This document presents a feature test for LilyPond 2.6.3. When the text correspond with the shown notation, we consider LilyPond Officially BugFree (tm). This document is intended for finding bugs, and documenting bugfixes.
TODO: order of tests (file names!), test only one feature per test. Smaller and neater tests.
Cautionary accidentals are indicated using either parentheses (default) or smaller accidentals.
If two forced accidentals happen at the same time, only one sharp sign is printed.
Ledger lines are shortened when there are accidentals. This happens only for the single ledger line close to the note head, and only if the accidental is horizontally close to the head.
This shows how accidentals in different octaves are handled. The note names are also automatically printed but the octavation has been dropped out.
In piano accidental style, notes in both staves influence each other. In this example, each note should have an accidental.
Accidentals are placed as closely as possible. Accidentals in corresponding octaves are aligned. The top accidental should be nearest to the chord. The flats in a sixth should be staggered.
Quarter tone notation is supported, including threequarters flat.
A sharp sign after a double sharp sign, as well as a flat sign after a double flat sign is automatically prepended with a natural sign.
The second and third notes should not get accidentals, because they are tied to a note. However, an accidental is present if the line is broken at the tie, which happens for the G sharp.
accidental-unbroken-tie-spacing.ly
Tied accidentaled notes (which cause reminder accidentals) do not wreak havoc in the spacing when unbroken.
This shows how modern cross voice auto cautionary accidentals are handled. The first two fisses get accidentals because they belong to different voices. The first f gets cautionary natural because of previous measure. The last f gets cautionary natural because fis was only in the other voice.
Accidentals work: the second note does not get a sharp. The third and fourth show forced and courtesy accidentals.
Newly created contexts can be inserted anywhere in the vertical alignment.
Ambituses indicate pitch ranges for voices.
Accidentals only show up if they're not part of key
signature. AmbitusNoteHead
grobs also have ledger lines.
With \applycontext
, \properties
can be modified
procedurally. Applications include: checking bar numbers, smart
octavation.
This example prints a bar-number during processing on stdout.
The \applyoutput
expression is the most flexible way to
tune properties for individual grobs.
Here, the layout of a note head is changed depending on its vertical position.
A square bracket on the left indicates that the player should not arpeggiate the chord.
Arpeggio stays clear of accidentals and flipped note heads.
Arpeggios are supported, both cross-staff and broken single staff.
No auto beams will be put over (manual) repeat bars.
The autobeamer may be switched off for a single note
with \noBeam
.
Automatic beaming is also done on tuplets.
Tuplet-spanner should not put (visible) brackets on beams even if they're auto generated.
Beams are place automatically; the last measure should have a single beam.
Auto change piano staff switches voices between up and down staves automatically rests are switched along with the coming note. When central C is reached, staff is not yet switched (by default).
Excercise all output functions
With balloon texts, objects in the output can be marked, with lines and explanatory text added.
The meaning of |
is stored in the
identifier pipeSymbol
.
Bar number may be set and their padding adjusted individually. The counting of bar numbers is started after the anacrusis.
To prevent clashes at the beginning of a line, the padding may have to be increased.
Markings can be attached to (invisible) barlines.
A knee is made automatically when a horizontal beam fits in a gap between note heads that is larger than a predefined threshold.
There are presets for the auto-beam
engraver in the case of common
time signatures.
Beams can be printed across line breaks, if forced.
Simple beams on middle staffline are allowed to be slightly sloped, even if the notes have ledgers. Beams reaching beyond middle line can have bigger slope.
Beams that are not strictly concave are damped according to their concaveness.
Fully concave beams should be horizontal. Informally spoken, concave refers to the shape of the notes that are opposite a beam. If an up-beam has high notes on its center stems, then we call it concave.
If a beam is fails a test, the desired slope is printed next to it.
Automatic cross-staff knees work also (here they were produced with explicit staff switches).
Cross staff (kneed) beams do not cause extreme slopes.
Beams can be typeset over fixed distance aligned staves, beam beautification does not really work, but knees do. Beams should be behave well, wherever the switching point is.
Beams are less steep than the notes they encompass.
Beamed stems have standard lengths if possible. Quantization is switched off in this example.
Beams should behave reasonably well, even under extreme circumstances.
Stems may be short, but noteheads should never touch the beam. Note that
under normal circumstances, these beams would get knees here
Beam.auto-knee-gap
was set to false.
In french style beaming, the stems do not go between beams.
Funky kneed beams with beamlets also work. The beamlets should be pointing to the note head.
In complex configurations of knee beaming, according to Paul Roberts, the first stem of a beam determines the direction of the beam, and as such the way that following (kneed) stems attach to the beam. This is in disagreement with the current algorithm.
