1 @c -*- coding: latin-1; 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
38 * Overview of text markup commands::
41 * Other text markup issues::
46 @subsection Text scripts
49 @cindex text items, non-empty
50 @cindex non-empty texts
52 It is possible to place arbitrary strings of text or @ref{Text markup}
53 above or below notes by using a string @code{c^"text"}. By default,
54 these indications do not influence the note spacing, but by using the
55 command @code{\fatText}, the widths will be taken into account
57 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
58 c4^"longtext" \fatText c4_"longlongtext" c4
61 More complex formatting may also be added to a note by using the
63 @lilypond[fragment,raggedright,verbatim,quote]
64 c'4^\markup { bla \bold bla }
67 The @code{\markup} is described in more detail in
73 @cindex @code{\fatText}
75 @cindex @code{\emptyText}
81 In this manual: @ref{Text markup}.
83 Program reference: @internalsref{TextScript}.
87 @subsection Text spanners
91 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
92 are written as text and are extended over many measures with dotted
93 lines. Such texts are created using text spanners; attach
94 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
97 The string to be printed, as well as the style, is set through object
100 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
103 \override TextSpanner #'edge-text = #'("rall " . "")
104 c2\startTextSpan b c\stopTextSpan a
109 @cindex textSpannerUp
110 @code{textSpannerUp},
111 @cindex textSpannerDown
112 @code{textSpannerDown},
113 @cindex textSpannerNeutral
114 @code{textSpannerNeutral}.
119 Program reference: @internalsref{TextSpanner}.
121 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
125 @subsection Text marks
127 @cindex coda on bar line
128 @cindex segno on bar line
129 @cindex fermata on bar line
130 @cindex bar lines, symbols on
133 The @code{\mark} command is primarily used for
134 @ref{Rehearsal marks},
135 but it can also be used to put signs like coda,
136 segno, and fermata on a bar line. Use @code{\markup} to
137 access the appropriate symbol
139 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
140 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
145 @code{\mark} is only typeset above the top stave of the score. If
146 you specify the @code{\mark} command at a bar line, the resulting
147 mark is placed above the bar line. If you specify it in the middle
148 of a bar, the resulting mark is positioned between notes. If it is
149 specified before the beginning of a score line, it is placed
150 before the first note of the line. Finally, if the mark occurs at
151 a line break, the mark will be printed at the
152 beginning of the next line.
153 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
154 @c delete this sentence. -gp
155 If there is no next line, then the mark will not be printed at all.
160 To print the mark at the end of the current line, use
163 \override Score.RehearsalMark
164 #'break-visibility = #begin-of-line-invisible
167 @code{\mark} is often useful for adding text to the end of bar. In
168 such cases, changing the @code{#'self-alignment} is very useful
170 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
171 \override Score.RehearsalMark
172 #'break-visibility = #begin-of-line-invisible
174 \once \override Score.RehearsalMark #'self-alignment-X = #right
175 \mark "D.S. al Fine "
181 Program reference: @internalsref{RehearsalMark}.
185 @subsection Text markup
192 Use @code{\markup} to typeset text. Commands are entered with the
195 @lilypond[quote,verbatim,fragment,relative=1]
197 c1_\markup { hi there }
198 c1^\markup { hi \bold there, is \italic anyone home? }
202 See @ref{Overview of text markup commands} for a list of all
205 @code{\markup} is primarily used for @internalsref{TextScript}s,
206 but it can also be used anywhere text is called in lilypond
208 @lilypond[quote,verbatim]
209 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
212 \override Score.RehearsalMark
213 #'break-visibility = #begin-of-line-invisible
214 \override Score.RehearsalMark #'self-alignment-X = #right
216 \set Staff.instrument = \markup{ \column{ Alto solo } }
217 c2^\markup{ don't be \flat }
219 a2\mark \markup{ \large \bold Fine }
223 \addlyrics { bar, foo \markup{ \italic bar! } }
227 @cindex font switching
229 The markup in the example demonstrates font switching commands. The
230 command @code{\bold} and @code{\italic} apply to the first following
231 word only; to apply a command to more than one word, enclose the
235 \markup @{ \bold @{ hi there @} @}
239 For clarity, you can also do this for single arguments, e.g.,
242 \markup @{ is \italic @{ anyone @} home @}
245 In markup mode you can compose expressions, similar to mathematical
246 expressions, XML documents, and music expressions. You can stack
247 expressions grouped vertically with the command @code{\column}.
248 Similarly, @code{\center-align} aligns texts by their center lines:
250 @lilypond[quote,verbatim,fragment,relative=1]
251 c1^\markup { \column { a bbbb \line { c d } } }
252 c1^\markup { \center-align { a bbbb c } }
253 c1^\markup { \line { a b c } }
256 Lists with no previous command are not kept distinct. The expression
259 \center-align @{ @{ a b @} @{ c d @} @}
267 \center-align @{ a b c d @}
272 To keep lists of words distinct, please use quotes @code{"} or
273 the @code{\line} command
275 @lilypond[quote,verbatim,fragment,relative=1]
277 c4^\markup{ \center-align { on three lines } }
278 c4^\markup{ \center-align { "all one line" } }
279 c4^\markup{ \center-align { { on three lines } } }
280 c4^\markup{ \center-align { \line { on one line } } }
283 Markups can be stored in variables and these variables
284 may be attached to notes, like
286 allegro = \markup @{ \bold \large @{ Allegro @} @}
287 @{ a^\allegro b c d @}
290 Some objects have alignment procedures of their own, which cancel out
291 any effects of alignments applied to their markup arguments as a
292 whole. For example, the @internalsref{RehearsalMark} is horizontally
293 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
299 This manual: @ref{Overview of text markup commands}.
301 Program reference: @internalsref{TextScript}.
303 Init files: @file{scm/@/new@/-markup@/.scm}.
308 Kerning or generation of ligatures is only done when the @TeX{}
309 backend is used. In this case, LilyPond does not account for them so
310 texts will be spaced slightly too wide.
312 Syntax errors for markup mode are confusing.
316 @subsection Text encoding
318 LilyPond uses the Pango library to format multi-lingual texts, and
319 does not perform any input-encoding conversions. This means that any
320 text, be it title, lyric text, or musical instruction containing
321 non-ASCII characters, must be utf-8. Easiest to enter such texts is
322 by using a Unicode-aware editor, and save using utf-8 encoding. Most
323 popular modern editors have utf-8 support, for example, vim, Emacs,
326 Depending on the fonts installed, the following fragment shows Hebrew
333 @lilypondfile[fontload]{utf-8.ly}
335 The @TeX{} backend does not handle encoding specially at all. Strings
336 in the input are put in the output as-is. Extents of text items in the
337 @TeX{} backend, are determined by reading a file created via the
338 @file{texstr} backend,
341 lilypond -b texstr input/les-nereides.ly
342 latex les-nereides.texstr
345 The last command produces @file{les-nereides.textmetrics}, which is
346 read when you execute
349 lilypond -b tex input/les-nereides.ly
352 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
353 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
354 interpreting non-ASCII strings.
