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
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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 * Overview of text markup commands::
56 @subsection Text scripts
59 @cindex text items, non-empty
60 @cindex non-empty texts
62 It is possible to place arbitrary strings of text or @ref{Text markup}
63 above or below notes by using a string @code{c^"text"}. By default,
64 these indications do not influence the note spacing, but by using the
65 command @code{\fatText}, the widths will be taken into account
67 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
68 c4^"longtext" \fatText c4_"longlongtext" c4
72 To prevent text from influencing spacing, use @code{\emptyText}.
74 More complex formatting may also be added to a note by using the
76 @lilypond[fragment,ragged-right,verbatim,quote]
77 c'4^\markup { bla \bold bla }
80 The @code{\markup} is described in more detail in
94 Checking to make sure that text scripts and lyrics are within the margins is
95 a relatively large computational task. To speed up processing, lilypond does
96 not perform such calculations by default; to enable it, use
99 \override Score.PaperColumn #'keep-inside-line = ##t
105 In this manual: @ref{Text markup}.
107 Program reference: @internalsref{TextScript}.
110 @node Text and line spanners
111 @subsection Text and line spanners
113 Some performance indications, e.g., @i{rallentando} and
114 @i{accelerando} and @i{trills} are written as text and are extended
115 over many measures with lines, sometimes dotted or wavy.
117 These all use the same routines as the glissando for drawing the texts
118 and the lines, and tuning their behavior is therefore also done in the
119 same way. It is done with a spanner, and the routine responsible for
120 drawing the spanners is @code{ly:line-interface::print}. This
121 routine creates determines the exact location of the two @i{span
122 points} and draws a line in between, in the style requested.
124 Here is an example of the different line styles available, and how to
127 @lilypond[relative=2,ragged-right,verbatim,fragment]
129 \once \override Glissando #'dash-fraction = #0.5
131 \override Glissando #'style = #'dotted-line
133 \override Glissando #'style = #'zigzag
135 \override Glissando #'style = #'trill
139 The information that determines the end-points is computed on-the-fly
140 for every graphic object, but it is possible to override these.
142 @lilypond[relative=2,ragged-right,verbatim,fragment]
144 \once \override Glissando #'bound-details #'right #'Y = #-2
148 The @code{Glissando} object, like any other using the
149 @code{ly:line-interface::print} routine, carries a nested
150 association list. In the above statement, the value for @code{Y}
151 is set to @code{-2} for association list corresponding to the right
152 end point. Of course, it is also possible to adjust the left side with
153 @code{left} instead of @code{right}.
155 If @code{Y} is not set, the value is computed from the vertical
156 position of right attachment point of the spanner.
158 In case of a line break, the values for the span-points are extended
159 with contents of the @code{left-broken} and @code{right-broken}
160 sublists, for example
162 @lilypond[relative=2,ragged-right,verbatim,fragment]
163 \override Glissando #'breakable = ##T
164 \override Glissando #'bound-details #'right-broken #'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=2,verbatim]
200 \override TextSpanner #'bound-details #'left #'text
201 = \markup { \small \bold Slower }
202 c2\startTextSpan b c a\stopTextSpan
205 @item stencil-align-dir-y
207 Without setting this, the stencil is simply put there at the
208 end-point, as defined by the @code{X} and @code{Y} sub properties.
209 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
210 will move the symbol at the edge relative to the end point of the line
212 @lilypond[relative=1,fragment,verbatim]
213 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
214 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
216 \override TextSpanner #'bound-details #'left #'text = #"gggg"
217 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
218 c4^\startTextSpan c c c \stopTextSpan
222 Setting this sub property to @code{#t} produce an arrowhead at the end
226 This sub property controls the space between the specified end-point
227 of the line and the actual end. Without padding, a glissando would
228 start and end in the center of each note head.
234 Program reference: @internalsref{TextSpanner},
235 @internalsref{Glissando}, @internalsref{VoiceFollower},
236 @internalsref{TrillSpanner}, @internalsref{line-spanner-interface}.
239 @inputfileref{input/@/regression,dynamics@/-text@/-spanner@/-padding.ly}.
240 @inputfileref{input/@/regression,glissando@/-broken@/.ly}.
241 @inputfileref{input/@/regression,line@/-arrows@/.ly}.
242 @inputfileref{input/@/regression,line@/-style@/.ly}.
243 @inputfileref{input/@/regression,text@/-spanner@/.ly}.
244 @inputfileref{input/@/regression,text@/-spanner@/.ly}.
248 @subsection Text spanners
250 @cindex Text spanners
252 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
253 are written as text and are extended over many measures with dotted
254 lines. Such texts are created using text spanners; attach
255 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
256 notes of the spanner.
258 The string to be printed, as well as the style, is set through object
261 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
264 \override TextSpanner #'edge-text = #'("rall " . "")
265 c2\startTextSpan b c\stopTextSpan a
268 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
269 c2\startTextSpan b c\stopTextSpan a
274 @cindex textSpannerUp
275 @code{textSpannerUp},
276 @cindex textSpannerDown
277 @code{textSpannerDown},
278 @cindex textSpannerNeutral
279 @code{textSpannerNeutral}.
284 To print a solid line, use
287 \override TextSpanner #'dash-fraction = #'()
293 Program reference: @internalsref{TextSpanner}.
295 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
299 @subsection Text marks
301 @cindex coda on bar line
302 @cindex segno on bar line
303 @cindex fermata on bar line
304 @cindex bar lines, symbols on
307 The @code{\mark} command is primarily used for
308 @ref{Rehearsal marks},
309 but it can also be used to put signs like coda,
310 segno, and fermata on a bar line. Use @code{\markup} to
311 access the appropriate symbol (symbols are listed in
314 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
315 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
320 @code{\mark} is only typeset above the top stave of the score. If
321 you specify the @code{\mark} command at a bar line, the resulting
322 mark is placed above the bar line. If you specify it in the middle
323 of a bar, the resulting mark is positioned between notes. If it is
324 specified before the beginning of a score line, it is placed
325 before the first note of the line. Finally, if the mark occurs at
326 a line break, the mark will be printed at the
327 beginning of the next line.
