1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
27 This section explains how to include text (with various formatting) in
30 @cindex Text, other languages
31 To write non-ascii text (such as characters from other languages), simply
32 insert the characters directly into the lilypond file. The file must be
33 saved as UTF-8. For more information, see @ref{Text encoding}.
41 * Overview of text markup commands::
48 @subsection Text scripts
51 @cindex text items, non-empty
52 @cindex non-empty texts
54 It is possible to place arbitrary strings of text or @ref{Text markup}
55 above or below notes by using a string @code{c^"text"}. By default,
56 these indications do not influence the note spacing, but by using the
57 command @code{\fatText}, the widths will be taken into account
59 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
60 c4^"longtext" \fatText c4_"longlongtext" c4
64 To prevent text from influencing spacing, use @code{\emptyText}.
66 More complex formatting may also be added to a note by using the
68 @lilypond[fragment,ragged-right,verbatim,quote]
69 c'4^\markup { bla \bold bla }
72 The @code{\markup} is described in more detail in
86 Checking to make sure that text scripts and lyrics are within the margins is
87 a relatively large computational task. To speed up processing, lilypond does
88 not perform such calculations by default; to enable it, use
91 \override Score.PaperColumn #'keep-inside-line = ##t
97 In this manual: @ref{Text markup}.
99 Program reference: @internalsref{TextScript}.
103 @subsection Text spanners
105 @cindex Text spanners
107 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
108 are written as text and are extended over many measures with dotted
109 lines. Such texts are created using text spanners; attach
110 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
111 notes of the spanner.
113 The string to be printed, as well as the style, is set through object
116 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
119 \override TextSpanner #'edge-text = #'("rall " . "")
120 c2\startTextSpan b c\stopTextSpan a
123 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
124 c2\startTextSpan b c\stopTextSpan a
129 @cindex textSpannerUp
130 @code{textSpannerUp},
131 @cindex textSpannerDown
132 @code{textSpannerDown},
133 @cindex textSpannerNeutral
134 @code{textSpannerNeutral}.
139 To print a solid line, use
142 \override TextSpanner #'dash-fraction = #'()
148 Program reference: @internalsref{TextSpanner}.
150 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
154 @subsection Text marks
156 @cindex coda on bar line
157 @cindex segno on bar line
158 @cindex fermata on bar line
159 @cindex bar lines, symbols on
162 The @code{\mark} command is primarily used for
163 @ref{Rehearsal marks},
164 but it can also be used to put signs like coda,
165 segno, and fermata on a bar line. Use @code{\markup} to
166 access the appropriate symbol (symbols are listed in
169 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
170 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
175 @code{\mark} is only typeset above the top stave of the score. If
176 you specify the @code{\mark} command at a bar line, the resulting
177 mark is placed above the bar line. If you specify it in the middle
178 of a bar, the resulting mark is positioned between notes. If it is
179 specified before the beginning of a score line, it is placed
180 before the first note of the line. Finally, if the mark occurs at
181 a line break, the mark will be printed at the
182 beginning of the next line.
183 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
184 @c delete this sentence. -gp
185 If there is no next line, then the mark will not be printed at all.
190 To print the mark at the end of the current line, use
193 \override Score.RehearsalMark
194 #'break-visibility = #begin-of-line-invisible
197 @code{\mark} is often useful for adding text to the end of bar. In
198 such cases, changing the @code{#'self-alignment} is very useful
200 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
201 \override Score.RehearsalMark
202 #'break-visibility = #begin-of-line-invisible
204 \once \override Score.RehearsalMark #'self-alignment-X = #right
205 \mark "D.S. al Fine "
208 Text marks may be aligned with notation objects other than
211 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
216 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
220 \override Score.RehearsalMark #'break-align-symbol = #'clef
224 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
233 Although text marks are normally only printed above the topmost
234 staff, you may alter this to print them on every staff,
236 @lilypond[quote,ragged-right,verbatim,relative=2]
239 \remove "Mark_engraver"
243 \consists "Mark_engraver"
245 { c''1 \mark "foo" c'' }
247 \consists "Mark_engraver"
249 { c'1 \mark "foo" c' }
257 Program reference: @internalsref{RehearsalMark}.
261 @subsection Text markup
268 Use @code{\markup} to typeset text. Commands are entered with the
269 backslash @code{\}. To enter @code{\} and @code{#}, use double
272 @lilypond[quote,verbatim,fragment,relative=1]
274 c1_\markup { hi there }
275 c1^\markup { hi \bold there, is \italic {anyone home?} }
276 c1_\markup { "\special {weird} #characters" }
280 See @ref{Overview of text markup commands} for a list of all
283 @code{\markup} is primarily used for @internalsref{TextScript}s,
284 but it can also be used anywhere text is called in lilypond
286 @lilypond[quote,verbatim]
287 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
290 \override Score.RehearsalMark
291 #'break-visibility = #begin-of-line-invisible
292 \override Score.RehearsalMark #'self-alignment-X = #right
294 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
295 c2^\markup{ don't be \flat }
296 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
298 a2\mark \markup{ \large \bold Fine }
302 \addlyrics { bar, foo \markup{ \italic bar! } }
306 Text can also be placed on its own, away from any @code{\score}
307 block. This is primarily used in a @code{\book} (see
308 @ref{Multiple scores in a book}).
310 @lilypond[quote,ragged-right,verbatim]
311 \markup{ Here is some text. }
314 @cindex font switching
316 The markup in the example demonstrates font switching commands. The
317 command @code{\bold} and @code{\italic} apply to the first following
318 word only; to apply a command to more than one word, enclose the
322 \markup @{ \bold @{ hi there @} @}
326 For clarity, you can also do this for single arguments, e.g.,
329 \markup @{ is \italic @{ anyone @} home @}
332 In markup mode you can compose expressions, similar to mathematical
333 expressions, XML documents, and music expressions. You can stack
334 expressions grouped vertically with the command @code{\column}.
