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::
45 @subsection Text scripts
48 @cindex text items, non-empty
49 @cindex non-empty texts
51 It is possible to place arbitrary strings of text or @ref{Text markup}
52 above or below notes by using a string @code{c^"text"}. By default,
53 these indications do not influence the note spacing, but by using the
54 command @code{\fatText}, the widths will be taken into account
56 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
57 c4^"longtext" \fatText c4_"longlongtext" c4
60 More complex formatting may also be added to a note by using the
62 @lilypond[fragment,raggedright,verbatim,quote]
63 c'4^\markup { bla \bold bla }
66 The @code{\markup} is described in more detail in
72 @cindex @code{\fatText}
74 @cindex @code{\emptyText}
80 In this manual: @ref{Text markup}.
82 Program reference: @internalsref{TextScript}.
86 @subsection Text spanners
90 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
91 are written as text and are extended over many measures with dotted
92 lines. Such texts are created using text spanners; attach
93 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
96 The string to be printed, as well as the style, is set through object
99 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
102 \override TextSpanner #'edge-text = #'("rall " . "")
103 c2\startTextSpan b c\stopTextSpan a
106 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
107 c2\startTextSpan b c\stopTextSpan a
112 @cindex textSpannerUp
113 @code{textSpannerUp},
114 @cindex textSpannerDown
115 @code{textSpannerDown},
116 @cindex textSpannerNeutral
117 @code{textSpannerNeutral}.
122 Program reference: @internalsref{TextSpanner}.
124 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
128 @subsection Text marks
130 @cindex coda on bar line
131 @cindex segno on bar line
132 @cindex fermata on bar line
133 @cindex bar lines, symbols on
136 The @code{\mark} command is primarily used for
137 @ref{Rehearsal marks},
138 but it can also be used to put signs like coda,
139 segno, and fermata on a bar line. Use @code{\markup} to
140 access the appropriate symbol
142 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
143 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
148 @code{\mark} is only typeset above the top stave of the score. If
149 you specify the @code{\mark} command at a bar line, the resulting
150 mark is placed above the bar line. If you specify it in the middle
151 of a bar, the resulting mark is positioned between notes. If it is
152 specified before the beginning of a score line, it is placed
153 before the first note of the line. Finally, if the mark occurs at
154 a line break, the mark will be printed at the
155 beginning of the next line.
156 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
157 @c delete this sentence. -gp
158 If there is no next line, then the mark will not be printed at all.
163 To print the mark at the end of the current line, use
166 \override Score.RehearsalMark
167 #'break-visibility = #begin-of-line-invisible
170 @code{\mark} is often useful for adding text to the end of bar. In
171 such cases, changing the @code{#'self-alignment} is very useful
173 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
174 \override Score.RehearsalMark
175 #'break-visibility = #begin-of-line-invisible
177 \once \override Score.RehearsalMark #'self-alignment-X = #right
178 \mark "D.S. al Fine "
184 Program reference: @internalsref{RehearsalMark}.
188 @subsection Text markup
195 Use @code{\markup} to typeset text. Commands are entered with the
198 @lilypond[quote,verbatim,fragment,relative=1]
200 c1_\markup { hi there }
201 c1^\markup { hi \bold there, is \italic anyone home? }
205 See @ref{Overview of text markup commands} for a list of all
208 @code{\markup} is primarily used for @internalsref{TextScript}s,
209 but it can also be used anywhere text is called in lilypond
211 @lilypond[quote,verbatim]
212 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
215 \override Score.RehearsalMark
216 #'break-visibility = #begin-of-line-invisible
217 \override Score.RehearsalMark #'self-alignment-X = #right
219 \set Staff.instrument = \markup{ \column{ Alto solo } }
220 c2^\markup{ don't be \flat }
221 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
223 a2\mark \markup{ \large \bold Fine }
227 \addlyrics { bar, foo \markup{ \italic bar! } }
231 @cindex font switching
233 The markup in the example demonstrates font switching commands. The
234 command @code{\bold} and @code{\italic} apply to the first following
235 word only; to apply a command to more than one word, enclose the
239 \markup @{ \bold @{ hi there @} @}
243 For clarity, you can also do this for single arguments, e.g.,
246 \markup @{ is \italic @{ anyone @} home @}
249 In markup mode you can compose expressions, similar to mathematical
250 expressions, XML documents, and music expressions. You can stack
251 expressions grouped vertically with the command @code{\column}.
