1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
10 @c A menu is needed before every deeper *section nesting of @node's; run
11 @c M-x texinfo-all-menus-update
12 @c to automatically fill in these menus before saving changes
15 @node Advanced notation
16 @chapter Advanced notation
18 This chapter deals with rarely-used and advanced notation.
24 * Contemporary notation::
33 This section explains how to include text (with various formatting) in
36 @cindex Text, other languages
37 To write accented and special text (such as characters from other languages),
39 insert the characters directly into the lilypond file. The file must be
40 saved as UTF-8. For more information, see @ref{Text encoding}.
44 * Text and line spanners::
49 * Overview of text markup commands::
56 @subsection Text scripts
59 @cindex text items, non-empty
60 @cindex non-empty texts
62 It is possible to place arbitrary strings of text or @ref{Text markup}
63 above or below notes by using a string @code{c^"text"}. By default,
64 these indications do not influence the note spacing, but by using the
65 command @code{\fatText}, the widths will be taken into account
67 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
68 c4^"longtext" \fatText c4_"longlongtext" c4
72 To prevent text from influencing spacing, use @code{\emptyText}.
74 More complex formatting may also be added to a note by using the
76 @lilypond[fragment,ragged-right,verbatim,quote]
77 c'4^\markup { bla \bold bla }
80 The @code{\markup} is described in more detail in
94 Checking to make sure that text scripts and lyrics are within the margins is
95 a relatively large computational task. To speed up processing, lilypond does
96 not perform such calculations by default; to enable it, use
99 \override Score.PaperColumn #'keep-inside-line = ##t
105 In this manual: @ref{Text markup}.
107 Program reference: @internalsref{TextScript}.
110 @node Text and line spanners
111 @subsection Text and line spanners
113 Some performance indications, e.g., @i{rallentando} and
114 @i{accelerando} and @i{trills} are written as text and are extended
115 over many measures with lines, sometimes dotted or wavy.
117 These all use the same routines as the glissando for drawing the texts
118 and the lines, and tuning their behavior is therefore also done in the
119 same way. It is done with a spanner, and the routine responsible for
120 drawing the spanners is @code{ly:line-interface::print}. This
121 routine creates determines the exact location of the two @i{span
122 points} and draws a line in between, in the style requested.
124 Here is an example of the different line styles available, and how to
127 @lilypond[relative=2,ragged-right,verbatim,fragment]
129 \once \override Glissando #'dash-fraction = #0.5
131 \override Glissando #'style = #'dotted-line
133 \override Glissando #'style = #'zigzag
135 \override Glissando #'style = #'trill
139 The information that determines the end-points is computed on-the-fly
140 for every graphic object, but it is possible to override these.
142 @lilypond[relative=2,ragged-right,verbatim,fragment]
144 \once \override Glissando #'bound-details #'right #'Y = #-2
148 The @code{Glissando} object, like any other using the
149 @code{ly:line-interface::print} routine, carries a nested
150 association list. In the above statement, the value for @code{Y}
151 is set to @code{-2} for association list corresponding to the right
152 end point. Of course, it is also possible to adjust the left side with
153 @code{left} instead of @code{right}.
155 If @code{Y} is not set, the value is computed from the vertical
156 position of right attachment point of the spanner.
158 In case of a line break, the values for the span-points are extended
159 with contents of the @code{left-broken} and @code{right-broken}
160 sublists, for example
162 @lilypond[relative=2,ragged-right,verbatim,fragment]
163 \override Glissando #'breakable = ##T
164 \override Glissando #'bound-details #'right-broken #'Y = #-3
169 The following properties can be used for the
173 This sets the Y-coordinate of the end point, in staff space. By
174 default, it is the center of the bound object, so for a glissando it
175 points to the vertical center of the note head.
177 For horizontal spanners, such as text spanner and trill spanners, it
181 This determines where the line starts and ends in X-direction,
182 relative to the bound object. So, a value of @code{-1} (or
183 @code{LEFT}) makes the line start/end at the left side of the note
184 head it is attached to.
187 This is the absolute coordinate of the end point. It is usually
188 computed on the fly, and there is little use in overriding it.
191 Line spanners may have symbols at the beginning or end, which is
192 contained in this sub-property. This is for internal use, it is
193 recommended to use @code{text}.
196 This is a markup that is evaluated to yield stencil. It is
197 used to put @i{cresc.} and @i{tr} on horizontal spanners.
199 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
200 \override TextSpanner #'bound-details #'left #'text
201 = \markup { \small \bold Slower }
202 c2\startTextSpan b c a\stopTextSpan
205 @item stencil-align-dir-y
207 Without setting this, the stencil is simply put there at the
208 end-point, as defined by the @code{X} and @code{Y} sub properties.
209 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
210 will move the symbol at the edge relative to the end point of the line
212 @lilypond[relative=1,fragment,verbatim]
213 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
214 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
216 \override TextSpanner #'bound-details #'left #'text = #"gggg"
217 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
218 c4^\startTextSpan c c c \stopTextSpan
222 Setting this sub property to @code{#t} produce an arrowhead at the end
226 This sub property controls the space between the specified end-point
227 of the line and the actual end. Without padding, a glissando would
228 start and end in the center of each note head.
234 Program reference: @internalsref{TextSpanner},
235 @internalsref{Glissando}, @internalsref{VoiceFollower},
236 @internalsref{TrillSpanner}, @internalsref{line-spanner-interface}.
239 @inputfileref{input/@/regression,dynamics@/-text@/-spanner@/-padding.ly}.
240 @inputfileref{input/@/regression,glissando@/-broken@/.ly}.
241 @inputfileref{input/@/regression,line@/-arrows@/.ly}.
242 @inputfileref{input/@/regression,line@/-style@/.ly}.
246 @subsection Text spanners
248 @cindex Text spanners
250 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
251 are written as text and are extended over many measures with dotted
252 lines. Such texts are created using text spanners; attach
253 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
254 notes of the spanner.
