1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
20 * Automatic notation::
28 This section explains how to include text (with various formatting) in
38 * Overview of text markup commands::
41 * Other text markup issues::
46 @subsection Text scripts
49 @cindex text items, non-empty
50 @cindex non-empty texts
52 It is possible to place arbitrary strings of text or @ref{Text markup}
53 above or below notes by using a string @code{c^"text"}. By default,
54 these indications do not influence the note spacing, but by using the
55 command @code{\fatText}, the widths will be taken into account
57 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
58 c4^"longtext" \fatText c4_"longlongtext" c4
61 More complex formatting may also be added to a note by using the
63 @lilypond[fragment,raggedright,verbatim,quote]
64 c'4^\markup { bla \bold bla }
67 The @code{\markup} is described in more detail in
73 @cindex @code{\fatText}
75 @cindex @code{\emptyText}
81 In this manual: @ref{Text markup}.
83 Program reference: @internalsref{TextScript}.
87 @subsection Text spanners
91 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
92 are written as text and are extended over many measures with dotted
93 lines. Such texts are created using text spanners; attach
94 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
97 The string to be printed, as well as the style, is set through object
100 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
103 \override TextSpanner #'edge-text = #'("rall " . "")
104 c2\startTextSpan b c\stopTextSpan a
109 @cindex textSpannerUp
110 @code{textSpannerUp},
111 @cindex textSpannerDown
112 @code{textSpannerDown},
113 @cindex textSpannerNeutral
114 @code{textSpannerNeutral}.
119 Program reference: @internalsref{TextSpanner}.
121 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
125 @subsection Text marks
127 @cindex coda on bar line
128 @cindex segno on bar line
129 @cindex fermata on bar line
130 @cindex bar lines, symbols on
133 The @code{\mark} command is primarily used for
134 @ref{Rehearsal marks},
135 but it can also be used to put signs like coda,
136 segno, and fermata on a bar line. Use @code{\markup} to
137 access the appropriate symbol
139 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
140 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
145 @code{\mark} is only typeset above the top stave of the score. If
146 you specify the @code{\mark} command at a bar line, the resulting
147 mark is placed above the bar line. If you specify it in the middle
148 of a bar, the resulting mark is positioned between notes. If it is
149 specified before the beginning of a score line, it is placed
150 before the first note of the line. Finally, if the mark occurs at
151 a line break, the mark will be printed at the
152 beginning of the next line.
153 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
154 @c delete this sentence. -gp
155 If there is no next line, then the mark will not be printed at all.
160 To print the mark at the end of the current line, use
163 \override Score.RehearsalMark
164 #'break-visibility = #begin-of-line-invisible
167 @code{\mark} is often useful for adding text to the end of bar. In
168 such cases, changing the @code{#'self-alignment} is very useful
170 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
171 \override Score.RehearsalMark
172 #'break-visibility = #begin-of-line-invisible
174 \once \override Score.RehearsalMark #'self-alignment-X = #right
175 \mark "D.S. al Fine "
181 Program reference: @internalsref{RehearsalMark}.
185 @subsection Text markup
192 Use @code{\markup} to typeset text. Commands are entered with the
195 @lilypond[quote,verbatim,fragment,relative=1]
197 c1_\markup { hi there }
198 c1^\markup { hi \bold there, is \italic anyone home? }
202 See @ref{Overview of text markup commands} for a list of all
205 @code{\markup} is primarily used for @internalsref{TextScript}s,
206 but it can also be used anywhere text is called in lilypond
208 @lilypond[quote,verbatim]
209 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
212 \override Score.RehearsalMark
213 #'break-visibility = #begin-of-line-invisible
214 \override Score.RehearsalMark #'self-alignment-X = #right
216 \set Staff.instrument = \markup{ \column{ Alto solo } }
217 c2^\markup{ don't be \flat }
219 a2\mark \markup{ \large \bold Fine }
223 \addlyrics { bar, foo \markup{ \italic bar! } }
227 @cindex font switching
229 The markup in the example demonstrates font switching commands. The
230 command @code{\bold} and @code{\italic} apply to the first following
231 word only; to apply a command to more than one word, enclose the
235 \markup @{ \bold @{ hi there @} @}
239 For clarity, you can also do this for single arguments, e.g.,
242 \markup @{ is \italic @{ anyone @} home @}
245 In markup mode you can compose expressions, similar to mathematical
246 expressions, XML documents, and music expressions. You can stack
247 expressions grouped vertically with the command @code{\column}.
248 Similarly, @code{\center-align} aligns texts by their center lines:
250 @lilypond[quote,verbatim,fragment,relative=1]
251 c1^\markup { \column { a bbbb \line { c d } } }
252 c1^\markup { \center-align { a bbbb c } }
253 c1^\markup { \line { a b c } }
256 Lists with no previous command are not kept distinct. The expression
259 \center-align @{ @{ a b @} @{ c d @} @}
267 \center-align @{ a b c d @}
272 To keep lists of words distinct, please use quotes @code{"} or
273 the @code{\line} command
275 @lilypond[quote,verbatim,fragment,relative=1]
277 c4^\markup{ \center-align { on three lines } }
278 c4^\markup{ \center-align { "all one line" } }
279 c4^\markup{ \center-align { { on three lines } } }
280 c4^\markup{ \center-align { \line { on one line } } }
283 Markups can be stored in variables and these variables
284 may be attached to notes, like
286 allegro = \markup @{ \bold \large @{ Allegro @} @}
287 @{ a^\allegro b c d @}
290 Some objects have alignment procedures of their own, which cancel out
291 any effects of alignments applied to their markup arguments as a
292 whole. For example, the @internalsref{RehearsalMark} is horizontally
293 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
299 This manual: @ref{Overview of text markup commands}.
301 Program reference: @internalsref{TextScript}.
303 Init files: @file{scm/@/new@/-markup@/.scm}.
308 Kerning or generation of ligatures is only done when the @TeX{}
309 backend is used. In this case, LilyPond does not account for them so
310 texts will be spaced slightly too wide.
