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::
29 This section explains how to include text (with various formatting) in
39 * Overview of text markup commands::
41 * Other text markup issues::
46 @subsection Text scripts
49 @cindex text items, non-empty
50 @cindex non-empty texts
52 It is possible to place arbitrary strings of text or @ref{Text markup}
53 above or below notes by using a string @code{c^"text"}. By default,
54 these indications do not influence the note spacing, but by using the
55 command @code{\fatText}, the widths will be taken into account
57 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
58 c4^"longtext" \fatText c4_"longlongtext" c4
61 More complex formatting may also be added to a note by using the
63 @lilypond[fragment,raggedright,verbatim,quote]
64 c'4^\markup { bla \bold bla }
67 The @code{\markup} is described in more detail in
73 @cindex @code{\fatText}
75 @cindex @code{\emptyText}
81 In this manual: @ref{Text markup}.
83 Program reference: @internalsref{TextScript}.
87 @subsection Text spanners
91 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
92 are written as text and are extended over many measures with dotted
93 lines. Such texts are created using text spanners; attach
94 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
97 The string to be printed, as well as the style, is set through object
100 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
103 \override TextSpanner #'edge-text = #'("rall " . "")
104 c2\startTextSpan b c\stopTextSpan a
109 @cindex textSpannerUp
110 @code{textSpannerUp},
111 @cindex textSpannerDown
112 @code{textSpannerDown},
113 @cindex textSpannerNeutral
114 @code{textSpannerNeutral}.
119 Program reference: @internalsref{TextSpanner}.
121 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
125 @subsection Text marks
127 @cindex coda on bar line
128 @cindex segno on bar line
129 @cindex fermata on bar line
130 @cindex bar lines, symbols on
133 The @code{\mark} command is primarily used for
134 @internalsref{Rehearsal marks},
135 but it can also be used to put signs like coda,
136 segno, and fermata on a bar line. Use @code{\markup} to
137 access the appropriate symbol
139 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
140 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
145 @code{\mark} is only typeset above the top stave of the score. If
146 you specify the @code{\mark} command at a bar line, the resulting
147 mark is placed above the bar line. If you specify it in the middle
148 of a bar, the resulting mark is positioned between notes. If it is
149 specified before the beginning of a score line, it is placed
150 before the first note of the line. Finally, if the mark occurs at
151 a line break, the mark will be printed at the
152 beginning of the next line.
153 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
154 @c delete this sentence. -gp
155 If there is no next line, then the mark will not be printed at all.
160 To print the mark at the end of the current line, use
163 \override Score.RehearsalMark
164 #'break-visibility = #begin-of-line-invisible
167 @code{\mark} is often useful for adding text to the end of bar. In
168 such cases, changing the @code{#'self-alignment} is very useful
170 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
171 \override Score.RehearsalMark
172 #'break-visibility = #begin-of-line-invisible
174 \once \override Score.RehearsalMark #'self-alignment-X = #right
175 \mark "D.S. al Fine "
181 Program reference: @internalsref{RehearsalMark}.
185 @subsection Text markup
192 Use @code{\markup} to typeset text. Commands are entered with the
195 @lilypond[quote,verbatim,fragment,relative=1]
197 c1_\markup { hi there }
198 c1^\markup { hi \bold there, is \italic anyone home? }
202 @code{\markup} is primarily used for @internalsref{TextScript}s,
203 but it can also be used anywhere text is called in lilypond
205 @lilypond[quote,verbatim]
206 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
209 \override Score.RehearsalMark
210 #'break-visibility = #begin-of-line-invisible
211 \override Score.RehearsalMark #'self-alignment-X = #right
213 \set Staff.instrument = \markup{ \column{ Alto solo } }
214 c2^\markup{ don't be \flat }
216 a2\mark \markup{ \large \bold Fine }
220 \addlyrics { bar, foo \markup{ \italic bar! } }
224 @cindex font switching
226 The markup in the example demonstrates font switching commands. The
227 command @code{\bold} and @code{\italic} apply to the first following
228 word only; to apply a command to more than one word, enclose the
232 \markup @{ \bold @{ hi there @} @}
236 For clarity, you can also do this for single arguments, e.g.,
239 \markup @{ is \italic @{ anyone @} home @}
242 @cindex font size, texts
244 In markup mode you can compose expressions, similar to mathematical
245 expressions, XML documents, and music expressions. You can stack
246 expressions grouped vertically with the command @code{\column}.
247 Similarly, @code{\center-align} aligns texts by their center lines:
249 @lilypond[quote,verbatim,fragment,relative=1]
250 c1^\markup { \column { a bbbb \line { c d } } }
251 c1^\markup { \center-align { a bbbb c } }
252 c1^\markup { \line { a b c } }
255 Markups can be stored in variables and these variables
256 may be attached to notes, like
258 allegro = \markup @{ \bold \large @{ Allegro @} @}
259 @{ a^\allegro b c d @}
262 Some objects have alignment procedures of their own, which cancel out
263 any effects of alignments applied to their markup arguments as a
264 whole. For example, the @internalsref{RehearsalMark} is horizontally
265 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
271 Program reference: @internalsref{TextScript}.
273 Init files: @file{scm/@/new@/-markup@/.scm}.
278 Kerning or generation of ligatures is only done when the @TeX{}
279 backend is used. In this case, LilyPond does not account for them so
280 texts will be spaced slightly too wide.
282 Syntax errors for markup mode are confusing.
286 @subsection Text encoding
288 LilyPond uses the Pango library to format multi-lingual texts, and
289 does not perform any input-encoding conversions. This means that any
290 text, be it title, lyric text, or musical instruction containing
291 non-ASCII characters, must be utf-8. Easiest to enter such texts is
292 by using a Unicode-aware editor, and save using utf-8 encoding. Most
293 popular modern editors have utf-8 support, for example, vim, Emacs,
296 Depending on the fonts installed, the following fragment shows Hebrew
303 @lilypondfile[fontload]{utf-8.ly}
305 The @TeX{} backend does not handle encoding specially at all. Strings
306 in the input are put in the output as-is. Extents of text items in the
307 @TeX{} backend, are determined by reading a file created via the
308 @file{texstr} backend,
311 lilypond -b texstr input/les-nereides.ly
312 latex les-nereides.texstr
315 The last command produces @file{les-nereides.textmetrics}, which is
316 read when you execute
319 lilypond -b tex input/les-nereides.ly
322 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
323 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
324 interpreting non-ASCII strings.
