1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
20 * Automatic notation::
28 This section explains how to include text (with various formatting) in
38 * Overview of text markup commands::
45 @subsection Text scripts
48 @cindex text items, non-empty
49 @cindex non-empty texts
51 It is possible to place arbitrary strings of text or @ref{Text markup}
52 above or below notes by using a string @code{c^"text"}. By default,
53 these indications do not influence the note spacing, but by using the
54 command @code{\fatText}, the widths will be taken into account
56 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
57 c4^"longtext" \fatText c4_"longlongtext" c4
60 More complex formatting may also be added to a note by using the
62 @lilypond[fragment,raggedright,verbatim,quote]
63 c'4^\markup { bla \bold bla }
66 The @code{\markup} is described in more detail in
72 @cindex @code{\fatText}
74 @cindex @code{\emptyText}
80 Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
83 \override Score.PaperColumn #'keep-inside-line = ##t
89 In this manual: @ref{Text markup}.
91 Program reference: @internalsref{TextScript}.
95 @subsection Text spanners
99 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
100 are written as text and are extended over many measures with dotted
101 lines. Such texts are created using text spanners; attach
102 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
103 notes of the spanner.
105 The string to be printed, as well as the style, is set through object
108 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
111 \override TextSpanner #'edge-text = #'("rall " . "")
112 c2\startTextSpan b c\stopTextSpan a
115 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
116 c2\startTextSpan b c\stopTextSpan a
121 @cindex textSpannerUp
122 @code{textSpannerUp},
123 @cindex textSpannerDown
124 @code{textSpannerDown},
125 @cindex textSpannerNeutral
126 @code{textSpannerNeutral}.
131 Program reference: @internalsref{TextSpanner}.
133 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
137 @subsection Text marks
139 @cindex coda on bar line
140 @cindex segno on bar line
141 @cindex fermata on bar line
142 @cindex bar lines, symbols on
145 The @code{\mark} command is primarily used for
146 @ref{Rehearsal marks},
147 but it can also be used to put signs like coda,
148 segno, and fermata on a bar line. Use @code{\markup} to
149 access the appropriate symbol
151 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
152 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
157 @code{\mark} is only typeset above the top stave of the score. If
158 you specify the @code{\mark} command at a bar line, the resulting
159 mark is placed above the bar line. If you specify it in the middle
160 of a bar, the resulting mark is positioned between notes. If it is
161 specified before the beginning of a score line, it is placed
162 before the first note of the line. Finally, if the mark occurs at
163 a line break, the mark will be printed at the
164 beginning of the next line.
165 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
166 @c delete this sentence. -gp
167 If there is no next line, then the mark will not be printed at all.
172 To print the mark at the end of the current line, use
175 \override Score.RehearsalMark
176 #'break-visibility = #begin-of-line-invisible
179 @code{\mark} is often useful for adding text to the end of bar. In
180 such cases, changing the @code{#'self-alignment} is very useful
182 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
183 \override Score.RehearsalMark
184 #'break-visibility = #begin-of-line-invisible
186 \once \override Score.RehearsalMark #'self-alignment-X = #right
187 \mark "D.S. al Fine "
193 Program reference: @internalsref{RehearsalMark}.
197 @subsection Text markup
204 Use @code{\markup} to typeset text. Commands are entered with the
205 backslash @code{\}. To enter @code{\} and @code{#}, use double
208 @lilypond[quote,verbatim,fragment,relative=1]
210 c1_\markup { hi there }
211 c1^\markup { hi \bold there, is \italic anyone home? }
212 c1_\markup { "\special #characters" }
216 See @ref{Overview of text markup commands} for a list of all
219 @code{\markup} is primarily used for @internalsref{TextScript}s,
220 but it can also be used anywhere text is called in lilypond
222 @lilypond[quote,verbatim]
223 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
226 \override Score.RehearsalMark
227 #'break-visibility = #begin-of-line-invisible
228 \override Score.RehearsalMark #'self-alignment-X = #right
230 \set Staff.instrument = \markup{ \column{ Alto solo } }
231 c2^\markup{ don't be \flat }
232 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
234 a2\mark \markup{ \large \bold Fine }
238 \addlyrics { bar, foo \markup{ \italic bar! } }
242 Text can also be placed on its own, away from any @code{\score}
243 block. This is primarily used in a @code{\book} (see
244 @ref{Multiple movements}).
246 @lilypond[quote,raggedright,verbatim]
247 \markup{ Here is some text. }
250 @cindex font switching
252 The markup in the example demonstrates font switching commands. The
253 command @code{\bold} and @code{\italic} apply to the first following
254 word only; to apply a command to more than one word, enclose the
258 \markup @{ \bold @{ hi there @} @}
262 For clarity, you can also do this for single arguments, e.g.,
265 \markup @{ is \italic @{ anyone @} home @}
268 In markup mode you can compose expressions, similar to mathematical
269 expressions, XML documents, and music expressions. You can stack
270 expressions grouped vertically with the command @code{\column}.
271 Similarly, @code{\center-align} aligns texts by their center lines:
273 @lilypond[quote,verbatim,fragment,relative=1]
274 c1^\markup { \column { a bbbb \line { c d } } }
275 c1^\markup { \center-align { a bbbb c } }
276 c1^\markup { \line { a b c } }
279 Lists with no previous command are not kept distinct. The expression
282 \center-align @{ @{ a b @} @{ c d @} @}
290 \center-align @{ a b c d @}
295 To keep lists of words distinct, please use quotes @code{"} or
296 the @code{\line} command
298 @lilypond[quote,verbatim,fragment,relative=1]
300 c4^\markup{ \center-align { on three lines } }
301 c4^\markup{ \center-align { "all one line" } }
302 c4^\markup{ \center-align { { on three lines } } }
303 c4^\markup{ \center-align { \line { on one line } } }
306 Markups can be stored in variables and these variables
307 may be attached to notes, like
309 allegro = \markup @{ \bold \large @{ Allegro @} @}
310 @{ a^\allegro b c d @}
313 Some objects have alignment procedures of their own, which cancel out
314 any effects of alignments applied to their markup arguments as a
315 whole. For example, the @internalsref{RehearsalMark} is horizontally
316 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
319 In addition, vertical placement is performed after creating the
320 text markup object. If you wish to move an entire piece of markup,
321 you need to use the #'padding property or create an "anchor" point
322 inside the markup (generally with @code{\hspace #0}).
324 @lilypond[quote,verbatim,fragment,relative=1]
326 c'4^\markup{ \raise #5 "not raised" }
327 \once \override TextScript #'padding = #3
328 c'4^\markup{ raised }
329 c'4^\markup{ \hspace #0 \raise #1.5 raised }
335 This manual: @ref{Overview of text markup commands}.
337 Program reference: @internalsref{TextScript}.
339 Init files: @file{scm/@/new@/-markup@/.scm}.
344 Kerning or generation of ligatures is only done when the @TeX{}
345 backend is used. In this case, LilyPond does not account for them so
346 texts will be spaced slightly too wide.
