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 accented and special text (such as characters from other languages),
39 insert the characters directly into the lilypond file. The file must be
40 saved as UTF-8. For more information, see @ref{Text encoding}.
44 * Text and line spanners::
49 * Page wrapping text::
50 * Overview of text markup commands::
51 * Overview of text markup list commands::
58 @subsection Text scripts
61 @cindex text items, non-empty
62 @cindex non-empty texts
64 It is possible to place arbitrary strings of text or @ref{Text markup},
65 above or below notes by using a string @code{c^"text"}. By default,
66 these indications do not influence the note spacing, but by using the
67 command @code{\fatText}, the widths will be taken into account
69 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
70 c4^"longtext" \fatText c4_"longlongtext" c4
74 To prevent text from influencing spacing, use @code{\emptyText}.
76 More complex formatting may also be added to a note by using the
78 @lilypond[fragment,ragged-right,verbatim,quote]
79 c'4^\markup { bla \bold bla }
82 The @code{\markup} is described in more detail in
96 Checking to make sure that text scripts and lyrics are within the margins is
97 a relatively large computational task. To speed up processing, lilypond does
98 not perform such calculations by default; to enable it, use
101 \override Score.PaperColumn #'keep-inside-line = ##t
107 In this manual: @ref{Text markup}.
109 Program reference: @internalsref{TextScript}.
112 @node Text and line spanners
113 @subsection Text and line spanners
115 Some performance indications, e.g., @i{rallentando} and
116 @i{accelerando} and @i{trills} are written as text and are extended
117 over many measures with lines, sometimes dotted or wavy.
119 These all use the same routines as the glissando for drawing the texts
120 and the lines, and tuning their behavior is therefore also done in the
121 same way. It is done with a spanner, and the routine responsible for
122 drawing the spanners is @code{ly:line-interface::print}. This
123 routine determines the exact location of the two @i{span
124 points} and draws a line in between, in the style requested.
126 Here is an example of the different line styles available, and how to
129 @lilypond[relative=2,ragged-right,verbatim,fragment]
131 \once \override Glissando #'dash-fraction = #0.5
133 \override Glissando #'style = #'dotted-line
135 \override Glissando #'style = #'zigzag
137 \override Glissando #'style = #'trill
141 The information that determines the end-points is computed on-the-fly
142 for every graphic object, but it is possible to override these.
144 @lilypond[relative=2,ragged-right,verbatim,fragment]
146 \once \override Glissando #'bound-details #'right #'Y = #-2
150 The @code{Glissando} object, like any other using the
151 @code{ly:line-interface::print} routine, carries a nested
152 association list. In the above statement, the value for @code{Y}
153 is set to @code{-2} for the association list corresponding to the right
154 end point. Of course, it is also possible to adjust the left side with
155 @code{left} instead of @code{right}.
157 If @code{Y} is not set, the value is computed from the vertical
158 position of right attachment point of the spanner.
160 In case of a line break, the values for the span-points are extended
161 with contents of the @code{left-broken} and @code{right-broken}
162 sublists, for example
164 @lilypond[relative=2,ragged-right,verbatim,fragment]
165 \override Glissando #'breakable = ##T
166 \override Glissando #'bound-details #'right-broken #'Y = #-3
171 The following properties can be used for the
175 This sets the Y-coordinate of the end point, in staff space. By
176 default, it is the center of the bound object, so for a glissando it
177 points to the vertical center of the note head.
179 For horizontal spanners, such as text spanner and trill spanners, it
183 This determines where the line starts and ends in X-direction,
184 relative to the bound object. So, a value of @code{-1} (or
185 @code{LEFT}) makes the line start/end at the left side of the note
186 head it is attached to.
189 This is the absolute coordinate of the end point. It is usually
190 computed on the fly, and there is little use in overriding it.
193 Line spanners may have symbols at the beginning or end, which is
194 contained in this sub-property. This is for internal use, it is
195 recommended to use @code{text}.
198 This is a markup that is evaluated to yield stencil. It is
199 used to put @i{cresc.} and @i{tr} on horizontal spanners.
201 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
202 \override TextSpanner #'bound-details #'left #'text
203 = \markup { \small \bold Slower }
204 c2\startTextSpan b c a\stopTextSpan
207 @item stencil-align-dir-y
209 Without setting this, the stencil is simply put there at the
210 end-point, as defined by the @code{X} and @code{Y} sub properties.
211 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
212 will move the symbol at the edge relative to the end point of the line
214 @lilypond[relative=1,fragment,verbatim]
215 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
216 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
218 \override TextSpanner #'bound-details #'left #'text = #"gggg"
219 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
220 c4^\startTextSpan c c c \stopTextSpan
224 Setting this sub property to @code{#t} produce an arrowhead at the end
228 This sub property controls the space between the specified end-point
229 of the line and the actual end. Without padding, a glissando would
230 start and end in the center of each note head.
236 Program reference: @internalsref{TextSpanner},
237 @internalsref{Glissando}, @internalsref{VoiceFollower},
238 @internalsref{TrillSpanner}, @internalsref{line-spanner-interface}.
240 Examples: @lsr{expressive,line-styles.ly}, @lsr{expressive,line-arrows.ly}
244 @subsection Text spanners
246 @cindex Text spanners
248 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
249 are written as text and are extended over many measures with dotted
250 lines. Such texts are created using text spanners; attach
251 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
252 notes of the spanner.
254 The string to be printed, as well as the style, is set through object
257 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
260 \override TextSpanner #'bound-details #'left #'text =
261 \markup { \upright "rall" }
262 c2\startTextSpan b c\stopTextSpan a
265 \override TextSpanner #'bound-details #'left #'text =
266 \markup { \italic "rit" }
267 c2\startTextSpan b c\stopTextSpan a
272 @funindex textSpannerUp
273 @code{\textSpannerUp},
274 @funindex textSpannerDown
275 @code{\textSpannerDown},
276 @funindex textSpannerNeutral
277 @code{\textSpannerNeutral}.
282 To print a solid line, use
285 \override TextSpanner #'dash-fraction = #'()
291 Program reference: @internalsref{TextSpanner}.
295 @subsection Text marks
297 @cindex coda on bar line
298 @cindex segno on bar line
299 @cindex fermata on bar line
300 @cindex bar lines, symbols on
303 The @code{\mark} command is primarily used for
304 @ref{Rehearsal marks},
305 but it can also be used to put signs like coda,
306 segno, and fermata on a bar line. Use @code{\markup} to
307 access the appropriate symbol (symbols are listed in
308 @ref{The Feta font}).
310 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
311 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
316 @code{\mark} is only typeset above the top stave of the score. If
317 you specify the @code{\mark} command at a bar line, the resulting
318 mark is placed above the bar line. If you specify it in the middle
319 of a bar, the resulting mark is positioned between notes. If it is
320 specified before the beginning of a score line, it is placed
321 before the first note of the line. Finally, if the mark occurs at
322 a line break, the mark will be printed at the
323 beginning of the next line.
