1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
27 This section explains how to include text (with various formatting) in
30 @cindex Text, other languages
31 To write non-ascii text (such as characters from other languages), simply
32 insert the characters directly into the lilypond file. The file must be
33 saved as UTF-8. For more information, see @ref{Text encoding}.
41 * Overview of text markup commands::
48 @subsection Text scripts
51 @cindex text items, non-empty
52 @cindex non-empty texts
54 It is possible to place arbitrary strings of text or @ref{Text markup}
55 above or below notes by using a string @code{c^"text"}. By default,
56 these indications do not influence the note spacing, but by using the
57 command @code{\fatText}, the widths will be taken into account
59 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
60 c4^"longtext" \fatText c4_"longlongtext" c4
64 To prevent text from influencing spacing, use @code{\emptyText}.
66 More complex formatting may also be added to a note by using the
68 @lilypond[fragment,ragged-right,verbatim,quote]
69 c'4^\markup { bla \bold bla }
72 The @code{\markup} is described in more detail in
86 Checking to make sure that text scripts and lyrics are within the margins is
87 a relatively large computational task. To speed up processing, lilypond does
88 not perform such calculations by default; to enable it, use
91 \override Score.PaperColumn #'keep-inside-line = ##t
97 In this manual: @ref{Text markup}.
99 Program reference: @internalsref{TextScript}.
103 @subsection Text spanners
105 @cindex Text spanners
107 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
108 are written as text and are extended over many measures with dotted
109 lines. Such texts are created using text spanners; attach
110 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
111 notes of the spanner.
113 The string to be printed, as well as the style, is set through object
116 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
119 \override TextSpanner #'edge-text = #'("rall " . "")
120 c2\startTextSpan b c\stopTextSpan a
123 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
124 c2\startTextSpan b c\stopTextSpan a
129 @cindex textSpannerUp
130 @code{textSpannerUp},
131 @cindex textSpannerDown
132 @code{textSpannerDown},
133 @cindex textSpannerNeutral
134 @code{textSpannerNeutral}.
139 To print a solid line, use
142 \override TextSpanner #'dash-fraction = #'()
148 Program reference: @internalsref{TextSpanner}.
150 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
154 @subsection Text marks
156 @cindex coda on bar line
157 @cindex segno on bar line
158 @cindex fermata on bar line
159 @cindex bar lines, symbols on
162 The @code{\mark} command is primarily used for
163 @ref{Rehearsal marks},
164 but it can also be used to put signs like coda,
165 segno, and fermata on a bar line. Use @code{\markup} to
166 access the appropriate symbol
168 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
169 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
174 @code{\mark} is only typeset above the top stave of the score. If
175 you specify the @code{\mark} command at a bar line, the resulting
176 mark is placed above the bar line. If you specify it in the middle
177 of a bar, the resulting mark is positioned between notes. If it is
178 specified before the beginning of a score line, it is placed
179 before the first note of the line. Finally, if the mark occurs at
180 a line break, the mark will be printed at the
181 beginning of the next line.
182 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
183 @c delete this sentence. -gp
184 If there is no next line, then the mark will not be printed at all.
189 To print the mark at the end of the current line, use
192 \override Score.RehearsalMark
193 #'break-visibility = #begin-of-line-invisible
196 @code{\mark} is often useful for adding text to the end of bar. In
197 such cases, changing the @code{#'self-alignment} is very useful
199 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
200 \override Score.RehearsalMark
201 #'break-visibility = #begin-of-line-invisible
203 \once \override Score.RehearsalMark #'self-alignment-X = #right
204 \mark "D.S. al Fine "
207 Text marks may be aligned with notation objects other than
210 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
215 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
219 \override Score.RehearsalMark #'break-align-symbol = #'clef
223 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
232 Although text marks are normally only printed above the topmost
233 staff, you may alter this to print them on every staff,
235 @lilypond[quote,ragged-right,verbatim,relative=2]
238 \remove "Mark_engraver"
242 \consists "Mark_engraver"
244 { c''1 \mark "foo" c'' }
246 \consists "Mark_engraver"
248 { c'1 \mark "foo" c' }
256 Program reference: @internalsref{RehearsalMark}.
260 @subsection Text markup
267 Use @code{\markup} to typeset text. Commands are entered with the
268 backslash @code{\}. To enter @code{\} and @code{#}, use double
271 @lilypond[quote,verbatim,fragment,relative=1]
273 c1_\markup { hi there }
274 c1^\markup { hi \bold there, is \italic {anyone home?} }
275 c1_\markup { "\special {weird} #characters" }
279 See @ref{Overview of text markup commands} for a list of all
282 @code{\markup} is primarily used for @internalsref{TextScript}s,
283 but it can also be used anywhere text is called in lilypond
285 @lilypond[quote,verbatim]
286 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
289 \override Score.RehearsalMark
290 #'break-visibility = #begin-of-line-invisible
291 \override Score.RehearsalMark #'self-alignment-X = #right
293 \set Staff.instrument = \markup{ \column{ Alto solo } }
294 c2^\markup{ don't be \flat }
295 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
297 a2\mark \markup{ \large \bold Fine }
301 \addlyrics { bar, foo \markup{ \italic bar! } }
305 Text can also be placed on its own, away from any @code{\score}
306 block. This is primarily used in a @code{\book} (see
307 @ref{Multiple movements}).
309 @lilypond[quote,ragged-right,verbatim]
310 \markup{ Here is some text. }
313 @cindex font switching
315 The markup in the example demonstrates font switching commands. The
316 command @code{\bold} and @code{\italic} apply to the first following
317 word only; to apply a command to more than one word, enclose the
321 \markup @{ \bold @{ hi there @} @}
325 For clarity, you can also do this for single arguments, e.g.,
328 \markup @{ is \italic @{ anyone @} home @}
331 In markup mode you can compose expressions, similar to mathematical
332 expressions, XML documents, and music expressions. You can stack
333 expressions grouped vertically with the command @code{\column}.
