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 The text marks will, by default, be aligned with the middle of the notation
375 object, but this can be changed by overriding the
376 @code{break-align-anchor-alignment} and
377 @code{break-align-anchor} properties for the appropriate grob.
379 @lilypond[fragment,quote,ragged-right,verbatim]
381 \override Score.RehearsalMark #'break-align-symbols = #'(key-signature)
385 % the RehearsalMark will be aligned with the left edge of the KeySignature
386 \once \override Staff.KeySignature #'break-align-anchor-alignment = #LEFT
391 % the RehearsalMark will be aligned with the right edge of the KeySignature
392 \once \override Staff.KeySignature #'break-align-anchor-alignment = #RIGHT
396 % the RehearsalMark will be aligned with the right edge of the KeySignature
397 % and then shifted right by an additional 2 units.
398 \once \override Staff.KeySignature #'break-align-anchor = #2
404 Although text marks are normally only printed above the topmost
405 staff, you may alter this to print them on every staff,
407 @lilypond[quote,ragged-right,verbatim,relative=2]
410 \remove "Mark_engraver"
414 \consists "Mark_engraver"
416 { c''1 \mark "foo" c'' }
418 \consists "Mark_engraver"
420 { c'1 \mark "foo" c' }
428 Program reference: @internalsref{RehearsalMark}.
432 @subsection Text markup
439 Use @code{\markup} to typeset text. Commands are entered with the
440 backslash @code{\}. To enter @code{\} and @code{#}, use double
443 @lilypond[quote,verbatim,fragment,relative=1]
445 c1_\markup { hi there }
446 c1^\markup { hi \bold there, is \italic {anyone home?} }
447 c1_\markup { "\special {weird} #characters" }
451 See @ref{Overview of text markup commands}, for a list of all
454 @code{\markup} is primarily used for @internalsref{TextScript}s,
455 but it can also be used anywhere text is called in lilypond
457 @lilypond[quote,verbatim]
458 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
461 \override Score.RehearsalMark
462 #'break-visibility = #begin-of-line-invisible
463 \override Score.RehearsalMark #'self-alignment-X = #right
465 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
466 c2^\markup{ don't be \flat }
467 \override TextSpanner #'bound-details #'left #'text = \markup{\italic rit }
469 a2\mark \markup{ \large \bold Fine }
473 \addlyrics { bar, foo \markup{ \italic bar! } }
477 A @code{\markup} command can also be placed on its own, away from any
478 @code{\score} block, see @ref{Multiple scores in a book}.
480 @lilypond[quote,ragged-right,verbatim]
481 \markup{ Here is some text. }
484 @cindex font switching
486 The markup in the example demonstrates font switching commands. The
487 command @code{\bold} and @code{\italic} apply to the first following
488 word only; to apply a command to more than one word, enclose the
492 \markup @{ \bold @{ hi there @} @}
496 For clarity, you can also do this for single arguments, e.g.,
499 \markup @{ is \italic @{ anyone @} home @}
502 In markup mode you can compose expressions, similar to mathematical
503 expressions, XML documents, and music expressions. You can stack
504 expressions grouped vertically with the command @code{\column}.
505 Similarly, @code{\center-align} aligns texts by their center lines:
507 @lilypond[quote,verbatim,fragment,relative=1]
508 c1^\markup { \column { a bbbb \line { c d } } }
509 c1^\markup { \center-align { a bbbb c } }
510 c1^\markup { \line { a b c } }
513 Lists with no previous command are not kept distinct. The expression
516 \center-align @{ @{ a b @} @{ c d @} @}
524 \center-align @{ a b c d @}
529 To keep lists of words distinct, please use quotes @code{"} or
530 the @code{\line} command
532 @lilypond[quote,verbatim,fragment,relative=1]
534 c4^\markup{ \center-align { on three lines } }
535 c4^\markup{ \center-align { "all one line" } }
536 c4^\markup{ \center-align { { on three lines } } }
537 c4^\markup{ \center-align { \line { on one line } } }
540 Markups can be stored in variables and these variables
541 may be attached to notes, like
543 allegro = \markup @{ \bold \large @{ Allegro @} @}
544 @{ a^\allegro b c d @}
547 Some objects have alignment procedures of their own, which cancel out
548 any effects of alignments applied to their markup arguments as a
549 whole. For example, the @internalsref{RehearsalMark} is horizontally
550 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
553 In addition, vertical placement is performed after creating the
554 text markup object. If you wish to move an entire piece of markup,
555 you need to use the #'padding property or create an @q{anchor} point
556 inside the markup (generally with @code{\hspace #0}).
558 @lilypond[quote,verbatim,fragment,relative=1]
560 c'4^\markup{ \raise #5 "not raised" }
561 \once \override TextScript #'padding = #3
562 c'4^\markup{ raised }
563 c'4^\markup{ \hspace #0 \raise #1.5 raised }
566 Some situations (such as dynamic marks) have preset font-related
567 properties. If you are creating text in such situations, it
568 is advisable to cancel those properties with
569 @code{normal-text}. See @ref{Overview of text markup commands},
575 This manual: @ref{Overview of text markup commands}.
577 Program reference: @internalsref{TextScript}.
579 Init files: @file{scm/@/new@/-markup@/.scm}.
584 Kerning or generation of ligatures is only done when the @TeX{}
585 backend is used. In this case, LilyPond does not account for them so
586 texts will be spaced slightly too wide.
588 Syntax errors for markup mode are confusing.
592 @subsection Nested scores
594 It is possible to nest music inside markups, by adding a @code{\score}
595 block to a markup expression. Such a score must contain a @code{\layout}
598 @lilypond[quote,verbatim,ragged-right]
602 \relative { c4 d e f }
610 @node Page wrapping text
611 @subsection Page wrapping text
612 Whereas @code{\markup} is used to enter a non-breakable block of text,
613 @code{\markuplines} can be used at top-level to enter lines of text that
614 can spread over multiple pages:
619 A very long text of justified lines.
623 An other very long paragraph.
630 @code{\markuplines} accepts a list of markup, that is either the result
631 of a markup list command, or a list of markups or of markup lists. The
632 built-in markup list commands are described in
633 @ref{Overview of text markup list commands}.
637 This manual: @ref{Overview of text markup list commands},
638 @ref{New markup list command definition}.