348 Syntax errors for markup mode are confusing.
352 @subsection Text encoding
354 LilyPond uses the Pango library to format multi-lingual texts, and
355 does not perform any input-encoding conversions. This means that any
356 text, be it title, lyric text, or musical instruction containing
357 non-ASCII characters, must be utf-8. Easiest to enter such texts is
358 by using a Unicode-aware editor, and save using utf-8 encoding. Most
359 popular modern editors have utf-8 support, for example, vim, Emacs,
362 Depending on the fonts installed, the following fragment shows Hebrew
369 @lilypondfile[fontload]{utf-8.ly}
371 The @TeX{} backend does not handle encoding specially at all. Strings
372 in the input are put in the output as-is. Extents of text items in the
373 @TeX{} backend, are determined by reading a file created via the
374 @file{texstr} backend,
377 lilypond -b texstr input/les-nereides.ly
378 latex les-nereides.texstr
381 The last command produces @file{les-nereides.textmetrics}, which is
382 read when you execute
385 lilypond -b tex input/les-nereides.ly
388 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
389 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
390 interpreting non-ASCII strings.
392 To use a Unicode escape sequence, use
395 #(ly:export (ly:wide-char->utf-8 #x2014))
401 @inputfileref{input/regression,utf-8.ly}
405 @subsection Nested scores
407 It is possible to nest music inside markups, by adding a @code{\score}
408 block to a markup expression. Such a score must contain a @code{\layout}
411 @lilypond[quote,verbatim,raggedright]
415 \relative { c4 d e f }
424 @node Overview of text markup commands
425 @subsection Overview of text markup commands
427 The following commands can all be used inside @code{\markup @{ @}}.
429 @include markup-commands.tely
433 @subsection Font selection
435 @cindex font selection
436 @cindex font magnification
437 @cindex @code{font-interface}
439 By setting the object properties described below, you can select a
440 font from the preconfigured font families. LilyPond has default
441 support for the feta music fonts. Text fonts are selected through
442 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
443 the sans and typewriter to whatever the Pango installation defaults
448 @item @code{font-encoding}
449 is a symbol that sets layout of the glyphs. This should only be set to
450 select different types of non-text fonts, eg.
452 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
453 standard music font, including ancient glyphs, @code{fetaDynamic} for
454 dynamic signs and @code{fetaNumber} for the number font.
456 @item @code{font-family}
457 is a symbol indicating the general class of the typeface. Supported are
458 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
460 @item @code{font-shape}
461 is a symbol indicating the shape of the font. There are typically
462 several font shapes available for each font family. Choices are
463 @code{italic}, @code{caps}, and @code{upright}.
465 @item @code{font-series}
466 is a symbol indicating the series of the font. There are typically
467 several font series for each font family and shape. Choices are
468 @code{medium} and @code{bold}.
472 Fonts selected in the way sketched above come from a predefined style
473 sheet. If you want to use a font from outside the style sheet,
475 @code{font-name} property,
477 @lilypond[fragment,verbatim]
479 \override Staff.TimeSignature #'font-name = #"Charter"
480 \override Staff.TimeSignature #'font-size = #2
483 \override #'(font-name . "Vera Bold")
484 { This text is in Vera Bold }
490 Any font can be used, as long as it is available to Pango/FontConfig.
492 The size of the font may be set with the @code{font-size}
493 property. The resulting size is taken relative to the
494 @code{text-font-size} as defined in the @code{\paper} block.
497 @cindex font magnification
500 It is also possible to change the default font family for the entire
501 document. This is done by calling the @code{make-pango-font-tree} from
502 within the @code{\paper} block. The function takes names for the font
503 families to use for roman, sans serif and monospaced text. For
506 @cindex font families, setting
515 (make-pango-font-tree "Times New Roman"
522 c'^\markup { roman: foo \sans bla \typewriter bar }
526 @c we don't do Helvetica / Courier, since GS incorrectly loads
533 Examples: @file{ly/@/font@/-family@/-override.ly}
536 @node New dynamic marks
537 @subsection New dynamic marks
539 It is possible to print new dynamic marks or text that should be aligned
540 with dynamics. Use @code{make-dynamic-script} to create these marks.
542 @cindex make-dynamic-script
544 @lilypond[quote,verbatim,raggedright]
545 sfzp = #(make-dynamic-script "sfzp")
551 @cindex Dynamics, editorial
552 @cindex Dynamics, parenthesis
554 It is also possible to print dynamics in round parenthesis or square
555 brackets. These are often used for adding editorial dynamics.
557 @lilypond[quote,verbatim,raggedright]
558 rndf = \markup{ \center-align {\line { \bold{\italic (}
559 \dynamic f \bold{\italic )} }} }
560 boxf = \markup{ \bracket { \dynamic f } }
561 { c'1_\rndf c'1_\boxf }
566 @node Preparing parts
567 @section Preparing parts
569 This section describes various notation that are useful for preparing
573 * Multi measure rests::
578 * Instrument transpositions::
580 * Different editions from one source::
584 @node Multi measure rests
585 @subsection Multi measure rests
587 @cindex multi measure rests
588 @cindex full measure rests
589 @cindex Rests, multi measure
590 @cindex Rests, full measure
591 @cindex whole rests for a full measure
594 Rests for one full measure (or many bars) are entered using `@code{R}'. It
595 is specifically meant for full bar rests and for entering parts: the rest
596 can expand to fill a score with rests, or it can be printed as a single
597 multi-measure rest. This expansion is controlled by the property
598 @code{Score.skipBars}. If this is set to true, empty measures will not
599 be expanded, and the appropriate number is added automatically
601 @lilypond[quote,raggedright,fragment,verbatim]
602 \time 4/4 r1 | R1 | R1*2
603 \set Score.skipBars = ##t R1*17 R1*4
606 The @code{1} in @code{R1} is similar to the duration notation used for
607 notes. Hence, for time signatures other than 4/4, you must enter other
608 durations. This can be done with augmentation dots or fractions
610 @lilypond[quote,raggedright,fragment,verbatim]
611 \set Score.skipBars = ##t
620 An @code{R} spanning a single measure is printed as either a whole rest
621 or a breve, centered in the measure regardless of the time signature.
623 If there are only a few measures of rest, LilyPond prints ``church rests''
624 (a series of rectangles) in the staff. To replace that with a simple
625 rest, use @code{MultiMeasureRest.expand-limit}.
