1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
27 This section explains how to include text (with various formatting) in
30 @cindex Text, other languages
31 To write non-ascii text (such as characters from other languages), simply
32 insert the characters directly into the lilypond file. The file must be
33 saved as UTF-8. For more information, see @ref{Text encoding}.
41 * Overview of text markup commands::
48 @subsection Text scripts
51 @cindex text items, non-empty
52 @cindex non-empty texts
54 It is possible to place arbitrary strings of text or @ref{Text markup}
55 above or below notes by using a string @code{c^"text"}. By default,
56 these indications do not influence the note spacing, but by using the
57 command @code{\fatText}, the widths will be taken into account
59 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
60 c4^"longtext" \fatText c4_"longlongtext" c4
64 To prevent text from influencing spacing, use @code{\emptyText}.
66 More complex formatting may also be added to a note by using the
68 @lilypond[fragment,ragged-right,verbatim,quote]
69 c'4^\markup { bla \bold bla }
72 The @code{\markup} is described in more detail in
86 Checking to make sure that text scripts and lyrics are within the margins is
87 a relatively large computational task. To speed up processing, lilypond does
88 not perform such calculations by default; to enable it, use
91 \override Score.PaperColumn #'keep-inside-line = ##t
97 In this manual: @ref{Text markup}.
99 Program reference: @internalsref{TextScript}.
103 @subsection Text spanners
105 @cindex Text spanners
107 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
108 are written as text and are extended over many measures with dotted
109 lines. Such texts are created using text spanners; attach
110 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
111 notes of the spanner.
113 The string to be printed, as well as the style, is set through object
116 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
119 \override TextSpanner #'edge-text = #'("rall " . "")
120 c2\startTextSpan b c\stopTextSpan a
123 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
124 c2\startTextSpan b c\stopTextSpan a
129 @cindex textSpannerUp
130 @code{textSpannerUp},
131 @cindex textSpannerDown
132 @code{textSpannerDown},
133 @cindex textSpannerNeutral
134 @code{textSpannerNeutral}.
139 To print a solid line, use
142 \override TextSpanner #'dash-fraction = #'()
148 Program reference: @internalsref{TextSpanner}.
150 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
154 @subsection Text marks
156 @cindex coda on bar line
157 @cindex segno on bar line
158 @cindex fermata on bar line
159 @cindex bar lines, symbols on
162 The @code{\mark} command is primarily used for
163 @ref{Rehearsal marks},
164 but it can also be used to put signs like coda,
165 segno, and fermata on a bar line. Use @code{\markup} to
166 access the appropriate symbol (symbols are listed in
169 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
170 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
175 @code{\mark} is only typeset above the top stave of the score. If
176 you specify the @code{\mark} command at a bar line, the resulting
177 mark is placed above the bar line. If you specify it in the middle
178 of a bar, the resulting mark is positioned between notes. If it is
179 specified before the beginning of a score line, it is placed
180 before the first note of the line. Finally, if the mark occurs at
181 a line break, the mark will be printed at the
182 beginning of the next line.
183 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
184 @c delete this sentence. -gp
185 If there is no next line, then the mark will not be printed at all.
190 To print the mark at the end of the current line, use
193 \override Score.RehearsalMark
194 #'break-visibility = #begin-of-line-invisible
197 @code{\mark} is often useful for adding text to the end of bar. In
198 such cases, changing the @code{#'self-alignment} is very useful
200 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
201 \override Score.RehearsalMark
202 #'break-visibility = #begin-of-line-invisible
204 \once \override Score.RehearsalMark #'self-alignment-X = #right
205 \mark "D.S. al Fine "
208 Text marks may be aligned with notation objects other than
211 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
216 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
220 \override Score.RehearsalMark #'break-align-symbol = #'clef
224 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
233 Although text marks are normally only printed above the topmost
234 staff, you may alter this to print them on every staff,
236 @lilypond[quote,ragged-right,verbatim,relative=2]
239 \remove "Mark_engraver"
243 \consists "Mark_engraver"
245 { c''1 \mark "foo" c'' }
247 \consists "Mark_engraver"
249 { c'1 \mark "foo" c' }
257 Program reference: @internalsref{RehearsalMark}.
261 @subsection Text markup
268 Use @code{\markup} to typeset text. Commands are entered with the
269 backslash @code{\}. To enter @code{\} and @code{#}, use double
272 @lilypond[quote,verbatim,fragment,relative=1]
274 c1_\markup { hi there }
275 c1^\markup { hi \bold there, is \italic {anyone home?} }
276 c1_\markup { "\special {weird} #characters" }
280 See @ref{Overview of text markup commands} for a list of all
283 @code{\markup} is primarily used for @internalsref{TextScript}s,
284 but it can also be used anywhere text is called in lilypond
286 @lilypond[quote,verbatim]
287 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
290 \override Score.RehearsalMark
291 #'break-visibility = #begin-of-line-invisible
292 \override Score.RehearsalMark #'self-alignment-X = #right
294 \set Staff.instrument = \markup{ \column{ Alto solo } }
295 c2^\markup{ don't be \flat }
296 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
298 a2\mark \markup{ \large \bold Fine }
302 \addlyrics { bar, foo \markup{ \italic bar! } }
306 Text can also be placed on its own, away from any @code{\score}
307 block. This is primarily used in a @code{\book} (see
308 @ref{Multiple scores in a book}).
310 @lilypond[quote,ragged-right,verbatim]
311 \markup{ Here is some text. }
314 @cindex font switching
316 The markup in the example demonstrates font switching commands. The
317 command @code{\bold} and @code{\italic} apply to the first following
318 word only; to apply a command to more than one word, enclose the
322 \markup @{ \bold @{ hi there @} @}
326 For clarity, you can also do this for single arguments, e.g.,
329 \markup @{ is \italic @{ anyone @} home @}
332 In markup mode you can compose expressions, similar to mathematical
333 expressions, XML documents, and music expressions. You can stack
334 expressions grouped vertically with the command @code{\column}.
