1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
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10 @c A menu is needed before every deeper *section nesting of @node's; run
11 @c M-x texinfo-all-menus-update
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15 @node Advanced notation
16 @chapter Advanced notation
18 This chapter deals with rarely-used and advanced notation.
24 * Contemporary notation::
33 This section explains how to include text (with various formatting) in
36 @cindex Text, other languages
37 To write accented and special text (such as characters from other languages),
39 insert the characters directly into the lilypond file. The file must be
40 saved as UTF-8. For more information, see @ref{Text encoding}.
44 * Text and line spanners::
49 * Page wrapping text::
50 * Overview of text markup commands::
51 * Overview of text markup list commands::
58 @subsection Text scripts
61 @cindex text items, non-empty
62 @cindex non-empty texts
64 It is possible to place arbitrary strings of text or @ref{Text markup},
65 above or below notes by using a string @code{c^"text"}. By default,
66 these indications do not influence the note spacing, but by using the
67 command @code{\fatText}, the widths will be taken into account
69 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
70 c4^"longtext" \fatText c4_"longlongtext" c4
74 To prevent text from influencing spacing, use @code{\emptyText}.
76 More complex formatting may also be added to a note by using the
78 @lilypond[fragment,ragged-right,verbatim,quote]
79 c'4^\markup { bla \bold bla }
82 The @code{\markup} is described in more detail in
96 Checking to make sure that text scripts and lyrics are within the margins is
97 a relatively large computational task. To speed up processing, lilypond does
98 not perform such calculations by default; to enable it, use
101 \override Score.PaperColumn #'keep-inside-line = ##t
107 In this manual: @ref{Text markup}.
109 Program reference: @internalsref{TextScript}.
112 @node Text and line spanners
113 @subsection Text and line spanners
115 Some performance indications, e.g., @i{rallentando} and
116 @i{accelerando} and @i{trills} are written as text and are extended
117 over many measures with lines, sometimes dotted or wavy.
119 These all use the same routines as the glissando for drawing the texts
120 and the lines, and tuning their behavior is therefore also done in the
121 same way. It is done with a spanner, and the routine responsible for
122 drawing the spanners is @code{ly:line-interface::print}. This
123 routine determines the exact location of the two @i{span
124 points} and draws a line in between, in the style requested.
126 Here is an example of the different line styles available, and how to
129 @lilypond[relative=2,ragged-right,verbatim,fragment]
131 \once \override Glissando #'dash-fraction = #0.5
133 \override Glissando #'style = #'dotted-line
135 \override Glissando #'style = #'zigzag
137 \override Glissando #'style = #'trill
141 The information that determines the end-points is computed on-the-fly
142 for every graphic object, but it is possible to override these.
144 @lilypond[relative=2,ragged-right,verbatim,fragment]
146 \once \override Glissando #'bound-details #'right #'Y = #-2
150 The @code{Glissando} object, like any other using the
151 @code{ly:line-interface::print} routine, carries a nested
152 association list. In the above statement, the value for @code{Y}
153 is set to @code{-2} for the association list corresponding to the right
154 end point. Of course, it is also possible to adjust the left side with
155 @code{left} instead of @code{right}.
157 If @code{Y} is not set, the value is computed from the vertical
158 position of right attachment point of the spanner.
160 In case of a line break, the values for the span-points are extended
161 with contents of the @code{left-broken} and @code{right-broken}
162 sublists, for example
164 @lilypond[relative=2,ragged-right,verbatim,fragment]
165 \override Glissando #'breakable = ##T
166 \override Glissando #'bound-details #'right-broken #'Y = #-3
171 The following properties can be used for the
175 This sets the Y-coordinate of the end point, in staff space. By
176 default, it is the center of the bound object, so for a glissando it
177 points to the vertical center of the note head.
179 For horizontal spanners, such as text spanner and trill spanners, it
183 This determines where the line starts and ends in X-direction,
184 relative to the bound object. So, a value of @code{-1} (or
185 @code{LEFT}) makes the line start/end at the left side of the note
186 head it is attached to.
189 This is the absolute coordinate of the end point. It is usually
190 computed on the fly, and there is little use in overriding it.
193 Line spanners may have symbols at the beginning or end, which is
194 contained in this sub-property. This is for internal use, it is
195 recommended to use @code{text}.
198 This is a markup that is evaluated to yield stencil. It is
199 used to put @i{cresc.} and @i{tr} on horizontal spanners.
201 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
202 \override TextSpanner #'bound-details #'left #'text
203 = \markup { \small \bold Slower }
204 c2\startTextSpan b c a\stopTextSpan
207 @item stencil-align-dir-y
209 Without setting this, the stencil is simply put there at the
210 end-point, as defined by the @code{X} and @code{Y} sub properties.
211 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
212 will move the symbol at the edge relative to the end point of the line
214 @lilypond[relative=1,fragment,verbatim]
215 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
216 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
218 \override TextSpanner #'bound-details #'left #'text = #"gggg"
219 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
220 c4^\startTextSpan c c c \stopTextSpan
224 Setting this sub property to @code{#t} produce an arrowhead at the end
228 This sub property controls the space between the specified end-point
229 of the line and the actual end. Without padding, a glissando would
230 start and end in the center of each note head.
236 Program reference: @internalsref{TextSpanner},
237 @internalsref{Glissando}, @internalsref{VoiceFollower},
238 @internalsref{TrillSpanner}, @internalsref{line-spanner-interface}.
240 Examples: @lsr{expressive,line-styles.ly}, @lsr{expressive,line-arrows.ly}
244 @subsection Text spanners
246 @cindex Text spanners
248 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
249 are written as text and are extended over many measures with dotted
250 lines. Such texts are created using text spanners; attach
251 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
252 notes of the spanner.
254 The string to be printed, as well as the style, is set through object
257 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
260 \override TextSpanner #'bound-details #'left #'text =
261 \markup { \upright "rall" }
262 c2\startTextSpan b c\stopTextSpan a
265 \override TextSpanner #'bound-details #'left #'text =
266 \markup { \italic "rit" }
267 c2\startTextSpan b c\stopTextSpan a
272 @funindex textSpannerUp
273 @code{\textSpannerUp},
274 @funindex textSpannerDown
275 @code{\textSpannerDown},
276 @funindex textSpannerNeutral
277 @code{\textSpannerNeutral}.
282 To print a solid line, use
285 \override TextSpanner #'dash-fraction = #'()
291 Program reference: @internalsref{TextSpanner}.
295 @subsection Text marks
297 @cindex coda on bar line
298 @cindex segno on bar line
299 @cindex fermata on bar line
300 @cindex bar lines, symbols on
303 The @code{\mark} command is primarily used for
304 @ref{Rehearsal marks},
305 but it can also be used to put signs like coda,
306 segno, and fermata on a bar line. Use @code{\markup} to
307 access the appropriate symbol (symbols are listed in
308 @ref{The Feta font}).
310 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
311 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
316 @code{\mark} is only typeset above the top stave of the score. If
317 you specify the @code{\mark} command at a bar line, the resulting
318 mark is placed above the bar line. If you specify it in the middle
319 of a bar, the resulting mark is positioned between notes. If it is
320 specified before the beginning of a score line, it is placed
321 before the first note of the line. Finally, if the mark occurs at
322 a line break, the mark will be printed at the
323 beginning of the next line.
