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 Rests, multi measure
560 @cindex whole rests for a full measure
563 Multi-measure rests are entered using `@code{R}'. It is specifically
564 meant for full bar rests and for entering parts: the rest can expand
565 to fill a score with rests, or it can be printed as a single
566 multi-measure rest. This expansion is controlled by the property
567 @code{Score.skipBars}. If this is set to true, empty measures will not
568 be expanded, and the appropriate number is added automatically
570 @lilypond[quote,raggedright,fragment,verbatim]
571 \time 4/4 r1 | R1 | R1*2
572 \set Score.skipBars = ##t R1*17 R1*4
575 The @code{1} in @code{R1} is similar to the duration notation used for
576 notes. Hence, for time signatures other than 4/4, you must enter other
577 durations. This can be done with augmentation dots or fractions
579 @lilypond[quote,raggedright,fragment,verbatim]
580 \set Score.skipBars = ##t
589 An @code{R} spanning a single measure is printed as either a whole rest
590 or a breve, centered in the measure regardless of the time signature.
592 If there are only a few measures of rest, LilyPond prints ``church rests''
593 (a series of rectangles) in the staff. To replace that with a simple
594 rest, use @code{MultiMeasureRest.expand-limit}.
596 @lilypond[quote,raggedright,fragment,verbatim]
597 \set Score.skipBars = ##t
599 \override MultiMeasureRest #'expand-limit = 1
603 @cindex text on multi-measure rest
604 @cindex script on multi-measure rest
605 @cindex fermata on multi-measure rest
607 Texts can be added to multi-measure rests by using the
608 @var{note}-@code{markup} syntax @ref{Text markup}.
609 A variable (@code{\fermataMarkup}) is provided for
612 @lilypond[quote,raggedright,verbatim,fragment]
613 \set Score.skipBars = ##t
615 R2.*10^\markup { \italic "ad lib." }
619 If you want to have text on the left end of a multi-measure rest,
620 attach the text to a zero-length skip note, i.e.,
630 Program reference: @internalsref{MultiMeasureRestMusicGroup},
631 @internalsref{MultiMeasureRest}.
633 The layout object @internalsref{MultiMeasureRestNumber} is for the
634 default number, and @internalsref{MultiMeasureRestText} for user
640 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
641 over multi-measure rests. And the pitch of multi-measure rests (or
642 staff-centered rests) can not be influenced.
644 @cindex condensing rests
646 There is no way to automatically condense multiple rests into a single
647 multi-measure rest. Multi-measure rests do not take part in rest
650 Be careful when entering multi-measure rests followed by whole
651 notes. The following will enter two notes lasting four measures each
655 When @code{skipBars} is set, the result will look OK, but the bar
656 numbering will be off.
659 @node Metronome marks
660 @subsection Metronome marks
663 @cindex beats per minute
664 @cindex metronome marking
666 Metronome settings can be entered as follows
668 \tempo @var{duration} = @var{per-minute}
671 In the MIDI output, they are interpreted as a tempo change. In the
672 layout output, a metronome marking is printed
673 @cindex @code{\tempo}
674 @lilypond[quote,raggedright,verbatim,fragment]
681 To change the tempo in the MIDI output without printing anything, make
682 the metronome marking invisible
684 \once \override Score.MetronomeMark #'transparent = ##t
687 To print other metronome markings, use these markup commands
688 @lilypond[quote,raggedright,verbatim,relative,fragment]
691 \smaller \general-align #Y #DOWN \note #"16." #1
693 \smaller \general-align #Y #DOWN \note #"8" #1"
698 See @ref{Text markup} for more details.
703 Program reference: @internalsref{MetronomeMark}.
708 Collisions are not checked. If you have notes above the top line of
709 the staff (or notes with articulations, slurs, text, etc), then the
710 metronome marking may be printed on top of musical symbols. If this
711 occurs, increase the padding of the metronome mark to place it
712 further away from the staff.
715 \override Score.MetronomeMark #'padding = #2.5
719 @node Rehearsal marks
720 @subsection Rehearsal marks
722 @cindex Rehearsal marks
725 To print a rehearsal mark, use the @code{\mark} command
727 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
736 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
738 The mark is incremented automatically if you use @code{\mark
739 \default}, but you can also use an integer argument to set the mark
740 manually. The value to use is stored in the property
741 @code{rehearsalMark}.
743 The style is defined by the property @code{markFormatter}. It is a
744 function taking the current mark (an integer) and the current context
745 as argument. It should return a markup object. In the following
746 example, @code{markFormatter} is set to a canned procedure. After a
747 few measures, it is set to function that produces a boxed number.
749 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
750 \set Score.markFormatter = #format-mark-numbers
753 \set Score.markFormatter = #format-mark-box-numbers
759 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
760 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
761 @code{format-mark-letters} and @code{format-mark-box-letters}.
762 These can be used as inspiration for other formatting functions.
767 Program reference: @internalsref{RehearsalMark}.
769 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
770 definition of @code{format-mark-numbers} and
771 @code{format-mark-letters}. They can be used as inspiration for other
772 formatting functions.
