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 * Page wrapping text::
50 * Overview of text markup commands::
51 * Overview of text markup list commands::
58 @subsection Text scripts
61 @cindex text items, non-empty
62 @cindex non-empty texts
64 It is possible to place arbitrary strings of text or @ref{Text markup},
65 above or below notes by using a string @code{c^"text"}. By default,
66 these indications do not influence the note spacing, but by using the
67 command @code{\fatText}, the widths will be taken into account
69 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
70 c4^"longtext" \fatText c4_"longlongtext" c4
74 To prevent text from influencing spacing, use @code{\emptyText}.
76 More complex formatting may also be added to a note by using the
78 @lilypond[fragment,ragged-right,verbatim,quote]
79 c'4^\markup { bla \bold bla }
82 The @code{\markup} is described in more detail in
96 Checking to make sure that text scripts and lyrics are within the margins is
97 a relatively large computational task. To speed up processing, lilypond does
98 not perform such calculations by default; to enable it, use
101 \override Score.PaperColumn #'keep-inside-line = ##t
107 In this manual: @ref{Text markup}.
109 Program reference: @internalsref{TextScript}.
112 @node Text and line spanners
113 @subsection Text and line spanners
115 Some performance indications, e.g., @i{rallentando} and
116 @i{accelerando} and @i{trills} are written as text and are extended
117 over many measures with lines, sometimes dotted or wavy.
119 These all use the same routines as the glissando for drawing the texts
120 and the lines, and tuning their behavior is therefore also done in the
121 same way. It is done with a spanner, and the routine responsible for
122 drawing the spanners is @code{ly:line-interface::print}. This
123 routine determines the exact location of the two @i{span
124 points} and draws a line in between, in the style requested.
126 Here is an example of the different line styles available, and how to
129 @lilypond[relative=2,ragged-right,verbatim,fragment]
131 \once \override Glissando #'dash-fraction = #0.5
133 \override Glissando #'style = #'dotted-line
135 \override Glissando #'style = #'zigzag
137 \override Glissando #'style = #'trill
141 The information that determines the end-points is computed on-the-fly
142 for every graphic object, but it is possible to override these.
144 @lilypond[relative=2,ragged-right,verbatim,fragment]
146 \once \override Glissando #'bound-details #'right #'Y = #-2
150 The @code{Glissando} object, like any other using the
151 @code{ly:line-interface::print} routine, carries a nested
152 association list. In the above statement, the value for @code{Y}
153 is set to @code{-2} for the association list corresponding to the right
154 end point. Of course, it is also possible to adjust the left side with
155 @code{left} instead of @code{right}.
157 If @code{Y} is not set, the value is computed from the vertical
158 position of right attachment point of the spanner.
160 In case of a line break, the values for the span-points are extended
161 with contents of the @code{left-broken} and @code{right-broken}
162 sublists, for example
164 @lilypond[relative=2,ragged-right,verbatim,fragment]
165 \override Glissando #'breakable = ##T
166 \override Glissando #'bound-details #'right-broken #'Y = #-3
171 The following properties can be used for the
175 This sets the Y-coordinate of the end point, in staff space. By
176 default, it is the center of the bound object, so for a glissando it
177 points to the vertical center of the note head.
179 For horizontal spanners, such as text spanner and trill spanners, it
183 This determines where the line starts and ends in X-direction,
184 relative to the bound object. So, a value of @code{-1} (or
185 @code{LEFT}) makes the line start/end at the left side of the note
186 head it is attached to.
189 This is the absolute coordinate of the end point. It is usually
190 computed on the fly, and there is little use in overriding it.
193 Line spanners may have symbols at the beginning or end, which is
194 contained in this sub-property. This is for internal use, it is
195 recommended to use @code{text}.
198 This is a markup that is evaluated to yield stencil. It is
199 used to put @i{cresc.} and @i{tr} on horizontal spanners.
201 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
202 \override TextSpanner #'bound-details #'left #'text
203 = \markup { \small \bold Slower }
204 c2\startTextSpan b c a\stopTextSpan
207 @item stencil-align-dir-y
209 Without setting this, the stencil is simply put there at the
210 end-point, as defined by the @code{X} and @code{Y} sub properties.
211 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
212 will move the symbol at the edge relative to the end point of the line
214 @lilypond[relative=1,fragment,verbatim]
215 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
216 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
218 \override TextSpanner #'bound-details #'left #'text = #"gggg"
219 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
220 c4^\startTextSpan c c c \stopTextSpan
224 Setting this sub property to @code{#t} produce an arrowhead at the end
228 This sub property controls the space between the specified end-point
229 of the line and the actual end. Without padding, a glissando would
230 start and end in the center of each note head.
236 Program reference: @internalsref{TextSpanner},
237 @internalsref{Glissando}, @internalsref{VoiceFollower},
238 @internalsref{TrillSpanner}, @internalsref{line-spanner-interface}.
240 Examples: @lsr{expressive,line-styles.ly}, @lsr{expressive,line-arrows.ly}
244 @subsection Text spanners
246 @cindex Text spanners
248 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
249 are written as text and are extended over many measures with dotted
250 lines. Such texts are created using text spanners; attach
251 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
252 notes of the spanner.
254 The string to be printed, as well as the style, is set through object
257 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
260 \override TextSpanner #'bound-details #'left #'text =
261 \markup { \upright "rall" }
262 c2\startTextSpan b c\stopTextSpan a
265 \override TextSpanner #'bound-details #'left #'text =
266 \markup { \italic "rit" }
267 c2\startTextSpan b c\stopTextSpan a
272 @funindex textSpannerUp
273 @code{\textSpannerUp},
274 @funindex textSpannerDown
275 @code{\textSpannerDown},
276 @funindex textSpannerNeutral
277 @code{\textSpannerNeutral}.
282 To print a solid line, use
285 \override TextSpanner #'dash-fraction = #'()
291 Program reference: @internalsref{TextSpanner}.
295 @subsection Text marks
297 @cindex coda on bar line
298 @cindex segno on bar line
299 @cindex fermata on bar line
300 @cindex bar lines, symbols on
303 The @code{\mark} command is primarily used for
304 @ref{Rehearsal marks},
305 but it can also be used to put signs like coda,
306 segno, and fermata on a bar line. Use @code{\markup} to
307 access the appropriate symbol (symbols are listed in
308 @ref{The Feta font}).
310 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
311 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
316 @code{\mark} is only typeset above the top stave of the score. If
317 you specify the @code{\mark} command at a bar line, the resulting
318 mark is placed above the bar line. If you specify it in the middle
319 of a bar, the resulting mark is positioned between notes. If it is
320 specified before the beginning of a score line, it is placed
321 before the first note of the line. Finally, if the mark occurs at
322 a line break, the mark will be printed at the
323 beginning of the next line.
