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 non-ascii text (such as characters from other languages), simply
38 insert the characters directly into the lilypond file. The file must be
39 saved as UTF-8. For more information, see @ref{Text encoding}.
43 * Text and line spanners::
48 * Overview of text markup commands::
55 @subsection Text scripts
58 @cindex text items, non-empty
59 @cindex non-empty texts
61 It is possible to place arbitrary strings of text or @ref{Text markup}
62 above or below notes by using a string @code{c^"text"}. By default,
63 these indications do not influence the note spacing, but by using the
64 command @code{\fatText}, the widths will be taken into account
66 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
67 c4^"longtext" \fatText c4_"longlongtext" c4
71 To prevent text from influencing spacing, use @code{\emptyText}.
73 More complex formatting may also be added to a note by using the
75 @lilypond[fragment,ragged-right,verbatim,quote]
76 c'4^\markup { bla \bold bla }
79 The @code{\markup} is described in more detail in
93 Checking to make sure that text scripts and lyrics are within the margins is
94 a relatively large computational task. To speed up processing, lilypond does
95 not perform such calculations by default; to enable it, use
98 \override Score.PaperColumn #'keep-inside-line = ##t
104 In this manual: @ref{Text markup}.
106 Program reference: @internalsref{TextScript}.
109 @node Text and line spanners
110 @subsection Text and line spanners
112 Some performance indications, e.g., @i{rallentando} and
113 @i{accelerando} and @i{trills} are written as text and are extended
114 over many measures with lines, sometimes dotted or wavy.
116 These all use the same routines as the glissando for drawing the texts
117 and the lines, and tuning their behavior is therefore also done in the
118 same way. It is done with a spanner, and the routine responsible for
119 drawing the spanners is @code{ly:new-line-interface::print}. This
120 routine creates determines the exact location of the two @i{span
121 points} and draws a line in between, in the style requested.
123 Here is an example of the different line styles available, and how to
126 @lilypond[relative=2,ragged-right,verbatim,fragment]
128 \once \override Glissando #'dash-fraction = #0.5
130 \override Glissando #'style = #'dotted-line
132 \override Glissando #'style = #'zigzag
134 \override Glissando #'style = #'trill
138 The information that determines the end-points is computed on-the-fly
139 for every graphic object, but it is possible to override these.
141 @lilypond[relative=2,ragged-right,verbatim,fragment]
143 \once \override Glissando #'bound-details #'right #'Y = #-2
147 The @code{Glissando} object, like any other using the
148 @code{ly:new-line-interface::print} routine, carries a nested
149 association list. In the above statement, the value for @code{Y}
150 is set to @code{-2} for association list corresponding to the right
151 end point. Of course, it is also possible to adjust the left side with
152 @code{left} instead of @code{right}.
154 If @code{Y} is not set, the value is computed from the vertical
155 position of right attachment point of the spanner.
157 In case of a line break, the values for the span-points are extended
158 with contents of the @code{left-break} and @code{right-break}
159 sublists, for example
161 @lilypond[relative=2,ragged-right,verbatim,fragment]
162 \override Glissando #'breakable = ##T
163 \override Glissando #'bound-details #'right-break #'Y = #-3
164 \override Glissando #'bound-details #'left-break #'Y = #3
169 The following properties can be used for the
173 This sets the Y-coordinate of the end point, in staff space. By
174 default, it is the center of the bound object, so for a glissando it
175 points to the vertical center of the note head.
177 For horizontal spanners, such as text spanner and trill spanners, it
181 This determines where the line starts and ends in X-direction,
182 relative to the bound object. So, a value of @code{-1} (or
183 @code{LEFT}) makes the line start/end at the left side of the note
184 head it is attached to.
187 This is the absolute coordinate of the end point. It is usually
188 computed on the fly, and there is little use in overriding it.
191 Line spanners may have symbols at the beginning or end, which is
192 contained in this sub-property. This is for internal use, it is
193 recommended to use @code{text}.
196 This is a markup that is evaluated to yield stencil. It is
197 used to put @i{cresc.} and @i{tr} on horizontal spanners.
199 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
200 \override TextSpanner #'bound-details #'left #'text
201 = \markup { \bold Slower }
202 c2\startTextSpan b c\stopTextSpan a
205 @item stencil-align-dir-y
207 Without setting this, the stencil is simply put there at the
208 end-point, as defined by the @code{X} and @code{Y} sub properties.
209 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
210 will move the symbol at the edge relative to the end point of the line
212 @lilypond[relative=1,fragment,verbatim]
213 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
214 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
216 \override TextSpanner #'bound-details #'left #'text = #"gggg"
217 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
218 c4^\startTextSpan c c c \stopTextSpan
222 Setting this sub property to @code{#t} produce an arrowhead at the end
226 This sub property controls the space between the specified end-point
227 of the line and the actual end. Without padding, a glissando would
228 start and end in the center of each note head.
234 @subsection Text spanners
236 @cindex Text spanners
238 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
239 are written as text and are extended over many measures with dotted
240 lines. Such texts are created using text spanners; attach
241 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
242 notes of the spanner.
244 The string to be printed, as well as the style, is set through object
247 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
250 \override TextSpanner #'edge-text = #'("rall " . "")
251 c2\startTextSpan b c\stopTextSpan a
254 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
255 c2\startTextSpan b c\stopTextSpan a
260 @cindex textSpannerUp
261 @code{textSpannerUp},
262 @cindex textSpannerDown
263 @code{textSpannerDown},
264 @cindex textSpannerNeutral
265 @code{textSpannerNeutral}.
270 To print a solid line, use
273 \override TextSpanner #'dash-fraction = #'()
279 Program reference: @internalsref{TextSpanner}.
281 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
285 @subsection Text marks
287 @cindex coda on bar line
288 @cindex segno on bar line
289 @cindex fermata on bar line
290 @cindex bar lines, symbols on
293 The @code{\mark} command is primarily used for
294 @ref{Rehearsal marks},
295 but it can also be used to put signs like coda,
296 segno, and fermata on a bar line. Use @code{\markup} to
297 access the appropriate symbol (symbols are listed in
300 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
301 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
306 @code{\mark} is only typeset above the top stave of the score. If
307 you specify the @code{\mark} command at a bar line, the resulting
308 mark is placed above the bar line. If you specify it in the middle
309 of a bar, the resulting mark is positioned between notes. If it is
310 specified before the beginning of a score line, it is placed
311 before the first note of the line. Finally, if the mark occurs at
312 a line break, the mark will be printed at the
313 beginning of the next line.