256 The string to be printed, as well as the style, is set through object
259 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
262 \override TextSpanner #'edge-text = #'("rall " . "")
263 c2\startTextSpan b c\stopTextSpan a
266 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
267 c2\startTextSpan b c\stopTextSpan a
272 @cindex textSpannerUp
273 @code{textSpannerUp},
274 @cindex textSpannerDown
275 @code{textSpannerDown},
276 @cindex 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
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 #'edge-text = #(cons (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 "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 }
581 @node Overview of text markup commands
582 @subsection Overview of text markup commands
584 The following commands can all be used inside @code{\markup @{ @}}.
586 @include markup-commands.tely
590 @subsection Font selection
592 @cindex font selection
593 @cindex font magnification
594 @funindex font-interface
596 By setting the object properties described below, you can select a
597 font from the preconfigured font families. LilyPond has default
598 support for the feta music fonts. Text fonts are selected through
599 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
600 the sans and typewriter to whatever the Pango installation defaults
605 @item @code{font-encoding}
606 is a symbol that sets layout of the glyphs. This should only be set to
607 select different types of non-text fonts, e.g.
609 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
610 standard music font, including ancient glyphs, @code{fetaDynamic} for
611 dynamic signs and @code{fetaNumber} for the number font.
613 @item @code{font-family}
614 is a symbol indicating the general class of the typeface. Supported are
615 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
617 @item @code{font-shape}
618 is a symbol indicating the shape of the font. There are typically
619 several font shapes available for each font family. Choices are
620 @code{italic}, @code{caps}, and @code{upright}.
622 @item @code{font-series}
623 is a symbol indicating the series of the font. There are typically
624 several font series for each font family and shape. Choices are
625 @code{medium} and @code{bold}.
629 Fonts selected in the way sketched above come from a predefined style
630 sheet. If you want to use a font from outside the style sheet,
632 @code{font-name} property,
634 @lilypond[fragment,verbatim]
636 \override Staff.TimeSignature #'font-name = #"Charter"
637 \override Staff.TimeSignature #'font-size = #2
640 \override #'(font-name . "Vera Bold")
641 { This text is in Vera Bold }
647 Any font can be used, as long as it is available to Pango/FontConfig.
648 To get a full list of all available fonts, run the command
650 lilypond -dshow-available-fonts blabla
652 (the last argument of the command can be anything, but has to be present).
655 The size of the font may be set with the @code{font-size}
656 property. The resulting size is taken relative to the
657 @code{text-font-size} as defined in the @code{\paper} block.
660 @cindex font magnification
663 It is also possible to change the default font family for the entire
664 document. This is done by calling the @code{make-pango-font-tree} from
665 within the @code{\paper} block. The function takes names for the font
666 families to use for roman, sans serif and monospaced text. For
669 @cindex font families, setting
678 (make-pango-font-tree "Times New Roman"
685 c'^\markup { roman: foo \sans bla \typewriter bar }
689 @c we don't do Helvetica / Courier, since GS incorrectly loads
696 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
699 @node New dynamic marks
700 @subsection New dynamic marks
702 It is possible to print new dynamic marks or text that should be aligned
703 with dynamics. Use @code{make-dynamic-script} to create these
704 marks. Note that the dynamic font only contains the characters
705 @code{f,m,p,r,s} and @code{z}.
707 Some situations (such as dynamic marks) have preset font-related
708 properties. If you are creating text in such situations, it
709 is advisable to cancel those properties with
710 @code{normal-text}. See @ref{Overview of text markup commands}
713 @cindex make-dynamic-script
715 @lilypond[quote,verbatim,ragged-right]
716 sfzp = #(make-dynamic-script "sfzp")
722 @cindex Dynamics, editorial
723 @cindex Dynamics, parenthesis
725 It is also possible to print dynamics in round parenthesis or square
726 brackets. These are often used for adding editorial dynamics.
728 @lilypond[quote,verbatim,ragged-right]
729 rndf = \markup{ \center-align {\line { \bold{\italic (}
730 \dynamic f \bold{\italic )} }} }
731 boxf = \markup{ \bracket { \dynamic f } }
732 { c'1_\rndf c'1_\boxf }
737 @node Preparing parts
738 @section Preparing parts
740 This section describes various notation that are useful for preparing
744 * Multi measure rests::
749 * Instrument transpositions::
751 * Different editions from one source::
755 @node Multi measure rests
756 @subsection Multi measure rests
758 @cindex multi measure rests
759 @cindex full measure rests
760 @cindex Rests, multi measure
761 @cindex Rests, full measure
762 @cindex whole rests for a full measure
765 Rests for one full measure (or many bars) are entered using @samp{R}. It
766 is specifically meant for full bar rests and for entering parts: the rest
767 can expand to fill a score with rests, or it can be printed as a single
768 multi-measure rest. This expansion is controlled by the property
769 @code{Score.skipBars}. If this is set to true, empty measures will not
770 be expanded, and the appropriate number is added automatically
772 @lilypond[quote,ragged-right,fragment,verbatim]
773 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
774 \set Score.skipBars = ##t R1*17 R1*4
777 The @code{1} in @code{R1} is similar to the duration notation used for
778 notes. Hence, for time signatures other than 4/4, you must enter other
779 durations. This can be done with augmentation dots or fractions
781 @lilypond[quote,ragged-right,fragment,verbatim]
782 \set Score.skipBars = ##t
791 An @code{R} spanning a single measure is printed as either a whole rest
792 or a breve, centered in the measure regardless of the time signature.
794 If there are only a few measures of rest, LilyPond prints @q{church rests}
795 (a series of rectangles) in the staff. To replace that with a simple
796 rest, use @code{MultiMeasureRest.expand-limit}.
798 @lilypond[quote,ragged-right,fragment,verbatim]
799 \set Score.skipBars = ##t
801 \override MultiMeasureRest #'expand-limit = 1
805 @cindex text on multi-measure rest
806 @cindex script on multi-measure rest
807 @cindex fermata on multi-measure rest
809 Texts can be added to multi-measure rests by using the
810 @var{note}-@code{markup} syntax @ref{Text markup}.