312 Syntax errors for markup mode are confusing.
316 @subsection Text encoding
318 LilyPond uses the Pango library to format multi-lingual texts, and
319 does not perform any input-encoding conversions. This means that any
320 text, be it title, lyric text, or musical instruction containing
321 non-ASCII characters, must be utf-8. Easiest to enter such texts is
322 by using a Unicode-aware editor, and save using utf-8 encoding. Most
323 popular modern editors have utf-8 support, for example, vim, Emacs,
326 Depending on the fonts installed, the following fragment shows Hebrew
333 @lilypondfile[fontload]{utf-8.ly}
335 The @TeX{} backend does not handle encoding specially at all. Strings
336 in the input are put in the output as-is. Extents of text items in the
337 @TeX{} backend, are determined by reading a file created via the
338 @file{texstr} backend,
341 lilypond -b texstr input/les-nereides.ly
342 latex les-nereides.texstr
345 The last command produces @file{les-nereides.textmetrics}, which is
346 read when you execute
349 lilypond -b tex input/les-nereides.ly
352 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
353 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
354 interpreting non-ASCII strings.
359 @inputfileref{input/regression,utf-8.ly}
363 @subsection Nested scores
365 It is possible to nest music inside markups, by adding a @code{\score}
366 block to a markup expression. Such a score must contain a @code{\layout}
369 @lilypond[quote,verbatim,raggedright]
373 \relative { c4 d e f }
382 @node Overview of text markup commands
383 @subsection Overview of text markup commands
385 The following commands can all be used inside @code{\markup @{ @}}.
387 @include markup-commands.tely
391 @subsection Font selection
393 @cindex font selection
394 @cindex font magnification
395 @cindex @code{font-interface}
397 By setting the object properties described below, you can select a
398 font from the preconfigured font families. LilyPond has default
399 support for the feta music fonts. Text fonts are selected through
400 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
401 the sans and typewriter to whatever the Pango installation defaults
406 @item @code{font-encoding}
407 is a symbol that sets layout of the glyphs. This should only be set to
408 select different types of non-text fonts, eg.
410 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
411 standard music font, including ancient glyphs, @code{fetaDynamic} for
412 dynamic signs and @code{fetaNumber} for the number font.
414 @item @code{font-family}
415 is a symbol indicating the general class of the typeface. Supported are
416 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
418 @item @code{font-shape}
419 is a symbol indicating the shape of the font. There are typically
420 several font shapes available for each font family. Choices are
421 @code{italic}, @code{caps}, and @code{upright}.
423 @item @code{font-series}
424 is a symbol indicating the series of the font. There are typically
425 several font series for each font family and shape. Choices are
426 @code{medium} and @code{bold}.
430 Fonts selected in the way sketched above come from a predefined style
431 sheet. If you want to use a font from outside the style sheet,
433 @code{font-name} property,
435 @lilypond[fragment,verbatim]
437 \override Staff.TimeSignature #'font-name = #"Times"
438 \override Staff.TimeSignature #'font-size = #2
441 \override #'(font-name . "Vera Bold")
442 { This text is in Vera Bold }
448 Any font can be used, as long as it is available to Pango/FontConfig.
450 The size of the font may be set with the @code{font-size}
451 property. The resulting size is taken relative to the
452 @code{text-font-size} as defined in the @code{\paper} block.
455 @cindex font magnification
460 Init files: @file{ly/@/declarations@/-init@/.ly} contains hints how new
461 fonts may be added to LilyPond.
464 @node New dynamic marks
465 @subsection New dynamic marks
467 It is possible to print new dynamic marks or text that should be aligned
468 with dynamics. Use @code{make-dynamic-script} to create these marks.
470 @cindex make-dynamic-script
472 @lilypond[quote,verbatim,raggedright]
473 sfzp = #(make-dynamic-script "sfzp")
479 @cindex Dynamics, editorial
480 @cindex Dynamics, parenthesis
482 It is also possible to print dynamics in round parenthesis or square
483 brackets. These are often used for adding editorial dynamics.
485 @lilypond[quote,verbatim,raggedright]
486 rndf = \markup{ \center-align {\line { \bold{\italic (}
487 \dynamic f \bold{\italic )} }} }
488 boxf = \markup{ \bracket { \dynamic f } }
489 { c'1_\rndf c'1_\boxf }
493 @node Other text markup issues
494 @subsection Other text markup issues
496 To use a normal font within a title, you must define it manually
499 #(def-markup-command (normal-font layout props arg) (markup?)
500 "Switch to normal text font"
501 (interpret-markup layout (cons '((font-series . 'medium) (font-shape . 'upright)) props) arg))
504 title = \markup@{ ABCD \normal-font ABCD @}
510 @node Preparing parts
511 @section Preparing parts
513 This section describes various notation that are useful for preparing
517 * Multi measure rests::
522 * Instrument transpositions::
524 * Different editions from one source::
528 @node Multi measure rests
529 @subsection Multi measure rests
531 @cindex multi measure rests
532 @cindex Rests, multi measure
533 @cindex whole rests for a full measure
536 Multi-measure rests are entered using `@code{R}'. It is specifically
537 meant for full bar rests and for entering parts: the rest can expand
538 to fill a score with rests, or it can be printed as a single
539 multi-measure rest. This expansion is controlled by the property
540 @code{Score.skipBars}. If this is set to true, empty measures will not
541 be expanded, and the appropriate number is added automatically
543 @lilypond[quote,raggedright,fragment,verbatim]
544 \time 4/4 r1 | R1 | R1*2
545 \set Score.skipBars = ##t R1*17 R1*4
548 The @code{1} in @code{R1} is similar to the duration notation used for
549 notes. Hence, for time signatures other than 4/4, you must enter other
550 durations. This can be done with augmentation dots or fractions
552 @lilypond[quote,raggedright,fragment,verbatim]
553 \set Score.skipBars = ##t
562 An @code{R} spanning a single measure is printed as either a whole rest
563 or a breve, centered in the measure regardless of the time signature.
565 If there are only a few measures of rest, LilyPond prints ``church rests''
566 (a series of rectangles) in the staff. To replace that with a simple
567 rest, use @code{MultiMeasureRest.expand-limit}.
569 @lilypond[quote,raggedright,fragment,verbatim]
570 \set Score.skipBars = ##t
572 \override MultiMeasureRest #'expand-limit = 1
576 @cindex text on multi-measure rest
577 @cindex script on multi-measure rest
578 @cindex fermata on multi-measure rest
580 Texts can be added to multi-measure rests by using the
581 @var{note}-@code{markup} syntax @ref{Text markup}.
582 A variable (@code{\fermataMarkup}) is provided for
585 @lilypond[quote,raggedright,verbatim,fragment]
586 \set Score.skipBars = ##t
588 R2.*10^\markup { \italic "ad lib." }
592 If you want to have text on the left end of a multi-measure rest,
593 attach the text to a zero-length skip note, i.e.,
603 Program reference: @internalsref{MultiMeasureRestMusicGroup},
604 @internalsref{MultiMeasureRest}.
