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: @file{ly/@/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 marks.
545 @cindex make-dynamic-script
547 @lilypond[quote,verbatim,ragged-right]
548 sfzp = #(make-dynamic-script "sfzp")
554 @cindex Dynamics, editorial
555 @cindex Dynamics, parenthesis
557 It is also possible to print dynamics in round parenthesis or square
558 brackets. These are often used for adding editorial dynamics.
560 @lilypond[quote,verbatim,ragged-right]
561 rndf = \markup{ \center-align {\line { \bold{\italic (}
562 \dynamic f \bold{\italic )} }} }
563 boxf = \markup{ \bracket { \dynamic f } }
564 { c'1_\rndf c'1_\boxf }
569 @node Preparing parts
570 @section Preparing parts
572 This section describes various notation that are useful for preparing
576 * Multi measure rests::
581 * Instrument transpositions::
583 * Different editions from one source::
587 @node Multi measure rests
588 @subsection Multi measure rests
590 @cindex multi measure rests
591 @cindex full measure rests
592 @cindex Rests, multi measure
593 @cindex Rests, full measure
594 @cindex whole rests for a full measure
597 Rests for one full measure (or many bars) are entered using `@code{R}'. It
598 is specifically meant for full bar rests and for entering parts: the rest
599 can expand to fill a score with rests, or it can be printed as a single
600 multi-measure rest. This expansion is controlled by the property
601 @code{Score.skipBars}. If this is set to true, empty measures will not
602 be expanded, and the appropriate number is added automatically
604 @lilypond[quote,ragged-right,fragment,verbatim]
605 \time 4/4 r1 | R1 | R1*2
606 \set Score.skipBars = ##t R1*17 R1*4
609 The @code{1} in @code{R1} is similar to the duration notation used for
610 notes. Hence, for time signatures other than 4/4, you must enter other
611 durations. This can be done with augmentation dots or fractions
613 @lilypond[quote,ragged-right,fragment,verbatim]
614 \set Score.skipBars = ##t
623 An @code{R} spanning a single measure is printed as either a whole rest
624 or a breve, centered in the measure regardless of the time signature.
626 If there are only a few measures of rest, LilyPond prints ``church rests''
627 (a series of rectangles) in the staff. To replace that with a simple
628 rest, use @code{MultiMeasureRest.expand-limit}.
630 @lilypond[quote,ragged-right,fragment,verbatim]
631 \set Score.skipBars = ##t
633 \override MultiMeasureRest #'expand-limit = 1
637 @cindex text on multi-measure rest
638 @cindex script on multi-measure rest
639 @cindex fermata on multi-measure rest
641 Texts can be added to multi-measure rests by using the
642 @var{note}-@code{markup} syntax @ref{Text markup}.
643 A variable (@code{\fermataMarkup}) is provided for
646 @lilypond[quote,ragged-right,verbatim,fragment]
647 \set Score.skipBars = ##t
649 R2.*10^\markup { \italic "ad lib." }
653 Warning! This text is created by @code{MultiMeasureRestText}, not
656 @lilypond[quote,ragged-right,verbatim,fragment]
657 \override TextScript #'padding = #5
659 \override MultiMeasureRestText #'padding = #5
663 If you want to have text on the left end of a multi-measure rest,
664 attach the text to a zero-length skip note, i.e.,
674 Program reference: @internalsref{MultiMeasureRestMusicGroup},
675 @internalsref{MultiMeasureRest}.
677 The layout object @internalsref{MultiMeasureRestNumber} is for the
678 default number, and @internalsref{MultiMeasureRestText} for user
684 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
685 over multi-measure rests. And the pitch of multi-measure rests (or
686 staff-centered rests) can not be influenced.
688 @cindex condensing rests
690 There is no way to automatically condense multiple rests into a single
691 multi-measure rest. Multi-measure rests do not take part in rest
694 Be careful when entering multi-measure rests followed by whole
695 notes. The following will enter two notes lasting four measures each
699 When @code{skipBars} is set, the result will look OK, but the bar
700 numbering will be off.
703 @node Metronome marks
704 @subsection Metronome marks
707 @cindex beats per minute
708 @cindex metronome marking
710 Metronome settings can be entered as follows
712 \tempo @var{duration} = @var{per-minute}
715 In the MIDI output, they are interpreted as a tempo change. In the
716 layout output, a metronome marking is printed
717 @cindex @code{\tempo}
718 @lilypond[quote,ragged-right,verbatim,fragment]
725 To change the tempo in the MIDI output without printing anything, make
726 the metronome marking invisible
728 \once \override Score.MetronomeMark #'transparent = ##t
731 To print other metronome markings, use these markup commands
732 @lilypond[quote,ragged-right,verbatim,relative,fragment]
735 \smaller \general-align #Y #DOWN \note #"16." #1
737 \smaller \general-align #Y #DOWN \note #"8" #1
742 See @ref{Text markup} for more details.
747 Program reference: @internalsref{MetronomeMark}.
752 Collisions are not checked. If you have notes above the top line of
753 the staff (or notes with articulations, slurs, text, etc), then the
754 metronome marking may be printed on top of musical symbols. If this
755 occurs, increase the padding of the metronome mark to place it
756 further away from the staff.