811 A variable (@code{\fermataMarkup}) is provided for
814 @lilypond[quote,ragged-right,verbatim,fragment]
815 \set Score.skipBars = ##t
817 R2.*10^\markup { \italic "ad lib." }
821 Warning! This text is created by @code{MultiMeasureRestText}, not
824 @lilypond[quote,ragged-right,verbatim,fragment]
825 \override TextScript #'padding = #5
827 \override MultiMeasureRestText #'padding = #5
831 If you want to have text on the left end of a multi-measure rest,
832 attach the text to a zero-length skip note, i.e.,
842 Program reference: @internalsref{MultiMeasureRestMusicGroup},
843 @internalsref{MultiMeasureRest}.
845 The layout object @internalsref{MultiMeasureRestNumber} is for the
846 default number, and @internalsref{MultiMeasureRestText} for user
852 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
853 over multi-measure rests. And the pitch of multi-measure rests (or
854 staff-centered rests) can not be influenced.
856 @cindex condensing rests
858 There is no way to automatically condense multiple rests into a single
859 multi-measure rest. Multi-measure rests do not take part in rest
862 Be careful when entering multi-measure rests followed by whole
863 notes. The following will enter two notes lasting four measures each
867 When @code{skipBars} is set, the result will look OK, but the bar
868 numbering will be off.
871 @node Metronome marks
872 @subsection Metronome marks
875 @cindex beats per minute
876 @cindex metronome marking
878 Metronome settings can be entered as follows
880 \tempo @var{duration} = @var{per-minute}
883 In the MIDI output, they are interpreted as a tempo change. In the
884 layout output, a metronome marking is printed
886 @lilypond[quote,ragged-right,verbatim,fragment]
893 To change the tempo in the MIDI output without printing anything, make
894 the metronome marking invisible
896 \once \override Score.MetronomeMark #'transparent = ##t
899 To print other metronome markings, use these markup commands
900 @lilypond[quote,ragged-right,verbatim,relative,fragment]
903 \smaller \general-align #Y #DOWN \note #"16." #1
905 \smaller \general-align #Y #DOWN \note #"8" #1
910 See @ref{Text markup} for more details.
915 Program reference: @internalsref{MetronomeMark}.
920 Collisions are not checked. If you have notes above the top line of
921 the staff (or notes with articulations, slurs, text, etc), then the
922 metronome marking may be printed on top of musical symbols. If this
923 occurs, increase the padding of the metronome mark to place it
924 further away from the staff.
927 \override Score.MetronomeMark #'padding = #2.5
931 @node Rehearsal marks
932 @subsection Rehearsal marks
934 @cindex Rehearsal marks
937 To print a rehearsal mark, use the @code{\mark} command
939 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
948 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
949 If you wish to include the letter @q{I}, then use
952 \set Score.markFormatter = #format-mark-alphabet
955 The mark is incremented automatically if you use @code{\mark
956 \default}, but you can also use an integer argument to set the mark
957 manually. The value to use is stored in the property
958 @code{rehearsalMark}.
960 The style is defined by the property @code{markFormatter}. It is a
961 function taking the current mark (an integer) and the current context
962 as argument. It should return a markup object. In the following
963 example, @code{markFormatter} is set to a canned procedure. After a
964 few measures, it is set to function that produces a boxed number.
966 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
967 \set Score.markFormatter = #format-mark-numbers
970 \set Score.markFormatter = #format-mark-box-numbers
976 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
977 of @code{format-mark-numbers} (the default format),
978 @code{format-mark-box-numbers},
979 @code{format-mark-letters} and @code{format-mark-box-letters}.
980 These can be used as inspiration for other formatting functions.
982 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
983 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
984 incremented numbers or letters.
986 Other styles of rehearsal mark can be specified manually
993 @code{Score.markFormatter} does not affect marks specified in this manner.
994 However, it is possible to apply a @code{\markup} to the string.
997 \mark \markup@{ \box A1 @}
1004 Music glyphs (such as the segno sign) may be printed inside
1007 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1008 c1 \mark \markup { \musicglyph #"scripts.segno" }
1009 c1 \mark \markup { \musicglyph #"scripts.coda" }
1010 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1015 See @ref{The Feta font} for a list of symbols which may be
1016 printed with @code{\musicglyph}.
1018 The horizontal location of rehearsal marks can be adjusted by
1019 setting @code{break-align-symbol}
1021 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1025 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
1029 \override Score.RehearsalMark #'break-align-symbol = #'clef
1035 @code{break-align-symbol} may also accept the following values:
1036 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1037 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1038 @code{key-signature}, and @code{time-signature}. Setting
1039 @code{break-align-symbol} will only have an effect if the symbol
1040 appears at that point in the music.
1045 This manual: @ref{Text marks}.
1047 Program reference: @internalsref{RehearsalMark}.
1049 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1050 definition of @code{format-mark-numbers} and
1051 @code{format-mark-letters}. They can be used as inspiration for other
1052 formatting functions.
1054 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
1056 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
1060 @subsection Bar numbers
1063 @cindex measure numbers
1064 @funindex currentBarNumber
1066 Bar numbers are printed by default at the start of the line. The
1067 number itself is stored in the @code{currentBarNumber} property, which
1068 is normally updated automatically for every measure.
1070 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1071 \repeat unfold 4 {c4 c c c} \break
1072 \set Score.currentBarNumber = #50
1073 \repeat unfold 4 {c4 c c c}
1076 Bar numbers may only be printed at bar lines; to print a bar
1077 number at the beginning of a piece, an empty bar line must
1080 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1081 \set Score.currentBarNumber = #50
1083 \repeat unfold 4 {c4 c c c} \break
1084 \repeat unfold 4 {c4 c c c}
1087 Bar numbers can be typeset at regular intervals instead of at the
1088 beginning of each line. This is illustrated in the following example,
1089 whose source is available as
1090 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
1092 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1094 Bar numbers can be removed entirely by removing the Bar number
1095 engraver from the score.
1097 @lilypond[verbatim,ragged-right,quote]
1101 \remove "Bar_number_engraver"
1113 Program reference: @internalsref{BarNumber}.
1116 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
1117 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
1122 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1123 there is one at the top. To solve this, the
1124 @code{padding} property of @internalsref{BarNumber} can be
1125 used to position the number correctly.
