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
38 * Overview of text markup commands::
45 @subsection Text scripts
48 @cindex text items, non-empty
49 @cindex non-empty texts
51 It is possible to place arbitrary strings of text or @ref{Text markup}
52 above or below notes by using a string @code{c^"text"}. By default,
53 these indications do not influence the note spacing, but by using the
54 command @code{\fatText}, the widths will be taken into account
56 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
57 c4^"longtext" \fatText c4_"longlongtext" c4
60 More complex formatting may also be added to a note by using the
62 @lilypond[fragment,raggedright,verbatim,quote]
63 c'4^\markup { bla \bold bla }
66 The @code{\markup} is described in more detail in
72 @cindex @code{\fatText}
74 @cindex @code{\emptyText}
80 In this manual: @ref{Text markup}.
82 Program reference: @internalsref{TextScript}.
86 @subsection Text spanners
90 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
91 are written as text and are extended over many measures with dotted
92 lines. Such texts are created using text spanners; attach
93 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
96 The string to be printed, as well as the style, is set through object
99 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
102 \override TextSpanner #'edge-text = #'("rall " . "")
103 c2\startTextSpan b c\stopTextSpan a
106 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
107 c2\startTextSpan b c\stopTextSpan a
112 @cindex textSpannerUp
113 @code{textSpannerUp},
114 @cindex textSpannerDown
115 @code{textSpannerDown},
116 @cindex textSpannerNeutral
117 @code{textSpannerNeutral}.
122 Program reference: @internalsref{TextSpanner}.
124 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
128 @subsection Text marks
130 @cindex coda on bar line
131 @cindex segno on bar line
132 @cindex fermata on bar line
133 @cindex bar lines, symbols on
136 The @code{\mark} command is primarily used for
137 @ref{Rehearsal marks},
138 but it can also be used to put signs like coda,
139 segno, and fermata on a bar line. Use @code{\markup} to
140 access the appropriate symbol
142 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
143 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
148 @code{\mark} is only typeset above the top stave of the score. If
149 you specify the @code{\mark} command at a bar line, the resulting
150 mark is placed above the bar line. If you specify it in the middle
151 of a bar, the resulting mark is positioned between notes. If it is
152 specified before the beginning of a score line, it is placed
153 before the first note of the line. Finally, if the mark occurs at
154 a line break, the mark will be printed at the
155 beginning of the next line.
156 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
157 @c delete this sentence. -gp
158 If there is no next line, then the mark will not be printed at all.
163 To print the mark at the end of the current line, use
166 \override Score.RehearsalMark
167 #'break-visibility = #begin-of-line-invisible
170 @code{\mark} is often useful for adding text to the end of bar. In
171 such cases, changing the @code{#'self-alignment} is very useful
173 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
174 \override Score.RehearsalMark
175 #'break-visibility = #begin-of-line-invisible
177 \once \override Score.RehearsalMark #'self-alignment-X = #right
178 \mark "D.S. al Fine "
184 Program reference: @internalsref{RehearsalMark}.
188 @subsection Text markup
195 Use @code{\markup} to typeset text. Commands are entered with the
198 @lilypond[quote,verbatim,fragment,relative=1]
200 c1_\markup { hi there }
201 c1^\markup { hi \bold there, is \italic anyone home? }
205 See @ref{Overview of text markup commands} for a list of all
208 @code{\markup} is primarily used for @internalsref{TextScript}s,
209 but it can also be used anywhere text is called in lilypond
211 @lilypond[quote,verbatim]
212 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
215 \override Score.RehearsalMark
216 #'break-visibility = #begin-of-line-invisible
217 \override Score.RehearsalMark #'self-alignment-X = #right
219 \set Staff.instrument = \markup{ \column{ Alto solo } }
220 c2^\markup{ don't be \flat }
221 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
223 a2\mark \markup{ \large \bold Fine }
227 \addlyrics { bar, foo \markup{ \italic bar! } }
231 Text can also be placed on its own, away from any @code{\score}
232 block. This is primarily used in a @code{\book} (see
233 @ref{Multiple movements}).
235 @lilypond[quote,raggedright,verbatim]
236 \markup{ Here is some text. }
239 @cindex font switching
241 The markup in the example demonstrates font switching commands. The
242 command @code{\bold} and @code{\italic} apply to the first following
243 word only; to apply a command to more than one word, enclose the
247 \markup @{ \bold @{ hi there @} @}
251 For clarity, you can also do this for single arguments, e.g.,
254 \markup @{ is \italic @{ anyone @} home @}
257 In markup mode you can compose expressions, similar to mathematical
258 expressions, XML documents, and music expressions. You can stack
259 expressions grouped vertically with the command @code{\column}.
260 Similarly, @code{\center-align} aligns texts by their center lines:
262 @lilypond[quote,verbatim,fragment,relative=1]
263 c1^\markup { \column { a bbbb \line { c d } } }
264 c1^\markup { \center-align { a bbbb c } }
265 c1^\markup { \line { a b c } }
268 Lists with no previous command are not kept distinct. The expression
271 \center-align @{ @{ a b @} @{ c d @} @}
279 \center-align @{ a b c d @}
284 To keep lists of words distinct, please use quotes @code{"} or
285 the @code{\line} command
287 @lilypond[quote,verbatim,fragment,relative=1]
289 c4^\markup{ \center-align { on three lines } }
290 c4^\markup{ \center-align { "all one line" } }
291 c4^\markup{ \center-align { { on three lines } } }
292 c4^\markup{ \center-align { \line { on one line } } }
295 Markups can be stored in variables and these variables
296 may be attached to notes, like
298 allegro = \markup @{ \bold \large @{ Allegro @} @}
299 @{ a^\allegro b c d @}
302 Some objects have alignment procedures of their own, which cancel out
303 any effects of alignments applied to their markup arguments as a
304 whole. For example, the @internalsref{RehearsalMark} is horizontally
305 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
308 In addition, vertical placement is performed after creating the
309 text markup object. If you wish to move an entire piece of markup,
310 you need to use the #'padding property or create an "anchor" point
311 inside the markup (generally with @code{\hspace #0}).
313 @lilypond[quote,verbatim,fragment,relative=1]
315 c'4^\markup{ \raise #5 "not raised" }
316 \once \override TextScript #'padding = #3
317 c'4^\markup{ raised }
318 c'4^\markup{ \hspace #0 \raise #1.5 raised }
324 This manual: @ref{Overview of text markup commands}.
326 Program reference: @internalsref{TextScript}.
328 Init files: @file{scm/@/new@/-markup@/.scm}.
333 Kerning or generation of ligatures is only done when the @TeX{}
334 backend is used. In this case, LilyPond does not account for them so
335 texts will be spaced slightly too wide.