627 @lilypond[quote,raggedright,fragment,verbatim]
628 \set Score.skipBars = ##t
630 \override MultiMeasureRest #'expand-limit = 1
634 @cindex text on multi-measure rest
635 @cindex script on multi-measure rest
636 @cindex fermata on multi-measure rest
638 Texts can be added to multi-measure rests by using the
639 @var{note}-@code{markup} syntax @ref{Text markup}.
640 A variable (@code{\fermataMarkup}) is provided for
643 @lilypond[quote,raggedright,verbatim,fragment]
644 \set Score.skipBars = ##t
646 R2.*10^\markup { \italic "ad lib." }
650 Warning! This text is created by @code{MultiMeasureRestText}, not
653 @lilypond[quote,raggedright,verbatim,fragment]
654 \override TextScript #'padding = #5
656 \override MultiMeasureRestText #'padding = #5
660 If you want to have text on the left end of a multi-measure rest,
661 attach the text to a zero-length skip note, i.e.,
671 Program reference: @internalsref{MultiMeasureRestMusicGroup},
672 @internalsref{MultiMeasureRest}.
674 The layout object @internalsref{MultiMeasureRestNumber} is for the
675 default number, and @internalsref{MultiMeasureRestText} for user
681 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
682 over multi-measure rests. And the pitch of multi-measure rests (or
683 staff-centered rests) can not be influenced.
685 @cindex condensing rests
687 There is no way to automatically condense multiple rests into a single
688 multi-measure rest. Multi-measure rests do not take part in rest
691 Be careful when entering multi-measure rests followed by whole
692 notes. The following will enter two notes lasting four measures each
696 When @code{skipBars} is set, the result will look OK, but the bar
697 numbering will be off.
700 @node Metronome marks
701 @subsection Metronome marks
704 @cindex beats per minute
705 @cindex metronome marking
707 Metronome settings can be entered as follows
709 \tempo @var{duration} = @var{per-minute}
712 In the MIDI output, they are interpreted as a tempo change. In the
713 layout output, a metronome marking is printed
714 @cindex @code{\tempo}
715 @lilypond[quote,raggedright,verbatim,fragment]
722 To change the tempo in the MIDI output without printing anything, make
723 the metronome marking invisible
725 \once \override Score.MetronomeMark #'transparent = ##t
728 To print other metronome markings, use these markup commands
729 @lilypond[quote,raggedright,verbatim,relative,fragment]
732 \smaller \general-align #Y #DOWN \note #"16." #1
734 \smaller \general-align #Y #DOWN \note #"8" #1
739 See @ref{Text markup} for more details.
744 Program reference: @internalsref{MetronomeMark}.
749 Collisions are not checked. If you have notes above the top line of
750 the staff (or notes with articulations, slurs, text, etc), then the
751 metronome marking may be printed on top of musical symbols. If this
752 occurs, increase the padding of the metronome mark to place it
753 further away from the staff.
756 \override Score.MetronomeMark #'padding = #2.5
760 @node Rehearsal marks
761 @subsection Rehearsal marks
763 @cindex Rehearsal marks
766 To print a rehearsal mark, use the @code{\mark} command
768 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
777 The letter@tie{}`I' is skipped in accordance with engraving traditions.
778 If you wish to include the letter `I', then use
781 \set Score.markFormatter = #format-mark-alphabet
784 The mark is incremented automatically if you use @code{\mark
785 \default}, but you can also use an integer argument to set the mark
786 manually. The value to use is stored in the property
787 @code{rehearsalMark}.
789 The style is defined by the property @code{markFormatter}. It is a
790 function taking the current mark (an integer) and the current context
791 as argument. It should return a markup object. In the following
792 example, @code{markFormatter} is set to a canned procedure. After a
793 few measures, it is set to function that produces a boxed number.
795 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
796 \set Score.markFormatter = #format-mark-numbers
799 \set Score.markFormatter = #format-mark-box-numbers
805 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
806 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
807 @code{format-mark-letters} and @code{format-mark-box-letters}.
808 These can be used as inspiration for other formatting functions.
813 Program reference: @internalsref{RehearsalMark}.
815 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
816 definition of @code{format-mark-numbers} and
817 @code{format-mark-letters}. They can be used as inspiration for other
818 formatting functions.
820 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
822 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
826 @subsection Bar numbers
829 @cindex measure numbers
830 @cindex @code{currentBarNumber}
832 Bar numbers are printed by default at the start of the line. The
833 number itself is stored in the @code{currentBarNumber} property, which
834 is normally updated automatically for every measure.
836 Bar numbers can be typeset at regular intervals instead of at the
837 beginning of each line. This is illustrated in the following example,
838 whose source is available as
839 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
841 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
843 Bar numbers can be typeset manually by tweaking the
844 @code{markFormatter} property
846 @lilypond[verbatim,raggedright,quote]
848 \set Score.markFormatter
849 = #(lambda (mark context)
852 (number->string (ly:context-property context
853 'currentBarNumber)))))
855 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
859 Bar numbers can be manually changed by setting the
860 @code{Staff.currentBarNumber} property
862 @lilypond[verbatim,raggedright,quote]
864 \repeat unfold 4 {c4 c c c} \break
865 \set Score.currentBarNumber = #50
866 \repeat unfold 4 {c4 c c c}
873 Program reference: @internalsref{BarNumber}.
876 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
877 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
882 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
883 there is one at the top. To solve this, the
884 @code{padding} property of @internalsref{BarNumber} can be
885 used to position the number correctly.
888 @node Instrument names
889 @subsection Instrument names
891 In an orchestral score, instrument names are printed at the left side
894 This can be achieved by setting @internalsref{Staff}.@code{instrument}
895 and @internalsref{Staff}.@code{instr}. This will print a string before
896 the start of the staff. For the first staff, @code{instrument} is
897 used, for the following ones, @code{instr} is used.
899 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
900 \set Staff.instrument = "Ploink "
901 \set Staff.instr = "Plk "
907 You can also use markup texts to construct more complicated instrument
910 @lilypond[quote,fragment,verbatim,raggedright]
911 \set Staff.instrument = \markup {
912 \column { "Clarinetti"
913 \line { "in B" \smaller \flat } } }
917 If you wish to center the instrument names, you must center all of them
919 @lilypond[quote,verbatim,raggedright]
922 \set Staff.instrument = \markup {
923 \center-align { "Clarinetti"
924 \line { "in B" \smaller \flat } } }
928 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
935 For longer instrument names, it may be useful to increase the
936 @code{indent} setting in the @code{\layout} block.
940 Program reference: @internalsref{InstrumentName}.
944 When you put a name on a grand staff or piano staff, the width of the
945 brace is not taken into account. The following property setting can be
946 used to move the instrument names to the left, in such situations.