642 @funindex \markuplines
645 @node Overview of text markup commands
646 @subsection Overview of text markup commands
648 The following commands can all be used inside @code{\markup @{ @}}.
650 @include markup-commands.tely
652 @node Overview of text markup list commands
653 @subsection Overview of text markup list commands
655 The following commands can all be used with @code{\markuplines}.
657 @include markup-list-commands.tely
660 @subsection Font selection
662 @cindex font selection
663 @cindex font magnification
664 @funindex font-interface
666 By setting the object properties described below, you can select a
667 font from the preconfigured font families. LilyPond has default
668 support for the feta music fonts. Text fonts are selected through
669 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
670 the sans and typewriter to whatever the Pango installation defaults
675 @item @code{font-encoding}
676 is a symbol that sets layout of the glyphs. This should only be set to
677 select different types of non-text fonts, e.g.
679 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
680 standard music font, including ancient glyphs, @code{fetaDynamic} for
681 dynamic signs and @code{fetaNumber} for the number font.
683 @item @code{font-family}
684 is a symbol indicating the general class of the typeface. Supported are
685 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
687 @item @code{font-shape}
688 is a symbol indicating the shape of the font. There are typically
689 several font shapes available for each font family. Choices are
690 @code{italic}, @code{caps}, and @code{upright}.
692 @item @code{font-series}
693 is a symbol indicating the series of the font. There are typically
694 several font series for each font family and shape. Choices are
695 @code{medium} and @code{bold}.
699 Fonts selected in the way sketched above come from a predefined style
700 sheet. If you want to use a font from outside the style sheet,
702 @code{font-name} property,
704 @lilypond[fragment,verbatim]
706 \override Staff.TimeSignature #'font-name = #"Charter"
707 \override Staff.TimeSignature #'font-size = #2
710 \override #'(font-name . "Vera Bold")
711 { This text is in Vera Bold }
717 Any font can be used, as long as it is available to Pango/FontConfig.
718 To get a full list of all available fonts, run the command
720 lilypond -dshow-available-fonts blabla
722 (the last argument of the command can be anything, but has to be present).
725 The size of the font may be set with the @code{font-size}
726 property. The resulting size is taken relative to the
727 @code{text-font-size} as defined in the @code{\paper} block.
730 @cindex font magnification
733 It is also possible to change the default font family for the entire
734 document. This is done by calling the @code{make-pango-font-tree} from
735 within the @code{\paper} block. The function takes names for the font
736 families to use for roman, sans serif and monospaced text. For
739 @cindex font families, setting
748 (make-pango-font-tree "Times New Roman"
755 c'^\markup { roman: foo \sans bla \typewriter bar }
759 @c we don't do Helvetica / Courier, since GS incorrectly loads
766 Examples: @lsr{text,font@/-family@/-override.ly}.
769 @node New dynamic marks
770 @subsection New dynamic marks
772 It is possible to print new dynamic marks or text that should be aligned
773 with dynamics. Use @code{make-dynamic-script} to create these
774 marks. Note that the dynamic font only contains the characters
775 @code{f,m,p,r,s} and @code{z}.
777 Some situations (such as dynamic marks) have preset font-related
778 properties. If you are creating text in such situations, it
779 is advisable to cancel those properties with
780 @code{normal-text}. See @ref{Overview of text markup commands},
783 @cindex make-dynamic-script
785 @lilypond[quote,verbatim,ragged-right]
786 sfzp = #(make-dynamic-script "sfzp")
792 @cindex Dynamics, editorial
793 @cindex Dynamics, parenthesis
795 It is also possible to print dynamics in round parenthesis or square
796 brackets. These are often used for adding editorial dynamics.
798 @lilypond[quote,verbatim,ragged-right]
799 rndf = \markup{ \center-align {\line { \bold{\italic (}
800 \dynamic f \bold{\italic )} }} }
801 boxf = \markup{ \bracket { \dynamic f } }
802 { c'1_\rndf c'1_\boxf }
807 @node Preparing parts
808 @section Preparing parts
810 This section describes various notation that are useful for preparing
814 * Multi measure rests::
819 * Instrument transpositions::
821 * Different editions from one source::
825 @node Multi measure rests
826 @subsection Multi measure rests
828 @cindex multi measure rests
829 @cindex full measure rests
830 @cindex Rests, multi measure
831 @cindex Rests, full measure
832 @cindex whole rests for a full measure
835 Rests for one full measure (or many bars) are entered using @samp{R}. It
836 is specifically meant for full bar rests and for entering parts: the rest
837 can expand to fill a score with rests, or it can be printed as a single
838 multi-measure rest. This expansion is controlled by the property
839 @code{Score.skipBars}. If this is set to true, empty measures will not
840 be expanded, and the appropriate number is added automatically
842 @lilypond[quote,ragged-right,fragment,verbatim]
843 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
844 \set Score.skipBars = ##t R1*17 R1*4
847 The @code{1} in @code{R1} is similar to the duration notation used for
848 notes. Hence, for time signatures other than 4/4, you must enter other
849 durations. This can be done with augmentation dots or fractions
851 @lilypond[quote,ragged-right,fragment,verbatim]
852 \set Score.skipBars = ##t
861 An @code{R} spanning a single measure is printed as either a whole rest
862 or a breve, centered in the measure regardless of the time signature.
864 If there are only a few measures of rest, LilyPond prints @q{church rests}
865 (a series of rectangles) in the staff. To replace that with a simple
866 rest, use @code{MultiMeasureRest.expand-limit}.
868 @lilypond[quote,ragged-right,fragment,verbatim]
869 \set Score.skipBars = ##t
871 \override MultiMeasureRest #'expand-limit = 1
875 @cindex text on multi-measure rest
876 @cindex script on multi-measure rest
877 @cindex fermata on multi-measure rest
879 Texts can be added to multi-measure rests by using the
880 @var{note}-@code{markup} syntax @ref{Text markup}.
881 A variable (@code{\fermataMarkup}) is provided for
884 @lilypond[quote,ragged-right,verbatim,fragment]
885 \set Score.skipBars = ##t
887 R2.*10^\markup { \italic "ad lib." }
891 Warning! This text is created by @code{MultiMeasureRestText}, not
894 @lilypond[quote,ragged-right,verbatim,fragment]
895 \override TextScript #'padding = #5
897 \override MultiMeasureRestText #'padding = #5
901 If you want to have text on the left end of a multi-measure rest,
902 attach the text to a zero-length skip note, i.e.,
912 Program reference: @internalsref{MultiMeasureRestMusicGroup},
913 @internalsref{MultiMeasureRest}.
