[lilypond.git] / Documentation / user / advanced-notation.itely

@c -*- coding: latin-1; mode: texinfo; -*-
@c This file is part of lilypond.tely

@c A menu is needed before every deeper *section nesting of @node's; run 
@c     M-x texinfo-all-menus-update
@c to automatically fill in these menus before saving changes


@node Advanced notation
@chapter Advanced notation

This chapter deals with rarely-used and advanced notation.

@menu
* Even more than notes::        
* Preparing parts::             
* Orchestral music::            
* Contemporary notation::       
* Educational use::             
* Automatic notation::          
@end menu


@c  really bad section name.  :(
@node Even more than notes
@section Even more than notes

@menu
* Text scripts::                
* Text spanners::               
* Transpose::                   
* Ottava brackets::             
* Multi measure rests::         
* Time administration::         
@end menu


@node Text scripts
@subsection Text scripts
@cindex Text scripts

@cindex text items, non-empty
@cindex non-empty texts

It is possible to place arbitrary strings of text or markup text (see
@ref{Text markup}) above or below notes by using a string
@code{c^"text"}.  By default, these indications do not influence the
note spacing, but by using the command @code{\fatText}, the widths
will be taken into account

@lilypond[quote,fragment,raggedright,verbatim,relative=1]
c4^"longtext" \fatText c4_"longlongtext" c4
@end lilypond

More complex formatting may also be added to a note by using the
markup command,
@lilypond[fragment,raggedright,verbatim,quote]
c'4^\markup { bla \bold bla }
@end lilypond

The @code{\markup} is described in more detail in
@ref{Text markup}.


@refcommands

@cindex @code{\fatText}
@code{\fatText},
@cindex @code{\emptyText}
@code{\emptyText}.

@seealso

In this manual: @ref{Text markup}.

Program reference: @internalsref{TextScriptEvent}, @internalsref{TextScript}.


@node Text spanners
@subsection Text spanners
@cindex Text spanners

Some performance indications, e.g., @i{rallentando} or @i{accelerando},
are written as text and are extended over many measures with dotted
lines.  Such texts are created using text spanners; attach
@code{\startTextSpan} and @code{\stopTextSpan} to the first and last
notes of the spanner.

The string to be printed, as well as the style, is set through object
properties

@lilypond[quote,raggedright,fragment,relative=1,verbatim]
c1
\override TextSpanner #'direction = #-1
\override TextSpanner #'edge-text = #'("rall " . "")
c2\startTextSpan b c\stopTextSpan a
@end lilypond


@seealso

Internals @internalsref{TextSpanEvent},
@internalsref{TextSpanner}.

Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.


@node Transpose
@subsection Transpose
@cindex Transpose
@cindex transposition of pitches
@cindex @code{\transpose}

A music expression can be transposed with @code{\transpose}.  The
syntax is
@example
\transpose @var{from} @var{to} @var{musicexpr}
@end example

This means that @var{musicexpr} is transposed by the interval between
the pitches @var{from} and @var{to}: any note with pitch @code{from}
is changed to @code{to}.


For example, consider a piece written in the key of D-major.  If
this piece is a little too low for its performer, it can be
transposed up to E-major with
@example
\transpose d e @dots{}
@end example

Consider a part written for violin (a C instrument).  If
this part is to be played on the A clarinet, the following
transposition will produce the appropriate part

@example
\transpose a c @dots{}
@end example

@code{\transpose} distinguishes between enharmonic pitches: both
@code{\transpose c cis} or @code{\transpose c des} will transpose up
half a tone.  The first version will print sharps and the second
version will print flats

@lilypond[quote,raggedright,verbatim]
mus = { \key d \major cis d fis g }
\context Staff {
  \clef "F" \mus
  \clef "G"
  \transpose c g' \mus
  \transpose c f' \mus
}
@end lilypond

@code{\transpose} may also be used to input written notes for a
transposing instrument.  Pitches are normally entered into LilyPond
in C (or ``concert pitch''), but they may be entered in another
key.  For example, when entering music for a B-flat trumpet which
begins on concert D, one would write

@example
\transpose c bes @{ e4 @dots{} @}
@end example

To print this music in B-flat again (ie producing a trumpet part,
instead of a concert pitch conductor's score) you would wrap the
existing music with another @code{transpose}

@example
\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
@end example



@seealso

Program reference: @internalsref{TransposedMusic}, and
@internalsref{UntransposableMusic}.

@refbugs

If you want to use both @code{\transpose} and @code{\relative},
you must put @code{\transpose} outside of @code{\relative}, since
@code{\relative} will have no effect music that appears inside a
@code{\transpose}.


@node Ottava brackets
@subsection Ottava brackets

`Ottava' brackets introduce an extra transposition of an octave for
the staff.  They are created by invoking the function
@code{set-octavation}

@cindex ottava
@cindex 15ma
@cindex octavation

@lilypond[quote,raggedright,verbatim,fragment]
\relative c''' {
  a2 b
  #(set-octavation 1)
  a b
  #(set-octavation 0)
  a b
}
@end lilypond

The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
(for 15ma) as arguments.  Internally the function sets the properties
@code{ottavation} (e.g., to @code{"8va"}) and
@code{centralCPosition}.  For overriding the text of the bracket, set
@code{ottavation} after invoking @code{set-octavation}, i.e.,

@lilypond[quote,raggedright,verbatim]
{
  #(set-octavation 1)
  \set Staff.ottavation = #"8"
  c'''
}
@end lilypond

@seealso

Program reference: @internalsref{OttavaBracket}.

Examples: @inputfileref{input/@/regression,ottava@/.ly},
@inputfileref{input/@/regression,ottava@/-broken@/.ly}.

@refbugs

@code{set-octavation} will get confused when clef changes happen
during an octavation bracket.


@node Multi measure rests
@subsection Multi measure rests
@cindex multi measure rests
@cindex Rests, multi measure

@cindex @code{R}

Multi-measure rests are entered using `@code{R}'.  It is specifically
meant for full bar rests and for entering parts: the rest can expand
to fill a score with rests, or it can be printed as a single
multi-measure rest.  This expansion is controlled by the property
@code{Score.skipBars}.  If this is set to true, empty measures will not
be expanded, and the appropriate number is added automatically

@lilypond[quote,raggedright,fragment,verbatim]
\time 4/4 r1 | R1 | R1*2
\set Score.skipBars = ##t R1*17 R1*4
@end lilypond

The @code{1} in @code{R1} is similar to the duration notation used for
notes.  Hence, for time signatures other than 4/4, you must enter other
durations.  This can be done with augmentation dots or fractions

@lilypond[quote,raggedright,fragment,verbatim]
\set Score.skipBars = ##t
\time 3/4
R2. | R2.*2
\time 13/8
R1*13/8
R1*13/8*12 |
\time 10/8 R4*5*4 |
@end lilypond

An @code{R} spanning a single measure is printed as either a whole rest
or a breve, centered in the measure regardless of the time signature.

