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 (symbols are listed in
169 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
170 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
175 @code{\mark} is only typeset above the top stave of the score. If
176 you specify the @code{\mark} command at a bar line, the resulting
177 mark is placed above the bar line. If you specify it in the middle
178 of a bar, the resulting mark is positioned between notes. If it is
179 specified before the beginning of a score line, it is placed
180 before the first note of the line. Finally, if the mark occurs at
181 a line break, the mark will be printed at the
182 beginning of the next line.
183 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
184 @c delete this sentence. -gp
185 If there is no next line, then the mark will not be printed at all.
190 To print the mark at the end of the current line, use
193 \override Score.RehearsalMark
194 #'break-visibility = #begin-of-line-invisible
197 @code{\mark} is often useful for adding text to the end of bar. In
198 such cases, changing the @code{#'self-alignment} is very useful
200 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
201 \override Score.RehearsalMark
202 #'break-visibility = #begin-of-line-invisible
204 \once \override Score.RehearsalMark #'self-alignment-X = #right
205 \mark "D.S. al Fine "
208 Text marks may be aligned with notation objects other than
211 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
216 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
220 \override Score.RehearsalMark #'break-align-symbol = #'clef
224 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
233 Although text marks are normally only printed above the topmost
234 staff, you may alter this to print them on every staff,
236 @lilypond[quote,ragged-right,verbatim,relative=2]
239 \remove "Mark_engraver"
243 \consists "Mark_engraver"
245 { c''1 \mark "foo" c'' }
247 \consists "Mark_engraver"
249 { c'1 \mark "foo" c' }
257 Program reference: @internalsref{RehearsalMark}.
261 @subsection Text markup
268 Use @code{\markup} to typeset text. Commands are entered with the
269 backslash @code{\}. To enter @code{\} and @code{#}, use double
272 @lilypond[quote,verbatim,fragment,relative=1]
274 c1_\markup { hi there }
275 c1^\markup { hi \bold there, is \italic {anyone home?} }
276 c1_\markup { "\special {weird} #characters" }
280 See @ref{Overview of text markup commands} for a list of all
283 @code{\markup} is primarily used for @internalsref{TextScript}s,
284 but it can also be used anywhere text is called in lilypond
286 @lilypond[quote,verbatim]
287 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
290 \override Score.RehearsalMark
291 #'break-visibility = #begin-of-line-invisible
292 \override Score.RehearsalMark #'self-alignment-X = #right
294 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
295 c2^\markup{ don't be \flat }
296 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
298 a2\mark \markup{ \large \bold Fine }
302 \addlyrics { bar, foo \markup{ \italic bar! } }
306 A @code{\markup} command can also be placed on its own, away from any
307 @code{\score} block, see @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 @funindex font-interface
455 By setting the object properties described below, you can select a
456 font from the preconfigured font families. LilyPond has default
457 support for the feta music fonts. Text fonts are selected through
458 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
459 the sans and typewriter to whatever the Pango installation defaults
464 @item @code{font-encoding}
465 is a symbol that sets layout of the glyphs. This should only be set to
466 select different types of non-text fonts, e.g.
468 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
469 standard music font, including ancient glyphs, @code{fetaDynamic} for
470 dynamic signs and @code{fetaNumber} for the number font.
472 @item @code{font-family}
473 is a symbol indicating the general class of the typeface. Supported are
474 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
476 @item @code{font-shape}
477 is a symbol indicating the shape of the font. There are typically
478 several font shapes available for each font family. Choices are
479 @code{italic}, @code{caps}, and @code{upright}.
481 @item @code{font-series}
482 is a symbol indicating the series of the font. There are typically
483 several font series for each font family and shape. Choices are
484 @code{medium} and @code{bold}.
488 Fonts selected in the way sketched above come from a predefined style
489 sheet. If you want to use a font from outside the style sheet,
491 @code{font-name} property,
493 @lilypond[fragment,verbatim]
495 \override Staff.TimeSignature #'font-name = #"Charter"
496 \override Staff.TimeSignature #'font-size = #2
499 \override #'(font-name . "Vera Bold")
500 { This text is in Vera Bold }
506 Any font can be used, as long as it is available to Pango/FontConfig.
507 To get a full list of all available fonts, run the command
509 lilypond -dshow-available-fonts blabla
511 (the last argument of the command can be anything, but has to be present).
514 The size of the font may be set with the @code{font-size}
515 property. The resulting size is taken relative to the
516 @code{text-font-size} as defined in the @code{\paper} block.
519 @cindex font magnification
522 It is also possible to change the default font family for the entire
523 document. This is done by calling the @code{make-pango-font-tree} from
524 within the @code{\paper} block. The function takes names for the font
525 families to use for roman, sans serif and monospaced text. For
528 @cindex font families, setting
537 (make-pango-font-tree "Times New Roman"
544 c'^\markup { roman: foo \sans bla \typewriter bar }
548 @c we don't do Helvetica / Courier, since GS incorrectly loads
555 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
558 @node New dynamic marks
559 @subsection New dynamic marks
561 It is possible to print new dynamic marks or text that should be aligned
562 with dynamics. Use @code{make-dynamic-script} to create these
563 marks. Note that the dynamic font only contains the characters
564 @code{f,m,p,r,s} and @code{z}.
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}
572 @cindex make-dynamic-script
574 @lilypond[quote,verbatim,ragged-right]
575 sfzp = #(make-dynamic-script "sfzp")
581 @cindex Dynamics, editorial
582 @cindex Dynamics, parenthesis
584 It is also possible to print dynamics in round parenthesis or square
585 brackets. These are often used for adding editorial dynamics.