324 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
325 @c delete this sentence. -gp
326 If there is no next line, then the mark will not be printed at all.
331 To print the mark at the end of the current line, use
334 \override Score.RehearsalMark
335 #'break-visibility = #begin-of-line-invisible
338 @code{\mark} is often useful for adding text to the end of bar. In
339 such cases, changing the @code{#'self-alignment} is very useful
341 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
342 \override Score.RehearsalMark
343 #'break-visibility = #begin-of-line-invisible
345 \once \override Score.RehearsalMark #'self-alignment-X = #right
346 \mark "D.S. al Fine "
349 Text marks may be aligned with notation objects other than
352 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
357 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
361 \override Score.RehearsalMark #'break-align-symbol = #'clef
365 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
374 Although text marks are normally only printed above the topmost
375 staff, you may alter this to print them on every staff,
377 @lilypond[quote,ragged-right,verbatim,relative=2]
380 \remove "Mark_engraver"
384 \consists "Mark_engraver"
386 { c''1 \mark "foo" c'' }
388 \consists "Mark_engraver"
390 { c'1 \mark "foo" c' }
398 Program reference: @internalsref{RehearsalMark}.
402 @subsection Text markup
409 Use @code{\markup} to typeset text. Commands are entered with the
410 backslash @code{\}. To enter @code{\} and @code{#}, use double
413 @lilypond[quote,verbatim,fragment,relative=1]
415 c1_\markup { hi there }
416 c1^\markup { hi \bold there, is \italic {anyone home?} }
417 c1_\markup { "\special {weird} #characters" }
421 See @ref{Overview of text markup commands}, for a list of all
424 @code{\markup} is primarily used for @internalsref{TextScript}s,
425 but it can also be used anywhere text is called in lilypond
427 @lilypond[quote,verbatim]
428 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
431 \override Score.RehearsalMark
432 #'break-visibility = #begin-of-line-invisible
433 \override Score.RehearsalMark #'self-alignment-X = #right
435 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
436 c2^\markup{ don't be \flat }
437 \override TextSpanner #'bound-details #'left #'text = \markup{\italic rit }
439 a2\mark \markup{ \large \bold Fine }
443 \addlyrics { bar, foo \markup{ \italic bar! } }
447 A @code{\markup} command can also be placed on its own, away from any
448 @code{\score} block, see @ref{Multiple scores in a book}.
450 @lilypond[quote,ragged-right,verbatim]
451 \markup{ Here is some text. }
454 @cindex font switching
456 The markup in the example demonstrates font switching commands. The
457 command @code{\bold} and @code{\italic} apply to the first following
458 word only; to apply a command to more than one word, enclose the
462 \markup @{ \bold @{ hi there @} @}
466 For clarity, you can also do this for single arguments, e.g.,
469 \markup @{ is \italic @{ anyone @} home @}
472 In markup mode you can compose expressions, similar to mathematical
473 expressions, XML documents, and music expressions. You can stack
474 expressions grouped vertically with the command @code{\column}.
475 Similarly, @code{\center-align} aligns texts by their center lines:
477 @lilypond[quote,verbatim,fragment,relative=1]
478 c1^\markup { \column { a bbbb \line { c d } } }
479 c1^\markup { \center-align { a bbbb c } }
480 c1^\markup { \line { a b c } }
483 Lists with no previous command are not kept distinct. The expression
486 \center-align @{ @{ a b @} @{ c d @} @}
494 \center-align @{ a b c d @}
499 To keep lists of words distinct, please use quotes @code{"} or
500 the @code{\line} command
502 @lilypond[quote,verbatim,fragment,relative=1]
504 c4^\markup{ \center-align { on three lines } }
505 c4^\markup{ \center-align { "all one line" } }
506 c4^\markup{ \center-align { { on three lines } } }
507 c4^\markup{ \center-align { \line { on one line } } }
510 Markups can be stored in variables and these variables
511 may be attached to notes, like
513 allegro = \markup @{ \bold \large @{ Allegro @} @}
514 @{ a^\allegro b c d @}
517 Some objects have alignment procedures of their own, which cancel out
518 any effects of alignments applied to their markup arguments as a
519 whole. For example, the @internalsref{RehearsalMark} is horizontally
520 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
523 In addition, vertical placement is performed after creating the
524 text markup object. If you wish to move an entire piece of markup,
525 you need to use the #'padding property or create an @q{anchor} point
526 inside the markup (generally with @code{\hspace #0}).
528 @lilypond[quote,verbatim,fragment,relative=1]
530 c'4^\markup{ \raise #5 "not raised" }
531 \once \override TextScript #'padding = #3
532 c'4^\markup{ raised }
533 c'4^\markup{ \hspace #0 \raise #1.5 raised }
536 Some situations (such as dynamic marks) have preset font-related
537 properties. If you are creating text in such situations, it
538 is advisable to cancel those properties with
539 @code{normal-text}. See @ref{Overview of text markup commands},
545 This manual: @ref{Overview of text markup commands}.
547 Program reference: @internalsref{TextScript}.
549 Init files: @file{scm/@/new@/-markup@/.scm}.
554 Kerning or generation of ligatures is only done when the @TeX{}
555 backend is used. In this case, LilyPond does not account for them so
556 texts will be spaced slightly too wide.
558 Syntax errors for markup mode are confusing.
562 @subsection Nested scores
564 It is possible to nest music inside markups, by adding a @code{\score}
565 block to a markup expression. Such a score must contain a @code{\layout}
568 @lilypond[quote,verbatim,ragged-right]
572 \relative { c4 d e f }
580 @node Page wrapping text
581 @subsection Page wrapping text
582 Whereas @code{\markup} is used to enter a non-breakable block of text,
583 @code{\markuplines} can be used at top-level to enter lines of text that
584 can spread over multiple pages:
589 A very long text of justified lines.
593 An other very long paragraph.
600 @code{\markuplines} accepts a list of markup, that is either the result
601 of a markup list command, or a list of markups or of markup lists. The
602 built-in markup list commands are described in
603 @ref{Overview of text markup list commands}.
607 This manual: @ref{Overview of text markup list commands},
608 @ref{New markup list command definition}.
612 @funindex \markuplines
615 @node Overview of text markup commands
616 @subsection Overview of text markup commands
618 The following commands can all be used inside @code{\markup @{ @}}.
620 @include markup-commands.tely
622 @node Overview of text markup list commands
623 @subsection Overview of text markup list commands
625 The following commands can all be used with @code{\markuplines}.
627 @include markup-list-commands.tely
630 @subsection Font selection
632 @cindex font selection
633 @cindex font magnification
634 @funindex font-interface
636 By setting the object properties described below, you can select a
637 font from the preconfigured font families. LilyPond has default
638 support for the feta music fonts. Text fonts are selected through
639 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
640 the sans and typewriter to whatever the Pango installation defaults
645 @item @code{font-encoding}
646 is a symbol that sets layout of the glyphs. This should only be set to
647 select different types of non-text fonts, e.g.
649 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
650 standard music font, including ancient glyphs, @code{fetaDynamic} for
651 dynamic signs and @code{fetaNumber} for the number font.
653 @item @code{font-family}
654 is a symbol indicating the general class of the typeface. Supported are
655 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
657 @item @code{font-shape}
658 is a symbol indicating the shape of the font. There are typically
659 several font shapes available for each font family. Choices are
660 @code{italic}, @code{caps}, and @code{upright}.