324 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
325 @c delete this sentence. -gp
326 If there is no next line, then the mark will not be printed at all.
331 To print the mark at the end of the current line, use
334 \override Score.RehearsalMark
335 #'break-visibility = #begin-of-line-invisible
338 @code{\mark} is often useful for adding text to the end of bar. In
339 such cases, changing the @code{#'self-alignment} is very useful
341 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
342 \override Score.RehearsalMark
343 #'break-visibility = #begin-of-line-invisible
345 \once \override Score.RehearsalMark #'self-alignment-X = #right
346 \mark "D.S. al Fine "
349 Text marks may be aligned with notation objects other than
352 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
357 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
361 \override Score.RehearsalMark #'break-align-symbol = #'clef
365 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
374 Although text marks are normally only printed above the topmost
375 staff, you may alter this to print them on every staff,
377 @lilypond[quote,ragged-right,verbatim,relative=2]
380 \remove "Mark_engraver"
384 \consists "Mark_engraver"
386 { c''1 \mark "foo" c'' }
388 \consists "Mark_engraver"
390 { c'1 \mark "foo" c' }
398 Program reference: @internalsref{RehearsalMark}.
402 @subsection Text markup
409 Use @code{\markup} to typeset text. Commands are entered with the
410 backslash @code{\}. To enter @code{\} and @code{#}, use double
413 @lilypond[quote,verbatim,fragment,relative=1]
415 c1_\markup { hi there }
416 c1^\markup { hi \bold there, is \italic {anyone home?} }
417 c1_\markup { "\special {weird} #characters" }
421 See @ref{Overview of text markup commands}, for a list of all
424 @code{\markup} is primarily used for @internalsref{TextScript}s,
425 but it can also be used anywhere text is called in lilypond
427 @lilypond[quote,verbatim]
428 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
431 \override Score.RehearsalMark
432 #'break-visibility = #begin-of-line-invisible
433 \override Score.RehearsalMark #'self-alignment-X = #right
435 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
436 c2^\markup{ don't be \flat }
437 \override TextSpanner #'bound-details #'left #'text = \markup{\italic rit }
439 a2\mark \markup{ \large \bold Fine }
443 \addlyrics { bar, foo \markup{ \italic bar! } }
447 A @code{\markup} command can also be placed on its own, away from any
448 @code{\score} block, see @ref{Multiple scores in a book}.
450 @lilypond[quote,ragged-right,verbatim]
451 \markup{ Here is some text. }
454 @cindex font switching
456 The markup in the example demonstrates font switching commands. The
457 command @code{\bold} and @code{\italic} apply to the first following
458 word only; to apply a command to more than one word, enclose the
462 \markup @{ \bold @{ hi there @} @}
466 For clarity, you can also do this for single arguments, e.g.,
469 \markup @{ is \italic @{ anyone @} home @}
472 In markup mode you can compose expressions, similar to mathematical
473 expressions, XML documents, and music expressions. You can stack
474 expressions grouped vertically with the command @code{\column}.
475 Similarly, @code{\center-align} aligns texts by their center lines:
477 @lilypond[quote,verbatim,fragment,relative=1]
478 c1^\markup { \column { a bbbb \line { c d } } }
479 c1^\markup { \center-align { a bbbb c } }
480 c1^\markup { \line { a b c } }
483 Lists with no previous command are not kept distinct. The expression
486 \center-align @{ @{ a b @} @{ c d @} @}
494 \center-align @{ a b c d @}
499 To keep lists of words distinct, please use quotes @code{"} or
500 the @code{\line} command
502 @lilypond[quote,verbatim,fragment,relative=1]
504 c4^\markup{ \center-align { on three lines } }
505 c4^\markup{ \center-align { "all one line" } }
506 c4^\markup{ \center-align { { on three lines } } }
507 c4^\markup{ \center-align { \line { on one line } } }
510 Markups can be stored in variables and these variables
511 may be attached to notes, like
513 allegro = \markup @{ \bold \large @{ Allegro @} @}
514 @{ a^\allegro b c d @}
517 Some objects have alignment procedures of their own, which cancel out
518 any effects of alignments applied to their markup arguments as a
519 whole. For example, the @internalsref{RehearsalMark} is horizontally
520 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
523 In addition, vertical placement is performed after creating the
524 text markup object. If you wish to move an entire piece of markup,
525 you need to use the #'padding property or create an @q{anchor} point
526 inside the markup (generally with @code{\hspace #0}).
528 @lilypond[quote,verbatim,fragment,relative=1]
530 c'4^\markup{ \raise #5 "not raised" }
531 \once \override TextScript #'padding = #3
532 c'4^\markup{ raised }
533 c'4^\markup{ \hspace #0 \raise #1.5 raised }
536 Some situations (such as dynamic marks) have preset font-related
537 properties. If you are creating text in such situations, it
538 is advisable to cancel those properties with
539 @code{normal-text}. See @ref{Overview of text markup commands},
545 This manual: @ref{Overview of text markup commands}.
547 Program reference: @internalsref{TextScript}.
549 Init files: @file{scm/@/new@/-markup@/.scm}.
554 Kerning or generation of ligatures is only done when the @TeX{}
555 backend is used. In this case, LilyPond does not account for them so
556 texts will be spaced slightly too wide.
558 Syntax errors for markup mode are confusing.
562 @subsection Nested scores
564 It is possible to nest music inside markups, by adding a @code{\score}
565 block to a markup expression. Such a score must contain a @code{\layout}
568 @lilypond[quote,verbatim,ragged-right]
572 \relative { c4 d e f }
580 @node Page wrapping text
581 @subsection Page wrapping text
582 Whereas @code{\markup} is used to enter a not breakable block of text,
583 @code{\markuplines} can be used at top-level to enter lines of text that
584 can spread over pages:
589 A very long text of justified lines.
593 An other very long paragraph.
600 @code{\markuplines} accepts a list of markup, that is either the result
601 of a markup list command, or a list of markups or of markup lists. The
602 built-in markup list commands are described in
603 @ref{Overview of text markup list commands}.
607 This manual: @ref{Overview of text markup list commands},
608 @ref{New markup list command definition}.
612 @funindex \markuplines
615 @node Overview of text markup commands
616 @subsection Overview of text markup commands
618 The following commands can all be used inside @code{\markup @{ @}}.
620 @include markup-commands.tely
622 @node Overview of text markup list commands
623 @subsection Overview of text markup list commands
625 The following commands can all be used with @code{\markuplines}.
627 @include markup-list-commands.tely
630 @subsection Font selection
632 @cindex font selection
633 @cindex font magnification
634 @funindex font-interface
636 By setting the object properties described below, you can select a
637 font from the preconfigured font families. LilyPond has default
638 support for the feta music fonts. Text fonts are selected through
639 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
640 the sans and typewriter to whatever the Pango installation defaults
645 @item @code{font-encoding}
646 is a symbol that sets layout of the glyphs. This should only be set to
647 select different types of non-text fonts, e.g.
649 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
650 standard music font, including ancient glyphs, @code{fetaDynamic} for
651 dynamic signs and @code{fetaNumber} for the number font.