Beams can be placed across a PianoStaff
.
Point-symmetric beams should receive the same quanting. There is no up/down bias in the quanting code.
Beams should look the same.
Beaming can be overidden for individual stems.
Kneed beams (often happens with cross-staff beams) should look good when there are multiple beams: all the beams should go on continuously at the staff change. Stems in both staves reach up to the last beam.
Explicit beams may cross barlines.
Beams on ledgered notes should always reach the middle staff
line. The second beam counting from the note head side, should never
be lower than the second staff line. This does not hold for grace
note beams. Override with no-stem-extend
.
This file tests a few standard beam quants, taken from Ted Ross' book. If LilyPond finds another quant, the correct quant is printed over the beam.
Stem lengths take precedence over beam quants: `forbidden' quants are only avoided for 32nd beams when they are outside of the staff. However, that leads to very long stems, which is even worse.
In this test for beam quant positions for horizontal beams, staff lines should be covered in all cases. For 32nd beams, the free stem lengths are between 2 and 1.5.
Quarter notes may be beamed: the beam is halted momentarily.
The number of beams does not change on a rest.
Engraving second intervals is tricky. We used to have problems with seconds being too steep, or getting too long stems. In a file like this, showing seconds, you'll spot something fishy very quickly.
Beams in unnatural direction, have shortened stems, but do not look too short.
Automatic beaming works also in ternary time sigs.
Beaming is generated automatically. Beams may cross bar lines. In that case, line breaks are forbidden. Yet clef and key signatures are hidden just as with breakable bar lines.
Beaming can be also given explicitly.
Breaks can be encouraged and discouraged using \break
and
\noBreak
.
Gregorian chant notation sometimes also uses commas and ticks, but in smaller font size (we call it 'virgula' and 'caesura'). However, the most common breathing signs are divisio minima/maior/maxima and finalis, the latter three looking similar to bar glyphs.
Breathing signs are available in different tastes: commas (default), ticks, vees and `railroad tracks' (caesura).
Property chordChanges: display chord names only when there's a change in the chords scheme, but always display the chord name after a line break.
The 11 is only added to major-13 if it is mentioned explicitly.
Chords can be produced with the new chordname entry
code (\chordmode
mode), using a pitch and a suffix. Here,
the suffixes are printed below pitches.
The property chordNameExceptions
can used
to store a list of special notations for specific chords.
The layout of the major 7 can be tuned with
majorSevenSymbol
.
In ignatzek inversions, a note is dropped down to act as the bass note of the chord. Bass note may be also added explicitly. Above the staff: computed chord names. Below staff: entered chord name.
Scripts can also be attached to chord elements.
Tremolo repeats can be constructed for short tremolos (total duration smaller than 1/4) too. Only some of the beams are connected to the stems.
Chord tremolos look like beams, but are a kind of repeat symbol. To avoid confusion, chord tremolo beams do not reach the stems, but leave a gap. Chord tremolo beams on half notes are not ambiguous, as half notes cannot appear in a regular beam, and should reach the stems.
In this example, each tremolo lasts exactly one measure.
(To ensure that the spacing engine is not confused we add some regular notes as well.)
Jazz chords may have unusual combinations.
Octavation signs may be added to clefs. These octavation signs may be placed below or above (meaning an octave higher or lower), and can take any value, including 15 for two octaves.
Clefs with full-size-change
should be typeset in
full size. For octaviated clefs, the “8” should appear closely above
or below the clef respectively.
Clusters can be written across staves.
Clusters are a device to denote that a complete range of notes is to be played.
Single head notes may collide.
Notes in different staves should be aligned to the left-most note, in case of collisions.
When notes are colliding, the resolution depends on the dots: notes with dots should go to the right, if there could be confusion to which notes the dots belong.
If collision resolution finds dotted note head must remain on left hand side, move dots to the right.
Collision resolution tries to put notes with dots on the right side.
Note heads in collisions should be merged if they have the same positions in the extreme note heads.
If merge-differently-headed
is enabled, then
open note heads may be merged with black noteheads, but only
if the black note heads are from 8th or shorter notes.
collision-merge-differently-dotted.ly
If NoteCollision has merge-differently-dotted = ##t note heads that have differing dot counts may be merged anyway. Dots should not disappear when merging similar note heads.
When merging heads, the dots are merged too.
Oppositely stemmed chords, meshing into each other, are resolved.
In addition to normal collision rules, there is support for polyphony, where the collosion are avoided by shifting middle voices horizontally.
Each grob can have a color assigned to it.
Use the \override
and \revert
expressions to set the
color
property.
