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
107 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
108 c2\startTextSpan b c\stopTextSpan a
113 @cindex textSpannerUp
114 @code{textSpannerUp},
115 @cindex textSpannerDown
116 @code{textSpannerDown},
117 @cindex textSpannerNeutral
118 @code{textSpannerNeutral}.
123 Program reference: @internalsref{TextSpanner}.
125 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
129 @subsection Text marks
131 @cindex coda on bar line
132 @cindex segno on bar line
133 @cindex fermata on bar line
134 @cindex bar lines, symbols on
137 The @code{\mark} command is primarily used for
138 @ref{Rehearsal marks},
139 but it can also be used to put signs like coda,
140 segno, and fermata on a bar line. Use @code{\markup} to
141 access the appropriate symbol
143 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
144 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
149 @code{\mark} is only typeset above the top stave of the score. If
150 you specify the @code{\mark} command at a bar line, the resulting
151 mark is placed above the bar line. If you specify it in the middle
152 of a bar, the resulting mark is positioned between notes. If it is
153 specified before the beginning of a score line, it is placed
154 before the first note of the line. Finally, if the mark occurs at
155 a line break, the mark will be printed at the
156 beginning of the next line.
157 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
158 @c delete this sentence. -gp
159 If there is no next line, then the mark will not be printed at all.
164 To print the mark at the end of the current line, use
167 \override Score.RehearsalMark
168 #'break-visibility = #begin-of-line-invisible
171 @code{\mark} is often useful for adding text to the end of bar. In
172 such cases, changing the @code{#'self-alignment} is very useful
174 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
175 \override Score.RehearsalMark
176 #'break-visibility = #begin-of-line-invisible
178 \once \override Score.RehearsalMark #'self-alignment-X = #right
179 \mark "D.S. al Fine "
185 Program reference: @internalsref{RehearsalMark}.
189 @subsection Text markup
196 Use @code{\markup} to typeset text. Commands are entered with the
199 @lilypond[quote,verbatim,fragment,relative=1]
201 c1_\markup { hi there }
202 c1^\markup { hi \bold there, is \italic anyone home? }
206 See @ref{Overview of text markup commands} for a list of all
209 @code{\markup} is primarily used for @internalsref{TextScript}s,
210 but it can also be used anywhere text is called in lilypond
212 @lilypond[quote,verbatim]
213 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
216 \override Score.RehearsalMark
217 #'break-visibility = #begin-of-line-invisible
218 \override Score.RehearsalMark #'self-alignment-X = #right
220 \set Staff.instrument = \markup{ \column{ Alto solo } }
221 c2^\markup{ don't be \flat }
222 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
224 a2\mark \markup{ \large \bold Fine }
228 \addlyrics { bar, foo \markup{ \italic bar! } }
232 @cindex font switching
234 The markup in the example demonstrates font switching commands. The
235 command @code{\bold} and @code{\italic} apply to the first following
236 word only; to apply a command to more than one word, enclose the
240 \markup @{ \bold @{ hi there @} @}
244 For clarity, you can also do this for single arguments, e.g.,
247 \markup @{ is \italic @{ anyone @} home @}
250 In markup mode you can compose expressions, similar to mathematical
251 expressions, XML documents, and music expressions. You can stack
252 expressions grouped vertically with the command @code{\column}.
253 Similarly, @code{\center-align} aligns texts by their center lines:
255 @lilypond[quote,verbatim,fragment,relative=1]
256 c1^\markup { \column { a bbbb \line { c d } } }
257 c1^\markup { \center-align { a bbbb c } }
258 c1^\markup { \line { a b c } }
261 Lists with no previous command are not kept distinct. The expression
264 \center-align @{ @{ a b @} @{ c d @} @}
272 \center-align @{ a b c d @}
277 To keep lists of words distinct, please use quotes @code{"} or
278 the @code{\line} command
280 @lilypond[quote,verbatim,fragment,relative=1]
282 c4^\markup{ \center-align { on three lines } }
283 c4^\markup{ \center-align { "all one line" } }
284 c4^\markup{ \center-align { { on three lines } } }
285 c4^\markup{ \center-align { \line { on one line } } }
288 Markups can be stored in variables and these variables
289 may be attached to notes, like
291 allegro = \markup @{ \bold \large @{ Allegro @} @}
292 @{ a^\allegro b c d @}
295 Some objects have alignment procedures of their own, which cancel out
296 any effects of alignments applied to their markup arguments as a
297 whole. For example, the @internalsref{RehearsalMark} is horizontally
298 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
304 This manual: @ref{Overview of text markup commands}.
306 Program reference: @internalsref{TextScript}.
308 Init files: @file{scm/@/new@/-markup@/.scm}.
313 Kerning or generation of ligatures is only done when the @TeX{}
314 backend is used. In this case, LilyPond does not account for them so
315 texts will be spaced slightly too wide.
317 Syntax errors for markup mode are confusing.
321 @subsection Text encoding
323 LilyPond uses the Pango library to format multi-lingual texts, and
324 does not perform any input-encoding conversions. This means that any
325 text, be it title, lyric text, or musical instruction containing
326 non-ASCII characters, must be utf-8. Easiest to enter such texts is
327 by using a Unicode-aware editor, and save using utf-8 encoding. Most
328 popular modern editors have utf-8 support, for example, vim, Emacs,
331 Depending on the fonts installed, the following fragment shows Hebrew
338 @lilypondfile[fontload]{utf-8.ly}
340 The @TeX{} backend does not handle encoding specially at all. Strings
341 in the input are put in the output as-is. Extents of text items in the
342 @TeX{} backend, are determined by reading a file created via the
343 @file{texstr} backend,
346 lilypond -b texstr input/les-nereides.ly
347 latex les-nereides.texstr
350 The last command produces @file{les-nereides.textmetrics}, which is
351 read when you execute
354 lilypond -b tex input/les-nereides.ly
357 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
358 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
359 interpreting non-ASCII strings.
364 @inputfileref{input/regression,utf-8.ly}
368 @subsection Nested scores
370 It is possible to nest music inside markups, by adding a @code{\score}
371 block to a markup expression. Such a score must contain a @code{\layout}
374 @lilypond[quote,verbatim,raggedright]
378 \relative { c4 d e f }
387 @node Overview of text markup commands
388 @subsection Overview of text markup commands
390 The following commands can all be used inside @code{\markup @{ @}}.
392 @include markup-commands.tely
396 @subsection Font selection
398 @cindex font selection
399 @cindex font magnification
400 @cindex @code{font-interface}
402 By setting the object properties described below, you can select a
403 font from the preconfigured font families. LilyPond has default
404 support for the feta music fonts. Text fonts are selected through
405 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
406 the sans and typewriter to whatever the Pango installation defaults
411 @item @code{font-encoding}
412 is a symbol that sets layout of the glyphs. This should only be set to
413 select different types of non-text fonts, eg.