337 Syntax errors for markup mode are confusing.
341 @subsection Text encoding
343 LilyPond uses the Pango library to format multi-lingual texts, and
344 does not perform any input-encoding conversions. This means that any
345 text, be it title, lyric text, or musical instruction containing
346 non-ASCII characters, must be utf-8. Easiest to enter such texts is
347 by using a Unicode-aware editor, and save using utf-8 encoding. Most
348 popular modern editors have utf-8 support, for example, vim, Emacs,
351 Depending on the fonts installed, the following fragment shows Hebrew
358 @lilypondfile[fontload]{utf-8.ly}
360 The @TeX{} backend does not handle encoding specially at all. Strings
361 in the input are put in the output as-is. Extents of text items in the
362 @TeX{} backend, are determined by reading a file created via the
363 @file{texstr} backend,
366 lilypond -b texstr input/les-nereides.ly
367 latex les-nereides.texstr
370 The last command produces @file{les-nereides.textmetrics}, which is
371 read when you execute
374 lilypond -b tex input/les-nereides.ly
377 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
378 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
379 interpreting non-ASCII strings.
384 @inputfileref{input/regression,utf-8.ly}
388 @subsection Nested scores
390 It is possible to nest music inside markups, by adding a @code{\score}
391 block to a markup expression. Such a score must contain a @code{\layout}
394 @lilypond[quote,verbatim,raggedright]
398 \relative { c4 d e f }
407 @node Overview of text markup commands
408 @subsection Overview of text markup commands
410 The following commands can all be used inside @code{\markup @{ @}}.
412 @include markup-commands.tely
416 @subsection Font selection
418 @cindex font selection
419 @cindex font magnification
420 @cindex @code{font-interface}
422 By setting the object properties described below, you can select a
423 font from the preconfigured font families. LilyPond has default
424 support for the feta music fonts. Text fonts are selected through
425 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
426 the sans and typewriter to whatever the Pango installation defaults
431 @item @code{font-encoding}
432 is a symbol that sets layout of the glyphs. This should only be set to
433 select different types of non-text fonts, eg.
435 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
436 standard music font, including ancient glyphs, @code{fetaDynamic} for
437 dynamic signs and @code{fetaNumber} for the number font.
439 @item @code{font-family}
440 is a symbol indicating the general class of the typeface. Supported are
441 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
443 @item @code{font-shape}
444 is a symbol indicating the shape of the font. There are typically
445 several font shapes available for each font family. Choices are
446 @code{italic}, @code{caps}, and @code{upright}.
448 @item @code{font-series}
449 is a symbol indicating the series of the font. There are typically
450 several font series for each font family and shape. Choices are
451 @code{medium} and @code{bold}.
455 Fonts selected in the way sketched above come from a predefined style
456 sheet. If you want to use a font from outside the style sheet,
458 @code{font-name} property,
460 @lilypond[fragment,verbatim]
462 \override Staff.TimeSignature #'font-name = #"Charter"
463 \override Staff.TimeSignature #'font-size = #2
466 \override #'(font-name . "Vera Bold")
467 { This text is in Vera Bold }
473 Any font can be used, as long as it is available to Pango/FontConfig.
475 The size of the font may be set with the @code{font-size}
476 property. The resulting size is taken relative to the
477 @code{text-font-size} as defined in the @code{\paper} block.
480 @cindex font magnification
483 It is also possible to change the default font family for the entire
484 document. This is done by calling the @code{make-pango-font-tree} from
485 within the @code{\paper} block. The function takes names for the font
486 families to use for roman, sans serif and monospaced text. For
489 @cindex font families, setting
498 (make-pango-font-tree "Times New Roman"
505 c'^\markup { roman: foo \sans bla \typewriter bar }
509 @c we don't do Helvetica / Courier, since GS incorrectly loads
516 Examples: @file{ly/@/font@/-family@/-override.ly}
519 @node New dynamic marks
520 @subsection New dynamic marks
522 It is possible to print new dynamic marks or text that should be aligned
523 with dynamics. Use @code{make-dynamic-script} to create these marks.
525 @cindex make-dynamic-script
527 @lilypond[quote,verbatim,raggedright]
528 sfzp = #(make-dynamic-script "sfzp")
534 @cindex Dynamics, editorial
535 @cindex Dynamics, parenthesis
537 It is also possible to print dynamics in round parenthesis or square
538 brackets. These are often used for adding editorial dynamics.
540 @lilypond[quote,verbatim,raggedright]
541 rndf = \markup{ \center-align {\line { \bold{\italic (}
542 \dynamic f \bold{\italic )} }} }
543 boxf = \markup{ \bracket { \dynamic f } }
544 { c'1_\rndf c'1_\boxf }
549 @node Preparing parts
550 @section Preparing parts
552 This section describes various notation that are useful for preparing
556 * Multi measure rests::
561 * Instrument transpositions::
563 * Different editions from one source::
567 @node Multi measure rests
568 @subsection Multi measure rests
570 @cindex multi measure rests
571 @cindex full measure rests
572 @cindex Rests, multi measure
573 @cindex Rests, full measure
574 @cindex whole rests for a full measure
577 Rests for one full measure (or many bars) are entered using `@code{R}'. It
578 is specifically meant for full bar rests and for entering parts: the rest
579 can expand to fill a score with rests, or it can be printed as a single
580 multi-measure rest. This expansion is controlled by the property
581 @code{Score.skipBars}. If this is set to true, empty measures will not
582 be expanded, and the appropriate number is added automatically
584 @lilypond[quote,raggedright,fragment,verbatim]
585 \time 4/4 r1 | R1 | R1*2
586 \set Score.skipBars = ##t R1*17 R1*4
589 The @code{1} in @code{R1} is similar to the duration notation used for
590 notes. Hence, for time signatures other than 4/4, you must enter other
591 durations. This can be done with augmentation dots or fractions
593 @lilypond[quote,raggedright,fragment,verbatim]
594 \set Score.skipBars = ##t
603 An @code{R} spanning a single measure is printed as either a whole rest
604 or a breve, centered in the measure regardless of the time signature.
606 If there are only a few measures of rest, LilyPond prints ``church rests''
607 (a series of rectangles) in the staff. To replace that with a simple
608 rest, use @code{MultiMeasureRest.expand-limit}.
610 @lilypond[quote,raggedright,fragment,verbatim]
611 \set Score.skipBars = ##t
613 \override MultiMeasureRest #'expand-limit = 1
617 @cindex text on multi-measure rest
618 @cindex script on multi-measure rest
619 @cindex fermata on multi-measure rest
621 Texts can be added to multi-measure rests by using the
622 @var{note}-@code{markup} syntax @ref{Text markup}.