774 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
776 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
780 @subsection Bar numbers
783 @cindex measure numbers
784 @cindex @code{currentBarNumber}
786 Bar numbers are printed by default at the start of the line. The
787 number itself is stored in the @code{currentBarNumber} property, which
788 is normally updated automatically for every measure.
790 Bar numbers can be typeset at regular intervals instead of at the
791 beginning of each line. This is illustrated in the following example,
792 whose source is available as
793 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
795 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
797 Bar numbers can be typeset manually by tweaking the
798 @code{markFormatter} property
800 @lilypond[verbatim,raggedright,quote]
802 \set Score.markFormatter
803 = #(lambda (mark context)
806 (number->string (ly:context-property context
807 'currentBarNumber)))))
809 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
813 Bar numbers can be manually changed by setting the
814 @code{Staff.currentBarNumber} property
816 @lilypond[verbatim,raggedright,quote]
818 \repeat unfold 4 {c4 c c c} \break
819 \set Score.currentBarNumber = #50
820 \repeat unfold 4 {c4 c c c}
827 Program reference: @internalsref{BarNumber}.
830 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
831 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
836 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
837 there is one at the top. To solve this, the
838 @code{padding} property of @internalsref{BarNumber} can be
839 used to position the number correctly.
842 @node Instrument names
843 @subsection Instrument names
845 In an orchestral score, instrument names are printed at the left side
848 This can be achieved by setting @internalsref{Staff}.@code{instrument}
849 and @internalsref{Staff}.@code{instr}. This will print a string before
850 the start of the staff. For the first staff, @code{instrument} is
851 used, for the following ones, @code{instr} is used.
853 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
854 \set Staff.instrument = "Ploink "
855 \set Staff.instr = "Plk "
861 You can also use markup texts to construct more complicated instrument
864 @lilypond[quote,fragment,verbatim,raggedright]
865 \set Staff.instrument = \markup {
866 \column { "Clarinetti"
867 \line { "in B" \smaller \flat } } }
871 For longer instrument names, it may be useful to increase the
872 @code{indent} setting in the @code{\layout} block.
876 Program reference: @internalsref{InstrumentName}.
880 When you put a name on a grand staff or piano staff, the width of the
881 brace is not taken into account. You must add extra spaces to the end of
882 the name to avoid a collision.
885 @node Instrument transpositions
886 @subsection Instrument transpositions
888 @cindex transposition, MIDI
889 @cindex transposition, instrument
891 The key of a transposing instrument can also be specified. This
892 applies to many wind instruments, for example, clarinets (B-flat, A, and
893 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
895 The transposition is entered after the keyword @code{\transposition}
898 \transposition bes %% B-flat clarinet
902 This command sets the property @code{instrumentTransposition}. The value of
903 this property is used for MIDI output and quotations. It does not
904 affect how notes are printed in the current staff. To change the printed
905 output, see @ref{Transpose}.
907 The pitch to use for @code{\transposition} should correspond to the
908 transposition of the notes. For example, when entering a score in
909 concert pitch, typically all voices are entered in C, so
910 they should be entered as
923 The command @code{\transposition} should be used when the music is
924 entered from a (transposed) orchestral part. For example, in
925 classical horn parts, the tuning of the instrument is often changed
926 during a piece. When copying the notes from the part, use
927 @code{\transposition}, e.g.,
939 @node Ottava brackets
940 @subsection Ottava brackets
942 `Ottava' brackets introduce an extra transposition of an octave for
943 the staff. They are created by invoking the function
944 @code{set-octavation}
950 @lilypond[quote,raggedright,verbatim,fragment]
960 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
961 (for 15ma) as arguments. Internally the function sets the properties
962 @code{ottavation} (e.g., to @code{"8va"}) and
963 @code{centralCPosition}. For overriding the text of the bracket, set
964 @code{ottavation} after invoking @code{set-octavation}, i.e.,
966 @lilypond[quote,raggedright,verbatim]
969 \set Staff.ottavation = #"8"
977 Program reference: @internalsref{OttavaBracket}.
979 Examples: @inputfileref{input/@/regression,ottava@/.ly},
980 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
985 @code{set-octavation} will get confused when clef changes happen
986 during an octavation bracket.
989 @node Different editions from one source
990 @subsection Different editions from one source
995 The @code{\tag} command marks music expressions with a name. These
996 tagged expressions can be filtered out later. With this mechanism it
997 is possible to make different versions of the same music source.
999 In the following example, we see two versions of a piece of music, one
1000 for the full score, and one with cue notes for the instrumental part
1016 The same can be applied to articulations, texts, etc.: they are
1019 -\tag #@var{your-tag}
1021 to an articulation, for example,
1026 This defines a note with a conditional fingering indication.
1029 @cindex removeWithTag
1030 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1031 commands, tagged expressions can be filtered. For example,
1035 \keepWithTag #'score @var{the music}
1036 \keepWithTag #'part @var{the music}
1041 @lilypondfile[raggedright,quote]{tag-filter.ly}
1043 The argument of the @code{\tag} command should be a symbol, or a list
1044 of symbols, for example,
1046 \tag #'(original-part transposed-part) @dots{}
1052 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1057 Multiple rests are not merged if you create the score with both tagged
1062 @node Orchestral music
1063 @section Orchestral music
1065 Orchestral music involves some special notation, both in the full
1066 score and the individual parts. This section explains how to tackle
1067 some common problems in orchestral music.