324 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
325 @c delete this sentence. -gp
326 If there is no next line, then the mark will not be printed at all.
331 To print the mark at the end of the current line, use
334 \override Score.RehearsalMark
335 #'break-visibility = #begin-of-line-invisible
338 @code{\mark} is often useful for adding text to the end of bar. In
339 such cases, changing the @code{#'self-alignment} is very useful
341 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
342 \override Score.RehearsalMark
343 #'break-visibility = #begin-of-line-invisible
345 \once \override Score.RehearsalMark #'self-alignment-X = #right
346 \mark "D.S. al Fine "
349 Text marks may be aligned with notation objects other than
352 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
357 \override Score.RehearsalMark #'break-align-symbols = #'(key-signature)
361 \override Score.RehearsalMark #'break-align-symbols = #'(clef)
365 \override Score.RehearsalMark #'break-align-symbols = #'(time-signature)
374 Possible symbols for the @code{break-align-symbols} list are
375 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
376 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
377 @code{key-signature}, and @code{time-signature}.
379 The text marks will, by default, be aligned with the middle of the notation
380 object, but this can be changed by overriding the
381 @code{break-align-anchor-alignment} and
382 @code{break-align-anchor} properties for the appropriate grob.
384 @lilypond[fragment,quote,ragged-right,verbatim]
386 \override Score.RehearsalMark #'break-align-symbols = #'(key-signature)
390 % the RehearsalMark will be aligned with the left edge of the KeySignature
391 \once \override Staff.KeySignature #'break-align-anchor-alignment = #LEFT
396 % the RehearsalMark will be aligned with the right edge of the KeySignature
397 \once \override Staff.KeySignature #'break-align-anchor-alignment = #RIGHT
402 % the RehearsalMark will be aligned with the left edge of the KeySignature
403 % and then shifted right by 2 units.
404 \once \override Staff.KeySignature #'break-align-anchor = #2
410 Although text marks are normally only printed above the topmost
411 staff, you may alter this to print them on every staff,
413 @lilypond[quote,ragged-right,verbatim,relative=2]
416 \remove "Mark_engraver"
420 \consists "Mark_engraver"
422 { c''1 \mark "foo" c'' }
424 \consists "Mark_engraver"
426 { c'1 \mark "foo" c' }
434 Program reference: @internalsref{RehearsalMark}.
438 @subsection Text markup
445 Use @code{\markup} to typeset text. Commands are entered with the
446 backslash @code{\}. To enter @code{\} and @code{#}, use double
449 @lilypond[quote,verbatim,fragment,relative=1]
451 c1_\markup { hi there }
452 c1^\markup { hi \bold there, is \italic {anyone home?} }
453 c1_\markup { "\special {weird} #characters" }
457 See @ref{Overview of text markup commands}, for a list of all
460 @code{\markup} is primarily used for @internalsref{TextScript}s,
461 but it can also be used anywhere text is called in lilypond
463 @lilypond[quote,verbatim]
464 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
467 \override Score.RehearsalMark
468 #'break-visibility = #begin-of-line-invisible
469 \override Score.RehearsalMark #'self-alignment-X = #right
471 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
472 c2^\markup{ don't be \flat }
473 \override TextSpanner #'bound-details #'left #'text = \markup{\italic rit }
475 a2\mark \markup{ \large \bold Fine }
479 \addlyrics { bar, foo \markup{ \italic bar! } }
483 A @code{\markup} command can also be placed on its own, away from any
484 @code{\score} block, see @ref{Multiple scores in a book}.
486 @lilypond[quote,ragged-right,verbatim]
487 \markup{ Here is some text. }
490 @cindex font switching
492 The markup in the example demonstrates font switching commands. The
493 command @code{\bold} and @code{\italic} apply to the first following
494 word only; to apply a command to more than one word, enclose the
498 \markup @{ \bold @{ hi there @} @}
502 For clarity, you can also do this for single arguments, e.g.,
505 \markup @{ is \italic @{ anyone @} home @}
508 In markup mode you can compose expressions, similar to mathematical
509 expressions, XML documents, and music expressions. You can stack
510 expressions grouped vertically with the command @code{\column}.
511 Similarly, @code{\center-align} aligns texts by their center lines:
513 @lilypond[quote,verbatim,fragment,relative=1]
514 c1^\markup { \column { a bbbb \line { c d } } }
515 c1^\markup { \center-align { a bbbb c } }
516 c1^\markup { \line { a b c } }
519 Lists with no previous command are not kept distinct. The expression
522 \center-align @{ @{ a b @} @{ c d @} @}
530 \center-align @{ a b c d @}
535 To keep lists of words distinct, please use quotes @code{"} or
536 the @code{\line} command
538 @lilypond[quote,verbatim,fragment,relative=1]
540 c4^\markup{ \center-align { on three lines } }
541 c4^\markup{ \center-align { "all one line" } }
542 c4^\markup{ \center-align { { on three lines } } }
543 c4^\markup{ \center-align { \line { on one line } } }
546 Markups can be stored in variables and these variables
547 may be attached to notes, like
549 allegro = \markup @{ \bold \large @{ Allegro @} @}
550 @{ a^\allegro b c d @}
553 Some objects have alignment procedures of their own, which cancel out
554 any effects of alignments applied to their markup arguments as a
555 whole. For example, the @internalsref{RehearsalMark} is horizontally
556 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
559 In addition, vertical placement is performed after creating the
560 text markup object. If you wish to move an entire piece of markup,
561 you need to use the #'padding property or create an @q{anchor} point
562 inside the markup (generally with @code{\hspace #0}).
564 @lilypond[quote,verbatim,fragment,relative=1]
566 c'4^\markup{ \raise #5 "not raised" }
567 \once \override TextScript #'padding = #3
568 c'4^\markup{ raised }
569 c'4^\markup{ \hspace #0 \raise #1.5 raised }
572 Some situations (such as dynamic marks) have preset font-related
573 properties. If you are creating text in such situations, it
574 is advisable to cancel those properties with
575 @code{normal-text}. See @ref{Overview of text markup commands},
581 This manual: @ref{Overview of text markup commands}.
583 Program reference: @internalsref{TextScript}.
585 Init files: @file{scm/@/new@/-markup@/.scm}.
590 Kerning or generation of ligatures is only done when the @TeX{}
591 backend is used. In this case, LilyPond does not account for them so
592 texts will be spaced slightly too wide.
594 Syntax errors for markup mode are confusing.
598 @subsection Nested scores
600 It is possible to nest music inside markups, by adding a @code{\score}
601 block to a markup expression. Such a score must contain a @code{\layout}
604 @lilypond[quote,verbatim,ragged-right]
608 \relative { c4 d e f }
616 @node Page wrapping text
617 @subsection Page wrapping text
618 Whereas @code{\markup} is used to enter a non-breakable block of text,
619 @code{\markuplines} can be used at top-level to enter lines of text that
620 can spread over multiple pages:
625 A very long text of justified lines.
629 An other very long paragraph.
636 @code{\markuplines} accepts a list of markup, that is either the result
637 of a markup list command, or a list of markups or of markup lists. The
638 built-in markup list commands are described in
639 @ref{Overview of text markup list commands}.