328 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
329 @c delete this sentence. -gp
330 If there is no next line, then the mark will not be printed at all.
335 To print the mark at the end of the current line, use
338 \override Score.RehearsalMark
339 #'break-visibility = #begin-of-line-invisible
342 @code{\mark} is often useful for adding text to the end of bar. In
343 such cases, changing the @code{#'self-alignment} is very useful
345 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
346 \override Score.RehearsalMark
347 #'break-visibility = #begin-of-line-invisible
349 \once \override Score.RehearsalMark #'self-alignment-X = #right
350 \mark "D.S. al Fine "
353 Text marks may be aligned with notation objects other than
356 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
361 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
365 \override Score.RehearsalMark #'break-align-symbol = #'clef
369 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
378 Although text marks are normally only printed above the topmost
379 staff, you may alter this to print them on every staff,
381 @lilypond[quote,ragged-right,verbatim,relative=2]
384 \remove "Mark_engraver"
388 \consists "Mark_engraver"
390 { c''1 \mark "foo" c'' }
392 \consists "Mark_engraver"
394 { c'1 \mark "foo" c' }
402 Program reference: @internalsref{RehearsalMark}.
406 @subsection Text markup
413 Use @code{\markup} to typeset text. Commands are entered with the
414 backslash @code{\}. To enter @code{\} and @code{#}, use double
417 @lilypond[quote,verbatim,fragment,relative=1]
419 c1_\markup { hi there }
420 c1^\markup { hi \bold there, is \italic {anyone home?} }
421 c1_\markup { "\special {weird} #characters" }
425 See @ref{Overview of text markup commands} for a list of all
428 @code{\markup} is primarily used for @internalsref{TextScript}s,
429 but it can also be used anywhere text is called in lilypond
431 @lilypond[quote,verbatim]
432 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
435 \override Score.RehearsalMark
436 #'break-visibility = #begin-of-line-invisible
437 \override Score.RehearsalMark #'self-alignment-X = #right
439 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
440 c2^\markup{ don't be \flat }
441 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
443 a2\mark \markup{ \large \bold Fine }
447 \addlyrics { bar, foo \markup{ \italic bar! } }
451 A @code{\markup} command can also be placed on its own, away from any
452 @code{\score} block, see @ref{Multiple scores in a book}.
454 @lilypond[quote,ragged-right,verbatim]
455 \markup{ Here is some text. }
458 @cindex font switching
460 The markup in the example demonstrates font switching commands. The
461 command @code{\bold} and @code{\italic} apply to the first following
462 word only; to apply a command to more than one word, enclose the
466 \markup @{ \bold @{ hi there @} @}
470 For clarity, you can also do this for single arguments, e.g.,
473 \markup @{ is \italic @{ anyone @} home @}
476 In markup mode you can compose expressions, similar to mathematical
477 expressions, XML documents, and music expressions. You can stack
478 expressions grouped vertically with the command @code{\column}.
479 Similarly, @code{\center-align} aligns texts by their center lines:
481 @lilypond[quote,verbatim,fragment,relative=1]
482 c1^\markup { \column { a bbbb \line { c d } } }
483 c1^\markup { \center-align { a bbbb c } }
484 c1^\markup { \line { a b c } }
487 Lists with no previous command are not kept distinct. The expression
490 \center-align @{ @{ a b @} @{ c d @} @}
498 \center-align @{ a b c d @}
503 To keep lists of words distinct, please use quotes @code{"} or
504 the @code{\line} command
506 @lilypond[quote,verbatim,fragment,relative=1]
508 c4^\markup{ \center-align { on three lines } }
509 c4^\markup{ \center-align { "all one line" } }
510 c4^\markup{ \center-align { { on three lines } } }
511 c4^\markup{ \center-align { \line { on one line } } }
514 Markups can be stored in variables and these variables
515 may be attached to notes, like
517 allegro = \markup @{ \bold \large @{ Allegro @} @}
518 @{ a^\allegro b c d @}
521 Some objects have alignment procedures of their own, which cancel out
522 any effects of alignments applied to their markup arguments as a
523 whole. For example, the @internalsref{RehearsalMark} is horizontally
524 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
527 In addition, vertical placement is performed after creating the
528 text markup object. If you wish to move an entire piece of markup,
529 you need to use the #'padding property or create an "anchor" point
530 inside the markup (generally with @code{\hspace #0}).
532 @lilypond[quote,verbatim,fragment,relative=1]
534 c'4^\markup{ \raise #5 "not raised" }
535 \once \override TextScript #'padding = #3
536 c'4^\markup{ raised }
537 c'4^\markup{ \hspace #0 \raise #1.5 raised }
540 Some situations (such as dynamic marks) have preset font-related
541 properties. If you are creating text in such situations, it
542 is advisable to cancel those properties with
543 @code{normal-text}. See @ref{Overview of text markup commands}
549 This manual: @ref{Overview of text markup commands}.
551 Program reference: @internalsref{TextScript}.
553 Init files: @file{scm/@/new@/-markup@/.scm}.
558 Kerning or generation of ligatures is only done when the @TeX{}
559 backend is used. In this case, LilyPond does not account for them so
560 texts will be spaced slightly too wide.
562 Syntax errors for markup mode are confusing.
566 @subsection Nested scores
568 It is possible to nest music inside markups, by adding a @code{\score}
569 block to a markup expression. Such a score must contain a @code{\layout}
572 @lilypond[quote,verbatim,ragged-right]
576 \relative { c4 d e f }
585 @node Overview of text markup commands
586 @subsection Overview of text markup commands
588 The following commands can all be used inside @code{\markup @{ @}}.
590 @include markup-commands.tely
594 @subsection Font selection
596 @cindex font selection
597 @cindex font magnification
598 @funindex font-interface
600 By setting the object properties described below, you can select a
601 font from the preconfigured font families. LilyPond has default
602 support for the feta music fonts. Text fonts are selected through
603 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
604 the sans and typewriter to whatever the Pango installation defaults
609 @item @code{font-encoding}
610 is a symbol that sets layout of the glyphs. This should only be set to
611 select different types of non-text fonts, e.g.
613 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
614 standard music font, including ancient glyphs, @code{fetaDynamic} for
615 dynamic signs and @code{fetaNumber} for the number font.
617 @item @code{font-family}
618 is a symbol indicating the general class of the typeface. Supported are
619 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
621 @item @code{font-shape}
622 is a symbol indicating the shape of the font. There are typically
623 several font shapes available for each font family. Choices are
624 @code{italic}, @code{caps}, and @code{upright}.
626 @item @code{font-series}
627 is a symbol indicating the series of the font. There are typically
628 several font series for each font family and shape. Choices are
629 @code{medium} and @code{bold}.
633 Fonts selected in the way sketched above come from a predefined style
634 sheet. If you want to use a font from outside the style sheet,
636 @code{font-name} property,
638 @lilypond[fragment,verbatim]
640 \override Staff.TimeSignature #'font-name = #"Charter"
641 \override Staff.TimeSignature #'font-size = #2
644 \override #'(font-name . "Vera Bold")
645 { This text is in Vera Bold }
651 Any font can be used, as long as it is available to Pango/FontConfig.
652 To get a full list of all available fonts, run the command
654 lilypond -dshow-available-fonts blabla
656 (the last argument of the command can be anything, but has to be present).
659 The size of the font may be set with the @code{font-size}
660 property. The resulting size is taken relative to the
661 @code{text-font-size} as defined in the @code{\paper} block.