252 Similarly, @code{\center-align} aligns texts by their center lines:
254 @lilypond[quote,verbatim,fragment,relative=1]
255 c1^\markup { \column { a bbbb \line { c d } } }
256 c1^\markup { \center-align { a bbbb c } }
257 c1^\markup { \line { a b c } }
260 Lists with no previous command are not kept distinct. The expression
263 \center-align @{ @{ a b @} @{ c d @} @}
271 \center-align @{ a b c d @}
276 To keep lists of words distinct, please use quotes @code{"} or
277 the @code{\line} command
279 @lilypond[quote,verbatim,fragment,relative=1]
281 c4^\markup{ \center-align { on three lines } }
282 c4^\markup{ \center-align { "all one line" } }
283 c4^\markup{ \center-align { { on three lines } } }
284 c4^\markup{ \center-align { \line { on one line } } }
287 Markups can be stored in variables and these variables
288 may be attached to notes, like
290 allegro = \markup @{ \bold \large @{ Allegro @} @}
291 @{ a^\allegro b c d @}
294 Some objects have alignment procedures of their own, which cancel out
295 any effects of alignments applied to their markup arguments as a
296 whole. For example, the @internalsref{RehearsalMark} is horizontally
297 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
300 In addition, vertical placement is performed after creating the
301 text markup object. If you wish to move an entire piece of markup,
302 you need to use the #'padding property or create an "anchor" point
303 inside the markup (generally with @code{\hspace #0}).
305 @lilypond[quote,verbatim,fragment,relative=1]
307 c'4^\markup{ \raise #5 "not raised" }
308 \once \override TextScript #'padding = #3
309 c'4^\markup{ raised }
310 c'4^\markup{ \hspace #0 \raise #1.5 raised }
316 This manual: @ref{Overview of text markup commands}.
318 Program reference: @internalsref{TextScript}.
320 Init files: @file{scm/@/new@/-markup@/.scm}.
325 Kerning or generation of ligatures is only done when the @TeX{}
326 backend is used. In this case, LilyPond does not account for them so
327 texts will be spaced slightly too wide.
329 Syntax errors for markup mode are confusing.
333 @subsection Text encoding
335 LilyPond uses the Pango library to format multi-lingual texts, and
336 does not perform any input-encoding conversions. This means that any
337 text, be it title, lyric text, or musical instruction containing
338 non-ASCII characters, must be utf-8. Easiest to enter such texts is
339 by using a Unicode-aware editor, and save using utf-8 encoding. Most
340 popular modern editors have utf-8 support, for example, vim, Emacs,
343 Depending on the fonts installed, the following fragment shows Hebrew
350 @lilypondfile[fontload]{utf-8.ly}
352 The @TeX{} backend does not handle encoding specially at all. Strings
353 in the input are put in the output as-is. Extents of text items in the
354 @TeX{} backend, are determined by reading a file created via the
355 @file{texstr} backend,
358 lilypond -b texstr input/les-nereides.ly
359 latex les-nereides.texstr
362 The last command produces @file{les-nereides.textmetrics}, which is
363 read when you execute
366 lilypond -b tex input/les-nereides.ly
369 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
370 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
371 interpreting non-ASCII strings.
376 @inputfileref{input/regression,utf-8.ly}
380 @subsection Nested scores
382 It is possible to nest music inside markups, by adding a @code{\score}
383 block to a markup expression. Such a score must contain a @code{\layout}
386 @lilypond[quote,verbatim,raggedright]
390 \relative { c4 d e f }
399 @node Overview of text markup commands
400 @subsection Overview of text markup commands
402 The following commands can all be used inside @code{\markup @{ @}}.
404 @include markup-commands.tely
408 @subsection Font selection
410 @cindex font selection
411 @cindex font magnification
412 @cindex @code{font-interface}
414 By setting the object properties described below, you can select a
415 font from the preconfigured font families. LilyPond has default
416 support for the feta music fonts. Text fonts are selected through
417 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
418 the sans and typewriter to whatever the Pango installation defaults
423 @item @code{font-encoding}
424 is a symbol that sets layout of the glyphs. This should only be set to
425 select different types of non-text fonts, eg.
427 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
428 standard music font, including ancient glyphs, @code{fetaDynamic} for
429 dynamic signs and @code{fetaNumber} for the number font.
431 @item @code{font-family}
432 is a symbol indicating the general class of the typeface. Supported are
433 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
435 @item @code{font-shape}
436 is a symbol indicating the shape of the font. There are typically
437 several font shapes available for each font family. Choices are
438 @code{italic}, @code{caps}, and @code{upright}.
440 @item @code{font-series}
441 is a symbol indicating the series of the font. There are typically
442 several font series for each font family and shape. Choices are
443 @code{medium} and @code{bold}.
447 Fonts selected in the way sketched above come from a predefined style
448 sheet. If you want to use a font from outside the style sheet,
450 @code{font-name} property,
452 @lilypond[fragment,verbatim]
454 \override Staff.TimeSignature #'font-name = #"Times"
455 \override Staff.TimeSignature #'font-size = #2
458 \override #'(font-name . "Vera Bold")
459 { This text is in Vera Bold }
465 Any font can be used, as long as it is available to Pango/FontConfig.
467 The size of the font may be set with the @code{font-size}
468 property. The resulting size is taken relative to the
469 @code{text-font-size} as defined in the @code{\paper} block.
