1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
27 This section explains how to include text (with various formatting) in
30 @cindex Text, other languages
31 To write non-ascii text (such as characters from other languages), simply
32 insert the characters directly into the lilypond file. The file must be
33 saved as UTF-8. For more information, see @ref{Text encoding}.
41 * Overview of text markup commands::
48 @subsection Text scripts
51 @cindex text items, non-empty
52 @cindex non-empty texts
54 It is possible to place arbitrary strings of text or @ref{Text markup}
55 above or below notes by using a string @code{c^"text"}. By default,
56 these indications do not influence the note spacing, but by using the
57 command @code{\fatText}, the widths will be taken into account
59 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
60 c4^"longtext" \fatText c4_"longlongtext" c4
64 To prevent text from influencing spacing, use @code{\emptyText}.
66 More complex formatting may also be added to a note by using the
68 @lilypond[fragment,ragged-right,verbatim,quote]
69 c'4^\markup { bla \bold bla }
72 The @code{\markup} is described in more detail in
86 Checking to make sure that text scripts and lyrics are within the margins is
87 a relatively large computational task. To speed up processing, lilypond does
88 not perform such calculations by default; to enable it, use
91 \override Score.PaperColumn #'keep-inside-line = ##t
97 In this manual: @ref{Text markup}.
99 Program reference: @internalsref{TextScript}.
103 @subsection Text spanners
105 @cindex Text spanners
107 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
108 are written as text and are extended over many measures with dotted
109 lines. Such texts are created using text spanners; attach
110 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
111 notes of the spanner.
113 The string to be printed, as well as the style, is set through object
116 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
119 \override TextSpanner #'edge-text = #'("rall " . "")
120 c2\startTextSpan b c\stopTextSpan a
123 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
124 c2\startTextSpan b c\stopTextSpan a
129 @cindex textSpannerUp
130 @code{textSpannerUp},
131 @cindex textSpannerDown
132 @code{textSpannerDown},
133 @cindex textSpannerNeutral
134 @code{textSpannerNeutral}.
139 To print a solid line, use
142 \override TextSpanner #'dash-fraction = #'()
148 Program reference: @internalsref{TextSpanner}.
150 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
154 @subsection Text marks
156 @cindex coda on bar line
157 @cindex segno on bar line
158 @cindex fermata on bar line
159 @cindex bar lines, symbols on
162 The @code{\mark} command is primarily used for
163 @ref{Rehearsal marks},
164 but it can also be used to put signs like coda,
165 segno, and fermata on a bar line. Use @code{\markup} to
166 access the appropriate symbol (symbols are listed in
169 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
170 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
175 @code{\mark} is only typeset above the top stave of the score. If
176 you specify the @code{\mark} command at a bar line, the resulting
177 mark is placed above the bar line. If you specify it in the middle
178 of a bar, the resulting mark is positioned between notes. If it is
179 specified before the beginning of a score line, it is placed
180 before the first note of the line. Finally, if the mark occurs at
181 a line break, the mark will be printed at the
182 beginning of the next line.
183 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
184 @c delete this sentence. -gp
185 If there is no next line, then the mark will not be printed at all.
190 To print the mark at the end of the current line, use
193 \override Score.RehearsalMark
194 #'break-visibility = #begin-of-line-invisible
197 @code{\mark} is often useful for adding text to the end of bar. In
198 such cases, changing the @code{#'self-alignment} is very useful
200 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
201 \override Score.RehearsalMark
202 #'break-visibility = #begin-of-line-invisible
204 \once \override Score.RehearsalMark #'self-alignment-X = #right
205 \mark "D.S. al Fine "
208 Text marks may be aligned with notation objects other than
211 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
216 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
220 \override Score.RehearsalMark #'break-align-symbol = #'clef
224 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
233 Although text marks are normally only printed above the topmost
234 staff, you may alter this to print them on every staff,
236 @lilypond[quote,ragged-right,verbatim,relative=2]
239 \remove "Mark_engraver"
243 \consists "Mark_engraver"
245 { c''1 \mark "foo" c'' }
247 \consists "Mark_engraver"
249 { c'1 \mark "foo" c' }
257 Program reference: @internalsref{RehearsalMark}.
261 @subsection Text markup
268 Use @code{\markup} to typeset text. Commands are entered with the
269 backslash @code{\}. To enter @code{\} and @code{#}, use double
272 @lilypond[quote,verbatim,fragment,relative=1]
274 c1_\markup { hi there }
275 c1^\markup { hi \bold there, is \italic {anyone home?} }
276 c1_\markup { "\special {weird} #characters" }
280 See @ref{Overview of text markup commands} for a list of all
283 @code{\markup} is primarily used for @internalsref{TextScript}s,
284 but it can also be used anywhere text is called in lilypond
286 @lilypond[quote,verbatim]
287 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
290 \override Score.RehearsalMark
291 #'break-visibility = #begin-of-line-invisible
292 \override Score.RehearsalMark #'self-alignment-X = #right
294 \set Staff.instrumentName = \markup{ \column{ Alto solo } }
295 c2^\markup{ don't be \flat }
296 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
298 a2\mark \markup{ \large \bold Fine }
302 \addlyrics { bar, foo \markup{ \italic bar! } }
306 Text can also be placed on its own, away from any @code{\score}
307 block. This is primarily used in a @code{\book} (see
308 @ref{Multiple scores in a book}).
310 @lilypond[quote,ragged-right,verbatim]
311 \markup{ Here is some text. }
314 @cindex font switching
316 The markup in the example demonstrates font switching commands. The
317 command @code{\bold} and @code{\italic} apply to the first following
318 word only; to apply a command to more than one word, enclose the
322 \markup @{ \bold @{ hi there @} @}
326 For clarity, you can also do this for single arguments, e.g.,
329 \markup @{ is \italic @{ anyone @} home @}
332 In markup mode you can compose expressions, similar to mathematical
333 expressions, XML documents, and music expressions. You can stack
334 expressions grouped vertically with the command @code{\column}.
