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---

Default tablatures

Music for plucked string instruments is frequently notated using a finger/touch notation or tablature. In contrast to traditional notation pitches are not denoted with note heads, but by numbers (or letter-like symbols in historical intavolatura). The staff lines in tablature indicate the string on which the note is to be played, and a number placed on a staff line indicates the fret at which the corresponding string is to be pressed. Notes that are to be played simultaneously are vertically aligned.

By default, string 1 is the highest string, and corresponds to the top line on the TabStaff. The tuning of the TabStaff strings defaults to the standard guitar tuning (with 6 strings). The notes are printed as tablature, by using TabStaff and TabVoice contexts. A calligraphic tablature clef is added automatically.

\new TabStaff \relative {
  a,8 a' <c e> a
  d,8 a' <d f> a
}

Default tablatures do not contain any symbols for tone duration nor any other musical symbols such as expressive marks, for example.

symbols = {
  \time 3/4
  c4-.^"Allegro" d( e)
  f4-.\f g a^\fermata
  \mark \default
  c8_.\<\( c16 c~ 2\!
  c'2.\prall\)
}

\score {
  <<
    \new Staff { \clef "G_8" \symbols }
    \new TabStaff { \symbols }
  >>
}

If all musical symbols used in traditional notation should also show up in tablature one has to apply the command \tabFullNotation in a TabStaff-context. Please bear in mind that half notes are double-stemmed in tablature in order to distinguish them from quarter notes.

symbols = {
  \time 3/4
  c4-.^"Allegro" d( e)
  f4-.\f g a^\fermata
  \mark \default
  c8_.\<\( c16 c~ 2\!
  c'2.\prall\)
}

\score {
  \new TabStaff {
    \tabFullNotation
    \symbols
  }
}

By default pitches are assigned to the lowest playing position on the fretboard (first position). Open strings are automatically preferred. If you would like a certain pitch to be played on a specific string you can add a string number indication to the pitch name. If you don’t want to have string number indications appear in traditional notation, you can override the respective stencil. Usually it will be more comfortable to define the playing position by using the value of minimumFret. The default value for minimumFret is 0.

Even when minimumFret is set, open strings are used whenever possible. This behavior can be changed by setting restrainOpenStrings to #t.

\layout { \omit Voice.StringNumber }
\new StaffGroup <<
   \new Staff \relative {
     \clef "treble_8"
     \time 2/4
     c16 d e f g4
     c,16\5 d\5 e\4 f\4 g4\4
     c,16 d e f g4
   }
   \new TabStaff \relative {
     c16 d e f g4
     c,16\5 d\5 e\4 f\4 g4\4
     \set TabStaff.minimumFret = 5
     \set TabStaff.restrainOpenStrings = ##t
     c,16 d e f g4
   }
>>

Chord constructs can be repeated by the chord repetition symbol ‘q’, (see Chord repetition for more). In combination with tabulatures, its behavior of removing string and fingering numbers alongside with other events may lead to unwanted results, in particular different fret positions. The command \tabChordRepeats keeps the fingering consistent across repetitions. In the following example, the default fingering for this chord (without fingering indications) would be ‘gis’ on 4th string, ‘b’ on 3rd string, and ‘cis’ on 2nd string. As we use b-0 in the input, ‘b’ is on the second string, and ‘cis’ moves to the 3rd string. \tabChordRepeats allows to keep the same fingering in the following q chords:

guitar = \relative {
  r8 <gis-2 cis-3 b-0>~ q4 q8~ 8 q4
}

\new StaffGroup <<
  \new Staff {
    \clef "treble_8"
    \guitar
  }
  \new TabStaff {
    \tabChordRepeats \guitar
  }
>>

Ties over a line break are parenthesized by default. The same holds for the second alternative of a repeat.

ties = \relative {
  \repeat volta 2 {
    e'2. f4~
    2 g2~
  }
  \alternative {
     \volta 1 { g4 f2. }
     \volta 2 { g4\repeatTie c,2. }
  }
  b1~
  \break
  b1
  \bar "|."
}