472 @cindex font magnification
475 It is also possible to change the default font family for the entire
476 document. This is done by calling the @code{make-pango-font-tree} from
477 within the @code{\paper} block. The function takes names for the font
478 families to use for roman, sans serif and monospaced text. For
481 @cindex font families, setting
490 (make-pango-font-tree "Times New Roman"
497 c'^\markup { roman: foo \sans bla \typewriter bar }
501 @c we don't do Helvetica / Courier, since GS incorrectly loads
508 Examples: @file{ly/@/font@/-family@/-override.ly}
511 @node New dynamic marks
512 @subsection New dynamic marks
514 It is possible to print new dynamic marks or text that should be aligned
515 with dynamics. Use @code{make-dynamic-script} to create these marks.
517 @cindex make-dynamic-script
519 @lilypond[quote,verbatim,raggedright]
520 sfzp = #(make-dynamic-script "sfzp")
526 @cindex Dynamics, editorial
527 @cindex Dynamics, parenthesis
529 It is also possible to print dynamics in round parenthesis or square
530 brackets. These are often used for adding editorial dynamics.
532 @lilypond[quote,verbatim,raggedright]
533 rndf = \markup{ \center-align {\line { \bold{\italic (}
534 \dynamic f \bold{\italic )} }} }
535 boxf = \markup{ \bracket { \dynamic f } }
536 { c'1_\rndf c'1_\boxf }
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 Warning! This text is created by @code{MultiMeasureRestText}, not
628 @lilypond[quote,raggedright,verbatim,fragment]
629 \override TextScript #'padding = #5
631 \override MultiMeasureRestText #'padding = #5
635 If you want to have text on the left end of a multi-measure rest,
636 attach the text to a zero-length skip note, i.e.,
646 Program reference: @internalsref{MultiMeasureRestMusicGroup},
647 @internalsref{MultiMeasureRest}.
649 The layout object @internalsref{MultiMeasureRestNumber} is for the
650 default number, and @internalsref{MultiMeasureRestText} for user
656 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
657 over multi-measure rests. And the pitch of multi-measure rests (or
658 staff-centered rests) can not be influenced.
660 @cindex condensing rests
662 There is no way to automatically condense multiple rests into a single
663 multi-measure rest. Multi-measure rests do not take part in rest
666 Be careful when entering multi-measure rests followed by whole
667 notes. The following will enter two notes lasting four measures each
671 When @code{skipBars} is set, the result will look OK, but the bar
672 numbering will be off.
675 @node Metronome marks
676 @subsection Metronome marks
679 @cindex beats per minute
680 @cindex metronome marking
682 Metronome settings can be entered as follows
684 \tempo @var{duration} = @var{per-minute}
687 In the MIDI output, they are interpreted as a tempo change. In the
688 layout output, a metronome marking is printed
689 @cindex @code{\tempo}
690 @lilypond[quote,raggedright,verbatim,fragment]
697 To change the tempo in the MIDI output without printing anything, make
698 the metronome marking invisible
700 \once \override Score.MetronomeMark #'transparent = ##t
703 To print other metronome markings, use these markup commands
704 @lilypond[quote,raggedright,verbatim,relative,fragment]
707 \smaller \general-align #Y #DOWN \note #"16." #1
709 \smaller \general-align #Y #DOWN \note #"8" #1"
714 See @ref{Text markup} for more details.
719 Program reference: @internalsref{MetronomeMark}.
724 Collisions are not checked. If you have notes above the top line of
725 the staff (or notes with articulations, slurs, text, etc), then the
726 metronome marking may be printed on top of musical symbols. If this
727 occurs, increase the padding of the metronome mark to place it
728 further away from the staff.
731 \override Score.MetronomeMark #'padding = #2.5
735 @node Rehearsal marks
736 @subsection Rehearsal marks
738 @cindex Rehearsal marks
741 To print a rehearsal mark, use the @code{\mark} command
743 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
752 The letter@tie{}`I' is skipped in accordance with engraving traditions.
753 If you wish to include the letter `I', then use
756 \set Score.markFormatter = #format-mark-alphabet
759 The mark is incremented automatically if you use @code{\mark
760 \default}, but you can also use an integer argument to set the mark
761 manually. The value to use is stored in the property
762 @code{rehearsalMark}.
764 The style is defined by the property @code{markFormatter}. It is a
765 function taking the current mark (an integer) and the current context
766 as argument. It should return a markup object. In the following
767 example, @code{markFormatter} is set to a canned procedure. After a
768 few measures, it is set to function that produces a boxed number.
770 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
771 \set Score.markFormatter = #format-mark-numbers
774 \set Score.markFormatter = #format-mark-box-numbers
780 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
781 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
782 @code{format-mark-letters} and @code{format-mark-box-letters}.
