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::
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
53 @internalsref{Text markup} above or below notes by using a string
54 @code{c^"text"}. By default, these indications do not influence the
55 note spacing, but by using the command @code{\fatText}, the widths
56 will be taken into account
58 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
59 c4^"longtext" \fatText c4_"longlongtext" c4
62 More complex formatting may also be added to a note by using the
64 @lilypond[fragment,raggedright,verbatim,quote]
65 c'4^\markup { bla \bold bla }
68 The @code{\markup} is described in more detail in
69 @internalsref{Text markup}.
74 @cindex @code{\fatText}
76 @cindex @code{\emptyText}
82 In this manual: @ref{Text markup}.
84 Program reference: @internalsref{TextScript}.
88 @subsection Text spanners
92 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
93 are written as text and are extended over many measures with dotted
94 lines. Such texts are created using text spanners; attach
95 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
98 The string to be printed, as well as the style, is set through object
101 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
104 \override TextSpanner #'edge-text = #'("rall " . "")
105 c2\startTextSpan b c\stopTextSpan a
110 @cindex textSpannerUp
111 @code{textSpannerUp},
112 @cindex textSpannerDown
113 @code{textSpannerDown},
114 @cindex textSpannerNeutral
115 @code{textSpannerNeutral}.
120 Program reference: @internalsref{TextSpanner}.
122 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
126 @subsection Text marks
128 @cindex coda on bar line
129 @cindex segno on bar line
130 @cindex fermata on bar line
131 @cindex bar lines, symbols on
134 The @code{\mark} command is primarily used for
135 @internalsref{Rehearsal marks},
136 but it can also be used to put signs like coda,
137 segno, and fermata on a bar line. Use @code{\markup} to
138 access the appropriate symbol
140 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
141 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
146 @code{\mark} is only typeset above the top stave of the score. If
147 you specify the @code{\mark} command at a bar line, the resulting
148 mark is placed above the bar line. If you specify it in the middle
149 of a bar, the resulting mark is positioned between notes. If it is
150 specified before the beginning of a score line, it is placed
151 before the first note of the line. Finally, if the mark occurs at
152 a line break, the mark will be printed at the
153 beginning of the next line.
154 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
155 @c delete this sentence. -gp
156 If there is no next line, then the mark will not be printed at all.
161 To print the mark at the end of the current line, use
164 \override Score.RehearsalMark
165 #'break-visibility = #begin-of-line-invisible
168 @code{\mark} is often useful for adding text to the end of bar. In
169 such cases, changing the @code{#'self-alignment} is very useful
171 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
172 \override Score.RehearsalMark
173 #'break-visibility = #begin-of-line-invisible
175 \once \override Score.RehearsalMark #'self-alignment-X = #right
176 \mark "D.S. al Fine "
182 Program reference: @internalsref{RehearsalMark}.
186 @subsection Text markup
193 Use @code{\markup} to typeset text. Commands are entered with the
196 @lilypond[quote,verbatim,fragment,relative=1]
198 c1_\markup { hi there }
199 c1^\markup { hi \bold there, is \italic anyone home? }
203 @code{\markup} is primarily used for @internalsref{Text scripts},
204 but it can also be used anywhere text is called in lilypond
206 @lilypond[quote,verbatim]
207 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
210 \override Score.RehearsalMark
211 #'break-visibility = #begin-of-line-invisible
212 \override Score.RehearsalMark #'self-alignment-X = #right
214 \set Staff.instrument = \markup{ \column{ Alto solo } }
215 c2^\markup{ don't be \flat }
217 a2\mark \markup{ \large \bold Fine }
221 \addlyrics { bar, foo \markup{ \italic bar! } }
225 @cindex font switching
227 The markup in the example demonstrates font switching commands. The
228 command @code{\bold} and @code{\italic} apply to the first following
229 word only; to apply a command to more than one word, enclose the
233 \markup @{ \bold @{ hi there @} @}
237 For clarity, you can also do this for single arguments, e.g.,
240 \markup @{ is \italic @{ anyone @} home @}
243 @cindex font size, texts
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 Markups can be stored in variables and these variables
257 may be attached to notes, like
259 allegro = \markup @{ \bold \large @{ Allegro @} @}
260 @{ a^\allegro b c d @}
263 Some objects have alignment procedures of their own, which cancel out
264 any effects of alignments applied to their markup arguments as a
265 whole. For example, the @internalsref{RehearsalMark} is horizontally
266 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
272 Program reference: @internalsref{TextScript}.
274 Init files: @file{scm/@/new@/-markup@/.scm}.
279 Kerning or generation of ligatures is only done when the @TeX{}
280 backend is used. In this case, LilyPond does not account for them so
281 texts will be spaced slightly too wide.
283 Syntax errors for markup mode are confusing.
287 @subsection Text encoding
289 LilyPond uses the Pango library to format multi-lingual texts, and
290 does not perform any input-encoding conversions. This means that any
291 text, be it title, lyric text, or musical instruction containing
292 non-ASCII characters, must be utf-8. Easiest to enter such texts is
293 by using a Unicode-aware editor, and save using utf-8 encoding. Most
294 popular modern editors have utf-8 support, for example, vim, Emacs,
297 Depending on the fonts installed, the following fragment shows Hebrew
304 @lilypondfile[fontload]{utf-8.ly}
306 The @TeX{} backend does not handle encoding specially at all. Strings
307 in the input are put in the output as-is. Extents of text items in the
308 @TeX{} backend, are determined by reading a file created via the
309 @file{texstr} backend,
312 lilypond -b texstr input/les-nereides.ly
313 latex les-nereides.texstr
316 The last command produces @file{les-nereides.textmetrics}, which is
317 read when you execute
320 lilypond -b tex input/les-nereides.ly
323 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
324 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
325 interpreting non-ASCII strings.
330 @inputfileref{input/regression,utf-8.ly}
334 @subsection Nested scores
336 It is possible to nest music inside markups, by adding a @code{\score}
337 block to a markup expression. Such a score must contain a @code{\layout}
340 @lilypond[quote,verbatim,raggedright]
344 \relative { c4 d e f }
353 @node Overview of text markup commands
354 @subsection Overview of text markup commands
356 The following commands can all be used inside @code{\markup @{ @}}.
358 @include markup-commands.tely
361 @node New dynamic marks
362 @subsection New dynamic marks
364 It is possible to print new dynamic marks or text that should be aligned
365 with dynamics. Use @code{make-dynamic-script} to create these marks.
