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 scores in a book}).
309 @lilypond[quote,ragged-right,verbatim]
310 \markup{ Here is some text. }
313 @cindex font switching
315 The markup in the example demonstrates font switching commands. The
316 command @code{\bold} and @code{\italic} apply to the first following
317 word only; to apply a command to more than one word, enclose the
321 \markup @{ \bold @{ hi there @} @}
325 For clarity, you can also do this for single arguments, e.g.,
328 \markup @{ is \italic @{ anyone @} home @}
331 In markup mode you can compose expressions, similar to mathematical
332 expressions, XML documents, and music expressions. You can stack
333 expressions grouped vertically with the command @code{\column}.
334 Similarly, @code{\center-align} aligns texts by their center lines:
336 @lilypond[quote,verbatim,fragment,relative=1]
337 c1^\markup { \column { a bbbb \line { c d } } }
338 c1^\markup { \center-align { a bbbb c } }
339 c1^\markup { \line { a b c } }
342 Lists with no previous command are not kept distinct. The expression
345 \center-align @{ @{ a b @} @{ c d @} @}
353 \center-align @{ a b c d @}
358 To keep lists of words distinct, please use quotes @code{"} or
359 the @code{\line} command
361 @lilypond[quote,verbatim,fragment,relative=1]
363 c4^\markup{ \center-align { on three lines } }
364 c4^\markup{ \center-align { "all one line" } }
365 c4^\markup{ \center-align { { on three lines } } }
366 c4^\markup{ \center-align { \line { on one line } } }
369 Markups can be stored in variables and these variables
370 may be attached to notes, like
372 allegro = \markup @{ \bold \large @{ Allegro @} @}
373 @{ a^\allegro b c d @}
376 Some objects have alignment procedures of their own, which cancel out
377 any effects of alignments applied to their markup arguments as a
378 whole. For example, the @internalsref{RehearsalMark} is horizontally
379 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
382 In addition, vertical placement is performed after creating the
383 text markup object. If you wish to move an entire piece of markup,
384 you need to use the #'padding property or create an "anchor" point
385 inside the markup (generally with @code{\hspace #0}).
387 @lilypond[quote,verbatim,fragment,relative=1]
389 c'4^\markup{ \raise #5 "not raised" }
390 \once \override TextScript #'padding = #3
391 c'4^\markup{ raised }
392 c'4^\markup{ \hspace #0 \raise #1.5 raised }
395 Some situations (such as dynamic marks) have preset font-related
396 properties. If you are creating text in such situations, it
397 is advisable to cancel those properties with
398 @code{normal-text}. See @ref{Overview of text markup commands}
404 This manual: @ref{Overview of text markup commands}.
406 Program reference: @internalsref{TextScript}.
408 Init files: @file{scm/@/new@/-markup@/.scm}.
413 Kerning or generation of ligatures is only done when the @TeX{}
414 backend is used. In this case, LilyPond does not account for them so
415 texts will be spaced slightly too wide.
417 Syntax errors for markup mode are confusing.
421 @subsection Nested scores
423 It is possible to nest music inside markups, by adding a @code{\score}
424 block to a markup expression. Such a score must contain a @code{\layout}
427 @lilypond[quote,verbatim,ragged-right]
431 \relative { c4 d e f }
440 @node Overview of text markup commands
441 @subsection Overview of text markup commands
443 The following commands can all be used inside @code{\markup @{ @}}.
445 @include markup-commands.tely
449 @subsection Font selection
451 @cindex font selection
452 @cindex font magnification
453 @findex 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.
843 Music glyphs (such as the segno sign) may be printed inside
846 @lilypond[fragment,quote,ragged-right,verbatim,relative]
847 c1 \mark \markup { \musicglyph #"scripts.segno" }
848 c1 \mark \markup { \musicglyph #"scripts.coda" }
849 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
854 See @ref{The Feta font} for a list of symbols which may be
855 printed with @code{\musicglyph}.
857 The horizontal location of rehearsal marks can be adjusted by
858 setting @code{break-align-symbol}
860 @lilypond[fragment,quote,ragged-right,verbatim,relative]
864 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
868 \override Score.RehearsalMark #'break-align-symbol = #'clef
874 @code{break-align-symbol} may also accept the following values:
875 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
876 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
877 @code{key-signature}, and @code{time-signature}. Setting
878 @code{break-align-symbol} will only have an effect if the symbol
879 appears at that point in the music.