\score {
  <<
    \new StaffGroup  <<
      \new Staff {
        \clef "treble_8"
        \ties
      }
      \new TabStaff {
        \ties
      }
    >>
  >>
  \layout {
  indent = 0
  ragged-right = ##t
  }
}

The command \hideSplitTiedTabNotes cancels the behavior of engraving fret numbers in parentheses:

ties = \relative {
  \repeat volta 2 {
    e'2. f4~
    2 g2~ }
  \alternative {
    \volta 1 { g4 f2. }
    \volta 2 { g4\repeatTie c,2. }
  }
  b1~
  \break
  b1
  \bar "|."
}

\score {
  <<
    \new StaffGroup  <<
      \new Staff {
        \clef "treble_8"
        \ties
      }
      \new TabStaff {
      \hideSplitTiedTabNotes
        \ties
      }
    >>
  >>
  \layout {
  indent = 0
  ragged-right = ##t
  }
}

Harmonic indications can be added to tablature notation as sounding pitches:

\layout { \omit Voice.StringNumber }
firstHarmonic = {
  d'4\4\harmonic
  g'4\3\harmonic
  b'2\2\harmonic
}
\score {
  <<
    \new Staff {
      \clef "treble_8"
      \firstHarmonic
    }
    \new TabStaff { \firstHarmonic }
  >>
}

Note that the command \harmonic must always be attached to single notes (possibly inside of a chord) instead of whole chords. It only makes sense for open-string harmonics in the 12th fret. All other harmonics should be calculated by LilyPond. This can be achieved by indicating the fret where a finger of the fretting hand should touch a string.

fretHarmonics = {
  \harmonicByFret 5 d16\4
  \harmonicByFret 4 d16\4
  \harmonicByFret 3 d8\4
  \harmonicByFret 5 <g\3 b\2>2.
}
\score {
  <<
    \new Staff {
      \clef "treble_8"
      \fretHarmonics
    }
    \new TabStaff { \fretHarmonics }
  >>
}

Alternatively, harmonics can be computed by defining the ratio of string lengths above and below the harmonic fingering.

ratioHarmonics = {
  \harmonicByRatio #1/2 <g\3 b\2 e'\1>4
  \harmonicByRatio #1/3 <g\3 b\2 e'\1>4
  \harmonicByRatio #1/4 { g8\3 b8\2 e'4\1 }
}
\score {
  <<
    \new Staff {
      \clef "treble_8"
      \ratioHarmonics
    }
    \new TabStaff { \ratioHarmonics }
  >>
}

String bendings can be added to tablature notation. A bending is introduced by appending \^ to the note or chord to be bent; it terminates automatically at the next note or chord. Available are the following styles: the default prints a curve with an arrow head up or down, 'hold a dashed horizontal line, 'pre-bend a vertical line with an arrow head, and 'pre-bend-hold a vertical line with an arrow head continued by a dashed line.

bend-styles = {
  <>^"default"
  f'4\^ g'4\^ f'2

  <>^"'hold"
  \grace f'4\^ g'1\bendHold \^ g'1

  <>^"'pre-bend"
  \grace f'4\preBend \^ g'1\bendHold \^ g'1

  <>^"'pre-bend-hold"
  \grace f'4\preBendHold \^ g'1\bendHold \^ g'1\^ f'

  \bar "|."
}

\score {
  \new StaffGroup
  <<
    \new Staff {
      \override TextScript.font-size = -2
      \clef "G_8"
      \bend-styles
    }
    \new TabStaff \bend-styles
  >>
  \layout {
    \context {
      \Voice
      \omit StringNumber
    }
    \context {
      \TabStaff
      minimumFret = 5
    }
    \context {
      \TabVoice
      \consists Bend_spanner_engraver
    }
  }
}

Open strings are usually not bent. To have them bent as well set the property bend-me to #t. To exclude other notes from being bent set it to #f.

mus = {
  <>^"default"
  <a b f'>4\^
  <ais b fis'>\^
  <a b f'>2

  <>^"bend open strings"
  <a \tweak bend-me ##t b f'>4\^
  <ais \tweak bend-me ##t bis fis'>\^
  <a b f'>2

  <>^"exclude other strings"
  <g \tweak bend-me ##f b\3 d'>4\^
  <a e'\2 >\^
  <g \tweak bend-me ##f b\3 d'>2