587 @lilypond[quote,verbatim,ragged-right]
588 rndf = \markup{ \center-align {\line { \bold{\italic (}
589 \dynamic f \bold{\italic )} }} }
590 boxf = \markup{ \bracket { \dynamic f } }
591 { c'1_\rndf c'1_\boxf }
596 @node Preparing parts
597 @section Preparing parts
599 This section describes various notation that are useful for preparing
603 * Multi measure rests::
608 * Instrument transpositions::
610 * Different editions from one source::
614 @node Multi measure rests
615 @subsection Multi measure rests
617 @cindex multi measure rests
618 @cindex full measure rests
619 @cindex Rests, multi measure
620 @cindex Rests, full measure
621 @cindex whole rests for a full measure
624 Rests for one full measure (or many bars) are entered using `@code{R}'. It
625 is specifically meant for full bar rests and for entering parts: the rest
626 can expand to fill a score with rests, or it can be printed as a single
627 multi-measure rest. This expansion is controlled by the property
628 @code{Score.skipBars}. If this is set to true, empty measures will not
629 be expanded, and the appropriate number is added automatically
631 @lilypond[quote,ragged-right,fragment,verbatim]
632 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
633 \set Score.skipBars = ##t R1*17 R1*4
636 The @code{1} in @code{R1} is similar to the duration notation used for
637 notes. Hence, for time signatures other than 4/4, you must enter other
638 durations. This can be done with augmentation dots or fractions
640 @lilypond[quote,ragged-right,fragment,verbatim]
641 \set Score.skipBars = ##t
650 An @code{R} spanning a single measure is printed as either a whole rest
651 or a breve, centered in the measure regardless of the time signature.
653 If there are only a few measures of rest, LilyPond prints ``church rests''
654 (a series of rectangles) in the staff. To replace that with a simple
655 rest, use @code{MultiMeasureRest.expand-limit}.
657 @lilypond[quote,ragged-right,fragment,verbatim]
658 \set Score.skipBars = ##t
660 \override MultiMeasureRest #'expand-limit = 1
664 @cindex text on multi-measure rest
665 @cindex script on multi-measure rest
666 @cindex fermata on multi-measure rest
668 Texts can be added to multi-measure rests by using the
669 @var{note}-@code{markup} syntax @ref{Text markup}.
670 A variable (@code{\fermataMarkup}) is provided for
673 @lilypond[quote,ragged-right,verbatim,fragment]
674 \set Score.skipBars = ##t
676 R2.*10^\markup { \italic "ad lib." }
680 Warning! This text is created by @code{MultiMeasureRestText}, not
683 @lilypond[quote,ragged-right,verbatim,fragment]
684 \override TextScript #'padding = #5
686 \override MultiMeasureRestText #'padding = #5
690 If you want to have text on the left end of a multi-measure rest,
691 attach the text to a zero-length skip note, i.e.,
701 Program reference: @internalsref{MultiMeasureRestMusicGroup},
702 @internalsref{MultiMeasureRest}.
704 The layout object @internalsref{MultiMeasureRestNumber} is for the
705 default number, and @internalsref{MultiMeasureRestText} for user
711 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
712 over multi-measure rests. And the pitch of multi-measure rests (or
713 staff-centered rests) can not be influenced.
715 @cindex condensing rests
717 There is no way to automatically condense multiple rests into a single
718 multi-measure rest. Multi-measure rests do not take part in rest
721 Be careful when entering multi-measure rests followed by whole
722 notes. The following will enter two notes lasting four measures each
726 When @code{skipBars} is set, the result will look OK, but the bar
727 numbering will be off.
730 @node Metronome marks
731 @subsection Metronome marks
734 @cindex beats per minute
735 @cindex metronome marking
737 Metronome settings can be entered as follows
739 \tempo @var{duration} = @var{per-minute}
742 In the MIDI output, they are interpreted as a tempo change. In the
743 layout output, a metronome marking is printed
745 @lilypond[quote,ragged-right,verbatim,fragment]
752 To change the tempo in the MIDI output without printing anything, make
753 the metronome marking invisible
755 \once \override Score.MetronomeMark #'transparent = ##t
758 To print other metronome markings, use these markup commands
759 @lilypond[quote,ragged-right,verbatim,relative,fragment]
762 \smaller \general-align #Y #DOWN \note #"16." #1
764 \smaller \general-align #Y #DOWN \note #"8" #1
769 See @ref{Text markup} for more details.
774 Program reference: @internalsref{MetronomeMark}.
779 Collisions are not checked. If you have notes above the top line of
780 the staff (or notes with articulations, slurs, text, etc), then the
781 metronome marking may be printed on top of musical symbols. If this
782 occurs, increase the padding of the metronome mark to place it
783 further away from the staff.
786 \override Score.MetronomeMark #'padding = #2.5
790 @node Rehearsal marks
791 @subsection Rehearsal marks
793 @cindex Rehearsal marks
796 To print a rehearsal mark, use the @code{\mark} command
798 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
807 The letter@tie{}`I' is skipped in accordance with engraving traditions.
808 If you wish to include the letter `I', then use
811 \set Score.markFormatter = #format-mark-alphabet
814 The mark is incremented automatically if you use @code{\mark
815 \default}, but you can also use an integer argument to set the mark
816 manually. The value to use is stored in the property
817 @code{rehearsalMark}.