367 @cindex make-dynamic-script
369 @lilypond[quote,verbatim,raggedright]
370 sfzp = #(make-dynamic-script "sfzp")
376 @cindex Dynamics, editorial
377 @cindex Dynamics, parenthesis
379 It is also possible to print dynamics in round parenthesis or square
380 brackets. These are often used for adding editorial dynamics.
382 @lilypond[quote,verbatim,raggedright]
383 rndf = \markup{ \center-align {\line { \bold{\italic (}
384 \dynamic f \bold{\italic )} }} }
385 boxf = \markup{ \bracket { \dynamic f } }
386 { c'1_\rndf c'1_\boxf }
390 @node Other text markup issues
391 @subsection Other text markup issues
393 To use a normal font within a title, you must define it manually
396 #(def-markup-command (normal-font layout props arg) (markup?)
397 "Switch to normal text font"
398 (interpret-markup layout (cons '((font-series . 'medium) (font-shape . 'upright)) props) arg))
401 title = \markup@{ ABCD \normal-font ABCD @}
406 @node Preparing parts
407 @section Preparing parts
409 This section describes various notation that are useful for preparing
413 * Multi measure rests::
418 * Instrument transpositions::
420 * Different editions from one source::
424 @node Multi measure rests
425 @subsection Multi measure rests
427 @cindex multi measure rests
428 @cindex Rests, multi measure
429 @cindex whole rests for a full measure
432 Multi-measure rests are entered using `@code{R}'. It is specifically
433 meant for full bar rests and for entering parts: the rest can expand
434 to fill a score with rests, or it can be printed as a single
435 multi-measure rest. This expansion is controlled by the property
436 @code{Score.skipBars}. If this is set to true, empty measures will not
437 be expanded, and the appropriate number is added automatically
439 @lilypond[quote,raggedright,fragment,verbatim]
440 \time 4/4 r1 | R1 | R1*2
441 \set Score.skipBars = ##t R1*17 R1*4
444 The @code{1} in @code{R1} is similar to the duration notation used for
445 notes. Hence, for time signatures other than 4/4, you must enter other
446 durations. This can be done with augmentation dots or fractions
448 @lilypond[quote,raggedright,fragment,verbatim]
449 \set Score.skipBars = ##t
458 An @code{R} spanning a single measure is printed as either a whole rest
459 or a breve, centered in the measure regardless of the time signature.
461 If there are only a few measures of rest, LilyPond prints ``church rests''
462 (a series of rectangles) in the staff. To replace that with a simple
463 rest, use @code{MultiMeasureRest.expand-limit}.
465 @lilypond[quote,raggedright,fragment,verbatim]
466 \set Score.skipBars = ##t
468 \override MultiMeasureRest #'expand-limit = 1
472 @cindex text on multi-measure rest
473 @cindex script on multi-measure rest
474 @cindex fermata on multi-measure rest
476 Texts can be added to multi-measure rests by using the
477 @var{note}-@code{markup} syntax @internalsref{Text markup}.
478 A variable (@code{\fermataMarkup}) is provided for
481 @lilypond[quote,raggedright,verbatim,fragment]
482 \set Score.skipBars = ##t
484 R2.*10^\markup { \italic "ad lib." }
488 If you want to have text on the left end of a multi-measure rest,
489 attach the text to a zero-length skip note, i.e.,
499 Program reference: @internalsref{MultiMeasureRestMusicGroup},
500 @internalsref{MultiMeasureRest}.
502 The layout object @internalsref{MultiMeasureRestNumber} is for the
503 default number, and @internalsref{MultiMeasureRestText} for user
509 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
510 over multi-measure rests. And the pitch of multi-measure rests (or
511 staff-centered rests) can not be influenced.
513 @cindex condensing rests
515 There is no way to automatically condense multiple rests into a single
516 multi-measure rest. Multi-measure rests do not take part in rest
519 Be careful when entering multi-measure rests followed by whole
520 notes. The following will enter two notes lasting four measures each
524 When @code{skipBars} is set, the result will look OK, but the bar
525 numbering will be off.
528 @node Metronome marks
529 @subsection Metronome marks
532 @cindex beats per minute
533 @cindex metronome marking
535 Metronome settings can be entered as follows
537 \tempo @var{duration} = @var{per-minute}
540 In the MIDI output, they are interpreted as a tempo change. In the
541 layout output, a metronome marking is printed
542 @cindex @code{\tempo}
543 @lilypond[quote,raggedright,verbatim,fragment]
550 To change the tempo in the MIDI output without printing anything, make
551 the metronome marking invisible
553 \once \override Score.MetronomeMark #'transparent = ##t
556 To print other metronome markings, use these markup commands
557 @lilypond[quote,raggedright,verbatim,relative,fragment]
560 \smaller \general-align #Y #DOWN \note #"16." #1
562 \smaller \general-align #Y #DOWN \note #"8" #1"
567 See @ref{Text markup} for more details.
572 Program reference: @internalsref{MetronomeMark}.
577 Collisions are not checked. If you have notes above the top line of
578 the staff (or notes with articulations, slurs, text, etc), then the
579 metronome marking may be printed on top of musical symbols. If this
580 occurs, increase the padding of the metronome mark to place it
581 further away from the staff.
584 \override Score.MetronomeMark #'padding = #2.5
588 @node Rehearsal marks
589 @subsection Rehearsal marks
591 @cindex Rehearsal marks
594 To print a rehearsal mark, use the @code{\mark} command
596 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
605 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
607 The mark is incremented automatically if you use @code{\mark
608 \default}, but you can also use an integer argument to set the mark
609 manually. The value to use is stored in the property
610 @code{rehearsalMark}.
612 The style is defined by the property @code{markFormatter}. It is a
613 function taking the current mark (an integer) and the current context
614 as argument. It should return a markup object. In the following
615 example, @code{markFormatter} is set to a canned procedure. After a
616 few measures, it is set to function that produces a boxed number.
618 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
619 \set Score.markFormatter = #format-mark-numbers
622 \set Score.markFormatter = #format-mark-box-numbers
628 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
629 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
630 @code{format-mark-letters} and @code{format-mark-box-letters}.
