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::
20 * Automatic notation::
28 This section explains how to include text (with various formatting) in
31 @cindex Text, other languages
32 To write non-ascii text (such as characters from other languages), simply
33 insert the characters directly into the lilypond file. The file must be
34 saved as UTF-8. For more information, see @ref{Text encoding}.
42 * Overview of text markup commands::
49 @subsection Text scripts
52 @cindex text items, non-empty
53 @cindex non-empty texts
55 It is possible to place arbitrary strings of text or @ref{Text markup}
56 above or below notes by using a string @code{c^"text"}. By default,
57 these indications do not influence the note spacing, but by using the
58 command @code{\fatText}, the widths will be taken into account
60 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
61 c4^"longtext" \fatText c4_"longlongtext" c4
64 More complex formatting may also be added to a note by using the
66 @lilypond[fragment,ragged-right,verbatim,quote]
67 c'4^\markup { bla \bold bla }
70 The @code{\markup} is described in more detail in
76 @cindex @code{\fatText}
78 @cindex @code{\emptyText}
84 Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
87 \override Score.PaperColumn #'keep-inside-line = ##t
93 In this manual: @ref{Text markup}.
95 Program reference: @internalsref{TextScript}.
99 @subsection Text spanners
101 @cindex Text spanners
103 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
104 are written as text and are extended over many measures with dotted
105 lines. Such texts are created using text spanners; attach
106 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
107 notes of the spanner.
109 The string to be printed, as well as the style, is set through object
112 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
115 \override TextSpanner #'edge-text = #'("rall " . "")
116 c2\startTextSpan b c\stopTextSpan a
119 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
120 c2\startTextSpan b c\stopTextSpan a
125 @cindex textSpannerUp
126 @code{textSpannerUp},
127 @cindex textSpannerDown
128 @code{textSpannerDown},
129 @cindex textSpannerNeutral
130 @code{textSpannerNeutral}.
135 Program reference: @internalsref{TextSpanner}.
137 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
141 @subsection Text marks
143 @cindex coda on bar line
144 @cindex segno on bar line
145 @cindex fermata on bar line
146 @cindex bar lines, symbols on
149 The @code{\mark} command is primarily used for
150 @ref{Rehearsal marks},
151 but it can also be used to put signs like coda,
152 segno, and fermata on a bar line. Use @code{\markup} to
153 access the appropriate symbol
155 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
156 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
161 @code{\mark} is only typeset above the top stave of the score. If
162 you specify the @code{\mark} command at a bar line, the resulting
163 mark is placed above the bar line. If you specify it in the middle
164 of a bar, the resulting mark is positioned between notes. If it is
165 specified before the beginning of a score line, it is placed
166 before the first note of the line. Finally, if the mark occurs at
167 a line break, the mark will be printed at the
168 beginning of the next line.
169 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
170 @c delete this sentence. -gp
171 If there is no next line, then the mark will not be printed at all.
176 To print the mark at the end of the current line, use
179 \override Score.RehearsalMark
180 #'break-visibility = #begin-of-line-invisible
183 @code{\mark} is often useful for adding text to the end of bar. In
184 such cases, changing the @code{#'self-alignment} is very useful
186 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
187 \override Score.RehearsalMark
188 #'break-visibility = #begin-of-line-invisible
190 \once \override Score.RehearsalMark #'self-alignment-X = #right
191 \mark "D.S. al Fine "
194 Text marks may be aligned with notation objects other than
197 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
202 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
206 \override Score.RehearsalMark #'break-align-symbol = #'clef
210 \set Score.RehearsalMark #'break-align-symbol = #'time-signature
222 Program reference: @internalsref{RehearsalMark}.
226 @subsection Text markup
233 Use @code{\markup} to typeset text. Commands are entered with the
234 backslash @code{\}. To enter @code{\} and @code{#}, use double
237 @lilypond[quote,verbatim,fragment,relative=1]
239 c1_\markup { hi there }
240 c1^\markup { hi \bold there, is \italic anyone home? }
241 c1_\markup { "\special #characters" }
245 See @ref{Overview of text markup commands} for a list of all
248 @code{\markup} is primarily used for @internalsref{TextScript}s,
249 but it can also be used anywhere text is called in lilypond
251 @lilypond[quote,verbatim]
252 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
255 \override Score.RehearsalMark
256 #'break-visibility = #begin-of-line-invisible
257 \override Score.RehearsalMark #'self-alignment-X = #right
259 \set Staff.instrument = \markup{ \column{ Alto solo } }
260 c2^\markup{ don't be \flat }
261 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
263 a2\mark \markup{ \large \bold Fine }
267 \addlyrics { bar, foo \markup{ \italic bar! } }
271 Text can also be placed on its own, away from any @code{\score}
272 block. This is primarily used in a @code{\book} (see
273 @ref{Multiple movements}).
275 @lilypond[quote,ragged-right,verbatim]
276 \markup{ Here is some text. }
279 @cindex font switching
281 The markup in the example demonstrates font switching commands. The
282 command @code{\bold} and @code{\italic} apply to the first following
283 word only; to apply a command to more than one word, enclose the
287 \markup @{ \bold @{ hi there @} @}
291 For clarity, you can also do this for single arguments, e.g.,
294 \markup @{ is \italic @{ anyone @} home @}
297 In markup mode you can compose expressions, similar to mathematical
298 expressions, XML documents, and music expressions. You can stack
299 expressions grouped vertically with the command @code{\column}.
300 Similarly, @code{\center-align} aligns texts by their center lines:
302 @lilypond[quote,verbatim,fragment,relative=1]
303 c1^\markup { \column { a bbbb \line { c d } } }
304 c1^\markup { \center-align { a bbbb c } }
305 c1^\markup { \line { a b c } }
308 Lists with no previous command are not kept distinct. The expression
311 \center-align @{ @{ a b @} @{ c d @} @}
319 \center-align @{ a b c d @}
324 To keep lists of words distinct, please use quotes @code{"} or
325 the @code{\line} command
327 @lilypond[quote,verbatim,fragment,relative=1]
329 c4^\markup{ \center-align { on three lines } }
330 c4^\markup{ \center-align { "all one line" } }
331 c4^\markup{ \center-align { { on three lines } } }
332 c4^\markup{ \center-align { \line { on one line } } }
335 Markups can be stored in variables and these variables
336 may be attached to notes, like
338 allegro = \markup @{ \bold \large @{ Allegro @} @}
339 @{ a^\allegro b c d @}
342 Some objects have alignment procedures of their own, which cancel out
343 any effects of alignments applied to their markup arguments as a
344 whole. For example, the @internalsref{RehearsalMark} is horizontally
345 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
348 In addition, vertical placement is performed after creating the
349 text markup object. If you wish to move an entire piece of markup,
350 you need to use the #'padding property or create an "anchor" point
351 inside the markup (generally with @code{\hspace #0}).
