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::
29 This section explains how to include text (with various formatting) in
39 * Overview of text markup commands::
40 * Selecting font sizes::
43 * Other text markup issues::
48 @subsection Text scripts
51 @cindex text items, non-empty
52 @cindex non-empty texts
54 It is possible to place arbitrary strings of text or @ref{Text markup}
55 above or below notes by using a string @code{c^"text"}. By default,
56 these indications do not influence the note spacing, but by using the
57 command @code{\fatText}, the widths will be taken into account
59 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
60 c4^"longtext" \fatText c4_"longlongtext" c4
63 More complex formatting may also be added to a note by using the
65 @lilypond[fragment,raggedright,verbatim,quote]
66 c'4^\markup { bla \bold bla }
69 The @code{\markup} is described in more detail in
75 @cindex @code{\fatText}
77 @cindex @code{\emptyText}
83 In this manual: @ref{Text markup}.
85 Program reference: @internalsref{TextScript}.
89 @subsection Text spanners
93 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
94 are written as text and are extended over many measures with dotted
95 lines. Such texts are created using text spanners; attach
96 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
99 The string to be printed, as well as the style, is set through object
102 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
105 \override TextSpanner #'edge-text = #'("rall " . "")
106 c2\startTextSpan b c\stopTextSpan a
111 @cindex textSpannerUp
112 @code{textSpannerUp},
113 @cindex textSpannerDown
114 @code{textSpannerDown},
115 @cindex textSpannerNeutral
116 @code{textSpannerNeutral}.
121 Program reference: @internalsref{TextSpanner}.
123 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
127 @subsection Text marks
129 @cindex coda on bar line
130 @cindex segno on bar line
131 @cindex fermata on bar line
132 @cindex bar lines, symbols on
135 The @code{\mark} command is primarily used for
136 @internalsref{Rehearsal marks},
137 but it can also be used to put signs like coda,
138 segno, and fermata on a bar line. Use @code{\markup} to
139 access the appropriate symbol
141 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
142 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
147 @code{\mark} is only typeset above the top stave of the score. If
148 you specify the @code{\mark} command at a bar line, the resulting
149 mark is placed above the bar line. If you specify it in the middle
150 of a bar, the resulting mark is positioned between notes. If it is
151 specified before the beginning of a score line, it is placed
152 before the first note of the line. Finally, if the mark occurs at
153 a line break, the mark will be printed at the
154 beginning of the next line.
155 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
156 @c delete this sentence. -gp
157 If there is no next line, then the mark will not be printed at all.
162 To print the mark at the end of the current line, use
165 \override Score.RehearsalMark
166 #'break-visibility = #begin-of-line-invisible
169 @code{\mark} is often useful for adding text to the end of bar. In
170 such cases, changing the @code{#'self-alignment} is very useful
172 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
173 \override Score.RehearsalMark
174 #'break-visibility = #begin-of-line-invisible
176 \once \override Score.RehearsalMark #'self-alignment-X = #right
177 \mark "D.S. al Fine "
183 Program reference: @internalsref{RehearsalMark}.
187 @subsection Text markup
194 Use @code{\markup} to typeset text. Commands are entered with the
197 @lilypond[quote,verbatim,fragment,relative=1]
199 c1_\markup { hi there }
200 c1^\markup { hi \bold there, is \italic anyone home? }
204 @code{\markup} is primarily used for @internalsref{TextScript}s,
205 but it can also be used anywhere text is called in lilypond
207 @lilypond[quote,verbatim]
208 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
211 \override Score.RehearsalMark
212 #'break-visibility = #begin-of-line-invisible
213 \override Score.RehearsalMark #'self-alignment-X = #right
215 \set Staff.instrument = \markup{ \column{ Alto solo } }
216 c2^\markup{ don't be \flat }
218 a2\mark \markup{ \large \bold Fine }
222 \addlyrics { bar, foo \markup{ \italic bar! } }
226 @cindex font switching
228 The markup in the example demonstrates font switching commands. The
229 command @code{\bold} and @code{\italic} apply to the first following
230 word only; to apply a command to more than one word, enclose the
234 \markup @{ \bold @{ hi there @} @}
238 For clarity, you can also do this for single arguments, e.g.,
241 \markup @{ is \italic @{ anyone @} home @}
244 @cindex font size, texts
246 In markup mode you can compose expressions, similar to mathematical
247 expressions, XML documents, and music expressions. You can stack
248 expressions grouped vertically with the command @code{\column}.
249 Similarly, @code{\center-align} aligns texts by their center lines:
251 @lilypond[quote,verbatim,fragment,relative=1]
252 c1^\markup { \column { a bbbb \line { c d } } }
253 c1^\markup { \center-align { a bbbb c } }
254 c1^\markup { \line { a b c } }
257 Markups can be stored in variables and these variables
258 may be attached to notes, like
260 allegro = \markup @{ \bold \large @{ Allegro @} @}
261 @{ a^\allegro b c d @}
264 Some objects have alignment procedures of their own, which cancel out
265 any effects of alignments applied to their markup arguments as a
266 whole. For example, the @internalsref{RehearsalMark} is horizontally
267 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
273 Program reference: @internalsref{TextScript}.
275 Init files: @file{scm/@/new@/-markup@/.scm}.
280 Kerning or generation of ligatures is only done when the @TeX{}
281 backend is used. In this case, LilyPond does not account for them so
282 texts will be spaced slightly too wide.
284 Syntax errors for markup mode are confusing.
288 @subsection Text encoding
290 LilyPond uses the Pango library to format multi-lingual texts, and
291 does not perform any input-encoding conversions. This means that any
292 text, be it title, lyric text, or musical instruction containing
293 non-ASCII characters, must be utf-8. Easiest to enter such texts is
294 by using a Unicode-aware editor, and save using utf-8 encoding. Most
295 popular modern editors have utf-8 support, for example, vim, Emacs,
298 Depending on the fonts installed, the following fragment shows Hebrew
305 @lilypondfile[fontload]{utf-8.ly}
307 The @TeX{} backend does not handle encoding specially at all. Strings
308 in the input are put in the output as-is. Extents of text items in the
309 @TeX{} backend, are determined by reading a file created via the
310 @file{texstr} backend,
313 lilypond -b texstr input/les-nereides.ly
314 latex les-nereides.texstr
317 The last command produces @file{les-nereides.textmetrics}, which is
318 read when you execute
321 lilypond -b tex input/les-nereides.ly
324 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
325 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
326 interpreting non-ASCII strings.