759 \override Score.MetronomeMark #'padding = #2.5
763 @node Rehearsal marks
764 @subsection Rehearsal marks
766 @cindex Rehearsal marks
769 To print a rehearsal mark, use the @code{\mark} command
771 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
780 The letter@tie{}`I' is skipped in accordance with engraving traditions.
781 If you wish to include the letter `I', then use
784 \set Score.markFormatter = #format-mark-alphabet
787 The mark is incremented automatically if you use @code{\mark
788 \default}, but you can also use an integer argument to set the mark
789 manually. The value to use is stored in the property
790 @code{rehearsalMark}.
792 The style is defined by the property @code{markFormatter}. It is a
793 function taking the current mark (an integer) and the current context
794 as argument. It should return a markup object. In the following
795 example, @code{markFormatter} is set to a canned procedure. After a
796 few measures, it is set to function that produces a boxed number.
798 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
799 \set Score.markFormatter = #format-mark-numbers
802 \set Score.markFormatter = #format-mark-box-numbers
808 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
809 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
810 @code{format-mark-letters} and @code{format-mark-box-letters}.
811 These can be used as inspiration for other formatting functions.
813 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
814 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
815 incremented numbers or letters.
820 Program reference: @internalsref{RehearsalMark}.
822 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
823 definition of @code{format-mark-numbers} and
824 @code{format-mark-letters}. They can be used as inspiration for other
825 formatting functions.
827 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
829 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
833 @subsection Bar numbers
836 @cindex measure numbers
837 @cindex @code{currentBarNumber}
839 Bar numbers are printed by default at the start of the line. The
840 number itself is stored in the @code{currentBarNumber} property, which
841 is normally updated automatically for every measure.
843 Bar numbers can be typeset at regular intervals instead of at the
844 beginning of each line. This is illustrated in the following example,
845 whose source is available as
846 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
848 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
850 Bar numbers can be typeset manually by tweaking the
851 @code{markFormatter} property
853 @lilypond[verbatim,ragged-right,quote]
855 \set Score.markFormatter
856 = #(lambda (mark context)
859 (number->string (ly:context-property context
860 'currentBarNumber)))))
862 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
866 Bar numbers can be manually changed by setting the
867 @code{Staff.currentBarNumber} property
869 @lilypond[verbatim,ragged-right,quote]
871 \repeat unfold 4 {c4 c c c} \break
872 \set Score.currentBarNumber = #50
873 \repeat unfold 4 {c4 c c c}
877 Bar numbers can be removed entirely by removing the Bar number
878 engraver from the score.
880 @lilypond[verbatim,ragged-right,quote,relative=2]
884 \remove "Bar_number_engraver"
896 Program reference: @internalsref{BarNumber}.
899 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
900 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
905 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
906 there is one at the top. To solve this, the
907 @code{padding} property of @internalsref{BarNumber} can be
908 used to position the number correctly.
911 @node Instrument names
912 @subsection Instrument names
914 In an orchestral score, instrument names are printed at the left side
917 This can be achieved by setting @internalsref{Staff}.@code{instrument}
918 and @internalsref{Staff}.@code{instr}. This will print a string before
919 the start of the staff. For the first staff, @code{instrument} is
920 used, for the following ones, @code{instr} is used.
922 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
923 \set Staff.instrument = "Ploink "
924 \set Staff.instr = "Plk "
930 You can also use markup texts to construct more complicated instrument
933 @lilypond[quote,fragment,verbatim,ragged-right]
934 \set Staff.instrument = \markup {
935 \column { "Clarinetti"
936 \line { "in B" \smaller \flat } } }
940 If you wish to center the instrument names, you must center all of them
942 @lilypond[quote,verbatim,ragged-right]
945 \set Staff.instrument = \markup {
946 \center-align { "Clarinetti"
947 \line { "in B" \smaller \flat } } }
951 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
958 For longer instrument names, it may be useful to increase the
959 @code{indent} setting in the @code{\layout} block.
961 To center instrument names while leaving extra space to the right,
963 @lilypond[quote,verbatim,ragged-right]
964 \new StaffGroup \relative
967 \set Staff.instrument
968 = \markup { \hcenter-in #10 "blabla" }
972 \set Staff.instrument
973 = \markup { \hcenter-in #10 "blo" }
982 Program reference: @internalsref{InstrumentName}.
986 When you put a name on a grand staff or piano staff, the width of the
987 brace is not taken into account. The following property setting can be
988 used to move the instrument names to the left, in such situations.
991 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
995 @node Instrument transpositions
996 @subsection Instrument transpositions
998 @cindex transposition, MIDI
999 @cindex transposition, instrument
1001 The key of a transposing instrument can also be specified. This
1002 applies to many wind instruments, for example, clarinets (B-flat, A, and
1003 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1005 The transposition is entered after the keyword @code{\transposition}
1008 \transposition bes %% B-flat clarinet
1012 This command sets the property @code{instrumentTransposition}. The value of
1013 this property is used for MIDI output and quotations. It does not
1014 affect how notes are printed in the current staff. To change the printed
1015 output, see @ref{Transpose}.