606 The layout object @internalsref{MultiMeasureRestNumber} is for the
607 default number, and @internalsref{MultiMeasureRestText} for user
613 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
614 over multi-measure rests. And the pitch of multi-measure rests (or
615 staff-centered rests) can not be influenced.
617 @cindex condensing rests
619 There is no way to automatically condense multiple rests into a single
620 multi-measure rest. Multi-measure rests do not take part in rest
623 Be careful when entering multi-measure rests followed by whole
624 notes. The following will enter two notes lasting four measures each
628 When @code{skipBars} is set, the result will look OK, but the bar
629 numbering will be off.
632 @node Metronome marks
633 @subsection Metronome marks
636 @cindex beats per minute
637 @cindex metronome marking
639 Metronome settings can be entered as follows
641 \tempo @var{duration} = @var{per-minute}
644 In the MIDI output, they are interpreted as a tempo change. In the
645 layout output, a metronome marking is printed
646 @cindex @code{\tempo}
647 @lilypond[quote,raggedright,verbatim,fragment]
654 To change the tempo in the MIDI output without printing anything, make
655 the metronome marking invisible
657 \once \override Score.MetronomeMark #'transparent = ##t
660 To print other metronome markings, use these markup commands
661 @lilypond[quote,raggedright,verbatim,relative,fragment]
664 \smaller \general-align #Y #DOWN \note #"16." #1
666 \smaller \general-align #Y #DOWN \note #"8" #1"
671 See @ref{Text markup} for more details.
676 Program reference: @internalsref{MetronomeMark}.
681 Collisions are not checked. If you have notes above the top line of
682 the staff (or notes with articulations, slurs, text, etc), then the
683 metronome marking may be printed on top of musical symbols. If this
684 occurs, increase the padding of the metronome mark to place it
685 further away from the staff.
688 \override Score.MetronomeMark #'padding = #2.5
692 @node Rehearsal marks
693 @subsection Rehearsal marks
695 @cindex Rehearsal marks
698 To print a rehearsal mark, use the @code{\mark} command
700 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
709 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
711 The mark is incremented automatically if you use @code{\mark
712 \default}, but you can also use an integer argument to set the mark
713 manually. The value to use is stored in the property
714 @code{rehearsalMark}.
716 The style is defined by the property @code{markFormatter}. It is a
717 function taking the current mark (an integer) and the current context
718 as argument. It should return a markup object. In the following
719 example, @code{markFormatter} is set to a canned procedure. After a
720 few measures, it is set to function that produces a boxed number.
722 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
723 \set Score.markFormatter = #format-mark-numbers
726 \set Score.markFormatter = #format-mark-box-numbers
732 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
733 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
734 @code{format-mark-letters} and @code{format-mark-box-letters}.
735 These can be used as inspiration for other formatting functions.
740 Program reference: @internalsref{RehearsalMark}.
742 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
743 definition of @code{format-mark-numbers} and
744 @code{format-mark-letters}. They can be used as inspiration for other
745 formatting functions.
747 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
749 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
753 @subsection Bar numbers
756 @cindex measure numbers
757 @cindex @code{currentBarNumber}
759 Bar numbers are printed by default at the start of the line. The
760 number itself is stored in the @code{currentBarNumber} property, which
761 is normally updated automatically for every measure.
763 Bar numbers can be typeset at regular intervals instead of at the
764 beginning of each line. This is illustrated in the following example,
765 whose source is available as
766 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
768 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
770 Bar numbers can be typeset manually by tweaking the
771 @code{markFormatter} property
773 @lilypond[verbatim,raggedright,quote]
775 \set Score.markFormatter
776 = #(lambda (mark context)
779 (number->string (ly:context-property context
780 'currentBarNumber)))))
782 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
786 Bar numbers can be manually changed by setting the
787 @code{Staff.currentBarNumber} property
789 @lilypond[verbatim,raggedright,quote]
791 \repeat unfold 4 {c4 c c c} \break
792 \set Score.currentBarNumber = #50
793 \repeat unfold 4 {c4 c c c}
800 Program reference: @internalsref{BarNumber}.
803 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
804 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
809 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
810 there is one at the top. To solve this, the
811 @code{padding} property of @internalsref{BarNumber} can be
812 used to position the number correctly.
815 @node Instrument names
816 @subsection Instrument names
818 In an orchestral score, instrument names are printed at the left side
821 This can be achieved by setting @internalsref{Staff}.@code{instrument}
822 and @internalsref{Staff}.@code{instr}. This will print a string before
823 the start of the staff. For the first staff, @code{instrument} is
824 used, for the following ones, @code{instr} is used.
826 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
827 \set Staff.instrument = "Ploink "
828 \set Staff.instr = "Plk "
834 You can also use markup texts to construct more complicated instrument
837 @lilypond[quote,fragment,verbatim,raggedright]
838 \set Staff.instrument = \markup {
839 \column { "Clarinetti"
840 \line { "in B" \smaller \flat } } }
844 For longer instrument names, it may be useful to increase the
845 @code{indent} setting in the @code{\layout} block.
849 Program reference: @internalsref{InstrumentName}.
853 When you put a name on a grand staff or piano staff, the width of the
854 brace is not taken into account. You must add extra spaces to the end of
855 the name to avoid a collision.
858 @node Instrument transpositions
859 @subsection Instrument transpositions
861 @cindex transposition, MIDI
862 @cindex transposition, instrument
864 The key of a transposing instrument can also be specified. This
865 applies to many wind instruments, for example, clarinets (B-flat, A, and
866 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
868 The transposition is entered after the keyword @code{\transposition}
871 \transposition bes %% B-flat clarinet
875 This command sets the property @code{instrumentTransposition}. The value of
876 this property is used for MIDI output and quotations. It does not
877 affect how notes are printed in the current staff. To change the printed
878 output, see @ref{Transpose}.
880 The pitch to use for @code{\transposition} should correspond to the
881 transposition of the notes. For example, when entering a score in
882 concert pitch, typically all voices are entered in C, so
883 they should be entered as
896 The command @code{\transposition} should be used when the music is
897 entered from a (transposed) orchestral part. For example, in
898 classical horn parts, the tuning of the instrument is often changed
899 during a piece. When copying the notes from the part, use
900 @code{\transposition}, e.g.,
912 @node Ottava brackets
913 @subsection Ottava brackets
915 `Ottava' brackets introduce an extra transposition of an octave for
916 the staff. They are created by invoking the function
917 @code{set-octavation}
923 @lilypond[quote,raggedright,verbatim,fragment]
933 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
934 (for 15ma) as arguments. Internally the function sets the properties
935 @code{ottavation} (e.g., to @code{"8va"}) and
936 @code{centralCPosition}. For overriding the text of the bracket, set
937 @code{ottavation} after invoking @code{set-octavation}, i.e.,
939 @lilypond[quote,raggedright,verbatim]
942 \set Staff.ottavation = #"8"
950 Program reference: @internalsref{OttavaBracket}.
952 Examples: @inputfileref{input/@/regression,ottava@/.ly},
953 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
958 @code{set-octavation} will get confused when clef changes happen
959 during an octavation bracket.