331 @inputfileref{input/regression,utf-8.ly}
335 @subsection Nested scores
337 It is possible to nest music inside markups, by adding a @code{\score}
338 block to a markup expression. Such a score must contain a @code{\layout}
341 @lilypond[quote,verbatim,raggedright]
345 \relative { c4 d e f }
354 @node Overview of text markup commands
355 @subsection Overview of text markup commands
357 The following commands can all be used inside @code{\markup @{ @}}.
359 @include markup-commands.tely
362 @node Selecting font sizes
363 @subsection Selecting font sizes
365 The easiest method of setting the font size of any context, is by
366 setting the @code{fontSize} property.
368 @lilypond[quote,fragment,relative=1,verbatim]
377 It does not change the size of variable symbols, such as beams or
380 Internally, the @code{fontSize} context property will cause the
381 @code{font-size} property to be set in all layout objects. The value
382 of @code{font-size} is a number indicating the size relative to the
383 standard size for the current staff height. Each step up is an
384 increase of approximately 12% of the font size. Six steps is exactly a
385 factor two. The Scheme function @code{magstep} converts a
386 @code{font-size} number to a scaling factor.
388 @lilypond[quote,fragment,relative=1,verbatim]
390 \override NoteHead #'font-size = #-4
392 \override NoteHead #'font-size = #3
396 LilyPond has fonts in different design sizes. The music fonts for
397 smaller sizes are chubbier, while the text fonts are relatively wider.
398 Font size changes are achieved by scaling the design size that is
399 closest to the desired size. The standard font size (for
400 @code{font-size} equals 0), depends on the standard staff height. For
401 a 20pt staff, a 10pt font is selected.
403 The @code{font-size} property can only be set on layout objects that
404 use fonts. These are the ones supporting the
405 @internalsref{font-interface} layout interface.
409 The following commands set @code{fontSize} for the current voice:
413 @cindex @code{\small}
415 @cindex @code{\normalsize}
420 @subsection Font selection
422 @cindex font selection
423 @cindex font magnification
424 @cindex @code{font-interface}
426 By setting the object properties described below, you can select a
427 font from the preconfigured font families. LilyPond has default
428 support for the feta music fonts and @TeX{}'s Computer Modern text
432 @item @code{font-encoding}
433 is a symbol that sets layout of the glyphs. This should only be set to
434 select different types of non-text fonts, eg.
436 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
437 standard music font, including ancient glyphs, @code{fetaDynamic} for
438 dynamic signs and @code{fetaNumber} for the number font.
440 @item @code{font-family}
441 is a symbol indicating the general class of the typeface. Supported are
442 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
444 @item @code{font-shape}
445 is a symbol indicating the shape of the font. There are typically
446 several font shapes available for each font family. Choices are
447 @code{italic}, @code{caps}, and @code{upright}.
449 @item @code{font-series}
450 is a symbol indicating the series of the font. There are typically
451 several font series for each font family and shape. Choices are
452 @code{medium} and @code{bold}.
456 Fonts selected in the way sketched above come from a predefined style
457 sheet. If you want to use a font from outside the style sheet,
459 @code{font-name} property,
461 @lilypond[fragment,verbatim]
463 \override Staff.TimeSignature #'font-name = #"Times"
464 \override Staff.TimeSignature #'font-size = #2
467 \override #'(font-name . "Vera Bold")
468 { This text is in Vera Bold }
474 Any font can be used, as long as it is available to Pango/FontConfig.
476 The size of the font may be set with the @code{font-size}
477 property. The resulting size is taken relative to the
478 @code{text-font-size} as defined in the @code{\paper} block.
481 @cindex font magnification
485 Init files: @file{ly/@/declarations@/-init@/.ly} contains hints how new
486 fonts may be added to LilyPond.
489 @node New dynamic marks
490 @subsection New dynamic marks
492 It is possible to print new dynamic marks or text that should be aligned
493 with dynamics. Use @code{make-dynamic-script} to create these marks.
495 @cindex make-dynamic-script
497 @lilypond[quote,verbatim,raggedright]
498 sfzp = #(make-dynamic-script "sfzp")
504 @cindex Dynamics, editorial
505 @cindex Dynamics, parenthesis
507 It is also possible to print dynamics in round parenthesis or square
508 brackets. These are often used for adding editorial dynamics.
510 @lilypond[quote,verbatim,raggedright]
511 rndf = \markup{ \center-align {\line { \bold{\italic (}
512 \dynamic f \bold{\italic )} }} }
513 boxf = \markup{ \bracket { \dynamic f } }
514 { c'1_\rndf c'1_\boxf }
518 @node Other text markup issues
519 @subsection Other text markup issues
521 To use a normal font within a title, you must define it manually
524 #(def-markup-command (normal-font layout props arg) (markup?)
525 "Switch to normal text font"
526 (interpret-markup layout (cons '((font-series . 'medium) (font-shape . 'upright)) props) arg))
529 title = \markup@{ ABCD \normal-font ABCD @}
535 @node Preparing parts
536 @section Preparing parts
538 This section describes various notation that are useful for preparing
542 * Multi measure rests::
547 * Instrument transpositions::
549 * Different editions from one source::
553 @node Multi measure rests
554 @subsection Multi measure rests
556 @cindex multi measure rests
557 @cindex Rests, multi measure
558 @cindex whole rests for a full measure
561 Multi-measure rests are entered using `@code{R}'. It is specifically
562 meant for full bar rests and for entering parts: the rest can expand
563 to fill a score with rests, or it can be printed as a single
564 multi-measure rest. This expansion is controlled by the property
565 @code{Score.skipBars}. If this is set to true, empty measures will not
566 be expanded, and the appropriate number is added automatically
568 @lilypond[quote,raggedright,fragment,verbatim]
569 \time 4/4 r1 | R1 | R1*2
570 \set Score.skipBars = ##t R1*17 R1*4
573 The @code{1} in @code{R1} is similar to the duration notation used for
574 notes. Hence, for time signatures other than 4/4, you must enter other
575 durations. This can be done with augmentation dots or fractions
577 @lilypond[quote,raggedright,fragment,verbatim]
578 \set Score.skipBars = ##t
587 An @code{R} spanning a single measure is printed as either a whole rest
588 or a breve, centered in the measure regardless of the time signature.
590 If there are only a few measures of rest, LilyPond prints ``church rests''
591 (a series of rectangles) in the staff. To replace that with a simple
592 rest, use @code{MultiMeasureRest.expand-limit}.