314 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
315 @c delete this sentence. -gp
316 If there is no next line, then the mark will not be printed at all.
321 To print the mark at the end of the current line, use
324 \override Score.RehearsalMark
325 #'break-visibility = #begin-of-line-invisible
328 @code{\mark} is often useful for adding text to the end of bar. In
329 such cases, changing the @code{#'self-alignment} is very useful
331 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
332 \override Score.RehearsalMark
333 #'break-visibility = #begin-of-line-invisible
335 \once \override Score.RehearsalMark #'self-alignment-X = #right
336 \mark "D.S. al Fine "
339 Text marks may be aligned with notation objects other than
342 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
347 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
351 \override Score.RehearsalMark #'break-align-symbol = #'clef
355 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
364 Although text marks are normally only printed above the topmost
365 staff, you may alter this to print them on every staff,
367 @lilypond[quote,ragged-right,verbatim,relative=2]
370 \remove "Mark_engraver"
374 \consists "Mark_engraver"
376 { c''1 \mark "foo" c'' }
378 \consists "Mark_engraver"
380 { c'1 \mark "foo" c' }
388 Program reference: @internalsref{RehearsalMark}.
392 @subsection Text markup
399 Use @code{\markup} to typeset text. Commands are entered with the
400 backslash @code{\}. To enter @code{\} and @code{#}, use double
403 @lilypond[quote,verbatim,fragment,relative=1]
405 c1_\markup { hi there }
406 c1^\markup { hi \bold there, is \italic {anyone home?} }
407 c1_\markup { "\special {weird} #characters" }
411 See @ref{Overview of text markup commands} for a list of all
414 @code{\markup} is primarily used for @internalsref{TextScript}s,
415 but it can also be used anywhere text is called in lilypond
417 @lilypond[quote,verbatim]
418 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
421 \override Score.RehearsalMark
422 #'break-visibility = #begin-of-line-invisible
423 \override Score.RehearsalMark #'self-alignment-X = #right
425 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
426 c2^\markup{ don't be \flat }
427 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
429 a2\mark \markup{ \large \bold Fine }
433 \addlyrics { bar, foo \markup{ \italic bar! } }
437 A @code{\markup} command can also be placed on its own, away from any
438 @code{\score} block, see @ref{Multiple scores in a book}.
440 @lilypond[quote,ragged-right,verbatim]
441 \markup{ Here is some text. }
444 @cindex font switching
446 The markup in the example demonstrates font switching commands. The
447 command @code{\bold} and @code{\italic} apply to the first following
448 word only; to apply a command to more than one word, enclose the
452 \markup @{ \bold @{ hi there @} @}
456 For clarity, you can also do this for single arguments, e.g.,
459 \markup @{ is \italic @{ anyone @} home @}
462 In markup mode you can compose expressions, similar to mathematical
463 expressions, XML documents, and music expressions. You can stack
464 expressions grouped vertically with the command @code{\column}.
465 Similarly, @code{\center-align} aligns texts by their center lines:
467 @lilypond[quote,verbatim,fragment,relative=1]
468 c1^\markup { \column { a bbbb \line { c d } } }
469 c1^\markup { \center-align { a bbbb c } }
470 c1^\markup { \line { a b c } }
473 Lists with no previous command are not kept distinct. The expression
476 \center-align @{ @{ a b @} @{ c d @} @}
484 \center-align @{ a b c d @}
489 To keep lists of words distinct, please use quotes @code{"} or
490 the @code{\line} command
492 @lilypond[quote,verbatim,fragment,relative=1]
494 c4^\markup{ \center-align { on three lines } }
495 c4^\markup{ \center-align { "all one line" } }
496 c4^\markup{ \center-align { { on three lines } } }
497 c4^\markup{ \center-align { \line { on one line } } }
500 Markups can be stored in variables and these variables
501 may be attached to notes, like
503 allegro = \markup @{ \bold \large @{ Allegro @} @}
504 @{ a^\allegro b c d @}
507 Some objects have alignment procedures of their own, which cancel out
508 any effects of alignments applied to their markup arguments as a
509 whole. For example, the @internalsref{RehearsalMark} is horizontally
510 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
513 In addition, vertical placement is performed after creating the
514 text markup object. If you wish to move an entire piece of markup,
515 you need to use the #'padding property or create an "anchor" point
516 inside the markup (generally with @code{\hspace #0}).
518 @lilypond[quote,verbatim,fragment,relative=1]
520 c'4^\markup{ \raise #5 "not raised" }
521 \once \override TextScript #'padding = #3
522 c'4^\markup{ raised }
523 c'4^\markup{ \hspace #0 \raise #1.5 raised }
526 Some situations (such as dynamic marks) have preset font-related
527 properties. If you are creating text in such situations, it
528 is advisable to cancel those properties with
529 @code{normal-text}. See @ref{Overview of text markup commands}
535 This manual: @ref{Overview of text markup commands}.
537 Program reference: @internalsref{TextScript}.
539 Init files: @file{scm/@/new@/-markup@/.scm}.
544 Kerning or generation of ligatures is only done when the @TeX{}
545 backend is used. In this case, LilyPond does not account for them so
546 texts will be spaced slightly too wide.
548 Syntax errors for markup mode are confusing.
552 @subsection Nested scores
554 It is possible to nest music inside markups, by adding a @code{\score}
555 block to a markup expression. Such a score must contain a @code{\layout}
558 @lilypond[quote,verbatim,ragged-right]
562 \relative { c4 d e f }
571 @node Overview of text markup commands
572 @subsection Overview of text markup commands
574 The following commands can all be used inside @code{\markup @{ @}}.
576 @include markup-commands.tely
580 @subsection Font selection
582 @cindex font selection
583 @cindex font magnification
584 @funindex font-interface
586 By setting the object properties described below, you can select a
587 font from the preconfigured font families. LilyPond has default
588 support for the feta music fonts. Text fonts are selected through
589 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
590 the sans and typewriter to whatever the Pango installation defaults
595 @item @code{font-encoding}
596 is a symbol that sets layout of the glyphs. This should only be set to
597 select different types of non-text fonts, e.g.
599 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
600 standard music font, including ancient glyphs, @code{fetaDynamic} for
601 dynamic signs and @code{fetaNumber} for the number font.
603 @item @code{font-family}
604 is a symbol indicating the general class of the typeface. Supported are
605 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
607 @item @code{font-shape}
608 is a symbol indicating the shape of the font. There are typically
609 several font shapes available for each font family. Choices are
610 @code{italic}, @code{caps}, and @code{upright}.
612 @item @code{font-series}
613 is a symbol indicating the series of the font. There are typically
614 several font series for each font family and shape. Choices are
615 @code{medium} and @code{bold}.
619 Fonts selected in the way sketched above come from a predefined style
620 sheet. If you want to use a font from outside the style sheet,
622 @code{font-name} property,
624 @lilypond[fragment,verbatim]
626 \override Staff.TimeSignature #'font-name = #"Charter"
627 \override Staff.TimeSignature #'font-size = #2
630 \override #'(font-name . "Vera Bold")
631 { This text is in Vera Bold }
637 Any font can be used, as long as it is available to Pango/FontConfig.
638 To get a full list of all available fonts, run the command
640 lilypond -dshow-available-fonts blabla
642 (the last argument of the command can be anything, but has to be present).
