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.instrumentName = \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 A @code{\markup} command can also be placed on its own, away from any
307 @code{\score} block, see @ref{Multiple scores in a book}.
309 @lilypond[quote,ragged-right,verbatim]
310 \markup{ Here is some text. }
313 @cindex font switching
315 The markup in the example demonstrates font switching commands. The
316 command @code{\bold} and @code{\italic} apply to the first following
317 word only; to apply a command to more than one word, enclose the
321 \markup @{ \bold @{ hi there @} @}
325 For clarity, you can also do this for single arguments, e.g.,
328 \markup @{ is \italic @{ anyone @} home @}
331 In markup mode you can compose expressions, similar to mathematical
332 expressions, XML documents, and music expressions. You can stack
333 expressions grouped vertically with the command @code{\column}.
334 Similarly, @code{\center-align} aligns texts by their center lines:
336 @lilypond[quote,verbatim,fragment,relative=1]
337 c1^\markup { \column { a bbbb \line { c d } } }
338 c1^\markup { \center-align { a bbbb c } }
339 c1^\markup { \line { a b c } }
342 Lists with no previous command are not kept distinct. The expression
345 \center-align @{ @{ a b @} @{ c d @} @}
353 \center-align @{ a b c d @}
358 To keep lists of words distinct, please use quotes @code{"} or
359 the @code{\line} command
361 @lilypond[quote,verbatim,fragment,relative=1]
363 c4^\markup{ \center-align { on three lines } }
364 c4^\markup{ \center-align { "all one line" } }
365 c4^\markup{ \center-align { { on three lines } } }
366 c4^\markup{ \center-align { \line { on one line } } }
369 Markups can be stored in variables and these variables
370 may be attached to notes, like
372 allegro = \markup @{ \bold \large @{ Allegro @} @}
373 @{ a^\allegro b c d @}
376 Some objects have alignment procedures of their own, which cancel out
377 any effects of alignments applied to their markup arguments as a
378 whole. For example, the @internalsref{RehearsalMark} is horizontally
379 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
382 In addition, vertical placement is performed after creating the
383 text markup object. If you wish to move an entire piece of markup,
384 you need to use the #'padding property or create an "anchor" point
385 inside the markup (generally with @code{\hspace #0}).
387 @lilypond[quote,verbatim,fragment,relative=1]
389 c'4^\markup{ \raise #5 "not raised" }
390 \once \override TextScript #'padding = #3
391 c'4^\markup{ raised }
392 c'4^\markup{ \hspace #0 \raise #1.5 raised }
395 Some situations (such as dynamic marks) have preset font-related
396 properties. If you are creating text in such situations, it
397 is advisable to cancel those properties with
398 @code{normal-text}. See @ref{Overview of text markup commands}
404 This manual: @ref{Overview of text markup commands}.
406 Program reference: @internalsref{TextScript}.
408 Init files: @file{scm/@/new@/-markup@/.scm}.
413 Kerning or generation of ligatures is only done when the @TeX{}
414 backend is used. In this case, LilyPond does not account for them so
415 texts will be spaced slightly too wide.
417 Syntax errors for markup mode are confusing.
421 @subsection Nested scores
423 It is possible to nest music inside markups, by adding a @code{\score}
424 block to a markup expression. Such a score must contain a @code{\layout}
427 @lilypond[quote,verbatim,ragged-right]
431 \relative { c4 d e f }
440 @node Overview of text markup commands
441 @subsection Overview of text markup commands
443 The following commands can all be used inside @code{\markup @{ @}}.
445 @include markup-commands.tely
449 @subsection Font selection
451 @cindex font selection
452 @cindex font magnification
453 @funindex font-interface
455 By setting the object properties described below, you can select a
456 font from the preconfigured font families. LilyPond has default
457 support for the feta music fonts. Text fonts are selected through
458 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
459 the sans and typewriter to whatever the Pango installation defaults
464 @item @code{font-encoding}
465 is a symbol that sets layout of the glyphs. This should only be set to
466 select different types of non-text fonts, e.g.
468 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
469 standard music font, including ancient glyphs, @code{fetaDynamic} for
470 dynamic signs and @code{fetaNumber} for the number font.
472 @item @code{font-family}
473 is a symbol indicating the general class of the typeface. Supported are
474 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
476 @item @code{font-shape}
477 is a symbol indicating the shape of the font. There are typically
478 several font shapes available for each font family. Choices are
479 @code{italic}, @code{caps}, and @code{upright}.
481 @item @code{font-series}
482 is a symbol indicating the series of the font. There are typically
483 several font series for each font family and shape. Choices are
484 @code{medium} and @code{bold}.
488 Fonts selected in the way sketched above come from a predefined style
489 sheet. If you want to use a font from outside the style sheet,
491 @code{font-name} property,
493 @lilypond[fragment,verbatim]
495 \override Staff.TimeSignature #'font-name = #"Charter"
496 \override Staff.TimeSignature #'font-size = #2
499 \override #'(font-name . "Vera Bold")
500 { This text is in Vera Bold }
506 Any font can be used, as long as it is available to Pango/FontConfig.
507 To get a full list of all available fonts, run the command
509 lilypond -dshow-available-fonts blabla
511 (the last argument of the command can be anything, but has to be present).
514 The size of the font may be set with the @code{font-size}
515 property. The resulting size is taken relative to the
516 @code{text-font-size} as defined in the @code{\paper} block.