335 Similarly, @code{\center-align} aligns texts by their center lines:
337 @lilypond[quote,verbatim,fragment,relative=1]
338 c1^\markup { \column { a bbbb \line { c d } } }
339 c1^\markup { \center-align { a bbbb c } }
340 c1^\markup { \line { a b c } }
343 Lists with no previous command are not kept distinct. The expression
346 \center-align @{ @{ a b @} @{ c d @} @}
354 \center-align @{ a b c d @}
359 To keep lists of words distinct, please use quotes @code{"} or
360 the @code{\line} command
362 @lilypond[quote,verbatim,fragment,relative=1]
364 c4^\markup{ \center-align { on three lines } }
365 c4^\markup{ \center-align { "all one line" } }
366 c4^\markup{ \center-align { { on three lines } } }
367 c4^\markup{ \center-align { \line { on one line } } }
370 Markups can be stored in variables and these variables
371 may be attached to notes, like
373 allegro = \markup @{ \bold \large @{ Allegro @} @}
374 @{ a^\allegro b c d @}
377 Some objects have alignment procedures of their own, which cancel out
378 any effects of alignments applied to their markup arguments as a
379 whole. For example, the @internalsref{RehearsalMark} is horizontally
380 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
383 In addition, vertical placement is performed after creating the
384 text markup object. If you wish to move an entire piece of markup,
385 you need to use the #'padding property or create an "anchor" point
386 inside the markup (generally with @code{\hspace #0}).
388 @lilypond[quote,verbatim,fragment,relative=1]
390 c'4^\markup{ \raise #5 "not raised" }
391 \once \override TextScript #'padding = #3
392 c'4^\markup{ raised }
393 c'4^\markup{ \hspace #0 \raise #1.5 raised }
396 Some situations (such as dynamic marks) have preset font-related
397 properties. If you are creating text in such situations, it
398 is advisable to cancel those properties with
399 @code{normal-text}. See @ref{Overview of text markup commands}
405 This manual: @ref{Overview of text markup commands}.
407 Program reference: @internalsref{TextScript}.
409 Init files: @file{scm/@/new@/-markup@/.scm}.
414 Kerning or generation of ligatures is only done when the @TeX{}
415 backend is used. In this case, LilyPond does not account for them so
416 texts will be spaced slightly too wide.
418 Syntax errors for markup mode are confusing.
422 @subsection Nested scores
424 It is possible to nest music inside markups, by adding a @code{\score}
425 block to a markup expression. Such a score must contain a @code{\layout}
428 @lilypond[quote,verbatim,ragged-right]
432 \relative { c4 d e f }
441 @node Overview of text markup commands
442 @subsection Overview of text markup commands
444 The following commands can all be used inside @code{\markup @{ @}}.
446 @include markup-commands.tely
450 @subsection Font selection
452 @cindex font selection
453 @cindex font magnification
454 @funindex font-interface
456 By setting the object properties described below, you can select a
457 font from the preconfigured font families. LilyPond has default
458 support for the feta music fonts. Text fonts are selected through
459 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
460 the sans and typewriter to whatever the Pango installation defaults
465 @item @code{font-encoding}
466 is a symbol that sets layout of the glyphs. This should only be set to
467 select different types of non-text fonts, e.g.
469 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
470 standard music font, including ancient glyphs, @code{fetaDynamic} for
471 dynamic signs and @code{fetaNumber} for the number font.
473 @item @code{font-family}
474 is a symbol indicating the general class of the typeface. Supported are
475 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
477 @item @code{font-shape}
478 is a symbol indicating the shape of the font. There are typically
479 several font shapes available for each font family. Choices are
480 @code{italic}, @code{caps}, and @code{upright}.
482 @item @code{font-series}
483 is a symbol indicating the series of the font. There are typically
484 several font series for each font family and shape. Choices are
485 @code{medium} and @code{bold}.
489 Fonts selected in the way sketched above come from a predefined style
490 sheet. If you want to use a font from outside the style sheet,
492 @code{font-name} property,
494 @lilypond[fragment,verbatim]
496 \override Staff.TimeSignature #'font-name = #"Charter"
497 \override Staff.TimeSignature #'font-size = #2
500 \override #'(font-name . "Vera Bold")
501 { This text is in Vera Bold }
507 Any font can be used, as long as it is available to Pango/FontConfig.
509 The size of the font may be set with the @code{font-size}
510 property. The resulting size is taken relative to the
511 @code{text-font-size} as defined in the @code{\paper} block.
514 @cindex font magnification
517 It is also possible to change the default font family for the entire
518 document. This is done by calling the @code{make-pango-font-tree} from
519 within the @code{\paper} block. The function takes names for the font
520 families to use for roman, sans serif and monospaced text. For
523 @cindex font families, setting
532 (make-pango-font-tree "Times New Roman"
539 c'^\markup { roman: foo \sans bla \typewriter bar }
543 @c we don't do Helvetica / Courier, since GS incorrectly loads
550 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
553 @node New dynamic marks
554 @subsection New dynamic marks
556 It is possible to print new dynamic marks or text that should be aligned
557 with dynamics. Use @code{make-dynamic-script} to create these
558 marks. Note that the dynamic font only contains the characters
559 @code{f,m,p,r,s} and @code{z}.
561 Some situations (such as dynamic marks) have preset font-related
562 properties. If you are creating text in such situations, it
563 is advisable to cancel those properties with
564 @code{normal-text}. See @ref{Overview of text markup commands}
567 @cindex make-dynamic-script
569 @lilypond[quote,verbatim,ragged-right]
570 sfzp = #(make-dynamic-script "sfzp")
576 @cindex Dynamics, editorial
577 @cindex Dynamics, parenthesis
579 It is also possible to print dynamics in round parenthesis or square
580 brackets. These are often used for adding editorial dynamics.