Completion heads are broken across bar lines. This was intended as a debugging tool, but it can be used to ease music entry. Completion heads are not fooled by polyphony with a different rhythm.
If the Note_heads_engraver
is replaced by the Completion_heads_engraver
, notes that cross bar lines are split into tied notes.
Custodes may be engraved in various styles.
Dots move to the right when a collision with the (up)flag happens.
Noteheads can have dots, and rests too. Augmentation dots should never be printed on a staff line, but rather be shifted vertically. They should go up, but in case of multiple parts, the down stems have down shifted dots. In case of chords, all dots should be in a column. The dots follow the shift of rests when avoiding collisions.
The priorities to print the dots are (ranked in importance):
In drum notation, there is a special clef symbol, drums are placed to their own staff positions and have note heads according to the drum, an extra symbol may be attached to the drum, and the number of lines may be restricted.
Broken crescendi should be open on one side.
Dynamic letters are kerned, and their weight matches that of the hairpin signs. The dynamic scripts should be horizontally centered on the note head. Scripts that should appear closer to the note head (staccato, accent) are reckoned with.
Hairpins extend to the extremes of the bound if there is no adjacent hairpin of dynamic-text. If there is, the hairpin extends to the center of the column or the bound of the text respectively.
Dynamics appear below or above the staff. If multiple dynamics are linked with (de)crescendi, they should be on the same line. Isolated dynamics may be forced up or down.
Crescendi may start off-notes, however, they should not collapse into flat lines.
Easy-notation (or Ez-notation) prints names in note heads. You also get ledger lines, of course.
Fermatas over multimeasure rests are positioned as over normal rests.
Figured bass is created by the FiguredBass context which responds to
figured bass requests and rest-requests. You must enter these using
the special \figuremode { }
mode, which allows you to type
numbers, like <4 6+>
.
You can also type letters by entering quoted strings, which is shown in the last bass figure.
The fill-line markup command should align texts in columns. For examlpe, the characters in the center should form one column.
Ordering of the fingerings depends on vertical ordering of the notes, and is independent of up/down direction.
With the new chord syntax, it is possible to associate fingerings uniquely with notes. This makes it possible to add horizontal fingerings to notes.
Automatic fingering tries to put fingering instructions next to noteheads.
The line-spanners connects to the Y position of the note on the next line. When put across line breaks, only the part before the line break is printed.
The default font families for text can be
overridden with make-pango-font-tree
The magnification can be set for any font. Note that this does not change variable symbols such as beams or slurs.
Other fonts can be used by setting font-name
for
the appropriate object. The string should be a Pango font description
without size specification.
This file demonstrates how to load different
(postscript) fonts. The file font.scm shows how to define
the scheme-function make-century-schoolbook-tree
.
This file should be run with the TeX and extra options should be passed to LaTeX and dvips to help it find the uncb font.
As a last resort, the placement of grobs can be adjusted manually, by
setting the extra-offset
of a grob.
Between notes, there may be simple glissando lines. Here, the first two glissandi are not consecutive.
The engraver does no time-keeping, so it involves some trickery to get << { s8 s8 s4 } { c4 \gliss d4 } >> working correctly.
The autobeamer is not confused by grace notes.
Bar line should come before the grace note.
Grace notes do tricky things with timing. If a measure starts with a grace note, the measure does not start at 0, but earlier. Nevertheless, lily should not get confused. For example, line breaks should be possible at grace notes, and the bar number should be printed correctly.
Grace beams and normal beams may occur simultaneously. Unbeamed grace notes are not put into normal beams.
Grace notes after the last note do not confuse the timing code.
Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example.
Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example.
Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example.
In nested syntax, graces are still properly handled.
Also in the nested syntax here, grace notes appear rightly.
Graces notes may have the same duration as the main note.
Grace notes may be put in a partcombine
r.
Stripped version of trip.ly. Staves should be of correct length.
Pieces may begin with grace notes.
Stem lengths for grace notes should be shorter than normal notes, if possible. They should never be longer, even if that would lead to beam quanting program.
Here startGraceMusic
should set no-stem-extend
to
true; the two grace beams should be the same here.
Grace notes in different voices/staves are synchronized.
There are three different kinds of grace types: the base grace switches to smaller type, the appoggiatura inserts also a slur, and the acciaccatura inserts a slur and slashes the stem.
When grace notes are entered with unfolded repeats, line breaks take place before grace notes.
A volta repeat may begin with a grace. Consecutive
ending and starting repeat bars are merged into one :||:
.
Repeated music can start with grace notes. Bar checks preceding the grace notes do not cause synchronization effects.