359 @inputfileref{input/regression,utf-8.ly}
363 @subsection Nested scores
365 It is possible to nest music inside markups, by adding a @code{\score}
366 block to a markup expression. Such a score must contain a @code{\layout}
369 @lilypond[quote,verbatim,raggedright]
373 \relative { c4 d e f }
382 @node Overview of text markup commands
383 @subsection Overview of text markup commands
385 The following commands can all be used inside @code{\markup @{ @}}.
387 @include markup-commands.tely
391 @subsection Font selection
393 @cindex font selection
394 @cindex font magnification
395 @cindex @code{font-interface}
397 By setting the object properties described below, you can select a
398 font from the preconfigured font families. LilyPond has default
399 support for the feta music fonts. Text fonts are selected through
400 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
401 the sans and typewriter to whatever the Pango installation defaults
406 @item @code{font-encoding}
407 is a symbol that sets layout of the glyphs. This should only be set to
408 select different types of non-text fonts, eg.
410 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
411 standard music font, including ancient glyphs, @code{fetaDynamic} for
412 dynamic signs and @code{fetaNumber} for the number font.
414 @item @code{font-family}
415 is a symbol indicating the general class of the typeface. Supported are
416 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
418 @item @code{font-shape}
419 is a symbol indicating the shape of the font. There are typically
420 several font shapes available for each font family. Choices are
421 @code{italic}, @code{caps}, and @code{upright}.
423 @item @code{font-series}
424 is a symbol indicating the series of the font. There are typically
425 several font series for each font family and shape. Choices are
426 @code{medium} and @code{bold}.
430 Fonts selected in the way sketched above come from a predefined style
431 sheet. If you want to use a font from outside the style sheet,
433 @code{font-name} property,
435 @lilypond[fragment,verbatim]
437 \override Staff.TimeSignature #'font-name = #"Times"
438 \override Staff.TimeSignature #'font-size = #2
441 \override #'(font-name . "Vera Bold")
442 { This text is in Vera Bold }
448 Any font can be used, as long as it is available to Pango/FontConfig.
450 The size of the font may be set with the @code{font-size}
451 property. The resulting size is taken relative to the
452 @code{text-font-size} as defined in the @code{\paper} block.
455 @cindex font magnification
458 It is also possible to change the default font family for the entire
459 document. This is done by calling the @code{make-pango-font-tree} from
460 within the @code{\paper} block. The function takes names for the font
461 families to use for roman, sans serif and monospaced text. For
464 @cindex font families, setting
473 (make-pango-font-tree "Times New Roman"
480 c'^\markup { roman: foo \sans bla \typewriter bar }
487 Examples: @file{ly/@/font@/-family@/-override.ly}
490 @node New dynamic marks
491 @subsection New dynamic marks
493 It is possible to print new dynamic marks or text that should be aligned
494 with dynamics. Use @code{make-dynamic-script} to create these marks.
496 @cindex make-dynamic-script
498 @lilypond[quote,verbatim,raggedright]
499 sfzp = #(make-dynamic-script "sfzp")
505 @cindex Dynamics, editorial
506 @cindex Dynamics, parenthesis
508 It is also possible to print dynamics in round parenthesis or square
509 brackets. These are often used for adding editorial dynamics.
511 @lilypond[quote,verbatim,raggedright]
512 rndf = \markup{ \center-align {\line { \bold{\italic (}
513 \dynamic f \bold{\italic )} }} }
514 boxf = \markup{ \bracket { \dynamic f } }
515 { c'1_\rndf c'1_\boxf }
519 @node Other text markup issues
520 @subsection Other text markup issues
522 To use a normal font within a title, you must define it manually
525 #(def-markup-command (normal-font layout props arg) (markup?)
526 "Switch to normal text font"
527 (interpret-markup layout (cons '((font-series . 'medium) (font-shape . 'upright)) props) arg))
530 title = \markup@{ ABCD \normal-font ABCD @}
536 @node Preparing parts
537 @section Preparing parts
539 This section describes various notation that are useful for preparing
543 * Multi measure rests::
548 * Instrument transpositions::
550 * Different editions from one source::
554 @node Multi measure rests
555 @subsection Multi measure rests
557 @cindex multi measure rests
558 @cindex Rests, multi measure
559 @cindex whole rests for a full measure
562 Multi-measure rests are entered using `@code{R}'. It is specifically
563 meant for full bar rests and for entering parts: the rest can expand
564 to fill a score with rests, or it can be printed as a single
565 multi-measure rest. This expansion is controlled by the property
566 @code{Score.skipBars}. If this is set to true, empty measures will not
567 be expanded, and the appropriate number is added automatically
569 @lilypond[quote,raggedright,fragment,verbatim]
570 \time 4/4 r1 | R1 | R1*2
571 \set Score.skipBars = ##t R1*17 R1*4
574 The @code{1} in @code{R1} is similar to the duration notation used for
575 notes. Hence, for time signatures other than 4/4, you must enter other
576 durations. This can be done with augmentation dots or fractions
578 @lilypond[quote,raggedright,fragment,verbatim]
579 \set Score.skipBars = ##t
588 An @code{R} spanning a single measure is printed as either a whole rest
589 or a breve, centered in the measure regardless of the time signature.
591 If there are only a few measures of rest, LilyPond prints ``church rests''
592 (a series of rectangles) in the staff. To replace that with a simple
593 rest, use @code{MultiMeasureRest.expand-limit}.
595 @lilypond[quote,raggedright,fragment,verbatim]
596 \set Score.skipBars = ##t
598 \override MultiMeasureRest #'expand-limit = 1
602 @cindex text on multi-measure rest
603 @cindex script on multi-measure rest
604 @cindex fermata on multi-measure rest
606 Texts can be added to multi-measure rests by using the
607 @var{note}-@code{markup} syntax @ref{Text markup}.
608 A variable (@code{\fermataMarkup}) is provided for
611 @lilypond[quote,raggedright,verbatim,fragment]
612 \set Score.skipBars = ##t
614 R2.*10^\markup { \italic "ad lib." }
618 If you want to have text on the left end of a multi-measure rest,
619 attach the text to a zero-length skip note, i.e.,
629 Program reference: @internalsref{MultiMeasureRestMusicGroup},
630 @internalsref{MultiMeasureRest}.