949 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
953 @node Instrument transpositions
954 @subsection Instrument transpositions
956 @cindex transposition, MIDI
957 @cindex transposition, instrument
959 The key of a transposing instrument can also be specified. This
960 applies to many wind instruments, for example, clarinets (B-flat, A, and
961 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
963 The transposition is entered after the keyword @code{\transposition}
966 \transposition bes %% B-flat clarinet
970 This command sets the property @code{instrumentTransposition}. The value of
971 this property is used for MIDI output and quotations. It does not
972 affect how notes are printed in the current staff. To change the printed
973 output, see @ref{Transpose}.
975 The pitch to use for @code{\transposition} should correspond to the
976 real sound heard when a @code{c'} written on the staff is played by the
977 transposing instrument. For example, when entering a score in
978 concert pitch, typically all voices are entered in C, so
979 they should be entered as
992 The command @code{\transposition} should be used when the music is
993 entered from a (transposed) orchestral part. For example, in
994 classical horn parts, the tuning of the instrument is often changed
995 during a piece. When copying the notes from the part, use
996 @code{\transposition}, e.g.,
1008 @node Ottava brackets
1009 @subsection Ottava brackets
1011 `Ottava' brackets introduce an extra transposition of an octave for
1012 the staff. They are created by invoking the function
1013 @code{set-octavation}
1019 @lilypond[quote,raggedright,verbatim,fragment]
1029 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1030 (for 15ma) as arguments. Internally the function sets the properties
1031 @code{ottavation} (e.g., to @code{"8va"}) and
1032 @code{centralCPosition}. For overriding the text of the bracket, set
1033 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1035 @lilypond[quote,raggedright,verbatim]
1038 \set Staff.ottavation = #"8"
1046 Program reference: @internalsref{OttavaBracket}.
1048 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1049 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1054 @code{set-octavation} will get confused when clef changes happen
1055 during an octavation bracket.
1058 @node Different editions from one source
1059 @subsection Different editions from one source
1064 The @code{\tag} command marks music expressions with a name. These
1065 tagged expressions can be filtered out later. With this mechanism it
1066 is possible to make different versions of the same music source.
1068 In the following example, we see two versions of a piece of music, one
1069 for the full score, and one with cue notes for the instrumental part
1085 The same can be applied to articulations, texts, etc.: they are
1088 -\tag #@var{your-tag}
1090 to an articulation, for example,
1095 This defines a note with a conditional fingering indication.
1098 @cindex removeWithTag
1099 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1100 commands, tagged expressions can be filtered. For example,
1104 \keepWithTag #'score @var{the music}
1105 \keepWithTag #'part @var{the music}
1110 @lilypondfile[raggedright,quote]{tag-filter.ly}
1112 The argument of the @code{\tag} command should be a symbol. It's
1113 possible to put multiple tags on a piece of music, with multiple
1114 @code{\tag} entries,
1116 \tag #'original-part \tag #'transposed-part @dots{}
1122 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1127 Multiple rests are not merged if you create the score with both tagged
1132 @node Orchestral music
1133 @section Orchestral music
1135 Orchestral music involves some special notation, both in the full
1136 score and the individual parts. This section explains how to tackle
1137 some common problems in orchestral music.
1140 * Automatic part combining::
1142 * Quoting other voices::
1143 * Formatting cue notes::
1144 * Aligning to cadenzas::
1148 @node Automatic part combining
1149 @subsection Automatic part combining
1150 @cindex automatic part combining
1151 @cindex part combiner
1153 Automatic part combining is used to merge two parts of music onto a
1154 staff. It is aimed at typesetting orchestral scores. When the two
1155 parts are identical for a period of time, only one is shown. In
1156 places where the two parts differ, they are typeset as separate
1157 voices, and stem directions are set automatically. Also, solo and
1158 @emph{a due} parts are identified and can be marked.
1160 The syntax for part combining is
1163 \partcombine @var{musicexpr1} @var{musicexpr2}
1167 The following example demonstrates the basic functionality of the part
1168 combiner: putting parts on one staff, and setting stem directions and
1171 @lilypond[quote,verbatim,raggedright,fragment]
1172 \new Staff \partcombine
1173 \relative g' { g g a( b) c c r r }
1174 \relative g' { g g r4 r e e g g }
1177 The first @code{g} appears only once, although it was
1178 specified twice (once in each part). Stem, slur, and tie directions are
1179 set automatically, depending whether there is a solo or unisono. The
1180 first part (with context called @code{one}) always gets up stems, and
1181 `Solo', while the second (called @code{two}) always gets down stems and
1184 If you just want the merging parts, and not the textual markings, you
1185 may set the property @code{printPartCombineTexts} to false
1187 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1189 \set Staff.printPartCombineTexts = ##f
1191 \relative g' { g a( b) r }
1192 \relative g' { g r4 r f }
1196 To change the text that is printed for solos or merging, you may
1197 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1200 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1202 \set Score.soloText = #"ichi"
1203 \set Score.soloIIText = #"ni"
1204 \set Score.aDueText = #"tachi"
1206 \relative g' { g4 g a( b) r }
1207 \relative g' { g4 g r r f }
1211 Both arguments to @code{\partcombine} will be interpreted as
1212 @internalsref{Voice} contexts. If using relative octaves,
1213 @code{\relative} should be specified for both music expressions, i.e.,
1217 \relative @dots{} @var{musicexpr1}
1218 \relative @dots{} @var{musicexpr2}
1222 A @code{\relative} section that is outside of @code{\partcombine} has
1223 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1227 Program reference: @internalsref{PartCombineMusic}.
1231 When @code{printPartCombineTexts} is set, when the two voices play the
1232 same notes on and off, the part combiner may typeset @code{a2} more
1233 than once in a measure.
1235 @code{\partcombine} cannot be inside @code{\times}.
1237 @code{\partcombine} cannot be inside @code{\relative}.
1239 Internally, the @code{\partcombine} interprets both arguments as
1240 @code{Voice}s named @code{one} and @code{two}, and then decides when
1241 the parts can be combined. Consequently, if the arguments switch to
1242 differently named @internalsref{Voice} contexts, the events in those
1247 @subsection Hiding staves
1249 @cindex Frenched scores
1250 @cindex Hiding staves
1252 In orchestral scores, staff lines that only have rests are usually
1253 removed; this saves some space. This style is called `French Score'.
1254 For @internalsref{Lyrics},
1255 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1256 switched on by default. When the lines of these contexts turn out
1257 empty after the line-breaking process, they are removed.
