1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
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10 @c A menu is needed before every deeper *section nesting of @node's; run
11 @c M-x texinfo-all-menus-update
12 @c to automatically fill in these menus before saving changes
15 @node Advanced notation
16 @chapter Advanced notation
18 This chapter deals with rarely-used and advanced notation.
24 * Contemporary notation::
33 This section explains how to include text (with various formatting) in
36 @cindex Text, other languages
37 To write accented and special text (such as characters from other languages),
39 insert the characters directly into the lilypond file. The file must be
40 saved as UTF-8. For more information, see @ref{Text encoding}.
42 @lilypond[fragment,ragged-right,staffsize=16,quote]
43 c'4^\markup { bla \bold bla }
46 @lilypond[fragment,ragged-right,staffsize=16,quote]
47 c'4^\markup { bla \bold bla }
50 @lilypond[fragment,ragged-right,staffsize=16,quote]
51 c'4^\markup { bla \bold bla }
54 @lilypond[fragment,ragged-right,staffsize=16,quote]
55 c'4^\markup { bla \bold bla }
60 * Text and line spanners::
65 * Page wrapping text::
66 * Overview of text markup commands::
67 * Overview of text markup list commands::
74 @unnumberedsubsubsec Text scripts
77 @cindex text items, non-empty
78 @cindex non-empty texts
80 It is possible to place arbitrary strings of text or @ref{Text markup},
81 above or below notes by using a string @code{c^"text"}. By default,
82 these indications do not influence the note spacing, but by using the
83 command @code{\fatText}, the widths will be taken into account
85 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
86 c4^"longtext" \fatText c4_"longlongtext" c4
90 To prevent text from influencing spacing, use @code{\emptyText}.
92 More complex formatting may also be added to a note by using the
95 @lilypond[fragment,ragged-right,verbatim,quote]
96 c'4^\markup { bla \bold bla }
99 The @code{\markup} is described in more detail in
113 Checking to make sure that text scripts and lyrics are within the margins is
114 a relatively large computational task. To speed up processing, lilypond does
115 not perform such calculations by default; to enable it, use
118 \override Score.PaperColumn #'keep-inside-line = ##t
124 In this manual: @ref{Text markup}.
126 Program reference: @internalsref{TextScript}.
129 @anchor{Text and line spanners}
130 @unnumberedsubsubsec Text and line spanners
132 Some performance indications, e.g., @i{rallentando} and
133 @i{accelerando} and @i{trills} are written as text and are extended
134 over many measures with lines, sometimes dotted or wavy.
136 These all use the same routines as the glissando for drawing the texts
137 and the lines, and tuning their behavior is therefore also done in the
138 same way. It is done with a spanner, and the routine responsible for
139 drawing the spanners is @code{ly:line-interface::print}. This
140 routine determines the exact location of the two @i{span
141 points} and draws a line in between, in the style requested.
143 Here is an example of the different line styles available, and how to
146 @lilypond[relative=2,ragged-right,verbatim,fragment]
148 \once \override Glissando #'dash-fraction = #0.5
150 \override Glissando #'style = #'dotted-line
152 \override Glissando #'style = #'zigzag
154 \override Glissando #'style = #'trill
158 The information that determines the end-points is computed on-the-fly
159 for every graphic object, but it is possible to override these.
161 @lilypond[relative=2,ragged-right,verbatim,fragment]
163 \once \override Glissando #'bound-details #'right #'Y = #-2
167 The @code{Glissando} object, like any other using the
168 @code{ly:line-interface::print} routine, carries a nested
169 association list. In the above statement, the value for @code{Y}
170 is set to @code{-2} for the association list corresponding to the right
171 end point. Of course, it is also possible to adjust the left side with
172 @code{left} instead of @code{right}.
174 If @code{Y} is not set, the value is computed from the vertical
175 position of right attachment point of the spanner.
177 In case of a line break, the values for the span-points are extended
178 with contents of the @code{left-broken} and @code{right-broken}
179 sublists, for example
181 @lilypond[relative=2,ragged-right,verbatim,fragment]
182 \override Glissando #'breakable = ##T
183 \override Glissando #'bound-details #'right-broken #'Y = #-3
188 The following properties can be used for the
192 This sets the Y-coordinate of the end point, in staff space. By
193 default, it is the center of the bound object, so for a glissando it
194 points to the vertical center of the note head.
196 For horizontal spanners, such as text spanner and trill spanners, it
200 This determines where the line starts and ends in X-direction,
201 relative to the bound object. So, a value of @code{-1} (or
202 @code{LEFT}) makes the line start/end at the left side of the note
203 head it is attached to.
206 This is the absolute coordinate of the end point. It is usually
207 computed on the fly, and there is little use in overriding it.
210 Line spanners may have symbols at the beginning or end, which is
211 contained in this sub-property. This is for internal use, it is
212 recommended to use @code{text}.
215 This is a markup that is evaluated to yield stencil. It is
216 used to put @i{cresc.} and @i{tr} on horizontal spanners.
218 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
219 \override TextSpanner #'bound-details #'left #'text
220 = \markup { \small \bold Slower }
221 c2\startTextSpan b c a\stopTextSpan
224 @item stencil-align-dir-y
226 Without setting this, the stencil is simply put there at the
227 end-point, as defined by the @code{X} and @code{Y} sub properties.
228 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
229 will move the symbol at the edge relative to the end point of the line
231 @lilypond[relative=1,fragment,verbatim]
232 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
233 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
235 \override TextSpanner #'bound-details #'left #'text = #"gggg"
236 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
237 c4^\startTextSpan c c c \stopTextSpan
241 Setting this sub property to @code{#t} produce an arrowhead at the end
245 This sub property controls the space between the specified end-point
246 of the line and the actual end. Without padding, a glissando would
247 start and end in the center of each note head.
253 Program reference: @internalsref{TextSpanner},
254 @internalsref{Glissando}, @internalsref{VoiceFollower},
255 @internalsref{TrillSpanner}, @internalsref{line-spanner-interface}.
257 Examples: @lsr{expressive,line-styles.ly}, @lsr{expressive,line-arrows.ly}
260 @anchor{Text spanners}
261 @unnumberedsubsubsec Text spanners
263 @cindex Text spanners
265 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
266 are written as text and are extended over many measures with dotted
267 lines. Such texts are created using text spanners; attach
268 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
269 notes of the spanner.
271 The string to be printed, as well as the style, is set through object
274 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
277 \override TextSpanner #'bound-details #'left #'text =
278 \markup { \upright "rall" }
279 c2\startTextSpan b c\stopTextSpan a
282 \override TextSpanner #'bound-details #'left #'text =
283 \markup { \italic "rit" }
284 c2\startTextSpan b c\stopTextSpan a
289 @funindex textSpannerUp
290 @code{\textSpannerUp},
291 @funindex textSpannerDown
292 @code{\textSpannerDown},
293 @funindex textSpannerNeutral
294 @code{\textSpannerNeutral}.
299 To print a solid line, use
302 \override TextSpanner #'dash-fraction = #'()
308 Program reference: @internalsref{TextSpanner}.
312 @unnumberedsubsubsec Text marks
314 @cindex coda on bar line
315 @cindex segno on bar line
316 @cindex fermata on bar line
317 @cindex bar lines, symbols on
320 The @code{\mark} command is primarily used for
321 @ref{Rehearsal marks},
322 but it can also be used to put signs like coda,
323 segno, and fermata on a bar line. Use @code{\markup} to
324 access the appropriate symbol (symbols are listed in
325 @ref{The Feta font}).