915 The layout object @internalsref{MultiMeasureRestNumber} is for the
916 default number, and @internalsref{MultiMeasureRestText} for user
922 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
923 over multi-measure rests. And the pitch of multi-measure rests (or
924 staff-centered rests) can not be influenced.
926 @cindex condensing rests
928 There is no way to automatically condense multiple rests into a single
929 multi-measure rest. Multi-measure rests do not take part in rest
932 Be careful when entering multi-measure rests followed by whole
933 notes. The following will enter two notes lasting four measures each
937 When @code{skipBars} is set, the result will look OK, but the bar
938 numbering will be off.
941 @node Metronome marks
942 @subsection Metronome marks
945 @cindex beats per minute
946 @cindex metronome marking
948 Metronome settings can be entered as follows
950 \tempo @var{duration} = @var{per-minute}
953 In the MIDI output, they are interpreted as a tempo change. In the
954 layout output, a metronome marking is printed
956 @lilypond[quote,ragged-right,verbatim,fragment]
963 To change the tempo in the MIDI output without printing anything, make
964 the metronome marking invisible
966 \once \override Score.MetronomeMark #'transparent = ##t
969 To print other metronome markings, use these markup commands
970 @lilypond[quote,ragged-right,verbatim,relative,fragment]
973 \smaller \general-align #Y #DOWN \note #"16." #1
975 \smaller \general-align #Y #DOWN \note #"8" #1
980 See @ref{Text markup}, for more details.
985 Program reference: @internalsref{MetronomeMark}.
990 Collisions are not checked. If you have notes above the top line of
991 the staff (or notes with articulations, slurs, text, etc), then the
992 metronome marking may be printed on top of musical symbols. If this
993 occurs, increase the padding of the metronome mark to place it
994 further away from the staff.
997 \override Score.MetronomeMark #'padding = #2.5
1001 @node Rehearsal marks
1002 @subsection Rehearsal marks
1004 @cindex Rehearsal marks
1007 To print a rehearsal mark, use the @code{\mark} command
1009 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1018 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
1019 If you wish to include the letter @q{I}, then use
1022 \set Score.markFormatter = #format-mark-alphabet
1025 The mark is incremented automatically if you use @code{\mark
1026 \default}, but you can also use an integer argument to set the mark
1027 manually. The value to use is stored in the property
1028 @code{rehearsalMark}.
1030 The style is defined by the property @code{markFormatter}. It is a
1031 function taking the current mark (an integer) and the current context
1032 as argument. It should return a markup object. In the following
1033 example, @code{markFormatter} is set to a canned procedure. After a
1034 few measures, it is set to function that produces a boxed number.
1036 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
1037 \set Score.markFormatter = #format-mark-numbers
1040 \set Score.markFormatter = #format-mark-box-numbers
1046 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
1047 of @code{format-mark-numbers} (the default format),
1048 @code{format-mark-box-numbers},
1049 @code{format-mark-letters} and @code{format-mark-box-letters}.
1050 These can be used as inspiration for other formatting functions.
1052 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
1053 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
1054 incremented numbers or letters.
1056 Other styles of rehearsal mark can be specified manually
1063 @code{Score.markFormatter} does not affect marks specified in this manner.
1064 However, it is possible to apply a @code{\markup} to the string.
1067 \mark \markup@{ \box A1 @}
1074 Music glyphs (such as the segno sign) may be printed inside
1077 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1078 c1 \mark \markup { \musicglyph #"scripts.segno" }
1079 c1 \mark \markup { \musicglyph #"scripts.coda" }
1080 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1085 See @ref{The Feta font}, for a list of symbols which may be
1086 printed with @code{\musicglyph}.
1088 The horizontal location of rehearsal marks can be adjusted by
1089 setting @code{break-align-symbol}
1091 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1095 \override Score.RehearsalMark #'break-align-symbols = #'(key-signature)
1099 \override Score.RehearsalMark #'break-align-symbols = #'(clef)
1105 @code{break-align-symbol} may also accept the following values:
1106 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1107 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1108 @code{key-signature}, and @code{time-signature}. Setting
1109 @code{break-align-symbol} will only have an effect if the symbol
1110 appears at that point in the music.
1115 This manual: @ref{Text marks}.
1117 Program reference: @internalsref{RehearsalMark}.
1119 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1120 definition of @code{format-mark-numbers} and
1121 @code{format-mark-letters}. They can be used as inspiration for other
1122 formatting functions.
1124 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
1128 @subsection Bar numbers
1131 @cindex measure numbers
1132 @funindex currentBarNumber
1134 Bar numbers are printed by default at the start of the line. The
1135 number itself is stored in the @code{currentBarNumber} property, which
1136 is normally updated automatically for every measure.
1138 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1139 \repeat unfold 4 {c4 c c c} \break
1140 \set Score.currentBarNumber = #50
1141 \repeat unfold 4 {c4 c c c}
1144 Bar numbers may only be printed at bar lines; to print a bar
1145 number at the beginning of a piece, an empty bar line must
1148 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1149 \set Score.currentBarNumber = #50
1151 \repeat unfold 4 {c4 c c c} \break
1152 \repeat unfold 4 {c4 c c c}
1155 Bar numbers can be typeset at regular intervals instead of at the
1156 beginning of each line. This is illustrated in the following example,
1157 whose source is available as
1158 @lsr{staff,making-bar-numbers-appear-at-regular-intervals.ly}.
1160 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1162 Bar numbers can be removed entirely by removing the Bar number
1163 engraver from the score.
1165 @lilypond[verbatim,ragged-right,quote]
1169 \remove "Bar_number_engraver"
1181 Program reference: @internalsref{BarNumber}.
1183 Examples: @lsrdir{staff}
1188 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1189 there is one at the top. To solve this, the
1190 @code{padding} property of @internalsref{BarNumber} can be
1191 used to position the number correctly.