632 The layout object @internalsref{MultiMeasureRestNumber} is for the
633 default number, and @internalsref{MultiMeasureRestText} for user
639 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
640 over multi-measure rests. And the pitch of multi-measure rests (or
641 staff-centered rests) can not be influenced.
643 @cindex condensing rests
645 There is no way to automatically condense multiple rests into a single
646 multi-measure rest. Multi-measure rests do not take part in rest
649 Be careful when entering multi-measure rests followed by whole
650 notes. The following will enter two notes lasting four measures each
654 When @code{skipBars} is set, the result will look OK, but the bar
655 numbering will be off.
658 @node Metronome marks
659 @subsection Metronome marks
662 @cindex beats per minute
663 @cindex metronome marking
665 Metronome settings can be entered as follows
667 \tempo @var{duration} = @var{per-minute}
670 In the MIDI output, they are interpreted as a tempo change. In the
671 layout output, a metronome marking is printed
672 @cindex @code{\tempo}
673 @lilypond[quote,raggedright,verbatim,fragment]
680 To change the tempo in the MIDI output without printing anything, make
681 the metronome marking invisible
683 \once \override Score.MetronomeMark #'transparent = ##t
686 To print other metronome markings, use these markup commands
687 @lilypond[quote,raggedright,verbatim,relative,fragment]
690 \smaller \general-align #Y #DOWN \note #"16." #1
692 \smaller \general-align #Y #DOWN \note #"8" #1"
697 See @ref{Text markup} for more details.
702 Program reference: @internalsref{MetronomeMark}.
707 Collisions are not checked. If you have notes above the top line of
708 the staff (or notes with articulations, slurs, text, etc), then the
709 metronome marking may be printed on top of musical symbols. If this
710 occurs, increase the padding of the metronome mark to place it
711 further away from the staff.
714 \override Score.MetronomeMark #'padding = #2.5
718 @node Rehearsal marks
719 @subsection Rehearsal marks
721 @cindex Rehearsal marks
724 To print a rehearsal mark, use the @code{\mark} command
726 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
735 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
737 The mark is incremented automatically if you use @code{\mark
738 \default}, but you can also use an integer argument to set the mark
739 manually. The value to use is stored in the property
740 @code{rehearsalMark}.
742 The style is defined by the property @code{markFormatter}. It is a
743 function taking the current mark (an integer) and the current context
744 as argument. It should return a markup object. In the following
745 example, @code{markFormatter} is set to a canned procedure. After a
746 few measures, it is set to function that produces a boxed number.
748 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
749 \set Score.markFormatter = #format-mark-numbers
752 \set Score.markFormatter = #format-mark-box-numbers
758 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
759 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
760 @code{format-mark-letters} and @code{format-mark-box-letters}.
761 These can be used as inspiration for other formatting functions.
766 Program reference: @internalsref{RehearsalMark}.
768 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
769 definition of @code{format-mark-numbers} and
770 @code{format-mark-letters}. They can be used as inspiration for other
771 formatting functions.
773 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
775 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
779 @subsection Bar numbers
782 @cindex measure numbers
783 @cindex @code{currentBarNumber}
785 Bar numbers are printed by default at the start of the line. The
786 number itself is stored in the @code{currentBarNumber} property, which
787 is normally updated automatically for every measure.
789 Bar numbers can be typeset at regular intervals instead of at the
790 beginning of each line. This is illustrated in the following example,
791 whose source is available as
792 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
794 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
796 Bar numbers can be typeset manually by tweaking the
797 @code{markFormatter} property
799 @lilypond[verbatim,raggedright,quote]
801 \set Score.markFormatter
802 = #(lambda (mark context)
805 (number->string (ly:context-property context
806 'currentBarNumber)))))
808 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
812 Bar numbers can be manually changed by setting the
813 @code{Staff.currentBarNumber} property
815 @lilypond[verbatim,raggedright,quote]
817 \repeat unfold 4 {c4 c c c} \break
818 \set Score.currentBarNumber = #50
819 \repeat unfold 4 {c4 c c c}
826 Program reference: @internalsref{BarNumber}.
829 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
830 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
835 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
836 there is one at the top. To solve this, the
837 @code{padding} property of @internalsref{BarNumber} can be
838 used to position the number correctly.
841 @node Instrument names
842 @subsection Instrument names
844 In an orchestral score, instrument names are printed at the left side
847 This can be achieved by setting @internalsref{Staff}.@code{instrument}
848 and @internalsref{Staff}.@code{instr}. This will print a string before
849 the start of the staff. For the first staff, @code{instrument} is
850 used, for the following ones, @code{instr} is used.
852 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
853 \set Staff.instrument = "Ploink "
854 \set Staff.instr = "Plk "
860 You can also use markup texts to construct more complicated instrument
863 @lilypond[quote,fragment,verbatim,raggedright]
864 \set Staff.instrument = \markup {
865 \column { "Clarinetti"
866 \line { "in B" \smaller \flat } } }
870 For longer instrument names, it may be useful to increase the
871 @code{indent} setting in the @code{\layout} block.
875 Program reference: @internalsref{InstrumentName}.
879 When you put a name on a grand staff or piano staff, the width of the
880 brace is not taken into account. You must add extra spaces to the end of
881 the name to avoid a collision.
884 @node Instrument transpositions
885 @subsection Instrument transpositions
887 @cindex transposition, MIDI
888 @cindex transposition, instrument
890 The key of a transposing instrument can also be specified. This
891 applies to many wind instruments, for example, clarinets (B-flat, A, and
892 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
894 The transposition is entered after the keyword @code{\transposition}
897 \transposition bes %% B-flat clarinet
901 This command sets the property @code{instrumentTransposition}. The value of
902 this property is used for MIDI output and quotations. It does not
903 affect how notes are printed in the current staff. To change the printed
904 output, see @ref{Transpose}.