329 @inputfileref{input/regression,utf-8.ly}
333 @subsection Nested scores
335 It is possible to nest music inside markups, by adding a @code{\score}
336 block to a markup expression. Such a score must contain a @code{\layout}
339 @lilypond[quote,verbatim,raggedright]
343 \relative { c4 d e f }
352 @node Overview of text markup commands
353 @subsection Overview of text markup commands
355 The following commands can all be used inside @code{\markup @{ @}}.
357 @include markup-commands.tely
360 @node New dynamic marks
361 @subsection New dynamic marks
363 It is possible to print new dynamic marks or text that should be aligned
364 with dynamics. Use @code{make-dynamic-script} to create these marks.
366 @cindex make-dynamic-script
368 @lilypond[quote,verbatim,raggedright]
369 sfzp = #(make-dynamic-script "sfzp")
375 @cindex Dynamics, editorial
376 @cindex Dynamics, parenthesis
378 It is also possible to print dynamics in round parenthesis or square
379 brackets. These are often used for adding editorial dynamics.
381 @lilypond[quote,verbatim,raggedright]
382 rndf = \markup{ \center-align {\line { \bold{\italic (}
383 \dynamic f \bold{\italic )} }} }
384 boxf = \markup{ \bracket { \dynamic f } }
385 { c'1_\rndf c'1_\boxf }
389 @node Other text markup issues
390 @subsection Other text markup issues
392 To use a normal font within a title, you must define it manually
395 #(def-markup-command (normal-font layout props arg) (markup?)
396 "Switch to normal text font"
397 (interpret-markup layout (cons '((font-series . 'medium) (font-shape . 'upright)) props) arg))
400 title = \markup@{ ABCD \normal-font ABCD @}
405 @node Preparing parts
406 @section Preparing parts
408 This section describes various notation that are useful for preparing
412 * Multi measure rests::
417 * Instrument transpositions::
419 * Different editions from one source::
423 @node Multi measure rests
424 @subsection Multi measure rests
426 @cindex multi measure rests
427 @cindex Rests, multi measure
428 @cindex whole rests for a full measure
431 Multi-measure rests are entered using `@code{R}'. It is specifically
432 meant for full bar rests and for entering parts: the rest can expand
433 to fill a score with rests, or it can be printed as a single
434 multi-measure rest. This expansion is controlled by the property
435 @code{Score.skipBars}. If this is set to true, empty measures will not
436 be expanded, and the appropriate number is added automatically
438 @lilypond[quote,raggedright,fragment,verbatim]
439 \time 4/4 r1 | R1 | R1*2
440 \set Score.skipBars = ##t R1*17 R1*4
443 The @code{1} in @code{R1} is similar to the duration notation used for
444 notes. Hence, for time signatures other than 4/4, you must enter other
445 durations. This can be done with augmentation dots or fractions
447 @lilypond[quote,raggedright,fragment,verbatim]
448 \set Score.skipBars = ##t
457 An @code{R} spanning a single measure is printed as either a whole rest
458 or a breve, centered in the measure regardless of the time signature.
460 If there are only a few measures of rest, LilyPond prints ``church rests''
461 (a series of rectangles) in the staff. To replace that with a simple
462 rest, use @code{MultiMeasureRest.expand-limit}.
464 @lilypond[quote,raggedright,fragment,verbatim]
465 \set Score.skipBars = ##t
467 \override MultiMeasureRest #'expand-limit = 1
471 @cindex text on multi-measure rest
472 @cindex script on multi-measure rest
473 @cindex fermata on multi-measure rest
475 Texts can be added to multi-measure rests by using the
476 @var{note}-@code{markup} syntax @ref{Text markup}.
477 A variable (@code{\fermataMarkup}) is provided for
480 @lilypond[quote,raggedright,verbatim,fragment]
481 \set Score.skipBars = ##t
483 R2.*10^\markup { \italic "ad lib." }
487 If you want to have text on the left end of a multi-measure rest,
488 attach the text to a zero-length skip note, i.e.,
498 Program reference: @internalsref{MultiMeasureRestMusicGroup},
499 @internalsref{MultiMeasureRest}.
501 The layout object @internalsref{MultiMeasureRestNumber} is for the
502 default number, and @internalsref{MultiMeasureRestText} for user
508 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
509 over multi-measure rests. And the pitch of multi-measure rests (or
510 staff-centered rests) can not be influenced.
512 @cindex condensing rests
514 There is no way to automatically condense multiple rests into a single
515 multi-measure rest. Multi-measure rests do not take part in rest
518 Be careful when entering multi-measure rests followed by whole
519 notes. The following will enter two notes lasting four measures each
523 When @code{skipBars} is set, the result will look OK, but the bar
524 numbering will be off.
527 @node Metronome marks
528 @subsection Metronome marks
531 @cindex beats per minute
532 @cindex metronome marking
534 Metronome settings can be entered as follows
536 \tempo @var{duration} = @var{per-minute}
539 In the MIDI output, they are interpreted as a tempo change. In the
540 layout output, a metronome marking is printed
541 @cindex @code{\tempo}
542 @lilypond[quote,raggedright,verbatim,fragment]
549 To change the tempo in the MIDI output without printing anything, make
550 the metronome marking invisible
552 \once \override Score.MetronomeMark #'transparent = ##t
555 To print other metronome markings, use these markup commands
556 @lilypond[quote,raggedright,verbatim,relative,fragment]
559 \smaller \general-align #Y #DOWN \note #"16." #1
561 \smaller \general-align #Y #DOWN \note #"8" #1"
566 See @ref{Text markup} for more details.
571 Program reference: @internalsref{MetronomeMark}.
576 Collisions are not checked. If you have notes above the top line of
577 the staff (or notes with articulations, slurs, text, etc), then the
578 metronome marking may be printed on top of musical symbols. If this
579 occurs, increase the padding of the metronome mark to place it
580 further away from the staff.
583 \override Score.MetronomeMark #'padding = #2.5
587 @node Rehearsal marks
588 @subsection Rehearsal marks
590 @cindex Rehearsal marks
593 To print a rehearsal mark, use the @code{\mark} command
595 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
604 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
606 The mark is incremented automatically if you use @code{\mark
607 \default}, but you can also use an integer argument to set the mark
608 manually. The value to use is stored in the property
609 @code{rehearsalMark}.
