1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
10 @c A menu is needed before every deeper *section nesting of @node's; run
11 @c M-x texinfo-all-menus-update
12 @c to automatically fill in these menus before saving changes
15 @node Advanced notation
16 @chapter Advanced notation
18 This chapter deals with rarely-used and advanced notation.
24 * Contemporary notation::
33 This section explains how to include text (with various formatting) in
36 @cindex Text, other languages
37 To write non-ascii text (such as characters from other languages), simply
38 insert the characters directly into the lilypond file. The file must be
39 saved as UTF-8. For more information, see @ref{Text encoding}.
43 * Text and line spanners::
48 * Overview of text markup commands::
55 @subsection Text scripts
58 @cindex text items, non-empty
59 @cindex non-empty texts
61 It is possible to place arbitrary strings of text or @ref{Text markup}
62 above or below notes by using a string @code{c^"text"}. By default,
63 these indications do not influence the note spacing, but by using the
64 command @code{\fatText}, the widths will be taken into account
66 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
67 c4^"longtext" \fatText c4_"longlongtext" c4
71 To prevent text from influencing spacing, use @code{\emptyText}.
73 More complex formatting may also be added to a note by using the
75 @lilypond[fragment,ragged-right,verbatim,quote]
76 c'4^\markup { bla \bold bla }
79 The @code{\markup} is described in more detail in
93 Checking to make sure that text scripts and lyrics are within the margins is
94 a relatively large computational task. To speed up processing, lilypond does
95 not perform such calculations by default; to enable it, use
98 \override Score.PaperColumn #'keep-inside-line = ##t
104 In this manual: @ref{Text markup}.
106 Program reference: @internalsref{TextScript}.
109 @node Text and line spanners
110 @subsection Text and line spanners
112 Some performance indications, e.g., @i{rallentando} and
113 @i{accelerando} and @i{trills} are written as text and are extended
114 over many measures with lines, sometimes dotted or wavy.
116 These all use the same routines as the glissando for drawing the texts
117 and the lines, and tuning their behavior is therefore also done in the
118 same way. It is done with a spanner, and the routine responsible for
119 drawing the spanners is @code{ly:line-interface::print}. This
120 routine creates determines the exact location of the two @i{span
121 points} and draws a line in between, in the style requested.
123 Here is an example of the different line styles available, and how to
126 @lilypond[relative=2,ragged-right,verbatim,fragment]
128 \once \override Glissando #'dash-fraction = #0.5
130 \override Glissando #'style = #'dotted-line
132 \override Glissando #'style = #'zigzag
134 \override Glissando #'style = #'trill
138 The information that determines the end-points is computed on-the-fly
139 for every graphic object, but it is possible to override these.
141 @lilypond[relative=2,ragged-right,verbatim,fragment]
143 \once \override Glissando #'bound-details #'right #'Y = #-2
147 The @code{Glissando} object, like any other using the
148 @code{ly:line-interface::print} routine, carries a nested
149 association list. In the above statement, the value for @code{Y}
150 is set to @code{-2} for association list corresponding to the right
151 end point. Of course, it is also possible to adjust the left side with
152 @code{left} instead of @code{right}.
154 If @code{Y} is not set, the value is computed from the vertical
155 position of right attachment point of the spanner.
157 In case of a line break, the values for the span-points are extended
158 with contents of the @code{left-broken} and @code{right-broken}
159 sublists, for example
161 @lilypond[relative=2,ragged-right,verbatim,fragment]
162 \override Glissando #'breakable = ##T
163 \override Glissando #'bound-details #'right-broken #'Y = #-3
168 The following properties can be used for the
172 This sets the Y-coordinate of the end point, in staff space. By
173 default, it is the center of the bound object, so for a glissando it
174 points to the vertical center of the note head.
176 For horizontal spanners, such as text spanner and trill spanners, it
180 This determines where the line starts and ends in X-direction,
181 relative to the bound object. So, a value of @code{-1} (or
182 @code{LEFT}) makes the line start/end at the left side of the note
183 head it is attached to.
186 This is the absolute coordinate of the end point. It is usually
187 computed on the fly, and there is little use in overriding it.
190 Line spanners may have symbols at the beginning or end, which is
191 contained in this sub-property. This is for internal use, it is
192 recommended to use @code{text}.
195 This is a markup that is evaluated to yield stencil. It is
196 used to put @i{cresc.} and @i{tr} on horizontal spanners.
198 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
199 \override TextSpanner #'bound-details #'left #'text
200 = \markup { \small \bold Slower }
201 c2\startTextSpan b c a\stopTextSpan
204 @item stencil-align-dir-y
206 Without setting this, the stencil is simply put there at the
207 end-point, as defined by the @code{X} and @code{Y} sub properties.
208 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
209 will move the symbol at the edge relative to the end point of the line
211 @lilypond[relative=1,fragment,verbatim]
212 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
213 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
215 \override TextSpanner #'bound-details #'left #'text = #"gggg"
216 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
217 c4^\startTextSpan c c c \stopTextSpan
221 Setting this sub property to @code{#t} produce an arrowhead at the end
225 This sub property controls the space between the specified end-point
226 of the line and the actual end. Without padding, a glissando would
227 start and end in the center of each note head.
233 Program reference: @internalsref{TextSpanner},
234 @internalsref{Glissando}, @internalsref{VoiceFollower},
235 @internalsref{TrillSpanner}, @internalsref{line-spanner-interface}.
238 @inputfileref{input/@/regression,dynamics@/-text@/-spanner@/-padding.ly}.
239 @inputfileref{input/@/regression,glissando@/-broken@/.ly}.
240 @inputfileref{input/@/regression,line@/-arrows@/.ly}.
241 @inputfileref{input/@/regression,line@/-style@/.ly}.
242 @inputfileref{input/@/regression,text@/-spanner@/.ly}.
243 @inputfileref{input/@/regression,text@/-spanner@/.ly}.
247 @subsection Text spanners
249 @cindex Text spanners
251 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
252 are written as text and are extended over many measures with dotted
253 lines. Such texts are created using text spanners; attach
254 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
255 notes of the spanner.
257 The string to be printed, as well as the style, is set through object
260 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
263 \override TextSpanner #'edge-text = #'("rall " . "")
264 c2\startTextSpan b c\stopTextSpan a
267 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
268 c2\startTextSpan b c\stopTextSpan a
273 @cindex textSpannerUp
274 @code{textSpannerUp},
275 @cindex textSpannerDown
276 @code{textSpannerDown},
277 @cindex textSpannerNeutral
278 @code{textSpannerNeutral}.