631 These can be used as inspiration for other formatting functions.
636 Program reference: @internalsref{RehearsalMark}.
638 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
639 definition of @code{format-mark-numbers} and
640 @code{format-mark-letters}. They can be used as inspiration for other
641 formatting functions.
643 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
645 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
649 @subsection Bar numbers
652 @cindex measure numbers
653 @cindex @code{currentBarNumber}
655 Bar numbers are printed by default at the start of the line. The
656 number itself is stored in the @code{currentBarNumber} property, which
657 is normally updated automatically for every measure.
659 Bar numbers can be typeset at regular intervals instead of at the
660 beginning of each line. This is illustrated in the following example,
661 whose source is available as
662 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
664 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
666 Bar numbers can be typeset manually by tweaking the
667 @code{markFormatter} property
669 @lilypond[verbatim,raggedright,quote]
671 \set Score.markFormatter
672 = #(lambda (mark context)
675 (number->string (ly:context-property context
676 'currentBarNumber)))))
678 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
682 Bar numbers can be manually changed by setting the
683 @code{Staff.currentBarNumber} property
685 @lilypond[verbatim,raggedright,quote]
687 \repeat unfold 4 {c4 c c c} \break
688 \set Score.currentBarNumber = #50
689 \repeat unfold 4 {c4 c c c}
696 Program reference: @internalsref{BarNumber}.
699 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
700 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
705 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
706 there is one at the top. To solve this, the
707 @code{padding} property of @internalsref{BarNumber} can be
708 used to position the number correctly.
711 @node Instrument names
712 @subsection Instrument names
714 In an orchestral score, instrument names are printed at the left side
717 This can be achieved by setting @internalsref{Staff}.@code{instrument}
718 and @internalsref{Staff}.@code{instr}. This will print a string before
719 the start of the staff. For the first staff, @code{instrument} is
720 used, for the following ones, @code{instr} is used.
722 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
723 \set Staff.instrument = "Ploink "
724 \set Staff.instr = "Plk "
730 You can also use markup texts to construct more complicated instrument
733 @lilypond[quote,fragment,verbatim,raggedright]
734 \set Staff.instrument = \markup {
735 \column { "Clarinetti"
736 \line { "in B" \smaller \flat } } }
740 For longer instrument names, it may be useful to increase the
741 @code{indent} setting in the @code{\layout} block.
745 Program reference: @internalsref{InstrumentName}.
749 When you put a name on a grand staff or piano staff, the width of the
750 brace is not taken into account. You must add extra spaces to the end of
751 the name to avoid a collision.
754 @node Instrument transpositions
755 @subsection Instrument transpositions
757 @cindex transposition, MIDI
758 @cindex transposition, instrument
760 The key of a transposing instrument can also be specified. This
761 applies to many wind instruments, for example, clarinets (B-flat, A, and
762 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
764 The transposition is entered after the keyword @code{\transposition}
767 \transposition bes %% B-flat clarinet
771 This command sets the property @code{instrumentTransposition}. The value of
772 this property is used for MIDI output and quotations. It does not
773 affect how notes are printed in the current staff. To change the printed
774 output, see @ref{Transpose}.
776 The pitch to use for @code{\transposition} should correspond to the
777 transposition of the notes. For example, when entering a score in
778 concert pitch, typically all voices are entered in C, so
779 they should be entered as
792 The command @code{\transposition} should be used when the music is
793 entered from a (transposed) orchestral part. For example, in
794 classical horn parts, the tuning of the instrument is often changed
795 during a piece. When copying the notes from the part, use
796 @code{\transposition}, e.g.,
808 @node Ottava brackets
809 @subsection Ottava brackets
811 `Ottava' brackets introduce an extra transposition of an octave for
812 the staff. They are created by invoking the function
813 @code{set-octavation}
819 @lilypond[quote,raggedright,verbatim,fragment]
829 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
830 (for 15ma) as arguments. Internally the function sets the properties
831 @code{ottavation} (e.g., to @code{"8va"}) and
832 @code{centralCPosition}. For overriding the text of the bracket, set
833 @code{ottavation} after invoking @code{set-octavation}, i.e.,
835 @lilypond[quote,raggedright,verbatim]
838 \set Staff.ottavation = #"8"
846 Program reference: @internalsref{OttavaBracket}.
848 Examples: @inputfileref{input/@/regression,ottava@/.ly},
849 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
854 @code{set-octavation} will get confused when clef changes happen
855 during an octavation bracket.
858 @node Different editions from one source
859 @subsection Different editions from one source
864 The @code{\tag} command marks music expressions with a name. These
865 tagged expressions can be filtered out later. With this mechanism it
866 is possible to make different versions of the same music source.
868 In the following example, we see two versions of a piece of music, one
869 for the full score, and one with cue notes for the instrumental part
885 The same can be applied to articulations, texts, etc.: they are
888 -\tag #@var{your-tag}
890 to an articulation, for example,
895 This defines a note with a conditional fingering indication.
898 @cindex removeWithTag
899 By applying the @code{\keepWithTag} and @code{\removeWithTag}
900 commands, tagged expressions can be filtered. For example,
904 \keepWithTag #'score @var{the music}
905 \keepWithTag #'part @var{the music}
910 @lilypondfile[raggedright,quote]{tag-filter.ly}
912 The argument of the @code{\tag} command should be a symbol, or a list
913 of symbols, for example,
915 \tag #'(original-part transposed-part) @dots{}
921 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
926 Multiple rests are not merged if you create the score with both tagged
931 @node Orchestral music
932 @section Orchestral music
934 Orchestral music involves some special notation, both in the full
935 score and the individual parts. This section explains how to tackle
936 some common problems in orchestral music.
939 * Automatic part combining::
941 * Quoting other voices::
942 * Formatting cue notes::
943 * Aligning to cadenzas::
947 @node Automatic part combining
948 @subsection Automatic part combining
949 @cindex automatic part combining
950 @cindex part combiner
952 Automatic part combining is used to merge two parts of music onto a
953 staff. It is aimed at typesetting orchestral scores. When the two
954 parts are identical for a period of time, only one is shown. In
955 places where the two parts differ, they are typeset as separate
956 voices, and stem directions are set automatically. Also, solo and
957 @emph{a due} parts are identified and can be marked.