353 @lilypond[quote,verbatim,fragment,relative=1]
355 c'4^\markup{ \raise #5 "not raised" }
356 \once \override TextScript #'padding = #3
357 c'4^\markup{ raised }
358 c'4^\markup{ \hspace #0 \raise #1.5 raised }
361 Some situations (such as dynamic marks) have preset font-related
362 properties. If you are creating text in such situations, it
363 is advisable to cancel those properties with
364 @code{normal-text}. See @ref{Overview of text markup commands}
370 This manual: @ref{Overview of text markup commands}.
372 Program reference: @internalsref{TextScript}.
374 Init files: @file{scm/@/new@/-markup@/.scm}.
379 Kerning or generation of ligatures is only done when the @TeX{}
380 backend is used. In this case, LilyPond does not account for them so
381 texts will be spaced slightly too wide.
383 Syntax errors for markup mode are confusing.
387 @subsection Nested scores
389 It is possible to nest music inside markups, by adding a @code{\score}
390 block to a markup expression. Such a score must contain a @code{\layout}
393 @lilypond[quote,verbatim,ragged-right]
397 \relative { c4 d e f }
406 @node Overview of text markup commands
407 @subsection Overview of text markup commands
409 The following commands can all be used inside @code{\markup @{ @}}.
411 @include markup-commands.tely
415 @subsection Font selection
417 @cindex font selection
418 @cindex font magnification
419 @cindex @code{font-interface}
421 By setting the object properties described below, you can select a
422 font from the preconfigured font families. LilyPond has default
423 support for the feta music fonts. Text fonts are selected through
424 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
425 the sans and typewriter to whatever the Pango installation defaults
430 @item @code{font-encoding}
431 is a symbol that sets layout of the glyphs. This should only be set to
432 select different types of non-text fonts, eg.
434 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
435 standard music font, including ancient glyphs, @code{fetaDynamic} for
436 dynamic signs and @code{fetaNumber} for the number font.
438 @item @code{font-family}
439 is a symbol indicating the general class of the typeface. Supported are
440 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
442 @item @code{font-shape}
443 is a symbol indicating the shape of the font. There are typically
444 several font shapes available for each font family. Choices are
445 @code{italic}, @code{caps}, and @code{upright}.
447 @item @code{font-series}
448 is a symbol indicating the series of the font. There are typically
449 several font series for each font family and shape. Choices are
450 @code{medium} and @code{bold}.
454 Fonts selected in the way sketched above come from a predefined style
455 sheet. If you want to use a font from outside the style sheet,
457 @code{font-name} property,
459 @lilypond[fragment,verbatim]
461 \override Staff.TimeSignature #'font-name = #"Charter"
462 \override Staff.TimeSignature #'font-size = #2
465 \override #'(font-name . "Vera Bold")
466 { This text is in Vera Bold }
472 Any font can be used, as long as it is available to Pango/FontConfig.
474 The size of the font may be set with the @code{font-size}
475 property. The resulting size is taken relative to the
476 @code{text-font-size} as defined in the @code{\paper} block.
479 @cindex font magnification
482 It is also possible to change the default font family for the entire
483 document. This is done by calling the @code{make-pango-font-tree} from
484 within the @code{\paper} block. The function takes names for the font
485 families to use for roman, sans serif and monospaced text. For
488 @cindex font families, setting
497 (make-pango-font-tree "Times New Roman"
504 c'^\markup { roman: foo \sans bla \typewriter bar }
508 @c we don't do Helvetica / Courier, since GS incorrectly loads
515 Examples: @file{ly/@/font@/-family@/-override.ly}
518 @node New dynamic marks
519 @subsection New dynamic marks
521 It is possible to print new dynamic marks or text that should be aligned
522 with dynamics. Use @code{make-dynamic-script} to create these marks.
524 @cindex make-dynamic-script
526 @lilypond[quote,verbatim,ragged-right]
527 sfzp = #(make-dynamic-script "sfzp")
533 @cindex Dynamics, editorial
534 @cindex Dynamics, parenthesis
536 It is also possible to print dynamics in round parenthesis or square
537 brackets. These are often used for adding editorial dynamics.
539 @lilypond[quote,verbatim,ragged-right]
540 rndf = \markup{ \center-align {\line { \bold{\italic (}
541 \dynamic f \bold{\italic )} }} }
542 boxf = \markup{ \bracket { \dynamic f } }
543 { c'1_\rndf c'1_\boxf }
548 @node Preparing parts
549 @section Preparing parts
551 This section describes various notation that are useful for preparing
555 * Multi measure rests::
560 * Instrument transpositions::
562 * Different editions from one source::
566 @node Multi measure rests
567 @subsection Multi measure rests
569 @cindex multi measure rests
570 @cindex full measure rests
571 @cindex Rests, multi measure
572 @cindex Rests, full measure
573 @cindex whole rests for a full measure
576 Rests for one full measure (or many bars) are entered using `@code{R}'. It
577 is specifically meant for full bar rests and for entering parts: the rest
578 can expand to fill a score with rests, or it can be printed as a single
579 multi-measure rest. This expansion is controlled by the property
580 @code{Score.skipBars}. If this is set to true, empty measures will not
581 be expanded, and the appropriate number is added automatically
583 @lilypond[quote,ragged-right,fragment,verbatim]
584 \time 4/4 r1 | R1 | R1*2
585 \set Score.skipBars = ##t R1*17 R1*4
588 The @code{1} in @code{R1} is similar to the duration notation used for
589 notes. Hence, for time signatures other than 4/4, you must enter other
590 durations. This can be done with augmentation dots or fractions
592 @lilypond[quote,ragged-right,fragment,verbatim]
593 \set Score.skipBars = ##t
602 An @code{R} spanning a single measure is printed as either a whole rest
603 or a breve, centered in the measure regardless of the time signature.
605 If there are only a few measures of rest, LilyPond prints ``church rests''
606 (a series of rectangles) in the staff. To replace that with a simple
607 rest, use @code{MultiMeasureRest.expand-limit}.
609 @lilypond[quote,ragged-right,fragment,verbatim]
610 \set Score.skipBars = ##t
612 \override MultiMeasureRest #'expand-limit = 1
616 @cindex text on multi-measure rest
617 @cindex script on multi-measure rest
618 @cindex fermata on multi-measure rest
620 Texts can be added to multi-measure rests by using the
621 @var{note}-@code{markup} syntax @ref{Text markup}.