You can have beams, notes, chords, stems etc. within a
\grace
section. If there are tuplets, the grace notes will not
be under the brace.
Main note scripts do not end up on the grace note.
With grid lines, vertical lines can be drawn between staves synchronized with the notes.
Hairpin crescendi may be dashed.
Hairpin dynamics start under notes if there are no text-dynamics. If there are text dynamics, the hairpin does not run into them.
Hara-kiri staves kill themselves if they are empty. This example really contains three staves, but as they progress, empty ones are removed: this example has three staves, but some of them disappear: note how the 2nd line only has the bar number 2. (That the bar number is printed might be considered a bug, however, the scenario of all staves disappearing does not happen in practice.)
Any staff brackets and braces are removed, both in the single staff and no staff case.
This example was done with a pianostaff, which has fixed distance alignment; this should not confuse the mechanism.
Instrument names are set with Staff.instrument
and
Staff.instr
. You can enter markup texts to create more funky names,
including alterations.
Instrument names are also printed on partial starting measures.
Staff margins are also markings attached to barlines. They should be left of the staff, and be centered vertically with respect to the staff. They may be on normal staves, but also on compound staves, like the PianoStaff.
Each clef have own accidental placing rules.
Cancellation signs are printed by default. The spacing of the natural signs depends on their vertical positions. The stems should not clash graphically.
By setting Staff.keySignature
directly,
key signatures can be set invidually per pitch.
Key signatures may appear on key changes, even without a barline.
In the case of a line break, the restoration accidentals are printed at
end of a line. If createKeyOnClefChange
is set, key signatures
are created also on a clef change.
When ledgered notes are very close, for example, in grace notes, they are kept at a minimum distance to prevent the ledgers from disappearing.
Ledger lines are shortened when they are very close. This ensures that ledgers lines stay separate.
LilyPond syntax can be used inside scheme to
build music expressions, with the #{ ... #}
syntax.
Scheme forms can be introduced inside these blocks by escaping
them with a $
, both in a LilyPond context or in a Scheme
context.
In this example, the \withpaddingA
, \withpaddingB
and
\withpaddingC
music functions set different kinds of padding on
the TextScript
grob.
Arrows can be applied to text-spanners and line-spanners (such as the Glissando)
With the \lyricsto
mechanism, individual lyric
lines can be associated with one melody line. For each lyric line,
can be tuned whether to follow melismata or not.
Polyphonic rhythms and rests do not disturb
\lyricsto
.
Lyrics can be set to a melody automatically. Excess lyrics will be discarded. Lyrics will not be set over rests. You can have melismata either by setting a property melismaBusy, or by setting automaticMelismas (which will set melismas during slurs and ties). If you want a different order than first Music, then Lyrics, you must precook a chord of staves/lyrics and label those. Of course, the lyrics ignores any other rhythms in the piece.
Lyric extenders run to the end of the line if it continues the next line. Otherwise, it should run to the last note of the melisma.
A LyricExtender may span several notes. A LyricExtender does not extend past a rest, or past the next lyric syllable.
Hyphens are print at the beginning of the line only when they go past the first note.
In tightly engraved music, hyphens are removed, except at the
end of the line. Normally, lyrics are not typeset so tightly, but by
tuning down padding
of in SeparationItem
, syllables are put
closer together, and as a result hyphens may disappear.
In some languages (e.g. German and Hungarian), hyphens should not
disappear, since spelling depends on hyphenation. For that purpose,
hyphens can be forced to remain setting spacing-procedure
to
Hyphen_spanner::set_spacing_rods
of the LyricHyphen
grob. The minimum-length
property may be used to tune the
amount
In lyrics, hyphens may be used.
Normally, the lyric is centered on the note head. However, on melismata, the text is left aligned on the left-side of the note head.
Adding a Bar_engraver
to the Lyrics context makes sure that
lyrics do not collide with barlines.
Melismata are triggered by manual beams.
Lyrics are not lowered despite the presence of an octavation 8.
The epsfile markup command reads an EPS file
The note markup function may be used to make metronome markings. It works for a variety of flag, dot and duration settings.
There is a Scheme macro markup
to produce markup
texts using a similar syntax as \markup
.
Markup scripts may be stacked.
Demo of markup texts, using LilyPond syntax.
Own markup commands may be defined by using the
def-markup-command
scheme macro.
The Measure_grouping_engraver
adds triangles and
brackets above beats when the beats of a time signature are grouped.
Mensural ligatures show different shapes, depending on the rhythmical pattern and direction of the melody line.
There is limited support for mensural notation: note head shapes are available. Mensural stems are centered on the note heads, both for up and down stems.