1017 The pitch to use for @code{\transposition} should correspond to the
1018 real sound heard when a @code{c'} written on the staff is played by the
1019 transposing instrument. For example, when entering a score in
1020 concert pitch, typically all voices are entered in C, so
1021 they should be entered as
1034 The command @code{\transposition} should be used when the music is
1035 entered from a (transposed) orchestral part. For example, in
1036 classical horn parts, the tuning of the instrument is often changed
1037 during a piece. When copying the notes from the part, use
1038 @code{\transposition}, e.g.,
1050 @node Ottava brackets
1051 @subsection Ottava brackets
1053 `Ottava' brackets introduce an extra transposition of an octave for
1054 the staff. They are created by invoking the function
1055 @code{set-octavation}
1061 @lilypond[quote,ragged-right,verbatim,fragment]
1071 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1072 (for 15ma) as arguments. Internally the function sets the properties
1073 @code{ottavation} (e.g., to @code{"8va"}) and
1074 @code{centralCPosition}. For overriding the text of the bracket, set
1075 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1077 @lilypond[quote,ragged-right,verbatim]
1080 \set Staff.ottavation = #"8"
1088 Program reference: @internalsref{OttavaBracket}.
1090 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1091 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1096 @code{set-octavation} will get confused when clef changes happen
1097 during an octavation bracket.
1100 @node Different editions from one source
1101 @subsection Different editions from one source
1106 The @code{\tag} command marks music expressions with a name. These
1107 tagged expressions can be filtered out later. With this mechanism it
1108 is possible to make different versions of the same music source.
1110 In the following example, we see two versions of a piece of music, one
1111 for the full score, and one with cue notes for the instrumental part
1127 The same can be applied to articulations, texts, etc.: they are
1130 -\tag #@var{your-tag}
1132 to an articulation, for example,
1137 This defines a note with a conditional fingering indication.
1140 @cindex removeWithTag
1141 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1142 commands, tagged expressions can be filtered. For example,
1146 \keepWithTag #'score @var{the music}
1147 \keepWithTag #'part @var{the music}
1152 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1154 The arguments of the @code{\tag} command should be a symbol
1155 (such as @code{#'score} or @code{#'part}), followed by a
1156 music expression. It is possible to put multiple tags on
1157 a piece of music with multiple @code{\tag} entries,
1160 \tag #'original-part \tag #'transposed-part @dots{}
1166 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1171 Multiple rests are not merged if you create the score with both tagged
1176 @node Orchestral music
1177 @section Orchestral music
1179 Orchestral music involves some special notation, both in the full
1180 score and the individual parts. This section explains how to tackle
1181 some common problems in orchestral music.
1184 * Automatic part combining::
1186 * Quoting other voices::
1187 * Formatting cue notes::
1188 * Aligning to cadenzas::
1192 @node Automatic part combining
1193 @subsection Automatic part combining
1194 @cindex automatic part combining
1195 @cindex part combiner
1197 Automatic part combining is used to merge two parts of music onto a
1198 staff. It is aimed at typesetting orchestral scores. When the two
1199 parts are identical for a period of time, only one is shown. In
1200 places where the two parts differ, they are typeset as separate
1201 voices, and stem directions are set automatically. Also, solo and
1202 @emph{a due} parts are identified and can be marked.
1204 The syntax for part combining is
1207 \partcombine @var{musicexpr1} @var{musicexpr2}
1211 The following example demonstrates the basic functionality of the part
1212 combiner: putting parts on one staff, and setting stem directions and
1215 @lilypond[quote,verbatim,ragged-right,fragment]
1216 \new Staff \partcombine
1217 \relative g' { g g a( b) c c r r }
1218 \relative g' { g g r4 r e e g g }
1221 The first @code{g} appears only once, although it was
1222 specified twice (once in each part). Stem, slur, and tie directions are
1223 set automatically, depending whether there is a solo or unisono. The
1224 first part (with context called @code{one}) always gets up stems, and
1225 `Solo', while the second (called @code{two}) always gets down stems and
1228 If you just want the merging parts, and not the textual markings, you
1229 may set the property @code{printPartCombineTexts} to false
1231 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1233 \set Staff.printPartCombineTexts = ##f
1235 \relative g' { g a( b) r }
1236 \relative g' { g r4 r f }
1240 To change the text that is printed for solos or merging, you may
1241 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1244 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1246 \set Score.soloText = #"ichi"
1247 \set Score.soloIIText = #"ni"
1248 \set Score.aDueText = #"tachi"
1250 \relative g' { g4 g a( b) r }
1251 \relative g' { g4 g r r f }
1255 Both arguments to @code{\partcombine} will be interpreted as
1256 @internalsref{Voice} contexts. If using relative octaves,
1257 @code{\relative} should be specified for both music expressions, i.e.,
1261 \relative @dots{} @var{musicexpr1}
1262 \relative @dots{} @var{musicexpr2}
1266 A @code{\relative} section that is outside of @code{\partcombine} has
1267 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1271 Program reference: @internalsref{PartCombineMusic}.
1275 When @code{printPartCombineTexts} is set, when the two voices play the
1276 same notes on and off, the part combiner may typeset @code{a2} more
1277 than once in a measure.
1279 @code{\partcombine} cannot be inside @code{\times}.
1281 @code{\partcombine} cannot be inside @code{\relative}.
1283 Internally, the @code{\partcombine} interprets both arguments as
1284 @code{Voice}s named @code{one} and @code{two}, and then decides when
1285 the parts can be combined. Consequently, if the arguments switch to
1286 differently named @internalsref{Voice} contexts, the events in those
1291 @subsection Hiding staves
1293 @cindex Frenched scores
1294 @cindex Hiding staves
1296 In orchestral scores, staff lines that only have rests are usually
1297 removed; this saves some space. This style is called `French Score'.
1298 For @internalsref{Lyrics},
1299 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1300 switched on by default. When the lines of these contexts turn out
1301 empty after the line-breaking process, they are removed.