582 @lilypond[quote,verbatim,ragged-right]
583 rndf = \markup{ \center-align {\line { \bold{\italic (}
584 \dynamic f \bold{\italic )} }} }
585 boxf = \markup{ \bracket { \dynamic f } }
586 { c'1_\rndf c'1_\boxf }
591 @node Preparing parts
592 @section Preparing parts
594 This section describes various notation that are useful for preparing
598 * Multi measure rests::
603 * Instrument transpositions::
605 * Different editions from one source::
609 @node Multi measure rests
610 @subsection Multi measure rests
612 @cindex multi measure rests
613 @cindex full measure rests
614 @cindex Rests, multi measure
615 @cindex Rests, full measure
616 @cindex whole rests for a full measure
619 Rests for one full measure (or many bars) are entered using `@code{R}'. It
620 is specifically meant for full bar rests and for entering parts: the rest
621 can expand to fill a score with rests, or it can be printed as a single
622 multi-measure rest. This expansion is controlled by the property
623 @code{Score.skipBars}. If this is set to true, empty measures will not
624 be expanded, and the appropriate number is added automatically
626 @lilypond[quote,ragged-right,fragment,verbatim]
627 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
628 \set Score.skipBars = ##t R1*17 R1*4
631 The @code{1} in @code{R1} is similar to the duration notation used for
632 notes. Hence, for time signatures other than 4/4, you must enter other
633 durations. This can be done with augmentation dots or fractions
635 @lilypond[quote,ragged-right,fragment,verbatim]
636 \set Score.skipBars = ##t
645 An @code{R} spanning a single measure is printed as either a whole rest
646 or a breve, centered in the measure regardless of the time signature.
648 If there are only a few measures of rest, LilyPond prints ``church rests''
649 (a series of rectangles) in the staff. To replace that with a simple
650 rest, use @code{MultiMeasureRest.expand-limit}.
652 @lilypond[quote,ragged-right,fragment,verbatim]
653 \set Score.skipBars = ##t
655 \override MultiMeasureRest #'expand-limit = 1
659 @cindex text on multi-measure rest
660 @cindex script on multi-measure rest
661 @cindex fermata on multi-measure rest
663 Texts can be added to multi-measure rests by using the
664 @var{note}-@code{markup} syntax @ref{Text markup}.
665 A variable (@code{\fermataMarkup}) is provided for
668 @lilypond[quote,ragged-right,verbatim,fragment]
669 \set Score.skipBars = ##t
671 R2.*10^\markup { \italic "ad lib." }
675 Warning! This text is created by @code{MultiMeasureRestText}, not
678 @lilypond[quote,ragged-right,verbatim,fragment]
679 \override TextScript #'padding = #5
681 \override MultiMeasureRestText #'padding = #5
685 If you want to have text on the left end of a multi-measure rest,
686 attach the text to a zero-length skip note, i.e.,
696 Program reference: @internalsref{MultiMeasureRestMusicGroup},
697 @internalsref{MultiMeasureRest}.
699 The layout object @internalsref{MultiMeasureRestNumber} is for the
700 default number, and @internalsref{MultiMeasureRestText} for user
706 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
707 over multi-measure rests. And the pitch of multi-measure rests (or
708 staff-centered rests) can not be influenced.
710 @cindex condensing rests
712 There is no way to automatically condense multiple rests into a single
713 multi-measure rest. Multi-measure rests do not take part in rest
716 Be careful when entering multi-measure rests followed by whole
717 notes. The following will enter two notes lasting four measures each
721 When @code{skipBars} is set, the result will look OK, but the bar
722 numbering will be off.
725 @node Metronome marks
726 @subsection Metronome marks
729 @cindex beats per minute
730 @cindex metronome marking
732 Metronome settings can be entered as follows
734 \tempo @var{duration} = @var{per-minute}
737 In the MIDI output, they are interpreted as a tempo change. In the
738 layout output, a metronome marking is printed
740 @lilypond[quote,ragged-right,verbatim,fragment]
747 To change the tempo in the MIDI output without printing anything, make
748 the metronome marking invisible
750 \once \override Score.MetronomeMark #'transparent = ##t
753 To print other metronome markings, use these markup commands
754 @lilypond[quote,ragged-right,verbatim,relative,fragment]
757 \smaller \general-align #Y #DOWN \note #"16." #1
759 \smaller \general-align #Y #DOWN \note #"8" #1
764 See @ref{Text markup} for more details.
769 Program reference: @internalsref{MetronomeMark}.
774 Collisions are not checked. If you have notes above the top line of
775 the staff (or notes with articulations, slurs, text, etc), then the
776 metronome marking may be printed on top of musical symbols. If this
777 occurs, increase the padding of the metronome mark to place it
778 further away from the staff.
781 \override Score.MetronomeMark #'padding = #2.5
785 @node Rehearsal marks
786 @subsection Rehearsal marks
788 @cindex Rehearsal marks
791 To print a rehearsal mark, use the @code{\mark} command
793 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
802 The letter@tie{}`I' is skipped in accordance with engraving traditions.
803 If you wish to include the letter `I', then use
806 \set Score.markFormatter = #format-mark-alphabet
809 The mark is incremented automatically if you use @code{\mark
810 \default}, but you can also use an integer argument to set the mark
811 manually. The value to use is stored in the property
812 @code{rehearsalMark}.
814 The style is defined by the property @code{markFormatter}. It is a
815 function taking the current mark (an integer) and the current context
816 as argument. It should return a markup object. In the following
817 example, @code{markFormatter} is set to a canned procedure. After a
818 few measures, it is set to function that produces a boxed number.
820 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
821 \set Score.markFormatter = #format-mark-numbers
824 \set Score.markFormatter = #format-mark-box-numbers
830 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
831 of @code{format-mark-numbers} (the default format),
832 @code{format-mark-box-numbers},
833 @code{format-mark-letters} and @code{format-mark-box-letters}.
834 These can be used as inspiration for other formatting functions.
836 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
837 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
838 incremented numbers or letters.
844 Music glyphs (such as the segno sign) may be printed inside
847 @lilypond[fragment,quote,ragged-right,verbatim,relative]
848 c1 \mark \markup { \musicglyph #"scripts.segno" }
849 c1 \mark \markup { \musicglyph #"scripts.coda" }
850 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
855 See @ref{The Feta font} for a list of symbols which may be
856 printed with @code{\musicglyph}.