Here \tempo
directives are printed as metronome markings.
The marking is left aligned with the time signature, if there is one.
If Score.skipBars
is set,
the signs for four, two, and one measure rest are combined to
produce the graphical representation of rests for up to 10 bars.
The number of bars will be written above the sign.
The multimeasure rest is centered exactly between bar lines.
Multi-measure rests are centered also in the case of grace notes.
multi-measure-rest-instr-name.ly
There are both long and short instrument names. Engraving instrument names should not be confused by the multimeasure rests.
multi-measure-rest-multi-staff-center.ly
The centering of multi-measure rests is independent on prefatory matter in other staves.
By setting texts starting with a multi-measure rest, an extra spacing column is created. This should not cause problems.
Texts may be added to the multi-measure rests.
Multi-measure rests do not collide with barlines and clefs. They
are not expanded when you set Score.skipBars
. Although the
multi-measure-rest is a Spanner, minimum distances are set to keep it
colliding from barlines.
Rests over measures during longer than 2 wholes use breve rests. When
more than 10 or more measures (tunable through expand-limit
)
are used then a different symbol is used.
Music function are generic music transformation functions,
which can be used to extend music syntax seamlessly. Here we
demonstrate a \myBar
function, which works similar to
\bar
, but is implemented completely in Scheme.
With music-map
, you can apply functions operating on a single
piece of music to an entire music expression. In this example, the the
function notes-to-skip
changes a note to a skip. When applied
to an entire music expression in the 1st measure, the scripts and
dynamics are left over. These are put onto the 2nd measure.
newlyrics, multiple stanzas, multiple lyric voices.
The printing of the staff lines may be suppressed by removing the corresponding engraver.
By default, text is set with empty horizontal dimensions.
The boolean property no-spacing-rods
in TextScript
is used
to control the horizontal size of text.
Note grouping events are used to indicate where analysis brackets start and end.
Note heads are flipped on the stem to prevent collisions. It also works for whole heads that have invisible stems.
The handling of stems for harmonic notes must be completely identical to normal note heads.
Harmonic heads do not get dots. If harmonicAccidentals
is unset, they also don't get accidentals.
With shapeNoteStyles
, the style of the note head
is adjusted according to the step of the scale, as measured relative
to the tonic
property.
Note head shapes may be set from several choices. The stem endings should be adjusted according to the note head. If you want different note head styles on one stem, you must create a special context.
Harmonic notes have a different shape and different dimensions.
Note head lines (e.g. glissando) run between centers of the note heads.
The number of stafflines of a staff can be set. Ledger lines both on note heads and rests, as well as barlines, are adjusted accordingly.
At line breaks, ottava brackets have no vertical line and their horizontal line does not stick out. The dashed line runs until the end of the line (regardless of prefatory matter).
Ottava brackets are supported, through the
use of the scheme function set-octavation
.
The spanner should go below a staff for 8va bassa, and the ottavation
string can be tuned with Staff.ottavation
.
Stress optimal page breaking. This should look nice and even on 4 a6 pages.
This shows how different settings on \paper modify the general page layout. Basically \paper will set the values for the whole paper while \layout for each \score block.
This file is best viewed outside the collated files document.
The a2 string is printed only on notes (i.e. not on rests), and only after chords, solo or polyphony.
The part combiner stays apart for crossing voices.
The analysis of the part combiner is non-local: in the following example, the decision for using separate voices in the 1st measure is made on the 2nd note, but influences the 1st note.
In the 2nd measure, the pattern without the tie, leads to combined voices.
part-combine-mmrest-after-solo.ly
Multimeasure rests are printed after solos, both for solo1 and for solo2.
SOLO is printed even if the solo voice ends before the other one. Unfortunately, the multi-rest of the 1st voice (which is 2 bars longer than the 2nd voice) does not get printed.
In this example, solo1 should not be printed over the 1st note, because of the slur which is present from the one-voice to the two-voice situation.
A solo string can only be printed when a note starts. Hence, in this example, there is no Solo-2 although the 2nd voice has a dotted quarter, while the first voice has a rest.
A Solo indication is only printed once; (shared) rests do not require reprinting a solo indication.
Solo 1/2 can not be used when a spanner is active, so there is no solo over any of the tied notes.
The new part combiner detects a2, solo1 and solo2, and prints i texts accordingly.
The new part combiner stays apart from:
The brackets of a piano pedal should start and end at the left side of the note. If a note is shared between two brackets, these ends are flared.
At a line-break, there are no vertical endings.
Unterminated piano pedal brackets run to the end of the piece.
The standard piano pedals style comes with Ped symbols. The pedal string can be also tuned, for example, to a shorter tilde/P variant at the end of the melody.