327 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
328 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
333 @code{\mark} is only typeset above the top stave of the score. If
334 you specify the @code{\mark} command at a bar line, the resulting
335 mark is placed above the bar line. If you specify it in the middle
336 of a bar, the resulting mark is positioned between notes. If it is
337 specified before the beginning of a score line, it is placed
338 before the first note of the line. Finally, if the mark occurs at
339 a line break, the mark will be printed at the
340 beginning of the next line.
341 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
342 @c delete this sentence. -gp
343 If there is no next line, then the mark will not be printed at all.
348 To print the mark at the end of the current line, use
351 \override Score.RehearsalMark
352 #'break-visibility = #begin-of-line-invisible
355 @code{\mark} is often useful for adding text to the end of bar. In
356 such cases, changing the @code{#'self-alignment} is very useful
358 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
359 \override Score.RehearsalMark
360 #'break-visibility = #begin-of-line-invisible
362 \once \override Score.RehearsalMark #'self-alignment-X = #right
363 \mark "D.S. al Fine "
366 Text marks may be aligned with notation objects other than
369 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
374 \override Score.RehearsalMark #'break-align-symbols = #'(key-signature)
378 \override Score.RehearsalMark #'break-align-symbols = #'(clef)
382 \override Score.RehearsalMark #'break-align-symbols = #'(time-signature)
391 Possible symbols for the @code{break-align-symbols} list are
392 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
393 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
394 @code{key-signature}, and @code{time-signature}.
396 The text marks will, by default, be aligned with the middle of the notation
397 object, but this can be changed by overriding the
398 @code{break-align-anchor-alignment} and
399 @code{break-align-anchor} properties for the appropriate grob.
401 @lilypond[fragment,quote,ragged-right,verbatim]
403 \override Score.RehearsalMark #'break-align-symbols = #'(key-signature)
407 % the RehearsalMark will be aligned with the left edge of the KeySignature
408 \once \override Staff.KeySignature #'break-align-anchor-alignment = #LEFT
413 % the RehearsalMark will be aligned with the right edge of the KeySignature
414 \once \override Staff.KeySignature #'break-align-anchor-alignment = #RIGHT
419 % the RehearsalMark will be aligned with the left edge of the KeySignature
420 % and then shifted right by 2 units.
421 \once \override Staff.KeySignature #'break-align-anchor = #2
427 Although text marks are normally only printed above the topmost
428 staff, you may alter this to print them on every staff,
430 @lilypond[quote,ragged-right,verbatim,relative=2]
433 \remove "Mark_engraver"
437 \consists "Mark_engraver"
439 { c''1 \mark "foo" c'' }
441 \consists "Mark_engraver"
443 { c'1 \mark "foo" c' }
451 Program reference: @internalsref{RehearsalMark}.
455 @unnumberedsubsubsec Text markup
462 Use @code{\markup} to typeset text. Commands are entered with the
463 backslash @code{\}. To enter @code{\} and @code{#}, use double
466 @lilypond[quote,verbatim,fragment,relative=1]
468 c1_\markup { hi there }
469 c1^\markup { hi \bold there, is \italic {anyone home?} }
470 c1_\markup { "\special {weird} #characters" }
474 See @ref{Overview of text markup commands}, for a list of all
477 @code{\markup} is primarily used for @internalsref{TextScript}s,
478 but it can also be used anywhere text is called in lilypond
480 @lilypond[quote,verbatim]
481 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
484 \override Score.RehearsalMark
485 #'break-visibility = #begin-of-line-invisible
486 \override Score.RehearsalMark #'self-alignment-X = #right
488 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
489 c2^\markup{ don't be \flat }
490 \override TextSpanner #'bound-details #'left #'text = \markup{\italic rit }
492 a2\mark \markup{ \large \bold Fine }
496 \addlyrics { bar, foo \markup{ \italic bar! } }
500 A @code{\markup} command can also be placed on its own, away from any
501 @code{\score} block, see @ref{Multiple scores in a book}.
503 @lilypond[quote,ragged-right,verbatim]
504 \markup{ Here is some text. }
507 @cindex font switching
509 The markup in the example demonstrates font switching commands. The
510 command @code{\bold} and @code{\italic} apply to the first following
511 word only; to apply a command to more than one word, enclose the
515 \markup @{ \bold @{ hi there @} @}
519 For clarity, you can also do this for single arguments, e.g.,
522 \markup @{ is \italic @{ anyone @} home @}
525 In markup mode you can compose expressions, similar to mathematical
526 expressions, XML documents, and music expressions. You can stack
527 expressions grouped vertically with the command @code{\column}.
528 Similarly, @code{\center-align} aligns texts by their center lines:
530 @lilypond[quote,verbatim,fragment,relative=1]
531 c1^\markup { \column { a bbbb \line { c d } } }
532 c1^\markup { \center-align { a bbbb c } }
533 c1^\markup { \line { a b c } }
536 Lists with no previous command are not kept distinct. The expression
539 \center-align @{ @{ a b @} @{ c d @} @}
547 \center-align @{ a b c d @}
552 To keep lists of words distinct, please use quotes @code{"} or
553 the @code{\line} command
555 @lilypond[quote,verbatim,fragment,relative=1]
557 c4^\markup{ \center-align { on three lines } }
558 c4^\markup{ \center-align { "all one line" } }
559 c4^\markup{ \center-align { { on three lines } } }
560 c4^\markup{ \center-align { \line { on one line } } }
563 Markups can be stored in variables and these variables
564 may be attached to notes, like
566 allegro = \markup @{ \bold \large @{ Allegro @} @}
567 @{ a^\allegro b c d @}
570 Some objects have alignment procedures of their own, which cancel out
571 any effects of alignments applied to their markup arguments as a
572 whole. For example, the @internalsref{RehearsalMark} is horizontally
573 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
576 In addition, vertical placement is performed after creating the
577 text markup object. If you wish to move an entire piece of markup,
578 you need to use the #'padding property or create an @q{anchor} point
579 inside the markup (generally with @code{\hspace #0}).
581 @lilypond[quote,verbatim,fragment,relative=1]
583 c'4^\markup{ \raise #5 "not raised" }
584 \once \override TextScript #'padding = #3
585 c'4^\markup{ raised }
586 c'4^\markup{ \hspace #0 \raise #1.5 raised }
589 Some situations (such as dynamic marks) have preset font-related
590 properties. If you are creating text in such situations, it
591 is advisable to cancel those properties with
592 @code{normal-text}. See @ref{Overview of text markup commands},
598 This manual: @ref{Overview of text markup commands}.
600 Program reference: @internalsref{TextScript}.
602 Init files: @file{scm/@/new@/-markup@/.scm}.
607 Kerning or generation of ligatures is only done when the @TeX{}
608 backend is used. In this case, LilyPond does not account for them so
609 texts will be spaced slightly too wide.
611 Syntax errors for markup mode are confusing.
614 @anchor{Nested scores}
615 @unnumberedsubsubsec Nested scores
617 It is possible to nest music inside markups, by adding a @code{\score}
618 block to a markup expression. Such a score must contain a @code{\layout}
621 @lilypond[quote,verbatim,ragged-right]
625 \relative { c4 d e f }
633 @anchor{Page wrapping text}
634 @unnumberedsubsubsec Page wrapping text
635 Whereas @code{\markup} is used to enter a non-breakable block of text,
636 @code{\markuplines} can be used at top-level to enter lines of text that
637 can spread over multiple pages:
642 A very long text of justified lines.
646 An other very long paragraph.
653 @code{\markuplines} accepts a list of markup, that is either the result
654 of a markup list command, or a list of markups or of markup lists. The
655 built-in markup list commands are described in
656 @ref{Overview of text markup list commands}.