415 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
416 standard music font, including ancient glyphs, @code{fetaDynamic} for
417 dynamic signs and @code{fetaNumber} for the number font.
419 @item @code{font-family}
420 is a symbol indicating the general class of the typeface. Supported are
421 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
423 @item @code{font-shape}
424 is a symbol indicating the shape of the font. There are typically
425 several font shapes available for each font family. Choices are
426 @code{italic}, @code{caps}, and @code{upright}.
428 @item @code{font-series}
429 is a symbol indicating the series of the font. There are typically
430 several font series for each font family and shape. Choices are
431 @code{medium} and @code{bold}.
435 Fonts selected in the way sketched above come from a predefined style
436 sheet. If you want to use a font from outside the style sheet,
438 @code{font-name} property,
440 @lilypond[fragment,verbatim]
442 \override Staff.TimeSignature #'font-name = #"Times"
443 \override Staff.TimeSignature #'font-size = #2
446 \override #'(font-name . "Vera Bold")
447 { This text is in Vera Bold }
453 Any font can be used, as long as it is available to Pango/FontConfig.
455 The size of the font may be set with the @code{font-size}
456 property. The resulting size is taken relative to the
457 @code{text-font-size} as defined in the @code{\paper} block.
460 @cindex font magnification
463 It is also possible to change the default font family for the entire
464 document. This is done by calling the @code{make-pango-font-tree} from
465 within the @code{\paper} block. The function takes names for the font
466 families to use for roman, sans serif and monospaced text. For
469 @cindex font families, setting
478 (make-pango-font-tree "Times New Roman"
485 c'^\markup { roman: foo \sans bla \typewriter bar }
492 Examples: @file{ly/@/font@/-family@/-override.ly}
495 @node New dynamic marks
496 @subsection New dynamic marks
498 It is possible to print new dynamic marks or text that should be aligned
499 with dynamics. Use @code{make-dynamic-script} to create these marks.
501 @cindex make-dynamic-script
503 @lilypond[quote,verbatim,raggedright]
504 sfzp = #(make-dynamic-script "sfzp")
510 @cindex Dynamics, editorial
511 @cindex Dynamics, parenthesis
513 It is also possible to print dynamics in round parenthesis or square
514 brackets. These are often used for adding editorial dynamics.
516 @lilypond[quote,verbatim,raggedright]
517 rndf = \markup{ \center-align {\line { \bold{\italic (}
518 \dynamic f \bold{\italic )} }} }
519 boxf = \markup{ \bracket { \dynamic f } }
520 { c'1_\rndf c'1_\boxf }
524 @node Other text markup issues
525 @subsection Other text markup issues
527 To use a normal font within a title, you must define it manually
530 #(def-markup-command (normal-font layout props arg) (markup?)
531 "Switch to normal text font"
532 (interpret-markup layout (cons '((font-series . 'medium) (font-shape . 'upright)) props) arg))
535 title = \markup@{ ABCD \normal-font ABCD @}
541 @node Preparing parts
542 @section Preparing parts
544 This section describes various notation that are useful for preparing
548 * Multi measure rests::
553 * Instrument transpositions::
555 * Different editions from one source::
559 @node Multi measure rests
560 @subsection Multi measure rests
562 @cindex multi measure rests
563 @cindex full measure rests
564 @cindex Rests, multi measure
565 @cindex Rests, full measure
566 @cindex whole rests for a full measure
569 Rests for one full measure (or many bars) are entered using `@code{R}'. It
570 is specifically meant for full bar rests and for entering parts: the rest
571 can expand to fill a score with rests, or it can be printed as a single
572 multi-measure rest. This expansion is controlled by the property
573 @code{Score.skipBars}. If this is set to true, empty measures will not
574 be expanded, and the appropriate number is added automatically
576 @lilypond[quote,raggedright,fragment,verbatim]
577 \time 4/4 r1 | R1 | R1*2
578 \set Score.skipBars = ##t R1*17 R1*4
581 The @code{1} in @code{R1} is similar to the duration notation used for
582 notes. Hence, for time signatures other than 4/4, you must enter other
583 durations. This can be done with augmentation dots or fractions
585 @lilypond[quote,raggedright,fragment,verbatim]
586 \set Score.skipBars = ##t
595 An @code{R} spanning a single measure is printed as either a whole rest
596 or a breve, centered in the measure regardless of the time signature.
598 If there are only a few measures of rest, LilyPond prints ``church rests''
599 (a series of rectangles) in the staff. To replace that with a simple
600 rest, use @code{MultiMeasureRest.expand-limit}.
602 @lilypond[quote,raggedright,fragment,verbatim]
603 \set Score.skipBars = ##t
605 \override MultiMeasureRest #'expand-limit = 1
609 @cindex text on multi-measure rest
610 @cindex script on multi-measure rest
611 @cindex fermata on multi-measure rest
613 Texts can be added to multi-measure rests by using the
614 @var{note}-@code{markup} syntax @ref{Text markup}.
615 A variable (@code{\fermataMarkup}) is provided for
618 @lilypond[quote,raggedright,verbatim,fragment]
619 \set Score.skipBars = ##t
621 R2.*10^\markup { \italic "ad lib." }
625 If you want to have text on the left end of a multi-measure rest,
626 attach the text to a zero-length skip note, i.e.,
636 Program reference: @internalsref{MultiMeasureRestMusicGroup},
637 @internalsref{MultiMeasureRest}.
639 The layout object @internalsref{MultiMeasureRestNumber} is for the
640 default number, and @internalsref{MultiMeasureRestText} for user
646 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
647 over multi-measure rests. And the pitch of multi-measure rests (or
648 staff-centered rests) can not be influenced.
650 @cindex condensing rests
652 There is no way to automatically condense multiple rests into a single
653 multi-measure rest. Multi-measure rests do not take part in rest
656 Be careful when entering multi-measure rests followed by whole
657 notes. The following will enter two notes lasting four measures each
661 When @code{skipBars} is set, the result will look OK, but the bar
662 numbering will be off.