858 The horizontal location of rehearsal marks can be adjusted by
859 setting @code{break-align-symbol}
861 @lilypond[fragment,quote,ragged-right,verbatim,relative]
865 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
869 \override Score.RehearsalMark #'break-align-symbol = #'clef
875 @code{break-align-symbol} may also accept the following values:
876 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
877 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
878 @code{key-signature}, and @code{time-signature}. Setting
879 @code{break-align-symbol} will only have an effect if the symbol
880 appears at that point in the music.
885 Program reference: @internalsref{RehearsalMark}.
887 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
888 definition of @code{format-mark-numbers} and
889 @code{format-mark-letters}. They can be used as inspiration for other
890 formatting functions.
892 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
894 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
898 @subsection Bar numbers
901 @cindex measure numbers
902 @funindex currentBarNumber
904 Bar numbers are printed by default at the start of the line. The
905 number itself is stored in the @code{currentBarNumber} property, which
906 is normally updated automatically for every measure.
908 @lilypond[verbatim,ragged-right,quote,fragment,relative]
909 \repeat unfold 4 {c4 c c c} \break
910 \set Score.currentBarNumber = #50
911 \repeat unfold 4 {c4 c c c}
914 Bar numbers may only be printed at bar lines; to print a bar
915 number at the beginning of a piece, an empty bar line must
918 @lilypond[verbatim,ragged-right,quote,fragment,relative]
919 \set Score.currentBarNumber = #50
921 \repeat unfold 4 {c4 c c c} \break
922 \repeat unfold 4 {c4 c c c}
925 Bar numbers can be typeset at regular intervals instead of at the
926 beginning of each line. This is illustrated in the following example,
927 whose source is available as
928 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
930 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
932 Bar numbers can be removed entirely by removing the Bar number
933 engraver from the score.
935 @lilypond[verbatim,ragged-right,quote]
939 \remove "Bar_number_engraver"
951 Program reference: @internalsref{BarNumber}.
954 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
955 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
960 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
961 there is one at the top. To solve this, the
962 @code{padding} property of @internalsref{BarNumber} can be
963 used to position the number correctly.
966 @node Instrument names
967 @subsection Instrument names
969 In an orchestral score, instrument names are printed at the left side
972 This can be achieved by setting @internalsref{Staff}.@code{instrument}
973 and @internalsref{Staff}.@code{instr}. This will print a string before
974 the start of the staff. For the first staff, @code{instrument} is
975 used, for the following ones, @code{instr} is used.
977 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
978 \set Staff.instrument = "Ploink "
979 \set Staff.instr = "Plk "
985 You can also use markup texts to construct more complicated instrument
988 @lilypond[quote,fragment,verbatim,ragged-right]
989 \set Staff.instrument = \markup {
990 \column { "Clarinetti"
991 \line { "in B" \smaller \flat } } }
995 If you wish to center the instrument names, you must center all of them
997 @lilypond[quote,verbatim,ragged-right]
1000 \set Staff.instrument = \markup {
1001 \center-align { "Clarinetti"
1002 \line { "in B" \smaller \flat } } }
1006 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
1013 For longer instrument names, it may be useful to increase the
1014 @code{indent} setting in the @code{\layout} block.
1016 To center instrument names while leaving extra space to the right,
1018 @lilypond[quote,verbatim,ragged-right]
1019 \new StaffGroup \relative
1022 \set Staff.instrument
1023 = \markup { \hcenter-in #10 "blabla" }
1027 \set Staff.instrument
1028 = \markup { \hcenter-in #10 "blo" }
1037 Program reference: @internalsref{InstrumentName}.
1041 When you put a name on a grand staff or piano staff, the width of the
1042 brace is not taken into account. The following property setting can be
1043 used to move the instrument names to the left, in such situations.
1046 \override Score.InstrumentName #'padding = #2.0
1050 @node Instrument transpositions
1051 @subsection Instrument transpositions
1053 @cindex transposition, MIDI
1054 @cindex transposition, instrument
1056 The key of a transposing instrument can also be specified. This
1057 applies to many wind instruments, for example, clarinets (B-flat, A, and
1058 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1060 The transposition is entered after the keyword @code{\transposition}
1063 \transposition bes %% B-flat clarinet
1067 This command sets the property @code{instrumentTransposition}. The value of
1068 this property is used for MIDI output and quotations. It does not
1069 affect how notes are printed in the current staff. To change the printed
1070 output, see @ref{Transpose}.
1072 The pitch to use for @code{\transposition} should correspond to the
1073 real sound heard when a @code{c'} written on the staff is played by the
1074 transposing instrument. For example, when entering a score in
1075 concert pitch, typically all voices are entered in C, so
1076 they should be entered as
1089 The command @code{\transposition} should be used when the music is
1090 entered from a (transposed) orchestral part. For example, in
1091 classical horn parts, the tuning of the instrument is often changed
1092 during a piece. When copying the notes from the part, use
1093 @code{\transposition}, e.g.,
1105 @node Ottava brackets
1106 @subsection Ottava brackets
1108 `Ottava' brackets introduce an extra transposition of an octave for
1109 the staff. They are created by invoking the function
1110 @code{set-octavation}
1116 @lilypond[quote,ragged-right,verbatim,fragment]
1126 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1127 (for 15ma) as arguments. Internally the function sets the properties
1128 @code{ottavation} (e.g., to @code{"8va"}) and
1129 @code{centralCPosition}. For overriding the text of the bracket, set
1130 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1132 @lilypond[quote,ragged-right,verbatim]
1135 \set Staff.ottavation = #"8"
1143 Program reference: @internalsref{OttavaBracket}.
1145 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1146 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1151 @code{set-octavation} will get confused when clef changes happen
1152 during an octavation bracket.
1155 @node Different editions from one source
1156 @subsection Different editions from one source
1161 The @code{\tag} command marks music expressions with a name. These
1162 tagged expressions can be filtered out later. With this mechanism it
1163 is possible to make different versions of the same music source.
