LilyPond — Snippets

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
  }
>>

Adding an ottava marking to a single voice

If you have more than one voice on the staff, setting octavation in one voice transposes the position of notes in all voices for the duration of the ottava bracket. If the octavation is only intended to apply to one voice, the Ottava_spanner_engraver should be moved to Voice context.

\layout {
  \context {
    \Staff
    \remove Ottava_spanner_engraver
  }
  \context {
    \Voice
    \consists Ottava_spanner_engraver
  }
}

{
  \clef bass
  << { <g d'>1~ q2 <c' e'> }
  \\
    {
      r2.
      \ottava -1
      <b,,, b,,>4 ~ |
      q2
      \ottava 0
      <c e>2
    }
  >>
}

Aiken head thin variant noteheads

Aiken head white notes get harder to read at smaller staff sizes, especially with ledger lines. Losing interior white space makes them appear as quarter notes.

\score {
  {
    \aikenHeads
    c''2 a' c' a

    % Switch to thin-variant noteheads
    \set shapeNoteStyles = ##(doThin reThin miThin
                              faThin sol laThin tiThin)
    c'' a' c' a
  }
}

Altering the length of beamed stems

Stem lengths on beamed notes can be varied by overriding the beamed-lengths property of the details of the Stem. If a single value is used as an argument, the length applies to all stems. When multiple arguments are used, the first applies to eighth notes, the second to sixteenth notes and so on. The final argument also applies to all notes shorter than the note length of the final argument. Non-integer arguments may also be used.

\relative c'' {
  \override Stem.details.beamed-lengths = #'(2)
  a8[ a] a16[ a] a32[ a]
  \override Stem.details.beamed-lengths = #'(8 10 12)
  a8[ a] a16[ a] a32[ a] r8
  \override Stem.details.beamed-lengths = #'(8)
  a8[ a]
  \override Stem.details.beamed-lengths = #'(8.5)
  a8[ a]
  \revert Stem.details.beamed-lengths
  a8[ a] a16[ a] a32[ a] r16
}

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 {
  \context {
    \Voice
    \consists "Ambitus_engraver"
  }
}

<<
  \new Staff {
    \relative c' {
      \time 2/4
      c4 f'
    }
  }
  \new Staff {
    \relative c' {
      \time  2/4
      \key d \major
      cis4 as'
    }
  }
>>

Ambitus after key signature

By default, ambitus are positioned at the left of the clef. The \ambitusAfter function allows for changing this placement. Syntax is \ambitusAfter grob-interface (see Graphical Object Interfaces for a list of possible values for grob-interface.)

A common use case is printing the ambitus between key signature and time signature.

\new Staff \with {
  \consists Ambitus_engraver
} \relative {
  \ambitusAfter key-signature
  \key d \major
  es'8 g bes cis d2
}

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
  }
>>

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.

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

\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
  }
}

Automatically changing the stem direction of the middle note based on the melody

LilyPond can alter the stem direction of the middle note on a staff so that it follows the melody, by adding the Melody_engraver to the Voice context.

The context property suspendMelodyDecisions may be used to turn off this behavior locally.

\relative c'' {
  \time 3/4
  a8 b g f b g |
  \set suspendMelodyDecisions = ##t
  a  b g f b g |
  \unset suspendMelodyDecisions
  c  b d c b c |
}

\layout {
  \context {
    \Voice
    \consists "Melody_engraver"
    \autoBeamOff
  }
}

Changing ottava text

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

Short text is especially useful when a brief ottava is used.

{
  c'2
  \ottava 1
  \set Staff.ottavation = "8"
  c''2
  \ottava 0
  c'1
  \ottava 1
  \set Staff.ottavation = "Text"
  c''1
}

Changing the ambitus gap

It is possible to change the default gap between the ambitus noteheads and the line joining them.