665 @node Metronome marks
666 @subsection Metronome marks
669 @cindex beats per minute
670 @cindex metronome marking
672 Metronome settings can be entered as follows
674 \tempo @var{duration} = @var{per-minute}
677 In the MIDI output, they are interpreted as a tempo change. In the
678 layout output, a metronome marking is printed
679 @cindex @code{\tempo}
680 @lilypond[quote,raggedright,verbatim,fragment]
687 To change the tempo in the MIDI output without printing anything, make
688 the metronome marking invisible
690 \once \override Score.MetronomeMark #'transparent = ##t
693 To print other metronome markings, use these markup commands
694 @lilypond[quote,raggedright,verbatim,relative,fragment]
697 \smaller \general-align #Y #DOWN \note #"16." #1
699 \smaller \general-align #Y #DOWN \note #"8" #1"
704 See @ref{Text markup} for more details.
709 Program reference: @internalsref{MetronomeMark}.
714 Collisions are not checked. If you have notes above the top line of
715 the staff (or notes with articulations, slurs, text, etc), then the
716 metronome marking may be printed on top of musical symbols. If this
717 occurs, increase the padding of the metronome mark to place it
718 further away from the staff.
721 \override Score.MetronomeMark #'padding = #2.5
725 @node Rehearsal marks
726 @subsection Rehearsal marks
728 @cindex Rehearsal marks
731 To print a rehearsal mark, use the @code{\mark} command
733 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
742 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
744 The mark is incremented automatically if you use @code{\mark
745 \default}, but you can also use an integer argument to set the mark
746 manually. The value to use is stored in the property
747 @code{rehearsalMark}.
749 The style is defined by the property @code{markFormatter}. It is a
750 function taking the current mark (an integer) and the current context
751 as argument. It should return a markup object. In the following
752 example, @code{markFormatter} is set to a canned procedure. After a
753 few measures, it is set to function that produces a boxed number.
755 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
756 \set Score.markFormatter = #format-mark-numbers
759 \set Score.markFormatter = #format-mark-box-numbers
765 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
766 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
767 @code{format-mark-letters} and @code{format-mark-box-letters}.
768 These can be used as inspiration for other formatting functions.
773 Program reference: @internalsref{RehearsalMark}.
775 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
776 definition of @code{format-mark-numbers} and
777 @code{format-mark-letters}. They can be used as inspiration for other
778 formatting functions.
780 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
782 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
786 @subsection Bar numbers
789 @cindex measure numbers
790 @cindex @code{currentBarNumber}
792 Bar numbers are printed by default at the start of the line. The
793 number itself is stored in the @code{currentBarNumber} property, which
794 is normally updated automatically for every measure.
796 Bar numbers can be typeset at regular intervals instead of at the
797 beginning of each line. This is illustrated in the following example,
798 whose source is available as
799 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
801 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
803 Bar numbers can be typeset manually by tweaking the
804 @code{markFormatter} property
806 @lilypond[verbatim,raggedright,quote]
808 \set Score.markFormatter
809 = #(lambda (mark context)
812 (number->string (ly:context-property context
813 'currentBarNumber)))))
815 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
819 Bar numbers can be manually changed by setting the
820 @code{Staff.currentBarNumber} property
822 @lilypond[verbatim,raggedright,quote]
824 \repeat unfold 4 {c4 c c c} \break
825 \set Score.currentBarNumber = #50
826 \repeat unfold 4 {c4 c c c}
833 Program reference: @internalsref{BarNumber}.
836 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
837 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
842 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
843 there is one at the top. To solve this, the
844 @code{padding} property of @internalsref{BarNumber} can be
845 used to position the number correctly.
848 @node Instrument names
849 @subsection Instrument names
851 In an orchestral score, instrument names are printed at the left side
854 This can be achieved by setting @internalsref{Staff}.@code{instrument}
855 and @internalsref{Staff}.@code{instr}. This will print a string before
856 the start of the staff. For the first staff, @code{instrument} is
857 used, for the following ones, @code{instr} is used.
859 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
860 \set Staff.instrument = "Ploink "
861 \set Staff.instr = "Plk "
867 You can also use markup texts to construct more complicated instrument
870 @lilypond[quote,fragment,verbatim,raggedright]
871 \set Staff.instrument = \markup {
872 \column { "Clarinetti"
873 \line { "in B" \smaller \flat } } }
877 For longer instrument names, it may be useful to increase the
878 @code{indent} setting in the @code{\layout} block.
882 Program reference: @internalsref{InstrumentName}.
886 When you put a name on a grand staff or piano staff, the width of the
887 brace is not taken into account. The following property setting can be
888 used to move the instrument names to the left, in such situations.
890 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))@end example
893 @node Instrument transpositions
894 @subsection Instrument transpositions
896 @cindex transposition, MIDI
897 @cindex transposition, instrument
899 The key of a transposing instrument can also be specified. This
900 applies to many wind instruments, for example, clarinets (B-flat, A, and
901 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
903 The transposition is entered after the keyword @code{\transposition}
906 \transposition bes %% B-flat clarinet
910 This command sets the property @code{instrumentTransposition}. The value of
911 this property is used for MIDI output and quotations. It does not
912 affect how notes are printed in the current staff. To change the printed
913 output, see @ref{Transpose}.
915 The pitch to use for @code{\transposition} should correspond to the
916 transposition of the notes. For example, when entering a score in
917 concert pitch, typically all voices are entered in C, so
918 they should be entered as
931 The command @code{\transposition} should be used when the music is
932 entered from a (transposed) orchestral part. For example, in
933 classical horn parts, the tuning of the instrument is often changed
934 during a piece. When copying the notes from the part, use
935 @code{\transposition}, e.g.,
947 @node Ottava brackets
948 @subsection Ottava brackets
950 `Ottava' brackets introduce an extra transposition of an octave for
951 the staff. They are created by invoking the function
952 @code{set-octavation}
958 @lilypond[quote,raggedright,verbatim,fragment]
968 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
969 (for 15ma) as arguments. Internally the function sets the properties
970 @code{ottavation} (e.g., to @code{"8va"}) and
971 @code{centralCPosition}. For overriding the text of the bracket, set
972 @code{ottavation} after invoking @code{set-octavation}, i.e.,
974 @lilypond[quote,raggedright,verbatim]
977 \set Staff.ottavation = #"8"
985 Program reference: @internalsref{OttavaBracket}.
987 Examples: @inputfileref{input/@/regression,ottava@/.ly},
988 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
993 @code{set-octavation} will get confused when clef changes happen
994 during an octavation bracket.
