GNU LilyPond — Snippets List

This document shows a selected set of LilyPond snippets from the LilyPond Snippet Repository (LSR). It is in the public domain.

Please note that it is not an exact subset of LSR: some snippets come from ‘input/new’ LilyPond sources directory, and snippets from LSR are converted through convert-ly, as LSR is based on a stable LilyPond version, and this document is for version 2.11.64.

Snippets are grouped by tags; tags listed in the table of contents match a section of LilyPond notation manual. Snippets may have several tags, and not all LSR tags may appear in this document.

In the HTML version of this document, you can click on the file name or figure for each example to see the corresponding input file.

Musical notation
Pitches
Rhythms
Expressive marks
Repeats
Simultaneous notes
Staff notation
Editorial annotations
Text
Specialist notation
Vocal music
Chords
Keyboards
Percussion
Fretted strings
Unfretted strings
Winds
Ancient notation
World music
Other collections
Contexts and engravers
Tweaks and overrides
Paper and layout
Titles
Spacing
MIDI
Templates

Pitches

These snippets illustrate the Notation Reference, section Pitches.

Adding ambitus per voice

Ambitus can be added per voice. In this case, the ambitus must be moved manually to prevent collisions.

\new Staff <<
  \new Voice \with {
    \consists "Ambitus_engraver"
  } \relative c'' {
    \override Ambitus #'X-offset = #2.0
    \voiceOne
    c4 a d e
    f1
  }
  \new Voice \with {
    \consists "Ambitus_engraver"
  } \relative c' {
    \voiceTwo
    es4 f g as
    b1
  }
>>

Ambitus with multiple voices

Adding the Ambitus_engraver to the Staff context creates a single ambitus per staff, even in the case of staves with multiple voices.

\new Staff \with {
  \consists "Ambitus_engraver"
  }
<<
  \new Voice \relative c'' {
    \voiceOne
    c4 a d e
    f1
  }
  \new Voice \relative c' {
    \voiceTwo
    es4 f g as
    b1
  }
>>

Ambitus

Ambitus indicate pitch ranges for voices.

Accidentals only show up if they are not part of the key signature. AmbitusNoteHead grobs also have ledger lines.

\layout {
  ragged-right = ##t
  \context {
    \Voice
    \consists "Ambitus_engraver"
  }
}

\relative
<<
  \new Staff {
    \time  2/4 c4 f' 
  }
  \new Staff \relative {
    \time  2/4
    \key d \major
    cis as'
  }
>>

Applying note head styles depending on the step of the scale

The shapeNoteStyles property can be used to define various note head styles for each step of the scale (as set by the key signature or the "tonic" property). This property requires a set of symbols, which can be purely arbitrary (geometrical expressions such as triangle, cross, and xcircle are allowed) or based on old American engraving tradition (some latin note names are also allowed).

That said, to imitate old American song books, there are several predefined note head styles available through shortcut commands such as \aikenHeads or \sacredHarpHeads.

This example shows different ways to obtain shape note heads, and demonstrates the ability to transpose a melody without losing the correspondence between harmonic functions and note head styles.

\layout { ragged-right = ##t }

fragment = {
  \key c \major
  c2 d
  e2 f
  g2 a
  b2 c
}

\score {
  \new Staff {
    \transpose c d 
    \relative c' {
      \set shapeNoteStyles = #'#(do re mi fa
                                 #f la ti)
      \fragment
    }

    \break

    \relative c' {
      \set shapeNoteStyles  = #'#(cross triangle fa #f
                                  mensural xcircle diamond)
      \fragment
    }
  }
}

Coloring notes depending on their pitch

It is possible to color note heads depending on their pitch and/or their names: the function used in this example even makes it possible to distinguish enharmonics.

%Association list of pitches to colors.
#(define color-mapping
  (list
    (cons (ly:make-pitch 0 0 0) (x11-color 'red))
    (cons (ly:make-pitch 0 0 1/2) (x11-color 'green))
    (cons (ly:make-pitch 0 1 -1/2) (x11-color 'green))
    (cons (ly:make-pitch 0 2 0) (x11-color 'red))
    (cons (ly:make-pitch 0 2 1/2) (x11-color 'green))
    (cons (ly:make-pitch 0 3 -1/2) (x11-color 'red))
    (cons (ly:make-pitch 0 3 0) (x11-color 'green))
    (cons (ly:make-pitch 0 4 1/2) (x11-color 'red))
    (cons (ly:make-pitch 0 5 0) (x11-color 'green))
    (cons (ly:make-pitch 0 5 -1/2) (x11-color 'red))
    (cons (ly:make-pitch 0 6 1/2) (x11-color 'red))
    (cons (ly:make-pitch 0 1 0) (x11-color 'blue))
    (cons (ly:make-pitch 0 3 1/2) (x11-color 'blue))
    (cons (ly:make-pitch 0 4 -1/2) (x11-color 'blue))
    (cons (ly:make-pitch 0 5 1/2) (x11-color 'blue))
    (cons (ly:make-pitch 0 6 -1/2) (x11-color 'blue))
    ))

%Compare pitch and alteration (not octave).
#(define (pitch-equals? p1 p2)
  (and
    (= (ly:pitch-alteration p1) (ly:pitch-alteration p2))
    (= (ly:pitch-notename p1) (ly:pitch-notename p2))))

#(define (pitch-to-color pitch)
  (let ((color (assoc pitch color-mapping pitch-equals?)))
    (if color
      (cdr color))))

#(define (color-notehead grob)
  (pitch-to-color
    (ly:event-property (ly:grob-property grob 'cause) 'pitch)))

\score {
  \new Staff \relative c' {
    \override NoteHead #'color = #color-notehead
    c8 b d dis ees f g aes
  }
}

Creating a sequence of notes on various pitches

In music that contains many occurrences of the same sequence of notes at different pitches, the following music function may prove useful. It takes a note, of which only the pitch is used. The supporting Scheme functions were borrowed from the "Tips and tricks" document in the manual for version 2.10. This example creates the rhythm used throughout Mars, from Gustav Holst’s The Planets.

#(define (make-note-req p d)
  (make-music 'NoteEvent
   'duration d
   'pitch p))

#(define (make-note p d)
  (make-music 'EventChord
   'elements (list (make-note-req p d))))

#(define (seq-music-list elts)
  (make-music 'SequentialMusic
   'elements elts))

#(define (make-triplet elt)
  (make-music 'TimeScaledMusic
   'denominator 3
   'numerator 2
   'element elt))


rhythm = #(define-music-function (parser location note) (ly:music?)
          "Make the rhythm in Mars (the Planets) at the given note's pitch"
          (let* ((p (ly:music-property
                      (car (ly:music-property note 'elements))
                      'pitch)))
          (seq-music-list (list
            (make-triplet (seq-music-list (list
              (make-note p (ly:make-duration 3 0 2 3))
              (make-note p (ly:make-duration 3 0 2 3))
              (make-note p (ly:make-duration 3 0 2 3))
            )))
            (make-note p (ly:make-duration 2 0))
            (make-note p (ly:make-duration 2 0))
            (make-note p (ly:make-duration 3 0))
            (make-note p (ly:make-duration 3 0))
            (make-note p (ly:make-duration 2 0))
          ))))

\score {
  \new Staff {
    \time 5/4
    \rhythm c'
    \rhythm c''
    \rhythm g
  }
}

Dodecaphonic-style accidentals for each note including naturals

In early 20th century works, starting with Schoenberg, Berg and Webern (the "Second" Viennese school), every pitch in the twelve-tone scale has to be regarded as equal, without any hierarchy such as the classical (tonal) degrees. Therefore, these composers print one accidental for each note, even at natural pitches, to emphasize their new approach to music theory and language.

This snippet shows how to achieve such notation rules.

\score {
  \new Staff {
    #(set-accidental-style 'dodecaphonic)
    c'4 dis' cis' cis'
    c'4 dis' cis' cis'
    c'4 c' dis' des'
  }
  \layout {
    \context {
    \Staff
    \remove "Key_engraver"
    }
  }
}

Generating random notes

This Scheme-based snippet generates 24 random notes (or as many as required), based on the current time (or any randomish number specified instead, in order to obtain the same random notes each time): i.e., to get different random note patterns, just change this number.

\score {
  { #(let ((random-state (seed->random-state (current-time))))
    (ly:export
     (make-music 'SequentialMusic 'elements
      (map (lambda x
           (let ((idx (random 12 random-state)))
            (make-music 'EventChord
             'elements (list (make-music 'NoteEvent
                              'duration (ly:make-duration 2 0 1 1)
                              'pitch (ly:make-pitch (quotient idx 7)
                                      (remainder idx 7)
                                      0))))))
       (make-list 24)))))
  }
}

Makam example

Makam is a type of melody from Turkey using 1/9th-tone microtonal alterations. Consult the initialization file makam.ly (see the ‘Learning Manual 2.11.64, 4.6.3 Other sources of information’ for the location of this file) for details of pitch names and alterations.

% Initialize makam settings
\include "makam.ly"

\relative c' {
  \set Staff.keySignature = #`((3 . ,BAKIYE) (6 . ,(- KOMA)))
  c4 cc db fk
  gbm4 gfc gfb efk
  fk4 db cc c
}

Non-traditional key signatures

The commonly used \key command sets the keySignature property, in the Staff context.

To create non-standard key signatures, set this property directly. The format of this command is a list:

\set Staff.keySignature = #`(((octave . step) . alter) ((octave . step) . alter) ...) where, for each element in the list, octave specifies the octave (0 being the octave from middle C to the B above), step specifies the note within the octave (0 means C and 6 means B), and alter is ,SHARP ,FLAT ,DOUBLE-SHARP etc. (Note the leading comma.)

Alternatively, for each item in the list, using the more concise format (step . alter) specifies that the same alteration should hold in all octaves.

Here is an example of a possible key signature for generating a whole-tone scale:

\relative c' {
  \set Staff.keySignature = #`(((0 . 3) . ,SHARP)
                               ((0 . 5) . ,FLAT)
                               ((0 . 6) . ,FLAT))
  c4 d e fis
  aes4 bes c2
}

Ottava text

Internally, the set-octavation function sets the properties ottavation (for example, to "8va" or "8vb") and middleCPosition. To override the text of the bracket, set ottavation after invoking set-octavation.

{
  \ottava #1
  \set Staff.ottavation = #"8"
  c''1
  \ottava #0
  c'1
  \ottava #1
  \set Staff.ottavation = #"Text"
  c''1
}

Preventing extra naturals from being automatically added

In accordance with standard typesetting rules, a natural sign is printed before a sharp or flat if a previous accidental on the same note needs to be canceled. To change this behavior, set the extraNatural property to "false" in the Staff context.

\relative c'' {
  aeses4 aes ais a
  \set Staff.extraNatural = ##f
  aeses4 aes ais a
}

Preventing natural signs from being printed when the key signature changes

When the key signature changes, natural signs are automatically printed to cancel any accidentals from previous key signatures. This may be prevented by setting to "false" the printKeyCancellation property in the Staff context.

\relative c' {
  \key d \major
  a4 b cis d
  \key g \minor
  a4 bes c d
  \set Staff.printKeyCancellation = ##f
  \key d \major
  a4 b cis d
  \key g \minor
  a4 bes c d
}

Quoting another voice with transposition

Quotations take into account the transposition of both source and target. In this example, all instruments play sounding middle C; the target is an instrument in F. The target part may be transposed using \transpose. In this case, all the pitches (including the quoted ones) are transposed.