\layout {
  \context {
    \Voice
    \consists "Ambitus_engraver"
  }
}

\new Staff {
  \time 2/4
  % Default setting
  c'4 g''
}

\new Staff {
  \time 2/4
  \override AmbitusLine.gap = 0
  c'4 g''
}

\new Staff {
  \time 2/4
  \override AmbitusLine.gap = 1
  c'4 g''
}

\new Staff {
  \time 2/4
  \override AmbitusLine.gap = 1.5
  c'4 g''
}

\paper { tagline = ##f }

Changing the interval of lines on the stave

staffLineLayoutFunction is used to change the position of notes. This snippet shows setting its value to ly:pitch-semitones in order to produce a chromatic scale with the distance between each space and line of the stave equal to one semitone.

scale = \relative c' {
  a4 ais b c
  cis4 d dis e
  f4 fis g gis
  a1
}

\new Staff \with {
  \remove "Accidental_engraver"
  staffLineLayoutFunction = #ly:pitch-semitones
}
{
  <<
    \scale
    \context NoteNames {
      \set printOctaveNames = ##f
      \scale
    }
  >>
}

Clefs can be transposed by arbitrary amounts

Clefs can be transposed by arbitrary amounts, not just by octaves.

\relative c' {
  \clef treble
  c4 c c c
  \clef "treble_8"
  c4 c c c
  \clef "treble_5"
  c4 c c c
  \clef "treble^3"
  c4 c c c
}

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 NATURAL) (x11-color 'red))
    (cons (ly:make-pitch 0 0 SHARP) (x11-color 'green))
    (cons (ly:make-pitch 0 1 FLAT) (x11-color 'green))
    (cons (ly:make-pitch 0 2 NATURAL) (x11-color 'red))
    (cons (ly:make-pitch 0 2 SHARP) (x11-color 'green))
    (cons (ly:make-pitch 0 3 FLAT) (x11-color 'red))
    (cons (ly:make-pitch 0 3 NATURAL) (x11-color 'green))
    (cons (ly:make-pitch 0 4 SHARP) (x11-color 'red))
    (cons (ly:make-pitch 0 5 NATURAL) (x11-color 'green))
    (cons (ly:make-pitch 0 5 FLAT) (x11-color 'red))
    (cons (ly:make-pitch 0 6 SHARP) (x11-color 'red))
    (cons (ly:make-pitch 0 1 NATURAL) (x11-color 'blue))
    (cons (ly:make-pitch 0 3 SHARP) (x11-color 'blue))
    (cons (ly:make-pitch 0 4 FLAT) (x11-color 'blue))
    (cons (ly:make-pitch 0 5 SHARP) (x11-color 'blue))
    (cons (ly:make-pitch 0 6 FLAT) (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 (event-cause grob) '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.

This example creates the rhythm used throughout Mars, from Gustav Holst’s The Planets.

rhythm =
#(define-music-function (p) (ly:pitch?)
   "Make the rhythm in Mars (the Planets) at the given pitch"
  #{ \tuplet 3/2 { $p 8 8 8 } 4 4 8 8 4 #})

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

Creating custom key signatures

LilyPond supports custom key signatures. In this example, print for D minor with an extended range of printed flats.

\new Staff \with {
  \override StaffSymbol.line-count = #8
  \override KeySignature.flat-positions = #'((-7 . 6))
  \override KeyCancellation.flat-positions = #'((-7 . 6))
  % presumably sharps are also printed in both octaves
  \override KeySignature.sharp-positions = #'((-6 . 7))
  \override KeyCancellation.sharp-positions = #'((-6 . 7))

  \override Clef.stencil = #
  (lambda (grob)(grob-interpret-markup grob
  #{ \markup\combine
    \musicglyph "clefs.C"
    \translate #'(-3 . -2)
    \musicglyph "clefs.F"
   #}))
    clefPosition = #3
    middleCPosition = #3
    middleCClefPosition = #3
}

{
  \key d\minor
  f bes, f bes,
}

Direction of merged ’fa’ shape note heads

Using property NoteCollision.fa-merge-direction, the direction of “fa” shape note heads (“fa”, “faThin”, etc.) can be controlled independently of the stem direction if two voices with the same pitch and different stem directions are merged. If this property is not set, the “down” glyph variant is used.