335 Similarly, @code{\center-align} aligns texts by their center lines:
337 @lilypond[quote,verbatim,fragment,relative=1]
338 c1^\markup { \column { a bbbb \line { c d } } }
339 c1^\markup { \center-align { a bbbb c } }
340 c1^\markup { \line { a b c } }
343 Lists with no previous command are not kept distinct. The expression
346 \center-align @{ @{ a b @} @{ c d @} @}
354 \center-align @{ a b c d @}
359 To keep lists of words distinct, please use quotes @code{"} or
360 the @code{\line} command
362 @lilypond[quote,verbatim,fragment,relative=1]
364 c4^\markup{ \center-align { on three lines } }
365 c4^\markup{ \center-align { "all one line" } }
366 c4^\markup{ \center-align { { on three lines } } }
367 c4^\markup{ \center-align { \line { on one line } } }
370 Markups can be stored in variables and these variables
371 may be attached to notes, like
373 allegro = \markup @{ \bold \large @{ Allegro @} @}
374 @{ a^\allegro b c d @}
377 Some objects have alignment procedures of their own, which cancel out
378 any effects of alignments applied to their markup arguments as a
379 whole. For example, the @internalsref{RehearsalMark} is horizontally
380 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
383 In addition, vertical placement is performed after creating the
384 text markup object. If you wish to move an entire piece of markup,
385 you need to use the #'padding property or create an "anchor" point
386 inside the markup (generally with @code{\hspace #0}).
388 @lilypond[quote,verbatim,fragment,relative=1]
390 c'4^\markup{ \raise #5 "not raised" }
391 \once \override TextScript #'padding = #3
392 c'4^\markup{ raised }
393 c'4^\markup{ \hspace #0 \raise #1.5 raised }
396 Some situations (such as dynamic marks) have preset font-related
397 properties. If you are creating text in such situations, it
398 is advisable to cancel those properties with
399 @code{normal-text}. See @ref{Overview of text markup commands}
405 This manual: @ref{Overview of text markup commands}.
407 Program reference: @internalsref{TextScript}.
409 Init files: @file{scm/@/new@/-markup@/.scm}.
414 Kerning or generation of ligatures is only done when the @TeX{}
415 backend is used. In this case, LilyPond does not account for them so
416 texts will be spaced slightly too wide.
418 Syntax errors for markup mode are confusing.
422 @subsection Nested scores
424 It is possible to nest music inside markups, by adding a @code{\score}
425 block to a markup expression. Such a score must contain a @code{\layout}
428 @lilypond[quote,verbatim,ragged-right]
432 \relative { c4 d e f }
441 @node Overview of text markup commands
442 @subsection Overview of text markup commands
444 The following commands can all be used inside @code{\markup @{ @}}.
446 @include markup-commands.tely
450 @subsection Font selection
452 @cindex font selection
453 @cindex font magnification
454 @funindex font-interface
456 By setting the object properties described below, you can select a
457 font from the preconfigured font families. LilyPond has default
458 support for the feta music fonts. Text fonts are selected through
459 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
460 the sans and typewriter to whatever the Pango installation defaults
465 @item @code{font-encoding}
466 is a symbol that sets layout of the glyphs. This should only be set to
467 select different types of non-text fonts, e.g.
469 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
470 standard music font, including ancient glyphs, @code{fetaDynamic} for
471 dynamic signs and @code{fetaNumber} for the number font.
473 @item @code{font-family}
474 is a symbol indicating the general class of the typeface. Supported are
475 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
477 @item @code{font-shape}
478 is a symbol indicating the shape of the font. There are typically
479 several font shapes available for each font family. Choices are
480 @code{italic}, @code{caps}, and @code{upright}.
482 @item @code{font-series}
483 is a symbol indicating the series of the font. There are typically
484 several font series for each font family and shape. Choices are
485 @code{medium} and @code{bold}.
489 Fonts selected in the way sketched above come from a predefined style
490 sheet. If you want to use a font from outside the style sheet,
492 @code{font-name} property,
494 @lilypond[fragment,verbatim]
496 \override Staff.TimeSignature #'font-name = #"Charter"
497 \override Staff.TimeSignature #'font-size = #2
500 \override #'(font-name . "Vera Bold")
501 { This text is in Vera Bold }
507 Any font can be used, as long as it is available to Pango/FontConfig.
508 To get a full list of all available fonts, run the command
510 lilypond -dshow-available-fonts blabla
512 (the last argument of the command can be anything, but has to be present).
515 The size of the font may be set with the @code{font-size}
516 property. The resulting size is taken relative to the
517 @code{text-font-size} as defined in the @code{\paper} block.
520 @cindex font magnification
523 It is also possible to change the default font family for the entire
524 document. This is done by calling the @code{make-pango-font-tree} from
525 within the @code{\paper} block. The function takes names for the font
526 families to use for roman, sans serif and monospaced text. For
529 @cindex font families, setting
538 (make-pango-font-tree "Times New Roman"
545 c'^\markup { roman: foo \sans bla \typewriter bar }
549 @c we don't do Helvetica / Courier, since GS incorrectly loads
556 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
559 @node New dynamic marks
560 @subsection New dynamic marks
562 It is possible to print new dynamic marks or text that should be aligned
563 with dynamics. Use @code{make-dynamic-script} to create these
564 marks. Note that the dynamic font only contains the characters
565 @code{f,m,p,r,s} and @code{z}.
567 Some situations (such as dynamic marks) have preset font-related
568 properties. If you are creating text in such situations, it
569 is advisable to cancel those properties with
570 @code{normal-text}. See @ref{Overview of text markup commands}
573 @cindex make-dynamic-script
575 @lilypond[quote,verbatim,ragged-right]
576 sfzp = #(make-dynamic-script "sfzp")
582 @cindex Dynamics, editorial
583 @cindex Dynamics, parenthesis
585 It is also possible to print dynamics in round parenthesis or square
586 brackets. These are often used for adding editorial dynamics.
