1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
20 * Automatic notation::
28 This section explains how to include text (with various formatting) in
31 @cindex Text, other languages
32 To write non-ascii text (such as characters from other languages), simply
33 insert the characters directly into the lilypond file. The file must be
34 saved as UTF-8. For more information, see @ref{Text encoding}.
42 * Overview of text markup commands::
49 @subsection Text scripts
52 @cindex text items, non-empty
53 @cindex non-empty texts
55 It is possible to place arbitrary strings of text or @ref{Text markup}
56 above or below notes by using a string @code{c^"text"}. By default,
57 these indications do not influence the note spacing, but by using the
58 command @code{\fatText}, the widths will be taken into account
60 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
61 c4^"longtext" \fatText c4_"longlongtext" c4
64 More complex formatting may also be added to a note by using the
66 @lilypond[fragment,ragged-right,verbatim,quote]
67 c'4^\markup { bla \bold bla }
70 The @code{\markup} is described in more detail in
76 @cindex @code{\fatText}
78 @cindex @code{\emptyText}
84 Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
87 \override Score.PaperColumn #'keep-inside-line = ##t
93 In this manual: @ref{Text markup}.
95 Program reference: @internalsref{TextScript}.
99 @subsection Text spanners
101 @cindex Text spanners
103 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
104 are written as text and are extended over many measures with dotted
105 lines. Such texts are created using text spanners; attach
106 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
107 notes of the spanner.
109 The string to be printed, as well as the style, is set through object
112 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
115 \override TextSpanner #'edge-text = #'("rall " . "")
116 c2\startTextSpan b c\stopTextSpan a
119 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
120 c2\startTextSpan b c\stopTextSpan a
125 @cindex textSpannerUp
126 @code{textSpannerUp},
127 @cindex textSpannerDown
128 @code{textSpannerDown},
129 @cindex textSpannerNeutral
130 @code{textSpannerNeutral}.
135 Program reference: @internalsref{TextSpanner}.
137 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
141 @subsection Text marks
143 @cindex coda on bar line
144 @cindex segno on bar line
145 @cindex fermata on bar line
146 @cindex bar lines, symbols on
149 The @code{\mark} command is primarily used for
150 @ref{Rehearsal marks},
151 but it can also be used to put signs like coda,
152 segno, and fermata on a bar line. Use @code{\markup} to
153 access the appropriate symbol
155 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
156 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
161 @code{\mark} is only typeset above the top stave of the score. If
162 you specify the @code{\mark} command at a bar line, the resulting
163 mark is placed above the bar line. If you specify it in the middle
164 of a bar, the resulting mark is positioned between notes. If it is
165 specified before the beginning of a score line, it is placed
166 before the first note of the line. Finally, if the mark occurs at
167 a line break, the mark will be printed at the
168 beginning of the next line.
169 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
170 @c delete this sentence. -gp
171 If there is no next line, then the mark will not be printed at all.
176 To print the mark at the end of the current line, use
179 \override Score.RehearsalMark
180 #'break-visibility = #begin-of-line-invisible
183 @code{\mark} is often useful for adding text to the end of bar. In
184 such cases, changing the @code{#'self-alignment} is very useful
186 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
187 \override Score.RehearsalMark
188 #'break-visibility = #begin-of-line-invisible
190 \once \override Score.RehearsalMark #'self-alignment-X = #right
191 \mark "D.S. al Fine "
194 Text marks may be aligned with notation objects other than
197 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
202 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
206 \override Score.RehearsalMark #'break-align-symbol = #'clef
210 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
219 Although text marks are normally only printed above the topmost
220 staff, you may alter this to print them on every staff,
222 @lilypond[quote,ragged-right,verbatim,relative=2]
225 \remove "Mark_engraver"
229 \consists "Mark_engraver"
231 { c''1 \mark "foo" c'' }
233 \consists "Mark_engraver"
235 { c'1 \mark "foo" c' }
243 Program reference: @internalsref{RehearsalMark}.
247 @subsection Text markup
254 Use @code{\markup} to typeset text. Commands are entered with the
255 backslash @code{\}. To enter @code{\} and @code{#}, use double
258 @lilypond[quote,verbatim,fragment,relative=1]
260 c1_\markup { hi there }
261 c1^\markup { hi \bold there, is \italic anyone home? }
262 c1_\markup { "\special #characters" }
266 See @ref{Overview of text markup commands} for a list of all
269 @code{\markup} is primarily used for @internalsref{TextScript}s,
270 but it can also be used anywhere text is called in lilypond
272 @lilypond[quote,verbatim]
273 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
276 \override Score.RehearsalMark
277 #'break-visibility = #begin-of-line-invisible
278 \override Score.RehearsalMark #'self-alignment-X = #right
280 \set Staff.instrument = \markup{ \column{ Alto solo } }
281 c2^\markup{ don't be \flat }
282 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
284 a2\mark \markup{ \large \bold Fine }
288 \addlyrics { bar, foo \markup{ \italic bar! } }
292 Text can also be placed on its own, away from any @code{\score}
293 block. This is primarily used in a @code{\book} (see
294 @ref{Multiple movements}).
296 @lilypond[quote,ragged-right,verbatim]
297 \markup{ Here is some text. }
300 @cindex font switching
302 The markup in the example demonstrates font switching commands. The
303 command @code{\bold} and @code{\italic} apply to the first following
304 word only; to apply a command to more than one word, enclose the
308 \markup @{ \bold @{ hi there @} @}
312 For clarity, you can also do this for single arguments, e.g.,
315 \markup @{ is \italic @{ anyone @} home @}
318 In markup mode you can compose expressions, similar to mathematical
319 expressions, XML documents, and music expressions. You can stack
320 expressions grouped vertically with the command @code{\column}.
321 Similarly, @code{\center-align} aligns texts by their center lines:
323 @lilypond[quote,verbatim,fragment,relative=1]
324 c1^\markup { \column { a bbbb \line { c d } } }
325 c1^\markup { \center-align { a bbbb c } }
326 c1^\markup { \line { a b c } }
329 Lists with no previous command are not kept distinct. The expression
332 \center-align @{ @{ a b @} @{ c d @} @}
340 \center-align @{ a b c d @}
345 To keep lists of words distinct, please use quotes @code{"} or
346 the @code{\line} command
348 @lilypond[quote,verbatim,fragment,relative=1]
350 c4^\markup{ \center-align { on three lines } }
351 c4^\markup{ \center-align { "all one line" } }
352 c4^\markup{ \center-align { { on three lines } } }
353 c4^\markup{ \center-align { \line { on one line } } }
356 Markups can be stored in variables and these variables
357 may be attached to notes, like
359 allegro = \markup @{ \bold \large @{ Allegro @} @}
360 @{ a^\allegro b c d @}
363 Some objects have alignment procedures of their own, which cancel out
364 any effects of alignments applied to their markup arguments as a
365 whole. For example, the @internalsref{RehearsalMark} is horizontally
366 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
369 In addition, vertical placement is performed after creating the
370 text markup object. If you wish to move an entire piece of markup,
371 you need to use the #'padding property or create an "anchor" point
372 inside the markup (generally with @code{\hspace #0}).
