@c -*- coding: utf-8; mode: texinfo; -*- @c This file is part of lilypond.tely @c A menu is needed before every deeper *section nesting of @node's; run @c M-x texinfo-all-menus-update @c to automatically fill in these menus before saving changes @node Basic notation @chapter Basic notation Ce chapitre explique comment utiliser les fonctions de notation de base. @menu * Pitches:: * Rhythms:: * Multiple notes at once:: * Staff notation:: * Connecting notes:: * Expressive marks:: * Repeats:: @end menu @node Pitches @section Pitches Dans cette section, nous discutons de la manière de spécifier les hauteurs de notes. @menu * Normal pitches:: * Accidentals:: * Cautionary accidentals:: * Micro tones:: * Notes names in other languages:: * Relative octaves:: * Octave check:: * Transpose:: * Rests:: * Skips:: @end menu @node Normal pitches @subsection Normal pitches @cindex Pitch names @cindex pitches La hauteur s'écrit avec la notation anglaise, en utilisant les lettres @code{a} à @code{g}. Une gamme ascendante de do majeur s'écrit avec @lilypond[quote,fragment,verbatim,ragged-right] \clef bass c d e f g a b c' @end lilypond La note @code{c} est écrite une octave sous le do central. @lilypond[quote,fragment,verbatim,ragged-right] \clef treble c1 \clef bass c1 @end lilypond @funindex ' @funindex , La spécification optionnelle de l'octave est faite d'une série d'apostrophes (`@code{'}') ou d'une série de virgules (`@code{,}'). Chaque @code{'} hausse la note d'une octave; chaque @code{,} baisse la note d'une octave. @lilypond[quote,ragged-right,fragment,verbatim] \clef treble c' c'' e' g d'' d' d c \clef bass c, c,, e, g d,, d, d c @end lilypond Une autre méthode existe pour déclarer à quelle octave nous voulons graver une note; cette méthode ne demande pas autant de spécifications d'octaves (@code{'} and @code{,}). Voir @ref{Relative octaves}. @node Accidentals @subsection Accidentals @cindex note names, Dutch @cindex note names, default Un dièse est formé en ajoutant @code{-is} après le nom de note et un bémol est formé en ajoutant @code{-es}. Les double-dièses et double-bémols sont obtenus en ajoutant @code{-isis} ou @code{-eses} au nom de note. @lilypond[quote,ragged-right,fragment,verbatim,relative=2] a2 ais a aes a2 aisis a aeses @end lilypond @noindent Ce sont les noms de note hollandais. En hollandais, on élide @code{aes} pour écrire @code{as}, mais les deux formes sont acceptées. De manière similaire, on accepte autant @code{es} que @code{ees}. @lilypond[fragment,quote,ragged-right,verbatim,relative=2] a2 as e es @end lilypond Un bécarre annule l'effet d'une altération, qu'elle soit accidentelle ou à l'armure. Cependant, dans la syntaxe de nom de note, les bécarres ne s'écrivent pas avec un suffixe; une note bécarre s'écrit avec seulement le nom de note. @lilypond[quote,ragged-right,fragment,verbatim,relative=2] a4 aes a2 @end lilypond LilyPond interprète l'entrée @code{d e f} comme «imprimez un ré naturel, un mi naturel et un fa naturel» sans tenir compte de l'armure. Pour plus d'information à propos de la distinction entre le contenu musical et sa présentation, voir @ref{More about pitches}. @lilypond[fragment,quote,ragged-right,verbatim,relative] \key d \major d e f g d e fis g @end lilypond @commonprop En accord avec les règles standards de l'écriture musicale, on imprime un bécarre avant un dièse ou un bémol si on a besoin d'annuler une altération précédente. Pour modifier ce comportement, écrivez @code{\set Staff.extraNatural = ##f} @lilypond[fragment,quote,ragged-right,verbatim,relative=2] ceses4 ces cis c \set Staff.extraNatural = ##f ceses4 ces cis c @end lilypond @seealso Program reference: @internalsref{LedgerLineSpanner}, @internalsref{NoteHead}. @node Cautionary accidentals @subsection Cautionary accidentals @cindex accidental, reminder @cindex accidental, cautionary @cindex accidental, parenthesized @cindex reminder accidental @funindex ? @cindex cautionary accidental @cindex parenthesized accidental @funindex ! Normalement, les altérations sont imprimées automatiquement, mais il se peut que vous vouliez les imprimer manuellement. On peut forcer une altération de courtoisie (un rappel) en ajoutant un point d'exclamation `@code{!}' après la hauteur de note. Une altération entre parenthèses peut être obtenue en ajoutant un point d'interrogation `@code{?}' après la hauteur de note. Ces signes peuvent être utilisées aussi utilisés pour imprimer des bécarres. @lilypond[quote,ragged-right,fragment,verbatim,relative=1] cis cis cis! cis? c c? c! c @end lilypond @seealso L'impression automatique des altérations peut être configurée de plusieurs manières. Pour plus d'information, voir @ref{Automatic accidentals}. @node Micro tones @subsection Micro tones @cindex quarter tones @cindex semi-flats, semi-sharps Les semi-bémols et les semi-dièses s'écrivent en ajoutant @code{-eh} et @code{-ih} respectivement; ce qui suit est une séries de dos altérés en hauteurs croissantes. @lilypond[verbatim,ragged-right,quote,relative=2,fragment] \set Staff.extraNatural = ##f ceseh ceh cih cisih @end lilypond Les micro-intervalles sont aussi exportés sur le fichier MIDI. @refbugs Il n'y a pas de standards universellement acceptés pour noter le bémol et demi (trois quarts de ton en-dessous), donc le symbole de LilyPond n'est conforme à aucun standard. @node Notes names in other languages @subsection Notes names in other languages Il y a des jeux prédéfinis de noms de notes pour plusieurs autre langues. Pour les utiliser, il faut inclure le fichier d'initiation spécifique à la langue voulue. Par exemple, pour les notes latines, ajoutez @code{\include "italiano.ly"} au début du fichier d'entrée. Les fichiers de langues disponibles ainsi que les noms de notes utilisés sont les suivants: @c what about micro-tunes, double-sharps, and double-flats? add @c more columns to the table? @c Oh, and should this be made into a multitable? @cindex note names, other languages @example Note Names sharp flat nederlands.ly c d e f g a bes b -is -es english.ly c d e f g a bf b -s/-sharp -f/-flat -x (double) deutsch.ly c d e f g a b h -is -es norsk.ly c d e f g a b h -iss/-is -ess/-es svenska.ly c d e f g a b h -iss -ess italiano.ly do re mi fa sol la sib si -d -b catalan.ly do re mi fa sol la sib si -d/-s -b espanol.ly do re mi fa sol la sib si -s -b @end example @node Relative octaves @subsection Relative octaves @cindex Relative @cindex Relative octave specification @funindex \relative On spécifie les octaves en ajoutant @code{'} et @code{,} aux noms de hauteurs. En recopiant de la musique, il est facile de mettre une note à la mauvaise octave accidentellement et il est difficile de retrouver l'erreur. Le mode d'écriture \relative prévient ces erreurs en rendant les erreurs beaucoup plus évidentes : une seule erreur met le reste de la pièce à la mauvaise octave. @example \relative @var{startpitch} @var{musicexpr} @end example @noindent or @example \relative @var{musicexpr} @end example @noindent @code{c'} est utilisé par défaut si aucune hauteur de départ n'est définie. On calcule l'octave des notes apparaissant dans @var{musicexpr} de la manière suivante : si aucun signe de changement d'octaves est utilisé, l'intervalle de base entre la note actuelle et la précédente sera toujours d'une quarte ou moins. Cette intervalle est déterminée sans tenir compte des altérations; un @code{fisis} après un @code{ceses} sera mis au-dessus le @code{ceses}. En d'autres mots, une quarte doublement augmentée sera considérée plus petit qu'une quinte diminuée, même si la quarte doublement augmentée équivaut à sept demi-tons et la quinte diminuée à six demi-tons. Les signes de changement d'octaves @code{'} et @code{,} peuvent être ajoutés pour hausser ou baisser la note d'une octave additionnelle. Par rapport à l'entrée en mode \relative, une hauteur absolue de départ peut être spécifiée et agira comme la note précédant la première note de @var{musicexpr}. Si aucune hauteur de départ n'est spécifiée, alors on utilisera le do central comme point de départ. Voici le mode \relative en action. @lilypond[quote,fragment,ragged-right,verbatim] \relative c'' { b c d c b c bes a } @end lilypond On utilise les signes de changement d'octave pour les intervalles dépassant la quarte. @lilypond[quote,ragged-right,fragment,verbatim] \relative c'' { c g c f, c' a, e'' } @end lilypond Si l'expression précédente est un accord, on utilise la première note de l'accord pour déterminer l'octave de la première note du prochain accord. @lilypond[quote,ragged-right,fragment,verbatim] \relative c' { c } @end lilypond La hauteur après @code{\relative} contient un nom de note. La conversion en mode \relative n'affectera pas les sections @code{\transpose}, @code{\chordmode} ou @code{\relative} dans son argument. Pour utiliser \relative dans de la musique transposée, un code @code{\relative} additionnel doit être placée dans @code{\transpose}. @node Octave check @subsection Octave check @cindex Octave check Les tests d'octaves rendent la correction d'erreurs d'octaves plus facile: une note peut être suivie de @code{=}@var{quotes} indiquant à quelle octave absolue elle devrait être. Dans l'exemple suivant, @example \relative c'' @{ c='' b=' d,='' @} @end example @noindent le @code{d} générera un avertissement, puisqu'on attend un @code{d''} (parce qu'il n'y a qu'une tierce entre @code{b'} et @code{d''}), mais qu'on obtient un @code{d'}. Sur la partition, l'octave sera corrigée pour donner un @code{d''} et la prochaine note sera calculée en fonction de @code{d''} au lieu de @code{d'}. Il existe aussi une vérification d'octave sans changement visible en sortie, avec cette syntaxe : @example \octave @var{pitch} @end example Cette commande vérifie que @var{pitch} (sans apostrophes ou virgules) donne @var{pitch} (avec apostrophes ou virgules) dans le mode @code{\relative} comparé à la note donnée dans la commande @code{\relative}. Sinon, un avertissement est émis et l'octave est corrigé. La note @var{pitch} n'est pas imprimée. Dans l'exemple ci-dessous, le premier test se fait sans incident, puisque le @code{e} (dans le mode @code{relative}) est à l'intérieur d'une quinte du @code{a'}. Cependant, le deuxième test produit un avertissement, puisque le @code{e} n'est pas à l'intérieur d'une quinte du @code{b'}. L'avertissement est émis