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
13 This chapter describes all the different types of notation supported
14 by LilyPond. It is intended as a reference for users that are already
15 somewhat familiar with using LilyPond.
19 * Easier music entry::
33 * Contemporary notation::
40 @c FIXME: Note entry vs Music entry at top level menu is confusing.
46 The basic elements of any piece of music are the notes. This section
47 is about basic notation elements notes, rests and related constructs,
48 such as stems, tuplets and ties.
53 * Chromatic alterations::
68 A note is printed by specifying its pitch and then its duration:
69 @footnote{Notes constitute the most basic elements of LilyPond input,
70 but they do not form valid input on their own without a @code{\score}
71 block. However, for the sake of brevity and simplicity we will
72 generally omit @code{\score} blocks and @code{\paper} declarations in
75 @lilypond[fragment,verbatim]
84 @cindex Note specification
86 @cindex entering notes
88 The most common syntax for pitch entry is used in @code{\chords} and
89 @code{\notes} mode. In Note and Chord mode, pitches may be designated
90 by names. The notes are specified by the letters @code{a} through
91 @code{g}, while the octave is formed with notes ranging from @code{c}
92 to @code{b}. The pitch @code{c} is an octave below middle C and the
93 letters span the octave above that C:
95 @lilypond[fragment,verbatim]
97 a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
100 @cindex note names, Dutch
102 A sharp is formed by adding @code{-is} to the end of a pitch name and
103 a flat is formed by adding @code{-es}. Double sharps and double flats
104 are obtained by adding @code{-isis} or @code{-eses}. These
105 names are the Dutch note names. In Dutch, @code{aes} is contracted to
106 @code{as}, but both forms are accepted. Similarly, both
107 @code{es} and @code{ees} are accepted.
109 Half-flats and half-sharps are formed by adding @code{-eh} and
110 @code{-ih}; the following is a series of Cs with increasing pitches:
112 @cindex quarter tones
113 @cindex semi-flats, semi-sharps
115 @lilypond[verbatim,relative=2]
127 There are predefined sets of note names for various other languages.
128 To use them, include the language specific init file. For
129 example: @code{\include "english.ly"}. The available language files
130 and the note names they define are:
135 Note Names sharp flat
136 nederlands.ly c d e f g a bes b -is -es
137 english.ly c d e f g a bf b -s/-sharp -f/-flat
139 deutsch.ly c d e f g a b h -is -es
140 norsk.ly c d e f g a b h -iss/-is -ess/-es
141 svenska.ly c d e f g a b h -iss -ess
142 italiano.ly do re mi fa sol la sib si -d -b
143 catalan.ly do re mi fa sol la sib si -d/-s -b
144 espanol.ly do re mi fa sol la sib si -s -b
153 The optional octave specification takes the form of a series of
154 single quote (`@code{'}') characters or a series of comma
155 (`@code{,}') characters. Each @code{'} raises the pitch by one
156 octave; each @code{,} lowers the pitch by an octave:
158 @lilypond[fragment,verbatim,center]
159 c' c'' es' g' as' gisis' ais'
165 Notes can be hidden and unhidden with the following commands:
167 @cindex @code{\hideNotes}
169 @cindex @code{\unHideNotes}
175 Internals: @internalsref{NoteEvent}, and @internalsref{NoteHead}.
177 @node Chromatic alterations
178 @subsection Chromatic alterations
180 Normally accidentals are printed automatically, but you may also
181 print them manually. A reminder accidental
182 @cindex reminder accidental
184 can be forced by adding an exclamation mark @code{!}
185 after the pitch. A cautionary accidental
186 @cindex cautionary accidental
187 @cindex parenthesized accidental
188 (i.e. an accidental within parentheses) can be obtained by adding the
189 question mark `@code{?}' after the pitch:
191 @lilypond[fragment,verbatim]
192 cis' cis' cis'! cis'?
196 The automatic production of accidentals can be tuned in many
197 ways. For more information, refer to @ref{Accidentals}.
202 A chord is formed by a enclosing a set of pitches in @code{<} and
203 @code{>}. A chord may be followed by a duration, and a set of
204 articulations, just like simple notes.
214 Rests are entered like notes, with the note name @code{r}:
216 @lilypond[raggedright,verbatim]
220 Whole bar rests, centered in middle of the bar,
221 must be done with multi measure rests. They are discussed in
222 @ref{Multi measure rests}.
225 A rest's vertical position may be explicitly specified by entering a
226 note with the @code{\rest} keyword appended. This makes manual
227 formatting in polyphonic music easier. Rest collision testing will
228 leave these rests alone:
230 @lilypond[raggedright,verbatim]
236 Internals: @internalsref{RestEvent}, and @internalsref{Rest}.
243 @cindex Invisible rest
246 An invisible rest (also called a `skip') can be entered like a note
247 with note name `@code{s}' or with @code{\skip @var{duration}}:
249 @lilypond[raggedright,verbatim]
253 The @code{s} syntax is only available in note mode and chord mode. In
254 other situations, you should use the @code{\skip} command:
256 @lilypond[raggedright,verbatim]
259 { \time 4/8 \skip 2 \time 4/4 }
260 \notes\relative c'' { a2 a1 }
265 The skip command is merely an empty musical placeholder. It does not
266 produce any output, not even transparent output.
268 The @code{s} skip command does create @internalsref{Staff} and
269 @internalsref{Voice} when necessary, similar to note and rest
270 commands. For example, the following results in an empty staff.
272 @lilypond[raggedright,verbatim]
273 \score { \notes { s4 } }
276 The same fragment using @code{\skip} results in an empty page.
280 Internals: @internalsref{SkipEvent}, @internalsref{SkipMusic}.
285 @subsection Durations
291 In Note, Chord, and Lyrics mode, durations are designated by numbers
292 and dots: durations are entered as their reciprocal values. For example,
293 a quarter note is entered using a @code{4} (since it is a 1/4 note), while
294 a half note is entered using a @code{2} (since it is a 1/2 note). For notes
295 longer than a whole you must use variables:
297 @c FIXME: what is an identifier? I do not think it's been introduced yet.
298 @c and if it has, I obviously skipped that part. - Graham
302 c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
304 r1 r2 r4 r8 r16 r32 r64 r64
309 \notes \relative c'' {
311 a1 a2 a4 a8 a16 a32 a64 a64
313 r1 r2 r4 r8 r16 r32 r64 r64
318 \remove "Clef_engraver"
319 \remove "Staff_symbol_engraver"
320 \remove "Time_signature_engraver"
321 \consists "Pitch_squash_engraver"
328 If the duration is omitted then it is set to the previously entered
329 duration. The default for the first note is a quarter note. The duration
330 can be followed by dots (`@code{.}') in order to obtain dotted note
334 @lilypond[fragment,verbatim,center]
335 a' b' c''8 b' a'4 a'4. b'4.. c'8.
340 You can alter the length of duration by a fraction @var{N/M}
341 appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
342 will not affect the appearance of the notes or rests produced.
343 In the following example, the first three notes take up exactly two
345 @lilypond[fragment,relative=2,verbatim]
347 a4*2/3 gis4*2/3 a4*2/3
354 Dots are normally moved up to avoid staff lines, except in polyphonic
355 situations. The following commands may be used to force a particular
358 @cindex @code{\dotsUp}
360 @cindex @code{\dotsDown}
362 @cindex @code{\dotsBoth}
367 Internals: @internalsref{Dots}, and @internalsref{DotColumn}.
372 Whenever a note is found, a @internalsref{Stem} object is created
373 automatically. For whole notes and rests, they are also created but
378 @cindex @code{\stemUp}
380 @cindex @code{\stemDown}
382 @cindex @code{\stemBoth}
393 A tie connects two adjacent note heads of the same pitch. The tie in
394 effect extends the length of a note. Ties should not be confused with
395 slurs, which indicate articulation, or phrasing slurs, which indicate
396 musical phrasing. A tie is entered using the tilde symbol `@code{~}':
398 @lilypond[fragment,verbatim,center]
399 e' ~ e' <c' e' g'> ~ <c' e' g'>
402 When a tie is applied to a chord, all note heads whose pitches match
403 are connected. When no note heads match, no ties will be created.
405 In its meaning a tie is just a way of extending a note duration, similar
406 to the augmentation dot; in the following example there are two ways of
407 notating exactly the same concept:
409 @lilypond[fragment,raggedright,quote]
410 \time 3/4 c'2. c'2 ~ c'4
412 If you need to tie a lot of notes over bars, it may be easier to use automatic
413 note splitting (see @ref{Automatic note splitting}).
418 @cindex @code{\tieUp}
420 @cindex @code{\tieDown}
422 @cindex @code{\tieBoth}
424 @cindex @code{\tieDotted}
426 @cindex @code{\tieSolid}
431 In this manual: @ref{Automatic note splitting}.
433 Internals: @internalsref{TieEvent}, @internalsref{NewTieEvent},
436 Examples: if you want less ties created for a chord, see
437 @inputfileref{input/test,tie-sparse.ly}.
439 For tying only a subset of the note heads of a pair of chords, see
440 @inputfileref{input/regression,tie-chord-partial.ly}.
445 Switching staves when a tie is active will not produce a slanted tie.
447 Formatting of ties is a difficult subject. The results are often not
457 @cindex @code{\times}
459 Tuplets are made out of a music expression by multiplying all durations
462 @cindex @code{\times}
464 \times @var{fraction} @var{musicexpr}
468 The duration of @var{musicexpr} will be multiplied by the fraction.
469 The fraction's denominator will be printed over the notes, optionally
470 with a bracket. The most common tuplet is the triplet in which 3
471 notes have the length of 2, so the notes are 2/3 of their written
474 @lilypond[fragment,verbatim,center]
475 g'4 \times 2/3 {c'4 c' c'} d'4 d'4
478 The property @code{tupletSpannerDuration} specifies how long each
479 bracket should last. With this, you can make lots of tuplets while
480 typing @code{\times} only once, saving lots of typing. In the next
481 example, there are two triplets shown, while @code{\times} was only
484 @lilypond[fragment,relative,raggedright,verbatim]
485 \property Voice.tupletSpannerDuration = #(ly:make-moment 1 4)
486 \times 2/3 { c'8 c c c c c }
489 The format of the number is determined by the property
490 @code{tupletNumberFormatFunction}. The default prints only the
491 denominator, but if it is set to the Scheme function
492 @code{fraction-tuplet-formatter}, @var{num}:@var{den} will be printed
496 @cindex @code{tupletNumberFormatFunction}
497 @cindex tuplet formatting
502 @cindex @code{\tupletUp}
504 @cindex @code{\tupletDown}
506 @cindex @code{\tupletBoth}
511 Internals: @internalsref{TupletBracket}, and @internalsref{TimeScaledMusic}.
513 Examples: @inputfileref{input/regression,tuplet-nest.ly}.
517 Nested tuplets are not formatted automatically. In this case, outer
518 tuplet brackets should be moved manually, which is demonstrated in
519 @inputfileref{input/regression,tuplet-nest.ly}.
523 @node Easier music entry
524 @section Easier music entry
527 When entering music it is easy to introduce errors. This section deals
528 with tricks and features of the input language that were added solely
529 to help entering music, and find and correct mistakes.
531 It is also possible to use external programs, for example GUI
532 interfaces, or MIDI transcription programs, to enter or edit
533 music. Refer to the website for more information. Finally, there are
534 tools make debugging easier, by linking the input file and the output
535 shown on screen. See @ref{Point and click} for more information.
542 * Skipping corrected music::
543 * Automatic note splitting::
549 @node Relative octaves
550 @subsection Relative octaves
552 @cindex relative octave specification
554 Octaves are specified by adding @code{'} and @code{,} to pitch names.
555 When you copy existing music, it is easy to accidentally put a pitch
556 in the wrong octave and hard to find such an error. The relative
557 octave mode prevents these errors: a single error puts the rest of the
558 piece off by one octave:
560 @cindex @code{\relative}
562 \relative @var{startpitch} @var{musicexpr}
565 The octave of notes that appear in @var{musicexpr} are calculated as
566 follows: If no octave changing marks are used, the basic interval
567 between this and the last note is always taken to be a fourth or less
568 (; this distance is determined without regarding alterations: a
569 @code{fisis} following a @code{ceses} will be put above the
572 The octave changing marks @code{'} and @code{,} can be added to raise
573 or lower the pitch by an extra octave. Upon entering relative mode,
574 an absolute starting pitch must be specified that will act as the
575 predecessor of the first note of @var{musicexpr}.
577 Here is the relative mode shown in action:
578 @lilypond[fragment,raggedright,verbatim,center]
584 Octave changing marks are used for intervals greater than a fourth:
585 @lilypond[fragment,verbatim,center]
590 If the preceding item is a chord, the first note of the chord is used
591 to determine the first note of the next chord:
593 @lilypond[fragment,verbatim,center]
600 @cindex @code{\notes}
602 The pitch after the @code{\relative} contains a note name. To parse
603 the pitch as a note name, you have to be in note mode, so there must
604 be a surrounding @code{\notes} keyword (which is not
607 The relative conversion will not affect @code{\transpose},
608 @code{\chords} or @code{\relative} sections in its argument. If you
609 want to use relative within transposed music, you must place an
610 additional @code{\relative} inside the @code{\transpose}.
613 @subsection Octave check
616 Octave checks make octave errors easier to correct: a note may be
617 followed by @code{=}@var{quotes} which indicates what its absolute
618 octave should be. In the following example,
620 \relative c'' @{ c='' b=' d,='' @}
624 @c take care with @code, adds confusing quotes.
625 the d will generate a warning, because a d'' is expected, but a d' is
626 found. In the output, the octave is corrected this and the following
631 There is also a syntax that is separate from the notes.
636 This checks that @var{pitch} (without octave) yields @var{pitch} (with
637 octave) in \relative mode. If not, a warning is printed, and the
638 octave is corrected, for example, the first check is passed
639 successfully. The second check fails with an error message. The
640 octave is adjusted so the following notes are in the correct octave
651 The octave of a note following an octave check is determined with
652 respect to the note preceding it. In the next fragment, the last note
653 is a @code{a'}, above central C. Hence, the @code{\octave} check may
654 be deleted without changing the meaning of the piece.
656 @lilypond[verbatim,fragment]
665 @subsection Bar check
669 @cindex @code{barCheckSynchronize}
672 Bar checks help detect errors in the durations. A bar check is
673 entered using the bar symbol, `@code{|}'. Whenever it is encountered
674 during interpretation, it should fall on a measure boundary. If it
675 does not, a warning is printed. Depending on the value of
676 @code{barCheckSynchronize}, the beginning of the measure will be
679 In the next example, the second bar check will signal an error:
681 \time 3/4 c2 e4 | g2 |
684 Bar checks can also be used in lyrics, for example
689 Twin -- kle | Twin -- kle
694 @cindex skipTypesetting
696 Failed bar checks are caused by entering incorrect
697 durations. Incorrect durations often completely garble up the score,
698 especially if it is polyphonic, so you should start correcting the
699 score by scanning for failed bar checks and incorrect durations. To
700 speed up this process, you can use @code{skipTypesetting}, described
703 @node Skipping corrected music
704 @subsection Skipping corrected music
706 The property @code{Score.skipTypesetting} can be used to switch on and
707 off typesetting completely during the interpretation phase. When
708 typesetting is switched off, the music is processed much more quickly.
709 This can be used to skip over the parts of a score that have already
710 been checked for errors:
712 @lilypond[fragment,raggedright,verbatim]
714 \property Score.skipTypesetting = ##t
716 \property Score.skipTypesetting = ##f
720 @node Automatic note splitting
721 @subsection Automatic note splitting
723 Long notes can be converted automatically to tied notes. This is done
724 by replacing the @internalsref{Note_heads_engraver} by the
725 @internalsref{Completion_heads_engraver}.
726 In the following examples, notes crossing the barline are split and tied.
729 @lilypond[noindent,verbatim]
731 \remove "Note_heads_engraver"
732 \consists "Completion_heads_engraver"
734 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
738 This engraver splits all running notes at the bar line, and inserts
739 ties. One of its uses is to debug complex scores: if the measures are
740 not entirely filled, then the ties exactly show how much each measure
745 Not all durations (especially those containing tuplets) can be
746 represented exactly; the engraver will not insert tuplets.
750 Examples: @inputfileref{input/regression,completion-heads.ly}
752 Internals: @internalsref{Completion_heads_engraver}
756 @section Staff notation
758 This section describes music notation that occurs on staff level,
759 such as keys, clefs and time signatures.
761 @cindex Staff notation
775 @subsection Staff symbol
777 @cindex adjusting staff symbol
778 @cindex StaffSymbol, using \property
780 Notes, dynamic signs, etc. are grouped
781 with a set of horizontal lines, into a staff (plural `staves'). In our
782 system, these lines are drawn using a separate layout object called
786 @cindex staff lines, setting number of
787 @cindex staff lines, setting thickness of
788 @cindex thickness of staff lines, setting
789 @cindex number of staff lines, setting
793 Internals: @internalsref{StaffSymbol},
795 Examples: @inputfileref{input/test,staff-lines.ly},
796 @inputfileref{input/test,staff-size.ly}
800 If a staff is ended halfway a piece, the staff symbol may not end
801 exactly on the barline.
805 @subsection Key signature
806 @cindex Key signature
810 The key signature indicates the scale in which a piece is played. It
811 is denoted by a set of alterations (flats or sharps) at the start of
816 Setting or changing the key signature is done with the @code{\key}
819 @code{\key} @var{pitch} @var{type}
822 @cindex @code{\minor}
823 @cindex @code{\major}
824 @cindex @code{\minor}
825 @cindex @code{\ionian}
826 @cindex @code{\locrian}
827 @cindex @code{\aeolian}
828 @cindex @code{\mixolydian}
829 @cindex @code{\lydian}
830 @cindex @code{\phrygian}
831 @cindex @code{\dorian}
833 Here, @var{type} should be @code{\major} or @code{\minor} to get
834 @var{pitch}-major or @var{pitch}-minor, respectively.
835 The standard mode names @code{\ionian},
836 @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
837 @code{\phrygian}, and @code{\dorian} are also defined.
839 This command sets the context property
840 @internalsref{Staff}.@code{keySignature}. Non-standard key signatures
841 can be specified by setting this property directly.
843 Accidentals and key signatures often confuse new users, because
844 unaltered notes get natural signs depending on the keysignature. The
845 tutorial explains why this is so in @ref{More about pitches}.
849 The ordering of a key cancellation is wrong when it is combined with
850 repeat bar lines. The cancellation is also printed after a line break.
854 Internals: @internalsref{KeyChangeEvent}, and @internalsref{KeySignature}.
856 @cindex @code{keySignature}
863 The clef indicates which lines of the staff correspond to which
868 The clef can be set or changed with the @code{\clef} command:
869 @lilypond[fragment,verbatim]
870 \key f\major c''2 \clef alto g'2
873 Supported clef-names include:
874 @c Moved standard clefs to the top /MB
878 @item treble, violin, G, G2
891 G clef on 1st line, so-called French violin clef
896 @cindex mezzosoprano clef
899 @cindex baritone clef
902 @cindex varbaritone clef
911 By adding @code{_8} or @code{^8} to the clef name, the clef is
912 transposed one octave down or up, respectively, and @code{_15} and
913 @code{^15} transposes by two octaves. The argument @var{clefname}
914 must be enclosed in quotes when it contains underscores or digits. For
918 @cindex choral tenor clef
919 @lilypond[verbatim,fragment,relative]
923 This command is equivalent to setting @code{clefGlyph},
924 @code{clefPosition} (which controls the Y position of the clef),
925 @code{centralCPosition} and @code{clefOctavation}. A clef is printed
926 when any of these properties are changed.
930 Internals: the object for this symbol is @internalsref{Clef}.
934 @node Ottava brackets
935 @subsection Ottava brackets
937 ``Ottava'' brackets introduce an extra transposition of an octave for
938 the staff. They are created by invoking the function
939 @code{set-octavation}:
945 @lilypond[verbatim,fragment]
954 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
955 (for 15ma) as arguments. Internally the function sets the properties
956 @code{ottavation} (eg. to @code{"8va"}) and
957 @code{centralCPosition}. For overriding the text of the bracket, set
958 @code{ottavation} after invoking @code{set-octavation}, i.e.,
962 \property Staff.ottavation = #"8"
967 Internals: @internalsref{OttavaBracket}.
969 Examples: @inputfileref{input/regression,ottava.ly},
970 @inputfileref{input/regression,ottava-broken.ly}.
974 @code{set-octavation} will get confused when clef changes happen
975 during an octavation bracket.
978 @subsection Time signature
979 @cindex Time signature
983 Time signature indicates the metrum of a piece: a regular pattern of
984 strong and weak beats. It is denoted by a fraction at the start of the
989 The time signature is set or changed by the @code{\time}
991 @lilypond[fragment,verbatim]
992 \time 2/4 c'2 \time 3/4 c'2.
995 The symbol that is printed can be customized with the @code{style}
996 property. Setting it to @code{#'()} uses fraction style for 4/4 and
997 2/2 time. There are many more options for its layout. See
998 @inputfileref{input/test,time.ly} for more examples.
1001 This command sets the property @code{timeSignatureFraction},
1002 @code{beatLength} and @code{measureLength} in the @code{Timing}
1003 context, which is normally aliased to @internalsref{Score}. The
1004 property @code{measureLength} determines where bar lines should be
1005 inserted, and how automatic beams should be generated. Changing the
1006 value of @code{timeSignatureFraction} also causes the symbol to be
1009 More options are available through the Scheme function
1010 @code{set-time-signature}. In combination with the
1011 @internalsref{Measure_grouping_engraver}, it will create
1012 @internalsref{MeasureGrouping} signs. Such signs ease reading
1013 rhythmically complex modern music. In the following example, the 9/8
1014 measure is subdivided in 2, 2, 2 and 3. This is passed to
1015 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
1018 \score { \notes \relative c'' {
1019 #(set-time-signature 9 8 '(2 2 2 3))
1020 g8[ g] d[ d] g[ g] a8[( bes g]) |
1021 #(set-time-signature 5 8 '(3 2))
1026 \translator { \StaffContext
1027 \consists "Measure_grouping_engraver"
1033 Internals: @internalsref{TimeSignature}, and @internalsref{Timing_engraver}.
1038 Automatic beaming does not use measure grouping specified with
1039 @code{set-time-signature}.
1041 @node Partial measures
1042 @subsection Partial measures
1045 @cindex partial measure
1046 @cindex measure, partial
1047 @cindex shorten measures
1048 @cindex @code{\partial}
1050 Partial measures, for example in upsteps, are entered using the
1051 @code{\partial} command:
1052 @lilypond[fragment,verbatim,relative=1]
1053 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1056 The syntax for this command is
1058 \partial @var{duration}
1060 This is internally translated into
1062 \property Timing.measurePosition = -@var{length of duration}
1065 The property @code{measurePosition} contains a rational number
1066 indicating how much of the measure has passed at this point.
1068 @node Unmetered music
1069 @subsection Unmetered music
1071 Bar lines and bar numbers are calculated automatically. For unmetered
1072 music (e.g. cadenzas), this is not desirable. By setting
1073 @code{Score.timing} to false, this automatic timing can be switched
1079 @cindex @code{\cadenzaOn}
1081 @cindex @code{\cadenzaOff}
1085 @subsection Bar lines
1089 @cindex measure lines
1093 Bar lines delimit measures, but are also used to indicate repeats.
1094 Normally, they are inserted automatically. Line breaks may only
1100 of barlines can be forced with the @code{\bar} command:
1102 @lilypond[relative=1,fragment,verbatim]
1106 The following bar types are available:
1107 @lilypond[fragment,relative,raggedright,verbatim]
1120 For allowing linebreaks, there is a special command,
1124 This will insert an invisible barline, and allow linebreaks at this
1127 In scores with many staves, a @code{\bar} command in one staff is
1128 automatically applied to all staves. The resulting bar lines are
1129 connected between different staves of a @internalsref{StaffGroup}:
1131 @lilypond[fragment,verbatim]
1132 << \context StaffGroup <<
1136 \new Staff { \clef bass c4 g e g } >>
1137 \new Staff { \clef bass c2 c2 } >>
1141 The command @code{\bar @var{bartype}} is a short cut for doing
1142 @code{\property Score.whichBar = @var{bartype}} Whenever
1143 @code{whichBar} is set to a string, a bar line of that type is
1144 created. At the start of a measure it is set to
1145 @code{defaultBarType}. The contents of @code{repeatCommands} are used
1146 to override default measure bars.
1148 Property @code{whichBar} can also be set directly, using @code{\property}
1149 or @code{\bar}. These settings take precedence over the automatic
1150 @code{whichBar} settings.
1153 @cindex repeatCommands
1154 @cindex defaultBarType
1156 You are encouraged to use @code{\repeat} for repetitions. See
1163 In this manual: @ref{Repeats}.
1166 Internals: the bar line objects that are created at
1167 @internalsref{Staff} level are called @internalsref{BarLine}, the bar
1168 lines that span staves are @internalsref{SpanBar}s.
1170 @cindex bar lines at start of system
1171 @cindex start of system
1173 The barlines at the start of each system are
1174 @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
1175 @internalsref{SystemStartBracket}. Only one of these types is created
1176 in every context, and that type is determined by the property
1177 @code{systemStartDelimiter}.
1179 Examples: @inputfileref{input/test,bar-lines.ly},
1185 The easiest way to enter fragments with more than one voice on a staff
1186 is to split chords using the separator @code{\\}. You can use it for
1187 small, short-lived voices or for single chords:
1189 @lilypond[verbatim,fragment]
1190 \context Staff \relative c'' {
1191 c4 << { f d e } \\ { b c2 } >>
1192 c4 << g' \\ b, \\ f' \\ d >>
1196 The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
1197 voices are sometimes called "layers" other notation packages}
1199 to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
1200 each of these contexts, vertical direction of slurs, stems, etc. is set
1203 @cindex @code{\voiceOne}
1204 @cindex @code{\voiceFour}
1206 This can also be done by instantiating @internalsref{Voice} contexts
1207 by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
1208 a stem directions and horizontal shift for each part:
1211 @lilypond[raggedright,verbatim]
1213 \context Staff << \new Voice { \voiceOne cis2 b }
1214 \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
1215 \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
1219 The command @code{\oneVoice} will revert back to the normal setting.
1220 @cindex @code{\oneVoice}
1223 Normally, note heads with a different number of dots are not merged, but
1224 when the object property @code{merge-differently-dotted} is set in
1225 the @internalsref{NoteCollision} object, they are merged:
1226 @lilypond[verbatim,fragment,raggedright]
1227 \relative c'' \context Voice << {
1229 \property Staff.NoteCollision \override
1230 #'merge-differently-dotted = ##t
1232 } \\ { g8.[ f16] g8.[ f16] }
1236 Similarly, you can merge half note heads with eighth notes, by setting
1237 @code{merge-differently-headed}:
1238 @lilypond[fragment,relative=2,verbatim]
1241 \property Staff.NoteCollision
1242 \override #'merge-differently-headed = ##t
1243 c8 c4. } \\ { c2 c2 } >>
1246 LilyPond also vertically shifts rests that are opposite of a stem:
1249 @lilypond[raggedright,fragment,verbatim]
1250 \context Voice << c''4 \\ r4 >>
1258 @cindex @code{\oneVoice}
1260 @cindex @code{\voiceOne}
1262 @cindex @code{\voiceTwo}
1264 @cindex @code{\voiceThree}
1266 @cindex @code{\voiceFour}
1270 The following commands specify in what chords of the current voice
1271 should be shifted: the outer voice has @code{\shiftOff}, and the inner
1272 voices have @code{\shiftOn}, @code{\shiftOnn}, etc.
