1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
10 @c A menu is needed before every deeper *section nesting of @node's; run
11 @c M-x texinfo-all-menus-update
12 @c to automatically fill in these menus before saving changes
15 @node Advanced notation
16 @chapter Advanced notation
18 This chapter deals with rarely-used and advanced notation.
24 * Contemporary notation::
33 This section explains how to include text (with various formatting) in
36 @cindex Text, other languages
37 To write accented and special text (such as characters from other languages),
39 insert the characters directly into the lilypond file. The file must be
40 saved as UTF-8. For more information, see @ref{Text encoding}.
44 * Text and line spanners::
49 * Overview of text markup commands::
56 @subsection Text scripts
59 @cindex text items, non-empty
60 @cindex non-empty texts
62 It is possible to place arbitrary strings of text or @ref{Text markup}
63 above or below notes by using a string @code{c^"text"}. By default,
64 these indications do not influence the note spacing, but by using the
65 command @code{\fatText}, the widths will be taken into account
67 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
68 c4^"longtext" \fatText c4_"longlongtext" c4
72 To prevent text from influencing spacing, use @code{\emptyText}.
74 More complex formatting may also be added to a note by using the
76 @lilypond[fragment,ragged-right,verbatim,quote]
77 c'4^\markup { bla \bold bla }
80 The @code{\markup} is described in more detail in
94 Checking to make sure that text scripts and lyrics are within the margins is
95 a relatively large computational task. To speed up processing, lilypond does
96 not perform such calculations by default; to enable it, use
99 \override Score.PaperColumn #'keep-inside-line = ##t
105 In this manual: @ref{Text markup}.
107 Program reference: @internalsref{TextScript}.
110 @node Text and line spanners
111 @subsection Text and line spanners
113 Some performance indications, e.g., @i{rallentando} and
114 @i{accelerando} and @i{trills} are written as text and are extended
115 over many measures with lines, sometimes dotted or wavy.
117 These all use the same routines as the glissando for drawing the texts
118 and the lines, and tuning their behavior is therefore also done in the
119 same way. It is done with a spanner, and the routine responsible for
120 drawing the spanners is @code{ly:line-interface::print}. This
121 routine determines the exact location of the two @i{span
122 points} and draws a line in between, in the style requested.
124 Here is an example of the different line styles available, and how to
127 @lilypond[relative=2,ragged-right,verbatim,fragment]
129 \once \override Glissando #'dash-fraction = #0.5
131 \override Glissando #'style = #'dotted-line
133 \override Glissando #'style = #'zigzag
135 \override Glissando #'style = #'trill
139 The information that determines the end-points is computed on-the-fly
140 for every graphic object, but it is possible to override these.
142 @lilypond[relative=2,ragged-right,verbatim,fragment]
144 \once \override Glissando #'bound-details #'right #'Y = #-2
148 The @code{Glissando} object, like any other using the
149 @code{ly:line-interface::print} routine, carries a nested
150 association list. In the above statement, the value for @code{Y}
151 is set to @code{-2} for the association list corresponding to the right
152 end point. Of course, it is also possible to adjust the left side with
153 @code{left} instead of @code{right}.
155 If @code{Y} is not set, the value is computed from the vertical
156 position of right attachment point of the spanner.
158 In case of a line break, the values for the span-points are extended
159 with contents of the @code{left-broken} and @code{right-broken}
160 sublists, for example
162 @lilypond[relative=2,ragged-right,verbatim,fragment]
163 \override Glissando #'breakable = ##T
164 \override Glissando #'bound-details #'right-broken #'Y = #-3
169 The following properties can be used for the
173 This sets the Y-coordinate of the end point, in staff space. By
174 default, it is the center of the bound object, so for a glissando it
175 points to the vertical center of the note head.
177 For horizontal spanners, such as text spanner and trill spanners, it
181 This determines where the line starts and ends in X-direction,
182 relative to the bound object. So, a value of @code{-1} (or
183 @code{LEFT}) makes the line start/end at the left side of the note
184 head it is attached to.
187 This is the absolute coordinate of the end point. It is usually
188 computed on the fly, and there is little use in overriding it.
191 Line spanners may have symbols at the beginning or end, which is
192 contained in this sub-property. This is for internal use, it is
193 recommended to use @code{text}.
196 This is a markup that is evaluated to yield stencil. It is
197 used to put @i{cresc.} and @i{tr} on horizontal spanners.
199 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
200 \override TextSpanner #'bound-details #'left #'text
201 = \markup { \small \bold Slower }
202 c2\startTextSpan b c a\stopTextSpan
205 @item stencil-align-dir-y
207 Without setting this, the stencil is simply put there at the
208 end-point, as defined by the @code{X} and @code{Y} sub properties.
209 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
210 will move the symbol at the edge relative to the end point of the line
212 @lilypond[relative=1,fragment,verbatim]
213 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
214 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
216 \override TextSpanner #'bound-details #'left #'text = #"gggg"
217 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
218 c4^\startTextSpan c c c \stopTextSpan
222 Setting this sub property to @code{#t} produce an arrowhead at the end
226 This sub property controls the space between the specified end-point
227 of the line and the actual end. Without padding, a glissando would
228 start and end in the center of each note head.
234 Program reference: @internalsref{TextSpanner},
235 @internalsref{Glissando}, @internalsref{VoiceFollower},
236 @internalsref{TrillSpanner}, @internalsref{line-spanner-interface}.
238 Examples: @lsr{expressive,line-styles.ly}
239 @c FIXME: add {contemporary/line-arrows.ly} when LSR is updated. -gp
243 @subsection Text spanners
245 @cindex Text spanners
247 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
248 are written as text and are extended over many measures with dotted
249 lines. Such texts are created using text spanners; attach
250 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
251 notes of the spanner.
253 The string to be printed, as well as the style, is set through object
256 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
259 \override TextSpanner #'edge-text = #'("rall " . "")
260 c2\startTextSpan b c\stopTextSpan a
263 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
264 c2\startTextSpan b c\stopTextSpan a
269 @funindex textSpannerUp
270 @code{\textSpannerUp},
271 @funindex textSpannerDown
272 @code{\textSpannerDown},
273 @funindex textSpannerNeutral
274 @code{\textSpannerNeutral}.
279 To print a solid line, use
282 \override TextSpanner #'dash-fraction = #'()
288 Program reference: @internalsref{TextSpanner}.
292 @subsection Text marks
294 @cindex coda on bar line
295 @cindex segno on bar line
296 @cindex fermata on bar line
297 @cindex bar lines, symbols on
300 The @code{\mark} command is primarily used for
301 @ref{Rehearsal marks},
302 but it can also be used to put signs like coda,
303 segno, and fermata on a bar line. Use @code{\markup} to
304 access the appropriate symbol (symbols are listed in
307 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
308 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
313 @code{\mark} is only typeset above the top stave of the score. If
314 you specify the @code{\mark} command at a bar line, the resulting
315 mark is placed above the bar line. If you specify it in the middle
316 of a bar, the resulting mark is positioned between notes. If it is
317 specified before the beginning of a score line, it is placed
318 before the first note of the line. Finally, if the mark occurs at
319 a line break, the mark will be printed at the
320 beginning of the next line.