662 @item @code{font-series}
663 is a symbol indicating the series of the font. There are typically
664 several font series for each font family and shape. Choices are
665 @code{medium} and @code{bold}.
669 Fonts selected in the way sketched above come from a predefined style
670 sheet. If you want to use a font from outside the style sheet,
672 @code{font-name} property,
674 @lilypond[fragment,verbatim]
676 \override Staff.TimeSignature #'font-name = #"Charter"
677 \override Staff.TimeSignature #'font-size = #2
680 \override #'(font-name . "Vera Bold")
681 { This text is in Vera Bold }
687 Any font can be used, as long as it is available to Pango/FontConfig.
688 To get a full list of all available fonts, run the command
690 lilypond -dshow-available-fonts blabla
692 (the last argument of the command can be anything, but has to be present).
695 The size of the font may be set with the @code{font-size}
696 property. The resulting size is taken relative to the
697 @code{text-font-size} as defined in the @code{\paper} block.
700 @cindex font magnification
703 It is also possible to change the default font family for the entire
704 document. This is done by calling the @code{make-pango-font-tree} from
705 within the @code{\paper} block. The function takes names for the font
706 families to use for roman, sans serif and monospaced text. For
709 @cindex font families, setting
718 (make-pango-font-tree "Times New Roman"
725 c'^\markup { roman: foo \sans bla \typewriter bar }
729 @c we don't do Helvetica / Courier, since GS incorrectly loads
736 Examples: @lsr{text,font@/-family@/-override.ly}.
739 @node New dynamic marks
740 @subsection New dynamic marks
742 It is possible to print new dynamic marks or text that should be aligned
743 with dynamics. Use @code{make-dynamic-script} to create these
744 marks. Note that the dynamic font only contains the characters
745 @code{f,m,p,r,s} and @code{z}.
747 Some situations (such as dynamic marks) have preset font-related
748 properties. If you are creating text in such situations, it
749 is advisable to cancel those properties with
750 @code{normal-text}. See @ref{Overview of text markup commands},
753 @cindex make-dynamic-script
755 @lilypond[quote,verbatim,ragged-right]
756 sfzp = #(make-dynamic-script "sfzp")
762 @cindex Dynamics, editorial
763 @cindex Dynamics, parenthesis
765 It is also possible to print dynamics in round parenthesis or square
766 brackets. These are often used for adding editorial dynamics.
768 @lilypond[quote,verbatim,ragged-right]
769 rndf = \markup{ \center-align {\line { \bold{\italic (}
770 \dynamic f \bold{\italic )} }} }
771 boxf = \markup{ \bracket { \dynamic f } }
772 { c'1_\rndf c'1_\boxf }
777 @node Preparing parts
778 @section Preparing parts
780 This section describes various notation that are useful for preparing
784 * Multi measure rests::
789 * Instrument transpositions::
791 * Different editions from one source::
795 @node Multi measure rests
796 @subsection Multi measure rests
798 @cindex multi measure rests
799 @cindex full measure rests
800 @cindex Rests, multi measure
801 @cindex Rests, full measure
802 @cindex whole rests for a full measure
805 Rests for one full measure (or many bars) are entered using @samp{R}. It
806 is specifically meant for full bar rests and for entering parts: the rest
807 can expand to fill a score with rests, or it can be printed as a single
808 multi-measure rest. This expansion is controlled by the property
809 @code{Score.skipBars}. If this is set to true, empty measures will not
810 be expanded, and the appropriate number is added automatically
812 @lilypond[quote,ragged-right,fragment,verbatim]
813 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
814 \set Score.skipBars = ##t R1*17 R1*4
817 The @code{1} in @code{R1} is similar to the duration notation used for
818 notes. Hence, for time signatures other than 4/4, you must enter other
819 durations. This can be done with augmentation dots or fractions
821 @lilypond[quote,ragged-right,fragment,verbatim]
822 \set Score.skipBars = ##t
831 An @code{R} spanning a single measure is printed as either a whole rest
832 or a breve, centered in the measure regardless of the time signature.
834 If there are only a few measures of rest, LilyPond prints @q{church rests}
835 (a series of rectangles) in the staff. To replace that with a simple
836 rest, use @code{MultiMeasureRest.expand-limit}.
838 @lilypond[quote,ragged-right,fragment,verbatim]
839 \set Score.skipBars = ##t
841 \override MultiMeasureRest #'expand-limit = 1
845 @cindex text on multi-measure rest
846 @cindex script on multi-measure rest
847 @cindex fermata on multi-measure rest
849 Texts can be added to multi-measure rests by using the
850 @var{note}-@code{markup} syntax @ref{Text markup}.
851 A variable (@code{\fermataMarkup}) is provided for
854 @lilypond[quote,ragged-right,verbatim,fragment]
855 \set Score.skipBars = ##t
857 R2.*10^\markup { \italic "ad lib." }
861 Warning! This text is created by @code{MultiMeasureRestText}, not
864 @lilypond[quote,ragged-right,verbatim,fragment]
865 \override TextScript #'padding = #5
867 \override MultiMeasureRestText #'padding = #5
871 If you want to have text on the left end of a multi-measure rest,
872 attach the text to a zero-length skip note, i.e.,
882 Program reference: @internalsref{MultiMeasureRestMusicGroup},
883 @internalsref{MultiMeasureRest}.
885 The layout object @internalsref{MultiMeasureRestNumber} is for the
886 default number, and @internalsref{MultiMeasureRestText} for user
892 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
893 over multi-measure rests. And the pitch of multi-measure rests (or
894 staff-centered rests) can not be influenced.
896 @cindex condensing rests
898 There is no way to automatically condense multiple rests into a single
899 multi-measure rest. Multi-measure rests do not take part in rest
902 Be careful when entering multi-measure rests followed by whole
903 notes. The following will enter two notes lasting four measures each
907 When @code{skipBars} is set, the result will look OK, but the bar
908 numbering will be off.
911 @node Metronome marks
912 @subsection Metronome marks
915 @cindex beats per minute
916 @cindex metronome marking
918 Metronome settings can be entered as follows
920 \tempo @var{duration} = @var{per-minute}
923 In the MIDI output, they are interpreted as a tempo change. In the
924 layout output, a metronome marking is printed
926 @lilypond[quote,ragged-right,verbatim,fragment]
933 To change the tempo in the MIDI output without printing anything, make
934 the metronome marking invisible
936 \once \override Score.MetronomeMark #'transparent = ##t
939 To print other metronome markings, use these markup commands
940 @lilypond[quote,ragged-right,verbatim,relative,fragment]
943 \smaller \general-align #Y #DOWN \note #"16." #1
945 \smaller \general-align #Y #DOWN \note #"8" #1
950 See @ref{Text markup}, for more details.
955 Program reference: @internalsref{MetronomeMark}.
960 Collisions are not checked. If you have notes above the top line of
961 the staff (or notes with articulations, slurs, text, etc), then the
962 metronome marking may be printed on top of musical symbols. If this
963 occurs, increase the padding of the metronome mark to place it
964 further away from the staff.