1275 @cindex @code{\shiftOn}
1277 @cindex @code{\shiftOnn}
1279 @cindex @code{\shiftOnnn}
1281 @cindex @code{\shiftOff}
1288 Internals: the objects responsible for resolving collisions are
1289 @internalsref{NoteCollision} and @internalsref{RestCollision}.
1291 Examples: See also example files
1292 @inputfileref{input/regression,collision-dots.ly},
1293 @inputfileref{input/regression,collision-head-chords.ly},
1294 @inputfileref{input/regression,collision-heads.ly},
1295 @inputfileref{input/regression,collision-mesh.ly}, and
1296 @inputfileref{input/regression,collisions.ly}.
1301 Resolving collisions is a intricate subject, and only a few situations
1302 are handled. When LilyPond cannot cope, the @code{force-hshift}
1303 property of the @internalsref{NoteColumn} object and pitched rests can
1304 be used to override typesetting decisions.
1306 When using @code{merge-differently-headed} with an upstem 8th or a shorter
1307 note, and a downstem half note, the 8th note gets the wrong offset.
1309 There is no support for clusters where the same note occurs with
1310 different accidentals in the same chord. In this case, it is
1311 recommended to use enharmonic transcription, or to use special cluster
1312 notation (see @ref{Clusters}).
1317 Beams are used to group short notes into chunks that are aligned with
1318 the metrum. They are inserted automatically in most cases:
1320 @lilypond[fragment,verbatim,relative=2]
1321 \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8
1324 When these automatic decisions are not good enough, beaming can be
1325 entered explicitly. It is also possible to define beaming patterns
1326 that differ from the defaults.
1330 Internals: @internalsref{Beam}.
1333 @cindex Automatic beams
1336 * Setting automatic beam behavior::
1340 @subsection Manual beams
1341 @cindex beams, manual
1345 In some cases it may be necessary to override the automatic beaming
1346 algorithm. For example, the auto beamer will not put beams over rests
1347 or bar lines. Such beams are specified by manually: the begin and end
1348 point are marked with @code{[} and @code{]}:
1350 @lilypond[fragment,relative,verbatim]
1352 r4 r8[ g' a r8] r8 g[ | a] r8
1356 @cindex @code{stemLeftBeamCount}
1358 Normally, beaming patterns within a beam are determined automatically.
1359 When this mechanism fouls up, the properties
1360 @code{Voice.stemLeftBeamCount} and @code{Voice.stemRightBeamCount} can
1361 be used to control the beam subdivision on a stem. If either property
1362 is set, its value will be used only once, and then it is erased.
1364 @lilypond[fragment,relative,verbatim]
1367 f8[ r16 \property Voice.stemLeftBeamCount = #1 f g a]
1370 @cindex @code{stemRightBeamCount}
1373 The property @code{subdivideBeams} can be set in order to subdivide
1374 all 16th or shorter beams at beat positions, as defined by the
1375 @code{beatLength} property . This accomplishes the same effect as
1376 twiddling with @code{stemLeftBeamCount} and @code{stemRightBeamCount},
1377 but it take less typing:
1380 @lilypond[relative=1,verbatim,noindent]
1382 \property Voice.subdivideBeams = ##t
1384 \property Score.beatLength = #(ly:make-moment 1 8)
1387 @cindex subdivideBeams
1389 Kneed beams are inserted automatically, when a large gap is detected
1390 between the note heads. This behavior can be tuned through the object
1391 property @code{auto-knee-gap}.
1393 Normally, line breaks are forbidden when beams cross bar lines. This
1394 behavior can be changed by setting @code{allowBeamBreak}.
1396 @cindex @code{allowBeamBreak}
1397 @cindex beams and line breaks
1399 @cindex beams, kneed
1401 @cindex auto-knee-gap
1407 @cindex Frenched staves
1409 Automatically kneed beams cannot be used together with hidden staves.
1414 @node Setting automatic beam behavior
1415 @subsection Setting automatic beam behavior
1417 @cindex @code{autoBeamSettings}
1418 @cindex @code{(end * * * *)}
1419 @cindex @code{(begin * * * *)}
1420 @cindex automatic beams, tuning
1421 @cindex tuning automatic beaming
1423 @c [TODO: use \applycontext]
1425 In normal time signatures, automatic beams can start on any note but can
1426 only end in a few positions within the measure: beams can end on a beat,
1427 or at durations specified by the properties in
1428 @code{Voice.autoBeamSettings}. The defaults for @code{autoBeamSettings}
1429 are defined in @file{scm/auto-beam.scm}.
1431 The value of @code{autoBeamSettings} is changed using
1432 @code{\override} and restored with @code{\revert}:
1434 \property Voice.autoBeamSettings \override #'(@var{BE} @var{P} @var{Q} @var{N} @var{M}) = @var{dur}
1435 \property Voice.autoBeamSettings \revert #'(@var{BE} @var{P} @var{Q} @var{N} @var{M})
1437 Here, @var{BE} is the symbol @code{begin} or @code{end}. It determines
1438 whether the rule applies to begin or end-points. The quantity
1439 @var{P}/@var{Q} refers to the length of the beamed notes (and `@code{*
1440 *}' designates notes of any length), @var{N}/@var{M} refers to a time
1441 signature (wildcards `@code{* *}' may be entered to designate all time
1444 For example, if automatic beams should end on every quarter note, use
1447 \property Voice.autoBeamSettings \override
1448 #'(end * * * *) = #(ly:make-moment 1 4)
1450 Since the duration of a quarter note is 1/4 of a whole note, it is
1451 entered as @code{(ly:make-moment 1 4)}.
1453 The same syntax can be used to specify beam starting points. In this
1454 example, automatic beams can only end on a dotted quarter note:
1456 \property Voice.autoBeamSettings \override
1457 #'(end * * * *) = #(ly:make-moment 3 8)
1459 In 4/4 time signature, this means that automatic beams could end only on
1460 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1461 3/8, has passed within the measure).
1463 Rules can also be restricted to specific time signatures. A rule that
1464 should only be applied in @var{N}/@var{M} time signature is formed by
1465 replacing the second asterisks by @var{N} and @var{M}. For example, a
1466 rule for 6/8 time exclusively looks like
1468 \property Voice.autoBeamSettings \override
1469 #'(begin * * 6 8) = ...
1472 If a rule should be to applied only to certain types of beams, use the
1473 first pair of asterisks. Beams are classified according to the
1474 shortest note they contain. For a beam ending rule that only applies
1475 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
1478 If a score ends while an automatic beam has not been ended and is still
1479 accepting notes, this last beam will not be typeset at all.
1481 @cindex automatic beam generation
1483 @cindex @code{Voice.autoBeaming}
1486 For melodies that have lyrics, you may want to switch off
1487 automatic beaming. This is done by setting @code{Voice.autoBeaming} to
1492 @cindex @code{\autoBeamOff}
1493 @code{\autoBeamOff},
1494 @cindex @code{\autoBeamOn}
1500 The rules for ending a beam depend on the shortest note in a beam.
1501 So, while it is possible to have different ending rules for eight
1502 beams and sixteenth beams, a beam that contains both eight and
1503 sixteenth notes will use the rules for the sixteenth beam.
1505 In the example below, the autobeamer makes eight beams and sixteenth
1506 end at 3 eights; the third beam can only be corrected by specifying
1509 @lilypond[raggedright,fragment,relative,noverbatim,quote]
1510 \property Voice.autoBeamSettings
1511 \override #'(end * * * *) = #(ly:make-moment 3 8)
1512 % rather show case where it goes wrong
1513 %\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
1514 \time 12/8 c'8 c c c16 c c c c c c c c c c8 c c4
1516 It is not possible to specify beaming parameters that act differently in
1517 different parts of a measure. This means that it is not possible to use
1518 automatic beaming in irregular meters such as @code{5/8}.
1521 @section Accidentals
1524 This section describes how to change the way that accidentals are
1525 inserted automatically before the running notes.
1529 * Using the predefined accidental variables::
1530 * Customized accidental rules::
1533 @node Using the predefined accidental variables
1534 @subsection Using the predefined accidental variables
1536 The constructs for describing the accidental typesetting rules are
1537 quite hairy, so non-experts should stick to the variables
1538 defined in @file{ly/property-init.ly}.
1539 @cindex @file{property-init.ly}
1541 The variables set properties in the ``@code{Current}'' context (see
1542 @ref{Context properties}). This means that the variables should
1543 normally be added right after the creation of the context in which the
1544 accidental typesetting described by the variable is to take
1545 effect. For example, if you want to use piano-accidentals in a piano
1546 staff then issue @code{\pianoAccidentals} first thing after the
1547 creation of the piano staff:
1550 \notes \relative c'' <<
1551 \new Staff @{ cis4 d e2 @}
1552 \context GrandStaff <<
1554 \new Staff @{ cis4 d e2 @}
1555 \new Staff @{ es2 c @}
1557 \new Staff @{ es2 c @}
1561 @lilypond[raggedright]
1563 \notes \relative c'' <<
1564 \new Staff { cis4 d e2 }
1565 \context GrandStaff <<
1567 \new Staff { cis4 d e2 }
1568 \new Staff { es2 c }
1570 \new Staff { es2 c }
1575 minimumVerticalExtent = #'(-4.0 . 4.0)
1583 @item \defaultAccidentals
1584 @cindex @code{\defaultAccidentals}
1585 This is the default typesetting behaviour. It should correspond
1586 to 18th century common practice: Accidentals are
1587 remembered to the end of the measure in which they occur and
1588 only on their own octave.
1590 @item \voiceAccidentals
1591 @cindex @code{\voiceAccidentals}
1593 The normal behaviour is to
1594 remember the accidentals on Staff-level. This variable, however,
1595 typesets accidentals individually for each voice. Apart from that the
1596 rule is similar to @code{\defaultAccidentals}.
1598 This leads to some weird and often unwanted results
1599 because accidentals from one voice do not get cancelled in other
1601 @lilypond[raggedright,relative,fragment,verbatim,quote]
1609 Hence you should only use @code{\voiceAccidentals} if the voices
1610 are to be read solely by individual musicians. If the staff is to be
1611 used by one musician (e.g. a conductor) then you use
1612 @code{\modernVoiceAccidentals} or @code{\modernVoiceCautionaries}
1615 @item \modernAccidentals
1616 @cindex @code{\modernAccidentals}
1617 This rule corresponds to the common practice in the 20th
1619 The rule is more complex than @code{\defaultAccidentals}.
1620 You get all the same accidentals, but temporary
1621 accidentals also get cancelled in other octaves. Furthermore,
1622 in the same octave, they also get cancelled in the following measure:
1623 @lilypond[raggedright,fragment,verbatim]
1625 cis' c'' cis'2 | c'' c'
1628 @item \modernCautionaries
1629 @cindex @code{\modernCautionaries}
1630 This rule is similar to @code{\modernAccidentals}, but the
1631 ``extra'' accidentals (the ones not typeset by
1632 @code{\defaultAccidentals}) are typeset as cautionary accidentals.
1633 They are printed in reduced size or with parentheses:
1634 @lilypond[raggedright,fragment,verbatim]
1636 cis' c'' cis'2 | c'' c'
1639 @cindex @code{\modernVoiceAccidentals}
1640 @item \modernVoiceAccidentals
1641 is used for multivoice accidentals to be read both by musicians
1642 playing one voice and musicians playing all voices. Accidentals are
1643 typeset for each voice, but they @emph{are} cancelled across voices in
1644 the same @internalsref{Staff}.
1646 @cindex @code{\modernVoiceCautionaries}
1647 @item \modernVoiceCautionaries
1648 is the same as @code{\modernVoiceAccidentals}, but with the extra
1649 accidentals (the ones not typeset by @code{\voiceAccidentals}) typeset
1650 as cautionaries. Even though all accidentals typeset by
1651 @code{\defaultAccidentals} @emph{are} typeset by this variable then
1652 some of them are typeset as cautionaries.
1654 @item \pianoAccidentals
1655 @cindex @code{\pianoAccidentals}
1656 20th century practice for piano notation. Very similar to
1657 @code{\modernAccidentals} but accidentals also get cancelled
1658 across the staves in the same @internalsref{GrandStaff} or
1659 @internalsref{PianoStaff}.
1661 @item \pianoCautionaries
1662 @cindex @code{\pianoCautionaries}
1663 As @code{\pianoAccidentals} but with the extra accidentals
1664 typeset as cautionaries.
1667 @cindex @code{\noResetKey}
1668 Same as @code{\defaultAccidentals} but with accidentals lasting
1669 ``forever'' and not only until the next measure:
1670 @lilypond[raggedright,fragment,verbatim,relative]
1675 @item \forgetAccidentals
1676 @cindex @code{\forgetAccidentals}
1677 This is sort of the opposite of @code{\noResetKey}: Accidentals
1678 are not remembered at all---and hence all accidentals are
1679 typeset relative to the key signature, regardless of what was
1680 before in the music:
1681 @lilypond[raggedright,fragment,verbatim,relative]
1683 \key d\major c4 c cis cis d d dis dis
1687 @node Customized accidental rules
1688 @subsection Customized accidental rules
1690 For determining when to print an accidental, several different rules
1691 are tried. The rule that gives the highest number of accidentals is
1692 used. Each rule consists of
1695 In which context is the rule applied. For example, if
1696 @var{context} is @internalsref{Score} then all staves share
1697 accidentals, and if @var{context} is @internalsref{Staff} then all
1698 voices in the same staff share accidentals, but staves do not.
1700 Whether the accidental changes all octaves or only the current
1703 Over how many barlines the accidental lasts.
1704 If @var{lazyness} is @code{-1} then the accidental is forget
1705 immediately, and if @var{lazyness} is @code{#t} then the accidental
1708 @c [TODO: should use +infinity for this case?]
1714 @cindex @code{\defaultAccidentals}
1715 @code{\defaultAccidentals},
1716 @cindex @code{\voiceAccidentals}
1717 @code{\voiceAccidentals},
1718 @cindex @code{\modernAccidentals}
1719 @code{\modernAccidentals},
1720 @cindex @code{\modernCautionaries}
1721 @code{\modernCautionaries},
1722 @cindex @code{\modernVoiceAccidentals}
1723 @code{\modernVoiceAccidentals},
1724 @cindex @code{\modernVoiceCautionaries}
1725 @code{\modernVoiceCautionaries},
1726 @cindex @code{\pianoAccidentals}
1727 @code{\pianoAccidentals},
1728 @cindex @code{\pianoCautionaries}
1729 @code{\pianoCautionaries},
1730 @cindex @code{\noResetKey}
1732 @cindex @code{\forgetAccidentals}
1733 @code{\forgetAccidentals}.
1737 Internals: @internalsref{Accidental_engraver},
1738 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
1743 Currently the simultaneous notes are considered to be entered in
1744 sequential mode. This means that in a chord the accidentals are
1745 typeset as if the notes in the chord happened once at a time - in the
1746 order in which they appear in the input file.
1748 This is only a problem when there are simultaneous notes whose
1749 accidentals depend on each other. The problem only occurs when using
1750 non-default accidentals. In the default scheme, accidentals only
1751 depend on other accidentals with the same pitch on the same staff, so
1752 no conflicts possible.
1754 This example shows two examples of the same music giving different
1755 accidentals depending on the order in which the notes occur in the
1758 @lilypond[raggedright,fragment,verbatim]
1759 \property Staff.autoAccidentals = #'( Staff (any-octave . 0) )
1760 cis'4 <c'' c'> r2 | cis'4 <c' c''> r2
1761 | <cis' c''> r | <c'' cis'> r |
1764 This problem can be solved by manually inserting @code{!} and @code{?}
1765 for the problematic notes.
1767 @node Expressive marks
1768 @section Expressive marks
1771 @c todo: should change ordering
1772 @c where to put text spanners, metronome marks,
1781 * Analysis brackets::
1783 * Fingering instructions::
1794 A slur indicates that notes are to be played bound or @emph{legato}.
1798 They are entered using parentheses:
1799 @lilypond[relative=1,fragment,verbatim,center]
1800 f( g)( a) a8 b( a4 g2 f4)
1805 @c TODO: should explain that ^( and _( set directions
1806 @c should set attachments with ^ and _ ?
1808 Slurs avoid crossing stems, and are generally attached to note heads.
1809 However, in some situations with beams, slurs may be attached to stem
1810 ends. If you want to override this layout you can do this through the
1811 object property @code{attachment} of @internalsref{Slur} in
1812 @internalsref{Voice} context. Its value is a pair of symbols, specifying
1813 the attachment type of the left and right end points:
1815 @lilypond[fragment,relative,verbatim]
1817 \property Voice.Stem \set #'length = #5.5
1819 \property Voice.Slur \set #'attachment = #'(stem . stem)
1823 If a slur would strike through a stem or beam, the slur will be moved
1824 away upward or downward. If this happens, attaching the slur to the
1825 stems might look better:
1827 @lilypond[fragment,relative,verbatim]
1830 \property Voice.Slur \set #'attachment = #'(stem . stem)
1837 @cindex @code{\slurUp}
1839 @cindex @code{\slurDown}
1841 @cindex @code{\slurBoth}
1843 @cindex @code{\slurDotted}
1845 @cindex @code{\slurSolid}
1850 Internals: @seeinternals{Slur}, and @internalsref{SlurEvent}.
1855 Producing nice slurs is a difficult problem, and LilyPond currently
1856 uses a simple, empiric method to produce slurs. In some cases, its
1860 @cindex Adjusting slurs
1862 @node Phrasing slurs
1863 @subsection Phrasing slurs
1865 @cindex phrasing slurs
1866 @cindex phrasing marks
1868 A phrasing slur (or phrasing mark) connects chords and is used to
1869 indicate a musical sentence. It is started using @code{\(} and @code{\)}
1872 @lilypond[fragment,verbatim,center,relative]
1873 \time 6/4 c'\( d( e) f( e) d\)
1876 Typographically, the phrasing slur behaves almost exactly like a
1877 normal slur. However, they are treated as different objects. A
1878 @code{\slurUp} will have no effect on a phrasing slur; instead, you
1879 should use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
1880 @code{\phrasingSlurBoth}.
1882 The commands @code{\slurUp}, @code{\slurDown}, and @code{\slurBoth}
1883 will only affect normal slurs and not phrasing slurs.
1887 @cindex @code{\phrasingSlurUp}
1888 @code{\phrasingSlurUp},
1889 @cindex @code{\phrasingSlurDown}
1890 @code{\phrasingSlurDown},
1891 @cindex @code{\phrasingSlurBoth}
1892 @code{\phrasingSlurBoth},
1896 Internals: see also @internalsref{PhrasingSlur}, and
1897 @internalsref{PhrasingSlurEvent}.
1901 Phrasing slurs have the same limitations in their formatting as normal
1902 slurs. Putting phrasing slurs over rests leads to spurious warnings.
1905 @subsection Breath marks
1907 Breath marks are entered using @code{\breathe}:
1910 @lilypond[fragment,relative,verbatim]
1914 The glyph of the breath mark can be tweaked by overriding the
1915 @code{text} property of the @code{BreathingSign} layout object with
1916 any markup text. For example,
1917 @lilypond[fragment,verbatim,relative]
1919 \property Voice.BreathingSign \override #'text
1920 = #(make-musicglyph-markup "scripts-rvarcomma")
1927 Internals: @internalsref{BreathingSign},
1928 @internalsref{BreathingSignEvent}
1930 Examples: @inputfileref{input/regression,breathing-sign.ly}.
1933 @node Metronome marks
1934 @subsection Metronome marks
1937 @cindex beats per minute
1938 @cindex metronome marking
1940 Metronome settings can be entered as follows:
1942 \tempo @var{duration} = @var{perminute}
1945 In the MIDI output, they are interpreted as a tempo change, and in the
1946 paper output, a metronome marking is printed:
1947 @cindex @code{\tempo}
1948 @lilypond[fragment,verbatim]
1954 Internals: @internalsref{MetronomeChangeEvent}.
1959 @subsection Text spanners
1960 @cindex Text spanners
1962 Some performance indications, e.g. @i{rallentando} or @i{accelerando},
1963 are written as texts, and extended over many measures with dotted
1964 lines. You can create such texts using text spanners: attach
1965 @code{\startTextSpan} and @code{\stopTextSpan} to the
1966 start and ending note of the spanner.
1968 The string to be printed, as well as the style, is set through object
1971 @lilypond[fragment,relative,verbatim]
1973 \property Voice.TextSpanner \set #'direction = #-1
1974 \property Voice.TextSpanner \set #'edge-text = #'("rall " . "")
1975 c2\startTextSpan b c\stopTextSpan a }
1981 Internals @internalsref{TextSpanEvent},
1982 @internalsref{TextSpanner}.
1984 Examples: @inputfileref{input/regression,text-spanner.ly}.
1987 @node Analysis brackets
1988 @subsection Analysis brackets
1990 @cindex phrasing brackets
1991 @cindex musicological analysis
1992 @cindex note grouping bracket
1994 Brackets are used in musical analysis to indicate structure in musical
1995 pieces. LilyPond supports a simple form of nested horizontal brackets.
1996 To use this, add the @internalsref{Horizontal_bracket_engraver} to
1997 @internalsref{Staff} context. A bracket is started with
1998 @code{\startGroup} and closed with @code{\stopGroup}:
2000 @lilypond[raggedright,verbatim]
2001 \score { \notes \relative c'' {
2002 c4\startGroup\startGroup
2005 c4\stopGroup\stopGroup
2007 \paper { \translator {
2008 \StaffContext \consists "Horizontal_bracket_engraver"
2014 Internals: @internalsref{HorizontalBracket},
2015 @internalsref{NoteGroupingEvent}
2017 Examples: @inputfileref{input/regression,note-group-bracket.ly}.
2021 @subsection Articulations
2022 @cindex Articulations
2024 @cindex articulations
2028 A variety of symbols can appear above and below notes to indicate
2029 different characteristics of the performance. They are added to a note
2030 by adding a dash and the character signifying the
2031 articulation. They are demonstrated here:
2033 @lilypondfile[]{script-abbreviations.ly}
2035 The meanings of these shorthands can be changed: see
2036 @file{ly/script-init.ly} for examples.
2039 The script is automatically placed, but if you need to force
2040 directions, you can use @code{_} to force them down, or @code{^} to
2042 @lilypond[fragment,verbatim]
2046 Other symbols can be added using the syntax
2047 @var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
2048 can be forced up or down using @code{^} and @code{_},
2051 @lilypond[verbatim,fragment,relative=2]
2052 c\fermata c^\fermata c_\fermata
2059 @cindex staccatissimo
2068 @cindex organ pedal marks
2077 @cindex prallmordent
2081 @cindex thumb marking
2086 @lilypondfile[]{script-chart.ly}
2091 @cindex @code{\scriptUp}
2093 @cindex @code{\scriptDown}
2095 @cindex @code{\scriptBoth}
2100 Internals: @internalsref{ScriptEvent}, and @internalsref{Script}.
2104 These note ornaments appear in the printed output but have no
2105 effect on the MIDI rendering of the music.
2108 @node Fingering instructions
2109 @subsection Fingering instructions
2113 Fingering instructions can be entered using
2115 @var{note}-@var{digit}
2117 For finger changes, use markup texts:
2119 @lilypond[verbatim,raggedright,fragment]
2120 c'4-1 c'4-2 c'4-3 c'4-4
2121 c'^\markup { \fontsize #-3 \number "2-3" }
2124 @cindex finger change
2129 You can use the thumb-script to indicate that a note should be
2130 played with the thumb (e.g. in cello music):
2132 @lilypond[verbatim,raggedright,fragment]
2133 <a' a''-3>8(_\thumb <b' b''-3>)_\thumb
2134 <c'' c'''-3>(_\thumb <d'' d'''-3>)_\thumb
2137 Fingerings for chords can also be added to individual notes
2138 of the chord by adding them after the pitches:
2139 @lilypond[verbatim,raggedright,fragment,relative=1]
2140 < c-1 e-2 g-3 b-5 > 4
2144 In this case, setting @code{fingeringOrientations} will put fingerings next
2147 @lilypond[verbatim,raggedright,fragment,relative=1]
2148 \property Voice.fingeringOrientations = #'(left down)
2149 <c-1 es-2 g-4 bes-5 > 4
2150 \property Voice.fingeringOrientations = #'(up right down)
2151 <c-1 es-2 g-4 bes-5 > 4
2154 By using single note chords, fingering instructions can be put close
2155 to note heads in monophonic music.
2159 Internals: @internalsref{FingerEvent}, and @internalsref{Fingering}.
2161 Examples: @inputfileref{input/regression,finger-chords.ly}
2164 @subsection Text scripts
2165 @cindex Text scripts
2167 @cindex text items, non-empty
2168 @cindex non-empty texts
2170 It is possible to place arbitrary strings of text or markup text (see
2171 @ref{Text markup}) above or below notes by using a string:
2172 @code{c^"text"}. By default, these indications do not influence the
2173 note spacing, but by using the command @code{\fatText}, the widths
2174 will be taken into account:
2176 @lilypond[fragment,raggedright,verbatim] \relative c' {
2177 c4^"longtext" \fatText c4_"longlongtext" c4 }
2180 It is possible to use @TeX{} commands in the strings, but this should
2181 be avoided because the exact dimensions of the string can then no
2186 @refcommand{fatText}, @refcommand{emptyText}.
2191 In this manual: @ref{Text markup}.
2193 Internals: @internalsref{TextScriptEvent}, @internalsref{TextScript}
2199 @subsection Grace notes
2202 @c should have blurb about accaciatura / appogiatura
2204 @cindex @code{\grace}
2208 Grace notes are ornaments that are written out. The most common ones
2209 are acciaccatura, which should be played as very short. It is denoted
2210 by a slurred small note with a slashed stem. The appoggiatura is a
2211 grace note that takes a fixed fraction of the main note, is and
2212 denoted as a slurred note in small print without a slash.
2213 They are entered with the commands @code{\acciaccatura} and
2214 @code{\appoggiatura}, as demonstrated in the following example:
2217 @cindex appoggiatura
2218 @cindex acciaccatura
2220 @lilypond[relative=2,verbatim,fragment]
2221 b4 \acciaccatura d8 c4 \appoggiatura e8 d4
2222 \acciaccatura { g16[ f] } e4
2225 Both are special forms of the @code{\grace} command. By prefixing this
2226 keyword to a music expression, a new one is formed, which will be
2227 printed in a smaller font and takes up no logical time in a measure.
2228 @lilypond[relative=2,verbatim,fragment]
2230 \grace { c16[ d16] } c2 c4
2234 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2235 @code{\grace} command does not start a slur.
2237 Internally, timing for grace notes is done using a second, `grace'
2238 time. Every point in time consists of two rational numbers: one
2239 denotes the logical time, one denotes the grace timing. The above
2240 example is shown here with timing tuples:
2242 @lilypond[raggedright]
2245 c4 \grace c16 c4 \grace {
2248 \new Lyrics \lyrics {
2251 ( \fraction 1 4 , \fraction -1 16 ) } 16 }
2252 \markup { (\fraction 1 4 , 0 ) } 4
2254 \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
2255 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
2257 \markup { ( \fraction 2 4 , 0 ) }
2262 The placement of grace notes is synchronized between different staves.
2263 In the following example, there are two sixteenth graces notes for
2264 every eighth grace note:
2266 @lilypond[relative=2,verbatim,fragment]
2267 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2268 \new Staff { c'4 \grace { g8[ b] } c4 } >>
2273 If you want to end a note with a grace, then the standard trick
2274 is to put the grace notes after a ``space note'', e.g.
2275 @lilypond[fragment,verbatim,relative=2]
2278 { s2 \grace { c16[ d] } } >>
2284 By adjusting the duration of the skip note (here it is a half-note),
2285 the space between the main-note and the grace is adjusted.
