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::
45 @subsection Text scripts
48 @cindex text items, non-empty
49 @cindex non-empty texts
51 It is possible to place arbitrary strings of text or @ref{Text markup}
52 above or below notes by using a string @code{c^"text"}. By default,
53 these indications do not influence the note spacing, but by using the
54 command @code{\fatText}, the widths will be taken into account
56 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
57 c4^"longtext" \fatText c4_"longlongtext" c4
60 More complex formatting may also be added to a note by using the
62 @lilypond[fragment,raggedright,verbatim,quote]
63 c'4^\markup { bla \bold bla }
66 The @code{\markup} is described in more detail in
72 @cindex @code{\fatText}
74 @cindex @code{\emptyText}
80 In this manual: @ref{Text markup}.
82 Program reference: @internalsref{TextScript}.
86 @subsection Text spanners
90 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
91 are written as text and are extended over many measures with dotted
92 lines. Such texts are created using text spanners; attach
93 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
96 The string to be printed, as well as the style, is set through object
99 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
102 \override TextSpanner #'edge-text = #'("rall " . "")
103 c2\startTextSpan b c\stopTextSpan a
106 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
107 c2\startTextSpan b c\stopTextSpan a
112 @cindex textSpannerUp
113 @code{textSpannerUp},
114 @cindex textSpannerDown
115 @code{textSpannerDown},
116 @cindex textSpannerNeutral
117 @code{textSpannerNeutral}.
122 Program reference: @internalsref{TextSpanner}.
124 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
128 @subsection Text marks
130 @cindex coda on bar line
131 @cindex segno on bar line
132 @cindex fermata on bar line
133 @cindex bar lines, symbols on
136 The @code{\mark} command is primarily used for
137 @ref{Rehearsal marks},
138 but it can also be used to put signs like coda,
139 segno, and fermata on a bar line. Use @code{\markup} to
140 access the appropriate symbol
142 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
143 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
148 @code{\mark} is only typeset above the top stave of the score. If
149 you specify the @code{\mark} command at a bar line, the resulting
150 mark is placed above the bar line. If you specify it in the middle
151 of a bar, the resulting mark is positioned between notes. If it is
152 specified before the beginning of a score line, it is placed
153 before the first note of the line. Finally, if the mark occurs at
154 a line break, the mark will be printed at the
155 beginning of the next line.
156 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
157 @c delete this sentence. -gp
158 If there is no next line, then the mark will not be printed at all.
163 To print the mark at the end of the current line, use
166 \override Score.RehearsalMark
167 #'break-visibility = #begin-of-line-invisible
170 @code{\mark} is often useful for adding text to the end of bar. In
171 such cases, changing the @code{#'self-alignment} is very useful
173 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
174 \override Score.RehearsalMark
175 #'break-visibility = #begin-of-line-invisible
177 \once \override Score.RehearsalMark #'self-alignment-X = #right
178 \mark "D.S. al Fine "
184 Program reference: @internalsref{RehearsalMark}.
188 @subsection Text markup
195 Use @code{\markup} to typeset text. Commands are entered with the
198 @lilypond[quote,verbatim,fragment,relative=1]
200 c1_\markup { hi there }
201 c1^\markup { hi \bold there, is \italic anyone home? }
205 See @ref{Overview of text markup commands} for a list of all
208 @code{\markup} is primarily used for @internalsref{TextScript}s,
209 but it can also be used anywhere text is called in lilypond
211 @lilypond[quote,verbatim]
212 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
215 \override Score.RehearsalMark
216 #'break-visibility = #begin-of-line-invisible
217 \override Score.RehearsalMark #'self-alignment-X = #right
219 \set Staff.instrument = \markup{ \column{ Alto solo } }
220 c2^\markup{ don't be \flat }
221 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
223 a2\mark \markup{ \large \bold Fine }
227 \addlyrics { bar, foo \markup{ \italic bar! } }
231 @cindex font switching
233 The markup in the example demonstrates font switching commands. The
234 command @code{\bold} and @code{\italic} apply to the first following
235 word only; to apply a command to more than one word, enclose the
239 \markup @{ \bold @{ hi there @} @}
243 For clarity, you can also do this for single arguments, e.g.,
246 \markup @{ is \italic @{ anyone @} home @}
249 In markup mode you can compose expressions, similar to mathematical
250 expressions, XML documents, and music expressions. You can stack
251 expressions grouped vertically with the command @code{\column}.
252 Similarly, @code{\center-align} aligns texts by their center lines:
254 @lilypond[quote,verbatim,fragment,relative=1]
255 c1^\markup { \column { a bbbb \line { c d } } }
256 c1^\markup { \center-align { a bbbb c } }
257 c1^\markup { \line { a b c } }
260 Lists with no previous command are not kept distinct. The expression
263 \center-align @{ @{ a b @} @{ c d @} @}
271 \center-align @{ a b c d @}
276 To keep lists of words distinct, please use quotes @code{"} or
277 the @code{\line} command
279 @lilypond[quote,verbatim,fragment,relative=1]
281 c4^\markup{ \center-align { on three lines } }
282 c4^\markup{ \center-align { "all one line" } }
283 c4^\markup{ \center-align { { on three lines } } }
284 c4^\markup{ \center-align { \line { on one line } } }
287 Markups can be stored in variables and these variables
288 may be attached to notes, like
290 allegro = \markup @{ \bold \large @{ Allegro @} @}
291 @{ a^\allegro b c d @}
294 Some objects have alignment procedures of their own, which cancel out
295 any effects of alignments applied to their markup arguments as a
296 whole. For example, the @internalsref{RehearsalMark} is horizontally
297 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
303 This manual: @ref{Overview of text markup commands}.
305 Program reference: @internalsref{TextScript}.
307 Init files: @file{scm/@/new@/-markup@/.scm}.
312 Kerning or generation of ligatures is only done when the @TeX{}
313 backend is used. In this case, LilyPond does not account for them so
314 texts will be spaced slightly too wide.
316 Syntax errors for markup mode are confusing.
320 @subsection Text encoding
322 LilyPond uses the Pango library to format multi-lingual texts, and
323 does not perform any input-encoding conversions. This means that any
324 text, be it title, lyric text, or musical instruction containing
325 non-ASCII characters, must be utf-8. Easiest to enter such texts is
326 by using a Unicode-aware editor, and save using utf-8 encoding. Most
327 popular modern editors have utf-8 support, for example, vim, Emacs,
330 Depending on the fonts installed, the following fragment shows Hebrew
337 @lilypondfile[fontload]{utf-8.ly}
339 The @TeX{} backend does not handle encoding specially at all. Strings
340 in the input are put in the output as-is. Extents of text items in the
341 @TeX{} backend, are determined by reading a file created via the
342 @file{texstr} backend,
345 lilypond -b texstr input/les-nereides.ly
346 latex les-nereides.texstr
349 The last command produces @file{les-nereides.textmetrics}, which is
350 read when you execute
353 lilypond -b tex input/les-nereides.ly
356 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
357 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
358 interpreting non-ASCII strings.