1128 @node Instrument names
1129 @subsection Instrument names
1131 In an orchestral score, instrument names are printed at the left side
1134 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1135 and @internalsref{Staff}.@code{shortInstrumentName}, or
1136 @internalsref{PianoStaff}.@code{instrumentName} and
1137 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1139 the start of the staff. For the first staff, @code{instrumentName} is
1140 used, for the following ones, @code{shortInstrumentName} is used.
1142 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1143 \set Staff.instrumentName = "Ploink "
1144 \set Staff.shortInstrumentName = "Plk "
1150 You can also use markup texts to construct more complicated instrument
1153 @lilypond[quote,fragment,verbatim,ragged-right]
1154 \set Staff.instrumentName = \markup {
1155 \column { "Clarinetti"
1156 \line { "in B" \smaller \flat } } }
1160 If you wish to center the instrument names, you must center all of them
1162 @lilypond[quote,verbatim,ragged-right]
1165 \set Staff.instrumentName = \markup {
1166 \center-align { "Clarinetti"
1167 \line { "in B" \smaller \flat } } }
1171 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1178 For longer instrument names, it may be useful to increase the
1179 @code{indent} setting in the @code{\layout} block.
1181 To center instrument names while leaving extra space to the right,
1183 @lilypond[quote,verbatim,ragged-right]
1184 \new StaffGroup \relative
1187 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1191 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1197 To add instrument names to other contexts (such as @code{GrandStaff},
1198 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1199 be added to that context.
1203 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1208 More information about adding and removing engravers can
1209 be found in @ref{Modifying context plug-ins}.
1211 Instrument names may be changed in the middle of a piece,
1213 @lilypond[quote,fragment,verbatim,ragged-right]
1214 \set Staff.instrumentName = "First"
1215 \set Staff.shortInstrumentName = "one"
1218 \set Staff.instrumentName = "Second"
1219 \set Staff.shortInstrumentName = "two"
1227 Program reference: @internalsref{InstrumentName}.
1231 @node Instrument transpositions
1232 @subsection Instrument transpositions
1234 @cindex transposition, MIDI
1235 @cindex transposition, instrument
1237 The key of a transposing instrument can also be specified. This
1238 applies to many wind instruments, for example, clarinets (B-flat, A, and
1239 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1241 The transposition is entered after the keyword @code{\transposition}
1244 \transposition bes %% B-flat clarinet
1248 This command sets the property @code{instrumentTransposition}. The value of
1249 this property is used for MIDI output and quotations. It does not
1250 affect how notes are printed in the current staff. To change the printed
1251 output, see @ref{Transpose}.
1253 The pitch to use for @code{\transposition} should correspond to the
1254 real sound heard when a @code{c'} written on the staff is played by the
1255 transposing instrument. For example, when entering a score in
1256 concert pitch, typically all voices are entered in C, so
1257 they should be entered as
1270 The command @code{\transposition} should be used when the music is
1271 entered from a (transposed) orchestral part. For example, in
1272 classical horn parts, the tuning of the instrument is often changed
1273 during a piece. When copying the notes from the part, use
1274 @code{\transposition}, e.g.,
1286 @node Ottava brackets
1287 @subsection Ottava brackets
1289 @q{Ottava} brackets introduce an extra transposition of an octave for
1290 the staff. They are created by invoking the function
1291 @code{set-octavation}
1297 @lilypond[quote,ragged-right,verbatim,fragment]
1307 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1308 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1309 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1310 @code{centralCPosition}. For overriding the text of the bracket, set
1311 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1313 @lilypond[quote,ragged-right,verbatim]
1316 \set Staff.ottavation = #"8"
1324 Program reference: @internalsref{OttavaBracket}.
1326 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1327 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1332 @code{set-octavation} will get confused when clef changes happen
1333 during an octavation bracket.
1336 @node Different editions from one source
1337 @subsection Different editions from one source
1342 The @code{\tag} command marks music expressions with a name. These
1343 tagged expressions can be filtered out later. With this mechanism it
1344 is possible to make different versions of the same music source.
1346 In the following example, we see two versions of a piece of music, one
1347 for the full score, and one with cue notes for the instrumental part
1363 The same can be applied to articulations, texts, etc.: they are
1366 -\tag #@var{your-tag}
1368 to an articulation, for example,
1373 This defines a note with a conditional fingering indication.
1376 @cindex removeWithTag
1377 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1378 commands, tagged expressions can be filtered. For example,
1382 \keepWithTag #'score @var{the music}
1383 \keepWithTag #'part @var{the music}
1388 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1390 The arguments of the @code{\tag} command should be a symbol
1391 (such as @code{#'score} or @code{#'part}), followed by a
1392 music expression. It is possible to put multiple tags on
1393 a piece of music with multiple @code{\tag} entries,
1396 \tag #'original-part \tag #'transposed-part @dots{}
1402 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1407 Multiple rests are not merged if you create the score with both tagged
1412 @node Orchestral music
1413 @section Orchestral music
1415 Orchestral music involves some special notation, both in the full
1416 score and the individual parts. This section explains how to tackle
1417 some common problems in orchestral music.
1420 * Automatic part combining::
1422 * Quoting other voices::
1423 * Formatting cue notes::
1424 * Aligning to cadenzas::
1428 @node Automatic part combining
1429 @subsection Automatic part combining
1430 @cindex automatic part combining
1431 @cindex part combiner
1433 Automatic part combining is used to merge two parts of music onto a
1434 staff. It is aimed at typesetting orchestral scores. When the two
1435 parts are identical for a period of time, only one is shown. In
1436 places where the two parts differ, they are typeset as separate
1437 voices, and stem directions are set automatically. Also, solo and
1438 @emph{a due} parts are identified and can be marked.