{
  \clef bass

  << { \aikenHeads
       f2
       \override Staff.NoteCollision.fa-merge-direction = #UP
       f2 }
  \\ { \aikenHeads
       f2
       f2 }
  >>
}

Force a cancellation natural before accidentals

The following example shows how to force a natural sign before an accidental.

\relative c' {
  \key es \major
  bes c des
  \tweak Accidental.restore-first ##t
  eis
}

Forcing a clef symbol to be displayed

When a clef sign has already been displayed and it has not been changed to a different clef, then repeating the \clef command will be ignored by LilyPond, since it is not a change of clef. It is possible to force the clef to be redisplayed using the command \set Staff.forceClef = ##t.

\relative c' {
  \clef treble
  c1
  \clef treble
  c1
  \set Staff.forceClef = ##t
  c1
  \clef treble
  c1
}

Generating random notes

This Scheme-based snippet generates random notes. Use as

\randomNotes n from to dur

to generate n random notes between pitches from and to, with duration dur.

randomNotes =
#(define-music-function (n from to dur)
   (integer? ly:pitch? ly:pitch? ly:duration?)
   (let ((from-step (ly:pitch-steps from))
         (to-step (ly:pitch-steps to)))
     (make-sequential-music
      (map (lambda (_)
             (let* ((step (+ from-step
                             (random (- to-step from-step))))
                    (pitch (ly:make-pitch 0 step 0)))
               #{ $pitch $dur #}))
           (iota n)))))

\randomNotes 24 c' g'' 8

Hiding accidentals on tied notes at the start of a new system

This shows how to hide accidentals on tied notes at the start of a new system.

\relative c'' {
  \override Accidental.hide-tied-accidental-after-break = ##t
  cis1~ cis~
  \break
  cis
}

\paper { tagline = ##f }

Keep change clefs full sized

When a clef is changed, the clef sign displayed is smaller than the initial clef. This can be overridden with full-size-change.

\relative c' {
  \clef "treble"
  c1
  \clef "bass"
  c1
  \clef "treble"
  c1
  \override Staff.Clef.full-size-change = ##t
  \clef "bass"
  c1
  \clef "treble"
  c1
  \revert Staff.Clef.full-size-change
  \clef "bass"
  c1
  \clef "treble"
  c1
}

Makam example

Makam is a type of melody from Turkey using 1/9th-tone microtonal alterations.

Consult the initialization file ‘ly/makam.ly’ for details of pitch names and alterations.

% Initialize makam settings
\include "makam.ly"

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

Modifying the Ottava spanner slope

It is possible to change the slope of the Ottava spanner.

\relative c'' {
  \override Staff.OttavaBracket.stencil = #ly:line-spanner::print
  \override Staff.OttavaBracket.bound-details =
    #`((left . ((Y . 0)
                (attach-dir . ,LEFT)
                (padding . 0)
                (stencil-align-dir-y . ,CENTER)))
       (right . ((Y . 5.0) ; Change the number here
                 (padding . 0)
                 (attach-dir . ,RIGHT)
                 (text . ,(make-draw-dashed-line-markup
                           (cons 0 -1.2))))))
  \override Staff.OttavaBracket.left-bound-info =
     #ly:horizontal-line-spanner::calc-left-bound-info-and-text
  \override Staff.OttavaBracket.right-bound-info =
     #ly:horizontal-line-spanner::calc-right-bound-info
  \ottava 1
  c1
  c'''1
}

Non-traditional key signatures

The commonly used \key command sets the keyAlterations 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.keyAlterations =
  #`(((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.

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

For microtonal scales where a “sharp” is not 100 cents, alter refers to the alteration as a proportion of a 200-cent whole tone.