643 This manual: @ref{Overview of text markup list commands},
644 @ref{New markup list command definition}.
648 @funindex \markuplines
651 @node Overview of text markup commands
652 @subsection Overview of text markup commands
654 The following commands can all be used inside @code{\markup @{ @}}.
656 @include markup-commands.tely
658 @node Overview of text markup list commands
659 @subsection Overview of text markup list commands
661 The following commands can all be used with @code{\markuplines}.
663 @include markup-list-commands.tely
666 @subsection Font selection
668 @cindex font selection
669 @cindex font magnification
670 @funindex font-interface
672 By setting the object properties described below, you can select a
673 font from the preconfigured font families. LilyPond has default
674 support for the feta music fonts. Text fonts are selected through
675 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
676 the sans and typewriter to whatever the Pango installation defaults
681 @item @code{font-encoding}
682 is a symbol that sets layout of the glyphs. This should only be set to
683 select different types of non-text fonts, e.g.
685 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
686 standard music font, including ancient glyphs, @code{fetaDynamic} for
687 dynamic signs and @code{fetaNumber} for the number font.
689 @item @code{font-family}
690 is a symbol indicating the general class of the typeface. Supported are
691 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
693 @item @code{font-shape}
694 is a symbol indicating the shape of the font. There are typically
695 several font shapes available for each font family. Choices are
696 @code{italic}, @code{caps}, and @code{upright}.
698 @item @code{font-series}
699 is a symbol indicating the series of the font. There are typically
700 several font series for each font family and shape. Choices are
701 @code{medium} and @code{bold}.
705 Fonts selected in the way sketched above come from a predefined style
706 sheet. If you want to use a font from outside the style sheet,
708 @code{font-name} property,
710 @lilypond[fragment,verbatim]
712 \override Staff.TimeSignature #'font-name = #"Charter"
713 \override Staff.TimeSignature #'font-size = #2
716 \override #'(font-name . "Vera Bold")
717 { This text is in Vera Bold }
723 Any font can be used, as long as it is available to Pango/FontConfig.
724 To get a full list of all available fonts, run the command
726 lilypond -dshow-available-fonts blabla
728 (the last argument of the command can be anything, but has to be present).
731 The size of the font may be set with the @code{font-size}
732 property. The resulting size is taken relative to the
733 @code{text-font-size} as defined in the @code{\paper} block.
736 @cindex font magnification
739 It is also possible to change the default font family for the entire
740 document. This is done by calling the @code{make-pango-font-tree} from
741 within the @code{\paper} block. The function takes names for the font
742 families to use for roman, sans serif and monospaced text. For
745 @cindex font families, setting
754 (make-pango-font-tree "Times New Roman"
761 c'^\markup { roman: foo \sans bla \typewriter bar }
765 @c we don't do Helvetica / Courier, since GS incorrectly loads
772 Examples: @lsr{text,font@/-family@/-override.ly}.
775 @node New dynamic marks
776 @subsection New dynamic marks
778 It is possible to print new dynamic marks or text that should be aligned
779 with dynamics. Use @code{make-dynamic-script} to create these
780 marks. Note that the dynamic font only contains the characters
781 @code{f,m,p,r,s} and @code{z}.
783 Some situations (such as dynamic marks) have preset font-related
784 properties. If you are creating text in such situations, it
785 is advisable to cancel those properties with
786 @code{normal-text}. See @ref{Overview of text markup commands},
789 @cindex make-dynamic-script
791 @lilypond[quote,verbatim,ragged-right]
792 sfzp = #(make-dynamic-script "sfzp")
798 @cindex Dynamics, editorial
799 @cindex Dynamics, parenthesis
801 It is also possible to print dynamics in round parenthesis or square
802 brackets. These are often used for adding editorial dynamics.
804 @lilypond[quote,verbatim,ragged-right]
805 rndf = \markup{ \center-align {\line { \bold{\italic (}
806 \dynamic f \bold{\italic )} }} }
807 boxf = \markup{ \bracket { \dynamic f } }
808 { c'1_\rndf c'1_\boxf }
813 @node Preparing parts
814 @section Preparing parts
816 This section describes various notation that are useful for preparing
820 * Multi measure rests::
825 * Instrument transpositions::
827 * Different editions from one source::
831 @node Multi measure rests
832 @subsection Multi measure rests
834 @cindex multi measure rests
835 @cindex full measure rests
836 @cindex Rests, multi measure
837 @cindex Rests, full measure
838 @cindex whole rests for a full measure
841 Rests for one full measure (or many bars) are entered using @samp{R}. It
842 is specifically meant for full bar rests and for entering parts: the rest
843 can expand to fill a score with rests, or it can be printed as a single
844 multi-measure rest. This expansion is controlled by the property
845 @code{Score.skipBars}. If this is set to true, empty measures will not
846 be expanded, and the appropriate number is added automatically
848 @lilypond[quote,ragged-right,fragment,verbatim]
849 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
850 \set Score.skipBars = ##t R1*17 R1*4
853 The @code{1} in @code{R1} is similar to the duration notation used for
854 notes. Hence, for time signatures other than 4/4, you must enter other
855 durations. This can be done with augmentation dots or fractions
857 @lilypond[quote,ragged-right,fragment,verbatim]
858 \set Score.skipBars = ##t
867 An @code{R} spanning a single measure is printed as either a whole rest
868 or a breve, centered in the measure regardless of the time signature.
870 If there are only a few measures of rest, LilyPond prints @q{church rests}
871 (a series of rectangles) in the staff. To replace that with a simple
872 rest, use @code{MultiMeasureRest.expand-limit}.
874 @lilypond[quote,ragged-right,fragment,verbatim]
875 \set Score.skipBars = ##t
877 \override MultiMeasureRest #'expand-limit = 1
881 @cindex text on multi-measure rest
882 @cindex script on multi-measure rest
883 @cindex fermata on multi-measure rest
885 Texts can be added to multi-measure rests by using the
886 @var{note}-@code{markup} syntax @ref{Text markup}.
887 A variable (@code{\fermataMarkup}) is provided for
890 @lilypond[quote,ragged-right,verbatim,fragment]
891 \set Score.skipBars = ##t
893 R2.*10^\markup { \italic "ad lib." }
897 Warning! This text is created by @code{MultiMeasureRestText}, not
900 @lilypond[quote,ragged-right,verbatim,fragment]
901 \override TextScript #'padding = #5
903 \override MultiMeasureRestText #'padding = #5
907 If you want to have text on the left end of a multi-measure rest,
908 attach the text to a zero-length skip note, i.e.,
918 Program reference: @internalsref{MultiMeasureRestMusicGroup},
919 @internalsref{MultiMeasureRest}.
921 The layout object @internalsref{MultiMeasureRestNumber} is for the
922 default number, and @internalsref{MultiMeasureRestText} for user
928 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
929 over multi-measure rests. And the pitch of multi-measure rests (or
930 staff-centered rests) can not be influenced.
932 @cindex condensing rests
934 There is no way to automatically condense multiple rests into a single
935 multi-measure rest. Multi-measure rests do not take part in rest
938 Be careful when entering multi-measure rests followed by whole
939 notes. The following will enter two notes lasting four measures each
943 When @code{skipBars} is set, the result will look OK, but the bar
944 numbering will be off.