  \bar "|."
}

\score {
  \new StaffGroup
  <<
    \new Staff {
      \override TextScript.font-size = -2
      \clef "G_8"
      \mus
    }
    \new TabStaff \mus
  >>
  \layout {
    \context {
      \Voice
      \omit StringNumber
    }
    \context {
      \TabVoice
      \consists Bend_spanner_engraver
    }
  }
}

For consecutive bendings the starting bend may need to have an appropriate setting for details.successive-level. For convenience there is the function bendStartLevel, taking an integer.

printNext = -\tweak details.target-visibility ##t \etc

mus = {
  c'4\3\^ cis'\3 \^ d'2\3

  \grace bes4\3\preBendHold \bendStartLevel 2 \printNext \^
  d'4\3\bendHold \^ d'2\3\^ des'4\3 \^ c'1\3

  \bar "|."
}

\score {
  \new StaffGroup
  <<
    \new Staff {
      \override TextScript.font-size = -2
      \clef "G_8"
      \mus
    }
    \new TabStaff \mus
  >>
  \layout {
    \context {
      \Voice
      \omit StringNumber
    }
    \context {
      \TabVoice
      \consists Bend_spanner_engraver
    }
  }
}

Per default the BendSpanner ends at the following note or chord even if it is tied to the starting note or chord. A single NoteColumn may be skipped by using \skipNC. A group of NoteColumns can be skipped by using \skipNCs at the beginning and \endSkipNCs at the end.

bends-with-ties-and-skips = {
  a'4~\^ \skipNC a'4~ \skipNC a'4 b'4
  a'4~ a'4~\^ \skipNC a'4 b'4
  a'4~ a'4~ a'4\^ b'4
  c'2\^ d'~ \bendHold \^ \skipNC d'~ d'\^ c'
  \grace { c'8-\preBendHold \^ }
  \skipNCs d'2~ d'2~ \endSkipNCs d'\^ c'2
  \bar "|."
}

\score {
  \new StaffGroup
  <<
    \new Staff {
      \clef "G_8"
      \bends-with-ties-and-skips
    }
    \new TabVoice \bends-with-ties-and-skips
  >>
  \layout {
    \context {
      \Voice
      \omit StringNumber
    }
    \context {
      \TabStaff
      minimumFret = 3
      restrainOpenStrings = ##t
    }
    \context {
      \TabVoice
      \consists Bend_spanner_engraver
    }
  }
}

Predefined commands

\skipNCs, \skipNC, \endSkipNCs.

Selected Snippets

Stem and beam behavior in tablature

The direction of stems is controlled the same way in tablature as in traditional notation. Beams can be made horizontal, as shown in this example.

\new TabStaff {
  \relative c {
    \tabFullNotation
    g16 b d g b d g b
    \stemDown
    \override Beam.concaveness = 10000
    g,,16 b d g b d g b
  }
}

Polyphony in tablature

Polyphony is created the same way in a TabStaff as in a regular staff.

upper = \relative c' {
  \time 12/8
  \key e \minor
  \voiceOne
  r4. r8 e, fis g16 b g e e' b c b a g fis e
}

lower = \relative c {
  \key e \minor
  \voiceTwo
  r16 e d c b a g4 fis8 e fis g a b c
}

\score {
  <<
    \new StaffGroup = "tab with traditional" <<
      \new Staff = "guitar traditional" <<
        \clef "treble_8"
        \new Voice = "upper" \upper
        \new Voice = "lower" \lower
      >>
      \new TabStaff = "guitar tab" <<
        \new TabVoice = "upper" \upper
        \new TabVoice = "lower" \lower
      >>
    >>
  >>
}

Open string harmonics in tablature

This snippet demonstrates open-string harmonics.

openStringHarmonics = {
  \textSpannerDown
  \override TextSpanner.staff-padding = 3
  \override TextSpanner.dash-fraction = 0.3
  \override TextSpanner.dash-period = 1

  %first harmonic
  \override TextSpanner.bound-details.left.text =
    \markup\small "1st harm. "
  \harmonicByFret 12 e,2\6\startTextSpan
  \harmonicByRatio #1/2 e,\6\stopTextSpan