283 To print a solid line, use
286 \override TextSpanner #'dash-fraction = #'()
292 Program reference: @internalsref{TextSpanner}.
294 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
298 @subsection Text marks
300 @cindex coda on bar line
301 @cindex segno on bar line
302 @cindex fermata on bar line
303 @cindex bar lines, symbols on
306 The @code{\mark} command is primarily used for
307 @ref{Rehearsal marks},
308 but it can also be used to put signs like coda,
309 segno, and fermata on a bar line. Use @code{\markup} to
310 access the appropriate symbol (symbols are listed in
313 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
314 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
319 @code{\mark} is only typeset above the top stave of the score. If
320 you specify the @code{\mark} command at a bar line, the resulting
321 mark is placed above the bar line. If you specify it in the middle
322 of a bar, the resulting mark is positioned between notes. If it is
323 specified before the beginning of a score line, it is placed
324 before the first note of the line. Finally, if the mark occurs at
325 a line break, the mark will be printed at the
326 beginning of the next line.
327 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
328 @c delete this sentence. -gp
329 If there is no next line, then the mark will not be printed at all.
334 To print the mark at the end of the current line, use
337 \override Score.RehearsalMark
338 #'break-visibility = #begin-of-line-invisible
341 @code{\mark} is often useful for adding text to the end of bar. In
342 such cases, changing the @code{#'self-alignment} is very useful
344 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
345 \override Score.RehearsalMark
346 #'break-visibility = #begin-of-line-invisible
348 \once \override Score.RehearsalMark #'self-alignment-X = #right
349 \mark "D.S. al Fine "
352 Text marks may be aligned with notation objects other than
355 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
360 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
364 \override Score.RehearsalMark #'break-align-symbol = #'clef
368 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
377 Although text marks are normally only printed above the topmost
378 staff, you may alter this to print them on every staff,
380 @lilypond[quote,ragged-right,verbatim,relative=2]
383 \remove "Mark_engraver"
387 \consists "Mark_engraver"
389 { c''1 \mark "foo" c'' }
391 \consists "Mark_engraver"
393 { c'1 \mark "foo" c' }
401 Program reference: @internalsref{RehearsalMark}.
405 @subsection Text markup
412 Use @code{\markup} to typeset text. Commands are entered with the
413 backslash @code{\}. To enter @code{\} and @code{#}, use double
416 @lilypond[quote,verbatim,fragment,relative=1]
418 c1_\markup { hi there }
419 c1^\markup { hi \bold there, is \italic {anyone home?} }
420 c1_\markup { "\special {weird} #characters" }
424 See @ref{Overview of text markup commands} for a list of all
427 @code{\markup} is primarily used for @internalsref{TextScript}s,
428 but it can also be used anywhere text is called in lilypond
430 @lilypond[quote,verbatim]
431 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
434 \override Score.RehearsalMark
435 #'break-visibility = #begin-of-line-invisible
436 \override Score.RehearsalMark #'self-alignment-X = #right
438 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
439 c2^\markup{ don't be \flat }
440 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
442 a2\mark \markup{ \large \bold Fine }
446 \addlyrics { bar, foo \markup{ \italic bar! } }
450 A @code{\markup} command can also be placed on its own, away from any
451 @code{\score} block, see @ref{Multiple scores in a book}.
453 @lilypond[quote,ragged-right,verbatim]
454 \markup{ Here is some text. }
457 @cindex font switching
459 The markup in the example demonstrates font switching commands. The
460 command @code{\bold} and @code{\italic} apply to the first following
461 word only; to apply a command to more than one word, enclose the
465 \markup @{ \bold @{ hi there @} @}
469 For clarity, you can also do this for single arguments, e.g.,
472 \markup @{ is \italic @{ anyone @} home @}
475 In markup mode you can compose expressions, similar to mathematical
476 expressions, XML documents, and music expressions. You can stack
477 expressions grouped vertically with the command @code{\column}.
478 Similarly, @code{\center-align} aligns texts by their center lines:
480 @lilypond[quote,verbatim,fragment,relative=1]
481 c1^\markup { \column { a bbbb \line { c d } } }
482 c1^\markup { \center-align { a bbbb c } }
483 c1^\markup { \line { a b c } }
486 Lists with no previous command are not kept distinct. The expression
489 \center-align @{ @{ a b @} @{ c d @} @}
497 \center-align @{ a b c d @}
502 To keep lists of words distinct, please use quotes @code{"} or
503 the @code{\line} command
505 @lilypond[quote,verbatim,fragment,relative=1]
507 c4^\markup{ \center-align { on three lines } }
508 c4^\markup{ \center-align { "all one line" } }
509 c4^\markup{ \center-align { { on three lines } } }
510 c4^\markup{ \center-align { \line { on one line } } }
513 Markups can be stored in variables and these variables
514 may be attached to notes, like
516 allegro = \markup @{ \bold \large @{ Allegro @} @}
517 @{ a^\allegro b c d @}
520 Some objects have alignment procedures of their own, which cancel out
521 any effects of alignments applied to their markup arguments as a
522 whole. For example, the @internalsref{RehearsalMark} is horizontally
523 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
526 In addition, vertical placement is performed after creating the
527 text markup object. If you wish to move an entire piece of markup,
528 you need to use the #'padding property or create an "anchor" point
529 inside the markup (generally with @code{\hspace #0}).
531 @lilypond[quote,verbatim,fragment,relative=1]
533 c'4^\markup{ \raise #5 "not raised" }
534 \once \override TextScript #'padding = #3
535 c'4^\markup{ raised }
536 c'4^\markup{ \hspace #0 \raise #1.5 raised }
539 Some situations (such as dynamic marks) have preset font-related
540 properties. If you are creating text in such situations, it
541 is advisable to cancel those properties with
542 @code{normal-text}. See @ref{Overview of text markup commands}
548 This manual: @ref{Overview of text markup commands}.
550 Program reference: @internalsref{TextScript}.
552 Init files: @file{scm/@/new@/-markup@/.scm}.
557 Kerning or generation of ligatures is only done when the @TeX{}
558 backend is used. In this case, LilyPond does not account for them so
559 texts will be spaced slightly too wide.
561 Syntax errors for markup mode are confusing.
565 @subsection Nested scores
567 It is possible to nest music inside markups, by adding a @code{\score}
568 block to a markup expression. Such a score must contain a @code{\layout}
571 @lilypond[quote,verbatim,ragged-right]
575 \relative { c4 d e f }
584 @node Overview of text markup commands
585 @subsection Overview of text markup commands
587 The following commands can all be used inside @code{\markup @{ @}}.
589 @include markup-commands.tely
593 @subsection Font selection
595 @cindex font selection
596 @cindex font magnification
597 @funindex font-interface
599 By setting the object properties described below, you can select a
600 font from the preconfigured font families. LilyPond has default
601 support for the feta music fonts. Text fonts are selected through
602 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
603 the sans and typewriter to whatever the Pango installation defaults
608 @item @code{font-encoding}
609 is a symbol that sets layout of the glyphs. This should only be set to
610 select different types of non-text fonts, e.g.
612 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
613 standard music font, including ancient glyphs, @code{fetaDynamic} for
614 dynamic signs and @code{fetaNumber} for the number font.