611 The style is defined by the property @code{markFormatter}. It is a
612 function taking the current mark (an integer) and the current context
613 as argument. It should return a markup object. In the following
614 example, @code{markFormatter} is set to a canned procedure. After a
615 few measures, it is set to function that produces a boxed number.
617 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
618 \set Score.markFormatter = #format-mark-numbers
621 \set Score.markFormatter = #format-mark-box-numbers
627 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
628 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
629 @code{format-mark-letters} and @code{format-mark-box-letters}.
630 These can be used as inspiration for other formatting functions.
635 Program reference: @internalsref{RehearsalMark}.
637 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
638 definition of @code{format-mark-numbers} and
639 @code{format-mark-letters}. They can be used as inspiration for other
640 formatting functions.
642 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
644 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
648 @subsection Bar numbers
651 @cindex measure numbers
652 @cindex @code{currentBarNumber}
654 Bar numbers are printed by default at the start of the line. The
655 number itself is stored in the @code{currentBarNumber} property, which
656 is normally updated automatically for every measure.
658 Bar numbers can be typeset at regular intervals instead of at the
659 beginning of each line. This is illustrated in the following example,
660 whose source is available as
661 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
663 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
665 Bar numbers can be typeset manually by tweaking the
666 @code{markFormatter} property
668 @lilypond[verbatim,raggedright,quote]
670 \set Score.markFormatter
671 = #(lambda (mark context)
674 (number->string (ly:context-property context
675 'currentBarNumber)))))
677 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
681 Bar numbers can be manually changed by setting the
682 @code{Staff.currentBarNumber} property
684 @lilypond[verbatim,raggedright,quote]
686 \repeat unfold 4 {c4 c c c} \break
687 \set Score.currentBarNumber = #50
688 \repeat unfold 4 {c4 c c c}
695 Program reference: @internalsref{BarNumber}.
698 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
699 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
704 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
705 there is one at the top. To solve this, the
706 @code{padding} property of @internalsref{BarNumber} can be
707 used to position the number correctly.
710 @node Instrument names
711 @subsection Instrument names
713 In an orchestral score, instrument names are printed at the left side
716 This can be achieved by setting @internalsref{Staff}.@code{instrument}
717 and @internalsref{Staff}.@code{instr}. This will print a string before
718 the start of the staff. For the first staff, @code{instrument} is
719 used, for the following ones, @code{instr} is used.
721 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
722 \set Staff.instrument = "Ploink "
723 \set Staff.instr = "Plk "
729 You can also use markup texts to construct more complicated instrument
732 @lilypond[quote,fragment,verbatim,raggedright]
733 \set Staff.instrument = \markup {
734 \column { "Clarinetti"
735 \line { "in B" \smaller \flat } } }
739 For longer instrument names, it may be useful to increase the
740 @code{indent} setting in the @code{\layout} block.
744 Program reference: @internalsref{InstrumentName}.
748 When you put a name on a grand staff or piano staff, the width of the
749 brace is not taken into account. You must add extra spaces to the end of
750 the name to avoid a collision.
753 @node Instrument transpositions
754 @subsection Instrument transpositions
756 @cindex transposition, MIDI
757 @cindex transposition, instrument
759 The key of a transposing instrument can also be specified. This
760 applies to many wind instruments, for example, clarinets (B-flat, A, and
761 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
763 The transposition is entered after the keyword @code{\transposition}
766 \transposition bes %% B-flat clarinet
770 This command sets the property @code{instrumentTransposition}. The value of
771 this property is used for MIDI output and quotations. It does not
772 affect how notes are printed in the current staff. To change the printed
773 output, see @ref{Transpose}.
775 The pitch to use for @code{\transposition} should correspond to the
776 transposition of the notes. For example, when entering a score in
777 concert pitch, typically all voices are entered in C, so
778 they should be entered as
791 The command @code{\transposition} should be used when the music is
792 entered from a (transposed) orchestral part. For example, in
793 classical horn parts, the tuning of the instrument is often changed
794 during a piece. When copying the notes from the part, use
795 @code{\transposition}, e.g.,
807 @node Ottava brackets
808 @subsection Ottava brackets
810 `Ottava' brackets introduce an extra transposition of an octave for
811 the staff. They are created by invoking the function
812 @code{set-octavation}
818 @lilypond[quote,raggedright,verbatim,fragment]
828 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
829 (for 15ma) as arguments. Internally the function sets the properties
830 @code{ottavation} (e.g., to @code{"8va"}) and
831 @code{centralCPosition}. For overriding the text of the bracket, set
832 @code{ottavation} after invoking @code{set-octavation}, i.e.,
834 @lilypond[quote,raggedright,verbatim]
837 \set Staff.ottavation = #"8"
845 Program reference: @internalsref{OttavaBracket}.
847 Examples: @inputfileref{input/@/regression,ottava@/.ly},
848 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
853 @code{set-octavation} will get confused when clef changes happen
854 during an octavation bracket.
857 @node Different editions from one source
858 @subsection Different editions from one source
863 The @code{\tag} command marks music expressions with a name. These
864 tagged expressions can be filtered out later. With this mechanism it
865 is possible to make different versions of the same music source.
867 In the following example, we see two versions of a piece of music, one
868 for the full score, and one with cue notes for the instrumental part
884 The same can be applied to articulations, texts, etc.: they are
887 -\tag #@var{your-tag}
889 to an articulation, for example,
894 This defines a note with a conditional fingering indication.
897 @cindex removeWithTag
898 By applying the @code{\keepWithTag} and @code{\removeWithTag}
899 commands, tagged expressions can be filtered. For example,
903 \keepWithTag #'score @var{the music}
904 \keepWithTag #'part @var{the music}
909 @lilypondfile[raggedright,quote]{tag-filter.ly}
911 The argument of the @code{\tag} command should be a symbol, or a list
912 of symbols, for example,
914 \tag #'(original-part transposed-part) @dots{}
920 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
925 Multiple rests are not merged if you create the score with both tagged
930 @node Orchestral music
931 @section Orchestral music
933 Orchestral music involves some special notation, both in the full
934 score and the individual parts. This section explains how to tackle
935 some common problems in orchestral music.