\addQuote clarinet {
  \transposition bes
  \repeat unfold 8 { d'16 d' d'8 }
}

\addQuote sax {
  \transposition es'
  \repeat unfold 16 { a8 }
}

quoteTest = {
  % french horn
  \transposition f
  g'4
  << \quoteDuring #"clarinet" { \skip 4 } s4^"clar." >>
  << \quoteDuring #"sax" { \skip 4 } s4^"sax." >>
  g'4
}

{
  \set Staff.instrumentName =
    \markup {
      \center-column { Horn \line { in F } }
    }
  \quoteTest
  \transpose c' d' << \quoteTest s4_"up a tone" >>
}

Transposing music with minimum accidentals

This example uses some Scheme code to enforce enharmonic modifications for notes in order to have the minimum number of accidentals. In this case, the following rules apply:

Double accidentals should be removed
B sharp -> C
E sharp -> F
C flat -> B
F flat -> E

In this manner, the most natural enharmonic notes are chosen.

#(define  (naturalize-pitch p)
  (let* ((o (ly:pitch-octave p))
         (a (* 4 (ly:pitch-alteration p)))
    ; alteration, a, in quarter tone steps, for historical reasons
         (n (ly:pitch-notename p)))
    (cond
     ((and (> a 1) (or (eq? n 6) (eq? n 2)))
      (set! a (- a 2))
      (set! n (+ n 1)))
     ((and (< a -1) (or (eq? n 0) (eq? n 3)))
      (set! a (+ a 2))
      (set! n (- n 1))))
    (cond
     ((> a 2) (set! a (- a 4)) (set! n (+ n 1)))
     ((< a -2) (set! a (+ a 4)) (set! n (- n 1))))
    (if (< n 0) (begin (set! o (- o 1)) (set! n (+ n 7))))
    (if (> n 6) (begin (set! o (+ o 1)) (set! n (- n 7))))
    (ly:make-pitch o n (/ a 4))))

#(define (naturalize music)
  (let* ((es (ly:music-property music 'elements))
         (e (ly:music-property music 'element))
         (p (ly:music-property music 'pitch)))
    (if (pair? es)
        (ly:music-set-property!
         music 'elements
         (map (lambda (x) (naturalize x)) es)))
    (if (ly:music? e)
        (ly:music-set-property!
         music 'element
         (naturalize e)))
    (if (ly:pitch? p)
        (begin
          (set! p (naturalize-pitch p))
          (ly:music-set-property! music 'pitch p)))
    music))

naturalizeMusic =
#(define-music-function (parser location m)
					(ly:music?)
			(naturalize m))

music = \relative c' { c4 d e g }

\score {
  \new Staff {
    \transpose c ais { \music }
    \naturalizeMusic \transpose c ais { \music }
    \transpose c deses { \music }
    \naturalizeMusic \transpose c deses { \music }
  }
  \layout { }
}

Tweaking clef properties

The command \clef "treble_8" is equivalent to setting clefGlyph, clefPosition (which controls the vertical position of the clef), middleCPosition and clefOctavation. A clef is printed when any of the properties except middleCPosition are changed.

Note that changing the glyph, the position of the clef, or the octavation does not in itself change the position of subsequent notes on the staff: the position of middle C must also be specified to do this. The positional parameters are relative to the staff center line, positive numbers displacing upwards, counting one for each line and space. The clefOctavation value would normally be set to 7, -7, 15 or -15, but other values are valid.

When a clef change takes place at a line break the new clef symbol is printed at both the end of the previous line and the beginning of the new line by default. If the warning clef at the end of the previous line is not required it can be suppressed by setting the Staff property explicitClefVisibility to the value end-of-line-invisible. The default behavior can be recovered with \unset Staff.explicitClefVisibility.

The following examples show the possibilities when setting these properties manually. On the first line, the manual changes preserve the standard relative positioning of clefs and notes, whereas on the second line, they do not.

\layout { ragged-right = ##t }

{
  % The default treble clef
  c'1
  % The standard bass clef
  \set Staff.clefGlyph = #"clefs.F"
  \set Staff.clefPosition = #2
  \set Staff.middleCPosition = #6
  c'1
  % The baritone clef
  \set Staff.clefGlyph = #"clefs.C"
  \set Staff.clefPosition = #4
  \set Staff.middleCPosition = #4
  c'1
  % The standard choral tenor clef
  \set Staff.clefGlyph = #"clefs.G"
  \set Staff.clefPosition = #-2
  \set Staff.clefOctavation = #-7
  \set Staff.middleCPosition = #1
  c'1
  % A non-standard clef
  \set Staff.clefPosition = #0
  \set Staff.clefOctavation = #0
  \set Staff.middleCPosition = #-4
  c'1 \break

  % The following clef changes do not preserve
  % the normal relationship between notes and clefs:

  \set Staff.clefGlyph = #"clefs.F"
  \set Staff.clefPosition = #2
  c'1
  \set Staff.clefGlyph = #"clefs.G"
  c'1
  \set Staff.clefGlyph = #"clefs.C"
  c'1
  \set Staff.clefOctavation = #7
  c'1
  \set Staff.clefOctavation = #0
  \set Staff.clefPosition = #0
  c'1
  
  % Here we go back to the normal clef:

  \set Staff.middleCPosition = #0
  c'1
}

Rhythms

These snippets illustrate the Notation Reference, section Rhythms.

Adding beams, slurs, ties etc. when using tuplet and non-tuplet rythms.

LilyPond syntax can involve many unusual placements for parentheses, brackets etc., which might sometimes have to be interleaved. For example, when entering a manual beam, the left square bracket has to be placed after the starting note and its duration, not before. Similarly, the right square bracket should directly follow the note which is to be at the end of the requested beaming, even if this note happens to be inside a tuplet section. This snippet demonstrates how to combine manual beaming, manual slurs, ties and phrasing slurs with tuplet sections (enclosed within curly braces).

{
  r16[ g16 \times 2/3 { r16 e'8] }
  g16( a \times 2/3 { b d e') }
  g8[( a \times 2/3 { b d') e']~ }
  \time 2/4
  \times 4/5 { e'32\( a b d' e' } a'4.\)
}

Adding drum parts

Using the powerful pre-configured tools such as the \drummode function and the DrumStaff context, inputting drum parts is quite easy: drums are placed at their own staff positions (with a special clef symbol) and have note heads according to the drum. Attaching an extra symbol to the drum or restricting the number of lines is possible.

drh = \drummode { cymc4.^"crash" hhc16^"h.h." hh hhc8 hho hhc8 hh16 hh hhc4 r4 r2 }
drl = \drummode { bd4 sn8 bd bd4 << bd ss >>  bd8 tommh tommh bd toml toml bd tomfh16 tomfh }
timb = \drummode { timh4 ssh timl8 ssh r timh r4 ssh8 timl r4 cb8 cb }

\score {
  <<
    \new DrumStaff \with {
      drumStyleTable = #timbales-style
      \override StaffSymbol #'line-count = #2
      \override BarLine #'bar-size = #2
    } <<
      \set Staff.instrumentName = #"timbales"
      \timb
    >>
    \new DrumStaff <<
      \set Staff.instrumentName = #"drums"
      \new DrumVoice { \stemUp \drh }
      \new DrumVoice { \stemDown \drl }
    >>
  >>
  \layout { }
  \midi {
    \context {
      \Score
      tempoWholesPerMinute = #(ly:make-moment 120 4)
    }
  }
}

Automatic beam subdivisions

Beams can be subdivided automatically. By setting the property subdivideBeams, beams are subdivided at beat positions (as specified in beatLength).

\score {
  \new Staff \relative c'' {
    << {
      \voiceOne
      \set subdivideBeams = ##t
      b32[ a g f c' b a g b^"subdivide beams" a g f c' b a g]
      \oneVoice
    }
    \new Voice {
      \voiceTwo
      b32_"default"[ a g f c' b a g b a g f c' b a g]
    } >>
    \set beatLength = #(ly:make-moment 1 8)
    b32^"beatLength 1 8"[ a g f c' b a g]
    \set beatLength = #(ly:make-moment 1 16)
    b32^"beatLength 1 16"[ a g f c' b a g]
  }
}

Automatic beams two per two in 4/4 or 2/2 time signature

In a simple time signature of 2/2 or 4/4, 8th notes are beamed by default as two sets of four.

Using a macro which overrides the autobeaming behavior, this snippet changes the beaming to quarter note beats.

% Automatic beams two per two in 4/4 or 2/2 time signature
%              _____
% Default     | | | |
%              _   _
% Required    | | | |

% macro for beamed two per two in 2/2 and 4/4 time signature
qBeam = {
  #(override-auto-beam-setting '(end 1 8 * *) 1 4 'Staff)
  #(override-auto-beam-setting '(end 1 8 * *) 2 4 'Staff)
  #(override-auto-beam-setting '(end 1 8 * *) 3 4 'Staff)
}

\score {
  <<
    \new Staff \relative c'' {
      \time 4/4
      g8^\markup { without the macro } g g g g g g g
      g8 g g g4 g8 g g
    }
    %Use the macro
    \new Staff \relative c'' {
      \time 4/4
      \qBeam
      g8^\markup { with the macro } g g g g g g g
      g8 g g g4 g8 g g
    }
  >>
  \layout {
    \context {
      \Staff
      \override TimeSignature #'style = #'()
    }
  }
}

Beam endings in Score context

Beam-ending rules specified in the Score context apply to all staves, but can be modified at both Staff and Voice levels:

\relative c'' {
  \time 5/4
  % Set default beaming for all staves
  #(score-override-auto-beam-setting '(end * * 5 4) 3 8)
  #(score-override-auto-beam-setting '(end * * 5 4) 7 8)
  <<
    \new Staff {
      c8 c c c c c c c c c
    }
    \new Staff {
      % Modify beaming for just this staff
      #(override-auto-beam-setting '(end * * 5 4) 6 8 'Staff)
      #(revert-auto-beam-setting '(end * * 5 4) 7 8 'Staff)
      c8 c c c c c c c c c
    }
    \new Staff {
      % Inherit beaming from Score context
      <<
        {
          \voiceOne
          c8 c c c c c c c c c
        }
        % Modify beaming for this voice only
        \new Voice {
          \voiceTwo
          #(override-auto-beam-setting '(end * * 5 4) 6 8)
          #(revert-auto-beam-setting '(end * * 5 4) 7 8)
          a8 a a a a a a a a a
        }
      >>
    }
  >>
}

Beam grouping in 7/8 time

There are no default automatic beam groupings specified for 7/8 time, so if automatic beams are required the grouping must be specified. For example, to group all beams 2-3-2 in 7/8 time, specify beam endings at 2/8 and 5/8:

\relative c'' {
  \time 7/8
  % rhythm 2-3-2
  a8 a a a a a a
  #(override-auto-beam-setting '(end * * 7 8) 2 8)
  #(override-auto-beam-setting '(end * * 7 8) 5 8)
  a8 a a a a a a
}

Beams across line breaks

Line breaks are normally forbidden when beams cross bar lines. This behavior can be changed as shown:

\relative c'' {
  \override Beam #'breakable = ##t
  c8 c[ c] c[ c] c[ c] c[ \break  
  c8] c[ c] c[ c] c[ c] c
}

Changing beam knee gap

Kneed beams are inserted automatically when a large gap is detected between the note heads. This behavior can be tuned through the auto-knee-gap property. A kneed beam is drawn if the gap is larger than the value of auto-knee-gap plus the width of the beam object (which depends on the duration of the notes and the slope of the beam). By default auto-knee-gap is set to 5.5 staff spaces.