959 The syntax for part combining is
962 \partcombine @var{musicexpr1} @var{musicexpr2}
966 The following example demonstrates the basic functionality of the part
967 combiner: putting parts on one staff, and setting stem directions and
970 @lilypond[quote,verbatim,raggedright,fragment]
971 \new Staff \partcombine
972 \relative g' { g g a( b) c c r r }
973 \relative g' { g g r4 r e e g g }
976 The first @code{g} appears only once, although it was
977 specified twice (once in each part). Stem, slur, and tie directions are
978 set automatically, depending whether there is a solo or unisono. The
979 first part (with context called @code{one}) always gets up stems, and
980 `Solo', while the second (called @code{two}) always gets down stems and
983 If you just want the merging parts, and not the textual markings, you
984 may set the property @code{printPartCombineTexts} to false
986 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
988 \set Staff.printPartCombineTexts = ##f
990 \relative g' { g a( b) r }
991 \relative g' { g r4 r f }
995 To change the text that is printed for solos or merging, you may
996 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
999 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1001 \set Score.soloText = #"ichi"
1002 \set Score.soloIIText = #"ni"
1003 \set Score.aDueText = #"tachi"
1005 \relative g' { g4 g a( b) r }
1006 \relative g' { g4 g r r f }
1010 Both arguments to @code{\partcombine} will be interpreted as
1011 @internalsref{Voice} contexts. If using relative octaves,
1012 @code{\relative} should be specified for both music expressions, i.e.,
1016 \relative @dots{} @var{musicexpr1}
1017 \relative @dots{} @var{musicexpr2}
1021 A @code{\relative} section that is outside of @code{\partcombine} has
1022 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1026 Program reference: @internalsref{PartCombineMusic}.
1030 When @code{printPartCombineTexts} is set, when the two voices play the
1031 same notes on and off, the part combiner may typeset @code{a2} more
1032 than once in a measure.
1034 @code{\partcombine} cannot be inside @code{\times}.
1036 @code{\partcombine} cannot be inside @code{\relative}.
1038 Internally, the @code{\partcombine} interprets both arguments as
1039 @code{Voice}s named @code{one} and @code{two}, and then decides when
1040 the parts can be combined. Consequently, if the arguments switch to
1041 differently named @internalsref{Voice} contexts, the events in those
1046 @subsection Hiding staves
1048 @cindex Frenched scores
1049 @cindex Hiding staves
1051 In orchestral scores, staff lines that only have rests are usually
1052 removed; this saves some space. This style is called `French Score'.
1053 For @internalsref{Lyrics},
1054 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1055 switched on by default. When the lines of these contexts turn out
1056 empty after the line-breaking process, they are removed.
1058 For normal staves, a specialized @internalsref{Staff} context is
1059 available, which does the same: staves containing nothing (or only
1060 multi-measure rests) are removed. The context definition is stored in
1061 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1062 in this example disappears in the second line
1064 @lilypond[quote,raggedright,verbatim]
1066 \context { \RemoveEmptyStaffContext }
1071 \new Staff { e4 f g a \break c1 }
1072 \new Staff { c4 d e f \break R1 }
1077 The first system shows all staves in full. If empty staves should be
1078 removed from the first system too, set @code{remove-first} to true in
1079 @internalsref{RemoveEmptyVerticalGroup}.
1082 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1085 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1086 or @code{\RemoveEmptyRhythmicStaffContext}.
1088 Another application is making ossia sections, i.e., alternative
1089 melodies on a separate piece of staff, with help of a Frenched
1090 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1093 @node Quoting other voices
1094 @subsection Quoting other voices
1096 With quotations, fragments of other parts can be inserted into a part
1097 directly. Before a part can be quoted, it must be marked especially as
1098 quotable. This is done with the @code{\addquote} command.
1101 \addquote @var{name} @var{music}
1106 Here, @var{name} is an identifying string. The @var{music} is any kind
1107 of music. Here is an example of @code{\addquote}
1110 \addquote clarinet \relative c' @{
1115 This command must be entered at toplevel, i.e., outside any music
1118 After calling @code{\addquote}, the quotation may then be done with
1119 @code{\quoteDuring} or @code{\cueDuring},
1122 \quoteDuring #@var{name} @var{music}
1125 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1129 \quoteDuring #"clarinet" @{ s2. @}
1132 This would cite three quarter notes (the duration of @code{s2.}) of
1133 the previously added @code{clarinet} voice.
1136 More precisely, it takes the current time-step of the part being
1137 printed, and extracts the notes at the corresponding point of the
1138 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1139 should be the entire part of the voice to be quoted, including any
1140 rests at the beginning.
1142 Quotations take into account the transposition of both source and target
1143 instruments, if they are specified using the @code{\transposition} command.
1145 @lilypond[quote,raggedright,verbatim]
1146 \addquote clarinet \relative c' {
1152 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1156 The type of events that are present in cue notes can be trimmed with
1157 the @code{quotedEventTypes} property. The default value is
1158 @code{(note-event rest-event)}, which means that only notes and
1159 rests of the cued voice end up in the @code{\quoteDuring}.
1163 \set Staff.quotedEventTypes =
1164 #'(note-event articulation-event dynamic-event)
1168 will quote notes (but no rests), together with scripts and dynamics.
1172 Only the contents of the first @internalsref{Voice} occurring in an
1173 @code{\addquote} command will be considered for quotation, so
1174 @var{music} can not contain @code{\new} and @code{\context Voice}
1175 statements that would switch to a different Voice.
1177 Quoting grace notes is broken and can even cause LilyPond to crash.
1181 In this manual: @ref{Instrument transpositions}.
1183 Examples: @inputfileref{input/@/regression,quote@/.ly}
1184 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1186 Program reference: @internalsref{QuoteMusic}.
1189 @node Formatting cue notes
1190 @subsection Formatting cue notes
1192 The previous section deals with inserting notes from another voice.
1193 There is a more advanced music function called @code{\cueDuring},
1194 which makes formatting cue notes easier.
1199 \cueDuring #@var{name} #@var{updown} @var{music}
1202 This will insert notes from the part @var{name} into a
1203 @internalsref{Voice} called @code{cue}. This happens simultaneously
1204 with @var{music}, which usually is a rest. When the cue notes start,
1205 the staff in effect becomes polyphonic for a moment. The argument
1206 @var{updown} determines whether the cue notes should be notated as a
1207 first or second voice.