660 This manual: @ref{Overview of text markup list commands},
661 @ref{New markup list command definition}.
665 @funindex \markuplines
668 @anchor{Overview of text markup commands}
669 @unnumberedsubsubsec Overview of text markup commands
671 The following commands can all be used inside @code{\markup @{ @}}.
673 @include markup-commands.tely
675 @anchor{Overview of text markup list commands}
676 @unnumberedsubsubsec Overview of text markup list commands
678 The following commands can all be used with @code{\markuplines}.
680 @include markup-list-commands.tely
682 @anchor{Font selection}
683 @unnumberedsubsubsec Font selection
685 @cindex font selection
686 @cindex font magnification
687 @funindex font-interface
689 By setting the object properties described below, you can select a
690 font from the preconfigured font families. LilyPond has default
691 support for the feta music fonts. Text fonts are selected through
692 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
693 the sans and typewriter to whatever the Pango installation defaults
698 @item @code{font-encoding}
699 is a symbol that sets layout of the glyphs. This should only be set to
700 select different types of non-text fonts, e.g.
702 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
703 standard music font, including ancient glyphs, @code{fetaDynamic} for
704 dynamic signs and @code{fetaNumber} for the number font.
706 @item @code{font-family}
707 is a symbol indicating the general class of the typeface. Supported are
708 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
710 @item @code{font-shape}
711 is a symbol indicating the shape of the font. There are typically
712 several font shapes available for each font family. Choices are
713 @code{italic}, @code{caps}, and @code{upright}.
715 @item @code{font-series}
716 is a symbol indicating the series of the font. There are typically
717 several font series for each font family and shape. Choices are
718 @code{medium} and @code{bold}.
722 Fonts selected in the way sketched above come from a predefined style
723 sheet. If you want to use a font from outside the style sheet,
725 @code{font-name} property,
727 @lilypond[fragment,verbatim]
729 \override Staff.TimeSignature #'font-name = #"Charter"
730 \override Staff.TimeSignature #'font-size = #2
733 \override #'(font-name . "Vera Bold")
734 { This text is in Vera Bold }
740 Any font can be used, as long as it is available to Pango/FontConfig.
741 To get a full list of all available fonts, run the command
743 lilypond -dshow-available-fonts blabla
745 (the last argument of the command can be anything, but has to be present).
748 The size of the font may be set with the @code{font-size}
749 property. The resulting size is taken relative to the
750 @code{text-font-size} as defined in the @code{\paper} block.
753 @cindex font magnification
756 It is also possible to change the default font family for the entire
757 document. This is done by calling the @code{make-pango-font-tree} from
758 within the @code{\paper} block. The function takes names for the font
759 families to use for roman, sans serif and monospaced text. For
762 @cindex font families, setting
771 (make-pango-font-tree "Times New Roman"
778 c'^\markup { roman: foo \sans bla \typewriter bar }
782 @c we don't do Helvetica / Courier, since GS incorrectly loads
789 Examples: @lsr{text,font@/-family@/-override.ly}.
792 @anchor{New dynamic marks}
793 @unnumberedsubsubsec New dynamic marks
795 It is possible to print new dynamic marks or text that should be aligned
796 with dynamics. Use @code{make-dynamic-script} to create these
797 marks. Note that the dynamic font only contains the characters
798 @code{f,m,p,r,s} and @code{z}.
800 Some situations (such as dynamic marks) have preset font-related
801 properties. If you are creating text in such situations, it
802 is advisable to cancel those properties with
803 @code{normal-text}. See @ref{Overview of text markup commands},
806 @cindex make-dynamic-script
808 @lilypond[quote,verbatim,ragged-right]
809 sfzp = #(make-dynamic-script "sfzp")
815 @cindex Dynamics, editorial
816 @cindex Dynamics, parenthesis
818 It is also possible to print dynamics in round parenthesis or square
819 brackets. These are often used for adding editorial dynamics.
821 @lilypond[quote,verbatim,ragged-right]
822 rndf = \markup{ \center-align {\line { \bold{\italic (}
823 \dynamic f \bold{\italic )} }} }
824 boxf = \markup{ \bracket { \dynamic f } }
825 { c'1_\rndf c'1_\boxf }
830 @node Preparing parts
831 @section Preparing parts
833 This section describes various notation that are useful for preparing
837 * Multi measure rests::
842 * Instrument transpositions::
844 * Different editions from one source::
848 @anchor{Multi measure rests}
849 @unnumberedsubsubsec Multi measure rests
851 @cindex multi measure rests
852 @cindex full measure rests
853 @cindex Rests, multi measure
854 @cindex Rests, full measure
855 @cindex whole rests for a full measure
858 Rests for one full measure (or many bars) are entered using @samp{R}. It
859 is specifically meant for full bar rests and for entering parts: the rest
860 can expand to fill a score with rests, or it can be printed as a single
861 multi-measure rest. This expansion is controlled by the property
862 @code{Score.skipBars}. If this is set to true, empty measures will not
863 be expanded, and the appropriate number is added automatically
865 @lilypond[quote,ragged-right,fragment,verbatim]
866 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
867 \set Score.skipBars = ##t R1*17 R1*4
870 The @code{1} in @code{R1} is similar to the duration notation used for
871 notes. Hence, for time signatures other than 4/4, you must enter other
872 durations. This can be done with augmentation dots or fractions
874 @lilypond[quote,ragged-right,fragment,verbatim]
875 \set Score.skipBars = ##t
884 An @code{R} spanning a single measure is printed as either a whole rest
885 or a breve, centered in the measure regardless of the time signature.
887 If there are only a few measures of rest, LilyPond prints @q{church rests}
888 (a series of rectangles) in the staff. To replace that with a simple
889 rest, use @code{MultiMeasureRest.expand-limit}.
891 @lilypond[quote,ragged-right,fragment,verbatim]
892 \set Score.skipBars = ##t
894 \override MultiMeasureRest #'expand-limit = 1
898 @cindex text on multi-measure rest
899 @cindex script on multi-measure rest
900 @cindex fermata on multi-measure rest
902 Texts can be added to multi-measure rests by using the
903 @var{note}-@code{markup} syntax @ref{Text markup}.
904 A variable (@code{\fermataMarkup}) is provided for
907 @lilypond[quote,ragged-right,verbatim,fragment]
908 \set Score.skipBars = ##t
910 R2.*10^\markup { \italic "ad lib." }
914 Warning! This text is created by @code{MultiMeasureRestText}, not
917 @lilypond[quote,ragged-right,verbatim,fragment]
918 \override TextScript #'padding = #5
920 \override MultiMeasureRestText #'padding = #5
924 If you want to have text on the left end of a multi-measure rest,
925 attach the text to a zero-length skip note, i.e.,
935 Program reference: @internalsref{MultiMeasureRestMusicGroup},
936 @internalsref{MultiMeasureRest}.
938 The layout object @internalsref{MultiMeasureRestNumber} is for the
939 default number, and @internalsref{MultiMeasureRestText} for user
945 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
946 over multi-measure rests. And the pitch of multi-measure rests (or
947 staff-centered rests) can not be influenced.
