1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
10 @c A menu is needed before every deeper *section nesting of @node's; run
11 @c M-x texinfo-all-menus-update
12 @c to automatically fill in these menus before saving changes
15 @node Advanced notation
16 @chapter Advanced notation
18 This chapter deals with rarely-used and advanced notation.
24 * Contemporary notation::
33 This section explains how to include text (with various formatting) in
36 @cindex Text, other languages
37 To write non-ascii text (such as characters from other languages), simply
38 insert the characters directly into the lilypond file. The file must be
39 saved as UTF-8. For more information, see @ref{Text encoding}.
43 * Text and line spanners::
48 * Overview of text markup commands::
55 @subsection Text scripts
58 @cindex text items, non-empty
59 @cindex non-empty texts
61 It is possible to place arbitrary strings of text or @ref{Text markup}
62 above or below notes by using a string @code{c^"text"}. By default,
63 these indications do not influence the note spacing, but by using the
64 command @code{\fatText}, the widths will be taken into account
66 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
67 c4^"longtext" \fatText c4_"longlongtext" c4
71 To prevent text from influencing spacing, use @code{\emptyText}.
73 More complex formatting may also be added to a note by using the
75 @lilypond[fragment,ragged-right,verbatim,quote]
76 c'4^\markup { bla \bold bla }
79 The @code{\markup} is described in more detail in
93 Checking to make sure that text scripts and lyrics are within the margins is
94 a relatively large computational task. To speed up processing, lilypond does
95 not perform such calculations by default; to enable it, use
98 \override Score.PaperColumn #'keep-inside-line = ##t
104 In this manual: @ref{Text markup}.
106 Program reference: @internalsref{TextScript}.
109 @node Text and line spanners
110 @subsection Text and line spanners
112 Some performance indications, e.g., @i{rallentando} and
113 @i{accelerando} and @i{trills} are written as text and are extended
114 over many measures with lines, sometimes dotted or wavy.
116 These all use the same routines as the glissando for drawing the texts
117 and the lines, and tuning their behavior is therefore also done in the
118 same way. It is done with a spanner, and the routine responsible for
119 drawing the spanners is @code{ly:new-line-interface::print}. This
120 routine creates determines the exact location of the two @i{span
121 points} and draws a line in between, in the style requested.
123 Here is an example of the different line styles available, and how to
126 @lilypond[relative=2,ragged-right,verbatim,fragment]
128 \once \override Glissando #'dash-fraction = #0.5
130 \override Glissando #'style = #'dotted-line
132 \override Glissando #'style = #'zigzag
134 \override Glissando #'style = #'trill
138 The information that determines the end-points is computed on-the-fly
139 for every graphic object, but it is possible to override these.
141 @lilypond[relative=2,ragged-right,verbatim,fragment]
143 \once \override Glissando #'bound-details #'right #'Y = #-2
147 The @code{Glissando} object, like any other using the
148 @code{ly:new-line-interface::print} routine, carries a nested
149 association list. In the above statement, the @item value for @code{Y}
150 is set to @code{-2} for association list corresponding to the right
151 end point. Of course, it is also possible to adjust the left side with
152 @code{left} instead of @code{right}.
154 If @code{Y} is not set, the value is computed from the vertical
155 position of right attachment point of the spanner.
157 In case of a line break, the values for the span-points are extended
158 with contents of the @code{left-break} and @code{right-break}
159 sublists, for example
161 @lilypond[relative=2,ragged-right,verbatim,fragment]
162 \override Glissando #'breakable = ##T
163 \override Glissando #'bound-details #'right-break #'Y = #-3
164 \override Glissando #'bound-details #'left-break #'Y = #3
169 The following properties can be used for the
173 This sets the Y-coordinate of the end point, in staff space. By
174 default, it is the center of the bound object, so for a glissando it
175 points to the vertical center of the note head.
177 For horizontal spanners, such as text spanner and trill spanners, it
181 This determines where the line starts and ends in X-direction,
182 relative to the bound object. So, a value of @code{-1} (or
183 @code{LEFT}) makes the line start/end at the left side of the note
184 head it is attached to.
187 This is the absolute coordinate of the end point. It is usually
188 computed on the fly, and there is little use in overriding it.
191 Line spanners may have symbols at the beginning or end, which is
192 contained in this sub-property. This is for internal use, it is
193 recommended to use @code{text}.
196 This is a markup that is evaluated to yield stencil. It is
197 used to put @i{cresc.} and @i{tr} on horizontal spanners.
199 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
200 \override TextSpanner #'bound-details #'left #'text
201 = \markup { \bold Slower }
202 c2\startTextSpan b c\stopTextSpan a
206 @item stencil-align-dir-y
208 Without setting this, the stencil is simply put there at the
209 end-point, as defined by the @code{X} and @code{Y} sub properties.
210 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
211 will move the symbol at the edge relative to the end point of the line
213 @lilypond[relative=1,fragment,verbatim]
214 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
215 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
217 \override TextSpanner #'bound-details #'left #'text = #"gggg"
218 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
219 c4^\startTextSpan c c c \stopTextSpan
223 Setting this sub property to @code{#t} produce an arrowhead at the end
227 This sub property controls the space between the specified end-point
228 of the line and the actual end. Without padding, a glissando would
229 start and end in the center of each note head.
235 @subsection Text spanners
237 @cindex Text spanners
239 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
240 are written as text and are extended over many measures with dotted
241 lines. Such texts are created using text spanners; attach
242 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
243 notes of the spanner.
245 The string to be printed, as well as the style, is set through object
248 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
251 \override TextSpanner #'edge-text = #'("rall " . "")
252 c2\startTextSpan b c\stopTextSpan a
255 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
256 c2\startTextSpan b c\stopTextSpan a
261 @cindex textSpannerUp
262 @code{textSpannerUp},
263 @cindex textSpannerDown
264 @code{textSpannerDown},
265 @cindex textSpannerNeutral
266 @code{textSpannerNeutral}.
271 To print a solid line, use
274 \override TextSpanner #'dash-fraction = #'()
280 Program reference: @internalsref{TextSpanner}.
282 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
286 @subsection Text marks
288 @cindex coda on bar line
289 @cindex segno on bar line
290 @cindex fermata on bar line
291 @cindex bar lines, symbols on
294 The @code{\mark} command is primarily used for
295 @ref{Rehearsal marks},
296 but it can also be used to put signs like coda,
297 segno, and fermata on a bar line. Use @code{\markup} to
298 access the appropriate symbol (symbols are listed in
301 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
302 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
307 @code{\mark} is only typeset above the top stave of the score. If
308 you specify the @code{\mark} command at a bar line, the resulting
309 mark is placed above the bar line. If you specify it in the middle
310 of a bar, the resulting mark is positioned between notes. If it is
311 specified before the beginning of a score line, it is placed
312 before the first note of the line. Finally, if the mark occurs at
313 a line break, the mark will be printed at the
314 beginning of the next line.
