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
544 marks. Note that the dynamic font only contains the characters
545 @code{f,m,p,r,s} and @code{z}.
547 @cindex make-dynamic-script
549 @lilypond[quote,verbatim,ragged-right]
550 sfzp = #(make-dynamic-script "sfzp")
556 @cindex Dynamics, editorial
557 @cindex Dynamics, parenthesis
559 It is also possible to print dynamics in round parenthesis or square
560 brackets. These are often used for adding editorial dynamics.
562 @lilypond[quote,verbatim,ragged-right]
563 rndf = \markup{ \center-align {\line { \bold{\italic (}
564 \dynamic f \bold{\italic )} }} }
565 boxf = \markup{ \bracket { \dynamic f } }
566 { c'1_\rndf c'1_\boxf }
571 @node Preparing parts
572 @section Preparing parts
574 This section describes various notation that are useful for preparing
578 * Multi measure rests::
583 * Instrument transpositions::
585 * Different editions from one source::
589 @node Multi measure rests
590 @subsection Multi measure rests
592 @cindex multi measure rests
593 @cindex full measure rests
594 @cindex Rests, multi measure
595 @cindex Rests, full measure
596 @cindex whole rests for a full measure
599 Rests for one full measure (or many bars) are entered using `@code{R}'. It
600 is specifically meant for full bar rests and for entering parts: the rest
601 can expand to fill a score with rests, or it can be printed as a single
602 multi-measure rest. This expansion is controlled by the property
603 @code{Score.skipBars}. If this is set to true, empty measures will not
604 be expanded, and the appropriate number is added automatically
606 @lilypond[quote,ragged-right,fragment,verbatim]
607 \time 4/4 r1 | R1 | R1*2
608 \set Score.skipBars = ##t R1*17 R1*4
611 The @code{1} in @code{R1} is similar to the duration notation used for
612 notes. Hence, for time signatures other than 4/4, you must enter other
613 durations. This can be done with augmentation dots or fractions
615 @lilypond[quote,ragged-right,fragment,verbatim]
616 \set Score.skipBars = ##t
625 An @code{R} spanning a single measure is printed as either a whole rest
626 or a breve, centered in the measure regardless of the time signature.
628 If there are only a few measures of rest, LilyPond prints ``church rests''
629 (a series of rectangles) in the staff. To replace that with a simple
630 rest, use @code{MultiMeasureRest.expand-limit}.
632 @lilypond[quote,ragged-right,fragment,verbatim]
633 \set Score.skipBars = ##t
635 \override MultiMeasureRest #'expand-limit = 1
639 @cindex text on multi-measure rest
640 @cindex script on multi-measure rest
641 @cindex fermata on multi-measure rest
643 Texts can be added to multi-measure rests by using the
644 @var{note}-@code{markup} syntax @ref{Text markup}.
645 A variable (@code{\fermataMarkup}) is provided for
648 @lilypond[quote,ragged-right,verbatim,fragment]
649 \set Score.skipBars = ##t
651 R2.*10^\markup { \italic "ad lib." }
655 Warning! This text is created by @code{MultiMeasureRestText}, not
658 @lilypond[quote,ragged-right,verbatim,fragment]
659 \override TextScript #'padding = #5
661 \override MultiMeasureRestText #'padding = #5
665 If you want to have text on the left end of a multi-measure rest,
666 attach the text to a zero-length skip note, i.e.,
676 Program reference: @internalsref{MultiMeasureRestMusicGroup},
677 @internalsref{MultiMeasureRest}.
679 The layout object @internalsref{MultiMeasureRestNumber} is for the
680 default number, and @internalsref{MultiMeasureRestText} for user
686 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
687 over multi-measure rests. And the pitch of multi-measure rests (or
688 staff-centered rests) can not be influenced.
690 @cindex condensing rests
692 There is no way to automatically condense multiple rests into a single
693 multi-measure rest. Multi-measure rests do not take part in rest
696 Be careful when entering multi-measure rests followed by whole
697 notes. The following will enter two notes lasting four measures each
701 When @code{skipBars} is set, the result will look OK, but the bar
702 numbering will be off.
705 @node Metronome marks
706 @subsection Metronome marks
709 @cindex beats per minute
710 @cindex metronome marking
712 Metronome settings can be entered as follows
714 \tempo @var{duration} = @var{per-minute}
717 In the MIDI output, they are interpreted as a tempo change. In the
718 layout output, a metronome marking is printed
719 @cindex @code{\tempo}
720 @lilypond[quote,ragged-right,verbatim,fragment]
727 To change the tempo in the MIDI output without printing anything, make
728 the metronome marking invisible
730 \once \override Score.MetronomeMark #'transparent = ##t
733 To print other metronome markings, use these markup commands
734 @lilypond[quote,ragged-right,verbatim,relative,fragment]
737 \smaller \general-align #Y #DOWN \note #"16." #1
739 \smaller \general-align #Y #DOWN \note #"8" #1
744 See @ref{Text markup} for more details.
749 Program reference: @internalsref{MetronomeMark}.
754 Collisions are not checked. If you have notes above the top line of
755 the staff (or notes with articulations, slurs, text, etc), then the
756 metronome marking may be printed on top of musical symbols. If this
757 occurs, increase the padding of the metronome mark to place it
758 further away from the staff.