949 @cindex condensing rests
951 There is no way to automatically condense multiple rests into a single
952 multi-measure rest. Multi-measure rests do not take part in rest
955 Be careful when entering multi-measure rests followed by whole
956 notes. The following will enter two notes lasting four measures each
960 When @code{skipBars} is set, the result will look OK, but the bar
961 numbering will be off.
964 @anchor{Metronome marks}
965 @unnumberedsubsubsec Metronome marks
968 @cindex beats per minute
969 @cindex metronome marking
971 Metronome settings can be entered as follows
973 \tempo @var{duration} = @var{per-minute}
976 In the MIDI output, they are interpreted as a tempo change. In the
977 layout output, a metronome marking is printed
979 @lilypond[quote,ragged-right,verbatim,fragment]
986 To change the tempo in the MIDI output without printing anything, make
987 the metronome marking invisible
989 \once \override Score.MetronomeMark #'transparent = ##t
992 To print other metronome markings, use these markup commands
993 @lilypond[quote,ragged-right,verbatim,relative,fragment]
996 \smaller \general-align #Y #DOWN \note #"16." #1
998 \smaller \general-align #Y #DOWN \note #"8" #1
1003 See @ref{Text markup}, for more details.
1008 Program reference: @internalsref{MetronomeMark}.
1013 Collisions are not checked. If you have notes above the top line of
1014 the staff (or notes with articulations, slurs, text, etc), then the
1015 metronome marking may be printed on top of musical symbols. If this
1016 occurs, increase the padding of the metronome mark to place it
1017 further away from the staff.
1020 \override Score.MetronomeMark #'padding = #2.5
1024 @anchor{Rehearsal marks}
1025 @unnumberedsubsubsec Rehearsal marks
1027 @cindex Rehearsal marks
1030 To print a rehearsal mark, use the @code{\mark} command
1032 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1041 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
1042 If you wish to include the letter @q{I}, then use
1045 \set Score.markFormatter = #format-mark-alphabet
1048 The mark is incremented automatically if you use @code{\mark
1049 \default}, but you can also use an integer argument to set the mark
1050 manually. The value to use is stored in the property
1051 @code{rehearsalMark}.
1053 The style is defined by the property @code{markFormatter}. It is a
1054 function taking the current mark (an integer) and the current context
1055 as argument. It should return a markup object. In the following
1056 example, @code{markFormatter} is set to a canned procedure. After a
1057 few measures, it is set to function that produces a boxed number.
1059 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
1060 \set Score.markFormatter = #format-mark-numbers
1063 \set Score.markFormatter = #format-mark-box-numbers
1069 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
1070 of @code{format-mark-numbers} (the default format),
1071 @code{format-mark-box-numbers},
1072 @code{format-mark-letters} and @code{format-mark-box-letters}.
1073 These can be used as inspiration for other formatting functions.
1075 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
1076 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
1077 incremented numbers or letters.
1079 Other styles of rehearsal mark can be specified manually
1086 @code{Score.markFormatter} does not affect marks specified in this manner.
1087 However, it is possible to apply a @code{\markup} to the string.
1090 \mark \markup@{ \box A1 @}
1097 Music glyphs (such as the segno sign) may be printed inside
1100 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1101 c1 \mark \markup { \musicglyph #"scripts.segno" }
1102 c1 \mark \markup { \musicglyph #"scripts.coda" }
1103 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1108 See @ref{The Feta font}, for a list of symbols which may be
1109 printed with @code{\musicglyph}.
1111 For common tweaks to the positioning of rehearsal marks, see @ref{Text marks}.
1115 This manual: @ref{Text marks}.
1117 Program reference: @internalsref{RehearsalMark}.
1119 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1120 definition of @code{format-mark-numbers} and
1121 @code{format-mark-letters}. They can be used as inspiration for other
1122 formatting functions.
1124 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
1127 @anchor{Bar numbers}
1128 @unnumberedsubsubsec Bar numbers
1131 @cindex measure numbers
1132 @funindex currentBarNumber
1134 Bar numbers are printed by default at the start of the line. The
1135 number itself is stored in the @code{currentBarNumber} property, which
1136 is normally updated automatically for every measure.
1138 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1139 \repeat unfold 4 {c4 c c c} \break
1140 \set Score.currentBarNumber = #50
1141 \repeat unfold 4 {c4 c c c}
1144 Bar numbers may only be printed at bar lines; to print a bar
1145 number at the beginning of a piece, an empty bar line must
1148 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1149 \set Score.currentBarNumber = #50
1151 \repeat unfold 4 {c4 c c c} \break
1152 \repeat unfold 4 {c4 c c c}
1155 Bar numbers can be typeset at regular intervals instead of at the
1156 beginning of each line. This is illustrated in the following example,
1157 whose source is available as
1158 @lsr{staff,making-bar-numbers-appear-at-regular-intervals.ly}.
1160 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1162 Bar numbers can be removed entirely by removing the Bar number
1163 engraver from the score.
1165 @lilypond[verbatim,ragged-right,quote]
1169 \remove "Bar_number_engraver"
1181 Program reference: @internalsref{BarNumber}.
1183 Examples: @lsrdir{staff}
1188 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1189 there is one at the top. To solve this, the
1190 @code{padding} property of @internalsref{BarNumber} can be
1191 used to position the number correctly.
1194 @anchor{Instrument names}
1195 @unnumberedsubsubsec Instrument names
1197 In an orchestral score, instrument names are printed at the left side
1200 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1201 and @internalsref{Staff}.@code{shortInstrumentName}, or
1202 @internalsref{PianoStaff}.@code{instrumentName} and
1203 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1205 the start of the staff. For the first staff, @code{instrumentName} is
1206 used, for the following ones, @code{shortInstrumentName} is used.
1208 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1209 \set Staff.instrumentName = "Ploink "
1210 \set Staff.shortInstrumentName = "Plk "
1216 You can also use markup texts to construct more complicated instrument
1219 @lilypond[quote,fragment,verbatim,ragged-right]
1220 \set Staff.instrumentName = \markup {
1221 \column { "Clarinetti"
1222 \line { "in B" \smaller \flat } } }
1226 If you wish to center the instrument names, you must center all of them
1228 @lilypond[quote,verbatim,ragged-right]
1231 \set Staff.instrumentName = \markup {
1232 \center-align { "Clarinetti"
1233 \line { "in B" \smaller \flat } } }
1237 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1244 For longer instrument names, it may be useful to increase the
1245 @code{indent} setting in the @code{\layout} block.
1247 To center instrument names while leaving extra space to the right,
1249 @lilypond[quote,verbatim,ragged-right]
1250 \new StaffGroup \relative
1253 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1257 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1263 To add instrument names to other contexts (such as @code{GrandStaff},
1264 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1265 be added to that context.
1269 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1274 More information about adding and removing engravers can
1275 be found in @ref{Modifying context plug-ins}.
1277 Instrument names may be changed in the middle of a piece,
1279 @lilypond[quote,fragment,verbatim,ragged-right]
1280 \set Staff.instrumentName = "First"
1281 \set Staff.shortInstrumentName = "one"
1284 \set Staff.instrumentName = "Second"
1285 \set Staff.shortInstrumentName = "two"
1293 Program reference: @internalsref{InstrumentName}.
1297 @anchor{Instrument transpositions}
1298 @unnumberedsubsubsec Instrument transpositions
1300 @cindex transposition, MIDI
1301 @cindex transposition, instrument
1303 The key of a transposing instrument can also be specified. This
1304 applies to many wind instruments, for example, clarinets (B-flat, A, and
1305 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1307 The transposition is entered after the keyword @code{\transposition}
1310 \transposition bes %% B-flat clarinet
1314 This command sets the property @code{instrumentTransposition}. The value of
1315 this property is used for MIDI output and quotations. It does not
1316 affect how notes are printed in the current staff. To change the printed
1317 output, see @ref{Transpose}.
