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
7 version that you are working on. See TRANSLATION for details.
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}.
44 * Text and line spanners::
49 * Overview of text markup commands::
56 @subsection Text scripts
59 @cindex text items, non-empty
60 @cindex non-empty texts
62 It is possible to place arbitrary strings of text or @ref{Text markup},
63 above or below notes by using a string @code{c^"text"}. By default,
64 these indications do not influence the note spacing, but by using the
65 command @code{\fatText}, the widths will be taken into account
67 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
68 c4^"longtext" \fatText c4_"longlongtext" c4
72 To prevent text from influencing spacing, use @code{\emptyText}.
74 More complex formatting may also be added to a note by using the
76 @lilypond[fragment,ragged-right,verbatim,quote]
77 c'4^\markup { bla \bold bla }
80 The @code{\markup} is described in more detail in
94 Checking to make sure that text scripts and lyrics are within the margins is
95 a relatively large computational task. To speed up processing, lilypond does
96 not perform such calculations by default; to enable it, use
99 \override Score.PaperColumn #'keep-inside-line = ##t
105 In this manual: @ref{Text markup}.
107 Program reference: @internalsref{TextScript}.
110 @node Text and line spanners
111 @subsection Text and line spanners
113 Some performance indications, e.g., @i{rallentando} and
114 @i{accelerando} and @i{trills} are written as text and are extended
115 over many measures with lines, sometimes dotted or wavy.
117 These all use the same routines as the glissando for drawing the texts
118 and the lines, and tuning their behavior is therefore also done in the
119 same way. It is done with a spanner, and the routine responsible for
120 drawing the spanners is @code{ly:line-interface::print}. This
121 routine determines the exact location of the two @i{span
122 points} and draws a line in between, in the style requested.
124 Here is an example of the different line styles available, and how to
127 @lilypond[relative=2,ragged-right,verbatim,fragment]
129 \once \override Glissando #'dash-fraction = #0.5
131 \override Glissando #'style = #'dotted-line
133 \override Glissando #'style = #'zigzag
135 \override Glissando #'style = #'trill
139 The information that determines the end-points is computed on-the-fly
140 for every graphic object, but it is possible to override these.
142 @lilypond[relative=2,ragged-right,verbatim,fragment]
144 \once \override Glissando #'bound-details #'right #'Y = #-2
148 The @code{Glissando} object, like any other using the
149 @code{ly:line-interface::print} routine, carries a nested
150 association list. In the above statement, the value for @code{Y}
151 is set to @code{-2} for the association list corresponding to the right
152 end point. Of course, it is also possible to adjust the left side with
153 @code{left} instead of @code{right}.
155 If @code{Y} is not set, the value is computed from the vertical
156 position of right attachment point of the spanner.
158 In case of a line break, the values for the span-points are extended
159 with contents of the @code{left-broken} and @code{right-broken}
160 sublists, for example
162 @lilypond[relative=2,ragged-right,verbatim,fragment]
163 \override Glissando #'breakable = ##T
164 \override Glissando #'bound-details #'right-broken #'Y = #-3
169 The following properties can be used for the
173 This sets the Y-coordinate of the end point, in staff space. By
174 default, it is the center of the bound object, so for a glissando it
175 points to the vertical center of the note head.
177 For horizontal spanners, such as text spanner and trill spanners, it
181 This determines where the line starts and ends in X-direction,
182 relative to the bound object. So, a value of @code{-1} (or
183 @code{LEFT}) makes the line start/end at the left side of the note
184 head it is attached to.
187 This is the absolute coordinate of the end point. It is usually
188 computed on the fly, and there is little use in overriding it.
191 Line spanners may have symbols at the beginning or end, which is
192 contained in this sub-property. This is for internal use, it is
193 recommended to use @code{text}.
196 This is a markup that is evaluated to yield stencil. It is
197 used to put @i{cresc.} and @i{tr} on horizontal spanners.
199 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
200 \override TextSpanner #'bound-details #'left #'text
201 = \markup { \small \bold Slower }
202 c2\startTextSpan b c a\stopTextSpan
205 @item stencil-align-dir-y
207 Without setting this, the stencil is simply put there at the
208 end-point, as defined by the @code{X} and @code{Y} sub properties.
209 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
210 will move the symbol at the edge relative to the end point of the line
212 @lilypond[relative=1,fragment,verbatim]
213 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
214 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
216 \override TextSpanner #'bound-details #'left #'text = #"gggg"
217 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
218 c4^\startTextSpan c c c \stopTextSpan
222 Setting this sub property to @code{#t} produce an arrowhead at the end
226 This sub property controls the space between the specified end-point
227 of the line and the actual end. Without padding, a glissando would
228 start and end in the center of each note head.
234 Program reference: @internalsref{TextSpanner},
235 @internalsref{Glissando}, @internalsref{VoiceFollower},
236 @internalsref{TrillSpanner}, @internalsref{line-spanner-interface}.
238 Examples: @lsr{expressive,line-styles.ly}, @lsr{expressive,line-arrows.ly}
242 @subsection Text spanners
244 @cindex Text spanners
246 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
247 are written as text and are extended over many measures with dotted
248 lines. Such texts are created using text spanners; attach
249 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
250 notes of the spanner.
252 The string to be printed, as well as the style, is set through object
255 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
258 \override TextSpanner #'bound-details #'left #'text =
259 \markup { \upright "rall" }
260 c2\startTextSpan b c\stopTextSpan a
263 \override TextSpanner #'bound-details #'left #'text =
264 \markup { \italic "rit" }
265 c2\startTextSpan b c\stopTextSpan a
270 @funindex textSpannerUp
271 @code{\textSpannerUp},
272 @funindex textSpannerDown
273 @code{\textSpannerDown},
274 @funindex textSpannerNeutral
275 @code{\textSpannerNeutral}.
280 To print a solid line, use
283 \override TextSpanner #'dash-fraction = #'()
289 Program reference: @internalsref{TextSpanner}.
293 @subsection Text marks
295 @cindex coda on bar line
296 @cindex segno on bar line
297 @cindex fermata on bar line
298 @cindex bar lines, symbols on
301 The @code{\mark} command is primarily used for
302 @ref{Rehearsal marks},
303 but it can also be used to put signs like coda,
304 segno, and fermata on a bar line. Use @code{\markup} to
305 access the appropriate symbol (symbols are listed in
306 @ref{The Feta font}).
308 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
309 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
314 @code{\mark} is only typeset above the top stave of the score. If
315 you specify the @code{\mark} command at a bar line, the resulting
316 mark is placed above the bar line. If you specify it in the middle
317 of a bar, the resulting mark is positioned between notes. If it is
318 specified before the beginning of a score line, it is placed
319 before the first note of the line. Finally, if the mark occurs at
320 a line break, the mark will be printed at the
321 beginning of the next line.