  %second harmonic
  \override TextSpanner.bound-details.left.text =
    \markup\small "2nd harm. "
  \harmonicByFret 7 e,\6\startTextSpan
  \harmonicByRatio #1/3 e,\6
  \harmonicByFret 19 e,\6
  \harmonicByRatio #2/3 e,\6\stopTextSpan
  %\harmonicByFret 19 < e,\6 a,\5 d\4 >
  %\harmonicByRatio #2/3 < e,\6 a,\5 d\4 >

  %third harmonic
  \override TextSpanner.bound-details.left.text =
    \markup\small "3rd harm. "
  \harmonicByFret 5 e,\6\startTextSpan
  \harmonicByRatio #1/4 e,\6
  \harmonicByFret 24 e,\6
  \harmonicByRatio #3/4 e,\6\stopTextSpan
  \break

  %fourth harmonic
  \override TextSpanner.bound-details.left.text =
    \markup\small "4th harm. "
  \harmonicByFret 4 e,\6\startTextSpan
  \harmonicByRatio #1/5 e,\6
  \harmonicByFret 9 e,\6
  \harmonicByRatio #2/5 e,\6
  \harmonicByFret 16 e,\6
  \harmonicByRatio #3/5 e,\6\stopTextSpan

  %fifth harmonic
  \override TextSpanner.bound-details.left.text =
    \markup\small "5th harm. "
  \harmonicByFret 3 e,\6\startTextSpan
  \harmonicByRatio #1/6 e,\6\stopTextSpan
  \break

  %sixth harmonic
  \override TextSpanner.bound-details.left.text =
    \markup\small "6th harm. "
  \harmonicByFret 2.7 e,\6\startTextSpan
  \harmonicByRatio #1/7 e,\6\stopTextSpan

  %seventh harmonic
  \override TextSpanner.bound-details.left.text =
    \markup\small "7th harm. "
  \harmonicByFret 2.3 e,\6\startTextSpan
  \harmonicByRatio #1/8 e,\6\stopTextSpan

  %eighth harmonic
  \override TextSpanner.bound-details.left.text =
    \markup\small "8th harm. "
  \harmonicByFret 2 e,\6\startTextSpan
  \harmonicByRatio #1/9 e,\6\stopTextSpan
}

\score {
  <<
    \new Staff
    \with { \omit StringNumber } {
      \new Voice {
        \clef "treble_8"
        \openStringHarmonics
      }
    }
    \new TabStaff {
      \new TabVoice {
        \openStringHarmonics
      }
    }
  >>
}

\paper { tagline = ##f }

Fretted-string harmonics in tablature

The following demonstrates fretted-string harmonics in a tablature.

pinchedHarmonics = {
  \textSpannerDown
  \override TextSpanner.bound-details.left.text =
    \markup {\halign #-0.5 \teeny "PH" }
  \override TextSpanner.style = #'dashed-line
  \override TextSpanner.dash-period = 0.6
  \override TextSpanner.bound-details.right.attach-dir = 1
  \override TextSpanner.bound-details.right.text =
    \markup { \draw-line #'(0 . 1) }
  \override TextSpanner.bound-details.right.padding = -0.5
}

harmonics = {
  % artificial harmonics (AH)
  \textLengthOn
  <\parenthesize b b'\harmonic>4_\markup { \teeny "AH 16" }
  <\parenthesize g g'\harmonic>4_\markup { \teeny "AH 17" }
  <\parenthesize d' d''\harmonic>2_\markup { \teeny "AH 19" }

  % pinched harmonics (PH)
  \pinchedHarmonics
  <a'\harmonic>2\startTextSpan
  <d''\harmonic>4
  <e'\harmonic>4\stopTextSpan

  % tapped harmonics (TH)
  <\parenthesize g\4 g'\harmonic>4_\markup { \teeny "TH 17" }
  <\parenthesize a\4 a'\harmonic>4_\markup { \teeny "TH 19" }
  <\parenthesize c'\3 c''\harmonic>2_\markup { \teeny "TH 17" }