1194 @node Instrument names
1195 @subsection Instrument names
1197 In an orchestral score, instrument names are printed at the left side
1200 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1201 and @internalsref{Staff}.@code{shortInstrumentName}, or
1202 @internalsref{PianoStaff}.@code{instrumentName} and
1203 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1205 the start of the staff. For the first staff, @code{instrumentName} is
1206 used, for the following ones, @code{shortInstrumentName} is used.
1208 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1209 \set Staff.instrumentName = "Ploink "
1210 \set Staff.shortInstrumentName = "Plk "
1216 You can also use markup texts to construct more complicated instrument
1219 @lilypond[quote,fragment,verbatim,ragged-right]
1220 \set Staff.instrumentName = \markup {
1221 \column { "Clarinetti"
1222 \line { "in B" \smaller \flat } } }
1226 If you wish to center the instrument names, you must center all of them
1228 @lilypond[quote,verbatim,ragged-right]
1231 \set Staff.instrumentName = \markup {
1232 \center-align { "Clarinetti"
1233 \line { "in B" \smaller \flat } } }
1237 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1244 For longer instrument names, it may be useful to increase the
1245 @code{indent} setting in the @code{\layout} block.
1247 To center instrument names while leaving extra space to the right,
1249 @lilypond[quote,verbatim,ragged-right]
1250 \new StaffGroup \relative
1253 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1257 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1263 To add instrument names to other contexts (such as @code{GrandStaff},
1264 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1265 be added to that context.
1269 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1274 More information about adding and removing engravers can
1275 be found in @ref{Modifying context plug-ins}.
1277 Instrument names may be changed in the middle of a piece,
1279 @lilypond[quote,fragment,verbatim,ragged-right]
1280 \set Staff.instrumentName = "First"
1281 \set Staff.shortInstrumentName = "one"
1284 \set Staff.instrumentName = "Second"
1285 \set Staff.shortInstrumentName = "two"
1293 Program reference: @internalsref{InstrumentName}.
1297 @node Instrument transpositions
1298 @subsection Instrument transpositions
1300 @cindex transposition, MIDI
1301 @cindex transposition, instrument
1303 The key of a transposing instrument can also be specified. This
1304 applies to many wind instruments, for example, clarinets (B-flat, A, and
1305 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1307 The transposition is entered after the keyword @code{\transposition}
1310 \transposition bes %% B-flat clarinet
1314 This command sets the property @code{instrumentTransposition}. The value of
1315 this property is used for MIDI output and quotations. It does not
1316 affect how notes are printed in the current staff. To change the printed
1317 output, see @ref{Transpose}.
1319 The pitch to use for @code{\transposition} should correspond to the
1320 real sound heard when a @code{c'} written on the staff is played by the
1321 transposing instrument. For example, when entering a score in
1322 concert pitch, typically all voices are entered in C, so
1323 they should be entered as
1336 The command @code{\transposition} should be used when the music is
1337 entered from a (transposed) orchestral part. For example, in
1338 classical horn parts, the tuning of the instrument is often changed
1339 during a piece. When copying the notes from the part, use
1340 @code{\transposition}, e.g.,
1352 @node Ottava brackets
1353 @subsection Ottava brackets
1355 @q{Ottava} brackets introduce an extra transposition of an octave for
1356 the staff. They are created by invoking the function
1357 @code{set-octavation}
1363 @lilypond[quote,ragged-right,verbatim,fragment]
1373 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1374 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1375 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1376 @code{centralCPosition}. For overriding the text of the bracket, set
1377 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1379 @lilypond[quote,ragged-right,verbatim]
1382 \set Staff.ottavation = #"8"
1390 Program reference: @internalsref{OttavaBracket}.
1395 @code{set-octavation} will get confused when clef changes happen
1396 during an octavation bracket.
1399 @node Different editions from one source
1400 @subsection Different editions from one source
1405 The @code{\tag} command marks music expressions with a name. These
1406 tagged expressions can be filtered out later. With this mechanism it
1407 is possible to make different versions of the same music source.
1409 In the following example, we see two versions of a piece of music, one
1410 for the full score, and one with cue notes for the instrumental part
1426 The same can be applied to articulations, texts, etc.: they are
1429 -\tag #@var{your-tag}
1431 to an articulation, for example,
1436 This defines a note with a conditional fingering indication.
1439 @cindex removeWithTag
1440 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1441 commands, tagged expressions can be filtered. For example,
1445 \keepWithTag #'score @var{the music}
1446 \keepWithTag #'part @var{the music}
1451 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1453 The arguments of the @code{\tag} command should be a symbol
1454 (such as @code{#'score} or @code{#'part}), followed by a
1455 music expression. It is possible to put multiple tags on
1456 a piece of music with multiple @code{\tag} entries,
1459 \tag #'original-part \tag #'transposed-part @dots{}
1465 Examples: @lsr{parts,tag@/-filter@/.ly}
1470 Multiple rests are not merged if you create the score with both tagged
1475 @node Orchestral music
1476 @section Orchestral music
1478 Orchestral music involves some special notation, both in the full
1479 score and the individual parts. This section explains how to tackle
1480 some common problems in orchestral music.
1483 * Automatic part combining::
1485 * Quoting other voices::
1486 * Formatting cue notes::
1487 * Aligning to cadenzas::
1491 @node Automatic part combining
1492 @subsection Automatic part combining
1493 @cindex automatic part combining
1494 @cindex part combiner
1496 Automatic part combining is used to merge two parts of music onto a
1497 staff. It is aimed at typesetting orchestral scores. When the two
1498 parts are identical for a period of time, only one is shown. In
1499 places where the two parts differ, they are typeset as separate
1500 voices, and stem directions are set automatically. Also, solo and
1501 @emph{a due} parts are identified and can be marked.