322 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
323 @c delete this sentence. -gp
324 If there is no next line, then the mark will not be printed at all.
329 To print the mark at the end of the current line, use
332 \override Score.RehearsalMark
333 #'break-visibility = #begin-of-line-invisible
336 @code{\mark} is often useful for adding text to the end of bar. In
337 such cases, changing the @code{#'self-alignment} is very useful
339 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
340 \override Score.RehearsalMark
341 #'break-visibility = #begin-of-line-invisible
343 \once \override Score.RehearsalMark #'self-alignment-X = #right
344 \mark "D.S. al Fine "
347 Text marks may be aligned with notation objects other than
350 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
355 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
359 \override Score.RehearsalMark #'break-align-symbol = #'clef
363 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
372 Although text marks are normally only printed above the topmost
373 staff, you may alter this to print them on every staff,
375 @lilypond[quote,ragged-right,verbatim,relative=2]
378 \remove "Mark_engraver"
382 \consists "Mark_engraver"
384 { c''1 \mark "foo" c'' }
386 \consists "Mark_engraver"
388 { c'1 \mark "foo" c' }
396 Program reference: @internalsref{RehearsalMark}.
400 @subsection Text markup
407 Use @code{\markup} to typeset text. Commands are entered with the
408 backslash @code{\}. To enter @code{\} and @code{#}, use double
411 @lilypond[quote,verbatim,fragment,relative=1]
413 c1_\markup { hi there }
414 c1^\markup { hi \bold there, is \italic {anyone home?} }
415 c1_\markup { "\special {weird} #characters" }
419 See @ref{Overview of text markup commands}, for a list of all
422 @code{\markup} is primarily used for @internalsref{TextScript}s,
423 but it can also be used anywhere text is called in lilypond
425 @lilypond[quote,verbatim]
426 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
429 \override Score.RehearsalMark
430 #'break-visibility = #begin-of-line-invisible
431 \override Score.RehearsalMark #'self-alignment-X = #right
433 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
434 c2^\markup{ don't be \flat }
435 \override TextSpanner #'bound-details #'left #'text = \markup{\italic rit }
437 a2\mark \markup{ \large \bold Fine }
441 \addlyrics { bar, foo \markup{ \italic bar! } }
445 A @code{\markup} command can also be placed on its own, away from any
446 @code{\score} block, see @ref{Multiple scores in a book}.
448 @lilypond[quote,ragged-right,verbatim]
449 \markup{ Here is some text. }
452 @cindex font switching
454 The markup in the example demonstrates font switching commands. The
455 command @code{\bold} and @code{\italic} apply to the first following
456 word only; to apply a command to more than one word, enclose the
460 \markup @{ \bold @{ hi there @} @}
464 For clarity, you can also do this for single arguments, e.g.,
467 \markup @{ is \italic @{ anyone @} home @}
470 In markup mode you can compose expressions, similar to mathematical
471 expressions, XML documents, and music expressions. You can stack
472 expressions grouped vertically with the command @code{\column}.
473 Similarly, @code{\center-align} aligns texts by their center lines:
475 @lilypond[quote,verbatim,fragment,relative=1]
476 c1^\markup { \column { a bbbb \line { c d } } }
477 c1^\markup { \center-align { a bbbb c } }
478 c1^\markup { \line { a b c } }
481 Lists with no previous command are not kept distinct. The expression
484 \center-align @{ @{ a b @} @{ c d @} @}
492 \center-align @{ a b c d @}
497 To keep lists of words distinct, please use quotes @code{"} or
498 the @code{\line} command
500 @lilypond[quote,verbatim,fragment,relative=1]
502 c4^\markup{ \center-align { on three lines } }
503 c4^\markup{ \center-align { "all one line" } }
504 c4^\markup{ \center-align { { on three lines } } }
505 c4^\markup{ \center-align { \line { on one line } } }
508 Markups can be stored in variables and these variables
509 may be attached to notes, like
511 allegro = \markup @{ \bold \large @{ Allegro @} @}
512 @{ a^\allegro b c d @}
515 Some objects have alignment procedures of their own, which cancel out
516 any effects of alignments applied to their markup arguments as a
517 whole. For example, the @internalsref{RehearsalMark} is horizontally
518 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
521 In addition, vertical placement is performed after creating the
522 text markup object. If you wish to move an entire piece of markup,
523 you need to use the #'padding property or create an @q{anchor} point
524 inside the markup (generally with @code{\hspace #0}).
526 @lilypond[quote,verbatim,fragment,relative=1]
528 c'4^\markup{ \raise #5 "not raised" }
529 \once \override TextScript #'padding = #3
530 c'4^\markup{ raised }
531 c'4^\markup{ \hspace #0 \raise #1.5 raised }
534 Some situations (such as dynamic marks) have preset font-related
535 properties. If you are creating text in such situations, it
536 is advisable to cancel those properties with
537 @code{normal-text}. See @ref{Overview of text markup commands},
543 This manual: @ref{Overview of text markup commands}.
545 Program reference: @internalsref{TextScript}.
547 Init files: @file{scm/@/new@/-markup@/.scm}.
552 Kerning or generation of ligatures is only done when the @TeX{}
553 backend is used. In this case, LilyPond does not account for them so
554 texts will be spaced slightly too wide.
556 Syntax errors for markup mode are confusing.
560 @subsection Nested scores
562 It is possible to nest music inside markups, by adding a @code{\score}
563 block to a markup expression. Such a score must contain a @code{\layout}
566 @lilypond[quote,verbatim,ragged-right]
570 \relative { c4 d e f }
579 @node Overview of text markup commands
580 @subsection Overview of text markup commands
582 The following commands can all be used inside @code{\markup @{ @}}.
584 @include markup-commands.tely
588 @subsection Font selection
590 @cindex font selection
591 @cindex font magnification
592 @funindex font-interface
594 By setting the object properties described below, you can select a
595 font from the preconfigured font families. LilyPond has default
596 support for the feta music fonts. Text fonts are selected through
597 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
598 the sans and typewriter to whatever the Pango installation defaults
603 @item @code{font-encoding}
604 is a symbol that sets layout of the glyphs. This should only be set to
605 select different types of non-text fonts, e.g.
607 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
608 standard music font, including ancient glyphs, @code{fetaDynamic} for
609 dynamic signs and @code{fetaNumber} for the number font.
611 @item @code{font-family}
612 is a symbol indicating the general class of the typeface. Supported are
613 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
615 @item @code{font-shape}
616 is a symbol indicating the shape of the font. There are typically
617 several font shapes available for each font family. Choices are
618 @code{italic}, @code{caps}, and @code{upright}.
620 @item @code{font-series}
621 is a symbol indicating the series of the font. There are typically
622 several font series for each font family and shape. Choices are
623 @code{medium} and @code{bold}.
627 Fonts selected in the way sketched above come from a predefined style
628 sheet. If you want to use a font from outside the style sheet,
630 @code{font-name} property,
632 @lilypond[fragment,verbatim]
634 \override Staff.TimeSignature #'font-name = #"Charter"
635 \override Staff.TimeSignature #'font-size = #2
638 \override #'(font-name . "Vera Bold")
639 { This text is in Vera Bold }
645 Any font can be used, as long as it is available to Pango/FontConfig.
646 To get a full list of all available fonts, run the command
648 lilypond -dshow-available-fonts blabla
650 (the last argument of the command can be anything, but has to be present).