947 @node Metronome marks
948 @subsection Metronome marks
951 @cindex beats per minute
952 @cindex metronome marking
954 Metronome settings can be entered as follows
956 \tempo @var{duration} = @var{per-minute}
959 In the MIDI output, they are interpreted as a tempo change. In the
960 layout output, a metronome marking is printed
962 @lilypond[quote,ragged-right,verbatim,fragment]
969 To change the tempo in the MIDI output without printing anything, make
970 the metronome marking invisible
972 \once \override Score.MetronomeMark #'transparent = ##t
975 To print other metronome markings, use these markup commands
976 @lilypond[quote,ragged-right,verbatim,relative,fragment]
979 \smaller \general-align #Y #DOWN \note #"16." #1
981 \smaller \general-align #Y #DOWN \note #"8" #1
986 See @ref{Text markup}, for more details.
991 Program reference: @internalsref{MetronomeMark}.
996 Collisions are not checked. If you have notes above the top line of
997 the staff (or notes with articulations, slurs, text, etc), then the
998 metronome marking may be printed on top of musical symbols. If this
999 occurs, increase the padding of the metronome mark to place it
1000 further away from the staff.
1003 \override Score.MetronomeMark #'padding = #2.5
1007 @node Rehearsal marks
1008 @subsection Rehearsal marks
1010 @cindex Rehearsal marks
1013 To print a rehearsal mark, use the @code{\mark} command
1015 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1024 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
1025 If you wish to include the letter @q{I}, then use
1028 \set Score.markFormatter = #format-mark-alphabet
1031 The mark is incremented automatically if you use @code{\mark
1032 \default}, but you can also use an integer argument to set the mark
1033 manually. The value to use is stored in the property
1034 @code{rehearsalMark}.
1036 The style is defined by the property @code{markFormatter}. It is a
1037 function taking the current mark (an integer) and the current context
1038 as argument. It should return a markup object. In the following
1039 example, @code{markFormatter} is set to a canned procedure. After a
1040 few measures, it is set to function that produces a boxed number.
1042 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
1043 \set Score.markFormatter = #format-mark-numbers
1046 \set Score.markFormatter = #format-mark-box-numbers
1052 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
1053 of @code{format-mark-numbers} (the default format),
1054 @code{format-mark-box-numbers},
1055 @code{format-mark-letters} and @code{format-mark-box-letters}.
1056 These can be used as inspiration for other formatting functions.
1058 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
1059 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
1060 incremented numbers or letters.
1062 Other styles of rehearsal mark can be specified manually
1069 @code{Score.markFormatter} does not affect marks specified in this manner.
1070 However, it is possible to apply a @code{\markup} to the string.
1073 \mark \markup@{ \box A1 @}
1080 Music glyphs (such as the segno sign) may be printed inside
1083 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1084 c1 \mark \markup { \musicglyph #"scripts.segno" }
1085 c1 \mark \markup { \musicglyph #"scripts.coda" }
1086 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1091 See @ref{The Feta font}, for a list of symbols which may be
1092 printed with @code{\musicglyph}.
1094 For common tweaks to the positioning of rehearsal marks, see @ref{Text marks}.
1098 This manual: @ref{Text marks}.
1100 Program reference: @internalsref{RehearsalMark}.
1102 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1103 definition of @code{format-mark-numbers} and
1104 @code{format-mark-letters}. They can be used as inspiration for other
1105 formatting functions.
1107 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
1111 @subsection Bar numbers
1114 @cindex measure numbers
1115 @funindex currentBarNumber
1117 Bar numbers are printed by default at the start of the line. The
1118 number itself is stored in the @code{currentBarNumber} property, which
1119 is normally updated automatically for every measure.
1121 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1122 \repeat unfold 4 {c4 c c c} \break
1123 \set Score.currentBarNumber = #50
1124 \repeat unfold 4 {c4 c c c}
1127 Bar numbers may only be printed at bar lines; to print a bar
1128 number at the beginning of a piece, an empty bar line must
1131 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1132 \set Score.currentBarNumber = #50
1134 \repeat unfold 4 {c4 c c c} \break
1135 \repeat unfold 4 {c4 c c c}
1138 Bar numbers can be typeset at regular intervals instead of at the
1139 beginning of each line. This is illustrated in the following example,
1140 whose source is available as
1141 @lsr{staff,making-bar-numbers-appear-at-regular-intervals.ly}.
1143 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1145 Bar numbers can be removed entirely by removing the Bar number
1146 engraver from the score.
1148 @lilypond[verbatim,ragged-right,quote]
1152 \remove "Bar_number_engraver"
1164 Program reference: @internalsref{BarNumber}.
1166 Examples: @lsrdir{staff}
1171 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1172 there is one at the top. To solve this, the
1173 @code{padding} property of @internalsref{BarNumber} can be
1174 used to position the number correctly.
1177 @node Instrument names
1178 @subsection Instrument names
1180 In an orchestral score, instrument names are printed at the left side
1183 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1184 and @internalsref{Staff}.@code{shortInstrumentName}, or
1185 @internalsref{PianoStaff}.@code{instrumentName} and
1186 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1188 the start of the staff. For the first staff, @code{instrumentName} is
1189 used, for the following ones, @code{shortInstrumentName} is used.
1191 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1192 \set Staff.instrumentName = "Ploink "
1193 \set Staff.shortInstrumentName = "Plk "
1199 You can also use markup texts to construct more complicated instrument
1202 @lilypond[quote,fragment,verbatim,ragged-right]
1203 \set Staff.instrumentName = \markup {
1204 \column { "Clarinetti"
1205 \line { "in B" \smaller \flat } } }
1209 If you wish to center the instrument names, you must center all of them
1211 @lilypond[quote,verbatim,ragged-right]
1214 \set Staff.instrumentName = \markup {
1215 \center-align { "Clarinetti"
1216 \line { "in B" \smaller \flat } } }
1220 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1227 For longer instrument names, it may be useful to increase the
1228 @code{indent} setting in the @code{\layout} block.
1230 To center instrument names while leaving extra space to the right,
1232 @lilypond[quote,verbatim,ragged-right]
1233 \new StaffGroup \relative
1236 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1240 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1246 To add instrument names to other contexts (such as @code{GrandStaff},
1247 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1248 be added to that context.
1252 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1257 More information about adding and removing engravers can
1258 be found in @ref{Modifying context plug-ins}.
1260 Instrument names may be changed in the middle of a piece,
1262 @lilypond[quote,fragment,verbatim,ragged-right]
1263 \set Staff.instrumentName = "First"
1264 \set Staff.shortInstrumentName = "one"
1267 \set Staff.instrumentName = "Second"
1268 \set Staff.shortInstrumentName = "two"
1276 Program reference: @internalsref{InstrumentName}.
1280 @node Instrument transpositions
1281 @subsection Instrument transpositions
1283 @cindex transposition, MIDI
1284 @cindex transposition, instrument
1286 The key of a transposing instrument can also be specified. This
1287 applies to many wind instruments, for example, clarinets (B-flat, A, and
1288 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1290 The transposition is entered after the keyword @code{\transposition}
1293 \transposition bes %% B-flat clarinet
1297 This command sets the property @code{instrumentTransposition}. The value of
1298 this property is used for MIDI output and quotations. It does not
1299 affect how notes are printed in the current staff. To change the printed
1300 output, see @ref{Transpose}.
