4375 @cindex Medicaea, Editio
4380 @c [TODO: write more comprehensive introduction on ancient notation]
4382 Support for ancient notation is still under heavy development.
4383 Regardless of all of the current limitations (see the bugs section
4384 below for details), it currently includes features for mensural
4385 notation and Gregorian Chant notation. There is also limited support
4386 for figured bass notation.
4388 Many graphical objects provide a @code{style} property, see
4389 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4390 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4391 signatures}. By manipulating such a grob property, the typographical
4392 appearance of the affected graphical objects can be accomodated for a
4393 specific notation flavour without need for introducing any new
4397 * Ancient note heads::
4398 * Ancient accidentals::
4402 * Ancient time signatures::
4405 Other aspects of ancient notation can not that easily be expressed as
4406 in terms of just changing a style property of a graphical object.
4407 Therefore, some notational concepts are introduced specifically for
4408 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4409 @ref{Ligatures}, and @ref{Figured bass}.
4418 If this all is way too much of documentation for you, and you just
4419 want to dive into typesetting without worrying too much about the
4420 details on how to customize a context, then you may have a look at the
4421 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4422 set up predefined style-specific voice and staff contexts, and
4423 directly go ahead with the note entry.
4426 * Vaticana style contexts::
4431 Ligatures need special spacing that has not yet been implemented. As
4432 a result, there is too much space between ligatures most of the time,
4433 and line breaking often is unsatisfactory. Also, lyrics do not
4434 correctly align with ligatures.
4436 Accidentals must not be printed within a ligature, but instead need to
4437 be collected and printed in front of it.
4439 Augmentum dots within ligatures are currently not handled correctly.
4442 @node Ancient note heads
4443 @subsection Ancient note heads
4449 For ancient notation, a note head style other than the @code{default}
4450 style may be chosen. This is accomplished by setting the @code{style}
4451 property of the NoteHead object to the desired value (@code{baroque},
4452 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4453 differs from the @code{default} style only in using a square shape for
4454 @code{\breve} note heads. The @code{neo_mensural} style differs from
4455 the @code{baroque} style in that it uses rhomboidal heads for whole
4456 notes and all smaller durations. Stems are centered on the note
4457 heads. This style is in particular useful when transcribing mensural
4458 music, e.g. for the incipit. The @code{mensural} style finally
4459 produces note heads that mimick the look of note heads in historic
4460 printings of the 16th century.
4462 The following example demonstrates the @code{neo_mensural} style:
4464 @lilypond[fragment,singleline,verbatim]
4465 \property Voice.NoteHead \set #'style = #'neo_mensural
4466 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4469 When typesetting a piece in Gregorian Chant notation, a Gregorian
4470 ligature engraver will automatically select the proper note heads,
4471 such there is no need to explicitly set the note head style. Still,
4472 the note head style can be set e.g. to @code{vaticana_punctum} to
4473 produce punctum neumes. Similarly, a mensural ligature engraver is
4474 used to automatically assemble mensural ligatures. See
4475 @ref{Ligatures} for how ligature engravers work.
4479 @inputfileref{input/regression,note-head-style.ly} gives an overview
4480 over all available note head styles.
4482 @ref{Percussion staves} use note head styles of their own that are
4483 frequently used in contemporary music notation.
4485 @node Ancient accidentals
4486 @subsection Ancient accidentals
4492 Use the @code{style} property of grob @internalsref{Accidental} to
4493 select ancient accidentals. Currently supported styles are
4494 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4496 @lilypond[singleline,26pt]
4504 { " " \musicglyph #"accidentals-vaticana-1"
4505 " " \musicglyph #"accidentals-vaticana0" }
4509 { " " \musicglyph #"accidentals-medicaea-1" }
4513 { " " \musicglyph #"accidentals-hufnagel-1" }
4517 { " " \musicglyph #"accidentals-mensural-1"
4518 " " \musicglyph #"accidentals-mensural1" }
4527 \remove "Bar_number_engraver"
4531 \remove "Clef_engraver"
4532 \remove "Key_engraver"
4533 \remove "Time_signature_engraver"
4534 \remove "Staff_symbol_engraver"
4535 minimumVerticalExtent = ##f
4541 As shown, not all accidentals are supported by each style. When
4542 trying to access an unsupported accidental, LilyPond will switch to a
4543 different style, as demonstrated in
4544 @inputfileref{input/test,ancient-accidentals.ly}.
4546 Similarly to local accidentals, the style of the key signature can be
4547 controlled by the @code{style} property of the
4548 @internalsref{KeySignature} grob.
4552 @ref{Pitches}, @ref{Chromatic alterations} and @ref{Accidentals} give
4553 a general introduction into the use of accidentals. @ref{Key
4554 signature} gives a general introduction into the use of key
4559 @subsection Ancient rests
4565 Use the @code{style} property of grob @internalsref{Rest} to select
4566 ancient accidentals. Currently supported styles are @code{classical},
4567 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4568 from the @code{default} style only in that the quarter rest looks like
4569 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4570 well for e.g. the incipit of a transcribed mensural piece of music.
4571 The @code{mensural} style finally mimicks the appearance of rests as
4572 in historic prints of the 16th century.
4574 The following example demonstrates the @code{neo_mensural} style:
4576 @lilypond[fragment,singleline,verbatim]
4577 \property Voice.Rest \set #'style = #'neo_mensural
4578 r\longa r\breve r1 r2 r4 r8 r16
4581 There are no 32th and 64th rests specifically for the mensural or
4582 neo-mensural style. Instead, the rests from the default style will be
4583 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4586 There are no rests in Gregorian Chant notation; instead, it uses
4591 @ref{Rests} gives a general introduction into the use of rests.
4595 @subsection Ancient clefs
4601 LilyPond supports a variety of clefs, many of them ancient.
4603 The following table shows all ancient clefs that are supported via the
4604 @code{\clef} command. Some of the clefs use the same glyph, but
4605 differ only with respect to the line they are printed on. In such
4606 cases, a trailing number in the name is used to enumerate these clefs.
4607 Still, you can manually force a clef glyph to be typeset on an
4608 arbitrary line, as described in @ref{Clef}. The note printed to the
4609 right side of each clef in the example column denotes the @code{c'}
4610 with respect to that clef.
4612 @multitable @columnfractions .3 .3 .3 .1
4616 @b{Description} @tab
4617 @b{Supported Clefs} @tab
4621 @code{clefs-neo_mensural_c} @tab
4622 modern style mensural C clef @tab
4623 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4624 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4625 @lilypond[relative 0, notime]
4626 \property Staff.TimeSignature \set #'transparent = ##t
4627 \clef "neo_mensural_c2" c
4631 @code{clefs-petrucci_c1}
4632 @code{clefs-petrucci_c2}
4633 @code{clefs-petrucci_c3}
4634 @code{clefs-petrucci_c4}
4635 @code{clefs-petrucci_c5}
4638 petrucci style mensural C clefs, for use on different stafflines
4639 (the examples shows the 2nd staffline C clef).
4649 @lilypond[relative 0, notime]
4650 \property Staff.TimeSignature \set #'transparent = ##t
4651 \clef "petrucci_c2" c
4655 @code{clefs-petrucci_f} @tab
4656 petrucci style mensural F clef @tab
4657 @code{petrucci_f} @tab
4658 @lilypond[relative 0, notime]
4659 \property Staff.TimeSignature \set #'transparent = ##t
4660 \clef "petrucci_f" c
4664 @code{clefs-petrucci_g} @tab
4665 petrucci style mensural G clef @tab
4666 @code{petrucci_g} @tab
4667 @lilypond[relative 0, notime]
4668 \property Staff.TimeSignature \set #'transparent = ##t
4669 \clef "petrucci_g" c
4673 @code{clefs-mensural_c} @tab
4674 historic style mensural C clef @tab
4675 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4676 @code{mensural_c4} @tab
4677 @lilypond[relative 0, notime]
4678 \property Staff.TimeSignature \set #'transparent = ##t
4679 \clef "mensural_c2" c
4683 @code{clefs-mensural_f} @tab
4684 historic style mensural F clef @tab
4685 @code{mensural_f} @tab
4686 @lilypond[relative 0, notime]
4687 \property Staff.TimeSignature \set #'transparent = ##t
4688 \clef "mensural_f" c
4692 @code{clefs-mensural_g} @tab
4693 historic style mensural G clef @tab
4694 @code{mensural_g} @tab
4695 @lilypond[relative 0, notime]
4696 \property Staff.TimeSignature \set #'transparent = ##t
4697 \clef "mensural_g" c
4701 @code{clefs-vaticana_do} @tab
4702 Editio Vaticana style do clef @tab
4703 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4704 @lilypond[relative 0, notime]
4706 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4707 \property Staff.TimeSignature \set #'transparent = ##t
4708 \clef "vaticana_do2" c
4712 @code{clefs-vaticana_fa} @tab
4713 Editio Vaticana style fa clef @tab
4714 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4715 @lilypond[relative 0, notime]
4717 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4718 \property Staff.TimeSignature \set #'transparent = ##t
4719 \clef "vaticana_fa2" c
4723 @code{clefs-medicaea_do} @tab
4724 Editio Medicaea style do clef @tab
4725 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4726 @lilypond[relative 0, notime]
4728 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4729 \property Staff.TimeSignature \set #'transparent = ##t
4730 \clef "medicaea_do2" c
4734 @code{clefs-medicaea_fa} @tab
4735 Editio Medicaea style fa clef @tab
4736 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4737 @lilypond[relative 0, notime]
4739 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4740 \property Staff.TimeSignature \set #'transparent = ##t
4741 \clef "medicaea_fa2" c
4745 @code{clefs-hufnagel_do} @tab
4746 historic style hufnagel do clef @tab
4747 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4748 @lilypond[relative 0, notime]
4750 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4751 \property Staff.TimeSignature \set #'transparent = ##t
4752 \clef "hufnagel_do2" c
4756 @code{clefs-hufnagel_fa} @tab
4757 historic style hufnagel fa clef @tab
4758 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
4759 @lilypond[relative 0, notime]
4761 \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #4
4762 \property Staff.TimeSignature \set #'transparent = ##t
4763 \clef "hufnagel_fa2" c
4767 @code{clefs-hufnagel_do_fa} @tab
4768 historic style hufnagel combined do/fa clef @tab
4769 @code{hufnagel_do_fa} @tab
4770 @lilypond[relative 0, notime]
4771 \property Staff.TimeSignature \set #'transparent = ##t
4772 \clef "hufnagel_do_fa" c
4777 @c --- This should go somewhere else: ---
4778 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
4781 @c @code{percussion}
4783 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
4785 @c @item modern style tab clef (glyph: @code{clefs-tab})
4790 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
4792 @emph{Modern style} means ``as is typeset in contemporary editions of
4793 transcribed mensural music''.
4795 @emph{Petrucci style} means ``inspired by printings published by the
4796 famous engraver Petrucci (1466-1539)''.
4798 @emph{Historic style} means ``as was typeset or written in historic
4799 editions (other than those of Petrucci)''.
4801 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
4803 Petrucci used C clefs with differently balanced left-side vertical
4804 beams, depending on which staffline it is printed.