645 The size of the font may be set with the @code{font-size}
646 property. The resulting size is taken relative to the
647 @code{text-font-size} as defined in the @code{\paper} block.
650 @cindex font magnification
653 It is also possible to change the default font family for the entire
654 document. This is done by calling the @code{make-pango-font-tree} from
655 within the @code{\paper} block. The function takes names for the font
656 families to use for roman, sans serif and monospaced text. For
659 @cindex font families, setting
668 (make-pango-font-tree "Times New Roman"
675 c'^\markup { roman: foo \sans bla \typewriter bar }
679 @c we don't do Helvetica / Courier, since GS incorrectly loads
686 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
689 @node New dynamic marks
690 @subsection New dynamic marks
692 It is possible to print new dynamic marks or text that should be aligned
693 with dynamics. Use @code{make-dynamic-script} to create these
694 marks. Note that the dynamic font only contains the characters
695 @code{f,m,p,r,s} and @code{z}.
697 Some situations (such as dynamic marks) have preset font-related
698 properties. If you are creating text in such situations, it
699 is advisable to cancel those properties with
700 @code{normal-text}. See @ref{Overview of text markup commands}
703 @cindex make-dynamic-script
705 @lilypond[quote,verbatim,ragged-right]
706 sfzp = #(make-dynamic-script "sfzp")
712 @cindex Dynamics, editorial
713 @cindex Dynamics, parenthesis
715 It is also possible to print dynamics in round parenthesis or square
716 brackets. These are often used for adding editorial dynamics.
718 @lilypond[quote,verbatim,ragged-right]
719 rndf = \markup{ \center-align {\line { \bold{\italic (}
720 \dynamic f \bold{\italic )} }} }
721 boxf = \markup{ \bracket { \dynamic f } }
722 { c'1_\rndf c'1_\boxf }
727 @node Preparing parts
728 @section Preparing parts
730 This section describes various notation that are useful for preparing
734 * Multi measure rests::
739 * Instrument transpositions::
741 * Different editions from one source::
745 @node Multi measure rests
746 @subsection Multi measure rests
748 @cindex multi measure rests
749 @cindex full measure rests
750 @cindex Rests, multi measure
751 @cindex Rests, full measure
752 @cindex whole rests for a full measure
755 Rests for one full measure (or many bars) are entered using @samp{R}. It
756 is specifically meant for full bar rests and for entering parts: the rest
757 can expand to fill a score with rests, or it can be printed as a single
758 multi-measure rest. This expansion is controlled by the property
759 @code{Score.skipBars}. If this is set to true, empty measures will not
760 be expanded, and the appropriate number is added automatically
762 @lilypond[quote,ragged-right,fragment,verbatim]
763 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
764 \set Score.skipBars = ##t R1*17 R1*4
767 The @code{1} in @code{R1} is similar to the duration notation used for
768 notes. Hence, for time signatures other than 4/4, you must enter other
769 durations. This can be done with augmentation dots or fractions
771 @lilypond[quote,ragged-right,fragment,verbatim]
772 \set Score.skipBars = ##t
781 An @code{R} spanning a single measure is printed as either a whole rest
782 or a breve, centered in the measure regardless of the time signature.
784 If there are only a few measures of rest, LilyPond prints @q{church rests}
785 (a series of rectangles) in the staff. To replace that with a simple
786 rest, use @code{MultiMeasureRest.expand-limit}.
788 @lilypond[quote,ragged-right,fragment,verbatim]
789 \set Score.skipBars = ##t
791 \override MultiMeasureRest #'expand-limit = 1
795 @cindex text on multi-measure rest
796 @cindex script on multi-measure rest
797 @cindex fermata on multi-measure rest
799 Texts can be added to multi-measure rests by using the
800 @var{note}-@code{markup} syntax @ref{Text markup}.
801 A variable (@code{\fermataMarkup}) is provided for
804 @lilypond[quote,ragged-right,verbatim,fragment]
805 \set Score.skipBars = ##t
807 R2.*10^\markup { \italic "ad lib." }
811 Warning! This text is created by @code{MultiMeasureRestText}, not
814 @lilypond[quote,ragged-right,verbatim,fragment]
815 \override TextScript #'padding = #5
817 \override MultiMeasureRestText #'padding = #5
821 If you want to have text on the left end of a multi-measure rest,
822 attach the text to a zero-length skip note, i.e.,
832 Program reference: @internalsref{MultiMeasureRestMusicGroup},
833 @internalsref{MultiMeasureRest}.
835 The layout object @internalsref{MultiMeasureRestNumber} is for the
836 default number, and @internalsref{MultiMeasureRestText} for user
842 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
843 over multi-measure rests. And the pitch of multi-measure rests (or
844 staff-centered rests) can not be influenced.
846 @cindex condensing rests
848 There is no way to automatically condense multiple rests into a single
849 multi-measure rest. Multi-measure rests do not take part in rest
852 Be careful when entering multi-measure rests followed by whole
853 notes. The following will enter two notes lasting four measures each
857 When @code{skipBars} is set, the result will look OK, but the bar
858 numbering will be off.
861 @node Metronome marks
862 @subsection Metronome marks
865 @cindex beats per minute
866 @cindex metronome marking
868 Metronome settings can be entered as follows
870 \tempo @var{duration} = @var{per-minute}
873 In the MIDI output, they are interpreted as a tempo change. In the
874 layout output, a metronome marking is printed
876 @lilypond[quote,ragged-right,verbatim,fragment]
883 To change the tempo in the MIDI output without printing anything, make
884 the metronome marking invisible
886 \once \override Score.MetronomeMark #'transparent = ##t
889 To print other metronome markings, use these markup commands
890 @lilypond[quote,ragged-right,verbatim,relative,fragment]
893 \smaller \general-align #Y #DOWN \note #"16." #1
895 \smaller \general-align #Y #DOWN \note #"8" #1
900 See @ref{Text markup} for more details.
905 Program reference: @internalsref{MetronomeMark}.
910 Collisions are not checked. If you have notes above the top line of
911 the staff (or notes with articulations, slurs, text, etc), then the
912 metronome marking may be printed on top of musical symbols. If this
913 occurs, increase the padding of the metronome mark to place it
914 further away from the staff.
917 \override Score.MetronomeMark #'padding = #2.5
921 @node Rehearsal marks
922 @subsection Rehearsal marks
924 @cindex Rehearsal marks
927 To print a rehearsal mark, use the @code{\mark} command
929 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
938 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
939 If you wish to include the letter @q{I}, then use
942 \set Score.markFormatter = #format-mark-alphabet
945 The mark is incremented automatically if you use @code{\mark
946 \default}, but you can also use an integer argument to set the mark
947 manually. The value to use is stored in the property
948 @code{rehearsalMark}.