et l'octave est corrigé pour que les notes suivantes soient à nouveau à la bonne octave de nouveau. @example \relative c' @{ e \octave a' \octave b' @} @end example L'octave de la note suivant un test d'octave est déterminée selon la note précédente. Dans le prochain exemple, la dernière note est un @code{a'}, au-dessus du do central. Cela veut dire que le test @code{\octave} réussit, alors le test peut être enlevé sans changer le résultat sur la partition. @lilypond[quote,ragged-right,verbatim,fragment] \relative c' { e \octave b a } @end lilypond @node Transpose @subsection Transpose @cindex Transpose @cindex Transposition of pitches @funindex \transpose Une expression musicale peut être transposée avec @code{\transpose}. Voici la syntaxe : @example \transpose @var{from} @var{to} @var{musicexpr} @end example Cela signifie que @var{musicexpr} est transposé d'un intervalle entre les notes @var{from} et @var{to}: toute note avec comme hauteur @code{from} est changée en @code{to}. Prenons comme exemple une pièce écrite en ré majeur. Si cette pièce est un peu trop basse pour l'interprète, elle peut être transposée en mi majeur avec @example \transpose d e @dots{} @end example Regardons maintenant une partie écrite pour violon (un instrument en do). Si cette partie doit être jouée par la clarinette en la (pour laquelle un la en notes réelles est écrit do, les notes sonnant une tierce mineure plus basse qu'écrites), la transposition suivante créera la partie appropriée. @example \transpose a c @dots{} @end example @code{\transpose} fait la distinction entre les notes enharmoniques : @code{\transpose c cis} et @code{\transpose c des} transposeront la pièce un demi-ton plus haut. Mais la première version écrira des dièses et la deuxième des bémols. @lilypond[quote,ragged-right,verbatim] mus = { \key d \major cis d fis g } \new Staff { \clef "F" \mus \clef "G" \transpose c g' \mus \transpose c f' \mus } @end lilypond Nous pouvons aussi utiliser @code{\transpose} pour entrer des notes écrites pour un instrument transpositeur. Normalement, les hauteurs sont écrites en do (ou notes réelles), mais elles peuvent être écrites dans une autre transposition. Quand, par exemple, nous écrivons de la musique pour une trompette en si bémol, commençant sur ré note réelle, nous écririons @example \transpose c bes @{ e4 @dots{} @} @end example Pour imprimer cette musique en si bémol à nouveau (c.-à-d. produire une partie de trompette, au lieu d'une partition de chef en notes réelles), nous utiliserions un deuxième @code{transpose} @example \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @} @end example @seealso Référence de programme: @internalsref{TransposedMusic}. Exemple: @inputfileref{input/@/test,smart@/-transpose@/.ly}. @refbugs Si vous voulez utiliser en même temps @code{\transpose} et @code{\relative}, vous devez mettre @code{\transpose} en dehors de @code{\relative}, puisque @code{\relative} n'aura aucun effet sur la musique apparaissant dans un @code{\transpose}. @node Rests @subsection Rests @cindex Rests @funindex \rest @funindex r Les silences sont écrits comme des notes avec le nom de note @code{r}. @lilypond[fragment,quote,ragged-right,verbatim] r1 r2 r4 r8 @end lilypond Les pauses durant la mesure complète, qui sont centrées au centre de la mesure, doivent être entrées comme des mesures de silences. Elles peuvent être utilisées pour une seule mesure comme pour plusieurs, et leur utilisation est expliquée dans la section @ref{Multi measure rests}. Pour spécifier explicitement la position verticale d'un silence, écrivez une note suivie de @code{\rest}. Un silence sera placé à la position où serait imprimée la note. @lilypond[fragment,quote,ragged-right,verbatim] a'4\rest d'4\rest @end lilypond @noindent Cela rend plus facile la mise en place de la musique polyphonique, puisque le formateur automatique de collision de silences laissera ces silences tranquilles. @seealso Référence de programme : @internalsref{Rest}. @node Skips @subsection Skips @cindex Skip @cindex Invisible rest @cindex Space note @funindex \skip @funindex s Un silence invisible (appelé aussi un «saut», «skip») peut être entré comme une note avec le nom de note `@code{s}' ou avec @code{\skip @var{duration}} @lilypond[fragment,quote,ragged-right,verbatim,relative=2] a4 a4 s4 a4 \skip 1 a4 @end lilypond La syntaxe @code{s} est seulement disponible pour les modes d'entrée de notes et d'accords. Dans d'autres situations, pour l'entrée de paroles par exemple, vous devriez utiliser la commande @code{\skip}. @lilypond[quote,ragged-right,verbatim] << \relative { a'2 a2 } \new Lyrics \lyricmode { \skip 2 bla2 } >> @end lilypond La commande de saut est simplement une case vide musicale. Il ne produit aucune sortie sur partition, même pas une sortie transparente. Le code de saut @code{s} crée tout de même @internalsref{Staff} et @internalsref{Voice} lorsque nécessaire, de manière semblable aux commandes de notes et de silences. Comme exemple, les résultats suivants sur une portée vide. @lilypond[quote,ragged-right,verbatim] { s4 } @end lilypond Le fragment @code{@{ \skip 4 @} } produirait une page vide. @seealso Référence de programme: @internalsref{SkipMusic}. @node Rhythms @section Rhythms Dans cette section, nous discutons des rythmes, durées et mesures. @menu * Durations:: * Augmentation dots:: * Tuplets:: * Scaling durations:: * Bar check:: * Barnumber check:: * Automatic note splitting:: @end menu @node Durations @subsection Durations @cindex duration @funindex \longa @funindex \breve @funindex \maxima Dans les modes Note, Accord et Paroles, les durées sont écrites avec des chiffres et des points : les durées sont entrées avec leurs valeurs réciproques en notation anglaise. Une noire, par exemple, est écrite avec un @code{4} (puisqu'un noire équivaut en anglais à un 1/4 de note, «quarter note»), alors qu'une blanche («half-note», 1/2 note) est écrite avec un @code{2}. Pour des notes plus longues qu'une ronde, vous devez utiliser les commandes @code{\longa} (pour une longue) et @code{\breve} (pour une brève). @example c'\breve c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64 r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r64 @end example @lilypond[quote] \score { \relative c'' { a\breve*1/2 \autoBeamOff a1 a2 a4 a8 a16 a32 a64 a64 \bar "empty" \break r\longa*1/4 r\breve *1/2 r1 r2 r4 r8 r16 r32 r64 r64 } \layout { ragged-right = ##t indent=0\mm \context { \Score \remove "Bar_number_engraver" } \context { \Staff \remove "Clef_engraver" \override StaffSymbol #'transparent = ##t \override TimeSignature #'transparent = ##t \override BarLine #'transparent = ##t \consists "Pitch_squash_engraver" } } } @end lilypond Si la durée est omise, alors elle est fixée selon la durée entrée à la note précédente. La valeur par défaut pour la première note est une noire (4). @lilypond[quote,ragged-right,verbatim,fragment] { a a a2 a a4 a a1 a } @end lilypond @node Augmentation dots @subsection Augmentation dots @funindex . Pour obtenir des notes pointées, ajoutez simplement un point (`@code{.}') au chiffre. Les notes doublement pointées sont créées d'une manière analogue. @lilypond[quote,ragged-right,fragment,verbatim] a'4 b' c''4. b'8 a'4. b'4.. c''8. @end lilypond @refcommands Les points sont normalement haussés pour éviter les lignes de portées, sauf dans des situations d'écriture polyphoniques. Les commandes suivantes peuvent être utilisées pour forcer manuellement une direction particulière de l'emplacement des points. @funindex \dotsUp @code{\dotsUp}, @funindex \dotsDown @code{\dotsDown}, @funindex \dotsNeutral @code{\dotsNeutral}. @seealso Référence de programme: @internalsref{Dots}, and @internalsref{DotColumn}. @node Tuplets @subsection Tuplets @cindex tuplets @cindex triplets @funindex \times Les nolets (comme les triolets, quintolets, etc.) sont faits en multipliant toutes les durées d'une expression musicale avec une fraction. @example \times @var{fraction} @var{musicexpr} @end example @noindent La durée de @var{musicexpr} sera multipliée par la fraction. Le dénominateur de la fraction sera imprimée au-dessus des notes, optionnellement avec un crochet. Le nolet le plus courant est le triolet, dans lequel 3 notes ont la durée de 2, alors la durée des notes est de 2/3 de leur durée écrite. @lilypond[quote,ragged-right,fragment,verbatim] g'4 \times 2/3 {c'4 c' c'} d'4 d'4 @end lilypond Les nolets peuvent être imbriqués, par exemple, @lilypond[fragment,ragged-right,verbatim,relative=2] \override TupletNumber #'text = #tuplet-number::calc-fraction-text \times 4/6 { a4 a \times 3/5 { a a a a a } } @end lilypond @refcommands @funindex \tupletUp @code{\tupletUp}, @funindex \tupletDown @code{\tupletDown}, @funindex \tupletNeutral @code{\tupletNeutral}. @commonprop @funindex tupletNumberFormatFunction @cindex tuplet formatting La propriété @code{tupletSpannerDuration} spécifie la longueur voulue de chaque crochet. Avec elle, vous pouvez faire plusieurs nolets en tapant @code{\times} qu'une fois, ce qui sauve beaucoup de frappe. Dans le prochain exemple, deux triolets sont imprimés avec une seule fonction @code{\times}. @lilypond[quote,fragment,relative=2,ragged-right,verbatim] \set tupletSpannerDuration = #(ly:make-moment 1 4) \times 2/3 { c8 c c c c c } @end lilypond @noindent Pour plus d'information sur @code{make-moment}, voir @ref{Time administration}. Le format du chiffre est déterminé par la propriété @code{text} dans @code{TupletNumber}. La valeur par défaut imprime seulement le dénominateur, mais si elle est fixée à la fonction @code{tuplet-number::calc-fraction-text}, @var{num}:@var{den} sera imprimée à la place. Pour éviter d'imprimer les chiffres des nolets, utilisez @lilypond[quote,fragment,relative=2,ragged-right,verbatim] \times 2/3 { c8 c c } \times 2/3 { c8 c c } \override TupletNumber #'transparent = ##t \times 2/3 { c8 c c } \times 2/3 { c8 c c } @end lilypond Les crochets de nolets peuvent être définis pour aller à la "prefatory matter" ou la prochaine note. @lilypond[ragged-right] \new RhythmicStaff { \set tupletFullLength = ##t \time 4/4 \times 4/5 { c4 c1 } \set tupletFullLengthNote = ##t \time 2/4 \times 2/3 { c4 c c } \time 3/4 c4 } @end lilypond @seealso Référence de programme: @internalsref{TupletBracket}, @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}. Exemples: @inputfileref{input/@/regression,tuplet@/-nest@/.ly}. @node Scaling durations @subsection Scaling durations Vous pouvez altérer la longueur de durées des notes en lui joignant une fraction @var{N/M}, donnant `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). Ceci n'affectera pas l'apparence des notes ou silences produits. Dans l'exemple suivant, les trois premières notes prennent exactement deux temps, mais aucun crochet de triolet n'est imprimée. @lilypond[quote,ragged-right,fragment,relative=2,verbatim] \time 2/4 a4*2/3 gis4*2/3 a4*2/3 a4 a4 a4*2 b16*4 c4 @end lilypond @seealso Dans ce manuel: @ref{Tuplets} @node Bar check @subsection Bar check @cindex Bar check @funindex barCheckSynchronize @funindex | Les tests de mesure aident à détecter les erreurs dans les durées. Un test de mesure s'écrit avec une barre verticale, `@code{|}'. Si celle-ci est rencontrée durant le traitement, elle devrait être à la limite d'une mesure. Sinon, un avertissement est émis. Dans le prochain exemple, le deuxième test de mesure signalera une erreur. @example \time 3/4 c2 e4 | g2 | @end example Les tests de mesure peut être aussi utilisés dans les paroles, par exemple : @example \lyricmode @{ \time 2/4 Twin -- kle | Twin -- kle @} @end example Les échecs de tests de mesure sont causés par l'entrée de durées incorrectes. Les durées incorrectes mettent souvent la partition sens dessus dessous, particulièrement si la partition est polyphonique. Une bonne manière de débuter la correction de la partition est de vérifier les tests de mesure qui ont échoué et les durées incorrectes. @funindex | @funindex pipeSymbol Il est aussi possible de redéfinir la signification de @code{|}. Cela se fait en assignant une expression musicale à @code{pipeSymbol}, @lilypond[quote,ragged-right,verbatim] pipeSymbol = \bar "||" { c'2 c' | c'2 c' } @end lilypond @node Barnumber check @subsection Barnumber check Lorsque l'on recopie de longues pièces, il peut être utile de vérifier que la barre de mesure de LilyPond corresponde à l'original que l'on recopie. Cela se fait avec @code{\barNumberCheck}. Par exemple, @verbatim \barNumberCheck #123 @end verbatim @noindent imprimera un avertissement si le @code{currentBarNumber} n'est pas 123 quand il est traité. @node Automatic note splitting @subsection Automatic note splitting On peut convertir automatiquement les notes longues en notes liées. Ceci se fait en remplaçant le @internalsref{Note_heads_engraver} par le @internalsref{Completion_heads_engraver}. Dans les exemples suivants, les notes traversant la barre de mesure sont divisées et liées. @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm] \new Voice \with { \remove "Note_heads_engraver" \consists "Completion_heads_engraver" } { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 } @end lilypond Ce graveur divise toutes les notes traversant la barre de mesure, et insère des liaisons de prolongation. L'une de ses utilités est de déboguer des partitions complexes : si les mesures ne sont pas entièrement remplies, alors les liaisons de prolongation montrent exactement de combien de temps chaque mesure est à côté. Si vous voulez permettre le saut de ligne aux barres de mesure où @internalsref{Completion_heads_engraver} divise les notes, vous devez aussi enlever @internalsref{Forbid_line_breaks_engraver}. @refbugs Toutes les durées (particulièrement celles contenant des nolets) ne peuvent pas être représentées exactement avec des notes normales et des points, mais le graveur n'insèrera pas de nolets. @code{Completion_heads_engraver} affecte seulement les notes; il ne divise pas les silences. @seealso Exemples : @inputfileref{input/@/regression,completion@/-heads@/.ly}. @noindent Référence de programme : @internalsref{Completion_heads_engraver}. @node Multiple notes at once @section Multiple notes at once La notion musicale de polyphonie fait référence au fait d'avoir plus d'une voix simultanément dans une pièce. Dans LilyPond, la notion de polyphonie fait référence au fait d'avoir plus d'une voix sur la même portée. @menu * Chords:: * Stems:: * Basic polyphony:: * Explicitly instantiating voices:: * Collision Resolution:: @end menu @node Chords @subsection Chords @cindex Chords Un accord est formé en mettant une série de hauteurs entre @code{<} et @code{>}. Un accord peut être suivie d'une durée et d'une série d'articulation, comme de simples notes. @lilypond[verbatim,ragged-right,fragment,quote,relative=1] 4 8 @end lilypond Pour plus d'information à propos des accord, voir @ref{Chord names}. @node Stems @subsection Stems Dès qu'une note est trouvée, un objet @internalsref{Stem} se crée automatiquement. Pour les rondes et les silences, ils sont aussi créés, mais en mode invisible. @refcommands @funindex \stemUp @code{\stemUp}, @funindex \stemDown @code{\stemDown}, @funindex \stemNeutral @code{\stemNeutral}. @commonprop Pour changer la direction des hampes au milieu de la portée, utilisez @lilypond[quote,ragged-right,fragment,relative=2,verbatim] a4 b c b \override Stem #'neutral-direction = #up a4 b c b \override Stem #'neutral-direction = #down a4 b c b @end lilypond @node Basic polyphony @subsection Basic polyphony @cindex polyphony La manière la plus facile d'entrer des fragments avec plus d'une voix sur une portée est d'entrer chaque voix comme une série (avec @code{@{...@}}), et de les combiner simultanément, en séparant les voix avec @code{\\} @funindex \\ @lilypond[quote,verbatim,fragment] \new Staff \relative c' { c16 d e f << { g4 f e | d2 e2 } \\ { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\ { s2. | s4 b4 c2 } >> } @end lilypond Le séparateur permet aux @internalsref{Voice} contexts@footnote{On appelle quelquefois les voix polyphoniques couches («layers») dans d'autres logiciels de notation. @cindex layers d'être identifiées. Elles portent les noms @code{"1"}, @code{"2"}, etc. Dans chacun de ces contextes, la direction verticale des liaisons, hampes, etc. est fixée de manière appropriée. Ces voix sont toutes séparées de la voix qui contient les notes en dehors de la construction @code{<< \\ >>}. Cela doit être pris en compte lorsqu'on fait des changements au niveau des voix. Cela veut aussi dire que les liaisons de prolongation et d'articulation ne peuvent ni entrer ni sortir de la construction @code{<< \\ >>}. À l'inverse, des voix parallèles venant de constructions @code{<< \\ >>} séparées sur la même portée sont dans les mêmes voix. Voici le même exemple, avec des têtes de note différentes pour chaque voix. Notez que le changement au style de tête de note n'affecte pas l'intérieur des constructions @code{<< \\ >>}. Aussi, le changement à la deuxième voix dans la première construction @code{<< \\ >>} l'affecte aussi dans la deuxième construction @code{<< \\ >>}, et la voix est liée entre les deux constructions. @cindex note heads, styles @lilypond[quote,verbatim,fragment] \new Staff \relative c' { \override NoteHead #'style = #'cross c16 d e f << { g4 f e } \\ { \override NoteHead #'style = #'triangle r8 e4 d c8 ~ } >> | << { d2 e2 } \\ { c8 b16 a b8 g ~ g2 } \\ { \override NoteHead #'style = #'slash s4 b4 c2 } >> } @end lilypond La polyphonie ne change pas la relation des notes dans un bloc @code{\relative @{ @}}. Chaque note est calculée en fonction de la note qui la précède immédiatement, sans tenir compte des voix différentes. @example \relative @{ noteA << noteB \\ noteC >> noteD @} @end example @code{noteC} est calculé relativement à @code{noteB}, pas à @code{noteA}; @code{noteD} est calculé relativement à @code{noteC}, pas à @code{noteB} ou @code{noteA}. @node Explicitly instantiating voices @subsection Explicitly instantiating voices Les contextes @internalsref{Voice} peuvent être déclarés manuellement dans un bloc @code{<< >>} pour créer de la musique polyphonique, en utilisant @code{\voiceOne}, jusqu'à @code{\voiceFour} pour assigner des directions de hampes et un déplacement horizontal pour chaque partie. Spécifiquement, @example << \upper \\ \lower >> @end example @noindent est équivalent à @example << \new Voice = "1" @{ \voiceOne \upper @} \new Voice = "2" @{ \voiceTwo \lower @} >> @end example Les commandes @code{\voiceXXX} fixent la direction des hampes, des liaisons de prolongations et d'articulation, des articulations, des annotations texte, des points d'augmentation des notes pointées et des doigtés. @code{\voiceOne} et @code{\voiceThree} font pointer ces objets vers le haut, alors que @code{\voiceTwo} et @code{\voiceFour} les font pointer vers le bas. La commande @code{\oneVoice} les ramène aux critères normaux. Une expression apparaissant directement dans un @code{<< >>} appartient à la voix principale. Ceci est utile lorsque des voix supplémentaires apparaissent pendant que la voix principale est jouée. Voici une meilleure réalisation de l'exemple de la section précédente. Les notes en croix démontrent que la mélodie principale est maintenant dans un seul contexte de voix. @lilypond[quote,ragged-right,verbatim] \new Staff \relative c' { \override NoteHead #'style = #'cross c16 d e f \voiceOne << { g4 f e | d2 e2 } \new Voice="1" { \voiceTwo r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 \oneVoice } \new Voice { \voiceThree s2. | s4 b4 c2 \oneVoice } >> \oneVoice } @end lilypond La définition correcte des voix permet à la mélodie d'être liée. @lilypond[quote,ragged-right,verbatim] \new Staff \relative c' { c16^( d e f \voiceOne << { g4 f e | d2 e2) } \context Voice="1" { \voiceTwo r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 \oneVoice } \new Voice { \voiceThree s2. s4 b4 c2 \oneVoice } >> \oneVoice } @end lilypond Le fait d'éviter le séparateur @code{\\} permet aussi d'imbriquer des constructions polyphoniques, ce qui peut être une manière plus naturelle de taper la musique. @lilypond[quote,ragged-right,verbatim] \new Staff \relative c' { c16^( d e f \voiceOne << { g4 f e | d2 e2) } \context Voice="1" { \voiceTwo r8 e4 d c8 ~ | << {c8 b16 a b8 g ~ g2} \new Voice { \voiceThree s4 b4 c2 \oneVoice } >> \oneVoice } >> \oneVoice } @end lilypond @node Collision Resolution @subsection Collision Resolution Normally, note heads with a different number of dots are not merged, but when the object property @code{merge-differently-dotted} is set in the @internalsref{NoteCollision} object, they are merged @lilypond[quote,verbatim,fragment,ragged-right,relative=2] \new Voice << { g8 g8 \override Staff.NoteCollision #'merge-differently-dotted = ##t g8 g8 } \\ { g8.