664 @cindex font magnification
667 It is also possible to change the default font family for the entire
668 document. This is done by calling the @code{make-pango-font-tree} from
669 within the @code{\paper} block. The function takes names for the font
670 families to use for roman, sans serif and monospaced text. For
673 @cindex font families, setting
682 (make-pango-font-tree "Times New Roman"
689 c'^\markup { roman: foo \sans bla \typewriter bar }
693 @c we don't do Helvetica / Courier, since GS incorrectly loads
700 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
703 @node New dynamic marks
704 @subsection New dynamic marks
706 It is possible to print new dynamic marks or text that should be aligned
707 with dynamics. Use @code{make-dynamic-script} to create these
708 marks. Note that the dynamic font only contains the characters
709 @code{f,m,p,r,s} and @code{z}.
711 Some situations (such as dynamic marks) have preset font-related
712 properties. If you are creating text in such situations, it
713 is advisable to cancel those properties with
714 @code{normal-text}. See @ref{Overview of text markup commands}
717 @cindex make-dynamic-script
719 @lilypond[quote,verbatim,ragged-right]
720 sfzp = #(make-dynamic-script "sfzp")
726 @cindex Dynamics, editorial
727 @cindex Dynamics, parenthesis
729 It is also possible to print dynamics in round parenthesis or square
730 brackets. These are often used for adding editorial dynamics.
732 @lilypond[quote,verbatim,ragged-right]
733 rndf = \markup{ \center-align {\line { \bold{\italic (}
734 \dynamic f \bold{\italic )} }} }
735 boxf = \markup{ \bracket { \dynamic f } }
736 { c'1_\rndf c'1_\boxf }
741 @node Preparing parts
742 @section Preparing parts
744 This section describes various notation that are useful for preparing
748 * Multi measure rests::
753 * Instrument transpositions::
755 * Different editions from one source::
759 @node Multi measure rests
760 @subsection Multi measure rests
762 @cindex multi measure rests
763 @cindex full measure rests
764 @cindex Rests, multi measure
765 @cindex Rests, full measure
766 @cindex whole rests for a full measure
769 Rests for one full measure (or many bars) are entered using @samp{R}. It
770 is specifically meant for full bar rests and for entering parts: the rest
771 can expand to fill a score with rests, or it can be printed as a single
772 multi-measure rest. This expansion is controlled by the property
773 @code{Score.skipBars}. If this is set to true, empty measures will not
774 be expanded, and the appropriate number is added automatically
776 @lilypond[quote,ragged-right,fragment,verbatim]
777 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
778 \set Score.skipBars = ##t R1*17 R1*4
781 The @code{1} in @code{R1} is similar to the duration notation used for
782 notes. Hence, for time signatures other than 4/4, you must enter other
783 durations. This can be done with augmentation dots or fractions
785 @lilypond[quote,ragged-right,fragment,verbatim]
786 \set Score.skipBars = ##t
795 An @code{R} spanning a single measure is printed as either a whole rest
796 or a breve, centered in the measure regardless of the time signature.
798 If there are only a few measures of rest, LilyPond prints @q{church rests}
799 (a series of rectangles) in the staff. To replace that with a simple
800 rest, use @code{MultiMeasureRest.expand-limit}.
802 @lilypond[quote,ragged-right,fragment,verbatim]
803 \set Score.skipBars = ##t
805 \override MultiMeasureRest #'expand-limit = 1
809 @cindex text on multi-measure rest
810 @cindex script on multi-measure rest
811 @cindex fermata on multi-measure rest
813 Texts can be added to multi-measure rests by using the
814 @var{note}-@code{markup} syntax @ref{Text markup}.
815 A variable (@code{\fermataMarkup}) is provided for
818 @lilypond[quote,ragged-right,verbatim,fragment]
819 \set Score.skipBars = ##t
821 R2.*10^\markup { \italic "ad lib." }
825 Warning! This text is created by @code{MultiMeasureRestText}, not
828 @lilypond[quote,ragged-right,verbatim,fragment]
829 \override TextScript #'padding = #5
831 \override MultiMeasureRestText #'padding = #5
835 If you want to have text on the left end of a multi-measure rest,
836 attach the text to a zero-length skip note, i.e.,
846 Program reference: @internalsref{MultiMeasureRestMusicGroup},
847 @internalsref{MultiMeasureRest}.
849 The layout object @internalsref{MultiMeasureRestNumber} is for the
850 default number, and @internalsref{MultiMeasureRestText} for user
856 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
857 over multi-measure rests. And the pitch of multi-measure rests (or
858 staff-centered rests) can not be influenced.
860 @cindex condensing rests
862 There is no way to automatically condense multiple rests into a single
863 multi-measure rest. Multi-measure rests do not take part in rest
866 Be careful when entering multi-measure rests followed by whole
867 notes. The following will enter two notes lasting four measures each
871 When @code{skipBars} is set, the result will look OK, but the bar
872 numbering will be off.
875 @node Metronome marks
876 @subsection Metronome marks
879 @cindex beats per minute
880 @cindex metronome marking
882 Metronome settings can be entered as follows
884 \tempo @var{duration} = @var{per-minute}
887 In the MIDI output, they are interpreted as a tempo change. In the
888 layout output, a metronome marking is printed
890 @lilypond[quote,ragged-right,verbatim,fragment]
897 To change the tempo in the MIDI output without printing anything, make
898 the metronome marking invisible
900 \once \override Score.MetronomeMark #'transparent = ##t
903 To print other metronome markings, use these markup commands
904 @lilypond[quote,ragged-right,verbatim,relative,fragment]
907 \smaller \general-align #Y #DOWN \note #"16." #1
909 \smaller \general-align #Y #DOWN \note #"8" #1
914 See @ref{Text markup} for more details.
919 Program reference: @internalsref{MetronomeMark}.
924 Collisions are not checked. If you have notes above the top line of
925 the staff (or notes with articulations, slurs, text, etc), then the
926 metronome marking may be printed on top of musical symbols. If this
927 occurs, increase the padding of the metronome mark to place it
928 further away from the staff.
931 \override Score.MetronomeMark #'padding = #2.5
935 @node Rehearsal marks
936 @subsection Rehearsal marks
938 @cindex Rehearsal marks
941 To print a rehearsal mark, use the @code{\mark} command
943 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
952 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
953 If you wish to include the letter @q{I}, then use
956 \set Score.markFormatter = #format-mark-alphabet
959 The mark is incremented automatically if you use @code{\mark
960 \default}, but you can also use an integer argument to set the mark
961 manually. The value to use is stored in the property
962 @code{rehearsalMark}.
964 The style is defined by the property @code{markFormatter}. It is a
965 function taking the current mark (an integer) and the current context
966 as argument. It should return a markup object. In the following
967 example, @code{markFormatter} is set to a canned procedure. After a
968 few measures, it is set to function that produces a boxed number.