938 * Automatic part combining::
940 * Quoting other voices::
941 * Formatting cue notes::
942 * Aligning to cadenzas::
946 @node Automatic part combining
947 @subsection Automatic part combining
948 @cindex automatic part combining
949 @cindex part combiner
951 Automatic part combining is used to merge two parts of music onto a
952 staff. It is aimed at typesetting orchestral scores. When the two
953 parts are identical for a period of time, only one is shown. In
954 places where the two parts differ, they are typeset as separate
955 voices, and stem directions are set automatically. Also, solo and
956 @emph{a due} parts are identified and can be marked.
958 The syntax for part combining is
961 \partcombine @var{musicexpr1} @var{musicexpr2}
965 The following example demonstrates the basic functionality of the part
966 combiner: putting parts on one staff, and setting stem directions and
969 @lilypond[quote,verbatim,raggedright,fragment]
970 \new Staff \partcombine
971 \relative g' { g g a( b) c c r r }
972 \relative g' { g g r4 r e e g g }
975 The first @code{g} appears only once, although it was
976 specified twice (once in each part). Stem, slur, and tie directions are
977 set automatically, depending whether there is a solo or unisono. The
978 first part (with context called @code{one}) always gets up stems, and
979 `Solo', while the second (called @code{two}) always gets down stems and
982 If you just want the merging parts, and not the textual markings, you
983 may set the property @code{printPartCombineTexts} to false
985 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
987 \set Staff.printPartCombineTexts = ##f
989 \relative g' { g a( b) r }
990 \relative g' { g r4 r f }
994 To change the text that is printed for solos or merging, you may
995 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
998 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1000 \set Score.soloText = #"ichi"
1001 \set Score.soloIIText = #"ni"
1002 \set Score.aDueText = #"tachi"
1004 \relative g' { g4 g a( b) r }
1005 \relative g' { g4 g r r f }
1009 Both arguments to @code{\partcombine} will be interpreted as
1010 @internalsref{Voice} contexts. If using relative octaves,
1011 @code{\relative} should be specified for both music expressions, i.e.,
1015 \relative @dots{} @var{musicexpr1}
1016 \relative @dots{} @var{musicexpr2}
1020 A @code{\relative} section that is outside of @code{\partcombine} has
1021 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1025 Program reference: @internalsref{PartCombineMusic}.
1029 When @code{printPartCombineTexts} is set, when the two voices play the
1030 same notes on and off, the part combiner may typeset @code{a2} more
1031 than once in a measure.
1033 @code{\partcombine} cannot be inside @code{\times}.
1035 @code{\partcombine} cannot be inside @code{\relative}.
1037 Internally, the @code{\partcombine} interprets both arguments as
1038 @code{Voice}s named @code{one} and @code{two}, and then decides when
1039 the parts can be combined. Consequently, if the arguments switch to
1040 differently named @internalsref{Voice} contexts, the events in those
1045 @subsection Hiding staves
1047 @cindex Frenched scores
1048 @cindex Hiding staves
1050 In orchestral scores, staff lines that only have rests are usually
1051 removed; this saves some space. This style is called `French Score'.
1052 For @internalsref{Lyrics},
1053 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1054 switched on by default. When the lines of these contexts turn out
1055 empty after the line-breaking process, they are removed.
1057 For normal staves, a specialized @internalsref{Staff} context is
1058 available, which does the same: staves containing nothing (or only
1059 multi-measure rests) are removed. The context definition is stored in
1060 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1061 in this example disappears in the second line
1063 @lilypond[quote,raggedright,verbatim]
1065 \context { \RemoveEmptyStaffContext }
1070 \new Staff { e4 f g a \break c1 }
1071 \new Staff { c4 d e f \break R1 }
1076 The first system shows all staves in full. If empty staves should be
1077 removed from the first system too, set @code{remove-first} to true in
1078 @internalsref{RemoveEmptyVerticalGroup}.
1081 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1084 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1085 or @code{\RemoveEmptyRhythmicStaffContext}.
1087 Another application is making ossia sections, i.e., alternative
1088 melodies on a separate piece of staff, with help of a Frenched
1089 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1092 @node Quoting other voices
1093 @subsection Quoting other voices
1095 With quotations, fragments of other parts can be inserted into a part
1096 directly. Before a part can be quoted, it must be marked especially as
1097 quotable. This is done with the @code{\addquote} command.
1100 \addquote @var{name} @var{music}
1105 Here, @var{name} is an identifying string. The @var{music} is any kind
1106 of music. Here is an example of @code{\addquote}
1109 \addquote clarinet \relative c' @{
1114 This command must be entered at toplevel, i.e., outside any music
1117 After calling @code{\addquote}, the quotation may then be done with
1118 @code{\quoteDuring} or @code{\cueDuring},
1121 \quoteDuring #@var{name} @var{music}
1124 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1128 \quoteDuring #"clarinet" @{ s2. @}
1131 This would cite three quarter notes (the duration of @code{s2.}) of
1132 the previously added @code{clarinet} voice.
1135 More precisely, it takes the current time-step of the part being
1136 printed, and extracts the notes at the corresponding point of the
1137 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1138 should be the entire part of the voice to be quoted, including any
1139 rests at the beginning.
1141 Quotations take into account the transposition of both source and target
1142 instruments, if they are specified using the @code{\transposition} command.
1144 @lilypond[quote,raggedright,verbatim]
1145 \addquote clarinet \relative c' {
1151 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1155 The type of events that are present in cue notes can be trimmed with
1156 the @code{quotedEventTypes} property. The default value is
1157 @code{(note-event rest-event)}, which means that only notes and
1158 rests of the cued voice end up in the @code{\quoteDuring}.
1162 \set Staff.quotedEventTypes =
1163 #'(note-event articulation-event dynamic-event)
1167 will quote notes (but no rests), together with scripts and dynamics.
1171 Only the contents of the first @internalsref{Voice} occurring in an
1172 @code{\addquote} command will be considered for quotation, so
1173 @var{music} can not contain @code{\new} and @code{\context Voice}
1174 statements that would switch to a different Voice.
1176 Quoting grace notes is broken and can even cause LilyPond to crash.
1180 In this manual: @ref{Instrument transpositions}.
1182 Examples: @inputfileref{input/@/regression,quote@/.ly}
1183 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1185 Program reference: @internalsref{QuoteMusic}.
1188 @node Formatting cue notes
1189 @subsection Formatting cue notes
1191 The previous section deals with inserting notes from another voice.
1192 There is a more advanced music function called @code{\cueDuring},
1193 which makes formatting cue notes easier.