623 A variable (@code{\fermataMarkup}) is provided for
626 @lilypond[quote,raggedright,verbatim,fragment]
627 \set Score.skipBars = ##t
629 R2.*10^\markup { \italic "ad lib." }
633 Warning! This text is created by @code{MultiMeasureRestText}, not
636 @lilypond[quote,raggedright,verbatim,fragment]
637 \override TextScript #'padding = #5
639 \override MultiMeasureRestText #'padding = #5
643 If you want to have text on the left end of a multi-measure rest,
644 attach the text to a zero-length skip note, i.e.,
654 Program reference: @internalsref{MultiMeasureRestMusicGroup},
655 @internalsref{MultiMeasureRest}.
657 The layout object @internalsref{MultiMeasureRestNumber} is for the
658 default number, and @internalsref{MultiMeasureRestText} for user
664 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
665 over multi-measure rests. And the pitch of multi-measure rests (or
666 staff-centered rests) can not be influenced.
668 @cindex condensing rests
670 There is no way to automatically condense multiple rests into a single
671 multi-measure rest. Multi-measure rests do not take part in rest
674 Be careful when entering multi-measure rests followed by whole
675 notes. The following will enter two notes lasting four measures each
679 When @code{skipBars} is set, the result will look OK, but the bar
680 numbering will be off.
683 @node Metronome marks
684 @subsection Metronome marks
687 @cindex beats per minute
688 @cindex metronome marking
690 Metronome settings can be entered as follows
692 \tempo @var{duration} = @var{per-minute}
695 In the MIDI output, they are interpreted as a tempo change. In the
696 layout output, a metronome marking is printed
697 @cindex @code{\tempo}
698 @lilypond[quote,raggedright,verbatim,fragment]
705 To change the tempo in the MIDI output without printing anything, make
706 the metronome marking invisible
708 \once \override Score.MetronomeMark #'transparent = ##t
711 To print other metronome markings, use these markup commands
712 @lilypond[quote,raggedright,verbatim,relative,fragment]
715 \smaller \general-align #Y #DOWN \note #"16." #1
717 \smaller \general-align #Y #DOWN \note #"8" #1
722 See @ref{Text markup} for more details.
727 Program reference: @internalsref{MetronomeMark}.
732 Collisions are not checked. If you have notes above the top line of
733 the staff (or notes with articulations, slurs, text, etc), then the
734 metronome marking may be printed on top of musical symbols. If this
735 occurs, increase the padding of the metronome mark to place it
736 further away from the staff.
739 \override Score.MetronomeMark #'padding = #2.5
743 @node Rehearsal marks
744 @subsection Rehearsal marks
746 @cindex Rehearsal marks
749 To print a rehearsal mark, use the @code{\mark} command
751 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
760 The letter@tie{}`I' is skipped in accordance with engraving traditions.
761 If you wish to include the letter `I', then use
764 \set Score.markFormatter = #format-mark-alphabet
767 The mark is incremented automatically if you use @code{\mark
768 \default}, but you can also use an integer argument to set the mark
769 manually. The value to use is stored in the property
770 @code{rehearsalMark}.
772 The style is defined by the property @code{markFormatter}. It is a
773 function taking the current mark (an integer) and the current context
774 as argument. It should return a markup object. In the following
775 example, @code{markFormatter} is set to a canned procedure. After a
776 few measures, it is set to function that produces a boxed number.
778 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
779 \set Score.markFormatter = #format-mark-numbers
782 \set Score.markFormatter = #format-mark-box-numbers
788 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
789 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
790 @code{format-mark-letters} and @code{format-mark-box-letters}.
791 These can be used as inspiration for other formatting functions.
796 Program reference: @internalsref{RehearsalMark}.
798 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
799 definition of @code{format-mark-numbers} and
800 @code{format-mark-letters}. They can be used as inspiration for other
801 formatting functions.
803 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
805 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
809 @subsection Bar numbers
812 @cindex measure numbers
813 @cindex @code{currentBarNumber}
815 Bar numbers are printed by default at the start of the line. The
816 number itself is stored in the @code{currentBarNumber} property, which
817 is normally updated automatically for every measure.
819 Bar numbers can be typeset at regular intervals instead of at the
820 beginning of each line. This is illustrated in the following example,
821 whose source is available as
822 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
824 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
826 Bar numbers can be typeset manually by tweaking the
827 @code{markFormatter} property
829 @lilypond[verbatim,raggedright,quote]
831 \set Score.markFormatter
832 = #(lambda (mark context)
835 (number->string (ly:context-property context
836 'currentBarNumber)))))
838 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
842 Bar numbers can be manually changed by setting the
843 @code{Staff.currentBarNumber} property
845 @lilypond[verbatim,raggedright,quote]
847 \repeat unfold 4 {c4 c c c} \break
848 \set Score.currentBarNumber = #50
849 \repeat unfold 4 {c4 c c c}
856 Program reference: @internalsref{BarNumber}.
859 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
860 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
865 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
866 there is one at the top. To solve this, the
867 @code{padding} property of @internalsref{BarNumber} can be
868 used to position the number correctly.
871 @node Instrument names
872 @subsection Instrument names
874 In an orchestral score, instrument names are printed at the left side
877 This can be achieved by setting @internalsref{Staff}.@code{instrument}
878 and @internalsref{Staff}.@code{instr}. This will print a string before
879 the start of the staff. For the first staff, @code{instrument} is
880 used, for the following ones, @code{instr} is used.
882 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
883 \set Staff.instrument = "Ploink "
884 \set Staff.instr = "Plk "
890 You can also use markup texts to construct more complicated instrument
893 @lilypond[quote,fragment,verbatim,raggedright]
894 \set Staff.instrument = \markup {
895 \column { "Clarinetti"
896 \line { "in B" \smaller \flat } } }
900 If you wish to center the instrument names, you must center all of them
902 @lilypond[quote,verbatim,raggedright]
905 \set Staff.instrument = \markup {
906 \center-align { "Clarinetti"
907 \line { "in B" \smaller \flat } } }
911 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
918 For longer instrument names, it may be useful to increase the
919 @code{indent} setting in the @code{\layout} block.
923 Program reference: @internalsref{InstrumentName}.
927 When you put a name on a grand staff or piano staff, the width of the
928 brace is not taken into account. The following property setting can be
929 used to move the instrument names to the left, in such situations.