315 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
316 @c delete this sentence. -gp
317 If there is no next line, then the mark will not be printed at all.
322 To print the mark at the end of the current line, use
325 \override Score.RehearsalMark
326 #'break-visibility = #begin-of-line-invisible
329 @code{\mark} is often useful for adding text to the end of bar. In
330 such cases, changing the @code{#'self-alignment} is very useful
332 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
333 \override Score.RehearsalMark
334 #'break-visibility = #begin-of-line-invisible
336 \once \override Score.RehearsalMark #'self-alignment-X = #right
337 \mark "D.S. al Fine "
340 Text marks may be aligned with notation objects other than
343 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
348 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
352 \override Score.RehearsalMark #'break-align-symbol = #'clef
356 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
365 Although text marks are normally only printed above the topmost
366 staff, you may alter this to print them on every staff,
368 @lilypond[quote,ragged-right,verbatim,relative=2]
371 \remove "Mark_engraver"
375 \consists "Mark_engraver"
377 { c''1 \mark "foo" c'' }
379 \consists "Mark_engraver"
381 { c'1 \mark "foo" c' }
389 Program reference: @internalsref{RehearsalMark}.
393 @subsection Text markup
400 Use @code{\markup} to typeset text. Commands are entered with the
401 backslash @code{\}. To enter @code{\} and @code{#}, use double
404 @lilypond[quote,verbatim,fragment,relative=1]
406 c1_\markup { hi there }
407 c1^\markup { hi \bold there, is \italic {anyone home?} }
408 c1_\markup { "\special {weird} #characters" }
412 See @ref{Overview of text markup commands} for a list of all
415 @code{\markup} is primarily used for @internalsref{TextScript}s,
416 but it can also be used anywhere text is called in lilypond
418 @lilypond[quote,verbatim]
419 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
422 \override Score.RehearsalMark
423 #'break-visibility = #begin-of-line-invisible
424 \override Score.RehearsalMark #'self-alignment-X = #right
426 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
427 c2^\markup{ don't be \flat }
428 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
430 a2\mark \markup{ \large \bold Fine }
434 \addlyrics { bar, foo \markup{ \italic bar! } }
438 A @code{\markup} command can also be placed on its own, away from any
439 @code{\score} block, see @ref{Multiple scores in a book}.
441 @lilypond[quote,ragged-right,verbatim]
442 \markup{ Here is some text. }
445 @cindex font switching
447 The markup in the example demonstrates font switching commands. The
448 command @code{\bold} and @code{\italic} apply to the first following
449 word only; to apply a command to more than one word, enclose the
453 \markup @{ \bold @{ hi there @} @}
457 For clarity, you can also do this for single arguments, e.g.,
460 \markup @{ is \italic @{ anyone @} home @}
463 In markup mode you can compose expressions, similar to mathematical
464 expressions, XML documents, and music expressions. You can stack
465 expressions grouped vertically with the command @code{\column}.
466 Similarly, @code{\center-align} aligns texts by their center lines:
468 @lilypond[quote,verbatim,fragment,relative=1]
469 c1^\markup { \column { a bbbb \line { c d } } }
470 c1^\markup { \center-align { a bbbb c } }
471 c1^\markup { \line { a b c } }
474 Lists with no previous command are not kept distinct. The expression
477 \center-align @{ @{ a b @} @{ c d @} @}
485 \center-align @{ a b c d @}
490 To keep lists of words distinct, please use quotes @code{"} or
491 the @code{\line} command
493 @lilypond[quote,verbatim,fragment,relative=1]
495 c4^\markup{ \center-align { on three lines } }
496 c4^\markup{ \center-align { "all one line" } }
497 c4^\markup{ \center-align { { on three lines } } }
498 c4^\markup{ \center-align { \line { on one line } } }
501 Markups can be stored in variables and these variables
502 may be attached to notes, like
504 allegro = \markup @{ \bold \large @{ Allegro @} @}
505 @{ a^\allegro b c d @}
508 Some objects have alignment procedures of their own, which cancel out
509 any effects of alignments applied to their markup arguments as a
510 whole. For example, the @internalsref{RehearsalMark} is horizontally
511 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
514 In addition, vertical placement is performed after creating the
515 text markup object. If you wish to move an entire piece of markup,
516 you need to use the #'padding property or create an "anchor" point
517 inside the markup (generally with @code{\hspace #0}).
519 @lilypond[quote,verbatim,fragment,relative=1]
521 c'4^\markup{ \raise #5 "not raised" }
522 \once \override TextScript #'padding = #3
523 c'4^\markup{ raised }
524 c'4^\markup{ \hspace #0 \raise #1.5 raised }
527 Some situations (such as dynamic marks) have preset font-related
528 properties. If you are creating text in such situations, it
529 is advisable to cancel those properties with
530 @code{normal-text}. See @ref{Overview of text markup commands}
536 This manual: @ref{Overview of text markup commands}.
538 Program reference: @internalsref{TextScript}.
540 Init files: @file{scm/@/new@/-markup@/.scm}.
545 Kerning or generation of ligatures is only done when the @TeX{}
546 backend is used. In this case, LilyPond does not account for them so
547 texts will be spaced slightly too wide.
549 Syntax errors for markup mode are confusing.
553 @subsection Nested scores
555 It is possible to nest music inside markups, by adding a @code{\score}
556 block to a markup expression. Such a score must contain a @code{\layout}
559 @lilypond[quote,verbatim,ragged-right]
563 \relative { c4 d e f }
572 @node Overview of text markup commands
573 @subsection Overview of text markup commands
575 The following commands can all be used inside @code{\markup @{ @}}.
577 @include markup-commands.tely
581 @subsection Font selection
583 @cindex font selection
584 @cindex font magnification
585 @funindex font-interface
587 By setting the object properties described below, you can select a
588 font from the preconfigured font families. LilyPond has default
589 support for the feta music fonts. Text fonts are selected through
590 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
591 the sans and typewriter to whatever the Pango installation defaults
596 @item @code{font-encoding}
597 is a symbol that sets layout of the glyphs. This should only be set to
598 select different types of non-text fonts, e.g.
600 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
601 standard music font, including ancient glyphs, @code{fetaDynamic} for
602 dynamic signs and @code{fetaNumber} for the number font.
604 @item @code{font-family}
605 is a symbol indicating the general class of the typeface. Supported are
606 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
608 @item @code{font-shape}
609 is a symbol indicating the shape of the font. There are typically
610 several font shapes available for each font family. Choices are
611 @code{italic}, @code{caps}, and @code{upright}.
613 @item @code{font-series}
614 is a symbol indicating the series of the font. There are typically
615 several font series for each font family and shape. Choices are
616 @code{medium} and @code{bold}.