588 @lilypond[quote,verbatim,ragged-right]
589 rndf = \markup{ \center-align {\line { \bold{\italic (}
590 \dynamic f \bold{\italic )} }} }
591 boxf = \markup{ \bracket { \dynamic f } }
592 { c'1_\rndf c'1_\boxf }
597 @node Preparing parts
598 @section Preparing parts
600 This section describes various notation that are useful for preparing
604 * Multi measure rests::
609 * Instrument transpositions::
611 * Different editions from one source::
615 @node Multi measure rests
616 @subsection Multi measure rests
618 @cindex multi measure rests
619 @cindex full measure rests
620 @cindex Rests, multi measure
621 @cindex Rests, full measure
622 @cindex whole rests for a full measure
625 Rests for one full measure (or many bars) are entered using `@code{R}'. It
626 is specifically meant for full bar rests and for entering parts: the rest
627 can expand to fill a score with rests, or it can be printed as a single
628 multi-measure rest. This expansion is controlled by the property
629 @code{Score.skipBars}. If this is set to true, empty measures will not
630 be expanded, and the appropriate number is added automatically
632 @lilypond[quote,ragged-right,fragment,verbatim]
633 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
634 \set Score.skipBars = ##t R1*17 R1*4
637 The @code{1} in @code{R1} is similar to the duration notation used for
638 notes. Hence, for time signatures other than 4/4, you must enter other
639 durations. This can be done with augmentation dots or fractions
641 @lilypond[quote,ragged-right,fragment,verbatim]
642 \set Score.skipBars = ##t
651 An @code{R} spanning a single measure is printed as either a whole rest
652 or a breve, centered in the measure regardless of the time signature.
654 If there are only a few measures of rest, LilyPond prints ``church rests''
655 (a series of rectangles) in the staff. To replace that with a simple
656 rest, use @code{MultiMeasureRest.expand-limit}.
658 @lilypond[quote,ragged-right,fragment,verbatim]
659 \set Score.skipBars = ##t
661 \override MultiMeasureRest #'expand-limit = 1
665 @cindex text on multi-measure rest
666 @cindex script on multi-measure rest
667 @cindex fermata on multi-measure rest
669 Texts can be added to multi-measure rests by using the
670 @var{note}-@code{markup} syntax @ref{Text markup}.
671 A variable (@code{\fermataMarkup}) is provided for
674 @lilypond[quote,ragged-right,verbatim,fragment]
675 \set Score.skipBars = ##t
677 R2.*10^\markup { \italic "ad lib." }
681 Warning! This text is created by @code{MultiMeasureRestText}, not
684 @lilypond[quote,ragged-right,verbatim,fragment]
685 \override TextScript #'padding = #5
687 \override MultiMeasureRestText #'padding = #5
691 If you want to have text on the left end of a multi-measure rest,
692 attach the text to a zero-length skip note, i.e.,
702 Program reference: @internalsref{MultiMeasureRestMusicGroup},
703 @internalsref{MultiMeasureRest}.
705 The layout object @internalsref{MultiMeasureRestNumber} is for the
706 default number, and @internalsref{MultiMeasureRestText} for user
712 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
713 over multi-measure rests. And the pitch of multi-measure rests (or
714 staff-centered rests) can not be influenced.
716 @cindex condensing rests
718 There is no way to automatically condense multiple rests into a single
719 multi-measure rest. Multi-measure rests do not take part in rest
722 Be careful when entering multi-measure rests followed by whole
723 notes. The following will enter two notes lasting four measures each
727 When @code{skipBars} is set, the result will look OK, but the bar
728 numbering will be off.
731 @node Metronome marks
732 @subsection Metronome marks
735 @cindex beats per minute
736 @cindex metronome marking
738 Metronome settings can be entered as follows
740 \tempo @var{duration} = @var{per-minute}
743 In the MIDI output, they are interpreted as a tempo change. In the
744 layout output, a metronome marking is printed
746 @lilypond[quote,ragged-right,verbatim,fragment]
753 To change the tempo in the MIDI output without printing anything, make
754 the metronome marking invisible
756 \once \override Score.MetronomeMark #'transparent = ##t
759 To print other metronome markings, use these markup commands
760 @lilypond[quote,ragged-right,verbatim,relative,fragment]
763 \smaller \general-align #Y #DOWN \note #"16." #1
765 \smaller \general-align #Y #DOWN \note #"8" #1
770 See @ref{Text markup} for more details.
775 Program reference: @internalsref{MetronomeMark}.
780 Collisions are not checked. If you have notes above the top line of
781 the staff (or notes with articulations, slurs, text, etc), then the
782 metronome marking may be printed on top of musical symbols. If this
783 occurs, increase the padding of the metronome mark to place it
784 further away from the staff.
787 \override Score.MetronomeMark #'padding = #2.5
791 @node Rehearsal marks
792 @subsection Rehearsal marks
794 @cindex Rehearsal marks
797 To print a rehearsal mark, use the @code{\mark} command
799 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
808 The letter@tie{}`I' is skipped in accordance with engraving traditions.
809 If you wish to include the letter `I', then use
812 \set Score.markFormatter = #format-mark-alphabet
815 The mark is incremented automatically if you use @code{\mark
816 \default}, but you can also use an integer argument to set the mark
817 manually. The value to use is stored in the property
818 @code{rehearsalMark}.
820 The style is defined by the property @code{markFormatter}. It is a
821 function taking the current mark (an integer) and the current context
822 as argument. It should return a markup object. In the following
823 example, @code{markFormatter} is set to a canned procedure. After a
824 few measures, it is set to function that produces a boxed number.
826 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
827 \set Score.markFormatter = #format-mark-numbers
830 \set Score.markFormatter = #format-mark-box-numbers
836 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
837 of @code{format-mark-numbers} (the default format),
838 @code{format-mark-box-numbers},
839 @code{format-mark-letters} and @code{format-mark-box-letters}.
840 These can be used as inspiration for other formatting functions.
842 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
843 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
844 incremented numbers or letters.
850 Music glyphs (such as the segno sign) may be printed inside
853 @lilypond[fragment,quote,ragged-right,verbatim,relative]
854 c1 \mark \markup { \musicglyph #"scripts.segno" }
855 c1 \mark \markup { \musicglyph #"scripts.coda" }
856 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
861 See @ref{The Feta font} for a list of symbols which may be
862 printed with @code{\musicglyph}.