PhrasingSlur
s go over normal slurs.
The A is atop an invisible barline. The barline, although invisible, is also translated because it is the last one of the break alignment.
Distances between prefatory items (e.g. clef, bar, etc.) are determined by engraving standards. These distances depend on which items are combined. Mid-line, the order for clef and bar-line is different from the start of line.
Property overrides and reverts from \grace
do
not interfere with the overrides and reverts from polyphony.
Once properties take effect during a single time step only.
The cueDuring
form of quotation will set stem
directions on both quoted and main voice, and deliver the quoted voice
in the cue
Voice
. The music function \killCues
can remove all cue notes.
Spanners run to the end of a cue section, and are not started on the last note.
Two quoted voices may refer to each other. In this example, there are notes with each full-bar rest.
With \cueDuring
and \quoteDuring
,
fragments of previously entered music may be
quoted. quotedEventTypes
will determines what things are
quoted. In this example, a 16th rests is not quoted, since
rest-event
is not in quotedEventTypes
.
Quotes may contain grace notes. The grace note leading up to an unquoted note is not quoted.
Quotations take into account the transposition of both
source and target. In this example, all instruments play sounding
central C, the target is a instrument in F. The target part may be
\transpose
d. In this case, all the pitches (including the
quoted ones) will transposed as well.
With \quote
, fragments of previously entered
music may be quoted. quotedEventTypes
will determines what
things are quoted. In this example, a 16th rests is not quoted, since
rest-event
is not in quotedEventTypes
.
Rehearsal marks in letter style: the I is skipped, and
after Z, double letters are used. The mark may be set with
\mark NUMBER
, or with Score.rehearsalMark
.
Marks can be printed as numbers.
By setting markFormatter
we may choose a different style of mark printing. Also, marks can be specified manually, with a markup argument.
Folded repeat may not make sense without alternatives, and there should not be more alternatives than repeats.
Across linebreaks, the left edge of a first and second alternative bracket should be equal.
Percent repeats are not skipped, even when skipBars
is set.
Measure repeats may be nested with beat repeats.
Within a bar, beat repeats denote that a music snippet should be played again.
Volta repeats may be unfolded through the music
function \unfoldRepeats
.
Unfolding tremolo repeats. All fragments fill one measure with 16th notes exactly.
LilyPond has three modes for repeats: folded, unfolded and semi-unfolded. Unfolded repeats are fully written out. Semi unfolded repeats have the body written and all alternatives sequentially. Folded repeats have the body written and all alternatives simultaneo.ly. If the number of alternatives is larger than the repeat count, the excess alternatives are ignored. If the number of alternatives is smaller, the first alternative is multiplied to get to the number of repeats.
Unfolded behavior:
repeat-volta-skip-alternatives.ly
When too few alternatives are present, the first alternative is repeated, by printing a range for the 1st repeat.
Volta (Semi folded) behavior. Voltas can start on non-barline moments. If they don't barlines should still be shown.
Rests under beams are only moved if necessary.
Rests should not collide with beams, stems and noteheads. Rests may be under beams. Rests should be move by integral number of spaces inside the staff, and by half spaces outside. Notice that the half and whole rests just outside the staff get ledger lines in different cases.
Dots of rests should follow the rest positions.
Whole and half rests moving outside the staff should get ledger lines.
Rests can have pitches–these will be affected by transposition and relativization. If a rest has a pitch, rest/rest and beam/rest collision resolving will leave it alone.
In polyphonic situations, rests are moved down
even if there is no opposite note or rest. The amount is two
staff-space
s.
There is a big variety of rests. Note that the dot of 8th, 16th and 32nd rests rest should be next to the top of the rest. All rests except the whole rest are centered on the middle staff line.
In rhythmic staves stems should go up, and bar lines have the size for a 5 line staff. The whole rest hangs from the rhythmic staff.
Markup texts are rendered above or below a score.
Scripts are put on the utmost head, so they are positioned correctly when there are collisions.
Scripts can be stacked. The order is determined by a priority field, but when objects have the same priority, the input order determines the order. Objects specified first are closest to the note.
Scripts may be stacked.
Different text styles are used for various purposes.
Different text styles are used for various purposes.
Different text styles are used for various purposes.
Different text styles are used for various purposes.
Different text styles are used for various purposes.
Different text styles are used for various purposes.
Across line breaks, slurs behave nicely. On the left, they extend to just after the preferatory matter, and on the right to the end of the staff. A slur should follow the same vertical direction it would have in unbroken state.
Slurs behave decently when broken across a linebreak.