519 @cindex font magnification
522 It is also possible to change the default font family for the entire
523 document. This is done by calling the @code{make-pango-font-tree} from
524 within the @code{\paper} block. The function takes names for the font
525 families to use for roman, sans serif and monospaced text. For
528 @cindex font families, setting
537 (make-pango-font-tree "Times New Roman"
544 c'^\markup { roman: foo \sans bla \typewriter bar }
548 @c we don't do Helvetica / Courier, since GS incorrectly loads
555 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
558 @node New dynamic marks
559 @subsection New dynamic marks
561 It is possible to print new dynamic marks or text that should be aligned
562 with dynamics. Use @code{make-dynamic-script} to create these
563 marks. Note that the dynamic font only contains the characters
564 @code{f,m,p,r,s} and @code{z}.
566 Some situations (such as dynamic marks) have preset font-related
567 properties. If you are creating text in such situations, it
568 is advisable to cancel those properties with
569 @code{normal-text}. See @ref{Overview of text markup commands}
572 @cindex make-dynamic-script
574 @lilypond[quote,verbatim,ragged-right]
575 sfzp = #(make-dynamic-script "sfzp")
581 @cindex Dynamics, editorial
582 @cindex Dynamics, parenthesis
584 It is also possible to print dynamics in round parenthesis or square
585 brackets. These are often used for adding editorial dynamics.
587 @lilypond[quote,verbatim,ragged-right]
588 rndf = \markup{ \center-align {\line { \bold{\italic (}
589 \dynamic f \bold{\italic )} }} }
590 boxf = \markup{ \bracket { \dynamic f } }
591 { c'1_\rndf c'1_\boxf }
596 @node Preparing parts
597 @section Preparing parts
599 This section describes various notation that are useful for preparing
603 * Multi measure rests::
608 * Instrument transpositions::
610 * Different editions from one source::
614 @node Multi measure rests
615 @subsection Multi measure rests
617 @cindex multi measure rests
618 @cindex full measure rests
619 @cindex Rests, multi measure
620 @cindex Rests, full measure
621 @cindex whole rests for a full measure
624 Rests for one full measure (or many bars) are entered using `@code{R}'. It
625 is specifically meant for full bar rests and for entering parts: the rest
626 can expand to fill a score with rests, or it can be printed as a single
627 multi-measure rest. This expansion is controlled by the property
628 @code{Score.skipBars}. If this is set to true, empty measures will not
629 be expanded, and the appropriate number is added automatically
631 @lilypond[quote,ragged-right,fragment,verbatim]
632 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
633 \set Score.skipBars = ##t R1*17 R1*4
636 The @code{1} in @code{R1} is similar to the duration notation used for
637 notes. Hence, for time signatures other than 4/4, you must enter other
638 durations. This can be done with augmentation dots or fractions
640 @lilypond[quote,ragged-right,fragment,verbatim]
641 \set Score.skipBars = ##t
650 An @code{R} spanning a single measure is printed as either a whole rest
651 or a breve, centered in the measure regardless of the time signature.
653 If there are only a few measures of rest, LilyPond prints ``church rests''
654 (a series of rectangles) in the staff. To replace that with a simple
655 rest, use @code{MultiMeasureRest.expand-limit}.
657 @lilypond[quote,ragged-right,fragment,verbatim]
658 \set Score.skipBars = ##t
660 \override MultiMeasureRest #'expand-limit = 1
664 @cindex text on multi-measure rest
665 @cindex script on multi-measure rest
666 @cindex fermata on multi-measure rest
668 Texts can be added to multi-measure rests by using the
669 @var{note}-@code{markup} syntax @ref{Text markup}.
670 A variable (@code{\fermataMarkup}) is provided for
673 @lilypond[quote,ragged-right,verbatim,fragment]
674 \set Score.skipBars = ##t
676 R2.*10^\markup { \italic "ad lib." }
680 Warning! This text is created by @code{MultiMeasureRestText}, not
683 @lilypond[quote,ragged-right,verbatim,fragment]
684 \override TextScript #'padding = #5
686 \override MultiMeasureRestText #'padding = #5
690 If you want to have text on the left end of a multi-measure rest,
691 attach the text to a zero-length skip note, i.e.,
701 Program reference: @internalsref{MultiMeasureRestMusicGroup},
702 @internalsref{MultiMeasureRest}.
704 The layout object @internalsref{MultiMeasureRestNumber} is for the
705 default number, and @internalsref{MultiMeasureRestText} for user
711 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
712 over multi-measure rests. And the pitch of multi-measure rests (or
713 staff-centered rests) can not be influenced.
715 @cindex condensing rests
717 There is no way to automatically condense multiple rests into a single
718 multi-measure rest. Multi-measure rests do not take part in rest
721 Be careful when entering multi-measure rests followed by whole
722 notes. The following will enter two notes lasting four measures each
726 When @code{skipBars} is set, the result will look OK, but the bar
727 numbering will be off.
730 @node Metronome marks
731 @subsection Metronome marks
734 @cindex beats per minute
735 @cindex metronome marking
737 Metronome settings can be entered as follows
739 \tempo @var{duration} = @var{per-minute}
742 In the MIDI output, they are interpreted as a tempo change. In the
743 layout output, a metronome marking is printed
745 @lilypond[quote,ragged-right,verbatim,fragment]
752 To change the tempo in the MIDI output without printing anything, make
753 the metronome marking invisible
755 \once \override Score.MetronomeMark #'transparent = ##t
758 To print other metronome markings, use these markup commands
759 @lilypond[quote,ragged-right,verbatim,relative,fragment]
762 \smaller \general-align #Y #DOWN \note #"16." #1
764 \smaller \general-align #Y #DOWN \note #"8" #1
769 See @ref{Text markup} for more details.
774 Program reference: @internalsref{MetronomeMark}.
779 Collisions are not checked. If you have notes above the top line of
780 the staff (or notes with articulations, slurs, text, etc), then the
781 metronome marking may be printed on top of musical symbols. If this
782 occurs, increase the padding of the metronome mark to place it
783 further away from the staff.