335 Similarly, @code{\center-align} aligns texts by their center lines:
337 @lilypond[quote,verbatim,fragment,relative=1]
338 c1^\markup { \column { a bbbb \line { c d } } }
339 c1^\markup { \center-align { a bbbb c } }
340 c1^\markup { \line { a b c } }
343 Lists with no previous command are not kept distinct. The expression
346 \center-align @{ @{ a b @} @{ c d @} @}
354 \center-align @{ a b c d @}
359 To keep lists of words distinct, please use quotes @code{"} or
360 the @code{\line} command
362 @lilypond[quote,verbatim,fragment,relative=1]
364 c4^\markup{ \center-align { on three lines } }
365 c4^\markup{ \center-align { "all one line" } }
366 c4^\markup{ \center-align { { on three lines } } }
367 c4^\markup{ \center-align { \line { on one line } } }
370 Markups can be stored in variables and these variables
371 may be attached to notes, like
373 allegro = \markup @{ \bold \large @{ Allegro @} @}
374 @{ a^\allegro b c d @}
377 Some objects have alignment procedures of their own, which cancel out
378 any effects of alignments applied to their markup arguments as a
379 whole. For example, the @internalsref{RehearsalMark} is horizontally
380 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
383 In addition, vertical placement is performed after creating the
384 text markup object. If you wish to move an entire piece of markup,
385 you need to use the #'padding property or create an "anchor" point
386 inside the markup (generally with @code{\hspace #0}).
388 @lilypond[quote,verbatim,fragment,relative=1]
390 c'4^\markup{ \raise #5 "not raised" }
391 \once \override TextScript #'padding = #3
392 c'4^\markup{ raised }
393 c'4^\markup{ \hspace #0 \raise #1.5 raised }
396 Some situations (such as dynamic marks) have preset font-related
397 properties. If you are creating text in such situations, it
398 is advisable to cancel those properties with
399 @code{normal-text}. See @ref{Overview of text markup commands}
405 This manual: @ref{Overview of text markup commands}.
407 Program reference: @internalsref{TextScript}.
409 Init files: @file{scm/@/new@/-markup@/.scm}.
414 Kerning or generation of ligatures is only done when the @TeX{}
415 backend is used. In this case, LilyPond does not account for them so
416 texts will be spaced slightly too wide.
418 Syntax errors for markup mode are confusing.
422 @subsection Nested scores
424 It is possible to nest music inside markups, by adding a @code{\score}
425 block to a markup expression. Such a score must contain a @code{\layout}
428 @lilypond[quote,verbatim,ragged-right]
432 \relative { c4 d e f }
441 @node Overview of text markup commands
442 @subsection Overview of text markup commands
444 The following commands can all be used inside @code{\markup @{ @}}.
446 @include markup-commands.tely
450 @subsection Font selection
452 @cindex font selection
453 @cindex font magnification
454 @funindex font-interface
456 By setting the object properties described below, you can select a
457 font from the preconfigured font families. LilyPond has default
458 support for the feta music fonts. Text fonts are selected through
459 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
460 the sans and typewriter to whatever the Pango installation defaults
465 @item @code{font-encoding}
466 is a symbol that sets layout of the glyphs. This should only be set to
467 select different types of non-text fonts, e.g.
469 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
470 standard music font, including ancient glyphs, @code{fetaDynamic} for
471 dynamic signs and @code{fetaNumber} for the number font.
473 @item @code{font-family}
474 is a symbol indicating the general class of the typeface. Supported are
475 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
477 @item @code{font-shape}
478 is a symbol indicating the shape of the font. There are typically
479 several font shapes available for each font family. Choices are
480 @code{italic}, @code{caps}, and @code{upright}.
482 @item @code{font-series}
483 is a symbol indicating the series of the font. There are typically
484 several font series for each font family and shape. Choices are
485 @code{medium} and @code{bold}.
489 Fonts selected in the way sketched above come from a predefined style
490 sheet. If you want to use a font from outside the style sheet,
492 @code{font-name} property,
494 @lilypond[fragment,verbatim]
496 \override Staff.TimeSignature #'font-name = #"Charter"
497 \override Staff.TimeSignature #'font-size = #2
500 \override #'(font-name . "Vera Bold")
501 { This text is in Vera Bold }
507 Any font can be used, as long as it is available to Pango/FontConfig.
508 To get a full list of all available fonts, run the command
510 lilypond -dshow-available-fonts blabla
512 (the last argument of the command can be anything, but has to be present).
515 The size of the font may be set with the @code{font-size}
516 property. The resulting size is taken relative to the
517 @code{text-font-size} as defined in the @code{\paper} block.
520 @cindex font magnification
523 It is also possible to change the default font family for the entire
524 document. This is done by calling the @code{make-pango-font-tree} from
525 within the @code{\paper} block. The function takes names for the font
526 families to use for roman, sans serif and monospaced text. For
529 @cindex font families, setting
538 (make-pango-font-tree "Times New Roman"
545 c'^\markup { roman: foo \sans bla \typewriter bar }
549 @c we don't do Helvetica / Courier, since GS incorrectly loads
556 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
559 @node New dynamic marks
560 @subsection New dynamic marks
562 It is possible to print new dynamic marks or text that should be aligned
563 with dynamics. Use @code{make-dynamic-script} to create these
564 marks. Note that the dynamic font only contains the characters
565 @code{f,m,p,r,s} and @code{z}.
567 Some situations (such as dynamic marks) have preset font-related
568 properties. If you are creating text in such situations, it
569 is advisable to cancel those properties with
570 @code{normal-text}. See @ref{Overview of text markup commands}
573 @cindex make-dynamic-script
575 @lilypond[quote,verbatim,ragged-right]
576 sfzp = #(make-dynamic-script "sfzp")
582 @cindex Dynamics, editorial
583 @cindex Dynamics, parenthesis
585 It is also possible to print dynamics in round parenthesis or square
586 brackets. These are often used for adding editorial dynamics.
