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 \set Score.rehearsalMarkAlignSymbol = #'key-signature
206 \set Score.rehearsalMarkAlignSymbol = #'clef
210 \set Score.rehearsalMarkAlignSymbol = #'time-signature
222 Program reference: @internalsref{RehearsalMark}.
226 @subsection Text markup
233 Use @code{\markup} to typeset text. Commands are entered with the
234 backslash @code{\}. To enter @code{\} and @code{#}, use double
237 @lilypond[quote,verbatim,fragment,relative=1]
239 c1_\markup { hi there }
240 c1^\markup { hi \bold there, is \italic anyone home? }
241 c1_\markup { "\special #characters" }
245 See @ref{Overview of text markup commands} for a list of all
248 @code{\markup} is primarily used for @internalsref{TextScript}s,
249 but it can also be used anywhere text is called in lilypond
251 @lilypond[quote,verbatim]
252 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
255 \override Score.RehearsalMark
256 #'break-visibility = #begin-of-line-invisible
257 \override Score.RehearsalMark #'self-alignment-X = #right
259 \set Staff.instrument = \markup{ \column{ Alto solo } }
260 c2^\markup{ don't be \flat }
261 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
263 a2\mark \markup{ \large \bold Fine }
267 \addlyrics { bar, foo \markup{ \italic bar! } }
271 Text can also be placed on its own, away from any @code{\score}
272 block. This is primarily used in a @code{\book} (see
273 @ref{Multiple movements}).
275 @lilypond[quote,ragged-right,verbatim]
276 \markup{ Here is some text. }
279 @cindex font switching
281 The markup in the example demonstrates font switching commands. The
282 command @code{\bold} and @code{\italic} apply to the first following
283 word only; to apply a command to more than one word, enclose the
287 \markup @{ \bold @{ hi there @} @}
291 For clarity, you can also do this for single arguments, e.g.,
294 \markup @{ is \italic @{ anyone @} home @}
297 In markup mode you can compose expressions, similar to mathematical
298 expressions, XML documents, and music expressions. You can stack
299 expressions grouped vertically with the command @code{\column}.
300 Similarly, @code{\center-align} aligns texts by their center lines:
302 @lilypond[quote,verbatim,fragment,relative=1]
303 c1^\markup { \column { a bbbb \line { c d } } }
304 c1^\markup { \center-align { a bbbb c } }
305 c1^\markup { \line { a b c } }
308 Lists with no previous command are not kept distinct. The expression
311 \center-align @{ @{ a b @} @{ c d @} @}
319 \center-align @{ a b c d @}
324 To keep lists of words distinct, please use quotes @code{"} or
325 the @code{\line} command
327 @lilypond[quote,verbatim,fragment,relative=1]
329 c4^\markup{ \center-align { on three lines } }
330 c4^\markup{ \center-align { "all one line" } }
331 c4^\markup{ \center-align { { on three lines } } }
332 c4^\markup{ \center-align { \line { on one line } } }
335 Markups can be stored in variables and these variables
336 may be attached to notes, like
338 allegro = \markup @{ \bold \large @{ Allegro @} @}
339 @{ a^\allegro b c d @}
342 Some objects have alignment procedures of their own, which cancel out
343 any effects of alignments applied to their markup arguments as a
344 whole. For example, the @internalsref{RehearsalMark} is horizontally
345 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
348 In addition, vertical placement is performed after creating the
349 text markup object. If you wish to move an entire piece of markup,
350 you need to use the #'padding property or create an "anchor" point
351 inside the markup (generally with @code{\hspace #0}).
353 @lilypond[quote,verbatim,fragment,relative=1]
355 c'4^\markup{ \raise #5 "not raised" }
356 \once \override TextScript #'padding = #3
357 c'4^\markup{ raised }
358 c'4^\markup{ \hspace #0 \raise #1.5 raised }
364 This manual: @ref{Overview of text markup commands}.
366 Program reference: @internalsref{TextScript}.
368 Init files: @file{scm/@/new@/-markup@/.scm}.
373 Kerning or generation of ligatures is only done when the @TeX{}
374 backend is used. In this case, LilyPond does not account for them so
375 texts will be spaced slightly too wide.
377 Syntax errors for markup mode are confusing.
381 @subsection Nested scores
383 It is possible to nest music inside markups, by adding a @code{\score}
384 block to a markup expression. Such a score must contain a @code{\layout}
387 @lilypond[quote,verbatim,ragged-right]
391 \relative { c4 d e f }
400 @node Overview of text markup commands
401 @subsection Overview of text markup commands
403 The following commands can all be used inside @code{\markup @{ @}}.
405 @include markup-commands.tely
409 @subsection Font selection
411 @cindex font selection
412 @cindex font magnification
413 @cindex @code{font-interface}
415 By setting the object properties described below, you can select a
416 font from the preconfigured font families. LilyPond has default
417 support for the feta music fonts. Text fonts are selected through
418 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
419 the sans and typewriter to whatever the Pango installation defaults
424 @item @code{font-encoding}
425 is a symbol that sets layout of the glyphs. This should only be set to
426 select different types of non-text fonts, eg.
428 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
429 standard music font, including ancient glyphs, @code{fetaDynamic} for
430 dynamic signs and @code{fetaNumber} for the number font.
432 @item @code{font-family}
433 is a symbol indicating the general class of the typeface. Supported are
434 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
436 @item @code{font-shape}
437 is a symbol indicating the shape of the font. There are typically
438 several font shapes available for each font family. Choices are
439 @code{italic}, @code{caps}, and @code{upright}.
441 @item @code{font-series}
442 is a symbol indicating the series of the font. There are typically
443 several font series for each font family and shape. Choices are
444 @code{medium} and @code{bold}.
448 Fonts selected in the way sketched above come from a predefined style
449 sheet. If you want to use a font from outside the style sheet,
451 @code{font-name} property,
453 @lilypond[fragment,verbatim]
455 \override Staff.TimeSignature #'font-name = #"Charter"
456 \override Staff.TimeSignature #'font-size = #2
459 \override #'(font-name . "Vera Bold")
460 { This text is in Vera Bold }
466 Any font can be used, as long as it is available to Pango/FontConfig.
468 The size of the font may be set with the @code{font-size}
469 property. The resulting size is taken relative to the
470 @code{text-font-size} as defined in the @code{\paper} block.