1070 * Automatic part combining::
1072 * Quoting other voices::
1073 * Formatting cue notes::
1074 * Aligning to cadenzas::
1078 @node Automatic part combining
1079 @subsection Automatic part combining
1080 @cindex automatic part combining
1081 @cindex part combiner
1083 Automatic part combining is used to merge two parts of music onto a
1084 staff. It is aimed at typesetting orchestral scores. When the two
1085 parts are identical for a period of time, only one is shown. In
1086 places where the two parts differ, they are typeset as separate
1087 voices, and stem directions are set automatically. Also, solo and
1088 @emph{a due} parts are identified and can be marked.
1090 The syntax for part combining is
1093 \partcombine @var{musicexpr1} @var{musicexpr2}
1097 The following example demonstrates the basic functionality of the part
1098 combiner: putting parts on one staff, and setting stem directions and
1101 @lilypond[quote,verbatim,raggedright,fragment]
1102 \new Staff \partcombine
1103 \relative g' { g g a( b) c c r r }
1104 \relative g' { g g r4 r e e g g }
1107 The first @code{g} appears only once, although it was
1108 specified twice (once in each part). Stem, slur, and tie directions are
1109 set automatically, depending whether there is a solo or unisono. The
1110 first part (with context called @code{one}) always gets up stems, and
1111 `Solo', while the second (called @code{two}) always gets down stems and
1114 If you just want the merging parts, and not the textual markings, you
1115 may set the property @code{printPartCombineTexts} to false
1117 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1119 \set Staff.printPartCombineTexts = ##f
1121 \relative g' { g a( b) r }
1122 \relative g' { g r4 r f }
1126 To change the text that is printed for solos or merging, you may
1127 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1130 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1132 \set Score.soloText = #"ichi"
1133 \set Score.soloIIText = #"ni"
1134 \set Score.aDueText = #"tachi"
1136 \relative g' { g4 g a( b) r }
1137 \relative g' { g4 g r r f }
1141 Both arguments to @code{\partcombine} will be interpreted as
1142 @internalsref{Voice} contexts. If using relative octaves,
1143 @code{\relative} should be specified for both music expressions, i.e.,
1147 \relative @dots{} @var{musicexpr1}
1148 \relative @dots{} @var{musicexpr2}
1152 A @code{\relative} section that is outside of @code{\partcombine} has
1153 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1157 Program reference: @internalsref{PartCombineMusic}.
1161 When @code{printPartCombineTexts} is set, when the two voices play the
1162 same notes on and off, the part combiner may typeset @code{a2} more
1163 than once in a measure.
1165 @code{\partcombine} cannot be inside @code{\times}.
1167 @code{\partcombine} cannot be inside @code{\relative}.
1169 Internally, the @code{\partcombine} interprets both arguments as
1170 @code{Voice}s named @code{one} and @code{two}, and then decides when
1171 the parts can be combined. Consequently, if the arguments switch to
1172 differently named @internalsref{Voice} contexts, the events in those
1177 @subsection Hiding staves
1179 @cindex Frenched scores
1180 @cindex Hiding staves
1182 In orchestral scores, staff lines that only have rests are usually
1183 removed; this saves some space. This style is called `French Score'.
1184 For @internalsref{Lyrics},
1185 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1186 switched on by default. When the lines of these contexts turn out
1187 empty after the line-breaking process, they are removed.
1189 For normal staves, a specialized @internalsref{Staff} context is
1190 available, which does the same: staves containing nothing (or only
1191 multi-measure rests) are removed. The context definition is stored in
1192 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1193 in this example disappears in the second line
1195 @lilypond[quote,raggedright,verbatim]
1197 \context { \RemoveEmptyStaffContext }
1202 \new Staff { e4 f g a \break c1 }
1203 \new Staff { c4 d e f \break R1 }
1208 The first system shows all staves in full. If empty staves should be
1209 removed from the first system too, set @code{remove-first} to true in
1210 @internalsref{RemoveEmptyVerticalGroup}.
1213 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1216 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1217 or @code{\RemoveEmptyRhythmicStaffContext}.
1219 Another application is making ossia sections, i.e., alternative
1220 melodies on a separate piece of staff, with help of a Frenched
1221 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1224 @node Quoting other voices
1225 @subsection Quoting other voices
1227 With quotations, fragments of other parts can be inserted into a part
1228 directly. Before a part can be quoted, it must be marked especially as
1229 quotable. This is done with the @code{\addquote} command.
1232 \addquote @var{name} @var{music}
1237 Here, @var{name} is an identifying string. The @var{music} is any kind
1238 of music. Here is an example of @code{\addquote}
1241 \addquote clarinet \relative c' @{
1246 This command must be entered at toplevel, i.e., outside any music
1249 After calling @code{\addquote}, the quotation may then be done with
1250 @code{\quoteDuring} or @code{\cueDuring},
1253 \quoteDuring #@var{name} @var{music}
1256 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1260 \quoteDuring #"clarinet" @{ s2. @}
1263 This would cite three quarter notes (the duration of @code{s2.}) of
1264 the previously added @code{clarinet} voice.