588 @lilypond[quote,verbatim,ragged-right]
589 rndf = \markup{ \center-align {\line { \bold{\italic (}
590 \dynamic f \bold{\italic )} }} }
591 boxf = \markup{ \bracket { \dynamic f } }
592 { c'1_\rndf c'1_\boxf }
597 @node Preparing parts
598 @section Preparing parts
600 This section describes various notation that are useful for preparing
604 * Multi measure rests::
609 * Instrument transpositions::
611 * Different editions from one source::
615 @node Multi measure rests
616 @subsection Multi measure rests
618 @cindex multi measure rests
619 @cindex full measure rests
620 @cindex Rests, multi measure
621 @cindex Rests, full measure
622 @cindex whole rests for a full measure
625 Rests for one full measure (or many bars) are entered using `@code{R}'. It
626 is specifically meant for full bar rests and for entering parts: the rest
627 can expand to fill a score with rests, or it can be printed as a single
628 multi-measure rest. This expansion is controlled by the property
629 @code{Score.skipBars}. If this is set to true, empty measures will not
630 be expanded, and the appropriate number is added automatically
632 @lilypond[quote,ragged-right,fragment,verbatim]
633 \time 4/4 r1 | R1 | R1*2 \time 3/4 R2. \time 2/4 R2 \time 4/4
634 \set Score.skipBars = ##t R1*17 R1*4
637 The @code{1} in @code{R1} is similar to the duration notation used for
638 notes. Hence, for time signatures other than 4/4, you must enter other
639 durations. This can be done with augmentation dots or fractions
641 @lilypond[quote,ragged-right,fragment,verbatim]
642 \set Score.skipBars = ##t
651 An @code{R} spanning a single measure is printed as either a whole rest
652 or a breve, centered in the measure regardless of the time signature.
654 If there are only a few measures of rest, LilyPond prints ``church rests''
655 (a series of rectangles) in the staff. To replace that with a simple
656 rest, use @code{MultiMeasureRest.expand-limit}.
658 @lilypond[quote,ragged-right,fragment,verbatim]
659 \set Score.skipBars = ##t
661 \override MultiMeasureRest #'expand-limit = 1
665 @cindex text on multi-measure rest
666 @cindex script on multi-measure rest
667 @cindex fermata on multi-measure rest
669 Texts can be added to multi-measure rests by using the
670 @var{note}-@code{markup} syntax @ref{Text markup}.
671 A variable (@code{\fermataMarkup}) is provided for
674 @lilypond[quote,ragged-right,verbatim,fragment]
675 \set Score.skipBars = ##t
677 R2.*10^\markup { \italic "ad lib." }
681 Warning! This text is created by @code{MultiMeasureRestText}, not
684 @lilypond[quote,ragged-right,verbatim,fragment]
685 \override TextScript #'padding = #5
687 \override MultiMeasureRestText #'padding = #5
691 If you want to have text on the left end of a multi-measure rest,
692 attach the text to a zero-length skip note, i.e.,
702 Program reference: @internalsref{MultiMeasureRestMusicGroup},
703 @internalsref{MultiMeasureRest}.
705 The layout object @internalsref{MultiMeasureRestNumber} is for the
706 default number, and @internalsref{MultiMeasureRestText} for user
712 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
713 over multi-measure rests. And the pitch of multi-measure rests (or
714 staff-centered rests) can not be influenced.
716 @cindex condensing rests
718 There is no way to automatically condense multiple rests into a single
719 multi-measure rest. Multi-measure rests do not take part in rest
722 Be careful when entering multi-measure rests followed by whole
723 notes. The following will enter two notes lasting four measures each
727 When @code{skipBars} is set, the result will look OK, but the bar
728 numbering will be off.
731 @node Metronome marks
732 @subsection Metronome marks
735 @cindex beats per minute
736 @cindex metronome marking
738 Metronome settings can be entered as follows
740 \tempo @var{duration} = @var{per-minute}
743 In the MIDI output, they are interpreted as a tempo change. In the
744 layout output, a metronome marking is printed
746 @lilypond[quote,ragged-right,verbatim,fragment]
753 To change the tempo in the MIDI output without printing anything, make
754 the metronome marking invisible
756 \once \override Score.MetronomeMark #'transparent = ##t
759 To print other metronome markings, use these markup commands
760 @lilypond[quote,ragged-right,verbatim,relative,fragment]
763 \smaller \general-align #Y #DOWN \note #"16." #1
765 \smaller \general-align #Y #DOWN \note #"8" #1
770 See @ref{Text markup} for more details.
775 Program reference: @internalsref{MetronomeMark}.
780 Collisions are not checked. If you have notes above the top line of
781 the staff (or notes with articulations, slurs, text, etc), then the
782 metronome marking may be printed on top of musical symbols. If this
783 occurs, increase the padding of the metronome mark to place it
784 further away from the staff.
787 \override Score.MetronomeMark #'padding = #2.5
791 @node Rehearsal marks
792 @subsection Rehearsal marks
794 @cindex Rehearsal marks
797 To print a rehearsal mark, use the @code{\mark} command
799 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
808 The letter@tie{}`I' is skipped in accordance with engraving traditions.
809 If you wish to include the letter `I', then use
812 \set Score.markFormatter = #format-mark-alphabet
815 The mark is incremented automatically if you use @code{\mark
816 \default}, but you can also use an integer argument to set the mark
817 manually. The value to use is stored in the property
818 @code{rehearsalMark}.
820 The style is defined by the property @code{markFormatter}. It is a
821 function taking the current mark (an integer) and the current context
822 as argument. It should return a markup object. In the following
823 example, @code{markFormatter} is set to a canned procedure. After a
824 few measures, it is set to function that produces a boxed number.
826 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
827 \set Score.markFormatter = #format-mark-numbers
830 \set Score.markFormatter = #format-mark-box-numbers
836 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
837 of @code{format-mark-numbers} (the default format),
838 @code{format-mark-box-numbers},
839 @code{format-mark-letters} and @code{format-mark-box-letters}.
840 These can be used as inspiration for other formatting functions.
842 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
843 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
844 incremented numbers or letters.
850 Music glyphs (such as the segno sign) may be printed inside
853 @lilypond[fragment,quote,ragged-right,verbatim,relative]
854 c1 \mark \markup { \musicglyph #"scripts.segno" }
855 c1 \mark \markup { \musicglyph #"scripts.coda" }
856 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
861 See @ref{The Feta font} for a list of symbols which may be
862 printed with @code{\musicglyph}.
864 The horizontal location of rehearsal marks can be adjusted by
865 setting @code{break-align-symbol}
867 @lilypond[fragment,quote,ragged-right,verbatim,relative]
871 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
875 \override Score.RehearsalMark #'break-align-symbol = #'clef
881 @code{break-align-symbol} may also accept the following values:
882 @code{ambitus}, @code{breathing-sign}, @code{clef}, @code{custos},
883 @code{staff-bar}, @code{left-edge}, @code{key-cancellation},
884 @code{key-signature}, and @code{time-signature}. Setting
885 @code{break-align-symbol} will only have an effect if the symbol
886 appears at that point in the music.
