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}.
1054 Instrument names may be changed in the middle of a piece,
1056 @lilypond[quote,fragment,verbatim,ragged-right]
1057 \set Staff.instrumentName = "First"
1058 \set Staff.shortInstrumentName = "one"
1061 \set Staff.instrumentName = "Second"
1062 \set Staff.shortInstrumentName = "two"
1070 Program reference: @internalsref{InstrumentName}.
1074 @node Instrument transpositions
1075 @subsection Instrument transpositions
1077 @cindex transposition, MIDI
1078 @cindex transposition, instrument
1080 The key of a transposing instrument can also be specified. This
1081 applies to many wind instruments, for example, clarinets (B-flat, A, and
1082 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1084 The transposition is entered after the keyword @code{\transposition}
1087 \transposition bes %% B-flat clarinet
1091 This command sets the property @code{instrumentTransposition}. The value of
1092 this property is used for MIDI output and quotations. It does not
1093 affect how notes are printed in the current staff. To change the printed
1094 output, see @ref{Transpose}.
1096 The pitch to use for @code{\transposition} should correspond to the
1097 real sound heard when a @code{c'} written on the staff is played by the
1098 transposing instrument. For example, when entering a score in
1099 concert pitch, typically all voices are entered in C, so
1100 they should be entered as
1113 The command @code{\transposition} should be used when the music is
1114 entered from a (transposed) orchestral part. For example, in
1115 classical horn parts, the tuning of the instrument is often changed
1116 during a piece. When copying the notes from the part, use
1117 @code{\transposition}, e.g.,
1129 @node Ottava brackets
1130 @subsection Ottava brackets
1132 `Ottava' brackets introduce an extra transposition of an octave for
1133 the staff. They are created by invoking the function
1134 @code{set-octavation}
1140 @lilypond[quote,ragged-right,verbatim,fragment]
1150 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1151 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1152 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1153 @code{centralCPosition}. For overriding the text of the bracket, set
1154 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1156 @lilypond[quote,ragged-right,verbatim]
1159 \set Staff.ottavation = #"8"
1167 Program reference: @internalsref{OttavaBracket}.
1169 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1170 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1175 @code{set-octavation} will get confused when clef changes happen
1176 during an octavation bracket.
1179 @node Different editions from one source
1180 @subsection Different editions from one source
1185 The @code{\tag} command marks music expressions with a name. These
1186 tagged expressions can be filtered out later. With this mechanism it
1187 is possible to make different versions of the same music source.
1189 In the following example, we see two versions of a piece of music, one
1190 for the full score, and one with cue notes for the instrumental part
1206 The same can be applied to articulations, texts, etc.: they are
1209 -\tag #@var{your-tag}
1211 to an articulation, for example,
1216 This defines a note with a conditional fingering indication.
1219 @cindex removeWithTag
1220 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1221 commands, tagged expressions can be filtered. For example,
1225 \keepWithTag #'score @var{the music}
1226 \keepWithTag #'part @var{the music}
1231 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1233 The arguments of the @code{\tag} command should be a symbol
1234 (such as @code{#'score} or @code{#'part}), followed by a
1235 music expression. It is possible to put multiple tags on
1236 a piece of music with multiple @code{\tag} entries,
1239 \tag #'original-part \tag #'transposed-part @dots{}
1245 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1250 Multiple rests are not merged if you create the score with both tagged
1255 @node Orchestral music
1256 @section Orchestral music
1258 Orchestral music involves some special notation, both in the full
1259 score and the individual parts. This section explains how to tackle
1260 some common problems in orchestral music.
1263 * Automatic part combining::
1265 * Quoting other voices::
1266 * Formatting cue notes::
1267 * Aligning to cadenzas::
1271 @node Automatic part combining
1272 @subsection Automatic part combining
1273 @cindex automatic part combining
1274 @cindex part combiner
1276 Automatic part combining is used to merge two parts of music onto a
1277 staff. It is aimed at typesetting orchestral scores. When the two
1278 parts are identical for a period of time, only one is shown. In
1279 places where the two parts differ, they are typeset as separate
1280 voices, and stem directions are set automatically. Also, solo and
1281 @emph{a due} parts are identified and can be marked.
