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 #'bound-details #'left #'text =
260 \markup { \upright "rall" }
261 c2\startTextSpan b c\stopTextSpan a
264 \override TextSpanner #'bound-details #'left #'text =
265 \markup { \italic "rit" }
266 c2\startTextSpan b c\stopTextSpan a
271 @funindex textSpannerUp
272 @code{\textSpannerUp},
273 @funindex textSpannerDown
274 @code{\textSpannerDown},
275 @funindex textSpannerNeutral
276 @code{\textSpannerNeutral}.
281 To print a solid line, use
284 \override TextSpanner #'dash-fraction = #'()
290 Program reference: @internalsref{TextSpanner}.
294 @subsection Text marks
296 @cindex coda on bar line
297 @cindex segno on bar line
298 @cindex fermata on bar line
299 @cindex bar lines, symbols on
302 The @code{\mark} command is primarily used for
303 @ref{Rehearsal marks},
304 but it can also be used to put signs like coda,
305 segno, and fermata on a bar line. Use @code{\markup} to
306 access the appropriate symbol (symbols are listed in
307 @ref{The Feta font}).
309 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
310 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
315 @code{\mark} is only typeset above the top stave of the score. If
316 you specify the @code{\mark} command at a bar line, the resulting
317 mark is placed above the bar line. If you specify it in the middle
318 of a bar, the resulting mark is positioned between notes. If it is
319 specified before the beginning of a score line, it is placed
320 before the first note of the line. Finally, if the mark occurs at
321 a line break, the mark will be printed at the
322 beginning of the next line.
323 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
324 @c delete this sentence. -gp
325 If there is no next line, then the mark will not be printed at all.
330 To print the mark at the end of the current line, use
333 \override Score.RehearsalMark
334 #'break-visibility = #begin-of-line-invisible
337 @code{\mark} is often useful for adding text to the end of bar. In
338 such cases, changing the @code{#'self-alignment} is very useful
340 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
341 \override Score.RehearsalMark
342 #'break-visibility = #begin-of-line-invisible
344 \once \override Score.RehearsalMark #'self-alignment-X = #right
345 \mark "D.S. al Fine "
348 Text marks may be aligned with notation objects other than
351 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
356 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
360 \override Score.RehearsalMark #'break-align-symbol = #'clef
364 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
373 Although text marks are normally only printed above the topmost
374 staff, you may alter this to print them on every staff,
376 @lilypond[quote,ragged-right,verbatim,relative=2]
379 \remove "Mark_engraver"
383 \consists "Mark_engraver"
385 { c''1 \mark "foo" c'' }
387 \consists "Mark_engraver"
389 { c'1 \mark "foo" c' }
397 Program reference: @internalsref{RehearsalMark}.
401 @subsection Text markup
408 Use @code{\markup} to typeset text. Commands are entered with the
409 backslash @code{\}. To enter @code{\} and @code{#}, use double
412 @lilypond[quote,verbatim,fragment,relative=1]
414 c1_\markup { hi there }
415 c1^\markup { hi \bold there, is \italic {anyone home?} }
416 c1_\markup { "\special {weird} #characters" }
420 See @ref{Overview of text markup commands}, for a list of all
423 @code{\markup} is primarily used for @internalsref{TextScript}s,
424 but it can also be used anywhere text is called in lilypond
426 @lilypond[quote,verbatim]
427 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
430 \override Score.RehearsalMark
431 #'break-visibility = #begin-of-line-invisible
432 \override Score.RehearsalMark #'self-alignment-X = #right
434 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
435 c2^\markup{ don't be \flat }
436 \override TextSpanner #'bound-details #'left #'text = \markup{\italic rit }
438 a2\mark \markup{ \large \bold Fine }
442 \addlyrics { bar, foo \markup{ \italic bar! } }
446 A @code{\markup} command can also be placed on its own, away from any
447 @code{\score} block, see @ref{Multiple scores in a book}.
449 @lilypond[quote,ragged-right,verbatim]
450 \markup{ Here is some text. }
453 @cindex font switching
455 The markup in the example demonstrates font switching commands. The
456 command @code{\bold} and @code{\italic} apply to the first following
457 word only; to apply a command to more than one word, enclose the
461 \markup @{ \bold @{ hi there @} @}
465 For clarity, you can also do this for single arguments, e.g.,
468 \markup @{ is \italic @{ anyone @} home @}
471 In markup mode you can compose expressions, similar to mathematical
472 expressions, XML documents, and music expressions. You can stack
473 expressions grouped vertically with the command @code{\column}.
474 Similarly, @code{\center-align} aligns texts by their center lines:
476 @lilypond[quote,verbatim,fragment,relative=1]
477 c1^\markup { \column { a bbbb \line { c d } } }
478 c1^\markup { \center-align { a bbbb c } }
479 c1^\markup { \line { a b c } }
482 Lists with no previous command are not kept distinct. The expression
485 \center-align @{ @{ a b @} @{ c d @} @}
493 \center-align @{ a b c d @}
498 To keep lists of words distinct, please use quotes @code{"} or
499 the @code{\line} command
501 @lilypond[quote,verbatim,fragment,relative=1]
503 c4^\markup{ \center-align { on three lines } }
504 c4^\markup{ \center-align { "all one line" } }
505 c4^\markup{ \center-align { { on three lines } } }
506 c4^\markup{ \center-align { \line { on one line } } }
509 Markups can be stored in variables and these variables
510 may be attached to notes, like
512 allegro = \markup @{ \bold \large @{ Allegro @} @}
513 @{ a^\allegro b c d @}
516 Some objects have alignment procedures of their own, which cancel out
517 any effects of alignments applied to their markup arguments as a
518 whole. For example, the @internalsref{RehearsalMark} is horizontally
519 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
522 In addition, vertical placement is performed after creating the
523 text markup object. If you wish to move an entire piece of markup,
524 you need to use the #'padding property or create an @q{anchor} point
525 inside the markup (generally with @code{\hspace #0}).