950 The style is defined by the property @code{markFormatter}. It is a
951 function taking the current mark (an integer) and the current context
952 as argument. It should return a markup object. In the following
953 example, @code{markFormatter} is set to a canned procedure. After a
954 few measures, it is set to function that produces a boxed number.
956 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
957 \set Score.markFormatter = #format-mark-numbers
960 \set Score.markFormatter = #format-mark-box-numbers
966 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
967 of @code{format-mark-numbers} (the default format),
968 @code{format-mark-box-numbers},
969 @code{format-mark-letters} and @code{format-mark-box-letters}.
970 These can be used as inspiration for other formatting functions.
972 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
973 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
974 incremented numbers or letters.
976 Other styles of rehearsal mark can be specified manually
983 @code{Score.markFormatter} does not affect marks specified in this manner.
984 However, it is possible to apply a @code{\markup} to the string.
987 \mark \markup@{ \box A1 @}
994 Music glyphs (such as the segno sign) may be printed inside
997 @lilypond[fragment,quote,ragged-right,verbatim,relative]
998 c1 \mark \markup { \musicglyph #"scripts.segno" }
999 c1 \mark \markup { \musicglyph #"scripts.coda" }
1000 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1005 See @ref{The Feta font} for a list of symbols which may be
1006 printed with @code{\musicglyph}.
1008 The horizontal location of rehearsal marks can be adjusted by
1009 setting @code{break-align-symbol}
1011 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1015 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
1019 \override Score.RehearsalMark #'break-align-symbol = #'clef
1025 @code{break-align-symbol} may also accept the following values:
1026 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1027 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1028 @code{key-signature}, and @code{time-signature}. Setting
1029 @code{break-align-symbol} will only have an effect if the symbol
1030 appears at that point in the music.
1035 This manual: @ref{Text marks}.
1037 Program reference: @internalsref{RehearsalMark}.
1039 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1040 definition of @code{format-mark-numbers} and
1041 @code{format-mark-letters}. They can be used as inspiration for other
1042 formatting functions.
1044 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
1046 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
1050 @subsection Bar numbers
1053 @cindex measure numbers
1054 @funindex currentBarNumber
1056 Bar numbers are printed by default at the start of the line. The
1057 number itself is stored in the @code{currentBarNumber} property, which
1058 is normally updated automatically for every measure.
1060 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1061 \repeat unfold 4 {c4 c c c} \break
1062 \set Score.currentBarNumber = #50
1063 \repeat unfold 4 {c4 c c c}
1066 Bar numbers may only be printed at bar lines; to print a bar
1067 number at the beginning of a piece, an empty bar line must
1070 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1071 \set Score.currentBarNumber = #50
1073 \repeat unfold 4 {c4 c c c} \break
1074 \repeat unfold 4 {c4 c c c}
1077 Bar numbers can be typeset at regular intervals instead of at the
1078 beginning of each line. This is illustrated in the following example,
1079 whose source is available as
1080 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
1082 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1084 Bar numbers can be removed entirely by removing the Bar number
1085 engraver from the score.
1087 @lilypond[verbatim,ragged-right,quote]
1091 \remove "Bar_number_engraver"
1103 Program reference: @internalsref{BarNumber}.
1106 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
1107 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
1112 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1113 there is one at the top. To solve this, the
1114 @code{padding} property of @internalsref{BarNumber} can be
1115 used to position the number correctly.
1118 @node Instrument names
1119 @subsection Instrument names
1121 In an orchestral score, instrument names are printed at the left side
1124 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1125 and @internalsref{Staff}.@code{shortInstrumentName}, or
1126 @internalsref{PianoStaff}.@code{instrumentName} and
1127 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1129 the start of the staff. For the first staff, @code{instrumentName} is
1130 used, for the following ones, @code{shortInstrumentName} is used.
1132 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1133 \set Staff.instrumentName = "Ploink "
1134 \set Staff.shortInstrumentName = "Plk "
1140 You can also use markup texts to construct more complicated instrument
1143 @lilypond[quote,fragment,verbatim,ragged-right]
1144 \set Staff.instrumentName = \markup {
1145 \column { "Clarinetti"
1146 \line { "in B" \smaller \flat } } }
1150 If you wish to center the instrument names, you must center all of them
1152 @lilypond[quote,verbatim,ragged-right]
1155 \set Staff.instrumentName = \markup {
1156 \center-align { "Clarinetti"
1157 \line { "in B" \smaller \flat } } }
1161 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1168 For longer instrument names, it may be useful to increase the
1169 @code{indent} setting in the @code{\layout} block.
1171 To center instrument names while leaving extra space to the right,
1173 @lilypond[quote,verbatim,ragged-right]
1174 \new StaffGroup \relative
1177 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1181 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1187 To add instrument names to other contexts (such as @code{GrandStaff},
1188 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1189 be added to that context.
1193 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1198 More information about adding and removing engravers can
1199 be found in @ref{Modifying context plug-ins}.
1201 Instrument names may be changed in the middle of a piece,
1203 @lilypond[quote,fragment,verbatim,ragged-right]
1204 \set Staff.instrumentName = "First"
1205 \set Staff.shortInstrumentName = "one"
1208 \set Staff.instrumentName = "Second"
1209 \set Staff.shortInstrumentName = "two"
1217 Program reference: @internalsref{InstrumentName}.
1221 @node Instrument transpositions
1222 @subsection Instrument transpositions
1224 @cindex transposition, MIDI
1225 @cindex transposition, instrument
1227 The key of a transposing instrument can also be specified. This
1228 applies to many wind instruments, for example, clarinets (B-flat, A, and
1229 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1231 The transposition is entered after the keyword @code{\transposition}
1234 \transposition bes %% B-flat clarinet
1238 This command sets the property @code{instrumentTransposition}. The value of
1239 this property is used for MIDI output and quotations. It does not
1240 affect how notes are printed in the current staff. To change the printed
1241 output, see @ref{Transpose}.
1243 The pitch to use for @code{\transposition} should correspond to the
1244 real sound heard when a @code{c'} written on the staff is played by the
1245 transposing instrument. For example, when entering a score in
1246 concert pitch, typically all voices are entered in C, so
1247 they should be entered as
1260 The command @code{\transposition} should be used when the music is
1261 entered from a (transposed) orchestral part. For example, in
1262 classical horn parts, the tuning of the instrument is often changed
1263 during a piece. When copying the notes from the part, use
1264 @code{\transposition}, e.g.,
1276 @node Ottava brackets
1277 @subsection Ottava brackets
1279 @q{Ottava} brackets introduce an extra transposition of an octave for
1280 the staff. They are created by invoking the function
1281 @code{set-octavation}
1287 @lilypond[quote,ragged-right,verbatim,fragment]
1297 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1298 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1299 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1300 @code{centralCPosition}. For overriding the text of the bracket, set
1301 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1303 @lilypond[quote,ragged-right,verbatim]
1306 \set Staff.ottavation = #"8"
1314 Program reference: @internalsref{OttavaBracket}.
1316 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1317 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1322 @code{set-octavation} will get confused when clef changes happen
1323 during an octavation bracket.