884 Program reference: @internalsref{RehearsalMark}.
886 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
887 definition of @code{format-mark-numbers} and
888 @code{format-mark-letters}. They can be used as inspiration for other
889 formatting functions.
891 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
893 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
897 @subsection Bar numbers
900 @cindex measure numbers
901 @findex currentBarNumber
903 Bar numbers are printed by default at the start of the line. The
904 number itself is stored in the @code{currentBarNumber} property, which
905 is normally updated automatically for every measure.
907 @lilypond[verbatim,ragged-right,quote,fragment,relative]
908 \repeat unfold 4 {c4 c c c} \break
909 \set Score.currentBarNumber = #50
910 \repeat unfold 4 {c4 c c c}
913 Bar numbers may only be printed at bar lines; to print a bar
914 number at the beginning of a piece, an empty bar line must
917 @lilypond[verbatim,ragged-right,quote,fragment,relative]
918 \set Score.currentBarNumber = #50
920 \repeat unfold 4 {c4 c c c} \break
921 \repeat unfold 4 {c4 c c c}
924 Bar numbers can be typeset at regular intervals instead of at the
925 beginning of each line. This is illustrated in the following example,
926 whose source is available as
927 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
929 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
931 Bar numbers can be removed entirely by removing the Bar number
932 engraver from the score.
934 @lilypond[verbatim,ragged-right,quote]
938 \remove "Bar_number_engraver"
950 Program reference: @internalsref{BarNumber}.
953 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
954 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
959 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
960 there is one at the top. To solve this, the
961 @code{padding} property of @internalsref{BarNumber} can be
962 used to position the number correctly.
965 @node Instrument names
966 @subsection Instrument names
968 In an orchestral score, instrument names are printed at the left side
971 This can be achieved by setting @internalsref{Staff}.@code{instrument}
972 and @internalsref{Staff}.@code{instr}. This will print a string before
973 the start of the staff. For the first staff, @code{instrument} is
974 used, for the following ones, @code{instr} is used.
976 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
977 \set Staff.instrument = "Ploink "
978 \set Staff.instr = "Plk "
984 You can also use markup texts to construct more complicated instrument
987 @lilypond[quote,fragment,verbatim,ragged-right]
988 \set Staff.instrument = \markup {
989 \column { "Clarinetti"
990 \line { "in B" \smaller \flat } } }
994 If you wish to center the instrument names, you must center all of them
996 @lilypond[quote,verbatim,ragged-right]
999 \set Staff.instrument = \markup {
1000 \center-align { "Clarinetti"
1001 \line { "in B" \smaller \flat } } }
1005 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
1012 For longer instrument names, it may be useful to increase the
1013 @code{indent} setting in the @code{\layout} block.
1015 To center instrument names while leaving extra space to the right,
1017 @lilypond[quote,verbatim,ragged-right]
1018 \new StaffGroup \relative
1021 \set Staff.instrument
1022 = \markup { \hcenter-in #10 "blabla" }
1026 \set Staff.instrument
1027 = \markup { \hcenter-in #10 "blo" }
1036 Program reference: @internalsref{InstrumentName}.
1040 When you put a name on a grand staff or piano staff, the width of the
1041 brace is not taken into account. The following property setting can be
1042 used to move the instrument names to the left, in such situations.
1045 \override Score.InstrumentName #'padding = #2.0
1049 @node Instrument transpositions
1050 @subsection Instrument transpositions
1052 @cindex transposition, MIDI
1053 @cindex transposition, instrument
1055 The key of a transposing instrument can also be specified. This
1056 applies to many wind instruments, for example, clarinets (B-flat, A, and
1057 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1059 The transposition is entered after the keyword @code{\transposition}
1062 \transposition bes %% B-flat clarinet
1066 This command sets the property @code{instrumentTransposition}. The value of
1067 this property is used for MIDI output and quotations. It does not
1068 affect how notes are printed in the current staff. To change the printed
1069 output, see @ref{Transpose}.