1302 The pitch to use for @code{\transposition} should correspond to the
1303 real sound heard when a @code{c'} written on the staff is played by the
1304 transposing instrument. For example, when entering a score in
1305 concert pitch, typically all voices are entered in C, so
1306 they should be entered as
1319 The command @code{\transposition} should be used when the music is
1320 entered from a (transposed) orchestral part. For example, in
1321 classical horn parts, the tuning of the instrument is often changed
1322 during a piece. When copying the notes from the part, use
1323 @code{\transposition}, e.g.,
1335 @node Ottava brackets
1336 @subsection Ottava brackets
1338 @q{Ottava} brackets introduce an extra transposition of an octave for
1339 the staff. They are created by invoking the function
1340 @code{set-octavation}
1346 @lilypond[quote,ragged-right,verbatim,fragment]
1356 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1357 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1358 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1359 @code{centralCPosition}. For overriding the text of the bracket, set
1360 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1362 @lilypond[quote,ragged-right,verbatim]
1365 \set Staff.ottavation = #"8"
1373 Program reference: @internalsref{OttavaBracket}.
1378 @code{set-octavation} will get confused when clef changes happen
1379 during an octavation bracket.
1382 @node Different editions from one source
1383 @subsection Different editions from one source
1388 The @code{\tag} command marks music expressions with a name. These
1389 tagged expressions can be filtered out later. With this mechanism it
1390 is possible to make different versions of the same music source.
1392 In the following example, we see two versions of a piece of music, one
1393 for the full score, and one with cue notes for the instrumental part
1409 The same can be applied to articulations, texts, etc.: they are
1412 -\tag #@var{your-tag}
1414 to an articulation, for example,
1419 This defines a note with a conditional fingering indication.
1422 @cindex removeWithTag
1423 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1424 commands, tagged expressions can be filtered. For example,
1428 \keepWithTag #'score @var{the music}
1429 \keepWithTag #'part @var{the music}
1434 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1436 The arguments of the @code{\tag} command should be a symbol
1437 (such as @code{#'score} or @code{#'part}), followed by a
1438 music expression. It is possible to put multiple tags on
1439 a piece of music with multiple @code{\tag} entries,
1442 \tag #'original-part \tag #'transposed-part @dots{}
1448 Examples: @lsr{parts,tag@/-filter@/.ly}
1453 Multiple rests are not merged if you create the score with both tagged
1458 @node Orchestral music
1459 @section Orchestral music
1461 Orchestral music involves some special notation, both in the full
1462 score and the individual parts. This section explains how to tackle
1463 some common problems in orchestral music.
1466 * Automatic part combining::
1468 * Quoting other voices::
1469 * Formatting cue notes::
1470 * Aligning to cadenzas::
1474 @node Automatic part combining
1475 @subsection Automatic part combining
1476 @cindex automatic part combining
1477 @cindex part combiner
1479 Automatic part combining is used to merge two parts of music onto a
1480 staff. It is aimed at typesetting orchestral scores. When the two
1481 parts are identical for a period of time, only one is shown. In
1482 places where the two parts differ, they are typeset as separate
1483 voices, and stem directions are set automatically. Also, solo and
1484 @emph{a due} parts are identified and can be marked.
1486 The syntax for part combining is
1489 \partcombine @var{musicexpr1} @var{musicexpr2}
1493 The following example demonstrates the basic functionality of the part
1494 combiner: putting parts on one staff, and setting stem directions and
1497 @lilypond[quote,verbatim,ragged-right,fragment]
1498 \new Staff \partcombine
1499 \relative g' { g g a( b) c c r r }
1500 \relative g' { g g r4 r e e g g }
1503 The first @code{g} appears only once, although it was
1504 specified twice (once in each part). Stem, slur, and tie directions are
1505 set automatically, depending whether there is a solo or unisono. The
1506 first part (with context called @code{one}) always gets up stems, and
1507 @q{Solo}, while the second (called @code{two}) always gets down stems and
1510 If you just want the merging parts, and not the textual markings, you
1511 may set the property @code{printPartCombineTexts} to false
1513 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1515 \set Staff.printPartCombineTexts = ##f
1517 \relative g' { g a( b) r }
1518 \relative g' { g r4 r f }
1522 To change the text that is printed for solos or merging, you may
1523 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1526 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1528 \set Score.soloText = #"ichi"
1529 \set Score.soloIIText = #"ni"
1530 \set Score.aDueText = #"tachi"
1532 \relative g' { g4 g a( b) r }
1533 \relative g' { g4 g r r f }
1537 Both arguments to @code{\partcombine} will be interpreted as
1538 @internalsref{Voice} contexts. If using relative octaves,
1539 @code{\relative} should be specified for both music expressions, i.e.,
1543 \relative @dots{} @var{musicexpr1}
1544 \relative @dots{} @var{musicexpr2}
1548 A @code{\relative} section that is outside of @code{\partcombine} has
1549 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1553 Program reference: @internalsref{PartCombineMusic}.
1557 When @code{printPartCombineTexts} is set, when the two voices play the
1558 same notes on and off, the part combiner may typeset @code{a2} more
1559 than once in a measure.
1561 @code{\partcombine} cannot be inside @code{\times}.
1563 @code{\partcombine} cannot be inside @code{\relative}.
1565 Internally, the @code{\partcombine} interprets both arguments as
1566 @code{Voice}s named @code{one} and @code{two}, and then decides when
1567 the parts can be combined. Consequently, if the arguments switch to
1568 differently named @internalsref{Voice} contexts, the events in those
1573 @subsection Hiding staves
1575 @cindex Frenched scores
1576 @cindex Hiding staves
1578 In orchestral scores, staff lines that only have rests are usually
1579 removed; this saves some space. This style is called @q{French Score}.
1580 For @internalsref{Lyrics},
1581 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1582 switched on by default. When the lines of these contexts turn out
1583 empty after the line-breaking process, they are removed.
1585 For normal staves, a specialized @internalsref{Staff} context is
1586 available, which does the same: staves containing nothing (or only
1587 multi-measure rests) are removed. The context definition is stored in
1588 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1589 in this example disappears in the second line
1591 @lilypond[quote,ragged-right,verbatim]
1593 \context { \RemoveEmptyStaffContext }
1598 \new Staff { e4 f g a \break c1 }
1599 \new Staff { c4 d e f \break R1 }
1604 The first system shows all staves in full. If empty staves should be
1605 removed from the first system too, set @code{remove-first} to true in
1606 @internalsref{VerticalAxisGroup}.
1609 \override Score.VerticalAxisGroup #'remove-first = ##t
1612 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1613 or @code{\RemoveEmptyRhythmicStaffContext}.
1615 Another application is making ossia sections, i.e., alternative
1616 melodies on a separate piece of staff, with help of a Frenched
1620 @node Quoting other voices
1621 @subsection Quoting other voices
1625 With quotations, fragments of other parts can be inserted into a part
1626 directly. Before a part can be quoted, it must be marked especially as
1627 quotable. This is done with the @code{\addQuote} command.