1283 The syntax for part combining is
1286 \partcombine @var{musicexpr1} @var{musicexpr2}
1290 The following example demonstrates the basic functionality of the part
1291 combiner: putting parts on one staff, and setting stem directions and
1294 @lilypond[quote,verbatim,ragged-right,fragment]
1295 \new Staff \partcombine
1296 \relative g' { g g a( b) c c r r }
1297 \relative g' { g g r4 r e e g g }
1300 The first @code{g} appears only once, although it was
1301 specified twice (once in each part). Stem, slur, and tie directions are
1302 set automatically, depending whether there is a solo or unisono. The
1303 first part (with context called @code{one}) always gets up stems, and
1304 `Solo', while the second (called @code{two}) always gets down stems and
1307 If you just want the merging parts, and not the textual markings, you
1308 may set the property @code{printPartCombineTexts} to false
1310 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1312 \set Staff.printPartCombineTexts = ##f
1314 \relative g' { g a( b) r }
1315 \relative g' { g r4 r f }
1319 To change the text that is printed for solos or merging, you may
1320 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1323 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1325 \set Score.soloText = #"ichi"
1326 \set Score.soloIIText = #"ni"
1327 \set Score.aDueText = #"tachi"
1329 \relative g' { g4 g a( b) r }
1330 \relative g' { g4 g r r f }
1334 Both arguments to @code{\partcombine} will be interpreted as
1335 @internalsref{Voice} contexts. If using relative octaves,
1336 @code{\relative} should be specified for both music expressions, i.e.,
1340 \relative @dots{} @var{musicexpr1}
1341 \relative @dots{} @var{musicexpr2}
1345 A @code{\relative} section that is outside of @code{\partcombine} has
1346 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1350 Program reference: @internalsref{PartCombineMusic}.
1354 When @code{printPartCombineTexts} is set, when the two voices play the
1355 same notes on and off, the part combiner may typeset @code{a2} more
1356 than once in a measure.
1358 @code{\partcombine} cannot be inside @code{\times}.
1360 @code{\partcombine} cannot be inside @code{\relative}.
1362 Internally, the @code{\partcombine} interprets both arguments as
1363 @code{Voice}s named @code{one} and @code{two}, and then decides when
1364 the parts can be combined. Consequently, if the arguments switch to
1365 differently named @internalsref{Voice} contexts, the events in those
1370 @subsection Hiding staves
1372 @cindex Frenched scores
1373 @cindex Hiding staves
1375 In orchestral scores, staff lines that only have rests are usually
1376 removed; this saves some space. This style is called `French Score'.
1377 For @internalsref{Lyrics},
1378 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1379 switched on by default. When the lines of these contexts turn out
1380 empty after the line-breaking process, they are removed.
1382 For normal staves, a specialized @internalsref{Staff} context is
1383 available, which does the same: staves containing nothing (or only
1384 multi-measure rests) are removed. The context definition is stored in
1385 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1386 in this example disappears in the second line
1388 @lilypond[quote,ragged-right,verbatim]
1390 \context { \RemoveEmptyStaffContext }
1395 \new Staff { e4 f g a \break c1 }
1396 \new Staff { c4 d e f \break R1 }
1401 The first system shows all staves in full. If empty staves should be
1402 removed from the first system too, set @code{remove-first} to true in
1403 @internalsref{VerticalAxisGroup}.
1406 \override Score.VerticalAxisGroup #'remove-first = ##t
1409 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1410 or @code{\RemoveEmptyRhythmicStaffContext}.
1412 Another application is making ossia sections, i.e., alternative
1413 melodies on a separate piece of staff, with help of a Frenched
1417 @node Quoting other voices
1418 @subsection Quoting other voices
1422 With quotations, fragments of other parts can be inserted into a part
1423 directly. Before a part can be quoted, it must be marked especially as
1424 quotable. This is done with the @code{\addquote} command.