786 \override Score.MetronomeMark #'padding = #2.5
790 @node Rehearsal marks
791 @subsection Rehearsal marks
793 @cindex Rehearsal marks
796 To print a rehearsal mark, use the @code{\mark} command
798 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
807 The letter@tie{}`I' is skipped in accordance with engraving traditions.
808 If you wish to include the letter `I', then use
811 \set Score.markFormatter = #format-mark-alphabet
814 The mark is incremented automatically if you use @code{\mark
815 \default}, but you can also use an integer argument to set the mark
816 manually. The value to use is stored in the property
817 @code{rehearsalMark}.
819 The style is defined by the property @code{markFormatter}. It is a
820 function taking the current mark (an integer) and the current context
821 as argument. It should return a markup object. In the following
822 example, @code{markFormatter} is set to a canned procedure. After a
823 few measures, it is set to function that produces a boxed number.
825 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
826 \set Score.markFormatter = #format-mark-numbers
829 \set Score.markFormatter = #format-mark-box-numbers
835 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
836 of @code{format-mark-numbers} (the default format),
837 @code{format-mark-box-numbers},
838 @code{format-mark-letters} and @code{format-mark-box-letters}.
839 These can be used as inspiration for other formatting functions.
841 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
842 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
843 incremented numbers or letters.
845 Other styles of rehearsal mark can be specified manually
852 @code{Score.markFormatter} does not affect marks specified in this manner.
853 However, it is possible to apply a @code{\markup} to the string.
856 \mark \markup@{ \box A1 @}
863 Music glyphs (such as the segno sign) may be printed inside
866 @lilypond[fragment,quote,ragged-right,verbatim,relative]
867 c1 \mark \markup { \musicglyph #"scripts.segno" }
868 c1 \mark \markup { \musicglyph #"scripts.coda" }
869 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
874 See @ref{The Feta font} for a list of symbols which may be
875 printed with @code{\musicglyph}.
877 The horizontal location of rehearsal marks can be adjusted by
878 setting @code{break-align-symbol}
880 @lilypond[fragment,quote,ragged-right,verbatim,relative]
884 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
888 \override Score.RehearsalMark #'break-align-symbol = #'clef
894 @code{break-align-symbol} may also accept the following values:
895 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
896 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
897 @code{key-signature}, and @code{time-signature}. Setting
898 @code{break-align-symbol} will only have an effect if the symbol
899 appears at that point in the music.
904 This manual: @ref{Text marks}.
906 Program reference: @internalsref{RehearsalMark}.
908 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
909 definition of @code{format-mark-numbers} and
910 @code{format-mark-letters}. They can be used as inspiration for other
911 formatting functions.
913 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
915 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
919 @subsection Bar numbers
922 @cindex measure numbers
923 @funindex currentBarNumber
925 Bar numbers are printed by default at the start of the line. The
926 number itself is stored in the @code{currentBarNumber} property, which
927 is normally updated automatically for every measure.
929 @lilypond[verbatim,ragged-right,quote,fragment,relative]
930 \repeat unfold 4 {c4 c c c} \break
931 \set Score.currentBarNumber = #50
932 \repeat unfold 4 {c4 c c c}
935 Bar numbers may only be printed at bar lines; to print a bar
936 number at the beginning of a piece, an empty bar line must
939 @lilypond[verbatim,ragged-right,quote,fragment,relative]
940 \set Score.currentBarNumber = #50
942 \repeat unfold 4 {c4 c c c} \break
943 \repeat unfold 4 {c4 c c c}
946 Bar numbers can be typeset at regular intervals instead of at the
947 beginning of each line. This is illustrated in the following example,
948 whose source is available as
949 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
951 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
953 Bar numbers can be removed entirely by removing the Bar number
954 engraver from the score.
956 @lilypond[verbatim,ragged-right,quote]
960 \remove "Bar_number_engraver"
972 Program reference: @internalsref{BarNumber}.
975 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
976 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
981 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
982 there is one at the top. To solve this, the
983 @code{padding} property of @internalsref{BarNumber} can be
984 used to position the number correctly.
987 @node Instrument names
988 @subsection Instrument names
990 In an orchestral score, instrument names are printed at the left side
993 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
994 and @internalsref{Staff}.@code{shortInstrumentName}, or
995 @internalsref{PianoStaff}.@code{instrumentName} and
996 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
998 the start of the staff. For the first staff, @code{instrumentName} is
999 used, for the following ones, @code{shortInstrumentName} is used.
1001 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1002 \set Staff.instrumentName = "Ploink "
1003 \set Staff.shortInstrumentName = "Plk "
1009 You can also use markup texts to construct more complicated instrument
1012 @lilypond[quote,fragment,verbatim,ragged-right]
1013 \set Staff.instrumentName = \markup {
1014 \column { "Clarinetti"
1015 \line { "in B" \smaller \flat } } }
1019 If you wish to center the instrument names, you must center all of them
1021 @lilypond[quote,verbatim,ragged-right]
1024 \set Staff.instrumentName = \markup {
1025 \center-align { "Clarinetti"
1026 \line { "in B" \smaller \flat } } }
1030 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1037 For longer instrument names, it may be useful to increase the
1038 @code{indent} setting in the @code{\layout} block.
1040 To center instrument names while leaving extra space to the right,
1042 @lilypond[quote,verbatim,ragged-right]
1043 \new StaffGroup \relative
1046 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1050 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1056 To add instrument names to other contexts (such as @code{GrandStaff},
1057 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1058 be added to that context.
1062 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1067 More information about adding and removing engravers can
1068 be found in @ref{Modifying context plug-ins}.