783 These can be used as inspiration for other formatting functions.
788 Program reference: @internalsref{RehearsalMark}.
790 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
791 definition of @code{format-mark-numbers} and
792 @code{format-mark-letters}. They can be used as inspiration for other
793 formatting functions.
795 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
797 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
801 @subsection Bar numbers
804 @cindex measure numbers
805 @cindex @code{currentBarNumber}
807 Bar numbers are printed by default at the start of the line. The
808 number itself is stored in the @code{currentBarNumber} property, which
809 is normally updated automatically for every measure.
811 Bar numbers can be typeset at regular intervals instead of at the
812 beginning of each line. This is illustrated in the following example,
813 whose source is available as
814 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
816 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
818 Bar numbers can be typeset manually by tweaking the
819 @code{markFormatter} property
821 @lilypond[verbatim,raggedright,quote]
823 \set Score.markFormatter
824 = #(lambda (mark context)
827 (number->string (ly:context-property context
828 'currentBarNumber)))))
830 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
834 Bar numbers can be manually changed by setting the
835 @code{Staff.currentBarNumber} property
837 @lilypond[verbatim,raggedright,quote]
839 \repeat unfold 4 {c4 c c c} \break
840 \set Score.currentBarNumber = #50
841 \repeat unfold 4 {c4 c c c}
848 Program reference: @internalsref{BarNumber}.
851 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
852 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
857 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
858 there is one at the top. To solve this, the
859 @code{padding} property of @internalsref{BarNumber} can be
860 used to position the number correctly.
863 @node Instrument names
864 @subsection Instrument names
866 In an orchestral score, instrument names are printed at the left side
869 This can be achieved by setting @internalsref{Staff}.@code{instrument}
870 and @internalsref{Staff}.@code{instr}. This will print a string before
871 the start of the staff. For the first staff, @code{instrument} is
872 used, for the following ones, @code{instr} is used.
874 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
875 \set Staff.instrument = "Ploink "
876 \set Staff.instr = "Plk "
882 You can also use markup texts to construct more complicated instrument
885 @lilypond[quote,fragment,verbatim,raggedright]
886 \set Staff.instrument = \markup {
887 \column { "Clarinetti"
888 \line { "in B" \smaller \flat } } }
892 If you wish to center the instrument names, you must center all of them
894 @lilypond[quote,verbatim,raggedright]
897 \set Staff.instrument = \markup {
898 \center-align { "Clarinetti"
899 \line { "in B" \smaller \flat } } }
903 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
910 For longer instrument names, it may be useful to increase the
911 @code{indent} setting in the @code{\layout} block.
915 Program reference: @internalsref{InstrumentName}.
919 When you put a name on a grand staff or piano staff, the width of the
920 brace is not taken into account. The following property setting can be
921 used to move the instrument names to the left, in such situations.
924 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
928 @node Instrument transpositions
929 @subsection Instrument transpositions
931 @cindex transposition, MIDI
932 @cindex transposition, instrument
934 The key of a transposing instrument can also be specified. This
935 applies to many wind instruments, for example, clarinets (B-flat, A, and
936 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
938 The transposition is entered after the keyword @code{\transposition}
941 \transposition bes %% B-flat clarinet
945 This command sets the property @code{instrumentTransposition}. The value of
946 this property is used for MIDI output and quotations. It does not
947 affect how notes are printed in the current staff. To change the printed
948 output, see @ref{Transpose}.
950 The pitch to use for @code{\transposition} should correspond to the
951 transposition of the notes. For example, when entering a score in
952 concert pitch, typically all voices are entered in C, so
953 they should be entered as
966 The command @code{\transposition} should be used when the music is
967 entered from a (transposed) orchestral part. For example, in
968 classical horn parts, the tuning of the instrument is often changed
969 during a piece. When copying the notes from the part, use
970 @code{\transposition}, e.g.,
982 @node Ottava brackets
983 @subsection Ottava brackets
985 `Ottava' brackets introduce an extra transposition of an octave for
986 the staff. They are created by invoking the function
987 @code{set-octavation}
993 @lilypond[quote,raggedright,verbatim,fragment]
1003 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1004 (for 15ma) as arguments. Internally the function sets the properties
1005 @code{ottavation} (e.g., to @code{"8va"}) and
1006 @code{centralCPosition}. For overriding the text of the bracket, set
1007 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1009 @lilypond[quote,raggedright,verbatim]
1012 \set Staff.ottavation = #"8"
1020 Program reference: @internalsref{OttavaBracket}.
1022 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1023 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1028 @code{set-octavation} will get confused when clef changes happen
1029 during an octavation bracket.
1032 @node Different editions from one source
1033 @subsection Different editions from one source
1038 The @code{\tag} command marks music expressions with a name. These
1039 tagged expressions can be filtered out later. With this mechanism it
1040 is possible to make different versions of the same music source.