1267 More precisely, it takes the current time-step of the part being
1268 printed, and extracts the notes at the corresponding point of the
1269 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1270 should be the entire part of the voice to be quoted, including any
1271 rests at the beginning.
1273 Quotations take into account the transposition of both source and target
1274 instruments, if they are specified using the @code{\transposition} command.
1276 @lilypond[quote,raggedright,verbatim]
1277 \addquote clarinet \relative c' {
1283 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1287 The type of events that are present in cue notes can be trimmed with
1288 the @code{quotedEventTypes} property. The default value is
1289 @code{(note-event rest-event)}, which means that only notes and
1290 rests of the cued voice end up in the @code{\quoteDuring}.
1294 \set Staff.quotedEventTypes =
1295 #'(note-event articulation-event dynamic-event)
1299 will quote notes (but no rests), together with scripts and dynamics.
1303 Only the contents of the first @internalsref{Voice} occurring in an
1304 @code{\addquote} command will be considered for quotation, so
1305 @var{music} can not contain @code{\new} and @code{\context Voice}
1306 statements that would switch to a different Voice.
1308 Quoting grace notes is broken and can even cause LilyPond to crash.
1312 In this manual: @ref{Instrument transpositions}.
1314 Examples: @inputfileref{input/@/regression,quote@/.ly}
1315 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1317 Program reference: @internalsref{QuoteMusic}.
1320 @node Formatting cue notes
1321 @subsection Formatting cue notes
1323 The previous section deals with inserting notes from another voice.
1324 There is a more advanced music function called @code{\cueDuring},
1325 which makes formatting cue notes easier.
1330 \cueDuring #@var{name} #@var{updown} @var{music}
1333 This will insert notes from the part @var{name} into a
1334 @internalsref{Voice} called @code{cue}. This happens simultaneously
1335 with @var{music}, which usually is a rest. When the cue notes start,
1336 the staff in effect becomes polyphonic for a moment. The argument
1337 @var{updown} determines whether the cue notes should be notated as a
1338 first or second voice.
1341 @lilypond[verbatim,raggedright]
1344 \override Stem #'length = #5.5
1345 \override Beam #'thickness = #0.384
1346 \override Beam #'space-function =
1347 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1350 \addquote clarinet \relative {
1355 \new Staff \relative <<
1357 % setup a context for cue notes.
1358 \context Voice = cue { \smaller \skip 1*21 }
1360 \set Score.skipBars = ##t
1364 \cueDuring #"clarinet" #1 {
1373 Here are a couple of hints for successful cue notes
1377 Cue notes have smaller font sizes.
1379 the cued part is marked with the instrument playing the cue.
1381 when the original part takes over again, this should be marked with
1382 the name of the original instrument.
1384 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1386 @c Yes, this is good practice. Otherwise, the start of the original
1387 @c part can only be seen from the font size. This is not good enough
1388 @c for sight-reading. It is possilbe to use other
1389 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1394 Any other changes introduced by the cued part should also be
1395 undone. For example, if the cued instrument plays in a different clef,
1396 the original clef should be stated once again.
1401 @node Aligning to cadenzas
1402 @subsection Aligning to cadenzas
1404 In an orchestral context, cadenzas present a special problem:
1405 when constructing a score that includes a cadenza, all other
1406 instruments should skip just as many notes as the length of the
1407 cadenza, otherwise they will start too soon or too late.
1409 A solution to this problem are the functions @code{mmrest-of-length}
1410 and @code{skip-of-length}. These Scheme functions take a piece of music
1411 as argument, and generate a @code{\skip} or multi-rest, exactly as
1412 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1413 in the following example.
1415 @lilypond[verbatim,raggedright,quote]
1416 cadenza = \relative c' {
1417 c4 d8 << { e f g } \\ { d4. } >>
1422 \new Staff { \cadenza c'4 }
1424 #(ly:export (mmrest-of-length cadenza))
1433 @node Contemporary notation
1434 @section Contemporary notation
1436 In the 20th century, composers have greatly expanded the musical
1437 vocabulary. With this expansion, many innovations in musical notation
1438 have been tried. The book ``Music Notation in the 20th century'' by
1439 Kurt Stone gives a comprehensive overview (see @ref{Literature
1440 list}). In general, the use of new, innovative notation makes a piece
1441 harder to understand and perform and its use should therefore be
1442 avoided. For this reason, support for contemporary notation in
1443 LilyPond is limited.
1447 * Polymetric notation::
1448 * Time administration::
1450 * Special fermatas::
1451 * Special noteheads::
1458 @node Polymetric notation
1459 @subsection Polymetric notation
1461 Double time signatures are not supported explicitly, but they can be
1462 faked. In the next example, the markup for the time signature is
1463 created with a markup text. This markup text is inserted in the
1464 @internalsref{TimeSignature} grob.
1466 @lilypond[verbatim,raggedright]
1471 \musicglyph #"scripts.stopped"
1472 \bracket \column { "5" "8" }
1477 \override Staff.TimeSignature #'print-function = #Text_interface::print
1478 \override Staff.TimeSignature #'text = #tsMarkup
1480 c'2 \bar ":" c'4 c'4.
