1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
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6 When revising a translation, copy the HEAD committish of the
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10 @c A menu is needed before every deeper *section nesting of @node's; run
11 @c M-x texinfo-all-menus-update
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15 @node Advanced notation
16 @chapter Advanced notation
18 This chapter deals with rarely-used and advanced notation.
24 * Contemporary notation::
33 This section explains how to include text (with various formatting) in
36 @cindex Text, other languages
37 To write accented and special text (such as characters from other languages),
39 insert the characters directly into the lilypond file. The file must be
40 saved as UTF-8. For more information, see @ref{Text encoding}.
44 * Text and line spanners::
49 * Page wrapping text::
50 * Overview of text markup commands::
51 * Overview of text markup list commands::
58 @subsection Text scripts
61 @cindex text items, non-empty
62 @cindex non-empty texts
64 It is possible to place arbitrary strings of text or @ref{Text markup},
65 above or below notes by using a string @code{c^"text"}. By default,
66 these indications do not influence the note spacing, but by using the
67 command @code{\fatText}, the widths will be taken into account
69 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
70 c4^"longtext" \fatText c4_"longlongtext" c4
74 To prevent text from influencing spacing, use @code{\emptyText}.
76 More complex formatting may also be added to a note by using the
78 @lilypond[fragment,ragged-right,verbatim,quote]
79 c'4^\markup { bla \bold bla }
82 The @code{\markup} is described in more detail in
96 Checking to make sure that text scripts and lyrics are within the margins is
97 a relatively large computational task. To speed up processing, lilypond does
98 not perform such calculations by default; to enable it, use
101 \override Score.PaperColumn #'keep-inside-line = ##t
107 In this manual: @ref{Text markup}.
109 Program reference: @internalsref{TextScript}.
112 @node Text and line spanners
113 @subsection Text and line spanners
115 Some performance indications, e.g., @i{rallentando} and
116 @i{accelerando} and @i{trills} are written as text and are extended
117 over many measures with lines, sometimes dotted or wavy.
119 These all use the same routines as the glissando for drawing the texts
120 and the lines, and tuning their behavior is therefore also done in the
121 same way. It is done with a spanner, and the routine responsible for
122 drawing the spanners is @code{ly:line-interface::print}. This
123 routine determines the exact location of the two @i{span
124 points} and draws a line in between, in the style requested.
126 Here is an example of the different line styles available, and how to
129 @lilypond[relative=2,ragged-right,verbatim,fragment]
131 \once \override Glissando #'dash-fraction = #0.5
133 \override Glissando #'style = #'dotted-line
135 \override Glissando #'style = #'zigzag
137 \override Glissando #'style = #'trill
141 The information that determines the end-points is computed on-the-fly
142 for every graphic object, but it is possible to override these.
144 @lilypond[relative=2,ragged-right,verbatim,fragment]
146 \once \override Glissando #'bound-details #'right #'Y = #-2
150 The @code{Glissando} object, like any other using the
151 @code{ly:line-interface::print} routine, carries a nested
152 association list. In the above statement, the value for @code{Y}
153 is set to @code{-2} for the association list corresponding to the right
154 end point. Of course, it is also possible to adjust the left side with
155 @code{left} instead of @code{right}.
157 If @code{Y} is not set, the value is computed from the vertical
158 position of right attachment point of the spanner.
160 In case of a line break, the values for the span-points are extended
161 with contents of the @code{left-broken} and @code{right-broken}
162 sublists, for example
164 @lilypond[relative=2,ragged-right,verbatim,fragment]
165 \override Glissando #'breakable = ##T
166 \override Glissando #'bound-details #'right-broken #'Y = #-3
171 The following properties can be used for the
175 This sets the Y-coordinate of the end point, in staff space. By
176 default, it is the center of the bound object, so for a glissando it
177 points to the vertical center of the note head.
179 For horizontal spanners, such as text spanner and trill spanners, it
183 This determines where the line starts and ends in X-direction,
184 relative to the bound object. So, a value of @code{-1} (or
185 @code{LEFT}) makes the line start/end at the left side of the note
186 head it is attached to.
189 This is the absolute coordinate of the end point. It is usually
190 computed on the fly, and there is little use in overriding it.
193 Line spanners may have symbols at the beginning or end, which is
194 contained in this sub-property. This is for internal use, it is
195 recommended to use @code{text}.
198 This is a markup that is evaluated to yield stencil. It is
199 used to put @i{cresc.} and @i{tr} on horizontal spanners.
201 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
202 \override TextSpanner #'bound-details #'left #'text
203 = \markup { \small \bold Slower }
204 c2\startTextSpan b c a\stopTextSpan
207 @item stencil-align-dir-y
209 Without setting this, the stencil is simply put there at the
210 end-point, as defined by the @code{X} and @code{Y} sub properties.
211 Setting either @code{stencil-align-dir-y} or @code{stencil-offset}
212 will move the symbol at the edge relative to the end point of the line
214 @lilypond[relative=1,fragment,verbatim]
215 \override TextSpanner #'bound-details #'left #'stencil-align-dir-y = #DOWN
216 \override TextSpanner #'bound-details #'right #'stencil-align-dir-y = #UP
218 \override TextSpanner #'bound-details #'left #'text = #"gggg"
219 \override TextSpanner #'bound-details #'right #'text = #"hhhh"
220 c4^\startTextSpan c c c \stopTextSpan
224 Setting this sub property to @code{#t} produce an arrowhead at the end
228 This sub property controls the space between the specified end-point
229 of the line and the actual end. Without padding, a glissando would
230 start and end in the center of each note head.
236 Program reference: @internalsref{TextSpanner},
237 @internalsref{Glissando}, @internalsref{VoiceFollower},
238 @internalsref{TrillSpanner}, @internalsref{line-spanner-interface}.
240 Examples: @lsr{expressive,line-styles.ly}, @lsr{expressive,line-arrows.ly}
244 @subsection Text spanners
246 @cindex Text spanners
248 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
249 are written as text and are extended over many measures with dotted
250 lines. Such texts are created using text spanners; attach
251 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
252 notes of the spanner.
254 The string to be printed, as well as the style, is set through object
257 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
260 \override TextSpanner #'bound-details #'left #'text =
261 \markup { \upright "rall" }
262 c2\startTextSpan b c\stopTextSpan a
265 \override TextSpanner #'bound-details #'left #'text =
266 \markup { \italic "rit" }
267 c2\startTextSpan b c\stopTextSpan a
272 @funindex textSpannerUp
273 @code{\textSpannerUp},
274 @funindex textSpannerDown
275 @code{\textSpannerDown},
276 @funindex textSpannerNeutral
277 @code{\textSpannerNeutral}.
282 To print a solid line, use
285 \override TextSpanner #'dash-fraction = #'()
291 Program reference: @internalsref{TextSpanner}.
295 @subsection Text marks
297 @cindex coda on bar line
298 @cindex segno on bar line
299 @cindex fermata on bar line
300 @cindex bar lines, symbols on
303 The @code{\mark} command is primarily used for
304 @ref{Rehearsal marks},
305 but it can also be used to put signs like coda,
306 segno, and fermata on a bar line. Use @code{\markup} to
307 access the appropriate symbol (symbols are listed in
308 @ref{The Feta font}).