891 Program reference: @internalsref{RehearsalMark}.
893 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
894 definition of @code{format-mark-numbers} and
895 @code{format-mark-letters}. They can be used as inspiration for other
896 formatting functions.
898 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
900 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
904 @subsection Bar numbers
907 @cindex measure numbers
908 @funindex currentBarNumber
910 Bar numbers are printed by default at the start of the line. The
911 number itself is stored in the @code{currentBarNumber} property, which
912 is normally updated automatically for every measure.
914 @lilypond[verbatim,ragged-right,quote,fragment,relative]
915 \repeat unfold 4 {c4 c c c} \break
916 \set Score.currentBarNumber = #50
917 \repeat unfold 4 {c4 c c c}
920 Bar numbers may only be printed at bar lines; to print a bar
921 number at the beginning of a piece, an empty bar line must
924 @lilypond[verbatim,ragged-right,quote,fragment,relative]
925 \set Score.currentBarNumber = #50
927 \repeat unfold 4 {c4 c c c} \break
928 \repeat unfold 4 {c4 c c c}
931 Bar numbers can be typeset at regular intervals instead of at the
932 beginning of each line. This is illustrated in the following example,
933 whose source is available as
934 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
936 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
938 Bar numbers can be removed entirely by removing the Bar number
939 engraver from the score.
941 @lilypond[verbatim,ragged-right,quote]
945 \remove "Bar_number_engraver"
957 Program reference: @internalsref{BarNumber}.
960 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
961 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
966 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
967 there is one at the top. To solve this, the
968 @code{padding} property of @internalsref{BarNumber} can be
969 used to position the number correctly.
972 @node Instrument names
973 @subsection Instrument names
975 In an orchestral score, instrument names are printed at the left side
978 This can be achieved by setting @internalsref{Staff}.@code{instrument}
979 and @internalsref{Staff}.@code{instr}, or
980 @internalsref{PianoStaff}.@code{instrument} and
981 @internalsref{PianoStaff}.@code{instr}. This will print text before
982 the start of the staff. For the first staff, @code{instrument} is
983 used, for the following ones, @code{instr} is used.
985 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
986 \set Staff.instrumentName = "Ploink "
987 \set Staff.shortInstrumentName = "Plk "
993 You can also use markup texts to construct more complicated instrument
996 @lilypond[quote,fragment,verbatim,ragged-right]
997 \set Staff.instrumentName = \markup {
998 \column { "Clarinetti"
999 \line { "in B" \smaller \flat } } }
1003 If you wish to center the instrument names, you must center all of them
1005 @lilypond[quote,verbatim,ragged-right]
1008 \set Staff.instrumentName = \markup {
1009 \center-align { "Clarinetti"
1010 \line { "in B" \smaller \flat } } }
1014 \set Staff.instrumentName = \markup{ \center-align { Vibraphone }}
1021 For longer instrument names, it may be useful to increase the
1022 @code{indent} setting in the @code{\layout} block.
1024 To center instrument names while leaving extra space to the right,
1026 @lilypond[quote,verbatim,ragged-right]
1027 \new StaffGroup \relative
1030 \set Staff.instrumentName = \markup { \hcenter-in #10 "blabla" }
1034 \set Staff.instrumentName = \markup { \hcenter-in #10 "blo" }
1040 To add instrument names to other contexts (such as @code{GrandStaff},
1041 @code{ChoirStaff}, or @code{StaffGroup}), the engraver must
1042 be added to that context.
1046 \context @{\GrandStaff \consists "Instrument_name_engraver"@}
1051 More information about adding and removing engravers can
1052 be found in @ref{Modifying context plug-ins}.
1057 Program reference: @internalsref{InstrumentName}.
1061 When you put a name on a grand staff or piano staff, the width of the
1062 brace is not taken into account. The following property setting can be
1063 used to move the instrument names to the left, in such situations.
1066 \override Score.InstrumentName #'padding = #2.0
1070 @node Instrument transpositions
1071 @subsection Instrument transpositions
1073 @cindex transposition, MIDI
1074 @cindex transposition, instrument
1076 The key of a transposing instrument can also be specified. This
1077 applies to many wind instruments, for example, clarinets (B-flat, A, and
1078 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1080 The transposition is entered after the keyword @code{\transposition}
1083 \transposition bes %% B-flat clarinet
1087 This command sets the property @code{instrumentTransposition}. The value of
1088 this property is used for MIDI output and quotations. It does not
1089 affect how notes are printed in the current staff. To change the printed
1090 output, see @ref{Transpose}.
1092 The pitch to use for @code{\transposition} should correspond to the
1093 real sound heard when a @code{c'} written on the staff is played by the
1094 transposing instrument. For example, when entering a score in
1095 concert pitch, typically all voices are entered in C, so
1096 they should be entered as
1109 The command @code{\transposition} should be used when the music is
1110 entered from a (transposed) orchestral part. For example, in
1111 classical horn parts, the tuning of the instrument is often changed
1112 during a piece. When copying the notes from the part, use
1113 @code{\transposition}, e.g.,
1125 @node Ottava brackets
1126 @subsection Ottava brackets
1128 `Ottava' brackets introduce an extra transposition of an octave for
1129 the staff. They are created by invoking the function
1130 @code{set-octavation}
1136 @lilypond[quote,ragged-right,verbatim,fragment]
1146 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1147 (for 15ma) as arguments. Internally the function sets the properties
1148 @code{ottavation} (e.g., to @code{"8va"}) and
1149 @code{centralCPosition}. For overriding the text of the bracket, set
1150 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1152 @lilypond[quote,ragged-right,verbatim]
1155 \set Staff.ottavation = #"8"
1163 Program reference: @internalsref{OttavaBracket}.
1165 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1166 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1171 @code{set-octavation} will get confused when clef changes happen
1172 during an octavation bracket.
1175 @node Different editions from one source
1176 @subsection Different editions from one source
1181 The @code{\tag} command marks music expressions with a name. These
1182 tagged expressions can be filtered out later. With this mechanism it
1183 is possible to make different versions of the same music source.