1503 The syntax for part combining is
1506 \partcombine @var{musicexpr1} @var{musicexpr2}
1510 The following example demonstrates the basic functionality of the part
1511 combiner: putting parts on one staff, and setting stem directions and
1514 @lilypond[quote,verbatim,ragged-right,fragment]
1515 \new Staff \partcombine
1516 \relative g' { g g a( b) c c r r }
1517 \relative g' { g g r4 r e e g g }
1520 The first @code{g} appears only once, although it was
1521 specified twice (once in each part). Stem, slur, and tie directions are
1522 set automatically, depending whether there is a solo or unisono. The
1523 first part (with context called @code{one}) always gets up stems, and
1524 @q{Solo}, while the second (called @code{two}) always gets down stems and
1527 If you just want the merging parts, and not the textual markings, you
1528 may set the property @code{printPartCombineTexts} to false
1530 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1532 \set Staff.printPartCombineTexts = ##f
1534 \relative g' { g a( b) r }
1535 \relative g' { g r4 r f }
1539 To change the text that is printed for solos or merging, you may
1540 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1543 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1545 \set Score.soloText = #"ichi"
1546 \set Score.soloIIText = #"ni"
1547 \set Score.aDueText = #"tachi"
1549 \relative g' { g4 g a( b) r }
1550 \relative g' { g4 g r r f }
1554 Both arguments to @code{\partcombine} will be interpreted as
1555 @internalsref{Voice} contexts. If using relative octaves,
1556 @code{\relative} should be specified for both music expressions, i.e.,
1560 \relative @dots{} @var{musicexpr1}
1561 \relative @dots{} @var{musicexpr2}
1565 A @code{\relative} section that is outside of @code{\partcombine} has
1566 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1570 Program reference: @internalsref{PartCombineMusic}.
1574 When @code{printPartCombineTexts} is set, when the two voices play the
1575 same notes on and off, the part combiner may typeset @code{a2} more
1576 than once in a measure.
1578 @code{\partcombine} cannot be inside @code{\times}.
1580 @code{\partcombine} cannot be inside @code{\relative}.
1582 Internally, the @code{\partcombine} interprets both arguments as
1583 @code{Voice}s named @code{one} and @code{two}, and then decides when
1584 the parts can be combined. Consequently, if the arguments switch to
1585 differently named @internalsref{Voice} contexts, the events in those
1590 @subsection Hiding staves
1592 @cindex Frenched scores
1593 @cindex Hiding staves
1595 In orchestral scores, staff lines that only have rests are usually
1596 removed; this saves some space. This style is called @q{French Score}.
1597 For @internalsref{Lyrics},
1598 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1599 switched on by default. When the lines of these contexts turn out
1600 empty after the line-breaking process, they are removed.
1602 For normal staves, a specialized @internalsref{Staff} context is
1603 available, which does the same: staves containing nothing (or only
1604 multi-measure rests) are removed. The context definition is stored in
1605 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1606 in this example disappears in the second line
1608 @lilypond[quote,ragged-right,verbatim]
1610 \context { \RemoveEmptyStaffContext }
1615 \new Staff { e4 f g a \break c1 }
1616 \new Staff { c4 d e f \break R1 }
1621 The first system shows all staves in full. If empty staves should be
1622 removed from the first system too, set @code{remove-first} to true in
1623 @internalsref{VerticalAxisGroup}.
1626 \override Score.VerticalAxisGroup #'remove-first = ##t
1629 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1630 or @code{\RemoveEmptyRhythmicStaffContext}.
1632 Another application is making ossia sections, i.e., alternative
1633 melodies on a separate piece of staff, with help of a Frenched
1637 @node Quoting other voices
1638 @subsection Quoting other voices
1642 With quotations, fragments of other parts can be inserted into a part
1643 directly. Before a part can be quoted, it must be marked especially as
1644 quotable. This is done with the @code{\addQuote} command.
1647 \addQuote @var{name} @var{music}
1652 Here, @var{name} is an identifying string. The @var{music} is any kind
1653 of music. Here is an example of @code{\addQuote}
1656 \addQuote clarinet \relative c' @{
1661 This command must be entered at toplevel, i.e., outside any music
1664 After calling @code{\addQuote}, the quotation may then be done with
1665 @code{\quoteDuring} or @code{\cueDuring},
1668 \quoteDuring #@var{name} @var{music}
1671 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1675 \quoteDuring #"clarinet" @{ s2. @}
1678 This would cite three quarter notes (the duration of @code{s2.}) of
1679 the previously added @code{clarinet} voice.
1682 More precisely, it takes the current time-step of the part being
1683 printed, and extracts the notes at the corresponding point of the
1684 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1685 should be the entire part of the voice to be quoted, including any
1686 rests at the beginning.
1688 Quotations take into account the transposition of both source and target
1689 instruments, if they are specified using the @code{\transposition} command.
1691 @lilypond[quote,ragged-right,verbatim]
1692 \addQuote clarinet \relative c' {
1698 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1702 The type of events that are present in cue notes can be trimmed with
1703 the @code{quotedEventTypes} property. The default value is
1704 @code{(note-event rest-event)}, which means that only notes and
1705 rests of the cued voice end up in the @code{\quoteDuring}.
1709 \set Staff.quotedEventTypes =
1710 #'(note-event articulation-event dynamic-event)
1714 will quote notes (but no rests), together with scripts and dynamics.
1718 Only the contents of the first @internalsref{Voice} occurring in an
1719 @code{\addQuote} command will be considered for quotation, so
1720 @var{music} can not contain @code{\new} and @code{\context Voice}
1721 statements that would switch to a different Voice.
1723 Quoting grace notes is broken and can even cause LilyPond to crash.
1725 Quoting nested triplets may result in poor notation.
1730 In this manual: @ref{Instrument transpositions}.
1732 Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly}
1734 Program reference: @internalsref{QuoteMusic}.
1737 @node Formatting cue notes
1738 @subsection Formatting cue notes
1740 @cindex cues, formatting
1742 The previous section deals with inserting notes from another voice.
1743 There is a more advanced music function called @code{\cueDuring},
1744 which makes formatting cue notes easier.
1749 \cueDuring #@var{name} #@var{updown} @var{music}
1752 This will insert notes from the part @var{name} into a
1753 @internalsref{Voice} called @code{cue}. This happens simultaneously
1754 with @var{music}, which usually is a rest. When the cue notes start,
1755 the staff in effect becomes polyphonic for a moment. The argument
1756 @var{updown} determines whether the cue notes should be notated as a
1757 first or second voice.
1760 @lilypond[verbatim,ragged-right]
1763 \override Stem #'length-fraction = #0.8
1764 \override Beam #'thickness = #0.384
1765 \override Beam #'length-fraction = #0.8
1768 \addQuote clarinet \relative {
1773 \new Staff \relative <<
1775 % setup a context for cue notes.