622 A variable (@code{\fermataMarkup}) is provided for
625 @lilypond[quote,ragged-right,verbatim,fragment]
626 \set Score.skipBars = ##t
628 R2.*10^\markup { \italic "ad lib." }
632 Warning! This text is created by @code{MultiMeasureRestText}, not
635 @lilypond[quote,ragged-right,verbatim,fragment]
636 \override TextScript #'padding = #5
638 \override MultiMeasureRestText #'padding = #5
642 If you want to have text on the left end of a multi-measure rest,
643 attach the text to a zero-length skip note, i.e.,
653 Program reference: @internalsref{MultiMeasureRestMusicGroup},
654 @internalsref{MultiMeasureRest}.
656 The layout object @internalsref{MultiMeasureRestNumber} is for the
657 default number, and @internalsref{MultiMeasureRestText} for user
663 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
664 over multi-measure rests. And the pitch of multi-measure rests (or
665 staff-centered rests) can not be influenced.
667 @cindex condensing rests
669 There is no way to automatically condense multiple rests into a single
670 multi-measure rest. Multi-measure rests do not take part in rest
673 Be careful when entering multi-measure rests followed by whole
674 notes. The following will enter two notes lasting four measures each
678 When @code{skipBars} is set, the result will look OK, but the bar
679 numbering will be off.
682 @node Metronome marks
683 @subsection Metronome marks
686 @cindex beats per minute
687 @cindex metronome marking
689 Metronome settings can be entered as follows
691 \tempo @var{duration} = @var{per-minute}
694 In the MIDI output, they are interpreted as a tempo change. In the
695 layout output, a metronome marking is printed
696 @cindex @code{\tempo}
697 @lilypond[quote,ragged-right,verbatim,fragment]
704 To change the tempo in the MIDI output without printing anything, make
705 the metronome marking invisible
707 \once \override Score.MetronomeMark #'transparent = ##t
710 To print other metronome markings, use these markup commands
711 @lilypond[quote,ragged-right,verbatim,relative,fragment]
714 \smaller \general-align #Y #DOWN \note #"16." #1
716 \smaller \general-align #Y #DOWN \note #"8" #1
721 See @ref{Text markup} for more details.
726 Program reference: @internalsref{MetronomeMark}.
731 Collisions are not checked. If you have notes above the top line of
732 the staff (or notes with articulations, slurs, text, etc), then the
733 metronome marking may be printed on top of musical symbols. If this
734 occurs, increase the padding of the metronome mark to place it
735 further away from the staff.
738 \override Score.MetronomeMark #'padding = #2.5
742 @node Rehearsal marks
743 @subsection Rehearsal marks
745 @cindex Rehearsal marks
748 To print a rehearsal mark, use the @code{\mark} command
750 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
759 The letter@tie{}`I' is skipped in accordance with engraving traditions.
760 If you wish to include the letter `I', then use
763 \set Score.markFormatter = #format-mark-alphabet
766 The mark is incremented automatically if you use @code{\mark
767 \default}, but you can also use an integer argument to set the mark
768 manually. The value to use is stored in the property
769 @code{rehearsalMark}.
771 The style is defined by the property @code{markFormatter}. It is a
772 function taking the current mark (an integer) and the current context
773 as argument. It should return a markup object. In the following
774 example, @code{markFormatter} is set to a canned procedure. After a
775 few measures, it is set to function that produces a boxed number.
777 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
778 \set Score.markFormatter = #format-mark-numbers
781 \set Score.markFormatter = #format-mark-box-numbers
787 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
788 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
789 @code{format-mark-letters} and @code{format-mark-box-letters}.
790 These can be used as inspiration for other formatting functions.
792 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
793 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
794 incremented numbers or letters.
799 Program reference: @internalsref{RehearsalMark}.
801 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
802 definition of @code{format-mark-numbers} and
803 @code{format-mark-letters}. They can be used as inspiration for other
804 formatting functions.
806 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
808 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
812 @subsection Bar numbers
815 @cindex measure numbers
816 @cindex @code{currentBarNumber}
818 Bar numbers are printed by default at the start of the line. The
819 number itself is stored in the @code{currentBarNumber} property, which
820 is normally updated automatically for every measure.
822 Bar numbers can be typeset at regular intervals instead of at the
823 beginning of each line. This is illustrated in the following example,
824 whose source is available as
825 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
827 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
829 Bar numbers can be typeset manually by tweaking the
830 @code{markFormatter} property
832 @lilypond[verbatim,ragged-right,quote]
834 \set Score.markFormatter
835 = #(lambda (mark context)
838 (number->string (ly:context-property context
839 'currentBarNumber)))))
841 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
845 Bar numbers can be manually changed by setting the
846 @code{Staff.currentBarNumber} property
848 @lilypond[verbatim,ragged-right,quote]
850 \repeat unfold 4 {c4 c c c} \break
851 \set Score.currentBarNumber = #50
852 \repeat unfold 4 {c4 c c c}
856 Bar numbers can be removed entirely by removing the Bar number
857 engraver from the score.
859 @lilypond[verbatim,ragged-right,quote,relative=2]
863 \remove "Bar_number_engraver"
875 Program reference: @internalsref{BarNumber}.
878 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
879 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
884 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
885 there is one at the top. To solve this, the
886 @code{padding} property of @internalsref{BarNumber} can be
887 used to position the number correctly.
890 @node Instrument names
891 @subsection Instrument names
893 In an orchestral score, instrument names are printed at the left side
896 This can be achieved by setting @internalsref{Staff}.@code{instrument}
897 and @internalsref{Staff}.@code{instr}. This will print a string before
898 the start of the staff. For the first staff, @code{instrument} is
899 used, for the following ones, @code{instr} is used.
901 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
902 \set Staff.instrument = "Ploink "
903 \set Staff.instr = "Plk "
909 You can also use markup texts to construct more complicated instrument
912 @lilypond[quote,fragment,verbatim,ragged-right]
913 \set Staff.instrument = \markup {
914 \column { "Clarinetti"
915 \line { "in B" \smaller \flat } } }
919 If you wish to center the instrument names, you must center all of them
921 @lilypond[quote,verbatim,ragged-right]
924 \set Staff.instrument = \markup {
925 \center-align { "Clarinetti"
926 \line { "in B" \smaller \flat } } }
930 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
937 For longer instrument names, it may be useful to increase the
938 @code{indent} setting in the @code{\layout} block.
942 Program reference: @internalsref{InstrumentName}.
946 When you put a name on a grand staff or piano staff, the width of the
947 brace is not taken into account. The following property setting can be
948 used to move the instrument names to the left, in such situations.