321 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
322 @c delete this sentence. -gp
323 If there is no next line, then the mark will not be printed at all.
328 To print the mark at the end of the current line, use
331 \override Score.RehearsalMark
332 #'break-visibility = #begin-of-line-invisible
335 @code{\mark} is often useful for adding text to the end of bar. In
336 such cases, changing the @code{#'self-alignment} is very useful
338 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
339 \override Score.RehearsalMark
340 #'break-visibility = #begin-of-line-invisible
342 \once \override Score.RehearsalMark #'self-alignment-X = #right
343 \mark "D.S. al Fine "
346 Text marks may be aligned with notation objects other than
349 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
354 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
358 \override Score.RehearsalMark #'break-align-symbol = #'clef
362 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
371 Although text marks are normally only printed above the topmost
372 staff, you may alter this to print them on every staff,
374 @lilypond[quote,ragged-right,verbatim,relative=2]
377 \remove "Mark_engraver"
381 \consists "Mark_engraver"
383 { c''1 \mark "foo" c'' }
385 \consists "Mark_engraver"
387 { c'1 \mark "foo" c' }
395 Program reference: @internalsref{RehearsalMark}.
399 @subsection Text markup
406 Use @code{\markup} to typeset text. Commands are entered with the
407 backslash @code{\}. To enter @code{\} and @code{#}, use double
410 @lilypond[quote,verbatim,fragment,relative=1]
412 c1_\markup { hi there }
413 c1^\markup { hi \bold there, is \italic {anyone home?} }
414 c1_\markup { "\special {weird} #characters" }
418 See @ref{Overview of text markup commands} for a list of all
421 @code{\markup} is primarily used for @internalsref{TextScript}s,
422 but it can also be used anywhere text is called in lilypond
424 @lilypond[quote,verbatim]
425 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
428 \override Score.RehearsalMark
429 #'break-visibility = #begin-of-line-invisible
430 \override Score.RehearsalMark #'self-alignment-X = #right
432 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
433 c2^\markup{ don't be \flat }
434 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
436 a2\mark \markup{ \large \bold Fine }
440 \addlyrics { bar, foo \markup{ \italic bar! } }
444 A @code{\markup} command can also be placed on its own, away from any
445 @code{\score} block, see @ref{Multiple scores in a book}.
447 @lilypond[quote,ragged-right,verbatim]
448 \markup{ Here is some text. }
451 @cindex font switching
453 The markup in the example demonstrates font switching commands. The
454 command @code{\bold} and @code{\italic} apply to the first following
455 word only; to apply a command to more than one word, enclose the
459 \markup @{ \bold @{ hi there @} @}
463 For clarity, you can also do this for single arguments, e.g.,
466 \markup @{ is \italic @{ anyone @} home @}
469 In markup mode you can compose expressions, similar to mathematical
470 expressions, XML documents, and music expressions. You can stack
471 expressions grouped vertically with the command @code{\column}.
472 Similarly, @code{\center-align} aligns texts by their center lines:
474 @lilypond[quote,verbatim,fragment,relative=1]
475 c1^\markup { \column { a bbbb \line { c d } } }
476 c1^\markup { \center-align { a bbbb c } }
477 c1^\markup { \line { a b c } }
480 Lists with no previous command are not kept distinct. The expression
483 \center-align @{ @{ a b @} @{ c d @} @}
491 \center-align @{ a b c d @}
496 To keep lists of words distinct, please use quotes @code{"} or
497 the @code{\line} command
499 @lilypond[quote,verbatim,fragment,relative=1]
501 c4^\markup{ \center-align { on three lines } }
502 c4^\markup{ \center-align { "all one line" } }
503 c4^\markup{ \center-align { { on three lines } } }
504 c4^\markup{ \center-align { \line { on one line } } }
507 Markups can be stored in variables and these variables
508 may be attached to notes, like
510 allegro = \markup @{ \bold \large @{ Allegro @} @}
511 @{ a^\allegro b c d @}
514 Some objects have alignment procedures of their own, which cancel out
515 any effects of alignments applied to their markup arguments as a
516 whole. For example, the @internalsref{RehearsalMark} is horizontally
517 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
520 In addition, vertical placement is performed after creating the
521 text markup object. If you wish to move an entire piece of markup,
522 you need to use the #'padding property or create an @q{anchor} point
523 inside the markup (generally with @code{\hspace #0}).
525 @lilypond[quote,verbatim,fragment,relative=1]
527 c'4^\markup{ \raise #5 "not raised" }
528 \once \override TextScript #'padding = #3
529 c'4^\markup{ raised }
530 c'4^\markup{ \hspace #0 \raise #1.5 raised }
533 Some situations (such as dynamic marks) have preset font-related
534 properties. If you are creating text in such situations, it
535 is advisable to cancel those properties with
536 @code{normal-text}. See @ref{Overview of text markup commands}
542 This manual: @ref{Overview of text markup commands}.
544 Program reference: @internalsref{TextScript}.
546 Init files: @file{scm/@/new@/-markup@/.scm}.
551 Kerning or generation of ligatures is only done when the @TeX{}
552 backend is used. In this case, LilyPond does not account for them so
553 texts will be spaced slightly too wide.
555 Syntax errors for markup mode are confusing.
559 @subsection Nested scores
561 It is possible to nest music inside markups, by adding a @code{\score}
562 block to a markup expression. Such a score must contain a @code{\layout}
565 @lilypond[quote,verbatim,ragged-right]
569 \relative { c4 d e f }
578 @node Overview of text markup commands
579 @subsection Overview of text markup commands
581 The following commands can all be used inside @code{\markup @{ @}}.
583 @include markup-commands.tely
587 @subsection Font selection
589 @cindex font selection
590 @cindex font magnification
591 @funindex font-interface
593 By setting the object properties described below, you can select a
594 font from the preconfigured font families. LilyPond has default
595 support for the feta music fonts. Text fonts are selected through
596 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
597 the sans and typewriter to whatever the Pango installation defaults
602 @item @code{font-encoding}
603 is a symbol that sets layout of the glyphs. This should only be set to
604 select different types of non-text fonts, e.g.
606 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
607 standard music font, including ancient glyphs, @code{fetaDynamic} for
608 dynamic signs and @code{fetaNumber} for the number font.
610 @item @code{font-family}
611 is a symbol indicating the general class of the typeface. Supported are
612 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
614 @item @code{font-shape}
615 is a symbol indicating the shape of the font. There are typically
616 several font shapes available for each font family. Choices are
617 @code{italic}, @code{caps}, and @code{upright}.
619 @item @code{font-series}
620 is a symbol indicating the series of the font. There are typically
621 several font series for each font family and shape. Choices are
622 @code{medium} and @code{bold}.