761 \override Score.MetronomeMark #'padding = #2.5
765 @node Rehearsal marks
766 @subsection Rehearsal marks
768 @cindex Rehearsal marks
771 To print a rehearsal mark, use the @code{\mark} command
773 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
782 The letter@tie{}`I' is skipped in accordance with engraving traditions.
783 If you wish to include the letter `I', then use
786 \set Score.markFormatter = #format-mark-alphabet
789 The mark is incremented automatically if you use @code{\mark
790 \default}, but you can also use an integer argument to set the mark
791 manually. The value to use is stored in the property
792 @code{rehearsalMark}.
794 The style is defined by the property @code{markFormatter}. It is a
795 function taking the current mark (an integer) and the current context
796 as argument. It should return a markup object. In the following
797 example, @code{markFormatter} is set to a canned procedure. After a
798 few measures, it is set to function that produces a boxed number.
800 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
801 \set Score.markFormatter = #format-mark-numbers
804 \set Score.markFormatter = #format-mark-box-numbers
810 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
811 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
812 @code{format-mark-letters} and @code{format-mark-box-letters}.
813 These can be used as inspiration for other formatting functions.
815 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
816 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
817 incremented numbers or letters.
822 Program reference: @internalsref{RehearsalMark}.
824 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
825 definition of @code{format-mark-numbers} and
826 @code{format-mark-letters}. They can be used as inspiration for other
827 formatting functions.
829 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
831 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
835 @subsection Bar numbers
838 @cindex measure numbers
839 @cindex @code{currentBarNumber}
841 Bar numbers are printed by default at the start of the line. The
842 number itself is stored in the @code{currentBarNumber} property, which
843 is normally updated automatically for every measure.
845 Bar numbers can be typeset at regular intervals instead of at the
846 beginning of each line. This is illustrated in the following example,
847 whose source is available as
848 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
850 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
852 Bar numbers can be typeset manually by tweaking the
853 @code{markFormatter} property
855 @lilypond[verbatim,ragged-right,quote]
857 \set Score.markFormatter
858 = #(lambda (mark context)
861 (number->string (ly:context-property context
862 'currentBarNumber)))))
864 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
868 Bar numbers can be manually changed by setting the
869 @code{Staff.currentBarNumber} property
871 @lilypond[verbatim,ragged-right,quote]
873 \repeat unfold 4 {c4 c c c} \break
874 \set Score.currentBarNumber = #50
875 \repeat unfold 4 {c4 c c c}
879 Bar numbers can be removed entirely by removing the Bar number
880 engraver from the score.
882 @lilypond[verbatim,ragged-right,quote,relative=2]
886 \remove "Bar_number_engraver"
898 Program reference: @internalsref{BarNumber}.
901 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
902 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
907 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
908 there is one at the top. To solve this, the
909 @code{padding} property of @internalsref{BarNumber} can be
910 used to position the number correctly.
913 @node Instrument names
914 @subsection Instrument names
916 In an orchestral score, instrument names are printed at the left side
919 This can be achieved by setting @internalsref{Staff}.@code{instrument}
920 and @internalsref{Staff}.@code{instr}. This will print a string before
921 the start of the staff. For the first staff, @code{instrument} is
922 used, for the following ones, @code{instr} is used.
924 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
925 \set Staff.instrument = "Ploink "
926 \set Staff.instr = "Plk "
932 You can also use markup texts to construct more complicated instrument
935 @lilypond[quote,fragment,verbatim,ragged-right]
936 \set Staff.instrument = \markup {
937 \column { "Clarinetti"
938 \line { "in B" \smaller \flat } } }
942 If you wish to center the instrument names, you must center all of them
944 @lilypond[quote,verbatim,ragged-right]
947 \set Staff.instrument = \markup {
948 \center-align { "Clarinetti"
949 \line { "in B" \smaller \flat } } }
953 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
960 For longer instrument names, it may be useful to increase the
961 @code{indent} setting in the @code{\layout} block.
963 To center instrument names while leaving extra space to the right,
965 @lilypond[quote,verbatim,ragged-right]
966 \new StaffGroup \relative
969 \set Staff.instrument
970 = \markup { \hcenter-in #10 "blabla" }
974 \set Staff.instrument
975 = \markup { \hcenter-in #10 "blo" }
984 Program reference: @internalsref{InstrumentName}.
988 When you put a name on a grand staff or piano staff, the width of the
989 brace is not taken into account. The following property setting can be
990 used to move the instrument names to the left, in such situations.
993 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
997 @node Instrument transpositions
998 @subsection Instrument transpositions
1000 @cindex transposition, MIDI
1001 @cindex transposition, instrument
1003 The key of a transposing instrument can also be specified. This
1004 applies to many wind instruments, for example, clarinets (B-flat, A, and
1005 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1007 The transposition is entered after the keyword @code{\transposition}
1010 \transposition bes %% B-flat clarinet
1014 This command sets the property @code{instrumentTransposition}. The value of
1015 this property is used for MIDI output and quotations. It does not
1016 affect how notes are printed in the current staff. To change the printed
1017 output, see @ref{Transpose}.