527 @lilypond[quote,verbatim,fragment,relative=1]
529 c'4^\markup{ \raise #5 "not raised" }
530 \once \override TextScript #'padding = #3
531 c'4^\markup{ raised }
532 c'4^\markup{ \hspace #0 \raise #1.5 raised }
535 Some situations (such as dynamic marks) have preset font-related
536 properties. If you are creating text in such situations, it
537 is advisable to cancel those properties with
538 @code{normal-text}. See @ref{Overview of text markup commands},
544 This manual: @ref{Overview of text markup commands}.
546 Program reference: @internalsref{TextScript}.
548 Init files: @file{scm/@/new@/-markup@/.scm}.
553 Kerning or generation of ligatures is only done when the @TeX{}
554 backend is used. In this case, LilyPond does not account for them so
555 texts will be spaced slightly too wide.
557 Syntax errors for markup mode are confusing.
561 @subsection Nested scores
563 It is possible to nest music inside markups, by adding a @code{\score}
564 block to a markup expression. Such a score must contain a @code{\layout}
567 @lilypond[quote,verbatim,ragged-right]
571 \relative { c4 d e f }
580 @node Overview of text markup commands
581 @subsection Overview of text markup commands
583 The following commands can all be used inside @code{\markup @{ @}}.
585 @include markup-commands.tely
589 @subsection Font selection
591 @cindex font selection
592 @cindex font magnification
593 @funindex font-interface
595 By setting the object properties described below, you can select a
596 font from the preconfigured font families. LilyPond has default
597 support for the feta music fonts. Text fonts are selected through
598 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
599 the sans and typewriter to whatever the Pango installation defaults
604 @item @code{font-encoding}
605 is a symbol that sets layout of the glyphs. This should only be set to
606 select different types of non-text fonts, e.g.
608 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
609 standard music font, including ancient glyphs, @code{fetaDynamic} for
610 dynamic signs and @code{fetaNumber} for the number font.
612 @item @code{font-family}
613 is a symbol indicating the general class of the typeface. Supported are
614 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
616 @item @code{font-shape}
617 is a symbol indicating the shape of the font. There are typically
618 several font shapes available for each font family. Choices are
619 @code{italic}, @code{caps}, and @code{upright}.
621 @item @code{font-series}
622 is a symbol indicating the series of the font. There are typically
623 several font series for each font family and shape. Choices are
624 @code{medium} and @code{bold}.
628 Fonts selected in the way sketched above come from a predefined style
629 sheet. If you want to use a font from outside the style sheet,
631 @code{font-name} property,
633 @lilypond[fragment,verbatim]
635 \override Staff.TimeSignature #'font-name = #"Charter"
636 \override Staff.TimeSignature #'font-size = #2
639 \override #'(font-name . "Vera Bold")
640 { This text is in Vera Bold }
646 Any font can be used, as long as it is available to Pango/FontConfig.
647 To get a full list of all available fonts, run the command
649 lilypond -dshow-available-fonts blabla
651 (the last argument of the command can be anything, but has to be present).
654 The size of the font may be set with the @code{font-size}
655 property. The resulting size is taken relative to the
656 @code{text-font-size} as defined in the @code{\paper} block.
659 @cindex font magnification
662 It is also possible to change the default font family for the entire
663 document. This is done by calling the @code{make-pango-font-tree} from
664 within the @code{\paper} block. The function takes names for the font
665 families to use for roman, sans serif and monospaced text. For
668 @cindex font families, setting
677 (make-pango-font-tree "Times New Roman"
684 c'^\markup { roman: foo \sans bla \typewriter bar }
688 @c we don't do Helvetica / Courier, since GS incorrectly loads
695 Examples: @lsr{text,font@/-family@/-override.ly}.
698 @node New dynamic marks
699 @subsection New dynamic marks
701 It is possible to print new dynamic marks or text that should be aligned
702 with dynamics. Use @code{make-dynamic-script} to create these
703 marks. Note that the dynamic font only contains the characters
704 @code{f,m,p,r,s} and @code{z}.
706 Some situations (such as dynamic marks) have preset font-related
707 properties. If you are creating text in such situations, it
708 is advisable to cancel those properties with
709 @code{normal-text}. See @ref{Overview of text markup commands},
712 @cindex make-dynamic-script
714 @lilypond[quote,verbatim,ragged-right]
715 sfzp = #(make-dynamic-script "sfzp")
721 @cindex Dynamics, editorial
722 @cindex Dynamics, parenthesis
724 It is also possible to print dynamics in round parenthesis or square
725 brackets. These are often used for adding editorial dynamics.
727 @lilypond[quote,verbatim,ragged-right]
728 rndf = \markup{ \center-align {\line { \bold{\italic (}
729 \dynamic f \bold{\italic )} }} }
730 boxf = \markup{ \bracket { \dynamic f } }
731 { c'1_\rndf c'1_\boxf }
736 @node Preparing parts
737 @section Preparing parts
739 This section describes various notation that are useful for preparing
743 * Multi measure rests::
748 * Instrument transpositions::
750 * Different editions from one source::
754 @node Multi measure rests
755 @subsection Multi measure rests
757 @cindex multi measure rests
758 @cindex full measure rests
759 @cindex Rests, multi measure
760 @cindex Rests, full measure
761 @cindex whole rests for a full measure
764 Rests for one full measure (or many bars) are entered using @samp{R}. It
765 is specifically meant for full bar rests and for entering parts: the rest
766 can expand to fill a score with rests, or it can be printed as a single
767 multi-measure rest. This expansion is controlled by the property
768 @code{Score.skipBars}. If this is set to true, empty measures will not
769 be expanded, and the appropriate number is added automatically
771 @lilypond[quote,ragged-right,fragment,verbatim]
772 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
773 \set Score.skipBars = ##t R1*17 R1*4
776 The @code{1} in @code{R1} is similar to the duration notation used for
777 notes. Hence, for time signatures other than 4/4, you must enter other
778 durations. This can be done with augmentation dots or fractions
780 @lilypond[quote,ragged-right,fragment,verbatim]
781 \set Score.skipBars = ##t
790 An @code{R} spanning a single measure is printed as either a whole rest
791 or a breve, centered in the measure regardless of the time signature.
793 If there are only a few measures of rest, LilyPond prints @q{church rests}
794 (a series of rectangles) in the staff. To replace that with a simple
795 rest, use @code{MultiMeasureRest.expand-limit}.
797 @lilypond[quote,ragged-right,fragment,verbatim]
798 \set Score.skipBars = ##t
800 \override MultiMeasureRest #'expand-limit = 1
804 @cindex text on multi-measure rest
805 @cindex script on multi-measure rest
806 @cindex fermata on multi-measure rest
808 Texts can be added to multi-measure rests by using the
809 @var{note}-@code{markup} syntax @ref{Text markup}.