819 The style is defined by the property @code{markFormatter}. It is a
820 function taking the current mark (an integer) and the current context
821 as argument. It should return a markup object. In the following
822 example, @code{markFormatter} is set to a canned procedure. After a
823 few measures, it is set to function that produces a boxed number.
825 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
826 \set Score.markFormatter = #format-mark-numbers
829 \set Score.markFormatter = #format-mark-box-numbers
835 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
836 of @code{format-mark-numbers} (the default format),
837 @code{format-mark-box-numbers},
838 @code{format-mark-letters} and @code{format-mark-box-letters}.
839 These can be used as inspiration for other formatting functions.
841 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
842 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
843 incremented numbers or letters.
849 Music glyphs (such as the segno sign) may be printed inside
852 @lilypond[fragment,quote,ragged-right,verbatim,relative]
853 c1 \mark \markup { \musicglyph #"scripts.segno" }
854 c1 \mark \markup { \musicglyph #"scripts.coda" }
855 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
860 See @ref{The Feta font} for a list of symbols which may be
861 printed with @code{\musicglyph}.
863 The horizontal location of rehearsal marks can be adjusted by
864 setting @code{break-align-symbol}
866 @lilypond[fragment,quote,ragged-right,verbatim,relative]
870 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
874 \override Score.RehearsalMark #'break-align-symbol = #'clef
880 @code{break-align-symbol} may also accept the following values:
881 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
882 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
883 @code{key-signature}, and @code{time-signature}. Setting
884 @code{break-align-symbol} will only have an effect if the symbol
885 appears at that point in the music.
890 Program reference: @internalsref{RehearsalMark}.
892 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
893 definition of @code{format-mark-numbers} and
894 @code{format-mark-letters}. They can be used as inspiration for other
895 formatting functions.
897 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
899 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
903 @subsection Bar numbers
906 @cindex measure numbers
907 @funindex currentBarNumber
909 Bar numbers are printed by default at the start of the line. The
910 number itself is stored in the @code{currentBarNumber} property, which
911 is normally updated automatically for every measure.
913 @lilypond[verbatim,ragged-right,quote,fragment,relative]
914 \repeat unfold 4 {c4 c c c} \break
915 \set Score.currentBarNumber = #50
916 \repeat unfold 4 {c4 c c c}
919 Bar numbers may only be printed at bar lines; to print a bar
920 number at the beginning of a piece, an empty bar line must
923 @lilypond[verbatim,ragged-right,quote,fragment,relative]
924 \set Score.currentBarNumber = #50
926 \repeat unfold 4 {c4 c c c} \break
927 \repeat unfold 4 {c4 c c c}
930 Bar numbers can be typeset at regular intervals instead of at the
931 beginning of each line. This is illustrated in the following example,
932 whose source is available as
933 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
935 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
937 Bar numbers can be removed entirely by removing the Bar number
938 engraver from the score.
940 @lilypond[verbatim,ragged-right,quote]
944 \remove "Bar_number_engraver"
956 Program reference: @internalsref{BarNumber}.
959 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
960 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
965 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
966 there is one at the top. To solve this, the
967 @code{padding} property of @internalsref{BarNumber} can be
968 used to position the number correctly.
971 @node Instrument names
972 @subsection Instrument names
974 In an orchestral score, instrument names are printed at the left side
977 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
978 and @internalsref{Staff}.@code{shortInstrumentName}, or
979 @internalsref{PianoStaff}.@code{instrumentName} and
980 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
982 the start of the staff. For the first staff, @code{instrumentName} is
983 used, for the following ones, @code{shortInstrumentName} is used.
985 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
986 \set Staff.instrumentName = "Ploink "
987 \set Staff.shortInstrumentName = "Plk "
993 You can also use markup texts to construct more complicated instrument
996 @lilypond[quote,fragment,verbatim,ragged-right]
997 \set Staff.instrumentName = \markup {
998 \column { "Clarinetti"
999 \line { "in B" \smaller \flat } } }
1003 If you wish to center the instrument names, you must center all of them
1005 @lilypond[quote,verbatim,ragged-right]
1008 \set Staff.instrumentName = \markup {
1009 \center-align { "Clarinetti"
1010 \line { "in B" \smaller \flat } } }
1014 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1021 For longer instrument names, it may be useful to increase the
1022 @code{indent} setting in the @code{\layout} block.
1024 To center instrument names while leaving extra space to the right,
1026 @lilypond[quote,verbatim,ragged-right]
1027 \new StaffGroup \relative
1030 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1034 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1040 To add instrument names to other contexts (such as @code{GrandStaff},
1041 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1042 be added to that context.
1046 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1051 More information about adding and removing engravers can
1052 be found in @ref{Modifying context plug-ins}.
1057 Program reference: @internalsref{InstrumentName}.
1061 @node Instrument transpositions
1062 @subsection Instrument transpositions
1064 @cindex transposition, MIDI
1065 @cindex transposition, instrument
1067 The key of a transposing instrument can also be specified. This
1068 applies to many wind instruments, for example, clarinets (B-flat, A, and
1069 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1071 The transposition is entered after the keyword @code{\transposition}
1074 \transposition bes %% B-flat clarinet
1078 This command sets the property @code{instrumentTransposition}. The value of
1079 this property is used for MIDI output and quotations. It does not
1080 affect how notes are printed in the current staff. To change the printed
1081 output, see @ref{Transpose}.