864 The horizontal location of rehearsal marks can be adjusted by
865 setting @code{break-align-symbol}
867 @lilypond[fragment,quote,ragged-right,verbatim,relative]
871 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
875 \override Score.RehearsalMark #'break-align-symbol = #'clef
881 @code{break-align-symbol} may also accept the following values:
882 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
883 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
884 @code{key-signature}, and @code{time-signature}. Setting
885 @code{break-align-symbol} will only have an effect if the symbol
886 appears at that point in the music.
891 Program reference: @internalsref{RehearsalMark}.
893 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
894 definition of @code{format-mark-numbers} and
895 @code{format-mark-letters}. They can be used as inspiration for other
896 formatting functions.
898 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
900 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
904 @subsection Bar numbers
907 @cindex measure numbers
908 @funindex currentBarNumber
910 Bar numbers are printed by default at the start of the line. The
911 number itself is stored in the @code{currentBarNumber} property, which
912 is normally updated automatically for every measure.
914 @lilypond[verbatim,ragged-right,quote,fragment,relative]
915 \repeat unfold 4 {c4 c c c} \break
916 \set Score.currentBarNumber = #50
917 \repeat unfold 4 {c4 c c c}
920 Bar numbers may only be printed at bar lines; to print a bar
921 number at the beginning of a piece, an empty bar line must
924 @lilypond[verbatim,ragged-right,quote,fragment,relative]
925 \set Score.currentBarNumber = #50
927 \repeat unfold 4 {c4 c c c} \break
928 \repeat unfold 4 {c4 c c c}
931 Bar numbers can be typeset at regular intervals instead of at the
932 beginning of each line. This is illustrated in the following example,
933 whose source is available as
934 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
936 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
938 Bar numbers can be removed entirely by removing the Bar number
939 engraver from the score.
941 @lilypond[verbatim,ragged-right,quote]
945 \remove "Bar_number_engraver"
957 Program reference: @internalsref{BarNumber}.
960 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
961 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
966 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
967 there is one at the top. To solve this, the
968 @code{padding} property of @internalsref{BarNumber} can be
969 used to position the number correctly.
972 @node Instrument names
973 @subsection Instrument names
975 In an orchestral score, instrument names are printed at the left side
978 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
979 and @internalsref{Staff}.@code{shortInstrumentName}, or
980 @internalsref{PianoStaff}.@code{instrumentName} and
981 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
983 the start of the staff. For the first staff, @code{instrumentName} is
984 used, for the following ones, @code{shortInstrumentName} is used.
986 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
987 \set Staff.instrumentName = "Ploink "
988 \set Staff.shortInstrumentName = "Plk "
994 You can also use markup texts to construct more complicated instrument
997 @lilypond[quote,fragment,verbatim,ragged-right]
998 \set Staff.instrumentName = \markup {
999 \column { "Clarinetti"
1000 \line { "in B" \smaller \flat } } }
1004 If you wish to center the instrument names, you must center all of them
1006 @lilypond[quote,verbatim,ragged-right]
1009 \set Staff.instrumentName = \markup {
1010 \center-align { "Clarinetti"
1011 \line { "in B" \smaller \flat } } }
1015 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1022 For longer instrument names, it may be useful to increase the
1023 @code{indent} setting in the @code{\layout} block.
1025 To center instrument names while leaving extra space to the right,
1027 @lilypond[quote,verbatim,ragged-right]
1028 \new StaffGroup \relative
1031 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1035 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1041 To add instrument names to other contexts (such as @code{GrandStaff},
1042 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1043 be added to that context.
1047 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1052 More information about adding and removing engravers can
1053 be found in @ref{Modifying context plug-ins}.
1058 Program reference: @internalsref{InstrumentName}.
1062 @node Instrument transpositions
1063 @subsection Instrument transpositions
1065 @cindex transposition, MIDI
1066 @cindex transposition, instrument
1068 The key of a transposing instrument can also be specified. This
1069 applies to many wind instruments, for example, clarinets (B-flat, A, and
1070 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1072 The transposition is entered after the keyword @code{\transposition}
1075 \transposition bes %% B-flat clarinet
1079 This command sets the property @code{instrumentTransposition}. The value of
1080 this property is used for MIDI output and quotations. It does not
1081 affect how notes are printed in the current staff. To change the printed
1082 output, see @ref{Transpose}.
1084 The pitch to use for @code{\transposition} should correspond to the
1085 real sound heard when a @code{c'} written on the staff is played by the
1086 transposing instrument. For example, when entering a score in
1087 concert pitch, typically all voices are entered in C, so
1088 they should be entered as
1101 The command @code{\transposition} should be used when the music is
1102 entered from a (transposed) orchestral part. For example, in
1103 classical horn parts, the tuning of the instrument is often changed
1104 during a piece. When copying the notes from the part, use
1105 @code{\transposition}, e.g.,
1117 @node Ottava brackets
1118 @subsection Ottava brackets
1120 `Ottava' brackets introduce an extra transposition of an octave for
1121 the staff. They are created by invoking the function
1122 @code{set-octavation}
1128 @lilypond[quote,ragged-right,verbatim,fragment]
1138 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1139 (for 15ma) as arguments. Internally the function sets the properties
1140 @code{ottavation} (e.g., to @code{"8va"}) and
1141 @code{centralCPosition}. For overriding the text of the bracket, set
1142 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1144 @lilypond[quote,ragged-right,verbatim]
1147 \set Staff.ottavation = #"8"
1155 Program reference: @internalsref{OttavaBracket}.
1157 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1158 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1163 @code{set-octavation} will get confused when clef changes happen
1164 during an octavation bracket.
1167 @node Different editions from one source
1168 @subsection Different editions from one source
1173 The @code{\tag} command marks music expressions with a name. These
1174 tagged expressions can be filtered out later. With this mechanism it
1175 is possible to make different versions of the same music source.