962 @node Different editions from one source
963 @subsection Different editions from one source
968 The @code{\tag} command marks music expressions with a name. These
969 tagged expressions can be filtered out later. With this mechanism it
970 is possible to make different versions of the same music source.
972 In the following example, we see two versions of a piece of music, one
973 for the full score, and one with cue notes for the instrumental part
989 The same can be applied to articulations, texts, etc.: they are
992 -\tag #@var{your-tag}
994 to an articulation, for example,
999 This defines a note with a conditional fingering indication.
1002 @cindex removeWithTag
1003 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1004 commands, tagged expressions can be filtered. For example,
1008 \keepWithTag #'score @var{the music}
1009 \keepWithTag #'part @var{the music}
1014 @lilypondfile[raggedright,quote]{tag-filter.ly}
1016 The argument of the @code{\tag} command should be a symbol, or a list
1017 of symbols, for example,
1019 \tag #'(original-part transposed-part) @dots{}
1025 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1030 Multiple rests are not merged if you create the score with both tagged
1035 @node Orchestral music
1036 @section Orchestral music
1038 Orchestral music involves some special notation, both in the full
1039 score and the individual parts. This section explains how to tackle
1040 some common problems in orchestral music.
1043 * Automatic part combining::
1045 * Quoting other voices::
1046 * Formatting cue notes::
1047 * Aligning to cadenzas::
1051 @node Automatic part combining
1052 @subsection Automatic part combining
1053 @cindex automatic part combining
1054 @cindex part combiner
1056 Automatic part combining is used to merge two parts of music onto a
1057 staff. It is aimed at typesetting orchestral scores. When the two
1058 parts are identical for a period of time, only one is shown. In
1059 places where the two parts differ, they are typeset as separate
1060 voices, and stem directions are set automatically. Also, solo and
1061 @emph{a due} parts are identified and can be marked.
1063 The syntax for part combining is
1066 \partcombine @var{musicexpr1} @var{musicexpr2}
1070 The following example demonstrates the basic functionality of the part
1071 combiner: putting parts on one staff, and setting stem directions and
1074 @lilypond[quote,verbatim,raggedright,fragment]
1075 \new Staff \partcombine
1076 \relative g' { g g a( b) c c r r }
1077 \relative g' { g g r4 r e e g g }
1080 The first @code{g} appears only once, although it was
1081 specified twice (once in each part). Stem, slur, and tie directions are
1082 set automatically, depending whether there is a solo or unisono. The
1083 first part (with context called @code{one}) always gets up stems, and
1084 `Solo', while the second (called @code{two}) always gets down stems and
1087 If you just want the merging parts, and not the textual markings, you
1088 may set the property @code{printPartCombineTexts} to false
1090 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1092 \set Staff.printPartCombineTexts = ##f
1094 \relative g' { g a( b) r }
1095 \relative g' { g r4 r f }
1099 To change the text that is printed for solos or merging, you may
1100 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1103 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1105 \set Score.soloText = #"ichi"
1106 \set Score.soloIIText = #"ni"
1107 \set Score.aDueText = #"tachi"
1109 \relative g' { g4 g a( b) r }
1110 \relative g' { g4 g r r f }
1114 Both arguments to @code{\partcombine} will be interpreted as
1115 @internalsref{Voice} contexts. If using relative octaves,
1116 @code{\relative} should be specified for both music expressions, i.e.,
1120 \relative @dots{} @var{musicexpr1}
1121 \relative @dots{} @var{musicexpr2}
1125 A @code{\relative} section that is outside of @code{\partcombine} has
1126 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1130 Program reference: @internalsref{PartCombineMusic}.
1134 When @code{printPartCombineTexts} is set, when the two voices play the
1135 same notes on and off, the part combiner may typeset @code{a2} more
1136 than once in a measure.
1138 @code{\partcombine} cannot be inside @code{\times}.
1140 @code{\partcombine} cannot be inside @code{\relative}.
1142 Internally, the @code{\partcombine} interprets both arguments as
1143 @code{Voice}s named @code{one} and @code{two}, and then decides when
1144 the parts can be combined. Consequently, if the arguments switch to
1145 differently named @internalsref{Voice} contexts, the events in those
1150 @subsection Hiding staves
1152 @cindex Frenched scores
1153 @cindex Hiding staves
1155 In orchestral scores, staff lines that only have rests are usually
1156 removed; this saves some space. This style is called `French Score'.
1157 For @internalsref{Lyrics},
1158 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1159 switched on by default. When the lines of these contexts turn out
1160 empty after the line-breaking process, they are removed.
1162 For normal staves, a specialized @internalsref{Staff} context is
1163 available, which does the same: staves containing nothing (or only
1164 multi-measure rests) are removed. The context definition is stored in
1165 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1166 in this example disappears in the second line
1168 @lilypond[quote,raggedright,verbatim]
1170 \context { \RemoveEmptyStaffContext }
1175 \new Staff { e4 f g a \break c1 }
1176 \new Staff { c4 d e f \break R1 }
1181 The first system shows all staves in full. If empty staves should be
1182 removed from the first system too, set @code{remove-first} to true in
1183 @internalsref{RemoveEmptyVerticalGroup}.
1186 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1189 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1190 or @code{\RemoveEmptyRhythmicStaffContext}.
1192 Another application is making ossia sections, i.e., alternative
1193 melodies on a separate piece of staff, with help of a Frenched
1194 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1197 @node Quoting other voices
1198 @subsection Quoting other voices
1200 With quotations, fragments of other parts can be inserted into a part
1201 directly. Before a part can be quoted, it must be marked especially as
1202 quotable. This is done with the @code{\addquote} command.