4808 For modern clefs, see @ref{Clef}. For the percussion clef, see
4809 @ref{Percussion staves}. For the @code{TAB} clef, see
4814 @subsection Ancient flags
4820 Use the @code{flag-style} property of grob @internalsref{Stem} to
4821 select ancient flags. Besides the @code{default} flag style,
4822 currently only @code{mensural} style is supported:
4824 @lilypond[fragment,singleline,verbatim]
4825 \property Voice.Stem \set #'flag-style = #'mensural
4826 \property Voice.Stem \set #'thickness = #1.0
4827 \property Voice.NoteHead \set #'style = #'mensural
4829 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
4830 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
4833 Note that the innermost flare of each mensural flag always is
4834 vertically aligned with a staff line. If you do not like this
4835 behaviour, you can set the @code{adjust-if-on-staffline} property of
4836 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
4837 of the end of each flare is different between notes on staff lines and
4838 notes between staff lines:
4840 @lilypond[fragment,singleline]
4841 \property Voice.Stem \set #'flag-style = #'mensural
4842 \property Voice.Stem \set #'thickness = #1.0
4843 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
4844 \property Voice.NoteHead \set #'style = #'mensural
4846 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
4847 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
4850 There is no particular flag style for neo-mensural notation. Hence,
4851 when typesetting e.g. the incipit of a transcibed piece of mensural
4852 music, the default flag style should be used. There are no flags in
4853 Gregorian Chant notation.
4856 @node Ancient time signatures
4857 @subsection Ancient time signatures
4859 @cindex time signatures
4863 There is limited support for mensural time signatures. Currently, the
4864 glyphs are hard-wired to particular time fractions. In other words,
4865 to get a particular mensural signature glyph with the @code{\time n/m}
4866 command, @code{n} and @code{m} have to be chosen according to the
4872 \property Score.timing = ##f
4873 \property Score.barAlways = ##t
4874 s_\markup { "$\\backslash$time 4/4" }
4875 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/4" }
4877 s_\markup { "$\\backslash$time 2/2" }
4878 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/2" }
4880 s_\markup { "$\\backslash$time 6/4" }
4881 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/4" }
4883 s_\markup { "$\\backslash$time 6/8" }
4884 ^\markup { " " \musicglyph #"timesig-neo\_mensural6/8" }
4886 s_\markup { "$\\backslash$time 3/2" }
4887 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/2" }
4889 s_\markup { "$\\backslash$time 3/4" }
4890 ^\markup { " " \musicglyph #"timesig-neo\_mensural3/4" }
4892 s_\markup { "$\\backslash$time 9/4" }
4893 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/4" }
4895 s_\markup { "$\\backslash$time 9/8" }
4896 ^\markup { " " \musicglyph #"timesig-neo\_mensural9/8" }
4898 s_\markup { "$\\backslash$time 4/8" }
4899 ^\markup { " " \musicglyph #"timesig-neo\_mensural4/8" }
4901 s_\markup { "$\\backslash$time 2/4" }
4902 ^\markup { " " \musicglyph #"timesig-neo\_mensural2/4" }
4910 \remove Staff_symbol_engraver
4911 \remove Clef_engraver
4912 \remove Time_signature_engraver
4918 Use the @code{style} property of grob @internalsref{TimeSignature} to
4919 select ancient time signatures. Currently supported styles are
4920 @code{neo_mensural} and @code{mensural}. The above table uses the
4921 @code{neo_mensural} style. This style is appropriate e.g. for the
4922 incipit of transcriptions of mensural pieces. The @code{mensural}
4923 style mimicks the look of historical printings of the 16th century.
4925 @inputfileref{input/test,time.ly} gives an overview over all available
4926 ancient and modern styles.
4930 @ref{Time signature} gives a general introduction into the use of time
4935 Mensural signature glyphs are currently mapped to time fractions in a
4936 hard-wired way. This mapping is sensible, but still arbitrary: given
4937 a mensural time signature, the time fraction represents a modern meter
4938 that usually will be a good choice when transcribing a mensural piece
4939 of music. For a particular piece of mensural music, however, the
4940 mapping may be unsatisfactory. In particular, the mapping assumes a
4941 fixed transcription of durations (e.g. brevis = half note in 2/2,
4942 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
4943 are currently not at all accessible through the @code{\time} command.
4945 Mensural time signatures are supported typographically, but not yet
4946 musically. The internal representation of durations is currently
4947 based on a purely binary system; a ternary division such as 1 brevis =
4948 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
4949 prolatione maiori) is not correctly handled: event times in ternary
4950 modes will be badly computed, resulting e.g. in horizontally
4951 misaligned note heads, and bar checks are likely to erroneously fail.
4953 The syntax and semantics of the @code{\time} command for mensural
4954 music is subject to change.
4957 @subsection Custodes
4962 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
4963 symbol that appears at the end of a staff. It anticipates the pitch
4964 of the first note(s) of the following line and thus helps the player
4965 or singer to manage line breaks during performance, thus enhancing
4966 readability of a score.
4968 Custodes were frequently used in music notation until the 17th
4969 century. Nowadays, they have survived only in a few particular forms
4970 of musical notation such as contemporary editions of Gregorian chant
4971 like the @emph{editio vaticana}. There are different custos glyphs
4972 used in different flavours of notational style.
4976 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
4977 @internalsref{Staff} context when declaring the @code{\paper} block,
4978 as shown in the following example:
4984 \consists Custos_engraver
4985 Custos \override #'style = #'mensural
4990 The result looks like this:
4996 \property Staff.Custos \set #'style = #'mensural
5003 \consists Custos_engraver
5010 The custos glyph is selected by the @code{style} property. The styles
5011 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5012 @code{mensural}. They are demonstrated in the following fragment:
5022 { " " \musicglyph #"custodes-vaticana-u0" }
5026 { " " \musicglyph #"custodes-medicaea-u0" }
5030 { " " \musicglyph #"custodes-hufnagel-u0" }
5034 { " " \musicglyph #"custodes-mensural-u0" }
5043 \remove "Bar_number_engraver"
5047 \remove "Clef_engraver"
5048 \remove "Key_engraver"
5049 \remove "Time_signature_engraver"
5050 \remove "Staff_symbol_engraver"
5051 minimumVerticalExtent = ##f
5057 If the boolean property @code{adjust-if-on-staffline} is set to
5058 @code{#t} (which it is by default), lily typesets slightly different
5059 variants of the custos glyph, depending on whether the custos, is
5060 typeset on or between stafflines. The glyph will
5061 optically fit well into the staff, with the appendage on the right of
5062 the custos always ending at the same vertical position between two
5063 stafflines regardless of the pitch. If you set
5064 @code{adjust-if-on-staffline} to @code{#f}, then
5065 a compromise between both forms is used.
5067 Just like stems can be attached to noteheads in two directions
5068 @emph{up} and @emph{down}, each custos glyph is available with its
5069 appendage pointing either up or down. If the pitch of a custos is
5070 above a selectable position, the appendage will point downwards; if
5071 the pitch is below this position, the appendage will point upwards.
5072 Use property @code{neutral-position} to select this position. By
5073 default, it is set to @code{0}, such that the neutral position is the
5074 center of the staff. Use property @code{neutral-direction} to control
5075 what happens if a custos is typeset on the neutral position itself.
5076 By default, this property is set to @code{-1}, such that the appendage
5077 will point downwards. If set to @code{1}, the appendage will point
5078 upwards. Other values such as @code{0} are reserved for future
5079 extensions and should not be used.
5083 @internalsref{Custos} and @inputfileref{input/regression,custos.ly}.
5087 @subsection Divisiones
5093 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5094 `division') is a staff context symbol that is used to structure
5095 Gregorian music into phrases and sections. The musical meaning of
5096 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5097 can be characterized as short, medium and long pause, somewhat like
5098 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5099 a chant, but is also frequently used within a single
5100 antiphonal/responsorial chant to mark the end of each section.
5104 To use divisiones, include the file @code{gregorian-init.ly}. It
5105 contains definitions that you can apply by just inserting
5106 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5107 and @code{\finalis} at proper places in the input. Some editions use
5108 @emph{virgula} or @emph{caesura} instead of divisio minima.
5109 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5112 @lilypondfile[notexidoc]{divisiones.ly}
5116 @cindex @code{\virgula}
5118 @cindex @code{\caesura}
5120 @cindex @code{\divisioMinima}
5121 @code{\divisioMinima},
5122 @cindex @code{\divisioMaior}
5123 @code{\divisioMaior},
5124 @cindex @code{\divisioMaxima}
5125 @code{\divisioMaxima},
5126 @cindex @code{\finalis}
5131 @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5132 @inputfileref{input/test,divisiones.ly}, and @ref{Breath marks}.
5135 @subsection Ligatures
5139 @c TODO: Should double check if I recalled things correctly when I wrote
5140 @c down the following paragraph by heart.
5142 In musical terminology, a ligature is a coherent graphical symbol that
5143 represents at least two distinct notes. Ligatures originally appeared
5144 in the manuscripts of Gregorian chant notation roughly since the 9th
5145 century as an allusion to the accent symbols of greek lyric poetry to
5146 denote ascending or descending sequences of notes. Both, the shape
5147 and the exact meaning of ligatures changed tremendously during the
5148 following centuries: In early notation, ligatures were used for
5149 monophonic tunes (Gregorian chant) and very soon denoted also the way
5150 of performance in the sense of articulation. With upcoming
5151 multiphony, the need for a metric system arised, since multiple voices
5152 of a piece have to be synchronized some way. New notation systems
5153 were invented that used the manifold shapes of ligatures to now denote
5154 rhythmical patterns (e.g. black mensural notation, mannered notation,
5155 ars nova). With the invention of the metric system of the white
5156 mensural notation, the need for ligatures to denote such patterns
5157 disappeared. Nevertheless, ligatures were still in use in the
5158 mensural system for a couple of decades until they finally disappeared
5159 during the late 16th / early 17th century. Still, ligatures have
5160 survived in contemporary editions of Gregorian chant such as the
5161 Editio Vaticana from 1905/08.
5165 Syntactically, ligatures are simply enclosed by @code{\[} and
5166 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5167 additional input syntax specific for this particular type of ligature.
5168 By default, the @internalsref{LigatureBracket} engraver just puts a
5169 square bracket above the ligature:
5171 @lilypond[singleline,verbatim]
5173 \notes \transpose c c' {
5181 To select a specific style of ligatures, a proper ligature engraver
5182 has to be added to the @internalsref{Voice} context, as explained in
5183 the following subsections. Currently, only white mensural ligatures
5184 are supported with certain limitations. Support for Editio Vaticana
5185 will be added in the future.
5188 * White mensural ligatures::
5189 * Gregorian square neumes ligatures::
5192 @node White mensural ligatures
5193 @subsubsection White mensural ligatures
5195 @cindex Mensural ligatures
5196 @cindex White mensural ligatures
5198 There is limited support for white mensural ligatures. The
5199 implementation is still experimental; it currently may output strange
5200 warnings or even crash in some cases or produce weird results on more
5205 To engrave white mensural ligatures, in the paper block the
5206 @internalsref{Mensural_ligature_engraver} has to be put into the
5207 @internalsref{Voice} context, and remove the
5208 @internalsref{Ligature_bracket_engraver}:
5214 \remove Ligature_bracket_engraver
5215 \consists Mensural_ligature_engraver
5220 There is no additional input language to describe the shape of a
5221 white mensural ligature. The shape is rather determined solely from
5222 the pitch and duration of the enclosed notes. While this approach may
5223 take a new user a while to get accustomed, it has the great advantage
5224 that the full musical information of the ligature is known internally.
5225 This is not only required for correct MIDI output, but also allows for
5226 automatic transcription of the ligatures.
5231 \property Score.timing = ##f
5232 \property Score.defaultBarType = "empty"
5233 \property Voice.NoteHead \set #'style = #'neo_mensural
5234 \property Staff.TimeSignature \set #'style = #'neo_mensural
5236 \[ g\longa c\breve a\breve f\breve d'\longa \]
5238 \[ e1 f1 a\breve g\longa \]
5240 @lilypond[singleline]
5242 \notes \transpose c c' {
5243 \property Score.timing = ##f
5244 \property Score.defaultBarType = "empty"
5245 \property Voice.NoteHead \set #'style = #'neo_mensural
5246 \property Staff.TimeSignature \set #'style = #'neo_mensural
5248 \[ g\longa c\breve a\breve f\breve d'\longa \]
5250 \[ e1 f1 a\breve g\longa \]
5255 \remove Ligature_bracket_engraver
5256 \consists Mensural_ligature_engraver
5262 Without replacing @internalsref{Ligature_bracket_engraver} with
5263 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5266 @lilypond[singleline]
5268 \notes \transpose c c' {
5269 \property Score.timing = ##f
5270 \property Score.defaultBarType = "empty"
5271 \property Voice.NoteHead \set #'style = #'neo_mensural
5272 \property Staff.TimeSignature \set #'style = #'neo_mensural
5274 \[ g\longa c\breve a\breve f\breve d'\longa \]
5276 \[ e1 f1 a\breve g\longa \]
5282 @node Gregorian square neumes ligatures
5283 @subsubsection Gregorian square neumes ligatures
5285 @cindex Square neumes ligatures
5286 @cindex Gregorian square neumes ligatures
5288 Gregorian square neumes notation (following the style of the Editio
5289 Vaticana) is under heavy development, but not yet really usable for
5290 production purposes. Core ligatures can already be typeset, but
5291 essential issues for serious typesetting are still under development,
5292 such as (among others) horizontal alignment of multiple ligatures,
5293 lyrics alignment and proper accidentals handling. Still, this section
5294 gives a sneak preview of what Gregorian chant may look like once it
5297 The following table contains the extended neumes table of the 2nd
5298 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5299 1983 by the monks of Solesmes.