1083 The pitch to use for @code{\transposition} should correspond to the
1084 real sound heard when a @code{c'} written on the staff is played by the
1085 transposing instrument. For example, when entering a score in
1086 concert pitch, typically all voices are entered in C, so
1087 they should be entered as
1100 The command @code{\transposition} should be used when the music is
1101 entered from a (transposed) orchestral part. For example, in
1102 classical horn parts, the tuning of the instrument is often changed
1103 during a piece. When copying the notes from the part, use
1104 @code{\transposition}, e.g.,
1116 @node Ottava brackets
1117 @subsection Ottava brackets
1119 `Ottava' brackets introduce an extra transposition of an octave for
1120 the staff. They are created by invoking the function
1121 @code{set-octavation}
1127 @lilypond[quote,ragged-right,verbatim,fragment]
1137 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1138 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1139 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1140 @code{centralCPosition}. For overriding the text of the bracket, set
1141 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1143 @lilypond[quote,ragged-right,verbatim]
1146 \set Staff.ottavation = #"8"
1154 Program reference: @internalsref{OttavaBracket}.
1156 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1157 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1162 @code{set-octavation} will get confused when clef changes happen
1163 during an octavation bracket.
1166 @node Different editions from one source
1167 @subsection Different editions from one source
1172 The @code{\tag} command marks music expressions with a name. These
1173 tagged expressions can be filtered out later. With this mechanism it
1174 is possible to make different versions of the same music source.
1176 In the following example, we see two versions of a piece of music, one
1177 for the full score, and one with cue notes for the instrumental part
1193 The same can be applied to articulations, texts, etc.: they are
1196 -\tag #@var{your-tag}
1198 to an articulation, for example,
1203 This defines a note with a conditional fingering indication.
1206 @cindex removeWithTag
1207 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1208 commands, tagged expressions can be filtered. For example,
1212 \keepWithTag #'score @var{the music}
1213 \keepWithTag #'part @var{the music}
1218 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1220 The arguments of the @code{\tag} command should be a symbol
1221 (such as @code{#'score} or @code{#'part}), followed by a
1222 music expression. It is possible to put multiple tags on
1223 a piece of music with multiple @code{\tag} entries,
1226 \tag #'original-part \tag #'transposed-part @dots{}
1232 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1237 Multiple rests are not merged if you create the score with both tagged
1242 @node Orchestral music
1243 @section Orchestral music
1245 Orchestral music involves some special notation, both in the full
1246 score and the individual parts. This section explains how to tackle
1247 some common problems in orchestral music.
1250 * Automatic part combining::
1252 * Quoting other voices::
1253 * Formatting cue notes::
1254 * Aligning to cadenzas::
1258 @node Automatic part combining
1259 @subsection Automatic part combining
1260 @cindex automatic part combining
1261 @cindex part combiner
1263 Automatic part combining is used to merge two parts of music onto a
1264 staff. It is aimed at typesetting orchestral scores. When the two
1265 parts are identical for a period of time, only one is shown. In
1266 places where the two parts differ, they are typeset as separate
1267 voices, and stem directions are set automatically. Also, solo and
1268 @emph{a due} parts are identified and can be marked.
1270 The syntax for part combining is
1273 \partcombine @var{musicexpr1} @var{musicexpr2}
1277 The following example demonstrates the basic functionality of the part
1278 combiner: putting parts on one staff, and setting stem directions and
1281 @lilypond[quote,verbatim,ragged-right,fragment]
1282 \new Staff \partcombine
1283 \relative g' { g g a( b) c c r r }
1284 \relative g' { g g r4 r e e g g }
1287 The first @code{g} appears only once, although it was
1288 specified twice (once in each part). Stem, slur, and tie directions are
1289 set automatically, depending whether there is a solo or unisono. The
1290 first part (with context called @code{one}) always gets up stems, and
1291 `Solo', while the second (called @code{two}) always gets down stems and
1294 If you just want the merging parts, and not the textual markings, you
1295 may set the property @code{printPartCombineTexts} to false
1297 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1299 \set Staff.printPartCombineTexts = ##f
1301 \relative g' { g a( b) r }
1302 \relative g' { g r4 r f }
1306 To change the text that is printed for solos or merging, you may
1307 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1310 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1312 \set Score.soloText = #"ichi"
1313 \set Score.soloIIText = #"ni"
1314 \set Score.aDueText = #"tachi"
1316 \relative g' { g4 g a( b) r }
1317 \relative g' { g4 g r r f }
1321 Both arguments to @code{\partcombine} will be interpreted as
1322 @internalsref{Voice} contexts. If using relative octaves,
1323 @code{\relative} should be specified for both music expressions, i.e.,
1327 \relative @dots{} @var{musicexpr1}
1328 \relative @dots{} @var{musicexpr2}
1332 A @code{\relative} section that is outside of @code{\partcombine} has
1333 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1337 Program reference: @internalsref{PartCombineMusic}.
1341 When @code{printPartCombineTexts} is set, when the two voices play the
1342 same notes on and off, the part combiner may typeset @code{a2} more
1343 than once in a measure.
1345 @code{\partcombine} cannot be inside @code{\times}.
1347 @code{\partcombine} cannot be inside @code{\relative}.
1349 Internally, the @code{\partcombine} interprets both arguments as
1350 @code{Voice}s named @code{one} and @code{two}, and then decides when
1351 the parts can be combined. Consequently, if the arguments switch to
1352 differently named @internalsref{Voice} contexts, the events in those
1357 @subsection Hiding staves
1359 @cindex Frenched scores
1360 @cindex Hiding staves
1362 In orchestral scores, staff lines that only have rests are usually
1363 removed; this saves some space. This style is called `French Score'.