653 @item @code{font-family}
654 is a symbol indicating the general class of the typeface. Supported are
655 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
657 @item @code{font-shape}
658 is a symbol indicating the shape of the font. There are typically
659 several font shapes available for each font family. Choices are
660 @code{italic}, @code{caps}, and @code{upright}.
662 @item @code{font-series}
663 is a symbol indicating the series of the font. There are typically
664 several font series for each font family and shape. Choices are
665 @code{medium} and @code{bold}.
669 Fonts selected in the way sketched above come from a predefined style
670 sheet. If you want to use a font from outside the style sheet,
672 @code{font-name} property,
674 @lilypond[fragment,verbatim]
676 \override Staff.TimeSignature #'font-name = #"Charter"
677 \override Staff.TimeSignature #'font-size = #2
680 \override #'(font-name . "Vera Bold")
681 { This text is in Vera Bold }
687 Any font can be used, as long as it is available to Pango/FontConfig.
688 To get a full list of all available fonts, run the command
690 lilypond -dshow-available-fonts blabla
692 (the last argument of the command can be anything, but has to be present).
695 The size of the font may be set with the @code{font-size}
696 property. The resulting size is taken relative to the
697 @code{text-font-size} as defined in the @code{\paper} block.
700 @cindex font magnification
703 It is also possible to change the default font family for the entire
704 document. This is done by calling the @code{make-pango-font-tree} from
705 within the @code{\paper} block. The function takes names for the font
706 families to use for roman, sans serif and monospaced text. For
709 @cindex font families, setting
718 (make-pango-font-tree "Times New Roman"
725 c'^\markup { roman: foo \sans bla \typewriter bar }
729 @c we don't do Helvetica / Courier, since GS incorrectly loads
736 Examples: @lsr{text,font@/-family@/-override.ly}.
739 @node New dynamic marks
740 @subsection New dynamic marks
742 It is possible to print new dynamic marks or text that should be aligned
743 with dynamics. Use @code{make-dynamic-script} to create these
744 marks. Note that the dynamic font only contains the characters
745 @code{f,m,p,r,s} and @code{z}.
747 Some situations (such as dynamic marks) have preset font-related
748 properties. If you are creating text in such situations, it
749 is advisable to cancel those properties with
750 @code{normal-text}. See @ref{Overview of text markup commands},
753 @cindex make-dynamic-script
755 @lilypond[quote,verbatim,ragged-right]
756 sfzp = #(make-dynamic-script "sfzp")
762 @cindex Dynamics, editorial
763 @cindex Dynamics, parenthesis
765 It is also possible to print dynamics in round parenthesis or square
766 brackets. These are often used for adding editorial dynamics.
768 @lilypond[quote,verbatim,ragged-right]
769 rndf = \markup{ \center-align {\line { \bold{\italic (}
770 \dynamic f \bold{\italic )} }} }
771 boxf = \markup{ \bracket { \dynamic f } }
772 { c'1_\rndf c'1_\boxf }
777 @node Preparing parts
778 @section Preparing parts
780 This section describes various notation that are useful for preparing
784 * Multi measure rests::
789 * Instrument transpositions::
791 * Different editions from one source::
795 @node Multi measure rests
796 @subsection Multi measure rests
798 @cindex multi measure rests
799 @cindex full measure rests
800 @cindex Rests, multi measure
801 @cindex Rests, full measure
802 @cindex whole rests for a full measure
805 Rests for one full measure (or many bars) are entered using @samp{R}. It
806 is specifically meant for full bar rests and for entering parts: the rest
807 can expand to fill a score with rests, or it can be printed as a single
808 multi-measure rest. This expansion is controlled by the property
809 @code{Score.skipBars}. If this is set to true, empty measures will not
810 be expanded, and the appropriate number is added automatically
812 @lilypond[quote,ragged-right,fragment,verbatim]
813 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
814 \set Score.skipBars = ##t R1*17 R1*4
817 The @code{1} in @code{R1} is similar to the duration notation used for
818 notes. Hence, for time signatures other than 4/4, you must enter other
819 durations. This can be done with augmentation dots or fractions
821 @lilypond[quote,ragged-right,fragment,verbatim]
822 \set Score.skipBars = ##t
831 An @code{R} spanning a single measure is printed as either a whole rest
832 or a breve, centered in the measure regardless of the time signature.
834 If there are only a few measures of rest, LilyPond prints @q{church rests}
835 (a series of rectangles) in the staff. To replace that with a simple
836 rest, use @code{MultiMeasureRest.expand-limit}.
838 @lilypond[quote,ragged-right,fragment,verbatim]
839 \set Score.skipBars = ##t
841 \override MultiMeasureRest #'expand-limit = 1
845 @cindex text on multi-measure rest
846 @cindex script on multi-measure rest
847 @cindex fermata on multi-measure rest
849 Texts can be added to multi-measure rests by using the
850 @var{note}-@code{markup} syntax @ref{Text markup}.
851 A variable (@code{\fermataMarkup}) is provided for
854 @lilypond[quote,ragged-right,verbatim,fragment]
855 \set Score.skipBars = ##t
857 R2.*10^\markup { \italic "ad lib." }
861 Warning! This text is created by @code{MultiMeasureRestText}, not
864 @lilypond[quote,ragged-right,verbatim,fragment]
865 \override TextScript #'padding = #5
867 \override MultiMeasureRestText #'padding = #5
871 If you want to have text on the left end of a multi-measure rest,
872 attach the text to a zero-length skip note, i.e.,
882 Program reference: @internalsref{MultiMeasureRestMusicGroup},
883 @internalsref{MultiMeasureRest}.
885 The layout object @internalsref{MultiMeasureRestNumber} is for the
886 default number, and @internalsref{MultiMeasureRestText} for user
892 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
893 over multi-measure rests. And the pitch of multi-measure rests (or
894 staff-centered rests) can not be influenced.
896 @cindex condensing rests
898 There is no way to automatically condense multiple rests into a single
899 multi-measure rest. Multi-measure rests do not take part in rest
902 Be careful when entering multi-measure rests followed by whole
903 notes. The following will enter two notes lasting four measures each
907 When @code{skipBars} is set, the result will look OK, but the bar
908 numbering will be off.
911 @node Metronome marks
912 @subsection Metronome marks
915 @cindex beats per minute
916 @cindex metronome marking
918 Metronome settings can be entered as follows
920 \tempo @var{duration} = @var{per-minute}
923 In the MIDI output, they are interpreted as a tempo change. In the
924 layout output, a metronome marking is printed
926 @lilypond[quote,ragged-right,verbatim,fragment]
933 To change the tempo in the MIDI output without printing anything, make
934 the metronome marking invisible
936 \once \override Score.MetronomeMark #'transparent = ##t
939 To print other metronome markings, use these markup commands
940 @lilypond[quote,ragged-right,verbatim,relative,fragment]
943 \smaller \general-align #Y #DOWN \note #"16." #1
945 \smaller \general-align #Y #DOWN \note #"8" #1
950 See @ref{Text markup}, for more details.
955 Program reference: @internalsref{MetronomeMark}.
960 Collisions are not checked. If you have notes above the top line of
961 the staff (or notes with articulations, slurs, text, etc), then the
962 metronome marking may be printed on top of musical symbols. If this
963 occurs, increase the padding of the metronome mark to place it
964 further away from the staff.