932 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
936 @node Instrument transpositions
937 @subsection Instrument transpositions
939 @cindex transposition, MIDI
940 @cindex transposition, instrument
942 The key of a transposing instrument can also be specified. This
943 applies to many wind instruments, for example, clarinets (B-flat, A, and
944 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
946 The transposition is entered after the keyword @code{\transposition}
949 \transposition bes %% B-flat clarinet
953 This command sets the property @code{instrumentTransposition}. The value of
954 this property is used for MIDI output and quotations. It does not
955 affect how notes are printed in the current staff. To change the printed
956 output, see @ref{Transpose}.
958 The pitch to use for @code{\transposition} should correspond to the
959 transposition of the notes. For example, when entering a score in
960 concert pitch, typically all voices are entered in C, so
961 they should be entered as
974 The command @code{\transposition} should be used when the music is
975 entered from a (transposed) orchestral part. For example, in
976 classical horn parts, the tuning of the instrument is often changed
977 during a piece. When copying the notes from the part, use
978 @code{\transposition}, e.g.,
990 @node Ottava brackets
991 @subsection Ottava brackets
993 `Ottava' brackets introduce an extra transposition of an octave for
994 the staff. They are created by invoking the function
995 @code{set-octavation}
1001 @lilypond[quote,raggedright,verbatim,fragment]
1011 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1012 (for 15ma) as arguments. Internally the function sets the properties
1013 @code{ottavation} (e.g., to @code{"8va"}) and
1014 @code{centralCPosition}. For overriding the text of the bracket, set
1015 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1017 @lilypond[quote,raggedright,verbatim]
1020 \set Staff.ottavation = #"8"
1028 Program reference: @internalsref{OttavaBracket}.
1030 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1031 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1036 @code{set-octavation} will get confused when clef changes happen
1037 during an octavation bracket.
1040 @node Different editions from one source
1041 @subsection Different editions from one source
1046 The @code{\tag} command marks music expressions with a name. These
1047 tagged expressions can be filtered out later. With this mechanism it
1048 is possible to make different versions of the same music source.
1050 In the following example, we see two versions of a piece of music, one
1051 for the full score, and one with cue notes for the instrumental part
1067 The same can be applied to articulations, texts, etc.: they are
1070 -\tag #@var{your-tag}
1072 to an articulation, for example,
1077 This defines a note with a conditional fingering indication.
1080 @cindex removeWithTag
1081 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1082 commands, tagged expressions can be filtered. For example,
1086 \keepWithTag #'score @var{the music}
1087 \keepWithTag #'part @var{the music}
1092 @lilypondfile[raggedright,quote]{tag-filter.ly}
1094 The argument of the @code{\tag} command should be a symbol, or a list
1095 of symbols, for example,
1097 \tag #'(original-part transposed-part) @dots{}
1103 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1108 Multiple rests are not merged if you create the score with both tagged
1113 @node Orchestral music
1114 @section Orchestral music
1116 Orchestral music involves some special notation, both in the full
1117 score and the individual parts. This section explains how to tackle
1118 some common problems in orchestral music.
1121 * Automatic part combining::
1123 * Quoting other voices::
1124 * Formatting cue notes::
1125 * Aligning to cadenzas::
1129 @node Automatic part combining
1130 @subsection Automatic part combining
1131 @cindex automatic part combining
1132 @cindex part combiner
1134 Automatic part combining is used to merge two parts of music onto a
1135 staff. It is aimed at typesetting orchestral scores. When the two
1136 parts are identical for a period of time, only one is shown. In
1137 places where the two parts differ, they are typeset as separate
1138 voices, and stem directions are set automatically. Also, solo and
1139 @emph{a due} parts are identified and can be marked.
1141 The syntax for part combining is
1144 \partcombine @var{musicexpr1} @var{musicexpr2}
1148 The following example demonstrates the basic functionality of the part
1149 combiner: putting parts on one staff, and setting stem directions and
1152 @lilypond[quote,verbatim,raggedright,fragment]
1153 \new Staff \partcombine
1154 \relative g' { g g a( b) c c r r }
1155 \relative g' { g g r4 r e e g g }
1158 The first @code{g} appears only once, although it was
1159 specified twice (once in each part). Stem, slur, and tie directions are
1160 set automatically, depending whether there is a solo or unisono. The
1161 first part (with context called @code{one}) always gets up stems, and
1162 `Solo', while the second (called @code{two}) always gets down stems and
1165 If you just want the merging parts, and not the textual markings, you
1166 may set the property @code{printPartCombineTexts} to false
1168 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1170 \set Staff.printPartCombineTexts = ##f
1172 \relative g' { g a( b) r }
1173 \relative g' { g r4 r f }
1177 To change the text that is printed for solos or merging, you may
1178 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1181 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1183 \set Score.soloText = #"ichi"
1184 \set Score.soloIIText = #"ni"
1185 \set Score.aDueText = #"tachi"
1187 \relative g' { g4 g a( b) r }
1188 \relative g' { g4 g r r f }
1192 Both arguments to @code{\partcombine} will be interpreted as
1193 @internalsref{Voice} contexts. If using relative octaves,
1194 @code{\relative} should be specified for both music expressions, i.e.,
1198 \relative @dots{} @var{musicexpr1}
1199 \relative @dots{} @var{musicexpr2}
1203 A @code{\relative} section that is outside of @code{\partcombine} has
1204 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1208 Program reference: @internalsref{PartCombineMusic}.
1212 When @code{printPartCombineTexts} is set, when the two voices play the
1213 same notes on and off, the part combiner may typeset @code{a2} more
1214 than once in a measure.
1216 @code{\partcombine} cannot be inside @code{\times}.
1218 @code{\partcombine} cannot be inside @code{\relative}.
1220 Internally, the @code{\partcombine} interprets both arguments as
1221 @code{Voice}s named @code{one} and @code{two}, and then decides when
1222 the parts can be combined. Consequently, if the arguments switch to
1223 differently named @internalsref{Voice} contexts, the events in those
1228 @subsection Hiding staves
1230 @cindex Frenched scores
1231 @cindex Hiding staves
1233 In orchestral scores, staff lines that only have rests are usually
1234 removed; this saves some space. This style is called `French Score'.
1235 For @internalsref{Lyrics},
1236 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1237 switched on by default. When the lines of these contexts turn out
1238 empty after the line-breaking process, they are removed.
1240 For normal staves, a specialized @internalsref{Staff} context is
1241 available, which does the same: staves containing nothing (or only
1242 multi-measure rests) are removed. The context definition is stored in
1243 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1244 in this example disappears in the second line
1246 @lilypond[quote,raggedright,verbatim]
1248 \context { \RemoveEmptyStaffContext }
1253 \new Staff { e4 f g a \break c1 }
1254 \new Staff { c4 d e f \break R1 }
1259 The first system shows all staves in full. If empty staves should be
1260 removed from the first system too, set @code{remove-first} to true in
1261 @internalsref{RemoveEmptyVerticalGroup}.