310 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
311 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
316 @code{\mark} is only typeset above the top stave of the score. If
317 you specify the @code{\mark} command at a bar line, the resulting
318 mark is placed above the bar line. If you specify it in the middle
319 of a bar, the resulting mark is positioned between notes. If it is
320 specified before the beginning of a score line, it is placed
321 before the first note of the line. Finally, if the mark occurs at
322 a line break, the mark will be printed at the
323 beginning of the next line.
324 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
325 @c delete this sentence. -gp
326 If there is no next line, then the mark will not be printed at all.
331 To print the mark at the end of the current line, use
334 \override Score.RehearsalMark
335 #'break-visibility = #begin-of-line-invisible
338 @code{\mark} is often useful for adding text to the end of bar. In
339 such cases, changing the @code{#'self-alignment} is very useful
341 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
342 \override Score.RehearsalMark
343 #'break-visibility = #begin-of-line-invisible
345 \once \override Score.RehearsalMark #'self-alignment-X = #right
346 \mark "D.S. al Fine "
349 Text marks may be aligned with notation objects other than
352 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
357 \override Score.RehearsalMark #'break-align-symbols = #'(key-signature)
361 \override Score.RehearsalMark #'break-align-symbols = #'(clef)
365 \override Score.RehearsalMark #'break-align-symbols = #'(time-signature)
374 The text marks will, by default, be aligned with the middle of the notation
375 object, but this can be changed by overriding the
376 @code{break-align-anchor-alignment} and
377 @code{break-align-anchor} properties for the appropriate grob.
379 @lilypond[fragment,quote,ragged-right,verbatim]
381 \override Score.RehearsalMark #'break-align-symbols = #'(key-signature)
385 % the RehearsalMark will be aligned with the left edge of the KeySignature
386 \once \override Staff.KeySignature #'break-align-anchor-alignment = #LEFT
391 % the RehearsalMark will be aligned with the right edge of the KeySignature
392 \once \override Staff.KeySignature #'break-align-anchor-alignment = #RIGHT
396 % the RehearsalMark will be aligned with the right edge of the KeySignature
397 % and then shifted right by an additional 2 units.
398 \once \override Staff.KeySignature #'break-align = #2
403 Although text marks are normally only printed above the topmost
404 staff, you may alter this to print them on every staff,
406 @lilypond[quote,ragged-right,verbatim,relative=2]
409 \remove "Mark_engraver"
413 \consists "Mark_engraver"
415 { c''1 \mark "foo" c'' }
417 \consists "Mark_engraver"
419 { c'1 \mark "foo" c' }
427 Program reference: @internalsref{RehearsalMark}.
431 @subsection Text markup
438 Use @code{\markup} to typeset text. Commands are entered with the
439 backslash @code{\}. To enter @code{\} and @code{#}, use double
442 @lilypond[quote,verbatim,fragment,relative=1]
444 c1_\markup { hi there }
445 c1^\markup { hi \bold there, is \italic {anyone home?} }
446 c1_\markup { "\special {weird} #characters" }
450 See @ref{Overview of text markup commands}, for a list of all
453 @code{\markup} is primarily used for @internalsref{TextScript}s,
454 but it can also be used anywhere text is called in lilypond
456 @lilypond[quote,verbatim]
457 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
460 \override Score.RehearsalMark
461 #'break-visibility = #begin-of-line-invisible
462 \override Score.RehearsalMark #'self-alignment-X = #right
464 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
465 c2^\markup{ don't be \flat }
466 \override TextSpanner #'bound-details #'left #'text = \markup{\italic rit }
468 a2\mark \markup{ \large \bold Fine }
472 \addlyrics { bar, foo \markup{ \italic bar! } }
476 A @code{\markup} command can also be placed on its own, away from any
477 @code{\score} block, see @ref{Multiple scores in a book}.
479 @lilypond[quote,ragged-right,verbatim]
480 \markup{ Here is some text. }
483 @cindex font switching
485 The markup in the example demonstrates font switching commands. The
486 command @code{\bold} and @code{\italic} apply to the first following
487 word only; to apply a command to more than one word, enclose the
491 \markup @{ \bold @{ hi there @} @}
495 For clarity, you can also do this for single arguments, e.g.,
498 \markup @{ is \italic @{ anyone @} home @}
501 In markup mode you can compose expressions, similar to mathematical
502 expressions, XML documents, and music expressions. You can stack
503 expressions grouped vertically with the command @code{\column}.
504 Similarly, @code{\center-align} aligns texts by their center lines:
506 @lilypond[quote,verbatim,fragment,relative=1]
507 c1^\markup { \column { a bbbb \line { c d } } }
508 c1^\markup { \center-align { a bbbb c } }
509 c1^\markup { \line { a b c } }
512 Lists with no previous command are not kept distinct. The expression
515 \center-align @{ @{ a b @} @{ c d @} @}
523 \center-align @{ a b c d @}
528 To keep lists of words distinct, please use quotes @code{"} or
529 the @code{\line} command
531 @lilypond[quote,verbatim,fragment,relative=1]
533 c4^\markup{ \center-align { on three lines } }
534 c4^\markup{ \center-align { "all one line" } }
535 c4^\markup{ \center-align { { on three lines } } }
536 c4^\markup{ \center-align { \line { on one line } } }
539 Markups can be stored in variables and these variables
540 may be attached to notes, like
542 allegro = \markup @{ \bold \large @{ Allegro @} @}
543 @{ a^\allegro b c d @}
546 Some objects have alignment procedures of their own, which cancel out
547 any effects of alignments applied to their markup arguments as a
548 whole. For example, the @internalsref{RehearsalMark} is horizontally
549 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
552 In addition, vertical placement is performed after creating the
553 text markup object. If you wish to move an entire piece of markup,
554 you need to use the #'padding property or create an @q{anchor} point
555 inside the markup (generally with @code{\hspace #0}).
557 @lilypond[quote,verbatim,fragment,relative=1]
559 c'4^\markup{ \raise #5 "not raised" }
560 \once \override TextScript #'padding = #3
561 c'4^\markup{ raised }
562 c'4^\markup{ \hspace #0 \raise #1.5 raised }
565 Some situations (such as dynamic marks) have preset font-related
566 properties. If you are creating text in such situations, it
567 is advisable to cancel those properties with
568 @code{normal-text}. See @ref{Overview of text markup commands},
574 This manual: @ref{Overview of text markup commands}.
576 Program reference: @internalsref{TextScript}.
578 Init files: @file{scm/@/new@/-markup@/.scm}.
583 Kerning or generation of ligatures is only done when the @TeX{}
584 backend is used. In this case, LilyPond does not account for them so
585 texts will be spaced slightly too wide.
587 Syntax errors for markup mode are confusing.
591 @subsection Nested scores
593 It is possible to nest music inside markups, by adding a @code{\score}
594 block to a markup expression. Such a score must contain a @code{\layout}
597 @lilypond[quote,verbatim,ragged-right]
601 \relative { c4 d e f }
609 @node Page wrapping text
610 @subsection Page wrapping text
611 Whereas @code{\markup} is used to enter a non-breakable block of text,
612 @code{\markuplines} can be used at top-level to enter lines of text that
613 can spread over multiple pages:
618 A very long text of justified lines.
622 An other very long paragraph.
629 @code{\markuplines} accepts a list of markup, that is either the result
630 of a markup list command, or a list of markups or of markup lists. The
631 built-in markup list commands are described in
632 @ref{Overview of text markup list commands}.
636 This manual: @ref{Overview of text markup list commands},
637 @ref{New markup list command definition}.