334 Similarly, @code{\center-align} aligns texts by their center lines:
336 @lilypond[quote,verbatim,fragment,relative=1]
337 c1^\markup { \column { a bbbb \line { c d } } }
338 c1^\markup { \center-align { a bbbb c } }
339 c1^\markup { \line { a b c } }
342 Lists with no previous command are not kept distinct. The expression
345 \center-align @{ @{ a b @} @{ c d @} @}
353 \center-align @{ a b c d @}
358 To keep lists of words distinct, please use quotes @code{"} or
359 the @code{\line} command
361 @lilypond[quote,verbatim,fragment,relative=1]
363 c4^\markup{ \center-align { on three lines } }
364 c4^\markup{ \center-align { "all one line" } }
365 c4^\markup{ \center-align { { on three lines } } }
366 c4^\markup{ \center-align { \line { on one line } } }
369 Markups can be stored in variables and these variables
370 may be attached to notes, like
372 allegro = \markup @{ \bold \large @{ Allegro @} @}
373 @{ a^\allegro b c d @}
376 Some objects have alignment procedures of their own, which cancel out
377 any effects of alignments applied to their markup arguments as a
378 whole. For example, the @internalsref{RehearsalMark} is horizontally
379 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
382 In addition, vertical placement is performed after creating the
383 text markup object. If you wish to move an entire piece of markup,
384 you need to use the #'padding property or create an "anchor" point
385 inside the markup (generally with @code{\hspace #0}).
387 @lilypond[quote,verbatim,fragment,relative=1]
389 c'4^\markup{ \raise #5 "not raised" }
390 \once \override TextScript #'padding = #3
391 c'4^\markup{ raised }
392 c'4^\markup{ \hspace #0 \raise #1.5 raised }
395 Some situations (such as dynamic marks) have preset font-related
396 properties. If you are creating text in such situations, it
397 is advisable to cancel those properties with
398 @code{normal-text}. See @ref{Overview of text markup commands}
404 This manual: @ref{Overview of text markup commands}.
406 Program reference: @internalsref{TextScript}.
408 Init files: @file{scm/@/new@/-markup@/.scm}.
413 Kerning or generation of ligatures is only done when the @TeX{}
414 backend is used. In this case, LilyPond does not account for them so
415 texts will be spaced slightly too wide.
417 Syntax errors for markup mode are confusing.
421 @subsection Nested scores
423 It is possible to nest music inside markups, by adding a @code{\score}
424 block to a markup expression. Such a score must contain a @code{\layout}
427 @lilypond[quote,verbatim,ragged-right]
431 \relative { c4 d e f }
440 @node Overview of text markup commands
441 @subsection Overview of text markup commands
443 The following commands can all be used inside @code{\markup @{ @}}.
445 @include markup-commands.tely
449 @subsection Font selection
451 @cindex font selection
452 @cindex font magnification
453 @funindex font-interface
455 By setting the object properties described below, you can select a
456 font from the preconfigured font families. LilyPond has default
457 support for the feta music fonts. Text fonts are selected through
458 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
459 the sans and typewriter to whatever the Pango installation defaults
464 @item @code{font-encoding}
465 is a symbol that sets layout of the glyphs. This should only be set to
466 select different types of non-text fonts, e.g.
468 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
469 standard music font, including ancient glyphs, @code{fetaDynamic} for
470 dynamic signs and @code{fetaNumber} for the number font.
472 @item @code{font-family}
473 is a symbol indicating the general class of the typeface. Supported are
474 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
476 @item @code{font-shape}
477 is a symbol indicating the shape of the font. There are typically
478 several font shapes available for each font family. Choices are
479 @code{italic}, @code{caps}, and @code{upright}.
481 @item @code{font-series}
482 is a symbol indicating the series of the font. There are typically
483 several font series for each font family and shape. Choices are
484 @code{medium} and @code{bold}.
488 Fonts selected in the way sketched above come from a predefined style
489 sheet. If you want to use a font from outside the style sheet,
491 @code{font-name} property,
493 @lilypond[fragment,verbatim]
495 \override Staff.TimeSignature #'font-name = #"Charter"
496 \override Staff.TimeSignature #'font-size = #2
499 \override #'(font-name . "Vera Bold")
500 { This text is in Vera Bold }
506 Any font can be used, as long as it is available to Pango/FontConfig.
508 The size of the font may be set with the @code{font-size}
509 property. The resulting size is taken relative to the
510 @code{text-font-size} as defined in the @code{\paper} block.
513 @cindex font magnification
516 It is also possible to change the default font family for the entire
517 document. This is done by calling the @code{make-pango-font-tree} from
518 within the @code{\paper} block. The function takes names for the font
519 families to use for roman, sans serif and monospaced text. For
522 @cindex font families, setting
531 (make-pango-font-tree "Times New Roman"
538 c'^\markup { roman: foo \sans bla \typewriter bar }
542 @c we don't do Helvetica / Courier, since GS incorrectly loads
549 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
552 @node New dynamic marks
553 @subsection New dynamic marks
555 It is possible to print new dynamic marks or text that should be aligned
556 with dynamics. Use @code{make-dynamic-script} to create these
557 marks. Note that the dynamic font only contains the characters
558 @code{f,m,p,r,s} and @code{z}.
560 Some situations (such as dynamic marks) have preset font-related
561 properties. If you are creating text in such situations, it
562 is advisable to cancel those properties with
563 @code{normal-text}. See @ref{Overview of text markup commands}
566 @cindex make-dynamic-script
568 @lilypond[quote,verbatim,ragged-right]
569 sfzp = #(make-dynamic-script "sfzp")
575 @cindex Dynamics, editorial
576 @cindex Dynamics, parenthesis
578 It is also possible to print dynamics in round parenthesis or square
579 brackets. These are often used for adding editorial dynamics.