594 @lilypond[quote,raggedright,fragment,verbatim]
595 \set Score.skipBars = ##t
597 \override MultiMeasureRest #'expand-limit = 1
601 @cindex text on multi-measure rest
602 @cindex script on multi-measure rest
603 @cindex fermata on multi-measure rest
605 Texts can be added to multi-measure rests by using the
606 @var{note}-@code{markup} syntax @ref{Text markup}.
607 A variable (@code{\fermataMarkup}) is provided for
610 @lilypond[quote,raggedright,verbatim,fragment]
611 \set Score.skipBars = ##t
613 R2.*10^\markup { \italic "ad lib." }
617 If you want to have text on the left end of a multi-measure rest,
618 attach the text to a zero-length skip note, i.e.,
628 Program reference: @internalsref{MultiMeasureRestMusicGroup},
629 @internalsref{MultiMeasureRest}.
631 The layout object @internalsref{MultiMeasureRestNumber} is for the
632 default number, and @internalsref{MultiMeasureRestText} for user
638 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
639 over multi-measure rests. And the pitch of multi-measure rests (or
640 staff-centered rests) can not be influenced.
642 @cindex condensing rests
644 There is no way to automatically condense multiple rests into a single
645 multi-measure rest. Multi-measure rests do not take part in rest
648 Be careful when entering multi-measure rests followed by whole
649 notes. The following will enter two notes lasting four measures each
653 When @code{skipBars} is set, the result will look OK, but the bar
654 numbering will be off.
657 @node Metronome marks
658 @subsection Metronome marks
661 @cindex beats per minute
662 @cindex metronome marking
664 Metronome settings can be entered as follows
666 \tempo @var{duration} = @var{per-minute}
669 In the MIDI output, they are interpreted as a tempo change. In the
670 layout output, a metronome marking is printed
671 @cindex @code{\tempo}
672 @lilypond[quote,raggedright,verbatim,fragment]
679 To change the tempo in the MIDI output without printing anything, make
680 the metronome marking invisible
682 \once \override Score.MetronomeMark #'transparent = ##t
685 To print other metronome markings, use these markup commands
686 @lilypond[quote,raggedright,verbatim,relative,fragment]
689 \smaller \general-align #Y #DOWN \note #"16." #1
691 \smaller \general-align #Y #DOWN \note #"8" #1"
696 See @ref{Text markup} for more details.
701 Program reference: @internalsref{MetronomeMark}.
706 Collisions are not checked. If you have notes above the top line of
707 the staff (or notes with articulations, slurs, text, etc), then the
708 metronome marking may be printed on top of musical symbols. If this
709 occurs, increase the padding of the metronome mark to place it
710 further away from the staff.
713 \override Score.MetronomeMark #'padding = #2.5
717 @node Rehearsal marks
718 @subsection Rehearsal marks
720 @cindex Rehearsal marks
723 To print a rehearsal mark, use the @code{\mark} command
725 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
734 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
736 The mark is incremented automatically if you use @code{\mark
737 \default}, but you can also use an integer argument to set the mark
738 manually. The value to use is stored in the property
739 @code{rehearsalMark}.
741 The style is defined by the property @code{markFormatter}. It is a
742 function taking the current mark (an integer) and the current context
743 as argument. It should return a markup object. In the following
744 example, @code{markFormatter} is set to a canned procedure. After a
745 few measures, it is set to function that produces a boxed number.
747 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
748 \set Score.markFormatter = #format-mark-numbers
751 \set Score.markFormatter = #format-mark-box-numbers
757 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
758 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
759 @code{format-mark-letters} and @code{format-mark-box-letters}.
760 These can be used as inspiration for other formatting functions.
765 Program reference: @internalsref{RehearsalMark}.
767 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
768 definition of @code{format-mark-numbers} and
769 @code{format-mark-letters}. They can be used as inspiration for other
770 formatting functions.
772 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
774 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
778 @subsection Bar numbers
781 @cindex measure numbers
782 @cindex @code{currentBarNumber}
784 Bar numbers are printed by default at the start of the line. The
785 number itself is stored in the @code{currentBarNumber} property, which
786 is normally updated automatically for every measure.
788 Bar numbers can be typeset at regular intervals instead of at the
789 beginning of each line. This is illustrated in the following example,
790 whose source is available as
791 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
793 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
795 Bar numbers can be typeset manually by tweaking the
796 @code{markFormatter} property
798 @lilypond[verbatim,raggedright,quote]
800 \set Score.markFormatter
801 = #(lambda (mark context)
804 (number->string (ly:context-property context
805 'currentBarNumber)))))
807 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
811 Bar numbers can be manually changed by setting the
812 @code{Staff.currentBarNumber} property
814 @lilypond[verbatim,raggedright,quote]
816 \repeat unfold 4 {c4 c c c} \break
817 \set Score.currentBarNumber = #50
818 \repeat unfold 4 {c4 c c c}
825 Program reference: @internalsref{BarNumber}.
828 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
829 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
834 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
835 there is one at the top. To solve this, the
836 @code{padding} property of @internalsref{BarNumber} can be
837 used to position the number correctly.
840 @node Instrument names
841 @subsection Instrument names
843 In an orchestral score, instrument names are printed at the left side
846 This can be achieved by setting @internalsref{Staff}.@code{instrument}
847 and @internalsref{Staff}.@code{instr}. This will print a string before
848 the start of the staff. For the first staff, @code{instrument} is
849 used, for the following ones, @code{instr} is used.
851 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
852 \set Staff.instrument = "Ploink "
853 \set Staff.instr = "Plk "
859 You can also use markup texts to construct more complicated instrument
862 @lilypond[quote,fragment,verbatim,raggedright]
863 \set Staff.instrument = \markup {
864 \column { "Clarinetti"
865 \line { "in B" \smaller \flat } } }
869 For longer instrument names, it may be useful to increase the
870 @code{indent} setting in the @code{\layout} block.
874 Program reference: @internalsref{InstrumentName}.
878 When you put a name on a grand staff or piano staff, the width of the
879 brace is not taken into account. You must add extra spaces to the end of
880 the name to avoid a collision.
883 @node Instrument transpositions
884 @subsection Instrument transpositions
886 @cindex transposition, MIDI
887 @cindex transposition, instrument
889 The key of a transposing instrument can also be specified. This
890 applies to many wind instruments, for example, clarinets (B-flat, A, and
891 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
893 The transposition is entered after the keyword @code{\transposition}
896 \transposition bes %% B-flat clarinet
900 This command sets the property @code{instrumentTransposition}. The value of
901 this property is used for MIDI output and quotations. It does not
902 affect how notes are printed in the current staff. To change the printed
903 output, see @ref{Transpose}.