5301 @multitable @columnfractions .4 .2 .2 .2
5304 @b{Neuma aut@*Neumarum Elementa} @tab
5305 @b{Figurae@*Rectae} @tab
5306 @b{Figurae@*Liquescentes Auctae} @tab
5307 @b{Figurae@*Liquescentes Deminutae}
5309 @c TODO: \paper block is identical in all of the below examples.
5310 @c Therefore, it should somehow be included rather than duplicated all
5313 @c why not make identifiers in ly/engraver-init.ly? --hwn
5315 @c Because it's just used to typeset plain notes without
5316 @c a staff for demonstration purposes rather than something
5317 @c special of Gregorian chant notation. --jr
5322 @lilypond[noindent, 26pt, nofragment, linewidth=1.5cm]
5323 \include "gregorian-init.ly"
5325 \notes \transpose c c' {
5328 \noBreak s^\markup {"a"} \noBreak
5330 % Punctum Inclinatum
5332 \noBreak s^\markup {"b"}
5338 \remove "Bar_number_engraver"
5342 \remove "Clef_engraver"
5343 \remove "Key_engraver"
5344 StaffSymbol \set #'transparent = ##t
5345 \remove "Time_signature_engraver"
5346 \remove "Bar_engraver"
5347 minimumVerticalExtent = ##f
5351 \remove Ligature_bracket_engraver
5352 \consists Vaticana_ligature_engraver
5353 NoteHead \set #'style = #'vaticana_punctum
5354 Stem \set #'transparent = ##t
5360 @lilypond[noindent, 26pt, nofragment, linewidth=2.5cm]
5361 \include "gregorian-init.ly"
5363 \notes \transpose c c' {
5364 % Punctum Auctum Ascendens
5365 \[ \auctum \ascendens b \]
5366 \noBreak s^\markup {"c"} \noBreak
5368 % Punctum Auctum Descendens
5369 \[ \auctum \descendens b \]
5370 \noBreak s^\markup {"d"} \noBreak
5372 % Punctum Inclinatum Auctum
5373 \[ \inclinatum \auctum b \]
5374 \noBreak s^\markup {"e"}
5380 \remove "Bar_number_engraver"
5384 \remove "Clef_engraver"
5385 \remove "Key_engraver"
5386 StaffSymbol \set #'transparent = ##t
5387 \remove "Time_signature_engraver"
5388 \remove "Bar_engraver"
5389 minimumVerticalExtent = ##f
5393 \remove Ligature_bracket_engraver
5394 \consists Vaticana_ligature_engraver
5395 NoteHead \set #'style = #'vaticana_punctum
5396 Stem \set #'transparent = ##t
5402 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5403 \include "gregorian-init.ly"
5405 \notes \transpose c c' {
5406 % Punctum Inclinatum Parvum
5407 \[ \inclinatum \deminutum b \]
5408 \noBreak s^\markup {"f"}
5414 \remove "Bar_number_engraver"
5418 \remove "Clef_engraver"
5419 \remove "Key_engraver"
5420 StaffSymbol \set #'transparent = ##t
5421 \remove "Time_signature_engraver"
5422 \remove "Bar_engraver"
5423 minimumVerticalExtent = ##f
5427 \remove Ligature_bracket_engraver
5428 \consists Vaticana_ligature_engraver
5429 NoteHead \set #'style = #'vaticana_punctum
5430 Stem \set #'transparent = ##t
5439 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5440 \include "gregorian-init.ly"
5442 \notes \transpose c c' {
5445 \noBreak s^\markup {"g"}
5451 \remove "Bar_number_engraver"
5455 \remove "Clef_engraver"
5456 \remove "Key_engraver"
5457 StaffSymbol \set #'transparent = ##t
5458 \remove "Time_signature_engraver"
5459 \remove "Bar_engraver"
5460 minimumVerticalExtent = ##f
5464 \remove Ligature_bracket_engraver
5465 \consists Vaticana_ligature_engraver
5466 NoteHead \set #'style = #'vaticana_punctum
5467 Stem \set #'transparent = ##t
5476 @code{3. Apostropha vel Stropha}
5478 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5479 \include "gregorian-init.ly"
5481 \notes \transpose c c' {
5484 \noBreak s^\markup {"h"}
5490 \remove "Bar_number_engraver"
5494 \remove "Clef_engraver"
5495 \remove "Key_engraver"
5496 StaffSymbol \set #'transparent = ##t
5497 \remove "Time_signature_engraver"
5498 \remove "Bar_engraver"
5499 minimumVerticalExtent = ##f
5503 \remove Ligature_bracket_engraver
5504 \consists Vaticana_ligature_engraver
5505 NoteHead \set #'style = #'vaticana_punctum
5506 Stem \set #'transparent = ##t
5512 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5513 \include "gregorian-init.ly"
5515 \notes \transpose c c' {
5517 \[ \stropha \auctum b \]
5518 \noBreak s^\markup {"i"}
5524 \remove "Bar_number_engraver"
5528 \remove "Clef_engraver"
5529 \remove "Key_engraver"
5530 StaffSymbol \set #'transparent = ##t
5531 \remove "Time_signature_engraver"
5532 \remove "Bar_engraver"
5533 minimumVerticalExtent = ##f
5537 \remove Ligature_bracket_engraver
5538 \consists Vaticana_ligature_engraver
5539 NoteHead \set #'style = #'vaticana_punctum
5540 Stem \set #'transparent = ##t
5550 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5551 \include "gregorian-init.ly"
5553 \notes \transpose c c' {
5556 \noBreak s^\markup {"j"}
5562 \remove "Bar_number_engraver"
5566 \remove "Clef_engraver"
5567 \remove "Key_engraver"
5568 StaffSymbol \set #'transparent = ##t
5569 \remove "Time_signature_engraver"
5570 \remove "Bar_engraver"
5571 minimumVerticalExtent = ##f
5575 \remove Ligature_bracket_engraver
5576 \consists Vaticana_ligature_engraver
5577 NoteHead \set #'style = #'vaticana_punctum
5578 Stem \set #'transparent = ##t
5587 @code{5. Clivis vel Flexa}
5589 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5590 \include "gregorian-init.ly"
5592 \notes \transpose c c' {
5601 \remove "Bar_number_engraver"
5605 \remove "Clef_engraver"
5606 \remove "Key_engraver"
5607 StaffSymbol \set #'transparent = ##t
5608 \remove "Time_signature_engraver"
5609 \remove "Bar_engraver"
5610 minimumVerticalExtent = ##f
5614 \remove Ligature_bracket_engraver
5615 \consists Vaticana_ligature_engraver
5616 NoteHead \set #'style = #'vaticana_punctum
5617 Stem \set #'transparent = ##t
5623 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5624 \include "gregorian-init.ly"
5626 \notes \transpose c c' {
5627 % Clivis Aucta Descendens
5628 \[ b \flexa \auctum \descendens g \]
5629 \noBreak s^\markup {"l"} \noBreak
5631 % Clivis Aucta Ascendens
5632 \[ b \flexa \auctum \ascendens g \]
5633 \noBreak s^\markup {"m"}
5639 \remove "Bar_number_engraver"
5643 \remove "Clef_engraver"
5644 \remove "Key_engraver"
5645 StaffSymbol \set #'transparent = ##t
5646 \remove "Time_signature_engraver"
5647 \remove "Bar_engraver"
5648 minimumVerticalExtent = ##f
5652 \remove Ligature_bracket_engraver
5653 \consists Vaticana_ligature_engraver
5654 NoteHead \set #'style = #'vaticana_punctum
5655 Stem \set #'transparent = ##t
5661 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5662 \include "gregorian-init.ly"
5664 \notes \transpose c c' {
5666 \[ b \flexa \deminutum g \]
5673 \remove "Bar_number_engraver"
5677 \remove "Clef_engraver"
5678 \remove "Key_engraver"
5679 StaffSymbol \set #'transparent = ##t
5680 \remove "Time_signature_engraver"
5681 \remove "Bar_engraver"
5682 minimumVerticalExtent = ##f
5686 \remove Ligature_bracket_engraver
5687 \consists Vaticana_ligature_engraver
5688 NoteHead \set #'style = #'vaticana_punctum
5689 Stem \set #'transparent = ##t
5696 @code{6. Podatus vel Pes}
5698 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5699 \include "gregorian-init.ly"
5701 \notes \transpose c c' {
5710 \remove "Bar_number_engraver"
5714 \remove "Clef_engraver"
5715 \remove "Key_engraver"
5716 StaffSymbol \set #'transparent = ##t
5717 \remove "Time_signature_engraver"
5718 \remove "Bar_engraver"
5719 minimumVerticalExtent = ##f
5723 \remove Ligature_bracket_engraver
5724 \consists Vaticana_ligature_engraver
5725 NoteHead \set #'style = #'vaticana_punctum
5726 Stem \set #'transparent = ##t
5732 @lilypond[noindent, 26pt, nofragment, linewidth=2.0cm]
5733 \include "gregorian-init.ly"
5735 \notes \transpose c c' {
5736 % Pes Auctus Descendens
5737 \[ g \pes \auctum \descendens b \]
5738 \noBreak s^\markup {"p"} \noBreak
5740 % Pes Auctus Ascendens
5741 \[ g \pes \auctum \ascendens b \]
5742 \noBreak s^\markup {"q"}
5748 \remove "Bar_number_engraver"
5752 \remove "Clef_engraver"
5753 \remove "Key_engraver"
5754 StaffSymbol \set #'transparent = ##t
5755 \remove "Time_signature_engraver"
5756 \remove "Bar_engraver"
5757 minimumVerticalExtent = ##f
5761 \remove Ligature_bracket_engraver
5762 \consists Vaticana_ligature_engraver
5763 NoteHead \set #'style = #'vaticana_punctum
5764 Stem \set #'transparent = ##t
5770 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5771 \include "gregorian-init.ly"
5773 \notes \transpose c c' {
5775 \[ g \pes \deminutum b \]
5782 \remove "Bar_number_engraver"
5786 \remove "Clef_engraver"
5787 \remove "Key_engraver"
5788 StaffSymbol \set #'transparent = ##t
5789 \remove "Time_signature_engraver"
5790 \remove "Bar_engraver"
5791 minimumVerticalExtent = ##f
5795 \remove Ligature_bracket_engraver
5796 \consists Vaticana_ligature_engraver
5797 NoteHead \set #'style = #'vaticana_punctum
5798 Stem \set #'transparent = ##t
5805 @code{7. Pes Quassus}
5807 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5808 \include "gregorian-init.ly"
5810 \notes \transpose c c' {
5812 \[ \oriscus g \pes \virga b \]
5819 \remove "Bar_number_engraver"
5823 \remove "Clef_engraver"
5824 \remove "Key_engraver"
5825 StaffSymbol \set #'transparent = ##t
5826 \remove "Time_signature_engraver"
5827 \remove "Bar_engraver"
5828 minimumVerticalExtent = ##f
5832 \remove Ligature_bracket_engraver
5833 \consists Vaticana_ligature_engraver
5834 NoteHead \set #'style = #'vaticana_punctum
5835 Stem \set #'transparent = ##t
5841 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5842 \include "gregorian-init.ly"
5844 \notes \transpose c c' {
5845 % Pes Quassus Auctus Descendens
5846 \[ \oriscus g \pes \auctum \descendens b \]
5853 \remove "Bar_number_engraver"
5857 \remove "Clef_engraver"
5858 \remove "Key_engraver"
5859 StaffSymbol \set #'transparent = ##t
5860 \remove "Time_signature_engraver"
5861 \remove "Bar_engraver"
5862 minimumVerticalExtent = ##f
5866 \remove Ligature_bracket_engraver
5867 \consists Vaticana_ligature_engraver
5868 NoteHead \set #'style = #'vaticana_punctum
5869 Stem \set #'transparent = ##t
5877 @code{8. Quilisma Pes}
5879 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5880 \include "gregorian-init.ly"
5882 \notes \transpose c c' {
5884 \[ \quilisma g \pes b \]
5891 \remove "Bar_number_engraver"