581 @lilypond[quote,verbatim,ragged-right]
582 rndf = \markup{ \center-align {\line { \bold{\italic (}
583 \dynamic f \bold{\italic )} }} }
584 boxf = \markup{ \bracket { \dynamic f } }
585 { c'1_\rndf c'1_\boxf }
590 @node Preparing parts
591 @section Preparing parts
593 This section describes various notation that are useful for preparing
597 * Multi measure rests::
602 * Instrument transpositions::
604 * Different editions from one source::
608 @node Multi measure rests
609 @subsection Multi measure rests
611 @cindex multi measure rests
612 @cindex full measure rests
613 @cindex Rests, multi measure
614 @cindex Rests, full measure
615 @cindex whole rests for a full measure
618 Rests for one full measure (or many bars) are entered using `@code{R}'. It
619 is specifically meant for full bar rests and for entering parts: the rest
620 can expand to fill a score with rests, or it can be printed as a single
621 multi-measure rest. This expansion is controlled by the property
622 @code{Score.skipBars}. If this is set to true, empty measures will not
623 be expanded, and the appropriate number is added automatically
625 @lilypond[quote,ragged-right,fragment,verbatim]
626 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
627 \set Score.skipBars = ##t R1*17 R1*4
630 The @code{1} in @code{R1} is similar to the duration notation used for
631 notes. Hence, for time signatures other than 4/4, you must enter other
632 durations. This can be done with augmentation dots or fractions
634 @lilypond[quote,ragged-right,fragment,verbatim]
635 \set Score.skipBars = ##t
644 An @code{R} spanning a single measure is printed as either a whole rest
645 or a breve, centered in the measure regardless of the time signature.
647 If there are only a few measures of rest, LilyPond prints ``church rests''
648 (a series of rectangles) in the staff. To replace that with a simple
649 rest, use @code{MultiMeasureRest.expand-limit}.
651 @lilypond[quote,ragged-right,fragment,verbatim]
652 \set Score.skipBars = ##t
654 \override MultiMeasureRest #'expand-limit = 1
658 @cindex text on multi-measure rest
659 @cindex script on multi-measure rest
660 @cindex fermata on multi-measure rest
662 Texts can be added to multi-measure rests by using the
663 @var{note}-@code{markup} syntax @ref{Text markup}.
664 A variable (@code{\fermataMarkup}) is provided for
667 @lilypond[quote,ragged-right,verbatim,fragment]
668 \set Score.skipBars = ##t
670 R2.*10^\markup { \italic "ad lib." }
674 Warning! This text is created by @code{MultiMeasureRestText}, not
677 @lilypond[quote,ragged-right,verbatim,fragment]
678 \override TextScript #'padding = #5
680 \override MultiMeasureRestText #'padding = #5
684 If you want to have text on the left end of a multi-measure rest,
685 attach the text to a zero-length skip note, i.e.,
695 Program reference: @internalsref{MultiMeasureRestMusicGroup},
696 @internalsref{MultiMeasureRest}.
698 The layout object @internalsref{MultiMeasureRestNumber} is for the
699 default number, and @internalsref{MultiMeasureRestText} for user
705 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
706 over multi-measure rests. And the pitch of multi-measure rests (or
707 staff-centered rests) can not be influenced.
709 @cindex condensing rests
711 There is no way to automatically condense multiple rests into a single
712 multi-measure rest. Multi-measure rests do not take part in rest
715 Be careful when entering multi-measure rests followed by whole
716 notes. The following will enter two notes lasting four measures each
720 When @code{skipBars} is set, the result will look OK, but the bar
721 numbering will be off.
724 @node Metronome marks
725 @subsection Metronome marks
728 @cindex beats per minute
729 @cindex metronome marking
731 Metronome settings can be entered as follows
733 \tempo @var{duration} = @var{per-minute}
736 In the MIDI output, they are interpreted as a tempo change. In the
737 layout output, a metronome marking is printed
739 @lilypond[quote,ragged-right,verbatim,fragment]
746 To change the tempo in the MIDI output without printing anything, make
747 the metronome marking invisible
749 \once \override Score.MetronomeMark #'transparent = ##t
752 To print other metronome markings, use these markup commands
753 @lilypond[quote,ragged-right,verbatim,relative,fragment]
756 \smaller \general-align #Y #DOWN \note #"16." #1
758 \smaller \general-align #Y #DOWN \note #"8" #1
763 See @ref{Text markup} for more details.
768 Program reference: @internalsref{MetronomeMark}.
773 Collisions are not checked. If you have notes above the top line of
774 the staff (or notes with articulations, slurs, text, etc), then the
775 metronome marking may be printed on top of musical symbols. If this
776 occurs, increase the padding of the metronome mark to place it
777 further away from the staff.
780 \override Score.MetronomeMark #'padding = #2.5
784 @node Rehearsal marks
785 @subsection Rehearsal marks
787 @cindex Rehearsal marks
790 To print a rehearsal mark, use the @code{\mark} command
792 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
801 The letter@tie{}`I' is skipped in accordance with engraving traditions.
802 If you wish to include the letter `I', then use
805 \set Score.markFormatter = #format-mark-alphabet
808 The mark is incremented automatically if you use @code{\mark
809 \default}, but you can also use an integer argument to set the mark
810 manually. The value to use is stored in the property
811 @code{rehearsalMark}.
813 The style is defined by the property @code{markFormatter}. It is a
814 function taking the current mark (an integer) and the current context
815 as argument. It should return a markup object. In the following
816 example, @code{markFormatter} is set to a canned procedure. After a
817 few measures, it is set to function that produces a boxed number.