1264 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1267 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1268 or @code{\RemoveEmptyRhythmicStaffContext}.
1270 Another application is making ossia sections, i.e., alternative
1271 melodies on a separate piece of staff, with help of a Frenched
1272 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1275 @node Quoting other voices
1276 @subsection Quoting other voices
1278 With quotations, fragments of other parts can be inserted into a part
1279 directly. Before a part can be quoted, it must be marked especially as
1280 quotable. This is done with the @code{\addquote} command.
1283 \addquote @var{name} @var{music}
1288 Here, @var{name} is an identifying string. The @var{music} is any kind
1289 of music. Here is an example of @code{\addquote}
1292 \addquote clarinet \relative c' @{
1297 This command must be entered at toplevel, i.e., outside any music
1300 After calling @code{\addquote}, the quotation may then be done with
1301 @code{\quoteDuring} or @code{\cueDuring},
1304 \quoteDuring #@var{name} @var{music}
1307 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1311 \quoteDuring #"clarinet" @{ s2. @}
1314 This would cite three quarter notes (the duration of @code{s2.}) of
1315 the previously added @code{clarinet} voice.
1318 More precisely, it takes the current time-step of the part being
1319 printed, and extracts the notes at the corresponding point of the
1320 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1321 should be the entire part of the voice to be quoted, including any
1322 rests at the beginning.
1324 Quotations take into account the transposition of both source and target
1325 instruments, if they are specified using the @code{\transposition} command.
1327 @lilypond[quote,raggedright,verbatim]
1328 \addquote clarinet \relative c' {
1334 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1338 The type of events that are present in cue notes can be trimmed with
1339 the @code{quotedEventTypes} property. The default value is
1340 @code{(note-event rest-event)}, which means that only notes and
1341 rests of the cued voice end up in the @code{\quoteDuring}.
1345 \set Staff.quotedEventTypes =
1346 #'(note-event articulation-event dynamic-event)
1350 will quote notes (but no rests), together with scripts and dynamics.
1354 Only the contents of the first @internalsref{Voice} occurring in an
1355 @code{\addquote} command will be considered for quotation, so
1356 @var{music} can not contain @code{\new} and @code{\context Voice}
1357 statements that would switch to a different Voice.
1359 Quoting grace notes is broken and can even cause LilyPond to crash.
1363 In this manual: @ref{Instrument transpositions}.
1365 Examples: @inputfileref{input/@/regression,quote@/.ly}
1366 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1368 Program reference: @internalsref{QuoteMusic}.
1371 @node Formatting cue notes
1372 @subsection Formatting cue notes
1374 The previous section deals with inserting notes from another voice.
1375 There is a more advanced music function called @code{\cueDuring},
1376 which makes formatting cue notes easier.
1381 \cueDuring #@var{name} #@var{updown} @var{music}
1384 This will insert notes from the part @var{name} into a
1385 @internalsref{Voice} called @code{cue}. This happens simultaneously
1386 with @var{music}, which usually is a rest. When the cue notes start,
1387 the staff in effect becomes polyphonic for a moment. The argument
1388 @var{updown} determines whether the cue notes should be notated as a
1389 first or second voice.
1392 @lilypond[verbatim,raggedright]
1395 \override Stem #'length = #5.5
1396 \override Beam #'thickness = #0.384
1397 \override Beam #'space-function =
1398 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1401 \addquote clarinet \relative {
1406 \new Staff \relative <<
1408 % setup a context for cue notes.
1409 \context Voice = cue { \smaller \skip 1*21 }
1411 \set Score.skipBars = ##t
1415 \cueDuring #"clarinet" #1 {
1424 Here are a couple of hints for successful cue notes
1428 Cue notes have smaller font sizes.
1430 the cued part is marked with the instrument playing the cue.
1432 when the original part takes over again, this should be marked with
1433 the name of the original instrument.
1435 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1437 @c Yes, this is good practice. Otherwise, the start of the original
1438 @c part can only be seen from the font size. This is not good enough
1439 @c for sight-reading. It is possilbe to use other
1440 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1445 Any other changes introduced by the cued part should also be
1446 undone. For example, if the cued instrument plays in a different clef,
1447 the original clef should be stated once again.
1452 @node Aligning to cadenzas
1453 @subsection Aligning to cadenzas
1455 In an orchestral context, cadenzas present a special problem:
1456 when constructing a score that includes a cadenza, all other
1457 instruments should skip just as many notes as the length of the
1458 cadenza, otherwise they will start too soon or too late.
1460 A solution to this problem are the functions @code{mmrest-of-length}
1461 and @code{skip-of-length}. These Scheme functions take a piece of music
1462 as argument, and generate a @code{\skip} or multi-rest, exactly as
1463 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1464 in the following example.
1466 @lilypond[verbatim,raggedright,quote]
1467 cadenza = \relative c' {
1468 c4 d8 << { e f g } \\ { d4. } >>
1473 \new Staff { \cadenza c'4 }
1475 #(ly:export (mmrest-of-length cadenza))
1484 @node Contemporary notation
1485 @section Contemporary notation
1487 In the 20th century, composers have greatly expanded the musical
1488 vocabulary. With this expansion, many innovations in musical notation
1489 have been tried. The book ``Music Notation in the 20th century'' by
1490 Kurt Stone gives a comprehensive overview (see @ref{Literature
1491 list}). In general, the use of new, innovative notation makes a piece
1492 harder to understand and perform and its use should therefore be
1493 avoided. For this reason, support for contemporary notation in
1494 LilyPond is limited.
1498 * Polymetric notation::
1499 * Time administration::
1501 * Special fermatas::
1502 * Special noteheads::
1509 @node Polymetric notation
1510 @subsection Polymetric notation
1512 Double time signatures are not supported explicitly, but they can be
1513 faked. In the next example, the markup for the time signature is
1514 created with a markup text. This markup text is inserted in the
1515 @internalsref{TimeSignature} grob.
1517 @lilypond[verbatim,raggedright]
1522 \musicglyph #"scripts.stopped"
1523 \bracket \column { "5" "8" }
1528 \override Staff.TimeSignature #'print-function = #Text_interface::print
1529 \override Staff.TimeSignature #'text = #tsMarkup
1531 c'2 \bar ":" c'4 c'4.