1071 The pitch to use for @code{\transposition} should correspond to the
1072 real sound heard when a @code{c'} written on the staff is played by the
1073 transposing instrument. For example, when entering a score in
1074 concert pitch, typically all voices are entered in C, so
1075 they should be entered as
1088 The command @code{\transposition} should be used when the music is
1089 entered from a (transposed) orchestral part. For example, in
1090 classical horn parts, the tuning of the instrument is often changed
1091 during a piece. When copying the notes from the part, use
1092 @code{\transposition}, e.g.,
1104 @node Ottava brackets
1105 @subsection Ottava brackets
1107 `Ottava' brackets introduce an extra transposition of an octave for
1108 the staff. They are created by invoking the function
1109 @code{set-octavation}
1115 @lilypond[quote,ragged-right,verbatim,fragment]
1125 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1126 (for 15ma) as arguments. Internally the function sets the properties
1127 @code{ottavation} (e.g., to @code{"8va"}) and
1128 @code{centralCPosition}. For overriding the text of the bracket, set
1129 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1131 @lilypond[quote,ragged-right,verbatim]
1134 \set Staff.ottavation = #"8"
1142 Program reference: @internalsref{OttavaBracket}.
1144 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1145 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1150 @code{set-octavation} will get confused when clef changes happen
1151 during an octavation bracket.
1154 @node Different editions from one source
1155 @subsection Different editions from one source
1160 The @code{\tag} command marks music expressions with a name. These
1161 tagged expressions can be filtered out later. With this mechanism it
1162 is possible to make different versions of the same music source.
1164 In the following example, we see two versions of a piece of music, one
1165 for the full score, and one with cue notes for the instrumental part
1181 The same can be applied to articulations, texts, etc.: they are
1184 -\tag #@var{your-tag}
1186 to an articulation, for example,
1191 This defines a note with a conditional fingering indication.
1194 @cindex removeWithTag
1195 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1196 commands, tagged expressions can be filtered. For example,
1200 \keepWithTag #'score @var{the music}
1201 \keepWithTag #'part @var{the music}
1206 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1208 The arguments of the @code{\tag} command should be a symbol
1209 (such as @code{#'score} or @code{#'part}), followed by a
1210 music expression. It is possible to put multiple tags on
1211 a piece of music with multiple @code{\tag} entries,
1214 \tag #'original-part \tag #'transposed-part @dots{}
1220 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1225 Multiple rests are not merged if you create the score with both tagged
1230 @node Orchestral music
1231 @section Orchestral music
1233 Orchestral music involves some special notation, both in the full
1234 score and the individual parts. This section explains how to tackle
1235 some common problems in orchestral music.
1238 * Automatic part combining::
1240 * Quoting other voices::
1241 * Formatting cue notes::
1242 * Aligning to cadenzas::
1246 @node Automatic part combining
1247 @subsection Automatic part combining
1248 @cindex automatic part combining
1249 @cindex part combiner
1251 Automatic part combining is used to merge two parts of music onto a
1252 staff. It is aimed at typesetting orchestral scores. When the two
1253 parts are identical for a period of time, only one is shown. In
1254 places where the two parts differ, they are typeset as separate
1255 voices, and stem directions are set automatically. Also, solo and
1256 @emph{a due} parts are identified and can be marked.
1258 The syntax for part combining is
1261 \partcombine @var{musicexpr1} @var{musicexpr2}
1265 The following example demonstrates the basic functionality of the part
1266 combiner: putting parts on one staff, and setting stem directions and
1269 @lilypond[quote,verbatim,ragged-right,fragment]
1270 \new Staff \partcombine
1271 \relative g' { g g a( b) c c r r }
1272 \relative g' { g g r4 r e e g g }
1275 The first @code{g} appears only once, although it was
1276 specified twice (once in each part). Stem, slur, and tie directions are
1277 set automatically, depending whether there is a solo or unisono. The
1278 first part (with context called @code{one}) always gets up stems, and
1279 `Solo', while the second (called @code{two}) always gets down stems and
1282 If you just want the merging parts, and not the textual markings, you
1283 may set the property @code{printPartCombineTexts} to false
1285 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1287 \set Staff.printPartCombineTexts = ##f
1289 \relative g' { g a( b) r }
1290 \relative g' { g r4 r f }
1294 To change the text that is printed for solos or merging, you may
1295 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1298 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1300 \set Score.soloText = #"ichi"
1301 \set Score.soloIIText = #"ni"
1302 \set Score.aDueText = #"tachi"
1304 \relative g' { g4 g a( b) r }
1305 \relative g' { g4 g r r f }
1309 Both arguments to @code{\partcombine} will be interpreted as
1310 @internalsref{Voice} contexts. If using relative octaves,
1311 @code{\relative} should be specified for both music expressions, i.e.,
1315 \relative @dots{} @var{musicexpr1}
1316 \relative @dots{} @var{musicexpr2}
1320 A @code{\relative} section that is outside of @code{\partcombine} has
1321 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1325 Program reference: @internalsref{PartCombineMusic}.