1440 The syntax for part combining is
1443 \partcombine @var{musicexpr1} @var{musicexpr2}
1447 The following example demonstrates the basic functionality of the part
1448 combiner: putting parts on one staff, and setting stem directions and
1451 @lilypond[quote,verbatim,ragged-right,fragment]
1452 \new Staff \partcombine
1453 \relative g' { g g a( b) c c r r }
1454 \relative g' { g g r4 r e e g g }
1457 The first @code{g} appears only once, although it was
1458 specified twice (once in each part). Stem, slur, and tie directions are
1459 set automatically, depending whether there is a solo or unisono. The
1460 first part (with context called @code{one}) always gets up stems, and
1461 @q{Solo}, while the second (called @code{two}) always gets down stems and
1464 If you just want the merging parts, and not the textual markings, you
1465 may set the property @code{printPartCombineTexts} to false
1467 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1469 \set Staff.printPartCombineTexts = ##f
1471 \relative g' { g a( b) r }
1472 \relative g' { g r4 r f }
1476 To change the text that is printed for solos or merging, you may
1477 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1480 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1482 \set Score.soloText = #"ichi"
1483 \set Score.soloIIText = #"ni"
1484 \set Score.aDueText = #"tachi"
1486 \relative g' { g4 g a( b) r }
1487 \relative g' { g4 g r r f }
1491 Both arguments to @code{\partcombine} will be interpreted as
1492 @internalsref{Voice} contexts. If using relative octaves,
1493 @code{\relative} should be specified for both music expressions, i.e.,
1497 \relative @dots{} @var{musicexpr1}
1498 \relative @dots{} @var{musicexpr2}
1502 A @code{\relative} section that is outside of @code{\partcombine} has
1503 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1507 Program reference: @internalsref{PartCombineMusic}.
1511 When @code{printPartCombineTexts} is set, when the two voices play the
1512 same notes on and off, the part combiner may typeset @code{a2} more
1513 than once in a measure.
1515 @code{\partcombine} cannot be inside @code{\times}.
1517 @code{\partcombine} cannot be inside @code{\relative}.
1519 Internally, the @code{\partcombine} interprets both arguments as
1520 @code{Voice}s named @code{one} and @code{two}, and then decides when
1521 the parts can be combined. Consequently, if the arguments switch to
1522 differently named @internalsref{Voice} contexts, the events in those
1527 @subsection Hiding staves
1529 @cindex Frenched scores
1530 @cindex Hiding staves
1532 In orchestral scores, staff lines that only have rests are usually
1533 removed; this saves some space. This style is called @q{French Score}.
1534 For @internalsref{Lyrics},
1535 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1536 switched on by default. When the lines of these contexts turn out
1537 empty after the line-breaking process, they are removed.
1539 For normal staves, a specialized @internalsref{Staff} context is
1540 available, which does the same: staves containing nothing (or only
1541 multi-measure rests) are removed. The context definition is stored in
1542 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1543 in this example disappears in the second line
1545 @lilypond[quote,ragged-right,verbatim]
1547 \context { \RemoveEmptyStaffContext }
1552 \new Staff { e4 f g a \break c1 }
1553 \new Staff { c4 d e f \break R1 }
1558 The first system shows all staves in full. If empty staves should be
1559 removed from the first system too, set @code{remove-first} to true in
1560 @internalsref{VerticalAxisGroup}.
1563 \override Score.VerticalAxisGroup #'remove-first = ##t
1566 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1567 or @code{\RemoveEmptyRhythmicStaffContext}.
1569 Another application is making ossia sections, i.e., alternative
1570 melodies on a separate piece of staff, with help of a Frenched
1574 @node Quoting other voices
1575 @subsection Quoting other voices
1579 With quotations, fragments of other parts can be inserted into a part
1580 directly. Before a part can be quoted, it must be marked especially as
1581 quotable. This is done with the @code{\addQuote} command.
1584 \addQuote @var{name} @var{music}
1589 Here, @var{name} is an identifying string. The @var{music} is any kind
1590 of music. Here is an example of @code{\addQuote}
1593 \addQuote clarinet \relative c' @{
1598 This command must be entered at toplevel, i.e., outside any music
1601 After calling @code{\addQuote}, the quotation may then be done with
1602 @code{\quoteDuring} or @code{\cueDuring},
1605 \quoteDuring #@var{name} @var{music}
1608 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1612 \quoteDuring #"clarinet" @{ s2. @}
1615 This would cite three quarter notes (the duration of @code{s2.}) of
1616 the previously added @code{clarinet} voice.
1619 More precisely, it takes the current time-step of the part being
1620 printed, and extracts the notes at the corresponding point of the
1621 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1622 should be the entire part of the voice to be quoted, including any
1623 rests at the beginning.
1625 Quotations take into account the transposition of both source and target
1626 instruments, if they are specified using the @code{\transposition} command.
1628 @lilypond[quote,ragged-right,verbatim]
1629 \addQuote clarinet \relative c' {
1635 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1639 The type of events that are present in cue notes can be trimmed with
1640 the @code{quotedEventTypes} property. The default value is
1641 @code{(note-event rest-event)}, which means that only notes and
1642 rests of the cued voice end up in the @code{\quoteDuring}.
1646 \set Staff.quotedEventTypes =
1647 #'(note-event articulation-event dynamic-event)
1651 will quote notes (but no rests), together with scripts and dynamics.
1655 Only the contents of the first @internalsref{Voice} occurring in an
1656 @code{\addQuote} command will be considered for quotation, so
1657 @var{music} can not contain @code{\new} and @code{\context Voice}
1658 statements that would switch to a different Voice.
1660 Quoting grace notes is broken and can even cause LilyPond to crash.
1662 Quoting nested triplets may result in poor notation.
1667 In this manual: @ref{Instrument transpositions}.
1669 Examples: @inputfileref{input/@/regression,quote@/.ly}
1670 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1672 Program reference: @internalsref{QuoteMusic}.
1675 @node Formatting cue notes
1676 @subsection Formatting cue notes
1678 @cindex cues, formatting
1680 The previous section deals with inserting notes from another voice.
1681 There is a more advanced music function called @code{\cueDuring},
1682 which makes formatting cue notes easier.
1687 \cueDuring #@var{name} #@var{updown} @var{music}
1690 This will insert notes from the part @var{name} into a
1691 @internalsref{Voice} called @code{cue}. This happens simultaneously
1692 with @var{music}, which usually is a rest. When the cue notes start,
1693 the staff in effect becomes polyphonic for a moment. The argument
1694 @var{updown} determines whether the cue notes should be notated as a
1695 first or second voice.