363 @inputfileref{input/regression,utf-8.ly}
367 @subsection Nested scores
369 It is possible to nest music inside markups, by adding a @code{\score}
370 block to a markup expression. Such a score must contain a @code{\layout}
373 @lilypond[quote,verbatim,raggedright]
377 \relative { c4 d e f }
386 @node Overview of text markup commands
387 @subsection Overview of text markup commands
389 The following commands can all be used inside @code{\markup @{ @}}.
391 @include markup-commands.tely
395 @subsection Font selection
397 @cindex font selection
398 @cindex font magnification
399 @cindex @code{font-interface}
401 By setting the object properties described below, you can select a
402 font from the preconfigured font families. LilyPond has default
403 support for the feta music fonts. Text fonts are selected through
404 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
405 the sans and typewriter to whatever the Pango installation defaults
410 @item @code{font-encoding}
411 is a symbol that sets layout of the glyphs. This should only be set to
412 select different types of non-text fonts, eg.
414 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
415 standard music font, including ancient glyphs, @code{fetaDynamic} for
416 dynamic signs and @code{fetaNumber} for the number font.
418 @item @code{font-family}
419 is a symbol indicating the general class of the typeface. Supported are
420 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
422 @item @code{font-shape}
423 is a symbol indicating the shape of the font. There are typically
424 several font shapes available for each font family. Choices are
425 @code{italic}, @code{caps}, and @code{upright}.
427 @item @code{font-series}
428 is a symbol indicating the series of the font. There are typically
429 several font series for each font family and shape. Choices are
430 @code{medium} and @code{bold}.
434 Fonts selected in the way sketched above come from a predefined style
435 sheet. If you want to use a font from outside the style sheet,
437 @code{font-name} property,
439 @lilypond[fragment,verbatim]
441 \override Staff.TimeSignature #'font-name = #"Times"
442 \override Staff.TimeSignature #'font-size = #2
445 \override #'(font-name . "Vera Bold")
446 { This text is in Vera Bold }
452 Any font can be used, as long as it is available to Pango/FontConfig.
454 The size of the font may be set with the @code{font-size}
455 property. The resulting size is taken relative to the
456 @code{text-font-size} as defined in the @code{\paper} block.
459 @cindex font magnification
462 It is also possible to change the default font family for the entire
463 document. This is done by calling the @code{make-pango-font-tree} from
464 within the @code{\paper} block. The function takes names for the font
465 families to use for roman, sans serif and monospaced text. For
468 @cindex font families, setting
477 (make-pango-font-tree "Times New Roman"
484 c'^\markup { roman: foo \sans bla \typewriter bar }
491 Examples: @file{ly/@/font@/-family@/-override.ly}
494 @node New dynamic marks
495 @subsection New dynamic marks
497 It is possible to print new dynamic marks or text that should be aligned
498 with dynamics. Use @code{make-dynamic-script} to create these marks.
500 @cindex make-dynamic-script
502 @lilypond[quote,verbatim,raggedright]
503 sfzp = #(make-dynamic-script "sfzp")
509 @cindex Dynamics, editorial
510 @cindex Dynamics, parenthesis
512 It is also possible to print dynamics in round parenthesis or square
513 brackets. These are often used for adding editorial dynamics.
515 @lilypond[quote,verbatim,raggedright]
516 rndf = \markup{ \center-align {\line { \bold{\italic (}
517 \dynamic f \bold{\italic )} }} }
518 boxf = \markup{ \bracket { \dynamic f } }
519 { c'1_\rndf c'1_\boxf }
524 @node Preparing parts
525 @section Preparing parts
527 This section describes various notation that are useful for preparing
531 * Multi measure rests::
536 * Instrument transpositions::
538 * Different editions from one source::
542 @node Multi measure rests
543 @subsection Multi measure rests
545 @cindex multi measure rests
546 @cindex full measure rests
547 @cindex Rests, multi measure
548 @cindex Rests, full measure
549 @cindex whole rests for a full measure
552 Rests for one full measure (or many bars) are entered using `@code{R}'. It
553 is specifically meant for full bar rests and for entering parts: the rest
554 can expand to fill a score with rests, or it can be printed as a single
555 multi-measure rest. This expansion is controlled by the property
556 @code{Score.skipBars}. If this is set to true, empty measures will not
557 be expanded, and the appropriate number is added automatically
559 @lilypond[quote,raggedright,fragment,verbatim]
560 \time 4/4 r1 | R1 | R1*2
561 \set Score.skipBars = ##t R1*17 R1*4
564 The @code{1} in @code{R1} is similar to the duration notation used for
565 notes. Hence, for time signatures other than 4/4, you must enter other
566 durations. This can be done with augmentation dots or fractions
568 @lilypond[quote,raggedright,fragment,verbatim]
569 \set Score.skipBars = ##t
578 An @code{R} spanning a single measure is printed as either a whole rest
579 or a breve, centered in the measure regardless of the time signature.
581 If there are only a few measures of rest, LilyPond prints ``church rests''
582 (a series of rectangles) in the staff. To replace that with a simple
583 rest, use @code{MultiMeasureRest.expand-limit}.
585 @lilypond[quote,raggedright,fragment,verbatim]
586 \set Score.skipBars = ##t
588 \override MultiMeasureRest #'expand-limit = 1
592 @cindex text on multi-measure rest
593 @cindex script on multi-measure rest
594 @cindex fermata on multi-measure rest
596 Texts can be added to multi-measure rests by using the
597 @var{note}-@code{markup} syntax @ref{Text markup}.
598 A variable (@code{\fermataMarkup}) is provided for
601 @lilypond[quote,raggedright,verbatim,fragment]
602 \set Score.skipBars = ##t
604 R2.*10^\markup { \italic "ad lib." }
608 Warning! This text is created by @code{MultiMeasureRestText}, not
611 @lilypond[quote,raggedright,verbatim,fragment]
612 \override TextScript #'padding = #5
614 \override MultiMeasureRestText #'padding = #5
618 If you want to have text on the left end of a multi-measure rest,
619 attach the text to a zero-length skip note, i.e.,
629 Program reference: @internalsref{MultiMeasureRestMusicGroup},
630 @internalsref{MultiMeasureRest}.