1427 \addquote @var{name} @var{music}
1432 Here, @var{name} is an identifying string. The @var{music} is any kind
1433 of music. Here is an example of @code{\addquote}
1436 \addquote clarinet \relative c' @{
1441 This command must be entered at toplevel, i.e., outside any music
1444 After calling @code{\addquote}, the quotation may then be done with
1445 @code{\quoteDuring} or @code{\cueDuring},
1448 \quoteDuring #@var{name} @var{music}
1451 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1455 \quoteDuring #"clarinet" @{ s2. @}
1458 This would cite three quarter notes (the duration of @code{s2.}) of
1459 the previously added @code{clarinet} voice.
1462 More precisely, it takes the current time-step of the part being
1463 printed, and extracts the notes at the corresponding point of the
1464 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1465 should be the entire part of the voice to be quoted, including any
1466 rests at the beginning.
1468 Quotations take into account the transposition of both source and target
1469 instruments, if they are specified using the @code{\transposition} command.
1471 @lilypond[quote,ragged-right,verbatim]
1472 \addquote clarinet \relative c' {
1478 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1482 The type of events that are present in cue notes can be trimmed with
1483 the @code{quotedEventTypes} property. The default value is
1484 @code{(note-event rest-event)}, which means that only notes and
1485 rests of the cued voice end up in the @code{\quoteDuring}.
1489 \set Staff.quotedEventTypes =
1490 #'(note-event articulation-event dynamic-event)
1494 will quote notes (but no rests), together with scripts and dynamics.
1498 Only the contents of the first @internalsref{Voice} occurring in an
1499 @code{\addquote} command will be considered for quotation, so
1500 @var{music} can not contain @code{\new} and @code{\context Voice}
1501 statements that would switch to a different Voice.
1503 Quoting grace notes is broken and can even cause LilyPond to crash.
1507 In this manual: @ref{Instrument transpositions}.
1509 Examples: @inputfileref{input/@/regression,quote@/.ly}
1510 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1512 Program reference: @internalsref{QuoteMusic}.
1515 @node Formatting cue notes
1516 @subsection Formatting cue notes
1518 @cindex cues, formatting
1520 The previous section deals with inserting notes from another voice.
1521 There is a more advanced music function called @code{\cueDuring},
1522 which makes formatting cue notes easier.
1527 \cueDuring #@var{name} #@var{updown} @var{music}
1530 This will insert notes from the part @var{name} into a
1531 @internalsref{Voice} called @code{cue}. This happens simultaneously
1532 with @var{music}, which usually is a rest. When the cue notes start,
1533 the staff in effect becomes polyphonic for a moment. The argument
1534 @var{updown} determines whether the cue notes should be notated as a
1535 first or second voice.
1538 @lilypond[verbatim,ragged-right]
1541 \override Stem #'length-fraction = #0.8
1542 \override Beam #'thickness = #0.384
1543 \override Beam #'length-fraction = #0.8
1546 \addquote clarinet \relative {
1551 \new Staff \relative <<
1553 % setup a context for cue notes.
1554 \new Voice = "cue" { \smaller \skip 1*21 }
1556 \set Score.skipBars = ##t
1560 \cueDuring #"clarinet" #1 {
1569 Here are a couple of hints for successful cue notes
1573 Cue notes have smaller font sizes.
1575 the cued part is marked with the instrument playing the cue.
1577 when the original part takes over again, this should be marked with
1578 the name of the original instrument.
1580 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1582 @c Yes, this is good practice. Otherwise, the start of the original
1583 @c part can only be seen from the font size. This is not good enough
1584 @c for sight-reading. It is possilbe to use other
1585 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1591 Any other changes introduced by the cued part should also be
1592 undone. For example, if the cued instrument plays in a different clef,
1593 the original clef should be stated once again.
1597 The macro @code{\transposedCueDuring} is
1598 useful to add cues to instruments which use a completely different
1599 octave range (for example, having a cue of a piccolo flute within
1600 a contra bassoon part).
1602 @lilypond[verbatim,ragged-right,quote]
1603 picc = \relative c''' {
1609 \addquote "picc" { \picc }
1611 cbsn = \relative c, {
1614 \transposedCueDuring #"picc" #UP c,, { R1 } |
1619 \context Staff = "picc" \picc
1620 \context Staff = "cbsn" \cbsn
1626 @node Aligning to cadenzas
1627 @subsection Aligning to cadenzas
1629 In an orchestral context, cadenzas present a special problem:
1630 when constructing a score that includes a cadenza, all other
1631 instruments should skip just as many notes as the length of the
1632 cadenza, otherwise they will start too soon or too late.