  % touch harmonics (TCH)
  a4( <e''\harmonic>2. )_\markup { \teeny "TCH" }
}

frettedStrings = {
  % artificial harmonics (AH)
  \harmonicByFret 4 g4\3
  \harmonicByFret 5 d4\4
  \harmonicByFret 7 g2\3

  % pinched harmonics (PH)
  \harmonicByFret 7 d2\4
  \harmonicByFret 5 d4\4
  \harmonicByFret 7 a4\5

  % tapped harmonics (TH)
  \harmonicByFret 5 d4\4
  \harmonicByFret 7 d4\4
  \harmonicByFret 5 g2\3

  % touch harmonics (TCH)
  a4 \harmonicByFret 9 g2.\3
}

\score {
  <<
    \new Staff
    \with { \omit StringNumber } {
      \new Voice {
        \clef "treble_8"
        \harmonics
      }
    }
    \new TabStaff {
      \new TabVoice {
        \frettedStrings
      }
    }
  >>
}

Slides in tablature

Slides can be typeset in both Staff and TabStaff contexts.

slides = {
  c'8\3(\glissando d'8\3)
  c'8\3\glissando d'8\3
  \hideNotes
  \grace { g16\glissando }
  \unHideNotes
  c'4\3
  \afterGrace d'4\3\glissando {
  \stemDown \hideNotes
  g16 }
  \unHideNotes
}

\score {
  <<
    \new Staff { \clef "treble_8" \slides }
    \new TabStaff { \slides }
  >>
  \layout {
    \context {
      \Score
      \override Glissando.minimum-length = 4
      \override Glissando.springs-and-rods =
                          #ly:spanner::set-spacing-rods
      \override Glissando.thickness = 2
      \omit StringNumber
      % or:
      %\override StringNumber.stencil = ##f
    }
  }
}

Chord glissando in tablature

Slides for chords are indicated by default in both Staff and TabStaff.

String numbers may be necessary for TabStaff because automatic string calculations are different for chords and for single notes.

myMusic = \relative c' {
  <c e g>1 \glissando <f a c>
  <cis, eis gis>1 \glissando <f a c>
  <cis eis gis>1 \glissando <f a c\3>
}

\score {
  <<
    \new Staff {
      \clef "treble_8"
      \omit StringNumber
      \myMusic
    }
    \new TabStaff \myMusic
  >>
}

\score {
  <<
    \new Staff {
      \clef "treble_8"
      \omit StringNumber
      \myMusic
    }
    \new TabStaff \with { \override Glissando.style = #'none } {
      \myMusic
    }
  >>
}

\paper { tagline = ##f }

Hammer on and pull off

Hammer-on and pull-off can be obtained using slurs.

\new TabStaff {
  \relative c' {
    d4( e\2)
    a( g)
  }
}

Hammer on and pull off using voices

The arc of hammer-on and pull-off is upwards in voices one and three and downwards in voices two and four:

\new TabStaff {
  \relative c' {
    << { \voiceOne g2( a) }
    \\ { \voiceTwo a,( b) }
    >> \oneVoice
  }
}

Hammer on and pull off using chords

When using hammer-on or pull-off with chorded notes, only a single arc is drawn. However “double arcs” are possible by setting the doubleSlurs property to #t.

\new TabStaff {
  \relative c' {
    % chord hammer-on and pull-off
    \set doubleSlurs = ##t
    <g' b>8( <a c> <g b>)
  }
}

See also

Notation Reference: Chord repetition, Glissando, Harmonics, Stems, Written-out repeats.

Snippets: Fretted strings.

Internals Reference: TabNoteHead, TabStaff, TabVoice, Beam.

Known issues and warnings

Chords are not handled in a special way, and hence the automatic string selector may easily select the same string for two notes in a chord.

In order to handle \partCombine, a TabStaff must use specially-created voices:

melodia = \partCombine { e4 g g g } { e4 e e e }
<<
  \new TabStaff <<
    \new TabVoice = "one" s1
    \new TabVoice = "two" s1
    \new TabVoice = "shared" s1
    \new TabVoice = "solo" s1
    { \melodia }
  >>
>>

Guitar special effects are limited to harmonics and slides.