951 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
955 @node Instrument transpositions
956 @subsection Instrument transpositions
958 @cindex transposition, MIDI
959 @cindex transposition, instrument
961 The key of a transposing instrument can also be specified. This
962 applies to many wind instruments, for example, clarinets (B-flat, A, and
963 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
965 The transposition is entered after the keyword @code{\transposition}
968 \transposition bes %% B-flat clarinet
972 This command sets the property @code{instrumentTransposition}. The value of
973 this property is used for MIDI output and quotations. It does not
974 affect how notes are printed in the current staff. To change the printed
975 output, see @ref{Transpose}.
977 The pitch to use for @code{\transposition} should correspond to the
978 real sound heard when a @code{c'} written on the staff is played by the
979 transposing instrument. For example, when entering a score in
980 concert pitch, typically all voices are entered in C, so
981 they should be entered as
994 The command @code{\transposition} should be used when the music is
995 entered from a (transposed) orchestral part. For example, in
996 classical horn parts, the tuning of the instrument is often changed
997 during a piece. When copying the notes from the part, use
998 @code{\transposition}, e.g.,
1010 @node Ottava brackets
1011 @subsection Ottava brackets
1013 `Ottava' brackets introduce an extra transposition of an octave for
1014 the staff. They are created by invoking the function
1015 @code{set-octavation}
1021 @lilypond[quote,ragged-right,verbatim,fragment]
1031 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1032 (for 15ma) as arguments. Internally the function sets the properties
1033 @code{ottavation} (e.g., to @code{"8va"}) and
1034 @code{centralCPosition}. For overriding the text of the bracket, set
1035 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1037 @lilypond[quote,ragged-right,verbatim]
1040 \set Staff.ottavation = #"8"
1048 Program reference: @internalsref{OttavaBracket}.
1050 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1051 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1056 @code{set-octavation} will get confused when clef changes happen
1057 during an octavation bracket.
1060 @node Different editions from one source
1061 @subsection Different editions from one source
1066 The @code{\tag} command marks music expressions with a name. These
1067 tagged expressions can be filtered out later. With this mechanism it
1068 is possible to make different versions of the same music source.
1070 In the following example, we see two versions of a piece of music, one
1071 for the full score, and one with cue notes for the instrumental part
1087 The same can be applied to articulations, texts, etc.: they are
1090 -\tag #@var{your-tag}
1092 to an articulation, for example,
1097 This defines a note with a conditional fingering indication.
1100 @cindex removeWithTag
1101 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1102 commands, tagged expressions can be filtered. For example,
1106 \keepWithTag #'score @var{the music}
1107 \keepWithTag #'part @var{the music}
1112 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1114 The arguments of the @code{\tag} command should be a symbol
1115 (such as @code{#'score} or @code{#'part}), followed by a
1116 music expression. It is possible to put multiple tags on
1117 a piece of music with multiple @code{\tag} entries,
1120 \tag #'original-part \tag #'transposed-part @dots{}
1126 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1131 Multiple rests are not merged if you create the score with both tagged
1136 @node Orchestral music
1137 @section Orchestral music
1139 Orchestral music involves some special notation, both in the full
1140 score and the individual parts. This section explains how to tackle
1141 some common problems in orchestral music.
1144 * Automatic part combining::
1146 * Quoting other voices::
1147 * Formatting cue notes::
1148 * Aligning to cadenzas::
1152 @node Automatic part combining
1153 @subsection Automatic part combining
1154 @cindex automatic part combining
1155 @cindex part combiner
1157 Automatic part combining is used to merge two parts of music onto a
1158 staff. It is aimed at typesetting orchestral scores. When the two
1159 parts are identical for a period of time, only one is shown. In
1160 places where the two parts differ, they are typeset as separate
1161 voices, and stem directions are set automatically. Also, solo and
1162 @emph{a due} parts are identified and can be marked.
1164 The syntax for part combining is
1167 \partcombine @var{musicexpr1} @var{musicexpr2}
1171 The following example demonstrates the basic functionality of the part
1172 combiner: putting parts on one staff, and setting stem directions and
1175 @lilypond[quote,verbatim,ragged-right,fragment]
1176 \new Staff \partcombine
1177 \relative g' { g g a( b) c c r r }
1178 \relative g' { g g r4 r e e g g }
1181 The first @code{g} appears only once, although it was
1182 specified twice (once in each part). Stem, slur, and tie directions are
1183 set automatically, depending whether there is a solo or unisono. The
1184 first part (with context called @code{one}) always gets up stems, and
1185 `Solo', while the second (called @code{two}) always gets down stems and
1188 If you just want the merging parts, and not the textual markings, you
1189 may set the property @code{printPartCombineTexts} to false
1191 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1193 \set Staff.printPartCombineTexts = ##f
1195 \relative g' { g a( b) r }
1196 \relative g' { g r4 r f }
1200 To change the text that is printed for solos or merging, you may
1201 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1204 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1206 \set Score.soloText = #"ichi"
1207 \set Score.soloIIText = #"ni"
1208 \set Score.aDueText = #"tachi"
1210 \relative g' { g4 g a( b) r }
1211 \relative g' { g4 g r r f }
1215 Both arguments to @code{\partcombine} will be interpreted as
1216 @internalsref{Voice} contexts. If using relative octaves,
1217 @code{\relative} should be specified for both music expressions, i.e.,
1221 \relative @dots{} @var{musicexpr1}
1222 \relative @dots{} @var{musicexpr2}
1226 A @code{\relative} section that is outside of @code{\partcombine} has
1227 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1231 Program reference: @internalsref{PartCombineMusic}.
1235 When @code{printPartCombineTexts} is set, when the two voices play the
1236 same notes on and off, the part combiner may typeset @code{a2} more
1237 than once in a measure.
1239 @code{\partcombine} cannot be inside @code{\times}.
1241 @code{\partcombine} cannot be inside @code{\relative}.
1243 Internally, the @code{\partcombine} interprets both arguments as
1244 @code{Voice}s named @code{one} and @code{two}, and then decides when
1245 the parts can be combined. Consequently, if the arguments switch to
1246 differently named @internalsref{Voice} contexts, the events in those
1251 @subsection Hiding staves
1253 @cindex Frenched scores
1254 @cindex Hiding staves
1256 In orchestral scores, staff lines that only have rests are usually
1257 removed; this saves some space. This style is called `French Score'.
1258 For @internalsref{Lyrics},
1259 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1260 switched on by default. When the lines of these contexts turn out
1261 empty after the line-breaking process, they are removed.
1263 For normal staves, a specialized @internalsref{Staff} context is
1264 available, which does the same: staves containing nothing (or only
1265 multi-measure rests) are removed. The context definition is stored in
1266 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1267 in this example disappears in the second line
1269 @lilypond[quote,ragged-right,verbatim]
1271 \context { \RemoveEmptyStaffContext }
1276 \new Staff { e4 f g a \break c1 }
1277 \new Staff { c4 d e f \break R1 }
1282 The first system shows all staves in full. If empty staves should be
1283 removed from the first system too, set @code{remove-first} to true in
1284 @internalsref{VerticalAxisGroup}.