997 @node Different editions from one source
998 @subsection Different editions from one source
1003 The @code{\tag} command marks music expressions with a name. These
1004 tagged expressions can be filtered out later. With this mechanism it
1005 is possible to make different versions of the same music source.
1007 In the following example, we see two versions of a piece of music, one
1008 for the full score, and one with cue notes for the instrumental part
1024 The same can be applied to articulations, texts, etc.: they are
1027 -\tag #@var{your-tag}
1029 to an articulation, for example,
1034 This defines a note with a conditional fingering indication.
1037 @cindex removeWithTag
1038 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1039 commands, tagged expressions can be filtered. For example,
1043 \keepWithTag #'score @var{the music}
1044 \keepWithTag #'part @var{the music}
1049 @lilypondfile[raggedright,quote]{tag-filter.ly}
1051 The argument of the @code{\tag} command should be a symbol, or a list
1052 of symbols, for example,
1054 \tag #'(original-part transposed-part) @dots{}
1060 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1065 Multiple rests are not merged if you create the score with both tagged
1070 @node Orchestral music
1071 @section Orchestral music
1073 Orchestral music involves some special notation, both in the full
1074 score and the individual parts. This section explains how to tackle
1075 some common problems in orchestral music.
1078 * Automatic part combining::
1080 * Quoting other voices::
1081 * Formatting cue notes::
1082 * Aligning to cadenzas::
1086 @node Automatic part combining
1087 @subsection Automatic part combining
1088 @cindex automatic part combining
1089 @cindex part combiner
1091 Automatic part combining is used to merge two parts of music onto a
1092 staff. It is aimed at typesetting orchestral scores. When the two
1093 parts are identical for a period of time, only one is shown. In
1094 places where the two parts differ, they are typeset as separate
1095 voices, and stem directions are set automatically. Also, solo and
1096 @emph{a due} parts are identified and can be marked.
1098 The syntax for part combining is
1101 \partcombine @var{musicexpr1} @var{musicexpr2}
1105 The following example demonstrates the basic functionality of the part
1106 combiner: putting parts on one staff, and setting stem directions and
1109 @lilypond[quote,verbatim,raggedright,fragment]
1110 \new Staff \partcombine
1111 \relative g' { g g a( b) c c r r }
1112 \relative g' { g g r4 r e e g g }
1115 The first @code{g} appears only once, although it was
1116 specified twice (once in each part). Stem, slur, and tie directions are
1117 set automatically, depending whether there is a solo or unisono. The
1118 first part (with context called @code{one}) always gets up stems, and
1119 `Solo', while the second (called @code{two}) always gets down stems and
1122 If you just want the merging parts, and not the textual markings, you
1123 may set the property @code{printPartCombineTexts} to false
1125 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1127 \set Staff.printPartCombineTexts = ##f
1129 \relative g' { g a( b) r }
1130 \relative g' { g r4 r f }
1134 To change the text that is printed for solos or merging, you may
1135 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1138 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1140 \set Score.soloText = #"ichi"
1141 \set Score.soloIIText = #"ni"
1142 \set Score.aDueText = #"tachi"
1144 \relative g' { g4 g a( b) r }
1145 \relative g' { g4 g r r f }
1149 Both arguments to @code{\partcombine} will be interpreted as
1150 @internalsref{Voice} contexts. If using relative octaves,
1151 @code{\relative} should be specified for both music expressions, i.e.,
1155 \relative @dots{} @var{musicexpr1}
1156 \relative @dots{} @var{musicexpr2}
1160 A @code{\relative} section that is outside of @code{\partcombine} has
1161 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1165 Program reference: @internalsref{PartCombineMusic}.
1169 When @code{printPartCombineTexts} is set, when the two voices play the
1170 same notes on and off, the part combiner may typeset @code{a2} more
1171 than once in a measure.
1173 @code{\partcombine} cannot be inside @code{\times}.
1175 @code{\partcombine} cannot be inside @code{\relative}.
1177 Internally, the @code{\partcombine} interprets both arguments as
1178 @code{Voice}s named @code{one} and @code{two}, and then decides when
1179 the parts can be combined. Consequently, if the arguments switch to
1180 differently named @internalsref{Voice} contexts, the events in those
1185 @subsection Hiding staves
1187 @cindex Frenched scores
1188 @cindex Hiding staves
1190 In orchestral scores, staff lines that only have rests are usually
1191 removed; this saves some space. This style is called `French Score'.
1192 For @internalsref{Lyrics},
1193 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1194 switched on by default. When the lines of these contexts turn out
1195 empty after the line-breaking process, they are removed.
1197 For normal staves, a specialized @internalsref{Staff} context is
1198 available, which does the same: staves containing nothing (or only
1199 multi-measure rests) are removed. The context definition is stored in
1200 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1201 in this example disappears in the second line
1203 @lilypond[quote,raggedright,verbatim]
1205 \context { \RemoveEmptyStaffContext }
1210 \new Staff { e4 f g a \break c1 }
1211 \new Staff { c4 d e f \break R1 }
1216 The first system shows all staves in full. If empty staves should be
1217 removed from the first system too, set @code{remove-first} to true in
1218 @internalsref{RemoveEmptyVerticalGroup}.
1221 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1224 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1225 or @code{\RemoveEmptyRhythmicStaffContext}.
1227 Another application is making ossia sections, i.e., alternative
1228 melodies on a separate piece of staff, with help of a Frenched
1229 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1232 @node Quoting other voices
1233 @subsection Quoting other voices
1235 With quotations, fragments of other parts can be inserted into a part
1236 directly. Before a part can be quoted, it must be marked especially as
1237 quotable. This is done with the @code{\addquote} command.
1240 \addquote @var{name} @var{music}
1245 Here, @var{name} is an identifying string. The @var{music} is any kind
1246 of music. Here is an example of @code{\addquote}
1249 \addquote clarinet \relative c' @{
1254 This command must be entered at toplevel, i.e., outside any music
1257 After calling @code{\addquote}, the quotation may then be done with
1258 @code{\quoteDuring} or @code{\cueDuring},
1261 \quoteDuring #@var{name} @var{music}
1264 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1268 \quoteDuring #"clarinet" @{ s2. @}
1271 This would cite three quarter notes (the duration of @code{s2.}) of
1272 the previously added @code{clarinet} voice.