473 @cindex font magnification
476 It is also possible to change the default font family for the entire
477 document. This is done by calling the @code{make-pango-font-tree} from
478 within the @code{\paper} block. The function takes names for the font
479 families to use for roman, sans serif and monospaced text. For
482 @cindex font families, setting
491 (make-pango-font-tree "Times New Roman"
498 c'^\markup { roman: foo \sans bla \typewriter bar }
502 @c we don't do Helvetica / Courier, since GS incorrectly loads
509 Examples: @file{ly/@/font@/-family@/-override.ly}
512 @node New dynamic marks
513 @subsection New dynamic marks
515 It is possible to print new dynamic marks or text that should be aligned
516 with dynamics. Use @code{make-dynamic-script} to create these marks.
518 @cindex make-dynamic-script
520 @lilypond[quote,verbatim,ragged-right]
521 sfzp = #(make-dynamic-script "sfzp")
527 @cindex Dynamics, editorial
528 @cindex Dynamics, parenthesis
530 It is also possible to print dynamics in round parenthesis or square
531 brackets. These are often used for adding editorial dynamics.
533 @lilypond[quote,verbatim,ragged-right]
534 rndf = \markup{ \center-align {\line { \bold{\italic (}
535 \dynamic f \bold{\italic )} }} }
536 boxf = \markup{ \bracket { \dynamic f } }
537 { c'1_\rndf c'1_\boxf }
542 @node Preparing parts
543 @section Preparing parts
545 This section describes various notation that are useful for preparing
549 * Multi measure rests::
554 * Instrument transpositions::
556 * Different editions from one source::
560 @node Multi measure rests
561 @subsection Multi measure rests
563 @cindex multi measure rests
564 @cindex full measure rests
565 @cindex Rests, multi measure
566 @cindex Rests, full measure
567 @cindex whole rests for a full measure
570 Rests for one full measure (or many bars) are entered using `@code{R}'. It
571 is specifically meant for full bar rests and for entering parts: the rest
572 can expand to fill a score with rests, or it can be printed as a single
573 multi-measure rest. This expansion is controlled by the property
574 @code{Score.skipBars}. If this is set to true, empty measures will not
575 be expanded, and the appropriate number is added automatically
577 @lilypond[quote,ragged-right,fragment,verbatim]
578 \time 4/4 r1 | R1 | R1*2
579 \set Score.skipBars = ##t R1*17 R1*4
582 The @code{1} in @code{R1} is similar to the duration notation used for
583 notes. Hence, for time signatures other than 4/4, you must enter other
584 durations. This can be done with augmentation dots or fractions
586 @lilypond[quote,ragged-right,fragment,verbatim]
587 \set Score.skipBars = ##t
596 An @code{R} spanning a single measure is printed as either a whole rest
597 or a breve, centered in the measure regardless of the time signature.
599 If there are only a few measures of rest, LilyPond prints ``church rests''
600 (a series of rectangles) in the staff. To replace that with a simple
601 rest, use @code{MultiMeasureRest.expand-limit}.
603 @lilypond[quote,ragged-right,fragment,verbatim]
604 \set Score.skipBars = ##t
606 \override MultiMeasureRest #'expand-limit = 1
610 @cindex text on multi-measure rest
611 @cindex script on multi-measure rest
612 @cindex fermata on multi-measure rest
614 Texts can be added to multi-measure rests by using the
615 @var{note}-@code{markup} syntax @ref{Text markup}.
616 A variable (@code{\fermataMarkup}) is provided for
619 @lilypond[quote,ragged-right,verbatim,fragment]
620 \set Score.skipBars = ##t
622 R2.*10^\markup { \italic "ad lib." }
626 Warning! This text is created by @code{MultiMeasureRestText}, not
629 @lilypond[quote,ragged-right,verbatim,fragment]
630 \override TextScript #'padding = #5
632 \override MultiMeasureRestText #'padding = #5
636 If you want to have text on the left end of a multi-measure rest,
637 attach the text to a zero-length skip note, i.e.,
647 Program reference: @internalsref{MultiMeasureRestMusicGroup},
648 @internalsref{MultiMeasureRest}.
650 The layout object @internalsref{MultiMeasureRestNumber} is for the
651 default number, and @internalsref{MultiMeasureRestText} for user
657 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
658 over multi-measure rests. And the pitch of multi-measure rests (or
659 staff-centered rests) can not be influenced.
661 @cindex condensing rests
663 There is no way to automatically condense multiple rests into a single
664 multi-measure rest. Multi-measure rests do not take part in rest
667 Be careful when entering multi-measure rests followed by whole
668 notes. The following will enter two notes lasting four measures each
672 When @code{skipBars} is set, the result will look OK, but the bar
673 numbering will be off.
676 @node Metronome marks
677 @subsection Metronome marks
680 @cindex beats per minute
681 @cindex metronome marking
683 Metronome settings can be entered as follows
685 \tempo @var{duration} = @var{per-minute}
688 In the MIDI output, they are interpreted as a tempo change. In the
689 layout output, a metronome marking is printed
690 @cindex @code{\tempo}
691 @lilypond[quote,ragged-right,verbatim,fragment]
698 To change the tempo in the MIDI output without printing anything, make
699 the metronome marking invisible
701 \once \override Score.MetronomeMark #'transparent = ##t
704 To print other metronome markings, use these markup commands
705 @lilypond[quote,ragged-right,verbatim,relative,fragment]
708 \smaller \general-align #Y #DOWN \note #"16." #1
710 \smaller \general-align #Y #DOWN \note #"8" #1
715 See @ref{Text markup} for more details.
720 Program reference: @internalsref{MetronomeMark}.
725 Collisions are not checked. If you have notes above the top line of
726 the staff (or notes with articulations, slurs, text, etc), then the
727 metronome marking may be printed on top of musical symbols. If this
728 occurs, increase the padding of the metronome mark to place it
729 further away from the staff.