[ f16] g8.[ f16] } >> @end lilypond Similarly, you can merge half note heads with eighth notes, by setting @code{merge-differently-headed} @lilypond[quote,ragged-right,fragment,relative=2,verbatim] \new Voice << { c8 c4. \override Staff.NoteCollision #'merge-differently-headed = ##t c8 c4. } \\ { c2 c2 } >> @end lilypond LilyPond also vertically shifts rests that are opposite of a stem, for example @lilypond[quote,ragged-right,fragment,verbatim] \new Voice << c''4 \\ r4 >> @end lilypond @refcommands @funindex \oneVoice @code{\oneVoice}, @funindex \voiceOne @code{\voiceOne}, @funindex \voiceTwo @code{\voiceTwo}, @funindex \voiceThree @code{\voiceThree}, @funindex \voiceFour @code{\voiceFour}. @funindex \shiftOn @code{\shiftOn}, @funindex \shiftOnn @code{\shiftOnn}, @funindex \shiftOnnn @code{\shiftOnnn}, @funindex \shiftOff @code{\shiftOff}: these commands specify in what chords of the current voice should be shifted. The outer voices (normally: voice one and two) have @code{\shiftOff}, while the inner voices (three and four) have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define further shift levels. When LilyPond cannot cope, the @code{force-hshift} property of the @internalsref{NoteColumn} object and pitched rests can be used to override typesetting decisions. @lilypond[quote,verbatim,ragged-right] \relative << { } \\ { \once \override NoteColumn #'force-hshift = #1.7 } >> @end lilypond @seealso Program reference: the objects responsible for resolving collisions are @internalsref{NoteCollision} and @internalsref{RestCollision}. Examples: @inputfileref{input/@/regression,collision@/-dots@/.ly}, @inputfileref{input/@/regression,collision@/-head-chords@/.ly}, @inputfileref{input/@/regression,collision@/-heads@/.ly}, @inputfileref{input/@/regression,collision@/-mesh@/.ly}, and @inputfileref{input/@/regression,collisions@/.ly}. @refbugs When using @code{merge-differently-headed} with an upstem eighth or a shorter note, and a downstem half note, the eighth note gets the wrong offset. There is no support for clusters where the same note occurs with different accidentals in the same chord. In this case, it is recommended to use enharmonic transcription, or to use special cluster notation (see @ref{Clusters}). @node Staff notation @section Staff notation @cindex Staff notation This section describes music notation that occurs on staff level, such as key signatures, clefs and time signatures. @menu * Clef:: * Key signature:: * Time signature:: * Partial measures:: * Bar lines:: * Unmetered music:: * System start delimiters:: * Staff symbol:: * Writing music in parallel:: @end menu @node Clef @subsection Clef @funindex \clef The clef indicates which lines of the staff correspond to which pitches. The clef is set with the @code{\clef} command @lilypond[quote,ragged-right,fragment,verbatim] { c''2 \clef alto g'2 } @end lilypond @cindex treble clef @cindex violin clef @cindex alto clef @cindex tenor clef @cindex bass clef @cindex french clef @cindex soprano clef @cindex mezzosoprano clef @cindex baritone clef @cindex varbaritone clef @cindex subbass clef Supported clefs include @multitable @columnfractions .33 .66 @headitem Clef @tab Position @item @code{treble}, violin, G, G2 @tab G clef on 2nd line @item @code{alto, C} @tab C clef on 3rd line @item @code{tenor} @tab C clef on 4th line. @item @code{bass, F} @tab F clef on 4th line @item @code{french} @tab G clef on 1st line, so-called French violin clef @item @code{soprano} @tab C clef on 1st line @item @code{mezzosoprano} @tab C clef on 2nd line @item @code{baritone} @tab C clef on 5th line @item @code{varbaritone} @tab F clef on 3rd line @item @code{subbass} @tab F clef on 5th line @item @code{percussion} @tab percussion clef @item @code{tab} @tab tablature clef @end multitable By adding @code{_8} or @code{^8} to the clef name, the clef is transposed one octave down or up, respectively, and @code{_15} and @code{^15} transposes by two octaves. The argument @var{clefname} must be enclosed in quotes when it contains underscores or digits. For example, @cindex choral tenor clef @lilypond[quote,ragged-right,verbatim,fragment,relative=1] \clef "G_8" c4 @end lilypond @commonprop The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph}, @code{clefPosition} (which controls the Y position of the clef), @code{middleCPosition} and @code{clefOctavation}. A clef is printed when any of these properties are changed. The following example shows possibilities when setting properties manually. @lilypond[quote,ragged-right,verbatim] { \set Staff.clefGlyph = #"clefs.F" \set Staff.clefPosition = #2 c'4 \set Staff.clefGlyph = #"clefs.G" c'4 \set Staff.clefGlyph = #"clefs.C" c'4 \set Staff.clefOctavation = #7 c'4 \set Staff.clefOctavation = #0 \set Staff.clefPosition = #0 c'4 \clef "bass" c'4 \set Staff.middleCPosition = #4 c'4 } @end lilypond @seealso Manual: @ref{Grace notes}. Program reference: @internalsref{Clef}. @node Key signature @subsection Key signature @cindex Key signature @funindex \key The key signature indicates the tonality in which a piece is played. It is denoted by a set of alterations (flats or sharps) at the start of the staff. Setting or changing the key signature is done with the @code{\key} command @example @code{\key} @var{pitch} @var{type} @end example @funindex \minor @funindex \major @funindex \minor @funindex \ionian @funindex \locrian @funindex \aeolian @funindex \mixolydian @funindex \lydian @funindex \phrygian @funindex \dorian @cindex church modes Here, @var{type} should be @code{\major} or @code{\minor} to get @var{pitch}-major or @var{pitch}-minor, respectively. You may also use the standard mode names (also called ``church modes''): @code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and @code{\dorian}. This command sets the context property @code{Staff.keySignature}. Non-standard key signatures can be specified by setting this property directly. Accidentals and key signatures often confuse new users, because unaltered notes get natural signs depending on the key signature. For more information, see @ref{Accidentals} or @ref{More about pitches}. @lilypond[quote,ragged-right,verbatim,relative=2,fragment] \key g \major f1 fis @end lilypond @commonprop A natural sign is printed to cancel any previous accidentals. This can be suppressed by setting the @code{Staff.printKeyCancellation} property. @lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2] \key d \major a b cis d \key g \minor a bes c d \set Staff.printKeyCancellation = ##f \key d \major a b cis d \key g \minor a bes c d @end lilypond @seealso Program reference: @internalsref{KeyCancellation}, @internalsref{KeySignature}. @node Time signature @subsection Time signature @cindex Time signature @cindex meter @funindex \time Time signature indicates the metrum of a piece: a regular pattern of strong and weak beats. It is denoted by a fraction at the start of the staff. The time signature is set with the @code{\time} command @lilypond[quote,ragged-right,fragment,verbatim] \time 2/4 c'2 \time 3/4 c'2. @end lilypond @commonprop The symbol that is printed can be customized with the @code{style} property. Setting it to @code{#'()} uses fraction style for 4/4 and 2/2 time, @lilypond[fragment,quote,ragged-right,verbatim] \time 4/4 c'1 \time 2/2 c'1 \override Staff.TimeSignature #'style = #'() \time 4/4 c'1 \time 2/2 c'1 @end lilypond There are many more options for its layout. See @ref{Ancient time signatures} for more examples. @code{\time} sets the property @code{timeSignatureFraction}, @code{beatLength} and @code{measureLength} in the @code{Timing} context, which is normally aliased to @internalsref{Score}. The property @code{measureLength} determines where bar lines should be inserted, and how automatic beams should be generated. Changing the value of @code{timeSignatureFraction} also causes the symbol to be printed. More options are available through the Scheme function @code{set-time-signature}. In combination with the @internalsref{Measure_grouping_engraver}, it will create @internalsref{MeasureGrouping} signs. Such signs ease reading rhythmically complex modern music. In the following example, the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to @code{set-time-signature} as the third argument @code{(2 2 2 3)} @lilypond[quote,ragged-right,verbatim] \score { \relative c'' { #(set-time-signature 9 8 '(2 2 2 3)) g8[ g] d[ d] g[ g] a8[( bes g]) | #(set-time-signature 5 8 '(3 2)) a4. g4 } \layout { \context { \Staff \consists "Measure_grouping_engraver" } } } @end lilypond @seealso Program reference: @internalsref{TimeSignature}, and @internalsref{Timing_translator}. Examples: @inputfileref{input/@/test,compound@/-time@/.ly}. @refbugs Automatic beaming does not use the measure grouping specified with @code{set-time-signature}. @node Partial measures @subsection Partial measures @cindex anacrusis @cindex upbeat @cindex partial measure @cindex measure, partial @cindex shorten measures @funindex \partial Partial measures, such as an anacrusis or upbeat, are entered using the @lilypond[quote,ragged-right,fragment,verbatim,relative=2] \partial 16*5 c16 cis d dis e | a2. c,4 | b2 @end lilypond The syntax for this command is @example \partial @var{duration} @end example where @code{duration} is the rhythmic length to be added before the next bar. This is internally translated into @example \set Timing.measurePosition = -@var{length of duration} @end example The property @code{measurePosition} contains a rational number indicating how much of the measure has passed at this point. Note that this is a negative number; @code{\partial 4} is internally translated to mean ``there is a quarter note left in the bar''. @refbugs This command does not take into account grace notes at the start of the music. When a piece starts with graces notes in the pickup, then the @code{\partial} should follow the grace notes @lilypond[verbatim,quote,ragged-right,relative,fragment] \grace f16 \partial 4 g4 a2 g2 @end lilypond @code{\partial} is only intended to be used at the beginning of a piece. If you use it after the beginning, some odd warnings may occur. @node Bar lines @subsection Bar lines @cindex