906 The pitch to use for @code{\transposition} should correspond to the
907 transposition of the notes. For example, when entering a score in
908 concert pitch, typically all voices are entered in C, so
909 they should be entered as
922 The command @code{\transposition} should be used when the music is
923 entered from a (transposed) orchestral part. For example, in
924 classical horn parts, the tuning of the instrument is often changed
925 during a piece. When copying the notes from the part, use
926 @code{\transposition}, e.g.,
938 @node Ottava brackets
939 @subsection Ottava brackets
941 `Ottava' brackets introduce an extra transposition of an octave for
942 the staff. They are created by invoking the function
943 @code{set-octavation}
949 @lilypond[quote,raggedright,verbatim,fragment]
959 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
960 (for 15ma) as arguments. Internally the function sets the properties
961 @code{ottavation} (e.g., to @code{"8va"}) and
962 @code{centralCPosition}. For overriding the text of the bracket, set
963 @code{ottavation} after invoking @code{set-octavation}, i.e.,
965 @lilypond[quote,raggedright,verbatim]
968 \set Staff.ottavation = #"8"
976 Program reference: @internalsref{OttavaBracket}.
978 Examples: @inputfileref{input/@/regression,ottava@/.ly},
979 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
984 @code{set-octavation} will get confused when clef changes happen
985 during an octavation bracket.
988 @node Different editions from one source
989 @subsection Different editions from one source
994 The @code{\tag} command marks music expressions with a name. These
995 tagged expressions can be filtered out later. With this mechanism it
996 is possible to make different versions of the same music source.
998 In the following example, we see two versions of a piece of music, one
999 for the full score, and one with cue notes for the instrumental part
1015 The same can be applied to articulations, texts, etc.: they are
1018 -\tag #@var{your-tag}
1020 to an articulation, for example,
1025 This defines a note with a conditional fingering indication.
1028 @cindex removeWithTag
1029 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1030 commands, tagged expressions can be filtered. For example,
1034 \keepWithTag #'score @var{the music}
1035 \keepWithTag #'part @var{the music}
1040 @lilypondfile[raggedright,quote]{tag-filter.ly}
1042 The argument of the @code{\tag} command should be a symbol, or a list
1043 of symbols, for example,
1045 \tag #'(original-part transposed-part) @dots{}
1051 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1056 Multiple rests are not merged if you create the score with both tagged
1061 @node Orchestral music
1062 @section Orchestral music
1064 Orchestral music involves some special notation, both in the full
1065 score and the individual parts. This section explains how to tackle
1066 some common problems in orchestral music.
1069 * Automatic part combining::
1071 * Quoting other voices::
1072 * Formatting cue notes::
1073 * Aligning to cadenzas::
1077 @node Automatic part combining
1078 @subsection Automatic part combining
1079 @cindex automatic part combining
1080 @cindex part combiner
1082 Automatic part combining is used to merge two parts of music onto a
1083 staff. It is aimed at typesetting orchestral scores. When the two
1084 parts are identical for a period of time, only one is shown. In
1085 places where the two parts differ, they are typeset as separate
1086 voices, and stem directions are set automatically. Also, solo and
1087 @emph{a due} parts are identified and can be marked.
1089 The syntax for part combining is
1092 \partcombine @var{musicexpr1} @var{musicexpr2}
1096 The following example demonstrates the basic functionality of the part
1097 combiner: putting parts on one staff, and setting stem directions and
1100 @lilypond[quote,verbatim,raggedright,fragment]
1101 \new Staff \partcombine
1102 \relative g' { g g a( b) c c r r }
1103 \relative g' { g g r4 r e e g g }
1106 The first @code{g} appears only once, although it was
1107 specified twice (once in each part). Stem, slur, and tie directions are
1108 set automatically, depending whether there is a solo or unisono. The
1109 first part (with context called @code{one}) always gets up stems, and
1110 `Solo', while the second (called @code{two}) always gets down stems and
1113 If you just want the merging parts, and not the textual markings, you
1114 may set the property @code{printPartCombineTexts} to false
1116 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1118 \set Staff.printPartCombineTexts = ##f
1120 \relative g' { g a( b) r }
1121 \relative g' { g r4 r f }
1125 To change the text that is printed for solos or merging, you may
1126 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1129 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1131 \set Score.soloText = #"ichi"
1132 \set Score.soloIIText = #"ni"
1133 \set Score.aDueText = #"tachi"
1135 \relative g' { g4 g a( b) r }
1136 \relative g' { g4 g r r f }
1140 Both arguments to @code{\partcombine} will be interpreted as
1141 @internalsref{Voice} contexts. If using relative octaves,
1142 @code{\relative} should be specified for both music expressions, i.e.,
1146 \relative @dots{} @var{musicexpr1}
1147 \relative @dots{} @var{musicexpr2}
1151 A @code{\relative} section that is outside of @code{\partcombine} has
1152 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1156 Program reference: @internalsref{PartCombineMusic}.
1160 When @code{printPartCombineTexts} is set, when the two voices play the
1161 same notes on and off, the part combiner may typeset @code{a2} more
1162 than once in a measure.
1164 @code{\partcombine} cannot be inside @code{\times}.
1166 @code{\partcombine} cannot be inside @code{\relative}.
1168 Internally, the @code{\partcombine} interprets both arguments as
1169 @code{Voice}s named @code{one} and @code{two}, and then decides when
1170 the parts can be combined. Consequently, if the arguments switch to
1171 differently named @internalsref{Voice} contexts, the events in those
1176 @subsection Hiding staves
1178 @cindex Frenched scores
1179 @cindex Hiding staves
1181 In orchestral scores, staff lines that only have rests are usually
1182 removed; this saves some space. This style is called `French Score'.
1183 For @internalsref{Lyrics},
1184 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1185 switched on by default. When the lines of these contexts turn out
1186 empty after the line-breaking process, they are removed.
1188 For normal staves, a specialized @internalsref{Staff} context is
1189 available, which does the same: staves containing nothing (or only
1190 multi-measure rests) are removed. The context definition is stored in
1191 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1192 in this example disappears in the second line
1194 @lilypond[quote,raggedright,verbatim]
1196 \context { \RemoveEmptyStaffContext }
1201 \new Staff { e4 f g a \break c1 }
1202 \new Staff { c4 d e f \break R1 }
1207 The first system shows all staves in full. If empty staves should be
1208 removed from the first system too, set @code{remove-first} to true in
1209 @internalsref{RemoveEmptyVerticalGroup}.
1212 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1215 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1216 or @code{\RemoveEmptyRhythmicStaffContext}.
1218 Another application is making ossia sections, i.e., alternative
1219 melodies on a separate piece of staff, with help of a Frenched
1220 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1223 @node Quoting other voices
1224 @subsection Quoting other voices
1226 With quotations, fragments of other parts can be inserted into a part
1227 directly. Before a part can be quoted, it must be marked especially as
1228 quotable. This is done with the @code{\addquote} command.