1630 \addQuote @var{name} @var{music}
1635 Here, @var{name} is an identifying string. The @var{music} is any kind
1636 of music. Here is an example of @code{\addQuote}
1639 \addQuote clarinet \relative c' @{
1644 This command must be entered at toplevel, i.e., outside any music
1647 After calling @code{\addQuote}, the quotation may then be done with
1648 @code{\quoteDuring} or @code{\cueDuring},
1651 \quoteDuring #@var{name} @var{music}
1654 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1658 \quoteDuring #"clarinet" @{ s2. @}
1661 This would cite three quarter notes (the duration of @code{s2.}) of
1662 the previously added @code{clarinet} voice.
1665 More precisely, it takes the current time-step of the part being
1666 printed, and extracts the notes at the corresponding point of the
1667 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1668 should be the entire part of the voice to be quoted, including any
1669 rests at the beginning.
1671 Quotations take into account the transposition of both source and target
1672 instruments, if they are specified using the @code{\transposition} command.
1674 @lilypond[quote,ragged-right,verbatim]
1675 \addQuote clarinet \relative c' {
1681 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1685 The type of events that are present in cue notes can be trimmed with
1686 the @code{quotedEventTypes} property. The default value is
1687 @code{(note-event rest-event)}, which means that only notes and
1688 rests of the cued voice end up in the @code{\quoteDuring}.
1692 \set Staff.quotedEventTypes =
1693 #'(note-event articulation-event dynamic-event)
1697 will quote notes (but no rests), together with scripts and dynamics.
1701 Only the contents of the first @internalsref{Voice} occurring in an
1702 @code{\addQuote} command will be considered for quotation, so
1703 @var{music} can not contain @code{\new} and @code{\context Voice}
1704 statements that would switch to a different Voice.
1706 Quoting grace notes is broken and can even cause LilyPond to crash.
1708 Quoting nested triplets may result in poor notation.
1713 In this manual: @ref{Instrument transpositions}.
1715 Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly}
1717 Program reference: @internalsref{QuoteMusic}.
1720 @node Formatting cue notes
1721 @subsection Formatting cue notes
1723 @cindex cues, formatting
1725 The previous section deals with inserting notes from another voice.
1726 There is a more advanced music function called @code{\cueDuring},
1727 which makes formatting cue notes easier.
1732 \cueDuring #@var{name} #@var{updown} @var{music}
1735 This will insert notes from the part @var{name} into a
1736 @internalsref{Voice} called @code{cue}. This happens simultaneously
1737 with @var{music}, which usually is a rest. When the cue notes start,
1738 the staff in effect becomes polyphonic for a moment. The argument
1739 @var{updown} determines whether the cue notes should be notated as a
1740 first or second voice.
1743 @lilypond[verbatim,ragged-right]
1746 \override Stem #'length-fraction = #0.8
1747 \override Beam #'thickness = #0.384
1748 \override Beam #'length-fraction = #0.8
1751 \addQuote clarinet \relative {
1756 \new Staff \relative <<
1758 % setup a context for cue notes.
1759 \new Voice = "cue" { \smaller \skip 1*21 }
1761 \set Score.skipBars = ##t
1765 \cueDuring #"clarinet" #UP {
1774 Here are a couple of hints for successful cue notes
1778 Cue notes have smaller font sizes.
1780 the cued part is marked with the instrument playing the cue.
1782 when the original part takes over again, this should be marked with
1783 the name of the original instrument.
1785 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1787 @c Yes, this is good practice. Otherwise, the start of the original
1788 @c part can only be seen from the font size. This is not good enough
1789 @c for sight-reading. It is possilbe to use other
1790 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1796 Any other changes introduced by the cued part should also be
1797 undone. For example, if the cued instrument plays in a different clef,
1798 the original clef should be stated once again.
1802 The macro @code{\transposedCueDuring} is
1803 useful to add cues to instruments which use a completely different
1804 octave range (for example, having a cue of a piccolo flute within
1805 a contra bassoon part).
1807 @lilypond[verbatim,ragged-right,quote]
1808 picc = \relative c''' {
1814 \addQuote "picc" { \picc }
1816 cbsn = \relative c, {
1819 \transposedCueDuring #"picc" #UP c,, { R1 } |
1824 \context Staff = "picc" \picc
1825 \context Staff = "cbsn" \cbsn
1831 @node Aligning to cadenzas
1832 @subsection Aligning to cadenzas
1834 In an orchestral context, cadenzas present a special problem:
1835 when constructing a score that includes a cadenza, all other
1836 instruments should skip just as many notes as the length of the
1837 cadenza, otherwise they will start too soon or too late.
1839 A solution to this problem are the functions @code{mmrest-of-length}
1840 and @code{skip-of-length}. These Scheme functions take a piece of music
1841 as argument, and generate a @code{\skip} or multi-rest, exactly as
1842 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1843 in the following example.
1845 @lilypond[verbatim,ragged-right,quote]
1846 cadenza = \relative c' {
1847 c4 d8 << { e f g } \\ { d4. } >>
1852 \new Staff { \cadenza c'4 }
1854 #(ly:export (mmrest-of-length cadenza))
1863 @node Contemporary notation
1864 @section Contemporary notation
1866 In the 20th century, composers have greatly expanded the musical
1867 vocabulary. With this expansion, many innovations in musical notation
1868 have been tried. The book @q{Music Notation in the 20th century} by
1869 Kurt Stone gives a comprehensive overview (see @ref{Literature
1872 This section describes notation that does
1873 not fit into traditional notation categories, such as pitches,
1874 tuplet beams, and articulation. For contemporary notation
1875 that fits into traditional notation categories, such as
1876 microtones, nested tuplet beams, and unusual fermatas, please
1877 see those sections of the documentation.
1880 * Polymetric notation::
1881 * Time administration::
1882 * Proportional notation (introduction)::
1884 * Special noteheads::
1887 * Selecting notation font size::
1891 @node Polymetric notation
1892 @subsection Polymetric notation
1894 @cindex double time signatures
1895 @cindex signatures, polymetric
1896 @cindex polymetric signatures
1897 @cindex meter, polymetric
1899 Double time signatures are not supported explicitly, but they can be
1900 faked. In the next example, the markup for the time signature is
1901 created with a markup text. This markup text is inserted in the
1902 @internalsref{TimeSignature} grob. See also
1903 @lsr{contemporary,compound-time-signature}.
1905 @lilypond[verbatim,ragged-right]
1908 \override #'(baseline-skip . 2) \number {
1911 \bracket \column { "5" "8" }
1916 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1917 \override Staff.TimeSignature #'text = #tsMarkup
1919 c'2 \bar ":" c'4 c'4.
1923 Each staff can also have its own time signature. This is done by
1924 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1930 \remove "Timing_translator"
1931 \remove "Default_bar_line_engraver"
1935 \consists "Timing_translator"
1936 \consists "Default_bar_line_engraver"
1943 Now, each staff has its own time signature.
1956 c4. c8 c c c4. c8 c c
1961 @lilypond[quote,ragged-right]
1965 \remove "Timing_translator"
1966 \remove "Default_bar_line_engraver"
1969 \consists "Timing_translator"
1970 \consists "Default_bar_line_engraver"
1985 c4. c8 c c c4. c8 c c
1991 A different form of polymetric notation is where note lengths have
1992 different values across staves.