620 Fonts selected in the way sketched above come from a predefined style
621 sheet. If you want to use a font from outside the style sheet,
623 @code{font-name} property,
625 @lilypond[fragment,verbatim]
627 \override Staff.TimeSignature #'font-name = #"Charter"
628 \override Staff.TimeSignature #'font-size = #2
631 \override #'(font-name . "Vera Bold")
632 { This text is in Vera Bold }
638 Any font can be used, as long as it is available to Pango/FontConfig.
639 To get a full list of all available fonts, run the command
641 lilypond -dshow-available-fonts blabla
643 (the last argument of the command can be anything, but has to be present).
646 The size of the font may be set with the @code{font-size}
647 property. The resulting size is taken relative to the
648 @code{text-font-size} as defined in the @code{\paper} block.
651 @cindex font magnification
654 It is also possible to change the default font family for the entire
655 document. This is done by calling the @code{make-pango-font-tree} from
656 within the @code{\paper} block. The function takes names for the font
657 families to use for roman, sans serif and monospaced text. For
660 @cindex font families, setting
669 (make-pango-font-tree "Times New Roman"
676 c'^\markup { roman: foo \sans bla \typewriter bar }
680 @c we don't do Helvetica / Courier, since GS incorrectly loads
687 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
690 @node New dynamic marks
691 @subsection New dynamic marks
693 It is possible to print new dynamic marks or text that should be aligned
694 with dynamics. Use @code{make-dynamic-script} to create these
695 marks. Note that the dynamic font only contains the characters
696 @code{f,m,p,r,s} and @code{z}.
698 Some situations (such as dynamic marks) have preset font-related
699 properties. If you are creating text in such situations, it
700 is advisable to cancel those properties with
701 @code{normal-text}. See @ref{Overview of text markup commands}
704 @cindex make-dynamic-script
706 @lilypond[quote,verbatim,ragged-right]
707 sfzp = #(make-dynamic-script "sfzp")
713 @cindex Dynamics, editorial
714 @cindex Dynamics, parenthesis
716 It is also possible to print dynamics in round parenthesis or square
717 brackets. These are often used for adding editorial dynamics.
719 @lilypond[quote,verbatim,ragged-right]
720 rndf = \markup{ \center-align {\line { \bold{\italic (}
721 \dynamic f \bold{\italic )} }} }
722 boxf = \markup{ \bracket { \dynamic f } }
723 { c'1_\rndf c'1_\boxf }
728 @node Preparing parts
729 @section Preparing parts
731 This section describes various notation that are useful for preparing
735 * Multi measure rests::
740 * Instrument transpositions::
742 * Different editions from one source::
746 @node Multi measure rests
747 @subsection Multi measure rests
749 @cindex multi measure rests
750 @cindex full measure rests
751 @cindex Rests, multi measure
752 @cindex Rests, full measure
753 @cindex whole rests for a full measure
756 Rests for one full measure (or many bars) are entered using @samp{R}. It
757 is specifically meant for full bar rests and for entering parts: the rest
758 can expand to fill a score with rests, or it can be printed as a single
759 multi-measure rest. This expansion is controlled by the property
760 @code{Score.skipBars}. If this is set to true, empty measures will not
761 be expanded, and the appropriate number is added automatically
763 @lilypond[quote,ragged-right,fragment,verbatim]
764 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
765 \set Score.skipBars = ##t R1*17 R1*4
768 The @code{1} in @code{R1} is similar to the duration notation used for
769 notes. Hence, for time signatures other than 4/4, you must enter other
770 durations. This can be done with augmentation dots or fractions
772 @lilypond[quote,ragged-right,fragment,verbatim]
773 \set Score.skipBars = ##t
782 An @code{R} spanning a single measure is printed as either a whole rest
783 or a breve, centered in the measure regardless of the time signature.
785 If there are only a few measures of rest, LilyPond prints @q{church rests}
786 (a series of rectangles) in the staff. To replace that with a simple
787 rest, use @code{MultiMeasureRest.expand-limit}.
789 @lilypond[quote,ragged-right,fragment,verbatim]
790 \set Score.skipBars = ##t
792 \override MultiMeasureRest #'expand-limit = 1
796 @cindex text on multi-measure rest
797 @cindex script on multi-measure rest
798 @cindex fermata on multi-measure rest
800 Texts can be added to multi-measure rests by using the
801 @var{note}-@code{markup} syntax @ref{Text markup}.
802 A variable (@code{\fermataMarkup}) is provided for
805 @lilypond[quote,ragged-right,verbatim,fragment]
806 \set Score.skipBars = ##t
808 R2.*10^\markup { \italic "ad lib." }
812 Warning! This text is created by @code{MultiMeasureRestText}, not
815 @lilypond[quote,ragged-right,verbatim,fragment]
816 \override TextScript #'padding = #5
818 \override MultiMeasureRestText #'padding = #5
822 If you want to have text on the left end of a multi-measure rest,
823 attach the text to a zero-length skip note, i.e.,
833 Program reference: @internalsref{MultiMeasureRestMusicGroup},
834 @internalsref{MultiMeasureRest}.
836 The layout object @internalsref{MultiMeasureRestNumber} is for the
837 default number, and @internalsref{MultiMeasureRestText} for user
843 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
844 over multi-measure rests. And the pitch of multi-measure rests (or
845 staff-centered rests) can not be influenced.
847 @cindex condensing rests
849 There is no way to automatically condense multiple rests into a single
850 multi-measure rest. Multi-measure rests do not take part in rest
853 Be careful when entering multi-measure rests followed by whole
854 notes. The following will enter two notes lasting four measures each
858 When @code{skipBars} is set, the result will look OK, but the bar
859 numbering will be off.
862 @node Metronome marks
863 @subsection Metronome marks
866 @cindex beats per minute
867 @cindex metronome marking
869 Metronome settings can be entered as follows
871 \tempo @var{duration} = @var{per-minute}
874 In the MIDI output, they are interpreted as a tempo change. In the
875 layout output, a metronome marking is printed
877 @lilypond[quote,ragged-right,verbatim,fragment]
884 To change the tempo in the MIDI output without printing anything, make
885 the metronome marking invisible
887 \once \override Score.MetronomeMark #'transparent = ##t
890 To print other metronome markings, use these markup commands
891 @lilypond[quote,ragged-right,verbatim,relative,fragment]
894 \smaller \general-align #Y #DOWN \note #"16." #1
896 \smaller \general-align #Y #DOWN \note #"8" #1
901 See @ref{Text markup} for more details.
906 Program reference: @internalsref{MetronomeMark}.
911 Collisions are not checked. If you have notes above the top line of
912 the staff (or notes with articulations, slurs, text, etc), then the
913 metronome marking may be printed on top of musical symbols. If this
914 occurs, increase the padding of the metronome mark to place it
915 further away from the staff.