1287 \override Score.VerticalAxisGroup #'remove-first = ##t
1290 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1291 or @code{\RemoveEmptyRhythmicStaffContext}.
1293 Another application is making ossia sections, i.e., alternative
1294 melodies on a separate piece of staff, with help of a Frenched
1295 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1298 @node Quoting other voices
1299 @subsection Quoting other voices
1301 With quotations, fragments of other parts can be inserted into a part
1302 directly. Before a part can be quoted, it must be marked especially as
1303 quotable. This is done with the @code{\addquote} command.
1306 \addquote @var{name} @var{music}
1311 Here, @var{name} is an identifying string. The @var{music} is any kind
1312 of music. Here is an example of @code{\addquote}
1315 \addquote clarinet \relative c' @{
1320 This command must be entered at toplevel, i.e., outside any music
1323 After calling @code{\addquote}, the quotation may then be done with
1324 @code{\quoteDuring} or @code{\cueDuring},
1327 \quoteDuring #@var{name} @var{music}
1330 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1334 \quoteDuring #"clarinet" @{ s2. @}
1337 This would cite three quarter notes (the duration of @code{s2.}) of
1338 the previously added @code{clarinet} voice.
1341 More precisely, it takes the current time-step of the part being
1342 printed, and extracts the notes at the corresponding point of the
1343 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1344 should be the entire part of the voice to be quoted, including any
1345 rests at the beginning.
1347 Quotations take into account the transposition of both source and target
1348 instruments, if they are specified using the @code{\transposition} command.
1350 @lilypond[quote,ragged-right,verbatim]
1351 \addquote clarinet \relative c' {
1357 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1361 The type of events that are present in cue notes can be trimmed with
1362 the @code{quotedEventTypes} property. The default value is
1363 @code{(note-event rest-event)}, which means that only notes and
1364 rests of the cued voice end up in the @code{\quoteDuring}.
1368 \set Staff.quotedEventTypes =
1369 #'(note-event articulation-event dynamic-event)
1373 will quote notes (but no rests), together with scripts and dynamics.
1377 Only the contents of the first @internalsref{Voice} occurring in an
1378 @code{\addquote} command will be considered for quotation, so
1379 @var{music} can not contain @code{\new} and @code{\context Voice}
1380 statements that would switch to a different Voice.
1382 Quoting grace notes is broken and can even cause LilyPond to crash.
1386 In this manual: @ref{Instrument transpositions}.
1388 Examples: @inputfileref{input/@/regression,quote@/.ly}
1389 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1391 Program reference: @internalsref{QuoteMusic}.
1394 @node Formatting cue notes
1395 @subsection Formatting cue notes
1397 The previous section deals with inserting notes from another voice.
1398 There is a more advanced music function called @code{\cueDuring},
1399 which makes formatting cue notes easier.
1404 \cueDuring #@var{name} #@var{updown} @var{music}
1407 This will insert notes from the part @var{name} into a
1408 @internalsref{Voice} called @code{cue}. This happens simultaneously
1409 with @var{music}, which usually is a rest. When the cue notes start,
1410 the staff in effect becomes polyphonic for a moment. The argument
1411 @var{updown} determines whether the cue notes should be notated as a
1412 first or second voice.
1415 @lilypond[verbatim,ragged-right]
1418 \override Stem #'length-fraction = #0.8
1419 \override Beam #'thickness = #0.384
1420 \override Beam #'length-fraction = #0.8
1423 \addquote clarinet \relative {
1428 \new Staff \relative <<
1430 % setup a context for cue notes.
1431 \new Voice = "cue" { \smaller \skip 1*21 }
1433 \set Score.skipBars = ##t
1437 \cueDuring #"clarinet" #1 {
1446 Here are a couple of hints for successful cue notes
1450 Cue notes have smaller font sizes.
1452 the cued part is marked with the instrument playing the cue.
1454 when the original part takes over again, this should be marked with
1455 the name of the original instrument.
1457 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1459 @c Yes, this is good practice. Otherwise, the start of the original
1460 @c part can only be seen from the font size. This is not good enough
1461 @c for sight-reading. It is possilbe to use other
1462 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1467 Any other changes introduced by the cued part should also be
1468 undone. For example, if the cued instrument plays in a different clef,
1469 the original clef should be stated once again.
1474 @node Aligning to cadenzas
1475 @subsection Aligning to cadenzas
1477 In an orchestral context, cadenzas present a special problem:
1478 when constructing a score that includes a cadenza, all other
1479 instruments should skip just as many notes as the length of the
1480 cadenza, otherwise they will start too soon or too late.
1482 A solution to this problem are the functions @code{mmrest-of-length}
1483 and @code{skip-of-length}. These Scheme functions take a piece of music
1484 as argument, and generate a @code{\skip} or multi-rest, exactly as
1485 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1486 in the following example.
1488 @lilypond[verbatim,ragged-right,quote]
1489 cadenza = \relative c' {
1490 c4 d8 << { e f g } \\ { d4. } >>
1495 \new Staff { \cadenza c'4 }
1497 #(ly:export (mmrest-of-length cadenza))
1506 @node Contemporary notation
1507 @section Contemporary notation
1509 In the 20th century, composers have greatly expanded the musical
1510 vocabulary. With this expansion, many innovations in musical notation
1511 have been tried. The book ``Music Notation in the 20th century'' by
1512 Kurt Stone gives a comprehensive overview (see @ref{Literature
1515 This section describes notation that does
1516 not fit into traditional notation categories, such as pitches,
1517 tuplet beams, and articulation. For contemporary notation
1518 that fits into traditional notation categories, such as
1519 microtones, nested tuplet beams, and unusual fermatas, please
1520 see those sections of the documentation.
1523 @c I don't think we should discourage modern composers who might
1524 @c want to sponsor new features. :)
1525 @c In general, the use of new, innovative notation makes a piece
1526 @c harder to understand and perform and its use should therefore be
1527 @c avoided. For this reason, support for contemporary notation in
1528 @c LilyPond is limited.
1532 * Polymetric notation::
1533 * Time administration::
1534 * Proportional notation::
1536 * Special noteheads::
1542 @node Polymetric notation
1543 @subsection Polymetric notation
1545 Double time signatures are not supported explicitly, but they can be
1546 faked. In the next example, the markup for the time signature is
1547 created with a markup text. This markup text is inserted in the
1548 @internalsref{TimeSignature} grob.