1275 More precisely, it takes the current time-step of the part being
1276 printed, and extracts the notes at the corresponding point of the
1277 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1278 should be the entire part of the voice to be quoted, including any
1279 rests at the beginning.
1281 Quotations take into account the transposition of both source and target
1282 instruments, if they are specified using the @code{\transposition} command.
1284 @lilypond[quote,raggedright,verbatim]
1285 \addquote clarinet \relative c' {
1291 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1295 The type of events that are present in cue notes can be trimmed with
1296 the @code{quotedEventTypes} property. The default value is
1297 @code{(note-event rest-event)}, which means that only notes and
1298 rests of the cued voice end up in the @code{\quoteDuring}.
1302 \set Staff.quotedEventTypes =
1303 #'(note-event articulation-event dynamic-event)
1307 will quote notes (but no rests), together with scripts and dynamics.
1311 Only the contents of the first @internalsref{Voice} occurring in an
1312 @code{\addquote} command will be considered for quotation, so
1313 @var{music} can not contain @code{\new} and @code{\context Voice}
1314 statements that would switch to a different Voice.
1316 Quoting grace notes is broken and can even cause LilyPond to crash.
1320 In this manual: @ref{Instrument transpositions}.
1322 Examples: @inputfileref{input/@/regression,quote@/.ly}
1323 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1325 Program reference: @internalsref{QuoteMusic}.
1328 @node Formatting cue notes
1329 @subsection Formatting cue notes
1331 The previous section deals with inserting notes from another voice.
1332 There is a more advanced music function called @code{\cueDuring},
1333 which makes formatting cue notes easier.
1338 \cueDuring #@var{name} #@var{updown} @var{music}
1341 This will insert notes from the part @var{name} into a
1342 @internalsref{Voice} called @code{cue}. This happens simultaneously
1343 with @var{music}, which usually is a rest. When the cue notes start,
1344 the staff in effect becomes polyphonic for a moment. The argument
1345 @var{updown} determines whether the cue notes should be notated as a
1346 first or second voice.
1349 @lilypond[verbatim,raggedright]
1352 \override Stem #'length = #5.5
1353 \override Beam #'thickness = #0.384
1354 \override Beam #'space-function =
1355 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1358 \addquote clarinet \relative {
1363 \new Staff \relative <<
1365 % setup a context for cue notes.
1366 \context Voice = cue { \smaller \skip 1*21 }
1368 \set Score.skipBars = ##t
1372 \cueDuring #"clarinet" #1 {
1381 Here are a couple of hints for successful cue notes
1385 Cue notes have smaller font sizes.
1387 the cued part is marked with the instrument playing the cue.
1389 when the original part takes over again, this should be marked with
1390 the name of the original instrument.
1392 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1394 @c Yes, this is good practice. Otherwise, the start of the original
1395 @c part can only be seen from the font size. This is not good enough
1396 @c for sight-reading. It is possilbe to use other
1397 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1402 Any other changes introduced by the cued part should also be
1403 undone. For example, if the cued instrument plays in a different clef,
1404 the original clef should be stated once again.
1409 @node Aligning to cadenzas
1410 @subsection Aligning to cadenzas
1412 In an orchestral context, cadenzas present a special problem:
1413 when constructing a score that includes a cadenza, all other
1414 instruments should skip just as many notes as the length of the
1415 cadenza, otherwise they will start too soon or too late.
1417 A solution to this problem are the functions @code{mmrest-of-length}
1418 and @code{skip-of-length}. These Scheme functions take a piece of music
1419 as argument, and generate a @code{\skip} or multi-rest, exactly as
1420 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1421 in the following example.
1423 @lilypond[verbatim,raggedright,quote]
1424 cadenza = \relative c' {
1425 c4 d8 << { e f g } \\ { d4. } >>
1430 \new Staff { \cadenza c'4 }
1432 #(ly:export (mmrest-of-length cadenza))
1441 @node Contemporary notation
1442 @section Contemporary notation
1444 In the 20th century, composers have greatly expanded the musical
1445 vocabulary. With this expansion, many innovations in musical notation
1446 have been tried. The book ``Music Notation in the 20th century'' by
1447 Kurt Stone gives a comprehensive overview (see @ref{Literature
1448 list}). In general, the use of new, innovative notation makes a piece
1449 harder to understand and perform and its use should therefore be
1450 avoided. For this reason, support for contemporary notation in
1451 LilyPond is limited.
1455 * Polymetric notation::
1456 * Time administration::
1458 * Special fermatas::
1459 * Special noteheads::
1466 @node Polymetric notation
1467 @subsection Polymetric notation
1469 Double time signatures are not supported explicitly, but they can be
1470 faked. In the next example, the markup for the time signature is
1471 created with a markup text. This markup text is inserted in the
1472 @internalsref{TimeSignature} grob.
1474 @lilypond[verbatim,raggedright]
1479 \musicglyph #"scripts.stopped"
1480 \bracket \column { "5" "8" }
1485 \override Staff.TimeSignature #'print-function = #Text_interface::print
1486 \override Staff.TimeSignature #'text = #tsMarkup
1488 c'2 \bar ":" c'4 c'4.
1492 Each staff can also have its own time signature. This is done by
1493 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1499 \remove "Timing_translator"
1500 \remove "Default_bar_line_engraver"
1504 \consists "Timing_translator"
1505 \consists "Default_bar_line_engraver"
1512 Now, each staff has its own time signature.
1525 c4. c8 c c c4. c8 c c
1530 @lilypond[quote,raggedright]
1534 \remove "Timing_translator"
1535 \remove "Default_bar_line_engraver"
1538 \consists "Timing_translator"
1539 \consists "Default_bar_line_engraver"
1554 c4. c8 c c c4. c8 c c
1560 A different form of polymetric notation is where note lengths have
1561 different values across staves.
1563 This notation can be created by setting a common time signature for
1564 each staff but replacing it manually using
1565 @code{timeSignatureFraction} to the desired fraction. Then the printed
1566 durations in each staff are scaled to the common time signature.
1567 The latter is done with @code{\compressMusic}, which is similar to
1568 @code{\times}, but does not create a tuplet bracket.