641 @funindex \markuplines
644 @node Overview of text markup commands
645 @subsection Overview of text markup commands
647 The following commands can all be used inside @code{\markup @{ @}}.
649 @include markup-commands.tely
651 @node Overview of text markup list commands
652 @subsection Overview of text markup list commands
654 The following commands can all be used with @code{\markuplines}.
656 @include markup-list-commands.tely
659 @subsection Font selection
661 @cindex font selection
662 @cindex font magnification
663 @funindex font-interface
665 By setting the object properties described below, you can select a
666 font from the preconfigured font families. LilyPond has default
667 support for the feta music fonts. Text fonts are selected through
668 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
669 the sans and typewriter to whatever the Pango installation defaults
674 @item @code{font-encoding}
675 is a symbol that sets layout of the glyphs. This should only be set to
676 select different types of non-text fonts, e.g.
678 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
679 standard music font, including ancient glyphs, @code{fetaDynamic} for
680 dynamic signs and @code{fetaNumber} for the number font.
682 @item @code{font-family}
683 is a symbol indicating the general class of the typeface. Supported are
684 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
686 @item @code{font-shape}
687 is a symbol indicating the shape of the font. There are typically
688 several font shapes available for each font family. Choices are
689 @code{italic}, @code{caps}, and @code{upright}.
691 @item @code{font-series}
692 is a symbol indicating the series of the font. There are typically
693 several font series for each font family and shape. Choices are
694 @code{medium} and @code{bold}.
698 Fonts selected in the way sketched above come from a predefined style
699 sheet. If you want to use a font from outside the style sheet,
701 @code{font-name} property,
703 @lilypond[fragment,verbatim]
705 \override Staff.TimeSignature #'font-name = #"Charter"
706 \override Staff.TimeSignature #'font-size = #2
709 \override #'(font-name . "Vera Bold")
710 { This text is in Vera Bold }
716 Any font can be used, as long as it is available to Pango/FontConfig.
717 To get a full list of all available fonts, run the command
719 lilypond -dshow-available-fonts blabla
721 (the last argument of the command can be anything, but has to be present).
724 The size of the font may be set with the @code{font-size}
725 property. The resulting size is taken relative to the
726 @code{text-font-size} as defined in the @code{\paper} block.
729 @cindex font magnification
732 It is also possible to change the default font family for the entire
733 document. This is done by calling the @code{make-pango-font-tree} from
734 within the @code{\paper} block. The function takes names for the font
735 families to use for roman, sans serif and monospaced text. For
738 @cindex font families, setting
747 (make-pango-font-tree "Times New Roman"
754 c'^\markup { roman: foo \sans bla \typewriter bar }
758 @c we don't do Helvetica / Courier, since GS incorrectly loads
765 Examples: @lsr{text,font@/-family@/-override.ly}.
768 @node New dynamic marks
769 @subsection New dynamic marks
771 It is possible to print new dynamic marks or text that should be aligned
772 with dynamics. Use @code{make-dynamic-script} to create these
773 marks. Note that the dynamic font only contains the characters
774 @code{f,m,p,r,s} and @code{z}.
776 Some situations (such as dynamic marks) have preset font-related
777 properties. If you are creating text in such situations, it
778 is advisable to cancel those properties with
779 @code{normal-text}. See @ref{Overview of text markup commands},
782 @cindex make-dynamic-script
784 @lilypond[quote,verbatim,ragged-right]
785 sfzp = #(make-dynamic-script "sfzp")
791 @cindex Dynamics, editorial
792 @cindex Dynamics, parenthesis
794 It is also possible to print dynamics in round parenthesis or square
795 brackets. These are often used for adding editorial dynamics.
797 @lilypond[quote,verbatim,ragged-right]
798 rndf = \markup{ \center-align {\line { \bold{\italic (}
799 \dynamic f \bold{\italic )} }} }
800 boxf = \markup{ \bracket { \dynamic f } }
801 { c'1_\rndf c'1_\boxf }
806 @node Preparing parts
807 @section Preparing parts
809 This section describes various notation that are useful for preparing
813 * Multi measure rests::
818 * Instrument transpositions::
820 * Different editions from one source::
824 @node Multi measure rests
825 @subsection Multi measure rests
827 @cindex multi measure rests
828 @cindex full measure rests
829 @cindex Rests, multi measure
830 @cindex Rests, full measure
831 @cindex whole rests for a full measure
834 Rests for one full measure (or many bars) are entered using @samp{R}. It
835 is specifically meant for full bar rests and for entering parts: the rest
836 can expand to fill a score with rests, or it can be printed as a single
837 multi-measure rest. This expansion is controlled by the property
838 @code{Score.skipBars}. If this is set to true, empty measures will not
839 be expanded, and the appropriate number is added automatically
841 @lilypond[quote,ragged-right,fragment,verbatim]
842 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
843 \set Score.skipBars = ##t R1*17 R1*4
846 The @code{1} in @code{R1} is similar to the duration notation used for
847 notes. Hence, for time signatures other than 4/4, you must enter other
848 durations. This can be done with augmentation dots or fractions
850 @lilypond[quote,ragged-right,fragment,verbatim]
851 \set Score.skipBars = ##t
860 An @code{R} spanning a single measure is printed as either a whole rest
861 or a breve, centered in the measure regardless of the time signature.
863 If there are only a few measures of rest, LilyPond prints @q{church rests}
864 (a series of rectangles) in the staff. To replace that with a simple
865 rest, use @code{MultiMeasureRest.expand-limit}.
867 @lilypond[quote,ragged-right,fragment,verbatim]
868 \set Score.skipBars = ##t
870 \override MultiMeasureRest #'expand-limit = 1
874 @cindex text on multi-measure rest
875 @cindex script on multi-measure rest
876 @cindex fermata on multi-measure rest
878 Texts can be added to multi-measure rests by using the
879 @var{note}-@code{markup} syntax @ref{Text markup}.
880 A variable (@code{\fermataMarkup}) is provided for
883 @lilypond[quote,ragged-right,verbatim,fragment]
884 \set Score.skipBars = ##t
886 R2.*10^\markup { \italic "ad lib." }
890 Warning! This text is created by @code{MultiMeasureRestText}, not
893 @lilypond[quote,ragged-right,verbatim,fragment]
894 \override TextScript #'padding = #5
896 \override MultiMeasureRestText #'padding = #5
900 If you want to have text on the left end of a multi-measure rest,
901 attach the text to a zero-length skip note, i.e.,
911 Program reference: @internalsref{MultiMeasureRestMusicGroup},
912 @internalsref{MultiMeasureRest}.
914 The layout object @internalsref{MultiMeasureRestNumber} is for the
915 default number, and @internalsref{MultiMeasureRestText} for user
921 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
922 over multi-measure rests. And the pitch of multi-measure rests (or
923 staff-centered rests) can not be influenced.
925 @cindex condensing rests
927 There is no way to automatically condense multiple rests into a single
928 multi-measure rest. Multi-measure rests do not take part in rest
931 Be careful when entering multi-measure rests followed by whole
932 notes. The following will enter two notes lasting four measures each
936 When @code{skipBars} is set, the result will look OK, but the bar
937 numbering will be off.