1550 @lilypond[verbatim,ragged-right]
1555 \musicglyph #"scripts.stopped"
1556 \bracket \column { "5" "8" }
1561 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1562 \override Staff.TimeSignature #'text = #tsMarkup
1564 c'2 \bar ":" c'4 c'4.
1568 Each staff can also have its own time signature. This is done by
1569 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1575 \remove "Timing_translator"
1576 \remove "Default_bar_line_engraver"
1580 \consists "Timing_translator"
1581 \consists "Default_bar_line_engraver"
1588 Now, each staff has its own time signature.
1601 c4. c8 c c c4. c8 c c
1606 @lilypond[quote,ragged-right]
1610 \remove "Timing_translator"
1611 \remove "Default_bar_line_engraver"
1614 \consists "Timing_translator"
1615 \consists "Default_bar_line_engraver"
1630 c4. c8 c c c4. c8 c c
1636 A different form of polymetric notation is where note lengths have
1637 different values across staves.
1639 This notation can be created by setting a common time signature for
1640 each staff but replacing it manually using
1641 @code{timeSignatureFraction} to the desired fraction. Then the printed
1642 durations in each staff are scaled to the common time signature.
1643 The latter is done with @code{\compressMusic}, which is used similar
1644 to @code{\times}, but does not create a tuplet bracket. The syntax is
1646 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1651 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1652 used in parallel. In the second staff, shown durations are multiplied by
1653 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1654 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1656 @lilypond[quote,ragged-right,verbatim,fragment]
1664 \set Staff.timeSignatureFraction = #'(9 . 8)
1665 \compressMusic #'(2 . 3)
1666 \repeat unfold 6 { c8[ c c] }
1670 \set Staff.timeSignatureFraction = #'(10 . 8)
1671 \compressMusic #'(3 . 5) {
1672 \repeat unfold 2 { c8[ c c] }
1673 \repeat unfold 2 { c8[ c] }
1674 | c4. c4. \times 2/3 { c8 c c } c4
1685 When using different time signatures in parallel, the spacing is
1686 aligned vertically, but bar lines distort the regular spacing.
1689 @node Time administration
1690 @subsection Time administration
1692 @cindex Time administration
1694 Time is administered by the @internalsref{Time_signature_engraver},
1695 which usually lives in the @internalsref{Score} context. The
1696 bookkeeping deals with the following variables
1699 @item currentBarNumber
1703 The length of the measures in the current time signature. For a 4/4
1704 time this is@tie{}1, and for 6/8 it is 3/4.
1706 @item measurePosition
1707 The point within the measure where we currently are. This quantity
1708 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1709 happens, @code{currentBarNumber} is incremented.
1712 If set to true, the above variables are updated for every time
1713 step. When set to false, the engraver stays in the current measure
1717 Timing can be changed by setting any of these variables explicitly.
1718 In the next example, the 4/4 time signature is printed, but
1719 @code{measureLength} is set to 5/4. After a while, the measure is
1720 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1721 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1722 3/8 arises because 5/4 normally has 10/8, but we have manually
1723 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1725 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1726 \set Score.measureLength = #(ly:make-moment 5 4)
1730 \set Score.measurePosition = #(ly:make-moment 7 8)
1736 As the example illustrates, @code{ly:make-moment n m} constructs a
1737 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is an eighth
1738 note duration and @code{ly:make-moment 7 16} is the duration of
1739 seven sixteenths notes.
1742 @node Proportional notation
1743 @subsection Proportional notation
1744 @cindex Proportional notation
1746 Notes can be spaced proportional to their time-difference by
1747 assigning a duration to @code{proportionalNotationDuration}
1749 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1751 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1752 \new Staff { c8[ c c c c c] c4 c2 r2 }
1753 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1759 @subsection Clusters
1763 A cluster indicates a continuous range of pitches to be played. They
1764 can be denoted as the envelope of a set of notes. They are entered by
1765 applying the function @code{makeClusters} to a sequence of
1767 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1768 \makeClusters { <c e > <b f'> }
1771 The following example (from
1772 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1775 @lilypondfile[ragged-right,quote]{cluster.ly}
1777 Ordinary notes and clusters can be put together in the same staff,
1778 even simultaneously. In such a case no attempt is made to
1779 automatically avoid collisions between ordinary notes and clusters.
1783 Program reference: @internalsref{ClusterSpanner},
1784 @internalsref{ClusterSpannerBeacon},
1785 @internalsref{Cluster_spanner_engraver}.
1787 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1791 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1792 accurately. Use @code{<g a>8 <e a>8} instead.
1795 @node Special noteheads
1796 @subsection Special noteheads
1798 Different noteheads are used by various instruments for various
1799 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1800 notes on guitar; diamonds are used for harmonics on string instruments,
1801 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1802 other notehead styles are produced by tweaking the property
1804 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1806 \override NoteHead #'style = #'cross
1808 \revert NoteHead #'style
1809 e d <c f\harmonic> <d a'\harmonic>
1813 To see all notehead styles, please see
1814 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1819 Program reference: @internalsref{NoteHead}.
1822 @node Feathered beams
1823 @subsection Feathered beams
1825 Feathered beams are not supported natively, but they can be faked by
1826 forcing two beams to overlap. Here is an example,
1828 @c don't change relative setting witout changing positions!
1829 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1834 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1839 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1847 @subsection Improvisation
1849 Improvisation is sometimes denoted with slashed note heads. Such note
1850 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1851 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1855 \set squashedPosition = #0
1856 \override NoteHead #'style = #'slash
1860 switches on the slashes.
1862 There are shortcuts @code{\improvisationOn} (and an accompanying
1863 @code{\improvisationOff}) for this command sequence. They are used in
1864 the following example
1866 @lilypond[verbatim,ragged-right,quote]
1868 \consists Pitch_squash_engraver
1870 e8 e g a a16(bes)(a8) g \improvisationOn
1873 ~fis2 \improvisationOff a16(bes) a8 g e
1878 @node Educational use
1879 @section Educational use
1881 With the amount of control that LilyPond offers, one can make great
1882 teaching tools in addition to great musical scores.
1886 * Blank music sheet::
1888 * Shape note heads ::
1889 * Easy Notation note heads::
1890 * Analysis brackets::
1891 * Coloring objects::
1895 @subsection Balloon help
1897 Elements of notation can be marked and named with the help of a square
1898 balloon. The primary purpose of this feature is to explain notation.
1900 The following example demonstrates its use.
1902 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1905 #(add-balloon-text 'NoteHead "heads, or tails?"
1912 The function @code{add-balloon-text} takes the name of a grob, the
1913 label to print, and the position where to put the label relative to
1914 the object. In the above example, the text ``heads or tails?'' ends
1915 3 spaces below and 1 space to the right of the marked head.