1303 For normal staves, a specialized @internalsref{Staff} context is
1304 available, which does the same: staves containing nothing (or only
1305 multi-measure rests) are removed. The context definition is stored in
1306 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1307 in this example disappears in the second line
1309 @lilypond[quote,ragged-right,verbatim]
1311 \context { \RemoveEmptyStaffContext }
1316 \new Staff { e4 f g a \break c1 }
1317 \new Staff { c4 d e f \break R1 }
1322 The first system shows all staves in full. If empty staves should be
1323 removed from the first system too, set @code{remove-first} to true in
1324 @internalsref{VerticalAxisGroup}.
1327 \override Score.VerticalAxisGroup #'remove-first = ##t
1330 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1331 or @code{\RemoveEmptyRhythmicStaffContext}.
1333 Another application is making ossia sections, i.e., alternative
1334 melodies on a separate piece of staff, with help of a Frenched
1335 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1338 @node Quoting other voices
1339 @subsection Quoting other voices
1341 With quotations, fragments of other parts can be inserted into a part
1342 directly. Before a part can be quoted, it must be marked especially as
1343 quotable. This is done with the @code{\addquote} command.
1346 \addquote @var{name} @var{music}
1351 Here, @var{name} is an identifying string. The @var{music} is any kind
1352 of music. Here is an example of @code{\addquote}
1355 \addquote clarinet \relative c' @{
1360 This command must be entered at toplevel, i.e., outside any music
1363 After calling @code{\addquote}, the quotation may then be done with
1364 @code{\quoteDuring} or @code{\cueDuring},
1367 \quoteDuring #@var{name} @var{music}
1370 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1374 \quoteDuring #"clarinet" @{ s2. @}
1377 This would cite three quarter notes (the duration of @code{s2.}) of
1378 the previously added @code{clarinet} voice.
1381 More precisely, it takes the current time-step of the part being
1382 printed, and extracts the notes at the corresponding point of the
1383 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1384 should be the entire part of the voice to be quoted, including any
1385 rests at the beginning.
1387 Quotations take into account the transposition of both source and target
1388 instruments, if they are specified using the @code{\transposition} command.
1390 @lilypond[quote,ragged-right,verbatim]
1391 \addquote clarinet \relative c' {
1397 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1401 The type of events that are present in cue notes can be trimmed with
1402 the @code{quotedEventTypes} property. The default value is
1403 @code{(note-event rest-event)}, which means that only notes and
1404 rests of the cued voice end up in the @code{\quoteDuring}.
1408 \set Staff.quotedEventTypes =
1409 #'(note-event articulation-event dynamic-event)
1413 will quote notes (but no rests), together with scripts and dynamics.
1417 Only the contents of the first @internalsref{Voice} occurring in an
1418 @code{\addquote} command will be considered for quotation, so
1419 @var{music} can not contain @code{\new} and @code{\context Voice}
1420 statements that would switch to a different Voice.
1422 Quoting grace notes is broken and can even cause LilyPond to crash.
1426 In this manual: @ref{Instrument transpositions}.
1428 Examples: @inputfileref{input/@/regression,quote@/.ly}
1429 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1431 Program reference: @internalsref{QuoteMusic}.
1434 @node Formatting cue notes
1435 @subsection Formatting cue notes
1437 The previous section deals with inserting notes from another voice.
1438 There is a more advanced music function called @code{\cueDuring},
1439 which makes formatting cue notes easier.
1444 \cueDuring #@var{name} #@var{updown} @var{music}
1447 This will insert notes from the part @var{name} into a
1448 @internalsref{Voice} called @code{cue}. This happens simultaneously
1449 with @var{music}, which usually is a rest. When the cue notes start,
1450 the staff in effect becomes polyphonic for a moment. The argument
1451 @var{updown} determines whether the cue notes should be notated as a
1452 first or second voice.
1455 @lilypond[verbatim,ragged-right]
1458 \override Stem #'length-fraction = #0.8
1459 \override Beam #'thickness = #0.384
1460 \override Beam #'length-fraction = #0.8
1463 \addquote clarinet \relative {
1468 \new Staff \relative <<
1470 % setup a context for cue notes.
1471 \new Voice = "cue" { \smaller \skip 1*21 }
1473 \set Score.skipBars = ##t
1477 \cueDuring #"clarinet" #1 {
1486 Here are a couple of hints for successful cue notes
1490 Cue notes have smaller font sizes.
1492 the cued part is marked with the instrument playing the cue.
1494 when the original part takes over again, this should be marked with
1495 the name of the original instrument.
1497 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1499 @c Yes, this is good practice. Otherwise, the start of the original
1500 @c part can only be seen from the font size. This is not good enough
1501 @c for sight-reading. It is possilbe to use other
1502 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1507 Any other changes introduced by the cued part should also be
1508 undone. For example, if the cued instrument plays in a different clef,
1509 the original clef should be stated once again.
1514 @node Aligning to cadenzas
1515 @subsection Aligning to cadenzas
1517 In an orchestral context, cadenzas present a special problem:
1518 when constructing a score that includes a cadenza, all other
1519 instruments should skip just as many notes as the length of the
1520 cadenza, otherwise they will start too soon or too late.
1522 A solution to this problem are the functions @code{mmrest-of-length}
1523 and @code{skip-of-length}. These Scheme functions take a piece of music
1524 as argument, and generate a @code{\skip} or multi-rest, exactly as
1525 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1526 in the following example.