1319 The pitch to use for @code{\transposition} should correspond to the
1320 real sound heard when a @code{c'} written on the staff is played by the
1321 transposing instrument. For example, when entering a score in
1322 concert pitch, typically all voices are entered in C, so
1323 they should be entered as
1336 The command @code{\transposition} should be used when the music is
1337 entered from a (transposed) orchestral part. For example, in
1338 classical horn parts, the tuning of the instrument is often changed
1339 during a piece. When copying the notes from the part, use
1340 @code{\transposition}, e.g.,
1352 @anchor{Ottava brackets}
1353 @unnumberedsubsubsec Ottava brackets
1355 @q{Ottava} brackets introduce an extra transposition of an octave for
1356 the staff. They are created by invoking the function
1357 @code{set-octavation}
1363 @lilypond[quote,ragged-right,verbatim,fragment]
1373 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1374 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1375 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1376 @code{centralCPosition}. For overriding the text of the bracket, set
1377 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1379 @lilypond[quote,ragged-right,verbatim]
1382 \set Staff.ottavation = #"8"
1390 Program reference: @internalsref{OttavaBracket}.
1395 @code{set-octavation} will get confused when clef changes happen
1396 during an octavation bracket.
1399 @anchor{Different editions from one source}
1400 @unnumberedsubsubsec Different editions from one source
1405 The @code{\tag} command marks music expressions with a name. These
1406 tagged expressions can be filtered out later. With this mechanism it
1407 is possible to make different versions of the same music source.
1409 In the following example, we see two versions of a piece of music, one
1410 for the full score, and one with cue notes for the instrumental part
1426 The same can be applied to articulations, texts, etc.: they are
1429 -\tag #@var{your-tag}
1431 to an articulation, for example,
1436 This defines a note with a conditional fingering indication.
1439 @cindex removeWithTag
1440 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1441 commands, tagged expressions can be filtered. For example,
1445 \keepWithTag #'score @var{the music}
1446 \keepWithTag #'part @var{the music}
1451 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1453 The arguments of the @code{\tag} command should be a symbol
1454 (such as @code{#'score} or @code{#'part}), followed by a
1455 music expression. It is possible to put multiple tags on
1456 a piece of music with multiple @code{\tag} entries,
1459 \tag #'original-part \tag #'transposed-part @dots{}
1465 Examples: @lsr{parts,tag@/-filter@/.ly}
1470 Multiple rests are not merged if you create the score with both tagged
1475 @node Orchestral music
1476 @section Orchestral music
1478 Orchestral music involves some special notation, both in the full
1479 score and the individual parts. This section explains how to tackle
1480 some common problems in orchestral music.
1483 * Automatic part combining::
1485 * Quoting other voices::
1486 * Formatting cue notes::
1487 * Aligning to cadenzas::
1491 @anchor{Automatic part combining}
1492 @unnumberedsubsubsec Automatic part combining
1493 @cindex automatic part combining
1494 @cindex part combiner
1496 Automatic part combining is used to merge two parts of music onto a
1497 staff. It is aimed at typesetting orchestral scores. When the two
1498 parts are identical for a period of time, only one is shown. In
1499 places where the two parts differ, they are typeset as separate
1500 voices, and stem directions are set automatically. Also, solo and
1501 @emph{a due} parts are identified and can be marked.
1503 The syntax for part combining is
1506 \partcombine @var{musicexpr1} @var{musicexpr2}
1510 The following example demonstrates the basic functionality of the part
1511 combiner: putting parts on one staff, and setting stem directions and
1514 @lilypond[quote,verbatim,ragged-right,fragment]
1515 \new Staff \partcombine
1516 \relative g' { g g a( b) c c r r }
1517 \relative g' { g g r4 r e e g g }
1520 The first @code{g} appears only once, although it was
1521 specified twice (once in each part). Stem, slur, and tie directions are
1522 set automatically, depending whether there is a solo or unisono. The
1523 first part (with context called @code{one}) always gets up stems, and
1524 @q{Solo}, while the second (called @code{two}) always gets down stems and
1527 If you just want the merging parts, and not the textual markings, you
1528 may set the property @code{printPartCombineTexts} to false
1530 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1532 \set Staff.printPartCombineTexts = ##f
1534 \relative g' { g a( b) r }
1535 \relative g' { g r4 r f }
1539 To change the text that is printed for solos or merging, you may
1540 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1543 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1545 \set Score.soloText = #"ichi"
1546 \set Score.soloIIText = #"ni"
1547 \set Score.aDueText = #"tachi"
1549 \relative g' { g4 g a( b) r }
1550 \relative g' { g4 g r r f }
1554 Both arguments to @code{\partcombine} will be interpreted as
1555 @internalsref{Voice} contexts. If using relative octaves,
1556 @code{\relative} should be specified for both music expressions, i.e.,
1560 \relative @dots{} @var{musicexpr1}
1561 \relative @dots{} @var{musicexpr2}
1565 A @code{\relative} section that is outside of @code{\partcombine} has
1566 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1570 Program reference: @internalsref{PartCombineMusic}.
1574 When @code{printPartCombineTexts} is set, when the two voices play the
1575 same notes on and off, the part combiner may typeset @code{a2} more
1576 than once in a measure.
1578 @code{\partcombine} cannot be inside @code{\times}.
1580 @code{\partcombine} cannot be inside @code{\relative}.
1582 Internally, the @code{\partcombine} interprets both arguments as
1583 @code{Voice}s named @code{one} and @code{two}, and then decides when
1584 the parts can be combined. Consequently, if the arguments switch to
1585 differently named @internalsref{Voice} contexts, the events in those
1589 @anchor{Hiding staves}
1590 @unnumberedsubsubsec Hiding staves
1592 @cindex Frenched scores
1593 @cindex Hiding staves
1595 In orchestral scores, staff lines that only have rests are usually
1596 removed; this saves some space. This style is called @q{French Score}.
1597 For @internalsref{Lyrics},
1598 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1599 switched on by default. When the lines of these contexts turn out
1600 empty after the line-breaking process, they are removed.
1602 For normal staves, a specialized @internalsref{Staff} context is
1603 available, which does the same: staves containing nothing (or only
1604 multi-measure rests) are removed. The context definition is stored in
1605 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1606 in this example disappears in the second line
1608 @lilypond[quote,ragged-right,verbatim]
1610 \context { \RemoveEmptyStaffContext }
1615 \new Staff { e4 f g a \break c1 }
1616 \new Staff { c4 d e f \break R1 }
1621 The first system shows all staves in full. If empty staves should be
1622 removed from the first system too, set @code{remove-first} to true in
1623 @internalsref{VerticalAxisGroup}.
1626 \override Score.VerticalAxisGroup #'remove-first = ##t
1629 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1630 or @code{\RemoveEmptyRhythmicStaffContext}.
1632 Another application is making ossia sections, i.e., alternative
1633 melodies on a separate piece of staff, with help of a Frenched
1637 @anchor{Quoting other voices}
1638 @unnumberedsubsubsec Quoting other voices
1642 With quotations, fragments of other parts can be inserted into a part
1643 directly. Before a part can be quoted, it must be marked especially as
1644 quotable. This is done with the @code{\addQuote} command.