653 The size of the font may be set with the @code{font-size}
654 property. The resulting size is taken relative to the
655 @code{text-font-size} as defined in the @code{\paper} block.
658 @cindex font magnification
661 It is also possible to change the default font family for the entire
662 document. This is done by calling the @code{make-pango-font-tree} from
663 within the @code{\paper} block. The function takes names for the font
664 families to use for roman, sans serif and monospaced text. For
667 @cindex font families, setting
676 (make-pango-font-tree "Times New Roman"
683 c'^\markup { roman: foo \sans bla \typewriter bar }
687 @c we don't do Helvetica / Courier, since GS incorrectly loads
694 Examples: @lsr{text,font@/-family@/-override.ly}.
697 @node New dynamic marks
698 @subsection New dynamic marks
700 It is possible to print new dynamic marks or text that should be aligned
701 with dynamics. Use @code{make-dynamic-script} to create these
702 marks. Note that the dynamic font only contains the characters
703 @code{f,m,p,r,s} and @code{z}.
705 Some situations (such as dynamic marks) have preset font-related
706 properties. If you are creating text in such situations, it
707 is advisable to cancel those properties with
708 @code{normal-text}. See @ref{Overview of text markup commands},
711 @cindex make-dynamic-script
713 @lilypond[quote,verbatim,ragged-right]
714 sfzp = #(make-dynamic-script "sfzp")
720 @cindex Dynamics, editorial
721 @cindex Dynamics, parenthesis
723 It is also possible to print dynamics in round parenthesis or square
724 brackets. These are often used for adding editorial dynamics.
726 @lilypond[quote,verbatim,ragged-right]
727 rndf = \markup{ \center-align {\line { \bold{\italic (}
728 \dynamic f \bold{\italic )} }} }
729 boxf = \markup{ \bracket { \dynamic f } }
730 { c'1_\rndf c'1_\boxf }
735 @node Preparing parts
736 @section Preparing parts
738 This section describes various notation that are useful for preparing
742 * Multi measure rests::
747 * Instrument transpositions::
749 * Different editions from one source::
753 @node Multi measure rests
754 @subsection Multi measure rests
756 @cindex multi measure rests
757 @cindex full measure rests
758 @cindex Rests, multi measure
759 @cindex Rests, full measure
760 @cindex whole rests for a full measure
763 Rests for one full measure (or many bars) are entered using @samp{R}. It
764 is specifically meant for full bar rests and for entering parts: the rest
765 can expand to fill a score with rests, or it can be printed as a single
766 multi-measure rest. This expansion is controlled by the property
767 @code{Score.skipBars}. If this is set to true, empty measures will not
768 be expanded, and the appropriate number is added automatically
770 @lilypond[quote,ragged-right,fragment,verbatim]
771 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
772 \set Score.skipBars = ##t R1*17 R1*4
775 The @code{1} in @code{R1} is similar to the duration notation used for
776 notes. Hence, for time signatures other than 4/4, you must enter other
777 durations. This can be done with augmentation dots or fractions
779 @lilypond[quote,ragged-right,fragment,verbatim]
780 \set Score.skipBars = ##t
789 An @code{R} spanning a single measure is printed as either a whole rest
790 or a breve, centered in the measure regardless of the time signature.
792 If there are only a few measures of rest, LilyPond prints @q{church rests}
793 (a series of rectangles) in the staff. To replace that with a simple
794 rest, use @code{MultiMeasureRest.expand-limit}.
796 @lilypond[quote,ragged-right,fragment,verbatim]
797 \set Score.skipBars = ##t
799 \override MultiMeasureRest #'expand-limit = 1
803 @cindex text on multi-measure rest
804 @cindex script on multi-measure rest
805 @cindex fermata on multi-measure rest
807 Texts can be added to multi-measure rests by using the
808 @var{note}-@code{markup} syntax @ref{Text markup}.
809 A variable (@code{\fermataMarkup}) is provided for
812 @lilypond[quote,ragged-right,verbatim,fragment]
813 \set Score.skipBars = ##t
815 R2.*10^\markup { \italic "ad lib." }
819 Warning! This text is created by @code{MultiMeasureRestText}, not
822 @lilypond[quote,ragged-right,verbatim,fragment]
823 \override TextScript #'padding = #5
825 \override MultiMeasureRestText #'padding = #5
829 If you want to have text on the left end of a multi-measure rest,
830 attach the text to a zero-length skip note, i.e.,
840 Program reference: @internalsref{MultiMeasureRestMusicGroup},
841 @internalsref{MultiMeasureRest}.
843 The layout object @internalsref{MultiMeasureRestNumber} is for the
844 default number, and @internalsref{MultiMeasureRestText} for user
850 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
851 over multi-measure rests. And the pitch of multi-measure rests (or
852 staff-centered rests) can not be influenced.
854 @cindex condensing rests
856 There is no way to automatically condense multiple rests into a single
857 multi-measure rest. Multi-measure rests do not take part in rest
860 Be careful when entering multi-measure rests followed by whole
861 notes. The following will enter two notes lasting four measures each
865 When @code{skipBars} is set, the result will look OK, but the bar
866 numbering will be off.
869 @node Metronome marks
870 @subsection Metronome marks
873 @cindex beats per minute
874 @cindex metronome marking
876 Metronome settings can be entered as follows
878 \tempo @var{duration} = @var{per-minute}
881 In the MIDI output, they are interpreted as a tempo change. In the
882 layout output, a metronome marking is printed
884 @lilypond[quote,ragged-right,verbatim,fragment]
891 To change the tempo in the MIDI output without printing anything, make
892 the metronome marking invisible
894 \once \override Score.MetronomeMark #'transparent = ##t
897 To print other metronome markings, use these markup commands
898 @lilypond[quote,ragged-right,verbatim,relative,fragment]
901 \smaller \general-align #Y #DOWN \note #"16." #1
903 \smaller \general-align #Y #DOWN \note #"8" #1
908 See @ref{Text markup}, for more details.
913 Program reference: @internalsref{MetronomeMark}.
918 Collisions are not checked. If you have notes above the top line of
919 the staff (or notes with articulations, slurs, text, etc), then the
920 metronome marking may be printed on top of musical symbols. If this
921 occurs, increase the padding of the metronome mark to place it
922 further away from the staff.
925 \override Score.MetronomeMark #'padding = #2.5
929 @node Rehearsal marks
930 @subsection Rehearsal marks
932 @cindex Rehearsal marks
935 To print a rehearsal mark, use the @code{\mark} command
937 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
946 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
947 If you wish to include the letter @q{I}, then use
950 \set Score.markFormatter = #format-mark-alphabet
953 The mark is incremented automatically if you use @code{\mark
954 \default}, but you can also use an integer argument to set the mark
955 manually. The value to use is stored in the property
956 @code{rehearsalMark}.