1634 A solution to this problem are the functions @code{mmrest-of-length}
1635 and @code{skip-of-length}. These Scheme functions take a piece of music
1636 as argument, and generate a @code{\skip} or multi-rest, exactly as
1637 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1638 in the following example.
1640 @lilypond[verbatim,ragged-right,quote]
1641 cadenza = \relative c' {
1642 c4 d8 << { e f g } \\ { d4. } >>
1647 \new Staff { \cadenza c'4 }
1649 #(ly:export (mmrest-of-length cadenza))
1658 @node Contemporary notation
1659 @section Contemporary notation
1661 In the 20th century, composers have greatly expanded the musical
1662 vocabulary. With this expansion, many innovations in musical notation
1663 have been tried. The book ``Music Notation in the 20th century'' by
1664 Kurt Stone gives a comprehensive overview (see @ref{Literature
1667 This section describes notation that does
1668 not fit into traditional notation categories, such as pitches,
1669 tuplet beams, and articulation. For contemporary notation
1670 that fits into traditional notation categories, such as
1671 microtones, nested tuplet beams, and unusual fermatas, please
1672 see those sections of the documentation.
1675 * Polymetric notation::
1676 * Time administration::
1677 * Proportional notation::
1679 * Special noteheads::
1682 * Selecting notation font size::
1686 @node Polymetric notation
1687 @subsection Polymetric notation
1689 Double time signatures are not supported explicitly, but they can be
1690 faked. In the next example, the markup for the time signature is
1691 created with a markup text. This markup text is inserted in the
1692 @internalsref{TimeSignature} grob. See also
1693 @inputfileref{input/@/test,compound@/-time@/.ly}).
1695 @lilypond[verbatim,ragged-right]
1698 \override #'(baseline-skip . 2) \number {
1701 \bracket \column { "5" "8" }
1706 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1707 \override Staff.TimeSignature #'text = #tsMarkup
1709 c'2 \bar ":" c'4 c'4.
1713 Each staff can also have its own time signature. This is done by
1714 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1720 \remove "Timing_translator"
1721 \remove "Default_bar_line_engraver"
1725 \consists "Timing_translator"
1726 \consists "Default_bar_line_engraver"
1733 Now, each staff has its own time signature.
1746 c4. c8 c c c4. c8 c c
1751 @lilypond[quote,ragged-right]
1755 \remove "Timing_translator"
1756 \remove "Default_bar_line_engraver"
1759 \consists "Timing_translator"
1760 \consists "Default_bar_line_engraver"
1775 c4. c8 c c c4. c8 c c
1781 A different form of polymetric notation is where note lengths have
1782 different values across staves.
1784 This notation can be created by setting a common time signature for
1785 each staff but replacing it manually using
1786 @code{timeSignatureFraction} to the desired fraction. Then the printed
1787 durations in each staff are scaled to the common time signature.
1788 The latter is done with @code{\compressMusic}, which is used similar
1789 to @code{\times}, but does not create a tuplet bracket. The syntax is
1791 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1796 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1797 used in parallel. In the second staff, shown durations are multiplied by
1798 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1799 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1801 @lilypond[quote,ragged-right,verbatim,fragment]
1809 \set Staff.timeSignatureFraction = #'(9 . 8)
1810 \compressMusic #'(2 . 3)
1811 \repeat unfold 6 { c8[ c c] }
1815 \set Staff.timeSignatureFraction = #'(10 . 8)
1816 \compressMusic #'(3 . 5) {
1817 \repeat unfold 2 { c8[ c c] }
1818 \repeat unfold 2 { c8[ c] }
1819 | c4. c4. \times 2/3 { c8 c c } c4
1830 When using different time signatures in parallel, the spacing is
1831 aligned vertically, but bar lines distort the regular spacing.
1834 @node Time administration
1835 @subsection Time administration
1837 @cindex Time administration
1839 Time is administered by the @internalsref{Time_signature_engraver},
1840 which usually lives in the @internalsref{Score} context. The
1841 bookkeeping deals with the following variables
1844 @item currentBarNumber
1848 The length of the measures in the current time signature. For a 4/4
1849 time this is@tie{}1, and for 6/8 it is 3/4.