967 \override Score.MetronomeMark #'padding = #2.5
971 @node Rehearsal marks
972 @subsection Rehearsal marks
974 @cindex Rehearsal marks
977 To print a rehearsal mark, use the @code{\mark} command
979 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
988 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
989 If you wish to include the letter @q{I}, then use
992 \set Score.markFormatter = #format-mark-alphabet
995 The mark is incremented automatically if you use @code{\mark
996 \default}, but you can also use an integer argument to set the mark
997 manually. The value to use is stored in the property
998 @code{rehearsalMark}.
1000 The style is defined by the property @code{markFormatter}. It is a
1001 function taking the current mark (an integer) and the current context
1002 as argument. It should return a markup object. In the following
1003 example, @code{markFormatter} is set to a canned procedure. After a
1004 few measures, it is set to function that produces a boxed number.
1006 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
1007 \set Score.markFormatter = #format-mark-numbers
1010 \set Score.markFormatter = #format-mark-box-numbers
1016 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
1017 of @code{format-mark-numbers} (the default format),
1018 @code{format-mark-box-numbers},
1019 @code{format-mark-letters} and @code{format-mark-box-letters}.
1020 These can be used as inspiration for other formatting functions.
1022 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
1023 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
1024 incremented numbers or letters.
1026 Other styles of rehearsal mark can be specified manually
1033 @code{Score.markFormatter} does not affect marks specified in this manner.
1034 However, it is possible to apply a @code{\markup} to the string.
1037 \mark \markup@{ \box A1 @}
1044 Music glyphs (such as the segno sign) may be printed inside
1047 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1048 c1 \mark \markup { \musicglyph #"scripts.segno" }
1049 c1 \mark \markup { \musicglyph #"scripts.coda" }
1050 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1055 See @ref{The Feta font}, for a list of symbols which may be
1056 printed with @code{\musicglyph}.
1058 The horizontal location of rehearsal marks can be adjusted by
1059 setting @code{break-align-symbol}
1061 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1065 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
1069 \override Score.RehearsalMark #'break-align-symbol = #'clef
1075 @code{break-align-symbol} may also accept the following values:
1076 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1077 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1078 @code{key-signature}, and @code{time-signature}. Setting
1079 @code{break-align-symbol} will only have an effect if the symbol
1080 appears at that point in the music.
1085 This manual: @ref{Text marks}.
1087 Program reference: @internalsref{RehearsalMark}.
1089 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1090 definition of @code{format-mark-numbers} and
1091 @code{format-mark-letters}. They can be used as inspiration for other
1092 formatting functions.
1094 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
1098 @subsection Bar numbers
1101 @cindex measure numbers
1102 @funindex currentBarNumber
1104 Bar numbers are printed by default at the start of the line. The
1105 number itself is stored in the @code{currentBarNumber} property, which
1106 is normally updated automatically for every measure.
1108 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1109 \repeat unfold 4 {c4 c c c} \break
1110 \set Score.currentBarNumber = #50
1111 \repeat unfold 4 {c4 c c c}
1114 Bar numbers may only be printed at bar lines; to print a bar
1115 number at the beginning of a piece, an empty bar line must
1118 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1119 \set Score.currentBarNumber = #50
1121 \repeat unfold 4 {c4 c c c} \break
1122 \repeat unfold 4 {c4 c c c}
1125 Bar numbers can be typeset at regular intervals instead of at the
1126 beginning of each line. This is illustrated in the following example,
1127 whose source is available as
1128 @lsr{staff,making-bar-numbers-appear-at-regular-intervals.ly}.
1130 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1132 Bar numbers can be removed entirely by removing the Bar number
1133 engraver from the score.
1135 @lilypond[verbatim,ragged-right,quote]
1139 \remove "Bar_number_engraver"
1151 Program reference: @internalsref{BarNumber}.
1153 Examples: @lsrdir{staff}
1158 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1159 there is one at the top. To solve this, the
1160 @code{padding} property of @internalsref{BarNumber} can be
1161 used to position the number correctly.
1164 @node Instrument names
1165 @subsection Instrument names
1167 In an orchestral score, instrument names are printed at the left side
1170 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1171 and @internalsref{Staff}.@code{shortInstrumentName}, or
1172 @internalsref{PianoStaff}.@code{instrumentName} and
1173 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1175 the start of the staff. For the first staff, @code{instrumentName} is
1176 used, for the following ones, @code{shortInstrumentName} is used.
1178 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1179 \set Staff.instrumentName = "Ploink "
1180 \set Staff.shortInstrumentName = "Plk "
1186 You can also use markup texts to construct more complicated instrument
1189 @lilypond[quote,fragment,verbatim,ragged-right]
1190 \set Staff.instrumentName = \markup {
1191 \column { "Clarinetti"
1192 \line { "in B" \smaller \flat } } }
1196 If you wish to center the instrument names, you must center all of them
1198 @lilypond[quote,verbatim,ragged-right]
1201 \set Staff.instrumentName = \markup {
1202 \center-align { "Clarinetti"
1203 \line { "in B" \smaller \flat } } }
1207 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1214 For longer instrument names, it may be useful to increase the
1215 @code{indent} setting in the @code{\layout} block.
1217 To center instrument names while leaving extra space to the right,
1219 @lilypond[quote,verbatim,ragged-right]
1220 \new StaffGroup \relative
1223 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1227 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1233 To add instrument names to other contexts (such as @code{GrandStaff},
1234 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1235 be added to that context.
1239 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1244 More information about adding and removing engravers can
1245 be found in @ref{Modifying context plug-ins}.
1247 Instrument names may be changed in the middle of a piece,
1249 @lilypond[quote,fragment,verbatim,ragged-right]
1250 \set Staff.instrumentName = "First"
1251 \set Staff.shortInstrumentName = "one"
1254 \set Staff.instrumentName = "Second"
1255 \set Staff.shortInstrumentName = "two"
1263 Program reference: @internalsref{InstrumentName}.
1267 @node Instrument transpositions
1268 @subsection Instrument transpositions
1270 @cindex transposition, MIDI
1271 @cindex transposition, instrument
1273 The key of a transposing instrument can also be specified. This
1274 applies to many wind instruments, for example, clarinets (B-flat, A, and
1275 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1277 The transposition is entered after the keyword @code{\transposition}
1280 \transposition bes %% B-flat clarinet
1284 This command sets the property @code{instrumentTransposition}. The value of
1285 this property is used for MIDI output and quotations. It does not
1286 affect how notes are printed in the current staff. To change the printed
1287 output, see @ref{Transpose}.