1918 @cindex notation, explaining
1922 Program reference: @internalsref{text-balloon-interface}.
1924 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1929 @node Blank music sheet
1930 @subsection Blank music sheet
1932 A blank music sheet can be produced also by using invisible notes, and
1933 removing @code{Bar_number_engraver}.
1936 @lilypond[quote,verbatim]
1938 \repeat unfold 2 % Change this for more lines.
1943 \override TimeSignature #'transparent = ##t
1944 defaultBarType = #""
1945 \remove Bar_number_engraver
1947 \new Staff \emptymusic
1948 \new TabStaff \emptymusic
1954 @subsection Hidden notes
1956 @cindex Hidden notes
1957 @cindex Invisible notes
1958 @cindex Transparent notes
1960 @cindex @code{\hideNotes}
1961 @cindex @code{\unHideNotes}
1962 Hidden (or invisible or transparent) notes can be useful in preparing theory
1963 or composition exercises.
1965 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1973 Hidden notes are also great for performing weird tricks. For example,
1974 slurs cannot be attached to rests or spacer rests, but you may wish
1975 to include that in your score -- string instruments use this notation
1976 when doing pizzicato to indicate that the note should ring for as long
1979 @lilypond[quote,ragged-right,verbatim,relative=0,fragment]
1982 c4^"pizz"( \hideNotes c)
1983 \unHideNotes c( \hideNotes c)
1990 @node Shape note heads
1991 @subsection Shape note heads
1993 In shape note head notation, the shape of the note head corresponds
1994 to the harmonic function of a note in the scale. This notation was
1995 popular in the 19th century American song books.
1997 Shape note heads can be produced by setting @code{\aikenHeads} or
1998 @code{\sacredHarpHeads}, depending on the style desired.
2000 @lilypond[verbatim,relative=1,fragment]
2007 Shapes are determined on the step in the scale, where the base of the
2008 scale is determined by the @code{\key} command
2011 @findex shapeNoteStyles
2013 @findex \sacredHarpHeads
2015 Shape note heads are implemented through the @code{shapeNoteStyles}
2016 property. Its value is a vector of symbols. The k-th element indicates
2017 the style to use for the k-th step of the scale. Arbitrary
2018 combinations are possible, eg.,
2021 @lilypond[verbatim,relative=1,fragment]
2022 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2027 @node Easy Notation note heads
2028 @subsection Easy Notation note heads
2030 @cindex easy notation
2033 The `easy play' note head includes a note name inside the head. It is
2034 used in music for beginners
2036 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2041 The command @code{\setEasyHeads} overrides settings for the
2042 @internalsref{NoteHead} object. To make the letters readable, it has
2043 to be printed in a large font size. To print with a larger font, see
2044 @ref{Setting global staff size}.
2048 @cindex @code{\setEasyHeads}
2049 @code{\setEasyHeads}
2052 @node Analysis brackets
2053 @subsection Analysis brackets
2055 @cindex phrasing brackets
2056 @cindex musicological analysis
2057 @cindex note grouping bracket
2059 Brackets are used in musical analysis to indicate structure in musical
2060 pieces. LilyPond supports a simple form of nested horizontal
2061 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2062 to @internalsref{Staff} context. A bracket is started with
2063 @code{\startGroup} and closed with @code{\stopGroup}
2065 @lilypond[quote,ragged-right,verbatim]
2068 c4\startGroup\startGroup
2071 c4\stopGroup\stopGroup
2075 \Staff \consists "Horizontal_bracket_engraver"
2081 Program reference: @internalsref{HorizontalBracket}.
2083 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2086 @node Coloring objects
2087 @subsection Coloring objects
2089 Individual objects may be assigned colors. You may use the
2090 color names listed in the @ref{List of colors}.
2092 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2093 \override NoteHead #'color = #red
2095 \override NoteHead #'color = #(x11-color 'LimeGreen)
2097 \override Stem #'color = #blue
2101 The full range of colors defined for X11 can be accessed by using the
2102 scheme function x11-color. The function takes one argument that can be a
2106 \override Beam #'color = #(x11-color 'MediumTurquoise)
2112 \override Beam #'color = #(x11-color "MediumTurquoise")
2115 The first form is quicker to write and is more efficient. However, using
2116 the second form it is possible to access X11 colors by the multi-word
2120 \override Beam #'color = #(x11-color "medium turquoise")
2123 If x11-color cannot make sense of the parameter then the color returned
2124 defaults to black. It should be obvious from the final score that
2127 This example, illustrates the use of x11-color. Notice that the stem
2128 color remains black after being set to (x11-color 'Boggle), which is
2129 deliberate nonsense.
2131 @lilypond[quote,ragged-right,verbatim]
2133 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2134 \set Staff.instrument = \markup {
2135 \with-color #(x11-color 'navy) "Clarinet"
2139 \override Beam #'color = #(x11-color "medium turquoise")
2141 \override NoteHead #'color = #(x11-color "LimeGreen")
2143 \override Stem #'color = #(x11-color 'Boggle)
2151 Appendix: @ref{List of colors}.
2155 Not all x11 colors are distinguishable in a web browser. For web use
2156 normal colors are recommended.
2158 An x11 color is not necessarily exactly the same shade as a similarly
2162 @node Automatic notation
2163 @section Automatic notation
2165 This section describes how to change the way that accidentals and
2166 beams are automatically displayed.
2168 FIXME: this might get moved into Changing Defaults. Please send
2169 opinions to lilypond-devel. Thanks! :)
2172 * Automatic accidentals::
2173 * Setting automatic beam behavior::
2176 @node Automatic accidentals
2177 @subsection Automatic accidentals
2178 @cindex Automatic accidentals
2180 Common rules for typesetting accidentals have been placed in a
2181 function. This function is called as follows
2183 @cindex @code{set-accidental-style}
2185 #(set-accidental-style 'STYLE #('CONTEXT#))
2188 The function can take two arguments: the name of the accidental style,
2189 and an optional argument that denotes the context that should be
2190 changed. If no context name is supplied, @code{Staff} is the default,
2191 but you may wish to apply the accidental style to a single @code{Voice}
2194 The following accidental styles are supported
2197 This is the default typesetting behavior. It corresponds
2198 to 18th century common practice: Accidentals are
2199 remembered to the end of the measure in which they occur and
2200 only on their own octave.
2203 The normal behavior is to remember the accidentals on
2204 Staff-level. This variable, however, typesets accidentals
2205 individually for each voice. Apart from that, the rule is similar to
2208 As a result, accidentals from one voice do not get canceled in other
2209 voices, which is often an unwanted result
2211 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
2213 #(set-accidental-style 'voice)
2220 The @code{voice} option should be used if the voices
2221 are to be read solely by individual musicians. If the staff is to be
2222 used by one musician (e.g., a conductor) then
2223 @code{modern} or @code{modern-cautionary}
2224 should be used instead.