626 Fonts selected in the way sketched above come from a predefined style
627 sheet. If you want to use a font from outside the style sheet,
629 @code{font-name} property,
631 @lilypond[fragment,verbatim]
633 \override Staff.TimeSignature #'font-name = #"Charter"
634 \override Staff.TimeSignature #'font-size = #2
637 \override #'(font-name . "Vera Bold")
638 { This text is in Vera Bold }
644 Any font can be used, as long as it is available to Pango/FontConfig.
645 To get a full list of all available fonts, run the command
647 lilypond -dshow-available-fonts blabla
649 (the last argument of the command can be anything, but has to be present).
652 The size of the font may be set with the @code{font-size}
653 property. The resulting size is taken relative to the
654 @code{text-font-size} as defined in the @code{\paper} block.
657 @cindex font magnification
660 It is also possible to change the default font family for the entire
661 document. This is done by calling the @code{make-pango-font-tree} from
662 within the @code{\paper} block. The function takes names for the font
663 families to use for roman, sans serif and monospaced text. For
666 @cindex font families, setting
675 (make-pango-font-tree "Times New Roman"
682 c'^\markup { roman: foo \sans bla \typewriter bar }
686 @c we don't do Helvetica / Courier, since GS incorrectly loads
693 Examples: @lsr{text,font@/-family@/-override.ly}.
696 @node New dynamic marks
697 @subsection New dynamic marks
699 It is possible to print new dynamic marks or text that should be aligned
700 with dynamics. Use @code{make-dynamic-script} to create these
701 marks. Note that the dynamic font only contains the characters
702 @code{f,m,p,r,s} and @code{z}.
704 Some situations (such as dynamic marks) have preset font-related
705 properties. If you are creating text in such situations, it
706 is advisable to cancel those properties with
707 @code{normal-text}. See @ref{Overview of text markup commands}
710 @cindex make-dynamic-script
712 @lilypond[quote,verbatim,ragged-right]
713 sfzp = #(make-dynamic-script "sfzp")
719 @cindex Dynamics, editorial
720 @cindex Dynamics, parenthesis
722 It is also possible to print dynamics in round parenthesis or square
723 brackets. These are often used for adding editorial dynamics.
725 @lilypond[quote,verbatim,ragged-right]
726 rndf = \markup{ \center-align {\line { \bold{\italic (}
727 \dynamic f \bold{\italic )} }} }
728 boxf = \markup{ \bracket { \dynamic f } }
729 { c'1_\rndf c'1_\boxf }
734 @node Preparing parts
735 @section Preparing parts
737 This section describes various notation that are useful for preparing
741 * Multi measure rests::
746 * Instrument transpositions::
748 * Different editions from one source::
752 @node Multi measure rests
753 @subsection Multi measure rests
755 @cindex multi measure rests
756 @cindex full measure rests
757 @cindex Rests, multi measure
758 @cindex Rests, full measure
759 @cindex whole rests for a full measure
762 Rests for one full measure (or many bars) are entered using @samp{R}. It
763 is specifically meant for full bar rests and for entering parts: the rest
764 can expand to fill a score with rests, or it can be printed as a single
765 multi-measure rest. This expansion is controlled by the property
766 @code{Score.skipBars}. If this is set to true, empty measures will not
767 be expanded, and the appropriate number is added automatically
769 @lilypond[quote,ragged-right,fragment,verbatim]
770 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
771 \set Score.skipBars = ##t R1*17 R1*4
774 The @code{1} in @code{R1} is similar to the duration notation used for
775 notes. Hence, for time signatures other than 4/4, you must enter other
776 durations. This can be done with augmentation dots or fractions
778 @lilypond[quote,ragged-right,fragment,verbatim]
779 \set Score.skipBars = ##t
788 An @code{R} spanning a single measure is printed as either a whole rest
789 or a breve, centered in the measure regardless of the time signature.
791 If there are only a few measures of rest, LilyPond prints @q{church rests}
792 (a series of rectangles) in the staff. To replace that with a simple
793 rest, use @code{MultiMeasureRest.expand-limit}.
795 @lilypond[quote,ragged-right,fragment,verbatim]
796 \set Score.skipBars = ##t
798 \override MultiMeasureRest #'expand-limit = 1
802 @cindex text on multi-measure rest
803 @cindex script on multi-measure rest
804 @cindex fermata on multi-measure rest
806 Texts can be added to multi-measure rests by using the
807 @var{note}-@code{markup} syntax @ref{Text markup}.
808 A variable (@code{\fermataMarkup}) is provided for
811 @lilypond[quote,ragged-right,verbatim,fragment]
812 \set Score.skipBars = ##t
814 R2.*10^\markup { \italic "ad lib." }
818 Warning! This text is created by @code{MultiMeasureRestText}, not
821 @lilypond[quote,ragged-right,verbatim,fragment]
822 \override TextScript #'padding = #5
824 \override MultiMeasureRestText #'padding = #5
828 If you want to have text on the left end of a multi-measure rest,
829 attach the text to a zero-length skip note, i.e.,
839 Program reference: @internalsref{MultiMeasureRestMusicGroup},
840 @internalsref{MultiMeasureRest}.
842 The layout object @internalsref{MultiMeasureRestNumber} is for the
843 default number, and @internalsref{MultiMeasureRestText} for user
849 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
850 over multi-measure rests. And the pitch of multi-measure rests (or
851 staff-centered rests) can not be influenced.
853 @cindex condensing rests
855 There is no way to automatically condense multiple rests into a single
856 multi-measure rest. Multi-measure rests do not take part in rest
859 Be careful when entering multi-measure rests followed by whole
860 notes. The following will enter two notes lasting four measures each
864 When @code{skipBars} is set, the result will look OK, but the bar
865 numbering will be off.
868 @node Metronome marks
869 @subsection Metronome marks
872 @cindex beats per minute
873 @cindex metronome marking
875 Metronome settings can be entered as follows
877 \tempo @var{duration} = @var{per-minute}
880 In the MIDI output, they are interpreted as a tempo change. In the
881 layout output, a metronome marking is printed
883 @lilypond[quote,ragged-right,verbatim,fragment]
890 To change the tempo in the MIDI output without printing anything, make
891 the metronome marking invisible
893 \once \override Score.MetronomeMark #'transparent = ##t
896 To print other metronome markings, use these markup commands
897 @lilypond[quote,ragged-right,verbatim,relative,fragment]
900 \smaller \general-align #Y #DOWN \note #"16." #1
902 \smaller \general-align #Y #DOWN \note #"8" #1
907 See @ref{Text markup} for more details.
912 Program reference: @internalsref{MetronomeMark}.
917 Collisions are not checked. If you have notes above the top line of
918 the staff (or notes with articulations, slurs, text, etc), then the
919 metronome marking may be printed on top of musical symbols. If this
920 occurs, increase the padding of the metronome mark to place it
921 further away from the staff.