1205 \addquote @var{name} @var{music}
1210 Here, @var{name} is an identifying string. The @var{music} is any kind
1211 of music. Here is an example of @code{\addquote}
1214 \addquote clarinet \relative c' @{
1219 This command must be entered at toplevel, i.e., outside any music
1222 After calling @code{\addquote}, the quotation may then be done with
1223 @code{\quoteDuring} or @code{\cueDuring},
1226 \quoteDuring #@var{name} @var{music}
1229 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1233 \quoteDuring #"clarinet" @{ s2. @}
1236 This would cite three quarter notes (the duration of @code{s2.}) of
1237 the previously added @code{clarinet} voice.
1240 More precisely, it takes the current time-step of the part being
1241 printed, and extracts the notes at the corresponding point of the
1242 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1243 should be the entire part of the voice to be quoted, including any
1244 rests at the beginning.
1246 Quotations take into account the transposition of both source and target
1247 instruments, if they are specified using the @code{\transposition} command.
1249 @lilypond[quote,raggedright,verbatim]
1250 \addquote clarinet \relative c' {
1256 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1260 The type of events that are present in cue notes can be trimmed with
1261 the @code{quotedEventTypes} property. The default value is
1262 @code{(note-event rest-event)}, which means that only notes and
1263 rests of the cued voice end up in the @code{\quoteDuring}.
1267 \set Staff.quotedEventTypes =
1268 #'(note-event articulation-event dynamic-event)
1272 will quote notes (but no rests), together with scripts and dynamics.
1276 Only the contents of the first @internalsref{Voice} occurring in an
1277 @code{\addquote} command will be considered for quotation, so
1278 @var{music} can not contain @code{\new} and @code{\context Voice}
1279 statements that would switch to a different Voice.
1281 Quoting grace notes is broken and can even cause LilyPond to crash.
1285 In this manual: @ref{Instrument transpositions}.
1287 Examples: @inputfileref{input/@/regression,quote@/.ly}
1288 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1290 Program reference: @internalsref{QuoteMusic}.
1293 @node Formatting cue notes
1294 @subsection Formatting cue notes
1296 The previous section deals with inserting notes from another voice.
1297 There is a more advanced music function called @code{\cueDuring},
1298 which makes formatting cue notes easier.
1303 \cueDuring #@var{name} #@var{updown} @var{music}
1306 This will insert notes from the part @var{name} into a
1307 @internalsref{Voice} called @code{cue}. This happens simultaneously
1308 with @var{music}, which usually is a rest. When the cue notes start,
1309 the staff in effect becomes polyphonic for a moment. The argument
1310 @var{updown} determines whether the cue notes should be notated as a
1311 first or second voice.
1314 @lilypond[verbatim,raggedright]
1317 \override Stem #'length = #5.5
1318 \override Beam #'thickness = #0.384
1319 \override Beam #'space-function =
1320 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1323 \addquote clarinet \relative {
1328 \new Staff \relative <<
1330 % setup a context for cue notes.
1331 \context Voice = cue { \smaller \skip 1*21 }
1333 \set Score.skipBars = ##t
1337 \cueDuring #"clarinet" #1 {
1346 Here are a couple of hints for successful cue notes
1350 Cue notes have smaller font sizes.
1352 the cued part is marked with the instrument playing the cue.
1354 when the original part takes over again, this should be marked with
1355 the name of the original instrument.
1357 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1359 @c Yes, this is good practice. Otherwise, the start of the original
1360 @c part can only be seen from the font size. This is not good enough
1361 @c for sight-reading. It is possilbe to use other
1362 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1367 Any other changes introduced by the cued part should also be
1368 undone. For example, if the cued instrument plays in a different clef,
1369 the original clef should be stated once again.
1374 @node Aligning to cadenzas
1375 @subsection Aligning to cadenzas
1377 In an orchestral context, cadenzas present a special problem:
1378 when constructing a score that includes a cadenza, all other
1379 instruments should skip just as many notes as the length of the
1380 cadenza, otherwise they will start too soon or too late.
1382 A solution to this problem are the functions @code{mmrest-of-length}
1383 and @code{skip-of-length}. These Scheme functions take a piece of music
1384 as argument, and generate a @code{\skip} or multi-rest, exactly as
1385 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1386 in the following example.
1388 @lilypond[verbatim,raggedright,quote]
1389 cadenza = \relative c' {
1390 c4 d8 << { e f g } \\ { d4. } >>
1395 \new Staff { \cadenza c'4 }
1397 #(ly:export (mmrest-of-length cadenza))
1406 @node Contemporary notation
1407 @section Contemporary notation
1409 In the 20th century, composers have greatly expanded the musical
1410 vocabulary. With this expansion, many innovations in musical notation
1411 have been tried. The book ``Music Notation in the 20th century'' by
1412 Kurt Stone gives a comprehensive overview (see @ref{Literature
1413 list}). In general, the use of new, innovative notation makes a piece
1414 harder to understand and perform and its use should therefore be
1415 avoided. For this reason, support for contemporary notation in
1416 LilyPond is limited.
1420 * Polymetric notation::
1421 * Time administration::
1423 * Special fermatas::
1424 * Special noteheads::
1431 @node Polymetric notation
1432 @subsection Polymetric notation
1434 Double time signatures are not supported explicitly, but they can be
1435 faked. In the next example, the markup for the time signature is
1436 created with a markup text. This markup text is inserted in the
1437 @internalsref{TimeSignature} grob.
1439 @lilypond[verbatim,raggedright]
1444 \musicglyph #"scripts.stopped"
1445 \bracket \column { "5" "8" }
1450 \override Staff.TimeSignature #'print-function = #Text_interface::print
1451 \override Staff.TimeSignature #'text = #tsMarkup
1453 c'2 \bar ":" c'4 c'4.
1457 Each staff can also have its own time signature. This is done by
1458 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1464 \remove "Timing_translator"
1465 \remove "Default_bar_line_engraver"
1469 \consists "Timing_translator"
1470 \consists "Default_bar_line_engraver"
1477 Now, each staff has its own time signature.
1490 c4. c8 c c c4. c8 c c
1495 @lilypond[quote,raggedright]
1499 \remove "Timing_translator"
1500 \remove "Default_bar_line_engraver"
1503 \consists "Timing_translator"
1504 \consists "Default_bar_line_engraver"
1519 c4. c8 c c c4. c8 c c
1525 A different form of polymetric notation is where note lengths have
1526 different values across staves.
1528 This notation can be created by setting a common time signature for
1529 each staff but replacing it manually using
1530 @code{timeSignatureFraction} to the desired fraction. Then the printed
1531 durations in each staff are scaled to the common time signature.
1532 The latter is done with @code{\compressMusic}, which is similar to
1533 @code{\times}, but does not create a tuplet bracket.