2227 @cindex @code{modern} style accidentals
2228 This rule corresponds to the common practice in the 20th century. This rule
2229 prints the same accidentals as @code{default}, but temporary
2230 accidentals also are canceled in other octaves. Furthermore,
2231 in the same octave, they also get canceled in the following
2234 @lilypond[quote,ragged-right,fragment,verbatim]
2235 #(set-accidental-style 'modern)
2236 cis' c'' cis'2 | c'' c'
2239 @item @code{modern-cautionary}
2240 @cindex @code{modern-cautionary}
2241 This rule is similar to @code{modern}, but the ``extra'' accidentals
2242 (the ones not typeset by @code{default}) are typeset as cautionary
2243 accidentals. They are printed in reduced size or with parentheses
2244 @lilypond[quote,ragged-right,fragment,verbatim]
2245 #(set-accidental-style 'modern-cautionary)
2246 cis' c'' cis'2 | c'' c'
2249 @cindex @code{modern-voice}
2251 This rule is used for multivoice accidentals to be read both by musicians
2252 playing one voice and musicians playing all voices. Accidentals are
2253 typeset for each voice, but they @emph{are} canceled across voices in
2254 the same @internalsref{Staff}.
2256 @cindex @code{modern-voice-cautionary}
2257 @item modern-voice-cautionary
2258 This rule is the same as @code{modern-voice}, but with the extra
2259 accidentals (the ones not typeset by @code{voice}) typeset
2260 as cautionaries. Even though all accidentals typeset by
2261 @code{default} @emph{are} typeset by this variable,
2262 some of them are typeset as cautionaries.
2265 @cindex @code{piano} accidentals
2266 This rule reflects 20th century practice for piano notation. Very similar to
2267 @code{modern} but accidentals also get canceled
2268 across the staves in the same @internalsref{GrandStaff} or
2269 @internalsref{PianoStaff}.
2271 @item piano-cautionary
2272 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2273 Same as @code{#(set-accidental-style 'piano)} but with the extra
2274 accidentals typeset as cautionaries.
2277 @cindex @code{no-reset} accidental style
2278 This is the same as @code{default} but with accidentals lasting
2279 ``forever'' and not only until the next measure
2280 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2281 #(set-accidental-style 'no-reset)
2286 This is sort of the opposite of @code{no-reset}: Accidentals
2287 are not remembered at all---and hence all accidentals are
2288 typeset relative to the key signature, regardless of what was
2291 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2292 #(set-accidental-style 'forget)
2293 \key d\major c4 c cis cis d d dis dis
2300 Program reference: @internalsref{Accidental_engraver},
2301 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2306 Simultaneous notes are considered to be entered in sequential
2307 mode. This means that in a chord the accidentals are typeset as if the
2308 notes in the chord happened once at a time - in the order in which
2309 they appear in the input file.
2311 This is a problem when accidentals in a chord depend on each other,
2312 which does not happen for the default accidental style. The problem
2313 can be solved by manually inserting @code{!} and @code{?} for the
2317 @node Setting automatic beam behavior
2318 @subsection Setting automatic beam behavior
2320 @cindex @code{autoBeamSettings}
2321 @cindex @code{(end * * * *)}
2322 @cindex @code{(begin * * * *)}
2323 @cindex automatic beams, tuning
2324 @cindex tuning automatic beaming
2326 @c [TODO: use \applyContext]
2328 In normal time signatures, automatic beams can start on any note but can
2329 only end in a few positions within the measure: beams can end on a beat,
2330 or at durations specified by the properties in
2331 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2332 consist of a list of rules for where beams can begin and end. The
2333 default @code{autoBeamSettings} rules are defined in
2334 @file{scm/@/auto@/-beam@/.scm}.
2336 In order to add a rule to the list, use
2338 #(override-auto-beam-setting '(be p q n m) a b [context])
2343 @item @code{be} is either "begin" or "end".
2345 @item @code{p/q} is the duration of the note for which you want
2346 to add a rule. A beam is considered to have the duration of its
2347 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2348 have this apply to any beam.
2350 @item @code{n/m} is the time signature to which
2351 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2352 to have this apply in any time signature.
2354 @item @code{a/b} is the position in the bar at which the beam should begin/end.
2356 @item @code{context} is optional, and it specifies the context at which
2357 the change should be made. The default is @code{'Voice}.
2358 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2359 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2363 For example, if automatic beams should always end on the first quarter
2367 #(override-auto-beam-setting '(end * * * *) 1 4)
2370 You can force the beam settings to only take effect on beams whose shortest
2371 note is a certain duration
2373 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2375 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2377 a32 a a a a16 a a a a a |
2378 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2379 a32 a a a a16 a a a a a |
2382 You can force the beam settings to only take effect in certain time
2385 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2387 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2395 You can also remove a previously set beam-ending rule by using
2398 #(revert-auto-beam-setting '(be p q n m) a b [context])
2402 be, p, q, n, m, a, b and context are the same as above. Note that the
2403 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2404 so you can revert rules that you did not explicitly create.
2406 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2408 a16 a a a a a a a a a a a a a a a
2409 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2410 a16 a a a a a a a a a a a a a a a
2413 The rule in a revert-auto-beam-setting statement must exactly match the
2414 original rule. That is, no wildcard expansion is taken into account.
2416 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2418 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2420 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2422 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2428 @c TODO: old material -- not covered by above stuff, I think.
2429 If automatic beams should end on every quarter in 5/4 time, specify
2432 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2433 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2434 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2435 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2439 The same syntax can be used to specify beam starting points. In this
2440 example, automatic beams can only end on a dotted quarter note
2442 #(override-auto-beam-setting '(end * * * *) 3 8)
2443 #(override-auto-beam-setting '(end * * * *) 1 2)
2444 #(override-auto-beam-setting '(end * * * *) 7 8)
2446 In 4/4 time signature, this means that automatic beams could end only on
2447 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2448 3/8, has passed within the measure).
2450 @cindex automatic beam generation
2452 @cindex @code{autoBeaming}
2455 If beams are used to indicate melismata in songs, then automatic
2456 beaming should be switched off with @code{\autoBeamOff}.
2461 @cindex @code{\autoBeamOff}
2462 @code{\autoBeamOff},
2463 @cindex @code{\autoBeamOn}
2469 If a score ends while an automatic beam has not been ended and is
2470 still accepting notes, this last beam will not be typeset at all. The
2471 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2472 >>}. If a polyphonic voice ends while an automatic beam is still
2473 accepting notes, it is not typeset.