1231 \addquote @var{name} @var{music}
1236 Here, @var{name} is an identifying string. The @var{music} is any kind
1237 of music. Here is an example of @code{\addquote}
1240 \addquote clarinet \relative c' @{
1245 This command must be entered at toplevel, i.e., outside any music
1248 After calling @code{\addquote}, the quotation may then be done with
1249 @code{\quoteDuring} or @code{\cueDuring},
1252 \quoteDuring #@var{name} @var{music}
1255 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1259 \quoteDuring #"clarinet" @{ s2. @}
1262 This would cite three quarter notes (the duration of @code{s2.}) of
1263 the previously added @code{clarinet} voice.
1266 More precisely, it takes the current time-step of the part being
1267 printed, and extracts the notes at the corresponding point of the
1268 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1269 should be the entire part of the voice to be quoted, including any
1270 rests at the beginning.
1272 Quotations take into account the transposition of both source and target
1273 instruments, if they are specified using the @code{\transposition} command.
1275 @lilypond[quote,raggedright,verbatim]
1276 \addquote clarinet \relative c' {
1282 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1286 The type of events that are present in cue notes can be trimmed with
1287 the @code{quotedEventTypes} property. The default value is
1288 @code{(note-event rest-event)}, which means that only notes and
1289 rests of the cued voice end up in the @code{\quoteDuring}.
1293 \set Staff.quotedEventTypes =
1294 #'(note-event articulation-event dynamic-event)
1298 will quote notes (but no rests), together with scripts and dynamics.
1302 Only the contents of the first @internalsref{Voice} occurring in an
1303 @code{\addquote} command will be considered for quotation, so
1304 @var{music} can not contain @code{\new} and @code{\context Voice}
1305 statements that would switch to a different Voice.
1307 Quoting grace notes is broken and can even cause LilyPond to crash.
1311 In this manual: @ref{Instrument transpositions}.
1313 Examples: @inputfileref{input/@/regression,quote@/.ly}
1314 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1316 Program reference: @internalsref{QuoteMusic}.
1319 @node Formatting cue notes
1320 @subsection Formatting cue notes
1322 The previous section deals with inserting notes from another voice.
1323 There is a more advanced music function called @code{\cueDuring},
1324 which makes formatting cue notes easier.
1329 \cueDuring #@var{name} #@var{updown} @var{music}
1332 This will insert notes from the part @var{name} into a
1333 @internalsref{Voice} called @code{cue}. This happens simultaneously
1334 with @var{music}, which usually is a rest. When the cue notes start,
1335 the staff in effect becomes polyphonic for a moment. The argument
1336 @var{updown} determines whether the cue notes should be notated as a
1337 first or second voice.
1340 @lilypond[verbatim,raggedright]
1343 \override Stem #'length = #5.5
1344 \override Beam #'thickness = #0.384
1345 \override Beam #'space-function =
1346 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1349 \addquote clarinet \relative {
1354 \new Staff \relative <<
1356 % setup a context for cue notes.
1357 \context Voice = cue { \smaller \skip 1*21 }
1359 \set Score.skipBars = ##t
1363 \cueDuring #"clarinet" #1 {
1372 Here are a couple of hints for successful cue notes
1376 Cue notes have smaller font sizes.
1378 the cued part is marked with the instrument playing the cue.
1380 when the original part takes over again, this should be marked with
1381 the name of the original instrument.
1383 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1385 @c Yes, this is good practice. Otherwise, the start of the original
1386 @c part can only be seen from the font size. This is not good enough
1387 @c for sight-reading. It is possilbe to use other
1388 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1393 Any other changes introduced by the cued part should also be
1394 undone. For example, if the cued instrument plays in a different clef,
1395 the original clef should be stated once again.
1400 @node Aligning to cadenzas
1401 @subsection Aligning to cadenzas
1403 In an orchestral context, cadenzas present a special problem:
1404 when constructing a score that includes a cadenza, all other
1405 instruments should skip just as many notes as the length of the
1406 cadenza, otherwise they will start too soon or too late.
1408 A solution to this problem are the functions @code{mmrest-of-length}
1409 and @code{skip-of-length}. These Scheme functions take a piece of music
1410 as argument, and generate a @code{\skip} or multi-rest, exactly as
1411 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1412 in the following example.
1414 @lilypond[verbatim,raggedright,quote]
1415 cadenza = \relative c' {
1416 c4 d8 << { e f g } \\ { d4. } >>
1421 \new Staff { \cadenza c'4 }
1423 #(ly:export (mmrest-of-length cadenza))
1432 @node Contemporary notation
1433 @section Contemporary notation
1435 In the 20th century, composers have greatly expanded the musical
1436 vocabulary. With this expansion, many innovations in musical notation
1437 have been tried. The book ``Music Notation in the 20th century'' by
1438 Kurt Stone gives a comprehensive overview (see @ref{Literature
1439 list}). In general, the use of new, innovative notation makes a piece
1440 harder to understand and perform and its use should therefore be
1441 avoided. For this reason, support for contemporary notation in
1442 LilyPond is limited.
1446 * Polymetric notation::
1447 * Time administration::
1449 * Special fermatas::
1450 * Special noteheads::
1457 @node Polymetric notation
1458 @subsection Polymetric notation
1460 Double time signatures are not supported explicitly, but they can be
1461 faked. In the next example, the markup for the time signature is
1462 created with a markup text. This markup text is inserted in the
1463 @internalsref{TimeSignature} grob.
1465 @lilypond[verbatim,raggedright]
1470 \musicglyph #"scripts.stopped"
1471 \bracket \column { "5" "8" }
1476 \override Staff.TimeSignature #'print-function = #Text_interface::print
1477 \override Staff.TimeSignature #'text = #tsMarkup
1479 c'2 \bar ":" c'4 c'4.
1483 Each staff can also have its own time signature. This is done by
1484 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1490 \remove "Timing_translator"
1491 \remove "Default_bar_line_engraver"
1495 \consists "Timing_translator"
1496 \consists "Default_bar_line_engraver"
1503 Now, each staff has its own time signature.
1516 c4. c8 c c c4. c8 c c
1521 @lilypond[quote,raggedright]
1525 \remove "Timing_translator"
1526 \remove "Default_bar_line_engraver"
1529 \consists "Timing_translator"
1530 \consists "Default_bar_line_engraver"
1545 c4. c8 c c c4. c8 c c
1551 A different form of polymetric notation is where note lengths have
1552 different values across staves.
1554 This notation can be created by setting a common time signature for
1555 each staff but replacing it manually using
1556 @code{timeSignatureFraction} to the desired fraction. Then the printed
1557 durations in each staff are scaled to the common time signature.
1558 The latter is done with @code{\compressMusic}, which is similar to
1559 @code{\times}, but does not create a tuplet bracket.