If there are only a few measures of rest, LilyPond prints ``church rests''
(a series of rectangles) in the staff.  To replace that with a simple
rest, use @code{MultiMeasureRest.expand-limit}.

@lilypond[quote,raggedright,fragment,verbatim]
\set Score.skipBars = ##t
R1*2 | R1*5 | R1*9
\override MultiMeasureRest #'expand-limit = 1
R1*2 | R1*5 | R1*9
@end lilypond


@cindex text on multi-measure rest
@cindex script on multi-measure rest
@cindex fermata on multi-measure rest

Texts can be added to multi-measure rests by using the
@var{note}-@code{markup} syntax (see @ref{Text markup}).
A variable (@code{\fermataMarkup}) is provided for
adding fermatas

@lilypond[quote,raggedright,verbatim,fragment]
\set Score.skipBars = ##t
\time 3/4
R2.*10^\markup { \italic "ad lib." }
R2.^\fermataMarkup
@end lilypond

If you want to have text on the left end of a multi-measure rest,
attach the text to a zero-length skip note, i.e.,

@example
s1*0^"Allegro"
R1*4
@end example


@cindex whole rests for a full measure

@seealso

Program reference: @internalsref{MultiMeasureRestEvent},
@internalsref{MultiMeasureTextEvent},
@internalsref{MultiMeasureRestMusicGroup}, and
@internalsref{MultiMeasureRest}.

The layout object @internalsref{MultiMeasureRestNumber} is for the
default number, and @internalsref{MultiMeasureRestText} for user
specified texts.

@refbugs

It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
over multi-measure rests.  And the pitch of multi-measure rests (or
staff-centered rests) can not be influenced.

@cindex condensing rests

There is no way to automatically condense multiple rests into a single
multi-measure rest.  Multi-measure rests do not take part in rest
collisions.

Be careful when entering multi-measure rests followed by whole
notes.  The following will enter two notes lasting four measures each
@example
R1*4 cis cis
@end example
When @code{skipBars} is set, the result will look OK, but the bar
numbering will be off.


@node Time administration
@subsection Time administration

Time is administered by the @internalsref{Time_signature_engraver},
which usually lives in the @internalsref{Score} context.
The bookkeeping deals with the following variables

@table @code
@item currentBarNumber
The measure number.

@item measureLength
The length of the measures in the current time signature.  For a 4/4
time this is@tie{}1, and for 6/8 it is 3/4.

@item measurePosition
The point within the measure where we currently are.  This quantity
is reset to@tie{}0 whenever it exceeds @code{measureLength}.  When that
happens, @code{currentBarNumber} is incremented.

@item timing
If set to true, the above variables are updated for every time
step.  When set to false, the engraver stays in the current measure
indefinitely.
@end table

Timing can be changed by setting any of these variables explicitly.
In the next example, the 4/4 time signature is printed, but
@code{measureLength} is set to 5/4.  After a while, the measure is
shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
in the measure, so the next bar line will fall at 2/4 + 3/8.  The
3/8 arises because 5/4 normally has 10/8, but we have manually
set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.

@lilypond[quote,raggedright,verbatim,relative,fragment]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
c4 c4
\set Score.measurePosition = #(ly:make-moment 7 8)
b8 b b
c4 c1
@end lilypond



@node Preparing parts
@section Preparing parts

This section describes various notation that are useful for preparing
individual parts.

@menu
* Metronome marks::             
* Rehearsal marks::             
* Bar numbers::                 
* Instrument names::            
* Instrument transpositions::   
* Different editions from one source::  
@end menu


@node Metronome marks
@subsection Metronome marks

@cindex Tempo
@cindex beats per minute
@cindex metronome marking

Metronome settings can be entered as follows
@example
\tempo @var{duration} = @var{per-minute}
@end example

In the MIDI output, they are interpreted as a tempo change.  In the
layout output, a metronome marking is printed
@cindex @code{\tempo}
@lilypond[quote,raggedright,verbatim,fragment]
\tempo 8.=120 c''1
@end lilypond

To change the tempo in the MIDI output without printing anything, make
the metronome marking invisible
@example
\once \override Score.MetronomeMark #'transparent = ##t
@end example

To print other metronome markings, use these markup commands
@lilypond[quote,raggedright,verbatim,relative,fragment]
c4^\markup {
  "("
  \smaller \general-align #Y #DOWN \note #"16." #1
  "="
  \smaller \general-align #Y #DOWN \note #"8" #1"
  ")" }
@end lilypond

@noindent
See @ref{Text markup} for more details.


@seealso

Program reference: @internalsref{MetronomeChangeEvent}.

@refbugs

Collisions are not checked.  If you have notes above the top line of
the staff (or notes with articulations, slurs, text, etc), then the
metronome marking may be printed on top of musical symbols.  If this
occurs, increase the padding of the metronome mark to place it 
further away from the staff.

@example
\override Score.MetronomeMark #'padding = #2.5
@end example


@node Rehearsal marks
@subsection Rehearsal marks
@cindex Rehearsal marks
@cindex mark
@cindex @code{\mark}

To print a rehearsal mark, use the @code{\mark} command

@lilypond[quote,raggedright,fragment,verbatim,relative=2]
c1 \mark \default
c1 \mark \default
c1 \mark #8
c1 \mark \default
c1 \mark \default
@end lilypond

@noindent
(The letter@tie{}`I' is skipped in accordance with engraving traditions.)
@c umm, is the manual the right place for feature requests?  :)  -gp
@c FIXME - should make that tunable.

The mark is incremented automatically if you use @code{\mark
\default}, but you can also use an integer argument to set the mark
manually.  The value to use is stored in the property
@code{rehearsalMark}.

The style is defined by the property @code{markFormatter}.  It is a
function taking the current mark (an integer) and the current context
as argument.  It should return a markup object.  In the following
example, @code{markFormatter} is set to a canned procedure.  After a
few measures, it is set to function that produces a boxed number.

@lilypond[fragment,quote,raggedright,verbatim,relative=2]
\set Score.markFormatter = #format-mark-numbers
c1 \mark \default
c1 \mark \default
\set Score.markFormatter = #format-mark-box-numbers
c1 \mark \default
c1 \mark \default
c1
@end lilypond

The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
@code{format-mark-letters} and @code{format-mark-box-letters}.
These can be used as inspiration for other formatting functions.