1329 When @code{printPartCombineTexts} is set, when the two voices play the
1330 same notes on and off, the part combiner may typeset @code{a2} more
1331 than once in a measure.
1333 @code{\partcombine} cannot be inside @code{\times}.
1335 @code{\partcombine} cannot be inside @code{\relative}.
1337 Internally, the @code{\partcombine} interprets both arguments as
1338 @code{Voice}s named @code{one} and @code{two}, and then decides when
1339 the parts can be combined. Consequently, if the arguments switch to
1340 differently named @internalsref{Voice} contexts, the events in those
1345 @subsection Hiding staves
1347 @cindex Frenched scores
1348 @cindex Hiding staves
1350 In orchestral scores, staff lines that only have rests are usually
1351 removed; this saves some space. This style is called `French Score'.
1352 For @internalsref{Lyrics},
1353 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1354 switched on by default. When the lines of these contexts turn out
1355 empty after the line-breaking process, they are removed.
1357 For normal staves, a specialized @internalsref{Staff} context is
1358 available, which does the same: staves containing nothing (or only
1359 multi-measure rests) are removed. The context definition is stored in
1360 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1361 in this example disappears in the second line
1363 @lilypond[quote,ragged-right,verbatim]
1365 \context { \RemoveEmptyStaffContext }
1370 \new Staff { e4 f g a \break c1 }
1371 \new Staff { c4 d e f \break R1 }
1376 The first system shows all staves in full. If empty staves should be
1377 removed from the first system too, set @code{remove-first} to true in
1378 @internalsref{VerticalAxisGroup}.
1381 \override Score.VerticalAxisGroup #'remove-first = ##t
1384 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1385 or @code{\RemoveEmptyRhythmicStaffContext}.
1387 Another application is making ossia sections, i.e., alternative
1388 melodies on a separate piece of staff, with help of a Frenched
1389 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1392 @node Quoting other voices
1393 @subsection Quoting other voices
1397 With quotations, fragments of other parts can be inserted into a part
1398 directly. Before a part can be quoted, it must be marked especially as
1399 quotable. This is done with the @code{\addquote} command.
1402 \addquote @var{name} @var{music}
1407 Here, @var{name} is an identifying string. The @var{music} is any kind
1408 of music. Here is an example of @code{\addquote}
1411 \addquote clarinet \relative c' @{
1416 This command must be entered at toplevel, i.e., outside any music
1419 After calling @code{\addquote}, the quotation may then be done with
1420 @code{\quoteDuring} or @code{\cueDuring},
1423 \quoteDuring #@var{name} @var{music}
1426 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1430 \quoteDuring #"clarinet" @{ s2. @}
1433 This would cite three quarter notes (the duration of @code{s2.}) of
1434 the previously added @code{clarinet} voice.
1437 More precisely, it takes the current time-step of the part being
1438 printed, and extracts the notes at the corresponding point of the
1439 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1440 should be the entire part of the voice to be quoted, including any
1441 rests at the beginning.
1443 Quotations take into account the transposition of both source and target
1444 instruments, if they are specified using the @code{\transposition} command.
1446 @lilypond[quote,ragged-right,verbatim]
1447 \addquote clarinet \relative c' {
1453 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1457 The type of events that are present in cue notes can be trimmed with
1458 the @code{quotedEventTypes} property. The default value is
1459 @code{(note-event rest-event)}, which means that only notes and
1460 rests of the cued voice end up in the @code{\quoteDuring}.
1464 \set Staff.quotedEventTypes =
1465 #'(note-event articulation-event dynamic-event)
1469 will quote notes (but no rests), together with scripts and dynamics.
1473 Only the contents of the first @internalsref{Voice} occurring in an
1474 @code{\addquote} command will be considered for quotation, so
1475 @var{music} can not contain @code{\new} and @code{\context Voice}
1476 statements that would switch to a different Voice.