632 The layout object @internalsref{MultiMeasureRestNumber} is for the
633 default number, and @internalsref{MultiMeasureRestText} for user
639 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
640 over multi-measure rests. And the pitch of multi-measure rests (or
641 staff-centered rests) can not be influenced.
643 @cindex condensing rests
645 There is no way to automatically condense multiple rests into a single
646 multi-measure rest. Multi-measure rests do not take part in rest
649 Be careful when entering multi-measure rests followed by whole
650 notes. The following will enter two notes lasting four measures each
654 When @code{skipBars} is set, the result will look OK, but the bar
655 numbering will be off.
658 @node Metronome marks
659 @subsection Metronome marks
662 @cindex beats per minute
663 @cindex metronome marking
665 Metronome settings can be entered as follows
667 \tempo @var{duration} = @var{per-minute}
670 In the MIDI output, they are interpreted as a tempo change. In the
671 layout output, a metronome marking is printed
672 @cindex @code{\tempo}
673 @lilypond[quote,raggedright,verbatim,fragment]
680 To change the tempo in the MIDI output without printing anything, make
681 the metronome marking invisible
683 \once \override Score.MetronomeMark #'transparent = ##t
686 To print other metronome markings, use these markup commands
687 @lilypond[quote,raggedright,verbatim,relative,fragment]
690 \smaller \general-align #Y #DOWN \note #"16." #1
692 \smaller \general-align #Y #DOWN \note #"8" #1"
697 See @ref{Text markup} for more details.
702 Program reference: @internalsref{MetronomeMark}.
707 Collisions are not checked. If you have notes above the top line of
708 the staff (or notes with articulations, slurs, text, etc), then the
709 metronome marking may be printed on top of musical symbols. If this
710 occurs, increase the padding of the metronome mark to place it
711 further away from the staff.
714 \override Score.MetronomeMark #'padding = #2.5
718 @node Rehearsal marks
719 @subsection Rehearsal marks
721 @cindex Rehearsal marks
724 To print a rehearsal mark, use the @code{\mark} command
726 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
735 The letter@tie{}`I' is skipped in accordance with engraving traditions.
736 If you wish to include the letter `I', then use
739 \set Score.markFormatter = #format-mark-alphabet
742 The mark is incremented automatically if you use @code{\mark
743 \default}, but you can also use an integer argument to set the mark
744 manually. The value to use is stored in the property
745 @code{rehearsalMark}.
747 The style is defined by the property @code{markFormatter}. It is a
748 function taking the current mark (an integer) and the current context
749 as argument. It should return a markup object. In the following
750 example, @code{markFormatter} is set to a canned procedure. After a
751 few measures, it is set to function that produces a boxed number.
753 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
754 \set Score.markFormatter = #format-mark-numbers
757 \set Score.markFormatter = #format-mark-box-numbers
763 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
764 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
765 @code{format-mark-letters} and @code{format-mark-box-letters}.
766 These can be used as inspiration for other formatting functions.
771 Program reference: @internalsref{RehearsalMark}.
773 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
774 definition of @code{format-mark-numbers} and
775 @code{format-mark-letters}. They can be used as inspiration for other
776 formatting functions.
778 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
780 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
784 @subsection Bar numbers
787 @cindex measure numbers
788 @cindex @code{currentBarNumber}
790 Bar numbers are printed by default at the start of the line. The
791 number itself is stored in the @code{currentBarNumber} property, which
792 is normally updated automatically for every measure.
794 Bar numbers can be typeset at regular intervals instead of at the
795 beginning of each line. This is illustrated in the following example,
796 whose source is available as
797 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
799 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
801 Bar numbers can be typeset manually by tweaking the
802 @code{markFormatter} property
804 @lilypond[verbatim,raggedright,quote]
806 \set Score.markFormatter
807 = #(lambda (mark context)
810 (number->string (ly:context-property context
811 'currentBarNumber)))))
813 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
817 Bar numbers can be manually changed by setting the
818 @code{Staff.currentBarNumber} property
820 @lilypond[verbatim,raggedright,quote]
822 \repeat unfold 4 {c4 c c c} \break
823 \set Score.currentBarNumber = #50
824 \repeat unfold 4 {c4 c c c}
831 Program reference: @internalsref{BarNumber}.
834 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
835 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
840 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
841 there is one at the top. To solve this, the
842 @code{padding} property of @internalsref{BarNumber} can be
843 used to position the number correctly.
846 @node Instrument names
847 @subsection Instrument names
849 In an orchestral score, instrument names are printed at the left side
852 This can be achieved by setting @internalsref{Staff}.@code{instrument}
853 and @internalsref{Staff}.@code{instr}. This will print a string before
854 the start of the staff. For the first staff, @code{instrument} is
855 used, for the following ones, @code{instr} is used.
857 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
858 \set Staff.instrument = "Ploink "
859 \set Staff.instr = "Plk "
865 You can also use markup texts to construct more complicated instrument
868 @lilypond[quote,fragment,verbatim,raggedright]
869 \set Staff.instrument = \markup {
870 \column { "Clarinetti"
871 \line { "in B" \smaller \flat } } }
875 If you wish to center the instrument names, you must center all of them
877 @lilypond[quote,verbatim,raggedright]
880 \set Staff.instrument = \markup {
881 \center-align { "Clarinetti"
882 \line { "in B" \smaller \flat } } }
886 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
893 For longer instrument names, it may be useful to increase the
894 @code{indent} setting in the @code{\layout} block.
898 Program reference: @internalsref{InstrumentName}.
902 When you put a name on a grand staff or piano staff, the width of the
903 brace is not taken into account. The following property setting can be
904 used to move the instrument names to the left, in such situations.
907 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
911 @node Instrument transpositions
912 @subsection Instrument transpositions
914 @cindex transposition, MIDI
915 @cindex transposition, instrument
917 The key of a transposing instrument can also be specified. This
918 applies to many wind instruments, for example, clarinets (B-flat, A, and
919 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
921 The transposition is entered after the keyword @code{\transposition}
924 \transposition bes %% B-flat clarinet
928 This command sets the property @code{instrumentTransposition}. The value of
929 this property is used for MIDI output and quotations. It does not
930 affect how notes are printed in the current staff. To change the printed
931 output, see @ref{Transpose}.