2288 A @code{\grace} section will introduce special typesetting settings,
2289 for example, to produce smaller type, and set directions. Hence, when
2290 introducing layout tweaks, they should be inside the grace section,
2292 @lilypond[fragment,verbatim,relative=1]
2295 \property Voice.Stem \override #'direction = #-1
2297 \property Voice.Stem \revert #'direction
2304 The overrides should also be reverted inside the grace section.
2306 If the layout of grace sections must be changed throughout the music,
2307 then this can be accomplished through the function
2308 @code{add-grace-property}. The following example
2309 undefines the Stem direction grace section, so stems do not always
2314 #(add-grace-property "Voice" Stem direction '())
2320 Another option is to change the variables @code{startGraceMusic},
2321 @code{stopGraceMusic}, @code{startAccacciaturaMusic},
2322 @code{stopAccacciaturaMusic}, @code{startAppoggiaturaMusic},
2323 @code{stopAppoggiaturaMusic}. More information is in the file
2324 @file{ly/grace-init.ly}
2329 Internals: @internalsref{GraceMusic}.
2333 A score that starts with an @code{\grace} section needs an explicit
2334 @code{\context Voice} declaration, otherwise the main note and grace
2335 note end up on different staves.
2337 Grace note synchronization can also lead to surprises. Staff notation,
2338 such as key signatures, barlines, etc. are also synchronized. Take
2339 care when you mix staves with grace notes and staves without, for example,
2341 @lilypond[relative=2,verbatim,fragment]
2342 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2343 \new Staff { c4 \bar "|:" d4 } >>
2346 Grace sections should only be used within sequential music
2347 expressions. Nesting or juxtaposing grace sections is not supported,
2348 and might produce crashes or other errors.
2352 @subsection Glissando
2355 @cindex @code{\glissando}
2357 A glissando is a smooth change in pitch. It is denoted by a line or a
2358 wavy line between two notes.
2362 A glissando line can be requested by attaching a @code{\glissando} to
2365 @lilypond[fragment,relative,verbatim]
2371 Internals: @internalsref{Glissando}, and @internalsref{GlissandoEvent}.
2376 Adding additional texts (such as @emph{gliss.}) is not supported.
2380 @subsection Dynamics
2393 @cindex @code{\ffff}
2403 Absolute dynamic marks are specified using an variable after a
2404 note: @code{c4\ff}. The available dynamic marks are @code{\ppp},
2405 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
2406 @code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
2407 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}:
2409 @lilypond[verbatim,raggedright,fragment,relative]
2410 c'\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
2416 @cindex @code{\decr}
2417 @cindex @code{\rced}
2424 A crescendo mark is started with @code{\<} and terminated with
2425 @code{\!}. A decrescendo is started with @code{\>} and also terminated
2426 with @code{\!}. Because these marks are bound to notes, if you must
2427 use spacer notes if multiple marks during one note are needed:
2429 @lilypond[fragment,verbatim,center,quote]
2430 c''\< c''\! d''\decr e''\rced
2431 << f''1 { s4 s4\< s4\! \> s4\! } >>
2433 This may give rise to very short hairpins. Use @code{minimum-length}
2434 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
2438 \property Staff.Hairpin \override #'minimum-length = #5
2441 You can also use a text saying @emph{cresc.} instead of hairpins. Here
2442 is an example how to do it:
2444 @lilypond[fragment,relative=2,verbatim]
2445 c4 \cresc c4 c c c \endcresc c4
2451 You can also supply your own texts:
2452 @lilypond[fragment,relative,verbatim]
2454 \property Voice.crescendoText = \markup { \italic "cresc. poco" }
2455 \property Voice.crescendoSpanner = #'dashed-line
2465 @cindex @code{\dynamicUp}
2467 @cindex @code{\dynamicDown}
2468 @code{\dynamicDown},
2469 @cindex @code{\dynamicBoth}
2470 @code{\dynamicBoth}.
2472 @cindex direction, of dynamics
2476 Internals: @internalsref{CrescendoEvent}, @internalsref{DecrescendoEvent}, and
2477 @internalsref{AbsoluteDynamicEvent}.
2479 Dynamics are objects of @internalsref{DynamicText} and
2480 @internalsref{Hairpin}. Vertical positioning of these symbols is
2481 handled by the @internalsref{DynamicLineSpanner} object.
2483 If you want to adjust padding or vertical direction of the dynamics, you
2484 must set properties for the @internalsref{DynamicLineSpanner} object.
2492 @cindex @code{\repeat}
2495 Repetition is a central concept in music, and multiple notations exist
2496 for repetitions. In LilyPond, most of these notations can be captured
2497 in a uniform syntax. One of the advantages is that they can be
2498 rendered in MIDI accurately.
2500 The following types of repetition are supported:
2504 Repeated music is fully written (played) out. Useful for MIDI
2505 output, and entering repetitive music.
2508 This is the normal notation: Repeats are not written out, but
2509 alternative endings (voltas) are printed, left to right.
2513 Alternative endings are written stacked. This has limited use but may be
2514 used to typeset two lines of lyrics in songs with repeats, see
2515 @inputfileref{input,star-spangled-banner.ly}.
2523 Make beat or measure repeats. These look like percent signs.
2529 * Repeats and MIDI::
2530 * Manual repeat commands::
2532 * Tremolo subdivisions::
2537 @subsection Repeat syntax
2541 LilyPond has one syntactic construct for specifying different types of
2542 repeats. The syntax is
2545 \repeat @var{variant} @var{repeatcount} @var{repeatbody}
2548 If you have alternative endings, you may add
2549 @cindex @code{\alternative}
2551 \alternative @code{@{} @var{alternative1}
2553 @var{alternative3} @dots{} @code{@}}
2555 where each @var{alternative} is a music expression. If you do not
2556 give enough alternatives for all of the repeats, then the first
2557 alternative is assumed to be played more than once.
2559 Normal notation repeats are used like this:
2560 @lilypond[fragment,verbatim,relative=1]
2562 \repeat volta 2 { c4 d e f }
2563 \repeat volta 2 { f e d c }
2566 With alternative endings:
2567 @lilypond[fragment,verbatim,relative=1]
2569 \repeat volta 2 {c4 d e f}
2570 \alternative { {d2 d} {f f,} }
2574 @lilypond[fragment,verbatim,relative=1]
2577 \repeat volta 4 { e | c2 d2 | e2 f2 | }
2578 \alternative { { g4 g g } { a | a a a a | b2. } }
2584 If you do a nested repeat like
2593 then it is ambiguous to which @code{\repeat} the @code{\alternative}
2594 belongs. This ambiguity is resolved by always having the
2595 @code{\alternative} belong to the inner @code{\repeat}. For clarity,
2596 it is advisable to use braces in such situations.
2599 @node Repeats and MIDI
2600 @subsection Repeats and MIDI
2602 @cindex expanding repeats
2604 For instructions on how to unfold repeats for MIDI output, see the
2605 example file @inputfileref{input/test,unfold-all-repeats.ly}.
2610 Timing information is not remembered at the start of an alternative,
2611 so after a repeat timing information must be reset by hand, for
2612 example by setting @code{Score.measurePosition} or entering
2613 @code{\partial}. Similarly, slurs or ties are also not repeated.
2616 @node Manual repeat commands
2617 @subsection Manual repeat commands
2619 @cindex @code{repeatCommands}
2621 The property @code{repeatCommands} can be used to control the layout of
2622 repeats. Its value is a Scheme list of repeat commands, where each repeat
2626 @item the symbol @code{start-repeat},
2627 which prints a @code{|:} bar line,
2628 @item the symbol @code{end-repeat},
2629 which prints a @code{:|} bar line,
2630 @item the list @code{(volta @var{text})},
2631 which prints a volta bracket saying @var{text}: The text can be specified as
2632 a text string or as a markup text, see @ref{Text markup}. Do not
2633 forget to change the font, as the default number font does not contain
2634 alphabetic characters. Or,
2635 @item the list @code{(volta #f)}, which
2636 stops a running volta bracket:
2639 @lilypond[verbatim,fragment,relative=2]
2641 \property Score.repeatCommands = #'((volta "93") end-repeat)
2643 \property Score.repeatCommands = #'((volta #f))
2650 Internals: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic},
2651 @internalsref{VoltaRepeatedMusic},
2652 @internalsref{UnfoldedRepeatedMusic}, and
2653 @internalsref{FoldedRepeatedMusic}.
2655 @node Tremolo repeats
2656 @subsection Tremolo repeats
2657 @cindex tremolo beams
2659 To place tremolo marks between notes, use @code{\repeat} with tremolo
2661 @lilypond[verbatim,raggedright]
2663 \context Voice \notes\relative c' {
2664 \repeat "tremolo" 8 { c16 d16 }
2665 \repeat "tremolo" 4 { c16 d16 }
2666 \repeat "tremolo" 2 { c16 d16 }
2671 Tremolo marks can also be put on a single note. In this case, the
2672 note should not be surrounded by braces.
2673 @lilypond[verbatim,raggedright]
2674 \repeat "tremolo" 4 c16
2677 A similar mechanism is the tremolo subdivision, described in
2678 @ref{Tremolo subdivisions}.
2682 In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
2684 Internals: tremolo beams are @internalsref{Beam} objects. Single stem
2685 tremolos are @internalsref{StemTremolo}s. The music expression is
2686 @internalsref{TremoloEvent},
2688 Example files: @inputfileref{input/regression,chord-tremolo.ly},
2689 @inputfileref{input/regression,stem-tremolo.ly}.
2691 @node Tremolo subdivisions
2692 @subsection Tremolo subdivisions
2693 @cindex tremolo marks
2694 @cindex @code{tremoloFlags}
2696 Tremolo marks can be printed on a single note by adding
2697 `@code{:}[@var{length}]' after the note. The length must be at least 8.
2698 A @var{length} value of 8 gives one line across the note stem. If the
2699 length is omitted, then then the last value (stored in
2700 @code{Voice.tremoloFlags}) is used:
2702 @lilypond[verbatim,fragment,center]
2703 c'2:8 c':32 | c': c': |
2706 @c [TODO : stok is te kort bij 32en]
2710 Tremolos in this style do not carry over into the MIDI output.
2714 In this manual: @ref{Tremolo repeats}.
2716 Elsewhere: @internalsref{StemTremolo}, @internalsref{TremoloEvent}.
2718 @node Measure repeats
2719 @subsection Measure repeats
2721 @cindex percent repeats
2722 @cindex measure repeats
2724 In the @code{percent} style, a note pattern can be repeated. It is
2725 printed once, and then the pattern is replaced with a special sign.
2726 Patterns of a one and two measures are replaced by percent-like signs,
2727 patterns that divide the measure length are replaced by slashes:
2729 @lilypond[verbatim,raggedright]
2730 \context Voice { \repeat "percent" 4 { c'4 }
2731 \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
2737 Internals: @internalsref{RepeatSlash}, @internalsref{PercentRepeat},
2738 @internalsref{PercentRepeatedMusic}, and
2739 @internalsref{DoublePercentRepeat}.
2743 @node Rhythmic music
2744 @section Rhythmic music
2748 * Showing melody rhythms::
2749 * Entering percussion::
2750 * Percussion staves::
2754 @node Showing melody rhythms
2755 @subsection Showing melody rhythms
2757 Sometimes you might want to show only the rhythm of a melody. This
2758 can be done with the rhythmic staff. All pitches of notes on such a
2759 staff are squashed, and the staff itself has a single line:
2761 @lilypond[fragment,relative,verbatim]
2762 \context RhythmicStaff {
2764 c4 e8 f g2 | r4 g r2 | g1:32 | r1 |
2770 Internals: @internalsref{RhythmicStaff}.
2772 Examples: @inputfileref{input/regression,rhythmic-staff.ly}.
2775 @node Entering percussion
2776 @subsection Entering percussion
2783 Percussion notes may be entered in @code{\drums} mode, which is
2784 similar to @code{notes}. Each piece of percussion has a full name and
2785 an abbreviated name, and both be used in input files:
2787 @lilypond[raggedright]
2788 \drums { hihat4 hh4 }
2791 The complete list of drum names is in the init file
2792 @file{ly/drumpitch-init.ly}.
2793 @c TODO: properly document this.
2797 Internals: @internalsref{DrumNoteEvent}
2799 @node Percussion staves
2800 @subsection Percussion staves
2804 A percussion part for more than one instrument typically uses a
2805 multiline staff where each position in the staff refers to one piece
2809 To typeset the music, the notes must be interpreted in a
2810 @internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
2813 @lilypond[raggedright,verbatim,quote]
2814 up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
2815 down = \drums { bassdrum4 snare8 bd r bd sn4 }
2818 << \new DrumVoice { \voiceOne \up }
2819 \new DrumVoice { \voiceTwo \down }
2823 There are also other layout possibilities. To use these, set the
2824 property @code{drumStyleTable} in context @internalsref{DrumVoice}.
2825 The following variables have been predefined:
2829 is the default. It typesets a typical drum kit on a five-line staff
2832 nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
2833 bd sn ss tomh tommh tomml toml tomfh tomfl }
2834 mus = \drums { cymc cyms cymr hh | hhc hho hhho hhp | \break cb hc
2835 bd sn ss tomh tommh tomml toml tomfh tomfl s16 }
2837 << \new DrumStaff\with {
2838 \remove Bar_engraver
2839 \remove Time_signature_engraver
2840 Stem \set #'transparent = ##t
2841 Stem \set #'Y-extent-callback = ##f
2842 minimumVerticalExtent = #'(-4.0 . 5.0)
2844 \context LyricsVoice \nam
2847 %% need to do this, because of indented @itemize
2849 \translator { \ScoreContext
2850 BarNumber \set #'transparent =##T
2854 The drum scheme supports six different toms. When there fewer toms, simply
2855 select the toms that produce the desired result, i.e. to get toms on
2856 the three middle lines you use @code{tommh}, @code{tomml} and
2859 @item timbales-style
2860 to typeset timbales on a two line staff:
2862 @lilypond[raggedright]
2863 nam = \lyrics { timh ssh timl ssl cb }
2864 mus = \drums { timh ssh timl ssl cb s16 }
2867 \context DrumStaff \with {
2868 \remove Bar_engraver
2869 \remove Time_signature_engraver
2870 Stem \set #'transparent = ##t
2871 Stem \set #'Y-extent-callback = ##f
2872 StaffSymbol \override #'line-count = #2
2873 StaffSymbol \override #'staff-space = #2
2874 minimumVerticalExtent = #'(-3.0 . 4.0)
2875 drumStyleTable = #timbales-style
2877 \context LyricsVoice \nam
2882 to typeset congas on a two line staff:
2884 @lilypond[raggedright]
2885 nam = \lyrics { cgh cgho cghm ssh cgl cglo cglm ssl }
2886 mus = \drums { cgh cgho cghm ssh cgl cglo cglm ssl s16 }
2889 \context DrumStaff\with {
2890 \remove Bar_engraver
2891 \remove Time_signature_engraver
2892 drumStyleTable = #congas-style
2893 StaffSymbol \override #'line-count = #2
2895 %% this sucks; it will lengthen stems.
2896 StaffSymbol \override #'staff-space = #2
2897 Stem \set #'transparent = ##t
2898 Stem \set #'Y-extent-callback = ##f
2900 \context LyricsVoice \nam
2905 to typeset bongos on a two line staff:
2907 @lilypond[raggedright]
2908 nam = \lyrics { boh boho bohm ssh bol bolo bolm ssl }
2909 mus = \drums { boh boho bohm ssh bol bolo bolm ssl s16 }
2912 \context DrumStaff\with {
2913 \remove Bar_engraver
2914 \remove Time_signature_engraver
2915 StaffSymbol \override #'line-count = #2
2916 drumStyleTable = #bongos-style
2918 %% this sucks; it will lengthen stems.
2919 StaffSymbol \override #'staff-space = #2
2920 Stem \set #'transparent = ##t
2921 Stem \set #'Y-extent-callback = ##f
2923 \context LyricsVoice \nam
2928 @item percussion-style
2929 to typeset all kinds of simple percussion on one line staves:
2930 @lilypond[raggedright]
2931 nam = \lyrics { tri trio trim gui guis guil cb cl tamb cab mar hc }
2932 mus = \drums { tri trio trim gui guis guil cb cl tamb cab mar hc s16 }
2935 \context DrumStaff\with{
2936 \remove Bar_engraver
2937 drumStyleTable = #percussion-style
2938 StaffSymbol \override #'line-count = #1
2939 \remove Time_signature_engraver
2940 Stem \set #'transparent = ##t
2941 Stem \set #'Y-extent-callback = ##f
2943 \context LyricsVoice \nam
2949 If you do not like any of the predefined lists you can define your own
2950 list at the top of your file:
2952 @lilypond[raggedright,verbatim]
2954 (bassdrum default #f -1)
2955 (snare default #f 0)
2957 (pedalhihat xcircle "stopped" 2)
2958 (lowtom diamond #f 3)
2960 up = \drums { hh8 hh hh hh hhp4 hhp }
2961 down = \drums { bd4 sn bd toml8 toml }
2964 \property DrumStaff.drumStyleTable
2965 = #(alist->hash-table mydrums)
2966 \new DrumVoice { \voiceOne \up }
2967 \new DrumVoice { \voiceTwo \down }
2975 Init files: @file{ly/drumpitch-init.ly}
2977 Internals: @internalsref{DrumStaff}, @internalsref{DrumVoice}
2981 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
2982 work for @internalsref{DrumVoices}.
2984 Because general MIDI does not contain rimshots the sidestick is used
2985 for this purpose instead.
2988 @section Piano music
2990 Piano staves are two normal staves coupled with a brace. The staves
2991 are largely independent, but sometimes voices can cross between the
2992 two staves. The same notation is also used for harps and other key
2993 instruments. The @internalsref{PianoStaff} is especially built to
2994 handle this cross-staffing behavior. In this section we discuss the
2995 @internalsref{PianoStaff} and some other pianistic peculiarities.
2999 * Automatic staff changes::
3000 * Manual staff switches::
3003 * Staff switch lines::
3008 There is no support for putting chords across staves. You can get
3009 this result by increasing the length of the stem in the lower stave so
3010 it reaches the stem in the upper stave, or vice versa. An example is
3011 included with the distribution as
3012 @inputfileref{input/test,stem-cross-staff.ly}.
3014 Dynamics are not centered, but kludges do exist. See
3015 @inputfileref{input/template,piano-dynamics.ly}.
3017 @cindex cross staff stem
3018 @cindex stem, cross staff
3021 @c fixme: should have hyperlinks as well.
3027 @node Automatic staff changes
3028 @subsection Automatic staff changes
3029 @cindex Automatic staff changes
3031 Voices can switch automatically between the top and the bottom
3032 staff. The syntax for this is
3034 \autochange \context Voice @{ @dots{}@var{music}@dots{} @}
3036 The two staffs of the piano staff must be named @code{up} and
3039 The autochanger switches on basis of pitch (central C is the turning
3040 point), and it looks ahead skipping over rests to switch in
3041 advance. Here is a practical example:
3043 @lilypond[verbatim,raggedright,quote]
3044 \score { \notes \context PianoStaff <<
3045 \context Staff = "up" {
3046 \autochange \new Voice \relative c' {
3047 g4 a b c d r4 a g } }
3048 \context Staff = "down" {
3055 In this example, spacer rests are used to prevent the bottom staff from
3056 terminating too soon.
3061 In this manual: @ref{Manual staff switches}
3063 Internals: @internalsref{AutoChangeMusic}.
3069 The staff switches often do not end up in optimal places. For high
3070 quality output, staff switches should be specified manually.
3074 @node Manual staff switches
3075 @subsection Manual staff switches
3077 @cindex manual staff switches
3078 @cindex staff switch, manual
3080 Voices can be switched between staves manually, using the following command:
3082 \change Staff = @var{staffname} @var{music}
3086 The string @var{staffname} is the name of the staff. It switches the
3087 current voice from its current staff to the Staff called
3088 @var{staffname}. Typically @var{staffname} is @code{"up"} or
3097 Pianos have pedals that alter the way sound are produced. Generally, a
3098 piano has three pedals, sustain, una corda, and sostenuto.
3102 Piano pedal instruction can be expressed by attaching
3103 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
3104 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
3107 @lilypond[fragment,verbatim]
3108 c'4\sustainDown c'4\sustainUp
3111 What is printed can be modified by setting @code{pedal@var{X}Strings},
3112 where @var{X} is one of the pedal types: @code{Sustain},
3113 @code{Sostenuto} or @code{UnaCorda}. Refer to the generated
3114 documentation of @internalsref{SustainPedal} for more information.
3116 Pedals can also be indicated by a sequence of brackets, by setting the
3117 @code{pedalSustainStyle} property to @code{bracket} objects:
3119 @lilypond[fragment,verbatim]
3120 \property Staff.pedalSustainStyle = #'bracket
3121 c''4\sustainDown d''4 e''4
3122 a'4\sustainUp\sustainDown
3123 f'4 g'4 a'4\sustainUp
3126 A third style of pedal notation is a mixture of text and brackets,
3127 obtained by setting the @code{pedalSustainStyle} style property to
3130 @lilypond[fragment,verbatim]
3131 \property Staff.pedalSustainStyle = #'mixed
3132 c''4\sustainDown d''4 e''4
3133 c'4\sustainUp\sustainDown
3134 f'4 g'4 a'4\sustainUp
3137 The default `*Ped' style for sustain and damper pedals corresponds to
3138 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
3141 @lilypond[fragment,verbatim]
3142 c''4\sostenutoDown d''4 e''4 c'4 f'4 g'4 a'4\sostenutoUp
3145 For fine-tuning of the appearance of a pedal bracket, the properties
3146 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
3147 @code{PianoPedalBracket} objects (see
3148 @internalsref{PianoPedalBracket} in the Program reference) can be modified. For example, the
3149 bracket may be extended to the end of the note head:
3151 @lilypond[fragment,verbatim]
3152 \property Staff.PianoPedalBracket \override
3153 #'shorten-pair = #'(0 . -1.0)
3154 c''4\sostenutoDown d''4 e''4 c'4
3155 f'4 g'4 a'4\sostenutoUp
3159 @subsection Arpeggio
3162 @cindex broken arpeggio
3163 @cindex @code{\arpeggio}
3165 You can specify an arpeggio sign on a chord by attaching an
3166 @code{\arpeggio} to a chord:
3169 @lilypond[fragment,relative,verbatim]
3173 When an arpeggio crosses staves, you attach an arpeggio to the chords
3174 in both staves, and set
3175 @internalsref{PianoStaff}.@code{connectArpeggios}:
3177 @lilypond[fragment,relative,verbatim]
3178 \context PianoStaff <<
3179 \property PianoStaff.connectArpeggios = ##t
3180 \new Staff { <c' e g c>\arpeggio }
3181 \new Staff { \clef bass <c,, e g>\arpeggio }
3185 The direction of the arpeggio is sometimes denoted by adding an
3186 arrowhead to the wiggly line. This can be typeset by setting
3187 @code{arpeggio-direction}:
3189 @lilypond[fragment,relative,verbatim]
3191 \property Voice.Arpeggio \set #'arpeggio-direction = #1
3193 \property Voice.Arpeggio \set #'arpeggio-direction = #-1
3198 A square bracket on the left indicates that the player should not
3199 arpeggiate the chord. To draw these brackets, set the
3200 @code{molecule-callback} property of @code{Arpeggio} or
3201 @code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
3202 @code{\arpeggio} statements within the chords as before:
3204 @lilypond[fragment,relative,verbatim]
3205 \property PianoStaff.Arpeggio \override
3206 #'molecule-callback = \arpeggioBracket
3212 @cindex @code{\arpeggioBracket}
3213 @code{\arpeggioBracket},
3214 @cindex @code{\arpeggio}
3219 Internals: @internalsref{ArpeggioEvent} music expressions lead to
3220 @internalsref{Arpeggio} objects. Cross staff arpeggios are
3221 @internalsref{PianoStaff}.@internalsref{Arpeggio}.
3225 It is not possible to mix connected arpeggios and unconnected
3226 arpeggios in one @internalsref{PianoStaff} at the same time.
3228 @node Staff switch lines
3229 @subsection Staff switch lines
3232 @cindex follow voice
3233 @cindex staff switching
3236 @cindex @code{followVoice}
3238 Whenever a voice switches to another staff a line connecting the notes
3239 can be printed automatically. This is enabled if the property
3240 @code{PianoStaff.followVoice} is set to true:
3242 @lilypond[fragment,relative,verbatim]
3243 \context PianoStaff <<
3244 \property PianoStaff.followVoice = ##t
3245 \context Staff \context Voice {
3250 \context Staff=two { \clef bass \skip 1*2 }
3254 The associated object is @internalsref{VoiceFollower}.
3258 @cindex @code{\showStaffSwitch}
3259 @code{\showStaffSwitch},
3260 @cindex @code{\hideStaffSwitch}
3261 @code{\hideStaffSwitch}.
3265 @section Vocal music
3267 This section discusses how to enter and print lyrics.
3271 * The Lyrics context::
3276 @node Entering lyrics
3277 @subsection Entering lyrics
3281 @cindex @code{\lyrics}
3284 Lyrics are entered in a special input mode. This mode is is introduced
3285 by the keyword @code{\lyrics}. In this mode you can enter lyrics, with
3286 punctuation and accents without any hassle. Syllables are entered like
3287 notes, but with pitches replaced by text. For example,
3289 \lyrics @{ Twin-4 kle4 twin- kle litt- le star2 @}
3292 A word in Lyrics mode begins with: an alphabetic character, @code{_},
3293 @code{?}, @code{!}, @code{:}, @code{'}, the control characters @code{^A}
3294 through @code{^F}, @code{^Q} through @code{^W}, @code{^Y}, @code{^^},
3295 any 8-bit character with ASCII code over 127, or a two-character
3296 combination of a backslash followed by one of @code{`}, @code{'},
3297 @code{"}, or @code{^}.
3299 Subsequent characters of a word can be any character that is not a digit
3300 and not white space. One important consequence of this is that a word
3301 can end with @code{@}}. The following example is usually a bug. The
3302 syllable includes a @code{@}}, and hence the opening brace is not balanced:
3304 \lyrics @{ twinkle@}
3307 @cindex @code{\property}, in @code{\lyrics}
3308 Similarly, a period following a alphabetic sequence, is included in the
3309 resulting string. As a consequence, spaces must be inserted around
3310 @code{\property} commands:
3312 \property Lyrics . LyricText \set #'font-shape = #'italic
3316 @cindex spaces, in lyrics
3317 @cindex quotes, in lyrics
3319 Any @code{_} character which appears in an unquoted word is converted
3320 to a space. This provides a mechanism for introducing spaces into words
3321 without using quotes. Quoted words can also be used in Lyrics mode to
3322 specify words that cannot be written with the above rules:
3325 \lyrics @{ He said: "\"Let" my peo ple "go\"" @}
3329 Hyphens can be entered as ordinary hyphens at the end of a syllable, i.e.
3334 These will be attached to the end of the first syllable.
3336 Centered hyphens are entered using the special `@code{-}@code{-}' lyric
3337 as a separate word between syllables. The hyphen will have variable
3338 length depending on the space between the syllables and it will be
3339 centered between the syllables.
3344 When a lyric is sung over many notes (this is called a melisma), this is
3345 indicated with a horizontal line centered between a syllable and the
3346 next one. Such a line is called an extender line, and it is entered as
3351 Internals: @internalsref{LyricEvent}, @internalsref{HyphenEvent}, and
3352 @internalsref{ExtenderEvent}.