1571 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1572 used in parallel. In the second staff, shown durations are multiplied by
1573 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1574 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1576 @lilypond[quote,raggedright,verbatim,fragment]
1584 \set Staff.timeSignatureFraction = #'(9 . 8)
1585 \compressMusic #'(2 . 3)
1586 \repeat unfold 6 { c8[ c c] }
1590 \set Staff.timeSignatureFraction = #'(10 . 8)
1591 \compressMusic #'(3 . 5) {
1592 \repeat unfold 2 { c8[ c c] }
1593 \repeat unfold 2 { c8[ c] }
1594 | c4. c4. \times 2/3 { c8 c c } c4
1605 When using different time signatures in parallel, the spacing is
1606 aligned vertically, but bar lines distort the regular spacing.
1609 @node Time administration
1610 @subsection Time administration
1612 @cindex Time administration
1614 Time is administered by the @internalsref{Time_signature_engraver},
1615 which usually lives in the @internalsref{Score} context. The
1616 bookkeeping deals with the following variables
1619 @item currentBarNumber
1623 The length of the measures in the current time signature. For a 4/4
1624 time this is@tie{}1, and for 6/8 it is 3/4.
1626 @item measurePosition
1627 The point within the measure where we currently are. This quantity
1628 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1629 happens, @code{currentBarNumber} is incremented.
1632 If set to true, the above variables are updated for every time
1633 step. When set to false, the engraver stays in the current measure
1637 Timing can be changed by setting any of these variables explicitly.
1638 In the next example, the 4/4 time signature is printed, but
1639 @code{measureLength} is set to 5/4. After a while, the measure is
1640 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1641 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1642 3/8 arises because 5/4 normally has 10/8, but we have manually
1643 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1645 @lilypond[quote,raggedright,verbatim,relative,fragment]
1646 \set Score.measureLength = #(ly:make-moment 5 4)
1650 \set Score.measurePosition = #(ly:make-moment 7 8)
1658 @subsection Clusters
1662 A cluster indicates a continuous range of pitches to be played. They
1663 can be denoted as the envelope of a set of notes. They are entered by
1664 applying the function @code{makeClusters} to a sequence of
1666 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1667 \makeClusters { <c e > <b f'> }
1670 The following example (from
1671 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1674 @lilypondfile[raggedright,quote]{cluster.ly}
1676 Ordinary notes and clusters can be put together in the same staff,
1677 even simultaneously. In such a case no attempt is made to
1678 automatically avoid collisions between ordinary notes and clusters.
1682 Program reference: @internalsref{ClusterSpanner},
1683 @internalsref{ClusterSpannerBeacon},
1684 @internalsref{Cluster_spanner_engraver}.
1686 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1690 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1691 accurately. Use @code{<g a>8 <e a>8} instead.
1695 @node Special fermatas
1696 @subsection Special fermatas
1698 @cindex fermatas, special
1700 In contemporary music notation, special fermata symbols denote breaks
1701 of differing lengths. The following fermatas are supported
1703 @lilypond[quote,raggedright]
1726 \context Lyrics \lyricmode {
1727 \override LyricText #'font-family = #'typewriter
1728 "shortfermata" "fermata" "longfermata" "verylongfermata"
1733 See @ref{Articulations} for general instructions how to apply scripts
1734 such as fermatas to notes.
1737 @node Special noteheads
1738 @subsection Special noteheads
1740 Different noteheads are used by various instruments for various
1741 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1742 notes on guitar; diamonds are used for harmonics on string instruments,
1743 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1744 other notehead styles are produced by tweaking the property
1746 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1748 \override NoteHead #'style = #'cross
1750 \revert NoteHead #'style
1751 e d <c f\harmonic> <d a'\harmonic>
1755 To see all notehead styles, please see
1756 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1761 Program reference: @internalsref{NoteHead}.
1763 @node Pitched trills
1764 @subsection Pitched trills
1766 Trills that should be executed on an explicitly specified pitch can be
1767 typeset with the command @code{pitchedTrill},
1769 @lilypond[raggedright,verbatim,fragment]
1770 \pitchedTrill c'4\startTrillSpan fis
1774 The first argument is the main note. The absolute pitch of the second
1775 is printed as a stemless note head in parentheses.
1779 Relative octave mode ignores the octave of the second argument of
1780 @code{\pitchedTrill}.
1782 @node Feathered beams
1783 @subsection Feathered beams
1785 Feathered beams are not supported natively, but they can be faked by
1786 forcing two beams to overlap. Here is an example,
1788 @c don't change relative setting witout changing positions!
1789 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1794 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1799 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1807 @subsection Improvisation
1809 Improvisation is sometimes denoted with slashed note heads. Such note
1810 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1811 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1815 \set squashedPosition = #0
1816 \override NoteHead #'style = #'slash
1820 switches on the slashes.
1822 There are shortcuts @code{\improvisationOn} (and an accompanying
1823 @code{\improvisationOff}) for this command sequence. They are used in
1824 the following example
1826 @lilypond[verbatim,raggedright,quote]
1828 \consists Pitch_squash_engraver
1830 e8 e g a a16(bes)(a8) g \improvisationOn
1833 ~fis2 \improvisationOff a16(bes) a8 g e
1838 @node Educational use
1839 @section Educational use
1841 With the amount of control that LilyPond offers, one can make great
1842 teaching tools in addition to great musical scores.
1846 * Blank music sheet::
1848 * Shape note heads ::
1849 * Easy Notation note heads::
1850 * Analysis brackets::
1851 * Coloring objects::
1855 @subsection Balloon help
1857 Elements of notation can be marked and named with the help of a square
1858 balloon. The primary purpose of this feature is to explain notation.
1860 The following example demonstrates its use.
1862 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1865 #(add-balloon-text 'NoteHead "heads, or tails?"
1872 The function @code{add-balloon-text} takes the name of a grob, the
1873 label to print, and the position where to put the label relative to
1874 the object. In the above example, the text ``heads or tails?'' ends
1875 3 spaces below and 1 space to the right of the marked head.
1878 @cindex notation, explaining
1882 Program reference: @internalsref{text-balloon-interface}.
1884 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1889 @node Blank music sheet
1890 @subsection Blank music sheet
1892 A blank music sheet can be produced also by using invisible notes, and
1893 removing @code{Bar_number_engraver}.
1896 @lilypond[quote,verbatim]
1898 \repeat unfold 2 % Change this for more lines.
1903 \override TimeSignature #'transparent = ##t
1904 defaultBarType = #""
1905 \remove Bar_number_engraver
1907 \context Staff \emptymusic
1908 \context TabStaff \emptymusic
1914 @subsection Hidden notes
1916 @cindex Hidden notes
1917 @cindex Invisible notes
1918 @cindex Transparent notes
1920 @cindex @code{\hideNotes}
1921 @cindex @code{\unHideNotes}
1922 Hidden (or invisible or transparent) notes can be useful in preparing theory
1923 or composition exercises.