374 @lilypond[quote,verbatim,fragment,relative=1]
376 c'4^\markup{ \raise #5 "not raised" }
377 \once \override TextScript #'padding = #3
378 c'4^\markup{ raised }
379 c'4^\markup{ \hspace #0 \raise #1.5 raised }
382 Some situations (such as dynamic marks) have preset font-related
383 properties. If you are creating text in such situations, it
384 is advisable to cancel those properties with
385 @code{normal-text}. See @ref{Overview of text markup commands}
391 This manual: @ref{Overview of text markup commands}.
393 Program reference: @internalsref{TextScript}.
395 Init files: @file{scm/@/new@/-markup@/.scm}.
400 Kerning or generation of ligatures is only done when the @TeX{}
401 backend is used. In this case, LilyPond does not account for them so
402 texts will be spaced slightly too wide.
404 Syntax errors for markup mode are confusing.
408 @subsection Nested scores
410 It is possible to nest music inside markups, by adding a @code{\score}
411 block to a markup expression. Such a score must contain a @code{\layout}
414 @lilypond[quote,verbatim,ragged-right]
418 \relative { c4 d e f }
427 @node Overview of text markup commands
428 @subsection Overview of text markup commands
430 The following commands can all be used inside @code{\markup @{ @}}.
432 @include markup-commands.tely
436 @subsection Font selection
438 @cindex font selection
439 @cindex font magnification
440 @cindex @code{font-interface}
442 By setting the object properties described below, you can select a
443 font from the preconfigured font families. LilyPond has default
444 support for the feta music fonts. Text fonts are selected through
445 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
446 the sans and typewriter to whatever the Pango installation defaults
451 @item @code{font-encoding}
452 is a symbol that sets layout of the glyphs. This should only be set to
453 select different types of non-text fonts, eg.
455 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
456 standard music font, including ancient glyphs, @code{fetaDynamic} for
457 dynamic signs and @code{fetaNumber} for the number font.
459 @item @code{font-family}
460 is a symbol indicating the general class of the typeface. Supported are
461 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
463 @item @code{font-shape}
464 is a symbol indicating the shape of the font. There are typically
465 several font shapes available for each font family. Choices are
466 @code{italic}, @code{caps}, and @code{upright}.
468 @item @code{font-series}
469 is a symbol indicating the series of the font. There are typically
470 several font series for each font family and shape. Choices are
471 @code{medium} and @code{bold}.
475 Fonts selected in the way sketched above come from a predefined style
476 sheet. If you want to use a font from outside the style sheet,
478 @code{font-name} property,
480 @lilypond[fragment,verbatim]
482 \override Staff.TimeSignature #'font-name = #"Charter"
483 \override Staff.TimeSignature #'font-size = #2
486 \override #'(font-name . "Vera Bold")
487 { This text is in Vera Bold }
493 Any font can be used, as long as it is available to Pango/FontConfig.
495 The size of the font may be set with the @code{font-size}
496 property. The resulting size is taken relative to the
497 @code{text-font-size} as defined in the @code{\paper} block.
500 @cindex font magnification
503 It is also possible to change the default font family for the entire
504 document. This is done by calling the @code{make-pango-font-tree} from
505 within the @code{\paper} block. The function takes names for the font
506 families to use for roman, sans serif and monospaced text. For
509 @cindex font families, setting
518 (make-pango-font-tree "Times New Roman"
525 c'^\markup { roman: foo \sans bla \typewriter bar }
529 @c we don't do Helvetica / Courier, since GS incorrectly loads
536 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
539 @node New dynamic marks
540 @subsection New dynamic marks
542 It is possible to print new dynamic marks or text that should be aligned
543 with dynamics. Use @code{make-dynamic-script} to create these
544 marks. Note that the dynamic font only contains the characters
545 @code{f,m,p,r,s} and @code{z}.
547 Some situations (such as dynamic marks) have preset font-related
548 properties. If you are creating text in such situations, it
549 is advisable to cancel those properties with
550 @code{normal-text}. See @ref{Overview of text markup commands}
553 @cindex make-dynamic-script
555 @lilypond[quote,verbatim,ragged-right]
556 sfzp = #(make-dynamic-script "sfzp")
562 @cindex Dynamics, editorial
563 @cindex Dynamics, parenthesis
565 It is also possible to print dynamics in round parenthesis or square
566 brackets. These are often used for adding editorial dynamics.
568 @lilypond[quote,verbatim,ragged-right]
569 rndf = \markup{ \center-align {\line { \bold{\italic (}
570 \dynamic f \bold{\italic )} }} }
571 boxf = \markup{ \bracket { \dynamic f } }
572 { c'1_\rndf c'1_\boxf }
577 @node Preparing parts
578 @section Preparing parts
580 This section describes various notation that are useful for preparing
584 * Multi measure rests::
589 * Instrument transpositions::
591 * Different editions from one source::
595 @node Multi measure rests
596 @subsection Multi measure rests
598 @cindex multi measure rests
599 @cindex full measure rests
600 @cindex Rests, multi measure
601 @cindex Rests, full measure
602 @cindex whole rests for a full measure
605 Rests for one full measure (or many bars) are entered using `@code{R}'. It
606 is specifically meant for full bar rests and for entering parts: the rest
607 can expand to fill a score with rests, or it can be printed as a single
608 multi-measure rest. This expansion is controlled by the property
609 @code{Score.skipBars}. If this is set to true, empty measures will not
610 be expanded, and the appropriate number is added automatically
612 @lilypond[quote,ragged-right,fragment,verbatim]
613 \time 4/4 r1 | R1 | R1*2
614 \set Score.skipBars = ##t R1*17 R1*4
617 The @code{1} in @code{R1} is similar to the duration notation used for
618 notes. Hence, for time signatures other than 4/4, you must enter other
619 durations. This can be done with augmentation dots or fractions
621 @lilypond[quote,ragged-right,fragment,verbatim]
622 \set Score.skipBars = ##t
631 An @code{R} spanning a single measure is printed as either a whole rest
632 or a breve, centered in the measure regardless of the time signature.
634 If there are only a few measures of rest, LilyPond prints ``church rests''
635 (a series of rectangles) in the staff. To replace that with a simple
636 rest, use @code{MultiMeasureRest.expand-limit}.