810 A variable (@code{\fermataMarkup}) is provided for
813 @lilypond[quote,ragged-right,verbatim,fragment]
814 \set Score.skipBars = ##t
816 R2.*10^\markup { \italic "ad lib." }
820 Warning! This text is created by @code{MultiMeasureRestText}, not
823 @lilypond[quote,ragged-right,verbatim,fragment]
824 \override TextScript #'padding = #5
826 \override MultiMeasureRestText #'padding = #5
830 If you want to have text on the left end of a multi-measure rest,
831 attach the text to a zero-length skip note, i.e.,
841 Program reference: @internalsref{MultiMeasureRestMusicGroup},
842 @internalsref{MultiMeasureRest}.
844 The layout object @internalsref{MultiMeasureRestNumber} is for the
845 default number, and @internalsref{MultiMeasureRestText} for user
851 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
852 over multi-measure rests. And the pitch of multi-measure rests (or
853 staff-centered rests) can not be influenced.
855 @cindex condensing rests
857 There is no way to automatically condense multiple rests into a single
858 multi-measure rest. Multi-measure rests do not take part in rest
861 Be careful when entering multi-measure rests followed by whole
862 notes. The following will enter two notes lasting four measures each
866 When @code{skipBars} is set, the result will look OK, but the bar
867 numbering will be off.
870 @node Metronome marks
871 @subsection Metronome marks
874 @cindex beats per minute
875 @cindex metronome marking
877 Metronome settings can be entered as follows
879 \tempo @var{duration} = @var{per-minute}
882 In the MIDI output, they are interpreted as a tempo change. In the
883 layout output, a metronome marking is printed
885 @lilypond[quote,ragged-right,verbatim,fragment]
892 To change the tempo in the MIDI output without printing anything, make
893 the metronome marking invisible
895 \once \override Score.MetronomeMark #'transparent = ##t
898 To print other metronome markings, use these markup commands
899 @lilypond[quote,ragged-right,verbatim,relative,fragment]
902 \smaller \general-align #Y #DOWN \note #"16." #1
904 \smaller \general-align #Y #DOWN \note #"8" #1
909 See @ref{Text markup}, for more details.
914 Program reference: @internalsref{MetronomeMark}.
919 Collisions are not checked. If you have notes above the top line of
920 the staff (or notes with articulations, slurs, text, etc), then the
921 metronome marking may be printed on top of musical symbols. If this
922 occurs, increase the padding of the metronome mark to place it
923 further away from the staff.
926 \override Score.MetronomeMark #'padding = #2.5
930 @node Rehearsal marks
931 @subsection Rehearsal marks
933 @cindex Rehearsal marks
936 To print a rehearsal mark, use the @code{\mark} command
938 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
947 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
948 If you wish to include the letter @q{I}, then use
951 \set Score.markFormatter = #format-mark-alphabet
954 The mark is incremented automatically if you use @code{\mark
955 \default}, but you can also use an integer argument to set the mark
956 manually. The value to use is stored in the property
957 @code{rehearsalMark}.
959 The style is defined by the property @code{markFormatter}. It is a
960 function taking the current mark (an integer) and the current context
961 as argument. It should return a markup object. In the following
962 example, @code{markFormatter} is set to a canned procedure. After a
963 few measures, it is set to function that produces a boxed number.
965 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
966 \set Score.markFormatter = #format-mark-numbers
969 \set Score.markFormatter = #format-mark-box-numbers
975 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
976 of @code{format-mark-numbers} (the default format),
977 @code{format-mark-box-numbers},
978 @code{format-mark-letters} and @code{format-mark-box-letters}.
979 These can be used as inspiration for other formatting functions.
981 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
982 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
983 incremented numbers or letters.
985 Other styles of rehearsal mark can be specified manually
992 @code{Score.markFormatter} does not affect marks specified in this manner.
993 However, it is possible to apply a @code{\markup} to the string.
996 \mark \markup@{ \box A1 @}
1003 Music glyphs (such as the segno sign) may be printed inside
1006 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1007 c1 \mark \markup { \musicglyph #"scripts.segno" }
1008 c1 \mark \markup { \musicglyph #"scripts.coda" }
1009 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1014 See @ref{The Feta font}, for a list of symbols which may be
1015 printed with @code{\musicglyph}.
1017 The horizontal location of rehearsal marks can be adjusted by
1018 setting @code{break-align-symbol}
1020 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1024 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
1028 \override Score.RehearsalMark #'break-align-symbol = #'clef
1034 @code{break-align-symbol} may also accept the following values:
1035 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1036 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1037 @code{key-signature}, and @code{time-signature}. Setting
1038 @code{break-align-symbol} will only have an effect if the symbol
1039 appears at that point in the music.
1044 This manual: @ref{Text marks}.
1046 Program reference: @internalsref{RehearsalMark}.
1048 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1049 definition of @code{format-mark-numbers} and
1050 @code{format-mark-letters}. They can be used as inspiration for other
1051 formatting functions.
1053 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
1057 @subsection Bar numbers
1060 @cindex measure numbers
1061 @funindex currentBarNumber
1063 Bar numbers are printed by default at the start of the line. The
1064 number itself is stored in the @code{currentBarNumber} property, which
1065 is normally updated automatically for every measure.
1067 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1068 \repeat unfold 4 {c4 c c c} \break
1069 \set Score.currentBarNumber = #50
1070 \repeat unfold 4 {c4 c c c}
1073 Bar numbers may only be printed at bar lines; to print a bar
1074 number at the beginning of a piece, an empty bar line must
1077 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1078 \set Score.currentBarNumber = #50
1080 \repeat unfold 4 {c4 c c c} \break
1081 \repeat unfold 4 {c4 c c c}
1084 Bar numbers can be typeset at regular intervals instead of at the
1085 beginning of each line. This is illustrated in the following example,
1086 whose source is available as
1087 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
1089 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1091 Bar numbers can be removed entirely by removing the Bar number
1092 engraver from the score.
1094 @lilypond[verbatim,ragged-right,quote]
1098 \remove "Bar_number_engraver"
1110 Program reference: @internalsref{BarNumber}.
1113 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
1114 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
1119 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1120 there is one at the top. To solve this, the
1121 @code{padding} property of @internalsref{BarNumber} can be
1122 used to position the number correctly.