1851 @item measurePosition
1852 The point within the measure where we currently are. This quantity
1853 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1854 happens, @code{currentBarNumber} is incremented.
1857 If set to true, the above variables are updated for every time
1858 step. When set to false, the engraver stays in the current measure
1862 Timing can be changed by setting any of these variables explicitly.
1863 In the next example, the 4/4 time signature is printed, but
1864 @code{measureLength} is set to 5/4. After a while, the measure is
1865 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1866 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1867 3/8 arises because 5/4 normally has 10/8, but we have manually
1868 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1870 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1871 \set Score.measureLength = #(ly:make-moment 5 4)
1875 \set Score.measurePosition = #(ly:make-moment 7 8)
1881 As the example illustrates, @code{ly:make-moment n m} constructs a
1882 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
1884 note duration and @code{ly:make-moment 7 16} is the duration of
1885 seven sixteenths notes.
1888 @node Proportional notation
1889 @subsection Proportional notation
1890 @cindex Proportional notation
1892 Notes can be spaced proportionally to their time-difference by
1893 assigning a duration to @code{proportionalNotationDuration}
1895 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1897 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1898 \new Staff { c8[ c c c c c] c4 c2 r2 }
1899 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1903 Setting this property only affects the ideal spacing between
1904 consecutive notes. For true proportional notation, the following
1905 settings are also required.
1909 @item True proportional notation requires that symbols are allowed to
1910 overstrike each other. That is achieved by removing the
1911 @internalsref{Separating_line_group_engraver} from
1912 @internalsref{Staff} context.
1914 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
1915 is removed by setting the @code{strict-note-spacing} property to
1916 @code{#t} in @internalsref{SpacingSpanner} grob.
1918 @item Optical spacing tweaks are switched by setting
1919 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
1926 @inputfileref{input/@/regression,spacing-proportional/.ly}
1927 @inputfileref{input/@/regression,spacing-strict-notespacing/.ly}
1928 @inputfileref{input/@/regression,spacing-strict-spacing-grace/.ly}
1930 An example of strict proportional notation is in the
1931 example file @file{input/proportional.ly}.
1935 @subsection Clusters
1939 A cluster indicates a continuous range of pitches to be played. They
1940 can be denoted as the envelope of a set of notes. They are entered by
1941 applying the function @code{makeClusters} to a sequence of
1943 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1944 \makeClusters { <c e > <b f'> }
1947 The following example (from
1948 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1951 @lilypondfile[ragged-right,quote]{cluster.ly}
1953 Ordinary notes and clusters can be put together in the same staff,
1954 even simultaneously. In such a case no attempt is made to
1955 automatically avoid collisions between ordinary notes and clusters.
1959 Program reference: @internalsref{ClusterSpanner},
1960 @internalsref{ClusterSpannerBeacon},
1961 @internalsref{Cluster_spanner_engraver}.
1963 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1967 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1968 accurately. Use @code{<g a>8 <e a>8} instead.
1971 @node Special noteheads
1972 @subsection Special noteheads
1974 @cindex note heads, special
1976 Different noteheads are used by various instruments for various
1977 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1978 notes on guitar; diamonds are used for harmonics on string instruments,
1979 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1980 other notehead styles are produced by tweaking the property
1982 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1984 \override NoteHead #'style = #'cross
1986 \revert NoteHead #'style
1987 e d <c f\harmonic> <d a'\harmonic>
1991 To see all notehead styles, please see
1992 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1997 Program reference: @internalsref{NoteHead}.
2000 @node Feathered beams
2001 @subsection Feathered beams
2003 Feathered beams are printed by setting the @code{grow-direction}
2004 property of a @code{Beam}. The @code{\featherDurations} function
2005 can be used to adjust note durations.
2007 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2008 \featherDurations #(ly:make-moment 5 4)
2010 \override Beam #'grow-direction = #LEFT
2017 The @code{\featherDuration} command only works with very short
2021 @subsection Improvisation
2023 Improvisation is sometimes denoted with slashed note heads. Such note
2024 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2025 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
2029 \set squashedPosition = #0
2030 \override NoteHead #'style = #'slash
2034 switches on the slashes.