Bar lines @funindex \bar @cindex measure lines @cindex repeat bars Bar lines delimit measures, but are also used to indicate repeats. Normally they are inserted automatically. Line breaks may only happen on bar lines. Special types of bar lines can be forced with the @code{\bar} command @lilypond[quote,ragged-right,relative=2,fragment,verbatim] c4 \bar "|:" c4 @end lilypond The following bar types are available @lilypondfile[ragged-right,quote]{bar-lines.ly} In addition, you can specify @code{"||:"}, which is equivalent to @code{"|:"} except at line breaks, where it gives a double bar line at the end of the line and a start repeat at the beginning of the next line. To allow a line break where there is no visible bar line, use @example \bar "" @end example @noindent This will insert an invisible bar line and allow line breaks at this point. This also increases the bar number counter. In scores with many staves, a @code{\bar} command in one staff is automatically applied to all staves. The resulting bar lines are connected between different staves of a @code{StaffGroup}, @code{PianoStaff}, or @code{ChoirStaff}. @lilypond[quote,ragged-right,fragment,verbatim] << \new StaffGroup << \new Staff { e'4 d' \bar "||" f' e' } \new Staff { \clef bass c4 g e g } >> \new Staff { \clef bass c2 c2 } >> @end lilypond @commonprop @funindex whichBar @funindex repeatCommands @funindex defaultBarType The command @code{\bar }@var{bartype} is a short cut for doing @code{\set Timing.whichBar = }@var{bartype}. Whenever @code{whichBar} is set to a string, a bar line of that type is created. A bar line is created whenever the @code{whichBar} property is set. At the start of a measure it is set to the contents of @code{Timing.defaultBarType}. The contents of @code{repeatCommands} are used to override default measure bars. You are encouraged to use @code{\repeat} for repetitions. See @ref{Repeats}. @seealso In this manual: @ref{Repeats}, @ref{System start delimiters}. Program reference: @internalsref{BarLine} (created at @internalsref{Staff} level), @internalsref{SpanBar} (across staves). Examples: @inputfileref{input/@/test,bar@/-lines@/.ly}, @node Unmetered music @subsection Unmetered music @cindex cadenza @funindex \cadenzaOn @funindex \cadenzaOff Bar lines and bar numbers are calculated automatically. For unmetered music (cadenzas, for example), this is not desirable. To turn off automatic bar lines and bar numbers, use the commands @code{\cadenzaOn} and @code{\cadenzaOff}. @lilypond[verbatim,quote,ragged-right,relative=2,fragment] c4 d e d \cadenzaOn c4 c d8 d d f4 g4. \cadenzaOff \bar "|" d4 e d c @end lilypond @refbugs LilyPond will only insert line breaks and page breaks at a barline. Unless the unmetered music ends before the end of the staff line, you will need to insert invisible bar lines @example \bar "" @end example @noindent to indicate where breaks can occur. @node System start delimiters @subsection System start delimiters @cindex start of system @cindex Staff, multiple @cindex bracket, vertical @cindex brace, vertical @cindex grand staff @cindex staff group @cindex staff, choir Many scores consist of more than one staff. These staves can be joined in four different ways @itemize @bullet @item The group is started with a brace at the left, and bar lines are connected. This is done with the @internalsref{GrandStaff} context. @lilypond[verbatim,ragged-right,quote] \new GrandStaff \relative << \new Staff { c1 c } \new Staff { c c } >> @end lilypond @item The group is started with a bracket, and bar lines are connected. This is done with the @internalsref{StaffGroup} context @lilypond[verbatim,ragged-right,quote] \new StaffGroup \relative << \new Staff { c1 c } \new Staff { c c } >> @end lilypond @item The group is started with a bracket, but bar lines are not connected. This is done with the @internalsref{ChoirStaff} context. @lilypond[verbatim,ragged-right,quote] \new ChoirStaff \relative << \new Staff { c1 c } \new Staff { c c } >> @end lilypond @item The group is started with a vertical line. Bar lines are not connected. This is the default for the score. @lilypond[verbatim,ragged-right,quote] \relative << \new Staff { c1 c } \new Staff { c c } >> @end lilypond @end itemize @seealso The bar lines at the start of each system are @internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and @internalsref{SystemStartBracket}. Only one of these types is created in every context, and that type is determined by the property @internalsref{systemStartDelimiter}. @node Staff symbol @subsection Staff symbol @cindex adjusting staff symbol Notes, dynamic signs, etc., are grouped with a set of horizontal lines, called a staff (plural `staves'). In LilyPond, these lines are drawn using a separate layout object called @code{staff symbol}. The staff symbol may be tuned in the number, thickness and distance of lines, using properties. This is demonstrated in the example files @inputfileref{input/@/test,staff@/-lines@/.ly}, @inputfileref{input/@/test,staff@/-size@/.ly}. In addition, staves may be started and stopped at will. This is done with @code{\startStaff} and @code{\stopStaff}. @lilypond[verbatim,relative=2,fragment] b4 b \override Staff.StaffSymbol #'line-count = 2 \stopStaff \startStaff b b \revert Staff.StaffSymbol #'line-count \stopStaff \startStaff b b @end lilypond In combination with Frenched staves, this may be used to typeset ossia sections. An example is shown here @cindex ossia @lilypondfile{ossia.ly} @cindex staff lines, setting number of @cindex staff lines, setting thickness of @cindex thickness of staff lines, setting @cindex number of staff lines, setting @seealso Program reference: @internalsref{StaffSymbol}. Examples: @inputfileref{input/@/test,staff@/-lines@/.ly}, @inputfileref{input/@/test@/,ossia.ly}, @inputfileref{input/@/test,staff@/-size@/.ly}, @inputfileref{input/@/regression,staff@/-line@/-positions@/.ly}. @node Writing music in parallel @subsection Writing music in parallel @cindex Writing music in parallel @cindex Interleaved music Music for multiple parts can be interleaved @lilypond[quote,fragment,verbatim] \parallelMusic #'(voiceA voiceB) { r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] | c'2 c'2 | r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] | c'2 c'2 | } \new StaffGroup << \new Staff \new Voice \voiceA \new Staff \new Voice \voiceB >> @end lilypond @node Connecting notes @section Connecting notes This section deals with notation that affects groups of notes. @menu * Ties:: * Slurs:: * Phrasing slurs:: * Laissez vibrer ties:: * Automatic beams:: * Manual beams:: * Grace notes:: @end menu @node Ties @subsection Ties @cindex tie @funindex ~ A tie connects two adjacent note heads of the same pitch. The tie in effect extends the length of a note. Ties should not be confused with slurs, which indicate articulation, or phrasing slurs, which indicate musical phrasing. A tie is entered using the tilde symbol `@code{~}' @lilypond[quote,ragged-right,fragment,verbatim] e' ~ e' ~ @end lilypond When a tie is applied to a chord, all note heads whose pitches match are connected. When no note heads match, no ties will be created. Chords may be partially tied by placing the tie inside the chord, @lilypond[quote,ragged-right,fragment,verbatim,relative=1] @end lilypond A tie is just a way of extending a note duration, similar to the augmentation dot. The following example shows two ways of notating exactly the same concept @lilypond[quote,fragment,ragged-right] \time 3/4 c'2. c'2 ~ c'4 @end lilypond @noindent Ties are used either when the note crosses a bar line, or when dots cannot be used to denote the rhythm. When using ties, larger note values should be aligned to subdivisions of the measure, such as @lilypond[fragment,quote,ragged-right] \relative { r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4 } @end lilypond If you need to tie a lot of notes over bars, it may be easier to use automatic note splitting (see @ref{Automatic note splitting}). This mechanism automatically splits long notes, and ties them across bar lines. @funindex \repeatTie When a second alternative of a repeat starts with a tied note, you have to repeat the tie. This can be achieved with @code{\repeatTie}, @lilypond[fragment,quote,ragged-right,relative=2] r \repeatTie @end lilypond @cindex repeating ties @cindex volta brackets and ties @commonprop Ties are sometimes used to write out arpeggios. In this case, two tied notes need not be consecutive. This can be achieved by setting the @code{tieWaitForNote} property to true. The same feature is also useful, for example, to tie a tremolo to a chord. For example, @lilypond[fragment,verbatim,relative=1,ragged-right] \set tieWaitForNote = ##t \grace { c16[~ e~ g]~ } 2 \repeat "tremolo" 8 { c32~ c'~ } 1 e8~ c~ a~ f~ 2 @end lilypond @refcommands @funindex \tieUp @code{\tieUp}, @funindex \tieDown @code{\tieDown}, @funindex \tieNeutral @code{\tieNeutral}, @funindex \tieDotted @code{\tieDotted}, @funindex \tieDashed @code{\tieDashed}, @funindex \tieSolid @code{\tieSolid}. @seealso In this manual: @ref{Automatic note splitting}. Program reference: @internalsref{Tie}. Examples: @inputfileref{input/@/regression,tie-arpeggio.ly} @inputfileref{input/@/regression,tie-manual.ly} @refbugs Switching staves when a tie is active will not produce a slanted tie. Changing clefs or octavations during a tie is not really well-defined. In these cases, a slur may be preferable. @node Slurs @subsection Slurs @cindex Slurs A slur indicates that notes are to be played bound or @emph{legato}. They are entered using parentheses @lilypond[quote,ragged-right,relative=2,fragment,verbatim] f( g a) a8 b( a4 g2 f4) 2( 2) @end lilypond The direction of a slur can be specified with @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either @code{Up}, @code{Down}, or @code{Neutral} (automatically selected). However, there is a convenient shorthand for forcing slur directions. By adding @code{_} or @code{^} before the opening parentheses, the direction is also set. For example, @lilypond[relative=2,ragged-right,quote,verbatim,fragment] c4_( c) c^( c) @end lilypond Only one slur can be printed at once. If you need to print a long slur over a few small slurs, please see @ref{Phrasing slurs}. @commonprop Some composers write two slurs when they want