1647 \addQuote @var{name} @var{music}
1652 Here, @var{name} is an identifying string. The @var{music} is any kind
1653 of music. Here is an example of @code{\addQuote}
1656 \addQuote clarinet \relative c' @{
1661 This command must be entered at toplevel, i.e., outside any music
1664 After calling @code{\addQuote}, the quotation may then be done with
1665 @code{\quoteDuring} or @code{\cueDuring},
1668 \quoteDuring #@var{name} @var{music}
1671 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1675 \quoteDuring #"clarinet" @{ s2. @}
1678 This would cite three quarter notes (the duration of @code{s2.}) of
1679 the previously added @code{clarinet} voice.
1682 More precisely, it takes the current time-step of the part being
1683 printed, and extracts the notes at the corresponding point of the
1684 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1685 should be the entire part of the voice to be quoted, including any
1686 rests at the beginning.
1688 Quotations take into account the transposition of both source and target
1689 instruments, if they are specified using the @code{\transposition} command.
1691 @lilypond[quote,ragged-right,verbatim]
1692 \addQuote clarinet \relative c' {
1698 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1702 The type of events that are present in cue notes can be trimmed with
1703 the @code{quotedEventTypes} property. The default value is
1704 @code{(note-event rest-event)}, which means that only notes and
1705 rests of the cued voice end up in the @code{\quoteDuring}.
1709 \set Staff.quotedEventTypes =
1710 #'(note-event articulation-event dynamic-event)
1714 will quote notes (but no rests), together with scripts and dynamics.
1718 Only the contents of the first @internalsref{Voice} occurring in an
1719 @code{\addQuote} command will be considered for quotation, so
1720 @var{music} can not contain @code{\new} and @code{\context Voice}
1721 statements that would switch to a different Voice.
1723 Quoting grace notes is broken and can even cause LilyPond to crash.
1725 Quoting nested triplets may result in poor notation.
1730 In this manual: @ref{Instrument transpositions}.
1732 Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly}
1734 Program reference: @internalsref{QuoteMusic}.
1737 @anchor{Formatting cue notes}
1738 @unnumberedsubsubsec Formatting cue notes
1740 @cindex cues, formatting
1742 The previous section deals with inserting notes from another voice.
1743 There is a more advanced music function called @code{\cueDuring},
1744 which makes formatting cue notes easier.
1749 \cueDuring #@var{name} #@var{updown} @var{music}
1752 This will insert notes from the part @var{name} into a
1753 @internalsref{Voice} called @code{cue}. This happens simultaneously
1754 with @var{music}, which usually is a rest. When the cue notes start,
1755 the staff in effect becomes polyphonic for a moment. The argument
1756 @var{updown} determines whether the cue notes should be notated as a
1757 first or second voice.
1760 @lilypond[verbatim,ragged-right]
1763 \override Stem #'length-fraction = #0.8
1764 \override Beam #'thickness = #0.384
1765 \override Beam #'length-fraction = #0.8
1768 \addQuote clarinet \relative {
1773 \new Staff \relative <<
1775 % setup a context for cue notes.
1776 \new Voice = "cue" { \smaller \skip 1*21 }
1778 \set Score.skipBars = ##t
1782 \cueDuring #"clarinet" #UP {
1791 Here are a couple of hints for successful cue notes
1795 Cue notes have smaller font sizes.
1797 the cued part is marked with the instrument playing the cue.
1799 when the original part takes over again, this should be marked with
1800 the name of the original instrument.
1802 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1804 @c Yes, this is good practice. Otherwise, the start of the original
1805 @c part can only be seen from the font size. This is not good enough
1806 @c for sight-reading. It is possilbe to use other
1807 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1813 Any other changes introduced by the cued part should also be
1814 undone. For example, if the cued instrument plays in a different clef,
1815 the original clef should be stated once again.
1819 The macro @code{\transposedCueDuring} is
1820 useful to add cues to instruments which use a completely different
1821 octave range (for example, having a cue of a piccolo flute within
1822 a contra bassoon part).
1824 @lilypond[verbatim,ragged-right,quote]
1825 picc = \relative c''' {
1831 \addQuote "picc" { \picc }
1833 cbsn = \relative c, {
1836 \transposedCueDuring #"picc" #UP c,, { R1 } |
1841 \context Staff = "picc" \picc
1842 \context Staff = "cbsn" \cbsn
1848 @anchor{Aligning to cadenzas}
1849 @unnumberedsubsubsec Aligning to cadenzas
1851 In an orchestral context, cadenzas present a special problem:
1852 when constructing a score that includes a cadenza, all other
1853 instruments should skip just as many notes as the length of the
1854 cadenza, otherwise they will start too soon or too late.
1856 A solution to this problem are the functions @code{mmrest-of-length}
1857 and @code{skip-of-length}. These Scheme functions take a piece of music
1858 as argument, and generate a @code{\skip} or multi-rest, exactly as
1859 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1860 in the following example.
1862 @lilypond[verbatim,ragged-right,quote]
1863 cadenza = \relative c' {
1864 c4 d8 << { e f g } \\ { d4. } >>
1869 \new Staff { \cadenza c'4 }
1871 #(ly:export (mmrest-of-length cadenza))
1880 @node Contemporary notation
1881 @section Contemporary notation
1883 In the 20th century, composers have greatly expanded the musical
1884 vocabulary. With this expansion, many innovations in musical notation
1885 have been tried. The book @q{Music Notation in the 20th century} by
1886 Kurt Stone gives a comprehensive overview (see @ref{Literature
1889 This section describes notation that does
1890 not fit into traditional notation categories, such as pitches,
1891 tuplet beams, and articulation. For contemporary notation
1892 that fits into traditional notation categories, such as
1893 microtones, nested tuplet beams, and unusual fermatas, please
1894 see those sections of the documentation.
1897 * Polymetric notation::
1898 * Time administration::
1899 * Proportional notation (introduction)::
1901 * Special noteheads::
1904 * Selecting notation font size::
1908 @anchor{Polymetric notation}
1909 @unnumberedsubsubsec Polymetric notation
1911 @cindex double time signatures
1912 @cindex signatures, polymetric
1913 @cindex polymetric signatures
1914 @cindex meter, polymetric
1916 Double time signatures are not supported explicitly, but they can be
1917 faked. In the next example, the markup for the time signature is
1918 created with a markup text. This markup text is inserted in the
1919 @internalsref{TimeSignature} grob. See also
1920 @lsr{contemporary,compound-time-signature}.
1922 @lilypond[verbatim,ragged-right]
1925 \override #'(baseline-skip . 2) \number {
1928 \bracket \column { "5" "8" }
1933 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1934 \override Staff.TimeSignature #'text = #tsMarkup
1936 c'2 \bar ":" c'4 c'4.
1940 Each staff can also have its own time signature. This is done by
1941 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1947 \remove "Timing_translator"
1948 \remove "Default_bar_line_engraver"
1952 \consists "Timing_translator"
1953 \consists "Default_bar_line_engraver"
1960 Now, each staff has its own time signature.
1973 c4. c8 c c c4. c8 c c
1978 @lilypond[quote,ragged-right]
1982 \remove "Timing_translator"
1983 \remove "Default_bar_line_engraver"
1986 \consists "Timing_translator"
1987 \consists "Default_bar_line_engraver"
2002 c4. c8 c c c4. c8 c c
2008 A different form of polymetric notation is where note lengths have
2009 different values across staves.