1259 For normal staves, a specialized @internalsref{Staff} context is
1260 available, which does the same: staves containing nothing (or only
1261 multi-measure rests) are removed. The context definition is stored in
1262 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1263 in this example disappears in the second line
1265 @lilypond[quote,raggedright,verbatim]
1267 \context { \RemoveEmptyStaffContext }
1272 \new Staff { e4 f g a \break c1 }
1273 \new Staff { c4 d e f \break R1 }
1278 The first system shows all staves in full. If empty staves should be
1279 removed from the first system too, set @code{remove-first} to true in
1280 @internalsref{VerticalAxisGroup}.
1283 \override Score.VerticalAxisGroup #'remove-first = ##t
1286 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1287 or @code{\RemoveEmptyRhythmicStaffContext}.
1289 Another application is making ossia sections, i.e., alternative
1290 melodies on a separate piece of staff, with help of a Frenched
1291 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1294 @node Quoting other voices
1295 @subsection Quoting other voices
1297 With quotations, fragments of other parts can be inserted into a part
1298 directly. Before a part can be quoted, it must be marked especially as
1299 quotable. This is done with the @code{\addquote} command.
1302 \addquote @var{name} @var{music}
1307 Here, @var{name} is an identifying string. The @var{music} is any kind
1308 of music. Here is an example of @code{\addquote}
1311 \addquote clarinet \relative c' @{
1316 This command must be entered at toplevel, i.e., outside any music
1319 After calling @code{\addquote}, the quotation may then be done with
1320 @code{\quoteDuring} or @code{\cueDuring},
1323 \quoteDuring #@var{name} @var{music}
1326 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1330 \quoteDuring #"clarinet" @{ s2. @}
1333 This would cite three quarter notes (the duration of @code{s2.}) of
1334 the previously added @code{clarinet} voice.
1337 More precisely, it takes the current time-step of the part being
1338 printed, and extracts the notes at the corresponding point of the
1339 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1340 should be the entire part of the voice to be quoted, including any
1341 rests at the beginning.
1343 Quotations take into account the transposition of both source and target
1344 instruments, if they are specified using the @code{\transposition} command.
1346 @lilypond[quote,raggedright,verbatim]
1347 \addquote clarinet \relative c' {
1353 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1357 The type of events that are present in cue notes can be trimmed with
1358 the @code{quotedEventTypes} property. The default value is
1359 @code{(note-event rest-event)}, which means that only notes and
1360 rests of the cued voice end up in the @code{\quoteDuring}.
1364 \set Staff.quotedEventTypes =
1365 #'(note-event articulation-event dynamic-event)
1369 will quote notes (but no rests), together with scripts and dynamics.
1373 Only the contents of the first @internalsref{Voice} occurring in an
1374 @code{\addquote} command will be considered for quotation, so
1375 @var{music} can not contain @code{\new} and @code{\context Voice}
1376 statements that would switch to a different Voice.
1378 Quoting grace notes is broken and can even cause LilyPond to crash.
1382 In this manual: @ref{Instrument transpositions}.
1384 Examples: @inputfileref{input/@/regression,quote@/.ly}
1385 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1387 Program reference: @internalsref{QuoteMusic}.
1390 @node Formatting cue notes
1391 @subsection Formatting cue notes
1393 The previous section deals with inserting notes from another voice.
1394 There is a more advanced music function called @code{\cueDuring},
1395 which makes formatting cue notes easier.
1400 \cueDuring #@var{name} #@var{updown} @var{music}
1403 This will insert notes from the part @var{name} into a
1404 @internalsref{Voice} called @code{cue}. This happens simultaneously
1405 with @var{music}, which usually is a rest. When the cue notes start,
1406 the staff in effect becomes polyphonic for a moment. The argument
1407 @var{updown} determines whether the cue notes should be notated as a
1408 first or second voice.
1411 @lilypond[verbatim,raggedright]
1414 \override Stem #'length-fraction = #0.8
1415 \override Beam #'thickness = #0.384
1416 \override Beam #'length-fraction = #0.8
1419 \addquote clarinet \relative {
1424 \new Staff \relative <<
1426 % setup a context for cue notes.
1427 \context Voice = cue { \smaller \skip 1*21 }
1429 \set Score.skipBars = ##t
1433 \cueDuring #"clarinet" #1 {
1442 Here are a couple of hints for successful cue notes
1446 Cue notes have smaller font sizes.
1448 the cued part is marked with the instrument playing the cue.
1450 when the original part takes over again, this should be marked with
1451 the name of the original instrument.
1453 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1455 @c Yes, this is good practice. Otherwise, the start of the original
1456 @c part can only be seen from the font size. This is not good enough
1457 @c for sight-reading. It is possilbe to use other
1458 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1463 Any other changes introduced by the cued part should also be
1464 undone. For example, if the cued instrument plays in a different clef,
1465 the original clef should be stated once again.
1470 @node Aligning to cadenzas
1471 @subsection Aligning to cadenzas
1473 In an orchestral context, cadenzas present a special problem:
1474 when constructing a score that includes a cadenza, all other
1475 instruments should skip just as many notes as the length of the
1476 cadenza, otherwise they will start too soon or too late.
1478 A solution to this problem are the functions @code{mmrest-of-length}
1479 and @code{skip-of-length}. These Scheme functions take a piece of music
1480 as argument, and generate a @code{\skip} or multi-rest, exactly as
1481 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1482 in the following example.
1484 @lilypond[verbatim,raggedright,quote]
1485 cadenza = \relative c' {
1486 c4 d8 << { e f g } \\ { d4. } >>
1491 \new Staff { \cadenza c'4 }
1493 #(ly:export (mmrest-of-length cadenza))
1502 @node Contemporary notation
1503 @section Contemporary notation
1505 In the 20th century, composers have greatly expanded the musical
1506 vocabulary. With this expansion, many innovations in musical notation
1507 have been tried. The book ``Music Notation in the 20th century'' by
1508 Kurt Stone gives a comprehensive overview (see @ref{Literature
1509 list}). In general, the use of new, innovative notation makes a piece
1510 harder to understand and perform and its use should therefore be
1511 avoided. For this reason, support for contemporary notation in
1512 LilyPond is limited.
1516 * Polymetric notation::
1517 * Time administration::
1519 * Special fermatas::
1520 * Special noteheads::
1527 @node Polymetric notation
1528 @subsection Polymetric notation
1530 Double time signatures are not supported explicitly, but they can be
1531 faked. In the next example, the markup for the time signature is
1532 created with a markup text. This markup text is inserted in the
1533 @internalsref{TimeSignature} grob.
1535 @lilypond[verbatim,raggedright]
1540 \musicglyph #"scripts.stopped"
1541 \bracket \column { "5" "8" }
1546 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1547 \override Staff.TimeSignature #'text = #tsMarkup
1549 c'2 \bar ":" c'4 c'4.