1070 Instrument names may be changed in the middle of a piece,
1072 @lilypond[quote,fragment,verbatim,ragged-right]
1073 \set Staff.instrumentName = "First"
1074 \set Staff.shortInstrumentName = "one"
1077 \set Staff.instrumentName = "Second"
1078 \set Staff.shortInstrumentName = "two"
1086 Program reference: @internalsref{InstrumentName}.
1090 @node Instrument transpositions
1091 @subsection Instrument transpositions
1093 @cindex transposition, MIDI
1094 @cindex transposition, instrument
1096 The key of a transposing instrument can also be specified. This
1097 applies to many wind instruments, for example, clarinets (B-flat, A, and
1098 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1100 The transposition is entered after the keyword @code{\transposition}
1103 \transposition bes %% B-flat clarinet
1107 This command sets the property @code{instrumentTransposition}. The value of
1108 this property is used for MIDI output and quotations. It does not
1109 affect how notes are printed in the current staff. To change the printed
1110 output, see @ref{Transpose}.
1112 The pitch to use for @code{\transposition} should correspond to the
1113 real sound heard when a @code{c'} written on the staff is played by the
1114 transposing instrument. For example, when entering a score in
1115 concert pitch, typically all voices are entered in C, so
1116 they should be entered as
1129 The command @code{\transposition} should be used when the music is
1130 entered from a (transposed) orchestral part. For example, in
1131 classical horn parts, the tuning of the instrument is often changed
1132 during a piece. When copying the notes from the part, use
1133 @code{\transposition}, e.g.,
1145 @node Ottava brackets
1146 @subsection Ottava brackets
1148 `Ottava' brackets introduce an extra transposition of an octave for
1149 the staff. They are created by invoking the function
1150 @code{set-octavation}
1156 @lilypond[quote,ragged-right,verbatim,fragment]
1166 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1167 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1168 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1169 @code{centralCPosition}. For overriding the text of the bracket, set
1170 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1172 @lilypond[quote,ragged-right,verbatim]
1175 \set Staff.ottavation = #"8"
1183 Program reference: @internalsref{OttavaBracket}.
1185 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1186 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1191 @code{set-octavation} will get confused when clef changes happen
1192 during an octavation bracket.
1195 @node Different editions from one source
1196 @subsection Different editions from one source
1201 The @code{\tag} command marks music expressions with a name. These
1202 tagged expressions can be filtered out later. With this mechanism it
1203 is possible to make different versions of the same music source.
1205 In the following example, we see two versions of a piece of music, one
1206 for the full score, and one with cue notes for the instrumental part
1222 The same can be applied to articulations, texts, etc.: they are
1225 -\tag #@var{your-tag}
1227 to an articulation, for example,
1232 This defines a note with a conditional fingering indication.
1235 @cindex removeWithTag
1236 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1237 commands, tagged expressions can be filtered. For example,
1241 \keepWithTag #'score @var{the music}
1242 \keepWithTag #'part @var{the music}
1247 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1249 The arguments of the @code{\tag} command should be a symbol
1250 (such as @code{#'score} or @code{#'part}), followed by a
1251 music expression. It is possible to put multiple tags on
1252 a piece of music with multiple @code{\tag} entries,
1255 \tag #'original-part \tag #'transposed-part @dots{}
1261 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1266 Multiple rests are not merged if you create the score with both tagged
1271 @node Orchestral music
1272 @section Orchestral music
1274 Orchestral music involves some special notation, both in the full
1275 score and the individual parts. This section explains how to tackle
1276 some common problems in orchestral music.
1279 * Automatic part combining::
1281 * Quoting other voices::
1282 * Formatting cue notes::
1283 * Aligning to cadenzas::
1287 @node Automatic part combining
1288 @subsection Automatic part combining
1289 @cindex automatic part combining
1290 @cindex part combiner
1292 Automatic part combining is used to merge two parts of music onto a
1293 staff. It is aimed at typesetting orchestral scores. When the two
1294 parts are identical for a period of time, only one is shown. In
1295 places where the two parts differ, they are typeset as separate
1296 voices, and stem directions are set automatically. Also, solo and
1297 @emph{a due} parts are identified and can be marked.
1299 The syntax for part combining is
1302 \partcombine @var{musicexpr1} @var{musicexpr2}
1306 The following example demonstrates the basic functionality of the part
1307 combiner: putting parts on one staff, and setting stem directions and
1310 @lilypond[quote,verbatim,ragged-right,fragment]
1311 \new Staff \partcombine
1312 \relative g' { g g a( b) c c r r }
1313 \relative g' { g g r4 r e e g g }
1316 The first @code{g} appears only once, although it was
1317 specified twice (once in each part). Stem, slur, and tie directions are
1318 set automatically, depending whether there is a solo or unisono. The
1319 first part (with context called @code{one}) always gets up stems, and
1320 `Solo', while the second (called @code{two}) always gets down stems and
1323 If you just want the merging parts, and not the textual markings, you
1324 may set the property @code{printPartCombineTexts} to false
1326 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1328 \set Staff.printPartCombineTexts = ##f
1330 \relative g' { g a( b) r }
1331 \relative g' { g r4 r f }
1335 To change the text that is printed for solos or merging, you may
1336 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1339 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1341 \set Score.soloText = #"ichi"
1342 \set Score.soloIIText = #"ni"
1343 \set Score.aDueText = #"tachi"
1345 \relative g' { g4 g a( b) r }
1346 \relative g' { g4 g r r f }
1350 Both arguments to @code{\partcombine} will be interpreted as
1351 @internalsref{Voice} contexts. If using relative octaves,
1352 @code{\relative} should be specified for both music expressions, i.e.,
1356 \relative @dots{} @var{musicexpr1}
1357 \relative @dots{} @var{musicexpr2}
1361 A @code{\relative} section that is outside of @code{\partcombine} has
1362 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1366 Program reference: @internalsref{PartCombineMusic}.
1370 When @code{printPartCombineTexts} is set, when the two voices play the
1371 same notes on and off, the part combiner may typeset @code{a2} more
1372 than once in a measure.