1484 Each staff can also have its own time signature. This is done by
1485 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1491 \remove "Timing_translator"
1492 \remove "Default_bar_line_engraver"
1496 \consists "Timing_translator"
1497 \consists "Default_bar_line_engraver"
1504 Now, each staff has its own time signature.
1517 c4. c8 c c c4. c8 c c
1522 @lilypond[quote,raggedright]
1526 \remove "Timing_translator"
1527 \remove "Default_bar_line_engraver"
1530 \consists "Timing_translator"
1531 \consists "Default_bar_line_engraver"
1546 c4. c8 c c c4. c8 c c
1552 A different form of polymetric notation is where note lengths have
1553 different values across staves.
1555 This notation can be created by setting a common time signature for
1556 each staff but replacing it manually using
1557 @code{timeSignatureFraction} to the desired fraction. Then the printed
1558 durations in each staff are scaled to the common time signature.
1559 The latter is done with @code{\compressMusic}, which is similar to
1560 @code{\times}, but does not create a tuplet bracket.
1563 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1564 used in parallel. In the second staff, shown durations are multiplied by
1565 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1566 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1568 @lilypond[quote,raggedright,verbatim,fragment]
1576 \set Staff.timeSignatureFraction = #'(9 . 8)
1577 \compressMusic #'(2 . 3)
1578 \repeat unfold 6 { c8[ c c] }
1582 \set Staff.timeSignatureFraction = #'(10 . 8)
1583 \compressMusic #'(3 . 5) {
1584 \repeat unfold 2 { c8[ c c] }
1585 \repeat unfold 2 { c8[ c] }
1586 | c4. c4. \times 2/3 { c8 c c } c4
1597 When using different time signatures in parallel, the spacing is
1598 aligned vertically, but bar lines distort the regular spacing.
1601 @node Time administration
1602 @subsection Time administration
1604 @cindex Time administration
1606 Time is administered by the @internalsref{Time_signature_engraver},
1607 which usually lives in the @internalsref{Score} context. The
1608 bookkeeping deals with the following variables
1611 @item currentBarNumber
1615 The length of the measures in the current time signature. For a 4/4
1616 time this is@tie{}1, and for 6/8 it is 3/4.
1618 @item measurePosition
1619 The point within the measure where we currently are. This quantity
1620 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1621 happens, @code{currentBarNumber} is incremented.
1624 If set to true, the above variables are updated for every time
1625 step. When set to false, the engraver stays in the current measure
1629 Timing can be changed by setting any of these variables explicitly.
1630 In the next example, the 4/4 time signature is printed, but
1631 @code{measureLength} is set to 5/4. After a while, the measure is
1632 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1633 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1634 3/8 arises because 5/4 normally has 10/8, but we have manually
1635 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1637 @lilypond[quote,raggedright,verbatim,relative,fragment]
1638 \set Score.measureLength = #(ly:make-moment 5 4)
1642 \set Score.measurePosition = #(ly:make-moment 7 8)
1650 @subsection Clusters
1654 A cluster indicates a continuous range of pitches to be played. They
1655 can be denoted as the envelope of a set of notes. They are entered by
1656 applying the function @code{makeClusters} to a sequence of
1658 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1659 \makeClusters { <c e > <b f'> }
1662 The following example (from
1663 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1666 @lilypondfile[raggedright,quote]{cluster.ly}
1668 Ordinary notes and clusters can be put together in the same staff,
1669 even simultaneously. In such a case no attempt is made to
1670 automatically avoid collisions between ordinary notes and clusters.
1674 Program reference: @internalsref{ClusterSpanner},
1675 @internalsref{ClusterSpannerBeacon},
1676 @internalsref{Cluster_spanner_engraver}.
1678 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1682 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1683 accurately. Use @code{<g a>8 <e a>8} instead.
1687 @node Special fermatas
1688 @subsection Special fermatas
1690 @cindex fermatas, special
1692 In contemporary music notation, special fermata symbols denote breaks
1693 of differing lengths. The following fermatas are supported
1695 @lilypond[quote,raggedright]
1718 \context Lyrics \lyricmode {
1719 \override LyricText #'font-family = #'typewriter
1720 "shortfermata" "fermata" "longfermata" "verylongfermata"
1725 See @ref{Articulations} for general instructions how to apply scripts
1726 such as fermatas to notes.
1729 @node Special noteheads
1730 @subsection Special noteheads
1732 Different noteheads are used by various instruments for various
1733 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1734 notes on guitar; diamonds are used for harmonics on string instruments,
1735 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1736 other notehead styles are produced by tweaking the property
1738 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1740 \override NoteHead #'style = #'cross
1742 \revert NoteHead #'style
1743 e d <c f\harmonic> <d a'\harmonic>
1747 To see all notehead styles, please see
1748 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1753 Program reference: @internalsref{NoteHead}.
1755 @node Pitched trills
1756 @subsection Pitched trills
1758 Trills that should be executed on an explicitly specified pitch can be
1759 typeset with the command @code{pitchedTrill},
1761 @lilypond[raggedright,verbatim,fragment]
1762 \pitchedTrill c'4\startTrillSpan fis
1766 The first argument is the main note. The absolute pitch of the second
1767 is printed as a stemless note head in parentheses.