1185 In the following example, we see two versions of a piece of music, one
1186 for the full score, and one with cue notes for the instrumental part
1202 The same can be applied to articulations, texts, etc.: they are
1205 -\tag #@var{your-tag}
1207 to an articulation, for example,
1212 This defines a note with a conditional fingering indication.
1215 @cindex removeWithTag
1216 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1217 commands, tagged expressions can be filtered. For example,
1221 \keepWithTag #'score @var{the music}
1222 \keepWithTag #'part @var{the music}
1227 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1229 The arguments of the @code{\tag} command should be a symbol
1230 (such as @code{#'score} or @code{#'part}), followed by a
1231 music expression. It is possible to put multiple tags on
1232 a piece of music with multiple @code{\tag} entries,
1235 \tag #'original-part \tag #'transposed-part @dots{}
1241 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1246 Multiple rests are not merged if you create the score with both tagged
1251 @node Orchestral music
1252 @section Orchestral music
1254 Orchestral music involves some special notation, both in the full
1255 score and the individual parts. This section explains how to tackle
1256 some common problems in orchestral music.
1259 * Automatic part combining::
1261 * Quoting other voices::
1262 * Formatting cue notes::
1263 * Aligning to cadenzas::
1267 @node Automatic part combining
1268 @subsection Automatic part combining
1269 @cindex automatic part combining
1270 @cindex part combiner
1272 Automatic part combining is used to merge two parts of music onto a
1273 staff. It is aimed at typesetting orchestral scores. When the two
1274 parts are identical for a period of time, only one is shown. In
1275 places where the two parts differ, they are typeset as separate
1276 voices, and stem directions are set automatically. Also, solo and
1277 @emph{a due} parts are identified and can be marked.
1279 The syntax for part combining is
1282 \partcombine @var{musicexpr1} @var{musicexpr2}
1286 The following example demonstrates the basic functionality of the part
1287 combiner: putting parts on one staff, and setting stem directions and
1290 @lilypond[quote,verbatim,ragged-right,fragment]
1291 \new Staff \partcombine
1292 \relative g' { g g a( b) c c r r }
1293 \relative g' { g g r4 r e e g g }
1296 The first @code{g} appears only once, although it was
1297 specified twice (once in each part). Stem, slur, and tie directions are
1298 set automatically, depending whether there is a solo or unisono. The
1299 first part (with context called @code{one}) always gets up stems, and
1300 `Solo', while the second (called @code{two}) always gets down stems and
1303 If you just want the merging parts, and not the textual markings, you
1304 may set the property @code{printPartCombineTexts} to false
1306 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1308 \set Staff.printPartCombineTexts = ##f
1310 \relative g' { g a( b) r }
1311 \relative g' { g r4 r f }
1315 To change the text that is printed for solos or merging, you may
1316 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1319 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1321 \set Score.soloText = #"ichi"
1322 \set Score.soloIIText = #"ni"
1323 \set Score.aDueText = #"tachi"
1325 \relative g' { g4 g a( b) r }
1326 \relative g' { g4 g r r f }
1330 Both arguments to @code{\partcombine} will be interpreted as
1331 @internalsref{Voice} contexts. If using relative octaves,
1332 @code{\relative} should be specified for both music expressions, i.e.,
1336 \relative @dots{} @var{musicexpr1}
1337 \relative @dots{} @var{musicexpr2}
1341 A @code{\relative} section that is outside of @code{\partcombine} has
1342 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1346 Program reference: @internalsref{PartCombineMusic}.
1350 When @code{printPartCombineTexts} is set, when the two voices play the
1351 same notes on and off, the part combiner may typeset @code{a2} more
1352 than once in a measure.
1354 @code{\partcombine} cannot be inside @code{\times}.
1356 @code{\partcombine} cannot be inside @code{\relative}.
1358 Internally, the @code{\partcombine} interprets both arguments as
1359 @code{Voice}s named @code{one} and @code{two}, and then decides when
1360 the parts can be combined. Consequently, if the arguments switch to
1361 differently named @internalsref{Voice} contexts, the events in those
1366 @subsection Hiding staves
1368 @cindex Frenched scores
1369 @cindex Hiding staves
1371 In orchestral scores, staff lines that only have rests are usually
1372 removed; this saves some space. This style is called `French Score'.
1373 For @internalsref{Lyrics},
1374 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1375 switched on by default. When the lines of these contexts turn out
1376 empty after the line-breaking process, they are removed.
1378 For normal staves, a specialized @internalsref{Staff} context is
1379 available, which does the same: staves containing nothing (or only
1380 multi-measure rests) are removed. The context definition is stored in
1381 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1382 in this example disappears in the second line
1384 @lilypond[quote,ragged-right,verbatim]
1386 \context { \RemoveEmptyStaffContext }
1391 \new Staff { e4 f g a \break c1 }
1392 \new Staff { c4 d e f \break R1 }
1397 The first system shows all staves in full. If empty staves should be
1398 removed from the first system too, set @code{remove-first} to true in
1399 @internalsref{VerticalAxisGroup}.
1402 \override Score.VerticalAxisGroup #'remove-first = ##t
1405 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1406 or @code{\RemoveEmptyRhythmicStaffContext}.
1408 Another application is making ossia sections, i.e., alternative
1409 melodies on a separate piece of staff, with help of a Frenched
1410 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1413 @node Quoting other voices
1414 @subsection Quoting other voices
1418 With quotations, fragments of other parts can be inserted into a part
1419 directly. Before a part can be quoted, it must be marked especially as
1420 quotable. This is done with the @code{\addquote} command.
1423 \addquote @var{name} @var{music}
1428 Here, @var{name} is an identifying string. The @var{music} is any kind
1429 of music. Here is an example of @code{\addquote}
1432 \addquote clarinet \relative c' @{
1437 This command must be entered at toplevel, i.e., outside any music
1440 After calling @code{\addquote}, the quotation may then be done with
1441 @code{\quoteDuring} or @code{\cueDuring},
1444 \quoteDuring #@var{name} @var{music}
1447 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1451 \quoteDuring #"clarinet" @{ s2. @}
1454 This would cite three quarter notes (the duration of @code{s2.}) of
1455 the previously added @code{clarinet} voice.