958 The style is defined by the property @code{markFormatter}. It is a
959 function taking the current mark (an integer) and the current context
960 as argument. It should return a markup object. In the following
961 example, @code{markFormatter} is set to a canned procedure. After a
962 few measures, it is set to function that produces a boxed number.
964 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
965 \set Score.markFormatter = #format-mark-numbers
968 \set Score.markFormatter = #format-mark-box-numbers
974 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
975 of @code{format-mark-numbers} (the default format),
976 @code{format-mark-box-numbers},
977 @code{format-mark-letters} and @code{format-mark-box-letters}.
978 These can be used as inspiration for other formatting functions.
980 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
981 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
982 incremented numbers or letters.
984 Other styles of rehearsal mark can be specified manually
991 @code{Score.markFormatter} does not affect marks specified in this manner.
992 However, it is possible to apply a @code{\markup} to the string.
995 \mark \markup@{ \box A1 @}
1002 Music glyphs (such as the segno sign) may be printed inside
1005 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1006 c1 \mark \markup { \musicglyph #"scripts.segno" }
1007 c1 \mark \markup { \musicglyph #"scripts.coda" }
1008 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1013 See @ref{The Feta font}, for a list of symbols which may be
1014 printed with @code{\musicglyph}.
1016 The horizontal location of rehearsal marks can be adjusted by
1017 setting @code{break-align-symbol}
1019 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1023 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
1027 \override Score.RehearsalMark #'break-align-symbol = #'clef
1033 @code{break-align-symbol} may also accept the following values:
1034 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1035 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1036 @code{key-signature}, and @code{time-signature}. Setting
1037 @code{break-align-symbol} will only have an effect if the symbol
1038 appears at that point in the music.
1043 This manual: @ref{Text marks}.
1045 Program reference: @internalsref{RehearsalMark}.
1047 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1048 definition of @code{format-mark-numbers} and
1049 @code{format-mark-letters}. They can be used as inspiration for other
1050 formatting functions.
1052 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
1056 @subsection Bar numbers
1059 @cindex measure numbers
1060 @funindex currentBarNumber
1062 Bar numbers are printed by default at the start of the line. The
1063 number itself is stored in the @code{currentBarNumber} property, which
1064 is normally updated automatically for every measure.
1066 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1067 \repeat unfold 4 {c4 c c c} \break
1068 \set Score.currentBarNumber = #50
1069 \repeat unfold 4 {c4 c c c}
1072 Bar numbers may only be printed at bar lines; to print a bar
1073 number at the beginning of a piece, an empty bar line must
1076 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1077 \set Score.currentBarNumber = #50
1079 \repeat unfold 4 {c4 c c c} \break
1080 \repeat unfold 4 {c4 c c c}
1083 Bar numbers can be typeset at regular intervals instead of at the
1084 beginning of each line. This is illustrated in the following example,
1085 whose source is available as
1086 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
1088 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1090 Bar numbers can be removed entirely by removing the Bar number
1091 engraver from the score.
1093 @lilypond[verbatim,ragged-right,quote]
1097 \remove "Bar_number_engraver"
1109 Program reference: @internalsref{BarNumber}.
1112 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
1113 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
1118 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1119 there is one at the top. To solve this, the
1120 @code{padding} property of @internalsref{BarNumber} can be
1121 used to position the number correctly.
1124 @node Instrument names
1125 @subsection Instrument names
1127 In an orchestral score, instrument names are printed at the left side
1130 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1131 and @internalsref{Staff}.@code{shortInstrumentName}, or
1132 @internalsref{PianoStaff}.@code{instrumentName} and
1133 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1135 the start of the staff. For the first staff, @code{instrumentName} is
1136 used, for the following ones, @code{shortInstrumentName} is used.
1138 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1139 \set Staff.instrumentName = "Ploink "
1140 \set Staff.shortInstrumentName = "Plk "
1146 You can also use markup texts to construct more complicated instrument
1149 @lilypond[quote,fragment,verbatim,ragged-right]
1150 \set Staff.instrumentName = \markup {
1151 \column { "Clarinetti"
1152 \line { "in B" \smaller \flat } } }
1156 If you wish to center the instrument names, you must center all of them
1158 @lilypond[quote,verbatim,ragged-right]
1161 \set Staff.instrumentName = \markup {
1162 \center-align { "Clarinetti"
1163 \line { "in B" \smaller \flat } } }
1167 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1174 For longer instrument names, it may be useful to increase the
1175 @code{indent} setting in the @code{\layout} block.
1177 To center instrument names while leaving extra space to the right,
1179 @lilypond[quote,verbatim,ragged-right]
1180 \new StaffGroup \relative
1183 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1187 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1193 To add instrument names to other contexts (such as @code{GrandStaff},
1194 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1195 be added to that context.
1199 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1204 More information about adding and removing engravers can
1205 be found in @ref{Modifying context plug-ins}.
1207 Instrument names may be changed in the middle of a piece,
1209 @lilypond[quote,fragment,verbatim,ragged-right]
1210 \set Staff.instrumentName = "First"
1211 \set Staff.shortInstrumentName = "one"
1214 \set Staff.instrumentName = "Second"
1215 \set Staff.shortInstrumentName = "two"
1223 Program reference: @internalsref{InstrumentName}.
1227 @node Instrument transpositions
1228 @subsection Instrument transpositions
1230 @cindex transposition, MIDI
1231 @cindex transposition, instrument
1233 The key of a transposing instrument can also be specified. This
1234 applies to many wind instruments, for example, clarinets (B-flat, A, and
1235 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1237 The transposition is entered after the keyword @code{\transposition}
1240 \transposition bes %% B-flat clarinet
1244 This command sets the property @code{instrumentTransposition}. The value of
1245 this property is used for MIDI output and quotations. It does not
1246 affect how notes are printed in the current staff. To change the printed
1247 output, see @ref{Transpose}.
1249 The pitch to use for @code{\transposition} should correspond to the
1250 real sound heard when a @code{c'} written on the staff is played by the
1251 transposing instrument. For example, when entering a score in
1252 concert pitch, typically all voices are entered in C, so
1253 they should be entered as
1266 The command @code{\transposition} should be used when the music is
1267 entered from a (transposed) orchestral part. For example, in
1268 classical horn parts, the tuning of the instrument is often changed
1269 during a piece. When copying the notes from the part, use
1270 @code{\transposition}, e.g.,
1282 @node Ottava brackets
1283 @subsection Ottava brackets
1285 @q{Ottava} brackets introduce an extra transposition of an octave for
1286 the staff. They are created by invoking the function
1287 @code{set-octavation}
1293 @lilypond[quote,ragged-right,verbatim,fragment]
1303 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1304 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1305 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1306 @code{centralCPosition}. For overriding the text of the bracket, set
1307 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1309 @lilypond[quote,ragged-right,verbatim]
1312 \set Staff.ottavation = #"8"
1320 Program reference: @internalsref{OttavaBracket}.
1325 @code{set-octavation} will get confused when clef changes happen
1326 during an octavation bracket.