1125 @node Instrument names
1126 @subsection Instrument names
1128 In an orchestral score, instrument names are printed at the left side
1131 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1132 and @internalsref{Staff}.@code{shortInstrumentName}, or
1133 @internalsref{PianoStaff}.@code{instrumentName} and
1134 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1136 the start of the staff. For the first staff, @code{instrumentName} is
1137 used, for the following ones, @code{shortInstrumentName} is used.
1139 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1140 \set Staff.instrumentName = "Ploink "
1141 \set Staff.shortInstrumentName = "Plk "
1147 You can also use markup texts to construct more complicated instrument
1150 @lilypond[quote,fragment,verbatim,ragged-right]
1151 \set Staff.instrumentName = \markup {
1152 \column { "Clarinetti"
1153 \line { "in B" \smaller \flat } } }
1157 If you wish to center the instrument names, you must center all of them
1159 @lilypond[quote,verbatim,ragged-right]
1162 \set Staff.instrumentName = \markup {
1163 \center-align { "Clarinetti"
1164 \line { "in B" \smaller \flat } } }
1168 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1175 For longer instrument names, it may be useful to increase the
1176 @code{indent} setting in the @code{\layout} block.
1178 To center instrument names while leaving extra space to the right,
1180 @lilypond[quote,verbatim,ragged-right]
1181 \new StaffGroup \relative
1184 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1188 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1194 To add instrument names to other contexts (such as @code{GrandStaff},
1195 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1196 be added to that context.
1200 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1205 More information about adding and removing engravers can
1206 be found in @ref{Modifying context plug-ins}.
1208 Instrument names may be changed in the middle of a piece,
1210 @lilypond[quote,fragment,verbatim,ragged-right]
1211 \set Staff.instrumentName = "First"
1212 \set Staff.shortInstrumentName = "one"
1215 \set Staff.instrumentName = "Second"
1216 \set Staff.shortInstrumentName = "two"
1224 Program reference: @internalsref{InstrumentName}.
1228 @node Instrument transpositions
1229 @subsection Instrument transpositions
1231 @cindex transposition, MIDI
1232 @cindex transposition, instrument
1234 The key of a transposing instrument can also be specified. This
1235 applies to many wind instruments, for example, clarinets (B-flat, A, and
1236 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1238 The transposition is entered after the keyword @code{\transposition}
1241 \transposition bes %% B-flat clarinet
1245 This command sets the property @code{instrumentTransposition}. The value of
1246 this property is used for MIDI output and quotations. It does not
1247 affect how notes are printed in the current staff. To change the printed
1248 output, see @ref{Transpose}.
1250 The pitch to use for @code{\transposition} should correspond to the
1251 real sound heard when a @code{c'} written on the staff is played by the
1252 transposing instrument. For example, when entering a score in
1253 concert pitch, typically all voices are entered in C, so
1254 they should be entered as
1267 The command @code{\transposition} should be used when the music is
1268 entered from a (transposed) orchestral part. For example, in
1269 classical horn parts, the tuning of the instrument is often changed
1270 during a piece. When copying the notes from the part, use
1271 @code{\transposition}, e.g.,
1283 @node Ottava brackets
1284 @subsection Ottava brackets
1286 @q{Ottava} brackets introduce an extra transposition of an octave for
1287 the staff. They are created by invoking the function
1288 @code{set-octavation}
1294 @lilypond[quote,ragged-right,verbatim,fragment]
1304 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1305 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1306 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1307 @code{centralCPosition}. For overriding the text of the bracket, set
1308 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1310 @lilypond[quote,ragged-right,verbatim]
1313 \set Staff.ottavation = #"8"
1321 Program reference: @internalsref{OttavaBracket}.
1326 @code{set-octavation} will get confused when clef changes happen
1327 during an octavation bracket.
1330 @node Different editions from one source
1331 @subsection Different editions from one source
1336 The @code{\tag} command marks music expressions with a name. These
1337 tagged expressions can be filtered out later. With this mechanism it
1338 is possible to make different versions of the same music source.
1340 In the following example, we see two versions of a piece of music, one
1341 for the full score, and one with cue notes for the instrumental part
1357 The same can be applied to articulations, texts, etc.: they are
1360 -\tag #@var{your-tag}
1362 to an articulation, for example,
1367 This defines a note with a conditional fingering indication.
1370 @cindex removeWithTag
1371 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1372 commands, tagged expressions can be filtered. For example,
1376 \keepWithTag #'score @var{the music}
1377 \keepWithTag #'part @var{the music}
1382 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1384 The arguments of the @code{\tag} command should be a symbol
1385 (such as @code{#'score} or @code{#'part}), followed by a
1386 music expression. It is possible to put multiple tags on
1387 a piece of music with multiple @code{\tag} entries,
1390 \tag #'original-part \tag #'transposed-part @dots{}
1396 Examples: @lsr{parts,tag@/-filter@/.ly}
1401 Multiple rests are not merged if you create the score with both tagged
1406 @node Orchestral music
1407 @section Orchestral music
1409 Orchestral music involves some special notation, both in the full
1410 score and the individual parts. This section explains how to tackle
1411 some common problems in orchestral music.
1414 * Automatic part combining::
1416 * Quoting other voices::
1417 * Formatting cue notes::
1418 * Aligning to cadenzas::
1422 @node Automatic part combining
1423 @subsection Automatic part combining
1424 @cindex automatic part combining
1425 @cindex part combiner
1427 Automatic part combining is used to merge two parts of music onto a
1428 staff. It is aimed at typesetting orchestral scores. When the two
1429 parts are identical for a period of time, only one is shown. In
1430 places where the two parts differ, they are typeset as separate
1431 voices, and stem directions are set automatically. Also, solo and
1432 @emph{a due} parts are identified and can be marked.