924 \override Score.MetronomeMark #'padding = #2.5
928 @node Rehearsal marks
929 @subsection Rehearsal marks
931 @cindex Rehearsal marks
934 To print a rehearsal mark, use the @code{\mark} command
936 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
945 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
946 If you wish to include the letter @q{I}, then use
949 \set Score.markFormatter = #format-mark-alphabet
952 The mark is incremented automatically if you use @code{\mark
953 \default}, but you can also use an integer argument to set the mark
954 manually. The value to use is stored in the property
955 @code{rehearsalMark}.
957 The style is defined by the property @code{markFormatter}. It is a
958 function taking the current mark (an integer) and the current context
959 as argument. It should return a markup object. In the following
960 example, @code{markFormatter} is set to a canned procedure. After a
961 few measures, it is set to function that produces a boxed number.
963 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
964 \set Score.markFormatter = #format-mark-numbers
967 \set Score.markFormatter = #format-mark-box-numbers
973 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
974 of @code{format-mark-numbers} (the default format),
975 @code{format-mark-box-numbers},
976 @code{format-mark-letters} and @code{format-mark-box-letters}.
977 These can be used as inspiration for other formatting functions.
979 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
980 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
981 incremented numbers or letters.
983 Other styles of rehearsal mark can be specified manually
990 @code{Score.markFormatter} does not affect marks specified in this manner.
991 However, it is possible to apply a @code{\markup} to the string.
994 \mark \markup@{ \box A1 @}
1001 Music glyphs (such as the segno sign) may be printed inside
1004 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1005 c1 \mark \markup { \musicglyph #"scripts.segno" }
1006 c1 \mark \markup { \musicglyph #"scripts.coda" }
1007 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1012 See @ref{The Feta font} for a list of symbols which may be
1013 printed with @code{\musicglyph}.
1015 The horizontal location of rehearsal marks can be adjusted by
1016 setting @code{break-align-symbol}
1018 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1022 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
1026 \override Score.RehearsalMark #'break-align-symbol = #'clef
1032 @code{break-align-symbol} may also accept the following values:
1033 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1034 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1035 @code{key-signature}, and @code{time-signature}. Setting
1036 @code{break-align-symbol} will only have an effect if the symbol
1037 appears at that point in the music.
1042 This manual: @ref{Text marks}.
1044 Program reference: @internalsref{RehearsalMark}.
1046 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1047 definition of @code{format-mark-numbers} and
1048 @code{format-mark-letters}. They can be used as inspiration for other
1049 formatting functions.
1051 Examples: @lsr{preparing,rehearsal-mark-numbers.ly}
1055 @subsection Bar numbers
1058 @cindex measure numbers
1059 @funindex currentBarNumber
1061 Bar numbers are printed by default at the start of the line. The
1062 number itself is stored in the @code{currentBarNumber} property, which
1063 is normally updated automatically for every measure.
1065 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1066 \repeat unfold 4 {c4 c c c} \break
1067 \set Score.currentBarNumber = #50
1068 \repeat unfold 4 {c4 c c c}
1071 Bar numbers may only be printed at bar lines; to print a bar
1072 number at the beginning of a piece, an empty bar line must
1075 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1076 \set Score.currentBarNumber = #50
1078 \repeat unfold 4 {c4 c c c} \break
1079 \repeat unfold 4 {c4 c c c}
1082 Bar numbers can be typeset at regular intervals instead of at the
1083 beginning of each line. This is illustrated in the following example,
1084 whose source is available as
1085 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
1087 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1089 Bar numbers can be removed entirely by removing the Bar number
1090 engraver from the score.
1092 @lilypond[verbatim,ragged-right,quote]
1096 \remove "Bar_number_engraver"
1108 Program reference: @internalsref{BarNumber}.
1111 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
1112 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
1117 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1118 there is one at the top. To solve this, the
1119 @code{padding} property of @internalsref{BarNumber} can be
1120 used to position the number correctly.
1123 @node Instrument names
1124 @subsection Instrument names
1126 In an orchestral score, instrument names are printed at the left side
1129 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1130 and @internalsref{Staff}.@code{shortInstrumentName}, or
1131 @internalsref{PianoStaff}.@code{instrumentName} and
1132 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1134 the start of the staff. For the first staff, @code{instrumentName} is
1135 used, for the following ones, @code{shortInstrumentName} is used.
1137 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1138 \set Staff.instrumentName = "Ploink "
1139 \set Staff.shortInstrumentName = "Plk "
1145 You can also use markup texts to construct more complicated instrument
1148 @lilypond[quote,fragment,verbatim,ragged-right]
1149 \set Staff.instrumentName = \markup {
1150 \column { "Clarinetti"
1151 \line { "in B" \smaller \flat } } }
1155 If you wish to center the instrument names, you must center all of them
1157 @lilypond[quote,verbatim,ragged-right]
1160 \set Staff.instrumentName = \markup {
1161 \center-align { "Clarinetti"
1162 \line { "in B" \smaller \flat } } }
1166 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1173 For longer instrument names, it may be useful to increase the
1174 @code{indent} setting in the @code{\layout} block.
1176 To center instrument names while leaving extra space to the right,
1178 @lilypond[quote,verbatim,ragged-right]
1179 \new StaffGroup \relative
1182 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1186 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1192 To add instrument names to other contexts (such as @code{GrandStaff},
1193 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1194 be added to that context.
1198 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1203 More information about adding and removing engravers can
1204 be found in @ref{Modifying context plug-ins}.
1206 Instrument names may be changed in the middle of a piece,
1208 @lilypond[quote,fragment,verbatim,ragged-right]
1209 \set Staff.instrumentName = "First"
1210 \set Staff.shortInstrumentName = "one"
1213 \set Staff.instrumentName = "Second"
1214 \set Staff.shortInstrumentName = "two"
1222 Program reference: @internalsref{InstrumentName}.
1226 @node Instrument transpositions
1227 @subsection Instrument transpositions
1229 @cindex transposition, MIDI
1230 @cindex transposition, instrument
1232 The key of a transposing instrument can also be specified. This
1233 applies to many wind instruments, for example, clarinets (B-flat, A, and
1234 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1236 The transposition is entered after the keyword @code{\transposition}
1239 \transposition bes %% B-flat clarinet
1243 This command sets the property @code{instrumentTransposition}. The value of
1244 this property is used for MIDI output and quotations. It does not
1245 affect how notes are printed in the current staff. To change the printed
1246 output, see @ref{Transpose}.
1248 The pitch to use for @code{\transposition} should correspond to the
1249 real sound heard when a @code{c'} written on the staff is played by the
1250 transposing instrument. For example, when entering a score in
1251 concert pitch, typically all voices are entered in C, so
1252 they should be entered as
1265 The command @code{\transposition} should be used when the music is
1266 entered from a (transposed) orchestral part. For example, in
1267 classical horn parts, the tuning of the instrument is often changed
1268 during a piece. When copying the notes from the part, use
1269 @code{\transposition}, e.g.,
1281 @node Ottava brackets
1282 @subsection Ottava brackets
1284 @q{Ottava} brackets introduce an extra transposition of an octave for
1285 the staff. They are created by invoking the function
1286 @code{set-octavation}
1292 @lilypond[quote,ragged-right,verbatim,fragment]
1302 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1303 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1304 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1305 @code{centralCPosition}. For overriding the text of the bracket, set
1306 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1308 @lilypond[quote,ragged-right,verbatim]
1311 \set Staff.ottavation = #"8"
1319 Program reference: @internalsref{OttavaBracket}.
1324 @code{set-octavation} will get confused when clef changes happen
1325 during an octavation bracket.