1374 @code{\partcombine} cannot be inside @code{\times}.
1376 @code{\partcombine} cannot be inside @code{\relative}.
1378 Internally, the @code{\partcombine} interprets both arguments as
1379 @code{Voice}s named @code{one} and @code{two}, and then decides when
1380 the parts can be combined. Consequently, if the arguments switch to
1381 differently named @internalsref{Voice} contexts, the events in those
1386 @subsection Hiding staves
1388 @cindex Frenched scores
1389 @cindex Hiding staves
1391 In orchestral scores, staff lines that only have rests are usually
1392 removed; this saves some space. This style is called `French Score'.
1393 For @internalsref{Lyrics},
1394 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1395 switched on by default. When the lines of these contexts turn out
1396 empty after the line-breaking process, they are removed.
1398 For normal staves, a specialized @internalsref{Staff} context is
1399 available, which does the same: staves containing nothing (or only
1400 multi-measure rests) are removed. The context definition is stored in
1401 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1402 in this example disappears in the second line
1404 @lilypond[quote,ragged-right,verbatim]
1406 \context { \RemoveEmptyStaffContext }
1411 \new Staff { e4 f g a \break c1 }
1412 \new Staff { c4 d e f \break R1 }
1417 The first system shows all staves in full. If empty staves should be
1418 removed from the first system too, set @code{remove-first} to true in
1419 @internalsref{VerticalAxisGroup}.
1422 \override Score.VerticalAxisGroup #'remove-first = ##t
1425 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1426 or @code{\RemoveEmptyRhythmicStaffContext}.
1428 Another application is making ossia sections, i.e., alternative
1429 melodies on a separate piece of staff, with help of a Frenched
1433 @node Quoting other voices
1434 @subsection Quoting other voices
1438 With quotations, fragments of other parts can be inserted into a part
1439 directly. Before a part can be quoted, it must be marked especially as
1440 quotable. This is done with the @code{\addquote} command.
1443 \addquote @var{name} @var{music}
1448 Here, @var{name} is an identifying string. The @var{music} is any kind
1449 of music. Here is an example of @code{\addquote}
1452 \addquote clarinet \relative c' @{
1457 This command must be entered at toplevel, i.e., outside any music
1460 After calling @code{\addquote}, the quotation may then be done with
1461 @code{\quoteDuring} or @code{\cueDuring},
1464 \quoteDuring #@var{name} @var{music}
1467 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1471 \quoteDuring #"clarinet" @{ s2. @}
1474 This would cite three quarter notes (the duration of @code{s2.}) of
1475 the previously added @code{clarinet} voice.
1478 More precisely, it takes the current time-step of the part being
1479 printed, and extracts the notes at the corresponding point of the
1480 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1481 should be the entire part of the voice to be quoted, including any
1482 rests at the beginning.
1484 Quotations take into account the transposition of both source and target
1485 instruments, if they are specified using the @code{\transposition} command.
1487 @lilypond[quote,ragged-right,verbatim]
1488 \addquote clarinet \relative c' {
1494 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1498 The type of events that are present in cue notes can be trimmed with
1499 the @code{quotedEventTypes} property. The default value is
1500 @code{(note-event rest-event)}, which means that only notes and
1501 rests of the cued voice end up in the @code{\quoteDuring}.
1505 \set Staff.quotedEventTypes =
1506 #'(note-event articulation-event dynamic-event)
1510 will quote notes (but no rests), together with scripts and dynamics.
1514 Only the contents of the first @internalsref{Voice} occurring in an
1515 @code{\addquote} command will be considered for quotation, so
1516 @var{music} can not contain @code{\new} and @code{\context Voice}
1517 statements that would switch to a different Voice.
1519 Quoting grace notes is broken and can even cause LilyPond to crash.
1523 In this manual: @ref{Instrument transpositions}.
1525 Examples: @inputfileref{input/@/regression,quote@/.ly}
1526 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1528 Program reference: @internalsref{QuoteMusic}.
1531 @node Formatting cue notes
1532 @subsection Formatting cue notes
1534 @cindex cues, formatting
1536 The previous section deals with inserting notes from another voice.
1537 There is a more advanced music function called @code{\cueDuring},
1538 which makes formatting cue notes easier.
1543 \cueDuring #@var{name} #@var{updown} @var{music}
1546 This will insert notes from the part @var{name} into a
1547 @internalsref{Voice} called @code{cue}. This happens simultaneously
1548 with @var{music}, which usually is a rest. When the cue notes start,
1549 the staff in effect becomes polyphonic for a moment. The argument
1550 @var{updown} determines whether the cue notes should be notated as a
1551 first or second voice.
1554 @lilypond[verbatim,ragged-right]
1557 \override Stem #'length-fraction = #0.8
1558 \override Beam #'thickness = #0.384
1559 \override Beam #'length-fraction = #0.8
1562 \addquote clarinet \relative {
1567 \new Staff \relative <<
1569 % setup a context for cue notes.
1570 \new Voice = "cue" { \smaller \skip 1*21 }
1572 \set Score.skipBars = ##t
1576 \cueDuring #"clarinet" #1 {
1585 Here are a couple of hints for successful cue notes
1589 Cue notes have smaller font sizes.
1591 the cued part is marked with the instrument playing the cue.
1593 when the original part takes over again, this should be marked with
1594 the name of the original instrument.
1596 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1598 @c Yes, this is good practice. Otherwise, the start of the original
1599 @c part can only be seen from the font size. This is not good enough
1600 @c for sight-reading. It is possilbe to use other
1601 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1607 Any other changes introduced by the cued part should also be
1608 undone. For example, if the cued instrument plays in a different clef,
1609 the original clef should be stated once again.