1528 @lilypond[verbatim,ragged-right,quote]
1529 cadenza = \relative c' {
1530 c4 d8 << { e f g } \\ { d4. } >>
1535 \new Staff { \cadenza c'4 }
1537 #(ly:export (mmrest-of-length cadenza))
1546 @node Contemporary notation
1547 @section Contemporary notation
1549 In the 20th century, composers have greatly expanded the musical
1550 vocabulary. With this expansion, many innovations in musical notation
1551 have been tried. The book ``Music Notation in the 20th century'' by
1552 Kurt Stone gives a comprehensive overview (see @ref{Literature
1555 This section describes notation that does
1556 not fit into traditional notation categories, such as pitches,
1557 tuplet beams, and articulation. For contemporary notation
1558 that fits into traditional notation categories, such as
1559 microtones, nested tuplet beams, and unusual fermatas, please
1560 see those sections of the documentation.
1563 @c I don't think we should discourage modern composers who might
1564 @c want to sponsor new features. :)
1565 @c In general, the use of new, innovative notation makes a piece
1566 @c harder to understand and perform and its use should therefore be
1567 @c avoided. For this reason, support for contemporary notation in
1568 @c LilyPond is limited.
1572 * Polymetric notation::
1573 * Time administration::
1574 * Proportional notation::
1576 * Special noteheads::
1582 @node Polymetric notation
1583 @subsection Polymetric notation
1585 Double time signatures are not supported explicitly, but they can be
1586 faked. In the next example, the markup for the time signature is
1587 created with a markup text. This markup text is inserted in the
1588 @internalsref{TimeSignature} grob.
1590 @lilypond[verbatim,ragged-right]
1595 \musicglyph #"scripts.stopped"
1596 \bracket \column { "5" "8" }
1601 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1602 \override Staff.TimeSignature #'text = #tsMarkup
1604 c'2 \bar ":" c'4 c'4.
1608 Each staff can also have its own time signature. This is done by
1609 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1615 \remove "Timing_translator"
1616 \remove "Default_bar_line_engraver"
1620 \consists "Timing_translator"
1621 \consists "Default_bar_line_engraver"
1628 Now, each staff has its own time signature.
1641 c4. c8 c c c4. c8 c c
1646 @lilypond[quote,ragged-right]
1650 \remove "Timing_translator"
1651 \remove "Default_bar_line_engraver"
1654 \consists "Timing_translator"
1655 \consists "Default_bar_line_engraver"
1670 c4. c8 c c c4. c8 c c
1676 A different form of polymetric notation is where note lengths have
1677 different values across staves.
1679 This notation can be created by setting a common time signature for
1680 each staff but replacing it manually using
1681 @code{timeSignatureFraction} to the desired fraction. Then the printed
1682 durations in each staff are scaled to the common time signature.
1683 The latter is done with @code{\compressMusic}, which is used similar
1684 to @code{\times}, but does not create a tuplet bracket. The syntax is
1686 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1691 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1692 used in parallel. In the second staff, shown durations are multiplied by
1693 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1694 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1696 @lilypond[quote,ragged-right,verbatim,fragment]
1704 \set Staff.timeSignatureFraction = #'(9 . 8)
1705 \compressMusic #'(2 . 3)
1706 \repeat unfold 6 { c8[ c c] }
1710 \set Staff.timeSignatureFraction = #'(10 . 8)
1711 \compressMusic #'(3 . 5) {
1712 \repeat unfold 2 { c8[ c c] }
1713 \repeat unfold 2 { c8[ c] }
1714 | c4. c4. \times 2/3 { c8 c c } c4
1725 When using different time signatures in parallel, the spacing is
1726 aligned vertically, but bar lines distort the regular spacing.
1729 @node Time administration
1730 @subsection Time administration
1732 @cindex Time administration
1734 Time is administered by the @internalsref{Time_signature_engraver},
1735 which usually lives in the @internalsref{Score} context. The
1736 bookkeeping deals with the following variables
1739 @item currentBarNumber
1743 The length of the measures in the current time signature. For a 4/4
1744 time this is@tie{}1, and for 6/8 it is 3/4.
1746 @item measurePosition
1747 The point within the measure where we currently are. This quantity
1748 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1749 happens, @code{currentBarNumber} is incremented.
1752 If set to true, the above variables are updated for every time
1753 step. When set to false, the engraver stays in the current measure
1757 Timing can be changed by setting any of these variables explicitly.
1758 In the next example, the 4/4 time signature is printed, but
1759 @code{measureLength} is set to 5/4. After a while, the measure is
1760 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1761 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1762 3/8 arises because 5/4 normally has 10/8, but we have manually
1763 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1765 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1766 \set Score.measureLength = #(ly:make-moment 5 4)
1770 \set Score.measurePosition = #(ly:make-moment 7 8)
1776 As the example illustrates, @code{ly:make-moment n m} constructs a
1777 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is an eighth
1778 note duration and @code{ly:make-moment 7 16} is the duration of
1779 seven sixteenths notes.
1782 @node Proportional notation
1783 @subsection Proportional notation
1784 @cindex Proportional notation
1786 Notes can be spaced proportional to their time-difference by
1787 assigning a duration to @code{proportionalNotationDuration}
1789 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1791 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1792 \new Staff { c8[ c c c c c] c4 c2 r2 }
1793 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1799 @subsection Clusters
1803 A cluster indicates a continuous range of pitches to be played. They
1804 can be denoted as the envelope of a set of notes. They are entered by
1805 applying the function @code{makeClusters} to a sequence of
1807 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1808 \makeClusters { <c e > <b f'> }
1811 The following example (from
1812 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1815 @lilypondfile[ragged-right,quote]{cluster.ly}
1817 Ordinary notes and clusters can be put together in the same staff,
1818 even simultaneously. In such a case no attempt is made to
1819 automatically avoid collisions between ordinary notes and clusters.