legato chords. This can be achieved in LilyPond by setting @code{doubleSlurs}, @lilypond[verbatim,ragged-right,relative,fragment,quote] \set doubleSlurs = ##t 4 ( ) @end lilypond @refcommands @funindex \slurUp @code{\slurUp}, @funindex \slurDown @code{\slurDown}, @funindex \slurNeutral @code{\slurNeutral}, @funindex \slurDashed @code{\slurDashed}, @funindex \slurDotted @code{\slurDotted}, @funindex \slurSolid @code{\slurSolid}. @seealso Program reference: @seeinternals{Slur}. @node Phrasing slurs @subsection Phrasing slurs @cindex phrasing slurs @cindex phrasing marks A phrasing slur (or phrasing mark) connects notes and is used to indicate a musical sentence. It is written using @code{\(} and @code{\)} respectively @lilypond[quote,ragged-right,fragment,verbatim,relative=1] \time 6/4 c'\( d( e) f( e) d\) @end lilypond Typographically, the phrasing slur behaves almost exactly like a normal slur. However, they are treated as different objects. A @code{\slurUp} will have no effect on a phrasing slur; instead, use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and @code{\phrasingSlurNeutral}. You cannot have simultaneous phrasing slurs. @refcommands @funindex \phrasingSlurUp @code{\phrasingSlurUp}, @funindex \phrasingSlurDown @code{\phrasingSlurDown}, @funindex \phrasingSlurNeutral @code{\phrasingSlurNeutral}. @seealso Program reference: @internalsref{PhrasingSlur}. @node Laissez vibrer ties @subsection Laissez vibrer ties @cindex Laissez vibrer @cindex Ties, laissez vibrer L.v. ties (laissez vibrer) indicate that notes must not be damped at the end. It is used in notation for piano, harp and other string and percussion instruments. They can be entered using @code{\laissezVibrer}, @lilypond[fragment,ragged-right,verbatim,relative=1] \laissezVibrer @end lilypond @seealso Program reference: @internalsref{LaissezVibrerTie} @internalsref{LaissezVibrerTieColumn} Example files: @inputfileref{input/regression,laissez-vibrer-tie.ly} @node Automatic beams @subsection Automatic beams LilyPond inserts beams automatically @lilypond[quote,ragged-right,fragment,verbatim,relative=2] \time 2/4 c8 c c c \time 6/8 c c c c8. c16 c8 @end lilypond When these automatic decisions are not good enough, beaming can be entered explicitly. It is also possible to define beaming patterns that differ from the defaults. See @ref{Setting automatic beam behavior} for details. Individual notes may be marked with @code{\noBeam} to prevent them from being beamed @lilypond[quote,ragged-right,fragment,verbatim,relative=2] \time 2/4 c8 c\noBeam c c @end lilypond @seealso Program reference: @internalsref{Beam}. @node Manual beams @subsection Manual beams @cindex beams, manual @funindex ] @funindex [ In some cases it may be necessary to override the automatic beaming algorithm. For example, the autobeamer will not put beams over rests or bar lines. Such beams are specified manually by marking the begin and end point with @code{[} and @code{]} @lilypond[quote,ragged-right,fragment,relative=1,verbatim] { r4 r8[ g' a r8] r8 g[ | a] r8 } @end lilypond @commonprop @funindex stemLeftBeamCount @funindex stemRightBeamCount Normally, beaming patterns within a beam are determined automatically. If necessary, the properties @code{stemLeftBeamCount} and @code{stemRightBeamCount} can be used to override the defaults. If either property is set, its value will be used only once, and then it is erased @lilypond[quote,ragged-right,fragment,relative=1,verbatim] { f8[ r16 f g a] f8[ r16 \set stemLeftBeamCount = #1 f g a] } @end lilypond The property @code{subdivideBeams} can be set in order to subdivide all 16th or shorter beams at beat positions, as defined by the @code{beatLength} property. @lilypond[fragment,quote,relative=2,verbatim] c16[ c c c c c c c] \set subdivideBeams = ##t c16[ c c c c c c c] \set Score.beatLength = #(ly:make-moment 1 8) c16[ c c c c c c c] @end lilypond @funindex subdivideBeams @noindent For more information about @code{make-moment}, see @ref{Time administration}. Line breaks are normally forbidden when beams cross bar lines. This behavior can be changed by setting @code{allowBeamBreak}. @funindex allowBeamBreak @cindex beams and line breaks @cindex beams, kneed @cindex kneed beams @cindex auto-knee-gap @refbugs Kneed beams are inserted automatically when a large gap is detected between the note heads. This behavior can be tuned through the object. Automatically kneed cross-staff beams cannot be used together with hidden staves. See @ref{Hiding staves}. Beams do not avoid collisions with symbols around the notes, such as texts and accidentals. @node Grace notes @subsection Grace notes @funindex \grace @cindex ornaments @cindex grace notes @cindex appoggiatura @cindex acciaccatura Grace notes are ornaments that are written out. The most common ones are acciaccatura, which should be played as very short. It is denoted by a slurred small note with a slashed stem. The appoggiatura is a grace note that takes a fixed fraction of the main note, and is denoted as a slurred note in small print without a slash. They are entered with the commands @code{\acciaccatura} and @code{\appoggiatura}, as demonstrated in the following example @lilypond[quote,ragged-right,relative=2,verbatim,fragment] b4 \acciaccatura d8 c4 \appoggiatura e8 d4 \acciaccatura { g16[ f] } e4 @end lilypond Both are special forms of the @code{\grace} command. By prefixing this keyword to a music expression, a new one is formed, which will be printed in a smaller font and takes up no logical time in a measure. @lilypond[quote,ragged-right,relative=2,verbatim,fragment] c4 \grace c16 c4 \grace { c16[ d16] } c2 c4 @end lilypond @noindent Unlike @code{\acciaccatura} and @code{\appoggiatura}, the @code{\grace} command does not start a slur. Internally, timing for grace notes is done using a second, `grace' timing. Every point in time consists of two rational numbers: one denotes the logical time, one denotes the grace timing. The above example is shown here with timing tuples @lilypond[quote,ragged-right] << \relative c''{ c4 \grace c16 c4 \grace { c16[ d16] } c2 c4 } \new Lyrics \lyricmode { \override LyricText #'font-family = #'typewriter \markup { (0,0) } 4 \grace { \markup { ( \fraction 1 4 , \fraction -1 16 ) } 16 } \markup { (\fraction 1 4 , 0 ) } 4 \grace { \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16 \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16 } \markup { ( \fraction 2 4 , 0 ) } } >> @end lilypond The placement of grace notes is synchronized between different staves. In the following example, there are two sixteenth grace notes for every eighth grace note @lilypond[quote,ragged-right,relative=2,verbatim,fragment] << \new Staff { e4 \grace { c16[ d e f] } e4 } \new Staff { c4 \grace { g8[ b] } c4 } >> @end lilypond @funindex \afterGrace If you want to end a note with a grace, use the @code{\afterGrace} command. It takes two arguments: the main note, and the grace notes following the main note. @lilypond[ragged-right, verbatim,relative=2,fragment] c1 \afterGrace d1 { c16[ d] } c4 @end lilypond This will put the grace notes after a ``space'' lasting 3/4 of the length of the main note. The fraction 3/4 can be changed by setting @code{afterGraceFraction}, ie. @example afterGraceFraction = #(cons 7 8) @end example @noindent will put the grace note at 7/8 of the main note. The same effect can be achieved manually by doing @lilypond[quote,ragged-right,fragment,verbatim,relative=2] \new Voice { << { d1^\trill_( } { s2 \grace { c16[ d] } } >> c4) } @end lilypond @noindent By adjusting the duration of the skip note (here it is a half-note), the space between the main-note and the grace is adjusted. A @code{\grace} section will introduce special typesetting settings, for example, to produce smaller type, and set directions. Hence, when introducing layout tweaks, they should be inside the grace section, for example, @lilypond[quote,ragged-right,fragment,verbatim,relative=2] \new Voice { \acciaccatura { \stemDown f16-> \stemNeutral } g4 } @end lilypond @noindent The overrides should also be reverted inside the grace section. The layout of grace sections can be changed throughout the music using the function @code{add-grace-property}. The following example undefines the @code{Stem} direction for this grace, so that stems do not always point up. @example \new Staff @{ #(add-grace-property 'Voice 'Stem 'direction '()) @dots{} @} @end example @noindent Another option is to change the variables @code{startGraceMusic}, @code{stopGraceMusic}, @code{startAcciaccaturaMusic}, @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic}, @code{stopAppoggiaturaMusic}. More information is in the file @file{ly/@/grace@/-init@/.ly}. @noindent The slash through the stem in acciaccaturas can be obtained in other situations by @code{\override Stem #'stroke-style = #"grace"}. @commonprop Grace notes may be forced to use floating spacing, @lilypond[relative=2,ragged-right] << \override Score.SpacingSpanner #'strict-grace-spacing = ##t \new Staff { c'4 \afterGrace c'4 { c'16[ c'8 c'16] } c'4 } \new Staff { c'16[ c'16 c'16 c'16] c'16[ c'16 c'16 c'16] c'4 } >> @end lilypond @seealso Program reference: @internalsref{GraceMusic}. @refbugs A score that starts with a @code{\grace} section needs an explicit @code{\new Voice} declaration, otherwise the main note and the grace note end up on different staves. Grace note synchronization can also lead to surprises. Staff notation, such as key signatures, bar lines, etc., are also synchronized. Take care when you mix staves with grace notes and staves without, for example, @lilypond[quote,ragged-right,relative=2,verbatim,fragment] << \new Staff { e4 \bar "|:" \grace c16 d4 } \new Staff { c4 \bar "|:" d4 } >> @end lilypond @noindent This can be remedied by inserting grace skips of the corresponding durations in the other staves. For the above example @example \new Staff @{ c4 \bar "|:" \grace s16 d4 @} @end example Grace sections should only be used within sequential music expressions. Nesting or juxtaposing grace sections is not supported, and might produce crashes or other errors. @node Expressive marks @section Expressive marks Expressive marks help musicians to bring more to the music than simple notes and rhythms. @menu * Articulations:: * Fingering instructions:: * Dynamics:: * Breath