819 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
820 \set Score.markFormatter = #format-mark-numbers
823 \set Score.markFormatter = #format-mark-box-numbers
829 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
830 of @code{format-mark-numbers} (the default format),
831 @code{format-mark-box-numbers},
832 @code{format-mark-letters} and @code{format-mark-box-letters}.
833 These can be used as inspiration for other formatting functions.
835 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
836 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
837 incremented numbers or letters.
842 Program reference: @internalsref{RehearsalMark}.
844 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
845 definition of @code{format-mark-numbers} and
846 @code{format-mark-letters}. They can be used as inspiration for other
847 formatting functions.
849 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
851 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
855 @subsection Bar numbers
858 @cindex measure numbers
859 @funindex currentBarNumber
861 Bar numbers are printed by default at the start of the line. The
862 number itself is stored in the @code{currentBarNumber} property, which
863 is normally updated automatically for every measure.
865 Bar numbers can be typeset at regular intervals instead of at the
866 beginning of each line. This is illustrated in the following example,
867 whose source is available as
868 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
870 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
872 Bar numbers can be manually changed by setting the
873 @code{Staff.currentBarNumber} property
875 @lilypond[verbatim,ragged-right,quote]
877 \repeat unfold 4 {c4 c c c} \break
878 \set Score.currentBarNumber = #50
879 \repeat unfold 4 {c4 c c c}
883 Bar numbers can be removed entirely by removing the Bar number
884 engraver from the score.
886 @lilypond[verbatim,ragged-right,quote]
890 \remove "Bar_number_engraver"
902 Program reference: @internalsref{BarNumber}.
905 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
906 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
911 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
912 there is one at the top. To solve this, the
913 @code{padding} property of @internalsref{BarNumber} can be
914 used to position the number correctly.
917 @node Instrument names
918 @subsection Instrument names
920 In an orchestral score, instrument names are printed at the left side
923 This can be achieved by setting @internalsref{Staff}.@code{instrument}
924 and @internalsref{Staff}.@code{instr}. This will print a string before
925 the start of the staff. For the first staff, @code{instrument} is
926 used, for the following ones, @code{instr} is used.
928 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
929 \set Staff.instrument = "Ploink "
930 \set Staff.instr = "Plk "
936 You can also use markup texts to construct more complicated instrument
939 @lilypond[quote,fragment,verbatim,ragged-right]
940 \set Staff.instrument = \markup {
941 \column { "Clarinetti"
942 \line { "in B" \smaller \flat } } }
946 If you wish to center the instrument names, you must center all of them
948 @lilypond[quote,verbatim,ragged-right]
951 \set Staff.instrument = \markup {
952 \center-align { "Clarinetti"
953 \line { "in B" \smaller \flat } } }
957 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
964 For longer instrument names, it may be useful to increase the
965 @code{indent} setting in the @code{\layout} block.
967 To center instrument names while leaving extra space to the right,
969 @lilypond[quote,verbatim,ragged-right]
970 \new StaffGroup \relative
973 \set Staff.instrument
974 = \markup { \hcenter-in #10 "blabla" }
978 \set Staff.instrument
979 = \markup { \hcenter-in #10 "blo" }
988 Program reference: @internalsref{InstrumentName}.
992 When you put a name on a grand staff or piano staff, the width of the
993 brace is not taken into account. The following property setting can be
994 used to move the instrument names to the left, in such situations.
997 \override Score.InstrumentName #'padding = #2.0
1001 @node Instrument transpositions
1002 @subsection Instrument transpositions
1004 @cindex transposition, MIDI
1005 @cindex transposition, instrument
1007 The key of a transposing instrument can also be specified. This
1008 applies to many wind instruments, for example, clarinets (B-flat, A, and
1009 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1011 The transposition is entered after the keyword @code{\transposition}
1014 \transposition bes %% B-flat clarinet
1018 This command sets the property @code{instrumentTransposition}. The value of
1019 this property is used for MIDI output and quotations. It does not
1020 affect how notes are printed in the current staff. To change the printed
1021 output, see @ref{Transpose}.
1023 The pitch to use for @code{\transposition} should correspond to the
1024 real sound heard when a @code{c'} written on the staff is played by the
1025 transposing instrument. For example, when entering a score in
1026 concert pitch, typically all voices are entered in C, so
1027 they should be entered as
1040 The command @code{\transposition} should be used when the music is
1041 entered from a (transposed) orchestral part. For example, in
1042 classical horn parts, the tuning of the instrument is often changed
1043 during a piece. When copying the notes from the part, use
1044 @code{\transposition}, e.g.,
1056 @node Ottava brackets
1057 @subsection Ottava brackets
1059 `Ottava' brackets introduce an extra transposition of an octave for
1060 the staff. They are created by invoking the function
1061 @code{set-octavation}
1067 @lilypond[quote,ragged-right,verbatim,fragment]
1077 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1078 (for 15ma) as arguments. Internally the function sets the properties
1079 @code{ottavation} (e.g., to @code{"8va"}) and
1080 @code{centralCPosition}. For overriding the text of the bracket, set
1081 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1083 @lilypond[quote,ragged-right,verbatim]
1086 \set Staff.ottavation = #"8"
1094 Program reference: @internalsref{OttavaBracket}.
1096 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1097 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1102 @code{set-octavation} will get confused when clef changes happen
1103 during an octavation bracket.
1106 @node Different editions from one source
1107 @subsection Different editions from one source
1112 The @code{\tag} command marks music expressions with a name. These
1113 tagged expressions can be filtered out later. With this mechanism it
1114 is possible to make different versions of the same music source.