1019 The pitch to use for @code{\transposition} should correspond to the
1020 real sound heard when a @code{c'} written on the staff is played by the
1021 transposing instrument. For example, when entering a score in
1022 concert pitch, typically all voices are entered in C, so
1023 they should be entered as
1036 The command @code{\transposition} should be used when the music is
1037 entered from a (transposed) orchestral part. For example, in
1038 classical horn parts, the tuning of the instrument is often changed
1039 during a piece. When copying the notes from the part, use
1040 @code{\transposition}, e.g.,
1052 @node Ottava brackets
1053 @subsection Ottava brackets
1055 `Ottava' brackets introduce an extra transposition of an octave for
1056 the staff. They are created by invoking the function
1057 @code{set-octavation}
1063 @lilypond[quote,ragged-right,verbatim,fragment]
1073 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1074 (for 15ma) as arguments. Internally the function sets the properties
1075 @code{ottavation} (e.g., to @code{"8va"}) and
1076 @code{centralCPosition}. For overriding the text of the bracket, set
1077 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1079 @lilypond[quote,ragged-right,verbatim]
1082 \set Staff.ottavation = #"8"
1090 Program reference: @internalsref{OttavaBracket}.
1092 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1093 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1098 @code{set-octavation} will get confused when clef changes happen
1099 during an octavation bracket.
1102 @node Different editions from one source
1103 @subsection Different editions from one source
1108 The @code{\tag} command marks music expressions with a name. These
1109 tagged expressions can be filtered out later. With this mechanism it
1110 is possible to make different versions of the same music source.
1112 In the following example, we see two versions of a piece of music, one
1113 for the full score, and one with cue notes for the instrumental part
1129 The same can be applied to articulations, texts, etc.: they are
1132 -\tag #@var{your-tag}
1134 to an articulation, for example,
1139 This defines a note with a conditional fingering indication.
1142 @cindex removeWithTag
1143 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1144 commands, tagged expressions can be filtered. For example,
1148 \keepWithTag #'score @var{the music}
1149 \keepWithTag #'part @var{the music}
1154 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1156 The arguments of the @code{\tag} command should be a symbol
1157 (such as @code{#'score} or @code{#'part}), followed by a
1158 music expression. It is possible to put multiple tags on
1159 a piece of music with multiple @code{\tag} entries,
1162 \tag #'original-part \tag #'transposed-part @dots{}
1168 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1173 Multiple rests are not merged if you create the score with both tagged
1178 @node Orchestral music
1179 @section Orchestral music
1181 Orchestral music involves some special notation, both in the full
1182 score and the individual parts. This section explains how to tackle
1183 some common problems in orchestral music.
1186 * Automatic part combining::
1188 * Quoting other voices::
1189 * Formatting cue notes::
1190 * Aligning to cadenzas::
1194 @node Automatic part combining
1195 @subsection Automatic part combining
1196 @cindex automatic part combining
1197 @cindex part combiner
1199 Automatic part combining is used to merge two parts of music onto a
1200 staff. It is aimed at typesetting orchestral scores. When the two
1201 parts are identical for a period of time, only one is shown. In
1202 places where the two parts differ, they are typeset as separate
1203 voices, and stem directions are set automatically. Also, solo and
1204 @emph{a due} parts are identified and can be marked.
1206 The syntax for part combining is
1209 \partcombine @var{musicexpr1} @var{musicexpr2}
1213 The following example demonstrates the basic functionality of the part
1214 combiner: putting parts on one staff, and setting stem directions and
1217 @lilypond[quote,verbatim,ragged-right,fragment]
1218 \new Staff \partcombine
1219 \relative g' { g g a( b) c c r r }
1220 \relative g' { g g r4 r e e g g }
1223 The first @code{g} appears only once, although it was
1224 specified twice (once in each part). Stem, slur, and tie directions are
1225 set automatically, depending whether there is a solo or unisono. The
1226 first part (with context called @code{one}) always gets up stems, and
1227 `Solo', while the second (called @code{two}) always gets down stems and
1230 If you just want the merging parts, and not the textual markings, you
1231 may set the property @code{printPartCombineTexts} to false
1233 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1235 \set Staff.printPartCombineTexts = ##f
1237 \relative g' { g a( b) r }
1238 \relative g' { g r4 r f }
1242 To change the text that is printed for solos or merging, you may
1243 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1246 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1248 \set Score.soloText = #"ichi"
1249 \set Score.soloIIText = #"ni"
1250 \set Score.aDueText = #"tachi"
1252 \relative g' { g4 g a( b) r }
1253 \relative g' { g4 g r r f }
1257 Both arguments to @code{\partcombine} will be interpreted as
1258 @internalsref{Voice} contexts. If using relative octaves,
1259 @code{\relative} should be specified for both music expressions, i.e.,
1263 \relative @dots{} @var{musicexpr1}
1264 \relative @dots{} @var{musicexpr2}
1268 A @code{\relative} section that is outside of @code{\partcombine} has
1269 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1273 Program reference: @internalsref{PartCombineMusic}.
1277 When @code{printPartCombineTexts} is set, when the two voices play the
1278 same notes on and off, the part combiner may typeset @code{a2} more
1279 than once in a measure.
1281 @code{\partcombine} cannot be inside @code{\times}.
1283 @code{\partcombine} cannot be inside @code{\relative}.
1285 Internally, the @code{\partcombine} interprets both arguments as
1286 @code{Voice}s named @code{one} and @code{two}, and then decides when
1287 the parts can be combined. Consequently, if the arguments switch to
1288 differently named @internalsref{Voice} contexts, the events in those
1293 @subsection Hiding staves
1295 @cindex Frenched scores
1296 @cindex Hiding staves
1298 In orchestral scores, staff lines that only have rests are usually
1299 removed; this saves some space. This style is called `French Score'.