1478 Quoting grace notes is broken and can even cause LilyPond to crash.
1482 In this manual: @ref{Instrument transpositions}.
1484 Examples: @inputfileref{input/@/regression,quote@/.ly}
1485 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1487 Program reference: @internalsref{QuoteMusic}.
1490 @node Formatting cue notes
1491 @subsection Formatting cue notes
1493 @cindex cues, formatting
1495 The previous section deals with inserting notes from another voice.
1496 There is a more advanced music function called @code{\cueDuring},
1497 which makes formatting cue notes easier.
1502 \cueDuring #@var{name} #@var{updown} @var{music}
1505 This will insert notes from the part @var{name} into a
1506 @internalsref{Voice} called @code{cue}. This happens simultaneously
1507 with @var{music}, which usually is a rest. When the cue notes start,
1508 the staff in effect becomes polyphonic for a moment. The argument
1509 @var{updown} determines whether the cue notes should be notated as a
1510 first or second voice.
1513 @lilypond[verbatim,ragged-right]
1516 \override Stem #'length-fraction = #0.8
1517 \override Beam #'thickness = #0.384
1518 \override Beam #'length-fraction = #0.8
1521 \addquote clarinet \relative {
1526 \new Staff \relative <<
1528 % setup a context for cue notes.
1529 \new Voice = "cue" { \smaller \skip 1*21 }
1531 \set Score.skipBars = ##t
1535 \cueDuring #"clarinet" #1 {
1544 Here are a couple of hints for successful cue notes
1548 Cue notes have smaller font sizes.
1550 the cued part is marked with the instrument playing the cue.
1552 when the original part takes over again, this should be marked with
1553 the name of the original instrument.
1555 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1557 @c Yes, this is good practice. Otherwise, the start of the original
1558 @c part can only be seen from the font size. This is not good enough
1559 @c for sight-reading. It is possilbe to use other
1560 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1566 Any other changes introduced by the cued part should also be
1567 undone. For example, if the cued instrument plays in a different clef,
1568 the original clef should be stated once again.
1573 @node Aligning to cadenzas
1574 @subsection Aligning to cadenzas
1576 In an orchestral context, cadenzas present a special problem:
1577 when constructing a score that includes a cadenza, all other
1578 instruments should skip just as many notes as the length of the
1579 cadenza, otherwise they will start too soon or too late.
1581 A solution to this problem are the functions @code{mmrest-of-length}
1582 and @code{skip-of-length}. These Scheme functions take a piece of music
1583 as argument, and generate a @code{\skip} or multi-rest, exactly as
1584 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1585 in the following example.
1587 @lilypond[verbatim,ragged-right,quote]
1588 cadenza = \relative c' {
1589 c4 d8 << { e f g } \\ { d4. } >>
1594 \new Staff { \cadenza c'4 }
1596 #(ly:export (mmrest-of-length cadenza))
1605 @node Contemporary notation
1606 @section Contemporary notation
1608 In the 20th century, composers have greatly expanded the musical
1609 vocabulary. With this expansion, many innovations in musical notation
1610 have been tried. The book ``Music Notation in the 20th century'' by
1611 Kurt Stone gives a comprehensive overview (see @ref{Literature
1614 This section describes notation that does
1615 not fit into traditional notation categories, such as pitches,
1616 tuplet beams, and articulation. For contemporary notation
1617 that fits into traditional notation categories, such as
1618 microtones, nested tuplet beams, and unusual fermatas, please
1619 see those sections of the documentation.
1622 * Polymetric notation::
1623 * Time administration::
1624 * Proportional notation::
1626 * Special noteheads::
1629 * Selecting notation font size::
1633 @node Polymetric notation
1634 @subsection Polymetric notation
1636 Double time signatures are not supported explicitly, but they can be
1637 faked. In the next example, the markup for the time signature is
1638 created with a markup text. This markup text is inserted in the
1639 @internalsref{TimeSignature} grob. See also
1640 @inputfileref{input/@/test,compound@/-time@/.ly}).
1642 @lilypond[verbatim,ragged-right]
1645 \override #'(baseline-skip . 2) \number {
1648 \bracket \column { "5" "8" }
1653 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1654 \override Staff.TimeSignature #'text = #tsMarkup
1656 c'2 \bar ":" c'4 c'4.