\include "arabic.ly"
\relative do' {
  \set Staff.keyAlterations = #`((0 . ,SEMI-FLAT)
                                 (1 . ,SEMI-FLAT)
                                 (2 . ,FLAT)
                                 (5 . ,FLAT)
                                 (6 . ,SEMI-FLAT))
%\set Staff.extraNatural = ##f
  re reb \dwn reb resd
  dod dob dosd \dwn dob |
  dobsb dodsd do do |
}

Numbers as easy note heads

Easy notation note heads use the note-names property of the NoteHead object to determine what appears inside the note head. By overriding this property, it is possible to print numbers representing the scale-degree.

A simple engraver can be created to do this for every note head object it sees.

#(define Ez_numbers_engraver
   (make-engraver
    (acknowledgers
     ((note-head-interface engraver grob source-engraver)
      (let* ((context (ly:translator-context engraver))
             (tonic-pitch (ly:context-property context 'tonic))
             (tonic-name (ly:pitch-notename tonic-pitch))
             (grob-pitch
              (ly:event-property (event-cause grob) 'pitch))
             (grob-name (ly:pitch-notename grob-pitch))
             (delta (modulo (- grob-name tonic-name) 7))
             (note-names
              (make-vector 7 (number->string (1+ delta)))))
        (ly:grob-set-property! grob 'note-names note-names))))))

#(set-global-staff-size 26)

\paper { tagline = ##f }

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

\relative c' {
  \easyHeadsOn
  c4 d e f
  g4 a b c \break

  \key a \major
  a,4 b cis d
  e4 fis gis a \break

  \key d \dorian
  d,4 e f g
  a4 b c d
}

Orchestra, choir and piano template

This template demonstrates the use of nested StaffGroup and GrandStaff contexts to sub-group instruments of the same type together, and a way to use \transpose so that variables hold music for transposing instruments at concert pitch.

#(set-global-staff-size 17)

\paper {
  indent = 3.0\cm  % add space for instrumentName
  short-indent = 1.5\cm  % add less space for shortInstrumentName
}

\header { tagline = ##f }


fluteMusic = \relative c' { \key g \major g'1 b }

% Pitches as written on a manuscript for Clarinet in A
% are transposed to concert pitch.

clarinetMusic = \transpose c' a
  \relative c'' { \key bes \major bes1 d }

trumpetMusic = \relative c { \key g \major g''1 b }

% Key signature is often omitted for horns

hornMusic = \transpose c' f
  \relative c { d'1 fis }

percussionMusic = \relative c { \key g \major g1 b }

sopranoMusic = \relative c'' { \key g \major g'1 b }

sopranoLyrics = \lyricmode { Lyr -- ics }

altoIMusic = \relative c' { \key g \major g'1 b }

altoIIMusic = \relative c' { \key g \major g'1 b }

altoILyrics =  \sopranoLyrics

altoIILyrics = \lyricmode { Ah -- ah }

tenorMusic = \relative c' { \clef "treble_8" \key g \major g1 b }

tenorLyrics = \sopranoLyrics

pianoRHMusic = \relative c { \key g \major g''1 b }

pianoLHMusic = \relative c { \clef bass \key g \major g1 b }

violinIMusic = \relative c' { \key g \major g'1 b }

violinIIMusic = \relative c' { \key g \major g'1 b }

violaMusic = \relative c { \clef alto \key g \major g'1 b }

celloMusic = \relative c { \clef bass \key g \major g1 b }

bassMusic = \relative c { \clef "bass_8" \key g \major g,1 b }

\score {
  <<
    \new StaffGroup = "StaffGroup_woodwinds" <<
      \new Staff = "Staff_flute" \with { instrumentName = "Flute" }
      \fluteMusic

      \new Staff = "Staff_clarinet" \with {
        instrumentName = \markup { \concat { "Clarinet in B" \flat } }
      }

      % Declare that written Middle C in the music
      % to follow sounds a concert B flat, for
      % output using sounded pitches such as MIDI.
      %\transposition bes

      % Print music for a B-flat clarinet
      \transpose bes c' \clarinetMusic
    >>