2011 This notation can be created by setting a common time signature for
2012 each staff but replacing it manually using
2013 @code{timeSignatureFraction} to the desired fraction. Then the printed
2014 durations in each staff are scaled to the common time signature.
2015 The latter is done with @code{\compressMusic}, which is used similar
2016 to @code{\times}, but does not create a tuplet bracket. The syntax is
2018 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
2023 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
2024 used in parallel. In the second staff, shown durations are multiplied by
2025 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
2026 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
2028 @lilypond[quote,ragged-right,verbatim,fragment]
2036 \set Staff.timeSignatureFraction = #'(9 . 8)
2037 \compressMusic #'(2 . 3)
2038 \repeat unfold 6 { c8[ c c] }
2042 \set Staff.timeSignatureFraction = #'(10 . 8)
2043 \compressMusic #'(3 . 5) {
2044 \repeat unfold 2 { c8[ c c] }
2045 \repeat unfold 2 { c8[ c] }
2046 | c4. c4. \times 2/3 { c8 c c } c4
2057 When using different time signatures in parallel, the spacing is
2058 aligned vertically, but bar lines distort the regular spacing.
2061 @anchor{Time administration}
2062 @unnumberedsubsubsec Time administration
2064 @cindex Time administration
2066 Time is administered by the @internalsref{Time_signature_engraver},
2067 which usually lives in the @internalsref{Score} context. The
2068 bookkeeping deals with the following variables
2071 @item currentBarNumber
2075 The length of the measures in the current time signature. For a 4/4
2076 time this is@tie{}1, and for 6/8 it is 3/4.
2078 @item measurePosition
2079 The point within the measure where we currently are. This quantity
2080 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2081 happens, @code{currentBarNumber} is incremented.
2084 If set to true, the above variables are updated for every time
2085 step. When set to false, the engraver stays in the current measure
2089 Timing can be changed by setting any of these variables explicitly.
2090 In the next example, the 4/4 time signature is printed, but
2091 @code{measureLength} is set to 5/4. After a while, the measure is
2092 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2093 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2094 3/8 arises because 5/4 normally has 10/8, but we have manually
2095 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2097 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2098 \set Score.measureLength = #(ly:make-moment 5 4)
2102 \set Score.measurePosition = #(ly:make-moment 7 8)
2108 As the example illustrates, @code{ly:make-moment n m} constructs a
2109 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2111 note duration and @code{ly:make-moment 7 16} is the duration of
2112 seven sixteenths notes.
2115 @anchor{Proportional notation (introduction)}
2116 @unnumberedsubsubsec Proportional notation (introduction)
2117 @cindex Proportional notation
2119 See @ref{Proportional notation}.
2122 TODO: remove all this stuff?
2124 Notes can be spaced proportionally to their time-difference by
2125 assigning a duration to @code{proportionalNotationDuration}
2127 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2129 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2130 \new Staff { c8[ c c c c c] c4 c2 r2 }
2131 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2135 Setting this property only affects the ideal spacing between
2136 consecutive notes. For true proportional notation, the following
2137 settings are also required.
2141 @item True proportional notation requires that symbols are allowed to
2142 overstrike each other. That is achieved by removing the
2143 @internalsref{Separating_line_group_engraver} from
2144 @internalsref{Staff} context.
2146 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2147 is removed by setting the @code{strict-note-spacing} property to
2148 @code{#t} in @internalsref{SpacingSpanner} grob.
2150 @item Optical spacing tweaks are switched by setting
2151 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2158 Examples: @lsr{spacing,proportional@/-spacing@/.ly},
2159 @lsr{spacing,proportional@/-strict@/-grace@/-notes@/.ly}, and
2160 @lsr{spacing,proportional@/-strict@/-notespacing@/.ly}
2162 An example of strict proportional notation is in the
2163 example file @file{input/proportional.ly}.
2167 @unnumberedsubsubsec Clusters
2171 A cluster indicates a continuous range of pitches to be played. They
2172 can be denoted as the envelope of a set of notes. They are entered by
2173 applying the function @code{makeClusters} to a sequence of
2175 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2176 \makeClusters { <c e > <b f'> }
2179 Ordinary notes and clusters can be put together in the same staff,
2180 even simultaneously. In such a case no attempt is made to
2181 automatically avoid collisions between ordinary notes and clusters.
2185 Program reference: @internalsref{ClusterSpanner},
2186 @internalsref{ClusterSpannerBeacon},
2187 @internalsref{Cluster_spanner_engraver}.
2189 Examples: @lsr{contemporary,cluster@/.ly}.
2193 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2194 accurately. Use @code{<g a>8 <e a>8} instead.
2197 @anchor{Special noteheads}
2198 @unnumberedsubsubsec Special noteheads
2200 @cindex note heads, special
2202 Different noteheads are used by various instruments for various
2203 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2204 notes on guitar; diamonds are used for harmonics on string instruments,
2205 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2206 other notehead styles are produced by tweaking the property
2208 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2210 \override NoteHead #'style = #'cross
2212 \revert NoteHead #'style
2213 e d <c f\harmonic> <d a'\harmonic>
2217 To see all notehead styles, please see
2218 @ref{Note head styles}.
2223 Program reference: @internalsref{NoteHead}.
2226 @anchor{Feathered beams}
2227 @unnumberedsubsubsec Feathered beams
2229 Feathered beams are printed by setting the @code{grow-direction}
2230 property of a @code{Beam}. The @code{\featherDurations} function
2231 can be used to adjust note durations.
2233 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2234 \override Beam #'grow-direction = #LEFT
2235 \featherDurations #(ly:make-moment 5 4)
2243 The @code{\featherDurations} command only works with very short
2246 @anchor{Improvisation}
2247 @unnumberedsubsubsec Improvisation
2249 Improvisation is sometimes denoted with slashed note heads. Such note
2250 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2251 to the @internalsref{Voice} context. Then, the
2255 \set squashedPosition = #0
2256 \override NoteHead #'style = #'slash
2260 switches on the slashes.
2262 There are shortcuts @code{\improvisationOn} (and an accompanying
2263 @code{\improvisationOff}) for this command sequence. They are used in
2264 the following example
2266 @lilypond[verbatim,ragged-right,quote]
2268 \consists Pitch_squash_engraver
2270 e8 e g a a16(bes)(a8) g \improvisationOn
2273 ~fis2 \improvisationOff a16(bes) a8 g e
2278 @anchor{Selecting notation font size}
2279 @unnumberedsubsubsec Selecting notation font size
2281 The easiest method of setting the font size of any context is by
2282 setting the @code{fontSize} property.
2284 @lilypond[quote,fragment,relative=1,verbatim]
2293 It does not change the size of variable symbols, such as beams or
2296 Internally, the @code{fontSize} context property will cause the
2297 @code{font-size} property to be set in all layout objects. The value
2298 of @code{font-size} is a number indicating the size relative to the
2299 standard size for the current staff height. Each step up is an
2300 increase of approximately 12% of the font size. Six steps is exactly a
2301 factor two. The Scheme function @code{magstep} converts a
2302 @code{font-size} number to a scaling factor. The @code{font-size}
2303 property can also be set directly, so that only certain layout objects are
2306 @lilypond[quote,fragment,relative=1,verbatim]
2308 \override NoteHead #'font-size = #-4
2310 \override NoteHead #'font-size = #3
2314 Font size changes are achieved by scaling the design size that is
2315 closest to the desired size. The standard font size (for
2316 @code{font-size} equals 0), depends on the standard staff height. For
2317 a 20pt staff, a 10pt font is selected.