1698 @lilypond[verbatim,ragged-right]
1701 \override Stem #'length-fraction = #0.8
1702 \override Beam #'thickness = #0.384
1703 \override Beam #'length-fraction = #0.8
1706 \addQuote clarinet \relative {
1711 \new Staff \relative <<
1713 % setup a context for cue notes.
1714 \new Voice = "cue" { \smaller \skip 1*21 }
1716 \set Score.skipBars = ##t
1720 \cueDuring #"clarinet" #1 {
1729 Here are a couple of hints for successful cue notes
1733 Cue notes have smaller font sizes.
1735 the cued part is marked with the instrument playing the cue.
1737 when the original part takes over again, this should be marked with
1738 the name of the original instrument.
1740 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1742 @c Yes, this is good practice. Otherwise, the start of the original
1743 @c part can only be seen from the font size. This is not good enough
1744 @c for sight-reading. It is possilbe to use other
1745 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1751 Any other changes introduced by the cued part should also be
1752 undone. For example, if the cued instrument plays in a different clef,
1753 the original clef should be stated once again.
1757 The macro @code{\transposedCueDuring} is
1758 useful to add cues to instruments which use a completely different
1759 octave range (for example, having a cue of a piccolo flute within
1760 a contra bassoon part).
1762 @lilypond[verbatim,ragged-right,quote]
1763 picc = \relative c''' {
1769 \addQuote "picc" { \picc }
1771 cbsn = \relative c, {
1774 \transposedCueDuring #"picc" #UP c,, { R1 } |
1779 \context Staff = "picc" \picc
1780 \context Staff = "cbsn" \cbsn
1786 @node Aligning to cadenzas
1787 @subsection Aligning to cadenzas
1789 In an orchestral context, cadenzas present a special problem:
1790 when constructing a score that includes a cadenza, all other
1791 instruments should skip just as many notes as the length of the
1792 cadenza, otherwise they will start too soon or too late.
1794 A solution to this problem are the functions @code{mmrest-of-length}
1795 and @code{skip-of-length}. These Scheme functions take a piece of music
1796 as argument, and generate a @code{\skip} or multi-rest, exactly as
1797 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1798 in the following example.
1800 @lilypond[verbatim,ragged-right,quote]
1801 cadenza = \relative c' {
1802 c4 d8 << { e f g } \\ { d4. } >>
1807 \new Staff { \cadenza c'4 }
1809 #(ly:export (mmrest-of-length cadenza))
1818 @node Contemporary notation
1819 @section Contemporary notation
1821 In the 20th century, composers have greatly expanded the musical
1822 vocabulary. With this expansion, many innovations in musical notation
1823 have been tried. The book @q{Music Notation in the 20th century} by
1824 Kurt Stone gives a comprehensive overview (see @ref{Literature
1827 This section describes notation that does
1828 not fit into traditional notation categories, such as pitches,
1829 tuplet beams, and articulation. For contemporary notation
1830 that fits into traditional notation categories, such as
1831 microtones, nested tuplet beams, and unusual fermatas, please
1832 see those sections of the documentation.
1835 * Polymetric notation::
1836 * Time administration::
1837 * Proportional notation::
1839 * Special noteheads::
1842 * Selecting notation font size::
1846 @node Polymetric notation
1847 @subsection Polymetric notation
1849 @cindex double time signatures
1850 @cindex signatures, polymetric
1851 @cindex polymetric signatures
1852 @cindex meter, polymetric
1854 Double time signatures are not supported explicitly, but they can be
1855 faked. In the next example, the markup for the time signature is
1856 created with a markup text. This markup text is inserted in the
1857 @internalsref{TimeSignature} grob. See also
1858 @inputfileref{input/@/test,compound@/-time@/.ly}).
1860 @lilypond[verbatim,ragged-right]
1863 \override #'(baseline-skip . 2) \number {
1866 \bracket \column { "5" "8" }
1871 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1872 \override Staff.TimeSignature #'text = #tsMarkup
1874 c'2 \bar ":" c'4 c'4.
1878 Each staff can also have its own time signature. This is done by
1879 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1885 \remove "Timing_translator"
1886 \remove "Default_bar_line_engraver"
1890 \consists "Timing_translator"
1891 \consists "Default_bar_line_engraver"
1898 Now, each staff has its own time signature.
1911 c4. c8 c c c4. c8 c c
1916 @lilypond[quote,ragged-right]
1920 \remove "Timing_translator"
1921 \remove "Default_bar_line_engraver"
1924 \consists "Timing_translator"
1925 \consists "Default_bar_line_engraver"
1940 c4. c8 c c c4. c8 c c
1946 A different form of polymetric notation is where note lengths have
1947 different values across staves.
1949 This notation can be created by setting a common time signature for
1950 each staff but replacing it manually using
1951 @code{timeSignatureFraction} to the desired fraction. Then the printed
1952 durations in each staff are scaled to the common time signature.
1953 The latter is done with @code{\compressMusic}, which is used similar
1954 to @code{\times}, but does not create a tuplet bracket. The syntax is
1956 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1961 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1962 used in parallel. In the second staff, shown durations are multiplied by
1963 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1964 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1966 @lilypond[quote,ragged-right,verbatim,fragment]
1974 \set Staff.timeSignatureFraction = #'(9 . 8)
1975 \compressMusic #'(2 . 3)
1976 \repeat unfold 6 { c8[ c c] }
1980 \set Staff.timeSignatureFraction = #'(10 . 8)
1981 \compressMusic #'(3 . 5) {
1982 \repeat unfold 2 { c8[ c c] }
1983 \repeat unfold 2 { c8[ c] }
1984 | c4. c4. \times 2/3 { c8 c c } c4
1995 When using different time signatures in parallel, the spacing is
1996 aligned vertically, but bar lines distort the regular spacing.
1999 @node Time administration
2000 @subsection Time administration
2002 @cindex Time administration
2004 Time is administered by the @internalsref{Time_signature_engraver},
2005 which usually lives in the @internalsref{Score} context. The
2006 bookkeeping deals with the following variables
2009 @item currentBarNumber
2013 The length of the measures in the current time signature. For a 4/4
2014 time this is@tie{}1, and for 6/8 it is 3/4.