1289 The pitch to use for @code{\transposition} should correspond to the
1290 real sound heard when a @code{c'} written on the staff is played by the
1291 transposing instrument. For example, when entering a score in
1292 concert pitch, typically all voices are entered in C, so
1293 they should be entered as
1306 The command @code{\transposition} should be used when the music is
1307 entered from a (transposed) orchestral part. For example, in
1308 classical horn parts, the tuning of the instrument is often changed
1309 during a piece. When copying the notes from the part, use
1310 @code{\transposition}, e.g.,
1322 @node Ottava brackets
1323 @subsection Ottava brackets
1325 @q{Ottava} brackets introduce an extra transposition of an octave for
1326 the staff. They are created by invoking the function
1327 @code{set-octavation}
1333 @lilypond[quote,ragged-right,verbatim,fragment]
1343 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1344 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1345 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1346 @code{centralCPosition}. For overriding the text of the bracket, set
1347 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1349 @lilypond[quote,ragged-right,verbatim]
1352 \set Staff.ottavation = #"8"
1360 Program reference: @internalsref{OttavaBracket}.
1365 @code{set-octavation} will get confused when clef changes happen
1366 during an octavation bracket.
1369 @node Different editions from one source
1370 @subsection Different editions from one source
1375 The @code{\tag} command marks music expressions with a name. These
1376 tagged expressions can be filtered out later. With this mechanism it
1377 is possible to make different versions of the same music source.
1379 In the following example, we see two versions of a piece of music, one
1380 for the full score, and one with cue notes for the instrumental part
1396 The same can be applied to articulations, texts, etc.: they are
1399 -\tag #@var{your-tag}
1401 to an articulation, for example,
1406 This defines a note with a conditional fingering indication.
1409 @cindex removeWithTag
1410 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1411 commands, tagged expressions can be filtered. For example,
1415 \keepWithTag #'score @var{the music}
1416 \keepWithTag #'part @var{the music}
1421 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1423 The arguments of the @code{\tag} command should be a symbol
1424 (such as @code{#'score} or @code{#'part}), followed by a
1425 music expression. It is possible to put multiple tags on
1426 a piece of music with multiple @code{\tag} entries,
1429 \tag #'original-part \tag #'transposed-part @dots{}
1435 Examples: @lsr{parts,tag@/-filter@/.ly}
1440 Multiple rests are not merged if you create the score with both tagged
1445 @node Orchestral music
1446 @section Orchestral music
1448 Orchestral music involves some special notation, both in the full
1449 score and the individual parts. This section explains how to tackle
1450 some common problems in orchestral music.
1453 * Automatic part combining::
1455 * Quoting other voices::
1456 * Formatting cue notes::
1457 * Aligning to cadenzas::
1461 @node Automatic part combining
1462 @subsection Automatic part combining
1463 @cindex automatic part combining
1464 @cindex part combiner
1466 Automatic part combining is used to merge two parts of music onto a
1467 staff. It is aimed at typesetting orchestral scores. When the two
1468 parts are identical for a period of time, only one is shown. In
1469 places where the two parts differ, they are typeset as separate
1470 voices, and stem directions are set automatically. Also, solo and
1471 @emph{a due} parts are identified and can be marked.
1473 The syntax for part combining is
1476 \partcombine @var{musicexpr1} @var{musicexpr2}
1480 The following example demonstrates the basic functionality of the part
1481 combiner: putting parts on one staff, and setting stem directions and
1484 @lilypond[quote,verbatim,ragged-right,fragment]
1485 \new Staff \partcombine
1486 \relative g' { g g a( b) c c r r }
1487 \relative g' { g g r4 r e e g g }
1490 The first @code{g} appears only once, although it was
1491 specified twice (once in each part). Stem, slur, and tie directions are
1492 set automatically, depending whether there is a solo or unisono. The
1493 first part (with context called @code{one}) always gets up stems, and
1494 @q{Solo}, while the second (called @code{two}) always gets down stems and
1497 If you just want the merging parts, and not the textual markings, you
1498 may set the property @code{printPartCombineTexts} to false
1500 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1502 \set Staff.printPartCombineTexts = ##f
1504 \relative g' { g a( b) r }
1505 \relative g' { g r4 r f }
1509 To change the text that is printed for solos or merging, you may
1510 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1513 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1515 \set Score.soloText = #"ichi"
1516 \set Score.soloIIText = #"ni"
1517 \set Score.aDueText = #"tachi"
1519 \relative g' { g4 g a( b) r }
1520 \relative g' { g4 g r r f }
1524 Both arguments to @code{\partcombine} will be interpreted as
1525 @internalsref{Voice} contexts. If using relative octaves,
1526 @code{\relative} should be specified for both music expressions, i.e.,
1530 \relative @dots{} @var{musicexpr1}
1531 \relative @dots{} @var{musicexpr2}
1535 A @code{\relative} section that is outside of @code{\partcombine} has
1536 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1540 Program reference: @internalsref{PartCombineMusic}.
1544 When @code{printPartCombineTexts} is set, when the two voices play the
1545 same notes on and off, the part combiner may typeset @code{a2} more
1546 than once in a measure.
1548 @code{\partcombine} cannot be inside @code{\times}.
1550 @code{\partcombine} cannot be inside @code{\relative}.
1552 Internally, the @code{\partcombine} interprets both arguments as
1553 @code{Voice}s named @code{one} and @code{two}, and then decides when
1554 the parts can be combined. Consequently, if the arguments switch to
1555 differently named @internalsref{Voice} contexts, the events in those
1560 @subsection Hiding staves
1562 @cindex Frenched scores
1563 @cindex Hiding staves
1565 In orchestral scores, staff lines that only have rests are usually
1566 removed; this saves some space. This style is called @q{French Score}.
1567 For @internalsref{Lyrics},
1568 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1569 switched on by default. When the lines of these contexts turn out
1570 empty after the line-breaking process, they are removed.
1572 For normal staves, a specialized @internalsref{Staff} context is
1573 available, which does the same: staves containing nothing (or only
1574 multi-measure rests) are removed. The context definition is stored in
1575 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1576 in this example disappears in the second line
1578 @lilypond[quote,ragged-right,verbatim]
1580 \context { \RemoveEmptyStaffContext }
1585 \new Staff { e4 f g a \break c1 }
1586 \new Staff { c4 d e f \break R1 }
1591 The first system shows all staves in full. If empty staves should be
1592 removed from the first system too, set @code{remove-first} to true in
1593 @internalsref{VerticalAxisGroup}.
1596 \override Score.VerticalAxisGroup #'remove-first = ##t
1599 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1600 or @code{\RemoveEmptyRhythmicStaffContext}.
1602 Another application is making ossia sections, i.e., alternative
1603 melodies on a separate piece of staff, with help of a Frenched
1607 @node Quoting other voices
1608 @subsection Quoting other voices
1612 With quotations, fragments of other parts can be inserted into a part
1613 directly. Before a part can be quoted, it must be marked especially as
1614 quotable. This is done with the @code{\addQuote} command.
1617 \addQuote @var{name} @var{music}
1622 Here, @var{name} is an identifying string. The @var{music} is any kind
1623 of music. Here is an example of @code{\addQuote}
1626 \addQuote clarinet \relative c' @{
1631 This command must be entered at toplevel, i.e., outside any music
1634 After calling @code{\addQuote}, the quotation may then be done with
1635 @code{\quoteDuring} or @code{\cueDuring},
1638 \quoteDuring #@var{name} @var{music}
1641 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1645 \quoteDuring #"clarinet" @{ s2. @}
1648 This would cite three quarter notes (the duration of @code{s2.}) of
1649 the previously added @code{clarinet} voice.