1434 The syntax for part combining is
1437 \partcombine @var{musicexpr1} @var{musicexpr2}
1441 The following example demonstrates the basic functionality of the part
1442 combiner: putting parts on one staff, and setting stem directions and
1445 @lilypond[quote,verbatim,ragged-right,fragment]
1446 \new Staff \partcombine
1447 \relative g' { g g a( b) c c r r }
1448 \relative g' { g g r4 r e e g g }
1451 The first @code{g} appears only once, although it was
1452 specified twice (once in each part). Stem, slur, and tie directions are
1453 set automatically, depending whether there is a solo or unisono. The
1454 first part (with context called @code{one}) always gets up stems, and
1455 @q{Solo}, while the second (called @code{two}) always gets down stems and
1458 If you just want the merging parts, and not the textual markings, you
1459 may set the property @code{printPartCombineTexts} to false
1461 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1463 \set Staff.printPartCombineTexts = ##f
1465 \relative g' { g a( b) r }
1466 \relative g' { g r4 r f }
1470 To change the text that is printed for solos or merging, you may
1471 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1474 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1476 \set Score.soloText = #"ichi"
1477 \set Score.soloIIText = #"ni"
1478 \set Score.aDueText = #"tachi"
1480 \relative g' { g4 g a( b) r }
1481 \relative g' { g4 g r r f }
1485 Both arguments to @code{\partcombine} will be interpreted as
1486 @internalsref{Voice} contexts. If using relative octaves,
1487 @code{\relative} should be specified for both music expressions, i.e.,
1491 \relative @dots{} @var{musicexpr1}
1492 \relative @dots{} @var{musicexpr2}
1496 A @code{\relative} section that is outside of @code{\partcombine} has
1497 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1501 Program reference: @internalsref{PartCombineMusic}.
1505 When @code{printPartCombineTexts} is set, when the two voices play the
1506 same notes on and off, the part combiner may typeset @code{a2} more
1507 than once in a measure.
1509 @code{\partcombine} cannot be inside @code{\times}.
1511 @code{\partcombine} cannot be inside @code{\relative}.
1513 Internally, the @code{\partcombine} interprets both arguments as
1514 @code{Voice}s named @code{one} and @code{two}, and then decides when
1515 the parts can be combined. Consequently, if the arguments switch to
1516 differently named @internalsref{Voice} contexts, the events in those
1521 @subsection Hiding staves
1523 @cindex Frenched scores
1524 @cindex Hiding staves
1526 In orchestral scores, staff lines that only have rests are usually
1527 removed; this saves some space. This style is called @q{French Score}.
1528 For @internalsref{Lyrics},
1529 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1530 switched on by default. When the lines of these contexts turn out
1531 empty after the line-breaking process, they are removed.
1533 For normal staves, a specialized @internalsref{Staff} context is
1534 available, which does the same: staves containing nothing (or only
1535 multi-measure rests) are removed. The context definition is stored in
1536 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1537 in this example disappears in the second line
1539 @lilypond[quote,ragged-right,verbatim]
1541 \context { \RemoveEmptyStaffContext }
1546 \new Staff { e4 f g a \break c1 }
1547 \new Staff { c4 d e f \break R1 }
1552 The first system shows all staves in full. If empty staves should be
1553 removed from the first system too, set @code{remove-first} to true in
1554 @internalsref{VerticalAxisGroup}.
1557 \override Score.VerticalAxisGroup #'remove-first = ##t
1560 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1561 or @code{\RemoveEmptyRhythmicStaffContext}.
1563 Another application is making ossia sections, i.e., alternative
1564 melodies on a separate piece of staff, with help of a Frenched
1568 @node Quoting other voices
1569 @subsection Quoting other voices
1573 With quotations, fragments of other parts can be inserted into a part
1574 directly. Before a part can be quoted, it must be marked especially as
1575 quotable. This is done with the @code{\addQuote} command.
1578 \addQuote @var{name} @var{music}
1583 Here, @var{name} is an identifying string. The @var{music} is any kind
1584 of music. Here is an example of @code{\addQuote}
1587 \addQuote clarinet \relative c' @{
1592 This command must be entered at toplevel, i.e., outside any music
1595 After calling @code{\addQuote}, the quotation may then be done with
1596 @code{\quoteDuring} or @code{\cueDuring},
1599 \quoteDuring #@var{name} @var{music}
1602 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1606 \quoteDuring #"clarinet" @{ s2. @}
1609 This would cite three quarter notes (the duration of @code{s2.}) of
1610 the previously added @code{clarinet} voice.
1613 More precisely, it takes the current time-step of the part being
1614 printed, and extracts the notes at the corresponding point of the
1615 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1616 should be the entire part of the voice to be quoted, including any
1617 rests at the beginning.
1619 Quotations take into account the transposition of both source and target
1620 instruments, if they are specified using the @code{\transposition} command.
1622 @lilypond[quote,ragged-right,verbatim]
1623 \addQuote clarinet \relative c' {
1629 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1633 The type of events that are present in cue notes can be trimmed with
1634 the @code{quotedEventTypes} property. The default value is
1635 @code{(note-event rest-event)}, which means that only notes and
1636 rests of the cued voice end up in the @code{\quoteDuring}.
1640 \set Staff.quotedEventTypes =
1641 #'(note-event articulation-event dynamic-event)
1645 will quote notes (but no rests), together with scripts and dynamics.
1649 Only the contents of the first @internalsref{Voice} occurring in an
1650 @code{\addQuote} command will be considered for quotation, so
1651 @var{music} can not contain @code{\new} and @code{\context Voice}
1652 statements that would switch to a different Voice.
1654 Quoting grace notes is broken and can even cause LilyPond to crash.
1656 Quoting nested triplets may result in poor notation.
1661 In this manual: @ref{Instrument transpositions}.
1664 @c FIXME: Add when LSR is updated. -gp
1665 @c @i nputfileref{input/@/regression,quote@/.ly}
1666 @c @i nputfileref{input/@/regression,quote@/-transposition@/.ly}
1668 Program reference: @internalsref{QuoteMusic}.
1671 @node Formatting cue notes
1672 @subsection Formatting cue notes
1674 @cindex cues, formatting
1676 The previous section deals with inserting notes from another voice.
1677 There is a more advanced music function called @code{\cueDuring},
1678 which makes formatting cue notes easier.
1683 \cueDuring #@var{name} #@var{updown} @var{music}
1686 This will insert notes from the part @var{name} into a
1687 @internalsref{Voice} called @code{cue}. This happens simultaneously
1688 with @var{music}, which usually is a rest. When the cue notes start,
1689 the staff in effect becomes polyphonic for a moment. The argument
1690 @var{updown} determines whether the cue notes should be notated as a
1691 first or second voice.
1694 @lilypond[verbatim,ragged-right]
1697 \override Stem #'length-fraction = #0.8
1698 \override Beam #'thickness = #0.384
1699 \override Beam #'length-fraction = #0.8
1702 \addQuote clarinet \relative {
1707 \new Staff \relative <<
1709 % setup a context for cue notes.