1328 @node Different editions from one source
1329 @subsection Different editions from one source
1334 The @code{\tag} command marks music expressions with a name. These
1335 tagged expressions can be filtered out later. With this mechanism it
1336 is possible to make different versions of the same music source.
1338 In the following example, we see two versions of a piece of music, one
1339 for the full score, and one with cue notes for the instrumental part
1355 The same can be applied to articulations, texts, etc.: they are
1358 -\tag #@var{your-tag}
1360 to an articulation, for example,
1365 This defines a note with a conditional fingering indication.
1368 @cindex removeWithTag
1369 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1370 commands, tagged expressions can be filtered. For example,
1374 \keepWithTag #'score @var{the music}
1375 \keepWithTag #'part @var{the music}
1380 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1382 The arguments of the @code{\tag} command should be a symbol
1383 (such as @code{#'score} or @code{#'part}), followed by a
1384 music expression. It is possible to put multiple tags on
1385 a piece of music with multiple @code{\tag} entries,
1388 \tag #'original-part \tag #'transposed-part @dots{}
1394 Examples: @lsr{preparing,tag@/-filter@/.ly}
1399 Multiple rests are not merged if you create the score with both tagged
1404 @node Orchestral music
1405 @section Orchestral music
1407 Orchestral music involves some special notation, both in the full
1408 score and the individual parts. This section explains how to tackle
1409 some common problems in orchestral music.
1412 * Automatic part combining::
1414 * Quoting other voices::
1415 * Formatting cue notes::
1416 * Aligning to cadenzas::
1420 @node Automatic part combining
1421 @subsection Automatic part combining
1422 @cindex automatic part combining
1423 @cindex part combiner
1425 Automatic part combining is used to merge two parts of music onto a
1426 staff. It is aimed at typesetting orchestral scores. When the two
1427 parts are identical for a period of time, only one is shown. In
1428 places where the two parts differ, they are typeset as separate
1429 voices, and stem directions are set automatically. Also, solo and
1430 @emph{a due} parts are identified and can be marked.
1432 The syntax for part combining is
1435 \partcombine @var{musicexpr1} @var{musicexpr2}
1439 The following example demonstrates the basic functionality of the part
1440 combiner: putting parts on one staff, and setting stem directions and
1443 @lilypond[quote,verbatim,ragged-right,fragment]
1444 \new Staff \partcombine
1445 \relative g' { g g a( b) c c r r }
1446 \relative g' { g g r4 r e e g g }
1449 The first @code{g} appears only once, although it was
1450 specified twice (once in each part). Stem, slur, and tie directions are
1451 set automatically, depending whether there is a solo or unisono. The
1452 first part (with context called @code{one}) always gets up stems, and
1453 @q{Solo}, while the second (called @code{two}) always gets down stems and
1456 If you just want the merging parts, and not the textual markings, you
1457 may set the property @code{printPartCombineTexts} to false
1459 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1461 \set Staff.printPartCombineTexts = ##f
1463 \relative g' { g a( b) r }
1464 \relative g' { g r4 r f }
1468 To change the text that is printed for solos or merging, you may
1469 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1472 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1474 \set Score.soloText = #"ichi"
1475 \set Score.soloIIText = #"ni"
1476 \set Score.aDueText = #"tachi"
1478 \relative g' { g4 g a( b) r }
1479 \relative g' { g4 g r r f }
1483 Both arguments to @code{\partcombine} will be interpreted as
1484 @internalsref{Voice} contexts. If using relative octaves,
1485 @code{\relative} should be specified for both music expressions, i.e.,
1489 \relative @dots{} @var{musicexpr1}
1490 \relative @dots{} @var{musicexpr2}
1494 A @code{\relative} section that is outside of @code{\partcombine} has
1495 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1499 Program reference: @internalsref{PartCombineMusic}.
1503 When @code{printPartCombineTexts} is set, when the two voices play the
1504 same notes on and off, the part combiner may typeset @code{a2} more
1505 than once in a measure.
1507 @code{\partcombine} cannot be inside @code{\times}.
1509 @code{\partcombine} cannot be inside @code{\relative}.
1511 Internally, the @code{\partcombine} interprets both arguments as
1512 @code{Voice}s named @code{one} and @code{two}, and then decides when
1513 the parts can be combined. Consequently, if the arguments switch to
1514 differently named @internalsref{Voice} contexts, the events in those
1519 @subsection Hiding staves
1521 @cindex Frenched scores
1522 @cindex Hiding staves
1524 In orchestral scores, staff lines that only have rests are usually
1525 removed; this saves some space. This style is called @q{French Score}.
1526 For @internalsref{Lyrics},
1527 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1528 switched on by default. When the lines of these contexts turn out
1529 empty after the line-breaking process, they are removed.
1531 For normal staves, a specialized @internalsref{Staff} context is
1532 available, which does the same: staves containing nothing (or only
1533 multi-measure rests) are removed. The context definition is stored in
1534 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1535 in this example disappears in the second line
1537 @lilypond[quote,ragged-right,verbatim]
1539 \context { \RemoveEmptyStaffContext }
1544 \new Staff { e4 f g a \break c1 }
1545 \new Staff { c4 d e f \break R1 }
1550 The first system shows all staves in full. If empty staves should be
1551 removed from the first system too, set @code{remove-first} to true in
1552 @internalsref{VerticalAxisGroup}.
1555 \override Score.VerticalAxisGroup #'remove-first = ##t
1558 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1559 or @code{\RemoveEmptyRhythmicStaffContext}.
1561 Another application is making ossia sections, i.e., alternative
1562 melodies on a separate piece of staff, with help of a Frenched
1566 @node Quoting other voices
1567 @subsection Quoting other voices
1571 With quotations, fragments of other parts can be inserted into a part
1572 directly. Before a part can be quoted, it must be marked especially as
1573 quotable. This is done with the @code{\addQuote} command.
1576 \addQuote @var{name} @var{music}
1581 Here, @var{name} is an identifying string. The @var{music} is any kind
1582 of music. Here is an example of @code{\addQuote}
1585 \addQuote clarinet \relative c' @{
1590 This command must be entered at toplevel, i.e., outside any music
1593 After calling @code{\addQuote}, the quotation may then be done with
1594 @code{\quoteDuring} or @code{\cueDuring},
1597 \quoteDuring #@var{name} @var{music}
1600 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1604 \quoteDuring #"clarinet" @{ s2. @}
1607 This would cite three quarter notes (the duration of @code{s2.}) of
1608 the previously added @code{clarinet} voice.