1042 In the following example, we see two versions of a piece of music, one
1043 for the full score, and one with cue notes for the instrumental part
1059 The same can be applied to articulations, texts, etc.: they are
1062 -\tag #@var{your-tag}
1064 to an articulation, for example,
1069 This defines a note with a conditional fingering indication.
1072 @cindex removeWithTag
1073 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1074 commands, tagged expressions can be filtered. For example,
1078 \keepWithTag #'score @var{the music}
1079 \keepWithTag #'part @var{the music}
1084 @lilypondfile[raggedright,quote]{tag-filter.ly}
1086 The argument of the @code{\tag} command should be a symbol, or a list
1087 of symbols, for example,
1089 \tag #'(original-part transposed-part) @dots{}
1095 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1100 Multiple rests are not merged if you create the score with both tagged
1105 @node Orchestral music
1106 @section Orchestral music
1108 Orchestral music involves some special notation, both in the full
1109 score and the individual parts. This section explains how to tackle
1110 some common problems in orchestral music.
1113 * Automatic part combining::
1115 * Quoting other voices::
1116 * Formatting cue notes::
1117 * Aligning to cadenzas::
1121 @node Automatic part combining
1122 @subsection Automatic part combining
1123 @cindex automatic part combining
1124 @cindex part combiner
1126 Automatic part combining is used to merge two parts of music onto a
1127 staff. It is aimed at typesetting orchestral scores. When the two
1128 parts are identical for a period of time, only one is shown. In
1129 places where the two parts differ, they are typeset as separate
1130 voices, and stem directions are set automatically. Also, solo and
1131 @emph{a due} parts are identified and can be marked.
1133 The syntax for part combining is
1136 \partcombine @var{musicexpr1} @var{musicexpr2}
1140 The following example demonstrates the basic functionality of the part
1141 combiner: putting parts on one staff, and setting stem directions and
1144 @lilypond[quote,verbatim,raggedright,fragment]
1145 \new Staff \partcombine
1146 \relative g' { g g a( b) c c r r }
1147 \relative g' { g g r4 r e e g g }
1150 The first @code{g} appears only once, although it was
1151 specified twice (once in each part). Stem, slur, and tie directions are
1152 set automatically, depending whether there is a solo or unisono. The
1153 first part (with context called @code{one}) always gets up stems, and
1154 `Solo', while the second (called @code{two}) always gets down stems and
1157 If you just want the merging parts, and not the textual markings, you
1158 may set the property @code{printPartCombineTexts} to false
1160 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1162 \set Staff.printPartCombineTexts = ##f
1164 \relative g' { g a( b) r }
1165 \relative g' { g r4 r f }
1169 To change the text that is printed for solos or merging, you may
1170 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1173 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1175 \set Score.soloText = #"ichi"
1176 \set Score.soloIIText = #"ni"
1177 \set Score.aDueText = #"tachi"
1179 \relative g' { g4 g a( b) r }
1180 \relative g' { g4 g r r f }
1184 Both arguments to @code{\partcombine} will be interpreted as
1185 @internalsref{Voice} contexts. If using relative octaves,
1186 @code{\relative} should be specified for both music expressions, i.e.,
1190 \relative @dots{} @var{musicexpr1}
1191 \relative @dots{} @var{musicexpr2}
1195 A @code{\relative} section that is outside of @code{\partcombine} has
1196 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1200 Program reference: @internalsref{PartCombineMusic}.
1204 When @code{printPartCombineTexts} is set, when the two voices play the
1205 same notes on and off, the part combiner may typeset @code{a2} more
1206 than once in a measure.
1208 @code{\partcombine} cannot be inside @code{\times}.
1210 @code{\partcombine} cannot be inside @code{\relative}.
1212 Internally, the @code{\partcombine} interprets both arguments as
1213 @code{Voice}s named @code{one} and @code{two}, and then decides when
1214 the parts can be combined. Consequently, if the arguments switch to
1215 differently named @internalsref{Voice} contexts, the events in those
1220 @subsection Hiding staves
1222 @cindex Frenched scores
1223 @cindex Hiding staves
1225 In orchestral scores, staff lines that only have rests are usually
1226 removed; this saves some space. This style is called `French Score'.
1227 For @internalsref{Lyrics},
1228 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1229 switched on by default. When the lines of these contexts turn out
1230 empty after the line-breaking process, they are removed.
1232 For normal staves, a specialized @internalsref{Staff} context is
1233 available, which does the same: staves containing nothing (or only
1234 multi-measure rests) are removed. The context definition is stored in
1235 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1236 in this example disappears in the second line
1238 @lilypond[quote,raggedright,verbatim]
1240 \context { \RemoveEmptyStaffContext }
1245 \new Staff { e4 f g a \break c1 }
1246 \new Staff { c4 d e f \break R1 }
1251 The first system shows all staves in full. If empty staves should be
1252 removed from the first system too, set @code{remove-first} to true in
1253 @internalsref{RemoveEmptyVerticalGroup}.
1256 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1259 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1260 or @code{\RemoveEmptyRhythmicStaffContext}.