1710 \new Voice = "cue" { \smaller \skip 1*21 }
1712 \set Score.skipBars = ##t
1716 \cueDuring #"clarinet" #UP {
1725 Here are a couple of hints for successful cue notes
1729 Cue notes have smaller font sizes.
1731 the cued part is marked with the instrument playing the cue.
1733 when the original part takes over again, this should be marked with
1734 the name of the original instrument.
1736 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1738 @c Yes, this is good practice. Otherwise, the start of the original
1739 @c part can only be seen from the font size. This is not good enough
1740 @c for sight-reading. It is possilbe to use other
1741 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1747 Any other changes introduced by the cued part should also be
1748 undone. For example, if the cued instrument plays in a different clef,
1749 the original clef should be stated once again.
1753 The macro @code{\transposedCueDuring} is
1754 useful to add cues to instruments which use a completely different
1755 octave range (for example, having a cue of a piccolo flute within
1756 a contra bassoon part).
1758 @lilypond[verbatim,ragged-right,quote]
1759 picc = \relative c''' {
1765 \addQuote "picc" { \picc }
1767 cbsn = \relative c, {
1770 \transposedCueDuring #"picc" #UP c,, { R1 } |
1775 \context Staff = "picc" \picc
1776 \context Staff = "cbsn" \cbsn
1782 @node Aligning to cadenzas
1783 @subsection Aligning to cadenzas
1785 In an orchestral context, cadenzas present a special problem:
1786 when constructing a score that includes a cadenza, all other
1787 instruments should skip just as many notes as the length of the
1788 cadenza, otherwise they will start too soon or too late.
1790 A solution to this problem are the functions @code{mmrest-of-length}
1791 and @code{skip-of-length}. These Scheme functions take a piece of music
1792 as argument, and generate a @code{\skip} or multi-rest, exactly as
1793 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1794 in the following example.
1796 @lilypond[verbatim,ragged-right,quote]
1797 cadenza = \relative c' {
1798 c4 d8 << { e f g } \\ { d4. } >>
1803 \new Staff { \cadenza c'4 }
1805 #(ly:export (mmrest-of-length cadenza))
1814 @node Contemporary notation
1815 @section Contemporary notation
1817 In the 20th century, composers have greatly expanded the musical
1818 vocabulary. With this expansion, many innovations in musical notation
1819 have been tried. The book @q{Music Notation in the 20th century} by
1820 Kurt Stone gives a comprehensive overview (see @ref{Literature
1823 This section describes notation that does
1824 not fit into traditional notation categories, such as pitches,
1825 tuplet beams, and articulation. For contemporary notation
1826 that fits into traditional notation categories, such as
1827 microtones, nested tuplet beams, and unusual fermatas, please
1828 see those sections of the documentation.
1831 * Polymetric notation::
1832 * Time administration::
1833 * Proportional notation (introduction)::
1835 * Special noteheads::
1838 * Selecting notation font size::
1842 @node Polymetric notation
1843 @subsection Polymetric notation
1845 @cindex double time signatures
1846 @cindex signatures, polymetric
1847 @cindex polymetric signatures
1848 @cindex meter, polymetric
1850 Double time signatures are not supported explicitly, but they can be
1851 faked. In the next example, the markup for the time signature is
1852 created with a markup text. This markup text is inserted in the
1853 @internalsref{TimeSignature} grob. See also
1854 @inputfileref{input/@/test,compound@/-time@/.ly}).
1856 @lilypond[verbatim,ragged-right]
1859 \override #'(baseline-skip . 2) \number {
1862 \bracket \column { "5" "8" }
1867 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1868 \override Staff.TimeSignature #'text = #tsMarkup
1870 c'2 \bar ":" c'4 c'4.
1874 Each staff can also have its own time signature. This is done by
1875 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1881 \remove "Timing_translator"
1882 \remove "Default_bar_line_engraver"
1886 \consists "Timing_translator"
1887 \consists "Default_bar_line_engraver"
1894 Now, each staff has its own time signature.
1907 c4. c8 c c c4. c8 c c
1912 @lilypond[quote,ragged-right]
1916 \remove "Timing_translator"
1917 \remove "Default_bar_line_engraver"
1920 \consists "Timing_translator"
1921 \consists "Default_bar_line_engraver"
1936 c4. c8 c c c4. c8 c c
1942 A different form of polymetric notation is where note lengths have
1943 different values across staves.
1945 This notation can be created by setting a common time signature for
1946 each staff but replacing it manually using
1947 @code{timeSignatureFraction} to the desired fraction. Then the printed
1948 durations in each staff are scaled to the common time signature.
1949 The latter is done with @code{\compressMusic}, which is used similar
1950 to @code{\times}, but does not create a tuplet bracket. The syntax is
1952 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1957 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1958 used in parallel. In the second staff, shown durations are multiplied by
1959 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1960 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1962 @lilypond[quote,ragged-right,verbatim,fragment]
1970 \set Staff.timeSignatureFraction = #'(9 . 8)
1971 \compressMusic #'(2 . 3)
1972 \repeat unfold 6 { c8[ c c] }
1976 \set Staff.timeSignatureFraction = #'(10 . 8)
1977 \compressMusic #'(3 . 5) {
1978 \repeat unfold 2 { c8[ c c] }
1979 \repeat unfold 2 { c8[ c] }
1980 | c4. c4. \times 2/3 { c8 c c } c4
1991 When using different time signatures in parallel, the spacing is
1992 aligned vertically, but bar lines distort the regular spacing.
1995 @node Time administration
1996 @subsection Time administration
1998 @cindex Time administration
2000 Time is administered by the @internalsref{Time_signature_engraver},
2001 which usually lives in the @internalsref{Score} context. The
2002 bookkeeping deals with the following variables
2005 @item currentBarNumber
2009 The length of the measures in the current time signature. For a 4/4
2010 time this is@tie{}1, and for 6/8 it is 3/4.
2012 @item measurePosition
2013 The point within the measure where we currently are. This quantity
2014 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2015 happens, @code{currentBarNumber} is incremented.