732 \override Score.MetronomeMark #'padding = #2.5
736 @node Rehearsal marks
737 @subsection Rehearsal marks
739 @cindex Rehearsal marks
742 To print a rehearsal mark, use the @code{\mark} command
744 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
753 The letter@tie{}`I' is skipped in accordance with engraving traditions.
754 If you wish to include the letter `I', then use
757 \set Score.markFormatter = #format-mark-alphabet
760 The mark is incremented automatically if you use @code{\mark
761 \default}, but you can also use an integer argument to set the mark
762 manually. The value to use is stored in the property
763 @code{rehearsalMark}.
765 The style is defined by the property @code{markFormatter}. It is a
766 function taking the current mark (an integer) and the current context
767 as argument. It should return a markup object. In the following
768 example, @code{markFormatter} is set to a canned procedure. After a
769 few measures, it is set to function that produces a boxed number.
771 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
772 \set Score.markFormatter = #format-mark-numbers
775 \set Score.markFormatter = #format-mark-box-numbers
781 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
782 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
783 @code{format-mark-letters} and @code{format-mark-box-letters}.
784 These can be used as inspiration for other formatting functions.
786 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
787 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
788 incremented numbers or letters.
793 Program reference: @internalsref{RehearsalMark}.
795 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
796 definition of @code{format-mark-numbers} and
797 @code{format-mark-letters}. They can be used as inspiration for other
798 formatting functions.
800 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
802 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
806 @subsection Bar numbers
809 @cindex measure numbers
810 @cindex @code{currentBarNumber}
812 Bar numbers are printed by default at the start of the line. The
813 number itself is stored in the @code{currentBarNumber} property, which
814 is normally updated automatically for every measure.
816 Bar numbers can be typeset at regular intervals instead of at the
817 beginning of each line. This is illustrated in the following example,
818 whose source is available as
819 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
821 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
823 Bar numbers can be typeset manually by tweaking the
824 @code{markFormatter} property
826 @lilypond[verbatim,ragged-right,quote]
828 \set Score.markFormatter
829 = #(lambda (mark context)
832 (number->string (ly:context-property context
833 'currentBarNumber)))))
835 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
839 Bar numbers can be manually changed by setting the
840 @code{Staff.currentBarNumber} property
842 @lilypond[verbatim,ragged-right,quote]
844 \repeat unfold 4 {c4 c c c} \break
845 \set Score.currentBarNumber = #50
846 \repeat unfold 4 {c4 c c c}
850 Bar numbers can be removed entirely by removing the Bar number
851 engraver from the score.
853 @lilypond[verbatim,ragged-right,quote,relative=2]
857 \remove "Bar_number_engraver"
869 Program reference: @internalsref{BarNumber}.
872 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
873 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
878 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
879 there is one at the top. To solve this, the
880 @code{padding} property of @internalsref{BarNumber} can be
881 used to position the number correctly.
884 @node Instrument names
885 @subsection Instrument names
887 In an orchestral score, instrument names are printed at the left side
890 This can be achieved by setting @internalsref{Staff}.@code{instrument}
891 and @internalsref{Staff}.@code{instr}. This will print a string before
892 the start of the staff. For the first staff, @code{instrument} is
893 used, for the following ones, @code{instr} is used.
895 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
896 \set Staff.instrument = "Ploink "
897 \set Staff.instr = "Plk "
903 You can also use markup texts to construct more complicated instrument
906 @lilypond[quote,fragment,verbatim,ragged-right]
907 \set Staff.instrument = \markup {
908 \column { "Clarinetti"
909 \line { "in B" \smaller \flat } } }
913 If you wish to center the instrument names, you must center all of them
915 @lilypond[quote,verbatim,ragged-right]
918 \set Staff.instrument = \markup {
919 \center-align { "Clarinetti"
920 \line { "in B" \smaller \flat } } }
924 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
931 For longer instrument names, it may be useful to increase the
932 @code{indent} setting in the @code{\layout} block.
936 Program reference: @internalsref{InstrumentName}.
940 When you put a name on a grand staff or piano staff, the width of the
941 brace is not taken into account. The following property setting can be
942 used to move the instrument names to the left, in such situations.
945 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
949 @node Instrument transpositions
950 @subsection Instrument transpositions
952 @cindex transposition, MIDI
953 @cindex transposition, instrument
955 The key of a transposing instrument can also be specified. This
956 applies to many wind instruments, for example, clarinets (B-flat, A, and
957 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
959 The transposition is entered after the keyword @code{\transposition}
962 \transposition bes %% B-flat clarinet
966 This command sets the property @code{instrumentTransposition}. The value of
967 this property is used for MIDI output and quotations. It does not
968 affect how notes are printed in the current staff. To change the printed
969 output, see @ref{Transpose}.
971 The pitch to use for @code{\transposition} should correspond to the
972 real sound heard when a @code{c'} written on the staff is played by the
973 transposing instrument. For example, when entering a score in
974 concert pitch, typically all voices are entered in C, so
975 they should be entered as
988 The command @code{\transposition} should be used when the music is
989 entered from a (transposed) orchestral part. For example, in
990 classical horn parts, the tuning of the instrument is often changed
991 during a piece. When copying the notes from the part, use
992 @code{\transposition}, e.g.,
1004 @node Ottava brackets
1005 @subsection Ottava brackets
1007 `Ottava' brackets introduce an extra transposition of an octave for
1008 the staff. They are created by invoking the function
1009 @code{set-octavation}
1015 @lilypond[quote,ragged-right,verbatim,fragment]
1025 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1026 (for 15ma) as arguments. Internally the function sets the properties
1027 @code{ottavation} (e.g., to @code{"8va"}) and
1028 @code{centralCPosition}. For overriding the text of the bracket, set
1029 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1031 @lilypond[quote,ragged-right,verbatim]
1034 \set Staff.ottavation = #"8"
1042 Program reference: @internalsref{OttavaBracket}.
1044 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1045 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1050 @code{set-octavation} will get confused when clef changes happen
1051 during an octavation bracket.
1054 @node Different editions from one source
1055 @subsection Different editions from one source
1060 The @code{\tag} command marks music expressions with a name. These
1061 tagged expressions can be filtered out later. With this mechanism it
1062 is possible to make different versions of the same music source.