1611 More precisely, it takes the current time-step of the part being
1612 printed, and extracts the notes at the corresponding point of the
1613 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1614 should be the entire part of the voice to be quoted, including any
1615 rests at the beginning.
1617 Quotations take into account the transposition of both source and target
1618 instruments, if they are specified using the @code{\transposition} command.
1620 @lilypond[quote,ragged-right,verbatim]
1621 \addQuote clarinet \relative c' {
1627 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1631 The type of events that are present in cue notes can be trimmed with
1632 the @code{quotedEventTypes} property. The default value is
1633 @code{(note-event rest-event)}, which means that only notes and
1634 rests of the cued voice end up in the @code{\quoteDuring}.
1638 \set Staff.quotedEventTypes =
1639 #'(note-event articulation-event dynamic-event)
1643 will quote notes (but no rests), together with scripts and dynamics.
1647 Only the contents of the first @internalsref{Voice} occurring in an
1648 @code{\addQuote} command will be considered for quotation, so
1649 @var{music} can not contain @code{\new} and @code{\context Voice}
1650 statements that would switch to a different Voice.
1652 Quoting grace notes is broken and can even cause LilyPond to crash.
1654 Quoting nested triplets may result in poor notation.
1659 In this manual: @ref{Instrument transpositions}.
1662 @c FIXME: Add when LSR is updated. -gp
1663 @c @i nputfileref{input/@/regression,quote@/.ly}
1664 @c @i nputfileref{input/@/regression,quote@/-transposition@/.ly}
1666 Program reference: @internalsref{QuoteMusic}.
1669 @node Formatting cue notes
1670 @subsection Formatting cue notes
1672 @cindex cues, formatting
1674 The previous section deals with inserting notes from another voice.
1675 There is a more advanced music function called @code{\cueDuring},
1676 which makes formatting cue notes easier.
1681 \cueDuring #@var{name} #@var{updown} @var{music}
1684 This will insert notes from the part @var{name} into a
1685 @internalsref{Voice} called @code{cue}. This happens simultaneously
1686 with @var{music}, which usually is a rest. When the cue notes start,
1687 the staff in effect becomes polyphonic for a moment. The argument
1688 @var{updown} determines whether the cue notes should be notated as a
1689 first or second voice.
1692 @lilypond[verbatim,ragged-right]
1695 \override Stem #'length-fraction = #0.8
1696 \override Beam #'thickness = #0.384
1697 \override Beam #'length-fraction = #0.8
1700 \addQuote clarinet \relative {
1705 \new Staff \relative <<
1707 % setup a context for cue notes.
1708 \new Voice = "cue" { \smaller \skip 1*21 }
1710 \set Score.skipBars = ##t
1714 \cueDuring #"clarinet" #UP {
1723 Here are a couple of hints for successful cue notes
1727 Cue notes have smaller font sizes.
1729 the cued part is marked with the instrument playing the cue.
1731 when the original part takes over again, this should be marked with
1732 the name of the original instrument.
1734 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1736 @c Yes, this is good practice. Otherwise, the start of the original
1737 @c part can only be seen from the font size. This is not good enough
1738 @c for sight-reading. It is possilbe to use other
1739 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1745 Any other changes introduced by the cued part should also be
1746 undone. For example, if the cued instrument plays in a different clef,
1747 the original clef should be stated once again.
1751 The macro @code{\transposedCueDuring} is
1752 useful to add cues to instruments which use a completely different
1753 octave range (for example, having a cue of a piccolo flute within
1754 a contra bassoon part).
1756 @lilypond[verbatim,ragged-right,quote]
1757 picc = \relative c''' {
1763 \addQuote "picc" { \picc }
1765 cbsn = \relative c, {
1768 \transposedCueDuring #"picc" #UP c,, { R1 } |
1773 \context Staff = "picc" \picc
1774 \context Staff = "cbsn" \cbsn
1780 @node Aligning to cadenzas
1781 @subsection Aligning to cadenzas
1783 In an orchestral context, cadenzas present a special problem:
1784 when constructing a score that includes a cadenza, all other
1785 instruments should skip just as many notes as the length of the
1786 cadenza, otherwise they will start too soon or too late.
1788 A solution to this problem are the functions @code{mmrest-of-length}
1789 and @code{skip-of-length}. These Scheme functions take a piece of music
1790 as argument, and generate a @code{\skip} or multi-rest, exactly as
1791 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1792 in the following example.
1794 @lilypond[verbatim,ragged-right,quote]
1795 cadenza = \relative c' {
1796 c4 d8 << { e f g } \\ { d4. } >>
1801 \new Staff { \cadenza c'4 }
1803 #(ly:export (mmrest-of-length cadenza))
1812 @node Contemporary notation
1813 @section Contemporary notation
1815 In the 20th century, composers have greatly expanded the musical
1816 vocabulary. With this expansion, many innovations in musical notation
1817 have been tried. The book @q{Music Notation in the 20th century} by
1818 Kurt Stone gives a comprehensive overview (see @ref{Literature
1821 This section describes notation that does
1822 not fit into traditional notation categories, such as pitches,
1823 tuplet beams, and articulation. For contemporary notation
1824 that fits into traditional notation categories, such as
1825 microtones, nested tuplet beams, and unusual fermatas, please
1826 see those sections of the documentation.
1829 * Polymetric notation::
1830 * Time administration::
1831 * Proportional notation (introduction)::
1833 * Special noteheads::
1836 * Selecting notation font size::
1840 @node Polymetric notation
1841 @subsection Polymetric notation
1843 @cindex double time signatures
1844 @cindex signatures, polymetric
1845 @cindex polymetric signatures
1846 @cindex meter, polymetric
1848 Double time signatures are not supported explicitly, but they can be
1849 faked. In the next example, the markup for the time signature is
1850 created with a markup text. This markup text is inserted in the
1851 @internalsref{TimeSignature} grob. See also
1852 @inputfileref{input/@/test,compound@/-time@/.ly}).
1854 @lilypond[verbatim,ragged-right]
1857 \override #'(baseline-skip . 2) \number {
1860 \bracket \column { "5" "8" }
1865 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1866 \override Staff.TimeSignature #'text = #tsMarkup
1868 c'2 \bar ":" c'4 c'4.
1872 Each staff can also have its own time signature. This is done by
1873 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1879 \remove "Timing_translator"
1880 \remove "Default_bar_line_engraver"
1884 \consists "Timing_translator"
1885 \consists "Default_bar_line_engraver"
1892 Now, each staff has its own time signature.
1905 c4. c8 c c c4. c8 c c
1910 @lilypond[quote,ragged-right]
1914 \remove "Timing_translator"
1915 \remove "Default_bar_line_engraver"
1918 \consists "Timing_translator"
1919 \consists "Default_bar_line_engraver"
1934 c4. c8 c c c4. c8 c c
1940 A different form of polymetric notation is where note lengths have
1941 different values across staves.
1943 This notation can be created by setting a common time signature for
1944 each staff but replacing it manually using
1945 @code{timeSignatureFraction} to the desired fraction. Then the printed
1946 durations in each staff are scaled to the common time signature.