2018 If set to true, the above variables are updated for every time
2019 step. When set to false, the engraver stays in the current measure
2023 Timing can be changed by setting any of these variables explicitly.
2024 In the next example, the 4/4 time signature is printed, but
2025 @code{measureLength} is set to 5/4. After a while, the measure is
2026 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2027 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2028 3/8 arises because 5/4 normally has 10/8, but we have manually
2029 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2031 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2032 \set Score.measureLength = #(ly:make-moment 5 4)
2036 \set Score.measurePosition = #(ly:make-moment 7 8)
2042 As the example illustrates, @code{ly:make-moment n m} constructs a
2043 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2045 note duration and @code{ly:make-moment 7 16} is the duration of
2046 seven sixteenths notes.
2049 @node Proportional notation (introduction)
2050 @subsection Proportional notation (introduction)
2051 @cindex Proportional notation
2053 See @ref{Proportional notation}.
2056 TODO: remove all this stuff?
2058 Notes can be spaced proportionally to their time-difference by
2059 assigning a duration to @code{proportionalNotationDuration}
2061 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2063 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2064 \new Staff { c8[ c c c c c] c4 c2 r2 }
2065 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2069 Setting this property only affects the ideal spacing between
2070 consecutive notes. For true proportional notation, the following
2071 settings are also required.
2075 @item True proportional notation requires that symbols are allowed to
2076 overstrike each other. That is achieved by removing the
2077 @internalsref{Separating_line_group_engraver} from
2078 @internalsref{Staff} context.
2080 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2081 is removed by setting the @code{strict-note-spacing} property to
2082 @code{#t} in @internalsref{SpacingSpanner} grob.
2084 @item Optical spacing tweaks are switched by setting
2085 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2092 Examples: @lsr{spacing,proportional@/-spacing@/.ly},
2093 @lsr{spacing,proportional@/-strict@/-grace@/-notes@/.ly}, and
2094 @lsr{spacing,proportional@/-strict@/-notespacing@/.ly}
2096 An example of strict proportional notation is in the
2097 example file @file{input/proportional.ly}.
2101 @subsection Clusters
2105 A cluster indicates a continuous range of pitches to be played. They
2106 can be denoted as the envelope of a set of notes. They are entered by
2107 applying the function @code{makeClusters} to a sequence of
2109 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2110 \makeClusters { <c e > <b f'> }
2113 The following example (from
2114 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
2117 @lilypondfile[ragged-right,quote]{cluster.ly}
2119 Ordinary notes and clusters can be put together in the same staff,
2120 even simultaneously. In such a case no attempt is made to
2121 automatically avoid collisions between ordinary notes and clusters.
2125 Program reference: @internalsref{ClusterSpanner},
2126 @internalsref{ClusterSpannerBeacon},
2127 @internalsref{Cluster_spanner_engraver}.
2129 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
2133 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2134 accurately. Use @code{<g a>8 <e a>8} instead.
2137 @node Special noteheads
2138 @subsection Special noteheads
2140 @cindex note heads, special
2142 Different noteheads are used by various instruments for various
2143 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2144 notes on guitar; diamonds are used for harmonics on string instruments,
2145 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2146 other notehead styles are produced by tweaking the property
2148 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2150 \override NoteHead #'style = #'cross
2152 \revert NoteHead #'style
2153 e d <c f\harmonic> <d a'\harmonic>
2157 To see all notehead styles, please see
2158 @ref{Note head styles}.
2163 Program reference: @internalsref{NoteHead}.
2166 @node Feathered beams
2167 @subsection Feathered beams
2169 Feathered beams are printed by setting the @code{grow-direction}
2170 property of a @code{Beam}. The @code{\featherDurations} function
2171 can be used to adjust note durations.
2173 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2174 \featherDurations #(ly:make-moment 5 4)
2176 \override Beam #'grow-direction = #LEFT
2183 The @code{\featherDuration} command only works with very short
2187 @subsection Improvisation
2189 Improvisation is sometimes denoted with slashed note heads. Such note
2190 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2191 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
2195 \set squashedPosition = #0
2196 \override NoteHead #'style = #'slash
2200 switches on the slashes.
2202 There are shortcuts @code{\improvisationOn} (and an accompanying
2203 @code{\improvisationOff}) for this command sequence. They are used in
2204 the following example
2206 @lilypond[verbatim,ragged-right,quote]
2208 \consists Pitch_squash_engraver
2210 e8 e g a a16(bes)(a8) g \improvisationOn
2213 ~fis2 \improvisationOff a16(bes) a8 g e
2218 @node Selecting notation font size
2219 @subsection Selecting notation font size
2221 The easiest method of setting the font size of any context is by
2222 setting the @code{fontSize} property.
2224 @lilypond[quote,fragment,relative=1,verbatim]
2233 It does not change the size of variable symbols, such as beams or
2236 Internally, the @code{fontSize} context property will cause the
2237 @code{font-size} property to be set in all layout objects. The value
2238 of @code{font-size} is a number indicating the size relative to the
2239 standard size for the current staff height. Each step up is an
2240 increase of approximately 12% of the font size. Six steps is exactly a
2241 factor two. The Scheme function @code{magstep} converts a
2242 @code{font-size} number to a scaling factor. The @code{font-size}
2243 property can also be set directly, so that only certain layout objects are
2246 @lilypond[quote,fragment,relative=1,verbatim]
2248 \override NoteHead #'font-size = #-4
2250 \override NoteHead #'font-size = #3
2254 Font size changes are achieved by scaling the design size that is
2255 closest to the desired size. The standard font size (for
2256 @code{font-size} equals 0), depends on the standard staff height. For
2257 a 20pt staff, a 10pt font is selected.
2259 The @code{font-size} property can only be set on layout objects that
2260 use fonts. These are the ones supporting the
2261 @internalsref{font-interface} layout interface.
2265 The following commands set @code{fontSize} for the current voice:
2271 @funindex \normalsize
2276 @node Educational use
2277 @section Educational use
2279 With the amount of control that LilyPond offers, one can make great
2280 teaching tools in addition to great musical scores.
2284 * Blank music sheet::
2286 * Shape note heads::
2287 * Easy Notation note heads::
2288 * Analysis brackets::
2289 * Coloring objects::
2295 @subsection Balloon help
2297 Elements of notation can be marked and named with the help of a square
2298 balloon. The primary purpose of this feature is to explain notation.
2300 The following example demonstrates its use.
2302 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2303 \new Voice \with { \consists "Balloon_engraver" }
2305 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2306 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2311 There are two music functions, @code{balloonText} and
2312 @code{balloonGrobText}. The latter takes the name of the grob to
2313 adorn, while the former may be used as an articulation on a note.