1262 Another application is making ossia sections, i.e., alternative
1263 melodies on a separate piece of staff, with help of a Frenched
1264 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1267 @node Quoting other voices
1268 @subsection Quoting other voices
1270 With quotations, fragments of other parts can be inserted into a part
1271 directly. Before a part can be quoted, it must be marked especially as
1272 quotable. This is done with the @code{\addquote} command.
1275 \addquote @var{name} @var{music}
1280 Here, @var{name} is an identifying string. The @var{music} is any kind
1281 of music. Here is an example of @code{\addquote}
1284 \addquote clarinet \relative c' @{
1289 This command must be entered at toplevel, i.e., outside any music
1292 After calling @code{\addquote}, the quotation may then be done with
1293 @code{\quoteDuring} or @code{\cueDuring},
1296 \quoteDuring #@var{name} @var{music}
1299 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1303 \quoteDuring #"clarinet" @{ s2. @}
1306 This would cite three quarter notes (the duration of @code{s2.}) of
1307 the previously added @code{clarinet} voice.
1310 More precisely, it takes the current time-step of the part being
1311 printed, and extracts the notes at the corresponding point of the
1312 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1313 should be the entire part of the voice to be quoted, including any
1314 rests at the beginning.
1316 Quotations take into account the transposition of both source and target
1317 instruments, if they are specified using the @code{\transposition} command.
1319 @lilypond[quote,raggedright,verbatim]
1320 \addquote clarinet \relative c' {
1326 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1330 The type of events that are present in cue notes can be trimmed with
1331 the @code{quotedEventTypes} property. The default value is
1332 @code{(note-event rest-event)}, which means that only notes and
1333 rests of the cued voice end up in the @code{\quoteDuring}.
1337 \set Staff.quotedEventTypes =
1338 #'(note-event articulation-event dynamic-event)
1342 will quote notes (but no rests), together with scripts and dynamics.
1346 Only the contents of the first @internalsref{Voice} occurring in an
1347 @code{\addquote} command will be considered for quotation, so
1348 @var{music} can not contain @code{\new} and @code{\context Voice}
1349 statements that would switch to a different Voice.
1351 Quoting grace notes is broken and can even cause LilyPond to crash.
1355 In this manual: @ref{Instrument transpositions}.
1357 Examples: @inputfileref{input/@/regression,quote@/.ly}
1358 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1360 Program reference: @internalsref{QuoteMusic}.
1363 @node Formatting cue notes
1364 @subsection Formatting cue notes
1366 The previous section deals with inserting notes from another voice.
1367 There is a more advanced music function called @code{\cueDuring},
1368 which makes formatting cue notes easier.
1373 \cueDuring #@var{name} #@var{updown} @var{music}
1376 This will insert notes from the part @var{name} into a
1377 @internalsref{Voice} called @code{cue}. This happens simultaneously
1378 with @var{music}, which usually is a rest. When the cue notes start,
1379 the staff in effect becomes polyphonic for a moment. The argument
1380 @var{updown} determines whether the cue notes should be notated as a
1381 first or second voice.
1384 @lilypond[verbatim,raggedright]
1387 \override Stem #'length = #5.5
1388 \override Beam #'thickness = #0.384
1389 \override Beam #'space-function =
1390 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1393 \addquote clarinet \relative {
1398 \new Staff \relative <<
1400 % setup a context for cue notes.
1401 \context Voice = cue { \smaller \skip 1*21 }
1403 \set Score.skipBars = ##t
1407 \cueDuring #"clarinet" #1 {
1416 Here are a couple of hints for successful cue notes
1420 Cue notes have smaller font sizes.
1422 the cued part is marked with the instrument playing the cue.
1424 when the original part takes over again, this should be marked with
1425 the name of the original instrument.
1427 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1429 @c Yes, this is good practice. Otherwise, the start of the original
1430 @c part can only be seen from the font size. This is not good enough
1431 @c for sight-reading. It is possilbe to use other
1432 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1437 Any other changes introduced by the cued part should also be
1438 undone. For example, if the cued instrument plays in a different clef,
1439 the original clef should be stated once again.
1444 @node Aligning to cadenzas
1445 @subsection Aligning to cadenzas
1447 In an orchestral context, cadenzas present a special problem:
1448 when constructing a score that includes a cadenza, all other
1449 instruments should skip just as many notes as the length of the
1450 cadenza, otherwise they will start too soon or too late.
1452 A solution to this problem are the functions @code{mmrest-of-length}
1453 and @code{skip-of-length}. These Scheme functions take a piece of music
1454 as argument, and generate a @code{\skip} or multi-rest, exactly as
1455 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1456 in the following example.