1300 For @internalsref{Lyrics},
1301 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1302 switched on by default. When the lines of these contexts turn out
1303 empty after the line-breaking process, they are removed.
1305 For normal staves, a specialized @internalsref{Staff} context is
1306 available, which does the same: staves containing nothing (or only
1307 multi-measure rests) are removed. The context definition is stored in
1308 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1309 in this example disappears in the second line
1311 @lilypond[quote,ragged-right,verbatim]
1313 \context { \RemoveEmptyStaffContext }
1318 \new Staff { e4 f g a \break c1 }
1319 \new Staff { c4 d e f \break R1 }
1324 The first system shows all staves in full. If empty staves should be
1325 removed from the first system too, set @code{remove-first} to true in
1326 @internalsref{VerticalAxisGroup}.
1329 \override Score.VerticalAxisGroup #'remove-first = ##t
1332 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1333 or @code{\RemoveEmptyRhythmicStaffContext}.
1335 Another application is making ossia sections, i.e., alternative
1336 melodies on a separate piece of staff, with help of a Frenched
1337 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1340 @node Quoting other voices
1341 @subsection Quoting other voices
1343 With quotations, fragments of other parts can be inserted into a part
1344 directly. Before a part can be quoted, it must be marked especially as
1345 quotable. This is done with the @code{\addquote} command.
1348 \addquote @var{name} @var{music}
1353 Here, @var{name} is an identifying string. The @var{music} is any kind
1354 of music. Here is an example of @code{\addquote}
1357 \addquote clarinet \relative c' @{
1362 This command must be entered at toplevel, i.e., outside any music
1365 After calling @code{\addquote}, the quotation may then be done with
1366 @code{\quoteDuring} or @code{\cueDuring},
1369 \quoteDuring #@var{name} @var{music}
1372 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1376 \quoteDuring #"clarinet" @{ s2. @}
1379 This would cite three quarter notes (the duration of @code{s2.}) of
1380 the previously added @code{clarinet} voice.
1383 More precisely, it takes the current time-step of the part being
1384 printed, and extracts the notes at the corresponding point of the
1385 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1386 should be the entire part of the voice to be quoted, including any
1387 rests at the beginning.
1389 Quotations take into account the transposition of both source and target
1390 instruments, if they are specified using the @code{\transposition} command.
1392 @lilypond[quote,ragged-right,verbatim]
1393 \addquote clarinet \relative c' {
1399 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1403 The type of events that are present in cue notes can be trimmed with
1404 the @code{quotedEventTypes} property. The default value is
1405 @code{(note-event rest-event)}, which means that only notes and
1406 rests of the cued voice end up in the @code{\quoteDuring}.
1410 \set Staff.quotedEventTypes =
1411 #'(note-event articulation-event dynamic-event)
1415 will quote notes (but no rests), together with scripts and dynamics.
1419 Only the contents of the first @internalsref{Voice} occurring in an
1420 @code{\addquote} command will be considered for quotation, so
1421 @var{music} can not contain @code{\new} and @code{\context Voice}
1422 statements that would switch to a different Voice.
1424 Quoting grace notes is broken and can even cause LilyPond to crash.
1428 In this manual: @ref{Instrument transpositions}.
1430 Examples: @inputfileref{input/@/regression,quote@/.ly}
1431 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1433 Program reference: @internalsref{QuoteMusic}.
1436 @node Formatting cue notes
1437 @subsection Formatting cue notes
1439 The previous section deals with inserting notes from another voice.
1440 There is a more advanced music function called @code{\cueDuring},
1441 which makes formatting cue notes easier.
1446 \cueDuring #@var{name} #@var{updown} @var{music}
1449 This will insert notes from the part @var{name} into a
1450 @internalsref{Voice} called @code{cue}. This happens simultaneously
1451 with @var{music}, which usually is a rest. When the cue notes start,
1452 the staff in effect becomes polyphonic for a moment. The argument
1453 @var{updown} determines whether the cue notes should be notated as a
1454 first or second voice.
1457 @lilypond[verbatim,ragged-right]
1460 \override Stem #'length-fraction = #0.8
1461 \override Beam #'thickness = #0.384
1462 \override Beam #'length-fraction = #0.8
1465 \addquote clarinet \relative {
1470 \new Staff \relative <<
1472 % setup a context for cue notes.
1473 \new Voice = "cue" { \smaller \skip 1*21 }
1475 \set Score.skipBars = ##t
1479 \cueDuring #"clarinet" #1 {
1488 Here are a couple of hints for successful cue notes
1492 Cue notes have smaller font sizes.
1494 the cued part is marked with the instrument playing the cue.
1496 when the original part takes over again, this should be marked with
1497 the name of the original instrument.
1499 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1501 @c Yes, this is good practice. Otherwise, the start of the original
1502 @c part can only be seen from the font size. This is not good enough
1503 @c for sight-reading. It is possilbe to use other
1504 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1509 Any other changes introduced by the cued part should also be
1510 undone. For example, if the cued instrument plays in a different clef,
1511 the original clef should be stated once again.
1516 @node Aligning to cadenzas
1517 @subsection Aligning to cadenzas
1519 In an orchestral context, cadenzas present a special problem:
1520 when constructing a score that includes a cadenza, all other
1521 instruments should skip just as many notes as the length of the
1522 cadenza, otherwise they will start too soon or too late.