2036 There are shortcuts @code{\improvisationOn} (and an accompanying
2037 @code{\improvisationOff}) for this command sequence. They are used in
2038 the following example
2040 @lilypond[verbatim,ragged-right,quote]
2042 \consists Pitch_squash_engraver
2044 e8 e g a a16(bes)(a8) g \improvisationOn
2047 ~fis2 \improvisationOff a16(bes) a8 g e
2052 @node Selecting notation font size
2053 @subsection Selecting notation font size
2055 The easiest method of setting the font size of any context is by
2056 setting the @code{fontSize} property.
2058 @lilypond[quote,fragment,relative=1,verbatim]
2067 It does not change the size of variable symbols, such as beams or
2070 Internally, the @code{fontSize} context property will cause the
2071 @code{font-size} property to be set in all layout objects. The value
2072 of @code{font-size} is a number indicating the size relative to the
2073 standard size for the current staff height. Each step up is an
2074 increase of approximately 12% of the font size. Six steps is exactly a
2075 factor two. The Scheme function @code{magstep} converts a
2076 @code{font-size} number to a scaling factor.
2078 @lilypond[quote,fragment,relative=1,verbatim]
2080 \override NoteHead #'font-size = #-4
2082 \override NoteHead #'font-size = #3
2086 Font size changes are achieved by scaling the design size that is
2087 closest to the desired size. The standard font size (for
2088 @code{font-size} equals 0), depends on the standard staff height. For
2089 a 20pt staff, a 10pt font is selected.
2091 The @code{font-size} property can only be set on layout objects that
2092 use fonts. These are the ones supporting the
2093 @internalsref{font-interface} layout interface.
2097 The following commands set @code{fontSize} for the current voice:
2103 @funindex \normalsize
2108 @node Educational use
2109 @section Educational use
2111 With the amount of control that LilyPond offers, one can make great
2112 teaching tools in addition to great musical scores.
2116 * Blank music sheet::
2118 * Shape note heads::
2119 * Easy Notation note heads::
2120 * Analysis brackets::
2121 * Coloring objects::
2127 @subsection Balloon help
2129 Elements of notation can be marked and named with the help of a square
2130 balloon. The primary purpose of this feature is to explain notation.
2132 The following example demonstrates its use.
2134 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2135 \new Voice \with { \consists "Balloon_engraver" }
2137 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2138 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2143 There are two music functions, @code{balloonText} and
2144 @code{balloonGrobText}. The latter takes the name of the grob to
2145 adorn, while the former may be used as an articulation on a note.
2146 The other arguments are the offset and the text of the label.
2149 @cindex notation, explaining
2153 Program reference: @internalsref{text-balloon-interface}.
2155 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
2160 @node Blank music sheet
2161 @subsection Blank music sheet
2163 @cindex Sheet music, empty
2164 @cindex Staves, blank sheet
2166 A blank music sheet can be produced also by using invisible notes, and
2167 removing @code{Bar_number_engraver}.
2170 @lilypond[quote,verbatim]
2171 \layout{ indent = #0 }
2173 \repeat unfold 2 % Change this for more lines.
2178 \override TimeSignature #'transparent = ##t
2179 % un-comment this line if desired
2180 % \override Clef #'transparent = ##t
2181 defaultBarType = #""
2182 \remove Bar_number_engraver
2185 % modify these to get the staves you want
2186 \new Staff \emptymusic
2187 \new TabStaff \emptymusic
2193 @subsection Hidden notes
2195 @cindex Hidden notes
2196 @cindex Invisible notes
2197 @cindex Transparent notes
2199 @funindex \hideNotes
2200 @funindex \unHideNotes
2201 Hidden (or invisible or transparent) notes can be useful in preparing theory
2202 or composition exercises.
2204 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2213 @node Shape note heads
2214 @subsection Shape note heads
2216 @cindex note heads, shape
2218 In shape note head notation, the shape of the note head corresponds
2219 to the harmonic function of a note in the scale. This notation was
2220 popular in the 19th century American song books.
2222 Shape note heads can be produced by setting @code{\aikenHeads} or
2223 @code{\sacredHarpHeads}, depending on the style desired.