1562 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1563 used in parallel. In the second staff, shown durations are multiplied by
1564 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1565 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1567 @lilypond[quote,raggedright,verbatim,fragment]
1575 \set Staff.timeSignatureFraction = #'(9 . 8)
1576 \compressMusic #'(2 . 3)
1577 \repeat unfold 6 { c8[ c c] }
1581 \set Staff.timeSignatureFraction = #'(10 . 8)
1582 \compressMusic #'(3 . 5) {
1583 \repeat unfold 2 { c8[ c c] }
1584 \repeat unfold 2 { c8[ c] }
1585 | c4. c4. \times 2/3 { c8 c c } c4
1596 When using different time signatures in parallel, the spacing is
1597 aligned vertically, but bar lines distort the regular spacing.
1600 @node Time administration
1601 @subsection Time administration
1603 @cindex Time administration
1605 Time is administered by the @internalsref{Time_signature_engraver},
1606 which usually lives in the @internalsref{Score} context. The
1607 bookkeeping deals with the following variables
1610 @item currentBarNumber
1614 The length of the measures in the current time signature. For a 4/4
1615 time this is@tie{}1, and for 6/8 it is 3/4.
1617 @item measurePosition
1618 The point within the measure where we currently are. This quantity
1619 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1620 happens, @code{currentBarNumber} is incremented.
1623 If set to true, the above variables are updated for every time
1624 step. When set to false, the engraver stays in the current measure
1628 Timing can be changed by setting any of these variables explicitly.
1629 In the next example, the 4/4 time signature is printed, but
1630 @code{measureLength} is set to 5/4. After a while, the measure is
1631 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1632 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1633 3/8 arises because 5/4 normally has 10/8, but we have manually
1634 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1636 @lilypond[quote,raggedright,verbatim,relative,fragment]
1637 \set Score.measureLength = #(ly:make-moment 5 4)
1641 \set Score.measurePosition = #(ly:make-moment 7 8)
1649 @subsection Clusters
1653 A cluster indicates a continuous range of pitches to be played. They
1654 can be denoted as the envelope of a set of notes. They are entered by
1655 applying the function @code{makeClusters} to a sequence of
1657 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1658 \makeClusters { <c e > <b f'> }
1661 The following example (from
1662 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1665 @lilypondfile[raggedright,quote]{cluster.ly}
1667 Ordinary notes and clusters can be put together in the same staff,
1668 even simultaneously. In such a case no attempt is made to
1669 automatically avoid collisions between ordinary notes and clusters.
1673 Program reference: @internalsref{ClusterSpanner},
1674 @internalsref{ClusterSpannerBeacon},
1675 @internalsref{Cluster_spanner_engraver}.
1677 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1681 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1682 accurately. Use @code{<g a>8 <e a>8} instead.
1686 @node Special fermatas
1687 @subsection Special fermatas
1689 @cindex fermatas, special
1691 In contemporary music notation, special fermata symbols denote breaks
1692 of differing lengths. The following fermatas are supported
1694 @lilypond[quote,raggedright]
1717 \context Lyrics \lyricmode {
1718 \override LyricText #'font-family = #'typewriter
1719 "shortfermata" "fermata" "longfermata" "verylongfermata"
1724 See @ref{Articulations} for general instructions how to apply scripts
1725 such as fermatas to notes.
1728 @node Special noteheads
1729 @subsection Special noteheads
1731 Different noteheads are used by various instruments for various
1732 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1733 notes on guitar; diamonds are used for harmonics on string instruments,
1734 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1735 other notehead styles are produced by tweaking the property
1737 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1739 \override NoteHead #'style = #'cross
1741 \revert NoteHead #'style
1742 e d <c f\harmonic> <d a'\harmonic>
1746 To see all notehead styles, please see
1747 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1752 Program reference: @internalsref{NoteHead}.
1754 @node Pitched trills
1755 @subsection Pitched trills
1757 Trills that should be executed on an explicitly specified pitch can be
1758 typeset with the command @code{pitchedTrill},
1760 @lilypond[raggedright,verbatim,fragment]
1761 \pitchedTrill c'4\startTrillSpan fis
1765 The first argument is the main note. The absolute pitch of the second
1766 is printed as a stemless note head in parentheses.
1770 Relative octave mode ignores the octave of the second argument of
1771 @code{\pitchedTrill}.
1773 @node Feathered beams
1774 @subsection Feathered beams
1776 Feathered beams are not supported natively, but they can be faked by
1777 forcing two beams to overlap. Here is an example,
1779 @c don't change relative setting witout changing positions!
1780 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1785 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1790 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1798 @subsection Improvisation
1800 Improvisation is sometimes denoted with slashed note heads. Such note
1801 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1802 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1806 \set squashedPosition = #0
1807 \override NoteHead #'style = #'slash
1811 switches on the slashes.
1813 There are shortcuts @code{\improvisationOn} (and an accompanying
1814 @code{\improvisationOff}) for this command sequence. They are used in
1815 the following example
1817 @lilypond[verbatim,raggedright,quote]
1819 \consists Pitch_squash_engraver
1821 e8 e g a a16(bes)(a8) g \improvisationOn
1824 ~fis2 \improvisationOff a16(bes) a8 g e
1829 @node Educational use
1830 @section Educational use
1832 With the amount of control that LilyPond offers, one can make great
1833 teaching tools in addition to great musical scores.
1837 * Blank music sheet::
1839 * Shaped note heads ::
1840 * Easy Notation note heads::
1841 * Analysis brackets::
1842 * Coloring objects::
1846 @subsection Balloon help
1848 Elements of notation can be marked and named with the help of a square
1849 balloon. The primary purpose of this feature is to explain notation.
1851 The following example demonstrates its use.
1853 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1856 #(add-balloon-text 'NoteHead "heads, or tails?"
1863 The function @code{add-balloon-text} takes the name of a grob, the
1864 label to print, and the position where to put the label relative to
1865 the object. In the above example, the text ``heads or tails?'' ends
1866 3 spaces below and 1 space to the right of the marked head.
1869 @cindex notation, explaining
1873 Program reference: @internalsref{text-balloon-interface}.
1875 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1880 @node Blank music sheet
1881 @subsection Blank music sheet
1883 A blank music sheet can be produced also by using invisible notes, and
1884 removing @code{Bar_number_engraver}.
1887 @lilypond[quote,verbatim]
1889 \repeat unfold 2 % Change this for more lines.