940 @node Metronome marks
941 @subsection Metronome marks
944 @cindex beats per minute
945 @cindex metronome marking
947 Metronome settings can be entered as follows
949 \tempo @var{duration} = @var{per-minute}
952 In the MIDI output, they are interpreted as a tempo change. In the
953 layout output, a metronome marking is printed
955 @lilypond[quote,ragged-right,verbatim,fragment]
962 To change the tempo in the MIDI output without printing anything, make
963 the metronome marking invisible
965 \once \override Score.MetronomeMark #'transparent = ##t
968 To print other metronome markings, use these markup commands
969 @lilypond[quote,ragged-right,verbatim,relative,fragment]
972 \smaller \general-align #Y #DOWN \note #"16." #1
974 \smaller \general-align #Y #DOWN \note #"8" #1
979 See @ref{Text markup}, for more details.
984 Program reference: @internalsref{MetronomeMark}.
989 Collisions are not checked. If you have notes above the top line of
990 the staff (or notes with articulations, slurs, text, etc), then the
991 metronome marking may be printed on top of musical symbols. If this
992 occurs, increase the padding of the metronome mark to place it
993 further away from the staff.
996 \override Score.MetronomeMark #'padding = #2.5
1000 @node Rehearsal marks
1001 @subsection Rehearsal marks
1003 @cindex Rehearsal marks
1006 To print a rehearsal mark, use the @code{\mark} command
1008 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1017 The letter@tie{}@q{I} is skipped in accordance with engraving traditions.
1018 If you wish to include the letter @q{I}, then use
1021 \set Score.markFormatter = #format-mark-alphabet
1024 The mark is incremented automatically if you use @code{\mark
1025 \default}, but you can also use an integer argument to set the mark
1026 manually. The value to use is stored in the property
1027 @code{rehearsalMark}.
1029 The style is defined by the property @code{markFormatter}. It is a
1030 function taking the current mark (an integer) and the current context
1031 as argument. It should return a markup object. In the following
1032 example, @code{markFormatter} is set to a canned procedure. After a
1033 few measures, it is set to function that produces a boxed number.
1035 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
1036 \set Score.markFormatter = #format-mark-numbers
1039 \set Score.markFormatter = #format-mark-box-numbers
1045 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
1046 of @code{format-mark-numbers} (the default format),
1047 @code{format-mark-box-numbers},
1048 @code{format-mark-letters} and @code{format-mark-box-letters}.
1049 These can be used as inspiration for other formatting functions.
1051 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
1052 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
1053 incremented numbers or letters.
1055 Other styles of rehearsal mark can be specified manually
1062 @code{Score.markFormatter} does not affect marks specified in this manner.
1063 However, it is possible to apply a @code{\markup} to the string.
1066 \mark \markup@{ \box A1 @}
1073 Music glyphs (such as the segno sign) may be printed inside
1076 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1077 c1 \mark \markup { \musicglyph #"scripts.segno" }
1078 c1 \mark \markup { \musicglyph #"scripts.coda" }
1079 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
1084 See @ref{The Feta font}, for a list of symbols which may be
1085 printed with @code{\musicglyph}.
1087 The horizontal location of rehearsal marks can be adjusted by
1088 setting @code{break-align-symbol}
1090 @lilypond[fragment,quote,ragged-right,verbatim,relative]
1094 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
1098 \override Score.RehearsalMark #'break-align-symbol = #'clef
1104 @code{break-align-symbol} may also accept the following values:
1105 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
1106 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
1107 @code{key-signature}, and @code{time-signature}. Setting
1108 @code{break-align-symbol} will only have an effect if the symbol
1109 appears at that point in the music.
1114 This manual: @ref{Text marks}.
1116 Program reference: @internalsref{RehearsalMark}.
1118 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
1119 definition of @code{format-mark-numbers} and
1120 @code{format-mark-letters}. They can be used as inspiration for other
1121 formatting functions.
1123 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
1127 @subsection Bar numbers
1130 @cindex measure numbers
1131 @funindex currentBarNumber
1133 Bar numbers are printed by default at the start of the line. The
1134 number itself is stored in the @code{currentBarNumber} property, which
1135 is normally updated automatically for every measure.
1137 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1138 \repeat unfold 4 {c4 c c c} \break
1139 \set Score.currentBarNumber = #50
1140 \repeat unfold 4 {c4 c c c}
1143 Bar numbers may only be printed at bar lines; to print a bar
1144 number at the beginning of a piece, an empty bar line must
1147 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1148 \set Score.currentBarNumber = #50
1150 \repeat unfold 4 {c4 c c c} \break
1151 \repeat unfold 4 {c4 c c c}
1154 Bar numbers can be typeset at regular intervals instead of at the
1155 beginning of each line. This is illustrated in the following example,
1156 whose source is available as
1157 @lsr{staff,making-bar-numbers-appear-at-regular-intervals.ly}.
1159 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
1161 Bar numbers can be removed entirely by removing the Bar number
1162 engraver from the score.
1164 @lilypond[verbatim,ragged-right,quote]
1168 \remove "Bar_number_engraver"
1180 Program reference: @internalsref{BarNumber}.
1182 Examples: @lsrdir{staff}
1187 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
1188 there is one at the top. To solve this, the
1189 @code{padding} property of @internalsref{BarNumber} can be
1190 used to position the number correctly.
1193 @node Instrument names
1194 @subsection Instrument names
1196 In an orchestral score, instrument names are printed at the left side
1199 This can be achieved by setting @internalsref{Staff}.@code{instrumentName}
1200 and @internalsref{Staff}.@code{shortInstrumentName}, or
1201 @internalsref{PianoStaff}.@code{instrumentName} and
1202 @internalsref{PianoStaff}.@code{shortInstrumentName}. This will
1204 the start of the staff. For the first staff, @code{instrumentName} is
1205 used, for the following ones, @code{shortInstrumentName} is used.
1207 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
1208 \set Staff.instrumentName = "Ploink "
1209 \set Staff.shortInstrumentName = "Plk "
1215 You can also use markup texts to construct more complicated instrument
1218 @lilypond[quote,fragment,verbatim,ragged-right]
1219 \set Staff.instrumentName = \markup {
1220 \column { "Clarinetti"
1221 \line { "in B" \smaller \flat } } }
1225 If you wish to center the instrument names, you must center all of them
1227 @lilypond[quote,verbatim,ragged-right]
1230 \set Staff.instrumentName = \markup {
1231 \center-align { "Clarinetti"
1232 \line { "in B" \smaller \flat } } }
1236 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1243 For longer instrument names, it may be useful to increase the
1244 @code{indent} setting in the @code{\layout} block.
1246 To center instrument names while leaving extra space to the right,
1248 @lilypond[quote,verbatim,ragged-right]
1249 \new StaffGroup \relative
1252 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1256 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1262 To add instrument names to other contexts (such as @code{GrandStaff},
1263 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1264 be added to that context.
1268 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1273 More information about adding and removing engravers can
1274 be found in @ref{Modifying context plug-ins}.
1276 Instrument names may be changed in the middle of a piece,
1278 @lilypond[quote,fragment,verbatim,ragged-right]
1279 \set Staff.instrumentName = "First"
1280 \set Staff.shortInstrumentName = "one"
1283 \set Staff.instrumentName = "Second"
1284 \set Staff.shortInstrumentName = "two"
1292 Program reference: @internalsref{InstrumentName}.
1296 @node Instrument transpositions
1297 @subsection Instrument transpositions
1299 @cindex transposition, MIDI
1300 @cindex transposition, instrument
1302 The key of a transposing instrument can also be specified. This
1303 applies to many wind instruments, for example, clarinets (B-flat, A, and
1304 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1306 The transposition is entered after the keyword @code{\transposition}
1309 \transposition bes %% B-flat clarinet
1313 This command sets the property @code{instrumentTransposition}. The value of
1314 this property is used for MIDI output and quotations. It does not
1315 affect how notes are printed in the current staff. To change the printed
1316 output, see @ref{Transpose}.