1994 This notation can be created by setting a common time signature for
1995 each staff but replacing it manually using
1996 @code{timeSignatureFraction} to the desired fraction. Then the printed
1997 durations in each staff are scaled to the common time signature.
1998 The latter is done with @code{\compressMusic}, which is used similar
1999 to @code{\times}, but does not create a tuplet bracket. The syntax is
2001 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
2006 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
2007 used in parallel. In the second staff, shown durations are multiplied by
2008 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
2009 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
2011 @lilypond[quote,ragged-right,verbatim,fragment]
2019 \set Staff.timeSignatureFraction = #'(9 . 8)
2020 \compressMusic #'(2 . 3)
2021 \repeat unfold 6 { c8[ c c] }
2025 \set Staff.timeSignatureFraction = #'(10 . 8)
2026 \compressMusic #'(3 . 5) {
2027 \repeat unfold 2 { c8[ c c] }
2028 \repeat unfold 2 { c8[ c] }
2029 | c4. c4. \times 2/3 { c8 c c } c4
2040 When using different time signatures in parallel, the spacing is
2041 aligned vertically, but bar lines distort the regular spacing.
2044 @node Time administration
2045 @subsection Time administration
2047 @cindex Time administration
2049 Time is administered by the @internalsref{Time_signature_engraver},
2050 which usually lives in the @internalsref{Score} context. The
2051 bookkeeping deals with the following variables
2054 @item currentBarNumber
2058 The length of the measures in the current time signature. For a 4/4
2059 time this is@tie{}1, and for 6/8 it is 3/4.
2061 @item measurePosition
2062 The point within the measure where we currently are. This quantity
2063 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2064 happens, @code{currentBarNumber} is incremented.
2067 If set to true, the above variables are updated for every time
2068 step. When set to false, the engraver stays in the current measure
2072 Timing can be changed by setting any of these variables explicitly.
2073 In the next example, the 4/4 time signature is printed, but
2074 @code{measureLength} is set to 5/4. After a while, the measure is
2075 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2076 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2077 3/8 arises because 5/4 normally has 10/8, but we have manually
2078 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2080 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2081 \set Score.measureLength = #(ly:make-moment 5 4)
2085 \set Score.measurePosition = #(ly:make-moment 7 8)
2091 As the example illustrates, @code{ly:make-moment n m} constructs a
2092 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2094 note duration and @code{ly:make-moment 7 16} is the duration of
2095 seven sixteenths notes.
2098 @node Proportional notation (introduction)
2099 @subsection Proportional notation (introduction)
2100 @cindex Proportional notation
2102 See @ref{Proportional notation}.
2105 TODO: remove all this stuff?
2107 Notes can be spaced proportionally to their time-difference by
2108 assigning a duration to @code{proportionalNotationDuration}
2110 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2112 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2113 \new Staff { c8[ c c c c c] c4 c2 r2 }
2114 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2118 Setting this property only affects the ideal spacing between
2119 consecutive notes. For true proportional notation, the following
2120 settings are also required.
2124 @item True proportional notation requires that symbols are allowed to
2125 overstrike each other. That is achieved by removing the
2126 @internalsref{Separating_line_group_engraver} from
2127 @internalsref{Staff} context.
2129 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2130 is removed by setting the @code{strict-note-spacing} property to
2131 @code{#t} in @internalsref{SpacingSpanner} grob.
2133 @item Optical spacing tweaks are switched by setting
2134 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2141 Examples: @lsr{spacing,proportional@/-spacing@/.ly},
2142 @lsr{spacing,proportional@/-strict@/-grace@/-notes@/.ly}, and
2143 @lsr{spacing,proportional@/-strict@/-notespacing@/.ly}
2145 An example of strict proportional notation is in the
2146 example file @file{input/proportional.ly}.
2150 @subsection Clusters
2154 A cluster indicates a continuous range of pitches to be played. They
2155 can be denoted as the envelope of a set of notes. They are entered by
2156 applying the function @code{makeClusters} to a sequence of
2158 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2159 \makeClusters { <c e > <b f'> }
2162 Ordinary notes and clusters can be put together in the same staff,
2163 even simultaneously. In such a case no attempt is made to
2164 automatically avoid collisions between ordinary notes and clusters.
2168 Program reference: @internalsref{ClusterSpanner},
2169 @internalsref{ClusterSpannerBeacon},
2170 @internalsref{Cluster_spanner_engraver}.
2172 Examples: @lsr{contemporary,cluster@/.ly}.
2176 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2177 accurately. Use @code{<g a>8 <e a>8} instead.
2180 @node Special noteheads
2181 @subsection Special noteheads
2183 @cindex note heads, special
2185 Different noteheads are used by various instruments for various
2186 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2187 notes on guitar; diamonds are used for harmonics on string instruments,
2188 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2189 other notehead styles are produced by tweaking the property
2191 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2193 \override NoteHead #'style = #'cross
2195 \revert NoteHead #'style
2196 e d <c f\harmonic> <d a'\harmonic>
2200 To see all notehead styles, please see
2201 @ref{Note head styles}.
2206 Program reference: @internalsref{NoteHead}.
2209 @node Feathered beams
2210 @subsection Feathered beams
2212 Feathered beams are printed by setting the @code{grow-direction}
2213 property of a @code{Beam}. The @code{\featherDurations} function
2214 can be used to adjust note durations.
2216 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2217 \override Beam #'grow-direction = #LEFT
2218 \featherDurations #(ly:make-moment 5 4)
2226 The @code{\featherDuration} command only works with very short
2230 @subsection Improvisation
2232 Improvisation is sometimes denoted with slashed note heads. Such note
2233 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2234 to the @internalsref{Voice} context. Then, the
2238 \set squashedPosition = #0
2239 \override NoteHead #'style = #'slash
2243 switches on the slashes.
2245 There are shortcuts @code{\improvisationOn} (and an accompanying
2246 @code{\improvisationOff}) for this command sequence. They are used in
2247 the following example
2249 @lilypond[verbatim,ragged-right,quote]
2251 \consists Pitch_squash_engraver
2253 e8 e g a a16(bes)(a8) g \improvisationOn
2256 ~fis2 \improvisationOff a16(bes) a8 g e
2261 @node Selecting notation font size
2262 @subsection Selecting notation font size
2264 The easiest method of setting the font size of any context is by
2265 setting the @code{fontSize} property.
2267 @lilypond[quote,fragment,relative=1,verbatim]
2276 It does not change the size of variable symbols, such as beams or
2279 Internally, the @code{fontSize} context property will cause the
2280 @code{font-size} property to be set in all layout objects. The value
2281 of @code{font-size} is a number indicating the size relative to the
2282 standard size for the current staff height. Each step up is an
2283 increase of approximately 12% of the font size. Six steps is exactly a
2284 factor two. The Scheme function @code{magstep} converts a
2285 @code{font-size} number to a scaling factor. The @code{font-size}
2286 property can also be set directly, so that only certain layout objects are
2289 @lilypond[quote,fragment,relative=1,verbatim]
2291 \override NoteHead #'font-size = #-4
2293 \override NoteHead #'font-size = #3
2297 Font size changes are achieved by scaling the design size that is
2298 closest to the desired size. The standard font size (for
2299 @code{font-size} equals 0), depends on the standard staff height. For
2300 a 20pt staff, a 10pt font is selected.