The appearance of slurs may be changed from solid to dotted or dashed.
Slurs should not get confused by augmentation dots. With a lot of dots, the problems becomes more visible.
Some composers use slurs both above and below chords.
This can be typeset by setting doubleSlurs
Extreme slurs are scaled to fit the pattern, but only symmetrically.
Asymmetric slurs are created by setting excentricity
.
Setting positions
overrides the automatic
positioning of the slur. It selects the slur configuration closest to
the given pair.
Slurs should look nice and symmetric. The curvature may increase only to avoid noteheads, and as little as possible. Slurs never run through noteheads or stems.
Slurs may be placed over rest. The slur will avoid colliding with the rest.
Slur formatting is based on scoring. A large number of slurs are generated. Each esthetic aspect gets demerits, the best configuration (with least demerits) wins. This must be tested in one big file, since changing one score parameter for one situation may affect several other situations.
Tunable parameters are in scm/slur.scm.
Slurs avoid scripts with inside-slur
set
true, while scripts avoid slurs if inside-slur
set to
false.
A slur avoids collisions with scripts. Only articulations go inside the slur, dynamic markings, fingerings texts etc. go outside of slur.
For different configurations, the scripts can be moved manually.
Symmetric figures should lead to symmetric slurs.
Symmetric figures should lead to symmetric slurs.
The attachment point for strongly sloped slurs is shifted horizontally slightly. Without this correction, slurs will point into one note head, and point over another note head.
Accidentals in different staves do not affect the spacing of the quarter notes here.
Accidentals do not influence the amount of stretchable space. The accidental does add a little non-stretchable space.
Accidentals sticking out to the left of a note will take a little more space, but only if the spacing is tight.
Downstem notes following a barline are printed with some extra space. This is an optical correction similar to juxtaposed stems.
Accidentals after the barline get some space as well.
Clef changes at the start of a line get much more space than clef changes halfway the line.
Broken engraving of a bar at the end of a line does not upset the space following rests and notes.
A voicelet (a very short voice to get polyphonic chords correct) should not confuse the spacing engine.
A clef can be folded below notes in a different staff, if this does not disrupt the flow of the notes.
A clef can be folded below notes in a different staff, if
there is space enough. With Paper_column
stencil callbacks we
can show where columns are in the score.
Spacing uses the duration of the notes, but disregards grace notes for this. In this example, the 8ths around the grace are spaced exactly as the other 8th notes.
Grace note spacing.
For knees, the spacing correction is such that the stems are put at regular distances. This effect takes into account the width of the note heads and the thickness of the stem.
Concurrent tuplets should be equidistant on all staffs.
Note that this only spaces correctly (exactly) when raggedright
is enabled. For a non-raggedright
case, it still shows a bug:
uneven spacing.
The flags of 8th notes take some space, but not too much: the space following a flag is less than the space following a beamed 8th head.
If raggedlast
is set, the systems are broken
similar to paragraph formatting in text: the last line is
justified.
Rests get a little less space, since they are narrower. However, the quarter rest in feta font is relatively wide, causing this effect to be very small.
Notes that are shorter than the common shortest note get a space (i.e. without the space needed for the note) proportional to their duration. So, the 16th notes get 1/2 of the space of an eigth note. The total distance for a 16th (which includes note head) is 3/4 of the eighth note.
Upstem notes before a barline are printed with some extra space. This is an optical correction similar to juxtaposed stems.
There are optical corrections to the spacing of stems. The overlap between two adjacent stems of different direction is used as a measure for how much to correct.
spacing-stem-same-direction.ly
For juxtaposed chords with the same direction, a slight optical correction is used. It is constant, and works only if two chords have no common head-positions range.
Unless allow-outside-line
is set for the relevant
PaperColumn, LilyPond will space a line to prevent text sticking out
of the right margin.
Space from a normal note (or barline) to a grace note is smaller than to a normal note.
At the beginning of a system, the |:
repeat
barline is drawn between the staves, but the :|
is not.
Span bars are drawn only between staff bar lines. By setting bar lines to transparent, they are shown only between systems.
Setting SpanBar
transparent removes the barlines
between systems.
The staccato dot (and all scripts with follow-into-staff set) must not be on staff lines. The staccato dot is close to the notehead. If the head is in a space, then the dot is in the space next to it.
Staves can be started and stopped at command.
Staves may be present in several sizes within a score. This is achieved with an internal scaling factor. If the scaling factor is forgotten in some places, objects generally become too thick or too large on smaller staves.
The staff is a grob (graphical object) which may be adjusted as well, for example, to have 6 thick lines and a slightly large staff-space
.
However, beams remain correctly quantized.