1660 Each staff can also have its own time signature. This is done by
1661 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1667 \remove "Timing_translator"
1668 \remove "Default_bar_line_engraver"
1672 \consists "Timing_translator"
1673 \consists "Default_bar_line_engraver"
1680 Now, each staff has its own time signature.
1693 c4. c8 c c c4. c8 c c
1698 @lilypond[quote,ragged-right]
1702 \remove "Timing_translator"
1703 \remove "Default_bar_line_engraver"
1706 \consists "Timing_translator"
1707 \consists "Default_bar_line_engraver"
1722 c4. c8 c c c4. c8 c c
1728 A different form of polymetric notation is where note lengths have
1729 different values across staves.
1731 This notation can be created by setting a common time signature for
1732 each staff but replacing it manually using
1733 @code{timeSignatureFraction} to the desired fraction. Then the printed
1734 durations in each staff are scaled to the common time signature.
1735 The latter is done with @code{\compressMusic}, which is used similar
1736 to @code{\times}, but does not create a tuplet bracket. The syntax is
1738 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1743 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1744 used in parallel. In the second staff, shown durations are multiplied by
1745 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1746 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1748 @lilypond[quote,ragged-right,verbatim,fragment]
1756 \set Staff.timeSignatureFraction = #'(9 . 8)
1757 \compressMusic #'(2 . 3)
1758 \repeat unfold 6 { c8[ c c] }
1762 \set Staff.timeSignatureFraction = #'(10 . 8)
1763 \compressMusic #'(3 . 5) {
1764 \repeat unfold 2 { c8[ c c] }
1765 \repeat unfold 2 { c8[ c] }
1766 | c4. c4. \times 2/3 { c8 c c } c4
1777 When using different time signatures in parallel, the spacing is
1778 aligned vertically, but bar lines distort the regular spacing.
1781 @node Time administration
1782 @subsection Time administration
1784 @cindex Time administration
1786 Time is administered by the @internalsref{Time_signature_engraver},
1787 which usually lives in the @internalsref{Score} context. The
1788 bookkeeping deals with the following variables
1791 @item currentBarNumber
1795 The length of the measures in the current time signature. For a 4/4
1796 time this is@tie{}1, and for 6/8 it is 3/4.
1798 @item measurePosition
1799 The point within the measure where we currently are. This quantity
1800 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1801 happens, @code{currentBarNumber} is incremented.
1804 If set to true, the above variables are updated for every time
1805 step. When set to false, the engraver stays in the current measure
1809 Timing can be changed by setting any of these variables explicitly.
1810 In the next example, the 4/4 time signature is printed, but
1811 @code{measureLength} is set to 5/4. After a while, the measure is
1812 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1813 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1814 3/8 arises because 5/4 normally has 10/8, but we have manually
1815 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1817 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1818 \set Score.measureLength = #(ly:make-moment 5 4)
1822 \set Score.measurePosition = #(ly:make-moment 7 8)
1828 As the example illustrates, @code{ly:make-moment n m} constructs a
1829 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
1831 note duration and @code{ly:make-moment 7 16} is the duration of
1832 seven sixteenths notes.
1835 @node Proportional notation
1836 @subsection Proportional notation
1837 @cindex Proportional notation
1839 Notes can be spaced proportional to their time-difference by
1840 assigning a duration to @code{proportionalNotationDuration}
1842 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1844 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1845 \new Staff { c8[ c c c c c] c4 c2 r2 }
1846 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1852 @subsection Clusters
1856 A cluster indicates a continuous range of pitches to be played. They
1857 can be denoted as the envelope of a set of notes. They are entered by
1858 applying the function @code{makeClusters} to a sequence of
1860 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1861 \makeClusters { <c e > <b f'> }
1864 The following example (from
1865 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1868 @lilypondfile[ragged-right,quote]{cluster.ly}
1870 Ordinary notes and clusters can be put together in the same staff,
1871 even simultaneously. In such a case no attempt is made to
1872 automatically avoid collisions between ordinary notes and clusters.
1876 Program reference: @internalsref{ClusterSpanner},
1877 @internalsref{ClusterSpannerBeacon},
1878 @internalsref{Cluster_spanner_engraver}.
1880 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1884 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1885 accurately. Use @code{<g a>8 <e a>8} instead.