1318 The pitch to use for @code{\transposition} should correspond to the
1319 real sound heard when a @code{c'} written on the staff is played by the
1320 transposing instrument. For example, when entering a score in
1321 concert pitch, typically all voices are entered in C, so
1322 they should be entered as
1335 The command @code{\transposition} should be used when the music is
1336 entered from a (transposed) orchestral part. For example, in
1337 classical horn parts, the tuning of the instrument is often changed
1338 during a piece. When copying the notes from the part, use
1339 @code{\transposition}, e.g.,
1351 @node Ottava brackets
1352 @subsection Ottava brackets
1354 @q{Ottava} brackets introduce an extra transposition of an octave for
1355 the staff. They are created by invoking the function
1356 @code{set-octavation}
1362 @lilypond[quote,ragged-right,verbatim,fragment]
1372 The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
1373 and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
1374 @code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
1375 @code{centralCPosition}. For overriding the text of the bracket, set
1376 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1378 @lilypond[quote,ragged-right,verbatim]
1381 \set Staff.ottavation = #"8"
1389 Program reference: @internalsref{OttavaBracket}.
1394 @code{set-octavation} will get confused when clef changes happen
1395 during an octavation bracket.
1398 @node Different editions from one source
1399 @subsection Different editions from one source
1404 The @code{\tag} command marks music expressions with a name. These
1405 tagged expressions can be filtered out later. With this mechanism it
1406 is possible to make different versions of the same music source.
1408 In the following example, we see two versions of a piece of music, one
1409 for the full score, and one with cue notes for the instrumental part
1425 The same can be applied to articulations, texts, etc.: they are
1428 -\tag #@var{your-tag}
1430 to an articulation, for example,
1435 This defines a note with a conditional fingering indication.
1438 @cindex removeWithTag
1439 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1440 commands, tagged expressions can be filtered. For example,
1444 \keepWithTag #'score @var{the music}
1445 \keepWithTag #'part @var{the music}
1450 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1452 The arguments of the @code{\tag} command should be a symbol
1453 (such as @code{#'score} or @code{#'part}), followed by a
1454 music expression. It is possible to put multiple tags on
1455 a piece of music with multiple @code{\tag} entries,
1458 \tag #'original-part \tag #'transposed-part @dots{}
1464 Examples: @lsr{parts,tag@/-filter@/.ly}
1469 Multiple rests are not merged if you create the score with both tagged
1474 @node Orchestral music
1475 @section Orchestral music
1477 Orchestral music involves some special notation, both in the full
1478 score and the individual parts. This section explains how to tackle
1479 some common problems in orchestral music.
1482 * Automatic part combining::
1484 * Quoting other voices::
1485 * Formatting cue notes::
1486 * Aligning to cadenzas::
1490 @node Automatic part combining
1491 @subsection Automatic part combining
1492 @cindex automatic part combining
1493 @cindex part combiner
1495 Automatic part combining is used to merge two parts of music onto a
1496 staff. It is aimed at typesetting orchestral scores. When the two
1497 parts are identical for a period of time, only one is shown. In
1498 places where the two parts differ, they are typeset as separate
1499 voices, and stem directions are set automatically. Also, solo and
1500 @emph{a due} parts are identified and can be marked.
1502 The syntax for part combining is
1505 \partcombine @var{musicexpr1} @var{musicexpr2}
1509 The following example demonstrates the basic functionality of the part
1510 combiner: putting parts on one staff, and setting stem directions and
1513 @lilypond[quote,verbatim,ragged-right,fragment]
1514 \new Staff \partcombine
1515 \relative g' { g g a( b) c c r r }
1516 \relative g' { g g r4 r e e g g }
1519 The first @code{g} appears only once, although it was
1520 specified twice (once in each part). Stem, slur, and tie directions are
1521 set automatically, depending whether there is a solo or unisono. The
1522 first part (with context called @code{one}) always gets up stems, and
1523 @q{Solo}, while the second (called @code{two}) always gets down stems and
1526 If you just want the merging parts, and not the textual markings, you
1527 may set the property @code{printPartCombineTexts} to false
1529 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1531 \set Staff.printPartCombineTexts = ##f
1533 \relative g' { g a( b) r }
1534 \relative g' { g r4 r f }
1538 To change the text that is printed for solos or merging, you may
1539 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1542 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1544 \set Score.soloText = #"ichi"
1545 \set Score.soloIIText = #"ni"
1546 \set Score.aDueText = #"tachi"
1548 \relative g' { g4 g a( b) r }
1549 \relative g' { g4 g r r f }
1553 Both arguments to @code{\partcombine} will be interpreted as
1554 @internalsref{Voice} contexts. If using relative octaves,
1555 @code{\relative} should be specified for both music expressions, i.e.,
1559 \relative @dots{} @var{musicexpr1}
1560 \relative @dots{} @var{musicexpr2}
1564 A @code{\relative} section that is outside of @code{\partcombine} has
1565 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1569 Program reference: @internalsref{PartCombineMusic}.
1573 When @code{printPartCombineTexts} is set, when the two voices play the
1574 same notes on and off, the part combiner may typeset @code{a2} more
1575 than once in a measure.
1577 @code{\partcombine} cannot be inside @code{\times}.
1579 @code{\partcombine} cannot be inside @code{\relative}.
1581 Internally, the @code{\partcombine} interprets both arguments as
1582 @code{Voice}s named @code{one} and @code{two}, and then decides when
1583 the parts can be combined. Consequently, if the arguments switch to
1584 differently named @internalsref{Voice} contexts, the events in those
1589 @subsection Hiding staves
1591 @cindex Frenched scores
1592 @cindex Hiding staves
1594 In orchestral scores, staff lines that only have rests are usually
1595 removed; this saves some space. This style is called @q{French Score}.
1596 For @internalsref{Lyrics},
1597 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1598 switched on by default. When the lines of these contexts turn out
1599 empty after the line-breaking process, they are removed.
1601 For normal staves, a specialized @internalsref{Staff} context is
1602 available, which does the same: staves containing nothing (or only
1603 multi-measure rests) are removed. The context definition is stored in
1604 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1605 in this example disappears in the second line
1607 @lilypond[quote,ragged-right,verbatim]
1609 \context { \RemoveEmptyStaffContext }
1614 \new Staff { e4 f g a \break c1 }
1615 \new Staff { c4 d e f \break R1 }
1620 The first system shows all staves in full. If empty staves should be
1621 removed from the first system too, set @code{remove-first} to true in
1622 @internalsref{VerticalAxisGroup}.
1625 \override Score.VerticalAxisGroup #'remove-first = ##t
1628 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1629 or @code{\RemoveEmptyRhythmicStaffContext}.
1631 Another application is making ossia sections, i.e., alternative
1632 melodies on a separate piece of staff, with help of a Frenched
1636 @node Quoting other voices
1637 @subsection Quoting other voices
1641 With quotations, fragments of other parts can be inserted into a part
1642 directly. Before a part can be quoted, it must be marked especially as
1643 quotable. This is done with the @code{\addQuote} command.