970 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
971 \set Score.markFormatter = #format-mark-numbers
974 \set Score.markFormatter = #format-mark-box-numbers
980 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
981 of @code{format-mark-numbers} (the default format),
982 @code{format-mark-box-numbers},
983 @code{format-mark-letters} and @code{format-mark-box-letters}.
984 These can be used as inspiration for other formatting functions.
986 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
987 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
988 incremented numbers or letters.
990 Other styles of rehearsal mark can be specified manually
997 @code{Score.markFormatter} does not affect marks specified in this manner.
998 However, it is possible to apply a @code{\markup} to the string.
1001 \mark \markup@{ \box A1 @}
1008 Music glyphs (such as the segno sign) may be printed inside
1011 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1012 c1 \mark \markup { \musicglyph #"scripts.segno" }
1013 c1 \mark \markup { \musicglyph #"scripts.coda" }
1014 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1019 See @ref{The Feta font} for a list of symbols which may be
1020 printed with @code{\musicglyph}.
1022 The horizontal location of rehearsal marks can be adjusted by
1023 setting @code{break-align-symbol}
1025 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1029 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
1033 \override Score.RehearsalMark #'break-align-symbol = #'clef
1039 @code{break-align-symbol} may also accept the following values:
1040 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1041 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1042 @code{key-signature}, and @code{time-signature}. Setting
1043 @code{break-align-symbol} will only have an effect if the symbol
1044 appears at that point in the music.
1049 This manual: @ref{Text marks}.
1051 Program reference: @internalsref{RehearsalMark}.
1053 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1054 definition of @code{format-mark-numbers} and
1055 @code{format-mark-letters}. They can be used as inspiration for other
1056 formatting functions.
1058 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
1060 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
1064 @subsection Bar numbers
1067 @cindex measure numbers
1068 @funindex currentBarNumber
1070 Bar numbers are printed by default at the start of the line. The
1071 number itself is stored in the @code{currentBarNumber} property, which
1072 is normally updated automatically for every measure.
1074 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1075 \repeat unfold 4 {c4 c c c} \break
1076 \set Score.currentBarNumber = #50
1077 \repeat unfold 4 {c4 c c c}
1080 Bar numbers may only be printed at bar lines; to print a bar
1081 number at the beginning of a piece, an empty bar line must
1084 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1085 \set Score.currentBarNumber = #50
1087 \repeat unfold 4 {c4 c c c} \break
1088 \repeat unfold 4 {c4 c c c}
1091 Bar numbers can be typeset at regular intervals instead of at the
1092 beginning of each line. This is illustrated in the following example,
1093 whose source is available as
1094 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
1096 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1098 Bar numbers can be removed entirely by removing the Bar number
1099 engraver from the score.
1101 @lilypond[verbatim,ragged-right,quote]
1105 \remove "Bar_number_engraver"
1117 Program reference: @internalsref{BarNumber}.
1120 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
1121 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
1126 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1127 there is one at the top. To solve this, the
1128 @code{padding} property of @internalsref{BarNumber} can be
1129 used to position the number correctly.
1132 @node Instrument names
1133 @subsection Instrument names
1135 In an orchestral score, instrument names are printed at the left side
1138 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1139 and @internalsref{Staff}.@code{shortInstrumentName}, or
1140 @internalsref{PianoStaff}.@code{instrumentName} and
1141 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1143 the start of the staff. For the first staff, @code{instrumentName} is
1144 used, for the following ones, @code{shortInstrumentName} is used.
1146 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1147 \set Staff.instrumentName = "Ploink "
1148 \set Staff.shortInstrumentName = "Plk "
1154 You can also use markup texts to construct more complicated instrument
1157 @lilypond[quote,fragment,verbatim,ragged-right]
1158 \set Staff.instrumentName = \markup {
1159 \column { "Clarinetti"
1160 \line { "in B" \smaller \flat } } }
1164 If you wish to center the instrument names, you must center all of them
1166 @lilypond[quote,verbatim,ragged-right]
1169 \set Staff.instrumentName = \markup {
1170 \center-align { "Clarinetti"
1171 \line { "in B" \smaller \flat } } }
1175 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1182 For longer instrument names, it may be useful to increase the
1183 @code{indent} setting in the @code{\layout} block.
1185 To center instrument names while leaving extra space to the right,
1187 @lilypond[quote,verbatim,ragged-right]
1188 \new StaffGroup \relative
1191 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1195 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1201 To add instrument names to other contexts (such as @code{GrandStaff},
1202 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1203 be added to that context.
1207 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1212 More information about adding and removing engravers can
1213 be found in @ref{Modifying context plug-ins}.
1215 Instrument names may be changed in the middle of a piece,
1217 @lilypond[quote,fragment,verbatim,ragged-right]
1218 \set Staff.instrumentName = "First"
1219 \set Staff.shortInstrumentName = "one"
1222 \set Staff.instrumentName = "Second"
1223 \set Staff.shortInstrumentName = "two"
1231 Program reference: @internalsref{InstrumentName}.
1235 @node Instrument transpositions
1236 @subsection Instrument transpositions
1238 @cindex transposition, MIDI
1239 @cindex transposition, instrument
1241 The key of a transposing instrument can also be specified. This
1242 applies to many wind instruments, for example, clarinets (B-flat, A, and
1243 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1245 The transposition is entered after the keyword @code{\transposition}
1248 \transposition bes %% B-flat clarinet
1252 This command sets the property @code{instrumentTransposition}. The value of
1253 this property is used for MIDI output and quotations. It does not
1254 affect how notes are printed in the current staff. To change the printed
1255 output, see @ref{Transpose}.
1257 The pitch to use for @code{\transposition} should correspond to the
1258 real sound heard when a @code{c'} written on the staff is played by the
1259 transposing instrument. For example, when entering a score in
1260 concert pitch, typically all voices are entered in C, so
1261 they should be entered as
1274 The command @code{\transposition} should be used when the music is
1275 entered from a (transposed) orchestral part. For example, in
1276 classical horn parts, the tuning of the instrument is often changed
1277 during a piece. When copying the notes from the part, use
1278 @code{\transposition}, e.g.,
1290 @node Ottava brackets
1291 @subsection Ottava brackets
1293 @q{Ottava} brackets introduce an extra transposition of an octave for
1294 the staff. They are created by invoking the function
1295 @code{set-octavation}
1301 @lilypond[quote,ragged-right,verbatim,fragment]
1311 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1312 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1313 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1314 @code{centralCPosition}. For overriding the text of the bracket, set
1315 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1317 @lilypond[quote,ragged-right,verbatim]
1320 \set Staff.ottavation = #"8"
1328 Program reference: @internalsref{OttavaBracket}.
1330 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1331 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1336 @code{set-octavation} will get confused when clef changes happen
1337 during an octavation bracket.