1888 @node Special noteheads
1889 @subsection Special noteheads
1891 @cindex note heads, special
1893 Different noteheads are used by various instruments for various
1894 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1895 notes on guitar; diamonds are used for harmonics on string instruments,
1896 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1897 other notehead styles are produced by tweaking the property
1899 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1901 \override NoteHead #'style = #'cross
1903 \revert NoteHead #'style
1904 e d <c f\harmonic> <d a'\harmonic>
1908 To see all notehead styles, please see
1909 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1914 Program reference: @internalsref{NoteHead}.
1917 @node Feathered beams
1918 @subsection Feathered beams
1920 Feathered beams are not supported natively, but they can be faked by
1921 forcing two beams to overlap. Here is an example,
1923 @c don't change relative setting witout changing positions!
1924 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1929 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1934 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1942 @subsection Improvisation
1944 Improvisation is sometimes denoted with slashed note heads. Such note
1945 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1946 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1950 \set squashedPosition = #0
1951 \override NoteHead #'style = #'slash
1955 switches on the slashes.
1957 There are shortcuts @code{\improvisationOn} (and an accompanying
1958 @code{\improvisationOff}) for this command sequence. They are used in
1959 the following example
1961 @lilypond[verbatim,ragged-right,quote]
1963 \consists Pitch_squash_engraver
1965 e8 e g a a16(bes)(a8) g \improvisationOn
1968 ~fis2 \improvisationOff a16(bes) a8 g e
1973 @node Selecting notation font size
1974 @subsection Selecting notation font size
1976 The easiest method of setting the font size of any context is by
1977 setting the @code{fontSize} property.
1979 @lilypond[quote,fragment,relative=1,verbatim]
1988 It does not change the size of variable symbols, such as beams or
1991 Internally, the @code{fontSize} context property will cause the
1992 @code{font-size} property to be set in all layout objects. The value
1993 of @code{font-size} is a number indicating the size relative to the
1994 standard size for the current staff height. Each step up is an
1995 increase of approximately 12% of the font size. Six steps is exactly a
1996 factor two. The Scheme function @code{magstep} converts a
1997 @code{font-size} number to a scaling factor.
1999 @lilypond[quote,fragment,relative=1,verbatim]
2001 \override NoteHead #'font-size = #-4
2003 \override NoteHead #'font-size = #3
2007 Font size changes are achieved by scaling the design size that is
2008 closest to the desired size. The standard font size (for
2009 @code{font-size} equals 0), depends on the standard staff height. For
2010 a 20pt staff, a 10pt font is selected.
2012 The @code{font-size} property can only be set on layout objects that
2013 use fonts. These are the ones supporting the
2014 @internalsref{font-interface} layout interface.
2018 The following commands set @code{fontSize} for the current voice:
2029 @node Educational use
2030 @section Educational use
2032 With the amount of control that LilyPond offers, one can make great
2033 teaching tools in addition to great musical scores.
2037 * Blank music sheet::
2039 * Shape note heads::
2040 * Easy Notation note heads::
2041 * Analysis brackets::
2042 * Coloring objects::
2047 @subsection Balloon help
2049 Elements of notation can be marked and named with the help of a square
2050 balloon. The primary purpose of this feature is to explain notation.
2052 The following example demonstrates its use.
2054 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2055 \applyOutput #'Voice
2056 #(add-balloon-text 'NoteHead "heads, or tails?"
2062 The function @code{add-balloon-text} takes the name of a grob, the
2063 label to print, and the position where to put the label relative to
2064 the object. In the above example, the text ``heads or tails?'' ends
2065 3 spaces below and 1 space to the right of the marked head.
2068 @cindex notation, explaining
2072 Program reference: @internalsref{text-balloon-interface}.
2074 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
2079 @node Blank music sheet
2080 @subsection Blank music sheet
2082 @cindex Sheet music, empty
2083 @cindex Staves, blank sheet
2085 A blank music sheet can be produced also by using invisible notes, and
2086 removing @code{Bar_number_engraver}.
2089 @lilypond[quote,verbatim]
2091 \repeat unfold 2 % Change this for more lines.
2096 \override TimeSignature #'transparent = ##t
2097 defaultBarType = #""
2098 \remove Bar_number_engraver
2100 \new Staff \emptymusic
2101 \new TabStaff \emptymusic
2107 @subsection Hidden notes
2109 @cindex Hidden notes
2110 @cindex Invisible notes
2111 @cindex Transparent notes
2114 @findex \unHideNotes
2115 Hidden (or invisible or transparent) notes can be useful in preparing theory
2116 or composition exercises.