616 @item @code{font-family}
617 is a symbol indicating the general class of the typeface. Supported are
618 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
620 @item @code{font-shape}
621 is a symbol indicating the shape of the font. There are typically
622 several font shapes available for each font family. Choices are
623 @code{italic}, @code{caps}, and @code{upright}.
625 @item @code{font-series}
626 is a symbol indicating the series of the font. There are typically
627 several font series for each font family and shape. Choices are
628 @code{medium} and @code{bold}.
632 Fonts selected in the way sketched above come from a predefined style
633 sheet. If you want to use a font from outside the style sheet,
635 @code{font-name} property,
637 @lilypond[fragment,verbatim]
639 \override Staff.TimeSignature #'font-name = #"Charter"
640 \override Staff.TimeSignature #'font-size = #2
643 \override #'(font-name . "Vera Bold")
644 { This text is in Vera Bold }
650 Any font can be used, as long as it is available to Pango/FontConfig.
651 To get a full list of all available fonts, run the command
653 lilypond -dshow-available-fonts blabla
655 (the last argument of the command can be anything, but has to be present).
658 The size of the font may be set with the @code{font-size}
659 property. The resulting size is taken relative to the
660 @code{text-font-size} as defined in the @code{\paper} block.
663 @cindex font magnification
666 It is also possible to change the default font family for the entire
667 document. This is done by calling the @code{make-pango-font-tree} from
668 within the @code{\paper} block. The function takes names for the font
669 families to use for roman, sans serif and monospaced text. For
672 @cindex font families, setting
681 (make-pango-font-tree "Times New Roman"
688 c'^\markup { roman: foo \sans bla \typewriter bar }
692 @c we don't do Helvetica / Courier, since GS incorrectly loads
699 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
702 @node New dynamic marks
703 @subsection New dynamic marks
705 It is possible to print new dynamic marks or text that should be aligned
706 with dynamics. Use @code{make-dynamic-script} to create these
707 marks. Note that the dynamic font only contains the characters
708 @code{f,m,p,r,s} and @code{z}.
710 Some situations (such as dynamic marks) have preset font-related
711 properties. If you are creating text in such situations, it
712 is advisable to cancel those properties with
713 @code{normal-text}. See @ref{Overview of text markup commands}
716 @cindex make-dynamic-script
718 @lilypond[quote,verbatim,ragged-right]
719 sfzp = #(make-dynamic-script "sfzp")
725 @cindex Dynamics, editorial
726 @cindex Dynamics, parenthesis
728 It is also possible to print dynamics in round parenthesis or square
729 brackets. These are often used for adding editorial dynamics.
731 @lilypond[quote,verbatim,ragged-right]
732 rndf = \markup{ \center-align {\line { \bold{\italic (}
733 \dynamic f \bold{\italic )} }} }
734 boxf = \markup{ \bracket { \dynamic f } }
735 { c'1_\rndf c'1_\boxf }
740 @node Preparing parts
741 @section Preparing parts
743 This section describes various notation that are useful for preparing
747 * Multi measure rests::
752 * Instrument transpositions::
754 * Different editions from one source::
758 @node Multi measure rests
759 @subsection Multi measure rests
761 @cindex multi measure rests
762 @cindex full measure rests
763 @cindex Rests, multi measure
764 @cindex Rests, full measure
765 @cindex whole rests for a full measure
768 Rests for one full measure (or many bars) are entered using @samp{R}. It
769 is specifically meant for full bar rests and for entering parts: the rest
770 can expand to fill a score with rests, or it can be printed as a single
771 multi-measure rest. This expansion is controlled by the property
772 @code{Score.skipBars}. If this is set to true, empty measures will not
773 be expanded, and the appropriate number is added automatically
775 @lilypond[quote,ragged-right,fragment,verbatim]
776 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
777 \set Score.skipBars = ##t R1*17 R1*4
780 The @code{1} in @code{R1} is similar to the duration notation used for
781 notes. Hence, for time signatures other than 4/4, you must enter other
782 durations. This can be done with augmentation dots or fractions
784 @lilypond[quote,ragged-right,fragment,verbatim]
785 \set Score.skipBars = ##t
794 An @code{R} spanning a single measure is printed as either a whole rest
795 or a breve, centered in the measure regardless of the time signature.
797 If there are only a few measures of rest, LilyPond prints @q{church rests}
798 (a series of rectangles) in the staff. To replace that with a simple
799 rest, use @code{MultiMeasureRest.expand-limit}.
801 @lilypond[quote,ragged-right,fragment,verbatim]
802 \set Score.skipBars = ##t
804 \override MultiMeasureRest #'expand-limit = 1
808 @cindex text on multi-measure rest
809 @cindex script on multi-measure rest
810 @cindex fermata on multi-measure rest
812 Texts can be added to multi-measure rests by using the
813 @var{note}-@code{markup} syntax @ref{Text markup}.
814 A variable (@code{\fermataMarkup}) is provided for
817 @lilypond[quote,ragged-right,verbatim,fragment]
818 \set Score.skipBars = ##t
820 R2.*10^\markup { \italic "ad lib." }
824 Warning! This text is created by @code{MultiMeasureRestText}, not
827 @lilypond[quote,ragged-right,verbatim,fragment]
828 \override TextScript #'padding = #5
830 \override MultiMeasureRestText #'padding = #5
834 If you want to have text on the left end of a multi-measure rest,
835 attach the text to a zero-length skip note, i.e.,
845 Program reference: @internalsref{MultiMeasureRestMusicGroup},
846 @internalsref{MultiMeasureRest}.
848 The layout object @internalsref{MultiMeasureRestNumber} is for the
849 default number, and @internalsref{MultiMeasureRestText} for user
855 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
856 over multi-measure rests. And the pitch of multi-measure rests (or
857 staff-centered rests) can not be influenced.
859 @cindex condensing rests
861 There is no way to automatically condense multiple rests into a single
862 multi-measure rest. Multi-measure rests do not take part in rest
865 Be careful when entering multi-measure rests followed by whole
866 notes. The following will enter two notes lasting four measures each
870 When @code{skipBars} is set, the result will look OK, but the bar
871 numbering will be off.
874 @node Metronome marks
875 @subsection Metronome marks
878 @cindex beats per minute
879 @cindex metronome marking
881 Metronome settings can be entered as follows
883 \tempo @var{duration} = @var{per-minute}
886 In the MIDI output, they are interpreted as a tempo change. In the
887 layout output, a metronome marking is printed
889 @lilypond[quote,ragged-right,verbatim,fragment]
896 To change the tempo in the MIDI output without printing anything, make
897 the metronome marking invisible
899 \once \override Score.MetronomeMark #'transparent = ##t
902 To print other metronome markings, use these markup commands
903 @lilypond[quote,ragged-right,verbatim,relative,fragment]
906 \smaller \general-align #Y #DOWN \note #"16." #1
908 \smaller \general-align #Y #DOWN \note #"8" #1
913 See @ref{Text markup} for more details.
918 Program reference: @internalsref{MetronomeMark}.
923 Collisions are not checked. If you have notes above the top line of
924 the staff (or notes with articulations, slurs, text, etc), then the
925 metronome marking may be printed on top of musical symbols. If this
926 occurs, increase the padding of the metronome mark to place it
927 further away from the staff.