1340 @node Different editions from one source
1341 @subsection Different editions from one source
1346 The @code{\tag} command marks music expressions with a name. These
1347 tagged expressions can be filtered out later. With this mechanism it
1348 is possible to make different versions of the same music source.
1350 In the following example, we see two versions of a piece of music, one
1351 for the full score, and one with cue notes for the instrumental part
1367 The same can be applied to articulations, texts, etc.: they are
1370 -\tag #@var{your-tag}
1372 to an articulation, for example,
1377 This defines a note with a conditional fingering indication.
1380 @cindex removeWithTag
1381 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1382 commands, tagged expressions can be filtered. For example,
1386 \keepWithTag #'score @var{the music}
1387 \keepWithTag #'part @var{the music}
1392 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1394 The arguments of the @code{\tag} command should be a symbol
1395 (such as @code{#'score} or @code{#'part}), followed by a
1396 music expression. It is possible to put multiple tags on
1397 a piece of music with multiple @code{\tag} entries,
1400 \tag #'original-part \tag #'transposed-part @dots{}
1406 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1411 Multiple rests are not merged if you create the score with both tagged
1416 @node Orchestral music
1417 @section Orchestral music
1419 Orchestral music involves some special notation, both in the full
1420 score and the individual parts. This section explains how to tackle
1421 some common problems in orchestral music.
1424 * Automatic part combining::
1426 * Quoting other voices::
1427 * Formatting cue notes::
1428 * Aligning to cadenzas::
1432 @node Automatic part combining
1433 @subsection Automatic part combining
1434 @cindex automatic part combining
1435 @cindex part combiner
1437 Automatic part combining is used to merge two parts of music onto a
1438 staff. It is aimed at typesetting orchestral scores. When the two
1439 parts are identical for a period of time, only one is shown. In
1440 places where the two parts differ, they are typeset as separate
1441 voices, and stem directions are set automatically. Also, solo and
1442 @emph{a due} parts are identified and can be marked.
1444 The syntax for part combining is
1447 \partcombine @var{musicexpr1} @var{musicexpr2}
1451 The following example demonstrates the basic functionality of the part
1452 combiner: putting parts on one staff, and setting stem directions and
1455 @lilypond[quote,verbatim,ragged-right,fragment]
1456 \new Staff \partcombine
1457 \relative g' { g g a( b) c c r r }
1458 \relative g' { g g r4 r e e g g }
1461 The first @code{g} appears only once, although it was
1462 specified twice (once in each part). Stem, slur, and tie directions are
1463 set automatically, depending whether there is a solo or unisono. The
1464 first part (with context called @code{one}) always gets up stems, and
1465 @q{Solo}, while the second (called @code{two}) always gets down stems and
1468 If you just want the merging parts, and not the textual markings, you
1469 may set the property @code{printPartCombineTexts} to false
1471 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1473 \set Staff.printPartCombineTexts = ##f
1475 \relative g' { g a( b) r }
1476 \relative g' { g r4 r f }
1480 To change the text that is printed for solos or merging, you may
1481 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1484 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1486 \set Score.soloText = #"ichi"
1487 \set Score.soloIIText = #"ni"
1488 \set Score.aDueText = #"tachi"
1490 \relative g' { g4 g a( b) r }
1491 \relative g' { g4 g r r f }
1495 Both arguments to @code{\partcombine} will be interpreted as
1496 @internalsref{Voice} contexts. If using relative octaves,
1497 @code{\relative} should be specified for both music expressions, i.e.,
1501 \relative @dots{} @var{musicexpr1}
1502 \relative @dots{} @var{musicexpr2}
1506 A @code{\relative} section that is outside of @code{\partcombine} has
1507 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1511 Program reference: @internalsref{PartCombineMusic}.
1515 When @code{printPartCombineTexts} is set, when the two voices play the
1516 same notes on and off, the part combiner may typeset @code{a2} more
1517 than once in a measure.
1519 @code{\partcombine} cannot be inside @code{\times}.
1521 @code{\partcombine} cannot be inside @code{\relative}.
1523 Internally, the @code{\partcombine} interprets both arguments as
1524 @code{Voice}s named @code{one} and @code{two}, and then decides when
1525 the parts can be combined. Consequently, if the arguments switch to
1526 differently named @internalsref{Voice} contexts, the events in those
1531 @subsection Hiding staves
1533 @cindex Frenched scores
1534 @cindex Hiding staves
1536 In orchestral scores, staff lines that only have rests are usually
1537 removed; this saves some space. This style is called @q{French Score}.
1538 For @internalsref{Lyrics},
1539 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1540 switched on by default. When the lines of these contexts turn out
1541 empty after the line-breaking process, they are removed.
1543 For normal staves, a specialized @internalsref{Staff} context is
1544 available, which does the same: staves containing nothing (or only
1545 multi-measure rests) are removed. The context definition is stored in
1546 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1547 in this example disappears in the second line
1549 @lilypond[quote,ragged-right,verbatim]
1551 \context { \RemoveEmptyStaffContext }
1556 \new Staff { e4 f g a \break c1 }
1557 \new Staff { c4 d e f \break R1 }
1562 The first system shows all staves in full. If empty staves should be
1563 removed from the first system too, set @code{remove-first} to true in
1564 @internalsref{VerticalAxisGroup}.
1567 \override Score.VerticalAxisGroup #'remove-first = ##t
1570 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1571 or @code{\RemoveEmptyRhythmicStaffContext}.
1573 Another application is making ossia sections, i.e., alternative
1574 melodies on a separate piece of staff, with help of a Frenched
1578 @node Quoting other voices
1579 @subsection Quoting other voices
1583 With quotations, fragments of other parts can be inserted into a part
1584 directly. Before a part can be quoted, it must be marked especially as
1585 quotable. This is done with the @code{\addQuote} command.
1588 \addQuote @var{name} @var{music}
1593 Here, @var{name} is an identifying string. The @var{music} is any kind
1594 of music. Here is an example of @code{\addQuote}
1597 \addQuote clarinet \relative c' @{
1602 This command must be entered at toplevel, i.e., outside any music
1605 After calling @code{\addQuote}, the quotation may then be done with
1606 @code{\quoteDuring} or @code{\cueDuring},
1609 \quoteDuring #@var{name} @var{music}
1612 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1616 \quoteDuring #"clarinet" @{ s2. @}
1619 This would cite three quarter notes (the duration of @code{s2.}) of
1620 the previously added @code{clarinet} voice.
1623 More precisely, it takes the current time-step of the part being
1624 printed, and extracts the notes at the corresponding point of the
1625 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1626 should be the entire part of the voice to be quoted, including any
1627 rests at the beginning.