1536 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1537 used in parallel. In the second staff, shown durations are multiplied by
1538 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1539 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1541 @lilypond[quote,raggedright,verbatim,fragment]
1549 \set Staff.timeSignatureFraction = #'(9 . 8)
1550 \compressMusic #'(2 . 3)
1551 \repeat unfold 6 { c8[ c c] }
1555 \set Staff.timeSignatureFraction = #'(10 . 8)
1556 \compressMusic #'(3 . 5) {
1557 \repeat unfold 2 { c8[ c c] }
1558 \repeat unfold 2 { c8[ c] }
1559 | c4. c4. \times 2/3 { c8 c c } c4
1570 When using different time signatures in parallel, the spacing is
1571 aligned vertically, but bar lines distort the regular spacing.
1574 @node Time administration
1575 @subsection Time administration
1577 @cindex Time administration
1579 Time is administered by the @internalsref{Time_signature_engraver},
1580 which usually lives in the @internalsref{Score} context. The
1581 bookkeeping deals with the following variables
1584 @item currentBarNumber
1588 The length of the measures in the current time signature. For a 4/4
1589 time this is@tie{}1, and for 6/8 it is 3/4.
1591 @item measurePosition
1592 The point within the measure where we currently are. This quantity
1593 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1594 happens, @code{currentBarNumber} is incremented.
1597 If set to true, the above variables are updated for every time
1598 step. When set to false, the engraver stays in the current measure
1602 Timing can be changed by setting any of these variables explicitly.
1603 In the next example, the 4/4 time signature is printed, but
1604 @code{measureLength} is set to 5/4. After a while, the measure is
1605 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1606 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1607 3/8 arises because 5/4 normally has 10/8, but we have manually
1608 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1610 @lilypond[quote,raggedright,verbatim,relative,fragment]
1611 \set Score.measureLength = #(ly:make-moment 5 4)
1615 \set Score.measurePosition = #(ly:make-moment 7 8)
1623 @subsection Clusters
1627 A cluster indicates a continuous range of pitches to be played. They
1628 can be denoted as the envelope of a set of notes. They are entered by
1629 applying the function @code{makeClusters} to a sequence of
1631 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1632 \makeClusters { <c e > <b f'> }
1635 The following example (from
1636 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1639 @lilypondfile[raggedright,quote]{cluster.ly}
1641 Ordinary notes and clusters can be put together in the same staff,
1642 even simultaneously. In such a case no attempt is made to
1643 automatically avoid collisions between ordinary notes and clusters.
1647 Program reference: @internalsref{ClusterSpanner},
1648 @internalsref{ClusterSpannerBeacon},
1649 @internalsref{Cluster_spanner_engraver}.
1651 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1655 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1656 accurately. Use @code{<g a>8 <e a>8} instead.
1660 @node Special fermatas
1661 @subsection Special fermatas
1663 @cindex fermatas, special
1665 In contemporary music notation, special fermata symbols denote breaks
1666 of differing lengths. The following fermatas are supported
1668 @lilypond[quote,raggedright]
1691 \context Lyrics \lyricmode {
1692 \override LyricText #'font-family = #'typewriter
1693 "shortfermata" "fermata" "longfermata" "verylongfermata"
1698 See @ref{Articulations} for general instructions how to apply scripts
1699 such as fermatas to notes.
1702 @node Special noteheads
1703 @subsection Special noteheads
1705 Different noteheads are used by various instruments for various
1706 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1707 notes on guitar; diamonds are used for harmonics on string instruments,
1708 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1709 other notehead styles are produced by tweaking the property
1711 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1713 \override NoteHead #'style = #'cross
1715 \revert NoteHead #'style
1716 e d <c f\harmonic> <d a'\harmonic>
1720 To see all notehead styles, please see
1721 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1726 Program reference: @internalsref{NoteHead}.
1728 @node Pitched trills
1729 @subsection Pitched trills
1731 Trills that should be executed on an explicitly specified pitch can be
1732 typeset with the command @code{pitchedTrill},
1734 @lilypond[raggedright,verbatim,fragment]
1735 \pitchedTrill c'4\startTrillSpan fis
1739 The first argument is the main note. The absolute pitch of the second
1740 is printed as a stemless note head in parentheses.
1744 Relative octave mode ignores the octave of the second argument of
1745 @code{\pitchedTrill}.
1747 @node Feathered beams
1748 @subsection Feathered beams
1750 Feathered beams are not supported natively, but they can be faked by
1751 forcing two beams to overlap. Here is an example,
1753 @c don't change relative setting witout changing positions!
1754 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1759 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1764 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1772 @subsection Improvisation
1774 Improvisation is sometimes denoted with slashed note heads. Such note
1775 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1776 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1780 \set squashedPosition = #0
1781 \override NoteHead #'style = #'slash
1785 switches on the slashes.
1787 There are shortcuts @code{\improvisationOn} (and an accompanying
1788 @code{\improvisationOff}) for this command sequence. They are used in
1789 the following example
1791 @lilypond[verbatim,raggedright,quote]
1793 \consists Pitch_squash_engraver
1795 e8 e g a a16(bes)(a8) g \improvisationOn
1798 ~fis2 \improvisationOff a16(bes) a8 g e
1803 @node Educational use
1804 @section Educational use
1806 With the amount of control that LilyPond offers, one can make great
1807 teaching tools in addition to great musical scores.
1811 * Blank music sheet::
1813 * Shaped note heads ::
1814 * Easy Notation note heads::
1815 * Analysis brackets::
1816 * Coloring objects::
1820 @subsection Balloon help
1822 Elements of notation can be marked and named with the help of a square
1823 balloon. The primary purpose of this feature is to explain notation.
1825 The following example demonstrates its use.
1827 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1830 #(add-balloon-text 'NoteHead "heads, or tails?"
1837 The function @code{add-balloon-text} takes the name of a grob, the
1838 label to print, and the position where to put the label relative to
1839 the object. In the above example, the text ``heads or tails?'' ends
1840 3 spaces below and 1 space to the right of the marked head.
1843 @cindex notation, explaining
1847 Program reference: @internalsref{text-balloon-interface}.
1849 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1854 @node Blank music sheet
1855 @subsection Blank music sheet
1857 A blank music sheet can be produced also by using invisible notes, and
1858 removing @code{Bar_number_engraver}.
1861 @lilypond[quote,verbatim]
1863 \repeat unfold 2 % Change this for more lines.