930 \override Score.MetronomeMark #'padding = #2.5
934 @node Rehearsal marks
935 @subsection Rehearsal marks
937 @cindex Rehearsal marks
940 To print a rehearsal mark, use the @code{\mark} command
942 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
951 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
952 If you wish to include the letter @q{I}, then use
955 \set Score.markFormatter = #format-mark-alphabet
958 The mark is incremented automatically if you use @code{\mark
959 \default}, but you can also use an integer argument to set the mark
960 manually. The value to use is stored in the property
961 @code{rehearsalMark}.
963 The style is defined by the property @code{markFormatter}. It is a
964 function taking the current mark (an integer) and the current context
965 as argument. It should return a markup object. In the following
966 example, @code{markFormatter} is set to a canned procedure. After a
967 few measures, it is set to function that produces a boxed number.
969 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
970 \set Score.markFormatter = #format-mark-numbers
973 \set Score.markFormatter = #format-mark-box-numbers
979 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
980 of @code{format-mark-numbers} (the default format),
981 @code{format-mark-box-numbers},
982 @code{format-mark-letters} and @code{format-mark-box-letters}.
983 These can be used as inspiration for other formatting functions.
985 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
986 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
987 incremented numbers or letters.
989 Other styles of rehearsal mark can be specified manually
996 @code{Score.markFormatter} does not affect marks specified in this manner.
997 However, it is possible to apply a @code{\markup} to the string.
1000 \mark \markup@{ \box A1 @}
1007 Music glyphs (such as the segno sign) may be printed inside
1010 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1011 c1 \mark \markup { \musicglyph #"scripts.segno" }
1012 c1 \mark \markup { \musicglyph #"scripts.coda" }
1013 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1018 See @ref{The Feta font} for a list of symbols which may be
1019 printed with @code{\musicglyph}.
1021 The horizontal location of rehearsal marks can be adjusted by
1022 setting @code{break-align-symbol}
1024 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1028 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
1032 \override Score.RehearsalMark #'break-align-symbol = #'clef
1038 @code{break-align-symbol} may also accept the following values:
1039 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1040 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1041 @code{key-signature}, and @code{time-signature}. Setting
1042 @code{break-align-symbol} will only have an effect if the symbol
1043 appears at that point in the music.
1048 This manual: @ref{Text marks}.
1050 Program reference: @internalsref{RehearsalMark}.
1052 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1053 definition of @code{format-mark-numbers} and
1054 @code{format-mark-letters}. They can be used as inspiration for other
1055 formatting functions.
1057 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
1059 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
1063 @subsection Bar numbers
1066 @cindex measure numbers
1067 @funindex currentBarNumber
1069 Bar numbers are printed by default at the start of the line. The
1070 number itself is stored in the @code{currentBarNumber} property, which
1071 is normally updated automatically for every measure.
1073 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1074 \repeat unfold 4 {c4 c c c} \break
1075 \set Score.currentBarNumber = #50
1076 \repeat unfold 4 {c4 c c c}
1079 Bar numbers may only be printed at bar lines; to print a bar
1080 number at the beginning of a piece, an empty bar line must
1083 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1084 \set Score.currentBarNumber = #50
1086 \repeat unfold 4 {c4 c c c} \break
1087 \repeat unfold 4 {c4 c c c}
1090 Bar numbers can be typeset at regular intervals instead of at the
1091 beginning of each line. This is illustrated in the following example,
1092 whose source is available as
1093 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
1095 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1097 Bar numbers can be removed entirely by removing the Bar number
1098 engraver from the score.
1100 @lilypond[verbatim,ragged-right,quote]
1104 \remove "Bar_number_engraver"
1116 Program reference: @internalsref{BarNumber}.
1119 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
1120 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
1125 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1126 there is one at the top. To solve this, the
1127 @code{padding} property of @internalsref{BarNumber} can be
1128 used to position the number correctly.
1131 @node Instrument names
1132 @subsection Instrument names
1134 In an orchestral score, instrument names are printed at the left side
1137 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1138 and @internalsref{Staff}.@code{shortInstrumentName}, or
1139 @internalsref{PianoStaff}.@code{instrumentName} and
1140 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1142 the start of the staff. For the first staff, @code{instrumentName} is
1143 used, for the following ones, @code{shortInstrumentName} is used.
1145 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1146 \set Staff.instrumentName = "Ploink "
1147 \set Staff.shortInstrumentName = "Plk "
1153 You can also use markup texts to construct more complicated instrument
1156 @lilypond[quote,fragment,verbatim,ragged-right]
1157 \set Staff.instrumentName = \markup {
1158 \column { "Clarinetti"
1159 \line { "in B" \smaller \flat } } }
1163 If you wish to center the instrument names, you must center all of them
1165 @lilypond[quote,verbatim,ragged-right]
1168 \set Staff.instrumentName = \markup {
1169 \center-align { "Clarinetti"
1170 \line { "in B" \smaller \flat } } }
1174 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1181 For longer instrument names, it may be useful to increase the
1182 @code{indent} setting in the @code{\layout} block.
1184 To center instrument names while leaving extra space to the right,
1186 @lilypond[quote,verbatim,ragged-right]
1187 \new StaffGroup \relative
1190 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1194 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1200 To add instrument names to other contexts (such as @code{GrandStaff},
1201 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1202 be added to that context.
1206 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1211 More information about adding and removing engravers can
1212 be found in @ref{Modifying context plug-ins}.
1214 Instrument names may be changed in the middle of a piece,
1216 @lilypond[quote,fragment,verbatim,ragged-right]
1217 \set Staff.instrumentName = "First"
1218 \set Staff.shortInstrumentName = "one"
1221 \set Staff.instrumentName = "Second"
1222 \set Staff.shortInstrumentName = "two"
1230 Program reference: @internalsref{InstrumentName}.
1234 @node Instrument transpositions
1235 @subsection Instrument transpositions
1237 @cindex transposition, MIDI
1238 @cindex transposition, instrument
1240 The key of a transposing instrument can also be specified. This
1241 applies to many wind instruments, for example, clarinets (B-flat, A, and
1242 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1244 The transposition is entered after the keyword @code{\transposition}
1247 \transposition bes %% B-flat clarinet
1251 This command sets the property @code{instrumentTransposition}. The value of
1252 this property is used for MIDI output and quotations. It does not
1253 affect how notes are printed in the current staff. To change the printed
1254 output, see @ref{Transpose}.
