1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
20 * Automatic notation::
28 This section explains how to include text (with various formatting) in
38 * Overview of text markup commands::
41 * Other text markup issues::
46 @subsection Text scripts
49 @cindex text items, non-empty
50 @cindex non-empty texts
52 It is possible to place arbitrary strings of text or @ref{Text markup}
53 above or below notes by using a string @code{c^"text"}. By default,
54 these indications do not influence the note spacing, but by using the
55 command @code{\fatText}, the widths will be taken into account
57 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
58 c4^"longtext" \fatText c4_"longlongtext" c4
61 More complex formatting may also be added to a note by using the
63 @lilypond[fragment,raggedright,verbatim,quote]
64 c'4^\markup { bla \bold bla }
67 The @code{\markup} is described in more detail in
73 @cindex @code{\fatText}
75 @cindex @code{\emptyText}
81 In this manual: @ref{Text markup}.
83 Program reference: @internalsref{TextScript}.
87 @subsection Text spanners
91 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
92 are written as text and are extended over many measures with dotted
93 lines. Such texts are created using text spanners; attach
94 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
97 The string to be printed, as well as the style, is set through object
100 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
103 \override TextSpanner #'edge-text = #'("rall " . "")
104 c2\startTextSpan b c\stopTextSpan a
109 @cindex textSpannerUp
110 @code{textSpannerUp},
111 @cindex textSpannerDown
112 @code{textSpannerDown},
113 @cindex textSpannerNeutral
114 @code{textSpannerNeutral}.
119 Program reference: @internalsref{TextSpanner}.
121 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
125 @subsection Text marks
127 @cindex coda on bar line
128 @cindex segno on bar line
129 @cindex fermata on bar line
130 @cindex bar lines, symbols on
133 The @code{\mark} command is primarily used for
134 @ref{Rehearsal marks},
135 but it can also be used to put signs like coda,
136 segno, and fermata on a bar line. Use @code{\markup} to
137 access the appropriate symbol
139 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
140 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
145 @code{\mark} is only typeset above the top stave of the score. If
146 you specify the @code{\mark} command at a bar line, the resulting
147 mark is placed above the bar line. If you specify it in the middle
148 of a bar, the resulting mark is positioned between notes. If it is
149 specified before the beginning of a score line, it is placed
150 before the first note of the line. Finally, if the mark occurs at
151 a line break, the mark will be printed at the
152 beginning of the next line.
153 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
154 @c delete this sentence. -gp
155 If there is no next line, then the mark will not be printed at all.
160 To print the mark at the end of the current line, use
163 \override Score.RehearsalMark
164 #'break-visibility = #begin-of-line-invisible
167 @code{\mark} is often useful for adding text to the end of bar. In
168 such cases, changing the @code{#'self-alignment} is very useful
170 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
171 \override Score.RehearsalMark
172 #'break-visibility = #begin-of-line-invisible
174 \once \override Score.RehearsalMark #'self-alignment-X = #right
175 \mark "D.S. al Fine "
181 Program reference: @internalsref{RehearsalMark}.
185 @subsection Text markup
192 Use @code{\markup} to typeset text. Commands are entered with the
195 @lilypond[quote,verbatim,fragment,relative=1]
197 c1_\markup { hi there }
198 c1^\markup { hi \bold there, is \italic anyone home? }
202 See @ref{Overview of text markup commands} for a list of all
205 @code{\markup} is primarily used for @internalsref{TextScript}s,
206 but it can also be used anywhere text is called in lilypond
208 @lilypond[quote,verbatim]
209 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
212 \override Score.RehearsalMark
213 #'break-visibility = #begin-of-line-invisible
214 \override Score.RehearsalMark #'self-alignment-X = #right
216 \set Staff.instrument = \markup{ \column{ Alto solo } }
217 c2^\markup{ don't be \flat }
218 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
220 a2\mark \markup{ \large \bold Fine }
224 \addlyrics { bar, foo \markup{ \italic bar! } }
228 @cindex font switching
230 The markup in the example demonstrates font switching commands. The
231 command @code{\bold} and @code{\italic} apply to the first following
232 word only; to apply a command to more than one word, enclose the
236 \markup @{ \bold @{ hi there @} @}
240 For clarity, you can also do this for single arguments, e.g.,
243 \markup @{ is \italic @{ anyone @} home @}
246 In markup mode you can compose expressions, similar to mathematical
247 expressions, XML documents, and music expressions. You can stack
248 expressions grouped vertically with the command @code{\column}.
249 Similarly, @code{\center-align} aligns texts by their center lines:
251 @lilypond[quote,verbatim,fragment,relative=1]
252 c1^\markup { \column { a bbbb \line { c d } } }
253 c1^\markup { \center-align { a bbbb c } }
254 c1^\markup { \line { a b c } }
257 Lists with no previous command are not kept distinct. The expression
260 \center-align @{ @{ a b @} @{ c d @} @}
268 \center-align @{ a b c d @}
273 To keep lists of words distinct, please use quotes @code{"} or
274 the @code{\line} command
276 @lilypond[quote,verbatim,fragment,relative=1]
278 c4^\markup{ \center-align { on three lines } }
279 c4^\markup{ \center-align { "all one line" } }
280 c4^\markup{ \center-align { { on three lines } } }
281 c4^\markup{ \center-align { \line { on one line } } }
284 Markups can be stored in variables and these variables
285 may be attached to notes, like
287 allegro = \markup @{ \bold \large @{ Allegro @} @}
288 @{ a^\allegro b c d @}
291 Some objects have alignment procedures of their own, which cancel out
292 any effects of alignments applied to their markup arguments as a
293 whole. For example, the @internalsref{RehearsalMark} is horizontally
294 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
300 This manual: @ref{Overview of text markup commands}.
302 Program reference: @internalsref{TextScript}.
304 Init files: @file{scm/@/new@/-markup@/.scm}.
309 Kerning or generation of ligatures is only done when the @TeX{}
310 backend is used. In this case, LilyPond does not account for them so
311 texts will be spaced slightly too wide.
313 Syntax errors for markup mode are confusing.
317 @subsection Text encoding
319 LilyPond uses the Pango library to format multi-lingual texts, and
320 does not perform any input-encoding conversions. This means that any
321 text, be it title, lyric text, or musical instruction containing
322 non-ASCII characters, must be utf-8. Easiest to enter such texts is
323 by using a Unicode-aware editor, and save using utf-8 encoding. Most
324 popular modern editors have utf-8 support, for example, vim, Emacs,
327 Depending on the fonts installed, the following fragment shows Hebrew
334 @lilypondfile[fontload]{utf-8.ly}
336 The @TeX{} backend does not handle encoding specially at all. Strings
337 in the input are put in the output as-is. Extents of text items in the
338 @TeX{} backend, are determined by reading a file created via the
339 @file{texstr} backend,
342 lilypond -b texstr input/les-nereides.ly
343 latex les-nereides.texstr
346 The last command produces @file{les-nereides.textmetrics}, which is
347 read when you execute
350 lilypond -b tex input/les-nereides.ly
353 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
354 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
355 interpreting non-ASCII strings.