1535 Each staff can also have its own time signature. This is done by
1536 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1542 \remove "Timing_translator"
1543 \remove "Default_bar_line_engraver"
1547 \consists "Timing_translator"
1548 \consists "Default_bar_line_engraver"
1555 Now, each staff has its own time signature.
1568 c4. c8 c c c4. c8 c c
1573 @lilypond[quote,raggedright]
1577 \remove "Timing_translator"
1578 \remove "Default_bar_line_engraver"
1581 \consists "Timing_translator"
1582 \consists "Default_bar_line_engraver"
1597 c4. c8 c c c4. c8 c c
1603 A different form of polymetric notation is where note lengths have
1604 different values across staves.
1606 This notation can be created by setting a common time signature for
1607 each staff but replacing it manually using
1608 @code{timeSignatureFraction} to the desired fraction. Then the printed
1609 durations in each staff are scaled to the common time signature.
1610 The latter is done with @code{\compressMusic}, which is similar to
1611 @code{\times}, but does not create a tuplet bracket.
1614 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1615 used in parallel. In the second staff, shown durations are multiplied by
1616 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1617 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1619 @lilypond[quote,raggedright,verbatim,fragment]
1627 \set Staff.timeSignatureFraction = #'(9 . 8)
1628 \compressMusic #'(2 . 3)
1629 \repeat unfold 6 { c8[ c c] }
1633 \set Staff.timeSignatureFraction = #'(10 . 8)
1634 \compressMusic #'(3 . 5) {
1635 \repeat unfold 2 { c8[ c c] }
1636 \repeat unfold 2 { c8[ c] }
1637 | c4. c4. \times 2/3 { c8 c c } c4
1648 When using different time signatures in parallel, the spacing is
1649 aligned vertically, but bar lines distort the regular spacing.
1652 @node Time administration
1653 @subsection Time administration
1655 @cindex Time administration
1657 Time is administered by the @internalsref{Time_signature_engraver},
1658 which usually lives in the @internalsref{Score} context. The
1659 bookkeeping deals with the following variables
1662 @item currentBarNumber
1666 The length of the measures in the current time signature. For a 4/4
1667 time this is@tie{}1, and for 6/8 it is 3/4.
1669 @item measurePosition
1670 The point within the measure where we currently are. This quantity
1671 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1672 happens, @code{currentBarNumber} is incremented.
1675 If set to true, the above variables are updated for every time
1676 step. When set to false, the engraver stays in the current measure
1680 Timing can be changed by setting any of these variables explicitly.
1681 In the next example, the 4/4 time signature is printed, but
1682 @code{measureLength} is set to 5/4. After a while, the measure is
1683 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1684 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1685 3/8 arises because 5/4 normally has 10/8, but we have manually
1686 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1688 @lilypond[quote,raggedright,verbatim,relative,fragment]
1689 \set Score.measureLength = #(ly:make-moment 5 4)
1693 \set Score.measurePosition = #(ly:make-moment 7 8)
1701 @subsection Clusters
1705 A cluster indicates a continuous range of pitches to be played. They
1706 can be denoted as the envelope of a set of notes. They are entered by
1707 applying the function @code{makeClusters} to a sequence of
1709 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1710 \makeClusters { <c e > <b f'> }
1713 The following example (from
1714 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1717 @lilypondfile[raggedright,quote]{cluster.ly}
1719 Ordinary notes and clusters can be put together in the same staff,
1720 even simultaneously. In such a case no attempt is made to
1721 automatically avoid collisions between ordinary notes and clusters.
1725 Program reference: @internalsref{ClusterSpanner},
1726 @internalsref{ClusterSpannerBeacon},
1727 @internalsref{Cluster_spanner_engraver}.
1729 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1733 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1734 accurately. Use @code{<g a>8 <e a>8} instead.
1738 @node Special fermatas
1739 @subsection Special fermatas
1741 @cindex fermatas, special
1743 In contemporary music notation, special fermata symbols denote breaks
1744 of differing lengths. The following fermatas are supported
1746 @lilypond[quote,raggedright]
1769 \context Lyrics \lyricmode {
1770 \override LyricText #'font-family = #'typewriter
1771 "shortfermata" "fermata" "longfermata" "verylongfermata"
1776 See @ref{Articulations} for general instructions how to apply scripts
1777 such as fermatas to notes.
1780 @node Special noteheads
1781 @subsection Special noteheads
1783 Different noteheads are used by various instruments for various
1784 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1785 notes on guitar; diamonds are used for harmonics on string instruments,
1786 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1787 other notehead styles are produced by tweaking the property
1789 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1791 \override NoteHead #'style = #'cross
1793 \revert NoteHead #'style
1794 e d <c f\harmonic> <d a'\harmonic>
1798 To see all notehead styles, please see
1799 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1804 Program reference: @internalsref{NoteHead}.
1806 @node Pitched trills
1807 @subsection Pitched trills
1809 Trills that should be executed on an explicitly specified pitch can be
1810 typeset with the command @code{pitchedTrill},
1812 @lilypond[raggedright,verbatim,fragment]
1813 \pitchedTrill c'4\startTrillSpan fis
1817 The first argument is the main note. The absolute pitch of the second
1818 is printed as a stemless note head in parentheses.
1820 @node Feathered beams
1821 @subsection Feathered beams
1823 Feathered beams are not supported natively, but they can be faked by
1824 forcing two beams to overlap. Here is an example,
1826 @c don't change relative setting witout changing positions!
1827 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1832 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1837 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1845 @subsection Improvisation
1847 Improvisation is sometimes denoted with slashed note heads. Such note
1848 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1849 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1853 \set squashedPosition = #0
1854 \override NoteHead #'style = #'slash
1858 switches on the slashes.
1860 There are shortcuts @code{\improvisationOn} (and an accompanying
1861 @code{\improvisationOff}) for this command sequence. They are used in
1862 the following example
1864 @lilypond[verbatim,raggedright,quote]
1866 \consists Pitch_squash_engraver
1868 e8 e g a a16(bes)(a8) g \improvisationOn
1871 ~fis2 \improvisationOff a16(bes) a8 g e
1876 @node Educational use
1877 @section Educational use
1879 With the amount of control that LilyPond offers, one can make great
1880 teaching tools in addition to great musical scores.
1884 * Blank music sheet::
1886 * Shape note heads ::
1887 * Easy Notation note heads::
1888 * Analysis brackets::
1889 * Coloring objects::
1893 @subsection Balloon help
1895 Elements of notation can be marked and named with the help of a square
1896 balloon. The primary purpose of this feature is to explain notation.
1898 The following example demonstrates its use.
1900 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1903 #(add-balloon-text 'NoteHead "heads, or tails?"
1910 The function @code{add-balloon-text} takes the name of a grob, the
1911 label to print, and the position where to put the label relative to
1912 the object. In the above example, the text ``heads or tails?'' ends
1913 3 spaces below and 1 space to the right of the marked head.