1210 @lilypond[verbatim,raggedright]
1213 \override Stem #'length = #5.5
1214 \override Beam #'thickness = #0.384
1215 \override Beam #'space-function =
1216 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1219 \addquote clarinet \relative {
1224 \new Staff \relative <<
1226 % setup a context for cue notes.
1227 \context Voice = cue { \smaller \skip 1*21 }
1229 \set Score.skipBars = ##t
1233 \cueDuring #"clarinet" #1 {
1242 Here are a couple of hints for successful cue notes
1246 Cue notes have smaller font sizes.
1248 the cued part is marked with the instrument playing the cue.
1250 when the original part takes over again, this should be marked with
1251 the name of the original instrument.
1253 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1255 @c Yes, this is good practice. Otherwise, the start of the original
1256 @c part can only be seen from the font size. This is not good enough
1257 @c for sight-reading. It is possilbe to use other
1258 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1263 any other changes introduced by the cued part should also be
1264 undone. For example, if the cued instrument plays in a different clef,
1265 the original clef should be stated once again.
1270 @node Aligning to cadenzas
1271 @subsection Aligning to cadenzas
1273 In an orchestral context, cadenzas present a special problem:
1274 when constructing a score that includes a cadenza, all other
1275 instruments should skip just as many notes as the length of the
1276 cadenza, otherwise they will start too soon or too late.
1278 A solution to this problem are the functions @code{mmrest-of-length}
1279 and @code{skip-of-length}. These Scheme functions take a piece of music
1280 as argument, and generate a @code{\skip} or multi-rest, exactly as
1281 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1282 in the following example.
1284 @lilypond[verbatim,raggedright,quote]
1285 cadenza = \relative c' {
1286 c4 d8 << { e f g } \\ { d4. } >>
1291 \new Staff { \cadenza c'4 }
1293 #(ly:export (mmrest-of-length cadenza))
1302 @node Contemporary notation
1303 @section Contemporary notation
1305 In the 20th century, composers have greatly expanded the musical
1306 vocabulary. With this expansion, many innovations in musical notation
1307 have been tried. The book ``Music Notation in the 20th century'' by
1308 Kurt Stone gives a comprehensive overview (see @ref{Literature
1309 list}). In general, the use of new, innovative notation makes a piece
1310 harder to understand and perform and its use should therefore be
1311 avoided. For this reason, support for contemporary notation in
1312 LilyPond is limited.
1316 * Polymetric notation::
1318 * Special fermatas::
1323 @node Polymetric notation
1324 @subsection Polymetric notation
1326 Double time signatures are not supported explicitly, but they can be
1327 faked. In the next example, the markup for the time signature is
1328 created with a markup text. This markup text is inserted in the
1329 @internalsref{TimeSignature} grob.
1331 @lilypond[verbatim,raggedright]
1336 \musicglyph #"scripts.stopped"
1337 \bracket \column { "5" "8" }
1342 \override Staff.TimeSignature #'print-function = #Text_interface::print
1343 \override Staff.TimeSignature #'text = #tsMarkup
1345 c'2 \bar ":" c'4 c'4.
1349 Each staff can also have its own time signature. This is done by
1350 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
1355 \context @{ \Score \remove "Timing_engraver" @}
1356 \context @{ \Staff \consists "Timing_engraver" @}
1361 Now, each staff has its own time signature.
1374 c4. c8 c c c4. c8 c c
1379 @lilypond[quote,raggedright]
1381 \context{ \Score \remove "Timing_engraver" }
1382 \context{ \Staff \consists "Timing_engraver" }
1396 c4. c8 c c c4. c8 c c
1402 A different form of polymetric notation is where note lengths have
1403 different values across staves.
1405 This notation can be created by setting a common time signature for
1406 each staff but replacing it manually using
1407 @code{timeSignatureFraction} to the desired fraction. Then the printed
1408 durations in each staff are scaled to the common time signature.
1409 The latter is done with @code{\compressmusic}, which is similar to
1410 @code{\times}, but does not create a tuplet bracket.
1413 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1414 used in parallel. In the second staff, shown durations are multiplied by
1415 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1416 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1418 @lilypond[quote,raggedright,verbatim,fragment]
1426 \set Staff.timeSignatureFraction = #'(9 . 8)
1427 \compressmusic #'(2 . 3)
1428 \repeat unfold 6 { c8[ c c] }
1432 \set Staff.timeSignatureFraction = #'(10 . 8)
1433 \compressmusic #'(3 . 5) {
1434 \repeat unfold 2 { c8[ c c] }
1435 \repeat unfold 2 { c8[ c] }
1436 | c4. c4. \times 2/3 { c8 c c } c4
1447 When using different time signatures in parallel, the spacing is
1448 aligned vertically, but bar lines distort the regular spacing.
1453 @subsection Clusters
1457 A cluster indicates a continuous range of pitches to be played. They
1458 can be denoted as the envelope of a set of notes. They are entered by
1459 applying the function @code{makeClusters} to a sequence of
1461 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1462 \makeClusters { <c e > <b f'> }
1465 The following example (from
1466 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1469 @lilypondfile[raggedright,quote]{cluster.ly}
1471 Ordinary notes and clusters can be put together in the same staff,
1472 even simultaneously. In such a case no attempt is made to
1473 automatically avoid collisions between ordinary notes and clusters.
1477 Program reference: @internalsref{ClusterSpanner},
1478 @internalsref{ClusterSpannerBeacon},
1479 @internalsref{Cluster_spanner_engraver}.
1481 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1485 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1486 accurately. Use @code{<g a>8 <e a>8} instead.
1490 @node Special fermatas
1491 @subsection Special fermatas
1493 @cindex fermatas, special
1495 In contemporary music notation, special fermata symbols denote breaks
1496 of differing lengths. The following fermatas are supported
1498 @lilypond[quote,raggedright]
1521 \context Lyrics \lyricmode {
1522 \override LyricText #'font-family = #'typewriter
1523 "shortfermata" "fermata" "longfermata" "verylongfermata"
1528 See @ref{Articulations} for general instructions how to apply scripts
1529 such as fermatas to notes.