360 @inputfileref{input/regression,utf-8.ly}
364 @subsection Nested scores
366 It is possible to nest music inside markups, by adding a @code{\score}
367 block to a markup expression. Such a score must contain a @code{\layout}
370 @lilypond[quote,verbatim,raggedright]
374 \relative { c4 d e f }
383 @node Overview of text markup commands
384 @subsection Overview of text markup commands
386 The following commands can all be used inside @code{\markup @{ @}}.
388 @include markup-commands.tely
392 @subsection Font selection
394 @cindex font selection
395 @cindex font magnification
396 @cindex @code{font-interface}
398 By setting the object properties described below, you can select a
399 font from the preconfigured font families. LilyPond has default
400 support for the feta music fonts. Text fonts are selected through
401 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
402 the sans and typewriter to whatever the Pango installation defaults
407 @item @code{font-encoding}
408 is a symbol that sets layout of the glyphs. This should only be set to
409 select different types of non-text fonts, eg.
411 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
412 standard music font, including ancient glyphs, @code{fetaDynamic} for
413 dynamic signs and @code{fetaNumber} for the number font.
415 @item @code{font-family}
416 is a symbol indicating the general class of the typeface. Supported are
417 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
419 @item @code{font-shape}
420 is a symbol indicating the shape of the font. There are typically
421 several font shapes available for each font family. Choices are
422 @code{italic}, @code{caps}, and @code{upright}.
424 @item @code{font-series}
425 is a symbol indicating the series of the font. There are typically
426 several font series for each font family and shape. Choices are
427 @code{medium} and @code{bold}.
431 Fonts selected in the way sketched above come from a predefined style
432 sheet. If you want to use a font from outside the style sheet,
434 @code{font-name} property,
436 @lilypond[fragment,verbatim]
438 \override Staff.TimeSignature #'font-name = #"Times"
439 \override Staff.TimeSignature #'font-size = #2
442 \override #'(font-name . "Vera Bold")
443 { This text is in Vera Bold }
449 Any font can be used, as long as it is available to Pango/FontConfig.
451 The size of the font may be set with the @code{font-size}
452 property. The resulting size is taken relative to the
453 @code{text-font-size} as defined in the @code{\paper} block.
456 @cindex font magnification
459 It is also possible to change the default font family for the entire
460 document. This is done by calling the @code{make-pango-font-tree} from
461 within the @code{\paper} block. The function takes names for the font
462 families to use for roman, sans serif and monospaced text. For
465 @cindex font families, setting
474 (make-pango-font-tree "Times New Roman"
481 c'^\markup { roman: foo \sans bla \typewriter bar }
488 Examples: @file{ly/@/font@/-family@/-override.ly}
491 @node New dynamic marks
492 @subsection New dynamic marks
494 It is possible to print new dynamic marks or text that should be aligned
495 with dynamics. Use @code{make-dynamic-script} to create these marks.
497 @cindex make-dynamic-script
499 @lilypond[quote,verbatim,raggedright]
500 sfzp = #(make-dynamic-script "sfzp")
506 @cindex Dynamics, editorial
507 @cindex Dynamics, parenthesis
509 It is also possible to print dynamics in round parenthesis or square
510 brackets. These are often used for adding editorial dynamics.
512 @lilypond[quote,verbatim,raggedright]
513 rndf = \markup{ \center-align {\line { \bold{\italic (}
514 \dynamic f \bold{\italic )} }} }
515 boxf = \markup{ \bracket { \dynamic f } }
516 { c'1_\rndf c'1_\boxf }
520 @node Other text markup issues
521 @subsection Other text markup issues
523 To use a normal font within a title, you must define it manually
526 #(def-markup-command (normal-font layout props arg) (markup?)
527 "Switch to normal text font"
528 (interpret-markup layout (cons '((font-series . 'medium) (font-shape . 'upright)) props) arg))
531 title = \markup@{ ABCD \normal-font ABCD @}
537 @node Preparing parts
538 @section Preparing parts
540 This section describes various notation that are useful for preparing
544 * Multi measure rests::
549 * Instrument transpositions::
551 * Different editions from one source::
555 @node Multi measure rests
556 @subsection Multi measure rests
558 @cindex multi measure rests
559 @cindex full measure rests
560 @cindex Rests, multi measure
561 @cindex Rests, full measure
562 @cindex whole rests for a full measure
565 Rests for one full measure (or many bars) are entered using `@code{R}'. It
566 is specifically meant for full bar rests and for entering parts: the rest
567 can expand to fill a score with rests, or it can be printed as a single
568 multi-measure rest. This expansion is controlled by the property
569 @code{Score.skipBars}. If this is set to true, empty measures will not
570 be expanded, and the appropriate number is added automatically
572 @lilypond[quote,raggedright,fragment,verbatim]
573 \time 4/4 r1 | R1 | R1*2
574 \set Score.skipBars = ##t R1*17 R1*4
577 The @code{1} in @code{R1} is similar to the duration notation used for
578 notes. Hence, for time signatures other than 4/4, you must enter other
579 durations. This can be done with augmentation dots or fractions
581 @lilypond[quote,raggedright,fragment,verbatim]
582 \set Score.skipBars = ##t
591 An @code{R} spanning a single measure is printed as either a whole rest
592 or a breve, centered in the measure regardless of the time signature.
594 If there are only a few measures of rest, LilyPond prints ``church rests''
595 (a series of rectangles) in the staff. To replace that with a simple
596 rest, use @code{MultiMeasureRest.expand-limit}.
598 @lilypond[quote,raggedright,fragment,verbatim]
599 \set Score.skipBars = ##t
601 \override MultiMeasureRest #'expand-limit = 1
605 @cindex text on multi-measure rest
606 @cindex script on multi-measure rest
607 @cindex fermata on multi-measure rest
609 Texts can be added to multi-measure rests by using the
610 @var{note}-@code{markup} syntax @ref{Text markup}.