1524 A solution to this problem are the functions @code{mmrest-of-length}
1525 and @code{skip-of-length}. These Scheme functions take a piece of music
1526 as argument, and generate a @code{\skip} or multi-rest, exactly as
1527 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1528 in the following example.
1530 @lilypond[verbatim,ragged-right,quote]
1531 cadenza = \relative c' {
1532 c4 d8 << { e f g } \\ { d4. } >>
1537 \new Staff { \cadenza c'4 }
1539 #(ly:export (mmrest-of-length cadenza))
1548 @node Contemporary notation
1549 @section Contemporary notation
1551 In the 20th century, composers have greatly expanded the musical
1552 vocabulary. With this expansion, many innovations in musical notation
1553 have been tried. The book ``Music Notation in the 20th century'' by
1554 Kurt Stone gives a comprehensive overview (see @ref{Literature
1557 This section describes notation that does
1558 not fit into traditional notation categories, such as pitches,
1559 tuplet beams, and articulation. For contemporary notation
1560 that fits into traditional notation categories, such as
1561 microtones, nested tuplet beams, and unusual fermatas, please
1562 see those sections of the documentation.
1565 @c I don't think we should discourage modern composers who might
1566 @c want to sponsor new features. :)
1567 @c In general, the use of new, innovative notation makes a piece
1568 @c harder to understand and perform and its use should therefore be
1569 @c avoided. For this reason, support for contemporary notation in
1570 @c LilyPond is limited.
1574 * Polymetric notation::
1575 * Time administration::
1576 * Proportional notation::
1578 * Special noteheads::
1584 @node Polymetric notation
1585 @subsection Polymetric notation
1587 Double time signatures are not supported explicitly, but they can be
1588 faked. In the next example, the markup for the time signature is
1589 created with a markup text. This markup text is inserted in the
1590 @internalsref{TimeSignature} grob.
1592 @lilypond[verbatim,ragged-right]
1597 \musicglyph #"scripts.stopped"
1598 \bracket \column { "5" "8" }
1603 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1604 \override Staff.TimeSignature #'text = #tsMarkup
1606 c'2 \bar ":" c'4 c'4.
1610 Each staff can also have its own time signature. This is done by
1611 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1617 \remove "Timing_translator"
1618 \remove "Default_bar_line_engraver"
1622 \consists "Timing_translator"
1623 \consists "Default_bar_line_engraver"
1630 Now, each staff has its own time signature.
1643 c4. c8 c c c4. c8 c c
1648 @lilypond[quote,ragged-right]
1652 \remove "Timing_translator"
1653 \remove "Default_bar_line_engraver"
1656 \consists "Timing_translator"
1657 \consists "Default_bar_line_engraver"
1672 c4. c8 c c c4. c8 c c
1678 A different form of polymetric notation is where note lengths have
1679 different values across staves.
1681 This notation can be created by setting a common time signature for
1682 each staff but replacing it manually using
1683 @code{timeSignatureFraction} to the desired fraction. Then the printed
1684 durations in each staff are scaled to the common time signature.
1685 The latter is done with @code{\compressMusic}, which is used similar
1686 to @code{\times}, but does not create a tuplet bracket. The syntax is
1688 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1693 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1694 used in parallel. In the second staff, shown durations are multiplied by
1695 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1696 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1698 @lilypond[quote,ragged-right,verbatim,fragment]
1706 \set Staff.timeSignatureFraction = #'(9 . 8)
1707 \compressMusic #'(2 . 3)
1708 \repeat unfold 6 { c8[ c c] }
1712 \set Staff.timeSignatureFraction = #'(10 . 8)
1713 \compressMusic #'(3 . 5) {
1714 \repeat unfold 2 { c8[ c c] }
1715 \repeat unfold 2 { c8[ c] }
1716 | c4. c4. \times 2/3 { c8 c c } c4
1727 When using different time signatures in parallel, the spacing is
1728 aligned vertically, but bar lines distort the regular spacing.
1731 @node Time administration
1732 @subsection Time administration
1734 @cindex Time administration
1736 Time is administered by the @internalsref{Time_signature_engraver},
1737 which usually lives in the @internalsref{Score} context. The
1738 bookkeeping deals with the following variables
1741 @item currentBarNumber
1745 The length of the measures in the current time signature. For a 4/4
1746 time this is@tie{}1, and for 6/8 it is 3/4.
1748 @item measurePosition
1749 The point within the measure where we currently are. This quantity
1750 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1751 happens, @code{currentBarNumber} is incremented.
1754 If set to true, the above variables are updated for every time
1755 step. When set to false, the engraver stays in the current measure
1759 Timing can be changed by setting any of these variables explicitly.
1760 In the next example, the 4/4 time signature is printed, but
1761 @code{measureLength} is set to 5/4. After a while, the measure is
1762 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1763 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1764 3/8 arises because 5/4 normally has 10/8, but we have manually
1765 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1767 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1768 \set Score.measureLength = #(ly:make-moment 5 4)
1772 \set Score.measurePosition = #(ly:make-moment 7 8)
1778 As the example illustrates, @code{ly:make-moment n m} constructs a
1779 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is an eighth
1780 note duration and @code{ly:make-moment 7 16} is the duration of
1781 seven sixteenths notes.