1629 Quotations take into account the transposition of both source and target
1630 instruments, if they are specified using the @code{\transposition} command.
1632 @lilypond[quote,ragged-right,verbatim]
1633 \addQuote clarinet \relative c' {
1639 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1643 The type of events that are present in cue notes can be trimmed with
1644 the @code{quotedEventTypes} property. The default value is
1645 @code{(note-event rest-event)}, which means that only notes and
1646 rests of the cued voice end up in the @code{\quoteDuring}.
1650 \set Staff.quotedEventTypes =
1651 #'(note-event articulation-event dynamic-event)
1655 will quote notes (but no rests), together with scripts and dynamics.
1659 Only the contents of the first @internalsref{Voice} occurring in an
1660 @code{\addQuote} command will be considered for quotation, so
1661 @var{music} can not contain @code{\new} and @code{\context Voice}
1662 statements that would switch to a different Voice.
1664 Quoting grace notes is broken and can even cause LilyPond to crash.
1666 Quoting nested triplets may result in poor notation.
1671 In this manual: @ref{Instrument transpositions}.
1673 Examples: @inputfileref{input/@/regression,quote@/.ly}
1674 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1676 Program reference: @internalsref{QuoteMusic}.
1679 @node Formatting cue notes
1680 @subsection Formatting cue notes
1682 @cindex cues, formatting
1684 The previous section deals with inserting notes from another voice.
1685 There is a more advanced music function called @code{\cueDuring},
1686 which makes formatting cue notes easier.
1691 \cueDuring #@var{name} #@var{updown} @var{music}
1694 This will insert notes from the part @var{name} into a
1695 @internalsref{Voice} called @code{cue}. This happens simultaneously
1696 with @var{music}, which usually is a rest. When the cue notes start,
1697 the staff in effect becomes polyphonic for a moment. The argument
1698 @var{updown} determines whether the cue notes should be notated as a
1699 first or second voice.
1702 @lilypond[verbatim,ragged-right]
1705 \override Stem #'length-fraction = #0.8
1706 \override Beam #'thickness = #0.384
1707 \override Beam #'length-fraction = #0.8
1710 \addQuote clarinet \relative {
1715 \new Staff \relative <<
1717 % setup a context for cue notes.
1718 \new Voice = "cue" { \smaller \skip 1*21 }
1720 \set Score.skipBars = ##t
1724 \cueDuring #"clarinet" #1 {
1733 Here are a couple of hints for successful cue notes
1737 Cue notes have smaller font sizes.
1739 the cued part is marked with the instrument playing the cue.
1741 when the original part takes over again, this should be marked with
1742 the name of the original instrument.
1744 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1746 @c Yes, this is good practice. Otherwise, the start of the original
1747 @c part can only be seen from the font size. This is not good enough
1748 @c for sight-reading. It is possilbe to use other
1749 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1755 Any other changes introduced by the cued part should also be
1756 undone. For example, if the cued instrument plays in a different clef,
1757 the original clef should be stated once again.
1761 The macro @code{\transposedCueDuring} is
1762 useful to add cues to instruments which use a completely different
1763 octave range (for example, having a cue of a piccolo flute within
1764 a contra bassoon part).
1766 @lilypond[verbatim,ragged-right,quote]
1767 picc = \relative c''' {
1773 \addQuote "picc" { \picc }
1775 cbsn = \relative c, {
1778 \transposedCueDuring #"picc" #UP c,, { R1 } |
1783 \context Staff = "picc" \picc
1784 \context Staff = "cbsn" \cbsn
1790 @node Aligning to cadenzas
1791 @subsection Aligning to cadenzas
1793 In an orchestral context, cadenzas present a special problem:
1794 when constructing a score that includes a cadenza, all other
1795 instruments should skip just as many notes as the length of the
1796 cadenza, otherwise they will start too soon or too late.
1798 A solution to this problem are the functions @code{mmrest-of-length}
1799 and @code{skip-of-length}. These Scheme functions take a piece of music
1800 as argument, and generate a @code{\skip} or multi-rest, exactly as
1801 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1802 in the following example.
1804 @lilypond[verbatim,ragged-right,quote]
1805 cadenza = \relative c' {
1806 c4 d8 << { e f g } \\ { d4. } >>
1811 \new Staff { \cadenza c'4 }
1813 #(ly:export (mmrest-of-length cadenza))
1822 @node Contemporary notation
1823 @section Contemporary notation
1825 In the 20th century, composers have greatly expanded the musical
1826 vocabulary. With this expansion, many innovations in musical notation
1827 have been tried. The book @q{Music Notation in the 20th century} by
1828 Kurt Stone gives a comprehensive overview (see @ref{Literature
1831 This section describes notation that does
1832 not fit into traditional notation categories, such as pitches,
1833 tuplet beams, and articulation. For contemporary notation
1834 that fits into traditional notation categories, such as
1835 microtones, nested tuplet beams, and unusual fermatas, please
1836 see those sections of the documentation.
1839 * Polymetric notation::
1840 * Time administration::
1841 * Proportional notation::
1843 * Special noteheads::
1846 * Selecting notation font size::
1850 @node Polymetric notation
1851 @subsection Polymetric notation
1853 @cindex double time signatures
1854 @cindex signatures, polymetric
1855 @cindex polymetric signatures
1856 @cindex meter, polymetric
1858 Double time signatures are not supported explicitly, but they can be
1859 faked. In the next example, the markup for the time signature is
1860 created with a markup text. This markup text is inserted in the
1861 @internalsref{TimeSignature} grob. See also
1862 @inputfileref{input/@/test,compound@/-time@/.ly}).
1864 @lilypond[verbatim,ragged-right]
1867 \override #'(baseline-skip . 2) \number {
1870 \bracket \column { "5" "8" }
1875 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1876 \override Staff.TimeSignature #'text = #tsMarkup
1878 c'2 \bar ":" c'4 c'4.
1882 Each staff can also have its own time signature. This is done by
1883 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1889 \remove "Timing_translator"
1890 \remove "Default_bar_line_engraver"
1894 \consists "Timing_translator"
1895 \consists "Default_bar_line_engraver"
1902 Now, each staff has its own time signature.
1915 c4. c8 c c c4. c8 c c
1920 @lilypond[quote,ragged-right]
1924 \remove "Timing_translator"
1925 \remove "Default_bar_line_engraver"
1928 \consists "Timing_translator"
1929 \consists "Default_bar_line_engraver"
1944 c4. c8 c c c4. c8 c c
1950 A different form of polymetric notation is where note lengths have
1951 different values across staves.
1953 This notation can be created by setting a common time signature for
1954 each staff but replacing it manually using
1955 @code{timeSignatureFraction} to the desired fraction. Then the printed
1956 durations in each staff are scaled to the common time signature.