611 A variable (@code{\fermataMarkup}) is provided for
614 @lilypond[quote,raggedright,verbatim,fragment]
615 \set Score.skipBars = ##t
617 R2.*10^\markup { \italic "ad lib." }
621 If you want to have text on the left end of a multi-measure rest,
622 attach the text to a zero-length skip note, i.e.,
632 Program reference: @internalsref{MultiMeasureRestMusicGroup},
633 @internalsref{MultiMeasureRest}.
635 The layout object @internalsref{MultiMeasureRestNumber} is for the
636 default number, and @internalsref{MultiMeasureRestText} for user
642 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
643 over multi-measure rests. And the pitch of multi-measure rests (or
644 staff-centered rests) can not be influenced.
646 @cindex condensing rests
648 There is no way to automatically condense multiple rests into a single
649 multi-measure rest. Multi-measure rests do not take part in rest
652 Be careful when entering multi-measure rests followed by whole
653 notes. The following will enter two notes lasting four measures each
657 When @code{skipBars} is set, the result will look OK, but the bar
658 numbering will be off.
661 @node Metronome marks
662 @subsection Metronome marks
665 @cindex beats per minute
666 @cindex metronome marking
668 Metronome settings can be entered as follows
670 \tempo @var{duration} = @var{per-minute}
673 In the MIDI output, they are interpreted as a tempo change. In the
674 layout output, a metronome marking is printed
675 @cindex @code{\tempo}
676 @lilypond[quote,raggedright,verbatim,fragment]
683 To change the tempo in the MIDI output without printing anything, make
684 the metronome marking invisible
686 \once \override Score.MetronomeMark #'transparent = ##t
689 To print other metronome markings, use these markup commands
690 @lilypond[quote,raggedright,verbatim,relative,fragment]
693 \smaller \general-align #Y #DOWN \note #"16." #1
695 \smaller \general-align #Y #DOWN \note #"8" #1"
700 See @ref{Text markup} for more details.
705 Program reference: @internalsref{MetronomeMark}.
710 Collisions are not checked. If you have notes above the top line of
711 the staff (or notes with articulations, slurs, text, etc), then the
712 metronome marking may be printed on top of musical symbols. If this
713 occurs, increase the padding of the metronome mark to place it
714 further away from the staff.
717 \override Score.MetronomeMark #'padding = #2.5
721 @node Rehearsal marks
722 @subsection Rehearsal marks
724 @cindex Rehearsal marks
727 To print a rehearsal mark, use the @code{\mark} command
729 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
738 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
740 The mark is incremented automatically if you use @code{\mark
741 \default}, but you can also use an integer argument to set the mark
742 manually. The value to use is stored in the property
743 @code{rehearsalMark}.
745 The style is defined by the property @code{markFormatter}. It is a
746 function taking the current mark (an integer) and the current context
747 as argument. It should return a markup object. In the following
748 example, @code{markFormatter} is set to a canned procedure. After a
749 few measures, it is set to function that produces a boxed number.
751 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
752 \set Score.markFormatter = #format-mark-numbers
755 \set Score.markFormatter = #format-mark-box-numbers
761 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
762 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
763 @code{format-mark-letters} and @code{format-mark-box-letters}.
764 These can be used as inspiration for other formatting functions.
769 Program reference: @internalsref{RehearsalMark}.
771 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
772 definition of @code{format-mark-numbers} and
773 @code{format-mark-letters}. They can be used as inspiration for other
774 formatting functions.
776 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
778 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
782 @subsection Bar numbers
785 @cindex measure numbers
786 @cindex @code{currentBarNumber}
788 Bar numbers are printed by default at the start of the line. The
789 number itself is stored in the @code{currentBarNumber} property, which
790 is normally updated automatically for every measure.
792 Bar numbers can be typeset at regular intervals instead of at the
793 beginning of each line. This is illustrated in the following example,
794 whose source is available as
795 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
797 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
799 Bar numbers can be typeset manually by tweaking the
800 @code{markFormatter} property
802 @lilypond[verbatim,raggedright,quote]
804 \set Score.markFormatter
805 = #(lambda (mark context)
808 (number->string (ly:context-property context
809 'currentBarNumber)))))
811 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
815 Bar numbers can be manually changed by setting the
816 @code{Staff.currentBarNumber} property
818 @lilypond[verbatim,raggedright,quote]
820 \repeat unfold 4 {c4 c c c} \break
821 \set Score.currentBarNumber = #50
822 \repeat unfold 4 {c4 c c c}
829 Program reference: @internalsref{BarNumber}.
832 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
833 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
838 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
839 there is one at the top. To solve this, the
840 @code{padding} property of @internalsref{BarNumber} can be
841 used to position the number correctly.
844 @node Instrument names
845 @subsection Instrument names
847 In an orchestral score, instrument names are printed at the left side
850 This can be achieved by setting @internalsref{Staff}.@code{instrument}
851 and @internalsref{Staff}.@code{instr}. This will print a string before
852 the start of the staff. For the first staff, @code{instrument} is
853 used, for the following ones, @code{instr} is used.
855 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
856 \set Staff.instrument = "Ploink "
857 \set Staff.instr = "Plk "
863 You can also use markup texts to construct more complicated instrument
866 @lilypond[quote,fragment,verbatim,raggedright]
867 \set Staff.instrument = \markup {
868 \column { "Clarinetti"
869 \line { "in B" \smaller \flat } } }
873 For longer instrument names, it may be useful to increase the
874 @code{indent} setting in the @code{\layout} block.
878 Program reference: @internalsref{InstrumentName}.
882 When you put a name on a grand staff or piano staff, the width of the
883 brace is not taken into account. You must add extra spaces to the end of
884 the name to avoid a collision.
887 @node Instrument transpositions
888 @subsection Instrument transpositions
890 @cindex transposition, MIDI
891 @cindex transposition, instrument
893 The key of a transposing instrument can also be specified. This
894 applies to many wind instruments, for example, clarinets (B-flat, A, and
895 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
897 The transposition is entered after the keyword @code{\transposition}
900 \transposition bes %% B-flat clarinet
904 This command sets the property @code{instrumentTransposition}. The value of
905 this property is used for MIDI output and quotations. It does not
906 affect how notes are printed in the current staff. To change the printed
907 output, see @ref{Transpose}.