2302 The @code{font-size} property can only be set on layout objects that
2303 use fonts. These are the ones supporting the
2304 @internalsref{font-interface} layout interface.
2308 The following commands set @code{fontSize} for the current voice:
2314 @funindex \normalsize
2319 @node Educational use
2320 @section Educational use
2322 With the amount of control that LilyPond offers, one can make great
2323 teaching tools in addition to great musical scores.
2327 * Blank music sheet::
2329 * Shape note heads::
2330 * Easy Notation note heads::
2331 * Analysis brackets::
2332 * Coloring objects::
2338 @subsection Balloon help
2340 Elements of notation can be marked and named with the help of a square
2341 balloon. The primary purpose of this feature is to explain notation.
2343 The following example demonstrates its use.
2345 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2346 \new Voice \with { \consists "Balloon_engraver" }
2348 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2349 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2354 There are two music functions, @code{balloonText} and
2355 @code{balloonGrobText}. The latter takes the name of the grob to
2356 adorn, while the former may be used as an articulation on a note.
2357 The other arguments are the offset and the text of the label.
2360 @cindex notation, explaining
2364 Program reference: @internalsref{text-balloon-interface}.
2369 @node Blank music sheet
2370 @subsection Blank music sheet
2372 @cindex Sheet music, empty
2373 @cindex Staves, blank sheet
2375 A blank music sheet can be produced also by using invisible notes, and
2376 removing @code{Bar_number_engraver}.
2379 @lilypond[quote,verbatim]
2380 \layout{ indent = #0 }
2382 \repeat unfold 2 % Change this for more lines.
2387 \override TimeSignature #'transparent = ##t
2388 % un-comment this line if desired
2389 % \override Clef #'transparent = ##t
2390 defaultBarType = #""
2391 \remove Bar_number_engraver
2394 % modify these to get the staves you want
2395 \new Staff \emptymusic
2396 \new TabStaff \emptymusic
2402 @subsection Hidden notes
2404 @cindex Hidden notes
2405 @cindex Invisible notes
2406 @cindex Transparent notes
2408 @funindex \hideNotes
2409 @funindex \unHideNotes
2410 Hidden (or invisible or transparent) notes can be useful in preparing theory
2411 or composition exercises.
2413 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2422 @node Shape note heads
2423 @subsection Shape note heads
2425 @cindex note heads, shape
2427 In shape note head notation, the shape of the note head corresponds
2428 to the harmonic function of a note in the scale. This notation was
2429 popular in the 19th century American song books.
2431 Shape note heads can be produced by setting @code{\aikenHeads} or
2432 @code{\sacredHarpHeads}, depending on the style desired.
2434 @lilypond[verbatim,relative=1,fragment]
2441 Shapes are determined on the step in the scale, where the base of the
2442 scale is determined by the @code{\key} command
2445 @funindex shapeNoteStyles
2446 @funindex \aikenHeads
2447 @funindex \sacredHarpHeads
2449 Shape note heads are implemented through the @code{shapeNoteStyles}
2450 property. Its value is a vector of symbols. The k-th element indicates
2451 the style to use for the k-th step of the scale. Arbitrary
2452 combinations are possible, e.g.
2454 @lilypond[verbatim,relative=1,fragment]
2455 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2460 @node Easy Notation note heads
2461 @subsection Easy Notation note heads
2463 @cindex note heads, practice
2464 @cindex note heads, easy notation
2465 @cindex easy notation
2468 The @q{easy play} note head includes a note name inside the head. It is
2469 used in music for beginners
2471 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2476 The command @code{\setEasyHeads} overrides settings for the
2477 @internalsref{NoteHead} object. To make the letters readable, it has
2478 to be printed in a large font size. To print with a larger font, see
2479 @ref{Setting the staff size}.
2483 @funindex \setEasyHeads
2484 @code{\setEasyHeads}
2487 @node Analysis brackets
2488 @subsection Analysis brackets
2490 @cindex phrasing brackets
2491 @cindex musicological analysis
2492 @cindex note grouping bracket
2494 Brackets are used in musical analysis to indicate structure in musical
2495 pieces. LilyPond supports a simple form of nested horizontal
2496 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2497 to @internalsref{Staff} context. A bracket is started with
2498 @code{\startGroup} and closed with @code{\stopGroup}
2500 @lilypond[quote,ragged-right,verbatim]
2503 c4\startGroup\startGroup
2506 c4\stopGroup\stopGroup
2510 \Staff \consists "Horizontal_bracket_engraver"
2516 Program reference: @internalsref{HorizontalBracket}.
2519 @node Coloring objects
2520 @subsection Coloring objects
2522 Individual objects may be assigned colors. You may use the
2523 color names listed in the @ref{List of colors}.
2525 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2526 \override NoteHead #'color = #red
2528 \override NoteHead #'color = #(x11-color 'LimeGreen)
2530 \override Stem #'color = #blue
2534 The full range of colors defined for X11 can be accessed by using the
2535 Scheme function x11-color. The function takes one argument that can be a
2539 \override Beam #'color = #(x11-color 'MediumTurquoise)
2545 \override Beam #'color = #(x11-color "MediumTurquoise")
2548 The first form is quicker to write and is more efficient. However, using
2549 the second form it is possible to access X11 colors by the multi-word
2553 \override Beam #'color = #(x11-color "medium turquoise")
2556 If x11-color cannot make sense of the parameter then the color returned
2557 defaults to black. It should be obvious from the final score that
2560 This example illustrates the use of x11-color. Notice that the stem
2561 color remains black after being set to (x11-color 'Boggle), which is
2562 deliberate nonsense.
2564 @lilypond[quote,ragged-right,verbatim]
2566 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2567 \set Staff.instrumentName = \markup {
2568 \with-color #(x11-color 'navy) "Clarinet"
2572 \override Beam #'color = #(x11-color "medium turquoise")
2574 \override NoteHead #'color = #(x11-color "LimeGreen")
2576 \override Stem #'color = #(x11-color 'Boggle)
2584 Appendix: @ref{List of colors}.
2588 Not all x11 colors are distinguishable in a web browser. For web use
2589 normal colors are recommended.
2591 An x11 color is not necessarily exactly the same shade as a similarly
2594 Notes in a chord cannot be colored with @code{\override}; use
2595 @code{\tweak} instead. See @ref{Objects connected to the input},
2600 @subsection Parentheses
2603 @cindex notes, ghost
2604 @cindex notes, parenthesized
2606 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2609 @lilypond[relative=2,fragment,verbatim,ragged-right]
2617 This only functions inside chords, even for single notes
2620 < \parenthesize NOTE>
2625 @subsection Grid lines
2627 Vertical lines can be drawn between staves synchronized with
2630 @lilypond[ragged-right,quote,verbatim]
2634 \consists "Grid_point_engraver" %% sets of grid
2635 gridInterval = #(ly:make-moment 1 4)
2640 \consists "Grid_line_span_engraver"
2641 %% centers grid lines horizontally below noteheads
2642 \override NoteColumn #'X-offset = #-0.5
2653 %% centers grid lines vertically
2654 \override Score.GridLine #'extra-offset = #'( 0.0 . 1.0 )
2664 Examples: @lsrdir{education}