967 \override Score.MetronomeMark #'padding = #2.5
971 @node Rehearsal marks
972 @subsection Rehearsal marks
974 @cindex Rehearsal marks
977 To print a rehearsal mark, use the @code{\mark} command
979 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
988 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
989 If you wish to include the letter @q{I}, then use
992 \set Score.markFormatter = #format-mark-alphabet
995 The mark is incremented automatically if you use @code{\mark
996 \default}, but you can also use an integer argument to set the mark
997 manually. The value to use is stored in the property
998 @code{rehearsalMark}.
1000 The style is defined by the property @code{markFormatter}. It is a
1001 function taking the current mark (an integer) and the current context
1002 as argument. It should return a markup object. In the following
1003 example, @code{markFormatter} is set to a canned procedure. After a
1004 few measures, it is set to function that produces a boxed number.
1006 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
1007 \set Score.markFormatter = #format-mark-numbers
1010 \set Score.markFormatter = #format-mark-box-numbers
1016 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
1017 of @code{format-mark-numbers} (the default format),
1018 @code{format-mark-box-numbers},
1019 @code{format-mark-letters} and @code{format-mark-box-letters}.
1020 These can be used as inspiration for other formatting functions.
1022 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
1023 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
1024 incremented numbers or letters.
1026 Other styles of rehearsal mark can be specified manually
1033 @code{Score.markFormatter} does not affect marks specified in this manner.
1034 However, it is possible to apply a @code{\markup} to the string.
1037 \mark \markup@{ \box A1 @}
1044 Music glyphs (such as the segno sign) may be printed inside
1047 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1048 c1 \mark \markup { \musicglyph #"scripts.segno" }
1049 c1 \mark \markup { \musicglyph #"scripts.coda" }
1050 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1055 See @ref{The Feta font}, for a list of symbols which may be
1056 printed with @code{\musicglyph}.
1058 The horizontal location of rehearsal marks can be adjusted by
1059 setting @code{break-align-symbol}
1061 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1065 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
1069 \override Score.RehearsalMark #'break-align-symbol = #'clef
1075 @code{break-align-symbol} may also accept the following values:
1076 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1077 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1078 @code{key-signature}, and @code{time-signature}. Setting
1079 @code{break-align-symbol} will only have an effect if the symbol
1080 appears at that point in the music.
1085 This manual: @ref{Text marks}.
1087 Program reference: @internalsref{RehearsalMark}.
1089 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1090 definition of @code{format-mark-numbers} and
1091 @code{format-mark-letters}. They can be used as inspiration for other
1092 formatting functions.
1094 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
1098 @subsection Bar numbers
1101 @cindex measure numbers
1102 @funindex currentBarNumber
1104 Bar numbers are printed by default at the start of the line. The
1105 number itself is stored in the @code{currentBarNumber} property, which
1106 is normally updated automatically for every measure.
1108 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1109 \repeat unfold 4 {c4 c c c} \break
1110 \set Score.currentBarNumber = #50
1111 \repeat unfold 4 {c4 c c c}
1114 Bar numbers may only be printed at bar lines; to print a bar
1115 number at the beginning of a piece, an empty bar line must
1118 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1119 \set Score.currentBarNumber = #50
1121 \repeat unfold 4 {c4 c c c} \break
1122 \repeat unfold 4 {c4 c c c}
1125 Bar numbers can be typeset at regular intervals instead of at the
1126 beginning of each line. This is illustrated in the following example,
1127 whose source is available as
1128 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
1130 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1132 Bar numbers can be removed entirely by removing the Bar number
1133 engraver from the score.
1135 @lilypond[verbatim,ragged-right,quote]
1139 \remove "Bar_number_engraver"
1151 Program reference: @internalsref{BarNumber}.
1154 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
1155 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
1160 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1161 there is one at the top. To solve this, the
1162 @code{padding} property of @internalsref{BarNumber} can be
1163 used to position the number correctly.
1166 @node Instrument names
1167 @subsection Instrument names
1169 In an orchestral score, instrument names are printed at the left side
1172 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1173 and @internalsref{Staff}.@code{shortInstrumentName}, or
1174 @internalsref{PianoStaff}.@code{instrumentName} and
1175 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1177 the start of the staff. For the first staff, @code{instrumentName} is
1178 used, for the following ones, @code{shortInstrumentName} is used.
1180 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1181 \set Staff.instrumentName = "Ploink "
1182 \set Staff.shortInstrumentName = "Plk "
1188 You can also use markup texts to construct more complicated instrument
1191 @lilypond[quote,fragment,verbatim,ragged-right]
1192 \set Staff.instrumentName = \markup {
1193 \column { "Clarinetti"
1194 \line { "in B" \smaller \flat } } }
1198 If you wish to center the instrument names, you must center all of them
1200 @lilypond[quote,verbatim,ragged-right]
1203 \set Staff.instrumentName = \markup {
1204 \center-align { "Clarinetti"
1205 \line { "in B" \smaller \flat } } }
1209 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1216 For longer instrument names, it may be useful to increase the
1217 @code{indent} setting in the @code{\layout} block.
1219 To center instrument names while leaving extra space to the right,
1221 @lilypond[quote,verbatim,ragged-right]
1222 \new StaffGroup \relative
1225 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1229 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1235 To add instrument names to other contexts (such as @code{GrandStaff},
1236 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1237 be added to that context.
1241 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1246 More information about adding and removing engravers can
1247 be found in @ref{Modifying context plug-ins}.
1249 Instrument names may be changed in the middle of a piece,
1251 @lilypond[quote,fragment,verbatim,ragged-right]
1252 \set Staff.instrumentName = "First"
1253 \set Staff.shortInstrumentName = "one"
1256 \set Staff.instrumentName = "Second"
1257 \set Staff.shortInstrumentName = "two"
1265 Program reference: @internalsref{InstrumentName}.
1269 @node Instrument transpositions
1270 @subsection Instrument transpositions
1272 @cindex transposition, MIDI
1273 @cindex transposition, instrument
1275 The key of a transposing instrument can also be specified. This
1276 applies to many wind instruments, for example, clarinets (B-flat, A, and
1277 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1279 The transposition is entered after the keyword @code{\transposition}
1282 \transposition bes %% B-flat clarinet
1286 This command sets the property @code{instrumentTransposition}. The value of
1287 this property is used for MIDI output and quotations. It does not
1288 affect how notes are printed in the current staff. To change the printed
1289 output, see @ref{Transpose}.