1165 In the following example, we see two versions of a piece of music, one
1166 for the full score, and one with cue notes for the instrumental part
1182 The same can be applied to articulations, texts, etc.: they are
1185 -\tag #@var{your-tag}
1187 to an articulation, for example,
1192 This defines a note with a conditional fingering indication.
1195 @cindex removeWithTag
1196 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1197 commands, tagged expressions can be filtered. For example,
1201 \keepWithTag #'score @var{the music}
1202 \keepWithTag #'part @var{the music}
1207 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1209 The arguments of the @code{\tag} command should be a symbol
1210 (such as @code{#'score} or @code{#'part}), followed by a
1211 music expression. It is possible to put multiple tags on
1212 a piece of music with multiple @code{\tag} entries,
1215 \tag #'original-part \tag #'transposed-part @dots{}
1221 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1226 Multiple rests are not merged if you create the score with both tagged
1231 @node Orchestral music
1232 @section Orchestral music
1234 Orchestral music involves some special notation, both in the full
1235 score and the individual parts. This section explains how to tackle
1236 some common problems in orchestral music.
1239 * Automatic part combining::
1241 * Quoting other voices::
1242 * Formatting cue notes::
1243 * Aligning to cadenzas::
1247 @node Automatic part combining
1248 @subsection Automatic part combining
1249 @cindex automatic part combining
1250 @cindex part combiner
1252 Automatic part combining is used to merge two parts of music onto a
1253 staff. It is aimed at typesetting orchestral scores. When the two
1254 parts are identical for a period of time, only one is shown. In
1255 places where the two parts differ, they are typeset as separate
1256 voices, and stem directions are set automatically. Also, solo and
1257 @emph{a due} parts are identified and can be marked.
1259 The syntax for part combining is
1262 \partcombine @var{musicexpr1} @var{musicexpr2}
1266 The following example demonstrates the basic functionality of the part
1267 combiner: putting parts on one staff, and setting stem directions and
1270 @lilypond[quote,verbatim,ragged-right,fragment]
1271 \new Staff \partcombine
1272 \relative g' { g g a( b) c c r r }
1273 \relative g' { g g r4 r e e g g }
1276 The first @code{g} appears only once, although it was
1277 specified twice (once in each part). Stem, slur, and tie directions are
1278 set automatically, depending whether there is a solo or unisono. The
1279 first part (with context called @code{one}) always gets up stems, and
1280 `Solo', while the second (called @code{two}) always gets down stems and
1283 If you just want the merging parts, and not the textual markings, you
1284 may set the property @code{printPartCombineTexts} to false
1286 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1288 \set Staff.printPartCombineTexts = ##f
1290 \relative g' { g a( b) r }
1291 \relative g' { g r4 r f }
1295 To change the text that is printed for solos or merging, you may
1296 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1299 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1301 \set Score.soloText = #"ichi"
1302 \set Score.soloIIText = #"ni"
1303 \set Score.aDueText = #"tachi"
1305 \relative g' { g4 g a( b) r }
1306 \relative g' { g4 g r r f }
1310 Both arguments to @code{\partcombine} will be interpreted as
1311 @internalsref{Voice} contexts. If using relative octaves,
1312 @code{\relative} should be specified for both music expressions, i.e.,
1316 \relative @dots{} @var{musicexpr1}
1317 \relative @dots{} @var{musicexpr2}
1321 A @code{\relative} section that is outside of @code{\partcombine} has
1322 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1326 Program reference: @internalsref{PartCombineMusic}.
1330 When @code{printPartCombineTexts} is set, when the two voices play the
1331 same notes on and off, the part combiner may typeset @code{a2} more
1332 than once in a measure.
1334 @code{\partcombine} cannot be inside @code{\times}.
1336 @code{\partcombine} cannot be inside @code{\relative}.
1338 Internally, the @code{\partcombine} interprets both arguments as
1339 @code{Voice}s named @code{one} and @code{two}, and then decides when
1340 the parts can be combined. Consequently, if the arguments switch to
1341 differently named @internalsref{Voice} contexts, the events in those
1346 @subsection Hiding staves
1348 @cindex Frenched scores
1349 @cindex Hiding staves
1351 In orchestral scores, staff lines that only have rests are usually
1352 removed; this saves some space. This style is called `French Score'.
1353 For @internalsref{Lyrics},
1354 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1355 switched on by default. When the lines of these contexts turn out
1356 empty after the line-breaking process, they are removed.
1358 For normal staves, a specialized @internalsref{Staff} context is
1359 available, which does the same: staves containing nothing (or only
1360 multi-measure rests) are removed. The context definition is stored in
1361 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1362 in this example disappears in the second line
1364 @lilypond[quote,ragged-right,verbatim]
1366 \context { \RemoveEmptyStaffContext }
1371 \new Staff { e4 f g a \break c1 }
1372 \new Staff { c4 d e f \break R1 }
1377 The first system shows all staves in full. If empty staves should be
1378 removed from the first system too, set @code{remove-first} to true in
1379 @internalsref{VerticalAxisGroup}.
1382 \override Score.VerticalAxisGroup #'remove-first = ##t
1385 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1386 or @code{\RemoveEmptyRhythmicStaffContext}.
1388 Another application is making ossia sections, i.e., alternative
1389 melodies on a separate piece of staff, with help of a Frenched
1390 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1393 @node Quoting other voices
1394 @subsection Quoting other voices
1398 With quotations, fragments of other parts can be inserted into a part
1399 directly. Before a part can be quoted, it must be marked especially as
1400 quotable. This is done with the @code{\addquote} command.
1403 \addquote @var{name} @var{music}
1408 Here, @var{name} is an identifying string. The @var{music} is any kind
1409 of music. Here is an example of @code{\addquote}
1412 \addquote clarinet \relative c' @{
1417 This command must be entered at toplevel, i.e., outside any music
1420 After calling @code{\addquote}, the quotation may then be done with
1421 @code{\quoteDuring} or @code{\cueDuring},
1424 \quoteDuring #@var{name} @var{music}
1427 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1431 \quoteDuring #"clarinet" @{ s2. @}
1434 This would cite three quarter notes (the duration of @code{s2.}) of
1435 the previously added @code{clarinet} voice.
1438 More precisely, it takes the current time-step of the part being
1439 printed, and extracts the notes at the corresponding point of the
1440 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1441 should be the entire part of the voice to be quoted, including any
1442 rests at the beginning.