1256 The pitch to use for @code{\transposition} should correspond to the
1257 real sound heard when a @code{c'} written on the staff is played by the
1258 transposing instrument. For example, when entering a score in
1259 concert pitch, typically all voices are entered in C, so
1260 they should be entered as
1273 The command @code{\transposition} should be used when the music is
1274 entered from a (transposed) orchestral part. For example, in
1275 classical horn parts, the tuning of the instrument is often changed
1276 during a piece. When copying the notes from the part, use
1277 @code{\transposition}, e.g.,
1289 @node Ottava brackets
1290 @subsection Ottava brackets
1292 @q{Ottava} brackets introduce an extra transposition of an octave for
1293 the staff. They are created by invoking the function
1294 @code{set-octavation}
1300 @lilypond[quote,ragged-right,verbatim,fragment]
1310 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1311 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1312 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1313 @code{centralCPosition}. For overriding the text of the bracket, set
1314 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1316 @lilypond[quote,ragged-right,verbatim]
1319 \set Staff.ottavation = #"8"
1327 Program reference: @internalsref{OttavaBracket}.
1329 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1330 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1335 @code{set-octavation} will get confused when clef changes happen
1336 during an octavation bracket.
1339 @node Different editions from one source
1340 @subsection Different editions from one source
1345 The @code{\tag} command marks music expressions with a name. These
1346 tagged expressions can be filtered out later. With this mechanism it
1347 is possible to make different versions of the same music source.
1349 In the following example, we see two versions of a piece of music, one
1350 for the full score, and one with cue notes for the instrumental part
1366 The same can be applied to articulations, texts, etc.: they are
1369 -\tag #@var{your-tag}
1371 to an articulation, for example,
1376 This defines a note with a conditional fingering indication.
1379 @cindex removeWithTag
1380 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1381 commands, tagged expressions can be filtered. For example,
1385 \keepWithTag #'score @var{the music}
1386 \keepWithTag #'part @var{the music}
1391 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1393 The arguments of the @code{\tag} command should be a symbol
1394 (such as @code{#'score} or @code{#'part}), followed by a
1395 music expression. It is possible to put multiple tags on
1396 a piece of music with multiple @code{\tag} entries,
1399 \tag #'original-part \tag #'transposed-part @dots{}
1405 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1410 Multiple rests are not merged if you create the score with both tagged
1415 @node Orchestral music
1416 @section Orchestral music
1418 Orchestral music involves some special notation, both in the full
1419 score and the individual parts. This section explains how to tackle
1420 some common problems in orchestral music.
1423 * Automatic part combining::
1425 * Quoting other voices::
1426 * Formatting cue notes::
1427 * Aligning to cadenzas::
1431 @node Automatic part combining
1432 @subsection Automatic part combining
1433 @cindex automatic part combining
1434 @cindex part combiner
1436 Automatic part combining is used to merge two parts of music onto a
1437 staff. It is aimed at typesetting orchestral scores. When the two
1438 parts are identical for a period of time, only one is shown. In
1439 places where the two parts differ, they are typeset as separate
1440 voices, and stem directions are set automatically. Also, solo and
1441 @emph{a due} parts are identified and can be marked.
1443 The syntax for part combining is
1446 \partcombine @var{musicexpr1} @var{musicexpr2}
1450 The following example demonstrates the basic functionality of the part
1451 combiner: putting parts on one staff, and setting stem directions and
1454 @lilypond[quote,verbatim,ragged-right,fragment]
1455 \new Staff \partcombine
1456 \relative g' { g g a( b) c c r r }
1457 \relative g' { g g r4 r e e g g }
1460 The first @code{g} appears only once, although it was
1461 specified twice (once in each part). Stem, slur, and tie directions are
1462 set automatically, depending whether there is a solo or unisono. The
1463 first part (with context called @code{one}) always gets up stems, and
1464 @q{Solo}, while the second (called @code{two}) always gets down stems and
1467 If you just want the merging parts, and not the textual markings, you
1468 may set the property @code{printPartCombineTexts} to false
1470 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1472 \set Staff.printPartCombineTexts = ##f
1474 \relative g' { g a( b) r }
1475 \relative g' { g r4 r f }
1479 To change the text that is printed for solos or merging, you may
1480 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1483 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1485 \set Score.soloText = #"ichi"
1486 \set Score.soloIIText = #"ni"
1487 \set Score.aDueText = #"tachi"
1489 \relative g' { g4 g a( b) r }
1490 \relative g' { g4 g r r f }
1494 Both arguments to @code{\partcombine} will be interpreted as
1495 @internalsref{Voice} contexts. If using relative octaves,
1496 @code{\relative} should be specified for both music expressions, i.e.,
1500 \relative @dots{} @var{musicexpr1}
1501 \relative @dots{} @var{musicexpr2}
1505 A @code{\relative} section that is outside of @code{\partcombine} has
1506 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1510 Program reference: @internalsref{PartCombineMusic}.
1514 When @code{printPartCombineTexts} is set, when the two voices play the
1515 same notes on and off, the part combiner may typeset @code{a2} more
1516 than once in a measure.
1518 @code{\partcombine} cannot be inside @code{\times}.
1520 @code{\partcombine} cannot be inside @code{\relative}.
1522 Internally, the @code{\partcombine} interprets both arguments as
1523 @code{Voice}s named @code{one} and @code{two}, and then decides when
1524 the parts can be combined. Consequently, if the arguments switch to
1525 differently named @internalsref{Voice} contexts, the events in those
1530 @subsection Hiding staves
1532 @cindex Frenched scores
1533 @cindex Hiding staves
1535 In orchestral scores, staff lines that only have rests are usually
1536 removed; this saves some space. This style is called @q{French Score}.
1537 For @internalsref{Lyrics},
1538 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1539 switched on by default. When the lines of these contexts turn out
1540 empty after the line-breaking process, they are removed.
1542 For normal staves, a specialized @internalsref{Staff} context is
1543 available, which does the same: staves containing nothing (or only
1544 multi-measure rests) are removed. The context definition is stored in
1545 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1546 in this example disappears in the second line
1548 @lilypond[quote,ragged-right,verbatim]
1550 \context { \RemoveEmptyStaffContext }
1555 \new Staff { e4 f g a \break c1 }
1556 \new Staff { c4 d e f \break R1 }
1561 The first system shows all staves in full. If empty staves should be
1562 removed from the first system too, set @code{remove-first} to true in
1563 @internalsref{VerticalAxisGroup}.
1566 \override Score.VerticalAxisGroup #'remove-first = ##t
1569 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1570 or @code{\RemoveEmptyRhythmicStaffContext}.
1572 Another application is making ossia sections, i.e., alternative
1573 melodies on a separate piece of staff, with help of a Frenched
1577 @node Quoting other voices
1578 @subsection Quoting other voices
1582 With quotations, fragments of other parts can be inserted into a part
1583 directly. Before a part can be quoted, it must be marked especially as
1584 quotable. This is done with the @code{\addQuote} command.
1587 \addQuote @var{name} @var{music}
1592 Here, @var{name} is an identifying string. The @var{music} is any kind
1593 of music. Here is an example of @code{\addQuote}
1596 \addQuote clarinet \relative c' @{
1601 This command must be entered at toplevel, i.e., outside any music
1604 After calling @code{\addQuote}, the quotation may then be done with
1605 @code{\quoteDuring} or @code{\cueDuring},
1608 \quoteDuring #@var{name} @var{music}
1611 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1615 \quoteDuring #"clarinet" @{ s2. @}
1618 This would cite three quarter notes (the duration of @code{s2.}) of
1619 the previously added @code{clarinet} voice.