909 The pitch to use for @code{\transposition} should correspond to the
910 transposition of the notes. For example, when entering a score in
911 concert pitch, typically all voices are entered in C, so
912 they should be entered as
925 The command @code{\transposition} should be used when the music is
926 entered from a (transposed) orchestral part. For example, in
927 classical horn parts, the tuning of the instrument is often changed
928 during a piece. When copying the notes from the part, use
929 @code{\transposition}, e.g.,
941 @node Ottava brackets
942 @subsection Ottava brackets
944 `Ottava' brackets introduce an extra transposition of an octave for
945 the staff. They are created by invoking the function
946 @code{set-octavation}
952 @lilypond[quote,raggedright,verbatim,fragment]
962 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
963 (for 15ma) as arguments. Internally the function sets the properties
964 @code{ottavation} (e.g., to @code{"8va"}) and
965 @code{centralCPosition}. For overriding the text of the bracket, set
966 @code{ottavation} after invoking @code{set-octavation}, i.e.,
968 @lilypond[quote,raggedright,verbatim]
971 \set Staff.ottavation = #"8"
979 Program reference: @internalsref{OttavaBracket}.
981 Examples: @inputfileref{input/@/regression,ottava@/.ly},
982 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
987 @code{set-octavation} will get confused when clef changes happen
988 during an octavation bracket.
991 @node Different editions from one source
992 @subsection Different editions from one source
997 The @code{\tag} command marks music expressions with a name. These
998 tagged expressions can be filtered out later. With this mechanism it
999 is possible to make different versions of the same music source.
1001 In the following example, we see two versions of a piece of music, one
1002 for the full score, and one with cue notes for the instrumental part
1018 The same can be applied to articulations, texts, etc.: they are
1021 -\tag #@var{your-tag}
1023 to an articulation, for example,
1028 This defines a note with a conditional fingering indication.
1031 @cindex removeWithTag
1032 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1033 commands, tagged expressions can be filtered. For example,
1037 \keepWithTag #'score @var{the music}
1038 \keepWithTag #'part @var{the music}
1043 @lilypondfile[raggedright,quote]{tag-filter.ly}
1045 The argument of the @code{\tag} command should be a symbol, or a list
1046 of symbols, for example,
1048 \tag #'(original-part transposed-part) @dots{}
1054 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1059 Multiple rests are not merged if you create the score with both tagged
1064 @node Orchestral music
1065 @section Orchestral music
1067 Orchestral music involves some special notation, both in the full
1068 score and the individual parts. This section explains how to tackle
1069 some common problems in orchestral music.
1072 * Automatic part combining::
1074 * Quoting other voices::
1075 * Formatting cue notes::
1076 * Aligning to cadenzas::
1080 @node Automatic part combining
1081 @subsection Automatic part combining
1082 @cindex automatic part combining
1083 @cindex part combiner
1085 Automatic part combining is used to merge two parts of music onto a
1086 staff. It is aimed at typesetting orchestral scores. When the two
1087 parts are identical for a period of time, only one is shown. In
1088 places where the two parts differ, they are typeset as separate
1089 voices, and stem directions are set automatically. Also, solo and
1090 @emph{a due} parts are identified and can be marked.
1092 The syntax for part combining is
1095 \partcombine @var{musicexpr1} @var{musicexpr2}
1099 The following example demonstrates the basic functionality of the part
1100 combiner: putting parts on one staff, and setting stem directions and
1103 @lilypond[quote,verbatim,raggedright,fragment]
1104 \new Staff \partcombine
1105 \relative g' { g g a( b) c c r r }
1106 \relative g' { g g r4 r e e g g }
1109 The first @code{g} appears only once, although it was
1110 specified twice (once in each part). Stem, slur, and tie directions are
1111 set automatically, depending whether there is a solo or unisono. The
1112 first part (with context called @code{one}) always gets up stems, and
1113 `Solo', while the second (called @code{two}) always gets down stems and
1116 If you just want the merging parts, and not the textual markings, you
1117 may set the property @code{printPartCombineTexts} to false
1119 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1121 \set Staff.printPartCombineTexts = ##f
1123 \relative g' { g a( b) r }
1124 \relative g' { g r4 r f }
1128 To change the text that is printed for solos or merging, you may
1129 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1132 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1134 \set Score.soloText = #"ichi"
1135 \set Score.soloIIText = #"ni"
1136 \set Score.aDueText = #"tachi"
1138 \relative g' { g4 g a( b) r }
1139 \relative g' { g4 g r r f }
1143 Both arguments to @code{\partcombine} will be interpreted as
1144 @internalsref{Voice} contexts. If using relative octaves,
1145 @code{\relative} should be specified for both music expressions, i.e.,
1149 \relative @dots{} @var{musicexpr1}
1150 \relative @dots{} @var{musicexpr2}
1154 A @code{\relative} section that is outside of @code{\partcombine} has
1155 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1159 Program reference: @internalsref{PartCombineMusic}.
1163 When @code{printPartCombineTexts} is set, when the two voices play the
1164 same notes on and off, the part combiner may typeset @code{a2} more
1165 than once in a measure.
1167 @code{\partcombine} cannot be inside @code{\times}.
1169 @code{\partcombine} cannot be inside @code{\relative}.
1171 Internally, the @code{\partcombine} interprets both arguments as
1172 @code{Voice}s named @code{one} and @code{two}, and then decides when
1173 the parts can be combined. Consequently, if the arguments switch to
1174 differently named @internalsref{Voice} contexts, the events in those
1179 @subsection Hiding staves
1181 @cindex Frenched scores
1182 @cindex Hiding staves
1184 In orchestral scores, staff lines that only have rests are usually
1185 removed; this saves some space. This style is called `French Score'.
1186 For @internalsref{Lyrics},
1187 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1188 switched on by default. When the lines of these contexts turn out
1189 empty after the line-breaking process, they are removed.
1191 For normal staves, a specialized @internalsref{Staff} context is
1192 available, which does the same: staves containing nothing (or only
1193 multi-measure rests) are removed. The context definition is stored in
1194 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1195 in this example disappears in the second line
1197 @lilypond[quote,raggedright,verbatim]
1199 \context { \RemoveEmptyStaffContext }
1204 \new Staff { e4 f g a \break c1 }
1205 \new Staff { c4 d e f \break R1 }
1210 The first system shows all staves in full. If empty staves should be
1211 removed from the first system too, set @code{remove-first} to true in
1212 @internalsref{RemoveEmptyVerticalGroup}.
1215 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1218 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1219 or @code{\RemoveEmptyRhythmicStaffContext}.
1221 Another application is making ossia sections, i.e., alternative
1222 melodies on a separate piece of staff, with help of a Frenched
1223 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1226 @node Quoting other voices
1227 @subsection Quoting other voices
1229 With quotations, fragments of other parts can be inserted into a part
1230 directly. Before a part can be quoted, it must be marked especially as
1231 quotable. This is done with the @code{\addquote} command.