1177 In the following example, we see two versions of a piece of music, one
1178 for the full score, and one with cue notes for the instrumental part
1194 The same can be applied to articulations, texts, etc.: they are
1197 -\tag #@var{your-tag}
1199 to an articulation, for example,
1204 This defines a note with a conditional fingering indication.
1207 @cindex removeWithTag
1208 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1209 commands, tagged expressions can be filtered. For example,
1213 \keepWithTag #'score @var{the music}
1214 \keepWithTag #'part @var{the music}
1219 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1221 The arguments of the @code{\tag} command should be a symbol
1222 (such as @code{#'score} or @code{#'part}), followed by a
1223 music expression. It is possible to put multiple tags on
1224 a piece of music with multiple @code{\tag} entries,
1227 \tag #'original-part \tag #'transposed-part @dots{}
1233 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1238 Multiple rests are not merged if you create the score with both tagged
1243 @node Orchestral music
1244 @section Orchestral music
1246 Orchestral music involves some special notation, both in the full
1247 score and the individual parts. This section explains how to tackle
1248 some common problems in orchestral music.
1251 * Automatic part combining::
1253 * Quoting other voices::
1254 * Formatting cue notes::
1255 * Aligning to cadenzas::
1259 @node Automatic part combining
1260 @subsection Automatic part combining
1261 @cindex automatic part combining
1262 @cindex part combiner
1264 Automatic part combining is used to merge two parts of music onto a
1265 staff. It is aimed at typesetting orchestral scores. When the two
1266 parts are identical for a period of time, only one is shown. In
1267 places where the two parts differ, they are typeset as separate
1268 voices, and stem directions are set automatically. Also, solo and
1269 @emph{a due} parts are identified and can be marked.
1271 The syntax for part combining is
1274 \partcombine @var{musicexpr1} @var{musicexpr2}
1278 The following example demonstrates the basic functionality of the part
1279 combiner: putting parts on one staff, and setting stem directions and
1282 @lilypond[quote,verbatim,ragged-right,fragment]
1283 \new Staff \partcombine
1284 \relative g' { g g a( b) c c r r }
1285 \relative g' { g g r4 r e e g g }
1288 The first @code{g} appears only once, although it was
1289 specified twice (once in each part). Stem, slur, and tie directions are
1290 set automatically, depending whether there is a solo or unisono. The
1291 first part (with context called @code{one}) always gets up stems, and
1292 `Solo', while the second (called @code{two}) always gets down stems and
1295 If you just want the merging parts, and not the textual markings, you
1296 may set the property @code{printPartCombineTexts} to false
1298 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1300 \set Staff.printPartCombineTexts = ##f
1302 \relative g' { g a( b) r }
1303 \relative g' { g r4 r f }
1307 To change the text that is printed for solos or merging, you may
1308 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1311 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1313 \set Score.soloText = #"ichi"
1314 \set Score.soloIIText = #"ni"
1315 \set Score.aDueText = #"tachi"
1317 \relative g' { g4 g a( b) r }
1318 \relative g' { g4 g r r f }
1322 Both arguments to @code{\partcombine} will be interpreted as
1323 @internalsref{Voice} contexts. If using relative octaves,
1324 @code{\relative} should be specified for both music expressions, i.e.,
1328 \relative @dots{} @var{musicexpr1}
1329 \relative @dots{} @var{musicexpr2}
1333 A @code{\relative} section that is outside of @code{\partcombine} has
1334 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1338 Program reference: @internalsref{PartCombineMusic}.
1342 When @code{printPartCombineTexts} is set, when the two voices play the
1343 same notes on and off, the part combiner may typeset @code{a2} more
1344 than once in a measure.
1346 @code{\partcombine} cannot be inside @code{\times}.
1348 @code{\partcombine} cannot be inside @code{\relative}.
1350 Internally, the @code{\partcombine} interprets both arguments as
1351 @code{Voice}s named @code{one} and @code{two}, and then decides when
1352 the parts can be combined. Consequently, if the arguments switch to
1353 differently named @internalsref{Voice} contexts, the events in those
1358 @subsection Hiding staves
1360 @cindex Frenched scores
1361 @cindex Hiding staves
1363 In orchestral scores, staff lines that only have rests are usually
1364 removed; this saves some space. This style is called `French Score'.
1365 For @internalsref{Lyrics},
1366 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1367 switched on by default. When the lines of these contexts turn out
1368 empty after the line-breaking process, they are removed.
1370 For normal staves, a specialized @internalsref{Staff} context is
1371 available, which does the same: staves containing nothing (or only
1372 multi-measure rests) are removed. The context definition is stored in
1373 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1374 in this example disappears in the second line
1376 @lilypond[quote,ragged-right,verbatim]
1378 \context { \RemoveEmptyStaffContext }
1383 \new Staff { e4 f g a \break c1 }
1384 \new Staff { c4 d e f \break R1 }
1389 The first system shows all staves in full. If empty staves should be
1390 removed from the first system too, set @code{remove-first} to true in
1391 @internalsref{VerticalAxisGroup}.
1394 \override Score.VerticalAxisGroup #'remove-first = ##t
1397 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1398 or @code{\RemoveEmptyRhythmicStaffContext}.
1400 Another application is making ossia sections, i.e., alternative
1401 melodies on a separate piece of staff, with help of a Frenched
1402 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1405 @node Quoting other voices
1406 @subsection Quoting other voices
1410 With quotations, fragments of other parts can be inserted into a part
1411 directly. Before a part can be quoted, it must be marked especially as
1412 quotable. This is done with the @code{\addquote} command.
1415 \addquote @var{name} @var{music}
1420 Here, @var{name} is an identifying string. The @var{music} is any kind
1421 of music. Here is an example of @code{\addquote}
1424 \addquote clarinet \relative c' @{
1429 This command must be entered at toplevel, i.e., outside any music
1432 After calling @code{\addquote}, the quotation may then be done with
1433 @code{\quoteDuring} or @code{\cueDuring},
1436 \quoteDuring #@var{name} @var{music}
1439 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1443 \quoteDuring #"clarinet" @{ s2. @}
1446 This would cite three quarter notes (the duration of @code{s2.}) of
1447 the previously added @code{clarinet} voice.
1450 More precisely, it takes the current time-step of the part being
1451 printed, and extracts the notes at the corresponding point of the
1452 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1453 should be the entire part of the voice to be quoted, including any
1454 rests at the beginning.
1456 Quotations take into account the transposition of both source and target
1457 instruments, if they are specified using the @code{\transposition} command.