1531 @node Feathered beams
1532 @subsection Feathered beams
1534 Feathered beams are not supported natively, but they can be faked by
1535 forcing two beams to overlap. Here is an example,
1537 @c don't change relative setting witout changing positions!
1538 @lilypond[raggedright,relative=1,fragment,verbatim]
1543 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1548 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1556 @subsection Improvisation
1558 Improvisation is sometimes denoted with slashed note heads. Such note
1559 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1560 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1564 \set squashedPosition = #0
1565 \override NoteHead #'style = #'slash
1569 switches on the slashes.
1571 There are shortcuts @code{\improvisationOn} (and an accompanying
1572 @code{\improvisationOff}) for this command sequence. They are used in
1573 the following example
1575 @lilypond[verbatim,raggedright,quote]
1577 \consists Pitch_squash_engraver
1579 e8 e g a a16(bes)(a8) g \improvisationOn
1582 ~fis2 \improvisationOff a16(bes) a8 g e
1587 @node Educational use
1588 @section Educational use
1590 With the amount of control that LilyPond offers, one can make great
1591 teaching tools in addition to great musical scores.
1595 * Blank music sheet::
1597 * Shaped note heads ::
1598 * Easy Notation note heads::
1599 * Analysis brackets::
1600 * Coloring objects::
1604 @subsection Balloon help
1606 Elements of notation can be marked and named with the help of a square
1607 balloon. The primary purpose of this feature is to explain notation.
1609 The following example demonstrates its use.
1611 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1614 #(add-balloon-text 'NoteHead "heads, or tails?"
1621 The function @code{add-balloon-text} takes the name of a grob, the
1622 label to print, and the position where to put the label relative to
1623 the object. In the above example, the text ``heads or tails?'' ends
1624 3 spaces below and 1 space to the right of the marked head.
1627 @cindex notation, explaining
1631 Program reference: @internalsref{text-balloon-interface}.
1633 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1638 @node Blank music sheet
1639 @subsection Blank music sheet
1641 A blank music sheet can be produced also by using invisible notes, and
1642 removing @code{Bar_number_engraver}.
1645 @lilypond[quote,verbatim]
1647 \repeat unfold 2 % Change this for more lines.
1652 \override TimeSignature #'transparent = ##t
1653 defaultBarType = #""
1654 \remove Bar_number_engraver
1656 \context Staff \emptymusic
1657 \context TabStaff \emptymusic
1663 @subsection Hidden notes
1665 @cindex Hidden notes
1666 @cindex Invisible notes
1667 @cindex Transparent notes
1669 @cindex @code{\hideNotes}
1670 @cindex @code{\unHideNotes}
1671 Hidden (or invisible or transparent) notes can be useful in preparing theory
1672 or composition exercises.
1674 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1682 Hidden notes are also great for performing weird tricks. For example,
1683 slurs cannot be attached to rests or spacer rests, but you may wish
1684 to include that in your score -- string instruments use this notation
1685 when doing pizzicato to indicate that the note should ring for as long
1688 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1691 c4^"pizz"( \hideNotes c)
1692 \unHideNotes c( \hideNotes c)
1699 @node Shaped note heads
1700 @subsection Shaped note heads
1702 In shaped note head notation, the shape of the note head corresponds
1703 to the harmonic function of a note in the scale. This notation was
1704 popular in the 19th century American song books.
1706 Shaped note heads can be produced by setting @code{\aikenHeads} or
1707 @code{\sacredHarpHeads}, depending on the style desired.
1709 @lilypond[verbatim,relative=1,fragment]
1716 Shapes are determined on the step in the scale, where the base of the
1717 scale is determined by the @code{\key} command
1720 @findex shapeNoteStyles
1722 @findex \sacredHarpHeads
1724 Shaped note heads are implemented through the @code{shapeNoteStyles}
1725 property. Its value is a vector of symbols. The k-th element indicates
1726 the style to use for the k-th step of the scale. Arbitrary
1727 combinations are possible, eg.,
1730 @lilypond[verbatim,relative=1,fragment]
1731 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
1736 @node Easy Notation note heads
1737 @subsection Easy Notation note heads
1739 @cindex easy notation
1742 The `easy play' note head includes a note name inside the head. It is
1743 used in music for beginners
1745 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
1750 The command @code{\setEasyHeads} overrides settings for the
1751 @internalsref{NoteHead} object. To make the letters readable, it has
1752 to be printed in a large font size. To print with a larger font, see
1753 @ref{Setting global staff size}.
1757 @cindex @code{\setEasyHeads}
1758 @code{\setEasyHeads}
1761 @node Analysis brackets
1762 @subsection Analysis brackets
1764 @cindex phrasing brackets
1765 @cindex musicological analysis
1766 @cindex note grouping bracket
1768 Brackets are used in musical analysis to indicate structure in musical
1769 pieces. LilyPond supports a simple form of nested horizontal
1770 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
1771 to @internalsref{Staff} context. A bracket is started with
1772 @code{\startGroup} and closed with @code{\stopGroup}
1774 @lilypond[quote,raggedright,verbatim]
1777 c4\startGroup\startGroup
1780 c4\stopGroup\stopGroup
1784 \Staff \consists "Horizontal_bracket_engraver"
1790 Program reference: @internalsref{HorizontalBracket}.
1792 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
1798 I don't think we need this info.
1803 Whenever a note is found, a @internalsref{Stem} object is created
1804 automatically. For whole notes and rests, they are also created but
1809 @cindex @code{\stemUp}
1811 @cindex @code{\stemDown}
1813 @cindex @code{\stemNeutral}
1814 @code{\stemNeutral}.
1819 @node Coloring objects
1820 @subsection Coloring objects
1822 @c FIXME: need link to missing list of colors
1823 Individual objects may be assigned colors. You may use color names
1826 @lilypond[quote,raggedright,verbatim,fragment]
1827 \override NoteHead #'color = #red
1829 \override NoteHead #'color = #(x11-color 'LimeGreen)
1831 \override Stem #'color = #blue
1835 The full range of colors defined for X11 can be accessed by using the
1836 scheme function x11-color. The function takes one argument that can be a
1840 \override Beam #'color = #(x11-color 'MediumTurquoise)
1846 \override Beam #'color = #(x11-color "MediumTurquoise")
1849 The first form is quicker to write and is more efficient. However, using
1850 the second form it is possible to access X11 colors by the multi-word
1854 \override Beam #'color = #(x11-color "medium turquoise")
1857 If x11-color cannot make sense of the parameter then the color returned
1858 defaults to black. It should be obvious from the final score that
1861 This example, illustrates the use of x11-color. Notice that the stem
1862 color remains black after being set to (x11-color 'Boggle), which is
1863 deliberate nonsense.