1916 @cindex notation, explaining
1920 Program reference: @internalsref{text-balloon-interface}.
1922 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1927 @node Blank music sheet
1928 @subsection Blank music sheet
1930 A blank music sheet can be produced also by using invisible notes, and
1931 removing @code{Bar_number_engraver}.
1934 @lilypond[quote,verbatim]
1936 \repeat unfold 2 % Change this for more lines.
1941 \override TimeSignature #'transparent = ##t
1942 defaultBarType = #""
1943 \remove Bar_number_engraver
1945 \context Staff \emptymusic
1946 \context TabStaff \emptymusic
1952 @subsection Hidden notes
1954 @cindex Hidden notes
1955 @cindex Invisible notes
1956 @cindex Transparent notes
1958 @cindex @code{\hideNotes}
1959 @cindex @code{\unHideNotes}
1960 Hidden (or invisible or transparent) notes can be useful in preparing theory
1961 or composition exercises.
1963 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1971 Hidden notes are also great for performing weird tricks. For example,
1972 slurs cannot be attached to rests or spacer rests, but you may wish
1973 to include that in your score -- string instruments use this notation
1974 when doing pizzicato to indicate that the note should ring for as long
1977 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1980 c4^"pizz"( \hideNotes c)
1981 \unHideNotes c( \hideNotes c)
1988 @node Shape note heads
1989 @subsection Shape note heads
1991 In shape note head notation, the shape of the note head corresponds
1992 to the harmonic function of a note in the scale. This notation was
1993 popular in the 19th century American song books.
1995 Shape note heads can be produced by setting @code{\aikenHeads} or
1996 @code{\sacredHarpHeads}, depending on the style desired.
1998 @lilypond[verbatim,relative=1,fragment]
2005 Shapes are determined on the step in the scale, where the base of the
2006 scale is determined by the @code{\key} command
2009 @findex shapeNoteStyles
2011 @findex \sacredHarpHeads
2013 Shape note heads are implemented through the @code{shapeNoteStyles}
2014 property. Its value is a vector of symbols. The k-th element indicates
2015 the style to use for the k-th step of the scale. Arbitrary
2016 combinations are possible, eg.,
2019 @lilypond[verbatim,relative=1,fragment]
2020 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2025 @node Easy Notation note heads
2026 @subsection Easy Notation note heads
2028 @cindex easy notation
2031 The `easy play' note head includes a note name inside the head. It is
2032 used in music for beginners
2034 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
2039 The command @code{\setEasyHeads} overrides settings for the
2040 @internalsref{NoteHead} object. To make the letters readable, it has
2041 to be printed in a large font size. To print with a larger font, see
2042 @ref{Setting global staff size}.
2046 @cindex @code{\setEasyHeads}
2047 @code{\setEasyHeads}
2050 @node Analysis brackets
2051 @subsection Analysis brackets
2053 @cindex phrasing brackets
2054 @cindex musicological analysis
2055 @cindex note grouping bracket
2057 Brackets are used in musical analysis to indicate structure in musical
2058 pieces. LilyPond supports a simple form of nested horizontal
2059 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2060 to @internalsref{Staff} context. A bracket is started with
2061 @code{\startGroup} and closed with @code{\stopGroup}
2063 @lilypond[quote,raggedright,verbatim]
2066 c4\startGroup\startGroup
2069 c4\stopGroup\stopGroup
2073 \Staff \consists "Horizontal_bracket_engraver"
2079 Program reference: @internalsref{HorizontalBracket}.
2081 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2084 @node Coloring objects
2085 @subsection Coloring objects
2087 Individual objects may be assigned colors. You may use the
2088 color names listed in the @ref{List of colors}.
2090 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2091 \override NoteHead #'color = #red
2093 \override NoteHead #'color = #(x11-color 'LimeGreen)
2095 \override Stem #'color = #blue
2099 The full range of colors defined for X11 can be accessed by using the
2100 scheme function x11-color. The function takes one argument that can be a
2104 \override Beam #'color = #(x11-color 'MediumTurquoise)
2110 \override Beam #'color = #(x11-color "MediumTurquoise")
2113 The first form is quicker to write and is more efficient. However, using
2114 the second form it is possible to access X11 colors by the multi-word
2118 \override Beam #'color = #(x11-color "medium turquoise")
2121 If x11-color cannot make sense of the parameter then the color returned
2122 defaults to black. It should be obvious from the final score that
2125 This example, illustrates the use of x11-color. Notice that the stem
2126 color remains black after being set to (x11-color 'Boggle), which is
2127 deliberate nonsense.
2129 @lilypond[quote,raggedright,verbatim]
2131 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2132 \set Staff.instrument = \markup {
2133 \with-color #(x11-color 'navy) "Clarinet"
2137 \override Beam #'color = #(x11-color "medium turquoise")
2139 \override NoteHead #'color = #(x11-color "LimeGreen")
2141 \override Stem #'color = #(x11-color 'Boggle)
2149 Appendix: @ref{List of colors}.
2153 Not all x11 colors are distinguishable in a web browser. For web use
2154 normal colors are recommended.
2156 An x11 color is not necessarily exactly the same shade as a similarly
2160 @node Automatic notation
2161 @section Automatic notation
2163 This section describes how to change the way that accidentals and
2164 beams are automatically displayed.
2166 FIXME: this might get moved into Changing Defaults. Please send
2167 opinions to lilypond-devel. Thanks! :)
2170 * Automatic accidentals::
2171 * Setting automatic beam behavior::
2174 @node Automatic accidentals
2175 @subsection Automatic accidentals
2176 @cindex Automatic accidentals
2178 Common rules for typesetting accidentals have been placed in a
2179 function. This function is called as follows
2181 @cindex @code{set-accidental-style}
2183 #(set-accidental-style 'STYLE #('CONTEXT#))
2186 The function can take two arguments: the name of the accidental style,
2187 and an optional argument that denotes the context that should be
2188 changed. If no context name is supplied, @code{Staff} is the default,
2189 but you may wish to apply the accidental style to a single @code{Voice}
2192 The following accidental styles are supported
2195 This is the default typesetting behavior. It corresponds
2196 to 18th century common practice: Accidentals are
2197 remembered to the end of the measure in which they occur and
2198 only on their own octave.
2201 The normal behavior is to remember the accidentals on
2202 Staff-level. This variable, however, typesets accidentals
2203 individually for each voice. Apart from that, the rule is similar to
2206 As a result, accidentals from one voice do not get canceled in other
2207 voices, which is often an unwanted result
2209 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2211 #(set-accidental-style 'voice)
2218 The @code{voice} option should be used if the voices
2219 are to be read solely by individual musicians. If the staff is to be
2220 used by one musician (e.g., a conductor) then
2221 @code{modern} or @code{modern-cautionary}
2222 should be used instead.