marks:: * Trills:: * Glissando:: * Arpeggio:: * Falls and doits:: @end menu @node Articulations @subsection Articulations @cindex Articulations @cindex scripts @cindex ornaments A variety of symbols can appear above and below notes to indicate different characteristics of the performance. They are added to a note by adding a dash and the character signifying the articulation. They are demonstrated here @lilypondfile[quote,ragged-right]{script-abbreviations.ly} The meanings of these shorthands can be changed. See @file{ly/@/script@/-init@/.ly} for examples. The script is automatically placed, but the direction can be forced as well. Like other pieces of LilyPond code, @code{_} will place them below the staff, and @code{^} will place them above. @lilypond[quote,ragged-right,fragment,verbatim] c''4^^ c''4_^ @end lilypond Other symbols can be added using the syntax @var{note}@code{\}@var{name}. Again, they can be forced up or down using @code{^} and @code{_}, e.g., @lilypond[quote,ragged-right,verbatim,fragment,relative=2] c\fermata c^\fermata c_\fermata @end lilypond @cindex accent @cindex marcato @cindex staccatissimo @cindex espressivo @cindex fermata @cindex stopped @cindex staccato @cindex portato @cindex tenuto @cindex upbow @cindex downbow @cindex foot marks @cindex organ pedal marks @cindex turn @cindex open @cindex flageolet @cindex reverseturn @cindex trill @cindex prall @cindex mordent @cindex prallprall @cindex prallmordent @cindex prall, up @cindex prall, down @cindex mordent @cindex thumb marking @cindex segno @cindex coda @cindex varcoda Here is a chart showing all scripts available, @lilypondfile[ragged-right,quote]{script-chart.ly} @commonprop The vertical ordering of scripts is controlled with the @code{script-priority} property. The lower this number, the closer it will be put to the note. In this example, the @internalsref{TextScript} (the sharp symbol) first has the lowest priority, so it is put lowest in the first example. In the second, the prall trill (the @internalsref{Script}) has the lowest, so it is on the inside. When two objects have the same priority, the order in which they are entered decides which one comes first. @lilypond[verbatim,relative=3,ragged-right,fragment,quote] \once \override TextScript #'script-priority = #-100 a4^\prall^\markup { \sharp } \once \override Script #'script-priority = #-100 a4^\prall^\markup { \sharp } @end lilypond @seealso Program reference: @internalsref{Script}. @refbugs These signs appear in the printed output but have no effect on the MIDI rendering of the music. @node Fingering instructions @subsection Fingering instructions @cindex fingering @cindex finger change Fingering instructions can be entered using @example @var{note}-@var{digit} @end example For finger changes, use markup texts @lilypond[quote,verbatim,ragged-right,fragment,relative=1] c4-1 c-2 c-3 c-4 c^\markup { \finger "2 - 3" } @end lilypond You can use the thumb-script to indicate that a note should be played with the thumb (e.g., in cello music) @lilypond[quote,verbatim,ragged-right,fragment,relative=2] 8 @end lilypond Fingerings for chords can also be added to individual notes of the chord by adding them after the pitches @lilypond[quote,verbatim,ragged-right,fragment,relative=2] < c-1 e-2 g-3 b-5 >4 @end lilypond @commonprop You may exercise greater control over fingering chords by setting @code{fingeringOrientations} @lilypond[quote,verbatim,ragged-right,fragment,relative=1] \set fingeringOrientations = #'(left down) 4 \set fingeringOrientations = #'(up right down) 4 @end lilypond Using this feature, it is also possible to put fingering instructions very close to note heads in monophonic music, @lilypond[verbatim,ragged-right,quote,fragment] \set fingeringOrientations = #'(right) 4 @end lilypond @seealso Program reference: @internalsref{Fingering}. Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}. @node Dynamics @subsection Dynamics @cindex Dynamics @funindex \pppp @funindex \ppp @funindex \pp @funindex \p @funindex \mp @funindex \mf @funindex \f @funindex \ff @funindex \fff @funindex \ffff @funindex \fp @funindex \sf @funindex \sff @funindex \sp @funindex \spp @funindex \sfz @funindex \rfz Absolute dynamic marks are specified using a command after a note @code{c4\ff}. The available dynamic marks are @code{\ppppp}, @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}. @lilypond[quote,verbatim,ragged-right,fragment,relative=2] c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz @end lilypond @funindex \< @funindex \> @funindex \! A crescendo mark is started with @code{\<} and terminated with @code{\!} or an absolute dynamic. A decrescendo is started with @code{\>} and is also terminated with @code{\!} or an absolute dynamic. @code{\cr} and @code{\decr} may be used instead of @code{\<} and @code{\>}. Because these marks are bound to notes, you must use spacer notes if multiple marks are needed during one note @lilypond[quote,ragged-right,fragment,verbatim,relative=2] c\< c\! d\> e\! << f1 { s4 s4\< s4\! \> s4\! } >> @end lilypond @noindent A hairpin normally starts at the left edge of the beginning note and ends on the right edge of the ending note. If the ending note falls on the downbeat, the hairpin ends on the immediately preceding barline. This may be modified by setting the @code{hairpinToBarline} property, @lilypond[quote,ragged-right,fragment,verbatim,relative=2] \set hairpinToBarline = ##f c4\< c2. c4\! @end lilypond In some situations the @code{\espressivo} articulation mark may be suitable to indicate a crescendo and decrescendo on the one note, @lilypond[quote,ragged-right,fragment,verbatim,relative=2] c2 b4 a g1\espressivo @end lilypond This may give rise to very short hairpins. Use @code{minimum-length} in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for example @example \override Voice.Hairpin #'minimum-length = #5 @end example @cindex al niente @cindex niente, al Hairpins may be printed with a circled tip (al niente notation) by setting the @code{circled-tip} property, @lilypond[quote,ragged-right,fragment,relative=2,verbatim] \override Hairpin #'circled-tip = ##t c2\< c\! c4\> c\< c2\! @end lilypond @cindex crescendo @cindex decrescendo @cindex diminuendo You can also use text saying @emph{cresc.} instead of hairpins @lilypond[quote,ragged-right,fragment,relative=2,verbatim] \setTextCresc c\< d e f\! \setHairpinCresc e\> d c b\! \setTextDecresc c\> d e f\! \setTextDim e\> d c b\! @end lilypond You can also supply your own texts @lilypond[quote,ragged-right,fragment,relative=1,verbatim] \set crescendoText = \markup { \italic "cresc. poco" } \set crescendoSpanner = #'dashed-line a'2\< a a a\!\mf @end lilypond To create new dynamic marks or text that should be aligned with dynamics, see @ref{New dynamic marks}. @commonprop Dynamics that occur at, begin on, or end on, the same note will be vertically aligned. If you want to ensure that dynamics are aligned when they do not occur on the same note, you can increase the @code{staff-padding} property. @example \override DynamicLineSpanner #'staff-padding = #4 @end example You may also use this property if the dynamics are colliding with other notation. Crescendi and decrescendi that end on the first note of a new line are not printed. To change this behavior, use @example \override Score.Hairpin #'after-line-breaking = ##t @end example Text style dynamic changes (such as @emph{cresc.} and @emph{dim.}) are printed with a dashed line showing their extent. To surpress printing this line, use @example \override DynamicTextSpanner #'dash-period = #-1.0 @end example @refcommands @funindex \dynamicUp @code{\dynamicUp}, @funindex \dynamicDown @code{\dynamicDown}, @funindex \dynamicNeutral @code{\dynamicNeutral}. @seealso Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}. Vertical positioning of these symbols is handled by @internalsref{DynamicLineSpanner}. @node Breath marks @subsection Breath marks Breath marks are entered using @code{\breathe} @lilypond[quote,ragged-right,fragment,relative=1,verbatim] c'4 \breathe d4 @end lilypond @commonprop The glyph of the breath mark can be tuned by overriding the @code{text} property of the @code{BreathingSign} layout object with any markup text. For example, @lilypond[quote,ragged-right,fragment,verbatim,relative=1] c'4 \override BreathingSign #'text = #(make-musicglyph-markup "scripts.rvarcomma") \breathe d4 @end lilypond @seealso Program reference: @internalsref{BreathingSign}. Examples: @inputfileref{input/@/regression,breathing@/-sign@/.ly}. @node Trills @subsection Trills Short trills are printed like normal articulation; see @ref{Articulations}. Long running trills are made with @code{\startTrillSpan} and @code{\stopTrillSpan}, @lilypond[verbatim,ragged-right,relative=2,quote,fragment] \new Voice { << { c1 \startTrillSpan } { s2. \grace { d16[\stopTrillSpan e] } } >> c4 } @end lilypond @cindex Pitched trills Trills that should be executed on an explicitly specified pitch can be typeset with the command @code{pitchedTrill}, @lilypond[ragged-right,verbatim,fragment,relative=1,quote] \pitchedTrill c4\startTrillSpan fis f\stopTrillSpan @end lilypond The first argument is the main note. The pitch of the second is printed as a stemless note head in parentheses. @refcommands @code{\startTrillSpan}, @funindex \startTrillSpan @code{\stopTrillSpan}. @funindex \stopTrillSpan @seealso Program reference: @internalsref{TrillSpanner}. @node Glissando @subsection Glissando @cindex Glissando @funindex \glissando A glissando is a smooth change in pitch. It is denoted by a line or a wavy line between two notes. It is requested by attaching @code{\glissando} to a note @lilypond[quote,ragged-right,fragment,relative=2,verbatim] c2\glissando c' \override Glissando #'style = #'zigzag c2\glissando c, @end lilypond @seealso Program reference: @internalsref{Glissando}. Example files: @file{input/@/regression/@/glissando@/.ly}. @refbugs Printing text over the line (such as @emph{gliss.