1459 @lilypond[quote,ragged-right,verbatim]
1460 \addquote clarinet \relative c' {
1466 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1470 The type of events that are present in cue notes can be trimmed with
1471 the @code{quotedEventTypes} property. The default value is
1472 @code{(note-event rest-event)}, which means that only notes and
1473 rests of the cued voice end up in the @code{\quoteDuring}.
1477 \set Staff.quotedEventTypes =
1478 #'(note-event articulation-event dynamic-event)
1482 will quote notes (but no rests), together with scripts and dynamics.
1486 Only the contents of the first @internalsref{Voice} occurring in an
1487 @code{\addquote} command will be considered for quotation, so
1488 @var{music} can not contain @code{\new} and @code{\context Voice}
1489 statements that would switch to a different Voice.
1491 Quoting grace notes is broken and can even cause LilyPond to crash.
1495 In this manual: @ref{Instrument transpositions}.
1497 Examples: @inputfileref{input/@/regression,quote@/.ly}
1498 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1500 Program reference: @internalsref{QuoteMusic}.
1503 @node Formatting cue notes
1504 @subsection Formatting cue notes
1506 @cindex cues, formatting
1508 The previous section deals with inserting notes from another voice.
1509 There is a more advanced music function called @code{\cueDuring},
1510 which makes formatting cue notes easier.
1515 \cueDuring #@var{name} #@var{updown} @var{music}
1518 This will insert notes from the part @var{name} into a
1519 @internalsref{Voice} called @code{cue}. This happens simultaneously
1520 with @var{music}, which usually is a rest. When the cue notes start,
1521 the staff in effect becomes polyphonic for a moment. The argument
1522 @var{updown} determines whether the cue notes should be notated as a
1523 first or second voice.
1526 @lilypond[verbatim,ragged-right]
1529 \override Stem #'length-fraction = #0.8
1530 \override Beam #'thickness = #0.384
1531 \override Beam #'length-fraction = #0.8
1534 \addquote clarinet \relative {
1539 \new Staff \relative <<
1541 % setup a context for cue notes.
1542 \new Voice = "cue" { \smaller \skip 1*21 }
1544 \set Score.skipBars = ##t
1548 \cueDuring #"clarinet" #1 {
1557 Here are a couple of hints for successful cue notes
1561 Cue notes have smaller font sizes.
1563 the cued part is marked with the instrument playing the cue.
1565 when the original part takes over again, this should be marked with
1566 the name of the original instrument.
1568 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1570 @c Yes, this is good practice. Otherwise, the start of the original
1571 @c part can only be seen from the font size. This is not good enough
1572 @c for sight-reading. It is possilbe to use other
1573 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1579 Any other changes introduced by the cued part should also be
1580 undone. For example, if the cued instrument plays in a different clef,
1581 the original clef should be stated once again.
1586 @node Aligning to cadenzas
1587 @subsection Aligning to cadenzas
1589 In an orchestral context, cadenzas present a special problem:
1590 when constructing a score that includes a cadenza, all other
1591 instruments should skip just as many notes as the length of the
1592 cadenza, otherwise they will start too soon or too late.
1594 A solution to this problem are the functions @code{mmrest-of-length}
1595 and @code{skip-of-length}. These Scheme functions take a piece of music
1596 as argument, and generate a @code{\skip} or multi-rest, exactly as
1597 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1598 in the following example.
1600 @lilypond[verbatim,ragged-right,quote]
1601 cadenza = \relative c' {
1602 c4 d8 << { e f g } \\ { d4. } >>
1607 \new Staff { \cadenza c'4 }
1609 #(ly:export (mmrest-of-length cadenza))
1618 @node Contemporary notation
1619 @section Contemporary notation
1621 In the 20th century, composers have greatly expanded the musical
1622 vocabulary. With this expansion, many innovations in musical notation
1623 have been tried. The book ``Music Notation in the 20th century'' by
1624 Kurt Stone gives a comprehensive overview (see @ref{Literature
1627 This section describes notation that does
1628 not fit into traditional notation categories, such as pitches,
1629 tuplet beams, and articulation. For contemporary notation
1630 that fits into traditional notation categories, such as
1631 microtones, nested tuplet beams, and unusual fermatas, please
1632 see those sections of the documentation.
1635 * Polymetric notation::
1636 * Time administration::
1637 * Proportional notation::
1639 * Special noteheads::
1642 * Selecting notation font size::
1646 @node Polymetric notation
1647 @subsection Polymetric notation
1649 Double time signatures are not supported explicitly, but they can be
1650 faked. In the next example, the markup for the time signature is
1651 created with a markup text. This markup text is inserted in the
1652 @internalsref{TimeSignature} grob. See also
1653 @inputfileref{input/@/test,compound@/-time@/.ly}).
1655 @lilypond[verbatim,ragged-right]
1658 \override #'(baseline-skip . 2) \number {
1661 \bracket \column { "5" "8" }
1666 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1667 \override Staff.TimeSignature #'text = #tsMarkup
1669 c'2 \bar ":" c'4 c'4.
1673 Each staff can also have its own time signature. This is done by
1674 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1680 \remove "Timing_translator"
1681 \remove "Default_bar_line_engraver"
1685 \consists "Timing_translator"
1686 \consists "Default_bar_line_engraver"
1693 Now, each staff has its own time signature.
1706 c4. c8 c c c4. c8 c c
1711 @lilypond[quote,ragged-right]
1715 \remove "Timing_translator"
1716 \remove "Default_bar_line_engraver"
1719 \consists "Timing_translator"
1720 \consists "Default_bar_line_engraver"
1735 c4. c8 c c c4. c8 c c
1741 A different form of polymetric notation is where note lengths have
1742 different values across staves.
1744 This notation can be created by setting a common time signature for
1745 each staff but replacing it manually using
1746 @code{timeSignatureFraction} to the desired fraction. Then the printed
1747 durations in each staff are scaled to the common time signature.