1894 \override TimeSignature #'transparent = ##t
1895 defaultBarType = #""
1896 \remove Bar_number_engraver
1898 \context Staff \emptymusic
1899 \context TabStaff \emptymusic
1905 @subsection Hidden notes
1907 @cindex Hidden notes
1908 @cindex Invisible notes
1909 @cindex Transparent notes
1911 @cindex @code{\hideNotes}
1912 @cindex @code{\unHideNotes}
1913 Hidden (or invisible or transparent) notes can be useful in preparing theory
1914 or composition exercises.
1916 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1924 Hidden notes are also great for performing weird tricks. For example,
1925 slurs cannot be attached to rests or spacer rests, but you may wish
1926 to include that in your score -- string instruments use this notation
1927 when doing pizzicato to indicate that the note should ring for as long
1930 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1933 c4^"pizz"( \hideNotes c)
1934 \unHideNotes c( \hideNotes c)
1941 @node Shaped note heads
1942 @subsection Shaped note heads
1944 In shaped note head notation, the shape of the note head corresponds
1945 to the harmonic function of a note in the scale. This notation was
1946 popular in the 19th century American song books.
1948 Shaped note heads can be produced by setting @code{\aikenHeads} or
1949 @code{\sacredHarpHeads}, depending on the style desired.
1951 @lilypond[verbatim,relative=1,fragment]
1958 Shapes are determined on the step in the scale, where the base of the
1959 scale is determined by the @code{\key} command
1962 @findex shapeNoteStyles
1964 @findex \sacredHarpHeads
1966 Shaped note heads are implemented through the @code{shapeNoteStyles}
1967 property. Its value is a vector of symbols. The k-th element indicates
1968 the style to use for the k-th step of the scale. Arbitrary
1969 combinations are possible, eg.,
1972 @lilypond[verbatim,relative=1,fragment]
1973 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
1978 @node Easy Notation note heads
1979 @subsection Easy Notation note heads
1981 @cindex easy notation
1984 The `easy play' note head includes a note name inside the head. It is
1985 used in music for beginners
1987 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
1992 The command @code{\setEasyHeads} overrides settings for the
1993 @internalsref{NoteHead} object. To make the letters readable, it has
1994 to be printed in a large font size. To print with a larger font, see
1995 @ref{Setting global staff size}.
1999 @cindex @code{\setEasyHeads}
2000 @code{\setEasyHeads}
2003 @node Analysis brackets
2004 @subsection Analysis brackets
2006 @cindex phrasing brackets
2007 @cindex musicological analysis
2008 @cindex note grouping bracket
2010 Brackets are used in musical analysis to indicate structure in musical
2011 pieces. LilyPond supports a simple form of nested horizontal
2012 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2013 to @internalsref{Staff} context. A bracket is started with
2014 @code{\startGroup} and closed with @code{\stopGroup}
2016 @lilypond[quote,raggedright,verbatim]
2019 c4\startGroup\startGroup
2022 c4\stopGroup\stopGroup
2026 \Staff \consists "Horizontal_bracket_engraver"
2032 Program reference: @internalsref{HorizontalBracket}.
2034 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2040 I don't think we need this info.
2045 Whenever a note is found, a @internalsref{Stem} object is created
2046 automatically. For whole notes and rests, they are also created but
2051 @cindex @code{\stemUp}
2053 @cindex @code{\stemDown}
2055 @cindex @code{\stemNeutral}
2056 @code{\stemNeutral}.
2061 @node Coloring objects
2062 @subsection Coloring objects
2064 Individual objects may be assigned colors. You may use the
2065 color names listed in the @ref{List of colors}.
2067 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2068 \override NoteHead #'color = #red
2070 \override NoteHead #'color = #(x11-color 'LimeGreen)
2072 \override Stem #'color = #blue
2076 The full range of colors defined for X11 can be accessed by using the
2077 scheme function x11-color. The function takes one argument that can be a
2081 \override Beam #'color = #(x11-color 'MediumTurquoise)
2087 \override Beam #'color = #(x11-color "MediumTurquoise")
2090 The first form is quicker to write and is more efficient. However, using
2091 the second form it is possible to access X11 colors by the multi-word
2095 \override Beam #'color = #(x11-color "medium turquoise")
2098 If x11-color cannot make sense of the parameter then the color returned
2099 defaults to black. It should be obvious from the final score that
2102 This example, illustrates the use of x11-color. Notice that the stem
2103 color remains black after being set to (x11-color 'Boggle), which is
2104 deliberate nonsense.
2106 @lilypond[quote,raggedright,verbatim]
2108 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2109 \set Staff.instrument = \markup {
2110 \with-color #(x11-color 'navy) "Clarinet"
2114 \override Beam #'color = #(x11-color "medium turquoise")
2116 \override NoteHead #'color = #(x11-color "LimeGreen")
2118 \override Stem #'color = #(x11-color 'Boggle)
2126 Appendix: @ref{List of colors}.
2130 Not all x11 colors are distinguishable in a web browser. For web use
2131 normal colors are recommended.
2133 An x11 color is not necessarily exactly the same shade as a similarly
2137 @node Automatic notation
2138 @section Automatic notation
2140 This section describes how to change the way that accidentals and
2141 beams are automatically displayed.
2143 FIXME: this might get moved into Changing Defaults. Please send
2144 opinions to lilypond-devel. Thanks! :)
2147 * Automatic accidentals::
2148 * Setting automatic beam behavior::
2151 @node Automatic accidentals
2152 @subsection Automatic accidentals
2153 @cindex Automatic accidentals
2155 Common rules for typesetting accidentals have been placed in a
2156 function. This function is called as follows
2158 @cindex @code{set-accidental-style}
2160 #(set-accidental-style 'STYLE #('CONTEXT#))
2163 The function can take two arguments: the name of the accidental style,
2164 and an optional argument that denotes the context that should be
2165 changed. If no context name is supplied, @code{Staff} is the default,
2166 but you may wish to apply the accidental style to a single @code{Voice}
2169 The following accidental styles are supported
2172 This is the default typesetting behavior. It corresponds
2173 to 18th century common practice: Accidentals are
2174 remembered to the end of the measure in which they occur and
2175 only on their own octave.
2178 The normal behavior is to remember the accidentals on
2179 Staff-level. This variable, however, typesets accidentals
2180 individually for each voice. Apart from that, the rule is similar to
2183 As a result, accidentals from one voice do not get canceled in other
2184 voices, which is often an unwanted result
2186 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2188 #(set-accidental-style 'voice)
2195 The @code{voice} option should be used if the voices
2196 are to be read solely by individual musicians. If the staff is to be
2197 used by one musician (e.g., a conductor) then
2198 @code{modern} or @code{modern-cautionary}
2199 should be used instead.