5895 \remove "Clef_engraver"
5896 \remove "Key_engraver"
5897 StaffSymbol \set #'transparent = ##t
5898 \remove "Time_signature_engraver"
5899 \remove "Bar_engraver"
5900 minimumVerticalExtent = ##f
5904 \remove Ligature_bracket_engraver
5905 \consists Vaticana_ligature_engraver
5906 NoteHead \set #'style = #'vaticana_punctum
5907 Stem \set #'transparent = ##t
5913 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5914 \include "gregorian-init.ly"
5916 \notes \transpose c c' {
5917 % Quilisma Pes Auctus Descendens
5918 \[ \quilisma g \pes \auctum \descendens b \]
5925 \remove "Bar_number_engraver"
5929 \remove "Clef_engraver"
5930 \remove "Key_engraver"
5931 StaffSymbol \set #'transparent = ##t
5932 \remove "Time_signature_engraver"
5933 \remove "Bar_engraver"
5934 minimumVerticalExtent = ##f
5938 \remove Ligature_bracket_engraver
5939 \consists Vaticana_ligature_engraver
5940 NoteHead \set #'style = #'vaticana_punctum
5941 Stem \set #'transparent = ##t
5949 @code{9. Podatus Initio Debilis}
5951 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5952 \include "gregorian-init.ly"
5954 \notes \transpose c c' {
5955 % Pes Initio Debilis
5956 \[ \deminutum g \pes b \]
5963 \remove "Bar_number_engraver"
5967 \remove "Clef_engraver"
5968 \remove "Key_engraver"
5969 StaffSymbol \set #'transparent = ##t
5970 \remove "Time_signature_engraver"
5971 \remove "Bar_engraver"
5972 minimumVerticalExtent = ##f
5976 \remove Ligature_bracket_engraver
5977 \consists Vaticana_ligature_engraver
5978 NoteHead \set #'style = #'vaticana_punctum
5979 Stem \set #'transparent = ##t
5985 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
5986 \include "gregorian-init.ly"
5988 \notes \transpose c c' {
5989 % Pes Auctus Descendens Initio Debilis
5990 \[ \deminutum g \pes \auctum \descendens b \]
5997 \remove "Bar_number_engraver"
6001 \remove "Clef_engraver"
6002 \remove "Key_engraver"
6003 StaffSymbol \set #'transparent = ##t
6004 \remove "Time_signature_engraver"
6005 \remove "Bar_engraver"
6006 minimumVerticalExtent = ##f
6010 \remove Ligature_bracket_engraver
6011 \consists Vaticana_ligature_engraver
6012 NoteHead \set #'style = #'vaticana_punctum
6013 Stem \set #'transparent = ##t
6023 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6024 \include "gregorian-init.ly"
6026 \notes \transpose c c' {
6028 \[ a \pes b \flexa g \]
6035 \remove "Bar_number_engraver"
6039 \remove "Clef_engraver"
6040 \remove "Key_engraver"
6041 StaffSymbol \set #'transparent = ##t
6042 \remove "Time_signature_engraver"
6043 \remove "Bar_engraver"
6044 minimumVerticalExtent = ##f
6048 \remove Ligature_bracket_engraver
6049 \consists Vaticana_ligature_engraver
6050 NoteHead \set #'style = #'vaticana_punctum
6051 Stem \set #'transparent = ##t
6057 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6058 \include "gregorian-init.ly"
6060 \notes \transpose c c' {
6061 % Torculus Auctus Descendens
6062 \[ a \pes b \flexa \auctum \descendens g \]
6069 \remove "Bar_number_engraver"
6073 \remove "Clef_engraver"
6074 \remove "Key_engraver"
6075 StaffSymbol \set #'transparent = ##t
6076 \remove "Time_signature_engraver"
6077 \remove "Bar_engraver"
6078 minimumVerticalExtent = ##f
6082 \remove Ligature_bracket_engraver
6083 \consists Vaticana_ligature_engraver
6084 NoteHead \set #'style = #'vaticana_punctum
6085 Stem \set #'transparent = ##t
6091 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6092 \include "gregorian-init.ly"
6094 \notes \transpose c c' {
6095 % Torculus Deminutus
6096 \[ a \pes b \flexa \deminutum g \]
6103 \remove "Bar_number_engraver"
6107 \remove "Clef_engraver"
6108 \remove "Key_engraver"
6109 StaffSymbol \set #'transparent = ##t
6110 \remove "Time_signature_engraver"
6111 \remove "Bar_engraver"
6112 minimumVerticalExtent = ##f
6116 \remove Ligature_bracket_engraver
6117 \consists Vaticana_ligature_engraver
6118 NoteHead \set #'style = #'vaticana_punctum
6119 Stem \set #'transparent = ##t
6126 @code{11. Torculus Initio Debilis}
6128 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6129 \include "gregorian-init.ly"
6131 \notes \transpose c c' {
6132 % Torculus Initio Debilis
6133 \[ \deminutum a \pes b \flexa g \]
6140 \remove "Bar_number_engraver"
6144 \remove "Clef_engraver"
6145 \remove "Key_engraver"
6146 StaffSymbol \set #'transparent = ##t
6147 \remove "Time_signature_engraver"
6148 \remove "Bar_engraver"
6149 minimumVerticalExtent = ##f
6153 \remove Ligature_bracket_engraver
6154 \consists Vaticana_ligature_engraver
6155 NoteHead \set #'style = #'vaticana_punctum
6156 Stem \set #'transparent = ##t
6162 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6163 \include "gregorian-init.ly"
6165 \notes \transpose c c' {
6166 % Torculus Auctus Descendens Initio Debilis
6167 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6174 \remove "Bar_number_engraver"
6178 \remove "Clef_engraver"
6179 \remove "Key_engraver"
6180 StaffSymbol \set #'transparent = ##t
6181 \remove "Time_signature_engraver"
6182 \remove "Bar_engraver"
6183 minimumVerticalExtent = ##f
6187 \remove Ligature_bracket_engraver
6188 \consists Vaticana_ligature_engraver
6189 NoteHead \set #'style = #'vaticana_punctum
6190 Stem \set #'transparent = ##t
6196 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6197 \include "gregorian-init.ly"
6199 \notes \transpose c c' {
6200 % Torculus Deminutus Initio Debilis
6201 \[ \deminutum a \pes b \flexa \deminutum g \]
6208 \remove "Bar_number_engraver"
6212 \remove "Clef_engraver"
6213 \remove "Key_engraver"
6214 StaffSymbol \set #'transparent = ##t
6215 \remove "Time_signature_engraver"
6216 \remove "Bar_engraver"
6217 minimumVerticalExtent = ##f
6221 \remove Ligature_bracket_engraver
6222 \consists Vaticana_ligature_engraver
6223 NoteHead \set #'style = #'vaticana_punctum
6224 Stem \set #'transparent = ##t
6231 @code{12. Porrectus}
6233 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6234 \include "gregorian-init.ly"
6236 \notes \transpose c c' {
6238 \[ a \flexa g \pes b \]
6245 \remove "Bar_number_engraver"
6249 \remove "Clef_engraver"
6250 \remove "Key_engraver"
6251 StaffSymbol \set #'transparent = ##t
6252 \remove "Time_signature_engraver"
6253 \remove "Bar_engraver"
6254 minimumVerticalExtent = ##f
6258 \remove Ligature_bracket_engraver
6259 \consists Vaticana_ligature_engraver
6260 NoteHead \set #'style = #'vaticana_punctum
6261 Stem \set #'transparent = ##t
6267 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6268 \include "gregorian-init.ly"
6270 \notes \transpose c c' {
6271 % Porrectus Auctus Descendens
6272 \[ a \flexa g \pes \auctum \descendens b \]
6279 \remove "Bar_number_engraver"
6283 \remove "Clef_engraver"
6284 \remove "Key_engraver"
6285 StaffSymbol \set #'transparent = ##t
6286 \remove "Time_signature_engraver"
6287 \remove "Bar_engraver"
6288 minimumVerticalExtent = ##f
6292 \remove Ligature_bracket_engraver
6293 \consists Vaticana_ligature_engraver
6294 NoteHead \set #'style = #'vaticana_punctum
6295 Stem \set #'transparent = ##t
6301 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6302 \include "gregorian-init.ly"
6304 \notes \transpose c c' {
6305 % Porrectus Deminutus
6306 \[ a \flexa g \pes \deminutum b \]
6313 \remove "Bar_number_engraver"
6317 \remove "Clef_engraver"
6318 \remove "Key_engraver"
6319 StaffSymbol \set #'transparent = ##t
6320 \remove "Time_signature_engraver"
6321 \remove "Bar_engraver"
6322 minimumVerticalExtent = ##f
6326 \remove Ligature_bracket_engraver
6327 \consists Vaticana_ligature_engraver
6328 NoteHead \set #'style = #'vaticana_punctum
6329 Stem \set #'transparent = ##t
6338 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6339 \include "gregorian-init.ly"
6341 \notes \transpose c c' {
6343 \[ \virga b \inclinatum a \inclinatum g \]
6350 \remove "Bar_number_engraver"
6354 \remove "Clef_engraver"
6355 \remove "Key_engraver"
6356 StaffSymbol \set #'transparent = ##t
6357 \remove "Time_signature_engraver"
6358 \remove "Bar_engraver"
6359 minimumVerticalExtent = ##f
6363 \remove Ligature_bracket_engraver
6364 \consists Vaticana_ligature_engraver
6365 NoteHead \set #'style = #'vaticana_punctum
6366 Stem \set #'transparent = ##t
6372 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6373 \include "gregorian-init.ly"
6375 \notes \transpose c c' {
6377 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6384 \remove "Bar_number_engraver"
6388 \remove "Clef_engraver"
6389 \remove "Key_engraver"
6390 StaffSymbol \set #'transparent = ##t
6391 \remove "Time_signature_engraver"
6392 \remove "Bar_engraver"
6393 minimumVerticalExtent = ##f
6397 \remove Ligature_bracket_engraver
6398 \consists Vaticana_ligature_engraver
6399 NoteHead \set #'style = #'vaticana_punctum
6400 Stem \set #'transparent = ##t
6406 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6407 \include "gregorian-init.ly"
6409 \notes \transpose c c' {
6410 % Climacus Deminutus
6411 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6418 \remove "Bar_number_engraver"
6422 \remove "Clef_engraver"
6423 \remove "Key_engraver"
6424 StaffSymbol \set #'transparent = ##t
6425 \remove "Time_signature_engraver"
6426 \remove "Bar_engraver"
6427 minimumVerticalExtent = ##f
6431 \remove Ligature_bracket_engraver
6432 \consists Vaticana_ligature_engraver
6433 NoteHead \set #'style = #'vaticana_punctum
6434 Stem \set #'transparent = ##t
6441 @code{14. Scandicus}
6443 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6444 \include "gregorian-init.ly"
6446 \notes \transpose c c' {
6448 \[ g \pes a \virga b \]
6455 \remove "Bar_number_engraver"
6459 \remove "Clef_engraver"
6460 \remove "Key_engraver"
6461 StaffSymbol \set #'transparent = ##t
6462 \remove "Time_signature_engraver"
6463 \remove "Bar_engraver"
6464 minimumVerticalExtent = ##f
6468 \remove Ligature_bracket_engraver
6469 \consists Vaticana_ligature_engraver
6470 NoteHead \set #'style = #'vaticana_punctum
6471 Stem \set #'transparent = ##t
6477 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6478 \include "gregorian-init.ly"