@cindex coda on bar line
@cindex segno on bar line
@cindex fermata on bar line
@cindex bar lines, symbols on

The @code{\mark} command can also be used to put signs like coda,
segno, and fermata on a bar line.  Use @code{\markup} to
access the appropriate symbol

@lilypond[fragment,quote,raggedright,verbatim,relative=2]
c1 \mark \markup { \musicglyph #"scripts.ufermata" }
c1
@end lilypond

If the mark occurs at a line break, the mark will be printed at the
beginning of the next line.
@c  IMO this is a bug; hopefully it'll be fixed soon, so I can
@c  delete this sentence.   -gp
If there is no next line, then the mark will not be printed at all.
To print the mark at the end of the current line, use

@example
\override Score.RehearsalMark
  #'break-visibility = #begin-of-line-invisible
@end example

@cindex fermatas
@cindex coda
@cindex segno
@cindex bar lines, putting symbols on

@seealso

Program reference: @internalsref{MarkEvent}, @internalsref{RehearsalMark}.

Init files: @file{scm/@/translation@/-functions@/.scm} contains the
definition of @code{format-mark-numbers} and
@code{format-mark-letters}.  They can be used as inspiration for other
formatting functions.

Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},

@inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.


@node Bar numbers
@subsection Bar numbers


@cindex Bar numbers
@cindex measure numbers
@cindex @code{currentBarNumber}

Bar numbers are printed by default at the start of the line.  The
number itself is stored in the @code{currentBarNumber} property, which
is normally updated automatically for every measure.

Bar numbers can be typeset at regular intervals instead of at the
beginning of each line.  This is illustrated in the following example,
whose source is available as
@inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}

@lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}

Bar numbers can be typeset manually by tweaking the
@code{markFormatter} property

@lilypond[verbatim,raggedright,quote]
\relative c' {
  \set Score.markFormatter
    = #(lambda (mark context)
      (make-bold-markup
        (make-box-markup
          (number->string (ly:context-property context
                                               'currentBarNumber)))))

  c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
}
@end lilypond

Bar numbers can be manually changed by setting the
@code{Staff.currentBarNumber} property

@lilypond[verbatim,raggedright,quote]
\relative c' {
  \repeat unfold 4 {c4 c c c} \break
  \set Score.currentBarNumber = #50
  \repeat unfold 4 {c4 c c c}
}
@end lilypond

@seealso

Program reference: @internalsref{BarNumber}.

Examples:
@inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.

@refbugs

Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
there is one at the top.  To solve this, the
@code{padding} property of @internalsref{BarNumber} can be
used to position the number correctly.


@node Instrument names
@subsection Instrument names

In an orchestral score, instrument names are printed at the left side
of the staves.

This can be achieved by setting @internalsref{Staff}.@code{instrument}
and @internalsref{Staff}.@code{instr}.  This will print a string before
the start of the staff.  For the first staff, @code{instrument} is
used, for the following ones, @code{instr} is used.

@lilypond[quote,verbatim,raggedright,relative=1,fragment]
\set Staff.instrument = "Ploink "
\set Staff.instr = "Plk "
c1
\break
c''
@end lilypond

You can also use markup texts to construct more complicated instrument
names, for example

@lilypond[quote,fragment,verbatim,raggedright]
\set Staff.instrument = \markup {
  \column { "Clarinetti"
            \line { "in B" \smaller \flat } } }
c''1
@end lilypond

For longer instrument names, it may be useful to increase the
@code{indent} setting in the @code{\layout} block.

@seealso

Program reference: @internalsref{InstrumentName}.

@refbugs

When you put a name on a grand staff or piano staff, the width of the
brace is not taken into account.  You must add extra spaces to the end of
the name to avoid a collision.


@node Instrument transpositions
@subsection Instrument transpositions
@cindex transposition, MIDI
@cindex transposition, instrument

The key of a transposing instrument can also be specified.  This
applies to many wind instruments, for example, clarinets (B-flat, A, and
E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).

The transposition is entered after the keyword @code{\transposition}

@example
\transposition bes   %% B-flat clarinet
@end example

@noindent
This command sets the property @code{instrumentTransposition}.  The value of
this property is used for MIDI output and quotations.  It does not
affect how notes are printed in the current staff.  To change the printed
output, see @ref{Transpose}.

The pitch to use for @code{\transposition} should correspond to the
transposition of the notes.  For example, when entering a score in
concert pitch, typically all voices are entered in C, so
they should be entered as

@example
clarinet = @{
  \transposition c'
  ...
@}
saxophone = @{
  \transposition c'
  ...
@}
@end example

The command @code{\transposition} should be used when the music is
entered from a (transposed) orchestral part.  For example, in
classical horn parts, the tuning of the instrument is often changed
during a piece.  When copying the notes from the part, use
@code{\transposition}, e.g.,

@example
\transposition d'
c'4^"in D"
...
\transposition g'
c'4^"in G"
...
@end example


@node Different editions from one source
@subsection Different editions from one source

@cindex tag
The @code{\tag} command marks music expressions with a name.  These
tagged expressions can be filtered out later.  With this mechanism it
is possible to make different versions of the same music source.

In the following example, we see two versions of a piece of music, one
for the full score, and one with cue notes for the instrumental part

@example
c1
<<
  \tag #'part <<
    R1 \\
    @{
      \set fontSize = #-1
      c4_"cue" f2 g4 @}
  >>
  \tag #'score R1
>>
c1
@end example

The same can be applied to articulations, texts, etc.: they are
made by prepending
@example
-\tag #@var{your-tag}
@end example
to an articulation, for example,
@example
c1-\tag #'part ^4
@end example

This defines a note with a conditional fingering indication.

@cindex keepWithTag
@cindex removeWithTag
By applying the @code{\keepWithTag} and @code{\removeWithTag}
commands, tagged expressions can be filtered.  For example,
@example
<<
  @var{the music}
  \keepWithTag #'score @var{the music}
  \keepWithTag #'part @var{the music}
>>
@end example
would yield

@lilypondfile[raggedright,quote]{tag-filter.ly}


The argument of the @code{\tag} command should be a symbol, or a list
of symbols, for example,
@example
\tag #'(original-part transposed-part) @dots{}
@end example



@seealso

Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.

@refbugs

Multiple rests are not merged if you create the score with both tagged
sections.
 

@node Orchestral music
@section Orchestral music

Orchestral music involves some special notation, both in the full
score and the individual parts.  This section explains how to tackle
some common problems in orchestral music.

@menu
* Automatic part combining::    
* Hiding staves::               
* Quoting other voices::        
* Formatting cue notes::        
* Aligning to cadenzas::        
@end menu


@node Automatic part combining
@subsection Automatic part combining
@cindex automatic part combining
@cindex part combiner

Automatic part combining is used to merge two parts of music onto a
staff.  It is aimed at typesetting orchestral scores.  When the two
parts are identical for a period of time, only one is shown.  In
places where the two parts differ, they are typeset as separate
voices, and stem directions are set automatically.  Also, solo and
@emph{a due} parts are identified and can be marked.