638 @lilypond[quote,ragged-right,fragment,verbatim]
639 \set Score.skipBars = ##t
641 \override MultiMeasureRest #'expand-limit = 1
645 @cindex text on multi-measure rest
646 @cindex script on multi-measure rest
647 @cindex fermata on multi-measure rest
649 Texts can be added to multi-measure rests by using the
650 @var{note}-@code{markup} syntax @ref{Text markup}.
651 A variable (@code{\fermataMarkup}) is provided for
654 @lilypond[quote,ragged-right,verbatim,fragment]
655 \set Score.skipBars = ##t
657 R2.*10^\markup { \italic "ad lib." }
661 Warning! This text is created by @code{MultiMeasureRestText}, not
664 @lilypond[quote,ragged-right,verbatim,fragment]
665 \override TextScript #'padding = #5
667 \override MultiMeasureRestText #'padding = #5
671 If you want to have text on the left end of a multi-measure rest,
672 attach the text to a zero-length skip note, i.e.,
682 Program reference: @internalsref{MultiMeasureRestMusicGroup},
683 @internalsref{MultiMeasureRest}.
685 The layout object @internalsref{MultiMeasureRestNumber} is for the
686 default number, and @internalsref{MultiMeasureRestText} for user
692 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
693 over multi-measure rests. And the pitch of multi-measure rests (or
694 staff-centered rests) can not be influenced.
696 @cindex condensing rests
698 There is no way to automatically condense multiple rests into a single
699 multi-measure rest. Multi-measure rests do not take part in rest
702 Be careful when entering multi-measure rests followed by whole
703 notes. The following will enter two notes lasting four measures each
707 When @code{skipBars} is set, the result will look OK, but the bar
708 numbering will be off.
711 @node Metronome marks
712 @subsection Metronome marks
715 @cindex beats per minute
716 @cindex metronome marking
718 Metronome settings can be entered as follows
720 \tempo @var{duration} = @var{per-minute}
723 In the MIDI output, they are interpreted as a tempo change. In the
724 layout output, a metronome marking is printed
725 @cindex @code{\tempo}
726 @lilypond[quote,ragged-right,verbatim,fragment]
733 To change the tempo in the MIDI output without printing anything, make
734 the metronome marking invisible
736 \once \override Score.MetronomeMark #'transparent = ##t
739 To print other metronome markings, use these markup commands
740 @lilypond[quote,ragged-right,verbatim,relative,fragment]
743 \smaller \general-align #Y #DOWN \note #"16." #1
745 \smaller \general-align #Y #DOWN \note #"8" #1
750 See @ref{Text markup} for more details.
755 Program reference: @internalsref{MetronomeMark}.
760 Collisions are not checked. If you have notes above the top line of
761 the staff (or notes with articulations, slurs, text, etc), then the
762 metronome marking may be printed on top of musical symbols. If this
763 occurs, increase the padding of the metronome mark to place it
764 further away from the staff.
767 \override Score.MetronomeMark #'padding = #2.5
771 @node Rehearsal marks
772 @subsection Rehearsal marks
774 @cindex Rehearsal marks
777 To print a rehearsal mark, use the @code{\mark} command
779 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
788 The letter@tie{}`I' is skipped in accordance with engraving traditions.
789 If you wish to include the letter `I', then use
792 \set Score.markFormatter = #format-mark-alphabet
795 The mark is incremented automatically if you use @code{\mark
796 \default}, but you can also use an integer argument to set the mark
797 manually. The value to use is stored in the property
798 @code{rehearsalMark}.
800 The style is defined by the property @code{markFormatter}. It is a
801 function taking the current mark (an integer) and the current context
802 as argument. It should return a markup object. In the following
803 example, @code{markFormatter} is set to a canned procedure. After a
804 few measures, it is set to function that produces a boxed number.
806 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
807 \set Score.markFormatter = #format-mark-numbers
810 \set Score.markFormatter = #format-mark-box-numbers
816 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
817 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
818 @code{format-mark-letters} and @code{format-mark-box-letters}.
819 These can be used as inspiration for other formatting functions.
821 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
822 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
823 incremented numbers or letters.
828 Program reference: @internalsref{RehearsalMark}.
830 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
831 definition of @code{format-mark-numbers} and
832 @code{format-mark-letters}. They can be used as inspiration for other
833 formatting functions.
835 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
837 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
841 @subsection Bar numbers
844 @cindex measure numbers
845 @cindex @code{currentBarNumber}
847 Bar numbers are printed by default at the start of the line. The
848 number itself is stored in the @code{currentBarNumber} property, which
849 is normally updated automatically for every measure.
851 Bar numbers can be typeset at regular intervals instead of at the
852 beginning of each line. This is illustrated in the following example,
853 whose source is available as
854 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
856 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
858 Bar numbers can be typeset manually by tweaking the
859 @code{markFormatter} property
861 @lilypond[verbatim,ragged-right,quote]
863 \set Score.markFormatter
864 = #(lambda (mark context)
867 (number->string (ly:context-property context
868 'currentBarNumber)))))
870 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
874 Bar numbers can be manually changed by setting the
875 @code{Staff.currentBarNumber} property
877 @lilypond[verbatim,ragged-right,quote]
879 \repeat unfold 4 {c4 c c c} \break
880 \set Score.currentBarNumber = #50
881 \repeat unfold 4 {c4 c c c}
885 Bar numbers can be removed entirely by removing the Bar number
886 engraver from the score.
888 @lilypond[verbatim,ragged-right,quote,relative=2]
892 \remove "Bar_number_engraver"
904 Program reference: @internalsref{BarNumber}.
907 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
908 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
913 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
914 there is one at the top. To solve this, the
915 @code{padding} property of @internalsref{BarNumber} can be
916 used to position the number correctly.
919 @node Instrument names
920 @subsection Instrument names
922 In an orchestral score, instrument names are printed at the left side
925 This can be achieved by setting @internalsref{Staff}.@code{instrument}
926 and @internalsref{Staff}.@code{instr}. This will print a string before
927 the start of the staff. For the first staff, @code{instrument} is
928 used, for the following ones, @code{instr} is used.
930 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
931 \set Staff.instrument = "Ploink "
932 \set Staff.instr = "Plk "
938 You can also use markup texts to construct more complicated instrument
941 @lilypond[quote,fragment,verbatim,ragged-right]
942 \set Staff.instrument = \markup {
943 \column { "Clarinetti"
944 \line { "in B" \smaller \flat } } }
948 If you wish to center the instrument names, you must center all of them
950 @lilypond[quote,verbatim,ragged-right]
953 \set Staff.instrument = \markup {
954 \center-align { "Clarinetti"
955 \line { "in B" \smaller \flat } } }
959 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
966 For longer instrument names, it may be useful to increase the
967 @code{indent} setting in the @code{\layout} block.