1957 The latter is done with @code{\compressMusic}, which is used similar
1958 to @code{\times}, but does not create a tuplet bracket. The syntax is
1960 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1965 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1966 used in parallel. In the second staff, shown durations are multiplied by
1967 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1968 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1970 @lilypond[quote,ragged-right,verbatim,fragment]
1978 \set Staff.timeSignatureFraction = #'(9 . 8)
1979 \compressMusic #'(2 . 3)
1980 \repeat unfold 6 { c8[ c c] }
1984 \set Staff.timeSignatureFraction = #'(10 . 8)
1985 \compressMusic #'(3 . 5) {
1986 \repeat unfold 2 { c8[ c c] }
1987 \repeat unfold 2 { c8[ c] }
1988 | c4. c4. \times 2/3 { c8 c c } c4
1999 When using different time signatures in parallel, the spacing is
2000 aligned vertically, but bar lines distort the regular spacing.
2003 @node Time administration
2004 @subsection Time administration
2006 @cindex Time administration
2008 Time is administered by the @internalsref{Time_signature_engraver},
2009 which usually lives in the @internalsref{Score} context. The
2010 bookkeeping deals with the following variables
2013 @item currentBarNumber
2017 The length of the measures in the current time signature. For a 4/4
2018 time this is@tie{}1, and for 6/8 it is 3/4.
2020 @item measurePosition
2021 The point within the measure where we currently are. This quantity
2022 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2023 happens, @code{currentBarNumber} is incremented.
2026 If set to true, the above variables are updated for every time
2027 step. When set to false, the engraver stays in the current measure
2031 Timing can be changed by setting any of these variables explicitly.
2032 In the next example, the 4/4 time signature is printed, but
2033 @code{measureLength} is set to 5/4. After a while, the measure is
2034 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2035 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2036 3/8 arises because 5/4 normally has 10/8, but we have manually
2037 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2039 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2040 \set Score.measureLength = #(ly:make-moment 5 4)
2044 \set Score.measurePosition = #(ly:make-moment 7 8)
2050 As the example illustrates, @code{ly:make-moment n m} constructs a
2051 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2053 note duration and @code{ly:make-moment 7 16} is the duration of
2054 seven sixteenths notes.
2057 @node Proportional notation
2058 @subsection Proportional notation
2059 @cindex Proportional notation
2061 Notes can be spaced proportionally to their time-difference by
2062 assigning a duration to @code{proportionalNotationDuration}
2064 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2066 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2067 \new Staff { c8[ c c c c c] c4 c2 r2 }
2068 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2072 Setting this property only affects the ideal spacing between
2073 consecutive notes. For true proportional notation, the following
2074 settings are also required.
2078 @item True proportional notation requires that symbols are allowed to
2079 overstrike each other. That is achieved by removing the
2080 @internalsref{Separating_line_group_engraver} from
2081 @internalsref{Staff} context.
2083 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2084 is removed by setting the @code{strict-note-spacing} property to
2085 @code{#t} in @internalsref{SpacingSpanner} grob.
2087 @item Optical spacing tweaks are switched by setting
2088 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2095 @inputfileref{input/@/regression,spacing-proportional/.ly}
2096 @inputfileref{input/@/regression,spacing-strict-notespacing/.ly}
2097 @inputfileref{input/@/regression,spacing-strict-spacing-grace/.ly}
2099 An example of strict proportional notation is in the
2100 example file @file{input/proportional.ly}.
2104 @subsection Clusters
2108 A cluster indicates a continuous range of pitches to be played. They
2109 can be denoted as the envelope of a set of notes. They are entered by
2110 applying the function @code{makeClusters} to a sequence of
2112 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2113 \makeClusters { <c e > <b f'> }
2116 The following example (from
2117 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
2120 @lilypondfile[ragged-right,quote]{cluster.ly}
2122 Ordinary notes and clusters can be put together in the same staff,
2123 even simultaneously. In such a case no attempt is made to
2124 automatically avoid collisions between ordinary notes and clusters.
2128 Program reference: @internalsref{ClusterSpanner},
2129 @internalsref{ClusterSpannerBeacon},
2130 @internalsref{Cluster_spanner_engraver}.
2132 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
2136 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2137 accurately. Use @code{<g a>8 <e a>8} instead.
2140 @node Special noteheads
2141 @subsection Special noteheads
2143 @cindex note heads, special
2145 Different noteheads are used by various instruments for various
2146 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2147 notes on guitar; diamonds are used for harmonics on string instruments,
2148 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2149 other notehead styles are produced by tweaking the property
2151 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2153 \override NoteHead #'style = #'cross
2155 \revert NoteHead #'style
2156 e d <c f\harmonic> <d a'\harmonic>
2160 To see all notehead styles, please see
2161 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
2166 Program reference: @internalsref{NoteHead}.
2169 @node Feathered beams
2170 @subsection Feathered beams
2172 Feathered beams are printed by setting the @code{grow-direction}
2173 property of a @code{Beam}. The @code{\featherDurations} function
2174 can be used to adjust note durations.
2176 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2177 \featherDurations #(ly:make-moment 5 4)
2179 \override Beam #'grow-direction = #LEFT
2186 The @code{\featherDuration} command only works with very short
2190 @subsection Improvisation
2192 Improvisation is sometimes denoted with slashed note heads. Such note
2193 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2194 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
2198 \set squashedPosition = #0
2199 \override NoteHead #'style = #'slash
2203 switches on the slashes.
2205 There are shortcuts @code{\improvisationOn} (and an accompanying
2206 @code{\improvisationOff}) for this command sequence. They are used in
2207 the following example
2209 @lilypond[verbatim,ragged-right,quote]
2211 \consists Pitch_squash_engraver
2213 e8 e g a a16(bes)(a8) g \improvisationOn
2216 ~fis2 \improvisationOff a16(bes) a8 g e
2221 @node Selecting notation font size
2222 @subsection Selecting notation font size
2224 The easiest method of setting the font size of any context is by
2225 setting the @code{fontSize} property.
2227 @lilypond[quote,fragment,relative=1,verbatim]
2236 It does not change the size of variable symbols, such as beams or
2239 Internally, the @code{fontSize} context property will cause the
2240 @code{font-size} property to be set in all layout objects. The value
2241 of @code{font-size} is a number indicating the size relative to the
2242 standard size for the current staff height. Each step up is an
2243 increase of approximately 12% of the font size. Six steps is exactly a
2244 factor two. The Scheme function @code{magstep} converts a
2245 @code{font-size} number to a scaling factor.
2247 @lilypond[quote,fragment,relative=1,verbatim]
2249 \override NoteHead #'font-size = #-4
2251 \override NoteHead #'font-size = #3
2255 Font size changes are achieved by scaling the design size that is
2256 closest to the desired size. The standard font size (for
2257 @code{font-size} equals 0), depends on the standard staff height. For
2258 a 20pt staff, a 10pt font is selected.