933 The pitch to use for @code{\transposition} should correspond to the
934 transposition of the notes. For example, when entering a score in
935 concert pitch, typically all voices are entered in C, so
936 they should be entered as
949 The command @code{\transposition} should be used when the music is
950 entered from a (transposed) orchestral part. For example, in
951 classical horn parts, the tuning of the instrument is often changed
952 during a piece. When copying the notes from the part, use
953 @code{\transposition}, e.g.,
965 @node Ottava brackets
966 @subsection Ottava brackets
968 `Ottava' brackets introduce an extra transposition of an octave for
969 the staff. They are created by invoking the function
970 @code{set-octavation}
976 @lilypond[quote,raggedright,verbatim,fragment]
986 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
987 (for 15ma) as arguments. Internally the function sets the properties
988 @code{ottavation} (e.g., to @code{"8va"}) and
989 @code{centralCPosition}. For overriding the text of the bracket, set
990 @code{ottavation} after invoking @code{set-octavation}, i.e.,
992 @lilypond[quote,raggedright,verbatim]
995 \set Staff.ottavation = #"8"
1003 Program reference: @internalsref{OttavaBracket}.
1005 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1006 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1011 @code{set-octavation} will get confused when clef changes happen
1012 during an octavation bracket.
1015 @node Different editions from one source
1016 @subsection Different editions from one source
1021 The @code{\tag} command marks music expressions with a name. These
1022 tagged expressions can be filtered out later. With this mechanism it
1023 is possible to make different versions of the same music source.
1025 In the following example, we see two versions of a piece of music, one
1026 for the full score, and one with cue notes for the instrumental part
1042 The same can be applied to articulations, texts, etc.: they are
1045 -\tag #@var{your-tag}
1047 to an articulation, for example,
1052 This defines a note with a conditional fingering indication.
1055 @cindex removeWithTag
1056 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1057 commands, tagged expressions can be filtered. For example,
1061 \keepWithTag #'score @var{the music}
1062 \keepWithTag #'part @var{the music}
1067 @lilypondfile[raggedright,quote]{tag-filter.ly}
1069 The argument of the @code{\tag} command should be a symbol, or a list
1070 of symbols, for example,
1072 \tag #'(original-part transposed-part) @dots{}
1078 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1083 Multiple rests are not merged if you create the score with both tagged
1088 @node Orchestral music
1089 @section Orchestral music
1091 Orchestral music involves some special notation, both in the full
1092 score and the individual parts. This section explains how to tackle
1093 some common problems in orchestral music.
1096 * Automatic part combining::
1098 * Quoting other voices::
1099 * Formatting cue notes::
1100 * Aligning to cadenzas::
1104 @node Automatic part combining
1105 @subsection Automatic part combining
1106 @cindex automatic part combining
1107 @cindex part combiner
1109 Automatic part combining is used to merge two parts of music onto a
1110 staff. It is aimed at typesetting orchestral scores. When the two
1111 parts are identical for a period of time, only one is shown. In
1112 places where the two parts differ, they are typeset as separate
1113 voices, and stem directions are set automatically. Also, solo and
1114 @emph{a due} parts are identified and can be marked.
1116 The syntax for part combining is
1119 \partcombine @var{musicexpr1} @var{musicexpr2}
1123 The following example demonstrates the basic functionality of the part
1124 combiner: putting parts on one staff, and setting stem directions and
1127 @lilypond[quote,verbatim,raggedright,fragment]
1128 \new Staff \partcombine
1129 \relative g' { g g a( b) c c r r }
1130 \relative g' { g g r4 r e e g g }
1133 The first @code{g} appears only once, although it was
1134 specified twice (once in each part). Stem, slur, and tie directions are
1135 set automatically, depending whether there is a solo or unisono. The
1136 first part (with context called @code{one}) always gets up stems, and
1137 `Solo', while the second (called @code{two}) always gets down stems and
1140 If you just want the merging parts, and not the textual markings, you
1141 may set the property @code{printPartCombineTexts} to false
1143 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1145 \set Staff.printPartCombineTexts = ##f
1147 \relative g' { g a( b) r }
1148 \relative g' { g r4 r f }
1152 To change the text that is printed for solos or merging, you may
1153 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1156 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1158 \set Score.soloText = #"ichi"
1159 \set Score.soloIIText = #"ni"
1160 \set Score.aDueText = #"tachi"
1162 \relative g' { g4 g a( b) r }
1163 \relative g' { g4 g r r f }
1167 Both arguments to @code{\partcombine} will be interpreted as
1168 @internalsref{Voice} contexts. If using relative octaves,
1169 @code{\relative} should be specified for both music expressions, i.e.,
1173 \relative @dots{} @var{musicexpr1}
1174 \relative @dots{} @var{musicexpr2}
1178 A @code{\relative} section that is outside of @code{\partcombine} has
1179 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1183 Program reference: @internalsref{PartCombineMusic}.
1187 When @code{printPartCombineTexts} is set, when the two voices play the
1188 same notes on and off, the part combiner may typeset @code{a2} more
1189 than once in a measure.
1191 @code{\partcombine} cannot be inside @code{\times}.
1193 @code{\partcombine} cannot be inside @code{\relative}.
1195 Internally, the @code{\partcombine} interprets both arguments as
1196 @code{Voice}s named @code{one} and @code{two}, and then decides when
1197 the parts can be combined. Consequently, if the arguments switch to
1198 differently named @internalsref{Voice} contexts, the events in those
1203 @subsection Hiding staves
1205 @cindex Frenched scores
1206 @cindex Hiding staves
1208 In orchestral scores, staff lines that only have rests are usually
1209 removed; this saves some space. This style is called `French Score'.
1210 For @internalsref{Lyrics},
1211 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1212 switched on by default. When the lines of these contexts turn out
1213 empty after the line-breaking process, they are removed.
1215 For normal staves, a specialized @internalsref{Staff} context is
1216 available, which does the same: staves containing nothing (or only
1217 multi-measure rests) are removed. The context definition is stored in
1218 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1219 in this example disappears in the second line
1221 @lilypond[quote,raggedright,verbatim]
1223 \context { \RemoveEmptyStaffContext }
1228 \new Staff { e4 f g a \break c1 }
1229 \new Staff { c4 d e f \break R1 }
1234 The first system shows all staves in full. If empty staves should be
1235 removed from the first system too, set @code{remove-first} to true in
1236 @internalsref{RemoveEmptyVerticalGroup}.
1239 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1242 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1243 or @code{\RemoveEmptyRhythmicStaffContext}.
1245 Another application is making ossia sections, i.e., alternative
1246 melodies on a separate piece of staff, with help of a Frenched
1247 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1250 @node Quoting other voices
1251 @subsection Quoting other voices
1253 With quotations, fragments of other parts can be inserted into a part
1254 directly. Before a part can be quoted, it must be marked especially as
1255 quotable. This is done with the @code{\addquote} command.