1776 \new Voice = "cue" { \smaller \skip 1*21 }
1778 \set Score.skipBars = ##t
1782 \cueDuring #"clarinet" #UP {
1791 Here are a couple of hints for successful cue notes
1795 Cue notes have smaller font sizes.
1797 the cued part is marked with the instrument playing the cue.
1799 when the original part takes over again, this should be marked with
1800 the name of the original instrument.
1802 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1804 @c Yes, this is good practice. Otherwise, the start of the original
1805 @c part can only be seen from the font size. This is not good enough
1806 @c for sight-reading. It is possilbe to use other
1807 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1813 Any other changes introduced by the cued part should also be
1814 undone. For example, if the cued instrument plays in a different clef,
1815 the original clef should be stated once again.
1819 The macro @code{\transposedCueDuring} is
1820 useful to add cues to instruments which use a completely different
1821 octave range (for example, having a cue of a piccolo flute within
1822 a contra bassoon part).
1824 @lilypond[verbatim,ragged-right,quote]
1825 picc = \relative c''' {
1831 \addQuote "picc" { \picc }
1833 cbsn = \relative c, {
1836 \transposedCueDuring #"picc" #UP c,, { R1 } |
1841 \context Staff = "picc" \picc
1842 \context Staff = "cbsn" \cbsn
1848 @node Aligning to cadenzas
1849 @subsection Aligning to cadenzas
1851 In an orchestral context, cadenzas present a special problem:
1852 when constructing a score that includes a cadenza, all other
1853 instruments should skip just as many notes as the length of the
1854 cadenza, otherwise they will start too soon or too late.
1856 A solution to this problem are the functions @code{mmrest-of-length}
1857 and @code{skip-of-length}. These Scheme functions take a piece of music
1858 as argument, and generate a @code{\skip} or multi-rest, exactly as
1859 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1860 in the following example.
1862 @lilypond[verbatim,ragged-right,quote]
1863 cadenza = \relative c' {
1864 c4 d8 << { e f g } \\ { d4. } >>
1869 \new Staff { \cadenza c'4 }
1871 #(ly:export (mmrest-of-length cadenza))
1880 @node Contemporary notation
1881 @section Contemporary notation
1883 In the 20th century, composers have greatly expanded the musical
1884 vocabulary. With this expansion, many innovations in musical notation
1885 have been tried. The book @q{Music Notation in the 20th century} by
1886 Kurt Stone gives a comprehensive overview (see @ref{Literature
1889 This section describes notation that does
1890 not fit into traditional notation categories, such as pitches,
1891 tuplet beams, and articulation. For contemporary notation
1892 that fits into traditional notation categories, such as
1893 microtones, nested tuplet beams, and unusual fermatas, please
1894 see those sections of the documentation.
1897 * Polymetric notation::
1898 * Time administration::
1899 * Proportional notation (introduction)::
1901 * Special noteheads::
1904 * Selecting notation font size::
1908 @node Polymetric notation
1909 @subsection Polymetric notation
1911 @cindex double time signatures
1912 @cindex signatures, polymetric
1913 @cindex polymetric signatures
1914 @cindex meter, polymetric
1916 Double time signatures are not supported explicitly, but they can be
1917 faked. In the next example, the markup for the time signature is
1918 created with a markup text. This markup text is inserted in the
1919 @internalsref{TimeSignature} grob. See also
1920 @lsr{contemporary,compound-time-signature}.
1922 @lilypond[verbatim,ragged-right]
1925 \override #'(baseline-skip . 2) \number {
1928 \bracket \column { "5" "8" }
1933 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1934 \override Staff.TimeSignature #'text = #tsMarkup
1936 c'2 \bar ":" c'4 c'4.
1940 Each staff can also have its own time signature. This is done by
1941 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1947 \remove "Timing_translator"
1948 \remove "Default_bar_line_engraver"
1952 \consists "Timing_translator"
1953 \consists "Default_bar_line_engraver"
1960 Now, each staff has its own time signature.
1973 c4. c8 c c c4. c8 c c
1978 @lilypond[quote,ragged-right]
1982 \remove "Timing_translator"
1983 \remove "Default_bar_line_engraver"
1986 \consists "Timing_translator"
1987 \consists "Default_bar_line_engraver"
2002 c4. c8 c c c4. c8 c c
2008 A different form of polymetric notation is where note lengths have
2009 different values across staves.
2011 This notation can be created by setting a common time signature for
2012 each staff but replacing it manually using
2013 @code{timeSignatureFraction} to the desired fraction. Then the printed
2014 durations in each staff are scaled to the common time signature.
2015 The latter is done with @code{\compressMusic}, which is used similar
2016 to @code{\times}, but does not create a tuplet bracket. The syntax is
2018 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
2023 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
2024 used in parallel. In the second staff, shown durations are multiplied by
2025 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
2026 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
2028 @lilypond[quote,ragged-right,verbatim,fragment]
2036 \set Staff.timeSignatureFraction = #'(9 . 8)
2037 \compressMusic #'(2 . 3)
2038 \repeat unfold 6 { c8[ c c] }
2042 \set Staff.timeSignatureFraction = #'(10 . 8)
2043 \compressMusic #'(3 . 5) {
2044 \repeat unfold 2 { c8[ c c] }
2045 \repeat unfold 2 { c8[ c] }
2046 | c4. c4. \times 2/3 { c8 c c } c4
2057 When using different time signatures in parallel, the spacing is
2058 aligned vertically, but bar lines distort the regular spacing.
2061 @node Time administration
2062 @subsection Time administration
2064 @cindex Time administration
2066 Time is administered by the @internalsref{Time_signature_engraver},
2067 which usually lives in the @internalsref{Score} context. The
2068 bookkeeping deals with the following variables
2071 @item currentBarNumber
2075 The length of the measures in the current time signature. For a 4/4
2076 time this is@tie{}1, and for 6/8 it is 3/4.
2078 @item measurePosition
2079 The point within the measure where we currently are. This quantity
2080 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2081 happens, @code{currentBarNumber} is incremented.