2260 The @code{font-size} property can only be set on layout objects that
2261 use fonts. These are the ones supporting the
2262 @internalsref{font-interface} layout interface.
2266 The following commands set @code{fontSize} for the current voice:
2272 @funindex \normalsize
2277 @node Educational use
2278 @section Educational use
2280 With the amount of control that LilyPond offers, one can make great
2281 teaching tools in addition to great musical scores.
2285 * Blank music sheet::
2287 * Shape note heads::
2288 * Easy Notation note heads::
2289 * Analysis brackets::
2290 * Coloring objects::
2296 @subsection Balloon help
2298 Elements of notation can be marked and named with the help of a square
2299 balloon. The primary purpose of this feature is to explain notation.
2301 The following example demonstrates its use.
2303 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2304 \new Voice \with { \consists "Balloon_engraver" }
2306 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2307 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2312 There are two music functions, @code{balloonText} and
2313 @code{balloonGrobText}. The latter takes the name of the grob to
2314 adorn, while the former may be used as an articulation on a note.
2315 The other arguments are the offset and the text of the label.
2318 @cindex notation, explaining
2322 Program reference: @internalsref{text-balloon-interface}.
2324 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
2329 @node Blank music sheet
2330 @subsection Blank music sheet
2332 @cindex Sheet music, empty
2333 @cindex Staves, blank sheet
2335 A blank music sheet can be produced also by using invisible notes, and
2336 removing @code{Bar_number_engraver}.
2339 @lilypond[quote,verbatim]
2340 \layout{ indent = #0 }
2342 \repeat unfold 2 % Change this for more lines.
2347 \override TimeSignature #'transparent = ##t
2348 % un-comment this line if desired
2349 % \override Clef #'transparent = ##t
2350 defaultBarType = #""
2351 \remove Bar_number_engraver
2354 % modify these to get the staves you want
2355 \new Staff \emptymusic
2356 \new TabStaff \emptymusic
2362 @subsection Hidden notes
2364 @cindex Hidden notes
2365 @cindex Invisible notes
2366 @cindex Transparent notes
2368 @funindex \hideNotes
2369 @funindex \unHideNotes
2370 Hidden (or invisible or transparent) notes can be useful in preparing theory
2371 or composition exercises.
2373 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2382 @node Shape note heads
2383 @subsection Shape note heads
2385 @cindex note heads, shape
2387 In shape note head notation, the shape of the note head corresponds
2388 to the harmonic function of a note in the scale. This notation was
2389 popular in the 19th century American song books.
2391 Shape note heads can be produced by setting @code{\aikenHeads} or
2392 @code{\sacredHarpHeads}, depending on the style desired.
2394 @lilypond[verbatim,relative=1,fragment]
2401 Shapes are determined on the step in the scale, where the base of the
2402 scale is determined by the @code{\key} command
2405 @funindex shapeNoteStyles
2406 @funindex \aikenHeads
2407 @funindex \sacredHarpHeads
2409 Shape note heads are implemented through the @code{shapeNoteStyles}
2410 property. Its value is a vector of symbols. The k-th element indicates
2411 the style to use for the k-th step of the scale. Arbitrary
2412 combinations are possible, e.g.
2414 @lilypond[verbatim,relative=1,fragment]
2415 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2420 @node Easy Notation note heads
2421 @subsection Easy Notation note heads
2423 @cindex note heads, practice
2424 @cindex note heads, easy notation
2425 @cindex easy notation
2428 The @q{easy play} note head includes a note name inside the head. It is
2429 used in music for beginners
2431 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2436 The command @code{\setEasyHeads} overrides settings for the
2437 @internalsref{NoteHead} object. To make the letters readable, it has
2438 to be printed in a large font size. To print with a larger font, see
2439 @ref{Setting the staff size}.
2443 @funindex \setEasyHeads
2444 @code{\setEasyHeads}
2447 @node Analysis brackets
2448 @subsection Analysis brackets
2450 @cindex phrasing brackets
2451 @cindex musicological analysis
2452 @cindex note grouping bracket
2454 Brackets are used in musical analysis to indicate structure in musical
2455 pieces. LilyPond supports a simple form of nested horizontal
2456 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2457 to @internalsref{Staff} context. A bracket is started with
2458 @code{\startGroup} and closed with @code{\stopGroup}
2460 @lilypond[quote,ragged-right,verbatim]
2463 c4\startGroup\startGroup
2466 c4\stopGroup\stopGroup
2470 \Staff \consists "Horizontal_bracket_engraver"
2476 Program reference: @internalsref{HorizontalBracket}.
2478 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2481 @node Coloring objects
2482 @subsection Coloring objects
2484 Individual objects may be assigned colors. You may use the
2485 color names listed in the @ref{List of colors}.
2487 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2488 \override NoteHead #'color = #red
2490 \override NoteHead #'color = #(x11-color 'LimeGreen)
2492 \override Stem #'color = #blue
2496 The full range of colors defined for X11 can be accessed by using the
2497 Scheme function x11-color. The function takes one argument that can be a
2501 \override Beam #'color = #(x11-color 'MediumTurquoise)
2507 \override Beam #'color = #(x11-color "MediumTurquoise")
2510 The first form is quicker to write and is more efficient. However, using
2511 the second form it is possible to access X11 colors by the multi-word
2515 \override Beam #'color = #(x11-color "medium turquoise")
2518 If x11-color cannot make sense of the parameter then the color returned
2519 defaults to black. It should be obvious from the final score that
2522 This example illustrates the use of x11-color. Notice that the stem
2523 color remains black after being set to (x11-color 'Boggle), which is
2524 deliberate nonsense.
2526 @lilypond[quote,ragged-right,verbatim]
2528 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2529 \set Staff.instrumentName = \markup {
2530 \with-color #(x11-color 'navy) "Clarinet"
2534 \override Beam #'color = #(x11-color "medium turquoise")
2536 \override NoteHead #'color = #(x11-color "LimeGreen")
2538 \override Stem #'color = #(x11-color 'Boggle)
2546 Appendix: @ref{List of colors}.
2550 Not all x11 colors are distinguishable in a web browser. For web use
2551 normal colors are recommended.
2553 An x11 color is not necessarily exactly the same shade as a similarly
2556 Notes in a chord cannot be colored with @code{\override}; use
2557 @code{\tweak} instead. See @ref{Objects connected to the input}
2562 @subsection Parentheses
2565 @cindex notes, ghost
2566 @cindex notes, parenthesized
2568 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2571 @lilypond[relative=2,fragment,verbatim,ragged-right]
2579 This only functions inside chords, even for single notes
2582 < \parenthesize NOTE>
2587 @subsection Grid lines
2589 Vertical lines can be drawn between staves synchronized with
2592 Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.