1553 Each staff can also have its own time signature. This is done by
1554 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1560 \remove "Timing_translator"
1561 \remove "Default_bar_line_engraver"
1565 \consists "Timing_translator"
1566 \consists "Default_bar_line_engraver"
1573 Now, each staff has its own time signature.
1586 c4. c8 c c c4. c8 c c
1591 @lilypond[quote,raggedright]
1595 \remove "Timing_translator"
1596 \remove "Default_bar_line_engraver"
1599 \consists "Timing_translator"
1600 \consists "Default_bar_line_engraver"
1615 c4. c8 c c c4. c8 c c
1621 A different form of polymetric notation is where note lengths have
1622 different values across staves.
1624 This notation can be created by setting a common time signature for
1625 each staff but replacing it manually using
1626 @code{timeSignatureFraction} to the desired fraction. Then the printed
1627 durations in each staff are scaled to the common time signature.
1628 The latter is done with @code{\compressMusic}, which is used similar
1629 to @code{\times}, but does not create a tuplet bracket. The syntax is
1631 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1636 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1637 used in parallel. In the second staff, shown durations are multiplied by
1638 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1639 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1641 @lilypond[quote,raggedright,verbatim,fragment]
1649 \set Staff.timeSignatureFraction = #'(9 . 8)
1650 \compressMusic #'(2 . 3)
1651 \repeat unfold 6 { c8[ c c] }
1655 \set Staff.timeSignatureFraction = #'(10 . 8)
1656 \compressMusic #'(3 . 5) {
1657 \repeat unfold 2 { c8[ c c] }
1658 \repeat unfold 2 { c8[ c] }
1659 | c4. c4. \times 2/3 { c8 c c } c4
1670 When using different time signatures in parallel, the spacing is
1671 aligned vertically, but bar lines distort the regular spacing.
1674 @node Time administration
1675 @subsection Time administration
1677 @cindex Time administration
1679 Time is administered by the @internalsref{Time_signature_engraver},
1680 which usually lives in the @internalsref{Score} context. The
1681 bookkeeping deals with the following variables
1684 @item currentBarNumber
1688 The length of the measures in the current time signature. For a 4/4
1689 time this is@tie{}1, and for 6/8 it is 3/4.
1691 @item measurePosition
1692 The point within the measure where we currently are. This quantity
1693 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1694 happens, @code{currentBarNumber} is incremented.
1697 If set to true, the above variables are updated for every time
1698 step. When set to false, the engraver stays in the current measure
1702 Timing can be changed by setting any of these variables explicitly.
1703 In the next example, the 4/4 time signature is printed, but
1704 @code{measureLength} is set to 5/4. After a while, the measure is
1705 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1706 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1707 3/8 arises because 5/4 normally has 10/8, but we have manually
1708 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1710 @lilypond[quote,raggedright,verbatim,relative,fragment]
1711 \set Score.measureLength = #(ly:make-moment 5 4)
1715 \set Score.measurePosition = #(ly:make-moment 7 8)
1723 @subsection Clusters
1727 A cluster indicates a continuous range of pitches to be played. They
1728 can be denoted as the envelope of a set of notes. They are entered by
1729 applying the function @code{makeClusters} to a sequence of
1731 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1732 \makeClusters { <c e > <b f'> }
1735 The following example (from
1736 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1739 @lilypondfile[raggedright,quote]{cluster.ly}
1741 Ordinary notes and clusters can be put together in the same staff,
1742 even simultaneously. In such a case no attempt is made to
1743 automatically avoid collisions between ordinary notes and clusters.
1747 Program reference: @internalsref{ClusterSpanner},
1748 @internalsref{ClusterSpannerBeacon},
1749 @internalsref{Cluster_spanner_engraver}.
1751 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1755 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1756 accurately. Use @code{<g a>8 <e a>8} instead.
1760 @node Special fermatas
1761 @subsection Special fermatas
1763 @cindex fermatas, special
1765 In contemporary music notation, special fermata symbols denote breaks
1766 of differing lengths. The following fermatas are supported
1768 @lilypond[quote,raggedright]
1791 \context Lyrics \lyricmode {
1792 \override LyricText #'font-family = #'typewriter
1793 "shortfermata" "fermata" "longfermata" "verylongfermata"
1798 See @ref{Articulations} for general instructions how to apply scripts
1799 such as fermatas to notes.
1802 @node Special noteheads
1803 @subsection Special noteheads
1805 Different noteheads are used by various instruments for various
1806 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1807 notes on guitar; diamonds are used for harmonics on string instruments,
1808 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1809 other notehead styles are produced by tweaking the property
1811 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1813 \override NoteHead #'style = #'cross
1815 \revert NoteHead #'style
1816 e d <c f\harmonic> <d a'\harmonic>
1820 To see all notehead styles, please see
1821 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1826 Program reference: @internalsref{NoteHead}.
1828 @node Pitched trills
1829 @subsection Pitched trills
1831 Trills that should be executed on an explicitly specified pitch can be
1832 typeset with the command @code{pitchedTrill},
1834 @lilypond[raggedright,verbatim,fragment]
1835 \pitchedTrill c'4\startTrillSpan fis
1839 The first argument is the main note. The absolute pitch of the second
1840 is printed as a stemless note head in parentheses.
1842 @node Feathered beams
1843 @subsection Feathered beams
1845 Feathered beams are not supported natively, but they can be faked by
1846 forcing two beams to overlap. Here is an example,
1848 @c don't change relative setting witout changing positions!
1849 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1854 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1859 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1867 @subsection Improvisation
1869 Improvisation is sometimes denoted with slashed note heads. Such note
1870 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1871 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1875 \set squashedPosition = #0
1876 \override NoteHead #'style = #'slash
1880 switches on the slashes.
1882 There are shortcuts @code{\improvisationOn} (and an accompanying
1883 @code{\improvisationOff}) for this command sequence. They are used in
1884 the following example
1886 @lilypond[verbatim,raggedright,quote]
1888 \consists Pitch_squash_engraver
1890 e8 e g a a16(bes)(a8) g \improvisationOn
1893 ~fis2 \improvisationOff a16(bes) a8 g e
1898 @node Educational use
1899 @section Educational use
1901 With the amount of control that LilyPond offers, one can make great
1902 teaching tools in addition to great musical scores.
1906 * Blank music sheet::
1908 * Shape note heads ::
1909 * Easy Notation note heads::
1910 * Analysis brackets::
1911 * Coloring objects::
1915 @subsection Balloon help
1917 Elements of notation can be marked and named with the help of a square
1918 balloon. The primary purpose of this feature is to explain notation.
1920 The following example demonstrates its use.
1922 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1925 #(add-balloon-text 'NoteHead "heads, or tails?"