1329 @node Different editions from one source
1330 @subsection Different editions from one source
1335 The @code{\tag} command marks music expressions with a name. These
1336 tagged expressions can be filtered out later. With this mechanism it
1337 is possible to make different versions of the same music source.
1339 In the following example, we see two versions of a piece of music, one
1340 for the full score, and one with cue notes for the instrumental part
1356 The same can be applied to articulations, texts, etc.: they are
1359 -\tag #@var{your-tag}
1361 to an articulation, for example,
1366 This defines a note with a conditional fingering indication.
1369 @cindex removeWithTag
1370 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1371 commands, tagged expressions can be filtered. For example,
1375 \keepWithTag #'score @var{the music}
1376 \keepWithTag #'part @var{the music}
1381 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1383 The arguments of the @code{\tag} command should be a symbol
1384 (such as @code{#'score} or @code{#'part}), followed by a
1385 music expression. It is possible to put multiple tags on
1386 a piece of music with multiple @code{\tag} entries,
1389 \tag #'original-part \tag #'transposed-part @dots{}
1395 Examples: @lsr{parts,tag@/-filter@/.ly}
1400 Multiple rests are not merged if you create the score with both tagged
1405 @node Orchestral music
1406 @section Orchestral music
1408 Orchestral music involves some special notation, both in the full
1409 score and the individual parts. This section explains how to tackle
1410 some common problems in orchestral music.
1413 * Automatic part combining::
1415 * Quoting other voices::
1416 * Formatting cue notes::
1417 * Aligning to cadenzas::
1421 @node Automatic part combining
1422 @subsection Automatic part combining
1423 @cindex automatic part combining
1424 @cindex part combiner
1426 Automatic part combining is used to merge two parts of music onto a
1427 staff. It is aimed at typesetting orchestral scores. When the two
1428 parts are identical for a period of time, only one is shown. In
1429 places where the two parts differ, they are typeset as separate
1430 voices, and stem directions are set automatically. Also, solo and
1431 @emph{a due} parts are identified and can be marked.
1433 The syntax for part combining is
1436 \partcombine @var{musicexpr1} @var{musicexpr2}
1440 The following example demonstrates the basic functionality of the part
1441 combiner: putting parts on one staff, and setting stem directions and
1444 @lilypond[quote,verbatim,ragged-right,fragment]
1445 \new Staff \partcombine
1446 \relative g' { g g a( b) c c r r }
1447 \relative g' { g g r4 r e e g g }
1450 The first @code{g} appears only once, although it was
1451 specified twice (once in each part). Stem, slur, and tie directions are
1452 set automatically, depending whether there is a solo or unisono. The
1453 first part (with context called @code{one}) always gets up stems, and
1454 @q{Solo}, while the second (called @code{two}) always gets down stems and
1457 If you just want the merging parts, and not the textual markings, you
1458 may set the property @code{printPartCombineTexts} to false
1460 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1462 \set Staff.printPartCombineTexts = ##f
1464 \relative g' { g a( b) r }
1465 \relative g' { g r4 r f }
1469 To change the text that is printed for solos or merging, you may
1470 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1473 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1475 \set Score.soloText = #"ichi"
1476 \set Score.soloIIText = #"ni"
1477 \set Score.aDueText = #"tachi"
1479 \relative g' { g4 g a( b) r }
1480 \relative g' { g4 g r r f }
1484 Both arguments to @code{\partcombine} will be interpreted as
1485 @internalsref{Voice} contexts. If using relative octaves,
1486 @code{\relative} should be specified for both music expressions, i.e.,
1490 \relative @dots{} @var{musicexpr1}
1491 \relative @dots{} @var{musicexpr2}
1495 A @code{\relative} section that is outside of @code{\partcombine} has
1496 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1500 Program reference: @internalsref{PartCombineMusic}.
1504 When @code{printPartCombineTexts} is set, when the two voices play the
1505 same notes on and off, the part combiner may typeset @code{a2} more
1506 than once in a measure.
1508 @code{\partcombine} cannot be inside @code{\times}.
1510 @code{\partcombine} cannot be inside @code{\relative}.
1512 Internally, the @code{\partcombine} interprets both arguments as
1513 @code{Voice}s named @code{one} and @code{two}, and then decides when
1514 the parts can be combined. Consequently, if the arguments switch to
1515 differently named @internalsref{Voice} contexts, the events in those
1520 @subsection Hiding staves
1522 @cindex Frenched scores
1523 @cindex Hiding staves
1525 In orchestral scores, staff lines that only have rests are usually
1526 removed; this saves some space. This style is called @q{French Score}.
1527 For @internalsref{Lyrics},
1528 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1529 switched on by default. When the lines of these contexts turn out
1530 empty after the line-breaking process, they are removed.
1532 For normal staves, a specialized @internalsref{Staff} context is
1533 available, which does the same: staves containing nothing (or only
1534 multi-measure rests) are removed. The context definition is stored in
1535 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1536 in this example disappears in the second line
1538 @lilypond[quote,ragged-right,verbatim]
1540 \context { \RemoveEmptyStaffContext }
1545 \new Staff { e4 f g a \break c1 }
1546 \new Staff { c4 d e f \break R1 }
1551 The first system shows all staves in full. If empty staves should be
1552 removed from the first system too, set @code{remove-first} to true in
1553 @internalsref{VerticalAxisGroup}.
1556 \override Score.VerticalAxisGroup #'remove-first = ##t
1559 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1560 or @code{\RemoveEmptyRhythmicStaffContext}.
1562 Another application is making ossia sections, i.e., alternative
1563 melodies on a separate piece of staff, with help of a Frenched
1567 @node Quoting other voices
1568 @subsection Quoting other voices
1572 With quotations, fragments of other parts can be inserted into a part
1573 directly. Before a part can be quoted, it must be marked especially as
1574 quotable. This is done with the @code{\addQuote} command.
1577 \addQuote @var{name} @var{music}
1582 Here, @var{name} is an identifying string. The @var{music} is any kind
1583 of music. Here is an example of @code{\addQuote}
1586 \addQuote clarinet \relative c' @{
1591 This command must be entered at toplevel, i.e., outside any music
1594 After calling @code{\addQuote}, the quotation may then be done with
1595 @code{\quoteDuring} or @code{\cueDuring},
1598 \quoteDuring #@var{name} @var{music}
1601 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1605 \quoteDuring #"clarinet" @{ s2. @}
1608 This would cite three quarter notes (the duration of @code{s2.}) of
1609 the previously added @code{clarinet} voice.
1612 More precisely, it takes the current time-step of the part being
1613 printed, and extracts the notes at the corresponding point of the
1614 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1615 should be the entire part of the voice to be quoted, including any
1616 rests at the beginning.
1618 Quotations take into account the transposition of both source and target
1619 instruments, if they are specified using the @code{\transposition} command.