2225 @lilypond[verbatim,relative=1,fragment]
2232 Shapes are determined on the step in the scale, where the base of the
2233 scale is determined by the @code{\key} command
2236 @funindex shapeNoteStyles
2237 @funindex \aikenHeads
2238 @funindex \sacredHarpHeads
2240 Shape note heads are implemented through the @code{shapeNoteStyles}
2241 property. Its value is a vector of symbols. The k-th element indicates
2242 the style to use for the k-th step of the scale. Arbitrary
2243 combinations are possible, e.g.
2245 @lilypond[verbatim,relative=1,fragment]
2246 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2251 @node Easy Notation note heads
2252 @subsection Easy Notation note heads
2254 @cindex note heads, practice
2255 @cindex note heads, easy notation
2256 @cindex easy notation
2259 The `easy play' note head includes a note name inside the head. It is
2260 used in music for beginners
2262 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2267 The command @code{\setEasyHeads} overrides settings for the
2268 @internalsref{NoteHead} object. To make the letters readable, it has
2269 to be printed in a large font size. To print with a larger font, see
2270 @ref{Setting the staff size}.
2274 @funindex \setEasyHeads
2275 @code{\setEasyHeads}
2278 @node Analysis brackets
2279 @subsection Analysis brackets
2281 @cindex phrasing brackets
2282 @cindex musicological analysis
2283 @cindex note grouping bracket
2285 Brackets are used in musical analysis to indicate structure in musical
2286 pieces. LilyPond supports a simple form of nested horizontal
2287 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2288 to @internalsref{Staff} context. A bracket is started with
2289 @code{\startGroup} and closed with @code{\stopGroup}
2291 @lilypond[quote,ragged-right,verbatim]
2294 c4\startGroup\startGroup
2297 c4\stopGroup\stopGroup
2301 \Staff \consists "Horizontal_bracket_engraver"
2307 Program reference: @internalsref{HorizontalBracket}.
2309 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2312 @node Coloring objects
2313 @subsection Coloring objects
2315 Individual objects may be assigned colors. You may use the
2316 color names listed in the @ref{List of colors}.
2318 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2319 \override NoteHead #'color = #red
2321 \override NoteHead #'color = #(x11-color 'LimeGreen)
2323 \override Stem #'color = #blue
2327 The full range of colors defined for X11 can be accessed by using the
2328 Scheme function x11-color. The function takes one argument that can be a
2332 \override Beam #'color = #(x11-color 'MediumTurquoise)
2338 \override Beam #'color = #(x11-color "MediumTurquoise")
2341 The first form is quicker to write and is more efficient. However, using
2342 the second form it is possible to access X11 colors by the multi-word
2346 \override Beam #'color = #(x11-color "medium turquoise")
2349 If x11-color cannot make sense of the parameter then the color returned
2350 defaults to black. It should be obvious from the final score that
2353 This example illustrates the use of x11-color. Notice that the stem
2354 color remains black after being set to (x11-color 'Boggle), which is
2355 deliberate nonsense.
2357 @lilypond[quote,ragged-right,verbatim]
2359 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2360 \set Staff.instrumentName = \markup {
2361 \with-color #(x11-color 'navy) "Clarinet"
2365 \override Beam #'color = #(x11-color "medium turquoise")
2367 \override NoteHead #'color = #(x11-color "LimeGreen")
2369 \override Stem #'color = #(x11-color 'Boggle)
2377 Appendix: @ref{List of colors}.
2381 Not all x11 colors are distinguishable in a web browser. For web use
2382 normal colors are recommended.
2384 An x11 color is not necessarily exactly the same shade as a similarly
2387 Notes in a chord cannot be colored with @code{\override}; use
2388 @code{\tweak} instead. See @ref{Objects connected to the input}
2393 @subsection Parentheses
2396 @cindex notes, ghost
2397 @cindex notes, parenthesized
2399 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2402 @lilypond[relative=2,fragment,verbatim,ragged-right]
2410 This only functions inside chords, even for single notes
2413 < \parenthesize NOTE>
2418 @subsection Grid lines
2420 Vertical lines can be drawn between staves synchronized with
2423 Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.