1258 \addquote @var{name} @var{music}
1263 Here, @var{name} is an identifying string. The @var{music} is any kind
1264 of music. Here is an example of @code{\addquote}
1267 \addquote clarinet \relative c' @{
1272 This command must be entered at toplevel, i.e., outside any music
1275 After calling @code{\addquote}, the quotation may then be done with
1276 @code{\quoteDuring} or @code{\cueDuring},
1279 \quoteDuring #@var{name} @var{music}
1282 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1286 \quoteDuring #"clarinet" @{ s2. @}
1289 This would cite three quarter notes (the duration of @code{s2.}) of
1290 the previously added @code{clarinet} voice.
1293 More precisely, it takes the current time-step of the part being
1294 printed, and extracts the notes at the corresponding point of the
1295 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1296 should be the entire part of the voice to be quoted, including any
1297 rests at the beginning.
1299 Quotations take into account the transposition of both source and target
1300 instruments, if they are specified using the @code{\transposition} command.
1302 @lilypond[quote,raggedright,verbatim]
1303 \addquote clarinet \relative c' {
1309 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1313 The type of events that are present in cue notes can be trimmed with
1314 the @code{quotedEventTypes} property. The default value is
1315 @code{(note-event rest-event)}, which means that only notes and
1316 rests of the cued voice end up in the @code{\quoteDuring}.
1320 \set Staff.quotedEventTypes =
1321 #'(note-event articulation-event dynamic-event)
1325 will quote notes (but no rests), together with scripts and dynamics.
1329 Only the contents of the first @internalsref{Voice} occurring in an
1330 @code{\addquote} command will be considered for quotation, so
1331 @var{music} can not contain @code{\new} and @code{\context Voice}
1332 statements that would switch to a different Voice.
1334 Quoting grace notes is broken and can even cause LilyPond to crash.
1338 In this manual: @ref{Instrument transpositions}.
1340 Examples: @inputfileref{input/@/regression,quote@/.ly}
1341 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1343 Program reference: @internalsref{QuoteMusic}.
1346 @node Formatting cue notes
1347 @subsection Formatting cue notes
1349 The previous section deals with inserting notes from another voice.
1350 There is a more advanced music function called @code{\cueDuring},
1351 which makes formatting cue notes easier.
1356 \cueDuring #@var{name} #@var{updown} @var{music}
1359 This will insert notes from the part @var{name} into a
1360 @internalsref{Voice} called @code{cue}. This happens simultaneously
1361 with @var{music}, which usually is a rest. When the cue notes start,
1362 the staff in effect becomes polyphonic for a moment. The argument
1363 @var{updown} determines whether the cue notes should be notated as a
1364 first or second voice.
1367 @lilypond[verbatim,raggedright]
1370 \override Stem #'length = #5.5
1371 \override Beam #'thickness = #0.384
1372 \override Beam #'space-function =
1373 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1376 \addquote clarinet \relative {
1381 \new Staff \relative <<
1383 % setup a context for cue notes.
1384 \context Voice = cue { \smaller \skip 1*21 }
1386 \set Score.skipBars = ##t
1390 \cueDuring #"clarinet" #1 {
1399 Here are a couple of hints for successful cue notes
1403 Cue notes have smaller font sizes.
1405 the cued part is marked with the instrument playing the cue.
1407 when the original part takes over again, this should be marked with
1408 the name of the original instrument.
1410 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1412 @c Yes, this is good practice. Otherwise, the start of the original
1413 @c part can only be seen from the font size. This is not good enough
1414 @c for sight-reading. It is possilbe to use other
1415 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1420 Any other changes introduced by the cued part should also be
1421 undone. For example, if the cued instrument plays in a different clef,
1422 the original clef should be stated once again.
1427 @node Aligning to cadenzas
1428 @subsection Aligning to cadenzas
1430 In an orchestral context, cadenzas present a special problem:
1431 when constructing a score that includes a cadenza, all other
1432 instruments should skip just as many notes as the length of the
1433 cadenza, otherwise they will start too soon or too late.
1435 A solution to this problem are the functions @code{mmrest-of-length}
1436 and @code{skip-of-length}. These Scheme functions take a piece of music
1437 as argument, and generate a @code{\skip} or multi-rest, exactly as
1438 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1439 in the following example.
1441 @lilypond[verbatim,raggedright,quote]
1442 cadenza = \relative c' {
1443 c4 d8 << { e f g } \\ { d4. } >>
1448 \new Staff { \cadenza c'4 }
1450 #(ly:export (mmrest-of-length cadenza))
1459 @node Contemporary notation
1460 @section Contemporary notation
1462 In the 20th century, composers have greatly expanded the musical
1463 vocabulary. With this expansion, many innovations in musical notation
1464 have been tried. The book ``Music Notation in the 20th century'' by
1465 Kurt Stone gives a comprehensive overview (see @ref{Literature
1466 list}). In general, the use of new, innovative notation makes a piece
1467 harder to understand and perform and its use should therefore be
1468 avoided. For this reason, support for contemporary notation in
1469 LilyPond is limited.
1473 * Polymetric notation::
1474 * Time administration::
1476 * Special fermatas::
1477 * Special noteheads::
1484 @node Polymetric notation
1485 @subsection Polymetric notation
1487 Double time signatures are not supported explicitly, but they can be
1488 faked. In the next example, the markup for the time signature is
1489 created with a markup text. This markup text is inserted in the
1490 @internalsref{TimeSignature} grob.
1492 @lilypond[verbatim,raggedright]
1497 \musicglyph #"scripts.stopped"
1498 \bracket \column { "5" "8" }
1503 \override Staff.TimeSignature #'print-function = #Text_interface::print
1504 \override Staff.TimeSignature #'text = #tsMarkup
1506 c'2 \bar ":" c'4 c'4.
1510 Each staff can also have its own time signature. This is done by
1511 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1517 \remove "Timing_translator"
1518 \remove "Default_bar_line_engraver"
1522 \consists "Timing_translator"
1523 \consists "Default_bar_line_engraver"
1530 Now, each staff has its own time signature.
1543 c4. c8 c c c4. c8 c c
1548 @lilypond[quote,raggedright]
1552 \remove "Timing_translator"
1553 \remove "Default_bar_line_engraver"
1556 \consists "Timing_translator"
1557 \consists "Default_bar_line_engraver"
1572 c4. c8 c c c4. c8 c c
1578 A different form of polymetric notation is where note lengths have
1579 different values across staves.