1652 More precisely, it takes the current time-step of the part being
1653 printed, and extracts the notes at the corresponding point of the
1654 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1655 should be the entire part of the voice to be quoted, including any
1656 rests at the beginning.
1658 Quotations take into account the transposition of both source and target
1659 instruments, if they are specified using the @code{\transposition} command.
1661 @lilypond[quote,ragged-right,verbatim]
1662 \addQuote clarinet \relative c' {
1668 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1672 The type of events that are present in cue notes can be trimmed with
1673 the @code{quotedEventTypes} property. The default value is
1674 @code{(note-event rest-event)}, which means that only notes and
1675 rests of the cued voice end up in the @code{\quoteDuring}.
1679 \set Staff.quotedEventTypes =
1680 #'(note-event articulation-event dynamic-event)
1684 will quote notes (but no rests), together with scripts and dynamics.
1688 Only the contents of the first @internalsref{Voice} occurring in an
1689 @code{\addQuote} command will be considered for quotation, so
1690 @var{music} can not contain @code{\new} and @code{\context Voice}
1691 statements that would switch to a different Voice.
1693 Quoting grace notes is broken and can even cause LilyPond to crash.
1695 Quoting nested triplets may result in poor notation.
1700 In this manual: @ref{Instrument transpositions}.
1702 Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly}
1704 Program reference: @internalsref{QuoteMusic}.
1707 @node Formatting cue notes
1708 @subsection Formatting cue notes
1710 @cindex cues, formatting
1712 The previous section deals with inserting notes from another voice.
1713 There is a more advanced music function called @code{\cueDuring},
1714 which makes formatting cue notes easier.
1719 \cueDuring #@var{name} #@var{updown} @var{music}
1722 This will insert notes from the part @var{name} into a
1723 @internalsref{Voice} called @code{cue}. This happens simultaneously
1724 with @var{music}, which usually is a rest. When the cue notes start,
1725 the staff in effect becomes polyphonic for a moment. The argument
1726 @var{updown} determines whether the cue notes should be notated as a
1727 first or second voice.
1730 @lilypond[verbatim,ragged-right]
1733 \override Stem #'length-fraction = #0.8
1734 \override Beam #'thickness = #0.384
1735 \override Beam #'length-fraction = #0.8
1738 \addQuote clarinet \relative {
1743 \new Staff \relative <<
1745 % setup a context for cue notes.
1746 \new Voice = "cue" { \smaller \skip 1*21 }
1748 \set Score.skipBars = ##t
1752 \cueDuring #"clarinet" #UP {
1761 Here are a couple of hints for successful cue notes
1765 Cue notes have smaller font sizes.
1767 the cued part is marked with the instrument playing the cue.
1769 when the original part takes over again, this should be marked with
1770 the name of the original instrument.
1772 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1774 @c Yes, this is good practice. Otherwise, the start of the original
1775 @c part can only be seen from the font size. This is not good enough
1776 @c for sight-reading. It is possilbe to use other
1777 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1783 Any other changes introduced by the cued part should also be
1784 undone. For example, if the cued instrument plays in a different clef,
1785 the original clef should be stated once again.
1789 The macro @code{\transposedCueDuring} is
1790 useful to add cues to instruments which use a completely different
1791 octave range (for example, having a cue of a piccolo flute within
1792 a contra bassoon part).
1794 @lilypond[verbatim,ragged-right,quote]
1795 picc = \relative c''' {
1801 \addQuote "picc" { \picc }
1803 cbsn = \relative c, {
1806 \transposedCueDuring #"picc" #UP c,, { R1 } |
1811 \context Staff = "picc" \picc
1812 \context Staff = "cbsn" \cbsn
1818 @node Aligning to cadenzas
1819 @subsection Aligning to cadenzas
1821 In an orchestral context, cadenzas present a special problem:
1822 when constructing a score that includes a cadenza, all other
1823 instruments should skip just as many notes as the length of the
1824 cadenza, otherwise they will start too soon or too late.
1826 A solution to this problem are the functions @code{mmrest-of-length}
1827 and @code{skip-of-length}. These Scheme functions take a piece of music
1828 as argument, and generate a @code{\skip} or multi-rest, exactly as
1829 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1830 in the following example.
1832 @lilypond[verbatim,ragged-right,quote]
1833 cadenza = \relative c' {
1834 c4 d8 << { e f g } \\ { d4. } >>
1839 \new Staff { \cadenza c'4 }
1841 #(ly:export (mmrest-of-length cadenza))
1850 @node Contemporary notation
1851 @section Contemporary notation
1853 In the 20th century, composers have greatly expanded the musical
1854 vocabulary. With this expansion, many innovations in musical notation
1855 have been tried. The book @q{Music Notation in the 20th century} by
1856 Kurt Stone gives a comprehensive overview (see @ref{Literature
1859 This section describes notation that does
1860 not fit into traditional notation categories, such as pitches,
1861 tuplet beams, and articulation. For contemporary notation
1862 that fits into traditional notation categories, such as
1863 microtones, nested tuplet beams, and unusual fermatas, please
1864 see those sections of the documentation.
1867 * Polymetric notation::
1868 * Time administration::
1869 * Proportional notation (introduction)::
1871 * Special noteheads::
1874 * Selecting notation font size::
1878 @node Polymetric notation
1879 @subsection Polymetric notation
1881 @cindex double time signatures
1882 @cindex signatures, polymetric
1883 @cindex polymetric signatures
1884 @cindex meter, polymetric
1886 Double time signatures are not supported explicitly, but they can be
1887 faked. In the next example, the markup for the time signature is
1888 created with a markup text. This markup text is inserted in the
1889 @internalsref{TimeSignature} grob. See also
1890 @lsr{contemporary,compound-time-signature}.
1892 @lilypond[verbatim,ragged-right]
1895 \override #'(baseline-skip . 2) \number {
1898 \bracket \column { "5" "8" }
1903 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1904 \override Staff.TimeSignature #'text = #tsMarkup
1906 c'2 \bar ":" c'4 c'4.
1910 Each staff can also have its own time signature. This is done by
1911 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1917 \remove "Timing_translator"
1918 \remove "Default_bar_line_engraver"
1922 \consists "Timing_translator"
1923 \consists "Default_bar_line_engraver"
1930 Now, each staff has its own time signature.
1943 c4. c8 c c c4. c8 c c
1948 @lilypond[quote,ragged-right]
1952 \remove "Timing_translator"
1953 \remove "Default_bar_line_engraver"
1956 \consists "Timing_translator"
1957 \consists "Default_bar_line_engraver"
1972 c4. c8 c c c4. c8 c c
1978 A different form of polymetric notation is where note lengths have
1979 different values across staves.
1981 This notation can be created by setting a common time signature for
1982 each staff but replacing it manually using
1983 @code{timeSignatureFraction} to the desired fraction. Then the printed
1984 durations in each staff are scaled to the common time signature.