The syntax for part combining is

@example
\partcombine @var{musicexpr1} @var{musicexpr2}
@end example


The following example demonstrates the basic functionality of the part
combiner: putting parts on one staff, and setting stem directions and
polyphony

@lilypond[quote,verbatim,raggedright,fragment]
\new Staff \partcombine
  \relative g' { g g a( b) c c r r }
  \relative g' { g g r4 r e e g g }
@end lilypond

The first @code{g} appears only once, although it was
specified twice (once in each part).  Stem, slur, and tie directions are
set automatically, depending whether there is a solo or unisono.  The
first part (with context called @code{one}) always gets up stems, and
`Solo', while the second (called @code{two}) always gets down stems and
`Solo II'.

If you just want the merging parts, and not the textual markings, you
may set the property @code{printPartCombineTexts} to false

@lilypond[quote,verbatim,raggedright,fragment,relative=2]
\new Staff <<
  \set Staff.printPartCombineTexts = ##f
  \partcombine
    \relative g' { g a( b) r }
    \relative g' { g r4 r f }
>>
@end lilypond

To change the text that is printed for solos or merging, you may
set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
properties.

@lilypond[quote,verbatim,raggedright,fragment,relative=2]
\new Staff <<
  \set Score.soloText = #"ichi"
  \set Score.soloIIText = #"ni"
  \set Score.aDueText = #"tachi"
  \partcombine
    \relative g' { g4 g a( b) r }
    \relative g' { g4 g r r f }
>>
@end lilypond

Both arguments to @code{\partcombine} will be interpreted as
@internalsref{Voice} contexts.  If using relative octaves,
@code{\relative} should be specified for both music expressions, i.e.,

@example
\partcombine
  \relative @dots{} @var{musicexpr1}
  \relative @dots{} @var{musicexpr2}
@end example

@noindent
A @code{\relative} section that is outside of @code{\partcombine} has
no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.

@seealso

Program reference: @internalsref{PartCombineMusic},
@internalsref{SoloOneEvent}, and
@internalsref{SoloTwoEvent}, and
@internalsref{UnisonoEvent}.

@refbugs

When @code{printPartCombineTexts} is set, when the two voices play the
same notes on and off, the part combiner may typeset @code{a2} more
than once in a measure.

@code{\partcombine} cannot be inside @code{\times}.

@code{\partcombine} cannot be inside @code{\relative}.

Internally, the @code{\partcombine} interprets both arguments as
@code{Voice}s named @code{one} and @code{two}, and then decides when
the parts can be combined.  Consequently, if the arguments switch to
differently named @internalsref{Voice} contexts, the events in those
will be ignored.


@node Hiding staves
@subsection Hiding staves

@cindex Frenched scores
@cindex Hiding staves

In orchestral scores, staff lines that only have rests are usually
removed; this saves some space.  This style is called `French Score'.
For @internalsref{Lyrics},
@internalsref{ChordNames} and @internalsref{FiguredBass}, this is
switched on by default.  When the lines of these contexts turn out
empty after the line-breaking process, they are removed.

For normal staves, a specialized @internalsref{Staff} context is
available, which does the same: staves containing nothing (or only
multi-measure rests) are removed.  The context definition is stored in
@code{\RemoveEmptyStaffContext} variable.  Observe how the second staff
in this example disappears in the second line

@lilypond[quote,raggedright,verbatim]
\layout {
  \context { \RemoveEmptyStaffContext }
}

{
  \relative c' <<
    \new Staff { e4 f g a \break c1 }
    \new Staff { c4 d e f \break R1 }
  >>
}
@end lilypond

The first system shows all staves in full.  If empty staves should be
removed from the first system too, set @code{remove-first} to true in
@internalsref{RemoveEmptyVerticalGroup}.

@example
\override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
@end example

To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
or @code{\RemoveEmptyRhythmicStaffContext}.

Another application is making ossia sections, i.e., alternative
melodies on a separate piece of staff, with help of a Frenched
staff.  See @inputfileref{input/@/test,ossia@/.ly} for an example.


@node Quoting other voices
@subsection Quoting other voices

With quotations, fragments of other parts can be inserted into a part
directly.  Before a part can be quoted, it must be marked especially as
quotable.  This is done with the @code{\addquote} command.

@example
\addquote @var{name} @var{music}
@end example


@noindent
Here, @var{name} is an identifying string.  The @var{music} is any kind
of music.  Here is an example of @code{\addquote}

@example
\addquote clarinet \relative c' @{
  f4 fis g gis
@}
@end example

This command must be entered at toplevel, i.e., outside any music
blocks.

After calling @code{\addquote}, the quotation may then be done with
@code{\quoteDuring} or @code{\cueDuring},

@example
\quoteDuring #@var{name} @var{music}
@end example

During a part, a piece of music can be quoted with the @code{\quoteDuring}
command.

@example
\quoteDuring #"clarinet" @{ s2. @}
@end example

This would cite three quarter notes (the duration of @code{s2.})  of
the previously added @code{clarinet} voice.


More precisely, it takes the current time-step of the part being
printed, and extracts the notes at the corresponding point of the
@code{\addquote}d voice.  Therefore, the argument to @code{\addquote}
should be the entire part of the voice to be quoted, including any
rests at the beginning.

Quotations take into account the transposition of both source and target
instruments, if they are specified using the @code{\transposition} command.

@lilypond[quote,raggedright,verbatim]
\addquote clarinet \relative c' {
  \transposition bes
  f4 fis g gis
}

{
  e'8 f'8 \quoteDuring #"clarinet" { s2 }
}
@end lilypond

The type of events that are present in cue notes can be trimmed with
the @code{quotedEventTypes} property.  The default value is
@code{(note-event rest-event)}, which means that only notes and
rests of the cued voice end up in the @code{\quoteDuring}.
Setting

@example
\set Staff.quotedEventTypes =
       #'(note-event articulation-event dynamic-event)
@end example

@noindent
will quote notes (but no rests), together with scripts and dynamics.

@refbugs

Only the contents of the first @internalsref{Voice} occurring in an
@code{\addquote} command will be considered for quotation, so
@var{music} can not contain @code{\new} and @code{\context Voice}
statements that would switch to a different Voice.

Quoting grace notes is broken and can even cause LilyPond to crash.

@seealso

In this manual: @ref{Instrument transpositions}.

Examples: @inputfileref{input/@/regression,quote@/.ly}
@inputfileref{input/@/regression,quote@/-transposition@/.ly}

Program reference: @internalsref{QuoteMusic}.


@node Formatting cue notes
@subsection Formatting cue notes

The previous section deals with inserting notes from another voice.
There is a more advanced music function called @code{\cueDuring},
which makes formatting cue notes easier.