3354 Examples: @inputfileref{input/test,lyric-hyphen-retain.ly}
3358 The definition of lyrics mode is too complex.
3362 @node The Lyrics context
3363 @subsection The Lyrics context
3365 Lyrics are printed by interpreting them in a @internalsref{LyricsVoice} context:
3367 \context LyricsVoice \lyrics @dots{}
3370 @cindex automatic syllable durations
3371 @cindex @code{\lyricsto}
3372 @cindex lyrics and melodies
3374 This will place the lyrics according to the durations that were
3375 entered. The lyrics can also be aligned under a given melody
3376 automatically. In this case, it is no longer necessary to enter the
3377 correct duration for each syllable. This is achieved by combining the
3378 melody and the lyrics with the @code{\lyricsto} expression:
3380 \lyricsto @var{name} \new LyricsVoice @dots{}
3383 This aligns the lyrics to the
3385 notes of the @internalsref{Voice} context called @var{name}, which has
3386 to exist. Therefore, normally the @code{Voice} is specified first, and
3387 then the lyrics are specified with @code{\lyricsto}.
3389 For different or more complex orderings, the best way is to setup the
3390 hierarchy of staves and lyrics first, e.g.
3392 \context ChoirStaff \notes <<
3393 \context LyricsVoice = sopranoLyrics @{ s1 @}
3394 \context Voice = soprano @{ @emph{music} @}
3395 \context LyricsVoice = tenor @{ s1 @}
3396 \context Voice = tenorLyrics @{ @emph{music} @}
3399 and then combine the appropriate melodies and lyric lines:
3401 \lyricsto "soprano" \new LyricsVoice @emph{the lyrics}
3405 The final input would resemble
3408 << \context ChoirStaff \notes << @emph{setup the music} >>
3409 \lyricsto "soprano" @emph{etc}
3410 \lyricsto "alto" @emph{etc}
3416 The @code{\lyricsto} command detects melismata: it only puts one
3417 syllable under a tied or slurred group of notes. If you want to force
3418 an unslurred group of notes to be a melisma, then insert
3419 @code{\melisma} after the first note of the group, and
3420 @code{\melismaEnd} after the last one, e.g.
3422 @lilypond[relative=1,raggedright,fragment,verbatim]
3423 << \context Voice = "lala" { \time 3/4
3429 \lyricsto "lala" \new LyricsVoice \lyrics {
3434 In addition, notes are considered a melisma if they are manually
3435 beamed, and automatic beaming (see @ref{Setting automatic beam
3436 behavior}) is switched off. The criteria for deciding melismata
3437 can be tuned with the property @code{melismaBusyProperties}. See
3438 @internalsref{Melisma_engraver} for more information.
3440 When multiple stanzas are put on the same melody, it can happen that
3441 two stanzas have melismata in different locations. This can be
3442 remedied by switching off melismata for one
3443 @internalsref{LyricsVoice}. This is achieved by setting
3444 the @code{ignoreMelismata} property to @code{#t}. An example is shown
3445 in @inputfileref{input/regression,lyric-combine-new.ly}.
3448 @cindex choral score
3450 A complete example of a SATB score setup is in the file
3451 @inputfileref{input/template,satb.ly}.
3456 @code{\melisma}, @code{\melismaEnd}
3457 @cindex @code{\melismaEnd}
3458 @cindex @code{\melisma}
3462 Internals: Music expressions: @internalsref{LyricCombineMusic},
3463 Contexts: @internalsref{LyricsVoice}, @internalsref{Melisma_engraver}.
3465 Examples: @inputfileref{input/template,satb.ly},
3466 @inputfileref{input/regression,lyric-combine-new.ly}.
3470 Melismata are not detected automatically, and extender lines must be
3474 For proper processing of extender lines, the
3475 @internalsref{LyricsVoice} and @internalsref{Voice} should be
3476 linked. This can be achieved either by using @code{\lyricsto} or by
3477 setting corresponding names for both contexts. The latter is explained
3478 in @ref{More stanzas}.
3481 @subsection More stanzas
3483 @cindex phrasing, in lyrics
3486 The lyrics should be aligned with the note heads of the melody. To
3487 achieve this, each line of lyrics should be marked to correspond with
3488 the melodic line. This is done automatically when @code{\lyricsto},
3489 but it can also be done manually.
3491 To this end, give the @internalsref{Voice} context an identity:
3493 \context Voice = duet @{
3498 Then set the @internalsref{LyricsVoice} contexts to names starting with
3499 that identity followed by a dash. In the preceding example, the
3500 @internalsref{Voice} identity is @code{duet}, so the identities of the
3501 @internalsref{LyricsVoice}s are marked @code{duet-1} and @code{duet-2}:
3503 \context LyricsVoice = "duet-1" @{
3504 Hi, my name is bert. @}
3505 \context LyricsVoice = "duet-2" @{
3506 Ooooo, ch\'e -- ri, je t'aime. @}
3509 The complete example is shown here:
3510 @lilypond[raggedright,verbatim]
3512 << \notes \relative c'' \context Voice = duet { \time 3/4
3514 \lyrics << \lyricsto "duet" \new LyricsVoice {
3515 \property LyricsVoice . stanza = "1"
3516 Hi, my name is bert. }
3517 \lyricsto "duet" \new LyricsVoice {
3518 \property LyricsVoice . stanza = "2"
3519 Ooooo, ch\'e -- ri, je t'aime. }
3524 @cindex stanza number
3525 @cindex singer's names
3526 @cindex name of singer
3528 Stanza numbers can be added by setting @code{LyricsVoice.stanza}, e.g.
3531 \property LyricsVoice . stanza = "Bert"
3533 \property LyricsVoice . stanza = "Ernie"
3536 Notice how dots are surrounded with spaces in @code{\lyrics} mode, to
3537 prevent @code{LyricsVoice.stanza} being interpreted as a single
3540 Names of the singers should be added using @code{LyricsVoice
3541 . vocalName} and @code{LyricsVoice . vocNam}, analogous to instrument
3542 annotations for staves.
3544 To make empty spaces in lyrics, use @code{\skip}.
3549 Internals: Layout objects @internalsref{LyricText}
3550 @internalsref{VocalName}. Music expressions:
3551 @internalsref{LyricEvent}.
3557 Input for lyrics introduces a syntactical ambiguity:
3564 is interpreted as assigning a string identifier @code{\foo} such that
3565 it contains @code{"bar"}. However, it could also be interpreted as
3566 making or a music identifier @code{\foo} containing the syllable
3567 `bar'. The force the latter interpretation, use
3577 The term @emph{ambitus} (plural: ambituses) denotes a range of pitches
3578 for a given voice in a part of music. It also may denote the pitch
3579 range that a musical instrument is capable of playing. Most musical
3580 instruments have their ambitus standardized (or at least there is
3581 agreement upon the minimal ambitus of a particular type of
3582 instrument), such that a composer or arranger of a piece of music can
3583 easily meet the ambitus constraints of the targeted instrument.
3584 However, the ambitus of the human voice depends on individual
3585 physiological state, including education and training of the voice.
3586 Therefore, a singer potentially has to check for each piece of music
3587 if the ambitus of that piece meets his individual capabilities. This
3588 is why the ambitus of a piece may be of particular value to vocal
3591 The ambitus is typically notated on a per-voice basis at the very
3592 beginning of a piece, e.g. nearby the initial clef or time signature of
3593 each staff. The range is graphically specified by two noteheads, that
3594 represent the minimum and maximum pitch. Some publishers use a textual
3595 notation: they put the range in words in front of the corresponding
3596 staff. LilyPond only supports the graphical ambitus notation.
3598 To apply, add the @internalsref{Ambitus_engraver} to the
3599 @internalsref{Voice} context, i.e.
3605 \consists Ambitus_engraver
3610 This results in the following output:
3611 @lilypond[raggedright]
3612 upper = \notes \relative c {
3615 as'' c e2 bes f cis d4 e f2 g
3617 lower = \notes \relative c {
3620 e'4 b g a c es fis a cis b a g f e d2
3623 \context ChoirStaff {
3625 \new Staff { \upper }
3626 \new Staff { \lower }
3632 \consists Ambitus_engraver
3638 If you have multiple voices in a single staff, and you want a single
3639 ambitus per staff rather than per each voice, then add the
3640 @internalsref{Ambitus_engraver} to the @internalsref{Staff} context
3641 rather than to the @internalsref{Voice} context.
3643 It is possible to tune individual ambituses for multiple voices on a
3644 single staff, for example by erasing or shifting them horizontally. An
3645 example is in @inputfileref{input/test,ambitus-mixed.ly}
3649 Internals: @internalsref{Ambitus}
3651 Examples: @inputfileref{input/regression,ambitus.ly},
3652 @inputfileref{input/test,ambitus-mixed.ly}.
3656 There is no collision handling in the case of multiple per-voice
3662 Tablature notation is used for notating music for plucked string
3663 instruments. It notates pitches not by using note heads, but by
3664 indicating on which string and fret a note must be played. LilyPond
3665 offers limited support for tablature.
3668 * Tablatures basic::
3669 * Non-guitar tablatures::
3672 @node Tablatures basic
3673 @subsection Tablatures basic
3674 @cindex Tablatures basic
3676 The string number associated to a note is given as a backslash
3677 followed by a number, e.g. @code{c4\3} for a C quarter on the third
3678 string. By default, string 1 is the highest one, and the tuning
3679 defaults to the standard guitar tuning (with 6 strings). The notes
3680 are printed as tablature, by using @internalsref{TabStaff} and
3681 @internalsref{TabVoice} contexts:
3683 @lilypond[fragment,verbatim]
3684 \notes \context TabStaff {
3692 When no string is specified, the first string that does not give a
3693 fret number less than @code{minimumFret} is selected. The default
3694 value for @code{minimumFret} is 0:
3698 e8 fis gis a b cis' dis' e'
3699 \property TabStaff.minimumFret = #8
3700 e8 fis gis a b cis' dis' e'
3705 e8 fis gis a b cis' dis' e'
3706 \property TabStaff.minimumFret = #8
3707 e8 fis gis a b cis' dis' e'
3710 \context StaffGroup <<
3711 \context Staff { \clef "G_8" \frag }
3712 \context TabStaff { \frag }
3719 Internals: @internalsref{TabStaff}, @internalsref{TabVoice}, and
3720 @internalsref{StringNumberEvent}.
3724 Chords are not handled in a special way, and hence the automatic
3725 string selector may easily select the same string to two notes in a
3729 @node Non-guitar tablatures
3730 @subsection Non-guitar tablatures
3731 @cindex Non-guitar tablatures
3733 You can change the number of strings, by setting the number of lines
3734 in the @internalsref{TabStaff}.
3736 You can change the tuning of the strings. A string tuning is given as
3737 a Scheme list with one integer number for each string, the number
3738 being the pitch (measured in semitones relative to central C) of an
3739 open string. The numbers specified for @code{stringTuning} are the
3740 numbers of semitones to subtract or add, starting the specified pitch
3741 by default middle C, in string order. Thus, the notes are e, a, d, and
3744 @lilypond[fragment,verbatim]
3745 \context TabStaff <<
3746 \property TabStaff.stringTunings = #'(-5 -10 -15 -20)
3749 a,4 c' a e' e c' a e'
3754 It is possible to change the Scheme function to format the tablature
3755 note text. The default is @code{fret-number-tablature-format}, which
3756 uses the fret number. For instruments that do not use this notation,
3757 you can create a special tablature formatting function. This function
3758 takes three argument: string number, string tuning and note pitch.
3762 No guitar special effects have been implemented.
3767 @section Chord names
3770 LilyPond has support for both printing chord names. Chords may be
3771 entered in musical chord notation, i.e. @code{< .. >}, but they can
3772 also be entered by name. Internally, the chords are represented as a
3773 set of pitches, so they can be transposed:
3776 @lilypond[verbatim,raggedright]
3777 twoWays = \notes \transpose c c' {
3787 << \context ChordNames \twoWays
3788 \context Voice \twoWays >> }
3791 This example also shows that the chord printing routines do not try to
3792 be intelligent. The last chord (@code{f bes d}) is not interpreted as
3798 * Printing chord names::
3803 @subsection Chords mode
3806 Chord mode is a mode where you can input sets of pitches using common
3807 names. It is introduced by the keyword @code{\chords}.
3808 In chords mode, a chord is entered by the root, which is entered
3809 like a common pitch:
3810 @lilypond[fragment,verbatim,quote,relative=1]
3811 \chords { es4. d8 c2 }
3816 Other chords may be entered by suffixing a colon, and introducing a
3817 modifier, and optionally, a number:
3819 @lilypond[fragment,verbatim,quote]
3820 \chords { e1:m e1:7 e1:m7 }
3822 The first number following the root is taken to be the `type' of the
3823 chord, thirds are added to the root until it reaches the specified
3825 @lilypond[fragment,verbatim]
3826 \chords { c:3 c:5 c:6 c:7 c:8 c:9 c:10 c:11 }
3829 @cindex root of chord
3830 @cindex additions, in chords
3831 @cindex removals, in chords
3833 More complex chords may also be constructed adding separate steps
3834 to a chord. Additions are added after the number following
3835 the colon, and are separated by dots:
3837 @lilypond[verbatim,fragment,quote]
3838 \chords { c:5.6 c:3.7.8 c:3.6.13 }
3840 Chord steps can be altered by suffixing a @code{-} or @code{+} sign
3842 @lilypond[verbatim,fragment,quote]
3843 \chords { c:7+ c:5+.3- c:3-.5-.7- }
3845 Removals are specified similarly, and are introduced by a caret. They
3846 must come after the additions:
3847 @lilypond[verbatim,fragment]
3848 \chords { c^3 c:7^5 c:9^3.5 }
3851 Modifiers can be used to change pitches. The following modifiers are
3855 is the minor chord. This modifier lowers the 3rd and (if present) the 7th step.
3857 is the diminished chord. This modifier lowers the 3rd, 5th and (if present)
3860 is the augmented chord. This modifier raises the 5th step.
3862 is the major 7th chord. This modifier raises the 7th step if present.
3864 is the suspended 4th or 2nd. This modifier removes the 3rd
3865 step. Append either @code{2} or @code{4} to add the 2nd or 4th step to
3868 Modifiers can be mixed with additions:
3869 @lilypond[verbatim,fragment]
3870 \chords { c:sus4 c:7sus4 c:dim7 c:m6 }
3873 @cindex modifiers, in chords.
3880 Since an unaltered 11 does not sound good when combined with an
3881 unaltered 13, the 11 is removed in this case (unless it is added
3884 @lilypond[fragment,verbatim]
3885 \chords { c:13 c:13.11 c:m13 }
3890 An inversion (putting one pitch of the chord on the bottom), as well
3891 as bass notes, can be specified by appending
3892 @code{/}@var{pitch} to the chord:
3893 @lilypond[fragment,verbatim,center]
3894 \chords { c1 c/g c/f }
3898 A bass note can be added instead of transposed out of the chord,
3899 by using @code{/+}@var{pitch}.
3901 @lilypond[fragment,verbatim,center]
3902 \chords { c1 c/+g c/+f }
3905 Chords is a mode similar to @code{\lyrics}, @code{\notes} etc. Most
3906 of the commands continue to work, for example, @code{r} and
3907 @code{\skip} can be used to insert rests and spaces, and
3908 @code{\property} may be used to change various settings.
3914 Each step can only be present in a chord once. The following
3915 simply produces the augmented chord, since @code{5+} is interpreted
3918 @lilypond[verbatim,fragment]
3919 \chords { c:5.5-.5+ }
3923 @node Printing chord names
3924 @subsection Printing chord names
3926 @cindex printing chord names
3930 For displaying printed chord names, use the @internalsref{ChordNames} context.
3931 The chords may be entered either using the notation
3932 described above, or directly using @code{<} and @code{>}:
3934 @lilypond[verbatim,raggedright]
3936 \chords {a1 b c} <d' f' a'> <e' g' b'>
3940 \context ChordNames \scheme
3941 \context Staff \scheme
3946 You can make the chord changes stand out by setting
3947 @internalsref{ChordNames}.@code{chordChanges} to true. This will only
3948 display chord names when there is a change in the chords scheme and at
3949 the start of a new line:
3951 @lilypond[verbatim,linewidth=9\cm]
3953 c1:m c:m \break c:m c:m d
3957 \context ChordNames {
3958 \property ChordNames.chordChanges = ##t
3960 \context Staff \transpose c c' \scheme
3965 The default chord name layout is a system for Jazz music, proposed by
3966 Klaus Ignatzek (see @ref{Literature list}). It can be tuned through the
3967 following properties:
3970 @cindex chordNameExceptions
3971 @item chordNameExceptions
3972 This is a list that contains the chords that have special formatting.
3974 @inputfileref{input/regression,chord-name-exceptions.ly}.
3975 @cindex exceptions, chord names.
3978 @cindex majorSevenSymbol
3979 @item majorSevenSymbol
3980 This property contains the markup object used for the 7th step, when
3981 it is major. Predefined options are @code{whiteTriangleMarkup} and
3982 @code{blackTriangleMarkup}. See
3983 @inputfileref{input/regression,chord-name-major7.ly} for an example.
3985 @cindex chordNameSeparator
3986 @item chordNameSeparator
3987 Different parts of a chord name are normally separated by a
3988 slash. By setting @code{chordNameSeparator}, you can specify other
3990 @lilypond[fragment,verbatim]
3991 \context ChordNames \chords {
3993 \property ChordNames.chordNameSeparator
3994 = \markup { \typewriter "|" }
3998 @cindex chordRootNamer
3999 @item chordRootNamer
4000 The root of a chord is usually printed as a letter with an optional
4001 alteration. The transformation from pitch to letter is done by this
4002 function. Special note names (for example, the German ``H'' for a
4003 B-chord) can be produced by storing a new function in this property.
4005 The pre-defined variables @code{\germanChords},
4006 @code{\semiGermanChords} set these variables.
4009 @cindex chordNoteNamer
4010 @item chordNoteNamer
4011 The default is to print single pitch, e.g. the bass note, using the
4012 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
4013 to a specialized function to change this behavior. For example, the
4014 base can be printed in lower case.
4019 There are also two other chord name schemes implemented: an alternate
4020 Jazz chord notation, and a systematic scheme called Banter chords. The
4021 alternate jazz notation is also shown on the chart in @ref{Chord name
4022 chart}. Turning on these styles is described in the input file
4023 @inputfileref{input/test,chord-names-jazz.ly}.
4027 @cindex chords, jazz
4032 @cindex @code{\germanChords}
4033 @code{\germanChords},
4034 @cindex @code{\semiGermanChords}
4035 @code{\semiGermanChords}.
4042 Examples: @inputfileref{input/regression,chord-name-major7.ly},
4043 @inputfileref{input/regression,chord-name-exceptions.ly},
4044 @inputfileref{input/test,chord-names-jazz.ly},
4045 @inputfileref{input/test,chord-names-german.ly}.
4047 Init files: @file{scm/chords-ignatzek.scm}, and @file{scm/chord-entry.scm}.
4052 Chord names are determined solely from the list of pitches. Chord
4053 inversions are not identified, and neither are added bass notes. This
4054 may result in strange chord names when chords are entered with the
4055 @code{< .. >} syntax.
4060 @node Orchestral music
4061 @section Orchestral music
4063 @cindex Writing parts
4065 Orchestral music involves some special notation, both in the full
4066 score and the individual parts. This section explains how to tackle
4067 some common problems in orchestral music.
4072 * Multiple staff contexts::
4075 * Instrument names::
4077 * Multi measure rests::
4078 * Automatic part combining::
4080 * Different editions from one source::
4081 * Sound output for transposing instruments::
4084 @node Multiple staff contexts
4085 @subsection Multiple staff contexts
4087 Polyphonic scores consist of many staves. These staves can be
4088 constructed in three different ways:
4090 @item The group is started with a brace at the left. This is done with the
4091 @internalsref{GrandStaff} context.
4092 @item The group is started with a bracket. This is done with the
4093 @internalsref{StaffGroup} context
4094 @item The group is started with a vertical line. This is the default
4098 @cindex Staff, multiple
4099 @cindex bracket, vertical
4100 @cindex brace, vertical
4107 @node Rehearsal marks
4108 @subsection Rehearsal marks
4109 @cindex Rehearsal marks
4111 @cindex @code{\mark}
4113 To print a rehearsal mark, use the @code{\mark} command:
4114 @lilypond[fragment,verbatim]
4125 (The letter I is skipped in accordance with engraving traditions.)
4127 The mark is incremented automatically if you use @code{\mark
4128 \default}, but you can also use an integer argument to set the mark
4129 manually. The value to use is stored in the property
4130 @code{rehearsalMark}.
4132 The style is defined by the property @code{markFormatter}. It is a
4133 function taking the current mark (an integer) and the current context
4134 as argument. It should return a markup object. In the following
4135 example, @code{markFormatter} is set to a canned procedure. After a
4136 few measures, it is set to function that produces a boxed number.
4138 @lilypond[verbatim,fragment,relative=1]
4139 \property Score.markFormatter = #format-mark-numbers
4142 \property Score.markFormatter
4143 = #(lambda (mark context)
4144 (make-bold-markup (make-box-markup (number->string mark))))
4149 The file @file{scm/translation-functions.scm} contains the definitions
4150 of @code{format-mark-numbers} (the default format) and
4151 @code{format-mark-letters}. They can be used as inspiration for other
4152 formatting functions.
4155 @cindex coda on bar line
4156 @cindex segno on bar line
4157 @cindex fermata on bar line
4158 @cindex bar lines, symbols on
4160 The @code{\mark} command can also be used to put signs like coda,
4161 segno and fermatas on a barline. Use @code{\markup} to
4162 to access the appropriate symbol:
4164 @lilypond[fragment,verbatim,relative=1]
4165 c1 \mark \markup { \musicglyph #"scripts-ufermata" }
4169 In this case, during line breaks, marks must also be printed at the
4170 end of the line, and not at the beginning. Use the following to force
4173 \property Score.RehearsalMark \override
4174 #'break-visibility = #begin-of-line-invisible
4180 @cindex barlines, putting symbols on
4184 Internals: @internalsref{MarkEvent}, @internalsref{RehearsalMark}
4186 Init files: @file{scm/translation-functions.scm} contains the
4187 definition of @code{format-mark-numbers} and
4188 @code{format-mark-letters}. They can be used as inspiration for other
4189 formatting functions.
4191 Examples: @inputfileref{input/regression,rehearsal-mark-letter.ly},
4192 @inputfileref{input/regression,rehearsal-mark-number.ly}.
4196 @subsection Bar numbers
4200 @cindex measure numbers
4201 @cindex currentBarNumber
4203 Bar numbers are printed by default at the start of the line. The
4204 number itself is stored in the
4205 @code{currentBarNumber} property,
4206 which is normally updated automatically for every measure.
4208 Bar numbers can be typeset at regular intervals instead of at the
4209 beginning of each line. This is illustrated in the following example,
4210 whose source is available as
4211 @inputfileref{input/test,bar-number-regular-interval.ly}:
4213 @lilypondfile[]{bar-number-regular-interval.ly}
4218 Internals: @internalsref{BarNumber}.
4220 Examples: @inputfileref{input/test,bar-number-every-five-reset.ly},
4221 and @inputfileref{input/test,bar-number-regular-interval.ly}.
4225 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
4226 there is one at the top. To solve this, the
4227 @code{padding} property of @internalsref{BarNumber} can be
4228 used to position the number correctly.
4230 @node Instrument names
4231 @subsection Instrument names
4233 In an orchestral score, instrument names are printed left side of the
4236 This can be achieved by setting @internalsref{Staff}.@code{instrument}
4237 and @internalsref{Staff}.@code{instr}. This will print a string before
4238 the start of the staff. For the first start, @code{instrument} is
4239 used, for the next ones @code{instr} is used:
4242 @lilypond[verbatim,raggedright]
4243 \property Staff.instrument = "ploink " { c''4 }
4247 You can also use markup texts to construct more complicated instrument
4251 @lilypond[fragment,verbatim,raggedright]
4253 \property Staff.instrument = \markup {
4254 \column < "Clarinetti"
4256 \smaller \musicglyph #"accidentals--1"
4267 Internals: @internalsref{InstrumentName}.
4271 When you put a name on a grand staff or piano staff the width of the
4272 brace is not taken into account. You must add extra spaces to the end of
4273 the name to avoid a collision.
4276 @subsection Transpose
4278 @cindex transposition of pitches
4279 @cindex @code{\transpose}
4281 A music expression can be transposed with @code{\transpose}. The syntax
4284 \transpose @var{from} @var{to} @var{musicexpr}
4287 This means that @var{musicexpr} is transposed by the interval between
4288 the pitches @var{from} and @var{to}: any note with pitch @code{from}
4289 is changed to @code{to}.
4292 For example, consider a piece written in the key of D major. If
4293 this piece is a little too low for its performer, it can be
4294 transposed up to E major with
4296 \tranpose d e @dots{}
4299 Consider a part written for violin (a C instrument). If
4300 this part is to be played on the A clarinet, the following
4301 transposition will produce the appropriate part
4304 \transpose a c @dots{}
4307 Since @var{from} and @var{to} are pitches, @code{\transpose} must be
4308 inside a @code{\notes} section. @code{\transpose} distinguishes
4309 between enharmonic pitches: both @code{\transpose c cis} or
4310 @code{\transpose c des} will transpose up half a tone. The first
4311 version will print sharps and the second version will print flats:
4313 @lilypond[raggedright,verbatim]
4314 mus =\notes { \key d \major cis d fis g }
4315 \score { \notes \context Staff {
4318 \transpose c g' \mus
4319 \transpose c f' \mus
4326 Internals: @internalsref{TransposedMusic}, and
4327 @internalsref{UntransposableMusic}.
4331 If you want to use both @code{\transpose} and @code{\relative}, then
4332 you must put @code{\transpose} outside of @code{\relative}, since
4333 @code{\relative} will have no effect music that appears inside a
4339 @node Multi measure rests
4340 @subsection Multi measure rests
4341 @cindex multi measure rests
4342 @cindex Rests, multi measure
4346 Multi measure rests are entered using `@code{R}'. It is specifically
4347 meant for full bar rests and for entering parts: the rest can expand
4348 to fill a score with rests, or it can be printed as a single
4349 multimeasure rest. This expansion is controlled by the property
4350 @code{Score.skipBars}. If this is set to true, empty measures will not
4351 be expanded, and the appropriate number is added automatically:
4353 @lilypond[fragment,verbatim]
4354 \time 4/4 r1 | R1 | R1*2
4355 \property Score.skipBars = ##t R1*17 R1*4
4358 The @code{1} in @code{R1} is similar to the duration notation used for
4359 notes. Hence, for time signatures other than 4/4, you must enter other
4360 durations. This can be done with augmentation dots or fractions:
4362 @lilypond[fragment,verbatim]
4363 \property Score.skipBars = ##t
4371 An @code{R} spanning a single measure is printed as either a whole rest
4372 or a breve, centered in the measure regardless of the time signature.
4374 @cindex text on multi-measure rest
4375 @cindex script on multi-measure rest
4376 @cindex fermata on multi-measure rest
4378 Texts can be added to multi-measure rests by using the
4379 @var{note}-@code{markup} syntax (see @ref{Text markup}). In this case, the number is
4380 replaced. If you need both texts and the number, you must add the
4381 number by hand. A variable (@code{\fermataMarkup}) is provided for
4385 @lilypond[verbatim,fragment]
4387 R2._\markup { "Ad lib" }
4391 If you want to have a text on the left end of a multi-measure rest,
4392 attach the text to a zero-length skip note, i.e.
4400 @cindex whole rests for a full measure
4404 Internals: @internalsref{MultiMeasureRestEvent},
4405 @internalsref{MultiMeasureTextEvent},
4406 @internalsref{MultiMeasureRestMusicGroup}, and
4407 @internalsref{MultiMeasureRest}.