1771 Relative octave mode ignores the octave of the second argument of
1772 @code{\pitchedTrill}.
1774 @node Feathered beams
1775 @subsection Feathered beams
1777 Feathered beams are not supported natively, but they can be faked by
1778 forcing two beams to overlap. Here is an example,
1780 @c don't change relative setting witout changing positions!
1781 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1786 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1791 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1799 @subsection Improvisation
1801 Improvisation is sometimes denoted with slashed note heads. Such note
1802 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1803 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1807 \set squashedPosition = #0
1808 \override NoteHead #'style = #'slash
1812 switches on the slashes.
1814 There are shortcuts @code{\improvisationOn} (and an accompanying
1815 @code{\improvisationOff}) for this command sequence. They are used in
1816 the following example
1818 @lilypond[verbatim,raggedright,quote]
1820 \consists Pitch_squash_engraver
1822 e8 e g a a16(bes)(a8) g \improvisationOn
1825 ~fis2 \improvisationOff a16(bes) a8 g e
1830 @node Educational use
1831 @section Educational use
1833 With the amount of control that LilyPond offers, one can make great
1834 teaching tools in addition to great musical scores.
1838 * Blank music sheet::
1840 * Shape note heads ::
1841 * Easy Notation note heads::
1842 * Analysis brackets::
1843 * Coloring objects::
1847 @subsection Balloon help
1849 Elements of notation can be marked and named with the help of a square
1850 balloon. The primary purpose of this feature is to explain notation.
1852 The following example demonstrates its use.
1854 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1857 #(add-balloon-text 'NoteHead "heads, or tails?"
1864 The function @code{add-balloon-text} takes the name of a grob, the
1865 label to print, and the position where to put the label relative to
1866 the object. In the above example, the text ``heads or tails?'' ends
1867 3 spaces below and 1 space to the right of the marked head.
1870 @cindex notation, explaining
1874 Program reference: @internalsref{text-balloon-interface}.
1876 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1881 @node Blank music sheet
1882 @subsection Blank music sheet
1884 A blank music sheet can be produced also by using invisible notes, and
1885 removing @code{Bar_number_engraver}.
1888 @lilypond[quote,verbatim]
1890 \repeat unfold 2 % Change this for more lines.
1895 \override TimeSignature #'transparent = ##t
1896 defaultBarType = #""
1897 \remove Bar_number_engraver
1899 \context Staff \emptymusic
1900 \context TabStaff \emptymusic
1906 @subsection Hidden notes
1908 @cindex Hidden notes
1909 @cindex Invisible notes
1910 @cindex Transparent notes
1912 @cindex @code{\hideNotes}
1913 @cindex @code{\unHideNotes}
1914 Hidden (or invisible or transparent) notes can be useful in preparing theory
1915 or composition exercises.
1917 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1925 Hidden notes are also great for performing weird tricks. For example,
1926 slurs cannot be attached to rests or spacer rests, but you may wish
1927 to include that in your score -- string instruments use this notation
1928 when doing pizzicato to indicate that the note should ring for as long
1931 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1934 c4^"pizz"( \hideNotes c)
1935 \unHideNotes c( \hideNotes c)
1942 @node Shape note heads
1943 @subsection Shape note heads
1945 In shape note head notation, the shape of the note head corresponds
1946 to the harmonic function of a note in the scale. This notation was
1947 popular in the 19th century American song books.
1949 Shape note heads can be produced by setting @code{\aikenHeads} or
1950 @code{\sacredHarpHeads}, depending on the style desired.
1952 @lilypond[verbatim,relative=1,fragment]
1959 Shapes are determined on the step in the scale, where the base of the
1960 scale is determined by the @code{\key} command
1963 @findex shapeNoteStyles
1965 @findex \sacredHarpHeads
1967 Shape note heads are implemented through the @code{shapeNoteStyles}
1968 property. Its value is a vector of symbols. The k-th element indicates
1969 the style to use for the k-th step of the scale. Arbitrary
1970 combinations are possible, eg.,
1973 @lilypond[verbatim,relative=1,fragment]
1974 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
1979 @node Easy Notation note heads
1980 @subsection Easy Notation note heads
1982 @cindex easy notation
1985 The `easy play' note head includes a note name inside the head. It is
1986 used in music for beginners
1988 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
1993 The command @code{\setEasyHeads} overrides settings for the
1994 @internalsref{NoteHead} object. To make the letters readable, it has
1995 to be printed in a large font size. To print with a larger font, see
1996 @ref{Setting global staff size}.
2000 @cindex @code{\setEasyHeads}
2001 @code{\setEasyHeads}
2004 @node Analysis brackets
2005 @subsection Analysis brackets
2007 @cindex phrasing brackets
2008 @cindex musicological analysis
2009 @cindex note grouping bracket
2011 Brackets are used in musical analysis to indicate structure in musical
2012 pieces. LilyPond supports a simple form of nested horizontal
2013 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2014 to @internalsref{Staff} context. A bracket is started with
2015 @code{\startGroup} and closed with @code{\stopGroup}
2017 @lilypond[quote,raggedright,verbatim]
2020 c4\startGroup\startGroup
2023 c4\stopGroup\stopGroup
2027 \Staff \consists "Horizontal_bracket_engraver"
2033 Program reference: @internalsref{HorizontalBracket}.
2035 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2041 I don't think we need this info.