{
  f8 f''8 f8 f''8
  \override Beam #'auto-knee-gap = #6
  f8 f''8 f8 f''8
}

Changing form of multi-measure rests

If there are ten or fewer measures of rests, a series of longa and breve rests (called in German "Kirchenpausen" - church rests) is printed within the staff; otherwise a simple line is shown. This default number of ten may be changed by overriding the expand-limit property:

\relative c'' {
  \compressFullBarRests
  R1*2 | R1*5 | R1*9
  \override MultiMeasureRest #'expand-limit = #3
  R1*2 | R1*5 | R1*9
}

Changing text and spanner styles for text dynamics

The text used for crescendos and decrescendos can be changed by modifying the context properties crescendoText and decrescendoText. The style of the spanner line can be changed by modifying the 'style property of DynamicTextSpanner. The default value is 'hairpin, and other possible values include 'line, 'dashed-line and 'dotted-line:

\relative c'' {
  \set crescendoText = \markup { \italic { cresc. poco } }
  \set crescendoSpanner = #'text
  \override DynamicTextSpanner #'style = #'dotted-line
  a2\< a
  a2 a
  a2 a
  a2 a\mf
}

Changing the time signature without affecting the beaming

The \time command sets the properties timeSignatureFraction, beatLength, beatGrouping and measureLength in the Timing context, which is normally aliased to Score. Changing the value of timeSignatureFraction causes the new time signature symbol to be printed without changing any of the other properties:

\relative c'' {
  \time 3/4
  a16 a a a a a a a a a a a

  % Change time signature symbol but keep 3/4 beaming
  % due to unchanged underlying time signature
  \set Score.timeSignatureFraction = #'(12 . 16)
  a16 a a a a a a a a a a a

  \time 12/16
  % Lose 3/4 beaming now \time has been changed
  a16 a a a a a a a a a a a
}

Changing the tuplet number

By default, only the numerator of the tuplet number is printed over the tuplet bracket, i.e., the denominator of the argument to the \times command. Alternatively, num:den of the tuplet number may be printed, or the tuplet number may be suppressed altogether.

\relative c'' {
  \times 2/3 { c8 c c } \times 2/3 { c8 c c }
  \override TupletNumber #'text = #tuplet-number::calc-fraction-text
  \times 2/3 { c8 c c }
  \override TupletNumber #'stencil = ##f
  \times 2/3 { c8 c c }
}

Changing time signatures inside a polymetric section using `\scaleDurations`

The measureLength property, together with measurePosition, determines when a bar line is needed. However, when using \scaleDurations, the scaling of durations makes it difficult to change time signatures. In this case, measureLength should be set manually, using the ly:make-moment callback. The second argument must be the same as the second argument of \scaleDurations.

\layout {
  \context {
    \Score
    \remove "Timing_translator"
    \remove "Default_bar_line_engraver"
  }
  \context {
    \Staff
    \consists "Timing_translator"
    \consists "Default_bar_line_engraver"
  }
}

<<
  \new Staff {
    \scaleDurations #'(8 . 5) {
      \time 6/8
      \set Timing.measureLength = #(ly:make-moment 6 5)
      b8 b b b b b
      \time 2/4
      \set Timing.measureLength = #(ly:make-moment 4 5)
      b4 b
    }
  }
  \new Staff {
    \clef bass
    \time 2/4
    c2 d e f
  }
>>

Chant or psalms notation

This form of notation is used for the chant of the Psalms, where verses aren’t always the same length.

stemOn = { \override Staff.Stem #'transparent = ##f }
stemOff = { \override Staff.Stem #'transparent = ##t }

\score {
  \new Staff \with { \remove "Time_signature_engraver" }
  {
    \key g \minor
    \cadenzaOn
    \stemOff a'\breve bes'4 g'4
    \stemOn a'2 \bar "||"
    \stemOff a'\breve g'4 a'4
    \stemOn f'2 \bar "||"
    \stemOff a'\breve^\markup { \italic flexe }
    \stemOn g'2 \bar "||"
  }
}

Compound time signatures

Odd 20th century time signatures (such as "5/8") can often be played as compound time signatures (e.g. "3/8 + 2/8"), which combine two or more inequal metrics. LilyPond can make such music quite easy to read and play, by explicitly printing the compound time signatures and adapting the automatic beaming behavior. (Graphic measure grouping indications can also be added; see the appropriate snippet in this database.)

#(define (compound-time one two num)
  (markup #:override '(baseline-skip . 0) #:number
   (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num))))
  ))

\relative {  
  \override Staff.TimeSignature #'stencil = #ly:text-interface::print
  \override Staff.TimeSignature #'text = #(compound-time "2" "3" "8")
  \time 5/8
  #(override-auto-beam-setting '(end 1 8 5 8) 1 4)
  c8 d e fis gis
  c8 fis, gis e d
  c8 d e4 gis8
}

Conducting signs, measure grouping signs

Options to group beats within a bar are available through the Scheme function set-time-signature, which takes three arguments: the number of beats, the beat length, and the internal grouping of beats in the measure. If the Measure_grouping_engraver is included, the function will also create MeasureGrouping signs. Such signs ease reading rhythmically complex modern music. In the example, the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to set-time-signature as the third argument: '(2 2 2 3):

\score {
  \relative c'' {
    #(set-time-signature 9 8 '(2 2 2 3))
    #(revert-auto-beam-setting '(end * * 9 8) 3 8)
    #(override-auto-beam-setting '(end 1 8 9 8) 1 4)
    #(override-auto-beam-setting '(end 1 8 9 8) 2 4)
    #(override-auto-beam-setting '(end 1 8 9 8) 3 4)
    g8 g d d g g a( bes g) |
    #(set-time-signature 5 8 '(3 2))
    a4. g4
  }
  \layout {
    \context {
      \Staff
      \consists "Measure_grouping_engraver"
    }
  }
}

Controlling tuplet bracket visibility

The default behavior of tuplet-bracket visibility is to print a bracket unless there is a beam of the same length as the tuplet. To control the visibility of tuplet brackets, set the property 'bracket-visibility to either #t (always print a bracket), #f (never print a bracket) or #'if-no-beam (only print a bracket if there is no beam).

music = \relative c'' {
  \times 2/3 { c16[ d e } f8]
  \times 2/3 { c8 d e }
  \times 2/3 { c4 d e }
}

\new Voice {
  \relative c' {
    << \music s4^"default" >>
    \override TupletBracket #'bracket-visibility = #'if-no-beam
    << \music s4^"'if-no-beam" >>
    \override TupletBracket #'bracket-visibility = ##t
    << \music s4^"#t" >>
    \override TupletBracket #'bracket-visibility = ##f
    << \music s4^"#f" >>
  }
}

Engraving ties manually

Ties may be engraved manually by changing the tie-configuration property of the TieColumn object. The first number indicates the distance from the center of the staff in staff-spaces, and the second number indicates the direction (1 = up, -1 = down).

\relative c' {
  <c e g>2 ~ <c e g>
  \override TieColumn #'tie-configuration =
    #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
  <c e g> ~ <c e g>
}

Entering several tuplets using only one \times command

The property tupletSpannerDuration sets how long each of the tuplets contained within the brackets after \times should last. Many consecutive tuplets can then be placed within a single \times expression, thus saving typing.

In the example, two triplets are shown, while \times was entered only once.

For more information about make-moment, see "Time administration".

\relative c' {
  \time 2/4
  \set tupletSpannerDuration = #(ly:make-moment 1 4)
  \times 2/3 { c8 c c c c c }
}

Flat flags and beam nibs

Flat flags on lone notes and beam nibs at the ends of beamed figures are both possible with a combination of stemLeftBeamCount, stemRightBeamCount and paired [ ] beam indicators.

For right-pointing flat flags on lone notes, use paired [ ] beam indicators and set stemLeftBeamCount to zero (see Example 1).

For left-pointing flat flags, set stemRightBeamCount instead (Example 2).

For right-pointing nibs at the end of a run of beamed notes, set stemRightBeamCount to a positive value. And for left-pointing nibs at the start of a run of beamed notes, set stemLeftBeamCount instead (Example 3).

Sometimes it may make sense for a lone note surrounded by rests to carry both a left- and right-pointing flat flag. Do this with paired [ ] beam indicators alone (Example 4).

(Note that \set stemLeftBeamCountis always equivalent to \once \set. In other words, the beam count settings aren’t "sticky", so the pair of flat flags attached to the lone c'16 [ ] in the last example have nothing to do with the \set two notes prior.)

\score {
<<
% Example 1
\new RhythmicStaff {
  \set stemLeftBeamCount = #0
  c'16 [ ]
  r8.
}

% Example 2
\new RhythmicStaff {
  r8.
  \set stemRightBeamCount = #0
  c'16 [ ]
}

% Example 3
\new RhythmicStaff {
  c'16
  c'16
  \set stemRightBeamCount = #2
  c'16
  r16
  r16
  \set stemLeftBeamCount = #2
  c'16
  c'16
  c'16
}

% Example 4
\new RhythmicStaff {
   c'16
   c'16
   \set stemRightBeamCount = #2
   c'16
   r16
   c'16 [ ]
   r16
   \set stemLeftBeamCount = #2
   c'16
   c'16
}
>>
}

Forcing rehearsal marks to start from a given letter or number

This snippet demonstrates how to obtain automatic ordered rehearsal marks, but from the letter or number you want.

\relative c''{
  c1 \mark \default
  c1 \mark \default
  c1 \mark \default
  c1 \mark #14
  c1 \mark \default
  c1 \mark \default
  c1 \mark \default
  c1 \mark \default
  \break
  \set Score.markFormatter = #format-mark-numbers
  c1 \mark #1
  c1 \mark \default
  c1 \mark \default
  c1 \mark \default
  c1 \mark #14
  c1 \mark \default
  c1 \mark \default
  c1 \mark \default
  c1 \mark \default
}

Grouping beats

Beaming patterns may be altered with the beatGrouping property:

\relative c'' {
  \time 5/16
  \set beatGrouping = #'(2 3)
  c8[^"(2+3)" c16 c8]
  \set beatGrouping = #'(3 2)
  c8[^"(3+2)" c16 c8]
}

Guitar strum rhythms

For guitar music, it is possible to show strum rhythms, along with melody notes, chord names, and fret diagrams.

\include "predefined-guitar-fretboards.ly"
<<
  \new ChordNames {
    \chordmode {
      c1 f g c
    }
  }

  \new FretBoards {
    \chordmode {
      c1 f g c
    }
  }


  \new Voice \with {
    \consists Pitch_squash_engraver
  } \relative c'' {
    \improvisationOn
    c4 c8 c c4 c8 c
    f4 f8 f f4 f8 f
    g4 g8 g g4 g8 g
    c4 c8 c c4 c8 c
  }


  \new Voice = "melody" {
    \relative c'' {
      \improvisationOff
      c2 e4 e4
      f2. r4
      g2. a4
      e4 c2.
    }
  }

  \new Lyrics {
    \lyricsto "melody" {
      This is my song.
      I like to sing.
    }
  }
>>

Heavily customized polymetric time signatures

Though the polymetric time signature shown was not the most essential item here, it has been included to show the beat of this piece (which is the template of a real Balkan song!).