969 To center instrument names while leaving extra space to the right,
971 @lilypond[quote,verbatim,ragged-right]
972 \new StaffGroup \relative
975 \set Staff.instrument
976 = \markup { \hcenter-in #10 "blabla" }
980 \set Staff.instrument
981 = \markup { \hcenter-in #10 "blo" }
990 Program reference: @internalsref{InstrumentName}.
994 When you put a name on a grand staff or piano staff, the width of the
995 brace is not taken into account. The following property setting can be
996 used to move the instrument names to the left, in such situations.
999 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
1003 @node Instrument transpositions
1004 @subsection Instrument transpositions
1006 @cindex transposition, MIDI
1007 @cindex transposition, instrument
1009 The key of a transposing instrument can also be specified. This
1010 applies to many wind instruments, for example, clarinets (B-flat, A, and
1011 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1013 The transposition is entered after the keyword @code{\transposition}
1016 \transposition bes %% B-flat clarinet
1020 This command sets the property @code{instrumentTransposition}. The value of
1021 this property is used for MIDI output and quotations. It does not
1022 affect how notes are printed in the current staff. To change the printed
1023 output, see @ref{Transpose}.
1025 The pitch to use for @code{\transposition} should correspond to the
1026 real sound heard when a @code{c'} written on the staff is played by the
1027 transposing instrument. For example, when entering a score in
1028 concert pitch, typically all voices are entered in C, so
1029 they should be entered as
1042 The command @code{\transposition} should be used when the music is
1043 entered from a (transposed) orchestral part. For example, in
1044 classical horn parts, the tuning of the instrument is often changed
1045 during a piece. When copying the notes from the part, use
1046 @code{\transposition}, e.g.,
1058 @node Ottava brackets
1059 @subsection Ottava brackets
1061 `Ottava' brackets introduce an extra transposition of an octave for
1062 the staff. They are created by invoking the function
1063 @code{set-octavation}
1069 @lilypond[quote,ragged-right,verbatim,fragment]
1079 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1080 (for 15ma) as arguments. Internally the function sets the properties
1081 @code{ottavation} (e.g., to @code{"8va"}) and
1082 @code{centralCPosition}. For overriding the text of the bracket, set
1083 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1085 @lilypond[quote,ragged-right,verbatim]
1088 \set Staff.ottavation = #"8"
1096 Program reference: @internalsref{OttavaBracket}.
1098 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1099 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1104 @code{set-octavation} will get confused when clef changes happen
1105 during an octavation bracket.
1108 @node Different editions from one source
1109 @subsection Different editions from one source
1114 The @code{\tag} command marks music expressions with a name. These
1115 tagged expressions can be filtered out later. With this mechanism it
1116 is possible to make different versions of the same music source.
1118 In the following example, we see two versions of a piece of music, one
1119 for the full score, and one with cue notes for the instrumental part
1135 The same can be applied to articulations, texts, etc.: they are
1138 -\tag #@var{your-tag}
1140 to an articulation, for example,
1145 This defines a note with a conditional fingering indication.
1148 @cindex removeWithTag
1149 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1150 commands, tagged expressions can be filtered. For example,
1154 \keepWithTag #'score @var{the music}
1155 \keepWithTag #'part @var{the music}
1160 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1162 The arguments of the @code{\tag} command should be a symbol
1163 (such as @code{#'score} or @code{#'part}), followed by a
1164 music expression. It is possible to put multiple tags on
1165 a piece of music with multiple @code{\tag} entries,
1168 \tag #'original-part \tag #'transposed-part @dots{}
1174 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1179 Multiple rests are not merged if you create the score with both tagged
1184 @node Orchestral music
1185 @section Orchestral music
1187 Orchestral music involves some special notation, both in the full
1188 score and the individual parts. This section explains how to tackle
1189 some common problems in orchestral music.
1192 * Automatic part combining::
1194 * Quoting other voices::
1195 * Formatting cue notes::
1196 * Aligning to cadenzas::
1200 @node Automatic part combining
1201 @subsection Automatic part combining
1202 @cindex automatic part combining
1203 @cindex part combiner
1205 Automatic part combining is used to merge two parts of music onto a
1206 staff. It is aimed at typesetting orchestral scores. When the two
1207 parts are identical for a period of time, only one is shown. In
1208 places where the two parts differ, they are typeset as separate
1209 voices, and stem directions are set automatically. Also, solo and
1210 @emph{a due} parts are identified and can be marked.
1212 The syntax for part combining is
1215 \partcombine @var{musicexpr1} @var{musicexpr2}
1219 The following example demonstrates the basic functionality of the part
1220 combiner: putting parts on one staff, and setting stem directions and
1223 @lilypond[quote,verbatim,ragged-right,fragment]
1224 \new Staff \partcombine
1225 \relative g' { g g a( b) c c r r }
1226 \relative g' { g g r4 r e e g g }
1229 The first @code{g} appears only once, although it was
1230 specified twice (once in each part). Stem, slur, and tie directions are
1231 set automatically, depending whether there is a solo or unisono. The
1232 first part (with context called @code{one}) always gets up stems, and
1233 `Solo', while the second (called @code{two}) always gets down stems and
1236 If you just want the merging parts, and not the textual markings, you
1237 may set the property @code{printPartCombineTexts} to false
1239 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1241 \set Staff.printPartCombineTexts = ##f
1243 \relative g' { g a( b) r }
1244 \relative g' { g r4 r f }
1248 To change the text that is printed for solos or merging, you may
1249 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1252 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1254 \set Score.soloText = #"ichi"
1255 \set Score.soloIIText = #"ni"
1256 \set Score.aDueText = #"tachi"
1258 \relative g' { g4 g a( b) r }
1259 \relative g' { g4 g r r f }
1263 Both arguments to @code{\partcombine} will be interpreted as
1264 @internalsref{Voice} contexts. If using relative octaves,
1265 @code{\relative} should be specified for both music expressions, i.e.,
1269 \relative @dots{} @var{musicexpr1}
1270 \relative @dots{} @var{musicexpr2}
1274 A @code{\relative} section that is outside of @code{\partcombine} has
1275 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1279 Program reference: @internalsref{PartCombineMusic}.
1283 When @code{printPartCombineTexts} is set, when the two voices play the
1284 same notes on and off, the part combiner may typeset @code{a2} more
1285 than once in a measure.
1287 @code{\partcombine} cannot be inside @code{\times}.
1289 @code{\partcombine} cannot be inside @code{\relative}.
1291 Internally, the @code{\partcombine} interprets both arguments as
1292 @code{Voice}s named @code{one} and @code{two}, and then decides when
1293 the parts can be combined. Consequently, if the arguments switch to
1294 differently named @internalsref{Voice} contexts, the events in those
1299 @subsection Hiding staves
1301 @cindex Frenched scores
1302 @cindex Hiding staves
1304 In orchestral scores, staff lines that only have rests are usually
1305 removed; this saves some space. This style is called `French Score'.