1784 @node Proportional notation
1785 @subsection Proportional notation
1786 @cindex Proportional notation
1788 Notes can be spaced proportional to their time-difference by
1789 assigning a duration to @code{proportionalNotationDuration}
1791 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1793 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1794 \new Staff { c8[ c c c c c] c4 c2 r2 }
1795 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1801 @subsection Clusters
1805 A cluster indicates a continuous range of pitches to be played. They
1806 can be denoted as the envelope of a set of notes. They are entered by
1807 applying the function @code{makeClusters} to a sequence of
1809 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1810 \makeClusters { <c e > <b f'> }
1813 The following example (from
1814 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1817 @lilypondfile[ragged-right,quote]{cluster.ly}
1819 Ordinary notes and clusters can be put together in the same staff,
1820 even simultaneously. In such a case no attempt is made to
1821 automatically avoid collisions between ordinary notes and clusters.
1825 Program reference: @internalsref{ClusterSpanner},
1826 @internalsref{ClusterSpannerBeacon},
1827 @internalsref{Cluster_spanner_engraver}.
1829 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1833 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1834 accurately. Use @code{<g a>8 <e a>8} instead.
1837 @node Special noteheads
1838 @subsection Special noteheads
1840 Different noteheads are used by various instruments for various
1841 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1842 notes on guitar; diamonds are used for harmonics on string instruments,
1843 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1844 other notehead styles are produced by tweaking the property
1846 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1848 \override NoteHead #'style = #'cross
1850 \revert NoteHead #'style
1851 e d <c f\harmonic> <d a'\harmonic>
1855 To see all notehead styles, please see
1856 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1861 Program reference: @internalsref{NoteHead}.
1864 @node Feathered beams
1865 @subsection Feathered beams
1867 Feathered beams are not supported natively, but they can be faked by
1868 forcing two beams to overlap. Here is an example,
1870 @c don't change relative setting witout changing positions!
1871 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1876 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1881 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1889 @subsection Improvisation
1891 Improvisation is sometimes denoted with slashed note heads. Such note
1892 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1893 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1897 \set squashedPosition = #0
1898 \override NoteHead #'style = #'slash
1902 switches on the slashes.
1904 There are shortcuts @code{\improvisationOn} (and an accompanying
1905 @code{\improvisationOff}) for this command sequence. They are used in
1906 the following example
1908 @lilypond[verbatim,ragged-right,quote]
1910 \consists Pitch_squash_engraver
1912 e8 e g a a16(bes)(a8) g \improvisationOn
1915 ~fis2 \improvisationOff a16(bes) a8 g e
1920 @node Educational use
1921 @section Educational use
1923 With the amount of control that LilyPond offers, one can make great
1924 teaching tools in addition to great musical scores.
1928 * Blank music sheet::
1930 * Shape note heads ::
1931 * Easy Notation note heads::
1932 * Analysis brackets::
1933 * Coloring objects::
1937 @subsection Balloon help
1939 Elements of notation can be marked and named with the help of a square
1940 balloon. The primary purpose of this feature is to explain notation.
1942 The following example demonstrates its use.
1944 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1947 #(add-balloon-text 'NoteHead "heads, or tails?"
1954 The function @code{add-balloon-text} takes the name of a grob, the
1955 label to print, and the position where to put the label relative to
1956 the object. In the above example, the text ``heads or tails?'' ends
1957 3 spaces below and 1 space to the right of the marked head.
1960 @cindex notation, explaining
1964 Program reference: @internalsref{text-balloon-interface}.
1966 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1971 @node Blank music sheet
1972 @subsection Blank music sheet
1974 A blank music sheet can be produced also by using invisible notes, and
1975 removing @code{Bar_number_engraver}.
1978 @lilypond[quote,verbatim]
1980 \repeat unfold 2 % Change this for more lines.
1985 \override TimeSignature #'transparent = ##t
1986 defaultBarType = #""
1987 \remove Bar_number_engraver
1989 \new Staff \emptymusic
1990 \new TabStaff \emptymusic
1996 @subsection Hidden notes
1998 @cindex Hidden notes
1999 @cindex Invisible notes
2000 @cindex Transparent notes
2002 @cindex @code{\hideNotes}
2003 @cindex @code{\unHideNotes}
2004 Hidden (or invisible or transparent) notes can be useful in preparing theory
2005 or composition exercises.
2007 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2016 @node Shape note heads
2017 @subsection Shape note heads
2019 In shape note head notation, the shape of the note head corresponds
2020 to the harmonic function of a note in the scale. This notation was
2021 popular in the 19th century American song books.
2023 Shape note heads can be produced by setting @code{\aikenHeads} or
2024 @code{\sacredHarpHeads}, depending on the style desired.
2026 @lilypond[verbatim,relative=1,fragment]
2033 Shapes are determined on the step in the scale, where the base of the
2034 scale is determined by the @code{\key} command
2037 @findex shapeNoteStyles
2039 @findex \sacredHarpHeads
2041 Shape note heads are implemented through the @code{shapeNoteStyles}
2042 property. Its value is a vector of symbols. The k-th element indicates
2043 the style to use for the k-th step of the scale. Arbitrary
2044 combinations are possible, eg.,
2047 @lilypond[verbatim,relative=1,fragment]
2048 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2053 @node Easy Notation note heads
2054 @subsection Easy Notation note heads
2056 @cindex easy notation
2059 The `easy play' note head includes a note name inside the head. It is
2060 used in music for beginners
2062 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2067 The command @code{\setEasyHeads} overrides settings for the
2068 @internalsref{NoteHead} object. To make the letters readable, it has
2069 to be printed in a large font size. To print with a larger font, see
2070 @ref{Setting global staff size}.