#(define (set-time-signature one two three four five six seven eight nine ten
          eleven num)
          (markup #:override '(baseline-skip . 0) #:number
          (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num))
          #:vcenter "+" (#:column (three num)) #:vcenter "+" (#:column (four num))
          #:vcenter "+" (#:column (five num)) #:vcenter "+" (#:column (six num))
          #:vcenter "+" (#:column (seven num)) #:vcenter "+" (#:column (eight num))
          #:vcenter "+" (#:column (nine num)) #:vcenter "+" (#:column (ten num))
          #:vcenter "+" (#:column (eleven num))))
          ))


melody = \relative c'' {
  \set Staff.instrumentName = #"Bb Sop."
  \key g \major
  \time 25/8
  \override Staff.TimeSignature #'stencil = #ly:text-interface::print
  \override Staff.TimeSignature #'text = #(set-time-signature "3" "2" "2" "3"
    "2" "2" "2" "2" "3" "2" "2" "8" )
  \set Staff.beatGrouping = #'(3 2 2 3 2 2 2 2 3 2 2)
  #(override-auto-beam-setting '(end * * 25 8) 3 8)
  #(override-auto-beam-setting '(end * * 25 8) 5 8)
  #(override-auto-beam-setting '(end * * 25 8) 7 8)
  #(override-auto-beam-setting '(end * * 25 8) 10 8)
  #(override-auto-beam-setting '(end * * 25 8) 12 8)
  #(override-auto-beam-setting '(end * * 25 8) 14 8)
  #(override-auto-beam-setting '(end * * 25 8) 16 8)
  #(override-auto-beam-setting '(end * * 25 8) 18 8)
  #(override-auto-beam-setting '(end * * 25 8) 21 8)
  #(override-auto-beam-setting '(end * * 25 8) 23 8)

  c8 c c d4 c8 c b c b a4 g fis8 e d c b' c d e4-^ fis8 g \break
  c,4. d4 c4 d4. c4 d c2 d4. e4-^ d4
  c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break
  c4. d4 c4 d4. c4 d c2 d4. e4-^ d4
  c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break
}

drum = \new DrumStaff \drummode {
  \bar "|:" bd4.^\markup { "Drums" } sn4 bd \bar ":" sn4.
  bd4 sn \bar ":" bd sn bd4. sn4 bd \bar ":|"
}

{
  \melody
  \drum
}

Making an object invisible with the transparent property

Setting the 'transparent property will cause an object to be printed in "invisible ink": the object is not printed, but all its other behavior is retained. The object still takes up space, it takes part in collisions, and slurs, ties and beams can be attached to it.

This snippet demonstrates how to connect different voices using ties. Normally, ties only connect two notes in the same voice. By introducing a tie in a different voice, and blanking the first up-stem in that voice, the tie appears to cross voices. To prevent the blanked stem’s flag from interfering with tie positioning, the stem is extended.

\relative c'' {
  \time 2/4
  << {
    \once \override Stem #'transparent = ##t
    \once \override Stem #'length = #8
    b8 ~ b\noBeam
    \once \override Stem #'transparent = ##t
    \once \override Stem #'length = #8
    g8 ~ g\noBeam
  }
  \\
  {
    b8 g g e
  } >>
}

Manually controlling beam positions

Beam positions may be controlled manually, by overriding the positions setting of the Beam grob.

\relative c' {
  \time 2/4
  % from upper staffline (position 4) to center (position 0)
  \override Beam #'positions = #'(2 . 0)
  c8 c
  % from center to one above center (position 2)
  \override Beam #'positions = #'(0 . 1)
  c8 c
}

Merging multi-measure rests in a polyphonic part

When using multi-measure rests in a polyphonic staff, the rests will be placed differently depending on the voice they belong to. However they can be printed on the same staff line, using the following setting.

normalPos= \revert MultiMeasureRest #'staff-position

{
  <<
    {
       c''1
       R1
       c''1
       \normalPos
       R1
     }
     \\
     {
       c'1
       R1
       c'1
       \normalPos
       R1
     }
  >>
}

Modifying tuplet bracket length

Tuplet brackets can be made to run to prefatory matter or the next note. Default tuplet brackets end at the right edge of the final note of the tuplet; full-length tuplet brackets extend farther to the right, either to cover all the non-rhythmic notation up to the following note, or to cover only the whitespace before the next item of notation, be that a clef, time signature, key signature, or another note. The example shows how to switch tuplets to full length mode and how to modify what material they cover.

\new RhythmicStaff {
  % Set tuplets to be extendable...
  \set tupletFullLength = ##t
  % ...to cover all items up to the next note
  \set tupletFullLengthNote = ##t
  \time 2/4
  \times 2/3 { c4 c c }
  % ...or to cover just whitespace
  \set tupletFullLengthNote = ##f
  \time 4/4
  \times 4/5 { c4 c1 }
  \time 3/4
  c2.
}

Multi-measure rest markup

Markups attached to a multi-measure rest will be centered above or below it. Long markups attached to multi-measure rests do not cause the measure to expand. To expand a multi-measure rest to fit the markup, use a spacer rest with an attached markup before the multi-measure rest.

Note that the spacer rest causes a bar line to be inserted. Text attached to a spacer rest in this way is left-aligned to the position where the note would be placed in the measure, but if the measure length is determined by the length of the text, the text will appear to be centered.

\relative c' {
  \compressFullBarRests
  \textLengthOn
  s1*0^\markup { [MAJOR GENERAL] }
  R1*19
  s1*0_\markup { \italic { Cue: ... it is yours } }
  s1*0^\markup { A }
  R1*30^\markup { [MABEL] }
  \textLengthOff
  c4^\markup { CHORUS } d f c
}

Permitting line breaks within beamed tuplets

This artificial example shows how both manual and automatic line breaks may be permitted to within a beamed tuplet. Note that such off-beat tuplets have to be beamed manually.

\layout {
  \context {
    \Voice
    % Permit line breaks within tuplets
    \remove "Forbid_line_break_engraver"
    % Allow beams to be broken at line breaks
    \override Beam #'breakable = ##t
  }
}
\relative c'' {
  a8
  \repeat unfold 8 { \times 2/3 { c[ b a] } }
  % Insert a manual line break within a tuplet
  \times 2/3 { c[ b \bar "" \break a] }
  \repeat unfold 2 { \times 2/3 { c[ b a] } }
  c8
}

Positioning multi-measure rests

Unlike ordinary rests, there is no predefined command to change the staff position of a multi-measure rest symbol of either form by attaching it to a note. However, in polyphonic music multi-measure rests in odd-numbered and even-numbered voices are vertically separated. The positioning of multi-measure rests can be controlled as follows:

\relative c'' {
  % Multi-measure rests by default are set under the second line
  R1
  % They can be moved with an override
  \override MultiMeasureRest #'staff-position = #-2
  R1
  % A value of 0 is the default position;
  % the following trick moves the rest to the center line
  \override MultiMeasureRest #'staff-position = #-0.01
  R1
  % Multi-measure rests in odd-numbered voices are under the top line
  << { R1 } \\ { a1 } >>
  % Multi-measure rests in even-numbered voices are under the bottom line
  << { c1 } \\ { R1 } >>
  % They remain separated even in empty measures
  << { R1 } \\ { R1 } >>
  % This brings them together even though there are two voices
  \compressFullBarRests
  <<
    \revert MultiMeasureRest #'staff-position
    { R1*3 }
    \\
    \revert MultiMeasureRest #'staff-position
    { R1*3 }
  >>
}

Printing metronome and rehearsal marks below the staff

By default, metronome and rehearsal marks are printed above the staff. To place them below the staff simply set the direction property of MetronomeMark or RehearsalMark appropriately.

\layout { ragged-right = ##f }

{
  % Metronome marks below the staff 
  \override Score.MetronomeMark #'direction = #DOWN
  \tempo 8. = 120
  c''1

  % Rehearsal marks below the staff
  \override Score.RehearsalMark #'direction = #DOWN
  \mark \default
  c''1
}

Printing music with different time signatures

In the following snippet, two parts have a completely different time signature, yet remain synchronized. The bar lines can no longer be printed at the Score level; to allow independent bar lines in each part, the Barline_engraver is moved from the Score context to the Staff context.

\paper {
  indent = #0
  ragged-right = ##t
}

global = { \time 3/4 { s2.*3 } \bar "" \break { s2.*3 } }

\layout {
  \context {
    \Score
    \remove "Timing_translator"
    \remove "Time_signature_engraver"
    \remove "Default_bar_line_engraver"
    \override SpacingSpanner #'uniform-stretching = ##t
    \override SpacingSpanner #'strict-note-spacing = ##t
    proportionalNotationDuration = #(ly:make-moment 1 64)
  }
  \context {
    \Staff
    \consists "Timing_translator"
    \consists "Default_bar_line_engraver"
    \consists "Time_signature_engraver"
  }
  \context {
    \Voice
    \remove "Forbid_line_break_engraver"
    tupletFullLength = ##t
  }
}

Bassklarinette = \new Staff <<
  \global {
    \bar "|"
    \clef treble
    \time 3/8
    d''4.
    
    \bar "|"
    \time 3/4
    r8 des''2( c''8)
    
    \bar "|"
    \time 7/8
    r4. ees''2 ~
    
    \bar "|"
    \time 2/4
    \tupletUp
    \times 2/3 { ees''4 r4 d''4 ~ }
    
    \bar "|"
    \time 3/8
    \tupletUp
    \times 3/4 { d''4 r4 }
    
    \bar "|"
    \time 2/4
    e''2
    
    \bar "|"
    \time 3/8
    es''4.
    
    \bar "|"
    \time 3/4
    r8 d''2 r8
    \bar "|"
  }
>>

Perkussion = \new StaffGroup <<
  \new Staff <<
    \global {
      \bar "|"
      \clef percussion
      \time 3/4
      r4 c'2 ~
      
      \bar "|"
      c'2.
      
      \bar "|"
      R2.
      
      \bar "|"
      r2 g'4 ~
      
      \bar "|"
      g'2. ~
      
      \bar "|"
      g'2.
    }
  >>
  \new Staff <<
    \global {
      \bar "|"
      \clef percussion
      \time 3/4
      R2.
      
      \bar "|"
      g'2. ~
      
      \bar "|"
      g'2.
      
      \bar "|"
      r4 g'2 ~
      
      \bar "|"
      g'2 r4
      
      \bar "|"
      g'2.
    }
  >>
>>

\score {
  <<  \Bassklarinette \Perkussion >>
}

Rest styles

Rests may be used in various styles.