1613 The macro @code{\transposedCueDuring} is
1614 useful to add cues to instruments which use a completely different
1615 octave range (for example, having a cue of a piccolo flute within
1616 a contra bassoon part).
1618 @lilypond[verbatim,ragged-right,quote]
1619 picc = \relative c''' {
1625 \addquote "picc" { \picc }
1627 cbsn = \relative c, {
1630 \transposedCueDuring #"picc" #UP c,, { R1 } |
1635 \context Staff = "picc" \picc
1636 \context Staff = "cbsn" \cbsn
1642 @node Aligning to cadenzas
1643 @subsection Aligning to cadenzas
1645 In an orchestral context, cadenzas present a special problem:
1646 when constructing a score that includes a cadenza, all other
1647 instruments should skip just as many notes as the length of the
1648 cadenza, otherwise they will start too soon or too late.
1650 A solution to this problem are the functions @code{mmrest-of-length}
1651 and @code{skip-of-length}. These Scheme functions take a piece of music
1652 as argument, and generate a @code{\skip} or multi-rest, exactly as
1653 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1654 in the following example.
1656 @lilypond[verbatim,ragged-right,quote]
1657 cadenza = \relative c' {
1658 c4 d8 << { e f g } \\ { d4. } >>
1663 \new Staff { \cadenza c'4 }
1665 #(ly:export (mmrest-of-length cadenza))
1674 @node Contemporary notation
1675 @section Contemporary notation
1677 In the 20th century, composers have greatly expanded the musical
1678 vocabulary. With this expansion, many innovations in musical notation
1679 have been tried. The book ``Music Notation in the 20th century'' by
1680 Kurt Stone gives a comprehensive overview (see @ref{Literature
1683 This section describes notation that does
1684 not fit into traditional notation categories, such as pitches,
1685 tuplet beams, and articulation. For contemporary notation
1686 that fits into traditional notation categories, such as
1687 microtones, nested tuplet beams, and unusual fermatas, please
1688 see those sections of the documentation.
1691 * Polymetric notation::
1692 * Time administration::
1693 * Proportional notation::
1695 * Special noteheads::
1698 * Selecting notation font size::
1702 @node Polymetric notation
1703 @subsection Polymetric notation
1705 Double time signatures are not supported explicitly, but they can be
1706 faked. In the next example, the markup for the time signature is
1707 created with a markup text. This markup text is inserted in the
1708 @internalsref{TimeSignature} grob. See also
1709 @inputfileref{input/@/test,compound@/-time@/.ly}).
1711 @lilypond[verbatim,ragged-right]
1714 \override #'(baseline-skip . 2) \number {
1717 \bracket \column { "5" "8" }
1722 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1723 \override Staff.TimeSignature #'text = #tsMarkup
1725 c'2 \bar ":" c'4 c'4.
1729 Each staff can also have its own time signature. This is done by
1730 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1736 \remove "Timing_translator"
1737 \remove "Default_bar_line_engraver"
1741 \consists "Timing_translator"
1742 \consists "Default_bar_line_engraver"
1749 Now, each staff has its own time signature.
1762 c4. c8 c c c4. c8 c c
1767 @lilypond[quote,ragged-right]
1771 \remove "Timing_translator"
1772 \remove "Default_bar_line_engraver"
1775 \consists "Timing_translator"
1776 \consists "Default_bar_line_engraver"
1791 c4. c8 c c c4. c8 c c
1797 A different form of polymetric notation is where note lengths have
1798 different values across staves.
1800 This notation can be created by setting a common time signature for
1801 each staff but replacing it manually using
1802 @code{timeSignatureFraction} to the desired fraction. Then the printed
1803 durations in each staff are scaled to the common time signature.
1804 The latter is done with @code{\compressMusic}, which is used similar
1805 to @code{\times}, but does not create a tuplet bracket. The syntax is
1807 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1812 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1813 used in parallel. In the second staff, shown durations are multiplied by
1814 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1815 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1817 @lilypond[quote,ragged-right,verbatim,fragment]
1825 \set Staff.timeSignatureFraction = #'(9 . 8)
1826 \compressMusic #'(2 . 3)
1827 \repeat unfold 6 { c8[ c c] }
1831 \set Staff.timeSignatureFraction = #'(10 . 8)
1832 \compressMusic #'(3 . 5) {
1833 \repeat unfold 2 { c8[ c c] }
1834 \repeat unfold 2 { c8[ c] }
1835 | c4. c4. \times 2/3 { c8 c c } c4
1846 When using different time signatures in parallel, the spacing is
1847 aligned vertically, but bar lines distort the regular spacing.
1850 @node Time administration
1851 @subsection Time administration
1853 @cindex Time administration
1855 Time is administered by the @internalsref{Time_signature_engraver},
1856 which usually lives in the @internalsref{Score} context. The
1857 bookkeeping deals with the following variables
1860 @item currentBarNumber
1864 The length of the measures in the current time signature. For a 4/4
1865 time this is@tie{}1, and for 6/8 it is 3/4.
1867 @item measurePosition
1868 The point within the measure where we currently are. This quantity
1869 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1870 happens, @code{currentBarNumber} is incremented.
1873 If set to true, the above variables are updated for every time
1874 step. When set to false, the engraver stays in the current measure
1878 Timing can be changed by setting any of these variables explicitly.
1879 In the next example, the 4/4 time signature is printed, but
1880 @code{measureLength} is set to 5/4. After a while, the measure is
1881 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1882 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1883 3/8 arises because 5/4 normally has 10/8, but we have manually
1884 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1886 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1887 \set Score.measureLength = #(ly:make-moment 5 4)
1891 \set Score.measurePosition = #(ly:make-moment 7 8)
1897 As the example illustrates, @code{ly:make-moment n m} constructs a
1898 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
1900 note duration and @code{ly:make-moment 7 16} is the duration of
1901 seven sixteenths notes.