2225 @cindex @code{modern} style accidentals
2226 This rule corresponds to the common practice in the 20th century. This rule
2227 prints the same accidentals as @code{default}, but temporary
2228 accidentals also are canceled in other octaves. Furthermore,
2229 in the same octave, they also get canceled in the following
2232 @lilypond[quote,raggedright,fragment,verbatim]
2233 #(set-accidental-style 'modern)
2234 cis' c'' cis'2 | c'' c'
2237 @item @code{modern-cautionary}
2238 @cindex @code{modern-cautionary}
2239 This rule is similar to @code{modern}, but the ``extra'' accidentals
2240 (the ones not typeset by @code{default}) are typeset as cautionary
2241 accidentals. They are printed in reduced size or with parentheses
2242 @lilypond[quote,raggedright,fragment,verbatim]
2243 #(set-accidental-style 'modern-cautionary)
2244 cis' c'' cis'2 | c'' c'
2247 @cindex @code{modern-voice}
2249 This rule is used for multivoice accidentals to be read both by musicians
2250 playing one voice and musicians playing all voices. Accidentals are
2251 typeset for each voice, but they @emph{are} canceled across voices in
2252 the same @internalsref{Staff}.
2254 @cindex @code{modern-voice-cautionary}
2255 @item modern-voice-cautionary
2256 This rule is the same as @code{modern-voice}, but with the extra
2257 accidentals (the ones not typeset by @code{voice}) typeset
2258 as cautionaries. Even though all accidentals typeset by
2259 @code{default} @emph{are} typeset by this variable,
2260 some of them are typeset as cautionaries.
2263 @cindex @code{piano} accidentals
2264 This rule reflects 20th century practice for piano notation. Very similar to
2265 @code{modern} but accidentals also get canceled
2266 across the staves in the same @internalsref{GrandStaff} or
2267 @internalsref{PianoStaff}.
2269 @item piano-cautionary
2270 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2271 Same as @code{#(set-accidental-style 'piano)} but with the extra
2272 accidentals typeset as cautionaries.
2275 @cindex @code{no-reset} accidental style
2276 This is the same as @code{default} but with accidentals lasting
2277 ``forever'' and not only until the next measure
2278 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2279 #(set-accidental-style 'no-reset)
2284 This is sort of the opposite of @code{no-reset}: Accidentals
2285 are not remembered at all---and hence all accidentals are
2286 typeset relative to the key signature, regardless of what was
2289 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2290 #(set-accidental-style 'forget)
2291 \key d\major c4 c cis cis d d dis dis
2298 Program reference: @internalsref{Accidental_engraver},
2299 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2304 Simultaneous notes are considered to be entered in sequential
2305 mode. This means that in a chord the accidentals are typeset as if the
2306 notes in the chord happened once at a time - in the order in which
2307 they appear in the input file.
2309 This is a problem when accidentals in a chord depend on each other,
2310 which does not happen for the default accidental style. The problem
2311 can be solved by manually inserting @code{!} and @code{?} for the
2315 @node Setting automatic beam behavior
2316 @subsection Setting automatic beam behavior
2318 @cindex @code{autoBeamSettings}
2319 @cindex @code{(end * * * *)}
2320 @cindex @code{(begin * * * *)}
2321 @cindex automatic beams, tuning
2322 @cindex tuning automatic beaming
2324 @c [TODO: use \applycontext]
2326 In normal time signatures, automatic beams can start on any note but can
2327 only end in a few positions within the measure: beams can end on a beat,
2328 or at durations specified by the properties in
2329 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2330 consist of a list of rules for where beams can begin and end. The
2331 default @code{autoBeamSettings} rules are defined in
2332 @file{scm/@/auto@/-beam@/.scm}.
2334 In order to add a rule to the list, use
2336 #(override-auto-beam-setting '(be p q n m) a b [context])
2341 @item @code{be} is either "begin" or "end".
2343 @item @code{b/q} is the duration of the note for which you want
2344 to add a rule. A beam is considered to have the duration of its
2345 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2346 have this apply to any beam.
2348 @item @code{n/m} is the position in the time signature to which
2349 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2350 to have this apply in any time signature.
2352 @item @code{a/b} is the position in the bar at which the beam should end.
2354 @item @code{context} is optional, and it specifies the context at which
2355 the change should be made. The default is @code{'Voice}.
2356 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2357 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2361 For example, if automatic beams should always end on the first quarter
2365 #(override-auto-beam-setting '(end * * * *) 1 4)
2368 You can force the beam settings to only take effect on beams whose shortest
2369 note is a certain duration
2371 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2373 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2375 a32 a a a a16 a a a a a |
2376 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2377 a32 a a a a16 a a a a a |
2380 You can force the beam settings to only take effect in certain time
2383 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2385 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2393 You can also remove a previously set beam-ending rule by using
2396 #(revert-auto-beam-setting '(be p q n m) a b [context])
2400 be, p, q, n, m, a, b and context are the same as above. Note that the
2401 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2402 so you can revert rules that you did not explicitly create.
2404 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2406 a16 a a a a a a a a a a a a a a a
2407 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2408 a16 a a a a a a a a a a a a a a a
2411 The rule in a revert-auto-beam-setting statement must exactly match the
2412 original rule. That is, no wildcard expansion is taken into account.
2414 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2416 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2418 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2420 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2426 @c TODO: old material -- not covered by above stuff, I think.
2427 If automatic beams should end on every quarter in 5/4 time, specify
2430 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2431 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2432 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2433 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2437 The same syntax can be used to specify beam starting points. In this
2438 example, automatic beams can only end on a dotted quarter note
2440 #(override-auto-beam-setting '(end * * * *) 3 8)
2441 #(override-auto-beam-setting '(end * * * *) 1 2)
2442 #(override-auto-beam-setting '(end * * * *) 7 8)
2444 In 4/4 time signature, this means that automatic beams could end only on
2445 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2446 3/8, has passed within the measure).
2448 @cindex automatic beam generation
2450 @cindex @code{autoBeaming}
2453 If beams are used to indicate melismata in songs, then automatic
2454 beaming should be switched off with @code{\autoBeamOff}.
2459 @cindex @code{\autoBeamOff}
2460 @code{\autoBeamOff},
2461 @cindex @code{\autoBeamOn}
2467 If a score ends while an automatic beam has not been ended and is
2468 still accepting notes, this last beam will not be typeset at all. The
2469 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2470 >>}. If a polyphonic voice ends while an automatic beam is still
2471 accepting notes, it is not typeset.