2016 @item measurePosition
2017 The point within the measure where we currently are. This quantity
2018 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2019 happens, @code{currentBarNumber} is incremented.
2022 If set to true, the above variables are updated for every time
2023 step. When set to false, the engraver stays in the current measure
2027 Timing can be changed by setting any of these variables explicitly.
2028 In the next example, the 4/4 time signature is printed, but
2029 @code{measureLength} is set to 5/4. After a while, the measure is
2030 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2031 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2032 3/8 arises because 5/4 normally has 10/8, but we have manually
2033 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2035 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2036 \set Score.measureLength = #(ly:make-moment 5 4)
2040 \set Score.measurePosition = #(ly:make-moment 7 8)
2046 As the example illustrates, @code{ly:make-moment n m} constructs a
2047 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2049 note duration and @code{ly:make-moment 7 16} is the duration of
2050 seven sixteenths notes.
2053 @node Proportional notation
2054 @subsection Proportional notation
2055 @cindex Proportional notation
2057 Notes can be spaced proportionally to their time-difference by
2058 assigning a duration to @code{proportionalNotationDuration}
2060 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2062 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2063 \new Staff { c8[ c c c c c] c4 c2 r2 }
2064 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2068 Setting this property only affects the ideal spacing between
2069 consecutive notes. For true proportional notation, the following
2070 settings are also required.
2074 @item True proportional notation requires that symbols are allowed to
2075 overstrike each other. That is achieved by removing the
2076 @internalsref{Separating_line_group_engraver} from
2077 @internalsref{Staff} context.
2079 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2080 is removed by setting the @code{strict-note-spacing} property to
2081 @code{#t} in @internalsref{SpacingSpanner} grob.
2083 @item Optical spacing tweaks are switched by setting
2084 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2091 @inputfileref{input/@/regression,spacing-proportional/.ly}
2092 @inputfileref{input/@/regression,spacing-strict-notespacing/.ly}
2093 @inputfileref{input/@/regression,spacing-strict-spacing-grace/.ly}
2095 An example of strict proportional notation is in the
2096 example file @file{input/proportional.ly}.
2100 @subsection Clusters
2104 A cluster indicates a continuous range of pitches to be played. They
2105 can be denoted as the envelope of a set of notes. They are entered by
2106 applying the function @code{makeClusters} to a sequence of
2108 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2109 \makeClusters { <c e > <b f'> }
2112 The following example (from
2113 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
2116 @lilypondfile[ragged-right,quote]{cluster.ly}
2118 Ordinary notes and clusters can be put together in the same staff,
2119 even simultaneously. In such a case no attempt is made to
2120 automatically avoid collisions between ordinary notes and clusters.
2124 Program reference: @internalsref{ClusterSpanner},
2125 @internalsref{ClusterSpannerBeacon},
2126 @internalsref{Cluster_spanner_engraver}.
2128 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
2132 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2133 accurately. Use @code{<g a>8 <e a>8} instead.
2136 @node Special noteheads
2137 @subsection Special noteheads
2139 @cindex note heads, special
2141 Different noteheads are used by various instruments for various
2142 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2143 notes on guitar; diamonds are used for harmonics on string instruments,
2144 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2145 other notehead styles are produced by tweaking the property
2147 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2149 \override NoteHead #'style = #'cross
2151 \revert NoteHead #'style
2152 e d <c f\harmonic> <d a'\harmonic>
2156 To see all notehead styles, please see
2157 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
2162 Program reference: @internalsref{NoteHead}.
2165 @node Feathered beams
2166 @subsection Feathered beams
2168 Feathered beams are printed by setting the @code{grow-direction}
2169 property of a @code{Beam}. The @code{\featherDurations} function
2170 can be used to adjust note durations.
2172 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2173 \featherDurations #(ly:make-moment 5 4)
2175 \override Beam #'grow-direction = #LEFT
2182 The @code{\featherDuration} command only works with very short
2186 @subsection Improvisation
2188 Improvisation is sometimes denoted with slashed note heads. Such note
2189 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2190 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
2194 \set squashedPosition = #0
2195 \override NoteHead #'style = #'slash
2199 switches on the slashes.
2201 There are shortcuts @code{\improvisationOn} (and an accompanying
2202 @code{\improvisationOff}) for this command sequence. They are used in
2203 the following example
2205 @lilypond[verbatim,ragged-right,quote]
2207 \consists Pitch_squash_engraver
2209 e8 e g a a16(bes)(a8) g \improvisationOn
2212 ~fis2 \improvisationOff a16(bes) a8 g e
2217 @node Selecting notation font size
2218 @subsection Selecting notation font size
2220 The easiest method of setting the font size of any context is by
2221 setting the @code{fontSize} property.
2223 @lilypond[quote,fragment,relative=1,verbatim]
2232 It does not change the size of variable symbols, such as beams or
2235 Internally, the @code{fontSize} context property will cause the
2236 @code{font-size} property to be set in all layout objects. The value
2237 of @code{font-size} is a number indicating the size relative to the
2238 standard size for the current staff height. Each step up is an
2239 increase of approximately 12% of the font size. Six steps is exactly a
2240 factor two. The Scheme function @code{magstep} converts a
2241 @code{font-size} number to a scaling factor.
2243 @lilypond[quote,fragment,relative=1,verbatim]
2245 \override NoteHead #'font-size = #-4
2247 \override NoteHead #'font-size = #3
2251 Font size changes are achieved by scaling the design size that is
2252 closest to the desired size. The standard font size (for
2253 @code{font-size} equals 0), depends on the standard staff height. For
2254 a 20pt staff, a 10pt font is selected.
2256 The @code{font-size} property can only be set on layout objects that
2257 use fonts. These are the ones supporting the
2258 @internalsref{font-interface} layout interface.
2262 The following commands set @code{fontSize} for the current voice:
2268 @funindex \normalsize
2273 @node Educational use
2274 @section Educational use
2276 With the amount of control that LilyPond offers, one can make great
2277 teaching tools in addition to great musical scores.
2281 * Blank music sheet::
2283 * Shape note heads::
2284 * Easy Notation note heads::
2285 * Analysis brackets::
2286 * Coloring objects::
2292 @subsection Balloon help
2294 Elements of notation can be marked and named with the help of a square
2295 balloon. The primary purpose of this feature is to explain notation.