\layout {
  indent = 0.0
  \context {
    \Staff
    \remove "Time_signature_engraver"
  }
}

\relative c {
  \set Score.timing = ##f
  \override Staff.Rest #'style = #'mensural
  r\maxima^\markup \typewriter { mensural }
  r\longa r\breve r1 r2 r4 r8 r16 r32 r64 s128 s128
  \bar ""
  
  \override Staff.Rest #'style = #'neomensural
  r\maxima^\markup \typewriter { neomensural }
  r\longa r\breve r1 r2 r4 r8 r16 r32 r64 s128 s128
  \bar ""
  
  \override Staff.Rest #'style = #'classical
  r\maxima^\markup \typewriter { classical }
  r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
  \bar ""
  
  \override Staff.Rest  #'style = #'default
  r\maxima^\markup \typewriter { default }
  r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
}

Reverting default beam endings

To typeset beams grouped 3-4-3-2 in 12/8 it is necessary first to override the default beam endings in 12/8, and then to set up the new beaming endings:

\relative c'' {
  \time 12/8

  % Default beaming
  a8 a a a a a a a a a a a

  % Revert default values in scm/auto-beam.scm for 12/8 time
  #(revert-auto-beam-setting '(end * * 12 8) 3 8)
  #(revert-auto-beam-setting '(end * * 12 8) 3 4)
  #(revert-auto-beam-setting '(end * * 12 8) 9 8)
  a8 a a a a a a a a a a a

  % Set new values for beam endings
  #(override-auto-beam-setting '(end * * 12 8) 3 8)
  #(override-auto-beam-setting '(end * * 12 8) 7 8)
  #(override-auto-beam-setting '(end * * 12 8) 10 8)
  a8 a a a a a a a a a a a
}

Rhythmic slashes

In "simple" lead-sheets, sometimes no actual notes are written, instead only "rhythmic patterns" and chords above the measures are notated giving the structure of a song. Such a feature is for example useful while creating/transcribing the structure of a song and also when sharing lead sheets with guitarists or jazz musicians. The standard support for this using \repeat percent is unsuitable here since the first beat has to be an ordinary note or rest. This example shows two solutions to this problem, by redefining ordinary rests to be printed as slashes. (If the duration of each beat is not a quarter note, replace the r4 in the definitions with a rest of the appropriate duration).

% Macro to print single slash
rs = {
  \once \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash
  \once \override Rest #'thickness = #'0.48
  \once \override Rest #'slope = #'1.7
  r4
}

% Function to print a specified number of slashes
comp = #(define-music-function (parser location count) ( integer?)
  #{
    \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash
    \override Rest #'thickness = #'0.48
    \override Rest #'slope = #'1.7
    \repeat unfold $count { r4 }
    \revert Rest #'stencil
  #}
)

\score{
  \relative c' {
    c d e f |
    \rs \rs \rs \rs |
    \comp #4 |
  }
}

Skips in lyric mode (2)

Although s skips cannot be used in \lyricmode (it is taken to be a literal "s", not a space), double quotes ("") or underscores (_) are available.So for example:

<<
  \relative c'' { a4 b c d }
  \new Lyrics \lyricmode { a4 "" _ gap }
>>

Skips in lyric mode

The s syntax for skips is only available in note mode and chord mode. In other situations, for example, when entering lyrics, using the \skip command is recommended.

<<
  \relative { a'1 a }
  \new Lyrics \lyricmode { \skip 1 bla1 }
>>

Specifying context with beatGrouping

By specifying the context, the effect of beatGrouping can be limited to the context specified, and the values which may have been set in higher-level contexts can be overridden:

\score {
  \new Staff <<
    \time 7/8
    \new Voice {
      \relative c'' {
        \set Staff.beatGrouping = #'(2 3 2)
        a8 a a a a a a
      }
    }
    \new Voice {
      \relative c' {
        \voiceTwo
        \set Voice.beatGrouping = #'(1 3 3)
        f8 f f f f f f
      }
    }
  >>
}

Stemlets

In some notational conventions beams are allowed to extend over rests. Depending on preference, these beams may drop ’stemlets’ to help the eye appreciate the rhythm better, and in some modern music the rest itself is omitted and only the stemlet remains.

This snippet shows a progression from traditional notation, to beams over the rest, to stemlets over the rest, to stemlets alone. Stemlets are generated by overriding the 'stemlet-length property of Stem, while rests are hidden by setting 'transparent = ##t.

Some \markup elements are included in the source to highlight the different notations.

\paper { ragged-right = ##f }

{
  c'16^\markup { traditional } d' r f'
  g'16[^\markup { beams over rests } f' r d']
  
  % N.B. use Score.Stem to set for the whole score.
  \override Staff.Stem #'stemlet-length = #0.75
  
  c'16[^\markup { stemlets over rests } d' r f']
  g'16[^\markup { stemlets and no rests } f' \once \override Rest #'transparent = ##t r d']
}

Sub-dividing beams

The beams of consecutive 16th (or shorter) notes are, by default, not sub-divided. That is, the three (or more) beams stretch unbroken over entire groups of notes. This behavior can be modified to sub-divide the beams into sub-groups by setting the property subdivideBeams. When set, multiple beams will be sub-divided at intervals defined by the current value of beatLength by reducing the multiple beams to just one beam between the sub-groups. Note that beatLength defaults to one over the denominator of the current time signature if not set explicitly. It must be set to a fraction giving the duration of the beam sub-group using the make-moment function, as shown here:

\relative c'' {
  c32[ c c c c c c c]
  \set subdivideBeams = ##t
  c32[ c c c c c c c]

  % Set beam sub-group length to an eighth note
  \set beatLength = #(ly:make-moment 1 8)
  c32[ c c c c c c c]

  % Set beam sub-group length to a sixteenth note
  \set beatLength = #(ly:make-moment 1 16)
  c32[ c c c c c c c]
}

Three-sided box

This example shows how to add a markup command to get a three sided box around some text (or other markup).

% New command to add a three sided box, with sides north, west and south
% Based on the box-stencil command defined in scm/stencil.scm
% Note that you use ";" to comment a line in Scheme
#(define-public (NWS-box-stencil stencil thickness padding)
  "Add a box around STENCIL, producing a new stencil."
  (let* ((x-ext (interval-widen (ly:stencil-extent stencil 0) padding))
	 (y-ext (interval-widen (ly:stencil-extent stencil 1) padding))
	 (y-rule (make-filled-box-stencil (cons 0 thickness) y-ext))
	 (x-rule (make-filled-box-stencil
		  (interval-widen x-ext thickness) (cons 0 thickness))))
;    (set! stencil (ly:stencil-combine-at-edge stencil X 1 y-rule padding))
    (set! stencil (ly:stencil-combine-at-edge stencil X -1 y-rule padding))
    (set! stencil (ly:stencil-combine-at-edge stencil Y 1 x-rule 0.0))  
    (set! stencil (ly:stencil-combine-at-edge stencil Y -1 x-rule 0.0))
    stencil))

% The corresponding markup command, based on the \box command defined 
% in scm/define-markup-commands.scm
#(define-markup-command (NWS-box layout props arg) (markup?)
  "Draw a box round @var{arg}.  Looks at @code{thickness},
@code{box-padding} and @code{font-size} properties to determine line
thickness and padding around the markup."
  
  (let* ((th (chain-assoc-get 'thickness props  0.1))
	 (size (chain-assoc-get 'font-size props 0))
	 (pad (* (magstep size)
		 (chain-assoc-get 'box-padding props 0.2)))
	 (m (interpret-markup layout props arg)))
    (NWS-box-stencil m th pad)))


% Test it:

\layout { ragged-right = ##f }

\relative c' { 
  c2^\markup { \NWS-box ABCD }
  c^\markup { \NWS-box \note #"4" #1.0 } 
}

Using beatLength and beatGrouping

The property measureLength determines where bar lines should be inserted and, with beatLength and beatGrouping, how automatic beams should be generated for beam durations and time signatures for which no beam-ending rules are defined. This example shows several ways of controlling beaming by setting these properties. The explanations are shown as comments in the code.

\relative c'' {
  \time 3/4
  % The default in 3/4 time is to beam in three groups
  % each of a quarter note length
  a16 a a a a a a a a a a a

  \time 12/16
  % No auto-beaming is defined for 12/16
  a16 a a a a a a a a a a a

  \time 3/4
  % Change time signature symbol, but retain underlying 3/4 beaming
  \set Score.timeSignatureFraction = #'(12 . 16)
  a16 a a a a a a a a a a a

  % The 3/4 time default grouping of (1 1 1) and beatLength of 1/8
  % are not consistent with a measureLength of 3/4, so the beams
  % are grouped at beatLength intervals
  \set Score.beatLength = #(ly:make-moment 1 8)
  a16 a a a a a a a a a a a

  % Specify beams in groups of (3 3 2 3) 1/16th notes
  % 3+3+2+3=11, and 11*1/16<>3/4, so beatGrouping does not apply,
  % and beams are grouped at beatLength (1/16) intervals
  \set Score.beatLength = #(ly:make-moment 1 16)
  \set Score.beatGrouping = #'(3 3 2 3)
  a16 a a a a a a a a a a a

  % Specify beams in groups of (3 4 2 3) 1/16th notes
  % 3+4+2+3=12, and 12*1/16=3/4, so beatGrouping applies
  \set Score.beatLength = #(ly:make-moment 1 16)
  \set Score.beatGrouping = #'(3 4 2 3)
  a16 a a a a a a a a a a a
}

Using ties with arpeggios

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 tieWaitForNote property to #t. The same feature is also useful, for example, to tie a tremolo to a chord, but in principle, it can also be used for ordinary consecutive notes.

\relative c' {
  \set tieWaitForNote = ##t
  \grace { c16[ ~ e ~ g] ~ } <c, e g>2
  \repeat tremolo 8 { c32 ~ c' ~ } <c c,>1
  e8 ~ c ~ a ~ f ~ <e' c a f>2
  \tieUp
  c8 ~ a
  \tieDown
  \tieDotted
  g8 ~ c g2
}

Expressive marks

These snippets illustrate the Notation Reference, section Expressive marks.

Adding beams, slurs, ties etc. when using tuplet and non-tuplet rythms.

{
  r16[ g16 \times 2/3 { r16 e'8] }
  g16( a \times 2/3 { b d e') }
  g8[( a \times 2/3 { b d') e']~ }
  \time 2/4
  \times 4/5 { e'32\( a b d' e' } a'4.\)
}

Adding parentheses around an expressive mark or chordal note

The \parenthesize function is a special tweak that encloses objects in parentheses. The associated grob is Score.ParenthesesItem.

\relative c' {
  c2-\parenthesize ->
  \override ParenthesesItem #'padding = #0.1
  \override ParenthesesItem #'font-size = #-4
  <d \parenthesize fis a>2 
}

Adjusting the shape of falls and doits

The shortest-duration-space property may have to be tweaked to adjust the shape of falls and doits.

\relative c'' {
  \override Score.SpacingSpanner #'shortest-duration-space = #4.0
  c2-\bendAfter #+5
  c2-\bendAfter #-3
  c2-\bendAfter #+8
  c2-\bendAfter #-6
}

Breathing signs

Breathing signs are available in different tastes: commas (default), ticks, vees and "railroad tracks" (caesura).

\new Staff \relative c'' {
  \key es \major
  \time 3/4
  % this bar contains no \breathe
  << { g4 as g } \\ { es4 bes es } >> |
  % Modern notation:
  % by default, \breathe uses the rcomma, just as if saying:
  % \override BreathingSign #'text = #(make-musicglyph-markup "scripts.rcomma")
  << { g4 as g } \\ { es4 \breathe bes es } >> |
  
  % rvarcomma and lvarcomma are variations of the default rcomma and lcomma
  % N.B.: must use Staff context here, since we start a Voice below
  \override Staff.BreathingSign #'text = \markup { \musicglyph #"scripts.rvarcomma" }
  << { g4 as g } \\ { es4 \breathe bes es } >> |
  
  % vee
  \override BreathingSign #'text = \markup { \musicglyph #"scripts.upbow" }
  es8[ d es f g] \breathe f |
  
  % caesura
  \override BreathingSign #'text = \markup { \musicglyph #"scripts.caesura.curved" }
  es8[ d] \breathe es[ f g f] |
  es2 r4 \bar "||"
}

Broken crescendo hairpin

In order to make parts of a crescendo hairpin invisible, the following method is used: A white rectangle is drawn on top of the respective part of the crescendo hairpin, making it invisible. The rectangle is defined as postscript code within a text markup.