1823 Program reference: @internalsref{ClusterSpanner},
1824 @internalsref{ClusterSpannerBeacon},
1825 @internalsref{Cluster_spanner_engraver}.
1827 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1831 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1832 accurately. Use @code{<g a>8 <e a>8} instead.
1835 @node Special noteheads
1836 @subsection Special noteheads
1838 Different noteheads are used by various instruments for various
1839 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1840 notes on guitar; diamonds are used for harmonics on string instruments,
1841 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1842 other notehead styles are produced by tweaking the property
1844 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1846 \override NoteHead #'style = #'cross
1848 \revert NoteHead #'style
1849 e d <c f\harmonic> <d a'\harmonic>
1853 To see all notehead styles, please see
1854 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1859 Program reference: @internalsref{NoteHead}.
1862 @node Feathered beams
1863 @subsection Feathered beams
1865 Feathered beams are not supported natively, but they can be faked by
1866 forcing two beams to overlap. Here is an example,
1868 @c don't change relative setting witout changing positions!
1869 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1874 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1879 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1887 @subsection Improvisation
1889 Improvisation is sometimes denoted with slashed note heads. Such note
1890 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1891 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1895 \set squashedPosition = #0
1896 \override NoteHead #'style = #'slash
1900 switches on the slashes.
1902 There are shortcuts @code{\improvisationOn} (and an accompanying
1903 @code{\improvisationOff}) for this command sequence. They are used in
1904 the following example
1906 @lilypond[verbatim,ragged-right,quote]
1908 \consists Pitch_squash_engraver
1910 e8 e g a a16(bes)(a8) g \improvisationOn
1913 ~fis2 \improvisationOff a16(bes) a8 g e
1918 @node Educational use
1919 @section Educational use
1921 With the amount of control that LilyPond offers, one can make great
1922 teaching tools in addition to great musical scores.
1926 * Blank music sheet::
1928 * Shape note heads ::
1929 * Easy Notation note heads::
1930 * Analysis brackets::
1931 * Coloring objects::
1935 @subsection Balloon help
1937 Elements of notation can be marked and named with the help of a square
1938 balloon. The primary purpose of this feature is to explain notation.
1940 The following example demonstrates its use.
1942 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1945 #(add-balloon-text 'NoteHead "heads, or tails?"
1952 The function @code{add-balloon-text} takes the name of a grob, the
1953 label to print, and the position where to put the label relative to
1954 the object. In the above example, the text ``heads or tails?'' ends
1955 3 spaces below and 1 space to the right of the marked head.
1958 @cindex notation, explaining
1962 Program reference: @internalsref{text-balloon-interface}.
1964 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1969 @node Blank music sheet
1970 @subsection Blank music sheet
1972 A blank music sheet can be produced also by using invisible notes, and
1973 removing @code{Bar_number_engraver}.
1976 @lilypond[quote,verbatim]
1978 \repeat unfold 2 % Change this for more lines.
1983 \override TimeSignature #'transparent = ##t
1984 defaultBarType = #""
1985 \remove Bar_number_engraver
1987 \new Staff \emptymusic
1988 \new TabStaff \emptymusic
1994 @subsection Hidden notes
1996 @cindex Hidden notes
1997 @cindex Invisible notes
1998 @cindex Transparent notes
2000 @cindex @code{\hideNotes}
2001 @cindex @code{\unHideNotes}
2002 Hidden (or invisible or transparent) notes can be useful in preparing theory
2003 or composition exercises.
2005 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2013 Hidden notes are also great for performing weird tricks. For example,
2014 slurs cannot be attached to rests or spacer rests, but you may wish
2015 to include that in your score -- string instruments use this notation
2016 when doing pizzicato to indicate that the note should ring for as long
2019 @lilypond[quote,ragged-right,verbatim,relative=0,fragment]
2022 c4^"pizz"( \hideNotes c)
2023 \unHideNotes c( \hideNotes c)
2030 @node Shape note heads
2031 @subsection Shape note heads
2033 In shape note head notation, the shape of the note head corresponds
2034 to the harmonic function of a note in the scale. This notation was
2035 popular in the 19th century American song books.
2037 Shape note heads can be produced by setting @code{\aikenHeads} or
2038 @code{\sacredHarpHeads}, depending on the style desired.
2040 @lilypond[verbatim,relative=1,fragment]
2047 Shapes are determined on the step in the scale, where the base of the
2048 scale is determined by the @code{\key} command
2051 @findex shapeNoteStyles
2053 @findex \sacredHarpHeads
2055 Shape note heads are implemented through the @code{shapeNoteStyles}
2056 property. Its value is a vector of symbols. The k-th element indicates
2057 the style to use for the k-th step of the scale. Arbitrary
2058 combinations are possible, eg.,
2061 @lilypond[verbatim,relative=1,fragment]
2062 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2067 @node Easy Notation note heads
2068 @subsection Easy Notation note heads
2070 @cindex easy notation
2073 The `easy play' note head includes a note name inside the head. It is
2074 used in music for beginners
2076 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2081 The command @code{\setEasyHeads} overrides settings for the
2082 @internalsref{NoteHead} object. To make the letters readable, it has
2083 to be printed in a large font size. To print with a larger font, see
2084 @ref{Setting global staff size}.