1458 More precisely, it takes the current time-step of the part being
1459 printed, and extracts the notes at the corresponding point of the
1460 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1461 should be the entire part of the voice to be quoted, including any
1462 rests at the beginning.
1464 Quotations take into account the transposition of both source and target
1465 instruments, if they are specified using the @code{\transposition} command.
1467 @lilypond[quote,ragged-right,verbatim]
1468 \addquote clarinet \relative c' {
1474 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1478 The type of events that are present in cue notes can be trimmed with
1479 the @code{quotedEventTypes} property. The default value is
1480 @code{(note-event rest-event)}, which means that only notes and
1481 rests of the cued voice end up in the @code{\quoteDuring}.
1485 \set Staff.quotedEventTypes =
1486 #'(note-event articulation-event dynamic-event)
1490 will quote notes (but no rests), together with scripts and dynamics.
1494 Only the contents of the first @internalsref{Voice} occurring in an
1495 @code{\addquote} command will be considered for quotation, so
1496 @var{music} can not contain @code{\new} and @code{\context Voice}
1497 statements that would switch to a different Voice.
1499 Quoting grace notes is broken and can even cause LilyPond to crash.
1503 In this manual: @ref{Instrument transpositions}.
1505 Examples: @inputfileref{input/@/regression,quote@/.ly}
1506 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1508 Program reference: @internalsref{QuoteMusic}.
1511 @node Formatting cue notes
1512 @subsection Formatting cue notes
1514 @cindex cues, formatting
1516 The previous section deals with inserting notes from another voice.
1517 There is a more advanced music function called @code{\cueDuring},
1518 which makes formatting cue notes easier.
1523 \cueDuring #@var{name} #@var{updown} @var{music}
1526 This will insert notes from the part @var{name} into a
1527 @internalsref{Voice} called @code{cue}. This happens simultaneously
1528 with @var{music}, which usually is a rest. When the cue notes start,
1529 the staff in effect becomes polyphonic for a moment. The argument
1530 @var{updown} determines whether the cue notes should be notated as a
1531 first or second voice.
1534 @lilypond[verbatim,ragged-right]
1537 \override Stem #'length-fraction = #0.8
1538 \override Beam #'thickness = #0.384
1539 \override Beam #'length-fraction = #0.8
1542 \addquote clarinet \relative {
1547 \new Staff \relative <<
1549 % setup a context for cue notes.
1550 \new Voice = "cue" { \smaller \skip 1*21 }
1552 \set Score.skipBars = ##t
1556 \cueDuring #"clarinet" #1 {
1565 Here are a couple of hints for successful cue notes
1569 Cue notes have smaller font sizes.
1571 the cued part is marked with the instrument playing the cue.
1573 when the original part takes over again, this should be marked with
1574 the name of the original instrument.
1576 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1578 @c Yes, this is good practice. Otherwise, the start of the original
1579 @c part can only be seen from the font size. This is not good enough
1580 @c for sight-reading. It is possilbe to use other
1581 @c markers (e.g. a big close-bracket over the staff) to indicate the cue
1587 Any other changes introduced by the cued part should also be
1588 undone. For example, if the cued instrument plays in a different clef,
1589 the original clef should be stated once again.
1594 @node Aligning to cadenzas
1595 @subsection Aligning to cadenzas
1597 In an orchestral context, cadenzas present a special problem:
1598 when constructing a score that includes a cadenza, all other
1599 instruments should skip just as many notes as the length of the
1600 cadenza, otherwise they will start too soon or too late.
1602 A solution to this problem are the functions @code{mmrest-of-length}
1603 and @code{skip-of-length}. These Scheme functions take a piece of music
1604 as argument, and generate a @code{\skip} or multi-rest, exactly as
1605 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1606 in the following example.
1608 @lilypond[verbatim,ragged-right,quote]
1609 cadenza = \relative c' {
1610 c4 d8 << { e f g } \\ { d4. } >>
1615 \new Staff { \cadenza c'4 }
1617 #(ly:export (mmrest-of-length cadenza))
1626 @node Contemporary notation
1627 @section Contemporary notation
1629 In the 20th century, composers have greatly expanded the musical
1630 vocabulary. With this expansion, many innovations in musical notation
1631 have been tried. The book ``Music Notation in the 20th century'' by
1632 Kurt Stone gives a comprehensive overview (see @ref{Literature
1635 This section describes notation that does
1636 not fit into traditional notation categories, such as pitches,
1637 tuplet beams, and articulation. For contemporary notation
1638 that fits into traditional notation categories, such as
1639 microtones, nested tuplet beams, and unusual fermatas, please
1640 see those sections of the documentation.
1643 * Polymetric notation::
1644 * Time administration::
1645 * Proportional notation::
1647 * Special noteheads::
1650 * Selecting notation font size::
1654 @node Polymetric notation
1655 @subsection Polymetric notation
1657 Double time signatures are not supported explicitly, but they can be
1658 faked. In the next example, the markup for the time signature is
1659 created with a markup text. This markup text is inserted in the
1660 @internalsref{TimeSignature} grob. See also
1661 @inputfileref{input/@/test,compound@/-time@/.ly}).
1663 @lilypond[verbatim,ragged-right]
1666 \override #'(baseline-skip . 2) \number {
1669 \bracket \column { "5" "8" }
1674 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1675 \override Staff.TimeSignature #'text = #tsMarkup
1677 c'2 \bar ":" c'4 c'4.
1681 Each staff can also have its own time signature. This is done by
1682 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1688 \remove "Timing_translator"
1689 \remove "Default_bar_line_engraver"
1693 \consists "Timing_translator"
1694 \consists "Default_bar_line_engraver"
1701 Now, each staff has its own time signature.
1714 c4. c8 c c c4. c8 c c
1719 @lilypond[quote,ragged-right]
1723 \remove "Timing_translator"
1724 \remove "Default_bar_line_engraver"
1727 \consists "Timing_translator"
1728 \consists "Default_bar_line_engraver"
1743 c4. c8 c c c4. c8 c c
1749 A different form of polymetric notation is where note lengths have
1750 different values across staves.
1752 This notation can be created by setting a common time signature for
1753 each staff but replacing it manually using
1754 @code{timeSignatureFraction} to the desired fraction. Then the printed
1755 durations in each staff are scaled to the common time signature.