1932 The function @code{add-balloon-text} takes the name of a grob, the
1933 label to print, and the position where to put the label relative to
1934 the object. In the above example, the text ``heads or tails?'' ends
1935 3 spaces below and 1 space to the right of the marked head.
1938 @cindex notation, explaining
1942 Program reference: @internalsref{text-balloon-interface}.
1944 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1949 @node Blank music sheet
1950 @subsection Blank music sheet
1952 A blank music sheet can be produced also by using invisible notes, and
1953 removing @code{Bar_number_engraver}.
1956 @lilypond[quote,verbatim]
1958 \repeat unfold 2 % Change this for more lines.
1963 \override TimeSignature #'transparent = ##t
1964 defaultBarType = #""
1965 \remove Bar_number_engraver
1967 \context Staff \emptymusic
1968 \context TabStaff \emptymusic
1974 @subsection Hidden notes
1976 @cindex Hidden notes
1977 @cindex Invisible notes
1978 @cindex Transparent notes
1980 @cindex @code{\hideNotes}
1981 @cindex @code{\unHideNotes}
1982 Hidden (or invisible or transparent) notes can be useful in preparing theory
1983 or composition exercises.
1985 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1993 Hidden notes are also great for performing weird tricks. For example,
1994 slurs cannot be attached to rests or spacer rests, but you may wish
1995 to include that in your score -- string instruments use this notation
1996 when doing pizzicato to indicate that the note should ring for as long
1999 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
2002 c4^"pizz"( \hideNotes c)
2003 \unHideNotes c( \hideNotes c)
2010 @node Shape note heads
2011 @subsection Shape note heads
2013 In shape note head notation, the shape of the note head corresponds
2014 to the harmonic function of a note in the scale. This notation was
2015 popular in the 19th century American song books.
2017 Shape note heads can be produced by setting @code{\aikenHeads} or
2018 @code{\sacredHarpHeads}, depending on the style desired.
2020 @lilypond[verbatim,relative=1,fragment]
2027 Shapes are determined on the step in the scale, where the base of the
2028 scale is determined by the @code{\key} command
2031 @findex shapeNoteStyles
2033 @findex \sacredHarpHeads
2035 Shape note heads are implemented through the @code{shapeNoteStyles}
2036 property. Its value is a vector of symbols. The k-th element indicates
2037 the style to use for the k-th step of the scale. Arbitrary
2038 combinations are possible, eg.,
2041 @lilypond[verbatim,relative=1,fragment]
2042 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2047 @node Easy Notation note heads
2048 @subsection Easy Notation note heads
2050 @cindex easy notation
2053 The `easy play' note head includes a note name inside the head. It is
2054 used in music for beginners
2056 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
2061 The command @code{\setEasyHeads} overrides settings for the
2062 @internalsref{NoteHead} object. To make the letters readable, it has
2063 to be printed in a large font size. To print with a larger font, see
2064 @ref{Setting global staff size}.
2068 @cindex @code{\setEasyHeads}
2069 @code{\setEasyHeads}
2072 @node Analysis brackets
2073 @subsection Analysis brackets
2075 @cindex phrasing brackets
2076 @cindex musicological analysis
2077 @cindex note grouping bracket
2079 Brackets are used in musical analysis to indicate structure in musical
2080 pieces. LilyPond supports a simple form of nested horizontal
2081 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2082 to @internalsref{Staff} context. A bracket is started with
2083 @code{\startGroup} and closed with @code{\stopGroup}
2085 @lilypond[quote,raggedright,verbatim]
2088 c4\startGroup\startGroup
2091 c4\stopGroup\stopGroup
2095 \Staff \consists "Horizontal_bracket_engraver"
2101 Program reference: @internalsref{HorizontalBracket}.
2103 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2106 @node Coloring objects
2107 @subsection Coloring objects
2109 Individual objects may be assigned colors. You may use the
2110 color names listed in the @ref{List of colors}.
2112 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2113 \override NoteHead #'color = #red
2115 \override NoteHead #'color = #(x11-color 'LimeGreen)
2117 \override Stem #'color = #blue
2121 The full range of colors defined for X11 can be accessed by using the
2122 scheme function x11-color. The function takes one argument that can be a
2126 \override Beam #'color = #(x11-color 'MediumTurquoise)
2132 \override Beam #'color = #(x11-color "MediumTurquoise")
2135 The first form is quicker to write and is more efficient. However, using
2136 the second form it is possible to access X11 colors by the multi-word
2140 \override Beam #'color = #(x11-color "medium turquoise")
2143 If x11-color cannot make sense of the parameter then the color returned
2144 defaults to black. It should be obvious from the final score that
2147 This example, illustrates the use of x11-color. Notice that the stem
2148 color remains black after being set to (x11-color 'Boggle), which is
2149 deliberate nonsense.
2151 @lilypond[quote,raggedright,verbatim]
2153 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2154 \set Staff.instrument = \markup {
2155 \with-color #(x11-color 'navy) "Clarinet"
2159 \override Beam #'color = #(x11-color "medium turquoise")
2161 \override NoteHead #'color = #(x11-color "LimeGreen")
2163 \override Stem #'color = #(x11-color 'Boggle)
2171 Appendix: @ref{List of colors}.
2175 Not all x11 colors are distinguishable in a web browser. For web use
2176 normal colors are recommended.
2178 An x11 color is not necessarily exactly the same shade as a similarly
2182 @node Automatic notation
2183 @section Automatic notation
2185 This section describes how to change the way that accidentals and
2186 beams are automatically displayed.
2188 FIXME: this might get moved into Changing Defaults. Please send
2189 opinions to lilypond-devel. Thanks! :)
2192 * Automatic accidentals::
2193 * Setting automatic beam behavior::
2196 @node Automatic accidentals
2197 @subsection Automatic accidentals
2198 @cindex Automatic accidentals
2200 Common rules for typesetting accidentals have been placed in a
2201 function. This function is called as follows
2203 @cindex @code{set-accidental-style}
2205 #(set-accidental-style 'STYLE #('CONTEXT#))
2208 The function can take two arguments: the name of the accidental style,
2209 and an optional argument that denotes the context that should be
2210 changed. If no context name is supplied, @code{Staff} is the default,
2211 but you may wish to apply the accidental style to a single @code{Voice}
2214 The following accidental styles are supported
2217 This is the default typesetting behavior. It corresponds
2218 to 18th century common practice: Accidentals are
2219 remembered to the end of the measure in which they occur and
2220 only on their own octave.
2223 The normal behavior is to remember the accidentals on
2224 Staff-level. This variable, however, typesets accidentals
2225 individually for each voice. Apart from that, the rule is similar to
2228 As a result, accidentals from one voice do not get canceled in other
2229 voices, which is often an unwanted result
2231 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2233 #(set-accidental-style 'voice)
2240 The @code{voice} option should be used if the voices
2241 are to be read solely by individual musicians. If the staff is to be
2242 used by one musician (e.g., a conductor) then
2243 @code{modern} or @code{modern-cautionary}
2244 should be used instead.