1291 The pitch to use for @code{\transposition} should correspond to the
1292 real sound heard when a @code{c'} written on the staff is played by the
1293 transposing instrument. For example, when entering a score in
1294 concert pitch, typically all voices are entered in C, so
1295 they should be entered as
1308 The command @code{\transposition} should be used when the music is
1309 entered from a (transposed) orchestral part. For example, in
1310 classical horn parts, the tuning of the instrument is often changed
1311 during a piece. When copying the notes from the part, use
1312 @code{\transposition}, e.g.,
1324 @node Ottava brackets
1325 @subsection Ottava brackets
1327 @q{Ottava} brackets introduce an extra transposition of an octave for
1328 the staff. They are created by invoking the function
1329 @code{set-octavation}
1335 @lilypond[quote,ragged-right,verbatim,fragment]
1345 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1346 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1347 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1348 @code{centralCPosition}. For overriding the text of the bracket, set
1349 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1351 @lilypond[quote,ragged-right,verbatim]
1354 \set Staff.ottavation = #"8"
1362 Program reference: @internalsref{OttavaBracket}.
1367 @code{set-octavation} will get confused when clef changes happen
1368 during an octavation bracket.
1371 @node Different editions from one source
1372 @subsection Different editions from one source
1377 The @code{\tag} command marks music expressions with a name. These
1378 tagged expressions can be filtered out later. With this mechanism it
1379 is possible to make different versions of the same music source.
1381 In the following example, we see two versions of a piece of music, one
1382 for the full score, and one with cue notes for the instrumental part
1398 The same can be applied to articulations, texts, etc.: they are
1401 -\tag #@var{your-tag}
1403 to an articulation, for example,
1408 This defines a note with a conditional fingering indication.
1411 @cindex removeWithTag
1412 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1413 commands, tagged expressions can be filtered. For example,
1417 \keepWithTag #'score @var{the music}
1418 \keepWithTag #'part @var{the music}
1423 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1425 The arguments of the @code{\tag} command should be a symbol
1426 (such as @code{#'score} or @code{#'part}), followed by a
1427 music expression. It is possible to put multiple tags on
1428 a piece of music with multiple @code{\tag} entries,
1431 \tag #'original-part \tag #'transposed-part @dots{}
1437 Examples: @lsr{parts,tag@/-filter@/.ly}
1442 Multiple rests are not merged if you create the score with both tagged
1447 @node Orchestral music
1448 @section Orchestral music
1450 Orchestral music involves some special notation, both in the full
1451 score and the individual parts. This section explains how to tackle
1452 some common problems in orchestral music.
1455 * Automatic part combining::
1457 * Quoting other voices::
1458 * Formatting cue notes::
1459 * Aligning to cadenzas::
1463 @node Automatic part combining
1464 @subsection Automatic part combining
1465 @cindex automatic part combining
1466 @cindex part combiner
1468 Automatic part combining is used to merge two parts of music onto a
1469 staff. It is aimed at typesetting orchestral scores. When the two
1470 parts are identical for a period of time, only one is shown. In
1471 places where the two parts differ, they are typeset as separate
1472 voices, and stem directions are set automatically. Also, solo and
1473 @emph{a due} parts are identified and can be marked.
1475 The syntax for part combining is
1478 \partcombine @var{musicexpr1} @var{musicexpr2}
1482 The following example demonstrates the basic functionality of the part
1483 combiner: putting parts on one staff, and setting stem directions and
1486 @lilypond[quote,verbatim,ragged-right,fragment]
1487 \new Staff \partcombine
1488 \relative g' { g g a( b) c c r r }
1489 \relative g' { g g r4 r e e g g }
1492 The first @code{g} appears only once, although it was
1493 specified twice (once in each part). Stem, slur, and tie directions are
1494 set automatically, depending whether there is a solo or unisono. The
1495 first part (with context called @code{one}) always gets up stems, and
1496 @q{Solo}, while the second (called @code{two}) always gets down stems and
1499 If you just want the merging parts, and not the textual markings, you
1500 may set the property @code{printPartCombineTexts} to false
1502 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1504 \set Staff.printPartCombineTexts = ##f
1506 \relative g' { g a( b) r }
1507 \relative g' { g r4 r f }
1511 To change the text that is printed for solos or merging, you may
1512 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1515 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1517 \set Score.soloText = #"ichi"
1518 \set Score.soloIIText = #"ni"
1519 \set Score.aDueText = #"tachi"
1521 \relative g' { g4 g a( b) r }
1522 \relative g' { g4 g r r f }
1526 Both arguments to @code{\partcombine} will be interpreted as
1527 @internalsref{Voice} contexts. If using relative octaves,
1528 @code{\relative} should be specified for both music expressions, i.e.,
1532 \relative @dots{} @var{musicexpr1}
1533 \relative @dots{} @var{musicexpr2}
1537 A @code{\relative} section that is outside of @code{\partcombine} has
1538 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1542 Program reference: @internalsref{PartCombineMusic}.
1546 When @code{printPartCombineTexts} is set, when the two voices play the
1547 same notes on and off, the part combiner may typeset @code{a2} more
1548 than once in a measure.
1550 @code{\partcombine} cannot be inside @code{\times}.
1552 @code{\partcombine} cannot be inside @code{\relative}.
1554 Internally, the @code{\partcombine} interprets both arguments as
1555 @code{Voice}s named @code{one} and @code{two}, and then decides when
1556 the parts can be combined. Consequently, if the arguments switch to
1557 differently named @internalsref{Voice} contexts, the events in those
1562 @subsection Hiding staves
1564 @cindex Frenched scores
1565 @cindex Hiding staves
1567 In orchestral scores, staff lines that only have rests are usually
1568 removed; this saves some space. This style is called @q{French Score}.
1569 For @internalsref{Lyrics},
1570 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1571 switched on by default. When the lines of these contexts turn out
1572 empty after the line-breaking process, they are removed.
1574 For normal staves, a specialized @internalsref{Staff} context is
1575 available, which does the same: staves containing nothing (or only
1576 multi-measure rests) are removed. The context definition is stored in
1577 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1578 in this example disappears in the second line
1580 @lilypond[quote,ragged-right,verbatim]
1582 \context { \RemoveEmptyStaffContext }
1587 \new Staff { e4 f g a \break c1 }
1588 \new Staff { c4 d e f \break R1 }
1593 The first system shows all staves in full. If empty staves should be
1594 removed from the first system too, set @code{remove-first} to true in
1595 @internalsref{VerticalAxisGroup}.
1598 \override Score.VerticalAxisGroup #'remove-first = ##t
1601 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1602 or @code{\RemoveEmptyRhythmicStaffContext}.
1604 Another application is making ossia sections, i.e., alternative
1605 melodies on a separate piece of staff, with help of a Frenched
1609 @node Quoting other voices
1610 @subsection Quoting other voices
1614 With quotations, fragments of other parts can be inserted into a part
1615 directly. Before a part can be quoted, it must be marked especially as
1616 quotable. This is done with the @code{\addQuote} command.
1619 \addQuote @var{name} @var{music}
1624 Here, @var{name} is an identifying string. The @var{music} is any kind
1625 of music. Here is an example of @code{\addQuote}
1628 \addQuote clarinet \relative c' @{
1633 This command must be entered at toplevel, i.e., outside any music
1636 After calling @code{\addQuote}, the quotation may then be done with
1637 @code{\quoteDuring} or @code{\cueDuring},
1640 \quoteDuring #@var{name} @var{music}
1643 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1647 \quoteDuring #"clarinet" @{ s2. @}
1650 This would cite three quarter notes (the duration of @code{s2.}) of
1651 the previously added @code{clarinet} voice.