1064 In the following example, we see two versions of a piece of music, one
1065 for the full score, and one with cue notes for the instrumental part
1081 The same can be applied to articulations, texts, etc.: they are
1084 -\tag #@var{your-tag}
1086 to an articulation, for example,
1091 This defines a note with a conditional fingering indication.
1094 @cindex removeWithTag
1095 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1096 commands, tagged expressions can be filtered. For example,
1100 \keepWithTag #'score @var{the music}
1101 \keepWithTag #'part @var{the music}
1106 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1108 The arguments of the @code{\tag} command should be a symbol
1109 (such as @code{#'score} or @code{#'part}), followed by a
1110 music expression. It is possible to put multiple tags on
1111 a piece of music with multiple @code{\tag} entries,
1114 \tag #'original-part \tag #'transposed-part @dots{}
1120 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1125 Multiple rests are not merged if you create the score with both tagged
1130 @node Orchestral music
1131 @section Orchestral music
1133 Orchestral music involves some special notation, both in the full
1134 score and the individual parts. This section explains how to tackle
1135 some common problems in orchestral music.
1138 * Automatic part combining::
1140 * Quoting other voices::
1141 * Formatting cue notes::
1142 * Aligning to cadenzas::
1146 @node Automatic part combining
1147 @subsection Automatic part combining
1148 @cindex automatic part combining
1149 @cindex part combiner
1151 Automatic part combining is used to merge two parts of music onto a
1152 staff. It is aimed at typesetting orchestral scores. When the two
1153 parts are identical for a period of time, only one is shown. In
1154 places where the two parts differ, they are typeset as separate
1155 voices, and stem directions are set automatically. Also, solo and
1156 @emph{a due} parts are identified and can be marked.
1158 The syntax for part combining is
1161 \partcombine @var{musicexpr1} @var{musicexpr2}
1165 The following example demonstrates the basic functionality of the part
1166 combiner: putting parts on one staff, and setting stem directions and
1169 @lilypond[quote,verbatim,ragged-right,fragment]
1170 \new Staff \partcombine
1171 \relative g' { g g a( b) c c r r }
1172 \relative g' { g g r4 r e e g g }
1175 The first @code{g} appears only once, although it was
1176 specified twice (once in each part). Stem, slur, and tie directions are
1177 set automatically, depending whether there is a solo or unisono. The
1178 first part (with context called @code{one}) always gets up stems, and
1179 `Solo', while the second (called @code{two}) always gets down stems and
1182 If you just want the merging parts, and not the textual markings, you
1183 may set the property @code{printPartCombineTexts} to false
1185 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1187 \set Staff.printPartCombineTexts = ##f
1189 \relative g' { g a( b) r }
1190 \relative g' { g r4 r f }
1194 To change the text that is printed for solos or merging, you may
1195 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1198 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1200 \set Score.soloText = #"ichi"
1201 \set Score.soloIIText = #"ni"
1202 \set Score.aDueText = #"tachi"
1204 \relative g' { g4 g a( b) r }
1205 \relative g' { g4 g r r f }
1209 Both arguments to @code{\partcombine} will be interpreted as
1210 @internalsref{Voice} contexts. If using relative octaves,
1211 @code{\relative} should be specified for both music expressions, i.e.,
1215 \relative @dots{} @var{musicexpr1}
1216 \relative @dots{} @var{musicexpr2}
1220 A @code{\relative} section that is outside of @code{\partcombine} has
1221 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1225 Program reference: @internalsref{PartCombineMusic}.
1229 When @code{printPartCombineTexts} is set, when the two voices play the
1230 same notes on and off, the part combiner may typeset @code{a2} more
1231 than once in a measure.
1233 @code{\partcombine} cannot be inside @code{\times}.
1235 @code{\partcombine} cannot be inside @code{\relative}.
1237 Internally, the @code{\partcombine} interprets both arguments as
1238 @code{Voice}s named @code{one} and @code{two}, and then decides when
1239 the parts can be combined. Consequently, if the arguments switch to
1240 differently named @internalsref{Voice} contexts, the events in those
1245 @subsection Hiding staves
1247 @cindex Frenched scores
1248 @cindex Hiding staves
1250 In orchestral scores, staff lines that only have rests are usually
1251 removed; this saves some space. This style is called `French Score'.
1252 For @internalsref{Lyrics},
1253 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1254 switched on by default. When the lines of these contexts turn out
1255 empty after the line-breaking process, they are removed.
1257 For normal staves, a specialized @internalsref{Staff} context is
1258 available, which does the same: staves containing nothing (or only
1259 multi-measure rests) are removed. The context definition is stored in
1260 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1261 in this example disappears in the second line
1263 @lilypond[quote,ragged-right,verbatim]
1265 \context { \RemoveEmptyStaffContext }
1270 \new Staff { e4 f g a \break c1 }
1271 \new Staff { c4 d e f \break R1 }
1276 The first system shows all staves in full. If empty staves should be
1277 removed from the first system too, set @code{remove-first} to true in
1278 @internalsref{VerticalAxisGroup}.
1281 \override Score.VerticalAxisGroup #'remove-first = ##t
1284 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1285 or @code{\RemoveEmptyRhythmicStaffContext}.
1287 Another application is making ossia sections, i.e., alternative
1288 melodies on a separate piece of staff, with help of a Frenched
1289 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1292 @node Quoting other voices
1293 @subsection Quoting other voices
1295 With quotations, fragments of other parts can be inserted into a part
1296 directly. Before a part can be quoted, it must be marked especially as
1297 quotable. This is done with the @code{\addquote} command.
1300 \addquote @var{name} @var{music}
1305 Here, @var{name} is an identifying string. The @var{music} is any kind
1306 of music. Here is an example of @code{\addquote}
1309 \addquote clarinet \relative c' @{
1314 This command must be entered at toplevel, i.e., outside any music
1317 After calling @code{\addquote}, the quotation may then be done with
1318 @code{\quoteDuring} or @code{\cueDuring},
1321 \quoteDuring #@var{name} @var{music}
1324 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1328 \quoteDuring #"clarinet" @{ s2. @}
1331 This would cite three quarter notes (the duration of @code{s2.}) of
1332 the previously added @code{clarinet} voice.
1335 More precisely, it takes the current time-step of the part being
1336 printed, and extracts the notes at the corresponding point of the
1337 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1338 should be the entire part of the voice to be quoted, including any
1339 rests at the beginning.
1341 Quotations take into account the transposition of both source and target
1342 instruments, if they are specified using the @code{\transposition} command.