6480 \notes \transpose c c' {
6481 % Scandicus Auctus Descendens
6482 \[ g \pes a \pes \auctum \descendens b \]
6489 \remove "Bar_number_engraver"
6493 \remove "Clef_engraver"
6494 \remove "Key_engraver"
6495 StaffSymbol \set #'transparent = ##t
6496 \remove "Time_signature_engraver"
6497 \remove "Bar_engraver"
6498 minimumVerticalExtent = ##f
6502 \remove Ligature_bracket_engraver
6503 \consists Vaticana_ligature_engraver
6504 NoteHead \set #'style = #'vaticana_punctum
6505 Stem \set #'transparent = ##t
6511 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6512 \include "gregorian-init.ly"
6514 \notes \transpose c c' {
6515 % Scandicus Deminutus
6516 \[ g \pes a \pes \deminutum b \]
6523 \remove "Bar_number_engraver"
6527 \remove "Clef_engraver"
6528 \remove "Key_engraver"
6529 StaffSymbol \set #'transparent = ##t
6530 \remove "Time_signature_engraver"
6531 \remove "Bar_engraver"
6532 minimumVerticalExtent = ##f
6536 \remove Ligature_bracket_engraver
6537 \consists Vaticana_ligature_engraver
6538 NoteHead \set #'style = #'vaticana_punctum
6539 Stem \set #'transparent = ##t
6548 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6549 \include "gregorian-init.ly"
6551 \notes \transpose c c' {
6553 \[ g \oriscus a \pes \virga b \]
6560 \remove "Bar_number_engraver"
6564 \remove "Clef_engraver"
6565 \remove "Key_engraver"
6566 StaffSymbol \set #'transparent = ##t
6567 \remove "Time_signature_engraver"
6568 \remove "Bar_engraver"
6569 minimumVerticalExtent = ##f
6573 \remove Ligature_bracket_engraver
6574 \consists Vaticana_ligature_engraver
6575 NoteHead \set #'style = #'vaticana_punctum
6576 Stem \set #'transparent = ##t
6582 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6583 \include "gregorian-init.ly"
6585 \notes \transpose c c' {
6586 % Salicus Auctus Descendens
6587 \[ g \oriscus a \pes \auctum \descendens b \]
6594 \remove "Bar_number_engraver"
6598 \remove "Clef_engraver"
6599 \remove "Key_engraver"
6600 StaffSymbol \set #'transparent = ##t
6601 \remove "Time_signature_engraver"
6602 \remove "Bar_engraver"
6603 minimumVerticalExtent = ##f
6607 \remove Ligature_bracket_engraver
6608 \consists Vaticana_ligature_engraver
6609 NoteHead \set #'style = #'vaticana_punctum
6610 Stem \set #'transparent = ##t
6620 @lilypond[noindent, 26pt, nofragment, linewidth=1.0cm]
6621 \include "gregorian-init.ly"
6623 \notes \transpose c c' {
6625 \[ \stropha b \stropha b \stropha a \]
6632 \remove "Bar_number_engraver"
6636 \remove "Clef_engraver"
6637 \remove "Key_engraver"
6638 StaffSymbol \set #'transparent = ##t
6639 \remove "Time_signature_engraver"
6640 \remove "Bar_engraver"
6641 minimumVerticalExtent = ##f
6645 \remove Ligature_bracket_engraver
6646 \consists Vaticana_ligature_engraver
6647 NoteHead \set #'style = #'vaticana_punctum
6648 Stem \set #'transparent = ##t
6660 Unlike most other neumes notation systems, the input language for
6661 neumes does not necessarily reflect directly the typographical
6662 appearance, but is designed to solely focuse on musical meaning. For
6663 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6664 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6665 a Porrectus with a curved flexa shape and only a single Punctum head.
6666 There is no command to explicitly typeset the curved flexa shape; the
6667 decision of when to typeset a curved flexa shape is purely taken from
6668 the musical input. The idea of this approach is to separate the
6669 musical aspects of the input from the notation style of the output.
6670 This way, the same input can be reused to typeset the same music in a
6671 different style of Gregorian chant notation such as Hufnagel (also
6672 known as German gothic neumes) or Medicaea (kind of a very simple
6673 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6674 engraver and Medicaea ligature engraver will have been implemented, it
6675 will be as simple as replacing the ligature engraver in the
6676 @internalsref{Voice} context to get the desired notation style from
6679 The following table shows the code fragments that produce the
6680 ligatures in the above neumes table. The letter in the first column
6681 in each line of the below table indicates to which ligature in the
6682 above table it refers. The second column gives the name of the
6683 ligature. The third column shows the code fragment that produces this
6684 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6686 @multitable @columnfractions .1 .4 .5
6700 Punctum Inclinatum @tab
6701 @code{\[ \inclinatum b \]}
6705 Punctum Auctum Ascendens @tab
6706 @code{\[ \auctum \ascendens b \]}
6710 Punctum Auctum Descendens @tab
6711 @code{\[ \auctum \descendens b \]}
6715 Punctum Inclinatum Auctum @tab
6716 @code{\[ \inclinatum \auctum b \]}
6720 Punctum Inclinatum Parvum @tab
6721 @code{\[ \inclinatum \deminutum b \]}
6726 @code{\[ \virga b \]}
6731 @code{\[ \stropha b \]}
6736 @code{\[ \stropha \auctum b \]}
6741 @code{\[ \oriscus b \]}
6745 Clivis vel Flexa @tab
6746 @code{\[ b \flexa g \]}
6750 Clivis Aucta Descendens @tab
6751 @code{\[ b \flexa \auctum \descendens g \]}
6755 Clivis Aucta Ascendens @tab
6756 @code{\[ b \flexa \auctum \ascendens g \]}
6761 @code{\[ b \flexa \deminutum g \]}
6765 Podatus vel Pes @tab
6766 @code{\[ g \pes b \]}
6770 Pes Auctus Descendens @tab
6771 @code{\[ g \pes \auctum \descendens b \]}
6775 Pes Auctus Ascendens @tab
6776 @code{\[ g \pes \auctum \ascendens b \]}
6781 @code{\[ g \pes \deminutum b \]}
6786 @code{\[ \oriscus g \pes \virga b \]}
6790 Pes Quassus Auctus Descendens @tab
6791 @code{\[ \oriscus g \pes \auctum \descendens b \]}
6796 @code{\[ \quilisma g \pes b \]}
6800 Quilisma Pes Auctus Descendens @tab
6801 @code{\[ \quilisma g \pes \auctum \descendens b \]}
6805 Pes Initio Debilis @tab
6806 @code{\[ \deminutum g \pes b \]}
6810 Pes Auctus Descendens Initio Debilis @tab
6811 @code{\[ \deminutum g \pes \auctum \descendens b \]}
6816 @code{\[ a \pes b \flexa g \]}
6820 Torculus Auctus Descendens @tab
6821 @code{\[ a \pes b \flexa \auctum \descendens g \]}
6825 Torculus Deminutus @tab
6826 @code{\[ a \pes b \flexa \deminutum g \]}
6830 Torculus Initio Debilis @tab
6831 @code{\[ \deminutum a \pes b \flexa g \]}
6835 Torculus Auctus Descendens Initio Debilis @tab
6836 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
6840 Torculus Deminutus Initio Debilis @tab
6841 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
6846 @code{\[ a \flexa g \pes b \]}
6850 Porrectus Auctus Descendens @tab
6851 @code{\[ a \flexa g \pes \auctum \descendens b \]}
6855 Porrectus Deminutus @tab
6856 @code{\[ a \flexa g \pes \deminutum b \]}
6861 @code{\[ \virga b \inclinatum a \inclinatum g \]}
6865 Climacus Auctus @tab
6866 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
6870 Climacus Deminutus @tab
6871 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
6876 @code{\[ g \pes a \virga b \]}
6880 Scandicus Auctus Descendens @tab
6881 @code{\[ g \pes a \pes \auctum \descendens b \]}
6885 Scandicus Deminutus @tab
6886 @code{\[ g \pes a \pes \deminutum b \]}
6891 @code{\[ g \oriscus a \pes \virga b \]}
6895 Salicus Auctus Descendens @tab
6896 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
6901 @code{\[ \stropha b \stropha b \stropha a \]}
6907 The following head prefixes are supported:
6909 @cindex @code{\virga}
6911 @cindex @code{\stropha}
6913 @cindex @code{\inclinatum}
6915 @cindex @code{\auctum}
6917 @cindex @code{\descendens}
6919 @cindex @code{\ascendens}
6921 @cindex @code{\oriscus}
6923 @cindex @code{\quilisma}
6925 @cindex @code{\deminutum}
6928 Head prefixes can be accumulated, though restrictions apply. For
6929 example, either @code{\descendens} or @code{\ascendens} can be applied
6930 to a head, but not both to the same head.
6933 @cindex @code{\flexa}
6934 Two adjacent heads can be tied together with the @code{\pes} and
6935 @code{\flexa} infix commands for a rising and falling line of melody,
6940 Scandicus Deminutus: Punctum Auctum Ascendens overlaps with
6941 Semivocalis head; this looks awful.
6943 Trigonus: apply equal spacing, regardless of pitch.
6945 Flexa and similar figurae: the left appendix should be adjusted with
6946 respect to the position of this head (on staffline or on staffspace)
6947 and the vertical position of the subsequent head.
6950 @subsection Figured bass
6952 @cindex Basso continuo
6954 @c TODO: musicological blurb about FB
6958 LilyPond has limited support for figured bass:
6960 @lilypond[verbatim,fragment]
6962 \context Voice \notes { \clef bass dis4 c d ais}
6963 \context FiguredBass
6965 < 6 >4 < 7 >8 < 6+ [_!] >
6971 The support for figured bass consists of two parts: there is an input
6972 mode, introduced by @code{\figures}, where you can enter bass figures
6973 as numbers, and there is a context called @internalsref{FiguredBass} that
6974 takes care of making @internalsref{BassFigure} objects.
6976 In figures input mode, a group of bass figures is delimited by
6977 @code{<} and @code{>}. The duration is entered after the @code{>}:
6982 \context FiguredBass
6986 Accidentals are added when you append @code{-}, @code{!} and @code{+}
6993 \context FiguredBass
6994 \figures { <4- 6+ 7!> }
6997 Spaces or dashes may be inserted by using @code{_}. Brackets are
6998 introduced with @code{[} and @code{]}:
7004 \context FiguredBass
7005 \figures { < [4 6] 8 [_! 12]> }
7008 Although the support for figured bass may superficially resemble chord
7009 support, it works much simpler. The @code{\figures} mode simply
7010 stores the numbers , and @internalsref{FiguredBass} context prints
7011 them as entered. There is no conversion to pitches, and no
7012 realizations of the bass are played in the MIDI file.
7014 Internally, the code produces markup texts. You can use any of the
7015 markup text properties to override formatting. For example, the
7016 vertical spacing of the figures may be set with @code{baseline-skip}.
7020 @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7021 and @internalsref{FiguredBass} context.