1326 @node Different editions from one source
1327 @subsection Different editions from one source
1332 The @code{\tag} command marks music expressions with a name. These
1333 tagged expressions can be filtered out later. With this mechanism it
1334 is possible to make different versions of the same music source.
1336 In the following example, we see two versions of a piece of music, one
1337 for the full score, and one with cue notes for the instrumental part
1353 The same can be applied to articulations, texts, etc.: they are
1356 -\tag #@var{your-tag}
1358 to an articulation, for example,
1363 This defines a note with a conditional fingering indication.
1366 @cindex removeWithTag
1367 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1368 commands, tagged expressions can be filtered. For example,
1372 \keepWithTag #'score @var{the music}
1373 \keepWithTag #'part @var{the music}
1378 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1380 The arguments of the @code{\tag} command should be a symbol
1381 (such as @code{#'score} or @code{#'part}), followed by a
1382 music expression. It is possible to put multiple tags on
1383 a piece of music with multiple @code{\tag} entries,
1386 \tag #'original-part \tag #'transposed-part @dots{}
1392 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1397 Multiple rests are not merged if you create the score with both tagged
1402 @node Orchestral music
1403 @section Orchestral music
1405 Orchestral music involves some special notation, both in the full
1406 score and the individual parts. This section explains how to tackle
1407 some common problems in orchestral music.
1410 * Automatic part combining::
1412 * Quoting other voices::
1413 * Formatting cue notes::
1414 * Aligning to cadenzas::
1418 @node Automatic part combining
1419 @subsection Automatic part combining
1420 @cindex automatic part combining
1421 @cindex part combiner
1423 Automatic part combining is used to merge two parts of music onto a
1424 staff. It is aimed at typesetting orchestral scores. When the two
1425 parts are identical for a period of time, only one is shown. In
1426 places where the two parts differ, they are typeset as separate
1427 voices, and stem directions are set automatically. Also, solo and
1428 @emph{a due} parts are identified and can be marked.
1430 The syntax for part combining is
1433 \partcombine @var{musicexpr1} @var{musicexpr2}
1437 The following example demonstrates the basic functionality of the part
1438 combiner: putting parts on one staff, and setting stem directions and
1441 @lilypond[quote,verbatim,ragged-right,fragment]
1442 \new Staff \partcombine
1443 \relative g' { g g a( b) c c r r }
1444 \relative g' { g g r4 r e e g g }
1447 The first @code{g} appears only once, although it was
1448 specified twice (once in each part). Stem, slur, and tie directions are
1449 set automatically, depending whether there is a solo or unisono. The
1450 first part (with context called @code{one}) always gets up stems, and
1451 @q{Solo}, while the second (called @code{two}) always gets down stems and
1454 If you just want the merging parts, and not the textual markings, you
1455 may set the property @code{printPartCombineTexts} to false
1457 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1459 \set Staff.printPartCombineTexts = ##f
1461 \relative g' { g a( b) r }
1462 \relative g' { g r4 r f }
1466 To change the text that is printed for solos or merging, you may
1467 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1470 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1472 \set Score.soloText = #"ichi"
1473 \set Score.soloIIText = #"ni"
1474 \set Score.aDueText = #"tachi"
1476 \relative g' { g4 g a( b) r }
1477 \relative g' { g4 g r r f }
1481 Both arguments to @code{\partcombine} will be interpreted as
1482 @internalsref{Voice} contexts. If using relative octaves,
1483 @code{\relative} should be specified for both music expressions, i.e.,
1487 \relative @dots{} @var{musicexpr1}
1488 \relative @dots{} @var{musicexpr2}
1492 A @code{\relative} section that is outside of @code{\partcombine} has
1493 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1497 Program reference: @internalsref{PartCombineMusic}.
1501 When @code{printPartCombineTexts} is set, when the two voices play the
1502 same notes on and off, the part combiner may typeset @code{a2} more
1503 than once in a measure.
1505 @code{\partcombine} cannot be inside @code{\times}.
1507 @code{\partcombine} cannot be inside @code{\relative}.
1509 Internally, the @code{\partcombine} interprets both arguments as
1510 @code{Voice}s named @code{one} and @code{two}, and then decides when
1511 the parts can be combined. Consequently, if the arguments switch to
1512 differently named @internalsref{Voice} contexts, the events in those
1517 @subsection Hiding staves
1519 @cindex Frenched scores
1520 @cindex Hiding staves
1522 In orchestral scores, staff lines that only have rests are usually
1523 removed; this saves some space. This style is called @q{French Score}.
1524 For @internalsref{Lyrics},
1525 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1526 switched on by default. When the lines of these contexts turn out
1527 empty after the line-breaking process, they are removed.
1529 For normal staves, a specialized @internalsref{Staff} context is
1530 available, which does the same: staves containing nothing (or only
1531 multi-measure rests) are removed. The context definition is stored in
1532 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1533 in this example disappears in the second line
1535 @lilypond[quote,ragged-right,verbatim]
1537 \context { \RemoveEmptyStaffContext }
1542 \new Staff { e4 f g a \break c1 }
1543 \new Staff { c4 d e f \break R1 }
1548 The first system shows all staves in full. If empty staves should be
1549 removed from the first system too, set @code{remove-first} to true in
1550 @internalsref{VerticalAxisGroup}.
1553 \override Score.VerticalAxisGroup #'remove-first = ##t
1556 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1557 or @code{\RemoveEmptyRhythmicStaffContext}.
1559 Another application is making ossia sections, i.e., alternative
1560 melodies on a separate piece of staff, with help of a Frenched
1564 @node Quoting other voices
1565 @subsection Quoting other voices
1569 With quotations, fragments of other parts can be inserted into a part
1570 directly. Before a part can be quoted, it must be marked especially as
1571 quotable. This is done with the @code{\addQuote} command.
1574 \addQuote @var{name} @var{music}
1579 Here, @var{name} is an identifying string. The @var{music} is any kind
1580 of music. Here is an example of @code{\addQuote}
1583 \addQuote clarinet \relative c' @{
1588 This command must be entered at toplevel, i.e., outside any music
1591 After calling @code{\addQuote}, the quotation may then be done with
1592 @code{\quoteDuring} or @code{\cueDuring},
1595 \quoteDuring #@var{name} @var{music}
1598 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1602 \quoteDuring #"clarinet" @{ s2. @}
1605 This would cite three quarter notes (the duration of @code{s2.}) of
1606 the previously added @code{clarinet} voice.