1344 @lilypond[quote,ragged-right,verbatim]
1345 \addquote clarinet \relative c' {
1351 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1355 The type of events that are present in cue notes can be trimmed with
1356 the @code{quotedEventTypes} property. The default value is
1357 @code{(note-event rest-event)}, which means that only notes and
1358 rests of the cued voice end up in the @code{\quoteDuring}.
1362 \set Staff.quotedEventTypes =
1363 #'(note-event articulation-event dynamic-event)
1367 will quote notes (but no rests), together with scripts and dynamics.
1371 Only the contents of the first @internalsref{Voice} occurring in an
1372 @code{\addquote} command will be considered for quotation, so
1373 @var{music} can not contain @code{\new} and @code{\context Voice}
1374 statements that would switch to a different Voice.
1376 Quoting grace notes is broken and can even cause LilyPond to crash.
1380 In this manual: @ref{Instrument transpositions}.
1382 Examples: @inputfileref{input/@/regression,quote@/.ly}
1383 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1385 Program reference: @internalsref{QuoteMusic}.
1388 @node Formatting cue notes
1389 @subsection Formatting cue notes
1391 The previous section deals with inserting notes from another voice.
1392 There is a more advanced music function called @code{\cueDuring},
1393 which makes formatting cue notes easier.
1398 \cueDuring #@var{name} #@var{updown} @var{music}
1401 This will insert notes from the part @var{name} into a
1402 @internalsref{Voice} called @code{cue}. This happens simultaneously
1403 with @var{music}, which usually is a rest. When the cue notes start,
1404 the staff in effect becomes polyphonic for a moment. The argument
1405 @var{updown} determines whether the cue notes should be notated as a
1406 first or second voice.
1409 @lilypond[verbatim,ragged-right]
1412 \override Stem #'length-fraction = #0.8
1413 \override Beam #'thickness = #0.384
1414 \override Beam #'length-fraction = #0.8
1417 \addquote clarinet \relative {
1422 \new Staff \relative <<
1424 % setup a context for cue notes.
1425 \new Voice = "cue" { \smaller \skip 1*21 }
1427 \set Score.skipBars = ##t
1431 \cueDuring #"clarinet" #1 {
1440 Here are a couple of hints for successful cue notes
1444 Cue notes have smaller font sizes.
1446 the cued part is marked with the instrument playing the cue.
1448 when the original part takes over again, this should be marked with
1449 the name of the original instrument.
1451 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1453 @c Yes, this is good practice. Otherwise, the start of the original
1454 @c part can only be seen from the font size. This is not good enough
1455 @c for sight-reading. It is possilbe to use other
1456 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1461 Any other changes introduced by the cued part should also be
1462 undone. For example, if the cued instrument plays in a different clef,
1463 the original clef should be stated once again.
1468 @node Aligning to cadenzas
1469 @subsection Aligning to cadenzas
1471 In an orchestral context, cadenzas present a special problem:
1472 when constructing a score that includes a cadenza, all other
1473 instruments should skip just as many notes as the length of the
1474 cadenza, otherwise they will start too soon or too late.
1476 A solution to this problem are the functions @code{mmrest-of-length}
1477 and @code{skip-of-length}. These Scheme functions take a piece of music
1478 as argument, and generate a @code{\skip} or multi-rest, exactly as
1479 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1480 in the following example.
1482 @lilypond[verbatim,ragged-right,quote]
1483 cadenza = \relative c' {
1484 c4 d8 << { e f g } \\ { d4. } >>
1489 \new Staff { \cadenza c'4 }
1491 #(ly:export (mmrest-of-length cadenza))
1500 @node Contemporary notation
1501 @section Contemporary notation
1503 In the 20th century, composers have greatly expanded the musical
1504 vocabulary. With this expansion, many innovations in musical notation
1505 have been tried. The book ``Music Notation in the 20th century'' by
1506 Kurt Stone gives a comprehensive overview (see @ref{Literature
1509 This section describes notation that does
1510 not fit into traditional notation categories, such as pitches,
1511 tuplet beams, and articulation. For contemporary notation
1512 that fits into traditional notation categories, such as
1513 microtones, nested tuplet beams, and unusual fermatas, please
1514 see those sections of the documentation.
1517 @c I don't think we should discourage modern composers who might
1518 @c want to sponsor new features. :)
1519 @c In general, the use of new, innovative notation makes a piece
1520 @c harder to understand and perform and its use should therefore be
1521 @c avoided. For this reason, support for contemporary notation in
1522 @c LilyPond is limited.
1526 * Polymetric notation::
1527 * Time administration::
1528 * Proportional notation::
1530 * Special noteheads::
1536 @node Polymetric notation
1537 @subsection Polymetric notation
1539 Double time signatures are not supported explicitly, but they can be
1540 faked. In the next example, the markup for the time signature is
1541 created with a markup text. This markup text is inserted in the
1542 @internalsref{TimeSignature} grob.
1544 @lilypond[verbatim,ragged-right]
1549 \musicglyph #"scripts.stopped"
1550 \bracket \column { "5" "8" }
1555 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1556 \override Staff.TimeSignature #'text = #tsMarkup
1558 c'2 \bar ":" c'4 c'4.
1562 Each staff can also have its own time signature. This is done by
1563 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1569 \remove "Timing_translator"
1570 \remove "Default_bar_line_engraver"
1574 \consists "Timing_translator"
1575 \consists "Default_bar_line_engraver"
1582 Now, each staff has its own time signature.
1595 c4. c8 c c c4. c8 c c
1600 @lilypond[quote,ragged-right]
1604 \remove "Timing_translator"
1605 \remove "Default_bar_line_engraver"
1608 \consists "Timing_translator"
1609 \consists "Default_bar_line_engraver"
1624 c4. c8 c c c4. c8 c c
1630 A different form of polymetric notation is where note lengths have
1631 different values across staves.
1633 This notation can be created by setting a common time signature for
1634 each staff but replacing it manually using
1635 @code{timeSignatureFraction} to the desired fraction. Then the printed
1636 durations in each staff are scaled to the common time signature.