905 The pitch to use for @code{\transposition} should correspond to the
906 transposition of the notes. For example, when entering a score in
907 concert pitch, typically all voices are entered in C, so
908 they should be entered as
921 The command @code{\transposition} should be used when the music is
922 entered from a (transposed) orchestral part. For example, in
923 classical horn parts, the tuning of the instrument is often changed
924 during a piece. When copying the notes from the part, use
925 @code{\transposition}, e.g.,
937 @node Ottava brackets
938 @subsection Ottava brackets
940 `Ottava' brackets introduce an extra transposition of an octave for
941 the staff. They are created by invoking the function
942 @code{set-octavation}
948 @lilypond[quote,raggedright,verbatim,fragment]
958 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
959 (for 15ma) as arguments. Internally the function sets the properties
960 @code{ottavation} (e.g., to @code{"8va"}) and
961 @code{centralCPosition}. For overriding the text of the bracket, set
962 @code{ottavation} after invoking @code{set-octavation}, i.e.,
964 @lilypond[quote,raggedright,verbatim]
967 \set Staff.ottavation = #"8"
975 Program reference: @internalsref{OttavaBracket}.
977 Examples: @inputfileref{input/@/regression,ottava@/.ly},
978 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
983 @code{set-octavation} will get confused when clef changes happen
984 during an octavation bracket.
987 @node Different editions from one source
988 @subsection Different editions from one source
993 The @code{\tag} command marks music expressions with a name. These
994 tagged expressions can be filtered out later. With this mechanism it
995 is possible to make different versions of the same music source.
997 In the following example, we see two versions of a piece of music, one
998 for the full score, and one with cue notes for the instrumental part
1014 The same can be applied to articulations, texts, etc.: they are
1017 -\tag #@var{your-tag}
1019 to an articulation, for example,
1024 This defines a note with a conditional fingering indication.
1027 @cindex removeWithTag
1028 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1029 commands, tagged expressions can be filtered. For example,
1033 \keepWithTag #'score @var{the music}
1034 \keepWithTag #'part @var{the music}
1039 @lilypondfile[raggedright,quote]{tag-filter.ly}
1041 The argument of the @code{\tag} command should be a symbol, or a list
1042 of symbols, for example,
1044 \tag #'(original-part transposed-part) @dots{}
1050 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1055 Multiple rests are not merged if you create the score with both tagged
1060 @node Orchestral music
1061 @section Orchestral music
1063 Orchestral music involves some special notation, both in the full
1064 score and the individual parts. This section explains how to tackle
1065 some common problems in orchestral music.
1068 * Automatic part combining::
1070 * Quoting other voices::
1071 * Formatting cue notes::
1072 * Aligning to cadenzas::
1076 @node Automatic part combining
1077 @subsection Automatic part combining
1078 @cindex automatic part combining
1079 @cindex part combiner
1081 Automatic part combining is used to merge two parts of music onto a
1082 staff. It is aimed at typesetting orchestral scores. When the two
1083 parts are identical for a period of time, only one is shown. In
1084 places where the two parts differ, they are typeset as separate
1085 voices, and stem directions are set automatically. Also, solo and
1086 @emph{a due} parts are identified and can be marked.
1088 The syntax for part combining is
1091 \partcombine @var{musicexpr1} @var{musicexpr2}
1095 The following example demonstrates the basic functionality of the part
1096 combiner: putting parts on one staff, and setting stem directions and
1099 @lilypond[quote,verbatim,raggedright,fragment]
1100 \new Staff \partcombine
1101 \relative g' { g g a( b) c c r r }
1102 \relative g' { g g r4 r e e g g }
1105 The first @code{g} appears only once, although it was
1106 specified twice (once in each part). Stem, slur, and tie directions are
1107 set automatically, depending whether there is a solo or unisono. The
1108 first part (with context called @code{one}) always gets up stems, and
1109 `Solo', while the second (called @code{two}) always gets down stems and
1112 If you just want the merging parts, and not the textual markings, you
1113 may set the property @code{printPartCombineTexts} to false
1115 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1117 \set Staff.printPartCombineTexts = ##f
1119 \relative g' { g a( b) r }
1120 \relative g' { g r4 r f }
1124 To change the text that is printed for solos or merging, you may
1125 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1128 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1130 \set Score.soloText = #"ichi"
1131 \set Score.soloIIText = #"ni"
1132 \set Score.aDueText = #"tachi"
1134 \relative g' { g4 g a( b) r }
1135 \relative g' { g4 g r r f }
1139 Both arguments to @code{\partcombine} will be interpreted as
1140 @internalsref{Voice} contexts. If using relative octaves,
1141 @code{\relative} should be specified for both music expressions, i.e.,
1145 \relative @dots{} @var{musicexpr1}
1146 \relative @dots{} @var{musicexpr2}
1150 A @code{\relative} section that is outside of @code{\partcombine} has
1151 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1155 Program reference: @internalsref{PartCombineMusic}.
1159 When @code{printPartCombineTexts} is set, when the two voices play the
1160 same notes on and off, the part combiner may typeset @code{a2} more
1161 than once in a measure.
1163 @code{\partcombine} cannot be inside @code{\times}.
1165 @code{\partcombine} cannot be inside @code{\relative}.
1167 Internally, the @code{\partcombine} interprets both arguments as
1168 @code{Voice}s named @code{one} and @code{two}, and then decides when
1169 the parts can be combined. Consequently, if the arguments switch to
1170 differently named @internalsref{Voice} contexts, the events in those
1175 @subsection Hiding staves
1177 @cindex Frenched scores
1178 @cindex Hiding staves
1180 In orchestral scores, staff lines that only have rests are usually
1181 removed; this saves some space. This style is called `French Score'.
1182 For @internalsref{Lyrics},
1183 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1184 switched on by default. When the lines of these contexts turn out
1185 empty after the line-breaking process, they are removed.
1187 For normal staves, a specialized @internalsref{Staff} context is
1188 available, which does the same: staves containing nothing (or only
1189 multi-measure rests) are removed. The context definition is stored in
1190 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1191 in this example disappears in the second line
1193 @lilypond[quote,raggedright,verbatim]
1195 \context { \RemoveEmptyStaffContext }
1200 \new Staff { e4 f g a \break c1 }
1201 \new Staff { c4 d e f \break R1 }
1206 The first system shows all staves in full. If empty staves should be
1207 removed from the first system too, set @code{remove-first} to true in
1208 @internalsref{RemoveEmptyVerticalGroup}.