1925 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1933 Hidden notes are also great for performing weird tricks. For example,
1934 slurs cannot be attached to rests or spacer rests, but you may wish
1935 to include that in your score -- string instruments use this notation
1936 when doing pizzicato to indicate that the note should ring for as long
1939 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1942 c4^"pizz"( \hideNotes c)
1943 \unHideNotes c( \hideNotes c)
1950 @node Shape note heads
1951 @subsection Shape note heads
1953 In shape note head notation, the shape of the note head corresponds
1954 to the harmonic function of a note in the scale. This notation was
1955 popular in the 19th century American song books.
1957 Shape note heads can be produced by setting @code{\aikenHeads} or
1958 @code{\sacredHarpHeads}, depending on the style desired.
1960 @lilypond[verbatim,relative=1,fragment]
1967 Shapes are determined on the step in the scale, where the base of the
1968 scale is determined by the @code{\key} command
1971 @findex shapeNoteStyles
1973 @findex \sacredHarpHeads
1975 Shape note heads are implemented through the @code{shapeNoteStyles}
1976 property. Its value is a vector of symbols. The k-th element indicates
1977 the style to use for the k-th step of the scale. Arbitrary
1978 combinations are possible, eg.,
1981 @lilypond[verbatim,relative=1,fragment]
1982 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
1987 @node Easy Notation note heads
1988 @subsection Easy Notation note heads
1990 @cindex easy notation
1993 The `easy play' note head includes a note name inside the head. It is
1994 used in music for beginners
1996 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
2001 The command @code{\setEasyHeads} overrides settings for the
2002 @internalsref{NoteHead} object. To make the letters readable, it has
2003 to be printed in a large font size. To print with a larger font, see
2004 @ref{Setting global staff size}.
2008 @cindex @code{\setEasyHeads}
2009 @code{\setEasyHeads}
2012 @node Analysis brackets
2013 @subsection Analysis brackets
2015 @cindex phrasing brackets
2016 @cindex musicological analysis
2017 @cindex note grouping bracket
2019 Brackets are used in musical analysis to indicate structure in musical
2020 pieces. LilyPond supports a simple form of nested horizontal
2021 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2022 to @internalsref{Staff} context. A bracket is started with
2023 @code{\startGroup} and closed with @code{\stopGroup}
2025 @lilypond[quote,raggedright,verbatim]
2028 c4\startGroup\startGroup
2031 c4\stopGroup\stopGroup
2035 \Staff \consists "Horizontal_bracket_engraver"
2041 Program reference: @internalsref{HorizontalBracket}.
2043 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2049 I don't think we need this info.
2054 Whenever a note is found, a @internalsref{Stem} object is created
2055 automatically. For whole notes and rests, they are also created but
2060 @cindex @code{\stemUp}
2062 @cindex @code{\stemDown}
2064 @cindex @code{\stemNeutral}
2065 @code{\stemNeutral}.
2070 @node Coloring objects
2071 @subsection Coloring objects
2073 Individual objects may be assigned colors. You may use the
2074 color names listed in the @ref{List of colors}.
2076 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2077 \override NoteHead #'color = #red
2079 \override NoteHead #'color = #(x11-color 'LimeGreen)
2081 \override Stem #'color = #blue
2085 The full range of colors defined for X11 can be accessed by using the
2086 scheme function x11-color. The function takes one argument that can be a
2090 \override Beam #'color = #(x11-color 'MediumTurquoise)
2096 \override Beam #'color = #(x11-color "MediumTurquoise")
2099 The first form is quicker to write and is more efficient. However, using
2100 the second form it is possible to access X11 colors by the multi-word
2104 \override Beam #'color = #(x11-color "medium turquoise")
2107 If x11-color cannot make sense of the parameter then the color returned
2108 defaults to black. It should be obvious from the final score that
2111 This example, illustrates the use of x11-color. Notice that the stem
2112 color remains black after being set to (x11-color 'Boggle), which is
2113 deliberate nonsense.
2115 @lilypond[quote,raggedright,verbatim]
2117 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2118 \set Staff.instrument = \markup {
2119 \with-color #(x11-color 'navy) "Clarinet"
2123 \override Beam #'color = #(x11-color "medium turquoise")
2125 \override NoteHead #'color = #(x11-color "LimeGreen")
2127 \override Stem #'color = #(x11-color 'Boggle)
2135 Appendix: @ref{List of colors}.
2139 Not all x11 colors are distinguishable in a web browser. For web use
2140 normal colors are recommended.
2142 An x11 color is not necessarily exactly the same shade as a similarly
2146 @node Automatic notation
2147 @section Automatic notation
2149 This section describes how to change the way that accidentals and
2150 beams are automatically displayed.
2152 FIXME: this might get moved into Changing Defaults. Please send
2153 opinions to lilypond-devel. Thanks! :)
2156 * Automatic accidentals::
2157 * Setting automatic beam behavior::
2160 @node Automatic accidentals
2161 @subsection Automatic accidentals
2162 @cindex Automatic accidentals
2164 Common rules for typesetting accidentals have been placed in a
2165 function. This function is called as follows
2167 @cindex @code{set-accidental-style}
2169 #(set-accidental-style 'STYLE #('CONTEXT#))
2172 The function can take two arguments: the name of the accidental style,
2173 and an optional argument that denotes the context that should be
2174 changed. If no context name is supplied, @code{Staff} is the default,
2175 but you may wish to apply the accidental style to a single @code{Voice}
2178 The following accidental styles are supported
2181 This is the default typesetting behavior. It corresponds
2182 to 18th century common practice: Accidentals are
2183 remembered to the end of the measure in which they occur and
2184 only on their own octave.
2187 The normal behavior is to remember the accidentals on
2188 Staff-level. This variable, however, typesets accidentals
2189 individually for each voice. Apart from that, the rule is similar to
2192 As a result, accidentals from one voice do not get canceled in other
2193 voices, which is often an unwanted result
2195 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2197 #(set-accidental-style 'voice)
2204 The @code{voice} option should be used if the voices
2205 are to be read solely by individual musicians. If the staff is to be
2206 used by one musician (e.g., a conductor) then
2207 @code{modern} or @code{modern-cautionary}
2208 should be used instead.