1609 More precisely, it takes the current time-step of the part being
1610 printed, and extracts the notes at the corresponding point of the
1611 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1612 should be the entire part of the voice to be quoted, including any
1613 rests at the beginning.
1615 Quotations take into account the transposition of both source and target
1616 instruments, if they are specified using the @code{\transposition} command.
1618 @lilypond[quote,ragged-right,verbatim]
1619 \addQuote clarinet \relative c' {
1625 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1629 The type of events that are present in cue notes can be trimmed with
1630 the @code{quotedEventTypes} property. The default value is
1631 @code{(note-event rest-event)}, which means that only notes and
1632 rests of the cued voice end up in the @code{\quoteDuring}.
1636 \set Staff.quotedEventTypes =
1637 #'(note-event articulation-event dynamic-event)
1641 will quote notes (but no rests), together with scripts and dynamics.
1645 Only the contents of the first @internalsref{Voice} occurring in an
1646 @code{\addQuote} command will be considered for quotation, so
1647 @var{music} can not contain @code{\new} and @code{\context Voice}
1648 statements that would switch to a different Voice.
1650 Quoting grace notes is broken and can even cause LilyPond to crash.
1652 Quoting nested triplets may result in poor notation.
1657 In this manual: @ref{Instrument transpositions}.
1659 Examples: @inputfileref{input/@/regression,quote@/.ly}
1660 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1662 Program reference: @internalsref{QuoteMusic}.
1665 @node Formatting cue notes
1666 @subsection Formatting cue notes
1668 @cindex cues, formatting
1670 The previous section deals with inserting notes from another voice.
1671 There is a more advanced music function called @code{\cueDuring},
1672 which makes formatting cue notes easier.
1677 \cueDuring #@var{name} #@var{updown} @var{music}
1680 This will insert notes from the part @var{name} into a
1681 @internalsref{Voice} called @code{cue}. This happens simultaneously
1682 with @var{music}, which usually is a rest. When the cue notes start,
1683 the staff in effect becomes polyphonic for a moment. The argument
1684 @var{updown} determines whether the cue notes should be notated as a
1685 first or second voice.
1688 @lilypond[verbatim,ragged-right]
1691 \override Stem #'length-fraction = #0.8
1692 \override Beam #'thickness = #0.384
1693 \override Beam #'length-fraction = #0.8
1696 \addQuote clarinet \relative {
1701 \new Staff \relative <<
1703 % setup a context for cue notes.
1704 \new Voice = "cue" { \smaller \skip 1*21 }
1706 \set Score.skipBars = ##t
1710 \cueDuring #"clarinet" #1 {
1719 Here are a couple of hints for successful cue notes
1723 Cue notes have smaller font sizes.
1725 the cued part is marked with the instrument playing the cue.
1727 when the original part takes over again, this should be marked with
1728 the name of the original instrument.
1730 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1732 @c Yes, this is good practice. Otherwise, the start of the original
1733 @c part can only be seen from the font size. This is not good enough
1734 @c for sight-reading. It is possilbe to use other
1735 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1741 Any other changes introduced by the cued part should also be
1742 undone. For example, if the cued instrument plays in a different clef,
1743 the original clef should be stated once again.
1747 The macro @code{\transposedCueDuring} is
1748 useful to add cues to instruments which use a completely different
1749 octave range (for example, having a cue of a piccolo flute within
1750 a contra bassoon part).
1752 @lilypond[verbatim,ragged-right,quote]
1753 picc = \relative c''' {
1759 \addQuote "picc" { \picc }
1761 cbsn = \relative c, {
1764 \transposedCueDuring #"picc" #UP c,, { R1 } |
1769 \context Staff = "picc" \picc
1770 \context Staff = "cbsn" \cbsn
1776 @node Aligning to cadenzas
1777 @subsection Aligning to cadenzas
1779 In an orchestral context, cadenzas present a special problem:
1780 when constructing a score that includes a cadenza, all other
1781 instruments should skip just as many notes as the length of the
1782 cadenza, otherwise they will start too soon or too late.
1784 A solution to this problem are the functions @code{mmrest-of-length}
1785 and @code{skip-of-length}. These Scheme functions take a piece of music
1786 as argument, and generate a @code{\skip} or multi-rest, exactly as
1787 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1788 in the following example.
1790 @lilypond[verbatim,ragged-right,quote]
1791 cadenza = \relative c' {
1792 c4 d8 << { e f g } \\ { d4. } >>
1797 \new Staff { \cadenza c'4 }
1799 #(ly:export (mmrest-of-length cadenza))
1808 @node Contemporary notation
1809 @section Contemporary notation
1811 In the 20th century, composers have greatly expanded the musical
1812 vocabulary. With this expansion, many innovations in musical notation
1813 have been tried. The book @q{Music Notation in the 20th century} by
1814 Kurt Stone gives a comprehensive overview (see @ref{Literature
1817 This section describes notation that does
1818 not fit into traditional notation categories, such as pitches,
1819 tuplet beams, and articulation. For contemporary notation
1820 that fits into traditional notation categories, such as
1821 microtones, nested tuplet beams, and unusual fermatas, please
1822 see those sections of the documentation.
1825 * Polymetric notation::
1826 * Time administration::
1827 * Proportional notation::
1829 * Special noteheads::
1832 * Selecting notation font size::
1836 @node Polymetric notation
1837 @subsection Polymetric notation
1839 @cindex double time signatures
1840 @cindex signatures, polymetric
1841 @cindex polymetric signatures
1842 @cindex meter, polymetric
1844 Double time signatures are not supported explicitly, but they can be
1845 faked. In the next example, the markup for the time signature is
1846 created with a markup text. This markup text is inserted in the
1847 @internalsref{TimeSignature} grob. See also
1848 @inputfileref{input/@/test,compound@/-time@/.ly}).
1850 @lilypond[verbatim,ragged-right]
1853 \override #'(baseline-skip . 2) \number {
1856 \bracket \column { "5" "8" }
1861 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1862 \override Staff.TimeSignature #'text = #tsMarkup
1864 c'2 \bar ":" c'4 c'4.
1868 Each staff can also have its own time signature. This is done by
1869 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1875 \remove "Timing_translator"
1876 \remove "Default_bar_line_engraver"
1880 \consists "Timing_translator"
1881 \consists "Default_bar_line_engraver"
1888 Now, each staff has its own time signature.
1901 c4. c8 c c c4. c8 c c
1906 @lilypond[quote,ragged-right]
1910 \remove "Timing_translator"
1911 \remove "Default_bar_line_engraver"
1914 \consists "Timing_translator"
1915 \consists "Default_bar_line_engraver"
1930 c4. c8 c c c4. c8 c c
1936 A different form of polymetric notation is where note lengths have
1937 different values across staves.
1939 This notation can be created by setting a common time signature for
1940 each staff but replacing it manually using
1941 @code{timeSignatureFraction} to the desired fraction. Then the printed
1942 durations in each staff are scaled to the common time signature.