918 \override Score.MetronomeMark #'padding = #2.5
922 @node Rehearsal marks
923 @subsection Rehearsal marks
925 @cindex Rehearsal marks
928 To print a rehearsal mark, use the @code{\mark} command
930 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
939 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
940 If you wish to include the letter @q{I}, then use
943 \set Score.markFormatter = #format-mark-alphabet
946 The mark is incremented automatically if you use @code{\mark
947 \default}, but you can also use an integer argument to set the mark
948 manually. The value to use is stored in the property
949 @code{rehearsalMark}.
951 The style is defined by the property @code{markFormatter}. It is a
952 function taking the current mark (an integer) and the current context
953 as argument. It should return a markup object. In the following
954 example, @code{markFormatter} is set to a canned procedure. After a
955 few measures, it is set to function that produces a boxed number.
957 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
958 \set Score.markFormatter = #format-mark-numbers
961 \set Score.markFormatter = #format-mark-box-numbers
967 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
968 of @code{format-mark-numbers} (the default format),
969 @code{format-mark-box-numbers},
970 @code{format-mark-letters} and @code{format-mark-box-letters}.
971 These can be used as inspiration for other formatting functions.
973 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
974 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
975 incremented numbers or letters.
977 Other styles of rehearsal mark can be specified manually
984 @code{Score.markFormatter} does not affect marks specified in this manner.
985 However, it is possible to apply a @code{\markup} to the string.
988 \mark \markup@{ \box A1 @}
995 Music glyphs (such as the segno sign) may be printed inside
998 @lilypond[fragment,quote,ragged-right,verbatim,relative]
999 c1 \mark \markup { \musicglyph #"scripts.segno" }
1000 c1 \mark \markup { \musicglyph #"scripts.coda" }
1001 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1006 See @ref{The Feta font} for a list of symbols which may be
1007 printed with @code{\musicglyph}.
1009 The horizontal location of rehearsal marks can be adjusted by
1010 setting @code{break-align-symbol}
1012 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1016 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
1020 \override Score.RehearsalMark #'break-align-symbol = #'clef
1026 @code{break-align-symbol} may also accept the following values:
1027 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1028 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1029 @code{key-signature}, and @code{time-signature}. Setting
1030 @code{break-align-symbol} will only have an effect if the symbol
1031 appears at that point in the music.
1036 This manual: @ref{Text marks}.
1038 Program reference: @internalsref{RehearsalMark}.
1040 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1041 definition of @code{format-mark-numbers} and
1042 @code{format-mark-letters}. They can be used as inspiration for other
1043 formatting functions.
1045 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
1047 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
1051 @subsection Bar numbers
1054 @cindex measure numbers
1055 @funindex currentBarNumber
1057 Bar numbers are printed by default at the start of the line. The
1058 number itself is stored in the @code{currentBarNumber} property, which
1059 is normally updated automatically for every measure.
1061 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1062 \repeat unfold 4 {c4 c c c} \break
1063 \set Score.currentBarNumber = #50
1064 \repeat unfold 4 {c4 c c c}
1067 Bar numbers may only be printed at bar lines; to print a bar
1068 number at the beginning of a piece, an empty bar line must
1071 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1072 \set Score.currentBarNumber = #50
1074 \repeat unfold 4 {c4 c c c} \break
1075 \repeat unfold 4 {c4 c c c}
1078 Bar numbers can be typeset at regular intervals instead of at the
1079 beginning of each line. This is illustrated in the following example,
1080 whose source is available as
1081 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
1083 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1085 Bar numbers can be removed entirely by removing the Bar number
1086 engraver from the score.
1088 @lilypond[verbatim,ragged-right,quote]
1092 \remove "Bar_number_engraver"
1104 Program reference: @internalsref{BarNumber}.
1107 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
1108 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
1113 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1114 there is one at the top. To solve this, the
1115 @code{padding} property of @internalsref{BarNumber} can be
1116 used to position the number correctly.
1119 @node Instrument names
1120 @subsection Instrument names
1122 In an orchestral score, instrument names are printed at the left side
1125 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1126 and @internalsref{Staff}.@code{shortInstrumentName}, or
1127 @internalsref{PianoStaff}.@code{instrumentName} and
1128 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1130 the start of the staff. For the first staff, @code{instrumentName} is
1131 used, for the following ones, @code{shortInstrumentName} is used.
1133 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1134 \set Staff.instrumentName = "Ploink "
1135 \set Staff.shortInstrumentName = "Plk "
1141 You can also use markup texts to construct more complicated instrument
1144 @lilypond[quote,fragment,verbatim,ragged-right]
1145 \set Staff.instrumentName = \markup {
1146 \column { "Clarinetti"
1147 \line { "in B" \smaller \flat } } }
1151 If you wish to center the instrument names, you must center all of them
1153 @lilypond[quote,verbatim,ragged-right]
1156 \set Staff.instrumentName = \markup {
1157 \center-align { "Clarinetti"
1158 \line { "in B" \smaller \flat } } }
1162 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1169 For longer instrument names, it may be useful to increase the
1170 @code{indent} setting in the @code{\layout} block.
1172 To center instrument names while leaving extra space to the right,
1174 @lilypond[quote,verbatim,ragged-right]
1175 \new StaffGroup \relative
1178 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1182 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1188 To add instrument names to other contexts (such as @code{GrandStaff},
1189 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1190 be added to that context.
1194 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1199 More information about adding and removing engravers can
1200 be found in @ref{Modifying context plug-ins}.
1202 Instrument names may be changed in the middle of a piece,
1204 @lilypond[quote,fragment,verbatim,ragged-right]
1205 \set Staff.instrumentName = "First"
1206 \set Staff.shortInstrumentName = "one"
1209 \set Staff.instrumentName = "Second"
1210 \set Staff.shortInstrumentName = "two"
1218 Program reference: @internalsref{InstrumentName}.
1222 @node Instrument transpositions
1223 @subsection Instrument transpositions
1225 @cindex transposition, MIDI
1226 @cindex transposition, instrument
1228 The key of a transposing instrument can also be specified. This
1229 applies to many wind instruments, for example, clarinets (B-flat, A, and
1230 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1232 The transposition is entered after the keyword @code{\transposition}
1235 \transposition bes %% B-flat clarinet
1239 This command sets the property @code{instrumentTransposition}. The value of
1240 this property is used for MIDI output and quotations. It does not
1241 affect how notes are printed in the current staff. To change the printed
1242 output, see @ref{Transpose}.
1244 The pitch to use for @code{\transposition} should correspond to the
1245 real sound heard when a @code{c'} written on the staff is played by the
1246 transposing instrument. For example, when entering a score in
1247 concert pitch, typically all voices are entered in C, so
1248 they should be entered as
1261 The command @code{\transposition} should be used when the music is
1262 entered from a (transposed) orchestral part. For example, in
1263 classical horn parts, the tuning of the instrument is often changed
1264 during a piece. When copying the notes from the part, use
1265 @code{\transposition}, e.g.,
1277 @node Ottava brackets
1278 @subsection Ottava brackets
1280 @q{Ottava} brackets introduce an extra transposition of an octave for
1281 the staff. They are created by invoking the function
1282 @code{set-octavation}
1288 @lilypond[quote,ragged-right,verbatim,fragment]
1298 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1299 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1300 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1301 @code{centralCPosition}. For overriding the text of the bracket, set
1302 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1304 @lilypond[quote,ragged-right,verbatim]
1307 \set Staff.ottavation = #"8"
1315 Program reference: @internalsref{OttavaBracket}.
1317 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1318 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1323 @code{set-octavation} will get confused when clef changes happen
1324 during an octavation bracket.