1904 @node Proportional notation
1905 @subsection Proportional notation
1906 @cindex Proportional notation
1908 Notes can be spaced proportionally to their time-difference by
1909 assigning a duration to @code{proportionalNotationDuration}
1911 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1913 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1914 \new Staff { c8[ c c c c c] c4 c2 r2 }
1915 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1919 Setting this property only affects the ideal spacing between
1920 consecutive notes. For true proportional notation, the following
1921 settings are also required.
1925 @item True proportional notation requires that symbols are allowed to
1926 overstrike each other. That is achieved by removing the
1927 @internalsref{Separating_line_group_engraver} from
1928 @internalsref{Staff} context.
1930 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
1931 is removed by setting the @code{strict-note-spacing} property to
1932 @code{#t} in @internalsref{SpacingSpanner} grob.
1934 @item Optical spacing tweaks are switched by setting
1935 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
1942 @inputfileref{input/@/regression,spacing-proportional/.ly}
1943 @inputfileref{input/@/regression,spacing-strict-notespacing/.ly}
1944 @inputfileref{input/@/regression,spacing-strict-spacing-grace/.ly}
1946 An example of strict proportional notation is in the
1947 example file @file{input/proportional.ly}.
1951 @subsection Clusters
1955 A cluster indicates a continuous range of pitches to be played. They
1956 can be denoted as the envelope of a set of notes. They are entered by
1957 applying the function @code{makeClusters} to a sequence of
1959 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1960 \makeClusters { <c e > <b f'> }
1963 The following example (from
1964 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1967 @lilypondfile[ragged-right,quote]{cluster.ly}
1969 Ordinary notes and clusters can be put together in the same staff,
1970 even simultaneously. In such a case no attempt is made to
1971 automatically avoid collisions between ordinary notes and clusters.
1975 Program reference: @internalsref{ClusterSpanner},
1976 @internalsref{ClusterSpannerBeacon},
1977 @internalsref{Cluster_spanner_engraver}.
1979 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1983 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1984 accurately. Use @code{<g a>8 <e a>8} instead.
1987 @node Special noteheads
1988 @subsection Special noteheads
1990 @cindex note heads, special
1992 Different noteheads are used by various instruments for various
1993 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1994 notes on guitar; diamonds are used for harmonics on string instruments,
1995 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1996 other notehead styles are produced by tweaking the property
1998 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2000 \override NoteHead #'style = #'cross
2002 \revert NoteHead #'style
2003 e d <c f\harmonic> <d a'\harmonic>
2007 To see all notehead styles, please see
2008 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
2013 Program reference: @internalsref{NoteHead}.
2016 @node Feathered beams
2017 @subsection Feathered beams
2019 Feathered beams are printed by setting the @code{grow-direction}
2020 property of a @code{Beam}. The @code{\featherDurations} function
2021 can be used to adjust note durations.
2023 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2024 \featherDurations #(ly:make-moment 5 4)
2026 \override Beam #'grow-direction = #LEFT
2033 The @code{\featherDuration} command only works with very short
2037 @subsection Improvisation
2039 Improvisation is sometimes denoted with slashed note heads. Such note
2040 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2041 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
2045 \set squashedPosition = #0
2046 \override NoteHead #'style = #'slash
2050 switches on the slashes.
2052 There are shortcuts @code{\improvisationOn} (and an accompanying
2053 @code{\improvisationOff}) for this command sequence. They are used in
2054 the following example
2056 @lilypond[verbatim,ragged-right,quote]
2058 \consists Pitch_squash_engraver
2060 e8 e g a a16(bes)(a8) g \improvisationOn
2063 ~fis2 \improvisationOff a16(bes) a8 g e
2068 @node Selecting notation font size
2069 @subsection Selecting notation font size
2071 The easiest method of setting the font size of any context is by
2072 setting the @code{fontSize} property.
2074 @lilypond[quote,fragment,relative=1,verbatim]
2083 It does not change the size of variable symbols, such as beams or
2086 Internally, the @code{fontSize} context property will cause the
2087 @code{font-size} property to be set in all layout objects. The value
2088 of @code{font-size} is a number indicating the size relative to the
2089 standard size for the current staff height. Each step up is an
2090 increase of approximately 12% of the font size. Six steps is exactly a
2091 factor two. The Scheme function @code{magstep} converts a
2092 @code{font-size} number to a scaling factor.
2094 @lilypond[quote,fragment,relative=1,verbatim]
2096 \override NoteHead #'font-size = #-4
2098 \override NoteHead #'font-size = #3
2102 Font size changes are achieved by scaling the design size that is
2103 closest to the desired size. The standard font size (for
2104 @code{font-size} equals 0), depends on the standard staff height. For
2105 a 20pt staff, a 10pt font is selected.
2107 The @code{font-size} property can only be set on layout objects that
2108 use fonts. These are the ones supporting the
2109 @internalsref{font-interface} layout interface.
2113 The following commands set @code{fontSize} for the current voice:
2119 @funindex \normalsize
2124 @node Educational use
2125 @section Educational use
2127 With the amount of control that LilyPond offers, one can make great
2128 teaching tools in addition to great musical scores.
2132 * Blank music sheet::
2134 * Shape note heads::
2135 * Easy Notation note heads::
2136 * Analysis brackets::
2137 * Coloring objects::
2143 @subsection Balloon help
2145 Elements of notation can be marked and named with the help of a square
2146 balloon. The primary purpose of this feature is to explain notation.
2148 The following example demonstrates its use.
2150 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2151 \new Voice \with { \consists "Balloon_engraver" }
2153 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2154 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2159 There are two music functions, @code{balloonText} and
2160 @code{balloonGrobText}. The latter takes the name of the grob to
2161 adorn, while the former may be used as an articulation on a note.