The syntax is

@example
  \cueDuring #@var{name} #@var{updown} @var{music}
@end example

This will insert notes from the part @var{name} into a
@internalsref{Voice} called @code{cue}.  This happens simultaneously
with @var{music}, which usually is a rest.  When the cue notes start,
the staff in effect becomes polyphonic for a moment.  The argument
@var{updown} determines whether the cue notes should be notated as a
first or second voice.


@lilypond[verbatim,raggedright]
smaller = {
  \set fontSize = #-2
  \override Stem #'length = #5.5
  \override Beam #'thickness = #0.384
  \override Beam #'space-function =
    #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
}

\addquote clarinet \relative {
  R1*20
  r2 r8 c f f
} 

\new Staff \relative  <<

  % setup a context for  cue  notes.
  \context Voice = cue { \smaller \skip 1*21 }
  
  \set Score.skipBars = ##t
  
  \new Voice {
    R1*20
    \cueDuring #"clarinet" #1 {
      R1
    }
    g4 g2. 
  }
>>
@end lilypond 


Here are a couple of hints for successful cue notes

@itemize @bullet
@item
Cue notes have smaller font sizes.
@item
 the cued part is marked with the instrument playing the cue.
@item
 when the original part takes over again, this should be marked with
 the name of the original instrument.

 @c really?  Are you sure about that last point?  I'll check after 3.0 -gp

@c Yes, this is good practice.  Otherwise, the start of the original
@c part can only be seen from the font size.  This is not good enough
@c for sight-reading.  It is possilbe to use other
@c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
@c finished.
@c -hwn


 any other changes introduced by the cued part should also be
undone.  For example, if the cued instrument plays in a different clef,
the original clef should be stated once again.

@end itemize


@node Aligning to cadenzas
@subsection Aligning to cadenzas

In an orchestral context, cadenzas present a special problem:
when constructing a score that includes a cadenza, all other
instruments should skip just as many notes as the length of the
cadenza, otherwise they will start too soon or too late.

A solution to this problem are the functions @code{mmrest-of-length}
and @code{skip-of-length}.  These Scheme functions take a piece of music
as argument, and generate a @code{\skip} or multi-rest, exactly as
long as the piece.  The use of @code{mmrest-of-length} is demonstrated
in the following example.

@lilypond[verbatim,raggedright,quote]
cadenza = \relative c' {
  c4 d8 << { e f g } \\ { d4. } >>
  g4 f2 g4 g
}

\new GrandStaff <<
  \new Staff { \cadenza c'4 }
  \new Staff {
    #(ly:export (mmrest-of-length cadenza))
    c'4
  }
>>
@end lilypond




@node Contemporary notation
@section Contemporary notation

In the 20th century, composers have greatly expanded the musical
vocabulary.  With this expansion, many innovations in musical notation
have been tried.  The book ``Music Notation in the 20th century'' by
Kurt Stone gives a comprehensive overview (see @ref{Literature
list}).  In general, the use of new, innovative notation makes a piece
harder to understand and perform and its use should therefore be
avoided.  For this reason, support for contemporary notation in
LilyPond is limited.


@menu
* Polymetric notation::         
* Clusters::                    
* Special fermatas::            
* Feathered beams::             
* Improvisation::               
@end menu

@node Polymetric notation
@subsection Polymetric notation

Double time signatures are not supported explicitly, but they can be
faked.  In the next example, the markup for the time signature is
created with a markup text.  This markup text is inserted in the
@internalsref{TimeSignature} grob.

@lilypond[verbatim,raggedright]
% create 2/4 + 5/8
tsMarkup =\markup {
  \number {
    \column { "2" "4" }
    \musicglyph #"scripts.stopped"
    \bracket \column { "5" "8" }
  }
}

{
  \override Staff.TimeSignature #'print-function = #Text_interface::print
  \override Staff.TimeSignature #'text = #tsMarkup
  \time 3/2
  c'2 \bar ":" c'4 c'4.
}
@end lilypond

Each staff can also have its own time signature.  This is done by
moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
context.

@example
\layout @{
  \context @{ \Score \remove "Timing_engraver" @}
  \context @{ \Staff \consists "Timing_engraver" @}
@}
@end example


Now, each staff has its own time signature.
@example
<<
  \new Staff @{
    \time 3/4
    c4 c c | c c c |
  @}
  \new Staff @{
    \time 2/4
    c4 c | c c | c c
  @}
  \new Staff @{
    \time 3/8
    c4. c8 c c c4. c8 c c
  @}
>>
@end example

@lilypond[quote,raggedright]
\layout{
  \context{ \Score \remove "Timing_engraver" }
  \context{ \Staff \consists "Timing_engraver" }
}

\relative c' <<
  \new Staff {
    \time 3/4
    c4 c c | c c c |
  }
  \new Staff {
    \time 2/4
    c4 c | c c | c c
  }
  \new Staff {
    \time 3/8
    c4. c8 c c c4. c8 c c
  }
>>
@end lilypond


A different form of polymetric notation is where note lengths have
different values across staves.

This notation can be created by setting a common time signature for
each staff but replacing it manually using
@code{timeSignatureFraction} to the desired fraction.  Then the printed
durations in each staff are scaled to the common time signature.
The latter is done with @code{\compressmusic}, which is similar to
@code{\times}, but does not create a tuplet bracket.


In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
used in parallel.  In the second staff, shown durations are multiplied by
2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
multiplied by 3/5, so that 3/5 * 10/8 = 3/4.

@lilypond[quote,raggedright,verbatim,fragment]
\relative c' { <<
  \new Staff {
    \time 3/4
    c4 c c | c c c |
  }
  \new Staff {
    \time 3/4
    \set Staff.timeSignatureFraction = #'(9 . 8)
    \compressmusic #'(2 . 3)
      \repeat unfold 6 { c8[ c c] }
  }
  \new Staff {
    \time 3/4
    \set Staff.timeSignatureFraction = #'(10 . 8)
    \compressmusic #'(3 . 5) {
      \repeat unfold 2 { c8[ c c] }
      \repeat unfold 2 { c8[ c] }
      | c4. c4. \times 2/3 { c8 c c } c4
    }
  }
>> }
@end lilypond




@refbugs

When using different time signatures in parallel, the spacing is
aligned vertically, but bar lines distort the regular spacing.



@node Clusters
@subsection Clusters

@cindex cluster

A cluster indicates a continuous range of pitches to be played.  They
can be denoted as the envelope of a set of notes.  They are entered by
applying the function @code{makeClusters} to a sequence of
chords, e.g.,
@lilypond[quote,raggedright,relative=2,fragment,verbatim]
\makeClusters { <c e > <b f'> }
@end lilypond

The following example (from
@inputfileref{input/@/regression,cluster@/.ly}) shows what the result
looks like

@lilypondfile[raggedright,quote]{cluster.ly}

Ordinary notes and clusters can be put together in the same staff,
even simultaneously.  In such a case no attempt is made to
automatically avoid collisions between ordinary notes and clusters.