1116 In the following example, we see two versions of a piece of music, one
1117 for the full score, and one with cue notes for the instrumental part
1133 The same can be applied to articulations, texts, etc.: they are
1136 -\tag #@var{your-tag}
1138 to an articulation, for example,
1143 This defines a note with a conditional fingering indication.
1146 @cindex removeWithTag
1147 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1148 commands, tagged expressions can be filtered. For example,
1152 \keepWithTag #'score @var{the music}
1153 \keepWithTag #'part @var{the music}
1158 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1160 The arguments of the @code{\tag} command should be a symbol
1161 (such as @code{#'score} or @code{#'part}), followed by a
1162 music expression. It is possible to put multiple tags on
1163 a piece of music with multiple @code{\tag} entries,
1166 \tag #'original-part \tag #'transposed-part @dots{}
1172 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1177 Multiple rests are not merged if you create the score with both tagged
1182 @node Orchestral music
1183 @section Orchestral music
1185 Orchestral music involves some special notation, both in the full
1186 score and the individual parts. This section explains how to tackle
1187 some common problems in orchestral music.
1190 * Automatic part combining::
1192 * Quoting other voices::
1193 * Formatting cue notes::
1194 * Aligning to cadenzas::
1198 @node Automatic part combining
1199 @subsection Automatic part combining
1200 @cindex automatic part combining
1201 @cindex part combiner
1203 Automatic part combining is used to merge two parts of music onto a
1204 staff. It is aimed at typesetting orchestral scores. When the two
1205 parts are identical for a period of time, only one is shown. In
1206 places where the two parts differ, they are typeset as separate
1207 voices, and stem directions are set automatically. Also, solo and
1208 @emph{a due} parts are identified and can be marked.
1210 The syntax for part combining is
1213 \partcombine @var{musicexpr1} @var{musicexpr2}
1217 The following example demonstrates the basic functionality of the part
1218 combiner: putting parts on one staff, and setting stem directions and
1221 @lilypond[quote,verbatim,ragged-right,fragment]
1222 \new Staff \partcombine
1223 \relative g' { g g a( b) c c r r }
1224 \relative g' { g g r4 r e e g g }
1227 The first @code{g} appears only once, although it was
1228 specified twice (once in each part). Stem, slur, and tie directions are
1229 set automatically, depending whether there is a solo or unisono. The
1230 first part (with context called @code{one}) always gets up stems, and
1231 `Solo', while the second (called @code{two}) always gets down stems and
1234 If you just want the merging parts, and not the textual markings, you
1235 may set the property @code{printPartCombineTexts} to false
1237 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1239 \set Staff.printPartCombineTexts = ##f
1241 \relative g' { g a( b) r }
1242 \relative g' { g r4 r f }
1246 To change the text that is printed for solos or merging, you may
1247 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1250 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1252 \set Score.soloText = #"ichi"
1253 \set Score.soloIIText = #"ni"
1254 \set Score.aDueText = #"tachi"
1256 \relative g' { g4 g a( b) r }
1257 \relative g' { g4 g r r f }
1261 Both arguments to @code{\partcombine} will be interpreted as
1262 @internalsref{Voice} contexts. If using relative octaves,
1263 @code{\relative} should be specified for both music expressions, i.e.,
1267 \relative @dots{} @var{musicexpr1}
1268 \relative @dots{} @var{musicexpr2}
1272 A @code{\relative} section that is outside of @code{\partcombine} has
1273 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1277 Program reference: @internalsref{PartCombineMusic}.
1281 When @code{printPartCombineTexts} is set, when the two voices play the
1282 same notes on and off, the part combiner may typeset @code{a2} more
1283 than once in a measure.
1285 @code{\partcombine} cannot be inside @code{\times}.
1287 @code{\partcombine} cannot be inside @code{\relative}.
1289 Internally, the @code{\partcombine} interprets both arguments as
1290 @code{Voice}s named @code{one} and @code{two}, and then decides when
1291 the parts can be combined. Consequently, if the arguments switch to
1292 differently named @internalsref{Voice} contexts, the events in those
1297 @subsection Hiding staves
1299 @cindex Frenched scores
1300 @cindex Hiding staves
1302 In orchestral scores, staff lines that only have rests are usually
1303 removed; this saves some space. This style is called `French Score'.
1304 For @internalsref{Lyrics},
1305 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1306 switched on by default. When the lines of these contexts turn out
1307 empty after the line-breaking process, they are removed.
1309 For normal staves, a specialized @internalsref{Staff} context is
1310 available, which does the same: staves containing nothing (or only
1311 multi-measure rests) are removed. The context definition is stored in
1312 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1313 in this example disappears in the second line
1315 @lilypond[quote,ragged-right,verbatim]
1317 \context { \RemoveEmptyStaffContext }
1322 \new Staff { e4 f g a \break c1 }
1323 \new Staff { c4 d e f \break R1 }
1328 The first system shows all staves in full. If empty staves should be
1329 removed from the first system too, set @code{remove-first} to true in
1330 @internalsref{VerticalAxisGroup}.
1333 \override Score.VerticalAxisGroup #'remove-first = ##t
1336 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1337 or @code{\RemoveEmptyRhythmicStaffContext}.
1339 Another application is making ossia sections, i.e., alternative
1340 melodies on a separate piece of staff, with help of a Frenched
1341 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1344 @node Quoting other voices
1345 @subsection Quoting other voices
1347 With quotations, fragments of other parts can be inserted into a part
1348 directly. Before a part can be quoted, it must be marked especially as
1349 quotable. This is done with the @code{\addquote} command.
1352 \addquote @var{name} @var{music}
1357 Here, @var{name} is an identifying string. The @var{music} is any kind
1358 of music. Here is an example of @code{\addquote}
1361 \addquote clarinet \relative c' @{
1366 This command must be entered at toplevel, i.e., outside any music
1369 After calling @code{\addquote}, the quotation may then be done with
1370 @code{\quoteDuring} or @code{\cueDuring},
1373 \quoteDuring #@var{name} @var{music}
1376 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1380 \quoteDuring #"clarinet" @{ s2. @}
1383 This would cite three quarter notes (the duration of @code{s2.}) of
1384 the previously added @code{clarinet} voice.