1364 For @internalsref{Lyrics},
1365 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1366 switched on by default. When the lines of these contexts turn out
1367 empty after the line-breaking process, they are removed.
1369 For normal staves, a specialized @internalsref{Staff} context is
1370 available, which does the same: staves containing nothing (or only
1371 multi-measure rests) are removed. The context definition is stored in
1372 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1373 in this example disappears in the second line
1375 @lilypond[quote,ragged-right,verbatim]
1377 \context { \RemoveEmptyStaffContext }
1382 \new Staff { e4 f g a \break c1 }
1383 \new Staff { c4 d e f \break R1 }
1388 The first system shows all staves in full. If empty staves should be
1389 removed from the first system too, set @code{remove-first} to true in
1390 @internalsref{VerticalAxisGroup}.
1393 \override Score.VerticalAxisGroup #'remove-first = ##t
1396 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1397 or @code{\RemoveEmptyRhythmicStaffContext}.
1399 Another application is making ossia sections, i.e., alternative
1400 melodies on a separate piece of staff, with help of a Frenched
1404 @node Quoting other voices
1405 @subsection Quoting other voices
1409 With quotations, fragments of other parts can be inserted into a part
1410 directly. Before a part can be quoted, it must be marked especially as
1411 quotable. This is done with the @code{\addquote} command.
1414 \addquote @var{name} @var{music}
1419 Here, @var{name} is an identifying string. The @var{music} is any kind
1420 of music. Here is an example of @code{\addquote}
1423 \addquote clarinet \relative c' @{
1428 This command must be entered at toplevel, i.e., outside any music
1431 After calling @code{\addquote}, the quotation may then be done with
1432 @code{\quoteDuring} or @code{\cueDuring},
1435 \quoteDuring #@var{name} @var{music}
1438 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1442 \quoteDuring #"clarinet" @{ s2. @}
1445 This would cite three quarter notes (the duration of @code{s2.}) of
1446 the previously added @code{clarinet} voice.
1449 More precisely, it takes the current time-step of the part being
1450 printed, and extracts the notes at the corresponding point of the
1451 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1452 should be the entire part of the voice to be quoted, including any
1453 rests at the beginning.
1455 Quotations take into account the transposition of both source and target
1456 instruments, if they are specified using the @code{\transposition} command.
1458 @lilypond[quote,ragged-right,verbatim]
1459 \addquote clarinet \relative c' {
1465 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1469 The type of events that are present in cue notes can be trimmed with
1470 the @code{quotedEventTypes} property. The default value is
1471 @code{(note-event rest-event)}, which means that only notes and
1472 rests of the cued voice end up in the @code{\quoteDuring}.
1476 \set Staff.quotedEventTypes =
1477 #'(note-event articulation-event dynamic-event)
1481 will quote notes (but no rests), together with scripts and dynamics.
1485 Only the contents of the first @internalsref{Voice} occurring in an
1486 @code{\addquote} command will be considered for quotation, so
1487 @var{music} can not contain @code{\new} and @code{\context Voice}
1488 statements that would switch to a different Voice.
1490 Quoting grace notes is broken and can even cause LilyPond to crash.
1494 In this manual: @ref{Instrument transpositions}.
1496 Examples: @inputfileref{input/@/regression,quote@/.ly}
1497 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1499 Program reference: @internalsref{QuoteMusic}.
1502 @node Formatting cue notes
1503 @subsection Formatting cue notes
1505 @cindex cues, formatting
1507 The previous section deals with inserting notes from another voice.
1508 There is a more advanced music function called @code{\cueDuring},
1509 which makes formatting cue notes easier.
1514 \cueDuring #@var{name} #@var{updown} @var{music}
1517 This will insert notes from the part @var{name} into a
1518 @internalsref{Voice} called @code{cue}. This happens simultaneously
1519 with @var{music}, which usually is a rest. When the cue notes start,
1520 the staff in effect becomes polyphonic for a moment. The argument
1521 @var{updown} determines whether the cue notes should be notated as a
1522 first or second voice.
1525 @lilypond[verbatim,ragged-right]
1528 \override Stem #'length-fraction = #0.8
1529 \override Beam #'thickness = #0.384
1530 \override Beam #'length-fraction = #0.8
1533 \addquote clarinet \relative {
1538 \new Staff \relative <<
1540 % setup a context for cue notes.
1541 \new Voice = "cue" { \smaller \skip 1*21 }
1543 \set Score.skipBars = ##t
1547 \cueDuring #"clarinet" #1 {
1556 Here are a couple of hints for successful cue notes
1560 Cue notes have smaller font sizes.
1562 the cued part is marked with the instrument playing the cue.
1564 when the original part takes over again, this should be marked with
1565 the name of the original instrument.
1567 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1569 @c Yes, this is good practice. Otherwise, the start of the original
1570 @c part can only be seen from the font size. This is not good enough
1571 @c for sight-reading. It is possilbe to use other
1572 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1578 Any other changes introduced by the cued part should also be
1579 undone. For example, if the cued instrument plays in a different clef,
1580 the original clef should be stated once again.
1585 @node Aligning to cadenzas
1586 @subsection Aligning to cadenzas
1588 In an orchestral context, cadenzas present a special problem:
1589 when constructing a score that includes a cadenza, all other
1590 instruments should skip just as many notes as the length of the
1591 cadenza, otherwise they will start too soon or too late.