2162 The other arguments are the offset and the text of the label.
2165 @cindex notation, explaining
2169 Program reference: @internalsref{text-balloon-interface}.
2171 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
2176 @node Blank music sheet
2177 @subsection Blank music sheet
2179 @cindex Sheet music, empty
2180 @cindex Staves, blank sheet
2182 A blank music sheet can be produced also by using invisible notes, and
2183 removing @code{Bar_number_engraver}.
2186 @lilypond[quote,verbatim]
2187 \layout{ indent = #0 }
2189 \repeat unfold 2 % Change this for more lines.
2194 \override TimeSignature #'transparent = ##t
2195 % un-comment this line if desired
2196 % \override Clef #'transparent = ##t
2197 defaultBarType = #""
2198 \remove Bar_number_engraver
2201 % modify these to get the staves you want
2202 \new Staff \emptymusic
2203 \new TabStaff \emptymusic
2209 @subsection Hidden notes
2211 @cindex Hidden notes
2212 @cindex Invisible notes
2213 @cindex Transparent notes
2215 @funindex \hideNotes
2216 @funindex \unHideNotes
2217 Hidden (or invisible or transparent) notes can be useful in preparing theory
2218 or composition exercises.
2220 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2229 @node Shape note heads
2230 @subsection Shape note heads
2232 @cindex note heads, shape
2234 In shape note head notation, the shape of the note head corresponds
2235 to the harmonic function of a note in the scale. This notation was
2236 popular in the 19th century American song books.
2238 Shape note heads can be produced by setting @code{\aikenHeads} or
2239 @code{\sacredHarpHeads}, depending on the style desired.
2241 @lilypond[verbatim,relative=1,fragment]
2248 Shapes are determined on the step in the scale, where the base of the
2249 scale is determined by the @code{\key} command
2252 @funindex shapeNoteStyles
2253 @funindex \aikenHeads
2254 @funindex \sacredHarpHeads
2256 Shape note heads are implemented through the @code{shapeNoteStyles}
2257 property. Its value is a vector of symbols. The k-th element indicates
2258 the style to use for the k-th step of the scale. Arbitrary
2259 combinations are possible, e.g.
2261 @lilypond[verbatim,relative=1,fragment]
2262 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2267 @node Easy Notation note heads
2268 @subsection Easy Notation note heads
2270 @cindex note heads, practice
2271 @cindex note heads, easy notation
2272 @cindex easy notation
2275 The `easy play' note head includes a note name inside the head. It is
2276 used in music for beginners
2278 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2283 The command @code{\setEasyHeads} overrides settings for the
2284 @internalsref{NoteHead} object. To make the letters readable, it has
2285 to be printed in a large font size. To print with a larger font, see
2286 @ref{Setting the staff size}.
2290 @funindex \setEasyHeads
2291 @code{\setEasyHeads}
2294 @node Analysis brackets
2295 @subsection Analysis brackets
2297 @cindex phrasing brackets
2298 @cindex musicological analysis
2299 @cindex note grouping bracket
2301 Brackets are used in musical analysis to indicate structure in musical
2302 pieces. LilyPond supports a simple form of nested horizontal
2303 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2304 to @internalsref{Staff} context. A bracket is started with
2305 @code{\startGroup} and closed with @code{\stopGroup}
2307 @lilypond[quote,ragged-right,verbatim]
2310 c4\startGroup\startGroup
2313 c4\stopGroup\stopGroup
2317 \Staff \consists "Horizontal_bracket_engraver"
2323 Program reference: @internalsref{HorizontalBracket}.
2325 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2328 @node Coloring objects
2329 @subsection Coloring objects
2331 Individual objects may be assigned colors. You may use the
2332 color names listed in the @ref{List of colors}.
2334 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2335 \override NoteHead #'color = #red
2337 \override NoteHead #'color = #(x11-color 'LimeGreen)
2339 \override Stem #'color = #blue
2343 The full range of colors defined for X11 can be accessed by using the
2344 Scheme function x11-color. The function takes one argument that can be a
2348 \override Beam #'color = #(x11-color 'MediumTurquoise)
2354 \override Beam #'color = #(x11-color "MediumTurquoise")
2357 The first form is quicker to write and is more efficient. However, using
2358 the second form it is possible to access X11 colors by the multi-word
2362 \override Beam #'color = #(x11-color "medium turquoise")
2365 If x11-color cannot make sense of the parameter then the color returned
2366 defaults to black. It should be obvious from the final score that
2369 This example illustrates the use of x11-color. Notice that the stem
2370 color remains black after being set to (x11-color 'Boggle), which is
2371 deliberate nonsense.
2373 @lilypond[quote,ragged-right,verbatim]
2375 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2376 \set Staff.instrumentName = \markup {
2377 \with-color #(x11-color 'navy) "Clarinet"
2381 \override Beam #'color = #(x11-color "medium turquoise")
2383 \override NoteHead #'color = #(x11-color "LimeGreen")
2385 \override Stem #'color = #(x11-color 'Boggle)
2393 Appendix: @ref{List of colors}.
2397 Not all x11 colors are distinguishable in a web browser. For web use
2398 normal colors are recommended.
2400 An x11 color is not necessarily exactly the same shade as a similarly
2403 Notes in a chord cannot be colored with @code{\override}; use
2404 @code{\tweak} instead. See @ref{Objects connected to the input}
2409 @subsection Parentheses
2412 @cindex notes, ghost
2413 @cindex notes, parenthesized
2415 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2418 @lilypond[relative=2,fragment,verbatim,ragged-right]
2426 This only functions inside chords, even for single notes
2429 < \parenthesize NOTE>
2434 @subsection Grid lines
2436 Vertical lines can be drawn between staves synchronized with
2439 Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.