1756 The latter is done with @code{\compressMusic}, which is used similar
1757 to @code{\times}, but does not create a tuplet bracket. The syntax is
1759 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1764 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1765 used in parallel. In the second staff, shown durations are multiplied by
1766 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1767 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1769 @lilypond[quote,ragged-right,verbatim,fragment]
1777 \set Staff.timeSignatureFraction = #'(9 . 8)
1778 \compressMusic #'(2 . 3)
1779 \repeat unfold 6 { c8[ c c] }
1783 \set Staff.timeSignatureFraction = #'(10 . 8)
1784 \compressMusic #'(3 . 5) {
1785 \repeat unfold 2 { c8[ c c] }
1786 \repeat unfold 2 { c8[ c] }
1787 | c4. c4. \times 2/3 { c8 c c } c4
1798 When using different time signatures in parallel, the spacing is
1799 aligned vertically, but bar lines distort the regular spacing.
1802 @node Time administration
1803 @subsection Time administration
1805 @cindex Time administration
1807 Time is administered by the @internalsref{Time_signature_engraver},
1808 which usually lives in the @internalsref{Score} context. The
1809 bookkeeping deals with the following variables
1812 @item currentBarNumber
1816 The length of the measures in the current time signature. For a 4/4
1817 time this is@tie{}1, and for 6/8 it is 3/4.
1819 @item measurePosition
1820 The point within the measure where we currently are. This quantity
1821 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1822 happens, @code{currentBarNumber} is incremented.
1825 If set to true, the above variables are updated for every time
1826 step. When set to false, the engraver stays in the current measure
1830 Timing can be changed by setting any of these variables explicitly.
1831 In the next example, the 4/4 time signature is printed, but
1832 @code{measureLength} is set to 5/4. After a while, the measure is
1833 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1834 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1835 3/8 arises because 5/4 normally has 10/8, but we have manually
1836 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1838 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1839 \set Score.measureLength = #(ly:make-moment 5 4)
1843 \set Score.measurePosition = #(ly:make-moment 7 8)
1849 As the example illustrates, @code{ly:make-moment n m} constructs a
1850 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is
1852 note duration and @code{ly:make-moment 7 16} is the duration of
1853 seven sixteenths notes.
1856 @node Proportional notation
1857 @subsection Proportional notation
1858 @cindex Proportional notation
1860 Notes can be spaced proportional to their time-difference by
1861 assigning a duration to @code{proportionalNotationDuration}
1863 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1865 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1866 \new Staff { c8[ c c c c c] c4 c2 r2 }
1867 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1873 @subsection Clusters
1877 A cluster indicates a continuous range of pitches to be played. They
1878 can be denoted as the envelope of a set of notes. They are entered by
1879 applying the function @code{makeClusters} to a sequence of
1881 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1882 \makeClusters { <c e > <b f'> }
1885 The following example (from
1886 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1889 @lilypondfile[ragged-right,quote]{cluster.ly}
1891 Ordinary notes and clusters can be put together in the same staff,
1892 even simultaneously. In such a case no attempt is made to
1893 automatically avoid collisions between ordinary notes and clusters.
1897 Program reference: @internalsref{ClusterSpanner},
1898 @internalsref{ClusterSpannerBeacon},
1899 @internalsref{Cluster_spanner_engraver}.
1901 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1905 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1906 accurately. Use @code{<g a>8 <e a>8} instead.
1909 @node Special noteheads
1910 @subsection Special noteheads
1912 @cindex note heads, special
1914 Different noteheads are used by various instruments for various
1915 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1916 notes on guitar; diamonds are used for harmonics on string instruments,
1917 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1918 other notehead styles are produced by tweaking the property
1920 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1922 \override NoteHead #'style = #'cross
1924 \revert NoteHead #'style
1925 e d <c f\harmonic> <d a'\harmonic>
1929 To see all notehead styles, please see
1930 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1935 Program reference: @internalsref{NoteHead}.
1938 @node Feathered beams
1939 @subsection Feathered beams
1941 Feathered beams are printed by setting the @code{grow-direction}
1942 property of a @code{Beam}. The @code{\featherDurations} function
1943 can be used to adjust note durations.
1945 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1946 \featherDurations #(ly:make-moment 5 4)
1948 \override Beam #'grow-direction = #LEFT
1955 The @code{\featherDuration} command only works with very short
1959 @subsection Improvisation
1961 Improvisation is sometimes denoted with slashed note heads. Such note
1962 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1963 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1967 \set squashedPosition = #0
1968 \override NoteHead #'style = #'slash
1972 switches on the slashes.
1974 There are shortcuts @code{\improvisationOn} (and an accompanying
1975 @code{\improvisationOff}) for this command sequence. They are used in
1976 the following example
1978 @lilypond[verbatim,ragged-right,quote]
1980 \consists Pitch_squash_engraver
1982 e8 e g a a16(bes)(a8) g \improvisationOn
1985 ~fis2 \improvisationOff a16(bes) a8 g e
1990 @node Selecting notation font size
1991 @subsection Selecting notation font size
1993 The easiest method of setting the font size of any context is by
1994 setting the @code{fontSize} property.
1996 @lilypond[quote,fragment,relative=1,verbatim]
2005 It does not change the size of variable symbols, such as beams or
2008 Internally, the @code{fontSize} context property will cause the
2009 @code{font-size} property to be set in all layout objects. The value
2010 of @code{font-size} is a number indicating the size relative to the
2011 standard size for the current staff height. Each step up is an
2012 increase of approximately 12% of the font size. Six steps is exactly a
2013 factor two. The Scheme function @code{magstep} converts a
2014 @code{font-size} number to a scaling factor.
2016 @lilypond[quote,fragment,relative=1,verbatim]
2018 \override NoteHead #'font-size = #-4
2020 \override NoteHead #'font-size = #3
2024 Font size changes are achieved by scaling the design size that is
2025 closest to the desired size. The standard font size (for
2026 @code{font-size} equals 0), depends on the standard staff height. For
2027 a 20pt staff, a 10pt font is selected.
2029 The @code{font-size} property can only be set on layout objects that
2030 use fonts. These are the ones supporting the
2031 @internalsref{font-interface} layout interface.
2035 The following commands set @code{fontSize} for the current voice:
2041 @funindex \normalsize
2046 @node Educational use
2047 @section Educational use
2049 With the amount of control that LilyPond offers, one can make great
2050 teaching tools in addition to great musical scores.