1593 A solution to this problem are the functions @code{mmrest-of-length}
1594 and @code{skip-of-length}. These Scheme functions take a piece of music
1595 as argument, and generate a @code{\skip} or multi-rest, exactly as
1596 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1597 in the following example.
1599 @lilypond[verbatim,ragged-right,quote]
1600 cadenza = \relative c' {
1601 c4 d8 << { e f g } \\ { d4. } >>
1606 \new Staff { \cadenza c'4 }
1608 #(ly:export (mmrest-of-length cadenza))
1617 @node Contemporary notation
1618 @section Contemporary notation
1620 In the 20th century, composers have greatly expanded the musical
1621 vocabulary. With this expansion, many innovations in musical notation
1622 have been tried. The book ``Music Notation in the 20th century'' by
1623 Kurt Stone gives a comprehensive overview (see @ref{Literature
1626 This section describes notation that does
1627 not fit into traditional notation categories, such as pitches,
1628 tuplet beams, and articulation. For contemporary notation
1629 that fits into traditional notation categories, such as
1630 microtones, nested tuplet beams, and unusual fermatas, please
1631 see those sections of the documentation.
1634 * Polymetric notation::
1635 * Time administration::
1636 * Proportional notation::
1638 * Special noteheads::
1641 * Selecting notation font size::
1645 @node Polymetric notation
1646 @subsection Polymetric notation
1648 Double time signatures are not supported explicitly, but they can be
1649 faked. In the next example, the markup for the time signature is
1650 created with a markup text. This markup text is inserted in the
1651 @internalsref{TimeSignature} grob. See also
1652 @inputfileref{input/@/test,compound@/-time@/.ly}).
1654 @lilypond[verbatim,ragged-right]
1657 \override #'(baseline-skip . 2) \number {
1660 \bracket \column { "5" "8" }
1665 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1666 \override Staff.TimeSignature #'text = #tsMarkup
1668 c'2 \bar ":" c'4 c'4.
1672 Each staff can also have its own time signature. This is done by
1673 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1679 \remove "Timing_translator"
1680 \remove "Default_bar_line_engraver"
1684 \consists "Timing_translator"
1685 \consists "Default_bar_line_engraver"
1692 Now, each staff has its own time signature.
1705 c4. c8 c c c4. c8 c c
1710 @lilypond[quote,ragged-right]
1714 \remove "Timing_translator"
1715 \remove "Default_bar_line_engraver"
1718 \consists "Timing_translator"
1719 \consists "Default_bar_line_engraver"
1734 c4. c8 c c c4. c8 c c
1740 A different form of polymetric notation is where note lengths have
1741 different values across staves.
1743 This notation can be created by setting a common time signature for
1744 each staff but replacing it manually using
1745 @code{timeSignatureFraction} to the desired fraction. Then the printed
1746 durations in each staff are scaled to the common time signature.
1747 The latter is done with @code{\compressMusic}, which is used similar
1748 to @code{\times}, but does not create a tuplet bracket. The syntax is
1750 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1755 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1756 used in parallel. In the second staff, shown durations are multiplied by
1757 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1758 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1760 @lilypond[quote,ragged-right,verbatim,fragment]
1768 \set Staff.timeSignatureFraction = #'(9 . 8)
1769 \compressMusic #'(2 . 3)
1770 \repeat unfold 6 { c8[ c c] }
1774 \set Staff.timeSignatureFraction = #'(10 . 8)
1775 \compressMusic #'(3 . 5) {
1776 \repeat unfold 2 { c8[ c c] }
1777 \repeat unfold 2 { c8[ c] }
1778 | c4. c4. \times 2/3 { c8 c c } c4
1789 When using different time signatures in parallel, the spacing is
1790 aligned vertically, but bar lines distort the regular spacing.
1793 @node Time administration
1794 @subsection Time administration
1796 @cindex Time administration
1798 Time is administered by the @internalsref{Time_signature_engraver},
1799 which usually lives in the @internalsref{Score} context. The
1800 bookkeeping deals with the following variables
1803 @item currentBarNumber
1807 The length of the measures in the current time signature. For a 4/4
1808 time this is@tie{}1, and for 6/8 it is 3/4.
1810 @item measurePosition
1811 The point within the measure where we currently are. This quantity
1812 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1813 happens, @code{currentBarNumber} is incremented.
1816 If set to true, the above variables are updated for every time
1817 step. When set to false, the engraver stays in the current measure
1821 Timing can be changed by setting any of these variables explicitly.
1822 In the next example, the 4/4 time signature is printed, but
1823 @code{measureLength} is set to 5/4. After a while, the measure is
1824 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1825 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1826 3/8 arises because 5/4 normally has 10/8, but we have manually
1827 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1829 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1830 \set Score.measureLength = #(ly:make-moment 5 4)
1834 \set Score.measurePosition = #(ly:make-moment 7 8)
1840 As the example illustrates, @code{ly:make-moment n m} constructs a
1841 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
1843 note duration and @code{ly:make-moment 7 16} is the duration of
1844 seven sixteenths notes.
1847 @node Proportional notation
1848 @subsection Proportional notation
1849 @cindex Proportional notation
1851 Notes can be spaced proportionally to their time-difference by
1852 assigning a duration to @code{proportionalNotationDuration}
1854 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1856 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1857 \new Staff { c8[ c c c c c] c4 c2 r2 }
1858 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1862 Setting this property only affects the ideal spacing between
1863 consecutive notes. For true proportional notation, the following
1864 settings are also required.