    \new StaffGroup = "StaffGroup_brass" <<
      \new Staff = "Staff_hornI" \with { instrumentName = "Horn in F" }
       % \transposition f
        \transpose f c' \hornMusic

      \new Staff = "Staff_trumpet" \with { instrumentName = "Trumpet in  C" }
      \trumpetMusic

    >>
    \new RhythmicStaff = "RhythmicStaff_percussion"
    \with { instrumentName = "Percussion" }
    <<
      \percussionMusic
    >>
    \new PianoStaff \with { instrumentName = "Piano" }
    <<
      \new Staff { \pianoRHMusic }
      \new Staff { \pianoLHMusic }
    >>
    \new ChoirStaff = "ChoirStaff_choir" <<
      \new Staff = "Staff_soprano" \with { instrumentName = "Soprano" }
      \new Voice = "soprano"
      \sopranoMusic

      \new Lyrics \lyricsto "soprano" { \sopranoLyrics }
      \new GrandStaff = "GrandStaff_altos"
      \with { \accepts Lyrics } <<
        \new Staff = "Staff_altoI"  \with { instrumentName = "Alto I" }
        \new Voice = "altoI"
        \altoIMusic

        \new Lyrics \lyricsto "altoI" { \altoILyrics }
        \new Staff = "Staff_altoII" \with { instrumentName = "Alto II" }
        \new Voice = "altoII"
        \altoIIMusic

        \new Lyrics \lyricsto "altoII" { \altoIILyrics }
      >>

      \new Staff = "Staff_tenor" \with { instrumentName = "Tenor" }
        \new Voice = "tenor"
        \tenorMusic

      \new Lyrics \lyricsto "tenor" { \tenorLyrics }
    >>
    \new StaffGroup = "StaffGroup_strings" <<
      \new GrandStaff = "GrandStaff_violins" <<
        \new Staff = "Staff_violinI" \with { instrumentName = "Violin I" }
        \violinIMusic

        \new Staff = "Staff_violinII" \with { instrumentName = "Violin II" }
        \violinIIMusic
      >>

      \new Staff = "Staff_viola" \with { instrumentName = "Viola" }
      \violaMusic

      \new Staff = "Staff_cello" \with { instrumentName = "Cello" }
      \celloMusic

      \new Staff = "Staff_bass" \with { instrumentName = "Double Bass" }
      \bassMusic
    >>
  >>
  \layout { }
}

Preventing extra naturals from being automatically added

In accordance with traditional typesetting rules, a natural sign is printed before a sharp or flat if a previous double sharp or flat on the same note is canceled. To change this behavior to contemporary practice, set the extraNatural property to f 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 f 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
}

{
  \new Staff \with {
    instrumentName = \markup { \column { Horn "in F" } }
  }
  \quoteTest
  \transpose c' d' << \quoteTest s4_"up a tone" >>
}

Separating key cancellations from key signature changes

By default, the accidentals used for key cancellations are placed adjacent to those for key signature changes. This behavior can be changed by overriding the break-align-orders property of the BreakAlignment grob.

The value of break-align-orders is a vector of length 3, with quoted lists of breakable items as elements. Each list describes the default order of prefatory matter at the end, in the middle, and at the beginning of a line, respectively. We are only interested in changing the behaviour in the middle of a line.

If you look up the definition of break-align-orders in LilyPond’s Internal Reference (see the BreakAlignment grob), you get the following order in the second element:

...
staff-bar
key-cancellation
key-signature
...

We want to change that, moving key-cancellation before staff-bar. To make this happen we use the grob-transformer function, which gives us access to the original vector as the second argument of the lambda function, here called orig (we don’t need the first argument, grob). We return a new vector, with unchanged first and last elements. For the middle element, we first remove key-cancellation from the list, then adding it again before staff-bar.