1865 @lilypond[quote,raggedright,verbatim]
1867 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
1868 \set Staff.instrument = \markup {
1869 \with-color #(x11-color 'navy) "Clarinet"
1873 \override Beam #'color = #(x11-color "medium turquoise")
1875 \override NoteHead #'color = #(x11-color "LimeGreen")
1877 \override Stem #'color = #(x11-color 'Boggle)
1884 Not all x11 colors are distinguishable in a web browser. For web use
1885 normal colors are recommended.
1887 An x11 color is not necessarily exactly the same shade as a similarly
1896 @node Automatic notation
1897 @section Automatic notation
1899 This section describes how to change the way that accidentals and
1900 beams are automatically displayed.
1902 FIXME: this might get moved into Changing Defaults. Please send
1903 opinions to lilypond-devel. Thanks! :)
1906 * Automatic accidentals::
1907 * Setting automatic beam behavior::
1911 @node Automatic accidentals
1912 @subsection Automatic accidentals
1913 @cindex Automatic accidentals
1915 Common rules for typesetting accidentals have been placed in a
1916 function. This function is called as follows
1918 @cindex @code{set-accidental-style}
1920 #(set-accidental-style 'STYLE #('CONTEXT#))
1923 The function can take two arguments: the name of the accidental style,
1924 and an optional argument that denotes the context that should be
1925 changed. If no context name is supplied, @code{Staff} is the default,
1926 but you may wish to apply the accidental style to a single @code{Voice}
1929 The following accidental styles are supported
1932 This is the default typesetting behavior. It corresponds
1933 to 18th century common practice: Accidentals are
1934 remembered to the end of the measure in which they occur and
1935 only on their own octave.
1938 The normal behavior is to remember the accidentals on
1939 Staff-level. This variable, however, typesets accidentals
1940 individually for each voice. Apart from that, the rule is similar to
1943 As a result, accidentals from one voice do not get canceled in other
1944 voices, which is often an unwanted result
1946 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1948 #(set-accidental-style 'voice)
1955 The @code{voice} option should be used if the voices
1956 are to be read solely by individual musicians. If the staff is to be
1957 used by one musician (e.g., a conductor) then
1958 @code{modern} or @code{modern-cautionary}
1959 should be used instead.
1962 @cindex @code{modern} style accidentals
1963 This rule corresponds to the common practice in the 20th century. This rule
1964 prints the same accidentals as @code{default}, but temporary
1965 accidentals also are canceled in other octaves. Furthermore,
1966 in the same octave, they also get canceled in the following
1969 @lilypond[quote,raggedright,fragment,verbatim]
1970 #(set-accidental-style 'modern)
1971 cis' c'' cis'2 | c'' c'
1974 @item @code{modern-cautionary}
1975 @cindex @code{modern-cautionary}
1976 This rule is similar to @code{modern}, but the ``extra'' accidentals
1977 (the ones not typeset by @code{default}) are typeset as cautionary
1978 accidentals. They are printed in reduced size or with parentheses
1979 @lilypond[quote,raggedright,fragment,verbatim]
1980 #(set-accidental-style 'modern-cautionary)
1981 cis' c'' cis'2 | c'' c'
1984 @cindex @code{modern-voice}
1986 This rule is used for multivoice accidentals to be read both by musicians
1987 playing one voice and musicians playing all voices. Accidentals are
1988 typeset for each voice, but they @emph{are} canceled across voices in
1989 the same @internalsref{Staff}.
1991 @cindex @code{modern-voice-cautionary}
1992 @item modern-voice-cautionary
1993 This rule is the same as @code{modern-voice}, but with the extra
1994 accidentals (the ones not typeset by @code{voice}) typeset
1995 as cautionaries. Even though all accidentals typeset by
1996 @code{default} @emph{are} typeset by this variable,
1997 some of them are typeset as cautionaries.
2000 @cindex @code{piano} accidentals
2001 This rule reflects 20th century practice for piano notation. Very similar to
2002 @code{modern} but accidentals also get canceled
2003 across the staves in the same @internalsref{GrandStaff} or
2004 @internalsref{PianoStaff}.
2006 @item piano-cautionary
2007 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2008 Same as @code{#(set-accidental-style 'piano)} but with the extra
2009 accidentals typeset as cautionaries.
2012 @cindex @code{no-reset} accidental style
2013 This is the same as @code{default} but with accidentals lasting
2014 ``forever'' and not only until the next measure
2015 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2016 #(set-accidental-style 'no-reset)
2021 This is sort of the opposite of @code{no-reset}: Accidentals
2022 are not remembered at all---and hence all accidentals are
2023 typeset relative to the key signature, regardless of what was
2026 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2027 #(set-accidental-style 'forget)
2028 \key d\major c4 c cis cis d d dis dis
2035 Program reference: @internalsref{Accidental_engraver},
2036 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2041 Simultaneous notes are considered to be entered in sequential
2042 mode. This means that in a chord the accidentals are typeset as if the
2043 notes in the chord happened once at a time - in the order in which
2044 they appear in the input file.
2046 This is a problem when accidentals in a chord depend on each other,
2047 which does not happen for the default accidental style. The problem
2048 can be solved by manually inserting @code{!} and @code{?} for the
2052 @node Setting automatic beam behavior
2053 @subsection Setting automatic beam behavior
2055 @cindex @code{autoBeamSettings}
2056 @cindex @code{(end * * * *)}
2057 @cindex @code{(begin * * * *)}
2058 @cindex automatic beams, tuning
2059 @cindex tuning automatic beaming
2061 @c [TODO: use \applycontext]
2063 In normal time signatures, automatic beams can start on any note but can
2064 only end in a few positions within the measure: beams can end on a beat,
2065 or at durations specified by the properties in
2066 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
2067 are defined in @file{scm/@/auto@/-beam@/.scm}.