2046 Whenever a note is found, a @internalsref{Stem} object is created
2047 automatically. For whole notes and rests, they are also created but
2052 @cindex @code{\stemUp}
2054 @cindex @code{\stemDown}
2056 @cindex @code{\stemNeutral}
2057 @code{\stemNeutral}.
2062 @node Coloring objects
2063 @subsection Coloring objects
2065 Individual objects may be assigned colors. You may use the
2066 color names listed in the @ref{List of colors}.
2068 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2069 \override NoteHead #'color = #red
2071 \override NoteHead #'color = #(x11-color 'LimeGreen)
2073 \override Stem #'color = #blue
2077 The full range of colors defined for X11 can be accessed by using the
2078 scheme function x11-color. The function takes one argument that can be a
2082 \override Beam #'color = #(x11-color 'MediumTurquoise)
2088 \override Beam #'color = #(x11-color "MediumTurquoise")
2091 The first form is quicker to write and is more efficient. However, using
2092 the second form it is possible to access X11 colors by the multi-word
2096 \override Beam #'color = #(x11-color "medium turquoise")
2099 If x11-color cannot make sense of the parameter then the color returned
2100 defaults to black. It should be obvious from the final score that
2103 This example, illustrates the use of x11-color. Notice that the stem
2104 color remains black after being set to (x11-color 'Boggle), which is
2105 deliberate nonsense.
2107 @lilypond[quote,raggedright,verbatim]
2109 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2110 \set Staff.instrument = \markup {
2111 \with-color #(x11-color 'navy) "Clarinet"
2115 \override Beam #'color = #(x11-color "medium turquoise")
2117 \override NoteHead #'color = #(x11-color "LimeGreen")
2119 \override Stem #'color = #(x11-color 'Boggle)
2127 Appendix: @ref{List of colors}.
2131 Not all x11 colors are distinguishable in a web browser. For web use
2132 normal colors are recommended.
2134 An x11 color is not necessarily exactly the same shade as a similarly
2138 @node Automatic notation
2139 @section Automatic notation
2141 This section describes how to change the way that accidentals and
2142 beams are automatically displayed.
2144 FIXME: this might get moved into Changing Defaults. Please send
2145 opinions to lilypond-devel. Thanks! :)
2148 * Automatic accidentals::
2149 * Setting automatic beam behavior::
2152 @node Automatic accidentals
2153 @subsection Automatic accidentals
2154 @cindex Automatic accidentals
2156 Common rules for typesetting accidentals have been placed in a
2157 function. This function is called as follows
2159 @cindex @code{set-accidental-style}
2161 #(set-accidental-style 'STYLE #('CONTEXT#))
2164 The function can take two arguments: the name of the accidental style,
2165 and an optional argument that denotes the context that should be
2166 changed. If no context name is supplied, @code{Staff} is the default,
2167 but you may wish to apply the accidental style to a single @code{Voice}
2170 The following accidental styles are supported
2173 This is the default typesetting behavior. It corresponds
2174 to 18th century common practice: Accidentals are
2175 remembered to the end of the measure in which they occur and
2176 only on their own octave.
2179 The normal behavior is to remember the accidentals on
2180 Staff-level. This variable, however, typesets accidentals
2181 individually for each voice. Apart from that, the rule is similar to
2184 As a result, accidentals from one voice do not get canceled in other
2185 voices, which is often an unwanted result
2187 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2189 #(set-accidental-style 'voice)
2196 The @code{voice} option should be used if the voices
2197 are to be read solely by individual musicians. If the staff is to be
2198 used by one musician (e.g., a conductor) then
2199 @code{modern} or @code{modern-cautionary}
2200 should be used instead.
2203 @cindex @code{modern} style accidentals
2204 This rule corresponds to the common practice in the 20th century. This rule
2205 prints the same accidentals as @code{default}, but temporary
2206 accidentals also are canceled in other octaves. Furthermore,
2207 in the same octave, they also get canceled in the following
2210 @lilypond[quote,raggedright,fragment,verbatim]
2211 #(set-accidental-style 'modern)
2212 cis' c'' cis'2 | c'' c'
2215 @item @code{modern-cautionary}
2216 @cindex @code{modern-cautionary}
2217 This rule is similar to @code{modern}, but the ``extra'' accidentals
2218 (the ones not typeset by @code{default}) are typeset as cautionary
2219 accidentals. They are printed in reduced size or with parentheses
2220 @lilypond[quote,raggedright,fragment,verbatim]
2221 #(set-accidental-style 'modern-cautionary)
2222 cis' c'' cis'2 | c'' c'
2225 @cindex @code{modern-voice}
2227 This rule is used for multivoice accidentals to be read both by musicians
2228 playing one voice and musicians playing all voices. Accidentals are
2229 typeset for each voice, but they @emph{are} canceled across voices in
2230 the same @internalsref{Staff}.