1387 More precisely, it takes the current time-step of the part being
1388 printed, and extracts the notes at the corresponding point of the
1389 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1390 should be the entire part of the voice to be quoted, including any
1391 rests at the beginning.
1393 Quotations take into account the transposition of both source and target
1394 instruments, if they are specified using the @code{\transposition} command.
1396 @lilypond[quote,ragged-right,verbatim]
1397 \addquote clarinet \relative c' {
1403 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1407 The type of events that are present in cue notes can be trimmed with
1408 the @code{quotedEventTypes} property. The default value is
1409 @code{(note-event rest-event)}, which means that only notes and
1410 rests of the cued voice end up in the @code{\quoteDuring}.
1414 \set Staff.quotedEventTypes =
1415 #'(note-event articulation-event dynamic-event)
1419 will quote notes (but no rests), together with scripts and dynamics.
1423 Only the contents of the first @internalsref{Voice} occurring in an
1424 @code{\addquote} command will be considered for quotation, so
1425 @var{music} can not contain @code{\new} and @code{\context Voice}
1426 statements that would switch to a different Voice.
1428 Quoting grace notes is broken and can even cause LilyPond to crash.
1432 In this manual: @ref{Instrument transpositions}.
1434 Examples: @inputfileref{input/@/regression,quote@/.ly}
1435 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1437 Program reference: @internalsref{QuoteMusic}.
1440 @node Formatting cue notes
1441 @subsection Formatting cue notes
1443 The previous section deals with inserting notes from another voice.
1444 There is a more advanced music function called @code{\cueDuring},
1445 which makes formatting cue notes easier.
1450 \cueDuring #@var{name} #@var{updown} @var{music}
1453 This will insert notes from the part @var{name} into a
1454 @internalsref{Voice} called @code{cue}. This happens simultaneously
1455 with @var{music}, which usually is a rest. When the cue notes start,
1456 the staff in effect becomes polyphonic for a moment. The argument
1457 @var{updown} determines whether the cue notes should be notated as a
1458 first or second voice.
1461 @lilypond[verbatim,ragged-right]
1464 \override Stem #'length-fraction = #0.8
1465 \override Beam #'thickness = #0.384
1466 \override Beam #'length-fraction = #0.8
1469 \addquote clarinet \relative {
1474 \new Staff \relative <<
1476 % setup a context for cue notes.
1477 \new Voice = "cue" { \smaller \skip 1*21 }
1479 \set Score.skipBars = ##t
1483 \cueDuring #"clarinet" #1 {
1492 Here are a couple of hints for successful cue notes
1496 Cue notes have smaller font sizes.
1498 the cued part is marked with the instrument playing the cue.
1500 when the original part takes over again, this should be marked with
1501 the name of the original instrument.
1503 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1505 @c Yes, this is good practice. Otherwise, the start of the original
1506 @c part can only be seen from the font size. This is not good enough
1507 @c for sight-reading. It is possilbe to use other
1508 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1514 Any other changes introduced by the cued part should also be
1515 undone. For example, if the cued instrument plays in a different clef,
1516 the original clef should be stated once again.
1521 @node Aligning to cadenzas
1522 @subsection Aligning to cadenzas
1524 In an orchestral context, cadenzas present a special problem:
1525 when constructing a score that includes a cadenza, all other
1526 instruments should skip just as many notes as the length of the
1527 cadenza, otherwise they will start too soon or too late.
1529 A solution to this problem are the functions @code{mmrest-of-length}
1530 and @code{skip-of-length}. These Scheme functions take a piece of music
1531 as argument, and generate a @code{\skip} or multi-rest, exactly as
1532 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1533 in the following example.
1535 @lilypond[verbatim,ragged-right,quote]
1536 cadenza = \relative c' {
1537 c4 d8 << { e f g } \\ { d4. } >>
1542 \new Staff { \cadenza c'4 }
1544 #(ly:export (mmrest-of-length cadenza))
1553 @node Contemporary notation
1554 @section Contemporary notation
1556 In the 20th century, composers have greatly expanded the musical
1557 vocabulary. With this expansion, many innovations in musical notation
1558 have been tried. The book ``Music Notation in the 20th century'' by
1559 Kurt Stone gives a comprehensive overview (see @ref{Literature
1562 This section describes notation that does
1563 not fit into traditional notation categories, such as pitches,
1564 tuplet beams, and articulation. For contemporary notation
1565 that fits into traditional notation categories, such as
1566 microtones, nested tuplet beams, and unusual fermatas, please
1567 see those sections of the documentation.
1570 @c I don't think we should discourage modern composers who might
1571 @c want to sponsor new features. :)
1572 @c In general, the use of new, innovative notation makes a piece
1573 @c harder to understand and perform and its use should therefore be
1574 @c avoided. For this reason, support for contemporary notation in
1575 @c LilyPond is limited.
1579 * Polymetric notation::
1580 * Time administration::
1581 * Proportional notation::
1583 * Special noteheads::
1589 @node Polymetric notation
1590 @subsection Polymetric notation
1592 Double time signatures are not supported explicitly, but they can be
1593 faked. In the next example, the markup for the time signature is
1594 created with a markup text. This markup text is inserted in the
1595 @internalsref{TimeSignature} grob. See also
1596 @inputfileref{input/@/test,compound@/-time@/.ly}).
1598 @lilypond[verbatim,ragged-right]
1601 \override #'(baseline-skip . 2) \number {
1604 \bracket \column { "5" "8" }
1609 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1610 \override Staff.TimeSignature #'text = #tsMarkup
1612 c'2 \bar ":" c'4 c'4.