2297 The following example demonstrates its use.
2299 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2300 \new Voice \with { \consists "Balloon_engraver" }
2302 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2303 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2308 There are two music functions, @code{balloonText} and
2309 @code{balloonGrobText}. The latter takes the name of the grob to
2310 adorn, while the former may be used as an articulation on a note.
2311 The other arguments are the offset and the text of the label.
2314 @cindex notation, explaining
2318 Program reference: @internalsref{text-balloon-interface}.
2323 @node Blank music sheet
2324 @subsection Blank music sheet
2326 @cindex Sheet music, empty
2327 @cindex Staves, blank sheet
2329 A blank music sheet can be produced also by using invisible notes, and
2330 removing @code{Bar_number_engraver}.
2333 @lilypond[quote,verbatim]
2334 \layout{ indent = #0 }
2336 \repeat unfold 2 % Change this for more lines.
2341 \override TimeSignature #'transparent = ##t
2342 % un-comment this line if desired
2343 % \override Clef #'transparent = ##t
2344 defaultBarType = #""
2345 \remove Bar_number_engraver
2348 % modify these to get the staves you want
2349 \new Staff \emptymusic
2350 \new TabStaff \emptymusic
2356 @subsection Hidden notes
2358 @cindex Hidden notes
2359 @cindex Invisible notes
2360 @cindex Transparent notes
2362 @funindex \hideNotes
2363 @funindex \unHideNotes
2364 Hidden (or invisible or transparent) notes can be useful in preparing theory
2365 or composition exercises.
2367 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2376 @node Shape note heads
2377 @subsection Shape note heads
2379 @cindex note heads, shape
2381 In shape note head notation, the shape of the note head corresponds
2382 to the harmonic function of a note in the scale. This notation was
2383 popular in the 19th century American song books.
2385 Shape note heads can be produced by setting @code{\aikenHeads} or
2386 @code{\sacredHarpHeads}, depending on the style desired.
2388 @lilypond[verbatim,relative=1,fragment]
2395 Shapes are determined on the step in the scale, where the base of the
2396 scale is determined by the @code{\key} command
2399 @funindex shapeNoteStyles
2400 @funindex \aikenHeads
2401 @funindex \sacredHarpHeads
2403 Shape note heads are implemented through the @code{shapeNoteStyles}
2404 property. Its value is a vector of symbols. The k-th element indicates
2405 the style to use for the k-th step of the scale. Arbitrary
2406 combinations are possible, e.g.
2408 @lilypond[verbatim,relative=1,fragment]
2409 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2414 @node Easy Notation note heads
2415 @subsection Easy Notation note heads
2417 @cindex note heads, practice
2418 @cindex note heads, easy notation
2419 @cindex easy notation
2422 The @q{easy play} note head includes a note name inside the head. It is
2423 used in music for beginners
2425 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2430 The command @code{\setEasyHeads} overrides settings for the
2431 @internalsref{NoteHead} object. To make the letters readable, it has
2432 to be printed in a large font size. To print with a larger font, see
2433 @ref{Setting the staff size}.
2437 @funindex \setEasyHeads
2438 @code{\setEasyHeads}
2441 @node Analysis brackets
2442 @subsection Analysis brackets
2444 @cindex phrasing brackets
2445 @cindex musicological analysis
2446 @cindex note grouping bracket
2448 Brackets are used in musical analysis to indicate structure in musical
2449 pieces. LilyPond supports a simple form of nested horizontal
2450 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2451 to @internalsref{Staff} context. A bracket is started with
2452 @code{\startGroup} and closed with @code{\stopGroup}
2454 @lilypond[quote,ragged-right,verbatim]
2457 c4\startGroup\startGroup
2460 c4\stopGroup\stopGroup
2464 \Staff \consists "Horizontal_bracket_engraver"
2470 Program reference: @internalsref{HorizontalBracket}.
2472 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2475 @node Coloring objects
2476 @subsection Coloring objects
2478 Individual objects may be assigned colors. You may use the
2479 color names listed in the @ref{List of colors}.
2481 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2482 \override NoteHead #'color = #red
2484 \override NoteHead #'color = #(x11-color 'LimeGreen)
2486 \override Stem #'color = #blue
2490 The full range of colors defined for X11 can be accessed by using the
2491 Scheme function x11-color. The function takes one argument that can be a
2495 \override Beam #'color = #(x11-color 'MediumTurquoise)
2501 \override Beam #'color = #(x11-color "MediumTurquoise")
2504 The first form is quicker to write and is more efficient. However, using
2505 the second form it is possible to access X11 colors by the multi-word
2509 \override Beam #'color = #(x11-color "medium turquoise")
2512 If x11-color cannot make sense of the parameter then the color returned
2513 defaults to black. It should be obvious from the final score that
2516 This example illustrates the use of x11-color. Notice that the stem
2517 color remains black after being set to (x11-color 'Boggle), which is
2518 deliberate nonsense.
2520 @lilypond[quote,ragged-right,verbatim]
2522 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2523 \set Staff.instrumentName = \markup {
2524 \with-color #(x11-color 'navy) "Clarinet"
2528 \override Beam #'color = #(x11-color "medium turquoise")
2530 \override NoteHead #'color = #(x11-color "LimeGreen")
2532 \override Stem #'color = #(x11-color 'Boggle)
2540 Appendix: @ref{List of colors}.
2544 Not all x11 colors are distinguishable in a web browser. For web use
2545 normal colors are recommended.
2547 An x11 color is not necessarily exactly the same shade as a similarly
2550 Notes in a chord cannot be colored with @code{\override}; use
2551 @code{\tweak} instead. See @ref{Objects connected to the input}
2556 @subsection Parentheses
2559 @cindex notes, ghost
2560 @cindex notes, parenthesized
2562 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2565 @lilypond[relative=2,fragment,verbatim,ragged-right]
2573 This only functions inside chords, even for single notes
2576 < \parenthesize NOTE>
2581 @subsection Grid lines
2583 Vertical lines can be drawn between staves synchronized with
2586 Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.