1581 This notation can be created by setting a common time signature for
1582 each staff but replacing it manually using
1583 @code{timeSignatureFraction} to the desired fraction. Then the printed
1584 durations in each staff are scaled to the common time signature.
1585 The latter is done with @code{\compressMusic}, which is similar to
1586 @code{\times}, but does not create a tuplet bracket.
1589 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1590 used in parallel. In the second staff, shown durations are multiplied by
1591 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1592 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1594 @lilypond[quote,raggedright,verbatim,fragment]
1602 \set Staff.timeSignatureFraction = #'(9 . 8)
1603 \compressMusic #'(2 . 3)
1604 \repeat unfold 6 { c8[ c c] }
1608 \set Staff.timeSignatureFraction = #'(10 . 8)
1609 \compressMusic #'(3 . 5) {
1610 \repeat unfold 2 { c8[ c c] }
1611 \repeat unfold 2 { c8[ c] }
1612 | c4. c4. \times 2/3 { c8 c c } c4
1623 When using different time signatures in parallel, the spacing is
1624 aligned vertically, but bar lines distort the regular spacing.
1627 @node Time administration
1628 @subsection Time administration
1630 @cindex Time administration
1632 Time is administered by the @internalsref{Time_signature_engraver},
1633 which usually lives in the @internalsref{Score} context. The
1634 bookkeeping deals with the following variables
1637 @item currentBarNumber
1641 The length of the measures in the current time signature. For a 4/4
1642 time this is@tie{}1, and for 6/8 it is 3/4.
1644 @item measurePosition
1645 The point within the measure where we currently are. This quantity
1646 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1647 happens, @code{currentBarNumber} is incremented.
1650 If set to true, the above variables are updated for every time
1651 step. When set to false, the engraver stays in the current measure
1655 Timing can be changed by setting any of these variables explicitly.
1656 In the next example, the 4/4 time signature is printed, but
1657 @code{measureLength} is set to 5/4. After a while, the measure is
1658 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1659 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1660 3/8 arises because 5/4 normally has 10/8, but we have manually
1661 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1663 @lilypond[quote,raggedright,verbatim,relative,fragment]
1664 \set Score.measureLength = #(ly:make-moment 5 4)
1668 \set Score.measurePosition = #(ly:make-moment 7 8)
1676 @subsection Clusters
1680 A cluster indicates a continuous range of pitches to be played. They
1681 can be denoted as the envelope of a set of notes. They are entered by
1682 applying the function @code{makeClusters} to a sequence of
1684 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1685 \makeClusters { <c e > <b f'> }
1688 The following example (from
1689 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1692 @lilypondfile[raggedright,quote]{cluster.ly}
1694 Ordinary notes and clusters can be put together in the same staff,
1695 even simultaneously. In such a case no attempt is made to
1696 automatically avoid collisions between ordinary notes and clusters.
1700 Program reference: @internalsref{ClusterSpanner},
1701 @internalsref{ClusterSpannerBeacon},
1702 @internalsref{Cluster_spanner_engraver}.
1704 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1708 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1709 accurately. Use @code{<g a>8 <e a>8} instead.
1713 @node Special fermatas
1714 @subsection Special fermatas
1716 @cindex fermatas, special
1718 In contemporary music notation, special fermata symbols denote breaks
1719 of differing lengths. The following fermatas are supported
1721 @lilypond[quote,raggedright]
1744 \context Lyrics \lyricmode {
1745 \override LyricText #'font-family = #'typewriter
1746 "shortfermata" "fermata" "longfermata" "verylongfermata"
1751 See @ref{Articulations} for general instructions how to apply scripts
1752 such as fermatas to notes.
1755 @node Special noteheads
1756 @subsection Special noteheads
1758 Different noteheads are used by various instruments for various
1759 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1760 notes on guitar; diamonds are used for harmonics on string instruments,
1761 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1762 other notehead styles are produced by tweaking the property
1764 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1766 \override NoteHead #'style = #'cross
1768 \revert NoteHead #'style
1769 e d <c f\harmonic> <d a'\harmonic>
1773 To see all notehead styles, please see
1774 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1779 Program reference: @internalsref{NoteHead}.
1781 @node Pitched trills
1782 @subsection Pitched trills
1784 Trills that should be executed on an explicitly specified pitch can be
1785 typeset with the command @code{pitchedTrill},
1787 @lilypond[raggedright,verbatim,fragment]
1788 \pitchedTrill c'4\startTrillSpan fis
1792 The first argument is the main note. The absolute pitch of the second
1793 is printed as a stemless note head in parentheses.
1795 @node Feathered beams
1796 @subsection Feathered beams
1798 Feathered beams are not supported natively, but they can be faked by
1799 forcing two beams to overlap. Here is an example,
1801 @c don't change relative setting witout changing positions!
1802 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1807 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1812 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1820 @subsection Improvisation
1822 Improvisation is sometimes denoted with slashed note heads. Such note
1823 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1824 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1828 \set squashedPosition = #0
1829 \override NoteHead #'style = #'slash
1833 switches on the slashes.
1835 There are shortcuts @code{\improvisationOn} (and an accompanying
1836 @code{\improvisationOff}) for this command sequence. They are used in
1837 the following example
1839 @lilypond[verbatim,raggedright,quote]
1841 \consists Pitch_squash_engraver
1843 e8 e g a a16(bes)(a8) g \improvisationOn
1846 ~fis2 \improvisationOff a16(bes) a8 g e
1851 @node Educational use
1852 @section Educational use
1854 With the amount of control that LilyPond offers, one can make great
1855 teaching tools in addition to great musical scores.
1859 * Blank music sheet::
1861 * Shape note heads ::
1862 * Easy Notation note heads::
1863 * Analysis brackets::
1864 * Coloring objects::
1868 @subsection Balloon help
1870 Elements of notation can be marked and named with the help of a square
1871 balloon. The primary purpose of this feature is to explain notation.
1873 The following example demonstrates its use.
1875 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1878 #(add-balloon-text 'NoteHead "heads, or tails?"
1885 The function @code{add-balloon-text} takes the name of a grob, the
1886 label to print, and the position where to put the label relative to
1887 the object. In the above example, the text ``heads or tails?'' ends
1888 3 spaces below and 1 space to the right of the marked head.
1891 @cindex notation, explaining
1895 Program reference: @internalsref{text-balloon-interface}.
1897 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1902 @node Blank music sheet
1903 @subsection Blank music sheet
1905 A blank music sheet can be produced also by using invisible notes, and
1906 removing @code{Bar_number_engraver}.
1909 @lilypond[quote,verbatim]
1911 \repeat unfold 2 % Change this for more lines.