1654 More precisely, it takes the current time-step of the part being
1655 printed, and extracts the notes at the corresponding point of the
1656 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1657 should be the entire part of the voice to be quoted, including any
1658 rests at the beginning.
1660 Quotations take into account the transposition of both source and target
1661 instruments, if they are specified using the @code{\transposition} command.
1663 @lilypond[quote,ragged-right,verbatim]
1664 \addQuote clarinet \relative c' {
1670 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1674 The type of events that are present in cue notes can be trimmed with
1675 the @code{quotedEventTypes} property. The default value is
1676 @code{(note-event rest-event)}, which means that only notes and
1677 rests of the cued voice end up in the @code{\quoteDuring}.
1681 \set Staff.quotedEventTypes =
1682 #'(note-event articulation-event dynamic-event)
1686 will quote notes (but no rests), together with scripts and dynamics.
1690 Only the contents of the first @internalsref{Voice} occurring in an
1691 @code{\addQuote} command will be considered for quotation, so
1692 @var{music} can not contain @code{\new} and @code{\context Voice}
1693 statements that would switch to a different Voice.
1695 Quoting grace notes is broken and can even cause LilyPond to crash.
1697 Quoting nested triplets may result in poor notation.
1702 In this manual: @ref{Instrument transpositions}.
1704 Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly}
1706 Program reference: @internalsref{QuoteMusic}.
1709 @node Formatting cue notes
1710 @subsection Formatting cue notes
1712 @cindex cues, formatting
1714 The previous section deals with inserting notes from another voice.
1715 There is a more advanced music function called @code{\cueDuring},
1716 which makes formatting cue notes easier.
1721 \cueDuring #@var{name} #@var{updown} @var{music}
1724 This will insert notes from the part @var{name} into a
1725 @internalsref{Voice} called @code{cue}. This happens simultaneously
1726 with @var{music}, which usually is a rest. When the cue notes start,
1727 the staff in effect becomes polyphonic for a moment. The argument
1728 @var{updown} determines whether the cue notes should be notated as a
1729 first or second voice.
1732 @lilypond[verbatim,ragged-right]
1735 \override Stem #'length-fraction = #0.8
1736 \override Beam #'thickness = #0.384
1737 \override Beam #'length-fraction = #0.8
1740 \addQuote clarinet \relative {
1745 \new Staff \relative <<
1747 % setup a context for cue notes.
1748 \new Voice = "cue" { \smaller \skip 1*21 }
1750 \set Score.skipBars = ##t
1754 \cueDuring #"clarinet" #UP {
1763 Here are a couple of hints for successful cue notes
1767 Cue notes have smaller font sizes.
1769 the cued part is marked with the instrument playing the cue.
1771 when the original part takes over again, this should be marked with
1772 the name of the original instrument.
1774 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1776 @c Yes, this is good practice. Otherwise, the start of the original
1777 @c part can only be seen from the font size. This is not good enough
1778 @c for sight-reading. It is possilbe to use other
1779 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1785 Any other changes introduced by the cued part should also be
1786 undone. For example, if the cued instrument plays in a different clef,
1787 the original clef should be stated once again.
1791 The macro @code{\transposedCueDuring} is
1792 useful to add cues to instruments which use a completely different
1793 octave range (for example, having a cue of a piccolo flute within
1794 a contra bassoon part).
1796 @lilypond[verbatim,ragged-right,quote]
1797 picc = \relative c''' {
1803 \addQuote "picc" { \picc }
1805 cbsn = \relative c, {
1808 \transposedCueDuring #"picc" #UP c,, { R1 } |
1813 \context Staff = "picc" \picc
1814 \context Staff = "cbsn" \cbsn
1820 @node Aligning to cadenzas
1821 @subsection Aligning to cadenzas
1823 In an orchestral context, cadenzas present a special problem:
1824 when constructing a score that includes a cadenza, all other
1825 instruments should skip just as many notes as the length of the
1826 cadenza, otherwise they will start too soon or too late.
1828 A solution to this problem are the functions @code{mmrest-of-length}
1829 and @code{skip-of-length}. These Scheme functions take a piece of music
1830 as argument, and generate a @code{\skip} or multi-rest, exactly as
1831 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1832 in the following example.
1834 @lilypond[verbatim,ragged-right,quote]
1835 cadenza = \relative c' {
1836 c4 d8 << { e f g } \\ { d4. } >>
1841 \new Staff { \cadenza c'4 }
1843 #(ly:export (mmrest-of-length cadenza))
1852 @node Contemporary notation
1853 @section Contemporary notation
1855 In the 20th century, composers have greatly expanded the musical
1856 vocabulary. With this expansion, many innovations in musical notation
1857 have been tried. The book @q{Music Notation in the 20th century} by
1858 Kurt Stone gives a comprehensive overview (see @ref{Literature
1861 This section describes notation that does
1862 not fit into traditional notation categories, such as pitches,
1863 tuplet beams, and articulation. For contemporary notation
1864 that fits into traditional notation categories, such as
1865 microtones, nested tuplet beams, and unusual fermatas, please
1866 see those sections of the documentation.
1869 * Polymetric notation::
1870 * Time administration::
1871 * Proportional notation (introduction)::
1873 * Special noteheads::
1876 * Selecting notation font size::
1880 @node Polymetric notation
1881 @subsection Polymetric notation
1883 @cindex double time signatures
1884 @cindex signatures, polymetric
1885 @cindex polymetric signatures
1886 @cindex meter, polymetric
1888 Double time signatures are not supported explicitly, but they can be
1889 faked. In the next example, the markup for the time signature is
1890 created with a markup text. This markup text is inserted in the
1891 @internalsref{TimeSignature} grob. See also
1892 @inputfileref{input/@/test,compound@/-time@/.ly}).
1894 @lilypond[verbatim,ragged-right]
1897 \override #'(baseline-skip . 2) \number {
1900 \bracket \column { "5" "8" }
1905 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1906 \override Staff.TimeSignature #'text = #tsMarkup
1908 c'2 \bar ":" c'4 c'4.
1912 Each staff can also have its own time signature. This is done by
1913 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1919 \remove "Timing_translator"
1920 \remove "Default_bar_line_engraver"
1924 \consists "Timing_translator"
1925 \consists "Default_bar_line_engraver"
1932 Now, each staff has its own time signature.
1945 c4. c8 c c c4. c8 c c
1950 @lilypond[quote,ragged-right]
1954 \remove "Timing_translator"
1955 \remove "Default_bar_line_engraver"
1958 \consists "Timing_translator"
1959 \consists "Default_bar_line_engraver"
1974 c4. c8 c c c4. c8 c c
1980 A different form of polymetric notation is where note lengths have
1981 different values across staves.
1983 This notation can be created by setting a common time signature for
1984 each staff but replacing it manually using
1985 @code{timeSignatureFraction} to the desired fraction. Then the printed
1986 durations in each staff are scaled to the common time signature.