1306 For @internalsref{Lyrics},
1307 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1308 switched on by default. When the lines of these contexts turn out
1309 empty after the line-breaking process, they are removed.
1311 For normal staves, a specialized @internalsref{Staff} context is
1312 available, which does the same: staves containing nothing (or only
1313 multi-measure rests) are removed. The context definition is stored in
1314 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1315 in this example disappears in the second line
1317 @lilypond[quote,ragged-right,verbatim]
1319 \context { \RemoveEmptyStaffContext }
1324 \new Staff { e4 f g a \break c1 }
1325 \new Staff { c4 d e f \break R1 }
1330 The first system shows all staves in full. If empty staves should be
1331 removed from the first system too, set @code{remove-first} to true in
1332 @internalsref{VerticalAxisGroup}.
1335 \override Score.VerticalAxisGroup #'remove-first = ##t
1338 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1339 or @code{\RemoveEmptyRhythmicStaffContext}.
1341 Another application is making ossia sections, i.e., alternative
1342 melodies on a separate piece of staff, with help of a Frenched
1343 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1346 @node Quoting other voices
1347 @subsection Quoting other voices
1349 With quotations, fragments of other parts can be inserted into a part
1350 directly. Before a part can be quoted, it must be marked especially as
1351 quotable. This is done with the @code{\addquote} command.
1354 \addquote @var{name} @var{music}
1359 Here, @var{name} is an identifying string. The @var{music} is any kind
1360 of music. Here is an example of @code{\addquote}
1363 \addquote clarinet \relative c' @{
1368 This command must be entered at toplevel, i.e., outside any music
1371 After calling @code{\addquote}, the quotation may then be done with
1372 @code{\quoteDuring} or @code{\cueDuring},
1375 \quoteDuring #@var{name} @var{music}
1378 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1382 \quoteDuring #"clarinet" @{ s2. @}
1385 This would cite three quarter notes (the duration of @code{s2.}) of
1386 the previously added @code{clarinet} voice.
1389 More precisely, it takes the current time-step of the part being
1390 printed, and extracts the notes at the corresponding point of the
1391 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1392 should be the entire part of the voice to be quoted, including any
1393 rests at the beginning.
1395 Quotations take into account the transposition of both source and target
1396 instruments, if they are specified using the @code{\transposition} command.
1398 @lilypond[quote,ragged-right,verbatim]
1399 \addquote clarinet \relative c' {
1405 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1409 The type of events that are present in cue notes can be trimmed with
1410 the @code{quotedEventTypes} property. The default value is
1411 @code{(note-event rest-event)}, which means that only notes and
1412 rests of the cued voice end up in the @code{\quoteDuring}.
1416 \set Staff.quotedEventTypes =
1417 #'(note-event articulation-event dynamic-event)
1421 will quote notes (but no rests), together with scripts and dynamics.
1425 Only the contents of the first @internalsref{Voice} occurring in an
1426 @code{\addquote} command will be considered for quotation, so
1427 @var{music} can not contain @code{\new} and @code{\context Voice}
1428 statements that would switch to a different Voice.
1430 Quoting grace notes is broken and can even cause LilyPond to crash.
1434 In this manual: @ref{Instrument transpositions}.
1436 Examples: @inputfileref{input/@/regression,quote@/.ly}
1437 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1439 Program reference: @internalsref{QuoteMusic}.
1442 @node Formatting cue notes
1443 @subsection Formatting cue notes
1445 The previous section deals with inserting notes from another voice.
1446 There is a more advanced music function called @code{\cueDuring},
1447 which makes formatting cue notes easier.
1452 \cueDuring #@var{name} #@var{updown} @var{music}
1455 This will insert notes from the part @var{name} into a
1456 @internalsref{Voice} called @code{cue}. This happens simultaneously
1457 with @var{music}, which usually is a rest. When the cue notes start,
1458 the staff in effect becomes polyphonic for a moment. The argument
1459 @var{updown} determines whether the cue notes should be notated as a
1460 first or second voice.
1463 @lilypond[verbatim,ragged-right]
1466 \override Stem #'length-fraction = #0.8
1467 \override Beam #'thickness = #0.384
1468 \override Beam #'length-fraction = #0.8
1471 \addquote clarinet \relative {
1476 \new Staff \relative <<
1478 % setup a context for cue notes.
1479 \new Voice = "cue" { \smaller \skip 1*21 }
1481 \set Score.skipBars = ##t
1485 \cueDuring #"clarinet" #1 {
1494 Here are a couple of hints for successful cue notes
1498 Cue notes have smaller font sizes.
1500 the cued part is marked with the instrument playing the cue.
1502 when the original part takes over again, this should be marked with
1503 the name of the original instrument.
1505 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1507 @c Yes, this is good practice. Otherwise, the start of the original
1508 @c part can only be seen from the font size. This is not good enough
1509 @c for sight-reading. It is possilbe to use other
1510 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1515 Any other changes introduced by the cued part should also be
1516 undone. For example, if the cued instrument plays in a different clef,
1517 the original clef should be stated once again.
1522 @node Aligning to cadenzas
1523 @subsection Aligning to cadenzas
1525 In an orchestral context, cadenzas present a special problem:
1526 when constructing a score that includes a cadenza, all other
1527 instruments should skip just as many notes as the length of the
1528 cadenza, otherwise they will start too soon or too late.
1530 A solution to this problem are the functions @code{mmrest-of-length}
1531 and @code{skip-of-length}. These Scheme functions take a piece of music
1532 as argument, and generate a @code{\skip} or multi-rest, exactly as
1533 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1534 in the following example.
1536 @lilypond[verbatim,ragged-right,quote]
1537 cadenza = \relative c' {
1538 c4 d8 << { e f g } \\ { d4. } >>
1543 \new Staff { \cadenza c'4 }
1545 #(ly:export (mmrest-of-length cadenza))
1554 @node Contemporary notation
1555 @section Contemporary notation
1557 In the 20th century, composers have greatly expanded the musical
1558 vocabulary. With this expansion, many innovations in musical notation
1559 have been tried. The book ``Music Notation in the 20th century'' by
1560 Kurt Stone gives a comprehensive overview (see @ref{Literature
1563 This section describes notation that does
1564 not fit into traditional notation categories, such as pitches,
1565 tuplet beams, and articulation. For contemporary notation
1566 that fits into traditional notation categories, such as
1567 microtones, nested tuplet beams, and unusual fermatas, please
1568 see those sections of the documentation.