1622 More precisely, it takes the current time-step of the part being
1623 printed, and extracts the notes at the corresponding point of the
1624 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1625 should be the entire part of the voice to be quoted, including any
1626 rests at the beginning.
1628 Quotations take into account the transposition of both source and target
1629 instruments, if they are specified using the @code{\transposition} command.
1631 @lilypond[quote,ragged-right,verbatim]
1632 \addQuote clarinet \relative c' {
1638 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1642 The type of events that are present in cue notes can be trimmed with
1643 the @code{quotedEventTypes} property. The default value is
1644 @code{(note-event rest-event)}, which means that only notes and
1645 rests of the cued voice end up in the @code{\quoteDuring}.
1649 \set Staff.quotedEventTypes =
1650 #'(note-event articulation-event dynamic-event)
1654 will quote notes (but no rests), together with scripts and dynamics.
1658 Only the contents of the first @internalsref{Voice} occurring in an
1659 @code{\addQuote} command will be considered for quotation, so
1660 @var{music} can not contain @code{\new} and @code{\context Voice}
1661 statements that would switch to a different Voice.
1663 Quoting grace notes is broken and can even cause LilyPond to crash.
1665 Quoting nested triplets may result in poor notation.
1670 In this manual: @ref{Instrument transpositions}.
1672 Examples: @inputfileref{input/@/regression,quote@/.ly}
1673 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1675 Program reference: @internalsref{QuoteMusic}.
1678 @node Formatting cue notes
1679 @subsection Formatting cue notes
1681 @cindex cues, formatting
1683 The previous section deals with inserting notes from another voice.
1684 There is a more advanced music function called @code{\cueDuring},
1685 which makes formatting cue notes easier.
1690 \cueDuring #@var{name} #@var{updown} @var{music}
1693 This will insert notes from the part @var{name} into a
1694 @internalsref{Voice} called @code{cue}. This happens simultaneously
1695 with @var{music}, which usually is a rest. When the cue notes start,
1696 the staff in effect becomes polyphonic for a moment. The argument
1697 @var{updown} determines whether the cue notes should be notated as a
1698 first or second voice.
1701 @lilypond[verbatim,ragged-right]
1704 \override Stem #'length-fraction = #0.8
1705 \override Beam #'thickness = #0.384
1706 \override Beam #'length-fraction = #0.8
1709 \addQuote clarinet \relative {
1714 \new Staff \relative <<
1716 % setup a context for cue notes.
1717 \new Voice = "cue" { \smaller \skip 1*21 }
1719 \set Score.skipBars = ##t
1723 \cueDuring #"clarinet" #1 {
1732 Here are a couple of hints for successful cue notes
1736 Cue notes have smaller font sizes.
1738 the cued part is marked with the instrument playing the cue.
1740 when the original part takes over again, this should be marked with
1741 the name of the original instrument.
1743 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1745 @c Yes, this is good practice. Otherwise, the start of the original
1746 @c part can only be seen from the font size. This is not good enough
1747 @c for sight-reading. It is possilbe to use other
1748 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1754 Any other changes introduced by the cued part should also be
1755 undone. For example, if the cued instrument plays in a different clef,
1756 the original clef should be stated once again.
1760 The macro @code{\transposedCueDuring} is
1761 useful to add cues to instruments which use a completely different
1762 octave range (for example, having a cue of a piccolo flute within
1763 a contra bassoon part).
1765 @lilypond[verbatim,ragged-right,quote]
1766 picc = \relative c''' {
1772 \addQuote "picc" { \picc }
1774 cbsn = \relative c, {
1777 \transposedCueDuring #"picc" #UP c,, { R1 } |
1782 \context Staff = "picc" \picc
1783 \context Staff = "cbsn" \cbsn
1789 @node Aligning to cadenzas
1790 @subsection Aligning to cadenzas
1792 In an orchestral context, cadenzas present a special problem:
1793 when constructing a score that includes a cadenza, all other
1794 instruments should skip just as many notes as the length of the
1795 cadenza, otherwise they will start too soon or too late.
1797 A solution to this problem are the functions @code{mmrest-of-length}
1798 and @code{skip-of-length}. These Scheme functions take a piece of music
1799 as argument, and generate a @code{\skip} or multi-rest, exactly as
1800 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1801 in the following example.
1803 @lilypond[verbatim,ragged-right,quote]
1804 cadenza = \relative c' {
1805 c4 d8 << { e f g } \\ { d4. } >>
1810 \new Staff { \cadenza c'4 }
1812 #(ly:export (mmrest-of-length cadenza))
1821 @node Contemporary notation
1822 @section Contemporary notation
1824 In the 20th century, composers have greatly expanded the musical
1825 vocabulary. With this expansion, many innovations in musical notation
1826 have been tried. The book @q{Music Notation in the 20th century} by
1827 Kurt Stone gives a comprehensive overview (see @ref{Literature
1830 This section describes notation that does
1831 not fit into traditional notation categories, such as pitches,
1832 tuplet beams, and articulation. For contemporary notation
1833 that fits into traditional notation categories, such as
1834 microtones, nested tuplet beams, and unusual fermatas, please
1835 see those sections of the documentation.
1838 * Polymetric notation::
1839 * Time administration::
1840 * Proportional notation::
1842 * Special noteheads::
1845 * Selecting notation font size::
1849 @node Polymetric notation
1850 @subsection Polymetric notation
1852 @cindex double time signatures
1853 @cindex signatures, polymetric
1854 @cindex polymetric signatures
1855 @cindex meter, polymetric
1857 Double time signatures are not supported explicitly, but they can be
1858 faked. In the next example, the markup for the time signature is
1859 created with a markup text. This markup text is inserted in the
1860 @internalsref{TimeSignature} grob. See also
1861 @inputfileref{input/@/test,compound@/-time@/.ly}).
1863 @lilypond[verbatim,ragged-right]
1866 \override #'(baseline-skip . 2) \number {
1869 \bracket \column { "5" "8" }
1874 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1875 \override Staff.TimeSignature #'text = #tsMarkup
1877 c'2 \bar ":" c'4 c'4.
1881 Each staff can also have its own time signature. This is done by
1882 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1888 \remove "Timing_translator"
1889 \remove "Default_bar_line_engraver"
1893 \consists "Timing_translator"
1894 \consists "Default_bar_line_engraver"
1901 Now, each staff has its own time signature.
1914 c4. c8 c c c4. c8 c c
1919 @lilypond[quote,ragged-right]
1923 \remove "Timing_translator"
1924 \remove "Default_bar_line_engraver"
1927 \consists "Timing_translator"
1928 \consists "Default_bar_line_engraver"
1943 c4. c8 c c c4. c8 c c
1949 A different form of polymetric notation is where note lengths have
1950 different values across staves.