1458 @lilypond[verbatim,raggedright,quote]
1459 cadenza = \relative c' {
1460 c4 d8 << { e f g } \\ { d4. } >>
1465 \new Staff { \cadenza c'4 }
1467 #(ly:export (mmrest-of-length cadenza))
1476 @node Contemporary notation
1477 @section Contemporary notation
1479 In the 20th century, composers have greatly expanded the musical
1480 vocabulary. With this expansion, many innovations in musical notation
1481 have been tried. The book ``Music Notation in the 20th century'' by
1482 Kurt Stone gives a comprehensive overview (see @ref{Literature
1483 list}). In general, the use of new, innovative notation makes a piece
1484 harder to understand and perform and its use should therefore be
1485 avoided. For this reason, support for contemporary notation in
1486 LilyPond is limited.
1490 * Polymetric notation::
1491 * Time administration::
1493 * Special fermatas::
1494 * Special noteheads::
1501 @node Polymetric notation
1502 @subsection Polymetric notation
1504 Double time signatures are not supported explicitly, but they can be
1505 faked. In the next example, the markup for the time signature is
1506 created with a markup text. This markup text is inserted in the
1507 @internalsref{TimeSignature} grob.
1509 @lilypond[verbatim,raggedright]
1514 \musicglyph #"scripts.stopped"
1515 \bracket \column { "5" "8" }
1520 \override Staff.TimeSignature #'print-function = #Text_interface::print
1521 \override Staff.TimeSignature #'text = #tsMarkup
1523 c'2 \bar ":" c'4 c'4.
1527 Each staff can also have its own time signature. This is done by
1528 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1534 \remove "Timing_translator"
1535 \remove "Default_bar_line_engraver"
1539 \consists "Timing_translator"
1540 \consists "Default_bar_line_engraver"
1547 Now, each staff has its own time signature.
1560 c4. c8 c c c4. c8 c c
1565 @lilypond[quote,raggedright]
1569 \remove "Timing_translator"
1570 \remove "Default_bar_line_engraver"
1573 \consists "Timing_translator"
1574 \consists "Default_bar_line_engraver"
1589 c4. c8 c c c4. c8 c c
1595 A different form of polymetric notation is where note lengths have
1596 different values across staves.
1598 This notation can be created by setting a common time signature for
1599 each staff but replacing it manually using
1600 @code{timeSignatureFraction} to the desired fraction. Then the printed
1601 durations in each staff are scaled to the common time signature.
1602 The latter is done with @code{\compressMusic}, which is similar to
1603 @code{\times}, but does not create a tuplet bracket.
1606 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1607 used in parallel. In the second staff, shown durations are multiplied by
1608 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1609 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1611 @lilypond[quote,raggedright,verbatim,fragment]
1619 \set Staff.timeSignatureFraction = #'(9 . 8)
1620 \compressMusic #'(2 . 3)
1621 \repeat unfold 6 { c8[ c c] }
1625 \set Staff.timeSignatureFraction = #'(10 . 8)
1626 \compressMusic #'(3 . 5) {
1627 \repeat unfold 2 { c8[ c c] }
1628 \repeat unfold 2 { c8[ c] }
1629 | c4. c4. \times 2/3 { c8 c c } c4
1640 When using different time signatures in parallel, the spacing is
1641 aligned vertically, but bar lines distort the regular spacing.
1644 @node Time administration
1645 @subsection Time administration
1647 @cindex Time administration
1649 Time is administered by the @internalsref{Time_signature_engraver},
1650 which usually lives in the @internalsref{Score} context. The
1651 bookkeeping deals with the following variables
1654 @item currentBarNumber
1658 The length of the measures in the current time signature. For a 4/4
1659 time this is@tie{}1, and for 6/8 it is 3/4.
1661 @item measurePosition
1662 The point within the measure where we currently are. This quantity
1663 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1664 happens, @code{currentBarNumber} is incremented.
1667 If set to true, the above variables are updated for every time
1668 step. When set to false, the engraver stays in the current measure
1672 Timing can be changed by setting any of these variables explicitly.
1673 In the next example, the 4/4 time signature is printed, but
1674 @code{measureLength} is set to 5/4. After a while, the measure is
1675 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1676 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1677 3/8 arises because 5/4 normally has 10/8, but we have manually
1678 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1680 @lilypond[quote,raggedright,verbatim,relative,fragment]
1681 \set Score.measureLength = #(ly:make-moment 5 4)
1685 \set Score.measurePosition = #(ly:make-moment 7 8)
1693 @subsection Clusters
1697 A cluster indicates a continuous range of pitches to be played. They
1698 can be denoted as the envelope of a set of notes. They are entered by
1699 applying the function @code{makeClusters} to a sequence of
1701 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1702 \makeClusters { <c e > <b f'> }
1705 The following example (from
1706 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1709 @lilypondfile[raggedright,quote]{cluster.ly}
1711 Ordinary notes and clusters can be put together in the same staff,
1712 even simultaneously. In such a case no attempt is made to
1713 automatically avoid collisions between ordinary notes and clusters.