1868 \override TimeSignature #'transparent = ##t
1869 defaultBarType = #""
1870 \remove Bar_number_engraver
1872 \context Staff \emptymusic
1873 \context TabStaff \emptymusic
1879 @subsection Hidden notes
1881 @cindex Hidden notes
1882 @cindex Invisible notes
1883 @cindex Transparent notes
1885 @cindex @code{\hideNotes}
1886 @cindex @code{\unHideNotes}
1887 Hidden (or invisible or transparent) notes can be useful in preparing theory
1888 or composition exercises.
1890 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1898 Hidden notes are also great for performing weird tricks. For example,
1899 slurs cannot be attached to rests or spacer rests, but you may wish
1900 to include that in your score -- string instruments use this notation
1901 when doing pizzicato to indicate that the note should ring for as long
1904 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1907 c4^"pizz"( \hideNotes c)
1908 \unHideNotes c( \hideNotes c)
1915 @node Shaped note heads
1916 @subsection Shaped note heads
1918 In shaped note head notation, the shape of the note head corresponds
1919 to the harmonic function of a note in the scale. This notation was
1920 popular in the 19th century American song books.
1922 Shaped note heads can be produced by setting @code{\aikenHeads} or
1923 @code{\sacredHarpHeads}, depending on the style desired.
1925 @lilypond[verbatim,relative=1,fragment]
1932 Shapes are determined on the step in the scale, where the base of the
1933 scale is determined by the @code{\key} command
1936 @findex shapeNoteStyles
1938 @findex \sacredHarpHeads
1940 Shaped note heads are implemented through the @code{shapeNoteStyles}
1941 property. Its value is a vector of symbols. The k-th element indicates
1942 the style to use for the k-th step of the scale. Arbitrary
1943 combinations are possible, eg.,
1946 @lilypond[verbatim,relative=1,fragment]
1947 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
1952 @node Easy Notation note heads
1953 @subsection Easy Notation note heads
1955 @cindex easy notation
1958 The `easy play' note head includes a note name inside the head. It is
1959 used in music for beginners
1961 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
1966 The command @code{\setEasyHeads} overrides settings for the
1967 @internalsref{NoteHead} object. To make the letters readable, it has
1968 to be printed in a large font size. To print with a larger font, see
1969 @ref{Setting global staff size}.
1973 @cindex @code{\setEasyHeads}
1974 @code{\setEasyHeads}
1977 @node Analysis brackets
1978 @subsection Analysis brackets
1980 @cindex phrasing brackets
1981 @cindex musicological analysis
1982 @cindex note grouping bracket
1984 Brackets are used in musical analysis to indicate structure in musical
1985 pieces. LilyPond supports a simple form of nested horizontal
1986 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
1987 to @internalsref{Staff} context. A bracket is started with
1988 @code{\startGroup} and closed with @code{\stopGroup}
1990 @lilypond[quote,raggedright,verbatim]
1993 c4\startGroup\startGroup
1996 c4\stopGroup\stopGroup
2000 \Staff \consists "Horizontal_bracket_engraver"
2006 Program reference: @internalsref{HorizontalBracket}.
2008 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2014 I don't think we need this info.
2019 Whenever a note is found, a @internalsref{Stem} object is created
2020 automatically. For whole notes and rests, they are also created but
2025 @cindex @code{\stemUp}
2027 @cindex @code{\stemDown}
2029 @cindex @code{\stemNeutral}
2030 @code{\stemNeutral}.
2035 @node Coloring objects
2036 @subsection Coloring objects
2038 Individual objects may be assigned colors. You may use the
2039 color names listed in the @ref{List of colors}.
2041 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2042 \override NoteHead #'color = #red
2044 \override NoteHead #'color = #(x11-color 'LimeGreen)
2046 \override Stem #'color = #blue
2050 The full range of colors defined for X11 can be accessed by using the
2051 scheme function x11-color. The function takes one argument that can be a
2055 \override Beam #'color = #(x11-color 'MediumTurquoise)
2061 \override Beam #'color = #(x11-color "MediumTurquoise")
2064 The first form is quicker to write and is more efficient. However, using
2065 the second form it is possible to access X11 colors by the multi-word
2069 \override Beam #'color = #(x11-color "medium turquoise")
2072 If x11-color cannot make sense of the parameter then the color returned
2073 defaults to black. It should be obvious from the final score that
2076 This example, illustrates the use of x11-color. Notice that the stem
2077 color remains black after being set to (x11-color 'Boggle), which is
2078 deliberate nonsense.
2080 @lilypond[quote,raggedright,verbatim]
2082 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2083 \set Staff.instrument = \markup {
2084 \with-color #(x11-color 'navy) "Clarinet"
2088 \override Beam #'color = #(x11-color "medium turquoise")
2090 \override NoteHead #'color = #(x11-color "LimeGreen")
2092 \override Stem #'color = #(x11-color 'Boggle)
2100 Appendix: @ref{List of colors}.
2104 Not all x11 colors are distinguishable in a web browser. For web use
2105 normal colors are recommended.
2107 An x11 color is not necessarily exactly the same shade as a similarly
2111 @node Automatic notation
2112 @section Automatic notation
2114 This section describes how to change the way that accidentals and
2115 beams are automatically displayed.
2117 FIXME: this might get moved into Changing Defaults. Please send
2118 opinions to lilypond-devel. Thanks! :)
2121 * Automatic accidentals::
2122 * Setting automatic beam behavior::
2125 @node Automatic accidentals
2126 @subsection Automatic accidentals
2127 @cindex Automatic accidentals
2129 Common rules for typesetting accidentals have been placed in a
2130 function. This function is called as follows
2132 @cindex @code{set-accidental-style}
2134 #(set-accidental-style 'STYLE #('CONTEXT#))
2137 The function can take two arguments: the name of the accidental style,
2138 and an optional argument that denotes the context that should be
2139 changed. If no context name is supplied, @code{Staff} is the default,
2140 but you may wish to apply the accidental style to a single @code{Voice}
2143 The following accidental styles are supported
2146 This is the default typesetting behavior. It corresponds
2147 to 18th century common practice: Accidentals are
2148 remembered to the end of the measure in which they occur and
2149 only on their own octave.
2152 The normal behavior is to remember the accidentals on
2153 Staff-level. This variable, however, typesets accidentals
2154 individually for each voice. Apart from that, the rule is similar to
2157 As a result, accidentals from one voice do not get canceled in other
2158 voices, which is often an unwanted result
2160 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2162 #(set-accidental-style 'voice)
2169 The @code{voice} option should be used if the voices
2170 are to be read solely by individual musicians. If the staff is to be
2171 used by one musician (e.g., a conductor) then
2172 @code{modern} or @code{modern-cautionary}
2173 should be used instead.