1211 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1214 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1215 or @code{\RemoveEmptyRhythmicStaffContext}.
1217 Another application is making ossia sections, i.e., alternative
1218 melodies on a separate piece of staff, with help of a Frenched
1219 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1222 @node Quoting other voices
1223 @subsection Quoting other voices
1225 With quotations, fragments of other parts can be inserted into a part
1226 directly. Before a part can be quoted, it must be marked especially as
1227 quotable. This is done with the @code{\addquote} command.
1230 \addquote @var{name} @var{music}
1235 Here, @var{name} is an identifying string. The @var{music} is any kind
1236 of music. Here is an example of @code{\addquote}
1239 \addquote clarinet \relative c' @{
1244 This command must be entered at toplevel, i.e., outside any music
1247 After calling @code{\addquote}, the quotation may then be done with
1248 @code{\quoteDuring} or @code{\cueDuring},
1251 \quoteDuring #@var{name} @var{music}
1254 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1258 \quoteDuring #"clarinet" @{ s2. @}
1261 This would cite three quarter notes (the duration of @code{s2.}) of
1262 the previously added @code{clarinet} voice.
1265 More precisely, it takes the current time-step of the part being
1266 printed, and extracts the notes at the corresponding point of the
1267 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1268 should be the entire part of the voice to be quoted, including any
1269 rests at the beginning.
1271 Quotations take into account the transposition of both source and target
1272 instruments, if they are specified using the @code{\transposition} command.
1274 @lilypond[quote,raggedright,verbatim]
1275 \addquote clarinet \relative c' {
1281 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1285 The type of events that are present in cue notes can be trimmed with
1286 the @code{quotedEventTypes} property. The default value is
1287 @code{(note-event rest-event)}, which means that only notes and
1288 rests of the cued voice end up in the @code{\quoteDuring}.
1292 \set Staff.quotedEventTypes =
1293 #'(note-event articulation-event dynamic-event)
1297 will quote notes (but no rests), together with scripts and dynamics.
1301 Only the contents of the first @internalsref{Voice} occurring in an
1302 @code{\addquote} command will be considered for quotation, so
1303 @var{music} can not contain @code{\new} and @code{\context Voice}
1304 statements that would switch to a different Voice.
1306 Quoting grace notes is broken and can even cause LilyPond to crash.
1310 In this manual: @ref{Instrument transpositions}.
1312 Examples: @inputfileref{input/@/regression,quote@/.ly}
1313 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1315 Program reference: @internalsref{QuoteMusic}.
1318 @node Formatting cue notes
1319 @subsection Formatting cue notes
1321 The previous section deals with inserting notes from another voice.
1322 There is a more advanced music function called @code{\cueDuring},
1323 which makes formatting cue notes easier.
1328 \cueDuring #@var{name} #@var{updown} @var{music}
1331 This will insert notes from the part @var{name} into a
1332 @internalsref{Voice} called @code{cue}. This happens simultaneously
1333 with @var{music}, which usually is a rest. When the cue notes start,
1334 the staff in effect becomes polyphonic for a moment. The argument
1335 @var{updown} determines whether the cue notes should be notated as a
1336 first or second voice.
1339 @lilypond[verbatim,raggedright]
1342 \override Stem #'length = #5.5
1343 \override Beam #'thickness = #0.384
1344 \override Beam #'space-function =
1345 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1348 \addquote clarinet \relative {
1353 \new Staff \relative <<
1355 % setup a context for cue notes.
1356 \context Voice = cue { \smaller \skip 1*21 }
1358 \set Score.skipBars = ##t
1362 \cueDuring #"clarinet" #1 {
1371 Here are a couple of hints for successful cue notes
1375 Cue notes have smaller font sizes.
1377 the cued part is marked with the instrument playing the cue.
1379 when the original part takes over again, this should be marked with
1380 the name of the original instrument.
1382 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1384 @c Yes, this is good practice. Otherwise, the start of the original
1385 @c part can only be seen from the font size. This is not good enough
1386 @c for sight-reading. It is possilbe to use other
1387 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1392 any other changes introduced by the cued part should also be
1393 undone. For example, if the cued instrument plays in a different clef,
1394 the original clef should be stated once again.
1399 @node Aligning to cadenzas
1400 @subsection Aligning to cadenzas
1402 In an orchestral context, cadenzas present a special problem:
1403 when constructing a score that includes a cadenza, all other
1404 instruments should skip just as many notes as the length of the
1405 cadenza, otherwise they will start too soon or too late.
1407 A solution to this problem are the functions @code{mmrest-of-length}
1408 and @code{skip-of-length}. These Scheme functions take a piece of music
1409 as argument, and generate a @code{\skip} or multi-rest, exactly as
1410 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1411 in the following example.
1413 @lilypond[verbatim,raggedright,quote]
1414 cadenza = \relative c' {
1415 c4 d8 << { e f g } \\ { d4. } >>
1420 \new Staff { \cadenza c'4 }
1422 #(ly:export (mmrest-of-length cadenza))
1431 @node Contemporary notation
1432 @section Contemporary notation
1434 In the 20th century, composers have greatly expanded the musical
1435 vocabulary. With this expansion, many innovations in musical notation
1436 have been tried. The book ``Music Notation in the 20th century'' by
1437 Kurt Stone gives a comprehensive overview (see @ref{Literature
1438 list}). In general, the use of new, innovative notation makes a piece
1439 harder to understand and perform and its use should therefore be
1440 avoided. For this reason, support for contemporary notation in
1441 LilyPond is limited.
1445 * Polymetric notation::
1447 * Special fermatas::
1448 * Special noteheads::
1454 @node Polymetric notation
1455 @subsection Polymetric notation
1457 Double time signatures are not supported explicitly, but they can be
1458 faked. In the next example, the markup for the time signature is
1459 created with a markup text. This markup text is inserted in the
1460 @internalsref{TimeSignature} grob.
1462 @lilypond[verbatim,raggedright]
1467 \musicglyph #"scripts.stopped"
1468 \bracket \column { "5" "8" }
1473 \override Staff.TimeSignature #'print-function = #Text_interface::print
1474 \override Staff.TimeSignature #'text = #tsMarkup
1476 c'2 \bar ":" c'4 c'4.
1480 Each staff can also have its own time signature. This is done by
1481 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
1486 \context @{ \Score \remove "Timing_engraver" @}
1487 \context @{ \Staff \consists "Timing_engraver" @}
1492 Now, each staff has its own time signature.
1505 c4. c8 c c c4. c8 c c
1510 @lilypond[quote,raggedright]
1512 \context{ \Score \remove "Timing_engraver" }
1513 \context{ \Staff \consists "Timing_engraver" }
1527 c4. c8 c c c4. c8 c c
1533 A different form of polymetric notation is where note lengths have
1534 different values across staves.