2069 The value of @code{autoBeamSettings} is changed with three functions,
2071 #(override-auto-beam-setting
2072 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
2074 #(score-override-auto-beam-setting
2075 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
2076 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
2079 Here, @var{be} is the symbol @code{begin} or @code{end}, and
2080 @var{context} is an optional context (default: @code{'Voice}). It
2081 determines whether the rule applies to begin or end-points. The
2082 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
2083 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
2084 to a time signature (wildcards `@code{* *}' may be entered to
2085 designate all time signatures), @var{a}/@var{b} is a duration. By
2086 default, this command changes settings for the current voice. It is
2087 also possible to adjust settings at higher contexts, by adding a
2088 @var{context} argument. @code{score-override-auto-beam-setting} is
2089 equal to @code{override-auto-beam-setting} with the argument
2090 @var{context} set to @code{'Score}.
2092 For example, if automatic beams should end on the first quarter note, use
2095 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2097 Since the duration of a quarter note is 1/4 of a whole note, it is
2098 entered as @code{(ly:make-moment 1 4)}.
2100 If automatic beams should end on every quarter in 5/4 time, specify
2103 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2104 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2105 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2106 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2110 The same syntax can be used to specify beam starting points. In this
2111 example, automatic beams can only end on a dotted quarter note
2113 #(override-auto-beam-setting '(end * * * *) 3 8)
2114 #(override-auto-beam-setting '(end * * * *) 1 2)
2115 #(override-auto-beam-setting '(end * * * *) 7 8)
2117 In 4/4 time signature, this means that automatic beams could end only on
2118 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2119 3/8, has passed within the measure).
2121 Rules can also be restricted to specific time signatures. A rule that
2122 should only be applied in @var{N}/@var{M} time signature is formed by
2123 replacing the second asterisks by @var{N} and @var{M}. For example, a
2124 rule for 6/8 time exclusively looks like
2126 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
2129 If a rule should be to applied only to certain types of beams, use the
2130 first pair of asterisks. Beams are classified according to the
2131 shortest note they contain. For a beam ending rule that only applies
2132 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
2137 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2139 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2147 @cindex automatic beam generation
2149 @cindex @code{autoBeaming}
2152 If beams are used to indicate melismata in songs, then automatic
2153 beaming should be switched off. This is done by setting
2154 @code{autoBeaming} to @code{#f}.
2158 @cindex @code{\autoBeamOff}
2159 @code{\autoBeamOff},
2160 @cindex @code{\autoBeamOn}
2166 If a score ends while an automatic beam has not been ended and is
2167 still accepting notes, this last beam will not be typeset at all. The
2168 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2169 >>}. If a polyphonic voice ends while an automatic beam is still
2170 accepting notes, it is not typeset.
2172 @node Beam formatting
2173 @subsection Beam formatting
2175 When a beam falls in the middle of the staff, the beams point normally
2176 down. However, this behaviour can be altered with the
2177 @code{neutral-direction} property.
2179 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2182 \override Beam #'neutral-direction = #-1
2184 \override Beam #'neutral-direction = #1
2194 It's the dreaded ``what on earth should I do with this stuff'' section! Yay!
2197 * Time administration::
2202 @node Time administration
2203 @subsection Time administration
2205 Time is administered by the @internalsref{Time_signature_engraver},
2206 which usually lives in the @internalsref{Score} context.
2207 The bookkeeping deals with the following variables
2210 @item currentBarNumber
2214 The length of the measures in the current time signature. For a 4/4
2215 time this is@tie{}1, and for 6/8 it is 3/4.
2217 @item measurePosition
2218 The point within the measure where we currently are. This quantity
2219 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2220 happens, @code{currentBarNumber} is incremented.
2223 If set to true, the above variables are updated for every time
2224 step. When set to false, the engraver stays in the current measure
2228 Timing can be changed by setting any of these variables explicitly.
2229 In the next example, the 4/4 time signature is printed, but
2230 @code{measureLength} is set to 5/4. After a while, the measure is
2231 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2232 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2233 3/8 arises because 5/4 normally has 10/8, but we have manually
2234 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2236 @lilypond[quote,raggedright,verbatim,relative,fragment]
2237 \set Score.measureLength = #(ly:make-moment 5 4)
2241 \set Score.measurePosition = #(ly:make-moment 7 8)
2248 @subsection Transpose
2250 @cindex transposition of pitches
2251 @cindex @code{\transpose}
2253 A music expression can be transposed with @code{\transpose}. The
2256 \transpose @var{from} @var{to} @var{musicexpr}
2259 This means that @var{musicexpr} is transposed by the interval between
2260 the pitches @var{from} and @var{to}: any note with pitch @code{from}
2261 is changed to @code{to}.
2264 For example, consider a piece written in the key of D-major. If
2265 this piece is a little too low for its performer, it can be
2266 transposed up to E-major with
2268 \transpose d e @dots{}
2271 Consider a part written for violin (a C instrument). If
2272 this part is to be played on the A clarinet, the following
2273 transposition will produce the appropriate part
2276 \transpose a c @dots{}
2279 @code{\transpose} distinguishes between enharmonic pitches: both
2280 @code{\transpose c cis} or @code{\transpose c des} will transpose up
2281 half a tone. The first version will print sharps and the second
2282 version will print flats
2284 @lilypond[quote,raggedright,verbatim]
2285 mus = { \key d \major cis d fis g }
2289 \transpose c g' \mus
2290 \transpose c f' \mus
2294 @code{\transpose} may also be used to input written notes for a
2295 transposing instrument. Pitches are normally entered into LilyPond
2296 in C (or ``concert pitch''), but they may be entered in another
2297 key. For example, when entering music for a B-flat trumpet which
2298 begins on concert D, one would write
2301 \transpose c bes @{ e4 @dots{} @}
2304 To print this music in B-flat again (ie producing a trumpet part,
2305 instead of a concert pitch conductor's score) you would wrap the
2306 existing music with another @code{transpose}
2309 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
2316 Program reference: @internalsref{TransposedMusic}, and
2317 @internalsref{UntransposableMusic}.
2321 If you want to use both @code{\transpose} and @code{\relative},
2322 you must put @code{\transpose} outside of @code{\relative}, since
2323 @code{\relative} will have no effect music that appears inside a