2074 @cindex @code{\setEasyHeads}
2075 @code{\setEasyHeads}
2078 @node Analysis brackets
2079 @subsection Analysis brackets
2081 @cindex phrasing brackets
2082 @cindex musicological analysis
2083 @cindex note grouping bracket
2085 Brackets are used in musical analysis to indicate structure in musical
2086 pieces. LilyPond supports a simple form of nested horizontal
2087 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2088 to @internalsref{Staff} context. A bracket is started with
2089 @code{\startGroup} and closed with @code{\stopGroup}
2091 @lilypond[quote,ragged-right,verbatim]
2094 c4\startGroup\startGroup
2097 c4\stopGroup\stopGroup
2101 \Staff \consists "Horizontal_bracket_engraver"
2107 Program reference: @internalsref{HorizontalBracket}.
2109 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2112 @node Coloring objects
2113 @subsection Coloring objects
2115 Individual objects may be assigned colors. You may use the
2116 color names listed in the @ref{List of colors}.
2118 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2119 \override NoteHead #'color = #red
2121 \override NoteHead #'color = #(x11-color 'LimeGreen)
2123 \override Stem #'color = #blue
2127 The full range of colors defined for X11 can be accessed by using the
2128 scheme function x11-color. The function takes one argument that can be a
2132 \override Beam #'color = #(x11-color 'MediumTurquoise)
2138 \override Beam #'color = #(x11-color "MediumTurquoise")
2141 The first form is quicker to write and is more efficient. However, using
2142 the second form it is possible to access X11 colors by the multi-word
2146 \override Beam #'color = #(x11-color "medium turquoise")
2149 If x11-color cannot make sense of the parameter then the color returned
2150 defaults to black. It should be obvious from the final score that
2153 This example, illustrates the use of x11-color. Notice that the stem
2154 color remains black after being set to (x11-color 'Boggle), which is
2155 deliberate nonsense.
2157 @lilypond[quote,ragged-right,verbatim]
2159 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2160 \set Staff.instrument = \markup {
2161 \with-color #(x11-color 'navy) "Clarinet"
2165 \override Beam #'color = #(x11-color "medium turquoise")
2167 \override NoteHead #'color = #(x11-color "LimeGreen")
2169 \override Stem #'color = #(x11-color 'Boggle)
2177 Appendix: @ref{List of colors}.
2181 Not all x11 colors are distinguishable in a web browser. For web use
2182 normal colors are recommended.
2184 An x11 color is not necessarily exactly the same shade as a similarly
2188 @node Automatic notation
2189 @section Automatic notation
2191 This section describes how to change the way that accidentals and
2192 beams are automatically displayed.
2194 FIXME: this might get moved into Changing Defaults. Please send
2195 opinions to lilypond-devel. Thanks! :)
2198 * Automatic accidentals::
2199 * Setting automatic beam behavior::
2202 @node Automatic accidentals
2203 @subsection Automatic accidentals
2204 @cindex Automatic accidentals
2206 Common rules for typesetting accidentals have been placed in a
2207 function. This function is called as follows
2209 @cindex @code{set-accidental-style}
2211 #(set-accidental-style 'STYLE #('CONTEXT#))
2214 The function can take two arguments: the name of the accidental style,
2215 and an optional argument that denotes the context that should be
2216 changed. If no context name is supplied, @code{Staff} is the default,
2217 but you may wish to apply the accidental style to a single @code{Voice}
2220 The following accidental styles are supported
2223 This is the default typesetting behavior. It corresponds
2224 to 18th century common practice: Accidentals are
2225 remembered to the end of the measure in which they occur and
2226 only on their own octave.
2229 The normal behavior is to remember the accidentals on
2230 Staff-level. This variable, however, typesets accidentals
2231 individually for each voice. Apart from that, the rule is similar to
2234 As a result, accidentals from one voice do not get canceled in other
2235 voices, which is often an unwanted result
2237 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
2239 #(set-accidental-style 'voice)
2246 The @code{voice} option should be used if the voices
2247 are to be read solely by individual musicians. If the staff is to be
2248 used by one musician (e.g., a conductor) then
2249 @code{modern} or @code{modern-cautionary}
2250 should be used instead.
2253 @cindex @code{modern} style accidentals
2254 This rule corresponds to the common practice in the 20th century. This rule
2255 prints the same accidentals as @code{default}, but temporary
2256 accidentals also are canceled in other octaves. Furthermore,
2257 in the same octave, they also get canceled in the following
2260 @lilypond[quote,ragged-right,fragment,verbatim]
2261 #(set-accidental-style 'modern)
2262 cis' c'' cis'2 | c'' c'
2265 @item @code{modern-cautionary}
2266 @cindex @code{modern-cautionary}
2267 This rule is similar to @code{modern}, but the ``extra'' accidentals
2268 (the ones not typeset by @code{default}) are typeset as cautionary
2269 accidentals. They are printed in reduced size or with parentheses
2270 @lilypond[quote,ragged-right,fragment,verbatim]
2271 #(set-accidental-style 'modern-cautionary)
2272 cis' c'' cis'2 | c'' c'
2275 @cindex @code{modern-voice}
2277 This rule is used for multivoice accidentals to be read both by musicians
2278 playing one voice and musicians playing all voices. Accidentals are
2279 typeset for each voice, but they @emph{are} canceled across voices in
2280 the same @internalsref{Staff}.