1536 This notation can be created by setting a common time signature for
1537 each staff but replacing it manually using
1538 @code{timeSignatureFraction} to the desired fraction. Then the printed
1539 durations in each staff are scaled to the common time signature.
1540 The latter is done with @code{\compressMusic}, which is similar to
1541 @code{\times}, but does not create a tuplet bracket.
1544 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1545 used in parallel. In the second staff, shown durations are multiplied by
1546 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1547 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1549 @lilypond[quote,raggedright,verbatim,fragment]
1557 \set Staff.timeSignatureFraction = #'(9 . 8)
1558 \compressMusic #'(2 . 3)
1559 \repeat unfold 6 { c8[ c c] }
1563 \set Staff.timeSignatureFraction = #'(10 . 8)
1564 \compressMusic #'(3 . 5) {
1565 \repeat unfold 2 { c8[ c c] }
1566 \repeat unfold 2 { c8[ c] }
1567 | c4. c4. \times 2/3 { c8 c c } c4
1578 When using different time signatures in parallel, the spacing is
1579 aligned vertically, but bar lines distort the regular spacing.
1584 @subsection Clusters
1588 A cluster indicates a continuous range of pitches to be played. They
1589 can be denoted as the envelope of a set of notes. They are entered by
1590 applying the function @code{makeClusters} to a sequence of
1592 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1593 \makeClusters { <c e > <b f'> }
1596 The following example (from
1597 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1600 @lilypondfile[raggedright,quote]{cluster.ly}
1602 Ordinary notes and clusters can be put together in the same staff,
1603 even simultaneously. In such a case no attempt is made to
1604 automatically avoid collisions between ordinary notes and clusters.
1608 Program reference: @internalsref{ClusterSpanner},
1609 @internalsref{ClusterSpannerBeacon},
1610 @internalsref{Cluster_spanner_engraver}.
1612 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1616 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1617 accurately. Use @code{<g a>8 <e a>8} instead.
1621 @node Special fermatas
1622 @subsection Special fermatas
1624 @cindex fermatas, special
1626 In contemporary music notation, special fermata symbols denote breaks
1627 of differing lengths. The following fermatas are supported
1629 @lilypond[quote,raggedright]
1652 \context Lyrics \lyricmode {
1653 \override LyricText #'font-family = #'typewriter
1654 "shortfermata" "fermata" "longfermata" "verylongfermata"
1659 See @ref{Articulations} for general instructions how to apply scripts
1660 such as fermatas to notes.
1663 @node Special noteheads
1664 @subsection Special noteheads
1666 Different noteheads are used by various instruments for various
1667 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1668 notes on guitar; diamonds are used for harmonics on string instruments,
1669 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1670 other notehead styles are produced by tweaking the property
1672 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1674 \override NoteHead #'style = #'cross
1676 \revert NoteHead #'style
1677 e d <c f\harmonic> <d a'\harmonic>
1681 To see all notehead styles, please see
1682 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1687 Program reference: @internalsref{NoteHead}.
1690 @node Feathered beams
1691 @subsection Feathered beams
1693 Feathered beams are not supported natively, but they can be faked by
1694 forcing two beams to overlap. Here is an example,
1696 @c don't change relative setting witout changing positions!
1697 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1702 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1707 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1715 @subsection Improvisation
1717 Improvisation is sometimes denoted with slashed note heads. Such note
1718 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1719 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1723 \set squashedPosition = #0
1724 \override NoteHead #'style = #'slash
1728 switches on the slashes.
1730 There are shortcuts @code{\improvisationOn} (and an accompanying
1731 @code{\improvisationOff}) for this command sequence. They are used in
1732 the following example
1734 @lilypond[verbatim,raggedright,quote]
1736 \consists Pitch_squash_engraver
1738 e8 e g a a16(bes)(a8) g \improvisationOn
1741 ~fis2 \improvisationOff a16(bes) a8 g e
1746 @node Educational use
1747 @section Educational use
1749 With the amount of control that LilyPond offers, one can make great
1750 teaching tools in addition to great musical scores.
1754 * Blank music sheet::
1756 * Shaped note heads ::
1757 * Easy Notation note heads::
1758 * Analysis brackets::
1759 * Coloring objects::
1763 @subsection Balloon help
1765 Elements of notation can be marked and named with the help of a square
1766 balloon. The primary purpose of this feature is to explain notation.
1768 The following example demonstrates its use.
1770 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1773 #(add-balloon-text 'NoteHead "heads, or tails?"
1780 The function @code{add-balloon-text} takes the name of a grob, the
1781 label to print, and the position where to put the label relative to
1782 the object. In the above example, the text ``heads or tails?'' ends
1783 3 spaces below and 1 space to the right of the marked head.
1786 @cindex notation, explaining
1790 Program reference: @internalsref{text-balloon-interface}.
1792 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1797 @node Blank music sheet
1798 @subsection Blank music sheet
1800 A blank music sheet can be produced also by using invisible notes, and
1801 removing @code{Bar_number_engraver}.
1804 @lilypond[quote,verbatim]
1806 \repeat unfold 2 % Change this for more lines.
1811 \override TimeSignature #'transparent = ##t
1812 defaultBarType = #""
1813 \remove Bar_number_engraver
1815 \context Staff \emptymusic
1816 \context TabStaff \emptymusic
1822 @subsection Hidden notes
1824 @cindex Hidden notes
1825 @cindex Invisible notes
1826 @cindex Transparent notes
1828 @cindex @code{\hideNotes}
1829 @cindex @code{\unHideNotes}
1830 Hidden (or invisible or transparent) notes can be useful in preparing theory
1831 or composition exercises.
1833 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1841 Hidden notes are also great for performing weird tricks. For example,
1842 slurs cannot be attached to rests or spacer rests, but you may wish
1843 to include that in your score -- string instruments use this notation
1844 when doing pizzicato to indicate that the note should ring for as long
1847 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1850 c4^"pizz"( \hideNotes c)
1851 \unHideNotes c( \hideNotes c)
1858 @node Shaped note heads
1859 @subsection Shaped note heads
1861 In shaped note head notation, the shape of the note head corresponds
1862 to the harmonic function of a note in the scale. This notation was
1863 popular in the 19th century American song books.
1865 Shaped note heads can be produced by setting @code{\aikenHeads} or
1866 @code{\sacredHarpHeads}, depending on the style desired.