2319 The @code{font-size} property can only be set on layout objects that
2320 use fonts. These are the ones supporting the
2321 @internalsref{font-interface} layout interface.
2325 The following commands set @code{fontSize} for the current voice:
2331 @funindex \normalsize
2336 @node Educational use
2337 @section Educational use
2339 With the amount of control that LilyPond offers, one can make great
2340 teaching tools in addition to great musical scores.
2344 * Blank music sheet::
2346 * Shape note heads::
2347 * Easy Notation note heads::
2348 * Analysis brackets::
2349 * Coloring objects::
2354 @anchor{Balloon help}
2355 @unnumberedsubsubsec Balloon help
2357 Elements of notation can be marked and named with the help of a square
2358 balloon. The primary purpose of this feature is to explain notation.
2360 The following example demonstrates its use.
2362 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2363 \new Voice \with { \consists "Balloon_engraver" }
2365 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2366 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2371 There are two music functions, @code{balloonText} and
2372 @code{balloonGrobText}. The latter takes the name of the grob to
2373 adorn, while the former may be used as an articulation on a note.
2374 The other arguments are the offset and the text of the label.
2377 @cindex notation, explaining
2381 Program reference: @internalsref{text-balloon-interface}.
2386 @anchor{Blank music sheet}
2387 @unnumberedsubsubsec Blank music sheet
2389 @cindex Sheet music, empty
2390 @cindex Staves, blank sheet
2392 A blank music sheet can be produced also by using invisible notes, and
2393 removing @code{Bar_number_engraver}.
2396 @lilypond[quote,verbatim]
2397 \layout{ indent = #0 }
2399 \repeat unfold 2 % Change this for more lines.
2404 \override TimeSignature #'transparent = ##t
2405 % un-comment this line if desired
2406 % \override Clef #'transparent = ##t
2407 defaultBarType = #""
2408 \remove Bar_number_engraver
2411 % modify these to get the staves you want
2412 \new Staff \emptymusic
2413 \new TabStaff \emptymusic
2418 @anchor{Hidden notes}
2419 @unnumberedsubsubsec Hidden notes
2421 @cindex Hidden notes
2422 @cindex Invisible notes
2423 @cindex Transparent notes
2425 @funindex \hideNotes
2426 @funindex \unHideNotes
2427 Hidden (or invisible or transparent) notes can be useful in preparing theory
2428 or composition exercises.
2430 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2439 @anchor{Shape note heads}
2440 @unnumberedsubsubsec Shape note heads
2442 @cindex note heads, shape
2444 In shape note head notation, the shape of the note head corresponds
2445 to the harmonic function of a note in the scale. This notation was
2446 popular in the 19th century American song books.
2448 Shape note heads can be produced by setting @code{\aikenHeads} or
2449 @code{\sacredHarpHeads}, depending on the style desired.
2451 @lilypond[verbatim,relative=1,fragment]
2458 Shapes are determined on the step in the scale, where the base of the
2459 scale is determined by the @code{\key} command
2462 @funindex shapeNoteStyles
2463 @funindex \aikenHeads
2464 @funindex \sacredHarpHeads
2466 Shape note heads are implemented through the @code{shapeNoteStyles}
2467 property. Its value is a vector of symbols. The k-th element indicates
2468 the style to use for the k-th step of the scale. Arbitrary
2469 combinations are possible, e.g.
2471 @lilypond[verbatim,relative=1,fragment]
2472 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2477 @anchor{Easy Notation note heads}
2478 @unnumberedsubsubsec Easy Notation note heads
2480 @cindex note heads, practice
2481 @cindex note heads, easy notation
2482 @cindex easy notation
2485 The @q{easy play} note head includes a note name inside the head. It is
2486 used in music for beginners
2488 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2493 The command @code{\setEasyHeads} overrides settings for the
2494 @internalsref{NoteHead} object. To make the letters readable, it has
2495 to be printed in a large font size. To print with a larger font, see
2496 @ref{Setting the staff size}.
2500 @funindex \setEasyHeads
2501 @code{\setEasyHeads}
2504 @anchor{Analysis brackets}
2505 @unnumberedsubsubsec Analysis brackets
2507 @cindex phrasing brackets
2508 @cindex musicological analysis
2509 @cindex note grouping bracket
2511 Brackets are used in musical analysis to indicate structure in musical
2512 pieces. LilyPond supports a simple form of nested horizontal
2513 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2514 to @internalsref{Staff} context. A bracket is started with
2515 @code{\startGroup} and closed with @code{\stopGroup}
2517 @lilypond[quote,ragged-right,verbatim]
2520 c4\startGroup\startGroup
2523 c4\stopGroup\stopGroup
2527 \Staff \consists "Horizontal_bracket_engraver"
2533 Program reference: @internalsref{HorizontalBracket}.
2536 @anchor{Coloring objects}
2537 @unnumberedsubsubsec Coloring objects
2539 Individual objects may be assigned colors. You may use the
2540 color names listed in the @ref{List of colors}.
2542 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2543 \override NoteHead #'color = #red
2545 \override NoteHead #'color = #(x11-color 'LimeGreen)
2547 \override Stem #'color = #blue
2551 The full range of colors defined for X11 can be accessed by using the
2552 Scheme function x11-color. The function takes one argument that can be a
2556 \override Beam #'color = #(x11-color 'MediumTurquoise)
2562 \override Beam #'color = #(x11-color "MediumTurquoise")
2565 The first form is quicker to write and is more efficient. However, using
2566 the second form it is possible to access X11 colors by the multi-word
2570 \override Beam #'color = #(x11-color "medium turquoise")
2573 If x11-color cannot make sense of the parameter then the color returned
2574 defaults to black. It should be obvious from the final score that
2577 This example illustrates the use of x11-color. Notice that the stem
2578 color remains black after being set to (x11-color 'Boggle), which is
2579 deliberate nonsense.
2581 @lilypond[quote,ragged-right,verbatim]
2583 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2584 \set Staff.instrumentName = \markup {
2585 \with-color #(x11-color 'navy) "Clarinet"
2589 \override Beam #'color = #(x11-color "medium turquoise")
2591 \override NoteHead #'color = #(x11-color "LimeGreen")
2593 \override Stem #'color = #(x11-color 'Boggle)
2601 Appendix: @ref{List of colors}.
2605 Not all x11 colors are distinguishable in a web browser. For web use
2606 normal colors are recommended.
2608 An x11 color is not necessarily exactly the same shade as a similarly
2611 Notes in a chord cannot be colored with @code{\override}; use
2612 @code{\tweak} instead. See @ref{Objects connected to the input},
2616 @anchor{Parentheses}
2617 @unnumberedsubsubsec Parentheses
2620 @cindex notes, ghost
2621 @cindex notes, parenthesized
2623 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2626 @lilypond[relative=2,fragment,verbatim,ragged-right]
2634 This only functions inside chords, even for single notes
2637 < \parenthesize NOTE>
2642 @unnumberedsubsubsec Grid lines
2644 Vertical lines can be drawn between staves synchronized with
2647 @lilypond[ragged-right,quote,verbatim]
2651 \consists "Grid_point_engraver" %% sets of grid
2652 gridInterval = #(ly:make-moment 1 4)
2657 \consists "Grid_line_span_engraver"
2658 %% centers grid lines horizontally below noteheads
2659 \override NoteColumn #'X-offset = #-0.5
2670 %% centers grid lines vertically
2671 \override Score.GridLine #'extra-offset = #'( 0.0 . 1.0 )
2681 Examples: @lsrdir{education}