1621 @lilypond[quote,ragged-right,verbatim]
1622 \addQuote clarinet \relative c' {
1628 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1632 The type of events that are present in cue notes can be trimmed with
1633 the @code{quotedEventTypes} property. The default value is
1634 @code{(note-event rest-event)}, which means that only notes and
1635 rests of the cued voice end up in the @code{\quoteDuring}.
1639 \set Staff.quotedEventTypes =
1640 #'(note-event articulation-event dynamic-event)
1644 will quote notes (but no rests), together with scripts and dynamics.
1648 Only the contents of the first @internalsref{Voice} occurring in an
1649 @code{\addQuote} command will be considered for quotation, so
1650 @var{music} can not contain @code{\new} and @code{\context Voice}
1651 statements that would switch to a different Voice.
1653 Quoting grace notes is broken and can even cause LilyPond to crash.
1655 Quoting nested triplets may result in poor notation.
1660 In this manual: @ref{Instrument transpositions}.
1662 Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly}
1664 Program reference: @internalsref{QuoteMusic}.
1667 @node Formatting cue notes
1668 @subsection Formatting cue notes
1670 @cindex cues, formatting
1672 The previous section deals with inserting notes from another voice.
1673 There is a more advanced music function called @code{\cueDuring},
1674 which makes formatting cue notes easier.
1679 \cueDuring #@var{name} #@var{updown} @var{music}
1682 This will insert notes from the part @var{name} into a
1683 @internalsref{Voice} called @code{cue}. This happens simultaneously
1684 with @var{music}, which usually is a rest. When the cue notes start,
1685 the staff in effect becomes polyphonic for a moment. The argument
1686 @var{updown} determines whether the cue notes should be notated as a
1687 first or second voice.
1690 @lilypond[verbatim,ragged-right]
1693 \override Stem #'length-fraction = #0.8
1694 \override Beam #'thickness = #0.384
1695 \override Beam #'length-fraction = #0.8
1698 \addQuote clarinet \relative {
1703 \new Staff \relative <<
1705 % setup a context for cue notes.
1706 \new Voice = "cue" { \smaller \skip 1*21 }
1708 \set Score.skipBars = ##t
1712 \cueDuring #"clarinet" #UP {
1721 Here are a couple of hints for successful cue notes
1725 Cue notes have smaller font sizes.
1727 the cued part is marked with the instrument playing the cue.
1729 when the original part takes over again, this should be marked with
1730 the name of the original instrument.
1732 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1734 @c Yes, this is good practice. Otherwise, the start of the original
1735 @c part can only be seen from the font size. This is not good enough
1736 @c for sight-reading. It is possilbe to use other
1737 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1743 Any other changes introduced by the cued part should also be
1744 undone. For example, if the cued instrument plays in a different clef,
1745 the original clef should be stated once again.
1749 The macro @code{\transposedCueDuring} is
1750 useful to add cues to instruments which use a completely different
1751 octave range (for example, having a cue of a piccolo flute within
1752 a contra bassoon part).
1754 @lilypond[verbatim,ragged-right,quote]
1755 picc = \relative c''' {
1761 \addQuote "picc" { \picc }
1763 cbsn = \relative c, {
1766 \transposedCueDuring #"picc" #UP c,, { R1 } |
1771 \context Staff = "picc" \picc
1772 \context Staff = "cbsn" \cbsn
1778 @node Aligning to cadenzas
1779 @subsection Aligning to cadenzas
1781 In an orchestral context, cadenzas present a special problem:
1782 when constructing a score that includes a cadenza, all other
1783 instruments should skip just as many notes as the length of the
1784 cadenza, otherwise they will start too soon or too late.
1786 A solution to this problem are the functions @code{mmrest-of-length}
1787 and @code{skip-of-length}. These Scheme functions take a piece of music
1788 as argument, and generate a @code{\skip} or multi-rest, exactly as
1789 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1790 in the following example.
1792 @lilypond[verbatim,ragged-right,quote]
1793 cadenza = \relative c' {
1794 c4 d8 << { e f g } \\ { d4. } >>
1799 \new Staff { \cadenza c'4 }
1801 #(ly:export (mmrest-of-length cadenza))
1810 @node Contemporary notation
1811 @section Contemporary notation
1813 In the 20th century, composers have greatly expanded the musical
1814 vocabulary. With this expansion, many innovations in musical notation
1815 have been tried. The book @q{Music Notation in the 20th century} by
1816 Kurt Stone gives a comprehensive overview (see @ref{Literature
1819 This section describes notation that does
1820 not fit into traditional notation categories, such as pitches,
1821 tuplet beams, and articulation. For contemporary notation
1822 that fits into traditional notation categories, such as
1823 microtones, nested tuplet beams, and unusual fermatas, please
1824 see those sections of the documentation.
1827 * Polymetric notation::
1828 * Time administration::
1829 * Proportional notation (introduction)::
1831 * Special noteheads::
1834 * Selecting notation font size::
1838 @node Polymetric notation
1839 @subsection Polymetric notation
1841 @cindex double time signatures
1842 @cindex signatures, polymetric
1843 @cindex polymetric signatures
1844 @cindex meter, polymetric
1846 Double time signatures are not supported explicitly, but they can be
1847 faked. In the next example, the markup for the time signature is
1848 created with a markup text. This markup text is inserted in the
1849 @internalsref{TimeSignature} grob. See also
1850 @inputfileref{input/@/test,compound@/-time@/.ly}).
1852 @lilypond[verbatim,ragged-right]
1855 \override #'(baseline-skip . 2) \number {
1858 \bracket \column { "5" "8" }
1863 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1864 \override Staff.TimeSignature #'text = #tsMarkup
1866 c'2 \bar ":" c'4 c'4.
1870 Each staff can also have its own time signature. This is done by
1871 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1877 \remove "Timing_translator"
1878 \remove "Default_bar_line_engraver"
1882 \consists "Timing_translator"
1883 \consists "Default_bar_line_engraver"
1890 Now, each staff has its own time signature.
1903 c4. c8 c c c4. c8 c c
1908 @lilypond[quote,ragged-right]
1912 \remove "Timing_translator"
1913 \remove "Default_bar_line_engraver"
1916 \consists "Timing_translator"
1917 \consists "Default_bar_line_engraver"
1932 c4. c8 c c c4. c8 c c
1938 A different form of polymetric notation is where note lengths have
1939 different values across staves.
1941 This notation can be created by setting a common time signature for
1942 each staff but replacing it manually using
1943 @code{timeSignatureFraction} to the desired fraction. Then the printed
1944 durations in each staff are scaled to the common time signature.