2088 @cindex @code{\setEasyHeads}
2089 @code{\setEasyHeads}
2092 @node Analysis brackets
2093 @subsection Analysis brackets
2095 @cindex phrasing brackets
2096 @cindex musicological analysis
2097 @cindex note grouping bracket
2099 Brackets are used in musical analysis to indicate structure in musical
2100 pieces. LilyPond supports a simple form of nested horizontal
2101 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2102 to @internalsref{Staff} context. A bracket is started with
2103 @code{\startGroup} and closed with @code{\stopGroup}
2105 @lilypond[quote,ragged-right,verbatim]
2108 c4\startGroup\startGroup
2111 c4\stopGroup\stopGroup
2115 \Staff \consists "Horizontal_bracket_engraver"
2121 Program reference: @internalsref{HorizontalBracket}.
2123 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2126 @node Coloring objects
2127 @subsection Coloring objects
2129 Individual objects may be assigned colors. You may use the
2130 color names listed in the @ref{List of colors}.
2132 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2133 \override NoteHead #'color = #red
2135 \override NoteHead #'color = #(x11-color 'LimeGreen)
2137 \override Stem #'color = #blue
2141 The full range of colors defined for X11 can be accessed by using the
2142 scheme function x11-color. The function takes one argument that can be a
2146 \override Beam #'color = #(x11-color 'MediumTurquoise)
2152 \override Beam #'color = #(x11-color "MediumTurquoise")
2155 The first form is quicker to write and is more efficient. However, using
2156 the second form it is possible to access X11 colors by the multi-word
2160 \override Beam #'color = #(x11-color "medium turquoise")
2163 If x11-color cannot make sense of the parameter then the color returned
2164 defaults to black. It should be obvious from the final score that
2167 This example, illustrates the use of x11-color. Notice that the stem
2168 color remains black after being set to (x11-color 'Boggle), which is
2169 deliberate nonsense.
2171 @lilypond[quote,ragged-right,verbatim]
2173 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2174 \set Staff.instrument = \markup {
2175 \with-color #(x11-color 'navy) "Clarinet"
2179 \override Beam #'color = #(x11-color "medium turquoise")
2181 \override NoteHead #'color = #(x11-color "LimeGreen")
2183 \override Stem #'color = #(x11-color 'Boggle)
2191 Appendix: @ref{List of colors}.
2195 Not all x11 colors are distinguishable in a web browser. For web use
2196 normal colors are recommended.
2198 An x11 color is not necessarily exactly the same shade as a similarly
2202 @node Automatic notation
2203 @section Automatic notation
2205 This section describes how to change the way that accidentals and
2206 beams are automatically displayed.
2208 FIXME: this might get moved into Changing Defaults. Please send
2209 opinions to lilypond-devel. Thanks! :)
2212 * Automatic accidentals::
2213 * Setting automatic beam behavior::
2216 @node Automatic accidentals
2217 @subsection Automatic accidentals
2218 @cindex Automatic accidentals
2220 Common rules for typesetting accidentals have been placed in a
2221 function. This function is called as follows
2223 @cindex @code{set-accidental-style}
2225 #(set-accidental-style 'STYLE #('CONTEXT#))
2228 The function can take two arguments: the name of the accidental style,
2229 and an optional argument that denotes the context that should be
2230 changed. If no context name is supplied, @code{Staff} is the default,
2231 but you may wish to apply the accidental style to a single @code{Voice}
2234 The following accidental styles are supported
2237 This is the default typesetting behavior. It corresponds
2238 to 18th century common practice: Accidentals are
2239 remembered to the end of the measure in which they occur and
2240 only on their own octave.
2243 The normal behavior is to remember the accidentals on
2244 Staff-level. This variable, however, typesets accidentals
2245 individually for each voice. Apart from that, the rule is similar to
2248 As a result, accidentals from one voice do not get canceled in other
2249 voices, which is often an unwanted result
2251 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
2253 #(set-accidental-style 'voice)
2260 The @code{voice} option should be used if the voices
2261 are to be read solely by individual musicians. If the staff is to be
2262 used by one musician (e.g., a conductor) then
2263 @code{modern} or @code{modern-cautionary}
2264 should be used instead.
2267 @cindex @code{modern} style accidentals
2268 This rule corresponds to the common practice in the 20th century. This rule
2269 prints the same accidentals as @code{default}, but temporary
2270 accidentals also are canceled in other octaves. Furthermore,
2271 in the same octave, they also get canceled in the following
2274 @lilypond[quote,ragged-right,fragment,verbatim]
2275 #(set-accidental-style 'modern)
2276 cis' c'' cis'2 | c'' c'
2279 @item @code{modern-cautionary}
2280 @cindex @code{modern-cautionary}
2281 This rule is similar to @code{modern}, but the ``extra'' accidentals
2282 (the ones not typeset by @code{default}) are typeset as cautionary
2283 accidentals. They are printed in reduced size or with parentheses
2284 @lilypond[quote,ragged-right,fragment,verbatim]
2285 #(set-accidental-style 'modern-cautionary)
2286 cis' c'' cis'2 | c'' c'
2289 @cindex @code{modern-voice}
2291 This rule is used for multivoice accidentals to be read both by musicians
2292 playing one voice and musicians playing all voices. Accidentals are
2293 typeset for each voice, but they @emph{are} canceled across voices in
2294 the same @internalsref{Staff}.