1748 The latter is done with @code{\compressMusic}, which is used similar
1749 to @code{\times}, but does not create a tuplet bracket. The syntax is
1751 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1756 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1757 used in parallel. In the second staff, shown durations are multiplied by
1758 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1759 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1761 @lilypond[quote,ragged-right,verbatim,fragment]
1769 \set Staff.timeSignatureFraction = #'(9 . 8)
1770 \compressMusic #'(2 . 3)
1771 \repeat unfold 6 { c8[ c c] }
1775 \set Staff.timeSignatureFraction = #'(10 . 8)
1776 \compressMusic #'(3 . 5) {
1777 \repeat unfold 2 { c8[ c c] }
1778 \repeat unfold 2 { c8[ c] }
1779 | c4. c4. \times 2/3 { c8 c c } c4
1790 When using different time signatures in parallel, the spacing is
1791 aligned vertically, but bar lines distort the regular spacing.
1794 @node Time administration
1795 @subsection Time administration
1797 @cindex Time administration
1799 Time is administered by the @internalsref{Time_signature_engraver},
1800 which usually lives in the @internalsref{Score} context. The
1801 bookkeeping deals with the following variables
1804 @item currentBarNumber
1808 The length of the measures in the current time signature. For a 4/4
1809 time this is@tie{}1, and for 6/8 it is 3/4.
1811 @item measurePosition
1812 The point within the measure where we currently are. This quantity
1813 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1814 happens, @code{currentBarNumber} is incremented.
1817 If set to true, the above variables are updated for every time
1818 step. When set to false, the engraver stays in the current measure
1822 Timing can be changed by setting any of these variables explicitly.
1823 In the next example, the 4/4 time signature is printed, but
1824 @code{measureLength} is set to 5/4. After a while, the measure is
1825 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1826 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1827 3/8 arises because 5/4 normally has 10/8, but we have manually
1828 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1830 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1831 \set Score.measureLength = #(ly:make-moment 5 4)
1835 \set Score.measurePosition = #(ly:make-moment 7 8)
1841 As the example illustrates, @code{ly:make-moment n m} constructs a
1842 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
1844 note duration and @code{ly:make-moment 7 16} is the duration of
1845 seven sixteenths notes.
1848 @node Proportional notation
1849 @subsection Proportional notation
1850 @cindex Proportional notation
1852 Notes can be spaced proportional to their time-difference by
1853 assigning a duration to @code{proportionalNotationDuration}
1855 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1857 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1858 \new Staff { c8[ c c c c c] c4 c2 r2 }
1859 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1865 @subsection Clusters
1869 A cluster indicates a continuous range of pitches to be played. They
1870 can be denoted as the envelope of a set of notes. They are entered by
1871 applying the function @code{makeClusters} to a sequence of
1873 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1874 \makeClusters { <c e > <b f'> }
1877 The following example (from
1878 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1881 @lilypondfile[ragged-right,quote]{cluster.ly}
1883 Ordinary notes and clusters can be put together in the same staff,
1884 even simultaneously. In such a case no attempt is made to
1885 automatically avoid collisions between ordinary notes and clusters.
1889 Program reference: @internalsref{ClusterSpanner},
1890 @internalsref{ClusterSpannerBeacon},
1891 @internalsref{Cluster_spanner_engraver}.
1893 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1897 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1898 accurately. Use @code{<g a>8 <e a>8} instead.
1901 @node Special noteheads
1902 @subsection Special noteheads
1904 @cindex note heads, special
1906 Different noteheads are used by various instruments for various
1907 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1908 notes on guitar; diamonds are used for harmonics on string instruments,
1909 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1910 other notehead styles are produced by tweaking the property
1912 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1914 \override NoteHead #'style = #'cross
1916 \revert NoteHead #'style
1917 e d <c f\harmonic> <d a'\harmonic>
1921 To see all notehead styles, please see
1922 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1927 Program reference: @internalsref{NoteHead}.
1930 @node Feathered beams
1931 @subsection Feathered beams
1933 Feathered beams are printed by setting the @code{grow-direction}
1934 property of a @code{Beam}. The @code{\featherDurations} function
1935 can be used to adjust note durations.
1937 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1938 \featherDurations #(ly:make-moment 5 4)
1940 \override Beam #'grow-direction = #LEFT
1947 The @code{\featherDuration} command only works with very short
1951 @subsection Improvisation
1953 Improvisation is sometimes denoted with slashed note heads. Such note
1954 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1955 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1959 \set squashedPosition = #0
1960 \override NoteHead #'style = #'slash
1964 switches on the slashes.
1966 There are shortcuts @code{\improvisationOn} (and an accompanying
1967 @code{\improvisationOff}) for this command sequence. They are used in
1968 the following example
1970 @lilypond[verbatim,ragged-right,quote]
1972 \consists Pitch_squash_engraver
1974 e8 e g a a16(bes)(a8) g \improvisationOn
1977 ~fis2 \improvisationOff a16(bes) a8 g e
1982 @node Selecting notation font size
1983 @subsection Selecting notation font size
1985 The easiest method of setting the font size of any context is by
1986 setting the @code{fontSize} property.
1988 @lilypond[quote,fragment,relative=1,verbatim]
1997 It does not change the size of variable symbols, such as beams or
2000 Internally, the @code{fontSize} context property will cause the
2001 @code{font-size} property to be set in all layout objects. The value
2002 of @code{font-size} is a number indicating the size relative to the
2003 standard size for the current staff height. Each step up is an
2004 increase of approximately 12% of the font size. Six steps is exactly a
2005 factor two. The Scheme function @code{magstep} converts a
2006 @code{font-size} number to a scaling factor.
2008 @lilypond[quote,fragment,relative=1,verbatim]
2010 \override NoteHead #'font-size = #-4
2012 \override NoteHead #'font-size = #3
2016 Font size changes are achieved by scaling the design size that is
2017 closest to the desired size. The standard font size (for
2018 @code{font-size} equals 0), depends on the standard staff height. For
2019 a 20pt staff, a 10pt font is selected.
2021 The @code{font-size} property can only be set on layout objects that
2022 use fonts. These are the ones supporting the
2023 @internalsref{font-interface} layout interface.
2027 The following commands set @code{fontSize} for the current voice:
2033 @funindex \normalsize
2038 @node Educational use
2039 @section Educational use
2041 With the amount of control that LilyPond offers, one can make great
2042 teaching tools in addition to great musical scores.