1943 The latter is done with @code{\compressMusic}, which is used similar
1944 to @code{\times}, but does not create a tuplet bracket. The syntax is
1946 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1951 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1952 used in parallel. In the second staff, shown durations are multiplied by
1953 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1954 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1956 @lilypond[quote,ragged-right,verbatim,fragment]
1964 \set Staff.timeSignatureFraction = #'(9 . 8)
1965 \compressMusic #'(2 . 3)
1966 \repeat unfold 6 { c8[ c c] }
1970 \set Staff.timeSignatureFraction = #'(10 . 8)
1971 \compressMusic #'(3 . 5) {
1972 \repeat unfold 2 { c8[ c c] }
1973 \repeat unfold 2 { c8[ c] }
1974 | c4. c4. \times 2/3 { c8 c c } c4
1985 When using different time signatures in parallel, the spacing is
1986 aligned vertically, but bar lines distort the regular spacing.
1989 @node Time administration
1990 @subsection Time administration
1992 @cindex Time administration
1994 Time is administered by the @internalsref{Time_signature_engraver},
1995 which usually lives in the @internalsref{Score} context. The
1996 bookkeeping deals with the following variables
1999 @item currentBarNumber
2003 The length of the measures in the current time signature. For a 4/4
2004 time this is@tie{}1, and for 6/8 it is 3/4.
2006 @item measurePosition
2007 The point within the measure where we currently are. This quantity
2008 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2009 happens, @code{currentBarNumber} is incremented.
2012 If set to true, the above variables are updated for every time
2013 step. When set to false, the engraver stays in the current measure
2017 Timing can be changed by setting any of these variables explicitly.
2018 In the next example, the 4/4 time signature is printed, but
2019 @code{measureLength} is set to 5/4. After a while, the measure is
2020 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2021 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2022 3/8 arises because 5/4 normally has 10/8, but we have manually
2023 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2025 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2026 \set Score.measureLength = #(ly:make-moment 5 4)
2030 \set Score.measurePosition = #(ly:make-moment 7 8)
2036 As the example illustrates, @code{ly:make-moment n m} constructs a
2037 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2039 note duration and @code{ly:make-moment 7 16} is the duration of
2040 seven sixteenths notes.
2043 @node Proportional notation
2044 @subsection Proportional notation
2045 @cindex Proportional notation
2047 Notes can be spaced proportionally to their time-difference by
2048 assigning a duration to @code{proportionalNotationDuration}
2050 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2052 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2053 \new Staff { c8[ c c c c c] c4 c2 r2 }
2054 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2058 Setting this property only affects the ideal spacing between
2059 consecutive notes. For true proportional notation, the following
2060 settings are also required.
2064 @item True proportional notation requires that symbols are allowed to
2065 overstrike each other. That is achieved by removing the
2066 @internalsref{Separating_line_group_engraver} from
2067 @internalsref{Staff} context.
2069 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2070 is removed by setting the @code{strict-note-spacing} property to
2071 @code{#t} in @internalsref{SpacingSpanner} grob.
2073 @item Optical spacing tweaks are switched by setting
2074 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2081 @inputfileref{input/@/regression,spacing-proportional/.ly}
2082 @inputfileref{input/@/regression,spacing-strict-notespacing/.ly}
2083 @inputfileref{input/@/regression,spacing-strict-spacing-grace/.ly}
2085 An example of strict proportional notation is in the
2086 example file @file{input/proportional.ly}.
2090 @subsection Clusters
2094 A cluster indicates a continuous range of pitches to be played. They
2095 can be denoted as the envelope of a set of notes. They are entered by
2096 applying the function @code{makeClusters} to a sequence of
2098 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2099 \makeClusters { <c e > <b f'> }
2102 The following example (from
2103 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
2106 @lilypondfile[ragged-right,quote]{cluster.ly}
2108 Ordinary notes and clusters can be put together in the same staff,
2109 even simultaneously. In such a case no attempt is made to
2110 automatically avoid collisions between ordinary notes and clusters.
2114 Program reference: @internalsref{ClusterSpanner},
2115 @internalsref{ClusterSpannerBeacon},
2116 @internalsref{Cluster_spanner_engraver}.
2118 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
2122 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2123 accurately. Use @code{<g a>8 <e a>8} instead.
2126 @node Special noteheads
2127 @subsection Special noteheads
2129 @cindex note heads, special
2131 Different noteheads are used by various instruments for various
2132 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2133 notes on guitar; diamonds are used for harmonics on string instruments,
2134 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2135 other notehead styles are produced by tweaking the property
2137 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2139 \override NoteHead #'style = #'cross
2141 \revert NoteHead #'style
2142 e d <c f\harmonic> <d a'\harmonic>
2146 To see all notehead styles, please see
2147 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
2152 Program reference: @internalsref{NoteHead}.
2155 @node Feathered beams
2156 @subsection Feathered beams
2158 Feathered beams are printed by setting the @code{grow-direction}
2159 property of a @code{Beam}. The @code{\featherDurations} function
2160 can be used to adjust note durations.
2162 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2163 \featherDurations #(ly:make-moment 5 4)
2165 \override Beam #'grow-direction = #LEFT
2172 The @code{\featherDuration} command only works with very short
2176 @subsection Improvisation
2178 Improvisation is sometimes denoted with slashed note heads. Such note
2179 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2180 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
2184 \set squashedPosition = #0
2185 \override NoteHead #'style = #'slash
2189 switches on the slashes.
2191 There are shortcuts @code{\improvisationOn} (and an accompanying
2192 @code{\improvisationOff}) for this command sequence. They are used in
2193 the following example
2195 @lilypond[verbatim,ragged-right,quote]
2197 \consists Pitch_squash_engraver
2199 e8 e g a a16(bes)(a8) g \improvisationOn
2202 ~fis2 \improvisationOff a16(bes) a8 g e
2207 @node Selecting notation font size
2208 @subsection Selecting notation font size
2210 The easiest method of setting the font size of any context is by
2211 setting the @code{fontSize} property.
2213 @lilypond[quote,fragment,relative=1,verbatim]
2222 It does not change the size of variable symbols, such as beams or
2225 Internally, the @code{fontSize} context property will cause the
2226 @code{font-size} property to be set in all layout objects. The value
2227 of @code{font-size} is a number indicating the size relative to the
2228 standard size for the current staff height. Each step up is an
2229 increase of approximately 12% of the font size. Six steps is exactly a
2230 factor two. The Scheme function @code{magstep} converts a
2231 @code{font-size} number to a scaling factor.
2233 @lilypond[quote,fragment,relative=1,verbatim]
2235 \override NoteHead #'font-size = #-4
2237 \override NoteHead #'font-size = #3
2241 Font size changes are achieved by scaling the design size that is
2242 closest to the desired size. The standard font size (for
2243 @code{font-size} equals 0), depends on the standard staff height. For
2244 a 20pt staff, a 10pt font is selected.