2282 @cindex @code{modern-voice-cautionary}
2283 @item modern-voice-cautionary
2284 This rule is the same as @code{modern-voice}, but with the extra
2285 accidentals (the ones not typeset by @code{voice}) typeset
2286 as cautionaries. Even though all accidentals typeset by
2287 @code{default} @emph{are} typeset by this variable,
2288 some of them are typeset as cautionaries.
2291 @cindex @code{piano} accidentals
2292 This rule reflects 20th century practice for piano notation. Very similar to
2293 @code{modern} but accidentals also get canceled
2294 across the staves in the same @internalsref{GrandStaff} or
2295 @internalsref{PianoStaff}.
2297 @item piano-cautionary
2298 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2299 Same as @code{#(set-accidental-style 'piano)} but with the extra
2300 accidentals typeset as cautionaries.
2303 @cindex @code{no-reset} accidental style
2304 This is the same as @code{default} but with accidentals lasting
2305 ``forever'' and not only until the next measure
2306 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2307 #(set-accidental-style 'no-reset)
2312 This is sort of the opposite of @code{no-reset}: Accidentals
2313 are not remembered at all---and hence all accidentals are
2314 typeset relative to the key signature, regardless of what was
2317 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2318 #(set-accidental-style 'forget)
2319 \key d\major c4 c cis cis d d dis dis
2326 Program reference: @internalsref{Accidental_engraver},
2327 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2332 Simultaneous notes are considered to be entered in sequential
2333 mode. This means that in a chord the accidentals are typeset as if the
2334 notes in the chord happened once at a time - in the order in which
2335 they appear in the input file.
2337 This is a problem when accidentals in a chord depend on each other,
2338 which does not happen for the default accidental style. The problem
2339 can be solved by manually inserting @code{!} and @code{?} for the
2343 @node Setting automatic beam behavior
2344 @subsection Setting automatic beam behavior
2346 @cindex @code{autoBeamSettings}
2347 @cindex @code{(end * * * *)}
2348 @cindex @code{(begin * * * *)}
2349 @cindex automatic beams, tuning
2350 @cindex tuning automatic beaming
2352 @c [TODO: use \applyContext]
2354 In normal time signatures, automatic beams can start on any note but can
2355 only end in a few positions within the measure: beams can end on a beat,
2356 or at durations specified by the properties in
2357 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2358 consist of a list of rules for where beams can begin and end. The
2359 default @code{autoBeamSettings} rules are defined in
2360 @file{scm/@/auto@/-beam@/.scm}.
2362 In order to add a rule to the list, use
2364 #(override-auto-beam-setting '(be p q n m) a b [context])
2369 @item @code{be} is either "begin" or "end".
2371 @item @code{p/q} is the duration of the note for which you want
2372 to add a rule. A beam is considered to have the duration of its
2373 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2374 have this apply to any beam.
2376 @item @code{n/m} is the time signature to which
2377 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2378 to have this apply in any time signature.
2380 @item @code{a/b} is the position in the bar at which the beam should begin/end.
2382 @item @code{context} is optional, and it specifies the context at which
2383 the change should be made. The default is @code{'Voice}.
2384 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2385 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2389 For example, if automatic beams should always end on the first quarter
2393 #(override-auto-beam-setting '(end * * * *) 1 4)
2396 You can force the beam settings to only take effect on beams whose shortest
2397 note is a certain duration
2399 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2401 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2403 a32 a a a a16 a a a a a |
2404 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2405 a32 a a a a16 a a a a a |
2408 You can force the beam settings to only take effect in certain time
2411 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2413 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2421 You can also remove a previously set beam-ending rule by using
2424 #(revert-auto-beam-setting '(be p q n m) a b [context])
2428 be, p, q, n, m, a, b and context are the same as above. Note that the
2429 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2430 so you can revert rules that you did not explicitly create.
2432 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2434 a16 a a a a a a a a a a a a a a a
2435 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2436 a16 a a a a a a a a a a a a a a a
2439 The rule in a revert-auto-beam-setting statement must exactly match the
2440 original rule. That is, no wildcard expansion is taken into account.
2442 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2444 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2446 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2448 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2454 @c TODO: old material -- not covered by above stuff, I think.
2455 If automatic beams should end on every quarter in 5/4 time, specify
2458 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2459 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2460 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2461 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2465 The same syntax can be used to specify beam starting points. In this
2466 example, automatic beams can only end on a dotted quarter note
2468 #(override-auto-beam-setting '(end * * * *) 3 8)
2469 #(override-auto-beam-setting '(end * * * *) 1 2)
2470 #(override-auto-beam-setting '(end * * * *) 7 8)
2472 In 4/4 time signature, this means that automatic beams could end only on
2473 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2474 3/8, has passed within the measure).
2476 @cindex automatic beam generation
2478 @cindex @code{autoBeaming}
2481 If beams are used to indicate melismata in songs, then automatic
2482 beaming should be switched off with @code{\autoBeamOff}.
2487 @cindex @code{\autoBeamOff}
2488 @code{\autoBeamOff},
2489 @cindex @code{\autoBeamOn}
2495 If a score ends while an automatic beam has not been ended and is
2496 still accepting notes, this last beam will not be typeset at all. The
2497 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2498 >>}. If a polyphonic voice ends while an automatic beam is still
2499 accepting notes, it is not typeset.