1952 This notation can be created by setting a common time signature for
1953 each staff but replacing it manually using
1954 @code{timeSignatureFraction} to the desired fraction. Then the printed
1955 durations in each staff are scaled to the common time signature.
1956 The latter is done with @code{\compressMusic}, which is used similar
1957 to @code{\times}, but does not create a tuplet bracket. The syntax is
1959 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1964 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1965 used in parallel. In the second staff, shown durations are multiplied by
1966 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1967 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1969 @lilypond[quote,ragged-right,verbatim,fragment]
1977 \set Staff.timeSignatureFraction = #'(9 . 8)
1978 \compressMusic #'(2 . 3)
1979 \repeat unfold 6 { c8[ c c] }
1983 \set Staff.timeSignatureFraction = #'(10 . 8)
1984 \compressMusic #'(3 . 5) {
1985 \repeat unfold 2 { c8[ c c] }
1986 \repeat unfold 2 { c8[ c] }
1987 | c4. c4. \times 2/3 { c8 c c } c4
1998 When using different time signatures in parallel, the spacing is
1999 aligned vertically, but bar lines distort the regular spacing.
2002 @node Time administration
2003 @subsection Time administration
2005 @cindex Time administration
2007 Time is administered by the @internalsref{Time_signature_engraver},
2008 which usually lives in the @internalsref{Score} context. The
2009 bookkeeping deals with the following variables
2012 @item currentBarNumber
2016 The length of the measures in the current time signature. For a 4/4
2017 time this is@tie{}1, and for 6/8 it is 3/4.
2019 @item measurePosition
2020 The point within the measure where we currently are. This quantity
2021 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2022 happens, @code{currentBarNumber} is incremented.
2025 If set to true, the above variables are updated for every time
2026 step. When set to false, the engraver stays in the current measure
2030 Timing can be changed by setting any of these variables explicitly.
2031 In the next example, the 4/4 time signature is printed, but
2032 @code{measureLength} is set to 5/4. After a while, the measure is
2033 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2034 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2035 3/8 arises because 5/4 normally has 10/8, but we have manually
2036 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2038 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2039 \set Score.measureLength = #(ly:make-moment 5 4)
2043 \set Score.measurePosition = #(ly:make-moment 7 8)
2049 As the example illustrates, @code{ly:make-moment n m} constructs a
2050 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2052 note duration and @code{ly:make-moment 7 16} is the duration of
2053 seven sixteenths notes.
2056 @node Proportional notation
2057 @subsection Proportional notation
2058 @cindex Proportional notation
2060 Notes can be spaced proportionally to their time-difference by
2061 assigning a duration to @code{proportionalNotationDuration}
2063 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2065 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2066 \new Staff { c8[ c c c c c] c4 c2 r2 }
2067 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2071 Setting this property only affects the ideal spacing between
2072 consecutive notes. For true proportional notation, the following
2073 settings are also required.
2077 @item True proportional notation requires that symbols are allowed to
2078 overstrike each other. That is achieved by removing the
2079 @internalsref{Separating_line_group_engraver} from
2080 @internalsref{Staff} context.
2082 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2083 is removed by setting the @code{strict-note-spacing} property to
2084 @code{#t} in @internalsref{SpacingSpanner} grob.
2086 @item Optical spacing tweaks are switched by setting
2087 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2094 @inputfileref{input/@/regression,spacing-proportional/.ly}
2095 @inputfileref{input/@/regression,spacing-strict-notespacing/.ly}
2096 @inputfileref{input/@/regression,spacing-strict-spacing-grace/.ly}
2098 An example of strict proportional notation is in the
2099 example file @file{input/proportional.ly}.
2103 @subsection Clusters
2107 A cluster indicates a continuous range of pitches to be played. They
2108 can be denoted as the envelope of a set of notes. They are entered by
2109 applying the function @code{makeClusters} to a sequence of
2111 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2112 \makeClusters { <c e > <b f'> }
2115 The following example (from
2116 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
2119 @lilypondfile[ragged-right,quote]{cluster.ly}
2121 Ordinary notes and clusters can be put together in the same staff,
2122 even simultaneously. In such a case no attempt is made to
2123 automatically avoid collisions between ordinary notes and clusters.
2127 Program reference: @internalsref{ClusterSpanner},
2128 @internalsref{ClusterSpannerBeacon},
2129 @internalsref{Cluster_spanner_engraver}.
2131 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
2135 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2136 accurately. Use @code{<g a>8 <e a>8} instead.
2139 @node Special noteheads
2140 @subsection Special noteheads
2142 @cindex note heads, special
2144 Different noteheads are used by various instruments for various
2145 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2146 notes on guitar; diamonds are used for harmonics on string instruments,
2147 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2148 other notehead styles are produced by tweaking the property
2150 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2152 \override NoteHead #'style = #'cross
2154 \revert NoteHead #'style
2155 e d <c f\harmonic> <d a'\harmonic>
2159 To see all notehead styles, please see
2160 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
2165 Program reference: @internalsref{NoteHead}.
2168 @node Feathered beams
2169 @subsection Feathered beams
2171 Feathered beams are printed by setting the @code{grow-direction}
2172 property of a @code{Beam}. The @code{\featherDurations} function
2173 can be used to adjust note durations.
2175 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2176 \featherDurations #(ly:make-moment 5 4)
2178 \override Beam #'grow-direction = #LEFT
2185 The @code{\featherDuration} command only works with very short
2189 @subsection Improvisation
2191 Improvisation is sometimes denoted with slashed note heads. Such note
2192 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2193 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
2197 \set squashedPosition = #0
2198 \override NoteHead #'style = #'slash
2202 switches on the slashes.
2204 There are shortcuts @code{\improvisationOn} (and an accompanying
2205 @code{\improvisationOff}) for this command sequence. They are used in
2206 the following example
2208 @lilypond[verbatim,ragged-right,quote]
2210 \consists Pitch_squash_engraver
2212 e8 e g a a16(bes)(a8) g \improvisationOn
2215 ~fis2 \improvisationOff a16(bes) a8 g e
2220 @node Selecting notation font size
2221 @subsection Selecting notation font size
2223 The easiest method of setting the font size of any context is by
2224 setting the @code{fontSize} property.
2226 @lilypond[quote,fragment,relative=1,verbatim]
2235 It does not change the size of variable symbols, such as beams or
2238 Internally, the @code{fontSize} context property will cause the
2239 @code{font-size} property to be set in all layout objects. The value
2240 of @code{font-size} is a number indicating the size relative to the
2241 standard size for the current staff height. Each step up is an
2242 increase of approximately 12% of the font size. Six steps is exactly a
2243 factor two. The Scheme function @code{magstep} converts a
2244 @code{font-size} number to a scaling factor.