1327 @node Different editions from one source
1328 @subsection Different editions from one source
1333 The @code{\tag} command marks music expressions with a name. These
1334 tagged expressions can be filtered out later. With this mechanism it
1335 is possible to make different versions of the same music source.
1337 In the following example, we see two versions of a piece of music, one
1338 for the full score, and one with cue notes for the instrumental part
1354 The same can be applied to articulations, texts, etc.: they are
1357 -\tag #@var{your-tag}
1359 to an articulation, for example,
1364 This defines a note with a conditional fingering indication.
1367 @cindex removeWithTag
1368 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1369 commands, tagged expressions can be filtered. For example,
1373 \keepWithTag #'score @var{the music}
1374 \keepWithTag #'part @var{the music}
1379 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1381 The arguments of the @code{\tag} command should be a symbol
1382 (such as @code{#'score} or @code{#'part}), followed by a
1383 music expression. It is possible to put multiple tags on
1384 a piece of music with multiple @code{\tag} entries,
1387 \tag #'original-part \tag #'transposed-part @dots{}
1393 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1398 Multiple rests are not merged if you create the score with both tagged
1403 @node Orchestral music
1404 @section Orchestral music
1406 Orchestral music involves some special notation, both in the full
1407 score and the individual parts. This section explains how to tackle
1408 some common problems in orchestral music.
1411 * Automatic part combining::
1413 * Quoting other voices::
1414 * Formatting cue notes::
1415 * Aligning to cadenzas::
1419 @node Automatic part combining
1420 @subsection Automatic part combining
1421 @cindex automatic part combining
1422 @cindex part combiner
1424 Automatic part combining is used to merge two parts of music onto a
1425 staff. It is aimed at typesetting orchestral scores. When the two
1426 parts are identical for a period of time, only one is shown. In
1427 places where the two parts differ, they are typeset as separate
1428 voices, and stem directions are set automatically. Also, solo and
1429 @emph{a due} parts are identified and can be marked.
1431 The syntax for part combining is
1434 \partcombine @var{musicexpr1} @var{musicexpr2}
1438 The following example demonstrates the basic functionality of the part
1439 combiner: putting parts on one staff, and setting stem directions and
1442 @lilypond[quote,verbatim,ragged-right,fragment]
1443 \new Staff \partcombine
1444 \relative g' { g g a( b) c c r r }
1445 \relative g' { g g r4 r e e g g }
1448 The first @code{g} appears only once, although it was
1449 specified twice (once in each part). Stem, slur, and tie directions are
1450 set automatically, depending whether there is a solo or unisono. The
1451 first part (with context called @code{one}) always gets up stems, and
1452 @q{Solo}, while the second (called @code{two}) always gets down stems and
1455 If you just want the merging parts, and not the textual markings, you
1456 may set the property @code{printPartCombineTexts} to false
1458 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1460 \set Staff.printPartCombineTexts = ##f
1462 \relative g' { g a( b) r }
1463 \relative g' { g r4 r f }
1467 To change the text that is printed for solos or merging, you may
1468 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1471 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1473 \set Score.soloText = #"ichi"
1474 \set Score.soloIIText = #"ni"
1475 \set Score.aDueText = #"tachi"
1477 \relative g' { g4 g a( b) r }
1478 \relative g' { g4 g r r f }
1482 Both arguments to @code{\partcombine} will be interpreted as
1483 @internalsref{Voice} contexts. If using relative octaves,
1484 @code{\relative} should be specified for both music expressions, i.e.,
1488 \relative @dots{} @var{musicexpr1}
1489 \relative @dots{} @var{musicexpr2}
1493 A @code{\relative} section that is outside of @code{\partcombine} has
1494 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1498 Program reference: @internalsref{PartCombineMusic}.
1502 When @code{printPartCombineTexts} is set, when the two voices play the
1503 same notes on and off, the part combiner may typeset @code{a2} more
1504 than once in a measure.
1506 @code{\partcombine} cannot be inside @code{\times}.
1508 @code{\partcombine} cannot be inside @code{\relative}.
1510 Internally, the @code{\partcombine} interprets both arguments as
1511 @code{Voice}s named @code{one} and @code{two}, and then decides when
1512 the parts can be combined. Consequently, if the arguments switch to
1513 differently named @internalsref{Voice} contexts, the events in those
1518 @subsection Hiding staves
1520 @cindex Frenched scores
1521 @cindex Hiding staves
1523 In orchestral scores, staff lines that only have rests are usually
1524 removed; this saves some space. This style is called @q{French Score}.
1525 For @internalsref{Lyrics},
1526 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1527 switched on by default. When the lines of these contexts turn out
1528 empty after the line-breaking process, they are removed.
1530 For normal staves, a specialized @internalsref{Staff} context is
1531 available, which does the same: staves containing nothing (or only
1532 multi-measure rests) are removed. The context definition is stored in
1533 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1534 in this example disappears in the second line
1536 @lilypond[quote,ragged-right,verbatim]
1538 \context { \RemoveEmptyStaffContext }
1543 \new Staff { e4 f g a \break c1 }
1544 \new Staff { c4 d e f \break R1 }
1549 The first system shows all staves in full. If empty staves should be
1550 removed from the first system too, set @code{remove-first} to true in
1551 @internalsref{VerticalAxisGroup}.
1554 \override Score.VerticalAxisGroup #'remove-first = ##t
1557 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1558 or @code{\RemoveEmptyRhythmicStaffContext}.
1560 Another application is making ossia sections, i.e., alternative
1561 melodies on a separate piece of staff, with help of a Frenched
1565 @node Quoting other voices
1566 @subsection Quoting other voices
1570 With quotations, fragments of other parts can be inserted into a part
1571 directly. Before a part can be quoted, it must be marked especially as
1572 quotable. This is done with the @code{\addQuote} command.
1575 \addQuote @var{name} @var{music}
1580 Here, @var{name} is an identifying string. The @var{music} is any kind
1581 of music. Here is an example of @code{\addQuote}
1584 \addQuote clarinet \relative c' @{
1589 This command must be entered at toplevel, i.e., outside any music
1592 After calling @code{\addQuote}, the quotation may then be done with
1593 @code{\quoteDuring} or @code{\cueDuring},
1596 \quoteDuring #@var{name} @var{music}
1599 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1603 \quoteDuring #"clarinet" @{ s2. @}
1606 This would cite three quarter notes (the duration of @code{s2.}) of
1607 the previously added @code{clarinet} voice.