7025 Slash notation for alterations is not supported.
7028 @node Vaticana style contexts
7029 @subsection Vaticana style contexts
7031 @cindex VaticanaVoiceContext
7032 @cindex VaticanaStaffContext
7034 The predefined @code{VaticanaVoiceContext} and
7035 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7036 Gregorian Chant in the style of the Editio Vaticana. These contexts
7037 initialize all relevant context properties and grob properties to
7038 proper values. With these contexts, you can immediately go ahead
7039 entering the chant, as the following short excerpt demonstrates:
7041 @lilypond[raggedright,verbatim,noindent]
7042 \include "gregorian-init.ly"
7045 \context VaticanaVoice {
7046 \property Score.BarNumber \set #'transparent = ##t
7048 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g-) \] f \divisioMinima
7049 \[ f( \pes a c' c' \pes d'-) \] c' \divisioMinima \break
7050 \[ c'( c' \flexa a \] \[ a \flexa \deminutum g-) \] f \divisioMinima
7053 \context Lyrics \lyrics {
7054 San- ctus, San- ctus, San- ctus
7059 @node Contemporary notation
7060 @section Contemporary notation
7062 In the 20th century, composers have greatly expanded the musical
7063 vocabulary. With this expansion, many innovations in musical notation
7064 have been tried. For a comprehensive overview, refer to @cite{Stone
7065 1980} (see @ref{Literature}). In general, the use of new, innovative
7066 notation makes a piece harder to understand and perform and its use
7067 should therefore be avoided if possible. For this reason, support for
7068 contemporary notation in LilyPond is limited.
7077 @subsection Clusters
7081 In musical terminology, a @emph{cluster} denotes a range of
7082 simultaneously sounding pitches that may change over time. The set of
7083 available pitches to apply usually depends on the accoustic source.
7084 Thus, in piano music, a cluster typically consists of a continous range
7085 of the semitones as provided by the piano's fixed set of a chromatic
7086 scale. In choral music, each singer of the choir typically may sing an
7087 arbitrary pitch within the cluster's range that is not bound to any
7088 diatonic, chromatic or other scale. In electronic music, a cluster
7089 (theoretically) may even cover a continuous range of pitches, thus
7090 resulting in coloured noise, such as pink noise.
7092 Clusters can be denoted in the context of ordinary staff notation by
7093 engraving simple geometrical shapes that replace ordinary notation of
7094 notes. Ordinary notes as musical events specify starting time and
7095 duration of pitches; however, the duration of a note is expressed by the
7096 shape of the note head rather than by the horizontal graphical extent of
7097 the note symbol. In contrast, the shape of a cluster geometrically
7098 describes the development of a range of pitches (vertical extent) over
7099 time (horizontal extent). Still, the geometrical shape of a cluster
7100 covers the area in wich any single pitch contained in the cluster would
7101 be notated as an ordinary note. From this point of view, it is
7102 reasonable to specify a cluster as the envelope of a set of notes.
7106 A cluster is engraved as the envelope of a set of
7107 cluster-notes. Cluster notes are created by applying the function
7108 @code{notes-to-clusters} to a sequence of chords, e.g.
7110 @lilypond[relative 1,verbatim]
7111 \apply #notes-to-clusters { <<c e >> <<b f'>> }
7114 The following example (from
7115 @inputfileref{input/regression,cluster.ly}) shows what the result
7118 @lilypondfile[notexidoc]{cluster.ly}
7120 By default, @internalsref{Cluster_engraver} is in the
7121 @internalsref{Voice} context. This allows putting ordinary notes and
7122 clusters together in the same staff, even simultaneously. In such a
7123 case no attempt is made to automatically avoid collisions between
7124 ordinary notes and clusters.
7128 @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon},
7129 @inputfileref{input/regression,cluster.ly},
7130 @internalsref{Cluster_engraver}, and @internalsref{ClusterNoteEvent}.
7134 Music expressions like @code{< @{ g8 e8 @} a4 >} are not printed
7135 accurately. Use @code{<<g a>>8 <<e a>>8} instead.
7140 @subsection Fermatas
7146 Contemporary music notation frequently uses special fermata symbols to
7147 indicate fermatas of differing lengths.
7151 The following are supported
7153 @lilypond[singleline]
7155 < \addlyrics \notes {
7175 \context Lyrics \lyrics {
7176 "shortfermata" "fermata" "longfermata" "verylongfermata"
7181 See @ref{Articulations} for general instructions how to apply scripts
7182 such as fermatas to a @code{\notes@{@}} block.
7185 @section Tuning output
7187 There are situations where default layout decisions are not
7188 sufficient. In this section we discuss ways to override these
7191 Formatting is internally done by manipulating so called objects
7192 (graphic objects). Each object carries with it a set of properties
7193 (object or layout properties) specific to that object. For example, a
7194 stem object has properties that specify its direction, length and
7197 The most direct way of tuning the output is by altering the values of
7198 these properties. There are two ways of doing that: first, you can
7199 temporarily change the definition of one type of object, thus
7200 affecting a whole set of objects. Second, you can select one specific
7201 object, and set a layout property in that object.
7203 Do not confuse layout properties with translation
7204 properties. Translation properties always use a mixed caps style
7205 naming, and are manipulated using @code{\property}:
7207 \property Context.propertyName = @var{value}
7209 Layout properties are use Scheme style variable naming, i.e. lower
7210 case words separated with dashes. They are symbols, and should always
7211 be quoted using @code{#'}. For example, this could be an imaginary
7212 layout property name:
7214 #'layout-property-name
7219 * Constructing a tweak::
7228 @node Tuning objects
7229 @subsection Tuning objects
7231 @cindex object description
7233 The definition of an object is a list of default object
7234 properties. For example, the definition of the Stem object (available
7235 in @file{scm/define-grobs.scm}), includes the following definitions
7236 for @internalsref{Stem}:
7240 (beamed-lengths . (0.0 2.5 2.0 1.5))
7241 (Y-extent-callback . ,Stem::height)
7246 Adding variables on top of this existing definition overrides the
7247 system default, and alters the resulting appearance of the layout
7253 Changing a variable for only one object is commonly achieved with
7257 \once \property @var{context}.@var{objectname}
7258 \override @var{symbol} = @var{value}
7260 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7261 and @var{objectname} is a string and @var{value} is a Scheme expression.
7262 This command applies a setting only during one moment in the score.
7264 In the following example, only one @internalsref{Stem} object is
7265 changed from its original setting:
7267 @lilypond[verbatim, fragment, relative=1]
7269 \once \property Voice.Stem \set #'thickness = #4
7273 @cindex @code{\once}
7275 For changing more objects, the same command, without @code{\once} can
7278 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7280 This command adds @code{@var{symbol} = @var{value}} to the definition
7281 of @var{objectname} in the context @var{context}, and this definition
7282 stays in place until it is removed.
7284 An existing definition may be removed by the following command:
7287 \property @var{context}.@var{objectname} \revert @var{symbol}
7290 All @code{\override} and @code{\revert} commands should be balanced.
7291 The @code{\set} shorthand performs a revert followed by an override,
7292 and is often more convenient to use
7295 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7299 @lilypond[verbatim,quote]
7300 c'4 \property Voice.Stem \override #'thickness = #4.0
7302 c'4 \property Voice.Stem \revert #'thickness
7306 The following example gives exactly the same result as the previous
7307 one (assuming the system default for stem thickness is 1.3):
7309 @lilypond[verbatim,quote]
7310 c'4 \property Voice.Stem \set #'thickness = #4.0
7312 c'4 \property Voice.Stem \set #'thickness = #1.3
7316 Reverting a setting which was not set in the first place has no
7317 effect. However, if the setting was set as a system default, this may
7318 remove the default value, and this may give surprising results,
7319 including crashes. In other words, @code{\override} and
7320 @code{\revert} must be carefully balanced. The following are examples
7321 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7325 a clumsy but correct form:
7327 \override \revert \override \revert \override \revert
7331 shorter version of the same:
7333 \override \set \set \revert
7337 a short form, using only @code{\set}. This requires you to know the
7340 \set \set \set \set @var{to default value}
7344 if there is no default (i.e. by default, the object property is unset),
7347 \set \set \set \revert
7351 For the digirati, the object description is an Scheme association
7352 list. Since a Scheme list is a singly linked list, we can treat it as
7353 a stack, and @code{\override} and @code{\revert} are push and pop
7354 operations. The association list is stored in a normal context
7357 \property Voice.NoteHead = #'()
7359 will effectively erase @internalsref{NoteHead}s from the current
7360 @internalsref{Voice}. However, this mechanism is not guaranteed to
7361 work, and may cause crashes or other anomalous behavior.
7365 @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7366 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7367 @internalsref{All-layout-objects}.
7372 The backend is not very strict in type-checking object properties.
7373 Cyclic references in @var{value} cause hangs and/or crashes.
7374 Similarly, reverting properties that are system defaults may also lead
7377 @node Constructing a tweak
7378 @subsection Constructing a tweak
7381 @cindex internal documentation
7382 @cindex finding graphical objects
7383 @cindex graphical object descriptions
7385 @cindex @code{\override}
7387 @cindex internal documentation
7391 Three pieces of information are required to use @code{\override} and
7392 @code{\set}: the name of the layout object, the context and the name
7393 of the property. We demonstrate how to glean this information from
7394 the notation manual and the generated documentation.
7396 The generated documentation is a set of HTML pages which should be
7397 included if you installed a binary distribution, typically in
7398 @file{/usr/share/doc/lilypond}. They are also available on the web:
7399 go to the @uref{http://lilypond.org,LilyPond website}, click
7400 ``Documentation'', and then ``Program reference'' on the side bar. It
7401 is advisable to bookmark either the local HTML files if possible. They
7402 will load faster than the ones on the web. If you use the version
7403 from the web, you must check whether the documentation matches the
7404 program version: the documentation is generated from the definitions
7405 that the program uses, and therefore it is strongly tied to the
7409 @c [TODO: revise for new site.]
7411 Suppose we want to move the fingering indication in the fragment below:
7413 @lilypond[relative=2,verbatim]
7419 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7420 instructions}), you will notice that there is written:
7425 @internalsref{FingerEvent} and @internalsref{Fingering}.
7429 In other words, the fingerings once entered, are internally stored as
7430 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7431 layout object is created for every @code{FingerEvent}.
7433 The Fingering object has a number of different functions, and each of
7434 those is captured in an interface, when we look up
7435 @internalsref{Fingering} in the generated documentation.
7439 The @code{Fingering} object has a fixed size
7440 (@internalsref{item-interface}), the symbol is a piece of text
7441 (@internalsref{text-interface}), whose font can be set
7442 (@internalsref{font-interface}). It is centered horizontally
7443 (@internalsref{self-alignment-interface}), it is placed next to other
7444 objects (@internalsref{side-position-interface}) vertically, and its
7445 placement is coordinated with other scripts
7446 (@internalsref{text-script-interface}). It also has the standard
7447 @internalsref{grob-interface} (grob stands for Graphical object)
7449 @cindex graphical object
7450 @cindex layout object
7451 @cindex object, layout
7452 with all the variables that come with
7453 it. Finally, it denotes a fingering instruction, so it has
7454 @internalsref{finger-interface}.
7456 For the vertical placement, we have to look under
7457 @code{side-position-interface}:
7459 @code{side-position-interface}
7461 Position a victim object (this one) next to other objects (the
7462 support). In this case, the direction signifies where to put the
7463 victim object relative to the support (left or right, up or down?)
7468 below this description, the variable @code{padding} is described as
7472 (dimension, in staff space)
7474 add this much extra space between objects that are next to each
7475 other. Default value: @code{0.6}
7479 By increasing the value of @code{padding}, we can move away the
7480 fingering. The following command inserts 3 staff spaces of white
7481 between the note and the fingering:
7483 \once \property Voice.Fingering \set #'padding = #3
7486 Inserting this command before the Fingering object is created,
7487 i.e. before @code{c2}, yields the following result:
7489 @lilypond[relative=2,fragment,verbatim]
7490 \once \property Voice.Fingering
7497 The context name @code{Voice} in the example above can be determined
7498 as follows. In the documentation for @internalsref{Fingering}, it says
7500 Fingering grobs are created by: @internalsref{Fingering_engraver}
7503 Clicking @code{Fingering_engraver} shows the documentation of
7504 the module responsible for interpreting the fingering instructions and
7505 translating them to a @code{Fingering} object. Such a module is called
7506 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7509 Fingering_engraver is part of contexts: Voice
7511 so tuning the settings for Fingering should be done with
7513 \property Voice.Fingering \set @dots{}
7516 Of course, the tweak may also done in a larger context than
7517 @code{Voice}, for example, @internalsref{Staff} or
7518 @internalsref{Score}.