1234 \addquote @var{name} @var{music}
1239 Here, @var{name} is an identifying string. The @var{music} is any kind
1240 of music. Here is an example of @code{\addquote}
1243 \addquote clarinet \relative c' @{
1248 This command must be entered at toplevel, i.e., outside any music
1251 After calling @code{\addquote}, the quotation may then be done with
1252 @code{\quoteDuring} or @code{\cueDuring},
1255 \quoteDuring #@var{name} @var{music}
1258 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1262 \quoteDuring #"clarinet" @{ s2. @}
1265 This would cite three quarter notes (the duration of @code{s2.}) of
1266 the previously added @code{clarinet} voice.
1269 More precisely, it takes the current time-step of the part being
1270 printed, and extracts the notes at the corresponding point of the
1271 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1272 should be the entire part of the voice to be quoted, including any
1273 rests at the beginning.
1275 Quotations take into account the transposition of both source and target
1276 instruments, if they are specified using the @code{\transposition} command.
1278 @lilypond[quote,raggedright,verbatim]
1279 \addquote clarinet \relative c' {
1285 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1289 The type of events that are present in cue notes can be trimmed with
1290 the @code{quotedEventTypes} property. The default value is
1291 @code{(note-event rest-event)}, which means that only notes and
1292 rests of the cued voice end up in the @code{\quoteDuring}.
1296 \set Staff.quotedEventTypes =
1297 #'(note-event articulation-event dynamic-event)
1301 will quote notes (but no rests), together with scripts and dynamics.
1305 Only the contents of the first @internalsref{Voice} occurring in an
1306 @code{\addquote} command will be considered for quotation, so
1307 @var{music} can not contain @code{\new} and @code{\context Voice}
1308 statements that would switch to a different Voice.
1310 Quoting grace notes is broken and can even cause LilyPond to crash.
1314 In this manual: @ref{Instrument transpositions}.
1316 Examples: @inputfileref{input/@/regression,quote@/.ly}
1317 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1319 Program reference: @internalsref{QuoteMusic}.
1322 @node Formatting cue notes
1323 @subsection Formatting cue notes
1325 The previous section deals with inserting notes from another voice.
1326 There is a more advanced music function called @code{\cueDuring},
1327 which makes formatting cue notes easier.
1332 \cueDuring #@var{name} #@var{updown} @var{music}
1335 This will insert notes from the part @var{name} into a
1336 @internalsref{Voice} called @code{cue}. This happens simultaneously
1337 with @var{music}, which usually is a rest. When the cue notes start,
1338 the staff in effect becomes polyphonic for a moment. The argument
1339 @var{updown} determines whether the cue notes should be notated as a
1340 first or second voice.
1343 @lilypond[verbatim,raggedright]
1346 \override Stem #'length = #5.5
1347 \override Beam #'thickness = #0.384
1348 \override Beam #'space-function =
1349 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1352 \addquote clarinet \relative {
1357 \new Staff \relative <<
1359 % setup a context for cue notes.
1360 \context Voice = cue { \smaller \skip 1*21 }
1362 \set Score.skipBars = ##t
1366 \cueDuring #"clarinet" #1 {
1375 Here are a couple of hints for successful cue notes
1379 Cue notes have smaller font sizes.
1381 the cued part is marked with the instrument playing the cue.
1383 when the original part takes over again, this should be marked with
1384 the name of the original instrument.
1386 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1388 @c Yes, this is good practice. Otherwise, the start of the original
1389 @c part can only be seen from the font size. This is not good enough
1390 @c for sight-reading. It is possilbe to use other
1391 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1396 Any other changes introduced by the cued part should also be
1397 undone. For example, if the cued instrument plays in a different clef,
1398 the original clef should be stated once again.
1403 @node Aligning to cadenzas
1404 @subsection Aligning to cadenzas
1406 In an orchestral context, cadenzas present a special problem:
1407 when constructing a score that includes a cadenza, all other
1408 instruments should skip just as many notes as the length of the
1409 cadenza, otherwise they will start too soon or too late.
1411 A solution to this problem are the functions @code{mmrest-of-length}
1412 and @code{skip-of-length}. These Scheme functions take a piece of music
1413 as argument, and generate a @code{\skip} or multi-rest, exactly as
1414 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1415 in the following example.
1417 @lilypond[verbatim,raggedright,quote]
1418 cadenza = \relative c' {
1419 c4 d8 << { e f g } \\ { d4. } >>
1424 \new Staff { \cadenza c'4 }
1426 #(ly:export (mmrest-of-length cadenza))
1435 @node Contemporary notation
1436 @section Contemporary notation
1438 In the 20th century, composers have greatly expanded the musical
1439 vocabulary. With this expansion, many innovations in musical notation
1440 have been tried. The book ``Music Notation in the 20th century'' by
1441 Kurt Stone gives a comprehensive overview (see @ref{Literature
1442 list}). In general, the use of new, innovative notation makes a piece
1443 harder to understand and perform and its use should therefore be
1444 avoided. For this reason, support for contemporary notation in
1445 LilyPond is limited.
1449 * Polymetric notation::
1450 * Time administration::
1452 * Special fermatas::
1453 * Special noteheads::
1460 @node Polymetric notation
1461 @subsection Polymetric notation
1463 Double time signatures are not supported explicitly, but they can be
1464 faked. In the next example, the markup for the time signature is
1465 created with a markup text. This markup text is inserted in the
1466 @internalsref{TimeSignature} grob.
1468 @lilypond[verbatim,raggedright]
1473 \musicglyph #"scripts.stopped"
1474 \bracket \column { "5" "8" }
1479 \override Staff.TimeSignature #'print-function = #Text_interface::print
1480 \override Staff.TimeSignature #'text = #tsMarkup
1482 c'2 \bar ":" c'4 c'4.
1486 Each staff can also have its own time signature. This is done by
1487 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1493 \remove "Timing_translator"
1494 \remove "Default_bar_line_engraver"
1498 \consists "Timing_translator"
1499 \consists "Default_bar_line_engraver"
1506 Now, each staff has its own time signature.
1519 c4. c8 c c c4. c8 c c
1524 @lilypond[quote,raggedright]
1528 \remove "Timing_translator"
1529 \remove "Default_bar_line_engraver"
1532 \consists "Timing_translator"
1533 \consists "Default_bar_line_engraver"
1548 c4. c8 c c c4. c8 c c
1554 A different form of polymetric notation is where note lengths have
1555 different values across staves.
1557 This notation can be created by setting a common time signature for
1558 each staff but replacing it manually using
1559 @code{timeSignatureFraction} to the desired fraction. Then the printed
1560 durations in each staff are scaled to the common time signature.