1610 More precisely, it takes the current time-step of the part being
1611 printed, and extracts the notes at the corresponding point of the
1612 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1613 should be the entire part of the voice to be quoted, including any
1614 rests at the beginning.
1616 Quotations take into account the transposition of both source and target
1617 instruments, if they are specified using the @code{\transposition} command.
1619 @lilypond[quote,ragged-right,verbatim]
1620 \addQuote clarinet \relative c' {
1626 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1630 The type of events that are present in cue notes can be trimmed with
1631 the @code{quotedEventTypes} property. The default value is
1632 @code{(note-event rest-event)}, which means that only notes and
1633 rests of the cued voice end up in the @code{\quoteDuring}.
1637 \set Staff.quotedEventTypes =
1638 #'(note-event articulation-event dynamic-event)
1642 will quote notes (but no rests), together with scripts and dynamics.
1646 Only the contents of the first @internalsref{Voice} occurring in an
1647 @code{\addQuote} command will be considered for quotation, so
1648 @var{music} can not contain @code{\new} and @code{\context Voice}
1649 statements that would switch to a different Voice.
1651 Quoting grace notes is broken and can even cause LilyPond to crash.
1653 Quoting nested triplets may result in poor notation.
1658 In this manual: @ref{Instrument transpositions}.
1660 Examples: @inputfileref{input/@/regression,quote@/.ly}
1661 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1663 Program reference: @internalsref{QuoteMusic}.
1666 @node Formatting cue notes
1667 @subsection Formatting cue notes
1669 @cindex cues, formatting
1671 The previous section deals with inserting notes from another voice.
1672 There is a more advanced music function called @code{\cueDuring},
1673 which makes formatting cue notes easier.
1678 \cueDuring #@var{name} #@var{updown} @var{music}
1681 This will insert notes from the part @var{name} into a
1682 @internalsref{Voice} called @code{cue}. This happens simultaneously
1683 with @var{music}, which usually is a rest. When the cue notes start,
1684 the staff in effect becomes polyphonic for a moment. The argument
1685 @var{updown} determines whether the cue notes should be notated as a
1686 first or second voice.
1689 @lilypond[verbatim,ragged-right]
1692 \override Stem #'length-fraction = #0.8
1693 \override Beam #'thickness = #0.384
1694 \override Beam #'length-fraction = #0.8
1697 \addQuote clarinet \relative {
1702 \new Staff \relative <<
1704 % setup a context for cue notes.
1705 \new Voice = "cue" { \smaller \skip 1*21 }
1707 \set Score.skipBars = ##t
1711 \cueDuring #"clarinet" #1 {
1720 Here are a couple of hints for successful cue notes
1724 Cue notes have smaller font sizes.
1726 the cued part is marked with the instrument playing the cue.
1728 when the original part takes over again, this should be marked with
1729 the name of the original instrument.
1731 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1733 @c Yes, this is good practice. Otherwise, the start of the original
1734 @c part can only be seen from the font size. This is not good enough
1735 @c for sight-reading. It is possilbe to use other
1736 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1742 Any other changes introduced by the cued part should also be
1743 undone. For example, if the cued instrument plays in a different clef,
1744 the original clef should be stated once again.
1748 The macro @code{\transposedCueDuring} is
1749 useful to add cues to instruments which use a completely different
1750 octave range (for example, having a cue of a piccolo flute within
1751 a contra bassoon part).
1753 @lilypond[verbatim,ragged-right,quote]
1754 picc = \relative c''' {
1760 \addQuote "picc" { \picc }
1762 cbsn = \relative c, {
1765 \transposedCueDuring #"picc" #UP c,, { R1 } |
1770 \context Staff = "picc" \picc
1771 \context Staff = "cbsn" \cbsn
1777 @node Aligning to cadenzas
1778 @subsection Aligning to cadenzas
1780 In an orchestral context, cadenzas present a special problem:
1781 when constructing a score that includes a cadenza, all other
1782 instruments should skip just as many notes as the length of the
1783 cadenza, otherwise they will start too soon or too late.
1785 A solution to this problem are the functions @code{mmrest-of-length}
1786 and @code{skip-of-length}. These Scheme functions take a piece of music
1787 as argument, and generate a @code{\skip} or multi-rest, exactly as
1788 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1789 in the following example.
1791 @lilypond[verbatim,ragged-right,quote]
1792 cadenza = \relative c' {
1793 c4 d8 << { e f g } \\ { d4. } >>
1798 \new Staff { \cadenza c'4 }
1800 #(ly:export (mmrest-of-length cadenza))
1809 @node Contemporary notation
1810 @section Contemporary notation
1812 In the 20th century, composers have greatly expanded the musical
1813 vocabulary. With this expansion, many innovations in musical notation
1814 have been tried. The book @q{Music Notation in the 20th century} by
1815 Kurt Stone gives a comprehensive overview (see @ref{Literature
1818 This section describes notation that does
1819 not fit into traditional notation categories, such as pitches,
1820 tuplet beams, and articulation. For contemporary notation
1821 that fits into traditional notation categories, such as
1822 microtones, nested tuplet beams, and unusual fermatas, please
1823 see those sections of the documentation.
1826 * Polymetric notation::
1827 * Time administration::
1828 * Proportional notation::
1830 * Special noteheads::
1833 * Selecting notation font size::
1837 @node Polymetric notation
1838 @subsection Polymetric notation
1840 @cindex double time signatures
1841 @cindex signatures, polymetric
1842 @cindex polymetric signatures
1843 @cindex meter, polymetric
1845 Double time signatures are not supported explicitly, but they can be
1846 faked. In the next example, the markup for the time signature is
1847 created with a markup text. This markup text is inserted in the
1848 @internalsref{TimeSignature} grob. See also
1849 @inputfileref{input/@/test,compound@/-time@/.ly}).
1851 @lilypond[verbatim,ragged-right]
1854 \override #'(baseline-skip . 2) \number {
1857 \bracket \column { "5" "8" }
1862 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1863 \override Staff.TimeSignature #'text = #tsMarkup
1865 c'2 \bar ":" c'4 c'4.
1869 Each staff can also have its own time signature. This is done by
1870 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1876 \remove "Timing_translator"
1877 \remove "Default_bar_line_engraver"
1881 \consists "Timing_translator"
1882 \consists "Default_bar_line_engraver"
1889 Now, each staff has its own time signature.
1902 c4. c8 c c c4. c8 c c
1907 @lilypond[quote,ragged-right]
1911 \remove "Timing_translator"
1912 \remove "Default_bar_line_engraver"
1915 \consists "Timing_translator"
1916 \consists "Default_bar_line_engraver"
1931 c4. c8 c c c4. c8 c c
1937 A different form of polymetric notation is where note lengths have
1938 different values across staves.