1198 \cueDuring #@var{name} #@var{updown} @var{music}
1201 This will insert notes from the part @var{name} into a
1202 @internalsref{Voice} called @code{cue}. This happens simultaneously
1203 with @var{music}, which usually is a rest. When the cue notes start,
1204 the staff in effect becomes polyphonic for a moment. The argument
1205 @var{updown} determines whether the cue notes should be notated as a
1206 first or second voice.
1209 @lilypond[verbatim,raggedright]
1212 \override Stem #'length = #5.5
1213 \override Beam #'thickness = #0.384
1214 \override Beam #'space-function =
1215 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1218 \addquote clarinet \relative {
1223 \new Staff \relative <<
1225 % setup a context for cue notes.
1226 \context Voice = cue { \smaller \skip 1*21 }
1228 \set Score.skipBars = ##t
1232 \cueDuring #"clarinet" #1 {
1241 Here are a couple of hints for successful cue notes
1245 Cue notes have smaller font sizes.
1247 the cued part is marked with the instrument playing the cue.
1249 when the original part takes over again, this should be marked with
1250 the name of the original instrument.
1252 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1254 @c Yes, this is good practice. Otherwise, the start of the original
1255 @c part can only be seen from the font size. This is not good enough
1256 @c for sight-reading. It is possilbe to use other
1257 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1262 any other changes introduced by the cued part should also be
1263 undone. For example, if the cued instrument plays in a different clef,
1264 the original clef should be stated once again.
1269 @node Aligning to cadenzas
1270 @subsection Aligning to cadenzas
1272 In an orchestral context, cadenzas present a special problem:
1273 when constructing a score that includes a cadenza, all other
1274 instruments should skip just as many notes as the length of the
1275 cadenza, otherwise they will start too soon or too late.
1277 A solution to this problem are the functions @code{mmrest-of-length}
1278 and @code{skip-of-length}. These Scheme functions take a piece of music
1279 as argument, and generate a @code{\skip} or multi-rest, exactly as
1280 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1281 in the following example.
1283 @lilypond[verbatim,raggedright,quote]
1284 cadenza = \relative c' {
1285 c4 d8 << { e f g } \\ { d4. } >>
1290 \new Staff { \cadenza c'4 }
1292 #(ly:export (mmrest-of-length cadenza))
1301 @node Contemporary notation
1302 @section Contemporary notation
1304 In the 20th century, composers have greatly expanded the musical
1305 vocabulary. With this expansion, many innovations in musical notation
1306 have been tried. The book ``Music Notation in the 20th century'' by
1307 Kurt Stone gives a comprehensive overview (see @ref{Literature
1308 list}). In general, the use of new, innovative notation makes a piece
1309 harder to understand and perform and its use should therefore be
1310 avoided. For this reason, support for contemporary notation in
1311 LilyPond is limited.
1315 * Polymetric notation::
1317 * Special fermatas::
1322 @node Polymetric notation
1323 @subsection Polymetric notation
1325 Double time signatures are not supported explicitly, but they can be
1326 faked. In the next example, the markup for the time signature is
1327 created with a markup text. This markup text is inserted in the
1328 @internalsref{TimeSignature} grob.
1330 @lilypond[verbatim,raggedright]
1335 \musicglyph #"scripts.stopped"
1336 \bracket \column { "5" "8" }
1341 \override Staff.TimeSignature #'print-function = #Text_interface::print
1342 \override Staff.TimeSignature #'text = #tsMarkup
1344 c'2 \bar ":" c'4 c'4.
1348 Each staff can also have its own time signature. This is done by
1349 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
1354 \context @{ \Score \remove "Timing_engraver" @}
1355 \context @{ \Staff \consists "Timing_engraver" @}
1360 Now, each staff has its own time signature.
1373 c4. c8 c c c4. c8 c c
1378 @lilypond[quote,raggedright]
1380 \context{ \Score \remove "Timing_engraver" }
1381 \context{ \Staff \consists "Timing_engraver" }
1395 c4. c8 c c c4. c8 c c
1401 A different form of polymetric notation is where note lengths have
1402 different values across staves.
1404 This notation can be created by setting a common time signature for
1405 each staff but replacing it manually using
1406 @code{timeSignatureFraction} to the desired fraction. Then the printed
1407 durations in each staff are scaled to the common time signature.
1408 The latter is done with @code{\compressmusic}, which is similar to
1409 @code{\times}, but does not create a tuplet bracket.
1412 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1413 used in parallel. In the second staff, shown durations are multiplied by
1414 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1415 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1417 @lilypond[quote,raggedright,verbatim,fragment]
1425 \set Staff.timeSignatureFraction = #'(9 . 8)
1426 \compressmusic #'(2 . 3)
1427 \repeat unfold 6 { c8[ c c] }
1431 \set Staff.timeSignatureFraction = #'(10 . 8)
1432 \compressmusic #'(3 . 5) {
1433 \repeat unfold 2 { c8[ c c] }
1434 \repeat unfold 2 { c8[ c] }
1435 | c4. c4. \times 2/3 { c8 c c } c4
1446 When using different time signatures in parallel, the spacing is
1447 aligned vertically, but bar lines distort the regular spacing.
1452 @subsection Clusters
1456 A cluster indicates a continuous range of pitches to be played. They
1457 can be denoted as the envelope of a set of notes. They are entered by
1458 applying the function @code{makeClusters} to a sequence of
1460 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1461 \makeClusters { <c e > <b f'> }
1464 The following example (from
1465 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1468 @lilypondfile[raggedright,quote]{cluster.ly}
1470 Ordinary notes and clusters can be put together in the same staff,
1471 even simultaneously. In such a case no attempt is made to
1472 automatically avoid collisions between ordinary notes and clusters.
1476 Program reference: @internalsref{ClusterSpanner},
1477 @internalsref{ClusterSpannerBeacon},
1478 @internalsref{Cluster_spanner_engraver}.
1480 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1484 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1485 accurately. Use @code{<g a>8 <e a>8} instead.
1489 @node Special fermatas
1490 @subsection Special fermatas
1492 @cindex fermatas, special
1494 In contemporary music notation, special fermata symbols denote breaks
1495 of differing lengths. The following fermatas are supported
1497 @lilypond[quote,raggedright]
1520 \context Lyrics \lyricmode {
1521 \override LyricText #'font-family = #'typewriter
1522 "shortfermata" "fermata" "longfermata" "verylongfermata"
1527 See @ref{Articulations} for general instructions how to apply scripts
1528 such as fermatas to notes.