1985 The latter is done with @code{\compressMusic}, which is used similar
1986 to @code{\times}, but does not create a tuplet bracket. The syntax is
1988 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1993 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1994 used in parallel. In the second staff, shown durations are multiplied by
1995 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1996 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1998 @lilypond[quote,ragged-right,verbatim,fragment]
2006 \set Staff.timeSignatureFraction = #'(9 . 8)
2007 \compressMusic #'(2 . 3)
2008 \repeat unfold 6 { c8[ c c] }
2012 \set Staff.timeSignatureFraction = #'(10 . 8)
2013 \compressMusic #'(3 . 5) {
2014 \repeat unfold 2 { c8[ c c] }
2015 \repeat unfold 2 { c8[ c] }
2016 | c4. c4. \times 2/3 { c8 c c } c4
2027 When using different time signatures in parallel, the spacing is
2028 aligned vertically, but bar lines distort the regular spacing.
2031 @node Time administration
2032 @subsection Time administration
2034 @cindex Time administration
2036 Time is administered by the @internalsref{Time_signature_engraver},
2037 which usually lives in the @internalsref{Score} context. The
2038 bookkeeping deals with the following variables
2041 @item currentBarNumber
2045 The length of the measures in the current time signature. For a 4/4
2046 time this is@tie{}1, and for 6/8 it is 3/4.
2048 @item measurePosition
2049 The point within the measure where we currently are. This quantity
2050 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2051 happens, @code{currentBarNumber} is incremented.
2054 If set to true, the above variables are updated for every time
2055 step. When set to false, the engraver stays in the current measure
2059 Timing can be changed by setting any of these variables explicitly.
2060 In the next example, the 4/4 time signature is printed, but
2061 @code{measureLength} is set to 5/4. After a while, the measure is
2062 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2063 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2064 3/8 arises because 5/4 normally has 10/8, but we have manually
2065 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2067 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2068 \set Score.measureLength = #(ly:make-moment 5 4)
2072 \set Score.measurePosition = #(ly:make-moment 7 8)
2078 As the example illustrates, @code{ly:make-moment n m} constructs a
2079 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2081 note duration and @code{ly:make-moment 7 16} is the duration of
2082 seven sixteenths notes.
2085 @node Proportional notation (introduction)
2086 @subsection Proportional notation (introduction)
2087 @cindex Proportional notation
2089 See @ref{Proportional notation}.
2092 TODO: remove all this stuff?
2094 Notes can be spaced proportionally to their time-difference by
2095 assigning a duration to @code{proportionalNotationDuration}
2097 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2099 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2100 \new Staff { c8[ c c c c c] c4 c2 r2 }
2101 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2105 Setting this property only affects the ideal spacing between
2106 consecutive notes. For true proportional notation, the following
2107 settings are also required.
2111 @item True proportional notation requires that symbols are allowed to
2112 overstrike each other. That is achieved by removing the
2113 @internalsref{Separating_line_group_engraver} from
2114 @internalsref{Staff} context.
2116 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2117 is removed by setting the @code{strict-note-spacing} property to
2118 @code{#t} in @internalsref{SpacingSpanner} grob.
2120 @item Optical spacing tweaks are switched by setting
2121 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2128 Examples: @lsr{spacing,proportional@/-spacing@/.ly},
2129 @lsr{spacing,proportional@/-strict@/-grace@/-notes@/.ly}, and
2130 @lsr{spacing,proportional@/-strict@/-notespacing@/.ly}
2132 An example of strict proportional notation is in the
2133 example file @file{input/proportional.ly}.
2137 @subsection Clusters
2141 A cluster indicates a continuous range of pitches to be played. They
2142 can be denoted as the envelope of a set of notes. They are entered by
2143 applying the function @code{makeClusters} to a sequence of
2145 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2146 \makeClusters { <c e > <b f'> }
2149 Ordinary notes and clusters can be put together in the same staff,
2150 even simultaneously. In such a case no attempt is made to
2151 automatically avoid collisions between ordinary notes and clusters.
2155 Program reference: @internalsref{ClusterSpanner},
2156 @internalsref{ClusterSpannerBeacon},
2157 @internalsref{Cluster_spanner_engraver}.
2159 Examples: @lsr{contemporary,cluster@/.ly}.
2163 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2164 accurately. Use @code{<g a>8 <e a>8} instead.
2167 @node Special noteheads
2168 @subsection Special noteheads
2170 @cindex note heads, special
2172 Different noteheads are used by various instruments for various
2173 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2174 notes on guitar; diamonds are used for harmonics on string instruments,
2175 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2176 other notehead styles are produced by tweaking the property
2178 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2180 \override NoteHead #'style = #'cross
2182 \revert NoteHead #'style
2183 e d <c f\harmonic> <d a'\harmonic>
2187 To see all notehead styles, please see
2188 @ref{Note head styles}.
2193 Program reference: @internalsref{NoteHead}.
2196 @node Feathered beams
2197 @subsection Feathered beams
2199 Feathered beams are printed by setting the @code{grow-direction}
2200 property of a @code{Beam}. The @code{\featherDurations} function
2201 can be used to adjust note durations.
2203 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2204 \featherDurations #(ly:make-moment 5 4)
2206 \override Beam #'grow-direction = #LEFT
2213 The @code{\featherDuration} command only works with very short
2217 @subsection Improvisation
2219 Improvisation is sometimes denoted with slashed note heads. Such note
2220 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2221 to the @internalsref{Voice} context. Then, the
2225 \set squashedPosition = #0
2226 \override NoteHead #'style = #'slash
2230 switches on the slashes.
2232 There are shortcuts @code{\improvisationOn} (and an accompanying
2233 @code{\improvisationOff}) for this command sequence. They are used in
2234 the following example
2236 @lilypond[verbatim,ragged-right,quote]
2238 \consists Pitch_squash_engraver
2240 e8 e g a a16(bes)(a8) g \improvisationOn
2243 ~fis2 \improvisationOff a16(bes) a8 g e
2248 @node Selecting notation font size
2249 @subsection Selecting notation font size
2251 The easiest method of setting the font size of any context is by
2252 setting the @code{fontSize} property.
2254 @lilypond[quote,fragment,relative=1,verbatim]
2263 It does not change the size of variable symbols, such as beams or
2266 Internally, the @code{fontSize} context property will cause the
2267 @code{font-size} property to be set in all layout objects. The value
2268 of @code{font-size} is a number indicating the size relative to the
2269 standard size for the current staff height. Each step up is an
2270 increase of approximately 12% of the font size. Six steps is exactly a
2271 factor two. The Scheme function @code{magstep} converts a
2272 @code{font-size} number to a scaling factor. The @code{font-size}
2273 property can also be set directly, so that only certain layout objects are
2276 @lilypond[quote,fragment,relative=1,verbatim]
2278 \override NoteHead #'font-size = #-4
2280 \override NoteHead #'font-size = #3
2284 Font size changes are achieved by scaling the design size that is
2285 closest to the desired size. The standard font size (for
2286 @code{font-size} equals 0), depends on the standard staff height. For
2287 a 20pt staff, a 10pt font is selected.
2289 The @code{font-size} property can only be set on layout objects that
2290 use fonts. These are the ones supporting the
2291 @internalsref{font-interface} layout interface.