1947 The latter is done with @code{\compressMusic}, which is used similar
1948 to @code{\times}, but does not create a tuplet bracket. The syntax is
1950 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1955 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1956 used in parallel. In the second staff, shown durations are multiplied by
1957 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1958 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1960 @lilypond[quote,ragged-right,verbatim,fragment]
1968 \set Staff.timeSignatureFraction = #'(9 . 8)
1969 \compressMusic #'(2 . 3)
1970 \repeat unfold 6 { c8[ c c] }
1974 \set Staff.timeSignatureFraction = #'(10 . 8)
1975 \compressMusic #'(3 . 5) {
1976 \repeat unfold 2 { c8[ c c] }
1977 \repeat unfold 2 { c8[ c] }
1978 | c4. c4. \times 2/3 { c8 c c } c4
1989 When using different time signatures in parallel, the spacing is
1990 aligned vertically, but bar lines distort the regular spacing.
1993 @node Time administration
1994 @subsection Time administration
1996 @cindex Time administration
1998 Time is administered by the @internalsref{Time_signature_engraver},
1999 which usually lives in the @internalsref{Score} context. The
2000 bookkeeping deals with the following variables
2003 @item currentBarNumber
2007 The length of the measures in the current time signature. For a 4/4
2008 time this is@tie{}1, and for 6/8 it is 3/4.
2010 @item measurePosition
2011 The point within the measure where we currently are. This quantity
2012 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2013 happens, @code{currentBarNumber} is incremented.
2016 If set to true, the above variables are updated for every time
2017 step. When set to false, the engraver stays in the current measure
2021 Timing can be changed by setting any of these variables explicitly.
2022 In the next example, the 4/4 time signature is printed, but
2023 @code{measureLength} is set to 5/4. After a while, the measure is
2024 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2025 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2026 3/8 arises because 5/4 normally has 10/8, but we have manually
2027 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2029 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2030 \set Score.measureLength = #(ly:make-moment 5 4)
2034 \set Score.measurePosition = #(ly:make-moment 7 8)
2040 As the example illustrates, @code{ly:make-moment n m} constructs a
2041 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2043 note duration and @code{ly:make-moment 7 16} is the duration of
2044 seven sixteenths notes.
2047 @node Proportional notation (introduction)
2048 @subsection Proportional notation (introduction)
2049 @cindex Proportional notation
2051 See @ref{Proportional notation}.
2054 TODO: remove all this stuff?
2056 Notes can be spaced proportionally to their time-difference by
2057 assigning a duration to @code{proportionalNotationDuration}
2059 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2061 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2062 \new Staff { c8[ c c c c c] c4 c2 r2 }
2063 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2067 Setting this property only affects the ideal spacing between
2068 consecutive notes. For true proportional notation, the following
2069 settings are also required.
2073 @item True proportional notation requires that symbols are allowed to
2074 overstrike each other. That is achieved by removing the
2075 @internalsref{Separating_line_group_engraver} from
2076 @internalsref{Staff} context.
2078 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2079 is removed by setting the @code{strict-note-spacing} property to
2080 @code{#t} in @internalsref{SpacingSpanner} grob.
2082 @item Optical spacing tweaks are switched by setting
2083 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2090 Examples: @lsr{spacing,proportional@/-spacing@/.ly},
2091 @lsr{spacing,proportional@/-strict@/-grace@/-notes@/.ly}, and
2092 @lsr{spacing,proportional@/-strict@/-notespacing@/.ly}
2094 An example of strict proportional notation is in the
2095 example file @file{input/proportional.ly}.
2099 @subsection Clusters
2103 A cluster indicates a continuous range of pitches to be played. They
2104 can be denoted as the envelope of a set of notes. They are entered by
2105 applying the function @code{makeClusters} to a sequence of
2107 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2108 \makeClusters { <c e > <b f'> }
2111 The following example (from
2112 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
2115 @lilypondfile[ragged-right,quote]{cluster.ly}
2117 Ordinary notes and clusters can be put together in the same staff,
2118 even simultaneously. In such a case no attempt is made to
2119 automatically avoid collisions between ordinary notes and clusters.
2123 Program reference: @internalsref{ClusterSpanner},
2124 @internalsref{ClusterSpannerBeacon},
2125 @internalsref{Cluster_spanner_engraver}.
2127 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
2131 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2132 accurately. Use @code{<g a>8 <e a>8} instead.
2135 @node Special noteheads
2136 @subsection Special noteheads
2138 @cindex note heads, special
2140 Different noteheads are used by various instruments for various
2141 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2142 notes on guitar; diamonds are used for harmonics on string instruments,
2143 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2144 other notehead styles are produced by tweaking the property
2146 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2148 \override NoteHead #'style = #'cross
2150 \revert NoteHead #'style
2151 e d <c f\harmonic> <d a'\harmonic>
2155 To see all notehead styles, please see
2156 @ref{Note head styles}.
2161 Program reference: @internalsref{NoteHead}.
2164 @node Feathered beams
2165 @subsection Feathered beams
2167 Feathered beams are printed by setting the @code{grow-direction}
2168 property of a @code{Beam}. The @code{\featherDurations} function
2169 can be used to adjust note durations.
2171 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2172 \featherDurations #(ly:make-moment 5 4)
2174 \override Beam #'grow-direction = #LEFT
2181 The @code{\featherDuration} command only works with very short
2185 @subsection Improvisation
2187 Improvisation is sometimes denoted with slashed note heads. Such note
2188 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2189 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
2193 \set squashedPosition = #0
2194 \override NoteHead #'style = #'slash
2198 switches on the slashes.
2200 There are shortcuts @code{\improvisationOn} (and an accompanying
2201 @code{\improvisationOff}) for this command sequence. They are used in
2202 the following example
2204 @lilypond[verbatim,ragged-right,quote]
2206 \consists Pitch_squash_engraver
2208 e8 e g a a16(bes)(a8) g \improvisationOn
2211 ~fis2 \improvisationOff a16(bes) a8 g e
2216 @node Selecting notation font size
2217 @subsection Selecting notation font size
2219 The easiest method of setting the font size of any context is by
2220 setting the @code{fontSize} property.
2222 @lilypond[quote,fragment,relative=1,verbatim]
2231 It does not change the size of variable symbols, such as beams or
2234 Internally, the @code{fontSize} context property will cause the
2235 @code{font-size} property to be set in all layout objects. The value
2236 of @code{font-size} is a number indicating the size relative to the
2237 standard size for the current staff height. Each step up is an
2238 increase of approximately 12% of the font size. Six steps is exactly a
2239 factor two. The Scheme function @code{magstep} converts a
2240 @code{font-size} number to a scaling factor. The @code{font-size}
2241 property can also be set directly, so that only certain layout objects are
2244 @lilypond[quote,fragment,relative=1,verbatim]
2246 \override NoteHead #'font-size = #-4
2248 \override NoteHead #'font-size = #3
2252 Font size changes are achieved by scaling the design size that is
2253 closest to the desired size. The standard font size (for
2254 @code{font-size} equals 0), depends on the standard staff height. For
2255 a 20pt staff, a 10pt font is selected.