1646 \addQuote @var{name} @var{music}
1651 Here, @var{name} is an identifying string. The @var{music} is any kind
1652 of music. Here is an example of @code{\addQuote}
1655 \addQuote clarinet \relative c' @{
1660 This command must be entered at toplevel, i.e., outside any music
1663 After calling @code{\addQuote}, the quotation may then be done with
1664 @code{\quoteDuring} or @code{\cueDuring},
1667 \quoteDuring #@var{name} @var{music}
1670 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1674 \quoteDuring #"clarinet" @{ s2. @}
1677 This would cite three quarter notes (the duration of @code{s2.}) of
1678 the previously added @code{clarinet} voice.
1681 More precisely, it takes the current time-step of the part being
1682 printed, and extracts the notes at the corresponding point of the
1683 @code{\addQuote}d voice. Therefore, the argument to @code{\addQuote}
1684 should be the entire part of the voice to be quoted, including any
1685 rests at the beginning.
1687 Quotations take into account the transposition of both source and target
1688 instruments, if they are specified using the @code{\transposition} command.
1690 @lilypond[quote,ragged-right,verbatim]
1691 \addQuote clarinet \relative c' {
1697 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1701 The type of events that are present in cue notes can be trimmed with
1702 the @code{quotedEventTypes} property. The default value is
1703 @code{(note-event rest-event)}, which means that only notes and
1704 rests of the cued voice end up in the @code{\quoteDuring}.
1708 \set Staff.quotedEventTypes =
1709 #'(note-event articulation-event dynamic-event)
1713 will quote notes (but no rests), together with scripts and dynamics.
1717 Only the contents of the first @internalsref{Voice} occurring in an
1718 @code{\addQuote} command will be considered for quotation, so
1719 @var{music} can not contain @code{\new} and @code{\context Voice}
1720 statements that would switch to a different Voice.
1722 Quoting grace notes is broken and can even cause LilyPond to crash.
1724 Quoting nested triplets may result in poor notation.
1729 In this manual: @ref{Instrument transpositions}.
1731 Examples: @lsr{parts,quote.ly}, @lsr{parts,quote-transportation.ly}
1733 Program reference: @internalsref{QuoteMusic}.
1736 @node Formatting cue notes
1737 @subsection Formatting cue notes
1739 @cindex cues, formatting
1741 The previous section deals with inserting notes from another voice.
1742 There is a more advanced music function called @code{\cueDuring},
1743 which makes formatting cue notes easier.
1748 \cueDuring #@var{name} #@var{updown} @var{music}
1751 This will insert notes from the part @var{name} into a
1752 @internalsref{Voice} called @code{cue}. This happens simultaneously
1753 with @var{music}, which usually is a rest. When the cue notes start,
1754 the staff in effect becomes polyphonic for a moment. The argument
1755 @var{updown} determines whether the cue notes should be notated as a
1756 first or second voice.
1759 @lilypond[verbatim,ragged-right]
1762 \override Stem #'length-fraction = #0.8
1763 \override Beam #'thickness = #0.384
1764 \override Beam #'length-fraction = #0.8
1767 \addQuote clarinet \relative {
1772 \new Staff \relative <<
1774 % setup a context for cue notes.
1775 \new Voice = "cue" { \smaller \skip 1*21 }
1777 \set Score.skipBars = ##t
1781 \cueDuring #"clarinet" #UP {
1790 Here are a couple of hints for successful cue notes
1794 Cue notes have smaller font sizes.
1796 the cued part is marked with the instrument playing the cue.
1798 when the original part takes over again, this should be marked with
1799 the name of the original instrument.
1801 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1803 @c Yes, this is good practice. Otherwise, the start of the original
1804 @c part can only be seen from the font size. This is not good enough
1805 @c for sight-reading. It is possilbe to use other
1806 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1812 Any other changes introduced by the cued part should also be
1813 undone. For example, if the cued instrument plays in a different clef,
1814 the original clef should be stated once again.
1818 The macro @code{\transposedCueDuring} is
1819 useful to add cues to instruments which use a completely different
1820 octave range (for example, having a cue of a piccolo flute within
1821 a contra bassoon part).
1823 @lilypond[verbatim,ragged-right,quote]
1824 picc = \relative c''' {
1830 \addQuote "picc" { \picc }
1832 cbsn = \relative c, {
1835 \transposedCueDuring #"picc" #UP c,, { R1 } |
1840 \context Staff = "picc" \picc
1841 \context Staff = "cbsn" \cbsn
1847 @node Aligning to cadenzas
1848 @subsection Aligning to cadenzas
1850 In an orchestral context, cadenzas present a special problem:
1851 when constructing a score that includes a cadenza, all other
1852 instruments should skip just as many notes as the length of the
1853 cadenza, otherwise they will start too soon or too late.
1855 A solution to this problem are the functions @code{mmrest-of-length}
1856 and @code{skip-of-length}. These Scheme functions take a piece of music
1857 as argument, and generate a @code{\skip} or multi-rest, exactly as
1858 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1859 in the following example.
1861 @lilypond[verbatim,ragged-right,quote]
1862 cadenza = \relative c' {
1863 c4 d8 << { e f g } \\ { d4. } >>
1868 \new Staff { \cadenza c'4 }
1870 #(ly:export (mmrest-of-length cadenza))
1879 @node Contemporary notation
1880 @section Contemporary notation
1882 In the 20th century, composers have greatly expanded the musical
1883 vocabulary. With this expansion, many innovations in musical notation
1884 have been tried. The book @q{Music Notation in the 20th century} by
1885 Kurt Stone gives a comprehensive overview (see @ref{Literature
1888 This section describes notation that does
1889 not fit into traditional notation categories, such as pitches,
1890 tuplet beams, and articulation. For contemporary notation
1891 that fits into traditional notation categories, such as
1892 microtones, nested tuplet beams, and unusual fermatas, please
1893 see those sections of the documentation.
1896 * Polymetric notation::
1897 * Time administration::
1898 * Proportional notation (introduction)::
1900 * Special noteheads::
1903 * Selecting notation font size::
1907 @node Polymetric notation
1908 @subsection Polymetric notation
1910 @cindex double time signatures
1911 @cindex signatures, polymetric
1912 @cindex polymetric signatures
1913 @cindex meter, polymetric
1915 Double time signatures are not supported explicitly, but they can be
1916 faked. In the next example, the markup for the time signature is
1917 created with a markup text. This markup text is inserted in the
1918 @internalsref{TimeSignature} grob. See also
1919 @lsr{contemporary,compound-time-signature}.
1921 @lilypond[verbatim,ragged-right]
1924 \override #'(baseline-skip . 2) \number {
1927 \bracket \column { "5" "8" }
1932 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1933 \override Staff.TimeSignature #'text = #tsMarkup
1935 c'2 \bar ":" c'4 c'4.
1939 Each staff can also have its own time signature. This is done by
1940 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1946 \remove "Timing_translator"
1947 \remove "Default_bar_line_engraver"
1951 \consists "Timing_translator"
1952 \consists "Default_bar_line_engraver"
1959 Now, each staff has its own time signature.
1972 c4. c8 c c c4. c8 c c
1977 @lilypond[quote,ragged-right]
1981 \remove "Timing_translator"
1982 \remove "Default_bar_line_engraver"
1985 \consists "Timing_translator"
1986 \consists "Default_bar_line_engraver"
2001 c4. c8 c c c4. c8 c c
2007 A different form of polymetric notation is where note lengths have
2008 different values across staves.