1616 Each staff can also have its own time signature. This is done by
1617 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1623 \remove "Timing_translator"
1624 \remove "Default_bar_line_engraver"
1628 \consists "Timing_translator"
1629 \consists "Default_bar_line_engraver"
1636 Now, each staff has its own time signature.
1649 c4. c8 c c c4. c8 c c
1654 @lilypond[quote,ragged-right]
1658 \remove "Timing_translator"
1659 \remove "Default_bar_line_engraver"
1662 \consists "Timing_translator"
1663 \consists "Default_bar_line_engraver"
1678 c4. c8 c c c4. c8 c c
1684 A different form of polymetric notation is where note lengths have
1685 different values across staves.
1687 This notation can be created by setting a common time signature for
1688 each staff but replacing it manually using
1689 @code{timeSignatureFraction} to the desired fraction. Then the printed
1690 durations in each staff are scaled to the common time signature.
1691 The latter is done with @code{\compressMusic}, which is used similar
1692 to @code{\times}, but does not create a tuplet bracket. The syntax is
1694 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1699 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1700 used in parallel. In the second staff, shown durations are multiplied by
1701 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1702 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1704 @lilypond[quote,ragged-right,verbatim,fragment]
1712 \set Staff.timeSignatureFraction = #'(9 . 8)
1713 \compressMusic #'(2 . 3)
1714 \repeat unfold 6 { c8[ c c] }
1718 \set Staff.timeSignatureFraction = #'(10 . 8)
1719 \compressMusic #'(3 . 5) {
1720 \repeat unfold 2 { c8[ c c] }
1721 \repeat unfold 2 { c8[ c] }
1722 | c4. c4. \times 2/3 { c8 c c } c4
1733 When using different time signatures in parallel, the spacing is
1734 aligned vertically, but bar lines distort the regular spacing.
1737 @node Time administration
1738 @subsection Time administration
1740 @cindex Time administration
1742 Time is administered by the @internalsref{Time_signature_engraver},
1743 which usually lives in the @internalsref{Score} context. The
1744 bookkeeping deals with the following variables
1747 @item currentBarNumber
1751 The length of the measures in the current time signature. For a 4/4
1752 time this is@tie{}1, and for 6/8 it is 3/4.
1754 @item measurePosition
1755 The point within the measure where we currently are. This quantity
1756 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1757 happens, @code{currentBarNumber} is incremented.
1760 If set to true, the above variables are updated for every time
1761 step. When set to false, the engraver stays in the current measure
1765 Timing can be changed by setting any of these variables explicitly.
1766 In the next example, the 4/4 time signature is printed, but
1767 @code{measureLength} is set to 5/4. After a while, the measure is
1768 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1769 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1770 3/8 arises because 5/4 normally has 10/8, but we have manually
1771 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1773 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1774 \set Score.measureLength = #(ly:make-moment 5 4)
1778 \set Score.measurePosition = #(ly:make-moment 7 8)
1784 As the example illustrates, @code{ly:make-moment n m} constructs a
1785 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
1787 note duration and @code{ly:make-moment 7 16} is the duration of
1788 seven sixteenths notes.
1791 @node Proportional notation
1792 @subsection Proportional notation
1793 @cindex Proportional notation
1795 Notes can be spaced proportional to their time-difference by
1796 assigning a duration to @code{proportionalNotationDuration}
1798 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1800 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1801 \new Staff { c8[ c c c c c] c4 c2 r2 }
1802 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1808 @subsection Clusters
1812 A cluster indicates a continuous range of pitches to be played. They
1813 can be denoted as the envelope of a set of notes. They are entered by
1814 applying the function @code{makeClusters} to a sequence of
1816 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1817 \makeClusters { <c e > <b f'> }
1820 The following example (from
1821 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1824 @lilypondfile[ragged-right,quote]{cluster.ly}
1826 Ordinary notes and clusters can be put together in the same staff,
1827 even simultaneously. In such a case no attempt is made to
1828 automatically avoid collisions between ordinary notes and clusters.
1832 Program reference: @internalsref{ClusterSpanner},
1833 @internalsref{ClusterSpannerBeacon},
1834 @internalsref{Cluster_spanner_engraver}.
1836 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1840 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1841 accurately. Use @code{<g a>8 <e a>8} instead.
1844 @node Special noteheads
1845 @subsection Special noteheads
1847 Different noteheads are used by various instruments for various
1848 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1849 notes on guitar; diamonds are used for harmonics on string instruments,
1850 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1851 other notehead styles are produced by tweaking the property
1853 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1855 \override NoteHead #'style = #'cross
1857 \revert NoteHead #'style
1858 e d <c f\harmonic> <d a'\harmonic>
1862 To see all notehead styles, please see
1863 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1868 Program reference: @internalsref{NoteHead}.
1871 @node Feathered beams
1872 @subsection Feathered beams
1874 Feathered beams are not supported natively, but they can be faked by
1875 forcing two beams to overlap. Here is an example,
1877 @c don't change relative setting witout changing positions!
1878 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1883 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1888 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1896 @subsection Improvisation
1898 Improvisation is sometimes denoted with slashed note heads. Such note
1899 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1900 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1904 \set squashedPosition = #0
1905 \override NoteHead #'style = #'slash
1909 switches on the slashes.
1911 There are shortcuts @code{\improvisationOn} (and an accompanying
1912 @code{\improvisationOff}) for this command sequence. They are used in
1913 the following example
1915 @lilypond[verbatim,ragged-right,quote]
1917 \consists Pitch_squash_engraver
1919 e8 e g a a16(bes)(a8) g \improvisationOn
1922 ~fis2 \improvisationOff a16(bes) a8 g e
1927 @node Educational use
1928 @section Educational use
1930 With the amount of control that LilyPond offers, one can make great
1931 teaching tools in addition to great musical scores.