4409 The layout object @internalsref{MultiMeasureRestNumber} is for the
4410 default number, and @internalsref{MultiMeasureRestText} for user
4415 It is not possible to use fingerings (e.g. @code{R1-4}) to put numbers
4416 over multi-measure rests.
4418 @cindex condensing rests
4420 There is no way to automatically condense multiple rests into a single
4421 multimeasure rest. Multi measure rests do not take part in rest
4424 Be careful when entering multimeasure rests followed by whole
4425 notes. The following will enter two notes lasting four measures each:
4429 When @code{skipBars} is set, then the result will look OK, but the
4430 bar numbering will be off.
4432 @node Automatic part combining
4433 @subsection Automatic part combining
4434 @cindex automatic part combining
4435 @cindex part combiner
4438 Automatic part combining is used to merge two parts of music onto a
4439 staff. It is aimed at typesetting orchestral scores. When the two
4440 parts are identical for a period of time, only one is shown. In
4441 places where the two parts differ, they are typeset as separate
4442 voices, and stem directions are set automatically. Also, solo and
4443 @emph{a due} parts are identified and can be marked.
4447 The syntax for part combining is
4450 \partcombine @var{musicexpr1} @var{musicexpr2}
4453 The music expressions will be interpreted as @internalsref{Voice}
4456 The following example demonstrates the basic functionality of the part
4457 combiner: putting parts on one staff, and setting stem directions and
4460 @lilypond[verbatim,raggedright,fragment,relative=1]
4461 \new Staff \partcombine
4470 The first @code{g} appears only once, although it was
4471 specified twice (once in each part). Stem, slur and tie directions are
4472 set automatically, depending whether there is a solo or unisono. The
4473 first part (with context called @code{one}) always gets up stems, and
4474 `solo', while the second (called @code{two}) always gets down stems and
4477 If you just want the merging parts, and not the textual markings, you
4478 may set the property @var{soloADue} to false:
4480 @lilypond[verbatim,raggedright,fragment]
4482 \property Staff.soloADue = ##f
4494 Internals: @internalsref{PartCombineMusic},
4495 @internalsref{SoloOneEvent}, and
4496 @internalsref{SoloTwoEvent}, and
4497 @internalsref{UnisonoEvent}.
4501 In @code{soloADue} mode, when the two voices play the same notes on and
4502 off, the part combiner may typeset @code{a2} more than once in a
4505 @code{\partcombine} can not be inside @code{\times}.
4510 @subsection Hiding staves
4512 @cindex Frenched scores
4513 @cindex Hiding staves
4515 In orchestral scores, staff lines that only have rests are usually
4516 removed. This saves some space. This style is called `French Score'.
4517 For @internalsref{Lyrics}, @internalsref{LyricsVoice},
4518 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
4519 switched on by default. When these line of these contexts turn out
4520 empty after the line-breaking process, they are removed.
4522 For normal staves, a specialized @internalsref{Staff} context is
4523 available, which does the same: staves containing nothing (or only
4524 multi measure rests) are removed. The context definition is stored in
4525 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
4526 in this example disappears in the second line:
4531 \notes \relative c' <<
4532 \new Staff { e4 f g a \break c1 }
4533 \new Staff { c4 d e f \break R1 }
4537 \translator { \RemoveEmptyStaffContext }
4542 The first page shows all staffs in full. If they should be removed
4543 from the first page too, set @code{remove-first} to false
4544 in @internalsref{RemoveEmptyVerticalGroup}.
4546 @node Different editions from one source
4547 @subsection Different editions from one source
4549 The @code{\tag} command marks music expressions with a name. These
4550 tagged expressions can be filtered out later. With this mechanism it
4551 is possible to make different versions of the same music source.
4553 In the following example, we see two versions of a piece of music, one
4554 for the full score, and one with cue notes for the instrumental part:
4562 \property Voice.fontSize = #-1
4570 The same can be applied to articulations, texts, etc.: they are
4573 -\tag #@var{your-tag}
4575 to an articulation, for example,
4580 This defines a note with a conditional fingering indication.
4582 By applying the @code{remove-tag} function, tagged expressions can be
4583 filtered. For example,
4587 \apply #(remove-tag 'score) @var{the music}
4588 \apply #(remove-tag 'part) @var{the music}
4593 @lilypondfile[]{tag-filter.ly}
4595 The argument of the @code{\tag} command should be a symbol, or a list
4596 of symbols, for example,
4598 \tag #'(original-part transposed-part) @dots{}
4603 Examples: @inputfileref{input/regression,tag-filter.ly}
4606 @node Sound output for transposing instruments
4607 @subsection Sound output for transposing instruments
4609 When you want to make a MIDI file from a score containing transposed
4610 and untransposed instruments, you have to instruct LilyPond the pitch
4611 offset (in semitones) for the transposed instruments. This is done
4612 using the @code{transposing} property. It does not affect printed
4615 @cindex @code{transposing}
4618 \property Staff.instrument = #"Cl. in B-flat"
4619 \property Staff.transposing = #-2
4623 @node Ancient notation
4624 @section Ancient notation
4626 @cindex Vaticana, Editio
4627 @cindex Medicaea, Editio
4632 @c [TODO: write more comprehensive introduction on ancient notation]
4634 Support for ancient notation is still under heavy development.
4635 Regardless of all of the current limitations (see the bugs section
4636 below for details), it includes features for mensural
4637 notation and Gregorian Chant notation. There is also limited support
4638 for figured bass notation.
4640 Many graphical objects provide a @code{style} property, see
4641 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
4642 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
4643 signatures}. By manipulating such a grob property, the typographical
4644 appearance of the affected graphical objects can be accomodated for a
4645 specific notation flavour without need for introducing any new
4649 Other aspects of ancient notation can not that easily be expressed as
4650 in terms of just changing a style property of a graphical object.
4651 Therefore, some notational concepts are introduced specifically for
4652 ancient notation, see @ref{Custodes}, @ref{Divisiones},
4653 @ref{Ligatures}, and @ref{Figured bass}.
4657 * Ancient note heads::
4658 * Ancient accidentals::
4662 * Ancient time signatures::
4667 * Vaticana style contexts::
4670 If this all is way too much of documentation for you, and you just
4671 want to dive into typesetting without worrying too much about the
4672 details on how to customize a context, then you may have a look at the
4673 predefined contexts (see @ref{Vaticana style contexts}). Use them to
4674 set up predefined style-specific voice and staff contexts, and
4675 directly go ahead with the note entry.
4679 Ligatures need special spacing that has not yet been implemented. As
4680 a result, there is too much space between ligatures most of the time,
4681 and line breaking often is unsatisfactory. Also, lyrics do not
4682 correctly align with ligatures.
4684 Accidentals must not be printed within a ligature, but instead need to
4685 be collected and printed in front of it.
4687 Augmentum dots within ligatures are not handled correctly.
4690 @node Ancient note heads
4691 @subsection Ancient note heads
4697 For ancient notation, a note head style other than the @code{default}
4698 style may be chosen. This is accomplished by setting the @code{style}
4699 property of the NoteHead object to the desired value (@code{baroque},
4700 @code{neo_mensural} or @code{mensural}). The @code{baroque} style
4701 differs from the @code{default} style only in using a square shape for
4702 @code{\breve} note heads. The @code{neo_mensural} style differs from
4703 the @code{baroque} style in that it uses rhomboidal heads for whole
4704 notes and all smaller durations. Stems are centered on the note
4705 heads. This style is in particular useful when transcribing mensural
4706 music, e.g. for the incipit. The @code{mensural} style finally
4707 produces note heads that mimick the look of note heads in historic
4708 printings of the 16th century.
4710 The following example demonstrates the @code{neo_mensural} style:
4712 @lilypond[fragment,raggedright,verbatim]
4713 \property Voice.NoteHead \set #'style = #'neo_mensural
4714 a'\longa a'\breve a'1 a'2 a'4 a'8 a'16
4717 When typesetting a piece in Gregorian Chant notation, a Gregorian
4718 ligature engraver will automatically select the proper note heads,
4719 such there is no need to explicitly set the note head style. Still,
4720 the note head style can be set e.g. to @code{vaticana_punctum} to
4721 produce punctum neumes. Similarly, a mensural ligature engraver is
4722 used to automatically assemble mensural ligatures. See
4723 @ref{Ligatures} for how ligature engravers work.
4728 @ref{Percussion staves} use note head styles of their own that are
4729 frequently used in contemporary music notation.
4731 Examples: @inputfileref{input/regression,note-head-style.ly} gives an
4732 overview over all available note head styles.
4735 @node Ancient accidentals
4736 @subsection Ancient accidentals
4742 Use the @code{style} property of grob @internalsref{Accidental} to
4743 select ancient accidentals. Supported styles are
4744 @code{mensural}, @code{vaticana}, @code{hufnagel} and @code{medicaea}.
4746 @lilypond[raggedright,staffsize=26]
4754 { " " \musicglyph #"accidentals-vaticana-1"
4755 " " \musicglyph #"accidentals-vaticana0" }
4759 { " " \musicglyph #"accidentals-medicaea-1" }
4763 { " " \musicglyph #"accidentals-hufnagel-1" }
4767 { " " \musicglyph #"accidentals-mensural-1"
4768 " " \musicglyph #"accidentals-mensural1" }
4777 \remove "Bar_number_engraver"
4781 \remove "Clef_engraver"
4782 \remove "Key_engraver"
4783 \remove "Time_signature_engraver"
4784 \remove "Staff_symbol_engraver"
4785 minimumVerticalExtent = ##f
4791 As shown, not all accidentals are supported by each style. When
4792 trying to access an unsupported accidental, LilyPond will switch to a
4793 different style, as demonstrated in
4794 @inputfileref{input/test,ancient-accidentals.ly}.
4796 Similarly to local accidentals, the style of the key signature can be
4797 controlled by the @code{style} property of the
4798 @internalsref{KeySignature} grob.
4802 In this manual: @ref{Pitches}, @ref{Chromatic alterations} and
4803 @ref{Accidentals} give a general introduction into the use of
4804 accidentals. @ref{Key signature} gives a general introduction into
4805 the use of key signatures.
4807 Internals: @internalsref{KeySignature}
4809 Examples: @inputfileref{input/test,ancient-accidentals.ly}.
4812 @subsection Ancient rests
4818 Use the @code{style} property of grob @internalsref{Rest} to select
4819 ancient accidentals. Supported styles are @code{classical},
4820 @code{neo_mensural} and @code{mensural}. @code{classical} differs
4821 from the @code{default} style only in that the quarter rest looks like
4822 a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
4823 well for e.g. the incipit of a transcribed mensural piece of music.
4824 The @code{mensural} style finally mimicks the appearance of rests as
4825 in historic prints of the 16th century.
4827 The following example demonstrates the @code{neo_mensural} style:
4829 @lilypond[fragment,raggedright,verbatim]
4830 \property Voice.Rest \set #'style = #'neo_mensural
4831 r\longa r\breve r1 r2 r4 r8 r16
4834 There are no 32th and 64th rests specifically for the mensural or
4835 neo-mensural style. Instead, the rests from the default style will be
4836 taken. See @inputfileref{input/test,rests.ly} for a chart of all
4839 There are no rests in Gregorian Chant notation; instead, it uses
4844 In this manual: @ref{Rests} gives a general introduction into the use of rests.
4848 @subsection Ancient clefs
4854 LilyPond supports a variety of clefs, many of them ancient.
4856 The following table shows all ancient clefs that are supported via the
4857 @code{\clef} command. Some of the clefs use the same glyph, but
4858 differ only with respect to the line they are printed on. In such
4859 cases, a trailing number in the name is used to enumerate these clefs.
4860 Still, you can manually force a clef glyph to be typeset on an
4861 arbitrary line, as described in @ref{Clef}. The note printed to the
4862 right side of each clef in the example column denotes the @code{c'}
4863 with respect to that clef.
4865 @multitable @columnfractions .3 .3 .3 .1
4869 @b{Description} @tab
4870 @b{Supported Clefs} @tab
4874 @code{clefs-neo_mensural_c} @tab
4875 modern style mensural C clef @tab
4876 @code{neo_mensural_c1}, @code{neo_mensural_c2},
4877 @code{neo_mensural_c3}, @code{neo_mensural_c4} @tab
4878 @lilypond[relative,notime]
4879 \property Staff.TimeSignature \set #'transparent = ##t
4880 \clef "neo_mensural_c2" c
4884 @code{clefs-petrucci_c1}
4885 @code{clefs-petrucci_c2}
4886 @code{clefs-petrucci_c3}
4887 @code{clefs-petrucci_c4}
4888 @code{clefs-petrucci_c5}
4891 petrucci style mensural C clefs, for use on different stafflines
4892 (the examples shows the 2nd staffline C clef).
4902 @lilypond[relative,notime]
4903 \property Staff.TimeSignature \set #'transparent = ##t
4904 \clef "petrucci_c2" c
4908 @code{clefs-petrucci_f} @tab
4909 petrucci style mensural F clef @tab
4910 @code{petrucci_f} @tab
4911 @lilypond[relative,notime]
4912 \property Staff.TimeSignature \set #'transparent = ##t
4913 \clef "petrucci_f" c
4917 @code{clefs-petrucci_g} @tab
4918 petrucci style mensural G clef @tab
4919 @code{petrucci_g} @tab
4920 @lilypond[relative,notime]
4921 \property Staff.TimeSignature \set #'transparent = ##t
4922 \clef "petrucci_g" c
4926 @code{clefs-mensural_c} @tab
4927 historic style mensural C clef @tab
4928 @code{mensural_c1}, @code{mensural_c2}, @code{mensural_c3},
4929 @code{mensural_c4} @tab
4930 @lilypond[relative,notime]
4931 \property Staff.TimeSignature \set #'transparent = ##t
4932 \clef "mensural_c2" c
4936 @code{clefs-mensural_f} @tab
4937 historic style mensural F clef @tab
4938 @code{mensural_f} @tab
4939 @lilypond[relative,notime]
4940 \property Staff.TimeSignature \set #'transparent = ##t
4941 \clef "mensural_f" c
4945 @code{clefs-mensural_g} @tab
4946 historic style mensural G clef @tab
4947 @code{mensural_g} @tab
4948 @lilypond[relative,notime]
4949 \property Staff.TimeSignature \set #'transparent = ##t
4950 \clef "mensural_g" c
4954 @code{clefs-vaticana_do} @tab
4955 Editio Vaticana style do clef @tab
4956 @code{vaticana_do1}, @code{vaticana_do2}, @code{vaticana_do3} @tab
4957 @lilypond[relative,notime]
4958 \property Staff.StaffSymbol \set #'line-count = #4
4959 \property Staff.TimeSignature \set #'transparent = ##t
4960 \clef "vaticana_do2" c
4964 @code{clefs-vaticana_fa} @tab
4965 Editio Vaticana style fa clef @tab
4966 @code{vaticana_fa1}, @code{vaticana_fa2} @tab
4967 @lilypond[relative,notime]
4968 \property Staff.StaffSymbol \set #'line-count = #4
4969 \property Staff.TimeSignature \set #'transparent = ##t
4970 \clef "vaticana_fa2" c
4974 @code{clefs-medicaea_do} @tab
4975 Editio Medicaea style do clef @tab
4976 @code{medicaea_do1}, @code{medicaea_do2}, @code{medicaea_do3} @tab
4977 @lilypond[relative,notime]
4978 \property Staff.StaffSymbol \set #'line-count = #4
4979 \property Staff.TimeSignature \set #'transparent = ##t
4980 \clef "medicaea_do2" c
4984 @code{clefs-medicaea_fa} @tab
4985 Editio Medicaea style fa clef @tab
4986 @code{medicaea_fa1}, @code{medicaea_fa2} @tab
4987 @lilypond[relative,notime]
4988 \property Staff.StaffSymbol \set #'line-count = #4
4989 \property Staff.TimeSignature \set #'transparent = ##t
4990 \clef "medicaea_fa2" c
4994 @code{clefs-hufnagel_do} @tab
4995 historic style hufnagel do clef @tab
4996 @code{hufnagel_do1}, @code{hufnagel_do2}, @code{hufnagel_do3} @tab
4997 @lilypond[relative,notime]
4998 \property Staff.StaffSymbol \set #'line-count = #4
4999 \property Staff.TimeSignature \set #'transparent = ##t
5000 \clef "hufnagel_do2" c
5004 @code{clefs-hufnagel_fa} @tab
5005 historic style hufnagel fa clef @tab
5006 @code{hufnagel_fa1}, @code{hufnagel_fa2} @tab
5007 @lilypond[relative,notime]
5008 \property Staff.StaffSymbol \set #'line-count = #4
5009 \property Staff.TimeSignature \set #'transparent = ##t
5010 \clef "hufnagel_fa2" c
5014 @code{clefs-hufnagel_do_fa} @tab
5015 historic style hufnagel combined do/fa clef @tab
5016 @code{hufnagel_do_fa} @tab
5017 @lilypond[relative,notime]
5018 \property Staff.TimeSignature \set #'transparent = ##t
5019 \clef "hufnagel_do_fa" c
5024 @c --- This should go somewhere else: ---
5025 @c @item modern style percussion clef (glyph: @code{clefs-percussion})
5028 @c @code{percussion}
5030 @c @lilypond{\property Staff.TimeSignature \set #'transparent = ##t \clef "percussion" c'}
5032 @c @item modern style tab clef (glyph: @code{clefs-tab})
5037 @c @lilypond{\context Staff \outputproperty #(make-type-checker 'staff-symbol-interface) #'line-count = #6 \property Staff.TimeSignature \set #'transparent = ##t \clef "tab" c'}
5039 @emph{Modern style} means ``as is typeset in contemporary editions of
5040 transcribed mensural music''.
5042 @emph{Petrucci style} means ``inspired by printings published by the
5043 famous engraver Petrucci (1466-1539)''.
5045 @emph{Historic style} means ``as was typeset or written in historic
5046 editions (other than those of Petrucci)''.
5048 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
5050 Petrucci used C clefs with differently balanced left-side vertical
5051 beams, depending on which staffline it is printed.
5055 In this manual: for the percussion clef, see @ref{Percussion staves}.
5056 For the @code{TAB} clef, see @ref{Tablatures}.
5058 Internals: for modern clefs, see @ref{Clef}.
5062 The mensural g clef is temporarily mapped to the Petrucci g clef,
5063 until a new mensural g clef will have been implemented.
5068 @subsection Ancient flags
5074 Use the @code{flag-style} property of grob @internalsref{Stem} to
5075 select ancient flags. Besides the @code{default} flag style,
5076 only @code{mensural} style is supported:
5078 @lilypond[fragment,raggedright,verbatim]
5079 \property Voice.Stem \set #'flag-style = #'mensural
5080 \property Voice.Stem \set #'thickness = #1.0
5081 \property Voice.NoteHead \set #'style = #'mensural
5083 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
5084 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5087 Note that the innermost flare of each mensural flag always is
5088 vertically aligned with a staff line. If you do not like this
5089 behaviour, you can set the @code{adjust-if-on-staffline} property of
5090 grob @internalsref{Stem} to @code{##f}. Then, the vertical position
5091 of the end of each flare is different between notes on staff lines and
5092 notes between staff lines:
5094 @lilypond[fragment,raggedright]
5095 \property Voice.Stem \set #'flag-style = #'mensural
5096 \property Voice.Stem \set #'thickness = #1.0
5097 \property Voice.Stem \set #'adjust-if-on-staffline = ##f
5098 \property Voice.NoteHead \set #'style = #'mensural
5100 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
5101 c''8 d''8 e''8 f''8 c''16 d''16 e''16 f''16 c''32 d''32 e''32 f''32
5104 There is no particular flag style for neo-mensural notation. Hence,
5105 when typesetting e.g. the incipit of a transcibed piece of mensural
5106 music, the default flag style should be used. There are no flags in
5107 Gregorian Chant notation.
5110 @node Ancient time signatures
5111 @subsection Ancient time signatures
5113 @cindex time signatures
5117 There is limited support for mensural time signatures. The
5118 glyphs are hard-wired to particular time fractions. In other words,
5119 to get a particular mensural signature glyph with the @code{\time n/m}
5120 command, @code{n} and @code{m} have to be chosen according to the
5126 \property Score.timing = ##f
5127 \property Score.barAlways = ##t
5128 s_\markup { "$\\backslash$time 4/4" }
5129 ^\markup { " " \musicglyph #"timesig-neo_mensural4/4" }
5131 s_\markup { "$\\backslash$time 2/2" }
5132 ^\markup { " " \musicglyph #"timesig-neo_mensural2/2" }
5134 s_\markup { "$\\backslash$time 6/4" }
5135 ^\markup { " " \musicglyph #"timesig-neo_mensural6/4" }
5137 s_\markup { "$\\backslash$time 6/8" }
5138 ^\markup { " " \musicglyph #"timesig-neo_mensural6/8" }
5140 s_\markup { "$\\backslash$time 3/2" }
5141 ^\markup { " " \musicglyph #"timesig-neo_mensural3/2" }
5143 s_\markup { "$\\backslash$time 3/4" }
5144 ^\markup { " " \musicglyph #"timesig-neo_mensural3/4" }
5146 s_\markup { "$\\backslash$time 9/4" }
5147 ^\markup { " " \musicglyph #"timesig-neo_mensural9/4" }
5149 s_\markup { "$\\backslash$time 9/8" }
5150 ^\markup { " " \musicglyph #"timesig-neo_mensural9/8" }
5152 s_\markup { "$\\backslash$time 4/8" }
5153 ^\markup { " " \musicglyph #"timesig-neo_mensural4/8" }
5155 s_\markup { "$\\backslash$time 2/4" }
5156 ^\markup { " " \musicglyph #"timesig-neo_mensural2/4" }
5164 \remove Staff_symbol_engraver
5165 \remove Clef_engraver
5166 \remove Time_signature_engraver
5172 Use the @code{style} property of grob @internalsref{TimeSignature} to
5173 select ancient time signatures. Supported styles are
5174 @code{neo_mensural} and @code{mensural}. The above table uses the
5175 @code{neo_mensural} style. This style is appropriate e.g. for the
5176 incipit of transcriptions of mensural pieces. The @code{mensural}
5177 style mimicks the look of historical printings of the 16th century.
5179 @inputfileref{input/test,time.ly} gives an overview over all available
5180 ancient and modern styles.
5184 Internals: @ref{Time signature} gives a general introduction into the use of time
5189 Mensural signature glyphs are mapped to time fractions in a
5190 hard-wired way. This mapping is sensible, but still arbitrary: given
5191 a mensural time signature, the time fraction represents a modern meter
5192 that usually will be a good choice when transcribing a mensural piece
5193 of music. For a particular piece of mensural music, however, the
5194 mapping may be unsatisfactory. In particular, the mapping assumes a
5195 fixed transcription of durations (e.g. brevis = half note in 2/2,
5196 i.e. 4:1). Some glyphs (such as the alternate glyph for 6/8 meter)
5197 are not at all accessible through the @code{\time} command.
5199 Mensural time signatures are supported typographically, but not yet
5200 musically. The internal representation of durations is
5201 based on a purely binary system; a ternary division such as 1 brevis =
5202 3 semibrevis (tempus perfectum) or 1 semibrevis = 3 minima (cum
5203 prolatione maiori) is not correctly handled: event times in ternary
5204 modes will be badly computed, resulting e.g. in horizontally
5205 misaligned note heads, and bar checks are likely to erroneously fail.
5207 The syntax and semantics of the @code{\time} command for mensural
5208 music is subject to change.
5211 @subsection Custodes
5216 A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
5217 symbol that appears at the end of a staff. It anticipates the pitch
5218 of the first note(s) of the following line and thus helps the player
5219 or singer to manage line breaks during performance, thus enhancing
5220 readability of a score.
5222 Custodes were frequently used in music notation until the 17th
5223 century. Nowadays, they have survived only in a few particular forms
5224 of musical notation such as contemporary editions of Gregorian chant
5225 like the @emph{editio vaticana}. There are different custos glyphs
5226 used in different flavours of notational style.
5230 For typesetting custodes, just put a @internalsref{Custos_engraver} into the
5231 @internalsref{Staff} context when declaring the @code{\paper} block,
5232 as shown in the following example:
5238 \consists Custos_engraver
5239 Custos \override #'style = #'mensural
5244 The result looks like this:
5250 \property Staff.Custos \set #'style = #'mensural
5257 \consists Custos_engraver
5264 The custos glyph is selected by the @code{style} property. The styles
5265 supported are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
5266 @code{mensural}. They are demonstrated in the following fragment:
5276 { " " \musicglyph #"custodes-vaticana-u0" }
5280 { " " \musicglyph #"custodes-medicaea-u0" }
5284 { " " \musicglyph #"custodes-hufnagel-u0" }
5288 { " " \musicglyph #"custodes-mensural-u0" }
5297 \remove "Bar_number_engraver"
5301 \remove "Clef_engraver"
5302 \remove "Key_engraver"
5303 \remove "Time_signature_engraver"
5304 \remove "Staff_symbol_engraver"
5305 minimumVerticalExtent = ##f
5311 If the boolean property @code{adjust-if-on-staffline} is set to
5312 @code{#t} (which it is by default), lily typesets slightly different
5313 variants of the custos glyph, depending on whether the custos, is
5314 typeset on or between stafflines. The glyph will
5315 optically fit well into the staff, with the appendage on the right of
5316 the custos always ending at the same vertical position between two
5317 stafflines regardless of the pitch. If you set
5318 @code{adjust-if-on-staffline} to @code{#f}, then
5319 a compromise between both forms is used.
5321 Just like stems can be attached to noteheads in two directions
5322 @emph{up} and @emph{down}, each custos glyph is available with its
5323 appendage pointing either up or down. If the pitch of a custos is
5324 above a selectable position, the appendage will point downwards; if
5325 the pitch is below this position, the appendage will point upwards.
5326 Use property @code{neutral-position} to select this position. By
5327 default, it is set to @code{0}, such that the neutral position is the
5328 center of the staff. Use property @code{neutral-direction} to control
5329 what happens if a custos is typeset on the neutral position itself.
5330 By default, this property is set to @code{-1}, such that the appendage
5331 will point downwards. If set to @code{1}, the appendage will point
5332 upwards. Other values such as @code{0} are reserved for future
5333 extensions and should not be used.
5337 Internals: @internalsref{Custos}
5339 Examples: @inputfileref{input/regression,custos.ly}.
5343 @subsection Divisiones
5349 A @emph{divisio} (plural: @emph{divisiones}; latin word for
5350 `division') is a staff context symbol that is used to structure
5351 Gregorian music into phrases and sections. The musical meaning of
5352 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
5353 can be characterized as short, medium and long pause, somewhat like
5354 @ref{Breath marks}. The @emph{finalis} sign not only marks the end of
5355 a chant, but is also frequently used within a single
5356 antiphonal/responsorial chant to mark the end of each section.
5360 To use divisiones, include the file @code{gregorian-init.ly}. It
5361 contains definitions that you can apply by just inserting
5362 @code{\divisioMinima}, @code{\divisioMaior}, @code{\divisioMaxima},
5363 and @code{\finalis} at proper places in the input. Some editions use
5364 @emph{virgula} or @emph{caesura} instead of divisio minima.
5365 Therefore, @code{gregorian-init.ly} also defines @code{\virgula} and
5368 @lilypondfile[]{divisiones.ly}
5372 @cindex @code{\virgula}
5374 @cindex @code{\caesura}
5376 @cindex @code{\divisioMinima}
5377 @code{\divisioMinima},
5378 @cindex @code{\divisioMaior}
5379 @code{\divisioMaior},
5380 @cindex @code{\divisioMaxima}
5381 @code{\divisioMaxima},
5382 @cindex @code{\finalis}
5387 In this manual: @ref{Breath marks}.
5389 Internals: @internalsref{BreathingSign}, @internalsref{BreathingSignEvent},
5391 Examples: @inputfileref{input/test,divisiones.ly}
5394 @subsection Ligatures
5398 @c TODO: Should double check if I recalled things correctly when I wrote
5399 @c down the following paragraph by heart.