1444 Quotations take into account the transposition of both source and target
1445 instruments, if they are specified using the @code{\transposition} command.
1447 @lilypond[quote,ragged-right,verbatim]
1448 \addquote clarinet \relative c' {
1454 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1458 The type of events that are present in cue notes can be trimmed with
1459 the @code{quotedEventTypes} property. The default value is
1460 @code{(note-event rest-event)}, which means that only notes and
1461 rests of the cued voice end up in the @code{\quoteDuring}.
1465 \set Staff.quotedEventTypes =
1466 #'(note-event articulation-event dynamic-event)
1470 will quote notes (but no rests), together with scripts and dynamics.
1474 Only the contents of the first @internalsref{Voice} occurring in an
1475 @code{\addquote} command will be considered for quotation, so
1476 @var{music} can not contain @code{\new} and @code{\context Voice}
1477 statements that would switch to a different Voice.
1479 Quoting grace notes is broken and can even cause LilyPond to crash.
1483 In this manual: @ref{Instrument transpositions}.
1485 Examples: @inputfileref{input/@/regression,quote@/.ly}
1486 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1488 Program reference: @internalsref{QuoteMusic}.
1491 @node Formatting cue notes
1492 @subsection Formatting cue notes
1494 @cindex cues, formatting
1496 The previous section deals with inserting notes from another voice.
1497 There is a more advanced music function called @code{\cueDuring},
1498 which makes formatting cue notes easier.
1503 \cueDuring #@var{name} #@var{updown} @var{music}
1506 This will insert notes from the part @var{name} into a
1507 @internalsref{Voice} called @code{cue}. This happens simultaneously
1508 with @var{music}, which usually is a rest. When the cue notes start,
1509 the staff in effect becomes polyphonic for a moment. The argument
1510 @var{updown} determines whether the cue notes should be notated as a
1511 first or second voice.
1514 @lilypond[verbatim,ragged-right]
1517 \override Stem #'length-fraction = #0.8
1518 \override Beam #'thickness = #0.384
1519 \override Beam #'length-fraction = #0.8
1522 \addquote clarinet \relative {
1527 \new Staff \relative <<
1529 % setup a context for cue notes.
1530 \new Voice = "cue" { \smaller \skip 1*21 }
1532 \set Score.skipBars = ##t
1536 \cueDuring #"clarinet" #1 {
1545 Here are a couple of hints for successful cue notes
1549 Cue notes have smaller font sizes.
1551 the cued part is marked with the instrument playing the cue.
1553 when the original part takes over again, this should be marked with
1554 the name of the original instrument.
1556 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1558 @c Yes, this is good practice. Otherwise, the start of the original
1559 @c part can only be seen from the font size. This is not good enough
1560 @c for sight-reading. It is possilbe to use other
1561 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1567 Any other changes introduced by the cued part should also be
1568 undone. For example, if the cued instrument plays in a different clef,
1569 the original clef should be stated once again.
1574 @node Aligning to cadenzas
1575 @subsection Aligning to cadenzas
1577 In an orchestral context, cadenzas present a special problem:
1578 when constructing a score that includes a cadenza, all other
1579 instruments should skip just as many notes as the length of the
1580 cadenza, otherwise they will start too soon or too late.
1582 A solution to this problem are the functions @code{mmrest-of-length}
1583 and @code{skip-of-length}. These Scheme functions take a piece of music
1584 as argument, and generate a @code{\skip} or multi-rest, exactly as
1585 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1586 in the following example.
1588 @lilypond[verbatim,ragged-right,quote]
1589 cadenza = \relative c' {
1590 c4 d8 << { e f g } \\ { d4. } >>
1595 \new Staff { \cadenza c'4 }
1597 #(ly:export (mmrest-of-length cadenza))
1606 @node Contemporary notation
1607 @section Contemporary notation
1609 In the 20th century, composers have greatly expanded the musical
1610 vocabulary. With this expansion, many innovations in musical notation
1611 have been tried. The book ``Music Notation in the 20th century'' by
1612 Kurt Stone gives a comprehensive overview (see @ref{Literature
1615 This section describes notation that does
1616 not fit into traditional notation categories, such as pitches,
1617 tuplet beams, and articulation. For contemporary notation
1618 that fits into traditional notation categories, such as
1619 microtones, nested tuplet beams, and unusual fermatas, please
1620 see those sections of the documentation.
1623 * Polymetric notation::
1624 * Time administration::
1625 * Proportional notation::
1627 * Special noteheads::
1630 * Selecting notation font size::
1634 @node Polymetric notation
1635 @subsection Polymetric notation
1637 Double time signatures are not supported explicitly, but they can be
1638 faked. In the next example, the markup for the time signature is
1639 created with a markup text. This markup text is inserted in the
1640 @internalsref{TimeSignature} grob. See also
1641 @inputfileref{input/@/test,compound@/-time@/.ly}).
1643 @lilypond[verbatim,ragged-right]
1646 \override #'(baseline-skip . 2) \number {
1649 \bracket \column { "5" "8" }
1654 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1655 \override Staff.TimeSignature #'text = #tsMarkup
1657 c'2 \bar ":" c'4 c'4.
1661 Each staff can also have its own time signature. This is done by
1662 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1668 \remove "Timing_translator"
1669 \remove "Default_bar_line_engraver"
1673 \consists "Timing_translator"
1674 \consists "Default_bar_line_engraver"
1681 Now, each staff has its own time signature.
1694 c4. c8 c c c4. c8 c c
1699 @lilypond[quote,ragged-right]
1703 \remove "Timing_translator"
1704 \remove "Default_bar_line_engraver"
1707 \consists "Timing_translator"
1708 \consists "Default_bar_line_engraver"
1723 c4. c8 c c c4. c8 c c
1729 A different form of polymetric notation is where note lengths have
1730 different values across staves.
1732 This notation can be created by setting a common time signature for
1733 each staff but replacing it manually using
1734 @code{timeSignatureFraction} to the desired fraction. Then the printed
1735 durations in each staff are scaled to the common time signature.