1571 @c I don't think we should discourage modern composers who might
1572 @c want to sponsor new features. :)
1573 @c In general, the use of new, innovative notation makes a piece
1574 @c harder to understand and perform and its use should therefore be
1575 @c avoided. For this reason, support for contemporary notation in
1576 @c LilyPond is limited.
1580 * Polymetric notation::
1581 * Time administration::
1582 * Proportional notation::
1584 * Special noteheads::
1590 @node Polymetric notation
1591 @subsection Polymetric notation
1593 Double time signatures are not supported explicitly, but they can be
1594 faked. In the next example, the markup for the time signature is
1595 created with a markup text. This markup text is inserted in the
1596 @internalsref{TimeSignature} grob.
1598 @lilypond[verbatim,ragged-right]
1603 \musicglyph #"scripts.stopped"
1604 \bracket \column { "5" "8" }
1609 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1610 \override Staff.TimeSignature #'text = #tsMarkup
1612 c'2 \bar ":" c'4 c'4.
1616 Each staff can also have its own time signature. This is done by
1617 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1623 \remove "Timing_translator"
1624 \remove "Default_bar_line_engraver"
1628 \consists "Timing_translator"
1629 \consists "Default_bar_line_engraver"
1636 Now, each staff has its own time signature.
1649 c4. c8 c c c4. c8 c c
1654 @lilypond[quote,ragged-right]
1658 \remove "Timing_translator"
1659 \remove "Default_bar_line_engraver"
1662 \consists "Timing_translator"
1663 \consists "Default_bar_line_engraver"
1678 c4. c8 c c c4. c8 c c
1684 A different form of polymetric notation is where note lengths have
1685 different values across staves.
1687 This notation can be created by setting a common time signature for
1688 each staff but replacing it manually using
1689 @code{timeSignatureFraction} to the desired fraction. Then the printed
1690 durations in each staff are scaled to the common time signature.
1691 The latter is done with @code{\compressMusic}, which is used similar
1692 to @code{\times}, but does not create a tuplet bracket. The syntax is
1694 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1699 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1700 used in parallel. In the second staff, shown durations are multiplied by
1701 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1702 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1704 @lilypond[quote,ragged-right,verbatim,fragment]
1712 \set Staff.timeSignatureFraction = #'(9 . 8)
1713 \compressMusic #'(2 . 3)
1714 \repeat unfold 6 { c8[ c c] }
1718 \set Staff.timeSignatureFraction = #'(10 . 8)
1719 \compressMusic #'(3 . 5) {
1720 \repeat unfold 2 { c8[ c c] }
1721 \repeat unfold 2 { c8[ c] }
1722 | c4. c4. \times 2/3 { c8 c c } c4
1733 When using different time signatures in parallel, the spacing is
1734 aligned vertically, but bar lines distort the regular spacing.
1737 @node Time administration
1738 @subsection Time administration
1740 @cindex Time administration
1742 Time is administered by the @internalsref{Time_signature_engraver},
1743 which usually lives in the @internalsref{Score} context. The
1744 bookkeeping deals with the following variables
1747 @item currentBarNumber
1751 The length of the measures in the current time signature. For a 4/4
1752 time this is@tie{}1, and for 6/8 it is 3/4.
1754 @item measurePosition
1755 The point within the measure where we currently are. This quantity
1756 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1757 happens, @code{currentBarNumber} is incremented.
1760 If set to true, the above variables are updated for every time
1761 step. When set to false, the engraver stays in the current measure
1765 Timing can be changed by setting any of these variables explicitly.
1766 In the next example, the 4/4 time signature is printed, but
1767 @code{measureLength} is set to 5/4. After a while, the measure is
1768 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1769 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1770 3/8 arises because 5/4 normally has 10/8, but we have manually
1771 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1773 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1774 \set Score.measureLength = #(ly:make-moment 5 4)
1778 \set Score.measurePosition = #(ly:make-moment 7 8)
1784 As the example illustrates, @code{ly:make-moment n m} constructs a
1785 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is an eighth
1786 note duration and @code{ly:make-moment 7 16} is the duration of
1787 seven sixteenths notes.
1790 @node Proportional notation
1791 @subsection Proportional notation
1792 @cindex Proportional notation
1794 Notes can be spaced proportional to their time-difference by
1795 assigning a duration to @code{proportionalNotationDuration}
1797 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1799 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1800 \new Staff { c8[ c c c c c] c4 c2 r2 }
1801 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1807 @subsection Clusters
1811 A cluster indicates a continuous range of pitches to be played. They
1812 can be denoted as the envelope of a set of notes. They are entered by
1813 applying the function @code{makeClusters} to a sequence of
1815 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1816 \makeClusters { <c e > <b f'> }
1819 The following example (from
1820 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1823 @lilypondfile[ragged-right,quote]{cluster.ly}
1825 Ordinary notes and clusters can be put together in the same staff,
1826 even simultaneously. In such a case no attempt is made to
1827 automatically avoid collisions between ordinary notes and clusters.
1831 Program reference: @internalsref{ClusterSpanner},
1832 @internalsref{ClusterSpannerBeacon},
1833 @internalsref{Cluster_spanner_engraver}.
1835 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1839 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1840 accurately. Use @code{<g a>8 <e a>8} instead.
1843 @node Special noteheads
1844 @subsection Special noteheads
1846 Different noteheads are used by various instruments for various
1847 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1848 notes on guitar; diamonds are used for harmonics on string instruments,
1849 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1850 other notehead styles are produced by tweaking the property
1852 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1854 \override NoteHead #'style = #'cross
1856 \revert NoteHead #'style
1857 e d <c f\harmonic> <d a'\harmonic>
1861 To see all notehead styles, please see
1862 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1867 Program reference: @internalsref{NoteHead}.
1870 @node Feathered beams
1871 @subsection Feathered beams
1873 Feathered beams are not supported natively, but they can be faked by
1874 forcing two beams to overlap. Here is an example,
1876 @c don't change relative setting witout changing positions!
1877 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1882 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1887 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1895 @subsection Improvisation
1897 Improvisation is sometimes denoted with slashed note heads. Such note
1898 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1899 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1903 \set squashedPosition = #0
1904 \override NoteHead #'style = #'slash
1908 switches on the slashes.
1910 There are shortcuts @code{\improvisationOn} (and an accompanying
1911 @code{\improvisationOff}) for this command sequence. They are used in
1912 the following example
1914 @lilypond[verbatim,ragged-right,quote]
1916 \consists Pitch_squash_engraver
1918 e8 e g a a16(bes)(a8) g \improvisationOn
1921 ~fis2 \improvisationOff a16(bes) a8 g e
1926 @node Educational use
1927 @section Educational use
1929 With the amount of control that LilyPond offers, one can make great
1930 teaching tools in addition to great musical scores.