2295 The following commands set @code{fontSize} for the current voice:
2301 @funindex \normalsize
2306 @node Educational use
2307 @section Educational use
2309 With the amount of control that LilyPond offers, one can make great
2310 teaching tools in addition to great musical scores.
2314 * Blank music sheet::
2316 * Shape note heads::
2317 * Easy Notation note heads::
2318 * Analysis brackets::
2319 * Coloring objects::
2325 @subsection Balloon help
2327 Elements of notation can be marked and named with the help of a square
2328 balloon. The primary purpose of this feature is to explain notation.
2330 The following example demonstrates its use.
2332 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2333 \new Voice \with { \consists "Balloon_engraver" }
2335 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2336 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2341 There are two music functions, @code{balloonText} and
2342 @code{balloonGrobText}. The latter takes the name of the grob to
2343 adorn, while the former may be used as an articulation on a note.
2344 The other arguments are the offset and the text of the label.
2347 @cindex notation, explaining
2351 Program reference: @internalsref{text-balloon-interface}.
2356 @node Blank music sheet
2357 @subsection Blank music sheet
2359 @cindex Sheet music, empty
2360 @cindex Staves, blank sheet
2362 A blank music sheet can be produced also by using invisible notes, and
2363 removing @code{Bar_number_engraver}.
2366 @lilypond[quote,verbatim]
2367 \layout{ indent = #0 }
2369 \repeat unfold 2 % Change this for more lines.
2374 \override TimeSignature #'transparent = ##t
2375 % un-comment this line if desired
2376 % \override Clef #'transparent = ##t
2377 defaultBarType = #""
2378 \remove Bar_number_engraver
2381 % modify these to get the staves you want
2382 \new Staff \emptymusic
2383 \new TabStaff \emptymusic
2389 @subsection Hidden notes
2391 @cindex Hidden notes
2392 @cindex Invisible notes
2393 @cindex Transparent notes
2395 @funindex \hideNotes
2396 @funindex \unHideNotes
2397 Hidden (or invisible or transparent) notes can be useful in preparing theory
2398 or composition exercises.
2400 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2409 @node Shape note heads
2410 @subsection Shape note heads
2412 @cindex note heads, shape
2414 In shape note head notation, the shape of the note head corresponds
2415 to the harmonic function of a note in the scale. This notation was
2416 popular in the 19th century American song books.
2418 Shape note heads can be produced by setting @code{\aikenHeads} or
2419 @code{\sacredHarpHeads}, depending on the style desired.
2421 @lilypond[verbatim,relative=1,fragment]
2428 Shapes are determined on the step in the scale, where the base of the
2429 scale is determined by the @code{\key} command
2432 @funindex shapeNoteStyles
2433 @funindex \aikenHeads
2434 @funindex \sacredHarpHeads
2436 Shape note heads are implemented through the @code{shapeNoteStyles}
2437 property. Its value is a vector of symbols. The k-th element indicates
2438 the style to use for the k-th step of the scale. Arbitrary
2439 combinations are possible, e.g.
2441 @lilypond[verbatim,relative=1,fragment]
2442 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2447 @node Easy Notation note heads
2448 @subsection Easy Notation note heads
2450 @cindex note heads, practice
2451 @cindex note heads, easy notation
2452 @cindex easy notation
2455 The @q{easy play} note head includes a note name inside the head. It is
2456 used in music for beginners
2458 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2463 The command @code{\setEasyHeads} overrides settings for the
2464 @internalsref{NoteHead} object. To make the letters readable, it has
2465 to be printed in a large font size. To print with a larger font, see
2466 @ref{Setting the staff size}.
2470 @funindex \setEasyHeads
2471 @code{\setEasyHeads}
2474 @node Analysis brackets
2475 @subsection Analysis brackets
2477 @cindex phrasing brackets
2478 @cindex musicological analysis
2479 @cindex note grouping bracket
2481 Brackets are used in musical analysis to indicate structure in musical
2482 pieces. LilyPond supports a simple form of nested horizontal
2483 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2484 to @internalsref{Staff} context. A bracket is started with
2485 @code{\startGroup} and closed with @code{\stopGroup}
2487 @lilypond[quote,ragged-right,verbatim]
2490 c4\startGroup\startGroup
2493 c4\stopGroup\stopGroup
2497 \Staff \consists "Horizontal_bracket_engraver"
2503 Program reference: @internalsref{HorizontalBracket}.
2506 @node Coloring objects
2507 @subsection Coloring objects
2509 Individual objects may be assigned colors. You may use the
2510 color names listed in the @ref{List of colors}.
2512 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2513 \override NoteHead #'color = #red
2515 \override NoteHead #'color = #(x11-color 'LimeGreen)
2517 \override Stem #'color = #blue
2521 The full range of colors defined for X11 can be accessed by using the
2522 Scheme function x11-color. The function takes one argument that can be a
2526 \override Beam #'color = #(x11-color 'MediumTurquoise)
2532 \override Beam #'color = #(x11-color "MediumTurquoise")
2535 The first form is quicker to write and is more efficient. However, using
2536 the second form it is possible to access X11 colors by the multi-word
2540 \override Beam #'color = #(x11-color "medium turquoise")
2543 If x11-color cannot make sense of the parameter then the color returned
2544 defaults to black. It should be obvious from the final score that
2547 This example illustrates the use of x11-color. Notice that the stem
2548 color remains black after being set to (x11-color 'Boggle), which is
2549 deliberate nonsense.
2551 @lilypond[quote,ragged-right,verbatim]
2553 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2554 \set Staff.instrumentName = \markup {
2555 \with-color #(x11-color 'navy) "Clarinet"
2559 \override Beam #'color = #(x11-color "medium turquoise")
2561 \override NoteHead #'color = #(x11-color "LimeGreen")
2563 \override Stem #'color = #(x11-color 'Boggle)
2571 Appendix: @ref{List of colors}.
2575 Not all x11 colors are distinguishable in a web browser. For web use
2576 normal colors are recommended.
2578 An x11 color is not necessarily exactly the same shade as a similarly
2581 Notes in a chord cannot be colored with @code{\override}; use
2582 @code{\tweak} instead. See @ref{Objects connected to the input},
2587 @subsection Parentheses
2590 @cindex notes, ghost
2591 @cindex notes, parenthesized
2593 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2596 @lilypond[relative=2,fragment,verbatim,ragged-right]
2604 This only functions inside chords, even for single notes
2607 < \parenthesize NOTE>
2612 @subsection Grid lines
2614 Vertical lines can be drawn between staves synchronized with
2617 @lilypond[ragged-right,quote,verbatim]
2621 \consists "Grid_point_engraver" %% sets of grid
2622 gridInterval = #(ly:make-moment 1 4)
2627 \consists "Grid_line_span_engraver"
2628 %% centers grid lines horizontally below noteheads
2629 \override NoteColumn #'X-offset = #-0.5
2640 %% centers grid lines vertically
2641 \override Score.GridLine #'extra-offset = #'( 0.0 . 1.0 )
2651 Examples: @lsrdir{education}