1868 @lilypond[verbatim,relative=1,fragment]
1875 Shapes are determined on the step in the scale, where the base of the
1876 scale is determined by the @code{\key} command
1879 @findex shapeNoteStyles
1881 @findex \sacredHarpHeads
1883 Shaped note heads are implemented through the @code{shapeNoteStyles}
1884 property. Its value is a vector of symbols. The k-th element indicates
1885 the style to use for the k-th step of the scale. Arbitrary
1886 combinations are possible, eg.,
1889 @lilypond[verbatim,relative=1,fragment]
1890 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
1895 @node Easy Notation note heads
1896 @subsection Easy Notation note heads
1898 @cindex easy notation
1901 The `easy play' note head includes a note name inside the head. It is
1902 used in music for beginners
1904 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
1909 The command @code{\setEasyHeads} overrides settings for the
1910 @internalsref{NoteHead} object. To make the letters readable, it has
1911 to be printed in a large font size. To print with a larger font, see
1912 @ref{Setting global staff size}.
1916 @cindex @code{\setEasyHeads}
1917 @code{\setEasyHeads}
1920 @node Analysis brackets
1921 @subsection Analysis brackets
1923 @cindex phrasing brackets
1924 @cindex musicological analysis
1925 @cindex note grouping bracket
1927 Brackets are used in musical analysis to indicate structure in musical
1928 pieces. LilyPond supports a simple form of nested horizontal
1929 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
1930 to @internalsref{Staff} context. A bracket is started with
1931 @code{\startGroup} and closed with @code{\stopGroup}
1933 @lilypond[quote,raggedright,verbatim]
1936 c4\startGroup\startGroup
1939 c4\stopGroup\stopGroup
1943 \Staff \consists "Horizontal_bracket_engraver"
1949 Program reference: @internalsref{HorizontalBracket}.
1951 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
1957 I don't think we need this info.
1962 Whenever a note is found, a @internalsref{Stem} object is created
1963 automatically. For whole notes and rests, they are also created but
1968 @cindex @code{\stemUp}
1970 @cindex @code{\stemDown}
1972 @cindex @code{\stemNeutral}
1973 @code{\stemNeutral}.
1978 @node Coloring objects
1979 @subsection Coloring objects
1981 @c FIXME: need link to missing list of colors
1982 Individual objects may be assigned colors. You may use color names
1985 @lilypond[quote,raggedright,verbatim,fragment]
1986 \override NoteHead #'color = #red
1988 \override NoteHead #'color = #(x11-color 'LimeGreen)
1990 \override Stem #'color = #blue
1994 The full range of colors defined for X11 can be accessed by using the
1995 scheme function x11-color. The function takes one argument that can be a
1999 \override Beam #'color = #(x11-color 'MediumTurquoise)
2005 \override Beam #'color = #(x11-color "MediumTurquoise")
2008 The first form is quicker to write and is more efficient. However, using
2009 the second form it is possible to access X11 colors by the multi-word
2013 \override Beam #'color = #(x11-color "medium turquoise")
2016 If x11-color cannot make sense of the parameter then the color returned
2017 defaults to black. It should be obvious from the final score that
2020 This example, illustrates the use of x11-color. Notice that the stem
2021 color remains black after being set to (x11-color 'Boggle), which is
2022 deliberate nonsense.
2024 @lilypond[quote,raggedright,verbatim]
2026 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2027 \set Staff.instrument = \markup {
2028 \with-color #(x11-color 'navy) "Clarinet"
2032 \override Beam #'color = #(x11-color "medium turquoise")
2034 \override NoteHead #'color = #(x11-color "LimeGreen")
2036 \override Stem #'color = #(x11-color 'Boggle)
2043 Not all x11 colors are distinguishable in a web browser. For web use
2044 normal colors are recommended.
2046 An x11 color is not necessarily exactly the same shade as a similarly
2056 @node Automatic notation
2057 @section Automatic notation
2059 This section describes how to change the way that accidentals and
2060 beams are automatically displayed.
2062 FIXME: this might get moved into Changing Defaults. Please send
2063 opinions to lilypond-devel. Thanks! :)
2066 * Automatic accidentals::
2067 * Setting automatic beam behavior::
2070 @node Automatic accidentals
2071 @subsection Automatic accidentals
2072 @cindex Automatic accidentals
2074 Common rules for typesetting accidentals have been placed in a
2075 function. This function is called as follows
2077 @cindex @code{set-accidental-style}
2079 #(set-accidental-style 'STYLE #('CONTEXT#))
2082 The function can take two arguments: the name of the accidental style,
2083 and an optional argument that denotes the context that should be
2084 changed. If no context name is supplied, @code{Staff} is the default,
2085 but you may wish to apply the accidental style to a single @code{Voice}
2088 The following accidental styles are supported
2091 This is the default typesetting behavior. It corresponds
2092 to 18th century common practice: Accidentals are
2093 remembered to the end of the measure in which they occur and
2094 only on their own octave.
2097 The normal behavior is to remember the accidentals on
2098 Staff-level. This variable, however, typesets accidentals
2099 individually for each voice. Apart from that, the rule is similar to
2102 As a result, accidentals from one voice do not get canceled in other
2103 voices, which is often an unwanted result
2105 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2107 #(set-accidental-style 'voice)
2114 The @code{voice} option should be used if the voices
2115 are to be read solely by individual musicians. If the staff is to be
2116 used by one musician (e.g., a conductor) then
2117 @code{modern} or @code{modern-cautionary}
2118 should be used instead.
2121 @cindex @code{modern} style accidentals
2122 This rule corresponds to the common practice in the 20th century. This rule
2123 prints the same accidentals as @code{default}, but temporary
2124 accidentals also are canceled in other octaves. Furthermore,
2125 in the same octave, they also get canceled in the following
2128 @lilypond[quote,raggedright,fragment,verbatim]
2129 #(set-accidental-style 'modern)
2130 cis' c'' cis'2 | c'' c'
2133 @item @code{modern-cautionary}
2134 @cindex @code{modern-cautionary}
2135 This rule is similar to @code{modern}, but the ``extra'' accidentals
2136 (the ones not typeset by @code{default}) are typeset as cautionary
2137 accidentals. They are printed in reduced size or with parentheses
2138 @lilypond[quote,raggedright,fragment,verbatim]
2139 #(set-accidental-style 'modern-cautionary)
2140 cis' c'' cis'2 | c'' c'
2143 @cindex @code{modern-voice}
2145 This rule is used for multivoice accidentals to be read both by musicians
2146 playing one voice and musicians playing all voices. Accidentals are
2147 typeset for each voice, but they @emph{are} canceled across voices in
2148 the same @internalsref{Staff}.