1945 The latter is done with @code{\compressMusic}, which is used similar
1946 to @code{\times}, but does not create a tuplet bracket. The syntax is
1948 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1953 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1954 used in parallel. In the second staff, shown durations are multiplied by
1955 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1956 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1958 @lilypond[quote,ragged-right,verbatim,fragment]
1966 \set Staff.timeSignatureFraction = #'(9 . 8)
1967 \compressMusic #'(2 . 3)
1968 \repeat unfold 6 { c8[ c c] }
1972 \set Staff.timeSignatureFraction = #'(10 . 8)
1973 \compressMusic #'(3 . 5) {
1974 \repeat unfold 2 { c8[ c c] }
1975 \repeat unfold 2 { c8[ c] }
1976 | c4. c4. \times 2/3 { c8 c c } c4
1987 When using different time signatures in parallel, the spacing is
1988 aligned vertically, but bar lines distort the regular spacing.
1991 @node Time administration
1992 @subsection Time administration
1994 @cindex Time administration
1996 Time is administered by the @internalsref{Time_signature_engraver},
1997 which usually lives in the @internalsref{Score} context. The
1998 bookkeeping deals with the following variables
2001 @item currentBarNumber
2005 The length of the measures in the current time signature. For a 4/4
2006 time this is@tie{}1, and for 6/8 it is 3/4.
2008 @item measurePosition
2009 The point within the measure where we currently are. This quantity
2010 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2011 happens, @code{currentBarNumber} is incremented.
2014 If set to true, the above variables are updated for every time
2015 step. When set to false, the engraver stays in the current measure
2019 Timing can be changed by setting any of these variables explicitly.
2020 In the next example, the 4/4 time signature is printed, but
2021 @code{measureLength} is set to 5/4. After a while, the measure is
2022 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2023 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2024 3/8 arises because 5/4 normally has 10/8, but we have manually
2025 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2027 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2028 \set Score.measureLength = #(ly:make-moment 5 4)
2032 \set Score.measurePosition = #(ly:make-moment 7 8)
2038 As the example illustrates, @code{ly:make-moment n m} constructs a
2039 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2041 note duration and @code{ly:make-moment 7 16} is the duration of
2042 seven sixteenths notes.
2045 @node Proportional notation (introduction)
2046 @subsection Proportional notation (introduction)
2047 @cindex Proportional notation
2049 See @ref{Proportional notation}.
2052 TODO: remove all this stuff?
2054 Notes can be spaced proportionally to their time-difference by
2055 assigning a duration to @code{proportionalNotationDuration}
2057 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2059 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2060 \new Staff { c8[ c c c c c] c4 c2 r2 }
2061 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2065 Setting this property only affects the ideal spacing between
2066 consecutive notes. For true proportional notation, the following
2067 settings are also required.
2071 @item True proportional notation requires that symbols are allowed to
2072 overstrike each other. That is achieved by removing the
2073 @internalsref{Separating_line_group_engraver} from
2074 @internalsref{Staff} context.
2076 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2077 is removed by setting the @code{strict-note-spacing} property to
2078 @code{#t} in @internalsref{SpacingSpanner} grob.
2080 @item Optical spacing tweaks are switched by setting
2081 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2088 Examples: @lsr{spacing,proportional@/-spacing@/.ly},
2089 @lsr{spacing,proportional@/-strict@/-grace@/-notes@/.ly}, and
2090 @lsr{spacing,proportional@/-strict@/-notespacing@/.ly}
2092 An example of strict proportional notation is in the
2093 example file @file{input/proportional.ly}.
2097 @subsection Clusters
2101 A cluster indicates a continuous range of pitches to be played. They
2102 can be denoted as the envelope of a set of notes. They are entered by
2103 applying the function @code{makeClusters} to a sequence of
2105 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2106 \makeClusters { <c e > <b f'> }
2109 Ordinary notes and clusters can be put together in the same staff,
2110 even simultaneously. In such a case no attempt is made to
2111 automatically avoid collisions between ordinary notes and clusters.
2115 Program reference: @internalsref{ClusterSpanner},
2116 @internalsref{ClusterSpannerBeacon},
2117 @internalsref{Cluster_spanner_engraver}.
2119 Examples: @lsr{contemporary,cluster@/.ly}.
2123 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2124 accurately. Use @code{<g a>8 <e a>8} instead.
2127 @node Special noteheads
2128 @subsection Special noteheads
2130 @cindex note heads, special
2132 Different noteheads are used by various instruments for various
2133 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2134 notes on guitar; diamonds are used for harmonics on string instruments,
2135 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2136 other notehead styles are produced by tweaking the property
2138 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2140 \override NoteHead #'style = #'cross
2142 \revert NoteHead #'style
2143 e d <c f\harmonic> <d a'\harmonic>
2147 To see all notehead styles, please see
2148 @ref{Note head styles}.
2153 Program reference: @internalsref{NoteHead}.
2156 @node Feathered beams
2157 @subsection Feathered beams
2159 Feathered beams are printed by setting the @code{grow-direction}
2160 property of a @code{Beam}. The @code{\featherDurations} function
2161 can be used to adjust note durations.
2163 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2164 \featherDurations #(ly:make-moment 5 4)
2166 \override Beam #'grow-direction = #LEFT
2173 The @code{\featherDuration} command only works with very short
2177 @subsection Improvisation
2179 Improvisation is sometimes denoted with slashed note heads. Such note
2180 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2181 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
2185 \set squashedPosition = #0
2186 \override NoteHead #'style = #'slash
2190 switches on the slashes.
2192 There are shortcuts @code{\improvisationOn} (and an accompanying
2193 @code{\improvisationOff}) for this command sequence. They are used in
2194 the following example
2196 @lilypond[verbatim,ragged-right,quote]
2198 \consists Pitch_squash_engraver
2200 e8 e g a a16(bes)(a8) g \improvisationOn
2203 ~fis2 \improvisationOff a16(bes) a8 g e
2208 @node Selecting notation font size
2209 @subsection Selecting notation font size
2211 The easiest method of setting the font size of any context is by
2212 setting the @code{fontSize} property.
2214 @lilypond[quote,fragment,relative=1,verbatim]
2223 It does not change the size of variable symbols, such as beams or
2226 Internally, the @code{fontSize} context property will cause the
2227 @code{font-size} property to be set in all layout objects. The value
2228 of @code{font-size} is a number indicating the size relative to the
2229 standard size for the current staff height. Each step up is an
2230 increase of approximately 12% of the font size. Six steps is exactly a
2231 factor two. The Scheme function @code{magstep} converts a
2232 @code{font-size} number to a scaling factor. The @code{font-size}
2233 property can also be set directly, so that only certain layout objects are
2236 @lilypond[quote,fragment,relative=1,verbatim]
2238 \override NoteHead #'font-size = #-4
2240 \override NoteHead #'font-size = #3
2244 Font size changes are achieved by scaling the design size that is
2245 closest to the desired size. The standard font size (for
2246 @code{font-size} equals 0), depends on the standard staff height. For
2247 a 20pt staff, a 10pt font is selected.
2249 The @code{font-size} property can only be set on layout objects that
2250 use fonts. These are the ones supporting the
2251 @internalsref{font-interface} layout interface.