Stanza numbers are put left of their lyric. They are aligned in a column.
Stems, beams, ties and slurs should behave similarly, when placed on the middle staff line. Of course stem-direction is down for high notes, and up for low notes.
If note head is `over' the center line, the stem is shortened. This happens with forced stem directions, and with some chord configurations.
In a limited number of cases, the optical spacing effects are corrected. In this example, space for opposite pointed stems is adjusted.
Stemlets are small stems under beams over rests. Their
length can be set with stemlet-length
.
Stem tremolos or rolls are tremolo signs that look like beam segments crossing stems. If the stem is in a beam, the tremolo must be parallel to the beam. If the stem is invisible (e.g. on a whole note), the tremolo must be centered on the note.
You can write stencil callbacks in Scheme, thus providing custom glyphs for notation elements. A simple example is adding parentheses to existing stencil callbacks.
The parenthesized beam is less successful due to implementation of the Beam. The note head is also rather naive, since the extent of the parens are also not seen by accidentals.
String numbers can be added to chords. They use the same positioning mechanism as finger instructions.
The size of every system is correctly determined; this includes postscript constructs such as slurs.
By setting betweensystempadding to a negative
value, it is possible to eliminate the anti-collision constraints.
Then setting betweensystemspace
to a low (nonzero) value,
print systems in overstrike.
Unfortunately, this does not show in the colllated texinfo document. Run this example stand-alone to see the effect.
System separators maybe defined as markups in the
systemSeparator
field of the bookpaper block. They are centered
between the boundary staffs of each system.
The piano brace should be shifted horizontally if it is enclosed in a bracket.
For other tunings, it is sufficient to set
stringTunings
. The number of staff lines is adjusted
accordingly.
A sample tablature, with both normal staff and tab.
Tablature is done by overriding the note-head formatting function, and putting it on a 6-line staff. A special engraver takes care of going from string-number + pitch to number.
String numbers can be entered as note articulations (inside a chord) and chord articulations (outside a chord)
The \tag
command marks music expressions with a
name. These tagged expressions can be filtered out later. This
mechanism can be used to make different versions of the same music. In
this example, the top stave displays the music expression with all
tags included. The bottom two staves are filtered: the part has cue
notes and fingerings, but the score has not.
Text spanners should not repeat start text when broken.
when tieWaitForNote
is set, the right-tied note
does not have to follow the lef-tied note directly. When
tieWaitForNote
is set to false, any tie will erase all pending
ties.
Tie engraver uses busyGrobs
to keep track of
note heads. By throwing many mixed tuplets on the queue,
one may have collisions between ties and beams.
When tying chords, the outer ties point outwards, the inner ties
point away from the center of the staff. The behavior can be overridden
by setting explicitly the direction
of a TieColumn
.
Ties should not collide with dots.
Tieing a grace to the to a following grace or main note works.
Ties are strictly horizontal. They are placed in between note heads. The horizontal middle should not overlap with a staffline.
Trill spanner
In combination with a beam, the bracket of the tuplet bracket is removed. This only happens if there is one beam, as long as the bracket.
The size of the tuplet bracket gap is adjusted to the width of the text.
Nested tuplets can be printed, using a manual hack to move the outer bracket up.
Tuplet bracket formatting supports numerous options, for instance, bracketed (B) and non-bracketed (NB).
Tuplets may contain rests.
Tuplet brackets stay clear of the staff. The slope is determined by the graphical characteristic of the notes, but if the musical pattern does not follow graphical slope, then the bracket is horizontal
The bracket direction is determined by the dominating stem direction.
Horizontal tuplet brackets are shifted vertically to avoid staff line collisions.
Tuplets are indicated by a bracket with a number. There should be no bracket if there is a beam exactly matching the length of the tuplet. The bracket does not interfere with the stafflines, and the number is centered in the gap in the bracket.
The bracket stops at the end of the stems, if the stems have the same
direction as the bracket. The endings can be adjusted with
bracket-flare
.
Various scripts may be used for texts (like titles and lyrics) introduced by entering them in UTF-8 encoding, and using a Pango based backend. Depending on the fonts installed, this fragment will render Japanese, Hebrew and Cyrillic.
Whenever a voice switches to another staff a line connecting the notes
can be printed automatically. This is enabled if the property
followVoice
is set to true.
Broken volta spanners behave correctly at their left edge in all cases.
By setting voltaOnThisStaff
, repeats can be put
also over other staves than the topmost one in a score.
The whiteout command underlays a white box under a markup. The whitening effect only is only guaranteed for staff lines, since staff lines are in a different layer.
This page is for LilyPond-2.6.3 (stable-branch).