#(define (insert-before where what lst)
   (cond
    ((null? lst)           ; If the list is empty,
     (list what))          ; return a single-element list.
    ((eq? where (car lst)) ; If we find symbol `where`,
     (cons what lst))      ; insert `what` before curr. position.
    (else                  ; Otherwise keep building the list by
     (cons (car lst)       ; adding the current element and
                           ; recursing with the next element.
           (insert-before where what (cdr lst))))))

cancellationFirst =
\override Score.BreakAlignment.break-align-orders =
#(grob-transformer
  'break-align-orders
  (lambda (grob orig)
    (let* ((middle (vector-ref orig 1))
           (middle (delq 'key-cancellation middle))
           (middle (insert-before
                    'staff-bar 'key-cancellation middle)))
      (vector
       ;; end of line
       (vector-ref orig 0)
       ;; middle of line
       middle
       ;; beginning of line
       (vector-ref orig 2)))))

music = { \key es \major d'1 \bar "||"
          \key a \major d'1 }

{ <>^\markup "default"
  \music }

{ <>^\markup "cancellation first"
  \cancellationFirst
  \music }

\paper { tagline = ##f }

Transposing pitches with minimum accidentals ("Smart" transpose)

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 (eqv? n 6) (eqv? n 2)))
       (set! a (- a 2))
       (set! n (+ n 1)))
      ((and (< a -1) (or (eqv? n 0) (eqv? 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 naturalize 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 (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 { }
}

Turkish Makam example

This template uses the start of a well-known Turkish Saz Semai that is familiar in the repertoire in order to illustrate some of the elements of Turkish music notation.

\paper { tagline = ##f }

% Initialize makam settings
\include "turkish-makam.ly"

\header {
    title = "Hüseyni Saz Semaisi"
    composer = "Lavtacı Andon"
}

\relative {
  \set Staff.extraNatural = ##f
  \set Staff.autoBeaming = ##f

  \key a \huseyni
  \time 10/8

  a'4 g'16 [fb] e8. [d16] d [c d e] c [d c8] bfc |
  a16 [bfc a8] bfc c16 [d c8] d16 [e d8] e4 fb8 |
  d4 a'8 a16 [g fb e] fb8 [g] a8. [b16] a16 [g] |
  g4 g16 [fb] fb8. [e16] e [g fb e] e4 r8 |
}

Tweaking clef properties

Changing the clef glyph, its position, or the ottavation does not change the position of subsequent notes on the staff. To get key signatures on their correct staff lines, middleCClefPosition must also be specified, with positive or negative values moving middle C up or down respectively, relative to the staff’s center line.

For example, \clef "treble_8" is equivalent to setting the clefGlyph, clefPosition (the vertical position of the clef itself on the staff), middleCPosition, and clefTransposition. Note that when any of these properties (except middleCPosition) are changed a new clef symbol is printed.

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.

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

  % The following clef changes do not preserve
  % the normal relationship between notes, key signatures
  % 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.clefTransposition = 7
  c'1
  \set Staff.clefTransposition = 0
  \set Staff.clefPosition = 0
  c'1

  % Return to the normal clef:

  \set Staff.middleCPosition = 0
  c'1
}

\paper { tagline = ##f }

Using autochange with more than one voice

Using autochange with more than one voice.

\score {
  \new PianoStaff
  <<
    \new Staff = "up" {
      <<
        \set Timing.beamExceptions = #'()
        \set Timing.beatStructure = #'(4)
        \new Voice {
          \voiceOne
          \autoChange
          \relative c' {
            g8 a b c d e f g
            g,8 a b c d e f g
          }
        }

        \new Voice {
          \voiceTwo
          \autoChange
          \relative c' {
            g8 a b c d e f g
            g,,8 a b c d e f g
          }
        }
      >>
    }

    \new Staff = "down" {
      \clef bass
    }
  >>
}

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

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 \tuplet 3/2 { r16 e'8] }
  g16( a \tuplet 3/2 { b d e') }
  g8[( a \tuplet 3/2 { b d') e'] ~ }
  \time 2/4
  \tuplet 5/4 { 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 {
      instrumentName = "timbales"
      drumStyleTable = #timbales-style
      \override StaffSymbol.line-count = #2
      \override BarLine.bar-extent = #'(-1 . 1)
    }
    <<
      \timb
    >>
    \new DrumStaff \with { instrumentName = "drums" }
    <<
      \new DrumVoice { \stemUp \drh }
      \new DrumVoice { \stemDown \drl }
    >>
  >>
  \layout { }
  \midi { \tempo 4 = 120 }
}