2010 This notation can be created by setting a common time signature for
2011 each staff but replacing it manually using
2012 @code{timeSignatureFraction} to the desired fraction. Then the printed
2013 durations in each staff are scaled to the common time signature.
2014 The latter is done with @code{\compressMusic}, which is used similar
2015 to @code{\times}, but does not create a tuplet bracket. The syntax is
2017 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
2022 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
2023 used in parallel. In the second staff, shown durations are multiplied by
2024 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
2025 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
2027 @lilypond[quote,ragged-right,verbatim,fragment]
2035 \set Staff.timeSignatureFraction = #'(9 . 8)
2036 \compressMusic #'(2 . 3)
2037 \repeat unfold 6 { c8[ c c] }
2041 \set Staff.timeSignatureFraction = #'(10 . 8)
2042 \compressMusic #'(3 . 5) {
2043 \repeat unfold 2 { c8[ c c] }
2044 \repeat unfold 2 { c8[ c] }
2045 | c4. c4. \times 2/3 { c8 c c } c4
2056 When using different time signatures in parallel, the spacing is
2057 aligned vertically, but bar lines distort the regular spacing.
2060 @node Time administration
2061 @subsection Time administration
2063 @cindex Time administration
2065 Time is administered by the @internalsref{Time_signature_engraver},
2066 which usually lives in the @internalsref{Score} context. The
2067 bookkeeping deals with the following variables
2070 @item currentBarNumber
2074 The length of the measures in the current time signature. For a 4/4
2075 time this is@tie{}1, and for 6/8 it is 3/4.
2077 @item measurePosition
2078 The point within the measure where we currently are. This quantity
2079 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2080 happens, @code{currentBarNumber} is incremented.
2083 If set to true, the above variables are updated for every time
2084 step. When set to false, the engraver stays in the current measure
2088 Timing can be changed by setting any of these variables explicitly.
2089 In the next example, the 4/4 time signature is printed, but
2090 @code{measureLength} is set to 5/4. After a while, the measure is
2091 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2092 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2093 3/8 arises because 5/4 normally has 10/8, but we have manually
2094 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2096 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2097 \set Score.measureLength = #(ly:make-moment 5 4)
2101 \set Score.measurePosition = #(ly:make-moment 7 8)
2107 As the example illustrates, @code{ly:make-moment n m} constructs a
2108 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
2110 note duration and @code{ly:make-moment 7 16} is the duration of
2111 seven sixteenths notes.
2114 @node Proportional notation (introduction)
2115 @subsection Proportional notation (introduction)
2116 @cindex Proportional notation
2118 See @ref{Proportional notation}.
2121 TODO: remove all this stuff?
2123 Notes can be spaced proportionally to their time-difference by
2124 assigning a duration to @code{proportionalNotationDuration}
2126 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2128 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
2129 \new Staff { c8[ c c c c c] c4 c2 r2 }
2130 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
2134 Setting this property only affects the ideal spacing between
2135 consecutive notes. For true proportional notation, the following
2136 settings are also required.
2140 @item True proportional notation requires that symbols are allowed to
2141 overstrike each other. That is achieved by removing the
2142 @internalsref{Separating_line_group_engraver} from
2143 @internalsref{Staff} context.
2145 @item Spacing influence of prefatory matter (clefs, bar lines, etc.)
2146 is removed by setting the @code{strict-note-spacing} property to
2147 @code{#t} in @internalsref{SpacingSpanner} grob.
2149 @item Optical spacing tweaks are switched by setting
2150 @code{uniform-stretching} in @internalsref{SpacingSpanner} to true.
2157 Examples: @lsr{spacing,proportional@/-spacing@/.ly},
2158 @lsr{spacing,proportional@/-strict@/-grace@/-notes@/.ly}, and
2159 @lsr{spacing,proportional@/-strict@/-notespacing@/.ly}
2161 An example of strict proportional notation is in the
2162 example file @file{input/proportional.ly}.
2166 @subsection Clusters
2170 A cluster indicates a continuous range of pitches to be played. They
2171 can be denoted as the envelope of a set of notes. They are entered by
2172 applying the function @code{makeClusters} to a sequence of
2174 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2175 \makeClusters { <c e > <b f'> }
2178 Ordinary notes and clusters can be put together in the same staff,
2179 even simultaneously. In such a case no attempt is made to
2180 automatically avoid collisions between ordinary notes and clusters.
2184 Program reference: @internalsref{ClusterSpanner},
2185 @internalsref{ClusterSpannerBeacon},
2186 @internalsref{Cluster_spanner_engraver}.
2188 Examples: @lsr{contemporary,cluster@/.ly}.
2192 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
2193 accurately. Use @code{<g a>8 <e a>8} instead.
2196 @node Special noteheads
2197 @subsection Special noteheads
2199 @cindex note heads, special
2201 Different noteheads are used by various instruments for various
2202 meanings -- crosses are used for @q{parlato} with vocalists, stopped
2203 notes on guitar; diamonds are used for harmonics on string instruments,
2204 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
2205 other notehead styles are produced by tweaking the property
2207 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2209 \override NoteHead #'style = #'cross
2211 \revert NoteHead #'style
2212 e d <c f\harmonic> <d a'\harmonic>
2216 To see all notehead styles, please see
2217 @ref{Note head styles}.
2222 Program reference: @internalsref{NoteHead}.
2225 @node Feathered beams
2226 @subsection Feathered beams
2228 Feathered beams are printed by setting the @code{grow-direction}
2229 property of a @code{Beam}. The @code{\featherDurations} function
2230 can be used to adjust note durations.
2232 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
2233 \featherDurations #(ly:make-moment 5 4)
2235 \override Beam #'grow-direction = #LEFT
2242 The @code{\featherDuration} command only works with very short
2246 @subsection Improvisation
2248 Improvisation is sometimes denoted with slashed note heads. Such note
2249 heads can be created by adding a @internalsref{Pitch_squash_engraver}
2250 to the @internalsref{Voice} context. Then, the
2254 \set squashedPosition = #0
2255 \override NoteHead #'style = #'slash
2259 switches on the slashes.
2261 There are shortcuts @code{\improvisationOn} (and an accompanying
2262 @code{\improvisationOff}) for this command sequence. They are used in
2263 the following example
2265 @lilypond[verbatim,ragged-right,quote]
2267 \consists Pitch_squash_engraver
2269 e8 e g a a16(bes)(a8) g \improvisationOn
2272 ~fis2 \improvisationOff a16(bes) a8 g e
2277 @node Selecting notation font size
2278 @subsection Selecting notation font size
2280 The easiest method of setting the font size of any context is by
2281 setting the @code{fontSize} property.
2283 @lilypond[quote,fragment,relative=1,verbatim]
2292 It does not change the size of variable symbols, such as beams or
2295 Internally, the @code{fontSize} context property will cause the
2296 @code{font-size} property to be set in all layout objects. The value
2297 of @code{font-size} is a number indicating the size relative to the
2298 standard size for the current staff height. Each step up is an
2299 increase of approximately 12% of the font size. Six steps is exactly a
2300 factor two. The Scheme function @code{magstep} converts a
2301 @code{font-size} number to a scaling factor. The @code{font-size}
2302 property can also be set directly, so that only certain layout objects are
2305 @lilypond[quote,fragment,relative=1,verbatim]
2307 \override NoteHead #'font-size = #-4
2309 \override NoteHead #'font-size = #3
2313 Font size changes are achieved by scaling the design size that is
2314 closest to the desired size. The standard font size (for
2315 @code{font-size} equals 0), depends on the standard staff height. For
2316 a 20pt staff, a 10pt font is selected.