1868 @item True proportional notation requires that symbols are allowed to
1869 overstrike each other. That is achieved by removing the
1870 @internalsref{Separating_line_group_engraver} from
1871 @internalsref{Staff} context.
1873 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
1874 is removed by setting the @code{strict-note-spacing} property to
1875 @code{#t} in @internalsref{SpacingSpanner} grob.
1877 @item Optical spacing tweaks are switched by setting
1878 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
1885 @inputfileref{input/@/regression,spacing-proportional/.ly}
1886 @inputfileref{input/@/regression,spacing-strict-notespacing/.ly}
1887 @inputfileref{input/@/regression,spacing-strict-spacing-grace/.ly}
1889 An example of strict proportional notation is in the
1890 example file @file{input/proportional.ly}.
1894 @subsection Clusters
1898 A cluster indicates a continuous range of pitches to be played. They
1899 can be denoted as the envelope of a set of notes. They are entered by
1900 applying the function @code{makeClusters} to a sequence of
1902 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1903 \makeClusters { <c e > <b f'> }
1906 The following example (from
1907 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1910 @lilypondfile[ragged-right,quote]{cluster.ly}
1912 Ordinary notes and clusters can be put together in the same staff,
1913 even simultaneously. In such a case no attempt is made to
1914 automatically avoid collisions between ordinary notes and clusters.
1918 Program reference: @internalsref{ClusterSpanner},
1919 @internalsref{ClusterSpannerBeacon},
1920 @internalsref{Cluster_spanner_engraver}.
1922 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1926 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1927 accurately. Use @code{<g a>8 <e a>8} instead.
1930 @node Special noteheads
1931 @subsection Special noteheads
1933 @cindex note heads, special
1935 Different noteheads are used by various instruments for various
1936 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1937 notes on guitar; diamonds are used for harmonics on string instruments,
1938 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1939 other notehead styles are produced by tweaking the property
1941 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1943 \override NoteHead #'style = #'cross
1945 \revert NoteHead #'style
1946 e d <c f\harmonic> <d a'\harmonic>
1950 To see all notehead styles, please see
1951 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1956 Program reference: @internalsref{NoteHead}.
1959 @node Feathered beams
1960 @subsection Feathered beams
1962 Feathered beams are printed by setting the @code{grow-direction}
1963 property of a @code{Beam}. The @code{\featherDurations} function
1964 can be used to adjust note durations.
1966 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1967 \featherDurations #(ly:make-moment 5 4)
1969 \override Beam #'grow-direction = #LEFT
1976 The @code{\featherDuration} command only works with very short
1980 @subsection Improvisation
1982 Improvisation is sometimes denoted with slashed note heads. Such note
1983 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1984 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1988 \set squashedPosition = #0
1989 \override NoteHead #'style = #'slash
1993 switches on the slashes.
1995 There are shortcuts @code{\improvisationOn} (and an accompanying
1996 @code{\improvisationOff}) for this command sequence. They are used in
1997 the following example
1999 @lilypond[verbatim,ragged-right,quote]
2001 \consists Pitch_squash_engraver
2003 e8 e g a a16(bes)(a8) g \improvisationOn
2006 ~fis2 \improvisationOff a16(bes) a8 g e
2011 @node Selecting notation font size
2012 @subsection Selecting notation font size
2014 The easiest method of setting the font size of any context is by
2015 setting the @code{fontSize} property.
2017 @lilypond[quote,fragment,relative=1,verbatim]
2026 It does not change the size of variable symbols, such as beams or
2029 Internally, the @code{fontSize} context property will cause the
2030 @code{font-size} property to be set in all layout objects. The value
2031 of @code{font-size} is a number indicating the size relative to the
2032 standard size for the current staff height. Each step up is an
2033 increase of approximately 12% of the font size. Six steps is exactly a
2034 factor two. The Scheme function @code{magstep} converts a
2035 @code{font-size} number to a scaling factor.
2037 @lilypond[quote,fragment,relative=1,verbatim]
2039 \override NoteHead #'font-size = #-4
2041 \override NoteHead #'font-size = #3
2045 Font size changes are achieved by scaling the design size that is
2046 closest to the desired size. The standard font size (for
2047 @code{font-size} equals 0), depends on the standard staff height. For
2048 a 20pt staff, a 10pt font is selected.
2050 The @code{font-size} property can only be set on layout objects that
2051 use fonts. These are the ones supporting the
2052 @internalsref{font-interface} layout interface.
2056 The following commands set @code{fontSize} for the current voice:
2062 @funindex \normalsize
2067 @node Educational use
2068 @section Educational use
2070 With the amount of control that LilyPond offers, one can make great
2071 teaching tools in addition to great musical scores.
2075 * Blank music sheet::
2077 * Shape note heads::
2078 * Easy Notation note heads::
2079 * Analysis brackets::
2080 * Coloring objects::
2085 @subsection Balloon help
2087 Elements of notation can be marked and named with the help of a square
2088 balloon. The primary purpose of this feature is to explain notation.
2090 The following example demonstrates its use.
2092 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2093 \new Voice \with { \consists "Balloon_engraver" }
2095 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2096 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2101 There are two music functions, @code{balloonText} and
2102 @code{balloonGrobText}. The latter takes the name of the grob to
2103 adorn, while the former may be used as an articulation on a note.