1530 @node Feathered beams
1531 @subsection Feathered beams
1533 Feathered beams are not supported natively, but they can be faked by
1534 forcing two beams to overlap. Here is an example,
1536 @c don't change relative setting witout changing positions!
1537 @lilypond[raggedright,relative=1,fragment,verbatim]
1542 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1547 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1555 @subsection Improvisation
1557 Improvisation is sometimes denoted with slashed note heads. Such note
1558 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1559 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1563 \set squashedPosition = #0
1564 \override NoteHead #'style = #'slash
1568 switches on the slashes.
1570 There are shortcuts @code{\improvisationOn} (and an accompanying
1571 @code{\improvisationOff}) for this command sequence. They are used in
1572 the following example
1574 @lilypond[verbatim,raggedright,quote]
1576 \consists Pitch_squash_engraver
1578 e8 e g a a16(bes)(a8) g \improvisationOn
1581 ~fis2 \improvisationOff a16(bes) a8 g e
1586 @node Educational use
1587 @section Educational use
1589 With the amount of control that LilyPond offers, one can make great
1590 teaching tools in addition to great musical scores.
1594 * Blank music sheet::
1596 * Shaped note heads ::
1597 * Easy Notation note heads::
1598 * Analysis brackets::
1599 * Coloring objects::
1603 @subsection Balloon help
1605 Elements of notation can be marked and named with the help of a square
1606 balloon. The primary purpose of this feature is to explain notation.
1608 The following example demonstrates its use.
1610 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1613 #(add-balloon-text 'NoteHead "heads, or tails?"
1620 The function @code{add-balloon-text} takes the name of a grob, the
1621 label to print, and the position where to put the label relative to
1622 the object. In the above example, the text ``heads or tails?'' ends
1623 3 spaces below and 1 space to the right of the marked head.
1626 @cindex notation, explaining
1630 Program reference: @internalsref{text-balloon-interface}.
1632 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1637 @node Blank music sheet
1638 @subsection Blank music sheet
1640 A blank music sheet can be produced also by using invisible notes, and
1641 removing @code{Bar_number_engraver}.
1644 @lilypond[quote,verbatim]
1646 \repeat unfold 2 % Change this for more lines.
1651 \override TimeSignature #'transparent = ##t
1652 defaultBarType = #""
1653 \remove Bar_number_engraver
1655 \context Staff \emptymusic
1656 \context TabStaff \emptymusic
1662 @subsection Hidden notes
1664 @cindex Hidden notes
1665 @cindex Invisible notes
1666 @cindex Transparent notes
1668 @cindex @code{\hideNotes}
1669 @cindex @code{\unHideNotes}
1670 Hidden (or invisible or transparent) notes can be useful in preparing theory
1671 or composition exercises.
1673 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1681 Hidden notes are also great for performing weird tricks. For example,
1682 slurs cannot be attached to rests or spacer rests, but you may wish
1683 to include that in your score -- string instruments use this notation
1684 when doing pizzicato to indicate that the note should ring for as long
1687 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1690 c4^"pizz"( \hideNotes c)
1691 \unHideNotes c( \hideNotes c)
1698 @node Shaped note heads
1699 @subsection Shaped note heads
1701 In shaped note head notation, the shape of the note head corresponds
1702 to the harmonic function of a note in the scale. This notation was
1703 popular in the 19th century American song books.
1705 Shaped note heads can be produced by setting @code{\aikenHeads} or
1706 @code{\sacredHarpHeads}, depending on the style desired.
1708 @lilypond[verbatim,relative=1,fragment]
1715 Shapes are determined on the step in the scale, where the base of the
1716 scale is determined by the @code{\key} command
1719 @findex shapeNoteStyles
1721 @findex \sacredHarpHeads
1723 Shaped note heads are implemented through the @code{shapeNoteStyles}
1724 property. Its value is a vector of symbols. The k-th element indicates
1725 the style to use for the k-th step of the scale. Arbitrary
1726 combinations are possible, eg.,
1729 @lilypond[verbatim,relative=1,fragment]
1730 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
1735 @node Easy Notation note heads
1736 @subsection Easy Notation note heads
1738 @cindex easy notation
1741 The `easy play' note head includes a note name inside the head. It is
1742 used in music for beginners
1744 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
1749 The command @code{\setEasyHeads} overrides settings for the
1750 @internalsref{NoteHead} object. To make the letters readable, it has
1751 to be printed in a large font size. To print with a larger font, see
1752 @ref{Setting global staff size}.
1756 @cindex @code{\setEasyHeads}
1757 @code{\setEasyHeads}
1760 @node Analysis brackets
1761 @subsection Analysis brackets
1763 @cindex phrasing brackets
1764 @cindex musicological analysis
1765 @cindex note grouping bracket
1767 Brackets are used in musical analysis to indicate structure in musical
1768 pieces. LilyPond supports a simple form of nested horizontal
1769 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
1770 to @internalsref{Staff} context. A bracket is started with
1771 @code{\startGroup} and closed with @code{\stopGroup}
1773 @lilypond[quote,raggedright,verbatim]
1776 c4\startGroup\startGroup
1779 c4\stopGroup\stopGroup
1783 \Staff \consists "Horizontal_bracket_engraver"
1789 Program reference: @internalsref{HorizontalBracket}.
1791 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
1797 I don't think we need this info.
1802 Whenever a note is found, a @internalsref{Stem} object is created
1803 automatically. For whole notes and rests, they are also created but
1808 @cindex @code{\stemUp}
1810 @cindex @code{\stemDown}
1812 @cindex @code{\stemNeutral}
1813 @code{\stemNeutral}.