5401 In musical terminology, a ligature is a coherent graphical symbol that
5402 represents at least two distinct notes. Ligatures originally appeared
5403 in the manuscripts of Gregorian chant notation roughly since the 9th
5404 century as an allusion to the accent symbols of greek lyric poetry to
5405 denote ascending or descending sequences of notes. Both, the shape
5406 and the exact meaning of ligatures changed tremendously during the
5407 following centuries: In early notation, ligatures were used for
5408 monophonic tunes (Gregorian chant) and very soon denoted also the way
5409 of performance in the sense of articulation. With upcoming
5410 multiphony, the need for a metric system arised, since multiple voices
5411 of a piece have to be synchronized some way. New notation systems
5412 were invented that used the manifold shapes of ligatures to now denote
5413 rhythmical patterns (e.g. black mensural notation, mannered notation,
5414 ars nova). With the invention of the metric system of the white
5415 mensural notation, the need for ligatures to denote such patterns
5416 disappeared. Nevertheless, ligatures were still in use in the
5417 mensural system for a couple of decades until they finally disappeared
5418 during the late 16th / early 17th century. Still, ligatures have
5419 survived in contemporary editions of Gregorian chant such as the
5420 Editio Vaticana from 1905/08.
5424 Syntactically, ligatures are simply enclosed by @code{\[} and
5425 @code{\]}. Some ligature styles (such as Editio Vaticana) may need
5426 additional input syntax specific for this particular type of ligature.
5427 By default, the @internalsref{LigatureBracket} engraver just puts a
5428 square bracket above the ligature:
5430 @lilypond[raggedright,verbatim]
5432 \notes \transpose c c' {
5440 To select a specific style of ligatures, a proper ligature engraver
5441 has to be added to the @internalsref{Voice} context, as explained in
5442 the following subsections. Only white mensural ligatures
5443 are supported with certain limitations. Support for Editio Vaticana
5444 will be added in the future.
5447 * White mensural ligatures::
5448 * Gregorian square neumes ligatures::
5451 @node White mensural ligatures
5452 @subsubsection White mensural ligatures
5454 @cindex Mensural ligatures
5455 @cindex White mensural ligatures
5457 There is limited support for white mensural ligatures. The
5458 implementation is still experimental; it may output strange
5459 warnings or even crash in some cases or produce weird results on more
5464 To engrave white mensural ligatures, in the paper block the
5465 @internalsref{Mensural_ligature_engraver} has to be put into the
5466 @internalsref{Voice} context, and remove the
5467 @internalsref{Ligature_bracket_engraver}:
5473 \remove Ligature_bracket_engraver
5474 \consists Mensural_ligature_engraver
5479 There is no additional input language to describe the shape of a
5480 white mensural ligature. The shape is rather determined solely from
5481 the pitch and duration of the enclosed notes. While this approach may
5482 take a new user a while to get accustomed, it has the great advantage
5483 that the full musical information of the ligature is known internally.
5484 This is not only required for correct MIDI output, but also allows for
5485 automatic transcription of the ligatures.
5490 \property Score.timing = ##f
5491 \property Score.defaultBarType = "empty"
5492 \property Voice.NoteHead \set #'style = #'neo_mensural
5493 \property Staff.TimeSignature \set #'style = #'neo_mensural
5495 \[ g\longa c\breve a\breve f\breve d'\longa \]
5497 \[ e1 f1 a\breve g\longa \]
5499 @lilypond[raggedright]
5501 \notes \transpose c c' {
5502 \property Score.timing = ##f
5503 \property Score.defaultBarType = "empty"
5504 \property Voice.NoteHead \set #'style = #'neo_mensural
5505 \property Staff.TimeSignature \set #'style = #'neo_mensural
5507 \[ g\longa c\breve a\breve f\breve d'\longa \]
5509 \[ e1 f1 a\breve g\longa \]
5514 \remove Ligature_bracket_engraver
5515 \consists Mensural_ligature_engraver
5521 Without replacing @internalsref{Ligature_bracket_engraver} with
5522 @internalsref{Mensural_ligature_engraver}, the same music transcribes
5525 @lilypond[raggedright]
5527 \notes \transpose c c' {
5528 \property Score.timing = ##f
5529 \property Score.defaultBarType = "empty"
5530 \property Voice.NoteHead \set #'style = #'neo_mensural
5531 \property Staff.TimeSignature \set #'style = #'neo_mensural
5533 \[ g\longa c\breve a\breve f\breve d'\longa \]
5535 \[ e1 f1 a\breve g\longa \]
5541 @node Gregorian square neumes ligatures
5542 @subsubsection Gregorian square neumes ligatures
5544 @cindex Square neumes ligatures
5545 @cindex Gregorian square neumes ligatures
5547 Gregorian square neumes notation (following the style of the Editio
5548 Vaticana) is under heavy development, but not yet really usable for
5549 production purposes. Core ligatures can already be typeset, but
5550 essential issues for serious typesetting are still under development,
5551 such as (among others) horizontal alignment of multiple ligatures,
5552 lyrics alignment and proper accidentals handling. Still, this section
5553 gives a sneak preview of what Gregorian chant may look like once it
5556 The following table contains the extended neumes table of the 2nd
5557 volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published
5558 1983 by the monks of Solesmes.
5560 @multitable @columnfractions .4 .2 .2 .2
5563 @b{Neuma aut@*Neumarum Elementa} @tab
5564 @b{Figurae@*Rectae} @tab
5565 @b{Figurae@*Liquescentes Auctae} @tab
5566 @b{Figurae@*Liquescentes Deminutae}
5568 @c TODO: \paper block is identical in all of the below examples.
5569 @c Therefore, it should somehow be included rather than duplicated all
5572 @c why not make identifiers in ly/engraver-init.ly? --hwn
5574 @c Because it's just used to typeset plain notes without
5575 @c a staff for demonstration purposes rather than something
5576 @c special of Gregorian chant notation. --jr
5581 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.5\cm]
5582 \include "gregorian-init.ly"
5584 \notes \transpose c c' {
5587 \noBreak s^\markup {"a"} \noBreak
5589 % Punctum Inclinatum
5591 \noBreak s^\markup {"b"}
5597 \remove "Bar_number_engraver"
5601 \remove "Clef_engraver"
5602 \remove "Key_engraver"
5603 StaffSymbol \set #'transparent = ##t
5604 \remove "Time_signature_engraver"
5605 \remove "Bar_engraver"
5606 minimumVerticalExtent = ##f
5610 \remove Ligature_bracket_engraver
5611 \consists Vaticana_ligature_engraver
5612 NoteHead \set #'style = #'vaticana_punctum
5613 Stem \set #'transparent = ##t
5619 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.5\cm]
5620 \include "gregorian-init.ly"
5622 \notes \transpose c c' {
5623 % Punctum Auctum Ascendens
5624 \[ \auctum \ascendens b \]
5625 \noBreak s^\markup {"c"} \noBreak
5627 % Punctum Auctum Descendens
5628 \[ \auctum \descendens b \]
5629 \noBreak s^\markup {"d"} \noBreak
5631 % Punctum Inclinatum Auctum
5632 \[ \inclinatum \auctum b \]
5633 \noBreak s^\markup {"e"}
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,staffsize=26,nofragment,linewidth=1.0\cm]
5662 \include "gregorian-init.ly"
5664 \notes \transpose c c' {
5665 % Punctum Inclinatum Parvum
5666 \[ \inclinatum \deminutum b \]
5667 \noBreak s^\markup {"f"}
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
5698 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5699 \include "gregorian-init.ly"
5701 \notes \transpose c c' {
5704 \noBreak s^\markup {"g"}
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
5735 @code{3. Apostropha vel Stropha}
5737 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5738 \include "gregorian-init.ly"
5740 \notes \transpose c c' {
5743 \noBreak s^\markup {"h"}
5749 \remove "Bar_number_engraver"
5753 \remove "Clef_engraver"
5754 \remove "Key_engraver"
5755 StaffSymbol \set #'transparent = ##t
5756 \remove "Time_signature_engraver"
5757 \remove "Bar_engraver"
5758 minimumVerticalExtent = ##f
5762 \remove Ligature_bracket_engraver
5763 \consists Vaticana_ligature_engraver
5764 NoteHead \set #'style = #'vaticana_punctum
5765 Stem \set #'transparent = ##t
5771 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5772 \include "gregorian-init.ly"
5774 \notes \transpose c c' {
5776 \[ \stropha \auctum b \]
5777 \noBreak s^\markup {"i"}
5783 \remove "Bar_number_engraver"
5787 \remove "Clef_engraver"
5788 \remove "Key_engraver"
5789 StaffSymbol \set #'transparent = ##t
5790 \remove "Time_signature_engraver"
5791 \remove "Bar_engraver"
5792 minimumVerticalExtent = ##f
5796 \remove Ligature_bracket_engraver
5797 \consists Vaticana_ligature_engraver
5798 NoteHead \set #'style = #'vaticana_punctum
5799 Stem \set #'transparent = ##t
5809 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5810 \include "gregorian-init.ly"
5812 \notes \transpose c c' {
5815 \noBreak s^\markup {"j"}
5821 \remove "Bar_number_engraver"
5825 \remove "Clef_engraver"
5826 \remove "Key_engraver"
5827 StaffSymbol \set #'transparent = ##t
5828 \remove "Time_signature_engraver"
5829 \remove "Bar_engraver"
5830 minimumVerticalExtent = ##f
5834 \remove Ligature_bracket_engraver
5835 \consists Vaticana_ligature_engraver
5836 NoteHead \set #'style = #'vaticana_punctum
5837 Stem \set #'transparent = ##t
5846 @code{5. Clivis vel Flexa}
5848 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5849 \include "gregorian-init.ly"
5851 \notes \transpose c c' {
5860 \remove "Bar_number_engraver"
5864 \remove "Clef_engraver"
5865 \remove "Key_engraver"
5866 StaffSymbol \set #'transparent = ##t
5867 \remove "Time_signature_engraver"
5868 \remove "Bar_engraver"
5869 minimumVerticalExtent = ##f
5873 \remove Ligature_bracket_engraver
5874 \consists Vaticana_ligature_engraver
5875 NoteHead \set #'style = #'vaticana_punctum
5876 Stem \set #'transparent = ##t
5882 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5883 \include "gregorian-init.ly"
5885 \notes \transpose c c' {
5886 % Clivis Aucta Descendens
5887 \[ b \flexa \auctum \descendens g \]
5888 \noBreak s^\markup {"l"} \noBreak
5890 % Clivis Aucta Ascendens
5891 \[ b \flexa \auctum \ascendens g \]
5892 \noBreak s^\markup {"m"}
5898 \remove "Bar_number_engraver"
5902 \remove "Clef_engraver"
5903 \remove "Key_engraver"
5904 StaffSymbol \set #'transparent = ##t
5905 \remove "Time_signature_engraver"
5906 \remove "Bar_engraver"
5907 minimumVerticalExtent = ##f
5911 \remove Ligature_bracket_engraver
5912 \consists Vaticana_ligature_engraver
5913 NoteHead \set #'style = #'vaticana_punctum
5914 Stem \set #'transparent = ##t
5920 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5921 \include "gregorian-init.ly"
5923 \notes \transpose c c' {
5925 \[ b \flexa \deminutum g \]
5932 \remove "Bar_number_engraver"
5936 \remove "Clef_engraver"
5937 \remove "Key_engraver"
5938 StaffSymbol \set #'transparent = ##t
5939 \remove "Time_signature_engraver"
5940 \remove "Bar_engraver"
5941 minimumVerticalExtent = ##f
5945 \remove Ligature_bracket_engraver
5946 \consists Vaticana_ligature_engraver
5947 NoteHead \set #'style = #'vaticana_punctum
5948 Stem \set #'transparent = ##t
5955 @code{6. Podatus vel Pes}
5957 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
5958 \include "gregorian-init.ly"
5960 \notes \transpose c c' {
5969 \remove "Bar_number_engraver"
5973 \remove "Clef_engraver"
5974 \remove "Key_engraver"
5975 StaffSymbol \set #'transparent = ##t
5976 \remove "Time_signature_engraver"
5977 \remove "Bar_engraver"
5978 minimumVerticalExtent = ##f
5982 \remove Ligature_bracket_engraver
5983 \consists Vaticana_ligature_engraver
5984 NoteHead \set #'style = #'vaticana_punctum
5985 Stem \set #'transparent = ##t
5991 @lilypond[noindent,staffsize=26,nofragment,linewidth=2.0\cm]
5992 \include "gregorian-init.ly"
5994 \notes \transpose c c' {
5995 % Pes Auctus Descendens
5996 \[ g \pes \auctum \descendens b \]
5997 \noBreak s^\markup {"p"} \noBreak
5999 % Pes Auctus Ascendens
6000 \[ g \pes \auctum \ascendens b \]
6001 \noBreak s^\markup {"q"}
6007 \remove "Bar_number_engraver"
6011 \remove "Clef_engraver"
6012 \remove "Key_engraver"
6013 StaffSymbol \set #'transparent = ##t
6014 \remove "Time_signature_engraver"
6015 \remove "Bar_engraver"
6016 minimumVerticalExtent = ##f
6020 \remove Ligature_bracket_engraver
6021 \consists Vaticana_ligature_engraver
6022 NoteHead \set #'style = #'vaticana_punctum
6023 Stem \set #'transparent = ##t
6029 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6030 \include "gregorian-init.ly"
6032 \notes \transpose c c' {
6034 \[ g \pes \deminutum b \]
6041 \remove "Bar_number_engraver"
6045 \remove "Clef_engraver"
6046 \remove "Key_engraver"
6047 StaffSymbol \set #'transparent = ##t
6048 \remove "Time_signature_engraver"
6049 \remove "Bar_engraver"
6050 minimumVerticalExtent = ##f
6054 \remove Ligature_bracket_engraver
6055 \consists Vaticana_ligature_engraver
6056 NoteHead \set #'style = #'vaticana_punctum
6057 Stem \set #'transparent = ##t
6064 @code{7. Pes Quassus}
6066 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6067 \include "gregorian-init.ly"
6069 \notes \transpose c c' {
6071 \[ \oriscus g \pes \virga b \]
6078 \remove "Bar_number_engraver"
6082 \remove "Clef_engraver"
6083 \remove "Key_engraver"
6084 StaffSymbol \set #'transparent = ##t
6085 \remove "Time_signature_engraver"
6086 \remove "Bar_engraver"
6087 minimumVerticalExtent = ##f
6091 \remove Ligature_bracket_engraver
6092 \consists Vaticana_ligature_engraver
6093 NoteHead \set #'style = #'vaticana_punctum
6094 Stem \set #'transparent = ##t
6100 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6101 \include "gregorian-init.ly"
6103 \notes \transpose c c' {
6104 % Pes Quassus Auctus Descendens
6105 \[ \oriscus g \pes \auctum \descendens b \]
6112 \remove "Bar_number_engraver"
6116 \remove "Clef_engraver"
6117 \remove "Key_engraver"
6118 StaffSymbol \set #'transparent = ##t
6119 \remove "Time_signature_engraver"
6120 \remove "Bar_engraver"
6121 minimumVerticalExtent = ##f
6125 \remove Ligature_bracket_engraver
6126 \consists Vaticana_ligature_engraver
6127 NoteHead \set #'style = #'vaticana_punctum
6128 Stem \set #'transparent = ##t
6136 @code{8. Quilisma Pes}
6138 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6139 \include "gregorian-init.ly"
6141 \notes \transpose c c' {
6143 \[ \quilisma g \pes b \]
6150 \remove "Bar_number_engraver"
6154 \remove "Clef_engraver"
6155 \remove "Key_engraver"
6156 StaffSymbol \set #'transparent = ##t
6157 \remove "Time_signature_engraver"
6158 \remove "Bar_engraver"
6159 minimumVerticalExtent = ##f
6163 \remove Ligature_bracket_engraver
6164 \consists Vaticana_ligature_engraver
6165 NoteHead \set #'style = #'vaticana_punctum
6166 Stem \set #'transparent = ##t
6172 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6173 \include "gregorian-init.ly"
6175 \notes \transpose c c' {
6176 % Quilisma Pes Auctus Descendens
6177 \[ \quilisma g \pes \auctum \descendens b \]
6184 \remove "Bar_number_engraver"
6188 \remove "Clef_engraver"
6189 \remove "Key_engraver"
6190 StaffSymbol \set #'transparent = ##t
6191 \remove "Time_signature_engraver"
6192 \remove "Bar_engraver"
6193 minimumVerticalExtent = ##f
6197 \remove Ligature_bracket_engraver
6198 \consists Vaticana_ligature_engraver
6199 NoteHead \set #'style = #'vaticana_punctum
6200 Stem \set #'transparent = ##t
6208 @code{9. Podatus Initio Debilis}
6210 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6211 \include "gregorian-init.ly"
6213 \notes \transpose c c' {
6214 % Pes Initio Debilis
6215 \[ \deminutum g \pes b \]
6222 \remove "Bar_number_engraver"
6226 \remove "Clef_engraver"
6227 \remove "Key_engraver"
6228 StaffSymbol \set #'transparent = ##t
6229 \remove "Time_signature_engraver"
6230 \remove "Bar_engraver"
6231 minimumVerticalExtent = ##f
6235 \remove Ligature_bracket_engraver
6236 \consists Vaticana_ligature_engraver
6237 NoteHead \set #'style = #'vaticana_punctum
6238 Stem \set #'transparent = ##t
6244 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6245 \include "gregorian-init.ly"
6247 \notes \transpose c c' {
6248 % Pes Auctus Descendens Initio Debilis
6249 \[ \deminutum g \pes \auctum \descendens b \]
6256 \remove "Bar_number_engraver"
6260 \remove "Clef_engraver"
6261 \remove "Key_engraver"
6262 StaffSymbol \set #'transparent = ##t
6263 \remove "Time_signature_engraver"
6264 \remove "Bar_engraver"
6265 minimumVerticalExtent = ##f
6269 \remove Ligature_bracket_engraver
6270 \consists Vaticana_ligature_engraver
6271 NoteHead \set #'style = #'vaticana_punctum
6272 Stem \set #'transparent = ##t
6282 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6283 \include "gregorian-init.ly"
6285 \notes \transpose c c' {
6287 \[ a \pes b \flexa g \]
6294 \remove "Bar_number_engraver"
6298 \remove "Clef_engraver"
6299 \remove "Key_engraver"
6300 StaffSymbol \set #'transparent = ##t
6301 \remove "Time_signature_engraver"
6302 \remove "Bar_engraver"
6303 minimumVerticalExtent = ##f
6307 \remove Ligature_bracket_engraver
6308 \consists Vaticana_ligature_engraver
6309 NoteHead \set #'style = #'vaticana_punctum
6310 Stem \set #'transparent = ##t
6316 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6317 \include "gregorian-init.ly"
6319 \notes \transpose c c' {
6320 % Torculus Auctus Descendens
6321 \[ a \pes b \flexa \auctum \descendens g \]
6328 \remove "Bar_number_engraver"
6332 \remove "Clef_engraver"
6333 \remove "Key_engraver"
6334 StaffSymbol \set #'transparent = ##t
6335 \remove "Time_signature_engraver"
6336 \remove "Bar_engraver"
6337 minimumVerticalExtent = ##f
6341 \remove Ligature_bracket_engraver
6342 \consists Vaticana_ligature_engraver
6343 NoteHead \set #'style = #'vaticana_punctum
6344 Stem \set #'transparent = ##t
6350 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6351 \include "gregorian-init.ly"
6353 \notes \transpose c c' {
6354 % Torculus Deminutus
6355 \[ a \pes b \flexa \deminutum g \]
6362 \remove "Bar_number_engraver"
6366 \remove "Clef_engraver"
6367 \remove "Key_engraver"
6368 StaffSymbol \set #'transparent = ##t
6369 \remove "Time_signature_engraver"
6370 \remove "Bar_engraver"
6371 minimumVerticalExtent = ##f
6375 \remove Ligature_bracket_engraver
6376 \consists Vaticana_ligature_engraver
6377 NoteHead \set #'style = #'vaticana_punctum
6378 Stem \set #'transparent = ##t
6385 @code{11. Torculus Initio Debilis}
6387 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6388 \include "gregorian-init.ly"
6390 \notes \transpose c c' {
6391 % Torculus Initio Debilis
6392 \[ \deminutum a \pes b \flexa g \]
6399 \remove "Bar_number_engraver"
6403 \remove "Clef_engraver"
6404 \remove "Key_engraver"
6405 StaffSymbol \set #'transparent = ##t
6406 \remove "Time_signature_engraver"
6407 \remove "Bar_engraver"
6408 minimumVerticalExtent = ##f
6412 \remove Ligature_bracket_engraver
6413 \consists Vaticana_ligature_engraver
6414 NoteHead \set #'style = #'vaticana_punctum
6415 Stem \set #'transparent = ##t
6421 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6422 \include "gregorian-init.ly"
6424 \notes \transpose c c' {
6425 % Torculus Auctus Descendens Initio Debilis
6426 \[ \deminutum a \pes b \flexa \auctum \descendens g \]
6433 \remove "Bar_number_engraver"
6437 \remove "Clef_engraver"
6438 \remove "Key_engraver"
6439 StaffSymbol \set #'transparent = ##t
6440 \remove "Time_signature_engraver"
6441 \remove "Bar_engraver"
6442 minimumVerticalExtent = ##f
6446 \remove Ligature_bracket_engraver
6447 \consists Vaticana_ligature_engraver
6448 NoteHead \set #'style = #'vaticana_punctum
6449 Stem \set #'transparent = ##t
6455 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6456 \include "gregorian-init.ly"
6458 \notes \transpose c c' {
6459 % Torculus Deminutus Initio Debilis
6460 \[ \deminutum a \pes b \flexa \deminutum g \]
6467 \remove "Bar_number_engraver"
6471 \remove "Clef_engraver"
6472 \remove "Key_engraver"
6473 StaffSymbol \set #'transparent = ##t
6474 \remove "Time_signature_engraver"
6475 \remove "Bar_engraver"
6476 minimumVerticalExtent = ##f
6480 \remove Ligature_bracket_engraver
6481 \consists Vaticana_ligature_engraver
6482 NoteHead \set #'style = #'vaticana_punctum
6483 Stem \set #'transparent = ##t
6490 @code{12. Porrectus}
6492 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6493 \include "gregorian-init.ly"
6495 \notes \transpose c c' {
6497 \[ a \flexa g \pes b \]
6504 \remove "Bar_number_engraver"
6508 \remove "Clef_engraver"
6509 \remove "Key_engraver"
6510 StaffSymbol \set #'transparent = ##t
6511 \remove "Time_signature_engraver"
6512 \remove "Bar_engraver"
6513 minimumVerticalExtent = ##f
6517 \remove Ligature_bracket_engraver
6518 \consists Vaticana_ligature_engraver
6519 NoteHead \set #'style = #'vaticana_punctum
6520 Stem \set #'transparent = ##t
6526 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6527 \include "gregorian-init.ly"
6529 \notes \transpose c c' {
6530 % Porrectus Auctus Descendens
6531 \[ a \flexa g \pes \auctum \descendens b \]
6538 \remove "Bar_number_engraver"
6542 \remove "Clef_engraver"
6543 \remove "Key_engraver"
6544 StaffSymbol \set #'transparent = ##t
6545 \remove "Time_signature_engraver"
6546 \remove "Bar_engraver"
6547 minimumVerticalExtent = ##f
6551 \remove Ligature_bracket_engraver
6552 \consists Vaticana_ligature_engraver
6553 NoteHead \set #'style = #'vaticana_punctum
6554 Stem \set #'transparent = ##t
6560 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6561 \include "gregorian-init.ly"
6563 \notes \transpose c c' {
6564 % Porrectus Deminutus
6565 \[ a \flexa g \pes \deminutum b \]
6572 \remove "Bar_number_engraver"
6576 \remove "Clef_engraver"
6577 \remove "Key_engraver"
6578 StaffSymbol \set #'transparent = ##t
6579 \remove "Time_signature_engraver"
6580 \remove "Bar_engraver"
6581 minimumVerticalExtent = ##f
6585 \remove Ligature_bracket_engraver
6586 \consists Vaticana_ligature_engraver
6587 NoteHead \set #'style = #'vaticana_punctum
6588 Stem \set #'transparent = ##t
6597 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6598 \include "gregorian-init.ly"
6600 \notes \transpose c c' {
6602 \[ \virga b \inclinatum a \inclinatum g \]
6609 \remove "Bar_number_engraver"
6613 \remove "Clef_engraver"
6614 \remove "Key_engraver"
6615 StaffSymbol \set #'transparent = ##t
6616 \remove "Time_signature_engraver"
6617 \remove "Bar_engraver"
6618 minimumVerticalExtent = ##f
6622 \remove Ligature_bracket_engraver
6623 \consists Vaticana_ligature_engraver
6624 NoteHead \set #'style = #'vaticana_punctum
6625 Stem \set #'transparent = ##t
6631 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6632 \include "gregorian-init.ly"
6634 \notes \transpose c c' {
6636 \[ \virga b \inclinatum a \inclinatum \auctum g \]
6643 \remove "Bar_number_engraver"
6647 \remove "Clef_engraver"
6648 \remove "Key_engraver"
6649 StaffSymbol \set #'transparent = ##t
6650 \remove "Time_signature_engraver"
6651 \remove "Bar_engraver"
6652 minimumVerticalExtent = ##f
6656 \remove Ligature_bracket_engraver
6657 \consists Vaticana_ligature_engraver
6658 NoteHead \set #'style = #'vaticana_punctum
6659 Stem \set #'transparent = ##t
6665 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6666 \include "gregorian-init.ly"
6668 \notes \transpose c c' {
6669 % Climacus Deminutus
6670 \[ \virga b \inclinatum a \inclinatum \deminutum g \]
6677 \remove "Bar_number_engraver"
6681 \remove "Clef_engraver"
6682 \remove "Key_engraver"
6683 StaffSymbol \set #'transparent = ##t
6684 \remove "Time_signature_engraver"
6685 \remove "Bar_engraver"
6686 minimumVerticalExtent = ##f
6690 \remove Ligature_bracket_engraver
6691 \consists Vaticana_ligature_engraver
6692 NoteHead \set #'style = #'vaticana_punctum
6693 Stem \set #'transparent = ##t
6700 @code{14. Scandicus}
6702 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6703 \include "gregorian-init.ly"
6705 \notes \transpose c c' {
6707 \[ g \pes a \virga b \]
6714 \remove "Bar_number_engraver"
6718 \remove "Clef_engraver"
6719 \remove "Key_engraver"
6720 StaffSymbol \set #'transparent = ##t
6721 \remove "Time_signature_engraver"
6722 \remove "Bar_engraver"
6723 minimumVerticalExtent = ##f
6727 \remove Ligature_bracket_engraver
6728 \consists Vaticana_ligature_engraver
6729 NoteHead \set #'style = #'vaticana_punctum
6730 Stem \set #'transparent = ##t
6736 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6737 \include "gregorian-init.ly"
6739 \notes \transpose c c' {
6740 % Scandicus Auctus Descendens
6741 \[ g \pes a \pes \auctum \descendens b \]
6748 \remove "Bar_number_engraver"
6752 \remove "Clef_engraver"
6753 \remove "Key_engraver"
6754 StaffSymbol \set #'transparent = ##t
6755 \remove "Time_signature_engraver"
6756 \remove "Bar_engraver"
6757 minimumVerticalExtent = ##f
6761 \remove Ligature_bracket_engraver
6762 \consists Vaticana_ligature_engraver
6763 NoteHead \set #'style = #'vaticana_punctum
6764 Stem \set #'transparent = ##t
6770 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6771 \include "gregorian-init.ly"
6773 \notes \transpose c c' {
6774 % Scandicus Deminutus
6775 \[ g \pes a \pes \deminutum b \]
6782 \remove "Bar_number_engraver"
6786 \remove "Clef_engraver"
6787 \remove "Key_engraver"
6788 StaffSymbol \set #'transparent = ##t
6789 \remove "Time_signature_engraver"
6790 \remove "Bar_engraver"
6791 minimumVerticalExtent = ##f
6795 \remove Ligature_bracket_engraver
6796 \consists Vaticana_ligature_engraver
6797 NoteHead \set #'style = #'vaticana_punctum
6798 Stem \set #'transparent = ##t
6807 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6808 \include "gregorian-init.ly"
6810 \notes \transpose c c' {
6812 \[ g \oriscus a \pes \virga b \]
6819 \remove "Bar_number_engraver"
6823 \remove "Clef_engraver"
6824 \remove "Key_engraver"
6825 StaffSymbol \set #'transparent = ##t
6826 \remove "Time_signature_engraver"
6827 \remove "Bar_engraver"
6828 minimumVerticalExtent = ##f
6832 \remove Ligature_bracket_engraver
6833 \consists Vaticana_ligature_engraver
6834 NoteHead \set #'style = #'vaticana_punctum
6835 Stem \set #'transparent = ##t
6841 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6842 \include "gregorian-init.ly"
6844 \notes \transpose c c' {
6845 % Salicus Auctus Descendens
6846 \[ g \oriscus a \pes \auctum \descendens b \]
6853 \remove "Bar_number_engraver"
6857 \remove "Clef_engraver"
6858 \remove "Key_engraver"
6859 StaffSymbol \set #'transparent = ##t
6860 \remove "Time_signature_engraver"
6861 \remove "Bar_engraver"
6862 minimumVerticalExtent = ##f
6866 \remove Ligature_bracket_engraver
6867 \consists Vaticana_ligature_engraver
6868 NoteHead \set #'style = #'vaticana_punctum
6869 Stem \set #'transparent = ##t
6879 @lilypond[noindent,staffsize=26,nofragment,linewidth=1.0\cm]
6880 \include "gregorian-init.ly"
6882 \notes \transpose c c' {
6884 \[ \stropha b \stropha b \stropha a \]
6891 \remove "Bar_number_engraver"
6895 \remove "Clef_engraver"
6896 \remove "Key_engraver"
6897 StaffSymbol \set #'transparent = ##t
6898 \remove "Time_signature_engraver"
6899 \remove "Bar_engraver"
6900 minimumVerticalExtent = ##f
6904 \remove Ligature_bracket_engraver
6905 \consists Vaticana_ligature_engraver
6906 NoteHead \set #'style = #'vaticana_punctum
6907 Stem \set #'transparent = ##t
6919 Unlike most other neumes notation systems, the input language for
6920 neumes does not necessarily reflect directly the typographical
6921 appearance, but is designed to solely focuse on musical meaning. For
6922 example, @code{\[ a \pes b \flexa g \]} produces a Torculus consisting
6923 of three Punctum heads, while @code{\[ a \flexa g \pes b \]} produces
6924 a Porrectus with a curved flexa shape and only a single Punctum head.