2257 The @code{font-size} property can only be set on layout objects that
2258 use fonts. These are the ones supporting the
2259 @internalsref{font-interface} layout interface.
2263 The following commands set @code{fontSize} for the current voice:
2269 @funindex \normalsize
2274 @node Educational use
2275 @section Educational use
2277 With the amount of control that LilyPond offers, one can make great
2278 teaching tools in addition to great musical scores.
2282 * Blank music sheet::
2284 * Shape note heads::
2285 * Easy Notation note heads::
2286 * Analysis brackets::
2287 * Coloring objects::
2293 @subsection Balloon help
2295 Elements of notation can be marked and named with the help of a square
2296 balloon. The primary purpose of this feature is to explain notation.
2298 The following example demonstrates its use.
2300 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2301 \new Voice \with { \consists "Balloon_engraver" }
2303 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2304 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2309 There are two music functions, @code{balloonText} and
2310 @code{balloonGrobText}. The latter takes the name of the grob to
2311 adorn, while the former may be used as an articulation on a note.
2312 The other arguments are the offset and the text of the label.
2315 @cindex notation, explaining
2319 Program reference: @internalsref{text-balloon-interface}.
2324 @node Blank music sheet
2325 @subsection Blank music sheet
2327 @cindex Sheet music, empty
2328 @cindex Staves, blank sheet
2330 A blank music sheet can be produced also by using invisible notes, and
2331 removing @code{Bar_number_engraver}.
2334 @lilypond[quote,verbatim]
2335 \layout{ indent = #0 }
2337 \repeat unfold 2 % Change this for more lines.
2342 \override TimeSignature #'transparent = ##t
2343 % un-comment this line if desired
2344 % \override Clef #'transparent = ##t
2345 defaultBarType = #""
2346 \remove Bar_number_engraver
2349 % modify these to get the staves you want
2350 \new Staff \emptymusic
2351 \new TabStaff \emptymusic
2357 @subsection Hidden notes
2359 @cindex Hidden notes
2360 @cindex Invisible notes
2361 @cindex Transparent notes
2363 @funindex \hideNotes
2364 @funindex \unHideNotes
2365 Hidden (or invisible or transparent) notes can be useful in preparing theory
2366 or composition exercises.
2368 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2377 @node Shape note heads
2378 @subsection Shape note heads
2380 @cindex note heads, shape
2382 In shape note head notation, the shape of the note head corresponds
2383 to the harmonic function of a note in the scale. This notation was
2384 popular in the 19th century American song books.
2386 Shape note heads can be produced by setting @code{\aikenHeads} or
2387 @code{\sacredHarpHeads}, depending on the style desired.
2389 @lilypond[verbatim,relative=1,fragment]
2396 Shapes are determined on the step in the scale, where the base of the
2397 scale is determined by the @code{\key} command
2400 @funindex shapeNoteStyles
2401 @funindex \aikenHeads
2402 @funindex \sacredHarpHeads
2404 Shape note heads are implemented through the @code{shapeNoteStyles}
2405 property. Its value is a vector of symbols. The k-th element indicates
2406 the style to use for the k-th step of the scale. Arbitrary
2407 combinations are possible, e.g.
2409 @lilypond[verbatim,relative=1,fragment]
2410 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2415 @node Easy Notation note heads
2416 @subsection Easy Notation note heads
2418 @cindex note heads, practice
2419 @cindex note heads, easy notation
2420 @cindex easy notation
2423 The @q{easy play} note head includes a note name inside the head. It is
2424 used in music for beginners
2426 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2431 The command @code{\setEasyHeads} overrides settings for the
2432 @internalsref{NoteHead} object. To make the letters readable, it has
2433 to be printed in a large font size. To print with a larger font, see
2434 @ref{Setting the staff size}.
2438 @funindex \setEasyHeads
2439 @code{\setEasyHeads}
2442 @node Analysis brackets
2443 @subsection Analysis brackets
2445 @cindex phrasing brackets
2446 @cindex musicological analysis
2447 @cindex note grouping bracket
2449 Brackets are used in musical analysis to indicate structure in musical
2450 pieces. LilyPond supports a simple form of nested horizontal
2451 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2452 to @internalsref{Staff} context. A bracket is started with
2453 @code{\startGroup} and closed with @code{\stopGroup}
2455 @lilypond[quote,ragged-right,verbatim]
2458 c4\startGroup\startGroup
2461 c4\stopGroup\stopGroup
2465 \Staff \consists "Horizontal_bracket_engraver"
2471 Program reference: @internalsref{HorizontalBracket}.
2474 @node Coloring objects
2475 @subsection Coloring objects
2477 Individual objects may be assigned colors. You may use the
2478 color names listed in the @ref{List of colors}.
2480 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2481 \override NoteHead #'color = #red
2483 \override NoteHead #'color = #(x11-color 'LimeGreen)
2485 \override Stem #'color = #blue
2489 The full range of colors defined for X11 can be accessed by using the
2490 Scheme function x11-color. The function takes one argument that can be a
2494 \override Beam #'color = #(x11-color 'MediumTurquoise)
2500 \override Beam #'color = #(x11-color "MediumTurquoise")
2503 The first form is quicker to write and is more efficient. However, using
2504 the second form it is possible to access X11 colors by the multi-word
2508 \override Beam #'color = #(x11-color "medium turquoise")
2511 If x11-color cannot make sense of the parameter then the color returned
2512 defaults to black. It should be obvious from the final score that
2515 This example illustrates the use of x11-color. Notice that the stem
2516 color remains black after being set to (x11-color 'Boggle), which is
2517 deliberate nonsense.
2519 @lilypond[quote,ragged-right,verbatim]
2521 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2522 \set Staff.instrumentName = \markup {
2523 \with-color #(x11-color 'navy) "Clarinet"
2527 \override Beam #'color = #(x11-color "medium turquoise")
2529 \override NoteHead #'color = #(x11-color "LimeGreen")
2531 \override Stem #'color = #(x11-color 'Boggle)
2539 Appendix: @ref{List of colors}.
2543 Not all x11 colors are distinguishable in a web browser. For web use
2544 normal colors are recommended.
2546 An x11 color is not necessarily exactly the same shade as a similarly
2549 Notes in a chord cannot be colored with @code{\override}; use
2550 @code{\tweak} instead. See @ref{Objects connected to the input}
2555 @subsection Parentheses
2558 @cindex notes, ghost
2559 @cindex notes, parenthesized
2561 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2564 @lilypond[relative=2,fragment,verbatim,ragged-right]
2572 This only functions inside chords, even for single notes
2575 < \parenthesize NOTE>
2580 @subsection Grid lines
2582 @c FIXME: get an example for grid lines. -gp
2583 Vertical lines can be drawn between staves synchronized with
2586 Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.