1818 @node Coloring objects
1819 @subsection Coloring objects
1821 @c FIXME: need link to missing list of colors
1822 Individual objects may be assigned colors. You may use color names
1825 @lilypond[quote,raggedright,verbatim,fragment]
1826 \override NoteHead #'color = #red
1828 \override NoteHead #'color = #(x11-color 'LimeGreen)
1830 \override Stem #'color = #blue
1834 The full range of colors defined for X11 can be accessed by using the
1835 scheme function x11-color. The function takes one argument that can be a
1839 \override Beam #'color = #(x11-color 'MediumTurquoise)
1845 \override Beam #'color = #(x11-color "MediumTurquoise")
1848 The first form is quicker to write and is more efficient. However, using
1849 the second form it is possible to access X11 colors by the multi-word
1853 \override Beam #'color = #(x11-color "medium turquoise")
1856 If x11-color cannot make sense of the parameter then the color returned
1857 defaults to black. It should be obvious from the final score that
1860 This example, illustrates the use of x11-color. Notice that the stem
1861 color remains black after being set to (x11-color 'Boggle), which is
1862 deliberate nonsense.
1864 @lilypond[quote,raggedright,verbatim]
1866 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
1867 \set Staff.instrument = \markup {
1868 \with-color #(x11-color 'navy) "Clarinet"
1872 \override Beam #'color = #(x11-color "medium turquoise")
1874 \override NoteHead #'color = #(x11-color "LimeGreen")
1876 \override Stem #'color = #(x11-color 'Boggle)
1883 Not all x11 colors are distinguishable in a web browser. For web use
1884 normal colors are recommended.
1886 An x11 color is not necessarily exactly the same shade as a similarly
1895 @node Automatic notation
1896 @section Automatic notation
1898 This section describes how to change the way that accidentals and
1899 beams are automatically displayed.
1901 FIXME: this might get moved into Changing Defaults. Please send
1902 opinions to lilypond-devel. Thanks! :)
1905 * Automatic accidentals::
1906 * Setting automatic beam behavior::
1910 @node Automatic accidentals
1911 @subsection Automatic accidentals
1912 @cindex Automatic accidentals
1914 Common rules for typesetting accidentals have been placed in a
1915 function. This function is called as follows
1917 @cindex @code{set-accidental-style}
1919 #(set-accidental-style 'STYLE #('CONTEXT#))
1922 The function can take two arguments: the name of the accidental style,
1923 and an optional argument that denotes the context that should be
1924 changed. If no context name is supplied, @code{Staff} is the default,
1925 but you may wish to apply the accidental style to a single @code{Voice}
1928 The following accidental styles are supported
1931 This is the default typesetting behavior. It corresponds
1932 to 18th century common practice: Accidentals are
1933 remembered to the end of the measure in which they occur and
1934 only on their own octave.
1937 The normal behavior is to remember the accidentals on
1938 Staff-level. This variable, however, typesets accidentals
1939 individually for each voice. Apart from that, the rule is similar to
1942 As a result, accidentals from one voice do not get canceled in other
1943 voices, which is often an unwanted result
1945 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
1947 #(set-accidental-style 'voice)
1954 The @code{voice} option should be used if the voices
1955 are to be read solely by individual musicians. If the staff is to be
1956 used by one musician (e.g., a conductor) then
1957 @code{modern} or @code{modern-cautionary}
1958 should be used instead.
1961 @cindex @code{modern} style accidentals
1962 This rule corresponds to the common practice in the 20th century. This rule
1963 prints the same accidentals as @code{default}, but temporary
1964 accidentals also are canceled in other octaves. Furthermore,
1965 in the same octave, they also get canceled in the following
1968 @lilypond[quote,raggedright,fragment,verbatim]
1969 #(set-accidental-style 'modern)
1970 cis' c'' cis'2 | c'' c'
1973 @item @code{modern-cautionary}
1974 @cindex @code{modern-cautionary}
1975 This rule is similar to @code{modern}, but the ``extra'' accidentals
1976 (the ones not typeset by @code{default}) are typeset as cautionary
1977 accidentals. They are printed in reduced size or with parentheses
1978 @lilypond[quote,raggedright,fragment,verbatim]
1979 #(set-accidental-style 'modern-cautionary)
1980 cis' c'' cis'2 | c'' c'
1983 @cindex @code{modern-voice}
1985 This rule is used for multivoice accidentals to be read both by musicians
1986 playing one voice and musicians playing all voices. Accidentals are
1987 typeset for each voice, but they @emph{are} canceled across voices in
1988 the same @internalsref{Staff}.
1990 @cindex @code{modern-voice-cautionary}
1991 @item modern-voice-cautionary
1992 This rule is the same as @code{modern-voice}, but with the extra
1993 accidentals (the ones not typeset by @code{voice}) typeset
1994 as cautionaries. Even though all accidentals typeset by
1995 @code{default} @emph{are} typeset by this variable,
1996 some of them are typeset as cautionaries.
1999 @cindex @code{piano} accidentals
2000 This rule reflects 20th century practice for piano notation. Very similar to
2001 @code{modern} but accidentals also get canceled
2002 across the staves in the same @internalsref{GrandStaff} or
2003 @internalsref{PianoStaff}.
2005 @item piano-cautionary
2006 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2007 Same as @code{#(set-accidental-style 'piano)} but with the extra
2008 accidentals typeset as cautionaries.
2011 @cindex @code{no-reset} accidental style
2012 This is the same as @code{default} but with accidentals lasting
2013 ``forever'' and not only until the next measure
2014 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2015 #(set-accidental-style 'no-reset)
2020 This is sort of the opposite of @code{no-reset}: Accidentals
2021 are not remembered at all---and hence all accidentals are
2022 typeset relative to the key signature, regardless of what was
2025 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2026 #(set-accidental-style 'forget)
2027 \key d\major c4 c cis cis d d dis dis
2034 Program reference: @internalsref{Accidental_engraver},
2035 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2040 Simultaneous notes are considered to be entered in sequential
2041 mode. This means that in a chord the accidentals are typeset as if the
2042 notes in the chord happened once at a time - in the order in which
2043 they appear in the input file.
2045 This is a problem when accidentals in a chord depend on each other,
2046 which does not happen for the default accidental style. The problem
2047 can be solved by manually inserting @code{!} and @code{?} for the
2051 @node Setting automatic beam behavior
2052 @subsection Setting automatic beam behavior
2054 @cindex @code{autoBeamSettings}
2055 @cindex @code{(end * * * *)}
2056 @cindex @code{(begin * * * *)}
2057 @cindex automatic beams, tuning
2058 @cindex tuning automatic beaming
2060 @c [TODO: use \applycontext]
2062 In normal time signatures, automatic beams can start on any note but can
2063 only end in a few positions within the measure: beams can end on a beat,
2064 or at durations specified by the properties in
2065 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
2066 are defined in @file{scm/@/auto@/-beam@/.scm}.