2246 The @code{font-size} property can only be set on layout objects that
2247 use fonts. These are the ones supporting the
2248 @internalsref{font-interface} layout interface.
2252 The following commands set @code{fontSize} for the current voice:
2258 @funindex \normalsize
2263 @node Educational use
2264 @section Educational use
2266 With the amount of control that LilyPond offers, one can make great
2267 teaching tools in addition to great musical scores.
2271 * Blank music sheet::
2273 * Shape note heads::
2274 * Easy Notation note heads::
2275 * Analysis brackets::
2276 * Coloring objects::
2282 @subsection Balloon help
2284 Elements of notation can be marked and named with the help of a square
2285 balloon. The primary purpose of this feature is to explain notation.
2287 The following example demonstrates its use.
2289 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2290 \new Voice \with { \consists "Balloon_engraver" }
2292 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2293 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2298 There are two music functions, @code{balloonText} and
2299 @code{balloonGrobText}. The latter takes the name of the grob to
2300 adorn, while the former may be used as an articulation on a note.
2301 The other arguments are the offset and the text of the label.
2304 @cindex notation, explaining
2308 Program reference: @internalsref{text-balloon-interface}.
2310 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
2315 @node Blank music sheet
2316 @subsection Blank music sheet
2318 @cindex Sheet music, empty
2319 @cindex Staves, blank sheet
2321 A blank music sheet can be produced also by using invisible notes, and
2322 removing @code{Bar_number_engraver}.
2325 @lilypond[quote,verbatim]
2326 \layout{ indent = #0 }
2328 \repeat unfold 2 % Change this for more lines.
2333 \override TimeSignature #'transparent = ##t
2334 % un-comment this line if desired
2335 % \override Clef #'transparent = ##t
2336 defaultBarType = #""
2337 \remove Bar_number_engraver
2340 % modify these to get the staves you want
2341 \new Staff \emptymusic
2342 \new TabStaff \emptymusic
2348 @subsection Hidden notes
2350 @cindex Hidden notes
2351 @cindex Invisible notes
2352 @cindex Transparent notes
2354 @funindex \hideNotes
2355 @funindex \unHideNotes
2356 Hidden (or invisible or transparent) notes can be useful in preparing theory
2357 or composition exercises.
2359 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2368 @node Shape note heads
2369 @subsection Shape note heads
2371 @cindex note heads, shape
2373 In shape note head notation, the shape of the note head corresponds
2374 to the harmonic function of a note in the scale. This notation was
2375 popular in the 19th century American song books.
2377 Shape note heads can be produced by setting @code{\aikenHeads} or
2378 @code{\sacredHarpHeads}, depending on the style desired.
2380 @lilypond[verbatim,relative=1,fragment]
2387 Shapes are determined on the step in the scale, where the base of the
2388 scale is determined by the @code{\key} command
2391 @funindex shapeNoteStyles
2392 @funindex \aikenHeads
2393 @funindex \sacredHarpHeads
2395 Shape note heads are implemented through the @code{shapeNoteStyles}
2396 property. Its value is a vector of symbols. The k-th element indicates
2397 the style to use for the k-th step of the scale. Arbitrary
2398 combinations are possible, e.g.
2400 @lilypond[verbatim,relative=1,fragment]
2401 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2406 @node Easy Notation note heads
2407 @subsection Easy Notation note heads
2409 @cindex note heads, practice
2410 @cindex note heads, easy notation
2411 @cindex easy notation
2414 The @q{easy play} note head includes a note name inside the head. It is
2415 used in music for beginners
2417 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2422 The command @code{\setEasyHeads} overrides settings for the
2423 @internalsref{NoteHead} object. To make the letters readable, it has
2424 to be printed in a large font size. To print with a larger font, see
2425 @ref{Setting the staff size}.
2429 @funindex \setEasyHeads
2430 @code{\setEasyHeads}
2433 @node Analysis brackets
2434 @subsection Analysis brackets
2436 @cindex phrasing brackets
2437 @cindex musicological analysis
2438 @cindex note grouping bracket
2440 Brackets are used in musical analysis to indicate structure in musical
2441 pieces. LilyPond supports a simple form of nested horizontal
2442 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2443 to @internalsref{Staff} context. A bracket is started with
2444 @code{\startGroup} and closed with @code{\stopGroup}
2446 @lilypond[quote,ragged-right,verbatim]
2449 c4\startGroup\startGroup
2452 c4\stopGroup\stopGroup
2456 \Staff \consists "Horizontal_bracket_engraver"
2462 Program reference: @internalsref{HorizontalBracket}.
2464 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2467 @node Coloring objects
2468 @subsection Coloring objects
2470 Individual objects may be assigned colors. You may use the
2471 color names listed in the @ref{List of colors}.
2473 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2474 \override NoteHead #'color = #red
2476 \override NoteHead #'color = #(x11-color 'LimeGreen)
2478 \override Stem #'color = #blue
2482 The full range of colors defined for X11 can be accessed by using the
2483 Scheme function x11-color. The function takes one argument that can be a
2487 \override Beam #'color = #(x11-color 'MediumTurquoise)
2493 \override Beam #'color = #(x11-color "MediumTurquoise")
2496 The first form is quicker to write and is more efficient. However, using
2497 the second form it is possible to access X11 colors by the multi-word
2501 \override Beam #'color = #(x11-color "medium turquoise")
2504 If x11-color cannot make sense of the parameter then the color returned
2505 defaults to black. It should be obvious from the final score that
2508 This example illustrates the use of x11-color. Notice that the stem
2509 color remains black after being set to (x11-color 'Boggle), which is
2510 deliberate nonsense.
2512 @lilypond[quote,ragged-right,verbatim]
2514 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2515 \set Staff.instrumentName = \markup {
2516 \with-color #(x11-color 'navy) "Clarinet"
2520 \override Beam #'color = #(x11-color "medium turquoise")
2522 \override NoteHead #'color = #(x11-color "LimeGreen")
2524 \override Stem #'color = #(x11-color 'Boggle)
2532 Appendix: @ref{List of colors}.
2536 Not all x11 colors are distinguishable in a web browser. For web use
2537 normal colors are recommended.
2539 An x11 color is not necessarily exactly the same shade as a similarly
2542 Notes in a chord cannot be colored with @code{\override}; use
2543 @code{\tweak} instead. See @ref{Objects connected to the input}
2548 @subsection Parentheses
2551 @cindex notes, ghost
2552 @cindex notes, parenthesized
2554 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2557 @lilypond[relative=2,fragment,verbatim,ragged-right]
2565 This only functions inside chords, even for single notes
2568 < \parenthesize NOTE>
2573 @subsection Grid lines
2575 Vertical lines can be drawn between staves synchronized with
2578 Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.