1637 The latter is done with @code{\compressMusic}, which is used similar
1638 to @code{\times}, but does not create a tuplet bracket. The syntax is
1640 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1645 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1646 used in parallel. In the second staff, shown durations are multiplied by
1647 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1648 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1650 @lilypond[quote,ragged-right,verbatim,fragment]
1658 \set Staff.timeSignatureFraction = #'(9 . 8)
1659 \compressMusic #'(2 . 3)
1660 \repeat unfold 6 { c8[ c c] }
1664 \set Staff.timeSignatureFraction = #'(10 . 8)
1665 \compressMusic #'(3 . 5) {
1666 \repeat unfold 2 { c8[ c c] }
1667 \repeat unfold 2 { c8[ c] }
1668 | c4. c4. \times 2/3 { c8 c c } c4
1679 When using different time signatures in parallel, the spacing is
1680 aligned vertically, but bar lines distort the regular spacing.
1683 @node Time administration
1684 @subsection Time administration
1686 @cindex Time administration
1688 Time is administered by the @internalsref{Time_signature_engraver},
1689 which usually lives in the @internalsref{Score} context. The
1690 bookkeeping deals with the following variables
1693 @item currentBarNumber
1697 The length of the measures in the current time signature. For a 4/4
1698 time this is@tie{}1, and for 6/8 it is 3/4.
1700 @item measurePosition
1701 The point within the measure where we currently are. This quantity
1702 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1703 happens, @code{currentBarNumber} is incremented.
1706 If set to true, the above variables are updated for every time
1707 step. When set to false, the engraver stays in the current measure
1711 Timing can be changed by setting any of these variables explicitly.
1712 In the next example, the 4/4 time signature is printed, but
1713 @code{measureLength} is set to 5/4. After a while, the measure is
1714 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1715 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1716 3/8 arises because 5/4 normally has 10/8, but we have manually
1717 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1719 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1720 \set Score.measureLength = #(ly:make-moment 5 4)
1724 \set Score.measurePosition = #(ly:make-moment 7 8)
1730 As the example illustrates, @code{ly:make-moment n m} constructs a
1731 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is an eighth
1732 note duration and @code{ly:make-moment 7 16} is the duration of
1733 seven sixteenths notes.
1736 @node Proportional notation
1737 @subsection Proportional notation
1738 @cindex Proportional notation
1740 Notes can be spaced proportional to their time-difference by
1741 assigning a duration to @code{proportionalNotationDuration}
1743 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1745 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1746 \new Staff { c8[ c c c c c] c4 c2 r2 }
1747 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1753 @subsection Clusters
1757 A cluster indicates a continuous range of pitches to be played. They
1758 can be denoted as the envelope of a set of notes. They are entered by
1759 applying the function @code{makeClusters} to a sequence of
1761 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1762 \makeClusters { <c e > <b f'> }
1765 The following example (from
1766 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1769 @lilypondfile[ragged-right,quote]{cluster.ly}
1771 Ordinary notes and clusters can be put together in the same staff,
1772 even simultaneously. In such a case no attempt is made to
1773 automatically avoid collisions between ordinary notes and clusters.
1777 Program reference: @internalsref{ClusterSpanner},
1778 @internalsref{ClusterSpannerBeacon},
1779 @internalsref{Cluster_spanner_engraver}.
1781 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1785 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1786 accurately. Use @code{<g a>8 <e a>8} instead.
1789 @node Special noteheads
1790 @subsection Special noteheads
1792 Different noteheads are used by various instruments for various
1793 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1794 notes on guitar; diamonds are used for harmonics on string instruments,
1795 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1796 other notehead styles are produced by tweaking the property
1798 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1800 \override NoteHead #'style = #'cross
1802 \revert NoteHead #'style
1803 e d <c f\harmonic> <d a'\harmonic>
1807 To see all notehead styles, please see
1808 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1813 Program reference: @internalsref{NoteHead}.
1816 @node Feathered beams
1817 @subsection Feathered beams
1819 Feathered beams are not supported natively, but they can be faked by
1820 forcing two beams to overlap. Here is an example,
1822 @c don't change relative setting witout changing positions!
1823 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1828 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1833 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1841 @subsection Improvisation
1843 Improvisation is sometimes denoted with slashed note heads. Such note
1844 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1845 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1849 \set squashedPosition = #0
1850 \override NoteHead #'style = #'slash
1854 switches on the slashes.
1856 There are shortcuts @code{\improvisationOn} (and an accompanying
1857 @code{\improvisationOff}) for this command sequence. They are used in
1858 the following example
1860 @lilypond[verbatim,ragged-right,quote]
1862 \consists Pitch_squash_engraver
1864 e8 e g a a16(bes)(a8) g \improvisationOn
1867 ~fis2 \improvisationOff a16(bes) a8 g e
1872 @node Educational use
1873 @section Educational use
1875 With the amount of control that LilyPond offers, one can make great
1876 teaching tools in addition to great musical scores.
1880 * Blank music sheet::
1882 * Shape note heads ::
1883 * Easy Notation note heads::
1884 * Analysis brackets::
1885 * Coloring objects::
1889 @subsection Balloon help
1891 Elements of notation can be marked and named with the help of a square
1892 balloon. The primary purpose of this feature is to explain notation.
1894 The following example demonstrates its use.
1896 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1899 #(add-balloon-text 'NoteHead "heads, or tails?"
1906 The function @code{add-balloon-text} takes the name of a grob, the
1907 label to print, and the position where to put the label relative to
1908 the object. In the above example, the text ``heads or tails?'' ends
1909 3 spaces below and 1 space to the right of the marked head.
1912 @cindex notation, explaining
1916 Program reference: @internalsref{text-balloon-interface}.
1918 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1923 @node Blank music sheet
1924 @subsection Blank music sheet
1926 A blank music sheet can be produced also by using invisible notes, and
1927 removing @code{Bar_number_engraver}.
1930 @lilypond[quote,verbatim]
1932 \repeat unfold 2 % Change this for more lines.
1937 \override TimeSignature #'transparent = ##t
1938 defaultBarType = #""
1939 \remove Bar_number_engraver
1941 \new Staff \emptymusic
1942 \new TabStaff \emptymusic
1948 @subsection Hidden notes
1950 @cindex Hidden notes
1951 @cindex Invisible notes
1952 @cindex Transparent notes
1954 @cindex @code{\hideNotes}
1955 @cindex @code{\unHideNotes}
1956 Hidden (or invisible or transparent) notes can be useful in preparing theory
1957 or composition exercises.