2246 @lilypond[quote,fragment,relative=1,verbatim]
2248 \override NoteHead #'font-size = #-4
2250 \override NoteHead #'font-size = #3
2254 Font size changes are achieved by scaling the design size that is
2255 closest to the desired size. The standard font size (for
2256 @code{font-size} equals 0), depends on the standard staff height. For
2257 a 20pt staff, a 10pt font is selected.
2259 The @code{font-size} property can only be set on layout objects that
2260 use fonts. These are the ones supporting the
2261 @internalsref{font-interface} layout interface.
2265 The following commands set @code{fontSize} for the current voice:
2271 @funindex \normalsize
2276 @node Educational use
2277 @section Educational use
2279 With the amount of control that LilyPond offers, one can make great
2280 teaching tools in addition to great musical scores.
2284 * Blank music sheet::
2286 * Shape note heads::
2287 * Easy Notation note heads::
2288 * Analysis brackets::
2289 * Coloring objects::
2295 @subsection Balloon help
2297 Elements of notation can be marked and named with the help of a square
2298 balloon. The primary purpose of this feature is to explain notation.
2300 The following example demonstrates its use.
2302 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2303 \new Voice \with { \consists "Balloon_engraver" }
2305 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2306 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2311 There are two music functions, @code{balloonText} and
2312 @code{balloonGrobText}. The latter takes the name of the grob to
2313 adorn, while the former may be used as an articulation on a note.
2314 The other arguments are the offset and the text of the label.
2317 @cindex notation, explaining
2321 Program reference: @internalsref{text-balloon-interface}.
2323 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
2328 @node Blank music sheet
2329 @subsection Blank music sheet
2331 @cindex Sheet music, empty
2332 @cindex Staves, blank sheet
2334 A blank music sheet can be produced also by using invisible notes, and
2335 removing @code{Bar_number_engraver}.
2338 @lilypond[quote,verbatim]
2339 \layout{ indent = #0 }
2341 \repeat unfold 2 % Change this for more lines.
2346 \override TimeSignature #'transparent = ##t
2347 % un-comment this line if desired
2348 % \override Clef #'transparent = ##t
2349 defaultBarType = #""
2350 \remove Bar_number_engraver
2353 % modify these to get the staves you want
2354 \new Staff \emptymusic
2355 \new TabStaff \emptymusic
2361 @subsection Hidden notes
2363 @cindex Hidden notes
2364 @cindex Invisible notes
2365 @cindex Transparent notes
2367 @funindex \hideNotes
2368 @funindex \unHideNotes
2369 Hidden (or invisible or transparent) notes can be useful in preparing theory
2370 or composition exercises.
2372 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2381 @node Shape note heads
2382 @subsection Shape note heads
2384 @cindex note heads, shape
2386 In shape note head notation, the shape of the note head corresponds
2387 to the harmonic function of a note in the scale. This notation was
2388 popular in the 19th century American song books.
2390 Shape note heads can be produced by setting @code{\aikenHeads} or
2391 @code{\sacredHarpHeads}, depending on the style desired.
2393 @lilypond[verbatim,relative=1,fragment]
2400 Shapes are determined on the step in the scale, where the base of the
2401 scale is determined by the @code{\key} command
2404 @funindex shapeNoteStyles
2405 @funindex \aikenHeads
2406 @funindex \sacredHarpHeads
2408 Shape note heads are implemented through the @code{shapeNoteStyles}
2409 property. Its value is a vector of symbols. The k-th element indicates
2410 the style to use for the k-th step of the scale. Arbitrary
2411 combinations are possible, e.g.
2413 @lilypond[verbatim,relative=1,fragment]
2414 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2419 @node Easy Notation note heads
2420 @subsection Easy Notation note heads
2422 @cindex note heads, practice
2423 @cindex note heads, easy notation
2424 @cindex easy notation
2427 The @q{easy play} note head includes a note name inside the head. It is
2428 used in music for beginners
2430 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2435 The command @code{\setEasyHeads} overrides settings for the
2436 @internalsref{NoteHead} object. To make the letters readable, it has
2437 to be printed in a large font size. To print with a larger font, see
2438 @ref{Setting the staff size}.
2442 @funindex \setEasyHeads
2443 @code{\setEasyHeads}
2446 @node Analysis brackets
2447 @subsection Analysis brackets
2449 @cindex phrasing brackets
2450 @cindex musicological analysis
2451 @cindex note grouping bracket
2453 Brackets are used in musical analysis to indicate structure in musical
2454 pieces. LilyPond supports a simple form of nested horizontal
2455 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2456 to @internalsref{Staff} context. A bracket is started with
2457 @code{\startGroup} and closed with @code{\stopGroup}
2459 @lilypond[quote,ragged-right,verbatim]
2462 c4\startGroup\startGroup
2465 c4\stopGroup\stopGroup
2469 \Staff \consists "Horizontal_bracket_engraver"
2475 Program reference: @internalsref{HorizontalBracket}.
2477 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2480 @node Coloring objects
2481 @subsection Coloring objects
2483 Individual objects may be assigned colors. You may use the
2484 color names listed in the @ref{List of colors}.
2486 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2487 \override NoteHead #'color = #red
2489 \override NoteHead #'color = #(x11-color 'LimeGreen)
2491 \override Stem #'color = #blue
2495 The full range of colors defined for X11 can be accessed by using the
2496 Scheme function x11-color. The function takes one argument that can be a
2500 \override Beam #'color = #(x11-color 'MediumTurquoise)
2506 \override Beam #'color = #(x11-color "MediumTurquoise")
2509 The first form is quicker to write and is more efficient. However, using
2510 the second form it is possible to access X11 colors by the multi-word
2514 \override Beam #'color = #(x11-color "medium turquoise")
2517 If x11-color cannot make sense of the parameter then the color returned
2518 defaults to black. It should be obvious from the final score that
2521 This example illustrates the use of x11-color. Notice that the stem
2522 color remains black after being set to (x11-color 'Boggle), which is
2523 deliberate nonsense.
2525 @lilypond[quote,ragged-right,verbatim]
2527 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2528 \set Staff.instrumentName = \markup {
2529 \with-color #(x11-color 'navy) "Clarinet"
2533 \override Beam #'color = #(x11-color "medium turquoise")
2535 \override NoteHead #'color = #(x11-color "LimeGreen")
2537 \override Stem #'color = #(x11-color 'Boggle)
2545 Appendix: @ref{List of colors}.
2549 Not all x11 colors are distinguishable in a web browser. For web use
2550 normal colors are recommended.
2552 An x11 color is not necessarily exactly the same shade as a similarly
2555 Notes in a chord cannot be colored with @code{\override}; use
2556 @code{\tweak} instead. See @ref{Objects connected to the input}
2561 @subsection Parentheses
2564 @cindex notes, ghost
2565 @cindex notes, parenthesized
2567 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2570 @lilypond[relative=2,fragment,verbatim,ragged-right]
2578 This only functions inside chords, even for single notes
2581 < \parenthesize NOTE>
2586 @subsection Grid lines
2588 Vertical lines can be drawn between staves synchronized with
2591 Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.