To fine-tune the position and size of the markup, the number preceding setgray in the postscript definition can be set to a value less than one, making it grey. The two numbers before scale in the postscript code are responsible for the width and height of the rectangle, the two numbers before translate change the x- and y-origin of the rectangle.

Make sure to put the hairpin in a lower layer than the text markup to draw the rectangle over the hairpin.

\relative c' {
  << {
    \dynamicUp
    \override DynamicLineSpanner #'staff-padding = #4
    r2 r16 c'8.\pp r4
  }
  \\
  {
    \override DynamicLineSpanner #'layer = #0
    des,2\mf\< ~
    \override TextScript #'layer = #2
    des16_\markup {
      \postscript #"
        1.9 -8 translate
        5 4 scale
        1 setgray
        0 0 moveto
        0 1 lineto
        1 1 lineto
        1 0 lineto
        0 0 lineto
        fill"
    }
    r8. des4 ~ des16->\sff
  } >>
}

Caesura ("railtracks") with fermata

A caesura is sometimes denoted by a double "railtracks" breath mark with a fermata sign positioned above. This snippet should present an optically pleasing combination of railtracks and fermata.

\relative c'' {
  c2.
  % construct the symbol
  \override BreathingSign #'text = \markup {
    \line {
      \musicglyph #"scripts.caesura.curved"
      \translate #'(-1.75 . 1.6)
      \musicglyph #"scripts.ufermata"
    }
  }
  \breathe c4
  % set the breathe mark back to normal
  \revert BreathingSign #'text
  c2. \breathe c4
  \bar "|."
}

Center text below hairpin dynamics

This example provides a function to typeset a hairpin (de)crescendo with some additional text below it, such as "molto" or "poco". The example also illustrates how to modify the way an object is normally printed, using some Scheme code.

hairpinWithCenteredText = #(define-music-function (parser location text) (markup?)
#{
  \override Voice.Hairpin #'stencil = #(lambda (grob)
  (ly:stencil-aligned-to
   (ly:stencil-combine-at-edge
    (ly:stencil-aligned-to (ly:hairpin::print grob) X CENTER)
    Y DOWN
    (ly:stencil-aligned-to (ly:text-interface::print grob) X CENTER))
   X LEFT))
  \override Voice.Hairpin #'text = $text
#})

hairpinMolto = \hairpinWithCenteredText \markup { \italic molto }
hairpinMore = \hairpinWithCenteredText \markup { \larger moltissimo }

\layout { ragged-right = ##f }

{
  \hairpinMolto c'2\< c'\f
  \hairpinMore  c'2\< c'\f
}

Changing \flageolet mark size

To make the \flageolet circle smaller use the following Scheme function.

smallFlageolet = #(let ((m (make-music 'ArticulationEvent
                          'articulation-type "flageolet")))
       (set! (ly:music-property m 'tweaks)
             (acons 'font-size -3
                    (ly:music-property m 'tweaks)))
       m)

\layout { ragged-right = ##f }

\relative c'' {
  d4^\flageolet_\markup { default size } d_\flageolet
  c4^\smallFlageolet_\markup { smaller } c_\smallFlageolet
}

Changing text and spanner styles for text dynamics

\relative c'' {
  \set crescendoText = \markup { \italic { cresc. poco } }
  \set crescendoSpanner = #'text
  \override DynamicTextSpanner #'style = #'dotted-line
  a2\< a
  a2 a
  a2 a
  a2 a\mf
}

Changing the appearance of a slur from solid to dotted or dashed

The appearance of slurs may be changed from solid to dotted or dashed.

\relative c' {
  c4( d e c)
  \slurDotted
  c4( d e c)
  \slurSolid
  c4( d e c)
  \slurDashed
  c4( d e c)
  \slurSolid
  c4( d e c)
}

Changing the breath mark symbol

The glyph of the breath mark can be tuned by overriding the text property of the BreathingSign layout object with any markup text.

\relative c'' {
  c2
  \override BreathingSign #'text = \markup { \musicglyph #"scripts.rvarcomma" }
  \breathe
  d2
}

Combining dynamics with markup texts

Some dynamics may involve text indications (such as "più forte" or "piano subito"). They can be produced using a \markup block.

piuF = \markup { \italic più \dynamic f }
\layout { ragged-right = ##f }
\relative c'' {
  c2\f c-\piuF
}

Contemporary glissando

A contemporary glissando without a final note can be typeset using a hidden note and cadenza timing.

\relative c'' {
  \time 3/4
  \override Glissando #'style = #'zigzag
  c4 c
  \cadenzaOn
  c4\glissando
  \hideNotes
  c,,4 
  \unHideNotes
  \cadenzaOff
  \bar "|"
}

Controlling the vertical ordering of scripts

The vertical ordering of scripts is controlled with the 'script-priority property. The lower this number, the closer it will be put to the note. In this example, the 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 Script) has the lowest, so it is on the inside. When two objects have the same priority, the order in which they are entered determines which one comes first.

\relative c''' {
  \once \override TextScript #'script-priority = #-100
  a2^\prall^\markup { \sharp }
  
  \once \override Script #'script-priority = #-100
  a2^\prall^\markup { \sharp }
}

Creating arpeggios across notes in different voices

An arpeggio can be drawn across notes in different voices on the same staff if the Span_arpeggio_engraver is moved to the Staff context:

\new Staff \with {
  \consists "Span_arpeggio_engraver"
}
\relative c' {
  \set Staff.connectArpeggios = ##t
  <<
    { <e' g>4\arpeggio <d f> <d f>2 } \\
    { <d, f>2\arpeggio <g b>2 }
  >>
}

Creating cross-staff arpeggios in a piano staff

In a PianoStaff, it is possible to let an arpeggio cross between the staves by setting the property PianoStaff.connectArpeggios.

\new PianoStaff \relative c'' <<
  \set PianoStaff.connectArpeggios = ##t
  \new Staff {
    <c e g c>4\arpeggio
    <g c e g>4\arpeggio
    <e g c e>4\arpeggio
    <c e g c>4\arpeggio
  }
  \new Staff {
    \clef bass
    \repeat unfold 4 {
      <c,, e g c>4\arpeggio
    }
  }
>>

Creating cross-staff arpeggios in other contexts

Cross-staff arpeggios can be created in contexts other than PianoStaff if the Span_arpeggio_engraver is included in the Score context.

\score {
  \new StaffGroup {
    \set Score.connectArpeggios = ##t
    <<
      \new Voice \relative c' {
        <c e>2\arpeggio
        <d f>2\arpeggio
        <c e>1\arpeggio
      }
      \new Voice  \relative c {
        \clef bass
         <c g'>2\arpeggio
         <b g'>2\arpeggio
         <c g'>1\arpeggio
      }
    >>
  }
  \layout {
    \context {
      \Score
      \consists "Span_arpeggio_engraver"
    }
  }
}

Creating "real" parenthesized dynamics

Although the easiest way to add parentheses to a dynamic mark is to use a \markup block, this method has a downside: the created objects will behave like text markups, and not like dynamics.

However, it is possible to create a similar object using the equivalent Scheme code (as described in "Markup programmer interface"), combined with the make-dynamic-script function. This way, the markup will be regarded as a dynamic, and therefore will remain compatible with commands such as \dynamicUp or \dynamicDown.

\paper { ragged-right = ##t }

parenF = #(make-dynamic-script (markup #:line (#:normal-text #:italic
           #:fontsize 2 "(" #:hspace -0.8 #:dynamic "f" #:normal-text
           #:italic #:fontsize 2 ")"
          )))
\relative c'' {
  c4\parenF c c \dynamicUp c\parenF
}

Creating simultaneous rehearsal marks

Unlike text scripts, rehearsal marks cannot be stacked at a particular point in a score: only one RehearsalMark object is created. Using an invisible measure and bar line, an extra rehearsal mark can be added, giving the appearance of two marks in the same column.

This method may also prove useful for placing rehearsal marks at both the end of one system and the start of the following system.

{
  \key a \major
  \set Score.markFormatter = #format-mark-box-letters
  \once \override Score.RehearsalMark #'outside-staff-priority = #5000
  \once \override Score.RehearsalMark #'self-alignment-X = #LEFT
  \once \override Score.RehearsalMark #'break-align-symbols = #'(key-signature)
  \mark \markup { \bold { Senza denti } }
  
  % the hidden measure and bar line
  \once \override Score.TimeSignature #'stencil = ##f
  \time 1/16
  s16 \bar ""
  
  \time 4/4
  \once \override Score.RehearsalMark #'self-alignment-X = #LEFT
  \once \override Score.RehearsalMark #'break-align-symbols = #'(bar-line)
  \mark \markup { \box \bold Intro }
  d'1
  \mark \default
  d'1
}

Creating slurs across voices

In some situations, it may be necessary to create slurs between notes from different voices.

The solution is to add invisible notes to one of the voices, using \hideNotes.

This example is measure 235 of the Ciaconna from Bach’s 2nd Partita for solo violin, BWV 1004.

\relative c' {
  << {
    d16( a') s a s a[ s a] s a[ s a]
  }
  \\
  {
    \slurUp
    bes,16[ s e](
    \hideNotes a)
    \unHideNotes f[(
    \hideNotes a)
    \unHideNotes fis](
    \hideNotes a)
    \unHideNotes g[(
    \hideNotes a)
    \unHideNotes gis](
    \hideNotes a)
  } >>
}

Creating text spanners

The \startTextSpan and \stopTextSpan commands allow the creation of text spanners as easily as pedal indications or octavations. Override some properties of the TextSpanner object to modify its output.

\paper { ragged-right = ##f }

\relative c'' {
  \override TextSpanner #'bound-details #'left #'text = #"bla"
  \override TextSpanner #'bound-details #'right #'text = #"blu"
  a4 \startTextSpan
  b4 c
  a4 \stopTextSpan
  
  \override TextSpanner #'style = #'line
  \once \override TextSpanner #'bound-details
    #'left #'stencil-align-dir-y = #CENTER
  a4 \startTextSpan
  b4 c
  a4 \stopTextSpan
  
  \override TextSpanner #'style = #'dashed-line
  \override TextSpanner #'bound-details #'left #'text =
    \markup { \draw-line #'(0 . 1) }
  \override TextSpanner #'bound-details #'right #'text =
    \markup { \draw-line #'(0 . -2) }
  \once \override TextSpanner #'bound-details #'right #'padding = #-2

  a4 \startTextSpan
  b4 c
  a4 \stopTextSpan
  
  \set Staff.middleCPosition = #-13
  \override TextSpanner #'dash-period = #10
  \override TextSpanner #'dash-fraction = #0.5
  \override TextSpanner #'thickness = #10
  a4 \startTextSpan
  b4 c
  a4 \stopTextSpan
}

Double glissando

To connect chords with glissando lines, attach a second glissando to a hidden voice.