1959 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1967 Hidden notes are also great for performing weird tricks. For example,
1968 slurs cannot be attached to rests or spacer rests, but you may wish
1969 to include that in your score -- string instruments use this notation
1970 when doing pizzicato to indicate that the note should ring for as long
1973 @lilypond[quote,ragged-right,verbatim,relative=0,fragment]
1976 c4^"pizz"( \hideNotes c)
1977 \unHideNotes c( \hideNotes c)
1984 @node Shape note heads
1985 @subsection Shape note heads
1987 In shape note head notation, the shape of the note head corresponds
1988 to the harmonic function of a note in the scale. This notation was
1989 popular in the 19th century American song books.
1991 Shape note heads can be produced by setting @code{\aikenHeads} or
1992 @code{\sacredHarpHeads}, depending on the style desired.
1994 @lilypond[verbatim,relative=1,fragment]
2001 Shapes are determined on the step in the scale, where the base of the
2002 scale is determined by the @code{\key} command
2005 @findex shapeNoteStyles
2007 @findex \sacredHarpHeads
2009 Shape note heads are implemented through the @code{shapeNoteStyles}
2010 property. Its value is a vector of symbols. The k-th element indicates
2011 the style to use for the k-th step of the scale. Arbitrary
2012 combinations are possible, eg.,
2015 @lilypond[verbatim,relative=1,fragment]
2016 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2021 @node Easy Notation note heads
2022 @subsection Easy Notation note heads
2024 @cindex easy notation
2027 The `easy play' note head includes a note name inside the head. It is
2028 used in music for beginners
2030 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2035 The command @code{\setEasyHeads} overrides settings for the
2036 @internalsref{NoteHead} object. To make the letters readable, it has
2037 to be printed in a large font size. To print with a larger font, see
2038 @ref{Setting global staff size}.
2042 @cindex @code{\setEasyHeads}
2043 @code{\setEasyHeads}
2046 @node Analysis brackets
2047 @subsection Analysis brackets
2049 @cindex phrasing brackets
2050 @cindex musicological analysis
2051 @cindex note grouping bracket
2053 Brackets are used in musical analysis to indicate structure in musical
2054 pieces. LilyPond supports a simple form of nested horizontal
2055 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2056 to @internalsref{Staff} context. A bracket is started with
2057 @code{\startGroup} and closed with @code{\stopGroup}
2059 @lilypond[quote,ragged-right,verbatim]
2062 c4\startGroup\startGroup
2065 c4\stopGroup\stopGroup
2069 \Staff \consists "Horizontal_bracket_engraver"
2075 Program reference: @internalsref{HorizontalBracket}.
2077 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2080 @node Coloring objects
2081 @subsection Coloring objects
2083 Individual objects may be assigned colors. You may use the
2084 color names listed in the @ref{List of colors}.
2086 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2087 \override NoteHead #'color = #red
2089 \override NoteHead #'color = #(x11-color 'LimeGreen)
2091 \override Stem #'color = #blue
2095 The full range of colors defined for X11 can be accessed by using the
2096 scheme function x11-color. The function takes one argument that can be a
2100 \override Beam #'color = #(x11-color 'MediumTurquoise)
2106 \override Beam #'color = #(x11-color "MediumTurquoise")
2109 The first form is quicker to write and is more efficient. However, using
2110 the second form it is possible to access X11 colors by the multi-word
2114 \override Beam #'color = #(x11-color "medium turquoise")
2117 If x11-color cannot make sense of the parameter then the color returned
2118 defaults to black. It should be obvious from the final score that
2121 This example, illustrates the use of x11-color. Notice that the stem
2122 color remains black after being set to (x11-color 'Boggle), which is
2123 deliberate nonsense.
2125 @lilypond[quote,ragged-right,verbatim]
2127 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2128 \set Staff.instrument = \markup {
2129 \with-color #(x11-color 'navy) "Clarinet"
2133 \override Beam #'color = #(x11-color "medium turquoise")
2135 \override NoteHead #'color = #(x11-color "LimeGreen")
2137 \override Stem #'color = #(x11-color 'Boggle)
2145 Appendix: @ref{List of colors}.
2149 Not all x11 colors are distinguishable in a web browser. For web use
2150 normal colors are recommended.
2152 An x11 color is not necessarily exactly the same shade as a similarly
2156 @node Automatic notation
2157 @section Automatic notation
2159 This section describes how to change the way that accidentals and
2160 beams are automatically displayed.
2162 FIXME: this might get moved into Changing Defaults. Please send
2163 opinions to lilypond-devel. Thanks! :)
2166 * Automatic accidentals::
2167 * Setting automatic beam behavior::
2170 @node Automatic accidentals
2171 @subsection Automatic accidentals
2172 @cindex Automatic accidentals
2174 Common rules for typesetting accidentals have been placed in a
2175 function. This function is called as follows
2177 @cindex @code{set-accidental-style}
2179 #(set-accidental-style 'STYLE #('CONTEXT#))
2182 The function can take two arguments: the name of the accidental style,
2183 and an optional argument that denotes the context that should be
2184 changed. If no context name is supplied, @code{Staff} is the default,
2185 but you may wish to apply the accidental style to a single @code{Voice}
2188 The following accidental styles are supported
2191 This is the default typesetting behavior. It corresponds
2192 to 18th century common practice: Accidentals are
2193 remembered to the end of the measure in which they occur and
2194 only on their own octave.
2197 The normal behavior is to remember the accidentals on
2198 Staff-level. This variable, however, typesets accidentals
2199 individually for each voice. Apart from that, the rule is similar to
2202 As a result, accidentals from one voice do not get canceled in other
2203 voices, which is often an unwanted result
2205 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
2207 #(set-accidental-style 'voice)
2214 The @code{voice} option should be used if the voices
2215 are to be read solely by individual musicians. If the staff is to be
2216 used by one musician (e.g., a conductor) then
2217 @code{modern} or @code{modern-cautionary}
2218 should be used instead.