@seealso

Program reference: @internalsref{ClusterSpanner},
@internalsref{ClusterSpannerBeacon},
@internalsref{Cluster_spanner_engraver}, and
@internalsref{ClusterNoteEvent}.

Examples: @inputfileref{input/@/regression,cluster@/.ly}.

@refbugs

Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
accurately.  Use @code{<g a>8 <e a>8} instead.



@node Special fermatas
@subsection Special fermatas

@cindex fermatas, special

In contemporary music notation, special fermata symbols denote breaks
of differing lengths.  The following fermatas are supported

@lilypond[quote,raggedright]
<<
  \oldaddlyrics {
    b'2
    ^\shortfermata
    _\shortfermata
    r

    b'
    ^\fermata
    _\fermata
    r

    b'
    ^\longfermata
    _\longfermata
    r

    b'
    ^\verylongfermata
    _\verylongfermata
    r
  }
  \context Lyrics \lyricmode {
    \override LyricText #'font-family = #'typewriter
    "shortfermata" "fermata" "longfermata" "verylongfermata"
  }
>>
@end lilypond

See @ref{Articulations} for general instructions how to apply scripts
such as fermatas to notes.

@node Feathered beams
@subsection Feathered beams

Feathered beams are not supported natively, but they can be faked by
forcing two beams to overlap.  Here is an example,

@c don't change relative setting witout changing positions!
@lilypond[raggedright,relative=1,fragment,verbatim]
\new Staff <<
  \new Voice
  {
    \stemUp
    \once \override Voice.Beam #'positions = #'(0 . 0.5)
    c8[ c c c c ]
  }
  \new Voice {
    \stemUp
    \once \override Voice.Beam #'positions = #'(0 . -0.5)
    c[ c c c c]
  }
>>
@end lilypond


@node Improvisation
@subsection Improvisation

Improvisation is sometimes denoted with slashed note heads.  Such note
heads can be created by adding a @internalsref{Pitch_squash_engraver}
to the @internalsref{Staff} or @internalsref{Voice} context.  Then, the
following command

@example
\set squashedPosition = #0
\override NoteHead #'style = #'slash
@end example

@noindent
switches on the slashes.

There are shortcuts @code{\improvisationOn} (and an accompanying
@code{\improvisationOff}) for this command sequence.  They are used in
the following example

@lilypond[verbatim,raggedright,quote]
\new Staff \with {
  \consists Pitch_squash_engraver
} \transpose c c' {
  e8 e g a a16(bes)(a8) g \improvisationOn
  e8
  ~e2~e8 f4 fis8
  ~fis2 \improvisationOff a16(bes) a8 g e
}
@end lilypond


@node Educational use
@section Educational use

With the amount of control that LilyPond offers, one can make great
teaching tools in addition to great musical scores.

@menu
* Balloon help::                
* Blank music sheet::           
* Hidden notes::                
* Shaped note heads ::          
* Easy Notation note heads::    
* Analysis brackets::           
* Coloring objects::            
@end menu

@node Balloon help
@subsection Balloon help

Elements of notation can be marked and named with the help of a square
balloon.  The primary purpose of this feature is to explain notation.

The following example demonstrates its use.

@lilypond[quote,verbatim,fragment,raggedright,relative=2]
\context Voice {
  \applyoutput
    #(add-balloon-text 'NoteHead "heads, or tails?"
    '(1 . -3))
  c8
}
@end lilypond

@noindent
The function @code{add-balloon-text} takes the name of a grob, the
label to print, and the position where to put the label relative to
the object.  In the above example, the text ``heads or tails?'' ends
3 spaces below and 1 space to the right of the marked head.

@cindex balloon
@cindex notation, explaining

@seealso

Program reference: @internalsref{text-balloon-interface}.

Examples: @inputfileref{input/@/regression,balloon@/.ly}.




@node Blank music sheet
@subsection Blank music sheet

A blank music sheet can be produced also by using invisible notes, and
removing @code{Bar_number_engraver}.


@lilypond[quote,verbatim]
emptymusic = {
  \repeat unfold 2 % Change this for more lines.
  { s1\break }
  \bar "|."
}
\new Score \with {
  \override TimeSignature #'transparent = ##t
  defaultBarType = #""
  \remove Bar_number_engraver
} <<
  \context Staff \emptymusic
  \context TabStaff \emptymusic
>>
@end lilypond


@node Hidden notes
@subsection Hidden notes

@cindex Hidden notes
@cindex Invisible notes
@cindex Transparent notes

@cindex @code{\hideNotes}
@cindex @code{\unHideNotes}
Hidden (or invisible or transparent) notes can be useful in preparing theory
or composition exercises.

@lilypond[quote,raggedright,verbatim,relative=2,fragment]
c4 d4
\hideNotes
e4 f4
\unHideNotes
g4 a
@end lilypond

Hidden notes are also great for performing weird tricks.  For example,
slurs cannot be attached to rests or spacer rests, but you may wish
to include that in your score -- string instruments use this notation
when doing pizzicato to indicate that the note should ring for as long
as possible.

@lilypond[quote,raggedright,verbatim,relative=0,fragment]
\clef bass
<< {
  c4^"pizz"( \hideNotes c)
  \unHideNotes c( \hideNotes c)
} {
  s4 r s r
} >>
@end lilypond


@node Shaped note heads 
@subsection Shaped note heads 

In shaped note head notation, the shape of the note head corresponds
to the harmonic function of a note in the scale.  This notation was
popular in the 19th century American song books.

Shaped note heads can be produced by setting @code{\aikenHeads} or
@code{\sacredHarpHeads}, depending on the style desired.

@lilypond[verbatim,relative=1,fragment]
  \aikenHeads
  c8 d4 e8 a2 g1
  \sacredHarpHeads
  c8 d4. e8 a2 g1
@end lilypond

Shapes are determined on the step in the scale, where the base of the
scale is determined by  the @code{\key} command

@findex \key
@findex shapeNoteStyles
@findex \aikenHeads
@findex \sacredHarpHeads

Shaped note heads are implemented through the @code{shapeNoteStyles}
property.  Its value is a vector of symbols.  The k-th element indicates
the style to use for the k-th step of the scale.  Arbitrary
combinations are possible, eg.,


@lilypond[verbatim,relative=1,fragment]
  \set shapeNoteStyles  = ##(cross triangle fa #f mensural xcircle diamond)
  c8 d4. e8 a2 g1
@end lilypond


@node Easy Notation note heads
@subsection Easy Notation note heads

@cindex easy notation
@cindex Hal Leonard

The `easy play' note head includes a note name inside the head.  It is
used in music for beginners

@lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
  \setEasyHeads
  c'2 e'4 f' | g'1
@end lilypond

The command @code{\setEasyHeads} overrides settings for the
@internalsref{NoteHead} object.  To make the letters readable, it has
to be printed in a large font size.  To print with a larger font, see
@ref{Setting global staff size}.