7520 The internals document also contains alphabetical lists of
7521 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7522 @internalsref{Music-expressions}, so you can also find which objects to
7523 tweak by browsing the internals document.
7527 @subsection Applyoutput
7529 The most versatile way of tuning an object is @code{\applyoutput}. Its
7532 \applyoutput @var{proc}
7536 where @var{proc} is a Scheme function, taking four arguments.
7538 When interpreted, the function @var{proc} is called for every layout object found
7539 in the context, with the following arguments:
7541 @item the layout object itself,
7542 @item the context where the layout object was created, and
7543 @item the context where @code{\applyoutput} is processed.
7546 In addition, the cause of the layout object, i.e. the music
7547 expression or object that was responsible for creating it, is in the
7548 object property @code{cause}. For example, for a note head, this is a
7549 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7550 this is a @internalsref{NoteHead} object.
7553 @node Outputproperty
7554 @subsection Outputproperty
7556 @cindex @code{\outputproperty}
7558 Another way of tuning objects is the more arcane @code{\outputproperty}
7559 feature. The syntax is as follows:
7561 \outputproperty @var{predicate} @var{symbol} = @var{value}
7563 Here @code{predicate} is a Scheme function taking an object argument, and
7564 returning a boolean. This statement is processed by the
7565 @code{Output_property_engraver}. It instructs the engraver to feed all
7566 objects that it sees to @var{predicate}. Whenever the predicate returns
7567 true, the object property @var{symbol} will be set to @var{value}.
7569 You will need to combine this statement with @code{\context} to select
7570 the appropriate context to apply this to.
7571 @inputfileref{input/regression,output-property.ly} shows an example of
7572 the use of @code{\outputproperty}.
7576 This command is slated for removal. Please use the
7577 @code{\applyoutput} command, see @ref{Applyoutput}.
7580 @node Font selection
7581 @subsection Font selection
7583 The most common thing to change about the appearance of fonts is their
7584 size. The font size of any context can be easily changed by setting
7585 the @code{fontSize} property for that context. Its value is an
7586 integer: negative numbers make the font smaller, positive numbers
7587 larger. An example is given below:
7589 @lilypond[fragment,relative=1,verbatim,quote]
7590 c4 c4 \property Voice.fontSize = #-1
7593 This command will set @code{font-relative-size} (see below), and does
7594 not change the size of variable symbols, such as beams or slurs.
7597 One of the uses of @code{fontSize} is to get smaller symbol for cue
7598 notes. An elaborate example of those is in
7599 @inputfileref{input/test,cue-notes.ly}.
7601 @cindex magnification
7603 The size of the font may be scaled with the object property
7604 @code{font-magnification}. For example, @code{2.0} blows up all
7605 letters by a factor 2 in both directions.
7614 The font used for printing a object can be selected by setting
7615 @code{font-name}, e.g.
7617 \property Staff.TimeSignature
7618 \set #'font-name = #"cmr17"
7622 Any font can be used, as long as it is available to @TeX{}. Possible
7623 fonts include foreign fonts or fonts that do not belong to the
7624 Computer Modern font family.
7626 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7627 can also be adjusted with a more fine-grained mechanism. By setting
7628 the object properties described below, you can select a different font;
7629 all three mechanisms work for every object that supports
7630 @code{font-interface}:
7634 is a symbol indicating the general class of the typeface. Supported are
7635 @code{roman} (Computer Modern), @code{braces} (for piano staff
7636 braces), @code{music} (the standard music font, including ancient
7637 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7640 is a symbol indicating the shape of the font, there are typically several
7641 font shapes available for each font family. Choices are @code{italic},
7642 @code{caps} and @code{upright}.
7645 is a symbol indicating the series of the font. There are typically several
7646 font series for each font family and shape. Choices are @code{medium}
7649 @item font-relative-size
7650 is a number indicating the size relative the standard size. For example,
7651 with 20pt staff height, relative size -1 corresponds to 16pt staff
7652 height, and relative size +1 corresponds to 23 pt staff height.
7654 There are small differences in design between fonts designed for
7655 different sizes, hence @code{font-relative-size} is preferred over
7656 @code{font-magnification} for changing font sizes.
7659 @item font-design-size
7660 is a number indicating the design size of the font.
7662 This is a feature of the Computer Modern Font: each point size has a
7663 slightly different design. Smaller design sizes are relatively wider,
7664 which enhances readability.
7667 For any of these properties, the value @code{*} (i.e. the symbol
7668 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7669 to override default setting, which are always present. For example:
7671 \property Lyrics . LyricText \override #'font-series = #'bold
7672 \property Lyrics . LyricText \override #'font-family = #'typewriter
7673 \property Lyrics . LyricText \override #'font-shape = #'*
7676 @cindex @code{font-style}
7680 The following commands set @code{fontSize} for the current voice.
7682 @cindex @code{\tiny}
7684 @cindex @code{\small}
7686 @cindex @code{\normalsize}
7691 Relative size is not linked to any real size.
7693 There is no style sheet provided for other fonts besides the @TeX{}
7694 family, and the style sheet cannot be modified easily.
7696 @cindex font selection
7697 @cindex font magnification
7698 @cindex @code{font-interface}
7702 @subsection Text markup
7707 @cindex typeset text
7709 LilyPond has an internal mechanism to typeset texts. You can access it
7710 with the keyword @code{\markup}. Within markup mode, you can enter texts
7711 similar to lyrics: simply enter them, surrounded by spaces:
7714 @lilypond[verbatim,fragment,relative=1]
7715 c1^\markup { hello }
7716 c1_\markup { hi there }
7717 c1^\markup { hi \bold there, is \italic anyone home? }
7720 @cindex font switching
7722 The markup in the example demonstrates font switching commands. The
7723 command @code{\bold} and @code{\italic} only apply to the first
7724 following word; enclose a set of texts with braces to apply a command
7727 \markup @{ \bold @{ hi there @} @}
7731 For clarity, you can also do this for single arguments, e.g.
7733 \markup @{ is \italic @{ anyone @} home @}
7736 @cindex font size, texts
7738 The following size commands set absolute sizes:
7740 @cindex @code{\teeny}
7741 @cindex @code{\tiny}
7742 @cindex @code{\small}
7743 @cindex @code{\large}
7744 @cindex @code{\huge}
7754 You can also make letter larger or smaller relative to their neighbors,
7755 with the commands @code{\larger} and @code{\smaller}.
7759 @cindex font style, for texts
7760 @cindex @code{\bold}
7761 @cindex @code{\dynamic}
7762 @cindex @code{\number}
7763 @cindex @code{\italic}
7765 The following font change commands are defined:
7768 changes to the font used in dynamic signs. This font does not
7769 contain all characters of the alphabet, so when producing ``piu f'',
7770 the ``piu'' should be done in a different font.
7774 changes to the font used in time signatures. It only contains
7775 numbers and a few punctuation marks.
7777 changes @code{font-shape} to @code{italic}.
7779 changes @code{font-series} to @code{bold}.
7782 @cindex raising text
7783 @cindex lowering text
7785 @cindex translating text
7788 @cindex @code{\super}
7790 Raising and lowering texts can be done with @code{\super} and
7793 @lilypond[verbatim,fragment,relative=1]
7794 c1^\markup { E "=" mc \super "2" }
7797 @cindex @code{\raise}
7799 If you want to give an explicit amount for lowering or raising, use
7800 @code{\raise}. This command takes a Scheme valued first argument, and
7801 a markup object as second argument:
7803 @lilypond[verbatim,fragment,relative=1,quote]
7804 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
7806 The argument to @code{\raise} is the vertical displacement amount,
7807 measured in (global) staff spaces. @code{\raise} and @code{\super}
7808 raise objects in relation to their surrounding markups. They cannot be
7809 used to move a single text up or down, when it is above or below a
7810 note, since the mechanism that positions it next to the note cancels
7811 any vertical shift. For vertical positioning, use the @code{padding}
7812 and/or @code{extra-offset} properties.
7814 Other commands taking single arguments include
7817 @item \bracket, \hbracket
7818 Bracket the argument markup with normal and horizontal brackets
7822 @cindex @code{\musicglyph}
7823 This is converted to a musical symbol, e.g. @code{\musicglyph
7824 #"accidentals-0"} will select the natural sign from the music font.
7825 See @ref{The Feta font} for a complete listing of the possible glyphs.
7827 This produces a single character, e.g. @code{\char #65} produces the
7830 @item \note @var{log} @var{dots} @var{dir}
7831 @cindex @code{\note}
7833 This produces a note with a stem pointing in @var{dir} direction, with
7834 duration log @var{log} and @var{dots} augmentation dots. The duration
7835 log is the negative 2-logarithm of the duration denominator. For
7836 example, a quarter note has log 2, an eighth note 3 and a breve has
7839 @item \hspace #@var{amount}
7840 @cindex @code{\hspace}
7841 This produces a invisible object taking horizontal space.
7843 \markup @{ A \hspace #2.0 B @}
7845 will put extra space between A and B, on top of the space that is
7846 normally inserted before elements on a line.
7848 @item \fontsize #@var{size}
7849 @cindex @code{\fontsize}
7850 This sets the relative font size, eg.
7852 A \fontsize #2 @{ B C @} D
7856 This will enlarge the B and the C by two steps.
7857 @item \translate #(cons @var{x} @var{y})
7859 This translates an object. Its first argument is a cons of numbers
7861 A \translate #(cons 2 -3) @{ B C @} D
7863 This moves `B C' 2 spaces to the right, and 3 down.
7865 @item \magnify #@var{mag}
7866 @cindex @code{\magnify}
7867 This sets the font magnification for the its argument. In the following
7868 example, the middle A will be 10% larger:
7870 A \magnify #1.1 @{ A @} A
7874 @item \override #(@var{key} . @var{value})
7875 @cindex @code{\override}
7876 This overrides a formatting property for its argument. The argument
7877 should be a key/value pair, e.g.
7879 m \override #'(font-family . math) m m
7883 In markup mode you can compose expressions, similar to mathematical
7884 expressions, XML documents and music expressions. The braces group
7885 notes into horizontal lines. Other types of lists also exist: you can
7886 stack expressions grouped with @code{<<}, and @code{>>} vertically with
7887 the command @code{\column}. Similarly, @code{\center} aligns texts by
7890 @lilypond[verbatim,fragment,relative=1]
7891 c1^\markup { \column << a bbbb c >> }
7892 c1^\markup { \center << a bbbb c >> }
7893 c1^\markup { \line << a b c >> }
7896 The markup mechanism is extensible. Refer to
7897 @file{scm/new-markup.scm} for more information.
7903 @internalsref{Markup-functions}, and @file{scm/new-markup.scm}.
7910 Text layout is ultimately done by @TeX{}, which does kerning of
7911 letters. LilyPond does not account for kerning, so texts will be
7912 spaced slightly too wide.
7914 Syntax errors for markup mode are confusing.
7916 Markup texts cannot be used in the titling of the @code{\header}
7917 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
7924 @section Global layout
7926 The global layout determined by three factors: the page layout, the
7927 line breaks and the spacing. These all influence each other. The
7928 choice of spacing determines how densely each system of music is set,
7929 which influences where line breaks breaks are chosen, and thus
7930 ultimately how many pages a piece of music takes. In this section, the
7931 algorithm for spacing music is explained, and how spacing can be
7934 Globally spoken, this procedure happens in three steps: first,
7935 flexible distances (``springs'') are chosen, based on durations. All
7936 possible line breaking combination are tried, and the one with the
7937 best results---a layout that has uniform density and requires as
7938 little stretching or cramping as possible---is chosen. When the score
7939 is processed by @TeX{}, each page is filled with systems, and page breaks
7940 are chosen whenever the page gets full.