6925 There is no command to explicitly typeset the curved flexa shape; the
6926 decision of when to typeset a curved flexa shape is purely taken from
6927 the musical input. The idea of this approach is to separate the
6928 musical aspects of the input from the notation style of the output.
6929 This way, the same input can be reused to typeset the same music in a
6930 different style of Gregorian chant notation such as Hufnagel (also
6931 known as German gothic neumes) or Medicaea (kind of a very simple
6932 forerunner of the Editio Vaticana). As soon as Hufnagel ligature
6933 engraver and Medicaea ligature engraver will have been implemented, it
6934 will be as simple as replacing the ligature engraver in the
6935 @internalsref{Voice} context to get the desired notation style from
6938 The following table shows the code fragments that produce the
6939 ligatures in the above neumes table. The letter in the first column
6940 in each line of the below table indicates to which ligature in the
6941 above table it refers. The second column gives the name of the
6942 ligature. The third column shows the code fragment that produces this
6943 ligature, using @code{g}, @code{a} and @code{b} as example pitches.
6945 @multitable @columnfractions .1 .4 .5
6959 Punctum Inclinatum @tab
6960 @code{\[ \inclinatum b \]}
6964 Punctum Auctum Ascendens @tab
6965 @code{\[ \auctum \ascendens b \]}
6969 Punctum Auctum Descendens @tab
6970 @code{\[ \auctum \descendens b \]}
6974 Punctum Inclinatum Auctum @tab
6975 @code{\[ \inclinatum \auctum b \]}
6979 Punctum Inclinatum Parvum @tab
6980 @code{\[ \inclinatum \deminutum b \]}
6985 @code{\[ \virga b \]}
6990 @code{\[ \stropha b \]}
6995 @code{\[ \stropha \auctum b \]}
7000 @code{\[ \oriscus b \]}
7004 Clivis vel Flexa @tab
7005 @code{\[ b \flexa g \]}
7009 Clivis Aucta Descendens @tab
7010 @code{\[ b \flexa \auctum \descendens g \]}
7014 Clivis Aucta Ascendens @tab
7015 @code{\[ b \flexa \auctum \ascendens g \]}
7020 @code{\[ b \flexa \deminutum g \]}
7024 Podatus vel Pes @tab
7025 @code{\[ g \pes b \]}
7029 Pes Auctus Descendens @tab
7030 @code{\[ g \pes \auctum \descendens b \]}
7034 Pes Auctus Ascendens @tab
7035 @code{\[ g \pes \auctum \ascendens b \]}
7040 @code{\[ g \pes \deminutum b \]}
7045 @code{\[ \oriscus g \pes \virga b \]}
7049 Pes Quassus Auctus Descendens @tab
7050 @code{\[ \oriscus g \pes \auctum \descendens b \]}
7055 @code{\[ \quilisma g \pes b \]}
7059 Quilisma Pes Auctus Descendens @tab
7060 @code{\[ \quilisma g \pes \auctum \descendens b \]}
7064 Pes Initio Debilis @tab
7065 @code{\[ \deminutum g \pes b \]}
7069 Pes Auctus Descendens Initio Debilis @tab
7070 @code{\[ \deminutum g \pes \auctum \descendens b \]}
7075 @code{\[ a \pes b \flexa g \]}
7079 Torculus Auctus Descendens @tab
7080 @code{\[ a \pes b \flexa \auctum \descendens g \]}
7084 Torculus Deminutus @tab
7085 @code{\[ a \pes b \flexa \deminutum g \]}
7089 Torculus Initio Debilis @tab
7090 @code{\[ \deminutum a \pes b \flexa g \]}
7094 Torculus Auctus Descendens Initio Debilis @tab
7095 @code{\[ \deminutum a \pes b \flexa \auctum \descendens g \]}
7099 Torculus Deminutus Initio Debilis @tab
7100 @code{\[ \deminutum a \pes b \flexa \deminutum g \]}
7105 @code{\[ a \flexa g \pes b \]}
7109 Porrectus Auctus Descendens @tab
7110 @code{\[ a \flexa g \pes \auctum \descendens b \]}
7114 Porrectus Deminutus @tab
7115 @code{\[ a \flexa g \pes \deminutum b \]}
7120 @code{\[ \virga b \inclinatum a \inclinatum g \]}
7124 Climacus Auctus @tab
7125 @code{\[ \virga b \inclinatum a \inclinatum \auctum g \]}
7129 Climacus Deminutus @tab
7130 @code{\[ \virga b \inclinatum a \inclinatum \deminutum g \]}
7135 @code{\[ g \pes a \virga b \]}
7139 Scandicus Auctus Descendens @tab
7140 @code{\[ g \pes a \pes \auctum \descendens b \]}
7144 Scandicus Deminutus @tab
7145 @code{\[ g \pes a \pes \deminutum b \]}
7150 @code{\[ g \oriscus a \pes \virga b \]}
7154 Salicus Auctus Descendens @tab
7155 @code{\[ g \oriscus a \pes \auctum \descendens b \]}
7160 @code{\[ \stropha b \stropha b \stropha a \]}
7166 The following head prefixes are supported:
7168 @cindex @code{\virga}
7170 @cindex @code{\stropha}
7172 @cindex @code{\inclinatum}
7174 @cindex @code{\auctum}
7176 @cindex @code{\descendens}
7178 @cindex @code{\ascendens}
7180 @cindex @code{\oriscus}
7182 @cindex @code{\quilisma}
7184 @cindex @code{\deminutum}
7187 Head prefixes can be accumulated, though restrictions apply. For
7188 example, either @code{\descendens} or @code{\ascendens} can be applied
7189 to a head, but not both to the same head.
7192 @cindex @code{\flexa}
7193 Two adjacent heads can be tied together with the @code{\pes} and
7194 @code{\flexa} infix commands for a rising and falling line of melody,
7199 Trigonus: apply equal spacing, regardless of pitch.
7202 @subsection Figured bass
7204 @cindex Basso continuo
7206 @c TODO: musicological blurb about FB
7210 LilyPond has limited support for figured bass:
7212 @lilypond[verbatim,fragment]
7214 \context Voice \notes { \clef bass dis4 c d ais}
7215 \context FiguredBass
7217 < 6 >4 < 7 >8 < 6+ [_!] >
7223 The support for figured bass consists of two parts: there is an input
7224 mode, introduced by @code{\figures}, where you can enter bass figures
7225 as numbers, and there is a context called @internalsref{FiguredBass} that
7226 takes care of making @internalsref{BassFigure} objects.
7228 In figures input mode, a group of bass figures is delimited by
7229 @code{<} and @code{>}. The duration is entered after the @code{>>}:
7234 \context FiguredBass
7238 Accidentals are added when you append @code{-}, @code{!} and @code{+}
7245 \context FiguredBass
7246 \figures { <4- 6+ 7!> }
7249 Spaces or dashes may be inserted by using @code{_}. Brackets are
7250 introduced with @code{[} and @code{]}:
7256 \context FiguredBass
7257 \figures { < [4 6] 8 [_! 12]> }
7260 Although the support for figured bass may superficially resemble chord
7261 support, it works much simpler. The @code{\figures} mode simply
7262 stores the numbers , and @internalsref{FiguredBass} context prints
7263 them as entered. There is no conversion to pitches, and no
7264 realizations of the bass are played in the MIDI file.
7266 Internally, the code produces markup texts. You can use any of the
7267 markup text properties to override formatting. For example, the
7268 vertical spacing of the figures may be set with @code{baseline-skip}.
7272 Internals: @internalsref{BassFigureEvent} music, @internalsref{BassFigure} object,
7273 and @internalsref{FiguredBass} context.
7277 Slash notation for alterations is not supported.
7280 @node Vaticana style contexts
7281 @subsection Vaticana style contexts
7283 @cindex VaticanaVoiceContext
7284 @cindex VaticanaStaffContext
7286 The predefined @code{VaticanaVoiceContext} and
7287 @code{VaticanaStaffContext} can be used to easily engrave a piece of
7288 Gregorian Chant in the style of the Editio Vaticana. These contexts
7289 initialize all relevant context properties and grob properties to
7290 proper values. With these contexts, you can immediately go ahead
7291 entering the chant, as the following short excerpt demonstrates:
7293 @lilypond[raggedright,verbatim,noindent]
7294 \include "gregorian-init.ly"
7297 \context VaticanaVoice = "cantus" {
7298 \property Score.BarNumber \set #'transparent = ##t
7300 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7301 \[ f\melisma \pes a c' c' \pes d'\melismaEnd \] c' \divisioMinima \break
7302 \[ c'\melisma c' \flexa a \] \[ a \flexa \deminutum g\melismaEnd \] f \divisioMinima
7305 \lyricsto "cantus" \new LyricsVoice \lyrics {
7306 San- ctus, San- ctus, San- ctus
7312 @node Contemporary notation
7313 @section Contemporary notation
7315 In the 20th century, composers have greatly expanded the musical
7316 vocabulary. With this expansion, many innovations in musical notation
7317 have been tried. The book by Stone (1980) gives a comprehensive
7318 overview (see @ref{Literature list}). In general, the use of new,
7319 innovative notation makes a piece harder to understand and perform and
7320 its use should therefore be avoided if possible. For this reason,
7321 support for contemporary notation in LilyPond is limited.
7330 @subsection Clusters
7334 In musical terminology, a @emph{cluster} denotes a range of
7335 simultaneously sounding pitches that may change over time. The set of
7336 available pitches to apply usually depends on the accoustic source.
7337 Thus, in piano music, a cluster typically consists of a continous range
7338 of the semitones as provided by the piano's fixed set of a chromatic
7339 scale. In choral music, each singer of the choir typically may sing an
7340 arbitrary pitch within the cluster's range that is not bound to any
7341 diatonic, chromatic or other scale. In electronic music, a cluster
7342 (theoretically) may even cover a continuous range of pitches, thus
7343 resulting in coloured noise, such as pink noise.
7345 Clusters can be denoted in the context of ordinary staff notation by
7346 engraving simple geometrical shapes that replace ordinary notation of
7347 notes. Ordinary notes as musical events specify starting time and
7348 duration of pitches; however, the duration of a note is expressed by the
7349 shape of the note head rather than by the horizontal graphical extent of
7350 the note symbol. In contrast, the shape of a cluster geometrically
7351 describes the development of a range of pitches (vertical extent) over
7352 time (horizontal extent). Still, the geometrical shape of a cluster
7353 covers the area in wich any single pitch contained in the cluster would
7354 be notated as an ordinary note. From this point of view, it is
7355 reasonable to specify a cluster as the envelope of a set of notes.
7359 A cluster is engraved as the envelope of a set of
7360 cluster-notes. Cluster notes are created by applying the function
7361 @code{notes-to-clusters} to a sequence of chords, e.g.
7363 @lilypond[relative=1,verbatim]
7364 \apply #notes-to-clusters { <c e > <b f'> }
7367 The following example (from
7368 @inputfileref{input/regression,cluster.ly}) shows what the result
7371 @lilypondfile[]{cluster.ly}
7373 By default, @internalsref{Cluster_spanner_engraver} is in the
7374 @internalsref{Voice} context. This allows putting ordinary notes and
7375 clusters together in the same staff, even simultaneously. In such a
7376 case no attempt is made to automatically avoid collisions between
7377 ordinary notes and clusters.
7381 Internals: @internalsref{ClusterSpanner},
7382 @internalsref{ClusterSpannerBeacon},
7383 @internalsref{Cluster_spanner_engraver}, and
7384 @internalsref{ClusterNoteEvent}.
7386 Examples: @inputfileref{input/regression,cluster.ly}.
7390 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
7391 accurately. Use @code{<g a>8 <e a>8} instead.
7396 @subsection Fermatas
7402 Contemporary music notation frequently uses special fermata symbols to
7403 indicate fermatas of differing lengths.
7407 The following are supported
7409 @lilypond[raggedright]
7411 << \addlyrics \notes {
7431 \context LyricsVoice \lyrics {
7432 "shortfermata" "fermata" "longfermata" "verylongfermata"
7437 See @ref{Articulations} for general instructions how to apply scripts
7438 such as fermatas to a @code{\notes@{@}} block.
7441 @node Special notation
7442 @section Special notation
7446 * Easy Notation note heads::
7450 @subsection Balloon help
7452 Elements of notation can be marked and named with the help of a square
7453 balloon. The primary purpose of this feature is to explain notation.
7455 The following example demonstrates its use.
7457 @lilypond[verbatim,fragment,raggedright,relative=1]
7460 #(add-balloon-text 'NoteHead "heads, or tails?"
7466 The function @code{add-balloon-text} takes the name of a grob, the
7467 label to print and where to put the label relative to the object. In
7468 the above example, the text ``heads or tails?'' ends 3 spaces below
7472 @cindex notation, explaining
7476 Internals: @internalsref{text-balloon-interface}
7478 Examples: @inputfileref{input/regression,balloon.ly}
7480 @node Easy Notation note heads
7481 @subsection Easy Notation note heads
7483 @cindex easy notation
7486 The `easy play' note head includes a note name inside the head. It is
7487 used in music aimed at beginners:
7489 @lilypond[raggedright,verbatim,staffsize=26]
7491 \notes { c'2 e'4 f' | g'1 }
7492 \paper { \translator { \EasyNotation } }
7496 The @code{EasyNotation} variable overrides a @internalsref{Score}
7497 context. To make the letters readable, it has to be printed in a
7498 large font size. To print with a larger font, see @ref{Font Size}.
7503 If you view the result with Xdvi, then staff lines may show through
7504 the letters. Printing the PostScript file obtained does produce the
7510 @section Tuning output
7512 There are situations where default layout decisions are not
7513 sufficient. In this section we discuss ways to override these
7516 Formatting is internally done by manipulating so called objects
7517 (graphic objects). Each object carries with it a set of properties
7518 (object or layout properties) specific to that object. For example, a
7519 stem object has properties that specify its direction, length and
7522 The most direct way of tuning the output is by altering the values of
7523 these properties. There are two ways of doing that: first, you can
7524 temporarily change the definition of one type of object, thus
7525 affecting a whole set of objects. Second, you can select one specific
7526 object, and set a layout property in that object.
7528 Do not confuse layout properties with translation
7529 properties. Translation properties always use a mixed caps style
7530 naming, and are manipulated using @code{\property}:
7532 \property Context.propertyName = @var{value}
7535 Layout properties are use Scheme style variable naming, i.e. lower
7536 case words separated with dashes. They are symbols, and should always
7537 be quoted using @code{#'}. For example, this could be an imaginary
7538 layout property name:
7540 #'layout-property-name
7545 The introduction of the @ref{Technical manual} gives a more in-depth
7546 treatment of the difference between translation and layout.
7550 * Constructing a tweak::
7558 @node Tuning objects
7559 @subsection Tuning objects
7561 @cindex object description
7563 The definition of an object is a list of default object
7564 properties. For example, the definition of the Stem object (available
7565 in @file{scm/define-grobs.scm}), includes the following definitions
7566 for @internalsref{Stem}:
7570 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
7571 (Y-extent-callback . ,Stem::height)
7576 Adding variables on top of this existing definition overrides the
7577 system default, and alters the resulting appearance of the layout
7583 Changing a variable for only one object is commonly achieved with
7587 \once \property @var{context}.@var{objectname}
7588 \override @var{symbol} = @var{value}
7590 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
7591 and @var{objectname} is a string and @var{value} is a Scheme expression.
7592 This command applies a setting only during one moment in the score.
7594 In the following example, only one @internalsref{Stem} object is
7595 changed from its original setting:
7597 @lilypond[verbatim,fragment,relative=1]
7599 \once \property Voice.Stem \set #'thickness = #4
7603 @cindex @code{\once}
7605 For changing more objects, the same command, without @code{\once} can
7608 \property @var{context}.@var{objectname} \override @var{symbol} = @var{value}
7610 This command adds @code{@var{symbol} = @var{value}} to the definition
7611 of @var{objectname} in the context @var{context}, and this definition
7612 stays in place until it is removed.
7614 An existing definition may be removed by the following command:
7617 \property @var{context}.@var{objectname} \revert @var{symbol}
7620 All @code{\override} and @code{\revert} commands should be balanced.
7621 The @code{\set} shorthand performs a revert followed by an override,
7622 and is often more convenient to use
7625 \property @var{context}.@var{objectname} \set @var{symbol} = @var{value}
7629 @lilypond[verbatim,quote]
7630 c'4 \property Voice.Stem \override #'thickness = #4.0
7632 c'4 \property Voice.Stem \revert #'thickness
7636 The following example gives exactly the same result as the previous
7637 one (assuming the system default for stem thickness is 1.3):
7639 @lilypond[verbatim,quote]
7640 c'4 \property Voice.Stem \set #'thickness = #4.0
7642 c'4 \property Voice.Stem \set #'thickness = #1.3
7646 Reverting a setting which was not set in the first place has no
7647 effect. However, if the setting was set as a system default, this may
7648 remove the default value, and this may give surprising results,
7649 including crashes. In other words, @code{\override} and
7650 @code{\revert} must be carefully balanced. The following are examples
7651 of correct nesting of @code{\override}, @code{\set}, @code{\revert}:
7655 a clumsy but correct form:
7657 \override \revert \override \revert \override \revert
7661 shorter version of the same:
7663 \override \set \set \revert
7667 a short form, using only @code{\set}. This requires you to know the
7670 \set \set \set \set @var{to default value}
7674 if there is no default (i.e. by default, the object property is unset),
7677 \set \set \set \revert
7681 The object description is an Scheme association list. Since a Scheme
7682 list is a singly linked list, we can treat it as a stack, and
7683 @code{\override} and @code{\revert} are push and pop operations. The
7684 association list is stored in a normal context property, hence
7686 \property Voice.NoteHead = #'()
7688 will effectively erase @internalsref{NoteHead}s from the current
7689 @internalsref{Voice}. Typically, this will blank the object. However,
7690 this mechanism should not be used: it may cause crashes or other
7695 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
7696 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
7697 @internalsref{All-layout-objects}.
7702 The backend is not very strict in type-checking object properties.
7703 Cyclic references in Scheme values for properties cause hangs and/or
7704 crashes. Reverting properties that are system defaults may also lead
7708 * Constructing a tweak::
7714 @node Constructing a tweak
7715 @subsection Constructing a tweak
7718 @cindex internal documentation
7719 @cindex finding graphical objects
7720 @cindex graphical object descriptions
7722 @cindex @code{\override}
7724 @cindex internal documentation
7728 Three pieces of information are required to use @code{\override} and
7729 @code{\set}: the name of the layout object, the context and the name
7730 of the property. We demonstrate how to glean this information from
7731 the notation manual and the generated documentation.
7733 The generated documentation is a set of HTML pages which should be
7734 included if you installed a binary distribution, typically in
7735 @file{/usr/share/doc/lilypond}. They are also available on the web:
7736 go to the @uref{http://lilypond.org,LilyPond website}, click
7737 ``Documentation'', select the correct version, and click then
7738 ``Program reference.'' It is advisable to bookmark the local HTML
7739 files. They will load faster than the ones on the web. If you use the
7740 version from the web, you must check whether the documentation matches
7741 the program version: it is generated from the definitions that the
7742 program uses, and therefore it is strongly tied to the LilyPond
7746 @c [TODO: revise for new site.]
7748 Suppose we want to move the fingering indication in the fragment below:
7750 @lilypond[relative=2,verbatim]
7756 If you visit the documentation of @code{Fingering} (in @ref{Fingering
7757 instructions}), you will notice that there is written:
7762 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
7769 In other words, the fingerings once entered, are internally stored as
7770 @code{FingerEvent} music objects. When printed, a @code{Fingering}
7771 layout object is created for every @code{FingerEvent}.
7773 The Fingering object has a number of different functions, and each of
7774 those is captured in an interface. The interfaces are listed under
7775 @internalsref{Fingering} in the program reference.
7779 The @code{Fingering} object has a fixed size
7780 (@internalsref{item-interface}), the symbol is a piece of text
7781 (@internalsref{text-interface}), whose font can be set
7782 (@internalsref{font-interface}). It is centered horizontally
7783 (@internalsref{self-alignment-interface}), it is placed next to other
7784 objects (@internalsref{side-position-interface}) vertically, and its
7785 placement is coordinated with other scripts
7786 (@internalsref{text-script-interface}). It also has the standard
7787 @internalsref{grob-interface} (grob stands for Graphical object)
7789 @cindex graphical object
7790 @cindex layout object
7791 @cindex object, layout
7792 with all the variables that come with
7793 it. Finally, it denotes a fingering instruction, so it has
7794 @internalsref{finger-interface}.
7796 For the vertical placement, we have to look under
7797 @code{side-position-interface}:
7799 @code{side-position-interface}
7801 Position a victim object (this one) next to other objects (the
7802 support). In this case, the property @code{direction} signifies where to put the
7803 victim object relative to the support (left or right, up or down?)
7808 below this description, the variable @code{padding} is described as
7812 (dimension, in staff space)
7814 add this much extra space between objects that are next to each
7815 other. Default value: @code{0.6}
7819 By increasing the value of @code{padding}, we can move away the
7820 fingering. The following command inserts 3 staff spaces of white
7821 between the note and the fingering:
7823 \once \property Voice.Fingering \set #'padding = #3
7826 Inserting this command before the Fingering object is created,
7827 i.e. before @code{c2}, yields the following result:
7829 @lilypond[relative=2,fragment,verbatim]
7830 \once \property Voice.Fingering
7837 The context name @code{Voice} in the example above can be determined
7838 as follows. In the documentation for @internalsref{Fingering}, it says
7840 Fingering grobs are created by: @internalsref{Fingering_engraver}
7843 Clicking @code{Fingering_engraver} shows the documentation of
7844 the module responsible for interpreting the fingering instructions and
7845 translating them to a @code{Fingering} object. Such a module is called
7846 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
7849 Fingering_engraver is part of contexts: Voice
7851 so tuning the settings for Fingering should be done with
7853 \property Voice.Fingering \set @dots{}
7856 Of course, the tweak may also done in a larger context than
7857 @code{Voice}, for example, @internalsref{Staff} or
7858 @internalsref{Score}.
7862 Internals: the program reference also contains alphabetical lists of
7863 @internalsref{Contexts}, @internalsref{All-layout-objects} and
7864 @internalsref{Music-expressions}, so you can also find which objects
7865 to tweak by browsing the internals document.
7869 @subsection Applyoutput
7871 The most versatile way of tuning an object is @code{\applyoutput}. Its
7874 \applyoutput @var{proc}
7878 where @var{proc} is a Scheme function, taking three arguments.
7880 When interpreted, the function @var{proc} is called for every layout
7881 object found in the context, with the following arguments:
7883 @item the layout object itself,
7884 @item the context where the layout object was created, and
7885 @item the context where @code{\applyoutput} is processed.
7889 In addition, the cause of the layout object, i.e. the music
7890 expression or object that was responsible for creating it, is in the
7891 object property @code{cause}. For example, for a note head, this is a
7892 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
7893 this is a @internalsref{NoteHead} object.
7895 Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
7898 (define (blanker grob grob-origin context)
7899 (if (and (memq (ly:get-grob-property grob 'interfaces)
7900 note-head-interface)
7901 (eq? (ly:get-grob-property grob 'staff-position) 0))
7903 (ly:set-grob-property! grob 'transparent #t)))
7908 @node Font selection
7909 @subsection Font selection
7911 The most common thing to change about the appearance of fonts is their
7912 size. The font size of any context can be easily changed by setting
7913 the @code{fontSize} property for that context. Its value is a number:
7914 negative numbers make the font smaller, positive numbers larger. An
7915 example is given below:
7917 @lilypond[fragment,relative=1,verbatim,quote]
7918 c4 c4 \property Voice.fontSize = #-1
7921 This command will set @code{font-size} (see below), and does
7922 not change the size of variable symbols, such as beams or slurs.
7924 One of the uses of @code{fontSize} is to get smaller symbols for cue
7925 notes. An elaborate example of those is in
7926 @inputfileref{input/test,cue-notes.ly}.
7928 @cindex magnification
7931 The font used for printing a object can be selected by setting
7932 @code{font-name}, e.g.