1916 \override TimeSignature #'transparent = ##t
1917 defaultBarType = #""
1918 \remove Bar_number_engraver
1920 \context Staff \emptymusic
1921 \context TabStaff \emptymusic
1927 @subsection Hidden notes
1929 @cindex Hidden notes
1930 @cindex Invisible notes
1931 @cindex Transparent notes
1933 @cindex @code{\hideNotes}
1934 @cindex @code{\unHideNotes}
1935 Hidden (or invisible or transparent) notes can be useful in preparing theory
1936 or composition exercises.
1938 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1946 Hidden notes are also great for performing weird tricks. For example,
1947 slurs cannot be attached to rests or spacer rests, but you may wish
1948 to include that in your score -- string instruments use this notation
1949 when doing pizzicato to indicate that the note should ring for as long
1952 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1955 c4^"pizz"( \hideNotes c)
1956 \unHideNotes c( \hideNotes c)
1963 @node Shape note heads
1964 @subsection Shape note heads
1966 In shape note head notation, the shape of the note head corresponds
1967 to the harmonic function of a note in the scale. This notation was
1968 popular in the 19th century American song books.
1970 Shape note heads can be produced by setting @code{\aikenHeads} or
1971 @code{\sacredHarpHeads}, depending on the style desired.
1973 @lilypond[verbatim,relative=1,fragment]
1980 Shapes are determined on the step in the scale, where the base of the
1981 scale is determined by the @code{\key} command
1984 @findex shapeNoteStyles
1986 @findex \sacredHarpHeads
1988 Shape note heads are implemented through the @code{shapeNoteStyles}
1989 property. Its value is a vector of symbols. The k-th element indicates
1990 the style to use for the k-th step of the scale. Arbitrary
1991 combinations are possible, eg.,
1994 @lilypond[verbatim,relative=1,fragment]
1995 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2000 @node Easy Notation note heads
2001 @subsection Easy Notation note heads
2003 @cindex easy notation
2006 The `easy play' note head includes a note name inside the head. It is
2007 used in music for beginners
2009 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
2014 The command @code{\setEasyHeads} overrides settings for the
2015 @internalsref{NoteHead} object. To make the letters readable, it has
2016 to be printed in a large font size. To print with a larger font, see
2017 @ref{Setting global staff size}.
2021 @cindex @code{\setEasyHeads}
2022 @code{\setEasyHeads}
2025 @node Analysis brackets
2026 @subsection Analysis brackets
2028 @cindex phrasing brackets
2029 @cindex musicological analysis
2030 @cindex note grouping bracket
2032 Brackets are used in musical analysis to indicate structure in musical
2033 pieces. LilyPond supports a simple form of nested horizontal
2034 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2035 to @internalsref{Staff} context. A bracket is started with
2036 @code{\startGroup} and closed with @code{\stopGroup}
2038 @lilypond[quote,raggedright,verbatim]
2041 c4\startGroup\startGroup
2044 c4\stopGroup\stopGroup
2048 \Staff \consists "Horizontal_bracket_engraver"
2054 Program reference: @internalsref{HorizontalBracket}.
2056 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2062 I don't think we need this info.
2067 Whenever a note is found, a @internalsref{Stem} object is created
2068 automatically. For whole notes and rests, they are also created but
2073 @cindex @code{\stemUp}
2075 @cindex @code{\stemDown}
2077 @cindex @code{\stemNeutral}
2078 @code{\stemNeutral}.
2083 @node Coloring objects
2084 @subsection Coloring objects
2086 Individual objects may be assigned colors. You may use the
2087 color names listed in the @ref{List of colors}.
2089 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2090 \override NoteHead #'color = #red
2092 \override NoteHead #'color = #(x11-color 'LimeGreen)
2094 \override Stem #'color = #blue
2098 The full range of colors defined for X11 can be accessed by using the
2099 scheme function x11-color. The function takes one argument that can be a
2103 \override Beam #'color = #(x11-color 'MediumTurquoise)
2109 \override Beam #'color = #(x11-color "MediumTurquoise")
2112 The first form is quicker to write and is more efficient. However, using
2113 the second form it is possible to access X11 colors by the multi-word
2117 \override Beam #'color = #(x11-color "medium turquoise")
2120 If x11-color cannot make sense of the parameter then the color returned
2121 defaults to black. It should be obvious from the final score that
2124 This example, illustrates the use of x11-color. Notice that the stem
2125 color remains black after being set to (x11-color 'Boggle), which is
2126 deliberate nonsense.
2128 @lilypond[quote,raggedright,verbatim]
2130 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2131 \set Staff.instrument = \markup {
2132 \with-color #(x11-color 'navy) "Clarinet"
2136 \override Beam #'color = #(x11-color "medium turquoise")
2138 \override NoteHead #'color = #(x11-color "LimeGreen")
2140 \override Stem #'color = #(x11-color 'Boggle)
2148 Appendix: @ref{List of colors}.
2152 Not all x11 colors are distinguishable in a web browser. For web use
2153 normal colors are recommended.
2155 An x11 color is not necessarily exactly the same shade as a similarly
2159 @node Automatic notation
2160 @section Automatic notation
2162 This section describes how to change the way that accidentals and
2163 beams are automatically displayed.
2165 FIXME: this might get moved into Changing Defaults. Please send
2166 opinions to lilypond-devel. Thanks! :)
2169 * Automatic accidentals::
2170 * Setting automatic beam behavior::
2173 @node Automatic accidentals
2174 @subsection Automatic accidentals
2175 @cindex Automatic accidentals
2177 Common rules for typesetting accidentals have been placed in a
2178 function. This function is called as follows
2180 @cindex @code{set-accidental-style}
2182 #(set-accidental-style 'STYLE #('CONTEXT#))
2185 The function can take two arguments: the name of the accidental style,
2186 and an optional argument that denotes the context that should be
2187 changed. If no context name is supplied, @code{Staff} is the default,
2188 but you may wish to apply the accidental style to a single @code{Voice}
2191 The following accidental styles are supported
2194 This is the default typesetting behavior. It corresponds
2195 to 18th century common practice: Accidentals are
2196 remembered to the end of the measure in which they occur and
2197 only on their own octave.
2200 The normal behavior is to remember the accidentals on
2201 Staff-level. This variable, however, typesets accidentals
2202 individually for each voice. Apart from that, the rule is similar to
2205 As a result, accidentals from one voice do not get canceled in other
2206 voices, which is often an unwanted result
2208 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2210 #(set-accidental-style 'voice)
2217 The @code{voice} option should be used if the voices
2218 are to be read solely by individual musicians. If the staff is to be
2219 used by one musician (e.g., a conductor) then
2220 @code{modern} or @code{modern-cautionary}
2221 should be used instead.