2314 The other arguments are the offset and the text of the label.
2317 @cindex notation, explaining
2321 Program reference: @internalsref{text-balloon-interface}.
2326 @node Blank music sheet
2327 @subsection Blank music sheet
2329 @cindex Sheet music, empty
2330 @cindex Staves, blank sheet
2332 A blank music sheet can be produced also by using invisible notes, and
2333 removing @code{Bar_number_engraver}.
2336 @lilypond[quote,verbatim]
2337 \layout{ indent = #0 }
2339 \repeat unfold 2 % Change this for more lines.
2344 \override TimeSignature #'transparent = ##t
2345 % un-comment this line if desired
2346 % \override Clef #'transparent = ##t
2347 defaultBarType = #""
2348 \remove Bar_number_engraver
2351 % modify these to get the staves you want
2352 \new Staff \emptymusic
2353 \new TabStaff \emptymusic
2359 @subsection Hidden notes
2361 @cindex Hidden notes
2362 @cindex Invisible notes
2363 @cindex Transparent notes
2365 @funindex \hideNotes
2366 @funindex \unHideNotes
2367 Hidden (or invisible or transparent) notes can be useful in preparing theory
2368 or composition exercises.
2370 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2379 @node Shape note heads
2380 @subsection Shape note heads
2382 @cindex note heads, shape
2384 In shape note head notation, the shape of the note head corresponds
2385 to the harmonic function of a note in the scale. This notation was
2386 popular in the 19th century American song books.
2388 Shape note heads can be produced by setting @code{\aikenHeads} or
2389 @code{\sacredHarpHeads}, depending on the style desired.
2391 @lilypond[verbatim,relative=1,fragment]
2398 Shapes are determined on the step in the scale, where the base of the
2399 scale is determined by the @code{\key} command
2402 @funindex shapeNoteStyles
2403 @funindex \aikenHeads
2404 @funindex \sacredHarpHeads
2406 Shape note heads are implemented through the @code{shapeNoteStyles}
2407 property. Its value is a vector of symbols. The k-th element indicates
2408 the style to use for the k-th step of the scale. Arbitrary
2409 combinations are possible, e.g.
2411 @lilypond[verbatim,relative=1,fragment]
2412 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2417 @node Easy Notation note heads
2418 @subsection Easy Notation note heads
2420 @cindex note heads, practice
2421 @cindex note heads, easy notation
2422 @cindex easy notation
2425 The @q{easy play} note head includes a note name inside the head. It is
2426 used in music for beginners
2428 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2433 The command @code{\setEasyHeads} overrides settings for the
2434 @internalsref{NoteHead} object. To make the letters readable, it has
2435 to be printed in a large font size. To print with a larger font, see
2436 @ref{Setting the staff size}.
2440 @funindex \setEasyHeads
2441 @code{\setEasyHeads}
2444 @node Analysis brackets
2445 @subsection Analysis brackets
2447 @cindex phrasing brackets
2448 @cindex musicological analysis
2449 @cindex note grouping bracket
2451 Brackets are used in musical analysis to indicate structure in musical
2452 pieces. LilyPond supports a simple form of nested horizontal
2453 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2454 to @internalsref{Staff} context. A bracket is started with
2455 @code{\startGroup} and closed with @code{\stopGroup}
2457 @lilypond[quote,ragged-right,verbatim]
2460 c4\startGroup\startGroup
2463 c4\stopGroup\stopGroup
2467 \Staff \consists "Horizontal_bracket_engraver"
2473 Program reference: @internalsref{HorizontalBracket}.
2476 @node Coloring objects
2477 @subsection Coloring objects
2479 Individual objects may be assigned colors. You may use the
2480 color names listed in the @ref{List of colors}.
2482 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2483 \override NoteHead #'color = #red
2485 \override NoteHead #'color = #(x11-color 'LimeGreen)
2487 \override Stem #'color = #blue
2491 The full range of colors defined for X11 can be accessed by using the
2492 Scheme function x11-color. The function takes one argument that can be a
2496 \override Beam #'color = #(x11-color 'MediumTurquoise)
2502 \override Beam #'color = #(x11-color "MediumTurquoise")
2505 The first form is quicker to write and is more efficient. However, using
2506 the second form it is possible to access X11 colors by the multi-word
2510 \override Beam #'color = #(x11-color "medium turquoise")
2513 If x11-color cannot make sense of the parameter then the color returned
2514 defaults to black. It should be obvious from the final score that
2517 This example illustrates the use of x11-color. Notice that the stem
2518 color remains black after being set to (x11-color 'Boggle), which is
2519 deliberate nonsense.
2521 @lilypond[quote,ragged-right,verbatim]
2523 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2524 \set Staff.instrumentName = \markup {
2525 \with-color #(x11-color 'navy) "Clarinet"
2529 \override Beam #'color = #(x11-color "medium turquoise")
2531 \override NoteHead #'color = #(x11-color "LimeGreen")
2533 \override Stem #'color = #(x11-color 'Boggle)
2541 Appendix: @ref{List of colors}.
2545 Not all x11 colors are distinguishable in a web browser. For web use
2546 normal colors are recommended.
2548 An x11 color is not necessarily exactly the same shade as a similarly
2551 Notes in a chord cannot be colored with @code{\override}; use
2552 @code{\tweak} instead. See @ref{Objects connected to the input},
2557 @subsection Parentheses
2560 @cindex notes, ghost
2561 @cindex notes, parenthesized
2563 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2566 @lilypond[relative=2,fragment,verbatim,ragged-right]
2574 This only functions inside chords, even for single notes
2577 < \parenthesize NOTE>
2582 @subsection Grid lines
2584 Vertical lines can be drawn between staves synchronized with
2587 @lilypond[ragged-right,quote,verbatim]
2591 \consists "Grid_point_engraver" %% sets of grid
2592 gridInterval = #(ly:make-moment 1 4)
2597 \consists "Grid_line_span_engraver"
2598 %% centers grid lines horizontally below noteheads
2599 \override NoteColumn #'X-offset = #-0.5
2610 %% centers grid lines vertically
2611 \override Score.GridLine #'extra-offset = #'( 0.0 . 1.0 )
2621 Examples: @inputfileref{input/@/regression,grid@/-lines@/.ly}.