1736 The latter is done with @code{\compressMusic}, which is used similar
1737 to @code{\times}, but does not create a tuplet bracket. The syntax is
1739 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1744 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1745 used in parallel. In the second staff, shown durations are multiplied by
1746 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1747 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1749 @lilypond[quote,ragged-right,verbatim,fragment]
1757 \set Staff.timeSignatureFraction = #'(9 . 8)
1758 \compressMusic #'(2 . 3)
1759 \repeat unfold 6 { c8[ c c] }
1763 \set Staff.timeSignatureFraction = #'(10 . 8)
1764 \compressMusic #'(3 . 5) {
1765 \repeat unfold 2 { c8[ c c] }
1766 \repeat unfold 2 { c8[ c] }
1767 | c4. c4. \times 2/3 { c8 c c } c4
1778 When using different time signatures in parallel, the spacing is
1779 aligned vertically, but bar lines distort the regular spacing.
1782 @node Time administration
1783 @subsection Time administration
1785 @cindex Time administration
1787 Time is administered by the @internalsref{Time_signature_engraver},
1788 which usually lives in the @internalsref{Score} context. The
1789 bookkeeping deals with the following variables
1792 @item currentBarNumber
1796 The length of the measures in the current time signature. For a 4/4
1797 time this is@tie{}1, and for 6/8 it is 3/4.
1799 @item measurePosition
1800 The point within the measure where we currently are. This quantity
1801 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1802 happens, @code{currentBarNumber} is incremented.
1805 If set to true, the above variables are updated for every time
1806 step. When set to false, the engraver stays in the current measure
1810 Timing can be changed by setting any of these variables explicitly.
1811 In the next example, the 4/4 time signature is printed, but
1812 @code{measureLength} is set to 5/4. After a while, the measure is
1813 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1814 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1815 3/8 arises because 5/4 normally has 10/8, but we have manually
1816 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1818 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1819 \set Score.measureLength = #(ly:make-moment 5 4)
1823 \set Score.measurePosition = #(ly:make-moment 7 8)
1829 As the example illustrates, @code{ly:make-moment n m} constructs a
1830 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
1832 note duration and @code{ly:make-moment 7 16} is the duration of
1833 seven sixteenths notes.
1836 @node Proportional notation
1837 @subsection Proportional notation
1838 @cindex Proportional notation
1840 Notes can be spaced proportional to their time-difference by
1841 assigning a duration to @code{proportionalNotationDuration}
1843 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1845 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1846 \new Staff { c8[ c c c c c] c4 c2 r2 }
1847 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1853 @subsection Clusters
1857 A cluster indicates a continuous range of pitches to be played. They
1858 can be denoted as the envelope of a set of notes. They are entered by
1859 applying the function @code{makeClusters} to a sequence of
1861 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1862 \makeClusters { <c e > <b f'> }
1865 The following example (from
1866 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1869 @lilypondfile[ragged-right,quote]{cluster.ly}
1871 Ordinary notes and clusters can be put together in the same staff,
1872 even simultaneously. In such a case no attempt is made to
1873 automatically avoid collisions between ordinary notes and clusters.
1877 Program reference: @internalsref{ClusterSpanner},
1878 @internalsref{ClusterSpannerBeacon},
1879 @internalsref{Cluster_spanner_engraver}.
1881 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1885 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1886 accurately. Use @code{<g a>8 <e a>8} instead.
1889 @node Special noteheads
1890 @subsection Special noteheads
1892 @cindex note heads, special
1894 Different noteheads are used by various instruments for various
1895 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1896 notes on guitar; diamonds are used for harmonics on string instruments,
1897 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1898 other notehead styles are produced by tweaking the property
1900 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1902 \override NoteHead #'style = #'cross
1904 \revert NoteHead #'style
1905 e d <c f\harmonic> <d a'\harmonic>
1909 To see all notehead styles, please see
1910 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1915 Program reference: @internalsref{NoteHead}.
1918 @node Feathered beams
1919 @subsection Feathered beams
1921 Feathered beams are not supported natively, but they can be faked by
1922 forcing two beams to overlap. Here is an example,
1924 @c don't change relative setting witout changing positions!
1925 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1930 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1935 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1943 @subsection Improvisation
1945 Improvisation is sometimes denoted with slashed note heads. Such note
1946 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1947 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1951 \set squashedPosition = #0
1952 \override NoteHead #'style = #'slash
1956 switches on the slashes.
1958 There are shortcuts @code{\improvisationOn} (and an accompanying
1959 @code{\improvisationOff}) for this command sequence. They are used in
1960 the following example
1962 @lilypond[verbatim,ragged-right,quote]
1964 \consists Pitch_squash_engraver
1966 e8 e g a a16(bes)(a8) g \improvisationOn
1969 ~fis2 \improvisationOff a16(bes) a8 g e
1974 @node Selecting notation font size
1975 @subsection Selecting notation font size
1977 The easiest method of setting the font size of any context is by
1978 setting the @code{fontSize} property.
1980 @lilypond[quote,fragment,relative=1,verbatim]
1989 It does not change the size of variable symbols, such as beams or
1992 Internally, the @code{fontSize} context property will cause the
1993 @code{font-size} property to be set in all layout objects. The value
1994 of @code{font-size} is a number indicating the size relative to the
1995 standard size for the current staff height. Each step up is an
1996 increase of approximately 12% of the font size. Six steps is exactly a
1997 factor two. The Scheme function @code{magstep} converts a
1998 @code{font-size} number to a scaling factor.
2000 @lilypond[quote,fragment,relative=1,verbatim]
2002 \override NoteHead #'font-size = #-4
2004 \override NoteHead #'font-size = #3
2008 Font size changes are achieved by scaling the design size that is
2009 closest to the desired size. The standard font size (for
2010 @code{font-size} equals 0), depends on the standard staff height. For
2011 a 20pt staff, a 10pt font is selected.
2013 The @code{font-size} property can only be set on layout objects that
2014 use fonts. These are the ones supporting the
2015 @internalsref{font-interface} layout interface.
2019 The following commands set @code{fontSize} for the current voice:
2025 @funindex \normalsize
2030 @node Educational use
2031 @section Educational use
2033 With the amount of control that LilyPond offers, one can make great
2034 teaching tools in addition to great musical scores.