2054 * Blank music sheet::
2056 * Shape note heads::
2057 * Easy Notation note heads::
2058 * Analysis brackets::
2059 * Coloring objects::
2064 @subsection Balloon help
2066 Elements of notation can be marked and named with the help of a square
2067 balloon. The primary purpose of this feature is to explain notation.
2069 The following example demonstrates its use.
2071 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
2072 \applyOutput #'Voice
2073 #(add-balloon-text 'NoteHead "heads, or tails?"
2079 The function @code{add-balloon-text} takes the name of a grob, the
2080 label to print, and the position where to put the label relative to
2081 the object. In the above example, the text ``heads or tails?'' ends
2082 3 spaces below and 1 space to the right of the marked head.
2085 @cindex notation, explaining
2089 Program reference: @internalsref{text-balloon-interface}.
2091 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
2096 @node Blank music sheet
2097 @subsection Blank music sheet
2099 @cindex Sheet music, empty
2100 @cindex Staves, blank sheet
2102 A blank music sheet can be produced also by using invisible notes, and
2103 removing @code{Bar_number_engraver}.
2106 @lilypond[quote,verbatim]
2108 \repeat unfold 2 % Change this for more lines.
2113 \override TimeSignature #'transparent = ##t
2114 defaultBarType = #""
2115 \remove Bar_number_engraver
2117 \new Staff \emptymusic
2118 \new TabStaff \emptymusic
2124 @subsection Hidden notes
2126 @cindex Hidden notes
2127 @cindex Invisible notes
2128 @cindex Transparent notes
2130 @funindex \hideNotes
2131 @funindex \unHideNotes
2132 Hidden (or invisible or transparent) notes can be useful in preparing theory
2133 or composition exercises.
2135 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2144 @node Shape note heads
2145 @subsection Shape note heads
2147 @cindex note heads, shape
2149 In shape note head notation, the shape of the note head corresponds
2150 to the harmonic function of a note in the scale. This notation was
2151 popular in the 19th century American song books.
2153 Shape note heads can be produced by setting @code{\aikenHeads} or
2154 @code{\sacredHarpHeads}, depending on the style desired.
2156 @lilypond[verbatim,relative=1,fragment]
2163 Shapes are determined on the step in the scale, where the base of the
2164 scale is determined by the @code{\key} command
2167 @funindex shapeNoteStyles
2168 @funindex \aikenHeads
2169 @funindex \sacredHarpHeads
2171 Shape note heads are implemented through the @code{shapeNoteStyles}
2172 property. Its value is a vector of symbols. The k-th element indicates
2173 the style to use for the k-th step of the scale. Arbitrary
2174 combinations are possible, e.g.
2176 @lilypond[verbatim,relative=1,fragment]
2177 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2182 @node Easy Notation note heads
2183 @subsection Easy Notation note heads
2185 @cindex note heads, practice
2186 @cindex note heads, easy notation
2187 @cindex easy notation
2190 The `easy play' note head includes a note name inside the head. It is
2191 used in music for beginners
2193 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2198 The command @code{\setEasyHeads} overrides settings for the
2199 @internalsref{NoteHead} object. To make the letters readable, it has
2200 to be printed in a large font size. To print with a larger font, see
2201 @ref{Setting global staff size}.
2205 @funindex \setEasyHeads
2206 @code{\setEasyHeads}
2209 @node Analysis brackets
2210 @subsection Analysis brackets
2212 @cindex phrasing brackets
2213 @cindex musicological analysis
2214 @cindex note grouping bracket
2216 Brackets are used in musical analysis to indicate structure in musical
2217 pieces. LilyPond supports a simple form of nested horizontal
2218 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2219 to @internalsref{Staff} context. A bracket is started with
2220 @code{\startGroup} and closed with @code{\stopGroup}
2222 @lilypond[quote,ragged-right,verbatim]
2225 c4\startGroup\startGroup
2228 c4\stopGroup\stopGroup
2232 \Staff \consists "Horizontal_bracket_engraver"
2238 Program reference: @internalsref{HorizontalBracket}.
2240 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2243 @node Coloring objects
2244 @subsection Coloring objects
2246 Individual objects may be assigned colors. You may use the
2247 color names listed in the @ref{List of colors}.
2249 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2250 \override NoteHead #'color = #red
2252 \override NoteHead #'color = #(x11-color 'LimeGreen)
2254 \override Stem #'color = #blue
2258 The full range of colors defined for X11 can be accessed by using the
2259 Scheme function x11-color. The function takes one argument that can be a
2263 \override Beam #'color = #(x11-color 'MediumTurquoise)
2269 \override Beam #'color = #(x11-color "MediumTurquoise")
2272 The first form is quicker to write and is more efficient. However, using
2273 the second form it is possible to access X11 colors by the multi-word
2277 \override Beam #'color = #(x11-color "medium turquoise")
2280 If x11-color cannot make sense of the parameter then the color returned
2281 defaults to black. It should be obvious from the final score that
2284 This example illustrates the use of x11-color. Notice that the stem
2285 color remains black after being set to (x11-color 'Boggle), which is
2286 deliberate nonsense.
2288 @lilypond[quote,ragged-right,verbatim]
2290 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2291 \set Staff.instrumentName = \markup {
2292 \with-color #(x11-color 'navy) "Clarinet"
2296 \override Beam #'color = #(x11-color "medium turquoise")
2298 \override NoteHead #'color = #(x11-color "LimeGreen")
2300 \override Stem #'color = #(x11-color 'Boggle)
2308 Appendix: @ref{List of colors}.
2312 Not all x11 colors are distinguishable in a web browser. For web use
2313 normal colors are recommended.
2315 An x11 color is not necessarily exactly the same shade as a similarly
2318 Notes in a chord cannot be colored with @code{\override}; use
2319 @code{\tweak} instead. See @ref{Objects connected to the input}
2324 @subsection Parentheses
2327 @cindex notes, ghost
2328 @cindex notes, parenthesized
2330 Objects may be parenthesized by prefixing @code{\parenthesize} to the music
2333 @lilypond[relative=2,fragment,verbatim,ragged-right]
2341 This only functions inside chords, even for single notes
2344 < \parenthesize NOTE>