@refcommands

@cindex @code{\setEasyHeads}
@code{\setEasyHeads}


@node Analysis brackets
@subsection Analysis brackets
@cindex brackets
@cindex phrasing brackets
@cindex musicological analysis
@cindex note grouping bracket

Brackets are used in musical analysis to indicate structure in musical
pieces.  LilyPond supports a simple form of nested horizontal
brackets.  To use this, add the @internalsref{Horizontal_bracket_engraver}
to @internalsref{Staff} context.  A bracket is started with
@code{\startGroup} and closed with @code{\stopGroup}

@lilypond[quote,raggedright,verbatim]
\score {
  \relative c'' {
    c4\startGroup\startGroup
    c4\stopGroup
    c4\startGroup
    c4\stopGroup\stopGroup
  }
  \layout {
    \context {
      \Staff \consists "Horizontal_bracket_engraver"
}}}
@end lilypond

@seealso

Program reference: @internalsref{HorizontalBracket},
@internalsref{NoteGroupingEvent}.

Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.



@ignore

I don't think we need this info.

@n ode Stems
@s ubsection Stems

Whenever a note is found, a @internalsref{Stem} object is created
automatically.  For whole notes and rests, they are also created but
made invisible.

@refcommands

@cindex @code{\stemUp}
@code{\stemUp},
@cindex @code{\stemDown}
@code{\stemDown},
@cindex @code{\stemNeutral}
@code{\stemNeutral}.

@end ignore




@ignore

FIXME:  We don't need this section.  It will be moved into LSR as soon
as the safe mode stuff is worked out.

@n ode Controlling formatting of prefatory matter
@s ubsection Controlling formatting of prefatory matter

@c  This section will be moved to somewhere else soon. -gp
This example demonstrates how to place prefatory matter
(such as the clef and key signature) at the end of a line.

@lilypond[quote,verbatim]
\transpose c c' {
  \override Staff.Clef
    #'break-visibility = #end-of-line-visible
  \override Staff.KeySignature
    #'break-visibility = #end-of-line-visible
  \set Staff.explicitClefVisibility = #end-of-line-visible
  \set Staff.explicitKeySignatureVisibility = #end-of-line-visible

  % We want the time sig to take space, otherwise there is not
  % enough white at the start of the line.

  \override Staff.TimeSignature #'transparent = ##t
  \set Score.defaultBarType = #"empty"

  c1 d e f g a b c
  \key d \major
  \break

  % see above.
  \time 4/4

  d e fis g a b cis d
  \key g \major
  \break
  \time 4/4
}
@end lilypond

@end ignore


@node Coloring objects
@subsection Coloring objects

@c FIXME: need link to missing list of colors
Individual objects may be assigned colors.  You may use color names
listed HERE

@lilypond[quote,raggedright,verbatim,fragment]
\override NoteHead #'color = #red
c4 c
\override NoteHead #'color = #(x11-color 'LimeGreen)
d
\override Stem #'color = #blue
e
@end lilypond

The full range of colors defined for X11 can be accessed by using the
scheme function x11-color.  The function takes one argument that can be a
symbol

@example
\override Beam #'color = #(x11-color 'MediumTurquoise)
@end example

or a string

@example
\override Beam #'color = #(x11-color "MediumTurquoise")
@end example

The first form is quicker to write and is more efficient.  However, using
the second form it is possible to access X11 colors by the multi-word
form of its name

@example
\override Beam #'color = #(x11-color "medium turquoise")
@end example

If x11-color cannot make sense of the parameter then the color returned
defaults to black.  It should be obvious from the final score that
something is wrong.

This example, illustrates the use of x11-color.  Notice that the stem
color remains black after being set to (x11-color 'Boggle), which is
deliberate nonsense.

@lilypond[quote,raggedright,verbatim]
{
  \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
  \set Staff.instrument = \markup {
    \with-color #(x11-color 'navy) "Clarinet"
  }
  \time 2/4
  gis''8 a''
  \override Beam #'color = #(x11-color "medium turquoise")
  gis'' a''
  \override NoteHead #'color = #(x11-color "LimeGreen")
  gis'' a''
  \override Stem #'color = #(x11-color 'Boggle)
  gis'' a''
}
@end lilypond


@refbugs
Not all x11 colors are distinguishable in a web browser.  For web use
normal colors are recommended. 

An x11 color is not necessarily exactly the same shade as a similarly
named normal color. 


@seealso

COLORLIST


@node Automatic notation
@section Automatic notation

This section describes how to change the way that accidentals and
beams are automatically displayed.

FIXME: this might get moved into Changing Defaults.  Please send
opinions to lilypond-devel.  Thanks!  :)

@menu
* Automatic accidentals::       
* Setting automatic beam behavior::  
* Beam formatting::             
@end menu

@node Automatic accidentals
@subsection Automatic accidentals
@cindex Automatic accidentals

Common rules for typesetting accidentals have been placed in a
function.  This function is called as follows

@cindex @code{set-accidental-style}
@example
#(set-accidental-style 'STYLE #('CONTEXT#))
@end example

The function can take two arguments: the name of the accidental style,
and an optional argument that denotes the context that should be
changed.  If no context name is supplied, @code{Staff} is the default,
but you may wish to apply the accidental style to a single @code{Voice}
instead.

The following accidental styles are supported
@table @code
@item default
This is the default typesetting behavior.  It corresponds
to 18th century common practice: Accidentals are
remembered to the end of the measure in which they occur and
only on their own octave.

@item voice
The normal behavior is to remember the accidentals on
Staff-level.  This variable, however, typesets accidentals
individually for each voice.  Apart from that, the rule is similar to
@code{default}.

As a result, accidentals from one voice do not get canceled in other
voices, which is often an unwanted result

@lilypond[quote,raggedright,relative=1,fragment,verbatim]
\context Staff <<
  #(set-accidental-style 'voice)
  <<
    { es g } \\
    { c, e }
>> >>
@end lilypond

The @code{voice} option should be used if the voices
are to be read solely by individual musicians.  If the staff is to be
used by one musician (e.g., a conductor) then
@code{modern} or @code{modern-cautionary}
should be used instead.