2038 * Blank music sheet::
2040 * Shape note heads::
2041 * Easy Notation note heads::
2042 * Analysis brackets::
2043 * Coloring objects::
2048 @subsection Balloon help
2050 Elements of notation can be marked and named with the help of a square
2051 balloon. The primary purpose of this feature is to explain notation.
2053 The following example demonstrates its use.
2055 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2056 \applyOutput #'Voice
2057 #(add-balloon-text 'NoteHead "heads, or tails?"
2063 The function @code{add-balloon-text} takes the name of a grob, the
2064 label to print, and the position where to put the label relative to
2065 the object. In the above example, the text ``heads or tails?'' ends
2066 3 spaces below and 1 space to the right of the marked head.
2069 @cindex notation, explaining
2073 Program reference: @internalsref{text-balloon-interface}.
2075 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
2080 @node Blank music sheet
2081 @subsection Blank music sheet
2083 @cindex Sheet music, empty
2084 @cindex Staves, blank sheet
2086 A blank music sheet can be produced also by using invisible notes, and
2087 removing @code{Bar_number_engraver}.
2090 @lilypond[quote,verbatim]
2092 \repeat unfold 2 % Change this for more lines.
2097 \override TimeSignature #'transparent = ##t
2098 defaultBarType = #""
2099 \remove Bar_number_engraver
2101 \new Staff \emptymusic
2102 \new TabStaff \emptymusic
2108 @subsection Hidden notes
2110 @cindex Hidden notes
2111 @cindex Invisible notes
2112 @cindex Transparent notes
2114 @funindex \hideNotes
2115 @funindex \unHideNotes
2116 Hidden (or invisible or transparent) notes can be useful in preparing theory
2117 or composition exercises.
2119 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2128 @node Shape note heads
2129 @subsection Shape note heads
2131 @cindex note heads, shape
2133 In shape note head notation, the shape of the note head corresponds
2134 to the harmonic function of a note in the scale. This notation was
2135 popular in the 19th century American song books.
2137 Shape note heads can be produced by setting @code{\aikenHeads} or
2138 @code{\sacredHarpHeads}, depending on the style desired.
2140 @lilypond[verbatim,relative=1,fragment]
2147 Shapes are determined on the step in the scale, where the base of the
2148 scale is determined by the @code{\key} command
2151 @funindex shapeNoteStyles
2152 @funindex \aikenHeads
2153 @funindex \sacredHarpHeads
2155 Shape note heads are implemented through the @code{shapeNoteStyles}
2156 property. Its value is a vector of symbols. The k-th element indicates
2157 the style to use for the k-th step of the scale. Arbitrary
2158 combinations are possible, e.g.
2160 @lilypond[verbatim,relative=1,fragment]
2161 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2166 @node Easy Notation note heads
2167 @subsection Easy Notation note heads
2169 @cindex note heads, practice
2170 @cindex note heads, easy notation
2171 @cindex easy notation
2174 The `easy play' note head includes a note name inside the head. It is
2175 used in music for beginners
2177 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2182 The command @code{\setEasyHeads} overrides settings for the
2183 @internalsref{NoteHead} object. To make the letters readable, it has
2184 to be printed in a large font size. To print with a larger font, see
2185 @ref{Setting global staff size}.
2189 @funindex \setEasyHeads
2190 @code{\setEasyHeads}
2193 @node Analysis brackets
2194 @subsection Analysis brackets
2196 @cindex phrasing brackets
2197 @cindex musicological analysis
2198 @cindex note grouping bracket
2200 Brackets are used in musical analysis to indicate structure in musical
2201 pieces. LilyPond supports a simple form of nested horizontal
2202 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2203 to @internalsref{Staff} context. A bracket is started with
2204 @code{\startGroup} and closed with @code{\stopGroup}
2206 @lilypond[quote,ragged-right,verbatim]
2209 c4\startGroup\startGroup
2212 c4\stopGroup\stopGroup
2216 \Staff \consists "Horizontal_bracket_engraver"
2222 Program reference: @internalsref{HorizontalBracket}.
2224 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2227 @node Coloring objects
2228 @subsection Coloring objects
2230 Individual objects may be assigned colors. You may use the
2231 color names listed in the @ref{List of colors}.
2233 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2234 \override NoteHead #'color = #red
2236 \override NoteHead #'color = #(x11-color 'LimeGreen)
2238 \override Stem #'color = #blue
2242 The full range of colors defined for X11 can be accessed by using the
2243 Scheme function x11-color. The function takes one argument that can be a
2247 \override Beam #'color = #(x11-color 'MediumTurquoise)
2253 \override Beam #'color = #(x11-color "MediumTurquoise")
2256 The first form is quicker to write and is more efficient. However, using
2257 the second form it is possible to access X11 colors by the multi-word
2261 \override Beam #'color = #(x11-color "medium turquoise")
2264 If x11-color cannot make sense of the parameter then the color returned
2265 defaults to black. It should be obvious from the final score that
2268 This example illustrates the use of x11-color. Notice that the stem
2269 color remains black after being set to (x11-color 'Boggle), which is
2270 deliberate nonsense.
2272 @lilypond[quote,ragged-right,verbatim]
2274 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2275 \set Staff.instrument = \markup {
2276 \with-color #(x11-color 'navy) "Clarinet"
2280 \override Beam #'color = #(x11-color "medium turquoise")
2282 \override NoteHead #'color = #(x11-color "LimeGreen")
2284 \override Stem #'color = #(x11-color 'Boggle)
2292 Appendix: @ref{List of colors}.
2296 Not all x11 colors are distinguishable in a web browser. For web use
2297 normal colors are recommended.
2299 An x11 color is not necessarily exactly the same shade as a similarly
2302 Notes in a chord cannot be colored with @code{\override}; use
2303 @code{\tweak} instead. See @ref{Objects connected to the input}
2308 @subsection Parentheses
2311 @cindex notes, ghost
2312 @cindex notes, parenthesized
2314 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2317 @lilypond[relative=2,fragment,verbatim,ragged-right]
2325 This only functions inside chords, even for single notes
2328 < \parenthesize NOTE>