\relative c {
  \clef bass
  <<
    {
      % new voice ( = \voiceOne), hidden
      \hideNotes
      % attach glissando to note heads
      e2\glissando g
    }
    \\
    { 
      % original voice with chords rearranged so that
      % glissando is attached to a & c
      <e a,>2\glissando <g c,>
    }
  >>
}

Hiding the extender line for text dynamics

Text style dynamic changes (such as cresc. and dim.) are printed with a dashed line showing their extent. This line can be suppressed in the following way:

\relative c'' {
  \override DynamicTextSpanner #'dash-period = #-1.0
  \crescTextCresc
  c1\< | d | b | c\!
}

Horizontally aligning custom dynamics (e.g. "sempre pp", "piu f", "subito p")

Some dynamic expressions involve additional text, like "sempre pp". Since lilypond aligns all dynamics centered on the note, the \pp would be displayed way after the note it applies to.

To correctly align the "sempre \pp" horizontally, so that it is aligned as if it were only the \pp, there are several approaches:

* Simply use \once\override DynamicText #'X-offset = #-9.2 before the note with the dynamics to manually shift it to the correct position. Drawback: This has to be done manually each time you use that dynamic markup... * Add some padding (#:hspace 7.1) into the definition of your custom dynamic mark, so that after lilypond center-aligns it, it is already correctly aligned. Drawback: The padding really takes up that space and does not allow any other markup or dynamics to be shown in that position.

* Shift the dynamic script \once\override ... #'X-offset = ... Drawback: \once\override is needed for every invocation!

* Set the dimensions of the additional text to 0 (using #:with-dimensions '(0 . 0) '(0 . 0)). Drawback: To lilypond "sempre" has no extent, so it might put other stuff there and create collisions (which are not detected by the collision dection!). Also, there seems to be some spacing, so it’s not exactly the same alignment as without the additional text

* Add an explicit shifting directly inside the scheme function for the dynamic-script.

* Set an explicit alignment inside the dynamic-script. By default, this won’t have any effect, only if one sets X-offset! Drawback: One needs to set DynamicText #'X-offset, which will apply to all dynamic texts! Also, it is aligned at the right edge of the additional text, not at the center of pp.

\header { title = "Horizontally aligning custom dynamics" }
\layout { ragged-right = ##t }

% Solution 1: Using a simple markup with a particular halign value
% Drawback: It's a markup, not a dynamic command, so \dynamicDown etc. will have no effect
semppMarkup = \markup { \halign #1.4 \italic "sempre" \dynamic "pp" }

% Solution 2: Using a dynamic script and shifting with \once\override ... #'X-offset = ..
% Drawback: \once\override needed for every invocation
semppK = #(make-dynamic-script (markup #:line( #:normal-text #:italic "sempre" #:dynamic "pp")))

% Solution 3: Padding the dynamic script so the center-alignment puts it to the correct position
% Drawback: the padding really reserves the space, nothing else can be there
semppT = #(
  make-dynamic-script (
    markup #:line (
      #:normal-text #:italic "sempre" #:dynamic "pp" #:hspace 7.1
    )
  )
)

% Solution 4: Dynamic, setting the dimensions of the additional text to 0
% Drawback: To lilypond "sempre" has no extent, so it might put other stuff there => collisions
% Drawback: Also, there seems to be some spacing, so it's not exactly the 
%           same alignment as without the additional text
semppM = #(make-dynamic-script (markup #:line( #:with-dimensions '(0 . 0) '(0 . 0) #:right-align #:normal-text #:italic "sempre" #:dynamic "pp")))

% Solution 5: Dynamic with explicit shifting inside the scheme function
semppG = #(make-dynamic-script
  (markup
    #:hspace 0 #:translate (cons -18.85 0 )
    #:line( #:normal-text #:italic "sempre" #:dynamic "pp"))
)

% Solution 6: Dynamic with explicit alignment. This has only effect, if one sets X-offset!
% Drawback: One needs to set DynamicText #'X-offset!
% Drawback: Aligned at the right edge of the additional text, not at the center of pp
semppMII = #(make-dynamic-script (markup #:line(#:right-align #:normal-text #:italic "sempre" #:dynamic "pp")))


\context StaffGroup <<
  \context Staff="s" << \set Staff.instrumentName = "Normal"
       \relative c'' { \key es \major c4\pp c\p c c | c\ff c c\pp c } 
  >>
  \context Staff="sMarkup" << \set Staff.instrumentName = \markup\column{"Normal" "Markup"}
       \relative c'' { \key es \major c4-\semppMarkup c\p c c | c\ff c c-\semppMarkup c} 
  >>
  \context Staff="sK" << \set Staff.instrumentName = \markup\column{"Explicit" "shifting"}
       \relative c'' { \key es \major 
           \once \override DynamicText #'X-offset = #-9.2 c4\semppK c\p c c | 
           c\ff c \once \override DynamicText #'X-offset = #-9.2  c\semppK c } 
  >>
  \context Staff="sT" << \set Staff.instrumentName = \markup\column{"Right" "padding"}
       \relative c'' { \key es \major c4\semppT c\p c c | c\ff c c\semppT c } 
  >>
  \context Staff="sM" << \set Staff.instrumentName = \markup\column{"Setting" "dimension" "to zero"}
       \relative c'' { \key es \major c4\semppM c\p c c | c\ff c c\semppM c } 
  >>
  \context Staff="sG" << \set Staff.instrumentName = \markup\column{"Shifting" "inside" "dynamics"}
       \relative c'' { \key es \major c4\semppG c\p c c | c\ff c c\semppG c} 
  >>
  \context Staff="sMII" << \set Staff.instrumentName = \markup\column{"Alignment" "inside" "dynamics"}
    \relative c'' { \key es \major 
      \override DynamicText #'X-offset = #0  % Setting to ##f (false) gives the same resul
      c4\semppMII c\p c c | c\ff c c\semppMII c } 
    >>
>>

Inserting a caesura

Caesura marks can be created by overriding the 'text property of the BreathingSign object. A curved caesura mark is also available.

\relative c'' {
  \override BreathingSign #'text = \markup {
    \musicglyph #"scripts.caesura.straight"
  }
  c8 e4. \breathe g8. e16 c4

  \override BreathingSign #'text = \markup {
    \musicglyph #"scripts.caesura.curved"
  }
  g8 e'4. \breathe g8. e16 c4
}

Laissez vibrer ties

Laissez vibrer ties have a fixed size. Their formatting can be tuned using 'tie-configuration.

\relative c' {
  <c e g>4\laissezVibrer r <c f g>\laissezVibrer r
  <c d f g>4\laissezVibrer r <c d f g>4.\laissezVibrer r8

  <c d e f>4\laissezVibrer r
  \override LaissezVibrerTieColumn #'tie-configuration
     = #`((-7 . ,DOWN)
          (-5 . ,DOWN)
          (-3 . ,UP)
          (-1 . ,UP))
  <c d e f>4\laissezVibrer r
}

Line arrows

Arrows can be applied to text-spanners and line-spanners (such as the Glissando).

\relative c'' {
  \override TextSpanner #'bound-padding = #1.0
  \override TextSpanner #'style = #'line
  \override TextSpanner #'bound-details #'right #'arrow = ##t
  \override TextSpanner #'bound-details #'left #'text = #"fof"
  \override TextSpanner #'bound-details #'right #'text = #"gag"
  \override TextSpanner #'bound-details #'right #'padding = #0.6

  \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #CENTER
  \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #CENTER
  
  \override Glissando #'bound-details #'right #'arrow = ##t
  \override Glissando #'arrow-length = #0.5
  \override Glissando #'arrow-width = #0.25
  
  a8\startTextSpan gis a4 b\glissando b,
  g'4 c\stopTextSpan c2
}

Modifying default values for articulation shorthand notation

The shorthands are defined in ‘ly/script-init.ly’, where the variables dashHat, dashPlus, dashDash, dashBar, dashLarger, dashDot, and dashUnderscore are assigned default values. The default values for the shorthands can be modified. For example, to associate the -+ (dashPlus) shorthand with the trill symbol instead of the default + symbol, assign the value trill to the variable dashPlus:

\relative c'' { c1-+ }
dashPlus = "trill"
\relative c'' { c1-+ }

Piano template with centered dynamics

Many piano scores have the dynamics centered between the two staves. This requires a bit of tweaking to implement, but since the template is right here, you don’t have to do the tweaking yourself.

global = {
  \key c \major
  \time 4/4
}

upper = \relative c'' {
  \clef treble
  a4 b c d
}

lower = \relative c {
  \clef bass
  a2 c
}

dynamics = {
  s2\fff\> s4 s\!\pp
}

pedal = {
  s2\sustainOn s\sustainOff
}

\score {
  \new PianoStaff = "PianoStaff_pf" <<
    \new Staff = "Staff_pfUpper" \upper
    \new Dynamics = "Dynamics_pf" \dynamics
    \new Staff = "Staff_pfLower" << \lower >>
    \new Dynamics = "pedal" \pedal
  >>

  \layout {
    % define Dynamics context
    \context {
      \type "Engraver_group"
      \name Dynamics
      \alias Voice
      \consists "Output_property_engraver"
      \consists "Piano_pedal_engraver"
      \consists "Script_engraver"
      \consists "New_dynamic_engraver"
      \consists "Dynamic_align_engraver"
      \consists "Text_engraver"
      \consists "Skip_event_swallow_translator"
      \consists "Axis_group_engraver"

      pedalSustainStrings = #'("Ped." "*Ped." "*")
      pedalUnaCordaStrings = #'("una corda" "" "tre corde")
      \override DynamicLineSpanner #'Y-offset = #0
      \override TextScript #'font-size = #2
      \override TextScript #'font-shape = #'italic
      \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
    }
    % modify PianoStaff context to accept Dynamics context
    \context {
      \PianoStaff
      \accepts Dynamics
    }
  }
}

\score {
  \new PianoStaff = "PianoStaff_pf" <<
    \new Staff = "Staff_pfUpper" << \global \upper \dynamics \pedal >>
    \new Staff = "Staff_pfLower" << \global \lower \dynamics \pedal >>
  >>
  \midi { }
}

Printing hairpins using al niente notation

Hairpins may be printed with a circled tip (al niente notation) by setting the circled-tip property of the Hairpin object to #t.

\relative c'' {
  \override Hairpin #'circled-tip = ##t
  c2\< c\!
  c4\> c\< c2\!
}

Printing metronome and rehearsal marks below the staff

By default, metronome and rehearsal marks are printed above the staff. To place them below the staff simply set the direction property of MetronomeMark or RehearsalMark appropriately.

\layout { ragged-right = ##f }

{
  % Metronome marks below the staff 
  \override Score.MetronomeMark #'direction = #DOWN
  \tempo 8. = 120
  c''1

  % Rehearsal marks below the staff
  \override Score.RehearsalMark #'direction = #DOWN
  \mark \default
  c''1
}

Setting hairpin behavior at bar lines

If the note which ends a hairpin falls on a downbeat, the hairpin stops at the bar line immediately preceding. This behavior can be controlled by overriding the 'to-barline property.

\relative c'' {
  e4\< e2.
  e1\!
  \override Hairpin #'to-barline = ##f
  e4\< e2.
  e1\!
}

Setting the minimum length of hairpins

If hairpins are too short, they can be lengthened by modifying the minimum-length property of the Hairpin object.

\relative c'' {
  c4\< c\! d\> e\!
  \override Hairpin #'minimum-length = #5
  << f1 { s4 s\< s\> s\! } >>
}

Snap-pizzicato markup ("Bartok pizzicato")

A snap-pizzicato (also known as "Bartok pizzicato") is a "strong pizzicato where the string is plucked vertically by snapping and rebounds off the fingerboard of the instrument" (Wikipedia). It is denoted by a cicle with a vertical line going from the center upwards outside the circle. While Lilypond does not have a pre-defined command to created this markup, it is easy to create a definition and place it directly into the lilypond file.