1561 The latter is done with @code{\compressMusic}, which is similar to
1562 @code{\times}, but does not create a tuplet bracket.
1565 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1566 used in parallel. In the second staff, shown durations are multiplied by
1567 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1568 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1570 @lilypond[quote,raggedright,verbatim,fragment]
1578 \set Staff.timeSignatureFraction = #'(9 . 8)
1579 \compressMusic #'(2 . 3)
1580 \repeat unfold 6 { c8[ c c] }
1584 \set Staff.timeSignatureFraction = #'(10 . 8)
1585 \compressMusic #'(3 . 5) {
1586 \repeat unfold 2 { c8[ c c] }
1587 \repeat unfold 2 { c8[ c] }
1588 | c4. c4. \times 2/3 { c8 c c } c4
1599 When using different time signatures in parallel, the spacing is
1600 aligned vertically, but bar lines distort the regular spacing.
1603 @node Time administration
1604 @subsection Time administration
1606 @cindex Time administration
1608 Time is administered by the @internalsref{Time_signature_engraver},
1609 which usually lives in the @internalsref{Score} context. The
1610 bookkeeping deals with the following variables
1613 @item currentBarNumber
1617 The length of the measures in the current time signature. For a 4/4
1618 time this is@tie{}1, and for 6/8 it is 3/4.
1620 @item measurePosition
1621 The point within the measure where we currently are. This quantity
1622 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1623 happens, @code{currentBarNumber} is incremented.
1626 If set to true, the above variables are updated for every time
1627 step. When set to false, the engraver stays in the current measure
1631 Timing can be changed by setting any of these variables explicitly.
1632 In the next example, the 4/4 time signature is printed, but
1633 @code{measureLength} is set to 5/4. After a while, the measure is
1634 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1635 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1636 3/8 arises because 5/4 normally has 10/8, but we have manually
1637 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1639 @lilypond[quote,raggedright,verbatim,relative,fragment]
1640 \set Score.measureLength = #(ly:make-moment 5 4)
1644 \set Score.measurePosition = #(ly:make-moment 7 8)
1652 @subsection Clusters
1656 A cluster indicates a continuous range of pitches to be played. They
1657 can be denoted as the envelope of a set of notes. They are entered by
1658 applying the function @code{makeClusters} to a sequence of
1660 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1661 \makeClusters { <c e > <b f'> }
1664 The following example (from
1665 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1668 @lilypondfile[raggedright,quote]{cluster.ly}
1670 Ordinary notes and clusters can be put together in the same staff,
1671 even simultaneously. In such a case no attempt is made to
1672 automatically avoid collisions between ordinary notes and clusters.
1676 Program reference: @internalsref{ClusterSpanner},
1677 @internalsref{ClusterSpannerBeacon},
1678 @internalsref{Cluster_spanner_engraver}.
1680 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1684 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1685 accurately. Use @code{<g a>8 <e a>8} instead.
1689 @node Special fermatas
1690 @subsection Special fermatas
1692 @cindex fermatas, special
1694 In contemporary music notation, special fermata symbols denote breaks
1695 of differing lengths. The following fermatas are supported
1697 @lilypond[quote,raggedright]
1720 \context Lyrics \lyricmode {
1721 \override LyricText #'font-family = #'typewriter
1722 "shortfermata" "fermata" "longfermata" "verylongfermata"
1727 See @ref{Articulations} for general instructions how to apply scripts
1728 such as fermatas to notes.
1731 @node Special noteheads
1732 @subsection Special noteheads
1734 Different noteheads are used by various instruments for various
1735 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1736 notes on guitar; diamonds are used for harmonics on string instruments,
1737 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1738 other notehead styles are produced by tweaking the property
1740 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1742 \override NoteHead #'style = #'cross
1744 \revert NoteHead #'style
1745 e d <c f\harmonic> <d a'\harmonic>
1749 To see all notehead styles, please see
1750 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1755 Program reference: @internalsref{NoteHead}.
1757 @node Pitched trills
1758 @subsection Pitched trills
1760 Trills that should be executed on an explicitly specified pitch can be
1761 typeset with the command @code{pitchedTrill},
1763 @lilypond[raggedright,verbatim,fragment]
1764 \pitchedTrill c'4\startTrillSpan fis
1768 The first argument is the main note. The absolute pitch of the second
1769 is printed as a stemless note head in parentheses.
1773 Relative octave mode ignores the octave of the second argument of
1774 @code{\pitchedTrill}.
1776 @node Feathered beams
1777 @subsection Feathered beams
1779 Feathered beams are not supported natively, but they can be faked by
1780 forcing two beams to overlap. Here is an example,
1782 @c don't change relative setting witout changing positions!
1783 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1788 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1793 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1801 @subsection Improvisation
1803 Improvisation is sometimes denoted with slashed note heads. Such note
1804 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1805 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1809 \set squashedPosition = #0
1810 \override NoteHead #'style = #'slash
1814 switches on the slashes.
1816 There are shortcuts @code{\improvisationOn} (and an accompanying
1817 @code{\improvisationOff}) for this command sequence. They are used in
1818 the following example
1820 @lilypond[verbatim,raggedright,quote]
1822 \consists Pitch_squash_engraver
1824 e8 e g a a16(bes)(a8) g \improvisationOn
1827 ~fis2 \improvisationOff a16(bes) a8 g e
1832 @node Educational use
1833 @section Educational use
1835 With the amount of control that LilyPond offers, one can make great
1836 teaching tools in addition to great musical scores.
1840 * Blank music sheet::
1842 * Shape note heads ::
1843 * Easy Notation note heads::
1844 * Analysis brackets::
1845 * Coloring objects::
1849 @subsection Balloon help
1851 Elements of notation can be marked and named with the help of a square
1852 balloon. The primary purpose of this feature is to explain notation.
1854 The following example demonstrates its use.
1856 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1859 #(add-balloon-text 'NoteHead "heads, or tails?"
1866 The function @code{add-balloon-text} takes the name of a grob, the
1867 label to print, and the position where to put the label relative to
1868 the object. In the above example, the text ``heads or tails?'' ends
1869 3 spaces below and 1 space to the right of the marked head.
1872 @cindex notation, explaining
1876 Program reference: @internalsref{text-balloon-interface}.
1878 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1883 @node Blank music sheet
1884 @subsection Blank music sheet
1886 A blank music sheet can be produced also by using invisible notes, and
1887 removing @code{Bar_number_engraver}.
1890 @lilypond[quote,verbatim]
1892 \repeat unfold 2 % Change this for more lines.