Adjusting grace note spacing

The space given to grace notes can be adjusted using the spacing-increment property of Score.GraceSpacing.

graceNotes = {
  \grace { c4 c8 c16 c32 }
  c8
}

\relative c'' {
  c8
  \graceNotes
  \override Score.GraceSpacing.spacing-increment = #2.0
  \graceNotes
  \revert Score.GraceSpacing.spacing-increment
  \graceNotes
}

Aligning bar numbers

Bar numbers by default are right-aligned to their parent object. This is usually the left edge of a line or, if numbers are printed within a line, the left hand side of a bar line. The numbers may also be positioned directly over the bar line or left-aligned to the bar line.

\relative c' {
  \set Score.currentBarNumber = 111
  \override Score.BarNumber.break-visibility = #all-visible
  % Increase the size of the bar number by 2
  \override Score.BarNumber.font-size = 2
  % Print a bar number every second measure
  \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
  c1 | c1
  % Center-align bar numbers
  \override Score.BarNumber.self-alignment-X = #CENTER
  c1 | c1
  % Left-align bar numbers
  \override Score.BarNumber.self-alignment-X = #LEFT
  c1 | c1
}

Alternative breve notes

Breve notes are also available with two vertical lines on each side of the notehead instead of one line and in baroque style.

\relative c'' {
  \time 4/2
  c\breve |
  \override Staff.NoteHead.style = #'altdefault
  b\breve
  \override Staff.NoteHead.style = #'baroque
  b\breve
  \revert Staff.NoteHead.style
  a\breve
}

Appoggiatura or grace note before a bar line

By default, appoggiaturas and grace notes that occur on the first beat of a measure are printed after the bar line. They can however be printed before, simply by adding an invisible BarLine and then the visible one, as demonstrated here.

{
  R1
  %% default
  \appoggiatura d''8 c''4 r2.
  %% cheated
  \appoggiatura { \bar "" d''8 \bar "|" } c''4 r2.
}

Automatic beam subdivisions

Beams can be subdivided automatically. By setting the property subdivideBeams, beams are subdivided whenever possible. The intervals and depth of subdivision can be limited with properties minimumBeamSubdivisionInterval and maximumBeamSubdivisionInterval respectively.

\new Staff {
  \relative c'' {
    <<
      {
        \voiceOne
        \set subdivideBeams = ##t
        b32[ a g f c' b a g
        b32^"subdivide beams" a g f c' b a g]
      }
      \new Voice {
        \voiceTwo
        b32_"default"[ a g f c' b a g
        b32 a g f c' b a g]
      }
    >>
    \oneVoice
    \once \set minimumBeamSubdivisionInterval = \musicLength 8
    b32^"minimumBeamSubdivisionInterval 1 8"[ a g f c' b a g]
    \once \set maximumBeamSubdivisionInterval = \musicLength 16
    b32^"maximumBeamSubdivisionInterval 1 16"[ a g f c' b a g]
  }
}

Automatically change durations

shiftDurations can be used to change the note lengths of a piece of music.

It takes two arguments – the scaling factor as a power of two, and the number of dots to be added as a positive integer.

\paper {
  indent = 0
  tagline = ##f
}

music = \relative c'' { a1 b2 c4 d8 r }

{
  \time 4/2
  \music
  \time 4/4
  \shiftDurations 1 0 \music
  \time 2/4
  \shiftDurations 2 0 \music
  \time 4/1
  \shiftDurations -1 0 \music
  \time 8/1
  \shiftDurations -2 0 \music
  \time 6/2
  \shiftDurations 0 1 \music
  \time 7/2
  \shiftDurations 0 2 \music
}