1987 The latter is done with @code{\compressMusic}, which is used similar
1988 to @code{\times}, but does not create a tuplet bracket. The syntax is
1990 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1995 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1996 used in parallel. In the second staff, shown durations are multiplied by
1997 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1998 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
2000 @lilypond[quote,ragged-right,verbatim,fragment]
2008 \set Staff.timeSignatureFraction = #'(9 . 8)
2009 \compressMusic #'(2 . 3)
2010 \repeat unfold 6 { c8[ c c] }
2014 \set Staff.timeSignatureFraction = #'(10 . 8)
2015 \compressMusic #'(3 . 5) {
2016 \repeat unfold 2 { c8[ c c] }
2017 \repeat unfold 2 { c8[ c] }
2018 | c4. c4. \times 2/3 { c8 c c } c4
2029 When using different time signatures in parallel, the spacing is
2030 aligned vertically, but bar lines distort the regular spacing.
2033 @node Time administration
2034 @subsection Time administration
2036 @cindex Time administration
2038 Time is administered by the @internalsref{Time_signature_engraver},
2039 which usually lives in the @internalsref{Score} context. The
2040 bookkeeping deals with the following variables
2043 @item currentBarNumber
2047 The length of the measures in the current time signature. For a 4/4
2048 time this is@tie{}1, and for 6/8 it is 3/4.
2050 @item measurePosition
2051 The point within the measure where we currently are. This quantity
2052 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2053 happens, @code{currentBarNumber} is incremented.
2056 If set to true, the above variables are updated for every time
2057 step. When set to false, the engraver stays in the current measure
2061 Timing can be changed by setting any of these variables explicitly.
2062 In the next example, the 4/4 time signature is printed, but
2063 @code{measureLength} is set to 5/4. After a while, the measure is
2064 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2065 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2066 3/8 arises because 5/4 normally has 10/8, but we have manually
2067 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2069 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2070 \set Score.measureLength = #(ly:make-moment 5 4)
2074 \set Score.measurePosition = #(ly:make-moment 7 8)
2080 As the example illustrates, @code{ly:make-moment n m} constructs a
2081 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2083 note duration and @code{ly:make-moment 7 16} is the duration of
2084 seven sixteenths notes.
2087 @node Proportional notation (introduction)
2088 @subsection Proportional notation (introduction)
2089 @cindex Proportional notation
2091 See @ref{Proportional notation}.
2094 TODO: remove all this stuff?
2096 Notes can be spaced proportionally to their time-difference by
2097 assigning a duration to @code{proportionalNotationDuration}
2099 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2101 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2102 \new Staff { c8[ c c c c c] c4 c2 r2 }
2103 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2107 Setting this property only affects the ideal spacing between
2108 consecutive notes. For true proportional notation, the following
2109 settings are also required.
2113 @item True proportional notation requires that symbols are allowed to
2114 overstrike each other. That is achieved by removing the
2115 @internalsref{Separating_line_group_engraver} from
2116 @internalsref{Staff} context.
2118 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2119 is removed by setting the @code{strict-note-spacing} property to
2120 @code{#t} in @internalsref{SpacingSpanner} grob.
2122 @item Optical spacing tweaks are switched by setting
2123 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2130 Examples: @lsr{spacing,proportional@/-spacing@/.ly},
2131 @lsr{spacing,proportional@/-strict@/-grace@/-notes@/.ly}, and
2132 @lsr{spacing,proportional@/-strict@/-notespacing@/.ly}
2134 An example of strict proportional notation is in the
2135 example file @file{input/proportional.ly}.
2139 @subsection Clusters
2143 A cluster indicates a continuous range of pitches to be played. They
2144 can be denoted as the envelope of a set of notes. They are entered by
2145 applying the function @code{makeClusters} to a sequence of
2147 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2148 \makeClusters { <c e > <b f'> }
2151 Ordinary notes and clusters can be put together in the same staff,
2152 even simultaneously. In such a case no attempt is made to
2153 automatically avoid collisions between ordinary notes and clusters.
2157 Program reference: @internalsref{ClusterSpanner},
2158 @internalsref{ClusterSpannerBeacon},
2159 @internalsref{Cluster_spanner_engraver}.
2161 Examples: @lsr{contemporary,cluster@/.ly}.
2165 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2166 accurately. Use @code{<g a>8 <e a>8} instead.
2169 @node Special noteheads
2170 @subsection Special noteheads
2172 @cindex note heads, special
2174 Different noteheads are used by various instruments for various
2175 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2176 notes on guitar; diamonds are used for harmonics on string instruments,
2177 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2178 other notehead styles are produced by tweaking the property
2180 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2182 \override NoteHead #'style = #'cross
2184 \revert NoteHead #'style
2185 e d <c f\harmonic> <d a'\harmonic>
2189 To see all notehead styles, please see
2190 @ref{Note head styles}.
2195 Program reference: @internalsref{NoteHead}.
2198 @node Feathered beams
2199 @subsection Feathered beams
2201 Feathered beams are printed by setting the @code{grow-direction}
2202 property of a @code{Beam}. The @code{\featherDurations} function
2203 can be used to adjust note durations.
2205 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2206 \featherDurations #(ly:make-moment 5 4)
2208 \override Beam #'grow-direction = #LEFT
2215 The @code{\featherDuration} command only works with very short
2219 @subsection Improvisation
2221 Improvisation is sometimes denoted with slashed note heads. Such note
2222 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2223 to the @internalsref{Voice} context. Then, the
2227 \set squashedPosition = #0
2228 \override NoteHead #'style = #'slash
2232 switches on the slashes.
2234 There are shortcuts @code{\improvisationOn} (and an accompanying
2235 @code{\improvisationOff}) for this command sequence. They are used in
2236 the following example
2238 @lilypond[verbatim,ragged-right,quote]
2240 \consists Pitch_squash_engraver
2242 e8 e g a a16(bes)(a8) g \improvisationOn
2245 ~fis2 \improvisationOff a16(bes) a8 g e
2250 @node Selecting notation font size
2251 @subsection Selecting notation font size
2253 The easiest method of setting the font size of any context is by
2254 setting the @code{fontSize} property.
2256 @lilypond[quote,fragment,relative=1,verbatim]
2265 It does not change the size of variable symbols, such as beams or
2268 Internally, the @code{fontSize} context property will cause the
2269 @code{font-size} property to be set in all layout objects. The value
2270 of @code{font-size} is a number indicating the size relative to the
2271 standard size for the current staff height. Each step up is an
2272 increase of approximately 12% of the font size. Six steps is exactly a
2273 factor two. The Scheme function @code{magstep} converts a
2274 @code{font-size} number to a scaling factor. The @code{font-size}
2275 property can also be set directly, so that only certain layout objects are
2278 @lilypond[quote,fragment,relative=1,verbatim]
2280 \override NoteHead #'font-size = #-4
2282 \override NoteHead #'font-size = #3
2286 Font size changes are achieved by scaling the design size that is
2287 closest to the desired size. The standard font size (for
2288 @code{font-size} equals 0), depends on the standard staff height. For
2289 a 20pt staff, a 10pt font is selected.