}) is not supported. @node Arpeggio @subsection Arpeggio @cindex Arpeggio @cindex broken chord @funindex \arpeggio You can specify an arpeggio sign (also known as broken chord) on a chord by attaching an @code{\arpeggio} to a chord @lilypond[quote,ragged-right,fragment,relative=1,verbatim] \arpeggio @end lilypond A square bracket on the left indicates that the player should not arpeggiate the chord @lilypond[quote,ragged-right,fragment,relative=1,verbatim] \arpeggioBracket \arpeggio @end lilypond The direction of the arpeggio is sometimes denoted by adding an arrowhead to the wiggly line @lilypond[quote,ragged-right,fragment,relative=1,verbatim] \new Voice { \arpeggioUp \arpeggio \arpeggioDown \arpeggio } @end lilypond @commonprop When an arpeggio crosses staves, you may attach an arpeggio to the chords in both staves and set @internalsref{PianoStaff}.@code{connectArpeggios} @lilypond[quote,ragged-right,fragment,relative=1,verbatim] \new PianoStaff << \set PianoStaff.connectArpeggios = ##t \new Staff { \arpeggio } \new Staff { \clef bass \arpeggio } >> @end lilypond @refcommands @code{\arpeggio}, @funindex \arpeggioUp @code{\arpeggioUp}, @funindex \arpeggioDown @code{\arpeggioDown}, @funindex \arpeggioNeutral @code{\arpeggioNeutral}, @funindex \arpeggioBracket @code{\arpeggioBracket}. @seealso Notation manual: @ref{Ties}, for writing out arpeggios. Program reference: @internalsref{Arpeggio}. @refbugs It is not possible to mix connected arpeggios and unconnected arpeggios in one @internalsref{PianoStaff} at the same point in time. @node Falls and doits @subsection Falls and doits Falls and doits can be added to notes using the @code{\bendAfter} command, @lilypond[fragment,ragged-right,relative=2] \override Score.SpacingSpanner #'shortest-duration-space = #3.0 c4-\bendAfter #+5 c4-\bendAfter #-3 @end lilypond @node Repeats @section Repeats Repetition is a central concept in music, and multiple notations exist for repetitions. @menu * Repeat types:: * Repeat syntax:: * Repeats and MIDI:: * Manual repeat commands:: * Tremolo repeats:: * Tremolo subdivisions:: * Measure repeats:: @end menu @node Repeat types @subsection Repeat types @cindex repeats @funindex \repeat The following types of repetition are supported @table @code @item unfold Repeated music is fully written (played) out. This is useful when entering repetitious music. This is the only kind of repeat that is included in MIDI output. @item volta Repeats are not written out, but alternative endings (volte) are printed, left to right with brackets. This is the standard notation for repeats with alternatives. These are not played in MIDI output by default. @item tremolo Make tremolo beams. These are not played in MIDI output by default. @item percent Make beat or measure repeats. These look like percent signs. These are not played in MIDI output by default. Percent repeats must be declared within a @code{Voice} context. @end table @node Repeat syntax @subsection Repeat syntax LilyPond has one syntactic construct for specifying different types of repeats. The syntax is @example \repeat @var{variant} @var{repeatcount} @var{repeatbody} @end example If you have alternative endings, you may add @funindex \alternative @example \alternative @{ @var{alternative1} @var{alternative2} @var{alternative3} @dots{} @} @end example @noindent where each @var{alternative} is a music expression. If you do not give enough alternatives for all of the repeats, the first alternative is assumed to be played more than once. Standard repeats are used like this @lilypond[quote,ragged-right,fragment,verbatim,relative=2] c1 \repeat volta 2 { c4 d e f } \repeat volta 2 { f e d c } @end lilypond With alternative endings @lilypond[quote,ragged-right,fragment,verbatim,relative=2] c1 \repeat volta 2 {c4 d e f} \alternative { {d2 d} {f f,} } @end lilypond In the following example, the first ending is not a complete bar (it only had 3 beats). The beginning of the second ending contains the 4th beat from the first ending. This ``extra'' beat in the second ending is due to the first time ending, and has nothing to do with the @code{\partial} at the beginning of the example. @lilypond[quote,ragged-right,fragment,verbatim,relative=2] \new Staff { \partial 4 \repeat volta 4 { e | c2 d2 | e2 f2 | } \alternative { { g4 g g } { a | a a a a | b2. } } } @end lilypond @funindex \repeatTie Ties may be added to a second ending, @lilypond[quote,ragged-right,fragment,verbatim,relative=2] c1 \repeat volta 2 {c4 d e f ~ } \alternative { {f2 d} {f\repeatTie f,} } @end lilypond It is possible to shorten volta brackets by setting @code{voltaSpannerDuration}. In the next example, the bracket only lasts one measure, which is a duration of 3/4. @lilypond[verbatim,ragged-right,quote] \relative c''{ \time 3/4 c c c \set Staff.voltaSpannerDuration = #(ly:make-moment 3 4) \repeat "volta" 5 { d d d } \alternative { { e e e f f f } { g g g } } } @end lilypond @seealso Examples: Brackets for the repeat are normally only printed over the topmost staff. This can be adjusted by setting the @code{voltaOnThisStaff} property; see @inputfileref{input/@/regression,volta@/-multi@/-staff@/.ly}. @refbugs @cindex repeat, ambiguous A nested repeat like @example \repeat @dots{} \repeat @dots{} \alternative @end example @noindent is ambiguous, since it is is not clear to which @code{\repeat} the @code{\alternative} belongs. This ambiguity is resolved by always having the @code{\alternative} belong to the inner @code{\repeat}. For clarity, it is advisable to use braces in such situations. Timing information is not remembered at the start of an alternative, so after a repeat timing information must be reset by hand; for example, by setting @code{Score.measurePosition} or entering @code{\partial}. Similarly, slurs or ties are also not repeated. Volta brackets are not vertically aligned. @node Repeats and MIDI @subsection Repeats and MIDI @cindex expanding repeats @funindex \unfoldRepeats With a little bit of tweaking, all types of repeats can be present in the MIDI output. This is achieved by applying the @code{\unfoldRepeats} music function. This function changes all repeats to unfold repeats. @lilypond[quote,verbatim,fragment,line-width=8.0\cm] \unfoldRepeats { \repeat tremolo 8 {c'32 e' } \repeat percent 2 { c''8 d'' } \repeat volta 2 {c'4 d' e' f'} \alternative { { g' a' a' g' } {f' e' d' c' } } } \bar "|." @end lilypond When creating a score file using @code{\unfoldRepeats} for MIDI, it is necessary to make two @code{\score} blocks: one for MIDI (with unfolded repeats) and one for notation (with volta, tremolo, and percent repeats). For example, @example \score @{ @var{..music..} \layout @{ .. @} @} \score @{ \unfoldRepeats @var{..music..} \midi @{ .. @} @} @end example @node Manual repeat commands @subsection Manual repeat commands @funindex repeatCommands The property @code{repeatCommands} can be used to control the layout of repeats. Its value is a Scheme list of repeat commands. @table @asis @item @code{start-repeat} Print a @code{|:} bar line. @item @code{end-repeat} Print a @code{:|} bar line. @item @code{(volta @var{text})} Print a volta bracket saying @var{text}: The text can be specified as a text string or as a markup text, see @ref{Text markup}. Do not forget to change the font, as the default number font does not contain alphabetic characters; @item @code{(volta #f)} Stop a running volta bracket. @end table @lilypond[quote,ragged-right,verbatim,fragment,relative=2] c4 \set Score.repeatCommands = #'((volta "93") end-repeat) c4 c4 \set Score.repeatCommands = #'((volta #f)) c4 c4 @end lilypond @seealso Program reference: @internalsref{VoltaBracket}, @internalsref{RepeatedMusic}, @internalsref{VoltaRepeatedMusic}, @internalsref{UnfoldedRepeatedMusic}, and @internalsref{FoldedRepeatedMusic}. @node Tremolo repeats @subsection Tremolo repeats @cindex tremolo beams To place tremolo marks between notes, use @code{\repeat} with tremolo style @lilypond[quote,verbatim,ragged-right] \new Voice \relative c' { \repeat "tremolo" 8 { c16 d16 } \repeat "tremolo" 4 { c16 d16 } \repeat "tremolo" 2 { c16 d16 } } @end lilypond Tremolo marks can also be put on a single note. In this case, the note should not be surrounded by braces. @lilypond[quote,verbatim,ragged-right] \repeat "tremolo" 4 c'16 @end lilypond Similar output is obtained using the tremolo subdivision, described in @ref{Tremolo subdivisions}. @seealso In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}. Program reference: @internalsref{Beam}, @internalsref{StemTremolo}. Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly}, @inputfileref{input/@/regression,stem@/-tremolo@/.ly}. @node Tremolo subdivisions @subsection Tremolo subdivisions @cindex tremolo marks @funindex tremoloFlags Tremolo marks can be printed on a single note by adding `@code{:}[@var{number}]' after the note. The number indicates the duration of the subdivision, and it must be at least 8. A @var{length} value of 8 gives one line across the note stem. If the length is omitted, the last value (stored in @code{tremoloFlags}) is used @lilypond[quote,ragged-right,verbatim,fragment] c'2:8 c':32 | c': c': | @end lilypond @refbugs Tremolos entered in this way do not carry over into the MIDI output. @seealso In this manual: @ref{Tremolo repeats}. Elsewhere: @internalsref{StemTremolo}. @node Measure repeats @subsection Measure repeats @cindex percent repeats @cindex measure repeats In the @code{percent} style, a note pattern can be repeated. It is printed once, and then the pattern is replaced with a special sign. Patterns of one and two measures are replaced by percent-like signs, patterns that divide the measure length are replaced by slashes. Percent repeats must be declared within a @code{Voice} context. @lilypond[quote,verbatim,ragged-right] \new Voice \relative c' { \repeat "percent" 4 { c4 } \repeat "percent" 2 { c2 es2 f4 fis4 g4 c4 } } @end lilypond Measure repeats of more than 2 measures get a counter, if you switch on the @code{countPercentRepeats} property, @lilypond[relative=2,fragment,quote,verbatim,ragged-right] \new Voice { \set countPercentRepeats = ##t \repeat "percent" 4 { c1 } } @end lilypond Isolated percents can also be printed. This is done by putting a multi-measure rest with a different print function, @lilypond[fragment,verbatim,quote] \override MultiMeasureRest #'stencil = #ly:multi-measure-rest::percent R1 @end lilypond @seealso Program reference: @internalsref{RepeatSlash}, @internalsref{PercentRepeat}, @internalsref{DoublePercentRepeat}, @internalsref{DoublePercentRepeatCounter}, @internalsref{PercentRepeatCounter}, @internalsref{PercentRepeatedMusic}.