2224 @cindex @code{modern} style accidentals
2225 This rule corresponds to the common practice in the 20th century. This rule
2226 prints the same accidentals as @code{default}, but temporary
2227 accidentals also are canceled in other octaves. Furthermore,
2228 in the same octave, they also get canceled in the following
2231 @lilypond[quote,raggedright,fragment,verbatim]
2232 #(set-accidental-style 'modern)
2233 cis' c'' cis'2 | c'' c'
2236 @item @code{modern-cautionary}
2237 @cindex @code{modern-cautionary}
2238 This rule is similar to @code{modern}, but the ``extra'' accidentals
2239 (the ones not typeset by @code{default}) are typeset as cautionary
2240 accidentals. They are printed in reduced size or with parentheses
2241 @lilypond[quote,raggedright,fragment,verbatim]
2242 #(set-accidental-style 'modern-cautionary)
2243 cis' c'' cis'2 | c'' c'
2246 @cindex @code{modern-voice}
2248 This rule is used for multivoice accidentals to be read both by musicians
2249 playing one voice and musicians playing all voices. Accidentals are
2250 typeset for each voice, but they @emph{are} canceled across voices in
2251 the same @internalsref{Staff}.
2253 @cindex @code{modern-voice-cautionary}
2254 @item modern-voice-cautionary
2255 This rule is the same as @code{modern-voice}, but with the extra
2256 accidentals (the ones not typeset by @code{voice}) typeset
2257 as cautionaries. Even though all accidentals typeset by
2258 @code{default} @emph{are} typeset by this variable,
2259 some of them are typeset as cautionaries.
2262 @cindex @code{piano} accidentals
2263 This rule reflects 20th century practice for piano notation. Very similar to
2264 @code{modern} but accidentals also get canceled
2265 across the staves in the same @internalsref{GrandStaff} or
2266 @internalsref{PianoStaff}.
2268 @item piano-cautionary
2269 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2270 Same as @code{#(set-accidental-style 'piano)} but with the extra
2271 accidentals typeset as cautionaries.
2274 @cindex @code{no-reset} accidental style
2275 This is the same as @code{default} but with accidentals lasting
2276 ``forever'' and not only until the next measure
2277 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2278 #(set-accidental-style 'no-reset)
2283 This is sort of the opposite of @code{no-reset}: Accidentals
2284 are not remembered at all---and hence all accidentals are
2285 typeset relative to the key signature, regardless of what was
2288 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2289 #(set-accidental-style 'forget)
2290 \key d\major c4 c cis cis d d dis dis
2297 Program reference: @internalsref{Accidental_engraver},
2298 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2303 Simultaneous notes are considered to be entered in sequential
2304 mode. This means that in a chord the accidentals are typeset as if the
2305 notes in the chord happened once at a time - in the order in which
2306 they appear in the input file.
2308 This is a problem when accidentals in a chord depend on each other,
2309 which does not happen for the default accidental style. The problem
2310 can be solved by manually inserting @code{!} and @code{?} for the
2314 @node Setting automatic beam behavior
2315 @subsection Setting automatic beam behavior
2317 @cindex @code{autoBeamSettings}
2318 @cindex @code{(end * * * *)}
2319 @cindex @code{(begin * * * *)}
2320 @cindex automatic beams, tuning
2321 @cindex tuning automatic beaming
2323 @c [TODO: use \applycontext]
2325 In normal time signatures, automatic beams can start on any note but can
2326 only end in a few positions within the measure: beams can end on a beat,
2327 or at durations specified by the properties in
2328 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2329 consist of a list of rules for where beams can begin and end. The
2330 default @code{autoBeamSettings} rules are defined in
2331 @file{scm/@/auto@/-beam@/.scm}.
2333 In order to add a rule to the list, use
2335 #(override-auto-beam-setting '(be p q n m) a b [context])
2340 @item @code{be} is either "begin" or "end".
2342 @item @code{b/q} is the duration of the note for which you want
2343 to add a rule. A beam is considered to have the duration of its
2344 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2345 have this apply to any beam.
2347 @item @code{n/m} is the position in the time signature to which
2348 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2349 to have this apply in any time signature.
2351 @item @code{a/b} is the position in the bar at which the beam should end.
2353 @item @code{context} is optional, and it specifies the context at which
2354 the change should be made. The default is @code{'Voice}.
2355 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2356 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2360 For example, if automatic beams should always end on the first quarter
2364 #(override-auto-beam-setting '(end * * * *) 1 4)
2367 You can force the beam settings to only take effect on beams whose shortest
2368 note is a certain duration
2370 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2372 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2374 a32 a a a a16 a a a a a |
2375 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2376 a32 a a a a16 a a a a a |
2379 You can force the beam settings to only take effect in certain time
2382 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2384 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2392 You can also remove a previously set beam-ending rule by using
2395 #(revert-auto-beam-setting '(be p q n m) a b [context])
2399 be, p, q, n, m, a, b and context are the same as above. Note that the
2400 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2401 so you can revert rules that you did not explicitly create.
2403 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2405 a16 a a a a a a a a a a a a a a a
2406 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2407 a16 a a a a a a a a a a a a a a a
2410 The rule in a revert-auto-beam-setting statement must exactly match the
2411 original rule. That is, no wildcard expansion is taken into account.
2413 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2415 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2417 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2419 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2425 @c TODO: old material -- not covered by above stuff, I think.
2426 If automatic beams should end on every quarter in 5/4 time, specify
2429 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2430 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2431 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2432 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2436 The same syntax can be used to specify beam starting points. In this
2437 example, automatic beams can only end on a dotted quarter note
2439 #(override-auto-beam-setting '(end * * * *) 3 8)
2440 #(override-auto-beam-setting '(end * * * *) 1 2)
2441 #(override-auto-beam-setting '(end * * * *) 7 8)
2443 In 4/4 time signature, this means that automatic beams could end only on
2444 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2445 3/8, has passed within the measure).
2447 @cindex automatic beam generation
2449 @cindex @code{autoBeaming}
2452 If beams are used to indicate melismata in songs, then automatic
2453 beaming should be switched off with @code{\autoBeamOff}.
2458 @cindex @code{\autoBeamOff}
2459 @code{\autoBeamOff},
2460 @cindex @code{\autoBeamOn}
2466 If a score ends while an automatic beam has not been ended and is
2467 still accepting notes, this last beam will not be typeset at all. The
2468 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2469 >>}. If a polyphonic voice ends while an automatic beam is still
2470 accepting notes, it is not typeset.