1935 * Blank music sheet::
1937 * Shape note heads::
1938 * Easy Notation note heads::
1939 * Analysis brackets::
1940 * Coloring objects::
1945 @subsection Balloon help
1947 Elements of notation can be marked and named with the help of a square
1948 balloon. The primary purpose of this feature is to explain notation.
1950 The following example demonstrates its use.
1952 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1955 #(add-balloon-text 'NoteHead "heads, or tails?"
1962 The function @code{add-balloon-text} takes the name of a grob, the
1963 label to print, and the position where to put the label relative to
1964 the object. In the above example, the text ``heads or tails?'' ends
1965 3 spaces below and 1 space to the right of the marked head.
1968 @cindex notation, explaining
1972 Program reference: @internalsref{text-balloon-interface}.
1974 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1979 @node Blank music sheet
1980 @subsection Blank music sheet
1982 @cindex Sheet music, empty
1983 @cindex Staves, blank sheet
1985 A blank music sheet can be produced also by using invisible notes, and
1986 removing @code{Bar_number_engraver}.
1989 @lilypond[quote,verbatim]
1991 \repeat unfold 2 % Change this for more lines.
1996 \override TimeSignature #'transparent = ##t
1997 defaultBarType = #""
1998 \remove Bar_number_engraver
2000 \new Staff \emptymusic
2001 \new TabStaff \emptymusic
2007 @subsection Hidden notes
2009 @cindex Hidden notes
2010 @cindex Invisible notes
2011 @cindex Transparent notes
2013 @funindex \hideNotes
2014 @funindex \unHideNotes
2015 Hidden (or invisible or transparent) notes can be useful in preparing theory
2016 or composition exercises.
2018 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2027 @node Shape note heads
2028 @subsection Shape note heads
2030 In shape note head notation, the shape of the note head corresponds
2031 to the harmonic function of a note in the scale. This notation was
2032 popular in the 19th century American song books.
2034 Shape note heads can be produced by setting @code{\aikenHeads} or
2035 @code{\sacredHarpHeads}, depending on the style desired.
2037 @lilypond[verbatim,relative=1,fragment]
2044 Shapes are determined on the step in the scale, where the base of the
2045 scale is determined by the @code{\key} command
2048 @findex shapeNoteStyles
2050 @findex \sacredHarpHeads
2052 Shape note heads are implemented through the @code{shapeNoteStyles}
2053 property. Its value is a vector of symbols. The k-th element indicates
2054 the style to use for the k-th step of the scale. Arbitrary
2055 combinations are possible, e.g.
2057 @lilypond[verbatim,relative=1,fragment]
2058 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2063 @node Easy Notation note heads
2064 @subsection Easy Notation note heads
2066 @cindex easy notation
2069 The `easy play' note head includes a note name inside the head. It is
2070 used in music for beginners
2072 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2077 The command @code{\setEasyHeads} overrides settings for the
2078 @internalsref{NoteHead} object. To make the letters readable, it has
2079 to be printed in a large font size. To print with a larger font, see
2080 @ref{Setting global staff size}.
2084 @funindex \setEasyHeads
2085 @code{\setEasyHeads}
2088 @node Analysis brackets
2089 @subsection Analysis brackets
2091 @cindex phrasing brackets
2092 @cindex musicological analysis
2093 @cindex note grouping bracket
2095 Brackets are used in musical analysis to indicate structure in musical
2096 pieces. LilyPond supports a simple form of nested horizontal
2097 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2098 to @internalsref{Staff} context. A bracket is started with
2099 @code{\startGroup} and closed with @code{\stopGroup}
2101 @lilypond[quote,ragged-right,verbatim]
2104 c4\startGroup\startGroup
2107 c4\stopGroup\stopGroup
2111 \Staff \consists "Horizontal_bracket_engraver"
2117 Program reference: @internalsref{HorizontalBracket}.
2119 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2122 @node Coloring objects
2123 @subsection Coloring objects
2125 Individual objects may be assigned colors. You may use the
2126 color names listed in the @ref{List of colors}.
2128 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2129 \override NoteHead #'color = #red
2131 \override NoteHead #'color = #(x11-color 'LimeGreen)
2133 \override Stem #'color = #blue
2137 The full range of colors defined for X11 can be accessed by using the
2138 scheme function x11-color. The function takes one argument that can be a
2142 \override Beam #'color = #(x11-color 'MediumTurquoise)
2148 \override Beam #'color = #(x11-color "MediumTurquoise")
2151 The first form is quicker to write and is more efficient. However, using
2152 the second form it is possible to access X11 colors by the multi-word
2156 \override Beam #'color = #(x11-color "medium turquoise")
2159 If x11-color cannot make sense of the parameter then the color returned
2160 defaults to black. It should be obvious from the final score that
2163 This example illustrates the use of x11-color. Notice that the stem
2164 color remains black after being set to (x11-color 'Boggle), which is
2165 deliberate nonsense.
2167 @lilypond[quote,ragged-right,verbatim]
2169 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2170 \set Staff.instrument = \markup {
2171 \with-color #(x11-color 'navy) "Clarinet"
2175 \override Beam #'color = #(x11-color "medium turquoise")
2177 \override NoteHead #'color = #(x11-color "LimeGreen")
2179 \override Stem #'color = #(x11-color 'Boggle)
2187 Appendix: @ref{List of colors}.
2191 Not all x11 colors are distinguishable in a web browser. For web use
2192 normal colors are recommended.
2194 An x11 color is not necessarily exactly the same shade as a similarly
2197 Notes in a chord cannot be colored with @code{\override}; use
2198 @code{\tweak} instead. See @ref{Objects connected to the input}
2203 @subsection Parentheses
2206 @cindex notes, ghost
2207 @cindex notes, parenthesized
2209 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2212 @lilypond[relative=2,fragment,verbatim,ragged-right]