2232 @cindex @code{modern-voice-cautionary}
2233 @item modern-voice-cautionary
2234 This rule is the same as @code{modern-voice}, but with the extra
2235 accidentals (the ones not typeset by @code{voice}) typeset
2236 as cautionaries. Even though all accidentals typeset by
2237 @code{default} @emph{are} typeset by this variable,
2238 some of them are typeset as cautionaries.
2241 @cindex @code{piano} accidentals
2242 This rule reflects 20th century practice for piano notation. Very similar to
2243 @code{modern} but accidentals also get canceled
2244 across the staves in the same @internalsref{GrandStaff} or
2245 @internalsref{PianoStaff}.
2247 @item piano-cautionary
2248 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2249 Same as @code{#(set-accidental-style 'piano)} but with the extra
2250 accidentals typeset as cautionaries.
2253 @cindex @code{no-reset} accidental style
2254 This is the same as @code{default} but with accidentals lasting
2255 ``forever'' and not only until the next measure
2256 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2257 #(set-accidental-style 'no-reset)
2262 This is sort of the opposite of @code{no-reset}: Accidentals
2263 are not remembered at all---and hence all accidentals are
2264 typeset relative to the key signature, regardless of what was
2267 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2268 #(set-accidental-style 'forget)
2269 \key d\major c4 c cis cis d d dis dis
2276 Program reference: @internalsref{Accidental_engraver},
2277 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2282 Simultaneous notes are considered to be entered in sequential
2283 mode. This means that in a chord the accidentals are typeset as if the
2284 notes in the chord happened once at a time - in the order in which
2285 they appear in the input file.
2287 This is a problem when accidentals in a chord depend on each other,
2288 which does not happen for the default accidental style. The problem
2289 can be solved by manually inserting @code{!} and @code{?} for the
2293 @node Setting automatic beam behavior
2294 @subsection Setting automatic beam behavior
2296 @cindex @code{autoBeamSettings}
2297 @cindex @code{(end * * * *)}
2298 @cindex @code{(begin * * * *)}
2299 @cindex automatic beams, tuning
2300 @cindex tuning automatic beaming
2302 @c [TODO: use \applycontext]
2304 In normal time signatures, automatic beams can start on any note but can
2305 only end in a few positions within the measure: beams can end on a beat,
2306 or at durations specified by the properties in
2307 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2308 consist of a list of rules for where beams can begin and end. The
2309 default @code{autoBeamSettings} rules are defined in
2310 @file{scm/@/auto@/-beam@/.scm}.
2312 In order to add a rule to the list, use
2314 #(override-auto-beam-setting '(be p q n m) a b [context])
2319 @item @code{be} is either "begin" or "end".
2321 @item @code{b/q} is the duration of the note for which you want
2322 to add a rule. A beam is considered to have the duration of its
2323 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2324 have this apply to any beam.
2326 @item @code{n/m} is the position in the time signature to which
2327 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2328 to have this apply in any time signature.
2330 @item @code{a/b} is the position in the bar at which the beam should end.
2332 @item @code{context} is optional, and it specifies the context at which
2333 the change should be made. The default is @code{'Voice}.
2334 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2335 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2339 For example, if automatic beams should always end on the first quarter
2343 #(override-auto-beam-setting '(end * * * *) 1 4)
2346 You can force the beam settings to only take effect on beams whose shortest
2347 note is a certain duration
2349 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2351 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2353 a32 a a a a16 a a a a a |
2354 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2355 a32 a a a a16 a a a a a |
2358 You can force the beam settings to only take effect in certain time
2361 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2363 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2371 You can also remove a previously set beam-ending rule by using
2374 #(revert-auto-beam-setting '(be p q n m) a b [context])
2378 be, p, q, n, m, a, b and context are the same as above. Note that the
2379 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2380 so you can revert rules that you did not explicitly create.
2382 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2384 a16 a a a a a a a a a a a a a a a
2385 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2386 a16 a a a a a a a a a a a a a a a
2389 The rule in a revert-auto-beam-setting statement must exactly match the
2390 original rule. That is, no wildcard expansion is taken into account.
2392 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2394 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2396 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2398 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2404 @c TODO: old material -- not covered by above stuff, I think.
2405 If automatic beams should end on every quarter in 5/4 time, specify
2408 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2409 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2410 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2411 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2415 The same syntax can be used to specify beam starting points. In this
2416 example, automatic beams can only end on a dotted quarter note
2418 #(override-auto-beam-setting '(end * * * *) 3 8)
2419 #(override-auto-beam-setting '(end * * * *) 1 2)
2420 #(override-auto-beam-setting '(end * * * *) 7 8)
2422 In 4/4 time signature, this means that automatic beams could end only on
2423 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2424 3/8, has passed within the measure).
2426 @cindex automatic beam generation
2428 @cindex @code{autoBeaming}
2431 If beams are used to indicate melismata in songs, then automatic
2432 beaming should be switched off with @code{\autoBeamOff}.
2437 @cindex @code{\autoBeamOff}
2438 @code{\autoBeamOff},
2439 @cindex @code{\autoBeamOn}
2445 If a score ends while an automatic beam has not been ended and is
2446 still accepting notes, this last beam will not be typeset at all. The
2447 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2448 >>}. If a polyphonic voice ends while an automatic beam is still
2449 accepting notes, it is not typeset.