2296 @cindex @code{modern-voice-cautionary}
2297 @item modern-voice-cautionary
2298 This rule is the same as @code{modern-voice}, but with the extra
2299 accidentals (the ones not typeset by @code{voice}) typeset
2300 as cautionaries. Even though all accidentals typeset by
2301 @code{default} @emph{are} typeset by this variable,
2302 some of them are typeset as cautionaries.
2305 @cindex @code{piano} accidentals
2306 This rule reflects 20th century practice for piano notation. Very similar to
2307 @code{modern} but accidentals also get canceled
2308 across the staves in the same @internalsref{GrandStaff} or
2309 @internalsref{PianoStaff}.
2311 @item piano-cautionary
2312 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2313 Same as @code{#(set-accidental-style 'piano)} but with the extra
2314 accidentals typeset as cautionaries.
2317 @cindex @code{no-reset} accidental style
2318 This is the same as @code{default} but with accidentals lasting
2319 ``forever'' and not only until the next measure
2320 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2321 #(set-accidental-style 'no-reset)
2326 This is sort of the opposite of @code{no-reset}: Accidentals
2327 are not remembered at all---and hence all accidentals are
2328 typeset relative to the key signature, regardless of what was
2331 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2332 #(set-accidental-style 'forget)
2333 \key d\major c4 c cis cis d d dis dis
2340 Program reference: @internalsref{Accidental_engraver},
2341 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2346 Simultaneous notes are considered to be entered in sequential
2347 mode. This means that in a chord the accidentals are typeset as if the
2348 notes in the chord happened once at a time - in the order in which
2349 they appear in the input file.
2351 This is a problem when accidentals in a chord depend on each other,
2352 which does not happen for the default accidental style. The problem
2353 can be solved by manually inserting @code{!} and @code{?} for the
2357 @node Setting automatic beam behavior
2358 @subsection Setting automatic beam behavior
2360 @cindex @code{autoBeamSettings}
2361 @cindex @code{(end * * * *)}
2362 @cindex @code{(begin * * * *)}
2363 @cindex automatic beams, tuning
2364 @cindex tuning automatic beaming
2366 @c [TODO: use \applyContext]
2368 In normal time signatures, automatic beams can start on any note but can
2369 only end in a few positions within the measure: beams can end on a beat,
2370 or at durations specified by the properties in
2371 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2372 consist of a list of rules for where beams can begin and end. The
2373 default @code{autoBeamSettings} rules are defined in
2374 @file{scm/@/auto@/-beam@/.scm}.
2376 In order to add a rule to the list, use
2378 #(override-auto-beam-setting '(be p q n m) a b [context])
2383 @item @code{be} is either "begin" or "end".
2385 @item @code{p/q} is the duration of the note for which you want
2386 to add a rule. A beam is considered to have the duration of its
2387 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2388 have this apply to any beam.
2390 @item @code{n/m} is the time signature to which
2391 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2392 to have this apply in any time signature.
2394 @item @code{a/b} is the position in the bar at which the beam should begin/end.
2396 @item @code{context} is optional, and it specifies the context at which
2397 the change should be made. The default is @code{'Voice}.
2398 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2399 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2403 For example, if automatic beams should always end on the first quarter
2407 #(override-auto-beam-setting '(end * * * *) 1 4)
2410 You can force the beam settings to only take effect on beams whose shortest
2411 note is a certain duration
2413 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2415 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2417 a32 a a a a16 a a a a a |
2418 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2419 a32 a a a a16 a a a a a |
2422 You can force the beam settings to only take effect in certain time
2425 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2427 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2435 You can also remove a previously set beam-ending rule by using
2438 #(revert-auto-beam-setting '(be p q n m) a b [context])
2442 be, p, q, n, m, a, b and context are the same as above. Note that the
2443 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2444 so you can revert rules that you did not explicitly create.
2446 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2448 a16 a a a a a a a a a a a a a a a
2449 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2450 a16 a a a a a a a a a a a a a a a
2453 The rule in a revert-auto-beam-setting statement must exactly match the
2454 original rule. That is, no wildcard expansion is taken into account.
2456 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2458 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2460 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2462 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2468 @c TODO: old material -- not covered by above stuff, I think.
2469 If automatic beams should end on every quarter in 5/4 time, specify
2472 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2473 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2474 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2475 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2479 The same syntax can be used to specify beam starting points. In this
2480 example, automatic beams can only end on a dotted quarter note
2482 #(override-auto-beam-setting '(end * * * *) 3 8)
2483 #(override-auto-beam-setting '(end * * * *) 1 2)
2484 #(override-auto-beam-setting '(end * * * *) 7 8)
2486 In 4/4 time signature, this means that automatic beams could end only on
2487 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2488 3/8, has passed within the measure).
2490 @cindex automatic beam generation
2492 @cindex @code{autoBeaming}
2495 If beams are used to indicate melismata in songs, then automatic
2496 beaming should be switched off with @code{\autoBeamOff}.
2501 @cindex @code{\autoBeamOff}
2502 @code{\autoBeamOff},
2503 @cindex @code{\autoBeamOn}
2509 If a score ends while an automatic beam has not been ended and is
2510 still accepting notes, this last beam will not be typeset at all. The
2511 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2512 >>}. If a polyphonic voice ends while an automatic beam is still
2513 accepting notes, it is not typeset.