1934 * Blank music sheet::
1936 * Shape note heads ::
1937 * Easy Notation note heads::
1938 * Analysis brackets::
1939 * Coloring objects::
1943 @subsection Balloon help
1945 Elements of notation can be marked and named with the help of a square
1946 balloon. The primary purpose of this feature is to explain notation.
1948 The following example demonstrates its use.
1950 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1953 #(add-balloon-text 'NoteHead "heads, or tails?"
1960 The function @code{add-balloon-text} takes the name of a grob, the
1961 label to print, and the position where to put the label relative to
1962 the object. In the above example, the text ``heads or tails?'' ends
1963 3 spaces below and 1 space to the right of the marked head.
1966 @cindex notation, explaining
1970 Program reference: @internalsref{text-balloon-interface}.
1972 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1977 @node Blank music sheet
1978 @subsection Blank music sheet
1980 A blank music sheet can be produced also by using invisible notes, and
1981 removing @code{Bar_number_engraver}.
1984 @lilypond[quote,verbatim]
1986 \repeat unfold 2 % Change this for more lines.
1991 \override TimeSignature #'transparent = ##t
1992 defaultBarType = #""
1993 \remove Bar_number_engraver
1995 \new Staff \emptymusic
1996 \new TabStaff \emptymusic
2002 @subsection Hidden notes
2004 @cindex Hidden notes
2005 @cindex Invisible notes
2006 @cindex Transparent notes
2008 @cindex @code{\hideNotes}
2009 @cindex @code{\unHideNotes}
2010 Hidden (or invisible or transparent) notes can be useful in preparing theory
2011 or composition exercises.
2013 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2022 @node Shape note heads
2023 @subsection Shape note heads
2025 In shape note head notation, the shape of the note head corresponds
2026 to the harmonic function of a note in the scale. This notation was
2027 popular in the 19th century American song books.
2029 Shape note heads can be produced by setting @code{\aikenHeads} or
2030 @code{\sacredHarpHeads}, depending on the style desired.
2032 @lilypond[verbatim,relative=1,fragment]
2039 Shapes are determined on the step in the scale, where the base of the
2040 scale is determined by the @code{\key} command
2043 @findex shapeNoteStyles
2045 @findex \sacredHarpHeads
2047 Shape note heads are implemented through the @code{shapeNoteStyles}
2048 property. Its value is a vector of symbols. The k-th element indicates
2049 the style to use for the k-th step of the scale. Arbitrary
2050 combinations are possible, eg.,
2053 @lilypond[verbatim,relative=1,fragment]
2054 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2059 @node Easy Notation note heads
2060 @subsection Easy Notation note heads
2062 @cindex easy notation
2065 The `easy play' note head includes a note name inside the head. It is
2066 used in music for beginners
2068 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2073 The command @code{\setEasyHeads} overrides settings for the
2074 @internalsref{NoteHead} object. To make the letters readable, it has
2075 to be printed in a large font size. To print with a larger font, see
2076 @ref{Setting global staff size}.
2080 @cindex @code{\setEasyHeads}
2081 @code{\setEasyHeads}
2084 @node Analysis brackets
2085 @subsection Analysis brackets
2087 @cindex phrasing brackets
2088 @cindex musicological analysis
2089 @cindex note grouping bracket
2091 Brackets are used in musical analysis to indicate structure in musical
2092 pieces. LilyPond supports a simple form of nested horizontal
2093 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2094 to @internalsref{Staff} context. A bracket is started with
2095 @code{\startGroup} and closed with @code{\stopGroup}
2097 @lilypond[quote,ragged-right,verbatim]
2100 c4\startGroup\startGroup
2103 c4\stopGroup\stopGroup
2107 \Staff \consists "Horizontal_bracket_engraver"
2113 Program reference: @internalsref{HorizontalBracket}.
2115 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2118 @node Coloring objects
2119 @subsection Coloring objects
2121 Individual objects may be assigned colors. You may use the
2122 color names listed in the @ref{List of colors}.
2124 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2125 \override NoteHead #'color = #red
2127 \override NoteHead #'color = #(x11-color 'LimeGreen)
2129 \override Stem #'color = #blue
2133 The full range of colors defined for X11 can be accessed by using the
2134 scheme function x11-color. The function takes one argument that can be a
2138 \override Beam #'color = #(x11-color 'MediumTurquoise)
2144 \override Beam #'color = #(x11-color "MediumTurquoise")
2147 The first form is quicker to write and is more efficient. However, using
2148 the second form it is possible to access X11 colors by the multi-word
2152 \override Beam #'color = #(x11-color "medium turquoise")
2155 If x11-color cannot make sense of the parameter then the color returned
2156 defaults to black. It should be obvious from the final score that
2159 This example, illustrates the use of x11-color. Notice that the stem
2160 color remains black after being set to (x11-color 'Boggle), which is
2161 deliberate nonsense.
2163 @lilypond[quote,ragged-right,verbatim]
2165 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2166 \set Staff.instrument = \markup {
2167 \with-color #(x11-color 'navy) "Clarinet"
2171 \override Beam #'color = #(x11-color "medium turquoise")
2173 \override NoteHead #'color = #(x11-color "LimeGreen")
2175 \override Stem #'color = #(x11-color 'Boggle)
2183 Appendix: @ref{List of colors}.
2187 Not all x11 colors are distinguishable in a web browser. For web use
2188 normal colors are recommended.
2190 An x11 color is not necessarily exactly the same shade as a similarly
2194 @node Automatic notation
2195 @section Automatic notation
2197 This section describes how to change the way that accidentals and
2198 beams are automatically displayed.
2200 FIXME: this might get moved into Changing Defaults. Please send
2201 opinions to lilypond-devel. Thanks! :)
2204 * Automatic accidentals::
2205 * Setting automatic beam behavior::
2208 @node Automatic accidentals
2209 @subsection Automatic accidentals
2210 @cindex Automatic accidentals
2212 Common rules for typesetting accidentals have been placed in a
2213 function. This function is called as follows
2215 @cindex @code{set-accidental-style}
2217 #(set-accidental-style 'STYLE #('CONTEXT#))
2220 The function can take two arguments: the name of the accidental style,
2221 and an optional argument that denotes the context that should be
2222 changed. If no context name is supplied, @code{Staff} is the default,
2223 but you may wish to apply the accidental style to a single @code{Voice}
2226 The following accidental styles are supported
2229 This is the default typesetting behavior. It corresponds
2230 to 18th century common practice: Accidentals are
2231 remembered to the end of the measure in which they occur and
2232 only on their own octave.
2235 The normal behavior is to remember the accidentals on
2236 Staff-level. This variable, however, typesets accidentals
2237 individually for each voice. Apart from that, the rule is similar to
2240 As a result, accidentals from one voice do not get canceled in other
2241 voices, which is often an unwanted result
2243 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
2245 #(set-accidental-style 'voice)
2252 The @code{voice} option should be used if the voices
2253 are to be read solely by individual musicians. If the staff is to be
2254 used by one musician (e.g., a conductor) then
2255 @code{modern} or @code{modern-cautionary}
2256 should be used instead.