2211 @cindex @code{modern} style accidentals
2212 This rule corresponds to the common practice in the 20th century. This rule
2213 prints the same accidentals as @code{default}, but temporary
2214 accidentals also are canceled in other octaves. Furthermore,
2215 in the same octave, they also get canceled in the following
2218 @lilypond[quote,raggedright,fragment,verbatim]
2219 #(set-accidental-style 'modern)
2220 cis' c'' cis'2 | c'' c'
2223 @item @code{modern-cautionary}
2224 @cindex @code{modern-cautionary}
2225 This rule is similar to @code{modern}, but the ``extra'' accidentals
2226 (the ones not typeset by @code{default}) are typeset as cautionary
2227 accidentals. They are printed in reduced size or with parentheses
2228 @lilypond[quote,raggedright,fragment,verbatim]
2229 #(set-accidental-style 'modern-cautionary)
2230 cis' c'' cis'2 | c'' c'
2233 @cindex @code{modern-voice}
2235 This rule is used for multivoice accidentals to be read both by musicians
2236 playing one voice and musicians playing all voices. Accidentals are
2237 typeset for each voice, but they @emph{are} canceled across voices in
2238 the same @internalsref{Staff}.
2240 @cindex @code{modern-voice-cautionary}
2241 @item modern-voice-cautionary
2242 This rule is the same as @code{modern-voice}, but with the extra
2243 accidentals (the ones not typeset by @code{voice}) typeset
2244 as cautionaries. Even though all accidentals typeset by
2245 @code{default} @emph{are} typeset by this variable,
2246 some of them are typeset as cautionaries.
2249 @cindex @code{piano} accidentals
2250 This rule reflects 20th century practice for piano notation. Very similar to
2251 @code{modern} but accidentals also get canceled
2252 across the staves in the same @internalsref{GrandStaff} or
2253 @internalsref{PianoStaff}.
2255 @item piano-cautionary
2256 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2257 Same as @code{#(set-accidental-style 'piano)} but with the extra
2258 accidentals typeset as cautionaries.
2261 @cindex @code{no-reset} accidental style
2262 This is the same as @code{default} but with accidentals lasting
2263 ``forever'' and not only until the next measure
2264 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2265 #(set-accidental-style 'no-reset)
2270 This is sort of the opposite of @code{no-reset}: Accidentals
2271 are not remembered at all---and hence all accidentals are
2272 typeset relative to the key signature, regardless of what was
2275 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2276 #(set-accidental-style 'forget)
2277 \key d\major c4 c cis cis d d dis dis
2284 Program reference: @internalsref{Accidental_engraver},
2285 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2290 Simultaneous notes are considered to be entered in sequential
2291 mode. This means that in a chord the accidentals are typeset as if the
2292 notes in the chord happened once at a time - in the order in which
2293 they appear in the input file.
2295 This is a problem when accidentals in a chord depend on each other,
2296 which does not happen for the default accidental style. The problem
2297 can be solved by manually inserting @code{!} and @code{?} for the
2301 @node Setting automatic beam behavior
2302 @subsection Setting automatic beam behavior
2304 @cindex @code{autoBeamSettings}
2305 @cindex @code{(end * * * *)}
2306 @cindex @code{(begin * * * *)}
2307 @cindex automatic beams, tuning
2308 @cindex tuning automatic beaming
2310 @c [TODO: use \applycontext]
2312 In normal time signatures, automatic beams can start on any note but can
2313 only end in a few positions within the measure: beams can end on a beat,
2314 or at durations specified by the properties in
2315 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2316 consist of a list of rules for where beams can begin and end. The
2317 default @code{autoBeamSettings} rules are defined in
2318 @file{scm/@/auto@/-beam@/.scm}.
2320 In order to add a rule to the list, use
2322 #(override-auto-beam-setting '(be p q n m) a b [context])
2327 @item @code{be} is either "begin" or "end".
2329 @item @code{b/q} is the duration of the note for which you want
2330 to add a rule. A beam is considered to have the duration of its
2331 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2332 have this apply to any beam.
2334 @item @code{n/m} is the position in the time signature to which
2335 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2336 to have this apply in any time signature.
2338 @item @code{a/b} is the position in the bar at which the beam should end.
2340 @item @code{context} is optional, and it specifies the context at which
2341 the change should be made. The default is @code{'Voice}.
2342 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2343 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2347 For example, if automatic beams should always end on the first quarter
2351 #(override-auto-beam-setting '(end * * * *) 1 4)
2354 You can force the beam settings to only take effect on beams whose shortest
2355 note is a certain duration
2357 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2359 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2361 a32 a a a a16 a a a a a |
2362 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2363 a32 a a a a16 a a a a a |
2366 You can force the beam settings to only take effect in certain time
2369 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2371 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2379 You can also remove a previously set beam-ending rule by using
2382 #(revert-auto-beam-setting '(be p q n m) a b [context])
2386 be, p, q, n, m, a, b and context are the same as above. Note that the
2387 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2388 so you can revert rules that you did not explicitly create.
2390 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2392 a16 a a a a a a a a a a a a a a a
2393 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2394 a16 a a a a a a a a a a a a a a a
2397 The rule in a revert-auto-beam-setting statement must exactly match the
2398 original rule. That is, no wildcard expansion is taken into account.
2400 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2402 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2404 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2406 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2412 @c TODO: old material -- not covered by above stuff, I think.
2413 If automatic beams should end on every quarter in 5/4 time, specify
2416 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2417 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2418 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2419 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2423 The same syntax can be used to specify beam starting points. In this
2424 example, automatic beams can only end on a dotted quarter note
2426 #(override-auto-beam-setting '(end * * * *) 3 8)
2427 #(override-auto-beam-setting '(end * * * *) 1 2)
2428 #(override-auto-beam-setting '(end * * * *) 7 8)
2430 In 4/4 time signature, this means that automatic beams could end only on
2431 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2432 3/8, has passed within the measure).
2434 @cindex automatic beam generation
2436 @cindex @code{autoBeaming}
2439 If beams are used to indicate melismata in songs, then automatic
2440 beaming should be switched off with @code{\autoBeamOff}.
2445 @cindex @code{\autoBeamOff}
2446 @code{\autoBeamOff},
2447 @cindex @code{\autoBeamOn}
2453 If a score ends while an automatic beam has not been ended and is
2454 still accepting notes, this last beam will not be typeset at all. The
2455 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2456 >>}. If a polyphonic voice ends while an automatic beam is still
2457 accepting notes, it is not typeset.