2176 @cindex @code{modern} style accidentals
2177 This rule corresponds to the common practice in the 20th century. This rule
2178 prints the same accidentals as @code{default}, but temporary
2179 accidentals also are canceled in other octaves. Furthermore,
2180 in the same octave, they also get canceled in the following
2183 @lilypond[quote,raggedright,fragment,verbatim]
2184 #(set-accidental-style 'modern)
2185 cis' c'' cis'2 | c'' c'
2188 @item @code{modern-cautionary}
2189 @cindex @code{modern-cautionary}
2190 This rule is similar to @code{modern}, but the ``extra'' accidentals
2191 (the ones not typeset by @code{default}) are typeset as cautionary
2192 accidentals. They are printed in reduced size or with parentheses
2193 @lilypond[quote,raggedright,fragment,verbatim]
2194 #(set-accidental-style 'modern-cautionary)
2195 cis' c'' cis'2 | c'' c'
2198 @cindex @code{modern-voice}
2200 This rule is used for multivoice accidentals to be read both by musicians
2201 playing one voice and musicians playing all voices. Accidentals are
2202 typeset for each voice, but they @emph{are} canceled across voices in
2203 the same @internalsref{Staff}.
2205 @cindex @code{modern-voice-cautionary}
2206 @item modern-voice-cautionary
2207 This rule is the same as @code{modern-voice}, but with the extra
2208 accidentals (the ones not typeset by @code{voice}) typeset
2209 as cautionaries. Even though all accidentals typeset by
2210 @code{default} @emph{are} typeset by this variable,
2211 some of them are typeset as cautionaries.
2214 @cindex @code{piano} accidentals
2215 This rule reflects 20th century practice for piano notation. Very similar to
2216 @code{modern} but accidentals also get canceled
2217 across the staves in the same @internalsref{GrandStaff} or
2218 @internalsref{PianoStaff}.
2220 @item piano-cautionary
2221 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2222 Same as @code{#(set-accidental-style 'piano)} but with the extra
2223 accidentals typeset as cautionaries.
2226 @cindex @code{no-reset} accidental style
2227 This is the same as @code{default} but with accidentals lasting
2228 ``forever'' and not only until the next measure
2229 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2230 #(set-accidental-style 'no-reset)
2235 This is sort of the opposite of @code{no-reset}: Accidentals
2236 are not remembered at all---and hence all accidentals are
2237 typeset relative to the key signature, regardless of what was
2240 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2241 #(set-accidental-style 'forget)
2242 \key d\major c4 c cis cis d d dis dis
2249 Program reference: @internalsref{Accidental_engraver},
2250 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2255 Simultaneous notes are considered to be entered in sequential
2256 mode. This means that in a chord the accidentals are typeset as if the
2257 notes in the chord happened once at a time - in the order in which
2258 they appear in the input file.
2260 This is a problem when accidentals in a chord depend on each other,
2261 which does not happen for the default accidental style. The problem
2262 can be solved by manually inserting @code{!} and @code{?} for the
2266 @node Setting automatic beam behavior
2267 @subsection Setting automatic beam behavior
2269 @cindex @code{autoBeamSettings}
2270 @cindex @code{(end * * * *)}
2271 @cindex @code{(begin * * * *)}
2272 @cindex automatic beams, tuning
2273 @cindex tuning automatic beaming
2275 @c [TODO: use \applycontext]
2277 In normal time signatures, automatic beams can start on any note but can
2278 only end in a few positions within the measure: beams can end on a beat,
2279 or at durations specified by the properties in
2280 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2281 consist of a list of rules for where beams can begin and end. The
2282 default @code{autoBeamSettings} rules are defined in
2283 @file{scm/@/auto@/-beam@/.scm}.
2285 In order to add a rule to the list, use
2287 #(override-auto-beam-setting '(be p q n m) a b [context])
2292 @item @code{be} is either "begin" or "end".
2294 @item @code{b/q} is the duration of the note for which you want
2295 to add a rule. A beam is considered to have the duration of its
2296 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2297 have this apply to any beam.
2299 @item @code{n/m} is the position in the time signature to which
2300 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2301 to have this apply in any time signature.
2303 @item @code{a/b} is the position in the bar at which the beam should end.
2305 @item @code{context} is optional, and it specifies the context at which
2306 the change should be made. The default is @code{'Voice}.
2307 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2308 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2312 For example, if automatic beams should always end on the first quarter
2316 #(override-auto-beam-setting '(end * * * *) 1 4)
2319 You can force the beam settings to only take effect on beams whose shortest
2320 note is a certain duration
2322 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2324 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2326 a32 a a a a16 a a a a a |
2327 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2328 a32 a a a a16 a a a a a |
2331 You can force the beam settings to only take effect in certain time
2334 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2336 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2344 You can also remove a previously set beam-ending rule by using
2347 #(revert-auto-beam-setting '(be p q n m) a b [context])
2351 be, p, q, n, m, a, b and context are the same as above. Note that the
2352 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2353 so you can revert rules that you did not explicitly create.
2355 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2357 a16 a a a a a a a a a a a a a a a
2358 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2359 a16 a a a a a a a a a a a a a a a
2362 The rule in a revert-auto-beam-setting statement must exactly match the
2363 original rule. That is, no wildcard expansion is taken into account.
2365 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2367 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2369 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2371 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2377 @c TODO: old material -- not covered by above stuff, I think.
2378 If automatic beams should end on every quarter in 5/4 time, specify
2381 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2382 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2383 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2384 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2388 The same syntax can be used to specify beam starting points. In this
2389 example, automatic beams can only end on a dotted quarter note
2391 #(override-auto-beam-setting '(end * * * *) 3 8)
2392 #(override-auto-beam-setting '(end * * * *) 1 2)
2393 #(override-auto-beam-setting '(end * * * *) 7 8)
2395 In 4/4 time signature, this means that automatic beams could end only on
2396 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2397 3/8, has passed within the measure).
2399 @cindex automatic beam generation
2401 @cindex @code{autoBeaming}
2404 If beams are used to indicate melismata in songs, then automatic
2405 beaming should be switched off with @code{\autoBeamOff}.
2410 @cindex @code{\autoBeamOff}
2411 @code{\autoBeamOff},
2412 @cindex @code{\autoBeamOn}
2418 If a score ends while an automatic beam has not been ended and is
2419 still accepting notes, this last beam will not be typeset at all. The
2420 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2421 >>}. If a polyphonic voice ends while an automatic beam is still
2422 accepting notes, it is not typeset.