7934 \property Staff.TimeSignature
7935 \set #'font-name = #"cmr17"
7939 Any font can be used, as long as it is available to @TeX{}. Possible
7940 fonts include foreign fonts or fonts that do not belong to the
7941 Computer Modern font family. The size of fonts selected in this way
7942 can be changed with the @code{font-magnification} property. For
7943 example, @code{2.0} blows up all letters by a factor 2 in both
7947 @cindex font magnification
7949 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
7950 can also be adjusted with a more fine-grained mechanism. By setting
7951 the object properties described below, you can select a different font;
7952 all three mechanisms work for every object that supports
7953 @code{font-interface}:
7958 is a symbol indicating the general class of the typeface. Supported are
7959 @code{roman} (Computer Modern), @code{braces} (for piano staff
7960 braces), @code{music} (the standard music font, including ancient
7961 glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
7964 is a symbol indicating the shape of the font, there are typically several
7965 font shapes available for each font family. Choices are @code{italic},
7966 @code{caps} and @code{upright}.
7969 is a symbol indicating the series of the font. There are typically several
7970 font series for each font family and shape. Choices are @code{medium}
7975 For any of these properties, the value @code{*} (i.e. the symbol
7976 @code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
7977 to override default setting, which are always present. For example:
7979 \property Lyrics . LyricText \override #'font-series = #'bold
7980 \property Lyrics . LyricText \override #'font-family = #'typewriter
7981 \property Lyrics . LyricText \override #'font-shape = #'*
7984 @cindex @code{font-style}
7986 The font size is set by modifying the @code{font-size} property. Its
7987 value is a number indicating the size relative to the standard size.
7988 Each step up is an increase of approximately 12% of the font size. Six
7989 steps is exactly a factor two. The Scheme function @code{magstep}
7990 converts a @code{font-size} number to a scaling factor.
7992 LilyPond has fonts in different design sizes: the music fonts for
7993 smaller sizes are chubbier, while the text fonts are relatively wider.
7994 Font size changes are achieved by scaling the design size that is
7995 closest to the desired size.
7997 The @code{font-size} mechanism does not work for fonts selected
7998 through @code{font-name}. These may be scaled with
7999 @code{font-magnification}.
8003 The following commands set @code{fontSize} for the current voice.
8005 @cindex @code{\tiny}
8007 @cindex @code{\small}
8009 @cindex @code{\normalsize}
8014 Init files: @file{ly/declarations-init.ly} contains hints how new
8015 fonts may be added to LilyPond.
8019 There is no style sheet provided for other fonts besides the @TeX{}
8020 Computer Modern family.
8022 @cindex font selection
8023 @cindex font magnification
8024 @cindex @code{font-interface}
8028 @subsection Text markup
8033 @cindex typeset text
8035 LilyPond has an internal mechanism to typeset texts. You can access it
8036 with the keyword @code{\markup}. Within markup mode, you can enter texts
8037 similar to lyrics: simply enter them, surrounded by spaces:
8040 @lilypond[verbatim,fragment,relative=1]
8041 c1^\markup { hello }
8042 c1_\markup { hi there }
8043 c1^\markup { hi \bold there, is \italic anyone home? }
8046 @cindex font switching
8048 The markup in the example demonstrates font switching commands. The
8049 command @code{\bold} and @code{\italic} only apply to the first
8050 following word; enclose a set of texts with braces to apply a command
8053 \markup @{ \bold @{ hi there @} @}
8057 For clarity, you can also do this for single arguments, e.g.
8060 \markup { is \italic { anyone } home }
8063 @cindex font size, texts
8070 * Common text markup commands::
8071 * Markup construction in scheme::
8072 * Markup command definition::
8075 @node Common text markup commands
8076 @subsubsection Common text markup commands
8079 The following size commands set absolute sizes:
8081 @cindex @code{\teeny}
8082 @cindex @code{\tiny}
8083 @cindex @code{\small}
8084 @cindex @code{\large}
8085 @cindex @code{\huge}
8095 You can also make letter larger or smaller relative to their neighbors,
8096 with the commands @code{\larger} and @code{\smaller}.
8100 @cindex font style, for texts
8101 @cindex @code{\bold}
8102 @cindex @code{\dynamic}
8103 @cindex @code{\number}
8104 @cindex @code{\italic}
8106 The following font change commands are defined:
8109 changes to the font used in dynamic signs. This font does not
8110 contain all characters of the alphabet, so when producing ``piu f'',
8111 the ``piu'' should be done in a different font.
8115 changes to the font used in time signatures. It only contains
8116 numbers and a few punctuation marks.
8118 changes @code{font-shape} to @code{italic}.
8120 changes @code{font-series} to @code{bold}.
8123 @cindex raising text
8124 @cindex lowering text
8126 @cindex translating text
8129 @cindex @code{\super}
8131 Raising and lowering texts can be done with @code{\super} and
8134 @lilypond[verbatim,fragment,relative=1]
8135 c1^\markup { E "=" mc \super "2" }
8138 @cindex @code{\raise}
8140 If you want to give an explicit amount for lowering or raising, use
8141 @code{\raise}. This command takes a Scheme valued first argument, and
8142 a markup object as second argument:
8144 @lilypond[verbatim,fragment,relative=1,quote]
8145 c1^\markup { C \small \raise #1.0 \bold { "9/7+" }}
8147 The argument to @code{\raise} is the vertical displacement amount,
8148 measured in (global) staff spaces. @code{\raise} and @code{\super}
8149 raise objects in relation to their surrounding markups. They cannot be
8150 used to move a single text up or down, when it is above or below a
8151 note, since the mechanism that positions it next to the note cancels
8152 any vertical shift. For vertical positioning, use the @code{padding}
8153 and/or @code{extra-offset} properties.
8155 Other commands taking single arguments include
8158 @item \bracket, \hbracket
8159 Bracket the argument markup with normal and horizontal brackets
8163 @cindex @code{\musicglyph}
8164 This is converted to a musical symbol, e.g. @code{\musicglyph
8165 #"accidentals-0"} will select the natural sign from the music font.
8166 See @ref{The Feta font} for a complete listing of the possible glyphs.
8169 This produces a single character, e.g. @code{\char #65} produces the
8172 @item \note @var{duration} @var{dir}
8173 @cindex @code{\note}
8175 This produces a note with a stem pointing in @var{dir} direction, with
8176 the @var{duration} for the note head type and augmentation dots. For
8177 example, @code{\note #"4." #-0.75} creates a dotted quarter note, with
8178 a shortened down stem.
8180 @item \hspace #@var{amount}
8181 @cindex @code{\hspace}
8182 This produces a invisible object taking horizontal space.
8184 \markup @{ A \hspace #2.0 B @}
8186 will put extra space between A and B, on top of the space that is
8187 normally inserted before elements on a line.
8189 @item \fontsize #@var{size}
8190 @cindex @code{\fontsize}
8191 This sets the relative font size, eg.
8193 A \fontsize #2 @{ B C @} D
8197 This will enlarge the B and the C by two steps.
8198 @item \translate #(cons @var{x} @var{y})
8200 This translates an object. Its first argument is a cons of numbers
8202 A \translate #(cons 2 -3) @{ B C @} D
8204 This moves `B C' 2 spaces to the right, and 3 down, relative to its
8205 surroundings. This command cannot be used to move isolated scripts
8206 vertically, for the same reason that @code{\raise} cannot be used for
8209 @item \magnify #@var{mag}
8210 @cindex @code{\magnify}
8211 This sets the font magnification for the its argument. In the following
8212 example, the middle A will be 10% larger:
8214 A \magnify #1.1 @{ A @} A
8218 @item \override #(@var{key} . @var{value})
8219 @cindex @code{\override}
8220 This overrides a formatting property for its argument. The argument
8221 should be a key/value pair, e.g.
8223 m \override #'(font-family . math) m m
8227 In markup mode you can compose expressions, similar to mathematical
8228 expressions, XML documents and music expressions. The braces group
8229 notes into horizontal lines. Other types of lists also exist: you can
8230 stack expressions grouped with @code{<}, and @code{>} vertically with
8231 the command @code{\column}. Similarly, @code{\center} aligns texts by
8234 @lilypond[verbatim,fragment,relative=1]
8235 c1^\markup { \column < a bbbb c > }
8236 c1^\markup { \center < a bbbb c > }
8237 c1^\markup { \line < a b c > }
8241 Markups can be stored in variables, and these variables
8242 may be attached to notes, like
8244 allegro = \markup { \bold \large { Allegro } }
8245 \notes { a^\allegro b c d }
8249 Some objects have alignment procedures of their own, which cancel out
8250 any effects of alignments applied to their markup arguments as a
8251 whole. For example, the @internalsref{RehearsalMark} is horizontally
8252 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
8253 effect. Similarly, whole texts over notes cannot be moved vertically
8254 with @code{\raise}. For moving and aligning complete objects, grob
8255 properties should be used.
8259 Internals: @internalsref{Markup-functions} contains a complete list of
8260 all markup commands.
8262 Init files: @file{scm/new-markup.scm}.
8270 Text layout is ultimately done by @TeX{}, which does kerning of
8271 letters. LilyPond does not account for kerning, so texts will be
8272 spaced slightly too wide.
8274 Syntax errors for markup mode are confusing.
8276 Markup texts cannot be used in the titling of the @code{\header}
8277 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
8282 @node Markup construction in scheme
8283 @subsubsection Markup construction in scheme
8285 @cindex defining markup commands
8287 The @code{markup} macro builds markup expressions in Scheme while
8288 providing a LilyPond-like syntax. For example,
8290 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
8291 #:bigger #:line ("foo" "bar" "baz")))
8297 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
8298 \bigger @{ foo bar baz @} >
8302 This example exposes the main translation rules between regular
8303 LilyPond markup syntax and scheme markup syntax, which are summed up
8305 @multitable @columnfractions .5 .5
8306 @item @b{LilyPond} @tab @b{Scheme}
8307 @item @code{\command} @tab @code{#:command}
8308 @item @code{\variable} @tab @code{variable}
8309 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
8310 @item @code{\center < ... >} @tab @code{#:center ( ... )}
8311 @item @code{string} @tab @code{"string"}
8312 @item @code{#scheme-arg} @tab @code{scheme-arg}
8315 Besides, the whole scheme language is accessible inside the
8316 @code{markup} macro: thus, one may use function calls inside
8317 @code{markup} in order to manipulate character strings for
8318 instance. This proves useful when defining new markup commands (see
8319 @ref{Markup command definition}).
8323 One can not feed the @code{#:line} (resp @code{#:center},
8324 @code{#:column}) command with a variable or the result of a function
8327 (markup #:line (fun-that-returns-markups))
8329 is illegal. One should use the @code{make-line-markup} (resp
8330 @code{make-center-markup}, @code{make-column-markup}) function
8333 (markup (make-line-markup (fun-that-returns-markups)))
8336 @node Markup command definition
8337 @subsubsection Markup command definition
8339 New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
8341 (def-markup-command (@emph{command-name} @emph{paper} @emph{props} @emph{arg1} @emph{arg2} ...) (@emph{arg1-type?} @emph{arg2-type?} ...)
8344 @emph{argi}: i@emph{th} command argument
8345 @emph{argi-type?}: a type predicate for the i@emph{th} argument
8346 @emph{paper}: the `paper' definition
8347 @emph{props}: a list of alists, containing all active properties.
8350 As a simple example, we show how to add a @code{\smallcaps} command,
8351 which selects @TeX{}'s small caps font. Normally, we could select the
8352 small caps font as follows:
8355 \markup { \override #'(font-shape . caps) Text-in-caps }
8358 This selects the caps font by setting the @code{font-shape} property to
8359 @code{#'caps} for interpreting @code{Text-in-caps}.
8361 To make the above available as @code{\smallcaps} command, we have to
8362 define a function using @code{def-markup-command}. The command should
8363 take a single argument, of markup type. Therefore, the start of the
8364 definition should read
8366 (def-markup-command (smallcaps paper props argument) (markup?)
8371 What follows is the content of the command: we should interpret
8372 the @code{argument} as a markup, i.e.
8375 (interpret-markup paper @dots{} argument)
8379 This interpretation should add @code{'(font-shape . caps)} to the active
8380 properties, so we substitute the the following for the @dots{} in the
8384 (cons (list '(font-shape . caps) ) props)
8388 The variable @code{props} is a list of alists, and we prepend to it by
8389 consing a list with the extra setting.
8391 However, suppose that we are using a font that does not have a
8392 small-caps variant. In that case, we have to fake the small caps font,
8393 by setting a string in upcase, with the first letter a little larger:
8396 #(def-markup-command (smallcaps paper props str) (string?)
8397 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8398 (interpret-markup paper props
8401 (if (= (string-length s) 0)
8403 (markup #:large (string-upcase (substring s 0 1))
8404 #:translate (cons -0.6 0)
8405 #:tiny (string-upcase (substring s 1)))))
8406 (string-split str #\Space)))))
8409 The @code{smallcaps} command first splits its string argument into
8410 tokens separated by spaces (@code{(string-split str #\Space)}); for
8411 each token, a markup is built with the first letter made large and
8412 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
8413 second markup built with the following letters made tiny and upcased
8414 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
8415 introduces a space between markups on a line, the second markup is
8416 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
8417 the markups built for each token are put in a line
8418 (@code{(make-line-markup ...)}). Finally, the resulting markup is
8419 passed to the @code{interpret-markup} function, with the @code{paper}
8420 and @code{props} arguments.
8422 Finally, suppose that we are typesetting a recitative in an opera, and
8423 we would like to define a command that will show character names in a
8424 custom manner. Names should be printed with small caps and translated a
8425 bit to the left and top. We will define a @code{\character} command
8426 that takes into account the needed translation, and uses the newly
8427 defined @code{\smallcaps} command:
8430 #(def-markup-command (character paper props name) (string?)
8431 "Print the character name in small caps, translated to the left and
8432 top. Syntax: \\character #\"name\""
8433 (interpret-markup paper props
8434 (markup "" #:translate (cons -4 2) #:smallcaps name)))
8437 There is one complication that needs explanation: texts above and below
8438 the staff are moved vertically to be at a certain distance (the
8439 @code{padding} property) from the staff and the notes. To make sure
8440 that this mechanism does not annihilate the vertical effect of our
8441 @code{#:translate}, we add an empty string (@code{""}) before the
8442 translated text. Now the @code{""} will be put above the notes, and the
8443 @code{name} is moved in relation to that empty string. The net effect is
8444 that the text is moved to the upper left.
8446 The final result is as follows:
8450 c''^\markup \character #"Cleopatra"
8451 e'^\markup \character #"Giulio Cesare"
8456 @lilypond[raggedright]
8457 #(def-markup-command (smallcaps paper props str) (string?)
8458 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
8459 (interpret-markup paper props
8462 (if (= (string-length s) 0)
8464 (markup #:large (string-upcase (substring s 0 1))
8465 #:translate (cons -0.6 0)
8466 #:tiny (string-upcase (substring s 1)))))
8467 (string-split str #\Space)))))
8469 #(def-markup-command (character paper props name) (string?)
8470 "Print the character name in small caps, translated to the left and
8471 top. Syntax: \\character #\"name\""
8472 (interpret-markup paper props
8473 (markup "" #:translate (cons -4 0) #:smallcaps name)))
8477 c''^\markup \character #"Cleopatra"
8478 e'^\markup \character #"Giulio Cesare"
8486 @section Global layout
8488 The global layout determined by three factors: the page layout, the
8489 line breaks and the spacing. These all influence each other. The
8490 choice of spacing determines how densely each system of music is set,
8491 which influences where line breaks breaks are chosen, and thus
8492 ultimately how many pages a piece of music takes. This section
8493 explains how to tune the algorithm for spacing.
8495 Globally spoken, this procedure happens in three steps: first,
8496 flexible distances (``springs'') are chosen, based on durations. All
8497 possible line breaking combination are tried, and the one with the
8498 best results---a layout that has uniform density and requires as
8499 little stretching or cramping as possible---is chosen. When the score
8500 is processed by @TeX{}, each page is filled with systems, and page breaks
8501 are chosen whenever the page gets full.
8506 * Vertical spacing::
8507 * Horizontal spacing::
8514 @node Vertical spacing
8515 @subsection Vertical spacing
8517 @cindex vertical spacing
8518 @cindex distance between staves
8519 @cindex staff distance
8520 @cindex between staves, distance
8521 @cindex staffs per page
8522 @cindex space between staves
8524 The height of each system is determined automatically by LilyPond, to
8525 keep systems from bumping into each other, some minimum distances are
8526 set. By changing these, you can put staves closer together, and thus
8527 put more systems onto one page.
8529 Normally staves are stacked vertically. To make
8530 staves maintain a distance, their vertical size is padded. This is
8531 done with the property @code{minimumVerticalExtent}. It takes a pair
8532 of numbers, so if you want to make it smaller from its, then you could
8535 \property Staff.minimumVerticalExtent = #'(-4 . 4)
8537 This sets the vertical size of the current staff to 4 staff spaces on
8538 either side of the center staff line. The argument of
8539 @code{minimumVerticalExtent} is interpreted as an interval, where the
8540 center line is the 0, so the first number is generally negative. The
8541 staff can be made larger at the bottom by setting it to @code{(-6
8544 The piano staves are handled a little differently: to make cross-staff
8545 beaming work correctly, it is necessary that the distance between staves
8546 is fixed beforehand. This is also done with a
8547 @internalsref{VerticalAlignment} object, created in
8548 @internalsref{PianoStaff}. In this object the distance between the
8549 staves is fixed by setting @code{forced-distance}. If you want to
8550 override this, use a @code{\translator} block as follows:
8554 VerticalAlignment \override #'forced-distance = #9
8557 This would bring the staves together at a distance of 9 staff spaces,
8558 measured from the center line of each staff.
8562 Internals: Vertical alignment of staves is handled by the
8563 @internalsref{VerticalAlignment} object.
8567 @node Horizontal spacing
8568 @subsection Horizontal Spacing
8570 The spacing engine translates differences in durations into
8571 stretchable distances (``springs'') of differing lengths. Longer
8572 durations get more space, shorter durations get less. The shortest
8573 durations get a fixed amount of space (which is controlled by
8574 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
8575 The longer the duration, the more space it gets: doubling a
8576 duration adds a fixed amount (this amount is controlled by
8577 @code{spacing-increment}) of space to the note.
8579 For example, the following piece contains lots of half, quarter and
8580 8th notes, the eighth note is followed by 1 note head width (NHW).
8581 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
8582 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
8586 Normally, @code{shortest-duration-space} is set to 1.2, which is the
8587 width of a note head, and @code{shortest-duration-space} is set to
8588 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
8589 @code{shortest-duration-space}) of space. For normal notes, this space
8590 is always counted from the left edge of the symbol, so the shortest
8591 notes are generally followed by one NHW of space.
8593 If one would follow the above procedure exactly, then adding a single
8594 32th note to a score that uses 8th and 16th notes, would widen up the
8595 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
8596 thus adding 1 NHW to every note. To prevent this, the
8597 shortest duration for spacing is not the shortest note in the score,
8598 but the most commonly found shortest note. Notes that are even
8599 shorter this are followed by a space that is proportional to their
8600 duration relative to the common shortest note. So if we were to add
8601 only a few 16th notes to the example above, they would be followed by
8604 @lilypond[fragment,verbatim,relative=2]
8605 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
8608 The most common shortest duration is determined as follows: in every
8609 measure, the shortest duration is determined. The most common short
8610 duration, is taken as the basis for the spacing, with the stipulation
8611 that this shortest duration should always be equal to or shorter than
8612 1/8th note. The shortest duration is printed when you run lilypond
8613 with @code{--verbose}. These durations may also be customized. If you
8614 set the @code{common-shortest-duration} in
8615 @internalsref{SpacingSpanner}, then this sets the base duration for
8616 spacing. The maximum duration for this base (normally 1/8th), is set
8617 through @code{base-shortest-duration}.
8619 @cindex @code{common-shortest-duration}
8620 @cindex @code{base-shortest-duration}
8621 @cindex @code{stem-spacing-correction}
8622 @cindex @code{spacing}
8624 In the introduction it was explained that stem directions influence
8625 spacing. This is controlled with @code{stem-spacing-correction}
8626 property in @internalsref{NoteSpacing}, which are generated for every
8627 @internalsref{Voice} context. The @code{StaffSpacing} object
8628 (generated at @internalsref{Staff} context) contains the same property
8629 for controlling the stem/barline spacing. The following example
8630 shows these corrections, once with default settings, and once with
8631 exaggerated corrections:
8637 \property Staff.NoteSpacing \override #'stem-spacing-correction
8639 \property Staff.StaffSpacing \override #'stem-spacing-correction
8644 \paper { raggedright = ##t } }
8647 @cindex SpacingSpanner, overriding properties
8649 Properties of the @internalsref{SpacingSpanner} must be overridden
8650 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
8651 created before any @code{\property} statements are interpreted.
8653 \paper @{ \translator @{
8655 SpacingSpanner \override #'spacing-increment = #3.0
8662 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
8663 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
8664 @internalsref{SeparatingGroupSpanner}.
8668 Spacing is determined on a score wide basis. If you have a score that
8669 changes its character (measured in durations) halfway during the
8670 score, the part containing the longer durations will be spaced too
8673 There is no convenient mechanism to manually override spacing.
8678 @subsection Font size
8679 @cindex font size, setting
8680 @cindex staff size, setting
8681 @cindex @code{paper} file
8683 The Feta font provides musical symbols at eight seven different
8684 sizes. Each font is tuned for a different staff size: at smaller sizes
8685 the font gets heavier, to match the relatively heavier staff lines.
8686 The recommended font sizes are listed in the following table:
8688 @multitable @columnfractions .25 .25 .25 .25
8691 @tab @b{staff height (pt)}
8692 @tab @b{staff height (mm)}
8734 @c modern rental material ?
8738 These fonts are available in any sizes. The context property
8739 @code{fontSize} and the layout property @code{staff-space} (in
8740 @internalsref{StaffSymbol}) can be used to tune size for individual
8741 staffs. The size of individual staffs are relative to the global size,
8742 which can be set in the following manner:
8745 #(set-global-staff-size 14)
8748 This sets the global default size to 14pt staff height, and scales all
8754 @subsection Line breaking
8757 @cindex breaking lines
8759 Line breaks are normally computed automatically. They are chosen such
8760 that lines look neither cramped nor loose, and that consecutive lines
8761 have similar density.
8763 Occasionally you might want to override the automatic breaks; you can
8764 do this by specifying @code{\break}. This will force a line break at
8765 this point. Line breaks can only occur at places where there are bar
8766 lines. If you want to have a line break where there is no bar line,
8767 you can force an invisible bar line by entering @code{\bar
8768 ""}. Similarly, @code{\noBreak} forbids a line break at a
8772 @cindex regular line breaks
8773 @cindex four bar music.
8775 For linebreaks at regular intervals use @code{\break} separated by
8776 skips and repeated with @code{\repeat}:
8778 << \repeat unfold 7 @{
8779 s1 \noBreak s1 \noBreak
8780 s1 \noBreak s1 \break @}
8781 @emph{the real music}
8786 This makes the following 28 measures (assuming 4/4 time) be broken every
8787 4 measures, and only there.
8791 @code{\break}, @code{\noBreak}
8792 @cindex @code{\break}
8793 @cindex @code{\noBreak}
8797 Internals: @internalsref{BreakEvent}.
8801 @subsection Page layout
8804 @cindex breaking pages
8806 @cindex @code{indent}
8807 @cindex @code{linewidth}
8809 The most basic settings influencing the spacing are @code{indent} and
8810 @code{linewidth}. They are set in the @code{\paper} block. They
8811 control the indentation of the first line of music, and the lengths of
8814 If @code{raggedright} is set to true in the @code{\paper}
8815 block, then the lines are justified at their natural length. This
8816 useful for short fragments, and for checking how tight the natural
8820 @cindex vertical spacing
8822 The page layout process happens outside the LilyPond formatting
8823 engine: variables controlling page layout are passed to the output,
8824 and are further interpreted by @code{lilypond} wrapper program. It
8825 responds to the following variables in the @code{\paper} block. The
8826 variable @code{textheight} sets the total height of the music on each
8827 page. The spacing between systems is controlled with
8828 @code{interscoreline}, its default is 16pt. The distance between the
8829 score lines will stretch in order to fill the full page
8830 @code{interscorelinefill} is set to a positive number. In that case
8831 @code{interscoreline} specifies the minimum spacing.
8833 @cindex @code{textheight}
8834 @cindex @code{interscoreline}
8835 @cindex @code{interscorelinefill}
8837 If the variable @code{lastpagefill} is defined,
8838 @c fixme: this should only be done if lastpagefill= #t
8839 systems are evenly distributed vertically on the last page. This
8840 might produce ugly results in case there are not enough systems on the
8841 last page. The @command{lilypond-book} command ignores
8842 @code{lastpagefill}. See @ref{lilypond-book manual} for more
8845 @cindex @code{lastpagefill}
8847 Page breaks are normally computed by @TeX{}, so they are not under
8848 direct control of LilyPond. However, you can insert a commands into
8849 the @file{.tex} output to instruct @TeX{} where to break pages. This
8850 is done by setting the @code{between-systems-strings} on the
8851 @internalsref{NonMusicalPaperColumn} where the system is broken.
8852 An example is shown in @inputfileref{input/regression,between-systems.ly}.
8853 The predefined command @code{\newpage} also does this.
8857 @cindex @code{papersize}
8859 To change the paper size, use the following Scheme code:
8862 #(set-paper-size "a4")
8869 @cindex @code{\newpage}
8875 In this manual @ref{Invoking lilypond}
8877 Examples: @inputfileref{input/regression,between-systems.ly}
8879 Internals: @internalsref{NonMusicalPaperColumn}.
8883 LilyPond has no concept of page layout, which makes it difficult to
8884 reliably choose page breaks in longer pieces.
8893 Entered music can also be converted to MIDI output. The performance
8894 is good enough for proof-hearing the music for errors.
8896 Ties, dynamics and tempo changes are interpreted. Dynamic marks,
8897 crescendi and decrescendi translate into MIDI volume levels. Dynamic
8898 marks translate to a fixed fraction of the available MIDI volume
8899 range, crescendi and decrescendi make the volume vary linearly between
8900 their two extremities. The fractions can be adjusted by
8901 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
8902 For each type of MIDI instrument, a volume range can be defined. This
8903 gives a basic equalizer control, which can enhance the quality of
8904 the MIDI output remarkably. The equalizer can be controlled by
8905 setting @code{instrumentEqualizer}.
8909 Many musically interesting effects, such as swing, articulation,
8910 slurring, etc., are not translated to MIDI.
8912 Since slurs are not interpreted, @code{\lyricsto} and
8913 @code{\addlyrics} sections will be interpreted wrongly.
8915 The MIDI output allocates a channel for each Staff, and one for global
8916 settings. Hence, the MIDI file should not have more than 15 staves
8917 (or 14 if you do not use drums).
8922 * MIDI instrument names::
8927 @subsection MIDI block
8931 The MIDI block is analogous to the paper block, but it is somewhat
8932 simpler. The @code{\midi} block can contain:
8936 @item a @code{\tempo} definition, and
8937 @item context definitions.
8940 Assignments in the @code{\midi} block are not allowed.
8942 A number followed by a period is interpreted as a real number, so
8943 for setting the tempo for dotted notes, an extra space should be
8944 inserted, for example:
8947 \midi @{ \tempo 4 . = 120 @}
8951 @cindex context definition
8953 Context definitions follow precisely the same syntax as within the
8954 \paper block. Translation modules for sound are called performers.
8955 The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
8958 @node MIDI instrument names
8959 @subsection MIDI instrument names
8961 @cindex instrument names
8962 @cindex @code{Staff.midiInstrument}
8964 The MIDI instrument name is set by the @code{Staff.midiInstrument}
8965 property. The instrument name should be chosen from the list in
8966 @ref{MIDI instruments}.
8970 If the selected string does not exactly match, then the default is
8971 used, which is the Grand Piano.