7945 * Vertical spacing::
7946 * Horizontal spacing::
7953 @node Vertical spacing
7954 @subsection Vertical spacing
7956 @cindex vertical spacing
7957 @cindex distance between staves
7958 @cindex staff distance
7959 @cindex between staves, distance
7960 @cindex staffs per page
7961 @cindex space between staves
7963 The height of each system is determined automatically by LilyPond, to
7964 keep systems from bumping into each other, some minimum distances are
7965 set. By changing these, you can put staves closer together, and thus
7966 put more systems onto one page.
7968 Normally staves are stacked vertically. To make
7969 staves maintain a distance, their vertical size is padded. This is
7970 done with the property @code{minimumVerticalExtent}. It takes a pair
7971 of numbers, so if you want to make it smaller from its, then you could
7974 \property Staff.minimumVerticalExtent = #'(-4 . 4)
7976 This sets the vertical size of the current staff to 4 staff-space on
7977 either side of the center staff line. The argument of
7978 @code{minimumVerticalExtent} is interpreted as an interval, where the
7979 center line is the 0, so the first number is generally negative. The
7980 staff can be made larger at the bottom by setting it to @code{(-6
7983 The piano staves are handled a little differently: to make cross-staff
7984 beaming work correctly, it is necessary that the distance between staves
7985 is fixed beforehand. This is also done with a
7986 @internalsref{VerticalAlignment} object, created in
7987 @internalsref{PianoStaff}. In this object the distance between the
7988 staves is fixed by setting @code{forced-distance}. If you want to
7989 override this, use a @code{\translator} block as follows:
7993 VerticalAlignment \override #'forced-distance = #9
7996 This would bring the staves together at a distance of 9 staff spaces,
7997 measured from the center line of each staff.
8001 Vertical alignment of staves is handled by the
8002 @internalsref{VerticalAlignment} object.
8006 @node Horizontal spacing
8007 @subsection Horizontal Spacing
8009 The spacing engine translates differences in durations into
8010 stretchable distances (``springs'') of differing lengths. Longer
8011 durations get more space, shorter durations get less. The shortest
8012 durations get a fixed amount of space (which is controlled by
8013 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8014 /The longer the duration, the more space it gets: doubling a
8015 duration adds a fixed amount (this amount is controlled by
8016 @code{spacing-increment}) of space to the note.
8018 For example, the following piece contains lots of half, quarter and
8019 8th notes, the eighth note is followed by 1 note head width (NHW).
8020 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8021 @lilypond[fragment, verbatim, relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8025 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8026 width of a note head, and @code{shortest-duration-space} is set to
8027 2.0, meaning that the shortest note gets 2 NHW (2 times
8028 @code{shortest-duration-space}) of space. For normal notes, this space
8029 is always counted from the left edge of the symbol, so the shortest
8030 notes are generally followed by one NHW of space.
8032 If one would follow the above procedure exactly, then adding a single
8033 32th note to a score that uses 8th and 16th notes, would widen up the
8034 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8035 thus adding 2 noteheads of space to every note. To prevent this, the
8036 shortest duration for spacing is not the shortest note in the score,
8037 but the most commonly found shortest note. Notes that are even
8038 shorter this are followed by a space that is proportonial to their
8039 duration relative to the common shortest note. So if we were to add
8040 only a few 16th notes to the example above, they would be followed by
8043 @lilypond[fragment, verbatim, relative=2]
8044 c2 c4. c8 c4. c16-[ c-] c4. c8 c8 c8 c4 c4 c4
8047 The most common shortest duration is determined as follows: in every
8048 measure, the shortest duration is determined. The most common short
8049 duration, is taken as the basis for the spacing, with the stipulation
8050 that this shortest duration should always be equal to or shorter than
8051 1/8th note. The shortest duration is printed when you run lilypond
8052 with @code{--verbose}. These durations may also be customized. If you
8053 set the @code{common-shortest-duration} in
8054 @internalsref{SpacingSpanner}, then this sets the base duration for
8055 spacing. The maximum duration for this base (normally 1/8th), is set
8056 through @code{base-shortest-duration}.
8058 @cindex @code{common-shortest-duration}
8059 @cindex @code{base-shortest-duration}
8060 @cindex @code{stem-spacing-correction}
8061 @cindex @code{spacing}
8063 In the introduction it was explained that stem directions influence
8064 spacing. This is controlled with @code{stem-spacing-correction}
8065 property in @internalsref{NoteSpacing}, which are generated for every
8066 @internalsref{Voice} context. The @code{StaffSpacing} object
8067 (generated at @internalsref{Staff} context) contains the same property
8068 for controlling the stem/barline spacing. The following example
8069 shows these corrections, once with default settings, and once with
8070 exaggerated corrections:
8076 \property Staff.NoteSpacing \override #'stem-spacing-correction
8078 \property Staff.StaffSpacing \override #'stem-spacing-correction
8083 \paper { raggedright = ##t } }
8086 @cindex SpacingSpanner, overriding properties
8088 Properties of the @internalsref{SpacingSpanner} must be overridden
8089 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8090 created before any @code{\property} statements are interpreted.
8092 \paper @{ \translator @{
8094 SpacingSpanner \override #'spacing-increment = #3.0
8101 @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8102 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8103 @internalsref{SeparatingGroupSpanner}.
8107 Spacing is determined on a score wide basis. If you have a score that
8108 changes its character (measured in durations) halfway during the
8109 score, the part containing the longer durations will be spaced too
8112 There is no convenient mechanism to manually override spacing.
8117 @subsection Font size
8118 @cindex font size, setting
8119 @cindex staff size, setting
8120 @cindex @code{paper} file
8122 The Feta font provides musical symbols at seven different sizes.
8123 These fonts are 11 point, 13 point, 16 point, 20 point, 23 point, and
8124 26 point. The point size of a font is the height of the corresponding
8125 staff (excluding line thicknesses).
8127 Definitions for these sizes are the files @file{paperSZ.ly}, where
8128 @code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any
8129 of these files, the variables @code{paperEleven},
8130 @code{paperThirteen}, @code{paperSixteen},
8131 @code{paperTwenty}, @code{paperTwentythree}, and @code{paperTwentysix}
8132 are defined respectively. The default @code{\paper} block is also
8133 set. These files should be imported at toplevel, i.e.
8135 \include "paper26.ly"
8139 The default font size settings for each staff heights are generated
8140 from the 20pt style sheet. For more details, see the file
8141 @file{scm/font.scm}.
8145 @subsection Line breaking
8148 @cindex breaking lines
8150 Line breaks are normally computed automatically. They are chosen such
8151 that lines look neither cramped nor loose, and that consecutive lines
8152 have similar density.
8154 Occasionally you might want to override the automatic breaks; you can
8155 do this by specifying @code{\break}. This will force a line break at
8156 this point. Line breaks can only occur at places where there are bar
8157 lines. If you want to have a line break where there is no bar line,
8158 you can force an invisible bar line by entering @code{\bar
8159 ""}. Similarly, @code{\noBreak} forbids a line break at a
8163 @cindex regular line breaks
8164 @cindex four bar music.
8166 For linebreaks at regular intervals use @code{\break} separated by
8167 skips and repeated with @code{\repeat}:
8169 < \repeat unfold 7 @{ s1 * 4 \break @}
8170 @emph{the real music}
8175 This makes the following 28 measures (assuming 4/4 time) be broken every
8180 @internalsref{BreakEvent}.
8184 @subsection Page layout
8187 @cindex breaking pages
8189 @cindex @code{indent}
8190 @cindex @code{linewidth}
8192 The most basic settings influencing the spacing are @code{indent} and
8193 @code{linewidth}. They are set in the @code{\paper} block. They
8194 control the indentation of the first line of music, and the lengths of
8197 If @code{raggedright} is set to true in the @code{\paper}
8198 block, then the lines are justified at their natural length. This
8199 useful for short fragments, and for checking how tight the natural
8203 @cindex vertical spacing
8205 The page layout process happens outside the LilyPond formatting
8206 engine: variables controlling page layout are passed to the output,
8207 and are further interpreted by @code{ly2dvi}. @code{ly2dvi} responds
8208 to the following variables in the @code{\paper} block. The variable
8209 @code{textheight} sets the total height of the music on each page.
8210 The spacing between systems is controlled with @code{interscoreline},
8211 its default is 16pt. The distance between the score lines will
8212 stretch in order to fill the full page @code{interscorelinefill} is
8213 set to a positive number. In that case @code{interscoreline}
8214 specifies the minimum spacing.
8216 @cindex @code{textheight}
8217 @cindex @code{interscoreline}
8218 @cindex @code{interscorelinefill}
8220 If the variable @code{lastpagefill} is defined,
8221 @c fixme: this should only be done if lastpagefill == #t
8222 systems are evenly distributed vertically on the last page. This
8223 might produce ugly results in case there are not enough systems on the
8224 last page. The @command{lilypond-book} command ignores
8225 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8228 @cindex @code{lastpagefill}
8230 Page breaks are normally computed by @TeX{}, so they are not under
8231 direct control of LilyPond. However, you can insert a commands into
8232 the @file{.tex} output to instruct @TeX{} where to break pages. This
8233 is done by setting the @code{between-systems-strings} on the
8234 @internalsref{NonMusicalPaperColumn} where the system is broken.
8235 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8236 The predefined command @code{\newpage} also does this.
8240 @cindex @code{papersize}
8242 To change the paper size, you must first set the @code{papersize} paper
8243 variable variable as in the example below. Set it to
8244 the strings @code{a4}, @code{letter}, or @code{legal}. After this
8245 specification, you must set the font as described above. If you want
8246 the default font, then use the 20 point font.
8249 \paper@{ papersize = "a4" @}
8250 \include "paper16.ly"
8253 The file @code{paper16.ly} will now include a file named @file{a4.ly}, which
8254 will set the paper variables @code{hsize} and @code{vsize} (used by
8255 @code{lilypond} and @code{ly2dvi}).
8260 @cindex @code{\newpage}
8266 @ref{Invoking ly2dvi},
8267 @inputfileref{input/regression,between-systems.ly}, and
8268 @internalsref{NonMusicalPaperColumn}.
8272 LilyPond has no concept of page layout, which makes it difficult to
8273 reliably choose page breaks in longer pieces.
8282 Entered music can also be converted to MIDI output. The performance
8283 is good enough for proof-hearing the music for errors.
8285 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8286 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8287 marks translate to a fixed fraction of the available MIDI volume
8288 range, crescendi and decrescendi make the volume vary linearly between
8289 their two extremities. The fractions can be adjusted by
8290 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8291 For each type of MIDI instrument, a volume range can be defined. This
8292 gives a basic equalizer control, which can enhance the quality of
8293 the MIDI output remarkably. The equalizer can be controlled by
8294 setting @code{instrumentEqualizer}.
8298 Many musically interesting effects, such as swing, articulation,
8299 slurring, etc., are not translated to MIDI.
8304 * MIDI instrument names::
8309 @subsection MIDI block
8313 The MIDI block is analogous to the paper block, but it is somewhat
8314 simpler. The @code{\midi} block can contain:
8318 @item a @code{\tempo} definition, and
8319 @item context definitions.
8322 Assignments in the @code{\midi} block are not allowed.
8326 @cindex context definition
8328 Context definitions follow precisely the same syntax as within the
8329 \paper block. Translation modules for sound are called performers.
8330 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8333 @node MIDI instrument names
8334 @subsection MIDI instrument names
8336 @cindex instrument names
8337 @cindex @code{Staff.midiInstrument}
8338 @cindex @code{Staff.instrument}
8340 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8341 property or, if that property is not set, the @code{Staff.instrument}
8342 property. The instrument name should be chosen from the list in
8343 @ref{MIDI instruments}.
8347 If the selected string does not exactly match, then LilyPond uses the
8348 default (Grand Piano). It is not possible to select an instrument by