1940 This notation can be created by setting a common time signature for
1941 each staff but replacing it manually using
1942 @code{timeSignatureFraction} to the desired fraction. Then the printed
1943 durations in each staff are scaled to the common time signature.
1944 The latter is done with @code{\compressMusic}, which is used similar
1945 to @code{\times}, but does not create a tuplet bracket. The syntax is
1947 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1952 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1953 used in parallel. In the second staff, shown durations are multiplied by
1954 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1955 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1957 @lilypond[quote,ragged-right,verbatim,fragment]
1965 \set Staff.timeSignatureFraction = #'(9 . 8)
1966 \compressMusic #'(2 . 3)
1967 \repeat unfold 6 { c8[ c c] }
1971 \set Staff.timeSignatureFraction = #'(10 . 8)
1972 \compressMusic #'(3 . 5) {
1973 \repeat unfold 2 { c8[ c c] }
1974 \repeat unfold 2 { c8[ c] }
1975 | c4. c4. \times 2/3 { c8 c c } c4
1986 When using different time signatures in parallel, the spacing is
1987 aligned vertically, but bar lines distort the regular spacing.
1990 @node Time administration
1991 @subsection Time administration
1993 @cindex Time administration
1995 Time is administered by the @internalsref{Time_signature_engraver},
1996 which usually lives in the @internalsref{Score} context. The
1997 bookkeeping deals with the following variables
2000 @item currentBarNumber
2004 The length of the measures in the current time signature. For a 4/4
2005 time this is@tie{}1, and for 6/8 it is 3/4.
2007 @item measurePosition
2008 The point within the measure where we currently are. This quantity
2009 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2010 happens, @code{currentBarNumber} is incremented.
2013 If set to true, the above variables are updated for every time
2014 step. When set to false, the engraver stays in the current measure
2018 Timing can be changed by setting any of these variables explicitly.
2019 In the next example, the 4/4 time signature is printed, but
2020 @code{measureLength} is set to 5/4. After a while, the measure is
2021 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2022 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2023 3/8 arises because 5/4 normally has 10/8, but we have manually
2024 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2026 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2027 \set Score.measureLength = #(ly:make-moment 5 4)
2031 \set Score.measurePosition = #(ly:make-moment 7 8)
2037 As the example illustrates, @code{ly:make-moment n m} constructs a
2038 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2040 note duration and @code{ly:make-moment 7 16} is the duration of
2041 seven sixteenths notes.
2044 @node Proportional notation
2045 @subsection Proportional notation
2046 @cindex Proportional notation
2048 Notes can be spaced proportionally to their time-difference by
2049 assigning a duration to @code{proportionalNotationDuration}
2051 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2053 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2054 \new Staff { c8[ c c c c c] c4 c2 r2 }
2055 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2059 Setting this property only affects the ideal spacing between
2060 consecutive notes. For true proportional notation, the following
2061 settings are also required.
2065 @item True proportional notation requires that symbols are allowed to
2066 overstrike each other. That is achieved by removing the
2067 @internalsref{Separating_line_group_engraver} from
2068 @internalsref{Staff} context.
2070 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2071 is removed by setting the @code{strict-note-spacing} property to
2072 @code{#t} in @internalsref{SpacingSpanner} grob.
2074 @item Optical spacing tweaks are switched by setting
2075 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2082 @inputfileref{input/@/regression,spacing-proportional/.ly}
2083 @inputfileref{input/@/regression,spacing-strict-notespacing/.ly}
2084 @inputfileref{input/@/regression,spacing-strict-spacing-grace/.ly}
2086 An example of strict proportional notation is in the
2087 example file @file{input/proportional.ly}.
2091 @subsection Clusters
2095 A cluster indicates a continuous range of pitches to be played. They
2096 can be denoted as the envelope of a set of notes. They are entered by
2097 applying the function @code{makeClusters} to a sequence of
2099 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2100 \makeClusters { <c e > <b f'> }
2103 The following example (from
2104 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
2107 @lilypondfile[ragged-right,quote]{cluster.ly}
2109 Ordinary notes and clusters can be put together in the same staff,
2110 even simultaneously. In such a case no attempt is made to
2111 automatically avoid collisions between ordinary notes and clusters.
2115 Program reference: @internalsref{ClusterSpanner},
2116 @internalsref{ClusterSpannerBeacon},
2117 @internalsref{Cluster_spanner_engraver}.
2119 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
2123 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2124 accurately. Use @code{<g a>8 <e a>8} instead.
2127 @node Special noteheads
2128 @subsection Special noteheads
2130 @cindex note heads, special
2132 Different noteheads are used by various instruments for various
2133 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2134 notes on guitar; diamonds are used for harmonics on string instruments,
2135 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2136 other notehead styles are produced by tweaking the property
2138 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2140 \override NoteHead #'style = #'cross
2142 \revert NoteHead #'style
2143 e d <c f\harmonic> <d a'\harmonic>
2147 To see all notehead styles, please see
2148 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
2153 Program reference: @internalsref{NoteHead}.
2156 @node Feathered beams
2157 @subsection Feathered beams
2159 Feathered beams are printed by setting the @code{grow-direction}
2160 property of a @code{Beam}. The @code{\featherDurations} function
2161 can be used to adjust note durations.
2163 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2164 \featherDurations #(ly:make-moment 5 4)
2166 \override Beam #'grow-direction = #LEFT
2173 The @code{\featherDuration} command only works with very short
2177 @subsection Improvisation
2179 Improvisation is sometimes denoted with slashed note heads. Such note
2180 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2181 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
2185 \set squashedPosition = #0
2186 \override NoteHead #'style = #'slash
2190 switches on the slashes.
2192 There are shortcuts @code{\improvisationOn} (and an accompanying
2193 @code{\improvisationOff}) for this command sequence. They are used in
2194 the following example
2196 @lilypond[verbatim,ragged-right,quote]
2198 \consists Pitch_squash_engraver
2200 e8 e g a a16(bes)(a8) g \improvisationOn
2203 ~fis2 \improvisationOff a16(bes) a8 g e
2208 @node Selecting notation font size
2209 @subsection Selecting notation font size
2211 The easiest method of setting the font size of any context is by
2212 setting the @code{fontSize} property.
2214 @lilypond[quote,fragment,relative=1,verbatim]
2223 It does not change the size of variable symbols, such as beams or
2226 Internally, the @code{fontSize} context property will cause the
2227 @code{font-size} property to be set in all layout objects. The value
2228 of @code{font-size} is a number indicating the size relative to the
2229 standard size for the current staff height. Each step up is an
2230 increase of approximately 12% of the font size. Six steps is exactly a
2231 factor two. The Scheme function @code{magstep} converts a
2232 @code{font-size} number to a scaling factor.
2234 @lilypond[quote,fragment,relative=1,verbatim]
2236 \override NoteHead #'font-size = #-4
2238 \override NoteHead #'font-size = #3
2242 Font size changes are achieved by scaling the design size that is
2243 closest to the desired size. The standard font size (for
2244 @code{font-size} equals 0), depends on the standard staff height. For
2245 a 20pt staff, a 10pt font is selected.