2202 @cindex @code{modern} style accidentals
2203 This rule corresponds to the common practice in the 20th century. This rule
2204 prints the same accidentals as @code{default}, but temporary
2205 accidentals also are canceled in other octaves. Furthermore,
2206 in the same octave, they also get canceled in the following
2209 @lilypond[quote,raggedright,fragment,verbatim]
2210 #(set-accidental-style 'modern)
2211 cis' c'' cis'2 | c'' c'
2214 @item @code{modern-cautionary}
2215 @cindex @code{modern-cautionary}
2216 This rule is similar to @code{modern}, but the ``extra'' accidentals
2217 (the ones not typeset by @code{default}) are typeset as cautionary
2218 accidentals. They are printed in reduced size or with parentheses
2219 @lilypond[quote,raggedright,fragment,verbatim]
2220 #(set-accidental-style 'modern-cautionary)
2221 cis' c'' cis'2 | c'' c'
2224 @cindex @code{modern-voice}
2226 This rule is used for multivoice accidentals to be read both by musicians
2227 playing one voice and musicians playing all voices. Accidentals are
2228 typeset for each voice, but they @emph{are} canceled across voices in
2229 the same @internalsref{Staff}.
2231 @cindex @code{modern-voice-cautionary}
2232 @item modern-voice-cautionary
2233 This rule is the same as @code{modern-voice}, but with the extra
2234 accidentals (the ones not typeset by @code{voice}) typeset
2235 as cautionaries. Even though all accidentals typeset by
2236 @code{default} @emph{are} typeset by this variable,
2237 some of them are typeset as cautionaries.
2240 @cindex @code{piano} accidentals
2241 This rule reflects 20th century practice for piano notation. Very similar to
2242 @code{modern} but accidentals also get canceled
2243 across the staves in the same @internalsref{GrandStaff} or
2244 @internalsref{PianoStaff}.
2246 @item piano-cautionary
2247 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2248 Same as @code{#(set-accidental-style 'piano)} but with the extra
2249 accidentals typeset as cautionaries.
2252 @cindex @code{no-reset} accidental style
2253 This is the same as @code{default} but with accidentals lasting
2254 ``forever'' and not only until the next measure
2255 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2256 #(set-accidental-style 'no-reset)
2261 This is sort of the opposite of @code{no-reset}: Accidentals
2262 are not remembered at all---and hence all accidentals are
2263 typeset relative to the key signature, regardless of what was
2266 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2267 #(set-accidental-style 'forget)
2268 \key d\major c4 c cis cis d d dis dis
2275 Program reference: @internalsref{Accidental_engraver},
2276 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2281 Simultaneous notes are considered to be entered in sequential
2282 mode. This means that in a chord the accidentals are typeset as if the
2283 notes in the chord happened once at a time - in the order in which
2284 they appear in the input file.
2286 This is a problem when accidentals in a chord depend on each other,
2287 which does not happen for the default accidental style. The problem
2288 can be solved by manually inserting @code{!} and @code{?} for the
2292 @node Setting automatic beam behavior
2293 @subsection Setting automatic beam behavior
2295 @cindex @code{autoBeamSettings}
2296 @cindex @code{(end * * * *)}
2297 @cindex @code{(begin * * * *)}
2298 @cindex automatic beams, tuning
2299 @cindex tuning automatic beaming
2301 @c [TODO: use \applycontext]
2303 In normal time signatures, automatic beams can start on any note but can
2304 only end in a few positions within the measure: beams can end on a beat,
2305 or at durations specified by the properties in
2306 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2307 consist of a list of rules for where beams can begin and end. The
2308 default @code{autoBeamSettings} rules are defined in
2309 @file{scm/@/auto@/-beam@/.scm}.
2311 In order to add a rule to the list, use
2313 #(override-auto-beam-setting '(be p q n m) a b [context])
2318 @item @code{be} is either "begin" or "end".
2320 @item @code{b/q} is the duration of the note for which you want
2321 to add a rule. A beam is considered to have the duration of its
2322 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2323 have this apply to any beam.
2325 @item @code{n/m} is the position in the time signature to which
2326 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2327 to have this apply in any time signature.
2329 @item @code{a/b} is the position in the bar at which the beam should end.
2331 @item @code{context} is optional, and it specifies the context at which
2332 the change should be made. The default is @code{'Voice}.
2333 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2334 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2338 For example, if automatic beams should always end on the first quarter
2342 #(override-auto-beam-setting '(end * * * *) 1 4)
2345 You can force the beam settings to only take effect on beams whose shortest
2346 note is a certain duration
2348 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2350 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2352 a32 a a a a16 a a a a a |
2353 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2354 a32 a a a a16 a a a a a |
2357 You can force the beam settings to only take effect in certain time
2360 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2362 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2370 You can also remove a previously set beam-ending rule by using
2373 #(revert-auto-beam-setting '(be p q n m) a b [context])
2377 be, p, q, n, m, a, b and context are the same as above. Note that the
2378 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2379 so you can revert rules that you did not explicitly create.
2381 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2383 a16 a a a a a a a a a a a a a a a
2384 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2385 a16 a a a a a a a a a a a a a a a
2388 The rule in a revert-auto-beam-setting statement must exactly match the
2389 original rule. That is, no wildcard expansion is taken into account.
2391 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2393 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2395 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2397 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2403 @c TODO: old material -- not covered by above stuff, I think.
2404 If automatic beams should end on every quarter in 5/4 time, specify
2407 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2408 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2409 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2410 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2414 The same syntax can be used to specify beam starting points. In this
2415 example, automatic beams can only end on a dotted quarter note
2417 #(override-auto-beam-setting '(end * * * *) 3 8)
2418 #(override-auto-beam-setting '(end * * * *) 1 2)
2419 #(override-auto-beam-setting '(end * * * *) 7 8)
2421 In 4/4 time signature, this means that automatic beams could end only on
2422 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2423 3/8, has passed within the measure).
2425 @cindex automatic beam generation
2427 @cindex @code{autoBeaming}
2430 If beams are used to indicate melismata in songs, then automatic
2431 beaming should be switched off with @code{\autoBeamOff}.
2436 @cindex @code{\autoBeamOff}
2437 @code{\autoBeamOff},
2438 @cindex @code{\autoBeamOn}
2444 If a score ends while an automatic beam has not been ended and is
2445 still accepting notes, this last beam will not be typeset at all. The
2446 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2447 >>}. If a polyphonic voice ends while an automatic beam is still
2448 accepting notes, it is not typeset.