@item modern
@cindex @code{modern} style accidentals
This rule corresponds to the common practice in the 20th century.  This rule
prints the same accidentals as @code{default}, but temporary
accidentals also are canceled in other octaves.  Furthermore,
in the same octave, they also get canceled in the following
measure

@lilypond[quote,raggedright,fragment,verbatim]
#(set-accidental-style 'modern)
cis' c'' cis'2 | c'' c'
@end lilypond

@item @code{modern-cautionary}
@cindex @code{modern-cautionary}
This rule is similar to @code{modern}, but the ``extra'' accidentals
(the ones not typeset by @code{default}) are typeset as cautionary
accidentals.  They are printed in reduced size or with parentheses
@lilypond[quote,raggedright,fragment,verbatim]
#(set-accidental-style 'modern-cautionary)
cis' c'' cis'2 | c'' c'
@end lilypond

@cindex @code{modern-voice}
@item modern-voice
This rule is used for multivoice accidentals to be read both by musicians
playing one voice and musicians playing all voices.  Accidentals are
typeset for each voice, but they @emph{are} canceled across voices in
the same @internalsref{Staff}.

@cindex @code{modern-voice-cautionary}
@item modern-voice-cautionary
This rule is the same as @code{modern-voice}, but with the extra
accidentals (the ones not typeset by @code{voice}) typeset
as cautionaries.  Even though all accidentals typeset by
@code{default} @emph{are} typeset by this variable,
some of them are typeset as cautionaries.

@item piano
@cindex @code{piano} accidentals
This rule reflects 20th century practice for piano notation.  Very similar to
@code{modern} but accidentals also get canceled
across the staves in the same @internalsref{GrandStaff} or
@internalsref{PianoStaff}.

@item piano-cautionary
@cindex @code{#(set-accidental-style 'piano-cautionary)}
Same as @code{#(set-accidental-style 'piano)} but with the extra
accidentals typeset as cautionaries.

@item no-reset
@cindex @code{no-reset} accidental style
This is the same as @code{default} but with accidentals lasting
``forever'' and not only until the next measure
@lilypond[quote,raggedright,fragment,verbatim,relative=1]
#(set-accidental-style 'no-reset)
c1 cis cis c
@end lilypond

@item forget
This is sort of the opposite of @code{no-reset}: Accidentals
are not remembered at all---and hence all accidentals are
typeset relative to the key signature, regardless of what was
before in the music

@lilypond[quote,raggedright,fragment,verbatim,relative=1]
#(set-accidental-style 'forget)
\key d\major c4 c cis cis d d dis dis
@end lilypond
@end table


@seealso

Program reference: @internalsref{Accidental_engraver},
@internalsref{Accidental}, and @internalsref{AccidentalPlacement}.


@refbugs

Simultaneous notes are considered to be entered in sequential
mode.  This means that in a chord the accidentals are typeset as if the
notes in the chord happened once at a time - in the order in which
they appear in the input file.

This is a problem when accidentals in a chord depend on each other,
which does not happen for the default accidental style.  The problem
can be solved by manually inserting @code{!} and @code{?} for the
problematic notes.


@node Setting automatic beam behavior
@subsection Setting automatic beam behavior

@cindex @code{autoBeamSettings}
@cindex @code{(end * * * *)}
@cindex @code{(begin * * * *)}
@cindex automatic beams, tuning
@cindex tuning automatic beaming

@c [TODO: use \applycontext]

In normal time signatures, automatic beams can start on any note but can
only end in a few positions within the measure: beams can end on a beat,
or at durations specified by the properties in
@code{autoBeamSettings}.  The defaults for @code{autoBeamSettings}
are defined in @file{scm/@/auto@/-beam@/.scm}.

The value of @code{autoBeamSettings} is changed with three functions,
@example
#(override-auto-beam-setting
   '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
   [@var{context}])
#(score-override-auto-beam-setting
   '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
#(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
   [@var{context}])
@end example
Here, @var{be} is the symbol @code{begin} or @code{end}, and
@var{context} is an optional context (default: @code{'Voice}).  It
determines whether the rule applies to begin or end-points.  The
quantity @var{p}/@var{q} refers to the length of the beamed notes (and
`@code{* *}' designates notes of any length), @var{n}/@var{M} refers
to a time signature (wildcards `@code{* *}' may be entered to
designate all time signatures), @var{a}/@var{b} is a duration.  By
default, this command changes settings for the current voice.  It is
also possible to adjust settings at higher contexts, by adding a
@var{context} argument.  @code{score-override-auto-beam-setting} is
equal to @code{override-auto-beam-setting} with the argument
@var{context} set to @code{'Score}.

For example, if automatic beams should end on the first quarter note, use
the following
@example
#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
@end example
Since the duration of a quarter note is 1/4 of a whole note, it is
entered as @code{(ly:make-moment 1 4)}.

If automatic beams should end on every quarter in 5/4 time, specify
all endings
@example
#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
#(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
#(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
#(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
@dots{}
@end example

The same syntax can be used to specify beam starting points.  In this
example, automatic beams can only end on a dotted quarter note
@example
#(override-auto-beam-setting '(end * * * *) 3 8)
#(override-auto-beam-setting '(end * * * *) 1 2)
#(override-auto-beam-setting '(end * * * *) 7 8)
@end example
In 4/4 time signature, this means that automatic beams could end only on
3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
3/8, has passed within the measure).

Rules can also be restricted to specific time signatures.  A rule that
should only be applied in @var{N}/@var{M} time signature is formed by
replacing the second asterisks by @var{N} and @var{M}.  For example, a
rule for 6/8 time exclusively looks like
@example
#(override-auto-beam-setting '(begin * * 6 8) @dots{})
@end example

If a rule should be to applied only to certain types of beams, use the
first pair of asterisks.  Beams are classified according to the
shortest note they contain.  For a beam ending rule that only applies
to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
*)}.

@cindex automatic beam generation
@cindex autobeam
@cindex @code{autoBeaming}
@cindex lyrics

If beams are used to indicate melismata in songs, then automatic
beaming should be switched off.  This is done by setting
@code{autoBeaming} to @code{#f}.

@refcommands

@cindex @code{\autoBeamOff}
@code{\autoBeamOff},
@cindex @code{\autoBeamOn}
@code{\autoBeamOn}.


@refbugs

If a score ends while an automatic beam has not been ended and is
still accepting notes, this last beam will not be typeset at all.  The
same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
>>}.  If a polyphonic voice ends while an automatic beam is still
accepting notes, it is not typeset.

@node Beam formatting
@subsection Beam formatting

When a beam falls in the middle of the staff, the beams point normally
down.  However, this behaviour can be altered with the
@code{neutral-direction} property.

@lilypond[quote,raggedright,relative=2,fragment,verbatim]
{
  b8[ b]
  \override Beam #'neutral-direction = #-1
  b[ b]
  \override Beam #'neutral-direction = #1
  b[ b]
}
@end lilypond