1897 \override TimeSignature #'transparent = ##t
1898 defaultBarType = #""
1899 \remove Bar_number_engraver
1901 \context Staff \emptymusic
1902 \context TabStaff \emptymusic
1908 @subsection Hidden notes
1910 @cindex Hidden notes
1911 @cindex Invisible notes
1912 @cindex Transparent notes
1914 @cindex @code{\hideNotes}
1915 @cindex @code{\unHideNotes}
1916 Hidden (or invisible or transparent) notes can be useful in preparing theory
1917 or composition exercises.
1919 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1927 Hidden notes are also great for performing weird tricks. For example,
1928 slurs cannot be attached to rests or spacer rests, but you may wish
1929 to include that in your score -- string instruments use this notation
1930 when doing pizzicato to indicate that the note should ring for as long
1933 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1936 c4^"pizz"( \hideNotes c)
1937 \unHideNotes c( \hideNotes c)
1944 @node Shape note heads
1945 @subsection Shape note heads
1947 In shape note head notation, the shape of the note head corresponds
1948 to the harmonic function of a note in the scale. This notation was
1949 popular in the 19th century American song books.
1951 Shape note heads can be produced by setting @code{\aikenHeads} or
1952 @code{\sacredHarpHeads}, depending on the style desired.
1954 @lilypond[verbatim,relative=1,fragment]
1961 Shapes are determined on the step in the scale, where the base of the
1962 scale is determined by the @code{\key} command
1965 @findex shapeNoteStyles
1967 @findex \sacredHarpHeads
1969 Shape note heads are implemented through the @code{shapeNoteStyles}
1970 property. Its value is a vector of symbols. The k-th element indicates
1971 the style to use for the k-th step of the scale. Arbitrary
1972 combinations are possible, eg.,
1975 @lilypond[verbatim,relative=1,fragment]
1976 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
1981 @node Easy Notation note heads
1982 @subsection Easy Notation note heads
1984 @cindex easy notation
1987 The `easy play' note head includes a note name inside the head. It is
1988 used in music for beginners
1990 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
1995 The command @code{\setEasyHeads} overrides settings for the
1996 @internalsref{NoteHead} object. To make the letters readable, it has
1997 to be printed in a large font size. To print with a larger font, see
1998 @ref{Setting global staff size}.
2002 @cindex @code{\setEasyHeads}
2003 @code{\setEasyHeads}
2006 @node Analysis brackets
2007 @subsection Analysis brackets
2009 @cindex phrasing brackets
2010 @cindex musicological analysis
2011 @cindex note grouping bracket
2013 Brackets are used in musical analysis to indicate structure in musical
2014 pieces. LilyPond supports a simple form of nested horizontal
2015 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2016 to @internalsref{Staff} context. A bracket is started with
2017 @code{\startGroup} and closed with @code{\stopGroup}
2019 @lilypond[quote,raggedright,verbatim]
2022 c4\startGroup\startGroup
2025 c4\stopGroup\stopGroup
2029 \Staff \consists "Horizontal_bracket_engraver"
2035 Program reference: @internalsref{HorizontalBracket}.
2037 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2043 I don't think we need this info.
2048 Whenever a note is found, a @internalsref{Stem} object is created
2049 automatically. For whole notes and rests, they are also created but
2054 @cindex @code{\stemUp}
2056 @cindex @code{\stemDown}
2058 @cindex @code{\stemNeutral}
2059 @code{\stemNeutral}.
2064 @node Coloring objects
2065 @subsection Coloring objects
2067 Individual objects may be assigned colors. You may use the
2068 color names listed in the @ref{List of colors}.
2070 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2071 \override NoteHead #'color = #red
2073 \override NoteHead #'color = #(x11-color 'LimeGreen)
2075 \override Stem #'color = #blue
2079 The full range of colors defined for X11 can be accessed by using the
2080 scheme function x11-color. The function takes one argument that can be a
2084 \override Beam #'color = #(x11-color 'MediumTurquoise)
2090 \override Beam #'color = #(x11-color "MediumTurquoise")
2093 The first form is quicker to write and is more efficient. However, using
2094 the second form it is possible to access X11 colors by the multi-word
2098 \override Beam #'color = #(x11-color "medium turquoise")
2101 If x11-color cannot make sense of the parameter then the color returned
2102 defaults to black. It should be obvious from the final score that
2105 This example, illustrates the use of x11-color. Notice that the stem
2106 color remains black after being set to (x11-color 'Boggle), which is
2107 deliberate nonsense.
2109 @lilypond[quote,raggedright,verbatim]
2111 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2112 \set Staff.instrument = \markup {
2113 \with-color #(x11-color 'navy) "Clarinet"
2117 \override Beam #'color = #(x11-color "medium turquoise")
2119 \override NoteHead #'color = #(x11-color "LimeGreen")
2121 \override Stem #'color = #(x11-color 'Boggle)
2129 Appendix: @ref{List of colors}.
2133 Not all x11 colors are distinguishable in a web browser. For web use
2134 normal colors are recommended.
2136 An x11 color is not necessarily exactly the same shade as a similarly
2140 @node Automatic notation
2141 @section Automatic notation
2143 This section describes how to change the way that accidentals and
2144 beams are automatically displayed.
2146 FIXME: this might get moved into Changing Defaults. Please send
2147 opinions to lilypond-devel. Thanks! :)
2150 * Automatic accidentals::
2151 * Setting automatic beam behavior::
2154 @node Automatic accidentals
2155 @subsection Automatic accidentals
2156 @cindex Automatic accidentals
2158 Common rules for typesetting accidentals have been placed in a
2159 function. This function is called as follows
2161 @cindex @code{set-accidental-style}
2163 #(set-accidental-style 'STYLE #('CONTEXT#))
2166 The function can take two arguments: the name of the accidental style,
2167 and an optional argument that denotes the context that should be
2168 changed. If no context name is supplied, @code{Staff} is the default,
2169 but you may wish to apply the accidental style to a single @code{Voice}
2172 The following accidental styles are supported
2175 This is the default typesetting behavior. It corresponds
2176 to 18th century common practice: Accidentals are
2177 remembered to the end of the measure in which they occur and
2178 only on their own octave.
2181 The normal behavior is to remember the accidentals on
2182 Staff-level. This variable, however, typesets accidentals
2183 individually for each voice. Apart from that, the rule is similar to
2186 As a result, accidentals from one voice do not get canceled in other
2187 voices, which is often an unwanted result
2189 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2191 #(set-accidental-style 'voice)
2198 The @code{voice} option should be used if the voices
2199 are to be read solely by individual musicians. If the staff is to be
2200 used by one musician (e.g., a conductor) then
2201 @code{modern} or @code{modern-cautionary}
2202 should be used instead.