2046 * Blank music sheet::
2048 * Shape note heads::
2049 * Easy Notation note heads::
2050 * Analysis brackets::
2051 * Coloring objects::
2056 @subsection Balloon help
2058 Elements of notation can be marked and named with the help of a square
2059 balloon. The primary purpose of this feature is to explain notation.
2061 The following example demonstrates its use.
2063 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2064 \applyOutput #'Voice
2065 #(add-balloon-text 'NoteHead "heads, or tails?"
2071 The function @code{add-balloon-text} takes the name of a grob, the
2072 label to print, and the position where to put the label relative to
2073 the object. In the above example, the text ``heads or tails?'' ends
2074 3 spaces below and 1 space to the right of the marked head.
2077 @cindex notation, explaining
2081 Program reference: @internalsref{text-balloon-interface}.
2083 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
2088 @node Blank music sheet
2089 @subsection Blank music sheet
2091 @cindex Sheet music, empty
2092 @cindex Staves, blank sheet
2094 A blank music sheet can be produced also by using invisible notes, and
2095 removing @code{Bar_number_engraver}.
2098 @lilypond[quote,verbatim]
2100 \repeat unfold 2 % Change this for more lines.
2105 \override TimeSignature #'transparent = ##t
2106 defaultBarType = #""
2107 \remove Bar_number_engraver
2109 \new Staff \emptymusic
2110 \new TabStaff \emptymusic
2116 @subsection Hidden notes
2118 @cindex Hidden notes
2119 @cindex Invisible notes
2120 @cindex Transparent notes
2122 @funindex \hideNotes
2123 @funindex \unHideNotes
2124 Hidden (or invisible or transparent) notes can be useful in preparing theory
2125 or composition exercises.
2127 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2136 @node Shape note heads
2137 @subsection Shape note heads
2139 @cindex note heads, shape
2141 In shape note head notation, the shape of the note head corresponds
2142 to the harmonic function of a note in the scale. This notation was
2143 popular in the 19th century American song books.
2145 Shape note heads can be produced by setting @code{\aikenHeads} or
2146 @code{\sacredHarpHeads}, depending on the style desired.
2148 @lilypond[verbatim,relative=1,fragment]
2155 Shapes are determined on the step in the scale, where the base of the
2156 scale is determined by the @code{\key} command
2159 @funindex shapeNoteStyles
2160 @funindex \aikenHeads
2161 @funindex \sacredHarpHeads
2163 Shape note heads are implemented through the @code{shapeNoteStyles}
2164 property. Its value is a vector of symbols. The k-th element indicates
2165 the style to use for the k-th step of the scale. Arbitrary
2166 combinations are possible, e.g.
2168 @lilypond[verbatim,relative=1,fragment]
2169 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2174 @node Easy Notation note heads
2175 @subsection Easy Notation note heads
2177 @cindex note heads, practice
2178 @cindex note heads, easy notation
2179 @cindex easy notation
2182 The `easy play' note head includes a note name inside the head. It is
2183 used in music for beginners
2185 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2190 The command @code{\setEasyHeads} overrides settings for the
2191 @internalsref{NoteHead} object. To make the letters readable, it has
2192 to be printed in a large font size. To print with a larger font, see
2193 @ref{Setting global staff size}.
2197 @funindex \setEasyHeads
2198 @code{\setEasyHeads}
2201 @node Analysis brackets
2202 @subsection Analysis brackets
2204 @cindex phrasing brackets
2205 @cindex musicological analysis
2206 @cindex note grouping bracket
2208 Brackets are used in musical analysis to indicate structure in musical
2209 pieces. LilyPond supports a simple form of nested horizontal
2210 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2211 to @internalsref{Staff} context. A bracket is started with
2212 @code{\startGroup} and closed with @code{\stopGroup}
2214 @lilypond[quote,ragged-right,verbatim]
2217 c4\startGroup\startGroup
2220 c4\stopGroup\stopGroup
2224 \Staff \consists "Horizontal_bracket_engraver"
2230 Program reference: @internalsref{HorizontalBracket}.
2232 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2235 @node Coloring objects
2236 @subsection Coloring objects
2238 Individual objects may be assigned colors. You may use the
2239 color names listed in the @ref{List of colors}.
2241 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2242 \override NoteHead #'color = #red
2244 \override NoteHead #'color = #(x11-color 'LimeGreen)
2246 \override Stem #'color = #blue
2250 The full range of colors defined for X11 can be accessed by using the
2251 Scheme function x11-color. The function takes one argument that can be a
2255 \override Beam #'color = #(x11-color 'MediumTurquoise)
2261 \override Beam #'color = #(x11-color "MediumTurquoise")
2264 The first form is quicker to write and is more efficient. However, using
2265 the second form it is possible to access X11 colors by the multi-word
2269 \override Beam #'color = #(x11-color "medium turquoise")
2272 If x11-color cannot make sense of the parameter then the color returned
2273 defaults to black. It should be obvious from the final score that
2276 This example illustrates the use of x11-color. Notice that the stem
2277 color remains black after being set to (x11-color 'Boggle), which is
2278 deliberate nonsense.
2280 @lilypond[quote,ragged-right,verbatim]
2282 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2283 \set Staff.instrumentName = \markup {
2284 \with-color #(x11-color 'navy) "Clarinet"
2288 \override Beam #'color = #(x11-color "medium turquoise")
2290 \override NoteHead #'color = #(x11-color "LimeGreen")
2292 \override Stem #'color = #(x11-color 'Boggle)
2300 Appendix: @ref{List of colors}.
2304 Not all x11 colors are distinguishable in a web browser. For web use
2305 normal colors are recommended.
2307 An x11 color is not necessarily exactly the same shade as a similarly
2310 Notes in a chord cannot be colored with @code{\override}; use
2311 @code{\tweak} instead. See @ref{Objects connected to the input}
2316 @subsection Parentheses
2319 @cindex notes, ghost
2320 @cindex notes, parenthesized
2322 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2325 @lilypond[relative=2,fragment,verbatim,ragged-right]
2333 This only functions inside chords, even for single notes
2336 < \parenthesize NOTE>