2084 If set to true, the above variables are updated for every time
2085 step. When set to false, the engraver stays in the current measure
2089 Timing can be changed by setting any of these variables explicitly.
2090 In the next example, the 4/4 time signature is printed, but
2091 @code{measureLength} is set to 5/4. After a while, the measure is
2092 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2093 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2094 3/8 arises because 5/4 normally has 10/8, but we have manually
2095 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2097 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2098 \set Score.measureLength = #(ly:make-moment 5 4)
2102 \set Score.measurePosition = #(ly:make-moment 7 8)
2108 As the example illustrates, @code{ly:make-moment n m} constructs a
2109 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2111 note duration and @code{ly:make-moment 7 16} is the duration of
2112 seven sixteenths notes.
2115 @node Proportional notation (introduction)
2116 @subsection Proportional notation (introduction)
2117 @cindex Proportional notation
2119 See @ref{Proportional notation}.
2122 TODO: remove all this stuff?
2124 Notes can be spaced proportionally to their time-difference by
2125 assigning a duration to @code{proportionalNotationDuration}
2127 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2129 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2130 \new Staff { c8[ c c c c c] c4 c2 r2 }
2131 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2135 Setting this property only affects the ideal spacing between
2136 consecutive notes. For true proportional notation, the following
2137 settings are also required.
2141 @item True proportional notation requires that symbols are allowed to
2142 overstrike each other. That is achieved by removing the
2143 @internalsref{Separating_line_group_engraver} from
2144 @internalsref{Staff} context.
2146 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2147 is removed by setting the @code{strict-note-spacing} property to
2148 @code{#t} in @internalsref{SpacingSpanner} grob.
2150 @item Optical spacing tweaks are switched by setting
2151 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2158 Examples: @lsr{spacing,proportional@/-spacing@/.ly},
2159 @lsr{spacing,proportional@/-strict@/-grace@/-notes@/.ly}, and
2160 @lsr{spacing,proportional@/-strict@/-notespacing@/.ly}
2162 An example of strict proportional notation is in the
2163 example file @file{input/proportional.ly}.
2167 @subsection Clusters
2171 A cluster indicates a continuous range of pitches to be played. They
2172 can be denoted as the envelope of a set of notes. They are entered by
2173 applying the function @code{makeClusters} to a sequence of
2175 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2176 \makeClusters { <c e > <b f'> }
2179 Ordinary notes and clusters can be put together in the same staff,
2180 even simultaneously. In such a case no attempt is made to
2181 automatically avoid collisions between ordinary notes and clusters.
2185 Program reference: @internalsref{ClusterSpanner},
2186 @internalsref{ClusterSpannerBeacon},
2187 @internalsref{Cluster_spanner_engraver}.
2189 Examples: @lsr{contemporary,cluster@/.ly}.
2193 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2194 accurately. Use @code{<g a>8 <e a>8} instead.
2197 @node Special noteheads
2198 @subsection Special noteheads
2200 @cindex note heads, special
2202 Different noteheads are used by various instruments for various
2203 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2204 notes on guitar; diamonds are used for harmonics on string instruments,
2205 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2206 other notehead styles are produced by tweaking the property
2208 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2210 \override NoteHead #'style = #'cross
2212 \revert NoteHead #'style
2213 e d <c f\harmonic> <d a'\harmonic>
2217 To see all notehead styles, please see
2218 @ref{Note head styles}.
2223 Program reference: @internalsref{NoteHead}.
2226 @node Feathered beams
2227 @subsection Feathered beams
2229 Feathered beams are printed by setting the @code{grow-direction}
2230 property of a @code{Beam}. The @code{\featherDurations} function
2231 can be used to adjust note durations.
2233 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2234 \override Beam #'grow-direction = #LEFT
2235 \featherDurations #(ly:make-moment 5 4)
2243 The @code{\featherDuration} command only works with very short
2247 @subsection Improvisation
2249 Improvisation is sometimes denoted with slashed note heads. Such note
2250 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2251 to the @internalsref{Voice} context. Then, the
2255 \set squashedPosition = #0
2256 \override NoteHead #'style = #'slash
2260 switches on the slashes.
2262 There are shortcuts @code{\improvisationOn} (and an accompanying
2263 @code{\improvisationOff}) for this command sequence. They are used in
2264 the following example
2266 @lilypond[verbatim,ragged-right,quote]
2268 \consists Pitch_squash_engraver
2270 e8 e g a a16(bes)(a8) g \improvisationOn
2273 ~fis2 \improvisationOff a16(bes) a8 g e
2278 @node Selecting notation font size
2279 @subsection Selecting notation font size
2281 The easiest method of setting the font size of any context is by
2282 setting the @code{fontSize} property.
2284 @lilypond[quote,fragment,relative=1,verbatim]
2293 It does not change the size of variable symbols, such as beams or
2296 Internally, the @code{fontSize} context property will cause the
2297 @code{font-size} property to be set in all layout objects. The value
2298 of @code{font-size} is a number indicating the size relative to the
2299 standard size for the current staff height. Each step up is an
2300 increase of approximately 12% of the font size. Six steps is exactly a
2301 factor two. The Scheme function @code{magstep} converts a
2302 @code{font-size} number to a scaling factor. The @code{font-size}
2303 property can also be set directly, so that only certain layout objects are
2306 @lilypond[quote,fragment,relative=1,verbatim]
2308 \override NoteHead #'font-size = #-4
2310 \override NoteHead #'font-size = #3
2314 Font size changes are achieved by scaling the design size that is
2315 closest to the desired size. The standard font size (for
2316 @code{font-size} equals 0), depends on the standard staff height. For
2317 a 20pt staff, a 10pt font is selected.
2319 The @code{font-size} property can only be set on layout objects that
2320 use fonts. These are the ones supporting the
2321 @internalsref{font-interface} layout interface.
2325 The following commands set @code{fontSize} for the current voice:
2331 @funindex \normalsize
2336 @node Educational use
2337 @section Educational use
2339 With the amount of control that LilyPond offers, one can make great
2340 teaching tools in addition to great musical scores.
2344 * Blank music sheet::
2346 * Shape note heads::
2347 * Easy Notation note heads::
2348 * Analysis brackets::
2349 * Coloring objects::
2355 @subsection Balloon help
2357 Elements of notation can be marked and named with the help of a square
2358 balloon. The primary purpose of this feature is to explain notation.
2360 The following example demonstrates its use.
2362 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2363 \new Voice \with { \consists "Balloon_engraver" }
2365 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2366 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2371 There are two music functions, @code{balloonText} and
2372 @code{balloonGrobText}. The latter takes the name of the grob to
2373 adorn, while the former may be used as an articulation on a note.