2255 The following commands set @code{fontSize} for the current voice:
2261 @funindex \normalsize
2266 @node Educational use
2267 @section Educational use
2269 With the amount of control that LilyPond offers, one can make great
2270 teaching tools in addition to great musical scores.
2274 * Blank music sheet::
2276 * Shape note heads::
2277 * Easy Notation note heads::
2278 * Analysis brackets::
2279 * Coloring objects::
2285 @subsection Balloon help
2287 Elements of notation can be marked and named with the help of a square
2288 balloon. The primary purpose of this feature is to explain notation.
2290 The following example demonstrates its use.
2292 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2293 \new Voice \with { \consists "Balloon_engraver" }
2295 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2296 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2301 There are two music functions, @code{balloonText} and
2302 @code{balloonGrobText}. The latter takes the name of the grob to
2303 adorn, while the former may be used as an articulation on a note.
2304 The other arguments are the offset and the text of the label.
2307 @cindex notation, explaining
2311 Program reference: @internalsref{text-balloon-interface}.
2316 @node Blank music sheet
2317 @subsection Blank music sheet
2319 @cindex Sheet music, empty
2320 @cindex Staves, blank sheet
2322 A blank music sheet can be produced also by using invisible notes, and
2323 removing @code{Bar_number_engraver}.
2326 @lilypond[quote,verbatim]
2327 \layout{ indent = #0 }
2329 \repeat unfold 2 % Change this for more lines.
2334 \override TimeSignature #'transparent = ##t
2335 % un-comment this line if desired
2336 % \override Clef #'transparent = ##t
2337 defaultBarType = #""
2338 \remove Bar_number_engraver
2341 % modify these to get the staves you want
2342 \new Staff \emptymusic
2343 \new TabStaff \emptymusic
2349 @subsection Hidden notes
2351 @cindex Hidden notes
2352 @cindex Invisible notes
2353 @cindex Transparent notes
2355 @funindex \hideNotes
2356 @funindex \unHideNotes
2357 Hidden (or invisible or transparent) notes can be useful in preparing theory
2358 or composition exercises.
2360 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2369 @node Shape note heads
2370 @subsection Shape note heads
2372 @cindex note heads, shape
2374 In shape note head notation, the shape of the note head corresponds
2375 to the harmonic function of a note in the scale. This notation was
2376 popular in the 19th century American song books.
2378 Shape note heads can be produced by setting @code{\aikenHeads} or
2379 @code{\sacredHarpHeads}, depending on the style desired.
2381 @lilypond[verbatim,relative=1,fragment]
2388 Shapes are determined on the step in the scale, where the base of the
2389 scale is determined by the @code{\key} command
2392 @funindex shapeNoteStyles
2393 @funindex \aikenHeads
2394 @funindex \sacredHarpHeads
2396 Shape note heads are implemented through the @code{shapeNoteStyles}
2397 property. Its value is a vector of symbols. The k-th element indicates
2398 the style to use for the k-th step of the scale. Arbitrary
2399 combinations are possible, e.g.
2401 @lilypond[verbatim,relative=1,fragment]
2402 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2407 @node Easy Notation note heads
2408 @subsection Easy Notation note heads
2410 @cindex note heads, practice
2411 @cindex note heads, easy notation
2412 @cindex easy notation
2415 The @q{easy play} note head includes a note name inside the head. It is
2416 used in music for beginners
2418 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2423 The command @code{\setEasyHeads} overrides settings for the
2424 @internalsref{NoteHead} object. To make the letters readable, it has
2425 to be printed in a large font size. To print with a larger font, see
2426 @ref{Setting the staff size}.
2430 @funindex \setEasyHeads
2431 @code{\setEasyHeads}
2434 @node Analysis brackets
2435 @subsection Analysis brackets
2437 @cindex phrasing brackets
2438 @cindex musicological analysis
2439 @cindex note grouping bracket
2441 Brackets are used in musical analysis to indicate structure in musical
2442 pieces. LilyPond supports a simple form of nested horizontal
2443 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2444 to @internalsref{Staff} context. A bracket is started with
2445 @code{\startGroup} and closed with @code{\stopGroup}
2447 @lilypond[quote,ragged-right,verbatim]
2450 c4\startGroup\startGroup
2453 c4\stopGroup\stopGroup
2457 \Staff \consists "Horizontal_bracket_engraver"
2463 Program reference: @internalsref{HorizontalBracket}.
2466 @node Coloring objects
2467 @subsection Coloring objects
2469 Individual objects may be assigned colors. You may use the
2470 color names listed in the @ref{List of colors}.
2472 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2473 \override NoteHead #'color = #red
2475 \override NoteHead #'color = #(x11-color 'LimeGreen)
2477 \override Stem #'color = #blue
2481 The full range of colors defined for X11 can be accessed by using the
2482 Scheme function x11-color. The function takes one argument that can be a
2486 \override Beam #'color = #(x11-color 'MediumTurquoise)
2492 \override Beam #'color = #(x11-color "MediumTurquoise")
2495 The first form is quicker to write and is more efficient. However, using
2496 the second form it is possible to access X11 colors by the multi-word
2500 \override Beam #'color = #(x11-color "medium turquoise")
2503 If x11-color cannot make sense of the parameter then the color returned
2504 defaults to black. It should be obvious from the final score that
2507 This example illustrates the use of x11-color. Notice that the stem
2508 color remains black after being set to (x11-color 'Boggle), which is
2509 deliberate nonsense.
2511 @lilypond[quote,ragged-right,verbatim]
2513 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2514 \set Staff.instrumentName = \markup {
2515 \with-color #(x11-color 'navy) "Clarinet"
2519 \override Beam #'color = #(x11-color "medium turquoise")
2521 \override NoteHead #'color = #(x11-color "LimeGreen")
2523 \override Stem #'color = #(x11-color 'Boggle)
2531 Appendix: @ref{List of colors}.
2535 Not all x11 colors are distinguishable in a web browser. For web use
2536 normal colors are recommended.
2538 An x11 color is not necessarily exactly the same shade as a similarly
2541 Notes in a chord cannot be colored with @code{\override}; use
2542 @code{\tweak} instead. See @ref{Objects connected to the input},
2547 @subsection Parentheses
2550 @cindex notes, ghost
2551 @cindex notes, parenthesized
2553 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2556 @lilypond[relative=2,fragment,verbatim,ragged-right]
2564 This only functions inside chords, even for single notes
2567 < \parenthesize NOTE>
2572 @subsection Grid lines
2574 Vertical lines can be drawn between staves synchronized with
2577 @lilypond[ragged-right,quote,verbatim]
2581 \consists "Grid_point_engraver" %% sets of grid
2582 gridInterval = #(ly:make-moment 1 4)
2587 \consists "Grid_line_span_engraver"
2588 %% centers grid lines horizontally below noteheads
2589 \override NoteColumn #'X-offset = #-0.5
2600 %% centers grid lines vertically
2601 \override Score.GridLine #'extra-offset = #'( 0.0 . 1.0 )
2611 Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.