2291 The @code{font-size} property can only be set on layout objects that
2292 use fonts. These are the ones supporting the
2293 @internalsref{font-interface} layout interface.
2297 The following commands set @code{fontSize} for the current voice:
2303 @funindex \normalsize
2308 @node Educational use
2309 @section Educational use
2311 With the amount of control that LilyPond offers, one can make great
2312 teaching tools in addition to great musical scores.
2316 * Blank music sheet::
2318 * Shape note heads::
2319 * Easy Notation note heads::
2320 * Analysis brackets::
2321 * Coloring objects::
2327 @subsection Balloon help
2329 Elements of notation can be marked and named with the help of a square
2330 balloon. The primary purpose of this feature is to explain notation.
2332 The following example demonstrates its use.
2334 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2335 \new Voice \with { \consists "Balloon_engraver" }
2337 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2338 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2343 There are two music functions, @code{balloonText} and
2344 @code{balloonGrobText}. The latter takes the name of the grob to
2345 adorn, while the former may be used as an articulation on a note.
2346 The other arguments are the offset and the text of the label.
2349 @cindex notation, explaining
2353 Program reference: @internalsref{text-balloon-interface}.
2358 @node Blank music sheet
2359 @subsection Blank music sheet
2361 @cindex Sheet music, empty
2362 @cindex Staves, blank sheet
2364 A blank music sheet can be produced also by using invisible notes, and
2365 removing @code{Bar_number_engraver}.
2368 @lilypond[quote,verbatim]
2369 \layout{ indent = #0 }
2371 \repeat unfold 2 % Change this for more lines.
2376 \override TimeSignature #'transparent = ##t
2377 % un-comment this line if desired
2378 % \override Clef #'transparent = ##t
2379 defaultBarType = #""
2380 \remove Bar_number_engraver
2383 % modify these to get the staves you want
2384 \new Staff \emptymusic
2385 \new TabStaff \emptymusic
2391 @subsection Hidden notes
2393 @cindex Hidden notes
2394 @cindex Invisible notes
2395 @cindex Transparent notes
2397 @funindex \hideNotes
2398 @funindex \unHideNotes
2399 Hidden (or invisible or transparent) notes can be useful in preparing theory
2400 or composition exercises.
2402 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2411 @node Shape note heads
2412 @subsection Shape note heads
2414 @cindex note heads, shape
2416 In shape note head notation, the shape of the note head corresponds
2417 to the harmonic function of a note in the scale. This notation was
2418 popular in the 19th century American song books.
2420 Shape note heads can be produced by setting @code{\aikenHeads} or
2421 @code{\sacredHarpHeads}, depending on the style desired.
2423 @lilypond[verbatim,relative=1,fragment]
2430 Shapes are determined on the step in the scale, where the base of the
2431 scale is determined by the @code{\key} command
2434 @funindex shapeNoteStyles
2435 @funindex \aikenHeads
2436 @funindex \sacredHarpHeads
2438 Shape note heads are implemented through the @code{shapeNoteStyles}
2439 property. Its value is a vector of symbols. The k-th element indicates
2440 the style to use for the k-th step of the scale. Arbitrary
2441 combinations are possible, e.g.
2443 @lilypond[verbatim,relative=1,fragment]
2444 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2449 @node Easy Notation note heads
2450 @subsection Easy Notation note heads
2452 @cindex note heads, practice
2453 @cindex note heads, easy notation
2454 @cindex easy notation
2457 The @q{easy play} note head includes a note name inside the head. It is
2458 used in music for beginners
2460 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2465 The command @code{\setEasyHeads} overrides settings for the
2466 @internalsref{NoteHead} object. To make the letters readable, it has
2467 to be printed in a large font size. To print with a larger font, see
2468 @ref{Setting the staff size}.
2472 @funindex \setEasyHeads
2473 @code{\setEasyHeads}
2476 @node Analysis brackets
2477 @subsection Analysis brackets
2479 @cindex phrasing brackets
2480 @cindex musicological analysis
2481 @cindex note grouping bracket
2483 Brackets are used in musical analysis to indicate structure in musical
2484 pieces. LilyPond supports a simple form of nested horizontal
2485 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2486 to @internalsref{Staff} context. A bracket is started with
2487 @code{\startGroup} and closed with @code{\stopGroup}
2489 @lilypond[quote,ragged-right,verbatim]
2492 c4\startGroup\startGroup
2495 c4\stopGroup\stopGroup
2499 \Staff \consists "Horizontal_bracket_engraver"
2505 Program reference: @internalsref{HorizontalBracket}.
2508 @node Coloring objects
2509 @subsection Coloring objects
2511 Individual objects may be assigned colors. You may use the
2512 color names listed in the @ref{List of colors}.
2514 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2515 \override NoteHead #'color = #red
2517 \override NoteHead #'color = #(x11-color 'LimeGreen)
2519 \override Stem #'color = #blue
2523 The full range of colors defined for X11 can be accessed by using the
2524 Scheme function x11-color. The function takes one argument that can be a
2528 \override Beam #'color = #(x11-color 'MediumTurquoise)
2534 \override Beam #'color = #(x11-color "MediumTurquoise")
2537 The first form is quicker to write and is more efficient. However, using
2538 the second form it is possible to access X11 colors by the multi-word
2542 \override Beam #'color = #(x11-color "medium turquoise")
2545 If x11-color cannot make sense of the parameter then the color returned
2546 defaults to black. It should be obvious from the final score that
2549 This example illustrates the use of x11-color. Notice that the stem
2550 color remains black after being set to (x11-color 'Boggle), which is
2551 deliberate nonsense.
2553 @lilypond[quote,ragged-right,verbatim]
2555 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2556 \set Staff.instrumentName = \markup {
2557 \with-color #(x11-color 'navy) "Clarinet"
2561 \override Beam #'color = #(x11-color "medium turquoise")
2563 \override NoteHead #'color = #(x11-color "LimeGreen")
2565 \override Stem #'color = #(x11-color 'Boggle)
2573 Appendix: @ref{List of colors}.
2577 Not all x11 colors are distinguishable in a web browser. For web use
2578 normal colors are recommended.
2580 An x11 color is not necessarily exactly the same shade as a similarly
2583 Notes in a chord cannot be colored with @code{\override}; use
2584 @code{\tweak} instead. See @ref{Objects connected to the input},
2589 @subsection Parentheses
2592 @cindex notes, ghost
2593 @cindex notes, parenthesized
2595 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2598 @lilypond[relative=2,fragment,verbatim,ragged-right]
2606 This only functions inside chords, even for single notes
2609 < \parenthesize NOTE>
2614 @subsection Grid lines
2616 Vertical lines can be drawn between staves synchronized with
2619 @lilypond[ragged-right,quote,verbatim]
2623 \consists "Grid_point_engraver" %% sets of grid
2624 gridInterval = #(ly:make-moment 1 4)
2629 \consists "Grid_line_span_engraver"
2630 %% centers grid lines horizontally below noteheads
2631 \override NoteColumn #'X-offset = #-0.5
2642 %% centers grid lines vertically
2643 \override Score.GridLine #'extra-offset = #'( 0.0 . 1.0 )
2653 Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.