2150 @cindex @code{modern-voice-cautionary}
2151 @item modern-voice-cautionary
2152 This rule is the same as @code{modern-voice}, but with the extra
2153 accidentals (the ones not typeset by @code{voice}) typeset
2154 as cautionaries. Even though all accidentals typeset by
2155 @code{default} @emph{are} typeset by this variable,
2156 some of them are typeset as cautionaries.
2159 @cindex @code{piano} accidentals
2160 This rule reflects 20th century practice for piano notation. Very similar to
2161 @code{modern} but accidentals also get canceled
2162 across the staves in the same @internalsref{GrandStaff} or
2163 @internalsref{PianoStaff}.
2165 @item piano-cautionary
2166 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2167 Same as @code{#(set-accidental-style 'piano)} but with the extra
2168 accidentals typeset as cautionaries.
2171 @cindex @code{no-reset} accidental style
2172 This is the same as @code{default} but with accidentals lasting
2173 ``forever'' and not only until the next measure
2174 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2175 #(set-accidental-style 'no-reset)
2180 This is sort of the opposite of @code{no-reset}: Accidentals
2181 are not remembered at all---and hence all accidentals are
2182 typeset relative to the key signature, regardless of what was
2185 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2186 #(set-accidental-style 'forget)
2187 \key d\major c4 c cis cis d d dis dis
2194 Program reference: @internalsref{Accidental_engraver},
2195 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2200 Simultaneous notes are considered to be entered in sequential
2201 mode. This means that in a chord the accidentals are typeset as if the
2202 notes in the chord happened once at a time - in the order in which
2203 they appear in the input file.
2205 This is a problem when accidentals in a chord depend on each other,
2206 which does not happen for the default accidental style. The problem
2207 can be solved by manually inserting @code{!} and @code{?} for the
2211 @node Setting automatic beam behavior
2212 @subsection Setting automatic beam behavior
2214 @cindex @code{autoBeamSettings}
2215 @cindex @code{(end * * * *)}
2216 @cindex @code{(begin * * * *)}
2217 @cindex automatic beams, tuning
2218 @cindex tuning automatic beaming
2220 @c [TODO: use \applycontext]
2222 In normal time signatures, automatic beams can start on any note but can
2223 only end in a few positions within the measure: beams can end on a beat,
2224 or at durations specified by the properties in
2225 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
2226 are defined in @file{scm/@/auto@/-beam@/.scm}.
2228 The value of @code{autoBeamSettings} is changed with three functions,
2230 #(override-auto-beam-setting
2231 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
2233 #(score-override-auto-beam-setting
2234 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
2235 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
2238 Here, @var{be} is the symbol @code{begin} or @code{end}, and
2239 @var{context} is an optional context (default: @code{'Voice}). It
2240 determines whether the rule applies to begin or end-points. The
2241 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
2242 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
2243 to a time signature (wildcards `@code{* *}' may be entered to
2244 designate all time signatures), @var{a}/@var{b} is a duration. By
2245 default, this command changes settings for the current voice. It is
2246 also possible to adjust settings at higher contexts, by adding a
2247 @var{context} argument. @code{score-override-auto-beam-setting} is
2248 equal to @code{override-auto-beam-setting} with the argument
2249 @var{context} set to @code{'Score}.
2251 For example, if automatic beams should end on the first quarter note, use
2254 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2256 Since the duration of a quarter note is 1/4 of a whole note, it is
2257 entered as @code{(ly:make-moment 1 4)}.
2259 If automatic beams should end on every quarter in 5/4 time, specify
2262 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2263 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2264 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2265 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2269 The same syntax can be used to specify beam starting points. In this
2270 example, automatic beams can only end on a dotted quarter note
2272 #(override-auto-beam-setting '(end * * * *) 3 8)
2273 #(override-auto-beam-setting '(end * * * *) 1 2)
2274 #(override-auto-beam-setting '(end * * * *) 7 8)
2276 In 4/4 time signature, this means that automatic beams could end only on
2277 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2278 3/8, has passed within the measure).
2280 Rules can also be restricted to specific time signatures. A rule that
2281 should only be applied in @var{N}/@var{M} time signature is formed by
2282 replacing the second asterisks by @var{N} and @var{M}. For example, a
2283 rule for 6/8 time exclusively looks like
2285 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
2288 If a rule should be to applied only to certain types of beams, use the
2289 first pair of asterisks. Beams are classified according to the
2290 shortest note they contain. For a beam ending rule that only applies
2291 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
2296 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2298 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2306 @cindex automatic beam generation
2308 @cindex @code{autoBeaming}
2311 If beams are used to indicate melismata in songs, then automatic
2312 beaming should be switched off. This is done by setting
2313 @code{autoBeaming} to @code{#f}.
2317 @cindex @code{\autoBeamOff}
2318 @code{\autoBeamOff},
2319 @cindex @code{\autoBeamOn}
2325 If a score ends while an automatic beam has not been ended and is
2326 still accepting notes, this last beam will not be typeset at all. The
2327 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2328 >>}. If a polyphonic voice ends while an automatic beam is still
2329 accepting notes, it is not typeset.
2337 It's the dreaded ``what on earth should I do with this stuff'' section! Yay!
2340 * Time administration::
2344 @node Time administration
2345 @subsection Time administration
2347 Time is administered by the @internalsref{Time_signature_engraver},
2348 which usually lives in the @internalsref{Score} context.
2349 The bookkeeping deals with the following variables
2352 @item currentBarNumber
2356 The length of the measures in the current time signature. For a 4/4
2357 time this is@tie{}1, and for 6/8 it is 3/4.
2359 @item measurePosition
2360 The point within the measure where we currently are. This quantity
2361 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2362 happens, @code{currentBarNumber} is incremented.
2365 If set to true, the above variables are updated for every time
2366 step. When set to false, the engraver stays in the current measure
2370 Timing can be changed by setting any of these variables explicitly.
2371 In the next example, the 4/4 time signature is printed, but
2372 @code{measureLength} is set to 5/4. After a while, the measure is
2373 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2374 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2375 3/8 arises because 5/4 normally has 10/8, but we have manually
2376 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2378 @lilypond[quote,raggedright,verbatim,relative,fragment]
2379 \set Score.measureLength = #(ly:make-moment 5 4)
2383 \set Score.measurePosition = #(ly:make-moment 7 8)