2374 The other arguments are the offset and the text of the label.
2377 @cindex notation, explaining
2381 Program reference: @internalsref{text-balloon-interface}.
2386 @node Blank music sheet
2387 @subsection Blank music sheet
2389 @cindex Sheet music, empty
2390 @cindex Staves, blank sheet
2392 A blank music sheet can be produced also by using invisible notes, and
2393 removing @code{Bar_number_engraver}.
2396 @lilypond[quote,verbatim]
2397 \layout{ indent = #0 }
2399 \repeat unfold 2 % Change this for more lines.
2404 \override TimeSignature #'transparent = ##t
2405 % un-comment this line if desired
2406 % \override Clef #'transparent = ##t
2407 defaultBarType = #""
2408 \remove Bar_number_engraver
2411 % modify these to get the staves you want
2412 \new Staff \emptymusic
2413 \new TabStaff \emptymusic
2419 @subsection Hidden notes
2421 @cindex Hidden notes
2422 @cindex Invisible notes
2423 @cindex Transparent notes
2425 @funindex \hideNotes
2426 @funindex \unHideNotes
2427 Hidden (or invisible or transparent) notes can be useful in preparing theory
2428 or composition exercises.
2430 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2439 @node Shape note heads
2440 @subsection Shape note heads
2442 @cindex note heads, shape
2444 In shape note head notation, the shape of the note head corresponds
2445 to the harmonic function of a note in the scale. This notation was
2446 popular in the 19th century American song books.
2448 Shape note heads can be produced by setting @code{\aikenHeads} or
2449 @code{\sacredHarpHeads}, depending on the style desired.
2451 @lilypond[verbatim,relative=1,fragment]
2458 Shapes are determined on the step in the scale, where the base of the
2459 scale is determined by the @code{\key} command
2462 @funindex shapeNoteStyles
2463 @funindex \aikenHeads
2464 @funindex \sacredHarpHeads
2466 Shape note heads are implemented through the @code{shapeNoteStyles}
2467 property. Its value is a vector of symbols. The k-th element indicates
2468 the style to use for the k-th step of the scale. Arbitrary
2469 combinations are possible, e.g.
2471 @lilypond[verbatim,relative=1,fragment]
2472 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2477 @node Easy Notation note heads
2478 @subsection Easy Notation note heads
2480 @cindex note heads, practice
2481 @cindex note heads, easy notation
2482 @cindex easy notation
2485 The @q{easy play} note head includes a note name inside the head. It is
2486 used in music for beginners
2488 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2493 The command @code{\setEasyHeads} overrides settings for the
2494 @internalsref{NoteHead} object. To make the letters readable, it has
2495 to be printed in a large font size. To print with a larger font, see
2496 @ref{Setting the staff size}.
2500 @funindex \setEasyHeads
2501 @code{\setEasyHeads}
2504 @node Analysis brackets
2505 @subsection Analysis brackets
2507 @cindex phrasing brackets
2508 @cindex musicological analysis
2509 @cindex note grouping bracket
2511 Brackets are used in musical analysis to indicate structure in musical
2512 pieces. LilyPond supports a simple form of nested horizontal
2513 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2514 to @internalsref{Staff} context. A bracket is started with
2515 @code{\startGroup} and closed with @code{\stopGroup}
2517 @lilypond[quote,ragged-right,verbatim]
2520 c4\startGroup\startGroup
2523 c4\stopGroup\stopGroup
2527 \Staff \consists "Horizontal_bracket_engraver"
2533 Program reference: @internalsref{HorizontalBracket}.
2536 @node Coloring objects
2537 @subsection Coloring objects
2539 Individual objects may be assigned colors. You may use the
2540 color names listed in the @ref{List of colors}.
2542 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2543 \override NoteHead #'color = #red
2545 \override NoteHead #'color = #(x11-color 'LimeGreen)
2547 \override Stem #'color = #blue
2551 The full range of colors defined for X11 can be accessed by using the
2552 Scheme function x11-color. The function takes one argument that can be a
2556 \override Beam #'color = #(x11-color 'MediumTurquoise)
2562 \override Beam #'color = #(x11-color "MediumTurquoise")
2565 The first form is quicker to write and is more efficient. However, using
2566 the second form it is possible to access X11 colors by the multi-word
2570 \override Beam #'color = #(x11-color "medium turquoise")
2573 If x11-color cannot make sense of the parameter then the color returned
2574 defaults to black. It should be obvious from the final score that
2577 This example illustrates the use of x11-color. Notice that the stem
2578 color remains black after being set to (x11-color 'Boggle), which is
2579 deliberate nonsense.
2581 @lilypond[quote,ragged-right,verbatim]
2583 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2584 \set Staff.instrumentName = \markup {
2585 \with-color #(x11-color 'navy) "Clarinet"
2589 \override Beam #'color = #(x11-color "medium turquoise")
2591 \override NoteHead #'color = #(x11-color "LimeGreen")
2593 \override Stem #'color = #(x11-color 'Boggle)
2601 Appendix: @ref{List of colors}.
2605 Not all x11 colors are distinguishable in a web browser. For web use
2606 normal colors are recommended.
2608 An x11 color is not necessarily exactly the same shade as a similarly
2611 Notes in a chord cannot be colored with @code{\override}; use
2612 @code{\tweak} instead. See @ref{Objects connected to the input},
2617 @subsection Parentheses
2620 @cindex notes, ghost
2621 @cindex notes, parenthesized
2623 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2626 @lilypond[relative=2,fragment,verbatim,ragged-right]
2634 This only functions inside chords, even for single notes
2637 < \parenthesize NOTE>
2642 @subsection Grid lines
2644 Vertical lines can be drawn between staves synchronized with
2647 @lilypond[ragged-right,quote,verbatim]
2651 \consists "Grid_point_engraver" %% sets of grid
2652 gridInterval = #(ly:make-moment 1 4)
2657 \consists "Grid_line_span_engraver"
2658 %% centers grid lines horizontally below noteheads
2659 \override NoteColumn #'X-offset = #-0.5
2670 %% centers grid lines vertically
2671 \override Score.GridLine #'extra-offset = #'( 0.0 . 1.0 )
2681 Examples: @lsrdir{education}