2104 The other arguments are the offset and the text of the label.
2107 @cindex notation, explaining
2111 Program reference: @internalsref{text-balloon-interface}.
2113 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
2118 @node Blank music sheet
2119 @subsection Blank music sheet
2121 @cindex Sheet music, empty
2122 @cindex Staves, blank sheet
2124 A blank music sheet can be produced also by using invisible notes, and
2125 removing @code{Bar_number_engraver}.
2128 @lilypond[quote,verbatim]
2130 \repeat unfold 2 % Change this for more lines.
2135 \override TimeSignature #'transparent = ##t
2136 defaultBarType = #""
2137 \remove Bar_number_engraver
2139 \new Staff \emptymusic
2140 \new TabStaff \emptymusic
2146 @subsection Hidden notes
2148 @cindex Hidden notes
2149 @cindex Invisible notes
2150 @cindex Transparent notes
2152 @funindex \hideNotes
2153 @funindex \unHideNotes
2154 Hidden (or invisible or transparent) notes can be useful in preparing theory
2155 or composition exercises.
2157 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2166 @node Shape note heads
2167 @subsection Shape note heads
2169 @cindex note heads, shape
2171 In shape note head notation, the shape of the note head corresponds
2172 to the harmonic function of a note in the scale. This notation was
2173 popular in the 19th century American song books.
2175 Shape note heads can be produced by setting @code{\aikenHeads} or
2176 @code{\sacredHarpHeads}, depending on the style desired.
2178 @lilypond[verbatim,relative=1,fragment]
2185 Shapes are determined on the step in the scale, where the base of the
2186 scale is determined by the @code{\key} command
2189 @funindex shapeNoteStyles
2190 @funindex \aikenHeads
2191 @funindex \sacredHarpHeads
2193 Shape note heads are implemented through the @code{shapeNoteStyles}
2194 property. Its value is a vector of symbols. The k-th element indicates
2195 the style to use for the k-th step of the scale. Arbitrary
2196 combinations are possible, e.g.
2198 @lilypond[verbatim,relative=1,fragment]
2199 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2204 @node Easy Notation note heads
2205 @subsection Easy Notation note heads
2207 @cindex note heads, practice
2208 @cindex note heads, easy notation
2209 @cindex easy notation
2212 The `easy play' note head includes a note name inside the head. It is
2213 used in music for beginners
2215 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2220 The command @code{\setEasyHeads} overrides settings for the
2221 @internalsref{NoteHead} object. To make the letters readable, it has
2222 to be printed in a large font size. To print with a larger font, see
2223 @ref{Setting the staff size}.
2227 @funindex \setEasyHeads
2228 @code{\setEasyHeads}
2231 @node Analysis brackets
2232 @subsection Analysis brackets
2234 @cindex phrasing brackets
2235 @cindex musicological analysis
2236 @cindex note grouping bracket
2238 Brackets are used in musical analysis to indicate structure in musical
2239 pieces. LilyPond supports a simple form of nested horizontal
2240 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2241 to @internalsref{Staff} context. A bracket is started with
2242 @code{\startGroup} and closed with @code{\stopGroup}
2244 @lilypond[quote,ragged-right,verbatim]
2247 c4\startGroup\startGroup
2250 c4\stopGroup\stopGroup
2254 \Staff \consists "Horizontal_bracket_engraver"
2260 Program reference: @internalsref{HorizontalBracket}.
2262 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2265 @node Coloring objects
2266 @subsection Coloring objects
2268 Individual objects may be assigned colors. You may use the
2269 color names listed in the @ref{List of colors}.
2271 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2272 \override NoteHead #'color = #red
2274 \override NoteHead #'color = #(x11-color 'LimeGreen)
2276 \override Stem #'color = #blue
2280 The full range of colors defined for X11 can be accessed by using the
2281 Scheme function x11-color. The function takes one argument that can be a
2285 \override Beam #'color = #(x11-color 'MediumTurquoise)
2291 \override Beam #'color = #(x11-color "MediumTurquoise")
2294 The first form is quicker to write and is more efficient. However, using
2295 the second form it is possible to access X11 colors by the multi-word
2299 \override Beam #'color = #(x11-color "medium turquoise")
2302 If x11-color cannot make sense of the parameter then the color returned
2303 defaults to black. It should be obvious from the final score that
2306 This example illustrates the use of x11-color. Notice that the stem
2307 color remains black after being set to (x11-color 'Boggle), which is
2308 deliberate nonsense.
2310 @lilypond[quote,ragged-right,verbatim]
2312 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2313 \set Staff.instrumentName = \markup {
2314 \with-color #(x11-color 'navy) "Clarinet"
2318 \override Beam #'color = #(x11-color "medium turquoise")
2320 \override NoteHead #'color = #(x11-color "LimeGreen")
2322 \override Stem #'color = #(x11-color 'Boggle)
2330 Appendix: @ref{List of colors}.
2334 Not all x11 colors are distinguishable in a web browser. For web use
2335 normal colors are recommended.
2337 An x11 color is not necessarily exactly the same shade as a similarly
2340 Notes in a chord cannot be colored with @code{\override}; use
2341 @code{\tweak} instead. See @ref{Objects connected to the input}
2346 @subsection Parentheses
2349 @cindex notes, ghost
2350 @cindex notes, parenthesized
2352 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2355 @lilypond[relative=2,fragment,verbatim,ragged-right]
2363 This only functions inside chords, even for single notes
2366 < \parenthesize NOTE>