2259 @cindex @code{modern} style accidentals
2260 This rule corresponds to the common practice in the 20th century. This rule
2261 prints the same accidentals as @code{default}, but temporary
2262 accidentals also are canceled in other octaves. Furthermore,
2263 in the same octave, they also get canceled in the following
2266 @lilypond[quote,ragged-right,fragment,verbatim]
2267 #(set-accidental-style 'modern)
2268 cis' c'' cis'2 | c'' c'
2271 @item @code{modern-cautionary}
2272 @cindex @code{modern-cautionary}
2273 This rule is similar to @code{modern}, but the ``extra'' accidentals
2274 (the ones not typeset by @code{default}) are typeset as cautionary
2275 accidentals. They are printed in reduced size or with parentheses
2276 @lilypond[quote,ragged-right,fragment,verbatim]
2277 #(set-accidental-style 'modern-cautionary)
2278 cis' c'' cis'2 | c'' c'
2281 @cindex @code{modern-voice}
2283 This rule is used for multivoice accidentals to be read both by musicians
2284 playing one voice and musicians playing all voices. Accidentals are
2285 typeset for each voice, but they @emph{are} canceled across voices in
2286 the same @internalsref{Staff}.
2288 @cindex @code{modern-voice-cautionary}
2289 @item modern-voice-cautionary
2290 This rule is the same as @code{modern-voice}, but with the extra
2291 accidentals (the ones not typeset by @code{voice}) typeset
2292 as cautionaries. Even though all accidentals typeset by
2293 @code{default} @emph{are} typeset by this variable,
2294 some of them are typeset as cautionaries.
2297 @cindex @code{piano} accidentals
2298 This rule reflects 20th century practice for piano notation. Very similar to
2299 @code{modern} but accidentals also get canceled
2300 across the staves in the same @internalsref{GrandStaff} or
2301 @internalsref{PianoStaff}.
2303 @item piano-cautionary
2304 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2305 Same as @code{#(set-accidental-style 'piano)} but with the extra
2306 accidentals typeset as cautionaries.
2309 @cindex @code{no-reset} accidental style
2310 This is the same as @code{default} but with accidentals lasting
2311 ``forever'' and not only until the next measure
2312 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2313 #(set-accidental-style 'no-reset)
2318 This is sort of the opposite of @code{no-reset}: Accidentals
2319 are not remembered at all---and hence all accidentals are
2320 typeset relative to the key signature, regardless of what was
2323 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2324 #(set-accidental-style 'forget)
2325 \key d\major c4 c cis cis d d dis dis
2332 Program reference: @internalsref{Accidental_engraver},
2333 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2338 Simultaneous notes are considered to be entered in sequential
2339 mode. This means that in a chord the accidentals are typeset as if the
2340 notes in the chord happened once at a time - in the order in which
2341 they appear in the input file.
2343 This is a problem when accidentals in a chord depend on each other,
2344 which does not happen for the default accidental style. The problem
2345 can be solved by manually inserting @code{!} and @code{?} for the
2349 @node Setting automatic beam behavior
2350 @subsection Setting automatic beam behavior
2352 @cindex @code{autoBeamSettings}
2353 @cindex @code{(end * * * *)}
2354 @cindex @code{(begin * * * *)}
2355 @cindex automatic beams, tuning
2356 @cindex tuning automatic beaming
2358 @c [TODO: use \applyContext]
2360 In normal time signatures, automatic beams can start on any note but can
2361 only end in a few positions within the measure: beams can end on a beat,
2362 or at durations specified by the properties in
2363 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2364 consist of a list of rules for where beams can begin and end. The
2365 default @code{autoBeamSettings} rules are defined in
2366 @file{scm/@/auto@/-beam@/.scm}.
2368 In order to add a rule to the list, use
2370 #(override-auto-beam-setting '(be p q n m) a b [context])
2375 @item @code{be} is either "begin" or "end".
2377 @item @code{p/q} is the duration of the note for which you want
2378 to add a rule. A beam is considered to have the duration of its
2379 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2380 have this apply to any beam.
2382 @item @code{n/m} is the time signature to which
2383 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2384 to have this apply in any time signature.
2386 @item @code{a/b} is the position in the bar at which the beam should begin/end.
2388 @item @code{context} is optional, and it specifies the context at which
2389 the change should be made. The default is @code{'Voice}.
2390 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2391 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2395 For example, if automatic beams should always end on the first quarter
2399 #(override-auto-beam-setting '(end * * * *) 1 4)
2402 You can force the beam settings to only take effect on beams whose shortest
2403 note is a certain duration
2405 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2407 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2409 a32 a a a a16 a a a a a |
2410 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2411 a32 a a a a16 a a a a a |
2414 You can force the beam settings to only take effect in certain time
2417 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2419 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2427 You can also remove a previously set beam-ending rule by using
2430 #(revert-auto-beam-setting '(be p q n m) a b [context])
2434 be, p, q, n, m, a, b and context are the same as above. Note that the
2435 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2436 so you can revert rules that you did not explicitly create.
2438 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2440 a16 a a a a a a a a a a a a a a a
2441 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2442 a16 a a a a a a a a a a a a a a a
2445 The rule in a revert-auto-beam-setting statement must exactly match the
2446 original rule. That is, no wildcard expansion is taken into account.
2448 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2450 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2452 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2454 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2460 @c TODO: old material -- not covered by above stuff, I think.
2461 If automatic beams should end on every quarter in 5/4 time, specify
2464 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2465 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2466 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2467 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2471 The same syntax can be used to specify beam starting points. In this
2472 example, automatic beams can only end on a dotted quarter note
2474 #(override-auto-beam-setting '(end * * * *) 3 8)
2475 #(override-auto-beam-setting '(end * * * *) 1 2)
2476 #(override-auto-beam-setting '(end * * * *) 7 8)
2478 In 4/4 time signature, this means that automatic beams could end only on
2479 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2480 3/8, has passed within the measure).
2482 @cindex automatic beam generation
2484 @cindex @code{autoBeaming}
2487 If beams are used to indicate melismata in songs, then automatic
2488 beaming should be switched off with @code{\autoBeamOff}.
2493 @cindex @code{\autoBeamOff}
2494 @code{\autoBeamOff},
2495 @cindex @code{\autoBeamOn}
2501 If a score ends while an automatic beam has not been ended and is
2502 still accepting notes, this last beam will not be typeset at all. The
2503 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2504 >>}. If a polyphonic voice ends while an automatic beam is still
2505 accepting notes, it is not typeset.