2068 The value of @code{autoBeamSettings} is changed with three functions,
2070 #(override-auto-beam-setting
2071 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
2073 #(score-override-auto-beam-setting
2074 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
2075 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
2078 Here, @var{be} is the symbol @code{begin} or @code{end}, and
2079 @var{context} is an optional context (default: @code{'Voice}). It
2080 determines whether the rule applies to begin or end-points. The
2081 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
2082 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
2083 to a time signature (wildcards `@code{* *}' may be entered to
2084 designate all time signatures), @var{a}/@var{b} is a duration. By
2085 default, this command changes settings for the current voice. It is
2086 also possible to adjust settings at higher contexts, by adding a
2087 @var{context} argument. @code{score-override-auto-beam-setting} is
2088 equal to @code{override-auto-beam-setting} with the argument
2089 @var{context} set to @code{'Score}.
2091 For example, if automatic beams should end on the first quarter note, use
2094 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2096 Since the duration of a quarter note is 1/4 of a whole note, it is
2097 entered as @code{(ly:make-moment 1 4)}.
2099 If automatic beams should end on every quarter in 5/4 time, specify
2102 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2103 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2104 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2105 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2109 The same syntax can be used to specify beam starting points. In this
2110 example, automatic beams can only end on a dotted quarter note
2112 #(override-auto-beam-setting '(end * * * *) 3 8)
2113 #(override-auto-beam-setting '(end * * * *) 1 2)
2114 #(override-auto-beam-setting '(end * * * *) 7 8)
2116 In 4/4 time signature, this means that automatic beams could end only on
2117 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2118 3/8, has passed within the measure).
2120 Rules can also be restricted to specific time signatures. A rule that
2121 should only be applied in @var{N}/@var{M} time signature is formed by
2122 replacing the second asterisks by @var{N} and @var{M}. For example, a
2123 rule for 6/8 time exclusively looks like
2125 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
2128 If a rule should be to applied only to certain types of beams, use the
2129 first pair of asterisks. Beams are classified according to the
2130 shortest note they contain. For a beam ending rule that only applies
2131 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
2136 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2138 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2146 @cindex automatic beam generation
2148 @cindex @code{autoBeaming}
2151 If beams are used to indicate melismata in songs, then automatic
2152 beaming should be switched off. This is done by setting
2153 @code{autoBeaming} to @code{#f}.
2157 @cindex @code{\autoBeamOff}
2158 @code{\autoBeamOff},
2159 @cindex @code{\autoBeamOn}
2165 If a score ends while an automatic beam has not been ended and is
2166 still accepting notes, this last beam will not be typeset at all. The
2167 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2168 >>}. If a polyphonic voice ends while an automatic beam is still
2169 accepting notes, it is not typeset.
2171 @node Beam formatting
2172 @subsection Beam formatting
2174 When a beam falls in the middle of the staff, the beams point normally
2175 down. However, this behaviour can be altered with the
2176 @code{neutral-direction} property.
2178 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2181 \override Beam #'neutral-direction = #-1
2183 \override Beam #'neutral-direction = #1
2193 It's the dreaded ``what on earth should I do with this stuff'' section! Yay!
2196 * Time administration::
2201 @node Time administration
2202 @subsection Time administration
2204 Time is administered by the @internalsref{Time_signature_engraver},
2205 which usually lives in the @internalsref{Score} context.
2206 The bookkeeping deals with the following variables
2209 @item currentBarNumber
2213 The length of the measures in the current time signature. For a 4/4
2214 time this is@tie{}1, and for 6/8 it is 3/4.
2216 @item measurePosition
2217 The point within the measure where we currently are. This quantity
2218 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
2219 happens, @code{currentBarNumber} is incremented.
2222 If set to true, the above variables are updated for every time
2223 step. When set to false, the engraver stays in the current measure
2227 Timing can be changed by setting any of these variables explicitly.
2228 In the next example, the 4/4 time signature is printed, but
2229 @code{measureLength} is set to 5/4. After a while, the measure is
2230 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
2231 in the measure, so the next bar line will fall at 2/4 + 3/8. The
2232 3/8 arises because 5/4 normally has 10/8, but we have manually
2233 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
2235 @lilypond[quote,raggedright,verbatim,relative,fragment]
2236 \set Score.measureLength = #(ly:make-moment 5 4)
2240 \set Score.measurePosition = #(ly:make-moment 7 8)
2247 @subsection Transpose
2249 @cindex transposition of pitches
2250 @cindex @code{\transpose}
2252 A music expression can be transposed with @code{\transpose}. The
2255 \transpose @var{from} @var{to} @var{musicexpr}
2258 This means that @var{musicexpr} is transposed by the interval between
2259 the pitches @var{from} and @var{to}: any note with pitch @code{from}
2260 is changed to @code{to}.
2263 For example, consider a piece written in the key of D-major. If
2264 this piece is a little too low for its performer, it can be
2265 transposed up to E-major with
2267 \transpose d e @dots{}
2270 Consider a part written for violin (a C instrument). If
2271 this part is to be played on the A clarinet, the following
2272 transposition will produce the appropriate part
2275 \transpose a c @dots{}
2278 @code{\transpose} distinguishes between enharmonic pitches: both
2279 @code{\transpose c cis} or @code{\transpose c des} will transpose up
2280 half a tone. The first version will print sharps and the second
2281 version will print flats
2283 @lilypond[quote,raggedright,verbatim]
2284 mus = { \key d \major cis d fis g }
2288 \transpose c g' \mus
2289 \transpose c f' \mus
2293 @code{\transpose} may also be used to input written notes for a
2294 transposing instrument. Pitches are normally entered into LilyPond
2295 in C (or ``concert pitch''), but they may be entered in another
2296 key. For example, when entering music for a B-flat trumpet which
2297 begins on concert D, one would write
2300 \transpose c bes @{ e4 @dots{} @}
2303 To print this music in B-flat again (ie producing a trumpet part,
2304 instead of a concert pitch conductor's score) you would wrap the
2305 existing music with another @code{transpose}
2308 \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
2315 Program reference: @internalsref{TransposedMusic}, and
2316 @internalsref{UntransposableMusic}.
2320 If you want to use both @code{\transpose} and @code{\relative},
2321 you must put @code{\transpose} outside of @code{\relative}, since
2322 @code{\relative} will have no effect music that appears inside a