2221 @cindex @code{modern} style accidentals
2222 This rule corresponds to the common practice in the 20th century. This rule
2223 prints the same accidentals as @code{default}, but temporary
2224 accidentals also are canceled in other octaves. Furthermore,
2225 in the same octave, they also get canceled in the following
2228 @lilypond[quote,ragged-right,fragment,verbatim]
2229 #(set-accidental-style 'modern)
2230 cis' c'' cis'2 | c'' c'
2233 @item @code{modern-cautionary}
2234 @cindex @code{modern-cautionary}
2235 This rule is similar to @code{modern}, but the ``extra'' accidentals
2236 (the ones not typeset by @code{default}) are typeset as cautionary
2237 accidentals. They are printed in reduced size or with parentheses
2238 @lilypond[quote,ragged-right,fragment,verbatim]
2239 #(set-accidental-style 'modern-cautionary)
2240 cis' c'' cis'2 | c'' c'
2243 @cindex @code{modern-voice}
2245 This rule is used for multivoice accidentals to be read both by musicians
2246 playing one voice and musicians playing all voices. Accidentals are
2247 typeset for each voice, but they @emph{are} canceled across voices in
2248 the same @internalsref{Staff}.
2250 @cindex @code{modern-voice-cautionary}
2251 @item modern-voice-cautionary
2252 This rule is the same as @code{modern-voice}, but with the extra
2253 accidentals (the ones not typeset by @code{voice}) typeset
2254 as cautionaries. Even though all accidentals typeset by
2255 @code{default} @emph{are} typeset by this variable,
2256 some of them are typeset as cautionaries.
2259 @cindex @code{piano} accidentals
2260 This rule reflects 20th century practice for piano notation. Very similar to
2261 @code{modern} but accidentals also get canceled
2262 across the staves in the same @internalsref{GrandStaff} or
2263 @internalsref{PianoStaff}.
2265 @item piano-cautionary
2266 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2267 Same as @code{#(set-accidental-style 'piano)} but with the extra
2268 accidentals typeset as cautionaries.
2271 @cindex @code{no-reset} accidental style
2272 This is the same as @code{default} but with accidentals lasting
2273 ``forever'' and not only until the next measure
2274 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2275 #(set-accidental-style 'no-reset)
2280 This is sort of the opposite of @code{no-reset}: Accidentals
2281 are not remembered at all---and hence all accidentals are
2282 typeset relative to the key signature, regardless of what was
2285 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2286 #(set-accidental-style 'forget)
2287 \key d\major c4 c cis cis d d dis dis
2294 Program reference: @internalsref{Accidental_engraver},
2295 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2300 Simultaneous notes are considered to be entered in sequential
2301 mode. This means that in a chord the accidentals are typeset as if the
2302 notes in the chord happened once at a time - in the order in which
2303 they appear in the input file.
2305 This is a problem when accidentals in a chord depend on each other,
2306 which does not happen for the default accidental style. The problem
2307 can be solved by manually inserting @code{!} and @code{?} for the
2311 @node Setting automatic beam behavior
2312 @subsection Setting automatic beam behavior
2314 @cindex @code{autoBeamSettings}
2315 @cindex @code{(end * * * *)}
2316 @cindex @code{(begin * * * *)}
2317 @cindex automatic beams, tuning
2318 @cindex tuning automatic beaming
2320 @c [TODO: use \applyContext]
2322 In normal time signatures, automatic beams can start on any note but can
2323 only end in a few positions within the measure: beams can end on a beat,
2324 or at durations specified by the properties in
2325 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2326 consist of a list of rules for where beams can begin and end. The
2327 default @code{autoBeamSettings} rules are defined in
2328 @file{scm/@/auto@/-beam@/.scm}.
2330 In order to add a rule to the list, use
2332 #(override-auto-beam-setting '(be p q n m) a b [context])
2337 @item @code{be} is either "begin" or "end".
2339 @item @code{p/q} is the duration of the note for which you want
2340 to add a rule. A beam is considered to have the duration of its
2341 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2342 have this apply to any beam.
2344 @item @code{n/m} is the time signature to which
2345 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2346 to have this apply in any time signature.
2348 @item @code{a/b} is the position in the bar at which the beam should begin/end.
2350 @item @code{context} is optional, and it specifies the context at which
2351 the change should be made. The default is @code{'Voice}.
2352 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2353 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2357 For example, if automatic beams should always end on the first quarter
2361 #(override-auto-beam-setting '(end * * * *) 1 4)
2364 You can force the beam settings to only take effect on beams whose shortest
2365 note is a certain duration
2367 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2369 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2371 a32 a a a a16 a a a a a |
2372 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2373 a32 a a a a16 a a a a a |
2376 You can force the beam settings to only take effect in certain time
2379 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2381 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2389 You can also remove a previously set beam-ending rule by using
2392 #(revert-auto-beam-setting '(be p q n m) a b [context])
2396 be, p, q, n, m, a, b and context are the same as above. Note that the
2397 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2398 so you can revert rules that you did not explicitly create.
2400 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2402 a16 a a a a a a a a a a a a a a a
2403 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2404 a16 a a a a a a a a a a a a a a a
2407 The rule in a revert-auto-beam-setting statement must exactly match the
2408 original rule. That is, no wildcard expansion is taken into account.
2410 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2412 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2414 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2416 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2422 @c TODO: old material -- not covered by above stuff, I think.
2423 If automatic beams should end on every quarter in 5/4 time, specify
2426 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2427 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2428 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2429 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2433 The same syntax can be used to specify beam starting points. In this
2434 example, automatic beams can only end on a dotted quarter note
2436 #(override-auto-beam-setting '(end * * * *) 3 8)
2437 #(override-auto-beam-setting '(end * * * *) 1 2)
2438 #(override-auto-beam-setting '(end * * * *) 7 8)
2440 In 4/4 time signature, this means that automatic beams could end only on
2441 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2442 3/8, has passed within the measure).
2444 @cindex automatic beam generation
2446 @cindex @code{autoBeaming}
2449 If beams are used to indicate melismata in songs, then automatic
2450 beaming should be switched off with @code{\autoBeamOff}.
2455 @cindex @code{\autoBeamOff}
2456 @code{\autoBeamOff},
2457 @cindex @code{\autoBeamOn}
2463 If a score ends while an automatic beam has not been ended and is
2464 still accepting notes, this last beam will not be typeset at all. The
2465 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2466 >>}. If a polyphonic voice ends while an automatic beam is still
2467 accepting notes, it is not typeset.