2247 @cindex @code{modern} style accidentals
2248 This rule corresponds to the common practice in the 20th century. This rule
2249 prints the same accidentals as @code{default}, but temporary
2250 accidentals also are canceled in other octaves. Furthermore,
2251 in the same octave, they also get canceled in the following
2254 @lilypond[quote,raggedright,fragment,verbatim]
2255 #(set-accidental-style 'modern)
2256 cis' c'' cis'2 | c'' c'
2259 @item @code{modern-cautionary}
2260 @cindex @code{modern-cautionary}
2261 This rule is similar to @code{modern}, but the ``extra'' accidentals
2262 (the ones not typeset by @code{default}) are typeset as cautionary
2263 accidentals. They are printed in reduced size or with parentheses
2264 @lilypond[quote,raggedright,fragment,verbatim]
2265 #(set-accidental-style 'modern-cautionary)
2266 cis' c'' cis'2 | c'' c'
2269 @cindex @code{modern-voice}
2271 This rule is used for multivoice accidentals to be read both by musicians
2272 playing one voice and musicians playing all voices. Accidentals are
2273 typeset for each voice, but they @emph{are} canceled across voices in
2274 the same @internalsref{Staff}.
2276 @cindex @code{modern-voice-cautionary}
2277 @item modern-voice-cautionary
2278 This rule is the same as @code{modern-voice}, but with the extra
2279 accidentals (the ones not typeset by @code{voice}) typeset
2280 as cautionaries. Even though all accidentals typeset by
2281 @code{default} @emph{are} typeset by this variable,
2282 some of them are typeset as cautionaries.
2285 @cindex @code{piano} accidentals
2286 This rule reflects 20th century practice for piano notation. Very similar to
2287 @code{modern} but accidentals also get canceled
2288 across the staves in the same @internalsref{GrandStaff} or
2289 @internalsref{PianoStaff}.
2291 @item piano-cautionary
2292 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2293 Same as @code{#(set-accidental-style 'piano)} but with the extra
2294 accidentals typeset as cautionaries.
2297 @cindex @code{no-reset} accidental style
2298 This is the same as @code{default} but with accidentals lasting
2299 ``forever'' and not only until the next measure
2300 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2301 #(set-accidental-style 'no-reset)
2306 This is sort of the opposite of @code{no-reset}: Accidentals
2307 are not remembered at all---and hence all accidentals are
2308 typeset relative to the key signature, regardless of what was
2311 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2312 #(set-accidental-style 'forget)
2313 \key d\major c4 c cis cis d d dis dis
2320 Program reference: @internalsref{Accidental_engraver},
2321 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2326 Simultaneous notes are considered to be entered in sequential
2327 mode. This means that in a chord the accidentals are typeset as if the
2328 notes in the chord happened once at a time - in the order in which
2329 they appear in the input file.
2331 This is a problem when accidentals in a chord depend on each other,
2332 which does not happen for the default accidental style. The problem
2333 can be solved by manually inserting @code{!} and @code{?} for the
2337 @node Setting automatic beam behavior
2338 @subsection Setting automatic beam behavior
2340 @cindex @code{autoBeamSettings}
2341 @cindex @code{(end * * * *)}
2342 @cindex @code{(begin * * * *)}
2343 @cindex automatic beams, tuning
2344 @cindex tuning automatic beaming
2346 @c [TODO: use \applyContext]
2348 In normal time signatures, automatic beams can start on any note but can
2349 only end in a few positions within the measure: beams can end on a beat,
2350 or at durations specified by the properties in
2351 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2352 consist of a list of rules for where beams can begin and end. The
2353 default @code{autoBeamSettings} rules are defined in
2354 @file{scm/@/auto@/-beam@/.scm}.
2356 In order to add a rule to the list, use
2358 #(override-auto-beam-setting '(be p q n m) a b [context])
2363 @item @code{be} is either "begin" or "end".
2365 @item @code{p/q} is the duration of the note for which you want
2366 to add a rule. A beam is considered to have the duration of its
2367 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2368 have this apply to any beam.
2370 @item @code{n/m} is the time signature to which
2371 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2372 to have this apply in any time signature.
2374 @item @code{a/b} is the position in the bar at which the beam should begin/end.
2376 @item @code{context} is optional, and it specifies the context at which
2377 the change should be made. The default is @code{'Voice}.
2378 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2379 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2383 For example, if automatic beams should always end on the first quarter
2387 #(override-auto-beam-setting '(end * * * *) 1 4)
2390 You can force the beam settings to only take effect on beams whose shortest
2391 note is a certain duration
2393 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2395 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2397 a32 a a a a16 a a a a a |
2398 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2399 a32 a a a a16 a a a a a |
2402 You can force the beam settings to only take effect in certain time
2405 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2407 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2415 You can also remove a previously set beam-ending rule by using
2418 #(revert-auto-beam-setting '(be p q n m) a b [context])
2422 be, p, q, n, m, a, b and context are the same as above. Note that the
2423 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2424 so you can revert rules that you did not explicitly create.
2426 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2428 a16 a a a a a a a a a a a a a a a
2429 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2430 a16 a a a a a a a a a a a a a a a
2433 The rule in a revert-auto-beam-setting statement must exactly match the
2434 original rule. That is, no wildcard expansion is taken into account.
2436 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2438 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2440 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2442 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2448 @c TODO: old material -- not covered by above stuff, I think.
2449 If automatic beams should end on every quarter in 5/4 time, specify
2452 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2453 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2454 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2455 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2459 The same syntax can be used to specify beam starting points. In this
2460 example, automatic beams can only end on a dotted quarter note
2462 #(override-auto-beam-setting '(end * * * *) 3 8)
2463 #(override-auto-beam-setting '(end * * * *) 1 2)
2464 #(override-auto-beam-setting '(end * * * *) 7 8)
2466 In 4/4 time signature, this means that automatic beams could end only on
2467 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2468 3/8, has passed within the measure).
2470 @cindex automatic beam generation
2472 @cindex @code{autoBeaming}
2475 If beams are used to indicate melismata in songs, then automatic
2476 beaming should be switched off with @code{\autoBeamOff}.
2481 @cindex @code{\autoBeamOff}
2482 @code{\autoBeamOff},
2483 @cindex @code{\autoBeamOn}
2489 If a score ends while an automatic beam has not been ended and is
2490 still accepting notes, this last beam will not be typeset at all. The
2491 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2492 >>}. If a polyphonic voice ends while an automatic beam is still
2493 accepting notes, it is not typeset.