#(define-markup-command (snappizz layout props) ()
  (interpret-markup layout props
    (markup #:stencil
      (ly:stencil-translate-axis
        (ly:stencil-add
          (make-circle-stencil 0.7 0.1 #f)
          (ly:make-stencil
            (list 'draw-line 0.1 0 0.1 0 1)
            '(-0.1 . 0.1) '(0.1 . 1)))
        0.7 X))))

snapPizzicato = \markup \snappizz

% now it can be used as \snappizzicato after the note/chord
% Note that a direction (-, ^ or _) is required.
\relative c' {
  c4^\snapPizzicato
  % This does NOT work:
  %<c e g>\snapPizzicato
  <c' e g>-\snapPizzicato
  <c' e g>^\snapPizzicato
  <c, e g>_\snapPizzicato
}

Using double slurs for legato chords

Some composers write two slurs when they want legato chords. This can be achieved by setting doubleSlurs.

\relative c' {
  \set doubleSlurs = ##t
  <c e>4( <d f> <c e> <d f>)
}

Vertically aligning dynamics across multiple notes

Dynamics that occur at, begin on, or end on the same note will be vertically aligned. To ensure that dynamics are aligned when they do not occur on the same note, increase the staff-padding property of the DynamicLineSpanner object.

\relative c' {
  \override DynamicLineSpanner #'staff-padding = #4
  c2\p f\mf
  g2\< b4\> c\!
}

Repeats

These snippets illustrate the Notation Reference, section Repeats.

Adding volta brackets to additional staves

The Volta_engraver by default resides in the Score context, and brackets for the repeat are thus normally only printed over the topmost staff. This can be adjusted by adding the Volta_engraver to the Staff context where the brackets should appear; see also the "Volta multi staff" snippet.

<<
  \new Staff { \repeat volta 2 { c'1 } \alternative { c' } }
  \new Staff { \repeat volta 2 { c'1 } \alternative { c' } }
  \new Staff \with { \consists "Volta_engraver" } { c'2 g' e' a' }
  \new Staff { \repeat volta 2 { c'1 } \alternative { c' } }
>>

Isolated percent repeats

Isolated percents can also be printed. This is done by entering a multi-measure rest with a different print function:

\relative c'' {
  \override MultiMeasureRest #'stencil
     = #ly:multi-measure-rest::percent
  R1
}

Measure counter

This snippet provides a workaround for emitting measure counters using transparent percent repeats.

<<
  \context Voice = "foo" {
    \clef bass
    c4 r g r
    c4 r g r
    c4 r g r
    c4 r g r
  }
  \context Voice = "foo" {
    \set countPercentRepeats = ##t
    \override PercentRepeat #'transparent = ##t
    \override PercentRepeatCounter #'staff-padding = #1
    \repeat percent 4 { s1 }
  }
>>

Percent repeat counter

Measure repeats of more than two repeats can get a counter when the convenient property is switched, as shown in this example:

\relative c'' {
  \set countPercentRepeats = ##t
  \repeat percent 4 { c1 }
}

Positioning segno and coda (with line break)

If you want to place an exiting segno sign and add text like "D.S. al Coda" next to it where usually the staff lines are you can use this snippet. The coda will resume in a new line. There is a variation documented in this snippet, where the coda will remain on the same line.

{ 
  \clef treble
  \key g \major
  \time 4/4
  \relative c'' {
    \repeat unfold 2 {
      | c4 c c c
    }
    
    % Set segno sign as rehearsal mark and adjust size if needed
    % \once \override Score.RehearsalMark #'font-size = #3
    \mark \markup { \musicglyph #"scripts.segno" }
    \repeat unfold 2 {
      | c4 c c c
    }
    
    % Set coda sign as rehearsal mark and adjust size if needed
    \once \override Score.RehearsalMark #'font-size = #4
    \mark \markup { \musicglyph #"scripts.coda" }
    \repeat unfold 2 {
      | c4 c c c
    }
    
    % Should Coda be on anew line?
    % Coda NOT on new line: use \nobreak
    % Coda on new line: DON'T use \nobreak
    % \noBreak
    
    \bar "||"
    
    % Set segno sign as rehearsal mark and adjust size if needed
    \once \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible
    % \once \override Score.RehearsalMark #'font-size = #3
    \mark \markup { \musicglyph #"scripts.segno" }
    
    % Here begins the trickery! 
    % \cadenzaOn will suppress the bar count and \stopStaff removes the staff lines.
    \cadenzaOn 
      \stopStaff 
        % Some examples of possible text-displays 
        
        % text line-aligned
        % ==================
        % Move text to the desired position
        % \once \override TextScript #'extra-offset = #'( 2 . -3.5 )
        % | s1*0^\markup { D.S. al Coda } }
        
        % text center-aligned
        % ====================
        % Move text to the desired position
        % \once \override TextScript #'extra-offset = #'( 6 . -5.0 )
        % | s1*0^\markup { \center-column { D.S. "al Coda" } }
        
        % text and symbols center-aligned
        % ===============================
        % Move text to the desired position and tweak spacing for optimum text alignment
        %\once \override TextScript #'extra-offset = #'( 8 . -5.5 )
        \once \override TextScript #'word-space = #1.5
        \once \override TextScript #'X-offset = #8
        \once \override TextScript #'Y-offset = #1.5
        | s1*0^\markup { \center-column { "D.S. al Coda" \line { \musicglyph #"scripts.coda" \musicglyph #"scripts.tenuto" \musicglyph #"scripts.coda"} } }
        
        % Increasing the unfold counter will expand the staff-free space
        \repeat unfold 4 {
          s4 s4 s4 s4
          \bar ""
        }
        % Resume bar count and show staff lines again
     \startStaff
   \cadenzaOff
   
   % Should Coda be on new line?
   % Coda NOT on new line: DON'T use \break
   % Coda on new line: use \break
   \break 
   
   % Show up, you clef and key!
   \once \override Staff.KeySignature #'break-visibility = #end-of-line-invisible
   \once \override Staff.Clef #'break-visibility = #end-of-line-invisible

   % Set coda sign as rehearsal mark and adjust size and position
   
   % Put the coda sign ontop of the (treble-)clef dependend on coda's line-position
      
     % Coda NOT on new line, use this:
     % \once \override Score.RehearsalMark #'extra-offset = #'( -2 . 1.75 )
     
     % Coda on new line, use this:
     \once \override Score.RehearsalMark #'extra-offset = #'( -8.42 . 1.75 )
   
   \once \override Score.RehearsalMark #'font-size = #5
   \mark \markup { \musicglyph #"scripts.coda" }

   % The coda
   \repeat unfold 5 {
      | c4 c c c
    }
    \bar"|."
  }
}

Printing a repeat sign at the beginning of a piece

A |: bar line can be printed at the beginning of a piece, by overriding the relevant property:

\relative c'' {
  \once \override Score.BreakAlignment #'break-align-orders =
        #(make-vector 3 '(instrument-name
                          left-edge
                          ambitus
                          span-bar
                          breathing-sign
                          clef
                          key-signature
                          time-signature
                          staff-bar
                          custos
                          span-bar))
  \bar "|:"
  c1
  d1
  d4 e f g
}

Shortening volta brackets

By default, the volta brackets will be drawn over all of the alternative music, but it is possible to shorten them by setting voltaSpannerDuration. In the next example, the bracket only lasts one measure, which is a duration of 3/4.

\relative c'' {
  \time 3/4
  c4 c c
  \set Score.voltaSpannerDuration = #(ly:make-moment 3 4)
  \repeat volta 5 { d4 d d }
  \alternative {
    {
      e4 e e
      f4 f f
    }
    { g4 g g }
  }
}

Volta under chords

By adding the Volta_engraver to the relevant staff, volte can be put under chords.

\score {
  <<
    \chords {
      c1
      c1
    }
    \new Staff \with {
      \consists "Volta_engraver"
    }
    {
      \repeat volta 2 { c'1 }
      \alternative { c' }
    }
  >>
  \layout {
    \context {
      \Score
      \remove "Volta_engraver"
    }
  }
}

Volta multi-staff

By adding the Volta_engraver to the relevant staff, volte can be put over staves other than the topmost one in a score.

voltaMusic = \relative c'' {
  \repeat volta 2 {
    c1
  }
  \alternative {
    d1
    e
  }
}

<<
  \new StaffGroup <<
    \new Staff \voltaMusic
    \new Staff \voltaMusic
  >>
  \new StaffGroup <<
    \new Staff \with { \consists "Volta_engraver" }
      \voltaMusic
    \new Staff \voltaMusic
  >>
>>

GNU LilyPond — Snippets List

Pitches

Adding ambitus per voice

Ambitus with multiple voices

Ambitus

Applying note head styles depending on the step of the scale

Coloring notes depending on their pitch

Creating a sequence of notes on various pitches

Dodecaphonic-style accidentals for each note including naturals

Generating random notes

Makam example

Non-traditional key signatures

Ottava text

Preventing extra naturals from being automatically added

Preventing natural signs from being printed when the key signature changes

Quoting another voice with transposition

Transposing music with minimum accidentals

Tweaking clef properties

Rhythms

Adding beams, slurs, ties etc. when using tuplet and non-tuplet rythms.

Adding drum parts

Automatic beam subdivisions

Automatic beams two per two in 4/4 or 2/2 time signature

Beam endings in Score context

Beam grouping in 7/8 time

Beams across line breaks

Changing beam knee gap

Changing form of multi-measure rests

Changing text and spanner styles for text dynamics

Changing the time signature without affecting the beaming

Changing the tuplet number

Changing time signatures inside a polymetric section using \scaleDurations

Chant or psalms notation

Compound time signatures

Conducting signs, measure grouping signs

Controlling tuplet bracket visibility

Engraving ties manually

Entering several tuplets using only one \times command

Flat flags and beam nibs

Forcing rehearsal marks to start from a given letter or number

Grouping beats

Guitar strum rhythms

Heavily customized polymetric time signatures

Making an object invisible with the transparent property

Manually controlling beam positions

Merging multi-measure rests in a polyphonic part

Modifying tuplet bracket length

Multi-measure rest markup

Permitting line breaks within beamed tuplets

Positioning multi-measure rests

Printing metronome and rehearsal marks below the staff

Printing music with different time signatures

Rest styles

Reverting default beam endings

Rhythmic slashes

Skips in lyric mode (2)

Skips in lyric mode

Specifying context with beatGrouping

Stemlets

Sub-dividing beams

Three-sided box

Using beatLength and beatGrouping

Using ties with arpeggios

Expressive marks

Adding beams, slurs, ties etc. when using tuplet and non-tuplet rythms.

Adding parentheses around an expressive mark or chordal note

Adjusting the shape of falls and doits

Breathing signs

Broken crescendo hairpin

Caesura ("railtracks") with fermata

Center text below hairpin dynamics

Changing \flageolet mark size

Changing text and spanner styles for text dynamics

Changing the appearance of a slur from solid to dotted or dashed

Changing the breath mark symbol

Combining dynamics with markup texts

Contemporary glissando

Controlling the vertical ordering of scripts

Creating arpeggios across notes in different voices

Creating cross-staff arpeggios in a piano staff

Changing time signatures inside a polymetric section using `\scaleDurations`