2205 @cindex @code{modern} style accidentals
2206 This rule corresponds to the common practice in the 20th century. This rule
2207 prints the same accidentals as @code{default}, but temporary
2208 accidentals also are canceled in other octaves. Furthermore,
2209 in the same octave, they also get canceled in the following
2212 @lilypond[quote,raggedright,fragment,verbatim]
2213 #(set-accidental-style 'modern)
2214 cis' c'' cis'2 | c'' c'
2217 @item @code{modern-cautionary}
2218 @cindex @code{modern-cautionary}
2219 This rule is similar to @code{modern}, but the ``extra'' accidentals
2220 (the ones not typeset by @code{default}) are typeset as cautionary
2221 accidentals. They are printed in reduced size or with parentheses
2222 @lilypond[quote,raggedright,fragment,verbatim]
2223 #(set-accidental-style 'modern-cautionary)
2224 cis' c'' cis'2 | c'' c'
2227 @cindex @code{modern-voice}
2229 This rule is used for multivoice accidentals to be read both by musicians
2230 playing one voice and musicians playing all voices. Accidentals are
2231 typeset for each voice, but they @emph{are} canceled across voices in
2232 the same @internalsref{Staff}.
2234 @cindex @code{modern-voice-cautionary}
2235 @item modern-voice-cautionary
2236 This rule is the same as @code{modern-voice}, but with the extra
2237 accidentals (the ones not typeset by @code{voice}) typeset
2238 as cautionaries. Even though all accidentals typeset by
2239 @code{default} @emph{are} typeset by this variable,
2240 some of them are typeset as cautionaries.
2243 @cindex @code{piano} accidentals
2244 This rule reflects 20th century practice for piano notation. Very similar to
2245 @code{modern} but accidentals also get canceled
2246 across the staves in the same @internalsref{GrandStaff} or
2247 @internalsref{PianoStaff}.
2249 @item piano-cautionary
2250 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2251 Same as @code{#(set-accidental-style 'piano)} but with the extra
2252 accidentals typeset as cautionaries.
2255 @cindex @code{no-reset} accidental style
2256 This is the same as @code{default} but with accidentals lasting
2257 ``forever'' and not only until the next measure
2258 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2259 #(set-accidental-style 'no-reset)
2264 This is sort of the opposite of @code{no-reset}: Accidentals
2265 are not remembered at all---and hence all accidentals are
2266 typeset relative to the key signature, regardless of what was
2269 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2270 #(set-accidental-style 'forget)
2271 \key d\major c4 c cis cis d d dis dis
2278 Program reference: @internalsref{Accidental_engraver},
2279 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2284 Simultaneous notes are considered to be entered in sequential
2285 mode. This means that in a chord the accidentals are typeset as if the
2286 notes in the chord happened once at a time - in the order in which
2287 they appear in the input file.
2289 This is a problem when accidentals in a chord depend on each other,
2290 which does not happen for the default accidental style. The problem
2291 can be solved by manually inserting @code{!} and @code{?} for the
2295 @node Setting automatic beam behavior
2296 @subsection Setting automatic beam behavior
2298 @cindex @code{autoBeamSettings}
2299 @cindex @code{(end * * * *)}
2300 @cindex @code{(begin * * * *)}
2301 @cindex automatic beams, tuning
2302 @cindex tuning automatic beaming
2304 @c [TODO: use \applycontext]
2306 In normal time signatures, automatic beams can start on any note but can
2307 only end in a few positions within the measure: beams can end on a beat,
2308 or at durations specified by the properties in
2309 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2310 consist of a list of rules for where beams can begin and end. The
2311 default @code{autoBeamSettings} rules are defined in
2312 @file{scm/@/auto@/-beam@/.scm}.
2314 In order to add a rule to the list, use
2316 #(override-auto-beam-setting '(be p q n m) a b [context])
2321 @item @code{be} is either "begin" or "end".
2323 @item @code{b/q} is the duration of the note for which you want
2324 to add a rule. A beam is considered to have the duration of its
2325 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2326 have this apply to any beam.
2328 @item @code{n/m} is the position in the time signature to which
2329 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2330 to have this apply in any time signature.
2332 @item @code{a/b} is the position in the bar at which the beam should end.
2334 @item @code{context} is optional, and it specifies the context at which
2335 the change should be made. The default is @code{'Voice}.
2336 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2337 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2341 For example, if automatic beams should always end on the first quarter
2345 #(override-auto-beam-setting '(end * * * *) 1 4)
2348 You can force the beam settings to only take effect on beams whose shortest
2349 note is a certain duration
2351 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2353 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2355 a32 a a a a16 a a a a a |
2356 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2357 a32 a a a a16 a a a a a |
2360 You can force the beam settings to only take effect in certain time
2363 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2365 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2373 You can also remove a previously set beam-ending rule by using
2376 #(revert-auto-beam-setting '(be p q n m) a b [context])
2380 be, p, q, n, m, a, b and context are the same as above. Note that the
2381 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2382 so you can revert rules that you did not explicitly create.
2384 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2386 a16 a a a a a a a a a a a a a a a
2387 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2388 a16 a a a a a a a a a a a a a a a
2391 The rule in a revert-auto-beam-setting statement must exactly match the
2392 original rule. That is, no wildcard expansion is taken into account.
2394 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2396 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2398 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2400 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2406 @c TODO: old material -- not covered by above stuff, I think.
2407 If automatic beams should end on every quarter in 5/4 time, specify
2410 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2411 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2412 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2413 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2417 The same syntax can be used to specify beam starting points. In this
2418 example, automatic beams can only end on a dotted quarter note
2420 #(override-auto-beam-setting '(end * * * *) 3 8)
2421 #(override-auto-beam-setting '(end * * * *) 1 2)
2422 #(override-auto-beam-setting '(end * * * *) 7 8)
2424 In 4/4 time signature, this means that automatic beams could end only on
2425 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2426 3/8, has passed within the measure).
2428 @cindex automatic beam generation
2430 @cindex @code{autoBeaming}
2433 If beams are used to indicate melismata in songs, then automatic
2434 beaming should be switched off with @code{\autoBeamOff}.
2439 @cindex @code{\autoBeamOff}
2440 @code{\autoBeamOff},
2441 @cindex @code{\autoBeamOn}
2447 If a score ends while an automatic beam has not been ended and is
2448 still accepting notes, this last beam will not be typeset at all. The
2449 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2450 >>}. If a polyphonic voice ends while an automatic beam is still
2451 accepting notes, it is not typeset.