2247 The @code{font-size} property can only be set on layout objects that
2248 use fonts. These are the ones supporting the
2249 @internalsref{font-interface} layout interface.
2253 The following commands set @code{fontSize} for the current voice:
2259 @funindex \normalsize
2264 @node Educational use
2265 @section Educational use
2267 With the amount of control that LilyPond offers, one can make great
2268 teaching tools in addition to great musical scores.
2272 * Blank music sheet::
2274 * Shape note heads::
2275 * Easy Notation note heads::
2276 * Analysis brackets::
2277 * Coloring objects::
2283 @subsection Balloon help
2285 Elements of notation can be marked and named with the help of a square
2286 balloon. The primary purpose of this feature is to explain notation.
2288 The following example demonstrates its use.
2290 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2291 \new Voice \with { \consists "Balloon_engraver" }
2293 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2294 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2299 There are two music functions, @code{balloonText} and
2300 @code{balloonGrobText}. The latter takes the name of the grob to
2301 adorn, while the former may be used as an articulation on a note.
2302 The other arguments are the offset and the text of the label.
2305 @cindex notation, explaining
2309 Program reference: @internalsref{text-balloon-interface}.
2311 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
2316 @node Blank music sheet
2317 @subsection Blank music sheet
2319 @cindex Sheet music, empty
2320 @cindex Staves, blank sheet
2322 A blank music sheet can be produced also by using invisible notes, and
2323 removing @code{Bar_number_engraver}.
2326 @lilypond[quote,verbatim]
2327 \layout{ indent = #0 }
2329 \repeat unfold 2 % Change this for more lines.
2334 \override TimeSignature #'transparent = ##t
2335 % un-comment this line if desired
2336 % \override Clef #'transparent = ##t
2337 defaultBarType = #""
2338 \remove Bar_number_engraver
2341 % modify these to get the staves you want
2342 \new Staff \emptymusic
2343 \new TabStaff \emptymusic
2349 @subsection Hidden notes
2351 @cindex Hidden notes
2352 @cindex Invisible notes
2353 @cindex Transparent notes
2355 @funindex \hideNotes
2356 @funindex \unHideNotes
2357 Hidden (or invisible or transparent) notes can be useful in preparing theory
2358 or composition exercises.
2360 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2369 @node Shape note heads
2370 @subsection Shape note heads
2372 @cindex note heads, shape
2374 In shape note head notation, the shape of the note head corresponds
2375 to the harmonic function of a note in the scale. This notation was
2376 popular in the 19th century American song books.
2378 Shape note heads can be produced by setting @code{\aikenHeads} or
2379 @code{\sacredHarpHeads}, depending on the style desired.
2381 @lilypond[verbatim,relative=1,fragment]
2388 Shapes are determined on the step in the scale, where the base of the
2389 scale is determined by the @code{\key} command
2392 @funindex shapeNoteStyles
2393 @funindex \aikenHeads
2394 @funindex \sacredHarpHeads
2396 Shape note heads are implemented through the @code{shapeNoteStyles}
2397 property. Its value is a vector of symbols. The k-th element indicates
2398 the style to use for the k-th step of the scale. Arbitrary
2399 combinations are possible, e.g.
2401 @lilypond[verbatim,relative=1,fragment]
2402 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2407 @node Easy Notation note heads
2408 @subsection Easy Notation note heads
2410 @cindex note heads, practice
2411 @cindex note heads, easy notation
2412 @cindex easy notation
2415 The @q{easy play} note head includes a note name inside the head. It is
2416 used in music for beginners
2418 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2423 The command @code{\setEasyHeads} overrides settings for the
2424 @internalsref{NoteHead} object. To make the letters readable, it has
2425 to be printed in a large font size. To print with a larger font, see
2426 @ref{Setting the staff size}.
2430 @funindex \setEasyHeads
2431 @code{\setEasyHeads}
2434 @node Analysis brackets
2435 @subsection Analysis brackets
2437 @cindex phrasing brackets
2438 @cindex musicological analysis
2439 @cindex note grouping bracket
2441 Brackets are used in musical analysis to indicate structure in musical
2442 pieces. LilyPond supports a simple form of nested horizontal
2443 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2444 to @internalsref{Staff} context. A bracket is started with
2445 @code{\startGroup} and closed with @code{\stopGroup}
2447 @lilypond[quote,ragged-right,verbatim]
2450 c4\startGroup\startGroup
2453 c4\stopGroup\stopGroup
2457 \Staff \consists "Horizontal_bracket_engraver"
2463 Program reference: @internalsref{HorizontalBracket}.
2465 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2468 @node Coloring objects
2469 @subsection Coloring objects
2471 Individual objects may be assigned colors. You may use the
2472 color names listed in the @ref{List of colors}.
2474 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2475 \override NoteHead #'color = #red
2477 \override NoteHead #'color = #(x11-color 'LimeGreen)
2479 \override Stem #'color = #blue
2483 The full range of colors defined for X11 can be accessed by using the
2484 Scheme function x11-color. The function takes one argument that can be a
2488 \override Beam #'color = #(x11-color 'MediumTurquoise)
2494 \override Beam #'color = #(x11-color "MediumTurquoise")
2497 The first form is quicker to write and is more efficient. However, using
2498 the second form it is possible to access X11 colors by the multi-word
2502 \override Beam #'color = #(x11-color "medium turquoise")
2505 If x11-color cannot make sense of the parameter then the color returned
2506 defaults to black. It should be obvious from the final score that
2509 This example illustrates the use of x11-color. Notice that the stem
2510 color remains black after being set to (x11-color 'Boggle), which is
2511 deliberate nonsense.
2513 @lilypond[quote,ragged-right,verbatim]
2515 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2516 \set Staff.instrumentName = \markup {
2517 \with-color #(x11-color 'navy) "Clarinet"
2521 \override Beam #'color = #(x11-color "medium turquoise")
2523 \override NoteHead #'color = #(x11-color "LimeGreen")
2525 \override Stem #'color = #(x11-color 'Boggle)
2533 Appendix: @ref{List of colors}.
2537 Not all x11 colors are distinguishable in a web browser. For web use
2538 normal colors are recommended.
2540 An x11 color is not necessarily exactly the same shade as a similarly
2543 Notes in a chord cannot be colored with @code{\override}; use
2544 @code{\tweak} instead. See @ref{Objects connected to the input}
2549 @subsection Parentheses
2552 @cindex notes, ghost
2553 @cindex notes, parenthesized
2555 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2558 @lilypond[relative=2,fragment,verbatim,ragged-right]
2566 This only functions inside chords, even for single notes
2569 < \parenthesize NOTE>
2574 @subsection Grid lines
2576 Vertical lines can be drawn between staves synchronized with
2579 Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.