2318 The @code{font-size} property can only be set on layout objects that
2319 use fonts. These are the ones supporting the
2320 @internalsref{font-interface} layout interface.
2324 The following commands set @code{fontSize} for the current voice:
2330 @funindex \normalsize
2335 @node Educational use
2336 @section Educational use
2338 With the amount of control that LilyPond offers, one can make great
2339 teaching tools in addition to great musical scores.
2343 * Blank music sheet::
2345 * Shape note heads::
2346 * Easy Notation note heads::
2347 * Analysis brackets::
2348 * Coloring objects::
2354 @subsection Balloon help
2356 Elements of notation can be marked and named with the help of a square
2357 balloon. The primary purpose of this feature is to explain notation.
2359 The following example demonstrates its use.
2361 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2362 \new Voice \with { \consists "Balloon_engraver" }
2364 \balloonGrobText #'Stem #'(3 . 4) \markup { "I'm a Stem" }
2365 <c-\balloonText #'(-2 . -2) \markup { Hello } >8
2370 There are two music functions, @code{balloonText} and
2371 @code{balloonGrobText}. The latter takes the name of the grob to
2372 adorn, while the former may be used as an articulation on a note.
2373 The other arguments are the offset and the text of the label.
2376 @cindex notation, explaining
2380 Program reference: @internalsref{text-balloon-interface}.
2385 @node Blank music sheet
2386 @subsection Blank music sheet
2388 @cindex Sheet music, empty
2389 @cindex Staves, blank sheet
2391 A blank music sheet can be produced also by using invisible notes, and
2392 removing @code{Bar_number_engraver}.
2395 @lilypond[quote,verbatim]
2396 \layout{ indent = #0 }
2398 \repeat unfold 2 % Change this for more lines.
2403 \override TimeSignature #'transparent = ##t
2404 % un-comment this line if desired
2405 % \override Clef #'transparent = ##t
2406 defaultBarType = #""
2407 \remove Bar_number_engraver
2410 % modify these to get the staves you want
2411 \new Staff \emptymusic
2412 \new TabStaff \emptymusic
2418 @subsection Hidden notes
2420 @cindex Hidden notes
2421 @cindex Invisible notes
2422 @cindex Transparent notes
2424 @funindex \hideNotes
2425 @funindex \unHideNotes
2426 Hidden (or invisible or transparent) notes can be useful in preparing theory
2427 or composition exercises.
2429 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2438 @node Shape note heads
2439 @subsection Shape note heads
2441 @cindex note heads, shape
2443 In shape note head notation, the shape of the note head corresponds
2444 to the harmonic function of a note in the scale. This notation was
2445 popular in the 19th century American song books.
2447 Shape note heads can be produced by setting @code{\aikenHeads} or
2448 @code{\sacredHarpHeads}, depending on the style desired.
2450 @lilypond[verbatim,relative=1,fragment]
2457 Shapes are determined on the step in the scale, where the base of the
2458 scale is determined by the @code{\key} command
2461 @funindex shapeNoteStyles
2462 @funindex \aikenHeads
2463 @funindex \sacredHarpHeads
2465 Shape note heads are implemented through the @code{shapeNoteStyles}
2466 property. Its value is a vector of symbols. The k-th element indicates
2467 the style to use for the k-th step of the scale. Arbitrary
2468 combinations are possible, e.g.
2470 @lilypond[verbatim,relative=1,fragment]
2471 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2476 @node Easy Notation note heads
2477 @subsection Easy Notation note heads
2479 @cindex note heads, practice
2480 @cindex note heads, easy notation
2481 @cindex easy notation
2484 The @q{easy play} note head includes a note name inside the head. It is
2485 used in music for beginners
2487 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2492 The command @code{\setEasyHeads} overrides settings for the
2493 @internalsref{NoteHead} object. To make the letters readable, it has
2494 to be printed in a large font size. To print with a larger font, see
2495 @ref{Setting the staff size}.
2499 @funindex \setEasyHeads
2500 @code{\setEasyHeads}
2503 @node Analysis brackets
2504 @subsection Analysis brackets
2506 @cindex phrasing brackets
2507 @cindex musicological analysis
2508 @cindex note grouping bracket
2510 Brackets are used in musical analysis to indicate structure in musical
2511 pieces. LilyPond supports a simple form of nested horizontal
2512 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2513 to @internalsref{Staff} context. A bracket is started with
2514 @code{\startGroup} and closed with @code{\stopGroup}
2516 @lilypond[quote,ragged-right,verbatim]
2519 c4\startGroup\startGroup
2522 c4\stopGroup\stopGroup
2526 \Staff \consists "Horizontal_bracket_engraver"
2532 Program reference: @internalsref{HorizontalBracket}.
2535 @node Coloring objects
2536 @subsection Coloring objects
2538 Individual objects may be assigned colors. You may use the
2539 color names listed in the @ref{List of colors}.
2541 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2542 \override NoteHead #'color = #red
2544 \override NoteHead #'color = #(x11-color 'LimeGreen)
2546 \override Stem #'color = #blue
2550 The full range of colors defined for X11 can be accessed by using the
2551 Scheme function x11-color. The function takes one argument that can be a
2555 \override Beam #'color = #(x11-color 'MediumTurquoise)
2561 \override Beam #'color = #(x11-color "MediumTurquoise")
2564 The first form is quicker to write and is more efficient. However, using
2565 the second form it is possible to access X11 colors by the multi-word
2569 \override Beam #'color = #(x11-color "medium turquoise")
2572 If x11-color cannot make sense of the parameter then the color returned
2573 defaults to black. It should be obvious from the final score that
2576 This example illustrates the use of x11-color. Notice that the stem
2577 color remains black after being set to (x11-color 'Boggle), which is
2578 deliberate nonsense.
2580 @lilypond[quote,ragged-right,verbatim]
2582 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2583 \set Staff.instrumentName = \markup {
2584 \with-color #(x11-color 'navy) "Clarinet"
2588 \override Beam #'color = #(x11-color "medium turquoise")
2590 \override NoteHead #'color = #(x11-color "LimeGreen")
2592 \override Stem #'color = #(x11-color 'Boggle)
2600 Appendix: @ref{List of colors}.
2604 Not all x11 colors are distinguishable in a web browser. For web use
2605 normal colors are recommended.
2607 An x11 color is not necessarily exactly the same shade as a similarly
2610 Notes in a chord cannot be colored with @code{\override}; use
2611 @code{\tweak} instead. See @ref{Objects connected to the input},
2616 @subsection Parentheses
2619 @cindex notes, ghost
2620 @cindex notes, parenthesized
2622 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2625 @lilypond[relative=2,fragment,verbatim,ragged-right]
2633 This only functions inside chords, even for single notes
2636 < \parenthesize NOTE>
2641 @subsection Grid lines
2643 Vertical lines can be drawn between staves synchronized with
2646 @lilypond[ragged-right,quote,verbatim]
2650 \consists "Grid_point_engraver" %% sets of grid
2651 gridInterval = #(ly:make-moment 1 4)
2656 \consists "Grid_line_span_engraver"
2657 %% centers grid lines horizontally below noteheads
2658 \override NoteColumn #'X-offset = #-0.5
2669 %% centers grid lines vertically
2670 \override Score.GridLine #'extra-offset = #'( 0.0 . 1.0 )
2680 Examples: @lsrdir{education}