2118 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2127 @node Shape note heads
2128 @subsection Shape note heads
2130 @cindex note heads, shape
2132 In shape note head notation, the shape of the note head corresponds
2133 to the harmonic function of a note in the scale. This notation was
2134 popular in the 19th century American song books.
2136 Shape note heads can be produced by setting @code{\aikenHeads} or
2137 @code{\sacredHarpHeads}, depending on the style desired.
2139 @lilypond[verbatim,relative=1,fragment]
2146 Shapes are determined on the step in the scale, where the base of the
2147 scale is determined by the @code{\key} command
2150 @findex shapeNoteStyles
2152 @findex \sacredHarpHeads
2154 Shape note heads are implemented through the @code{shapeNoteStyles}
2155 property. Its value is a vector of symbols. The k-th element indicates
2156 the style to use for the k-th step of the scale. Arbitrary
2157 combinations are possible, e.g.
2159 @lilypond[verbatim,relative=1,fragment]
2160 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2165 @node Easy Notation note heads
2166 @subsection Easy Notation note heads
2168 @cindex note heads, practice
2169 @cindex note heads, easy notation
2170 @cindex easy notation
2173 The `easy play' note head includes a note name inside the head. It is
2174 used in music for beginners
2176 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2181 The command @code{\setEasyHeads} overrides settings for the
2182 @internalsref{NoteHead} object. To make the letters readable, it has
2183 to be printed in a large font size. To print with a larger font, see
2184 @ref{Setting global staff size}.
2188 @findex \setEasyHeads
2189 @code{\setEasyHeads}
2192 @node Analysis brackets
2193 @subsection Analysis brackets
2195 @cindex phrasing brackets
2196 @cindex musicological analysis
2197 @cindex note grouping bracket
2199 Brackets are used in musical analysis to indicate structure in musical
2200 pieces. LilyPond supports a simple form of nested horizontal
2201 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2202 to @internalsref{Staff} context. A bracket is started with
2203 @code{\startGroup} and closed with @code{\stopGroup}
2205 @lilypond[quote,ragged-right,verbatim]
2208 c4\startGroup\startGroup
2211 c4\stopGroup\stopGroup
2215 \Staff \consists "Horizontal_bracket_engraver"
2221 Program reference: @internalsref{HorizontalBracket}.
2223 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2226 @node Coloring objects
2227 @subsection Coloring objects
2229 Individual objects may be assigned colors. You may use the
2230 color names listed in the @ref{List of colors}.
2232 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2233 \override NoteHead #'color = #red
2235 \override NoteHead #'color = #(x11-color 'LimeGreen)
2237 \override Stem #'color = #blue
2241 The full range of colors defined for X11 can be accessed by using the
2242 scheme function x11-color. The function takes one argument that can be a
2246 \override Beam #'color = #(x11-color 'MediumTurquoise)
2252 \override Beam #'color = #(x11-color "MediumTurquoise")
2255 The first form is quicker to write and is more efficient. However, using
2256 the second form it is possible to access X11 colors by the multi-word
2260 \override Beam #'color = #(x11-color "medium turquoise")
2263 If x11-color cannot make sense of the parameter then the color returned
2264 defaults to black. It should be obvious from the final score that
2267 This example illustrates the use of x11-color. Notice that the stem
2268 color remains black after being set to (x11-color 'Boggle), which is
2269 deliberate nonsense.
2271 @lilypond[quote,ragged-right,verbatim]
2273 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2274 \set Staff.instrument = \markup {
2275 \with-color #(x11-color 'navy) "Clarinet"
2279 \override Beam #'color = #(x11-color "medium turquoise")
2281 \override NoteHead #'color = #(x11-color "LimeGreen")
2283 \override Stem #'color = #(x11-color 'Boggle)
2291 Appendix: @ref{List of colors}.
2295 Not all x11 colors are distinguishable in a web browser. For web use
2296 normal colors are recommended.
2298 An x11 color is not necessarily exactly the same shade as a similarly
2301 Notes in a chord cannot be colored with @code{\override}; use
2302 @code{\tweak} instead. See @ref{Objects connected to the input}
2307 @subsection Parentheses
2310 @cindex notes, ghost
2311 @cindex notes, parenthesized
2313 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2316 @lilypond[relative=2,fragment,verbatim,ragged-right]
2324 This only functions inside chords, even for single notes
2327 < \parenthesize NOTE>