1717 Program reference: @internalsref{ClusterSpanner},
1718 @internalsref{ClusterSpannerBeacon},
1719 @internalsref{Cluster_spanner_engraver}.
1721 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1725 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1726 accurately. Use @code{<g a>8 <e a>8} instead.
1730 @node Special fermatas
1731 @subsection Special fermatas
1733 @cindex fermatas, special
1735 In contemporary music notation, special fermata symbols denote breaks
1736 of differing lengths. The following fermatas are supported
1738 @lilypond[quote,raggedright]
1761 \context Lyrics \lyricmode {
1762 \override LyricText #'font-family = #'typewriter
1763 "shortfermata" "fermata" "longfermata" "verylongfermata"
1768 See @ref{Articulations} for general instructions how to apply scripts
1769 such as fermatas to notes.
1772 @node Special noteheads
1773 @subsection Special noteheads
1775 Different noteheads are used by various instruments for various
1776 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1777 notes on guitar; diamonds are used for harmonics on string instruments,
1778 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1779 other notehead styles are produced by tweaking the property
1781 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1783 \override NoteHead #'style = #'cross
1785 \revert NoteHead #'style
1786 e d <c f\harmonic> <d a'\harmonic>
1790 To see all notehead styles, please see
1791 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1796 Program reference: @internalsref{NoteHead}.
1798 @node Pitched trills
1799 @subsection Pitched trills
1801 Trills that should be executed on an explicitly specified pitch can be
1802 typeset with the command @code{pitchedTrill},
1804 @lilypond[raggedright,verbatim,fragment]
1805 \pitchedTrill c'4\startTrillSpan fis
1809 The first argument is the main note. The absolute pitch of the second
1810 is printed as a stemless note head in parentheses.
1812 @node Feathered beams
1813 @subsection Feathered beams
1815 Feathered beams are not supported natively, but they can be faked by
1816 forcing two beams to overlap. Here is an example,
1818 @c don't change relative setting witout changing positions!
1819 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1824 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1829 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1837 @subsection Improvisation
1839 Improvisation is sometimes denoted with slashed note heads. Such note
1840 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1841 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1845 \set squashedPosition = #0
1846 \override NoteHead #'style = #'slash
1850 switches on the slashes.
1852 There are shortcuts @code{\improvisationOn} (and an accompanying
1853 @code{\improvisationOff}) for this command sequence. They are used in
1854 the following example
1856 @lilypond[verbatim,raggedright,quote]
1858 \consists Pitch_squash_engraver
1860 e8 e g a a16(bes)(a8) g \improvisationOn
1863 ~fis2 \improvisationOff a16(bes) a8 g e
1868 @node Educational use
1869 @section Educational use
1871 With the amount of control that LilyPond offers, one can make great
1872 teaching tools in addition to great musical scores.
1876 * Blank music sheet::
1878 * Shape note heads ::
1879 * Easy Notation note heads::
1880 * Analysis brackets::
1881 * Coloring objects::
1885 @subsection Balloon help
1887 Elements of notation can be marked and named with the help of a square
1888 balloon. The primary purpose of this feature is to explain notation.
1890 The following example demonstrates its use.
1892 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1895 #(add-balloon-text 'NoteHead "heads, or tails?"
1902 The function @code{add-balloon-text} takes the name of a grob, the
1903 label to print, and the position where to put the label relative to
1904 the object. In the above example, the text ``heads or tails?'' ends
1905 3 spaces below and 1 space to the right of the marked head.
1908 @cindex notation, explaining
1912 Program reference: @internalsref{text-balloon-interface}.
1914 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1919 @node Blank music sheet
1920 @subsection Blank music sheet
1922 A blank music sheet can be produced also by using invisible notes, and
1923 removing @code{Bar_number_engraver}.
1926 @lilypond[quote,verbatim]
1928 \repeat unfold 2 % Change this for more lines.
1933 \override TimeSignature #'transparent = ##t
1934 defaultBarType = #""
1935 \remove Bar_number_engraver
1937 \context Staff \emptymusic
1938 \context TabStaff \emptymusic
1944 @subsection Hidden notes
1946 @cindex Hidden notes
1947 @cindex Invisible notes
1948 @cindex Transparent notes
1950 @cindex @code{\hideNotes}
1951 @cindex @code{\unHideNotes}
1952 Hidden (or invisible or transparent) notes can be useful in preparing theory
1953 or composition exercises.
1955 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1963 Hidden notes are also great for performing weird tricks. For example,
1964 slurs cannot be attached to rests or spacer rests, but you may wish
1965 to include that in your score -- string instruments use this notation
1966 when doing pizzicato to indicate that the note should ring for as long
1969 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1972 c4^"pizz"( \hideNotes c)
1973 \unHideNotes c( \hideNotes c)
1980 @node Shape note heads
1981 @subsection Shape note heads
1983 In shape note head notation, the shape of the note head corresponds
1984 to the harmonic function of a note in the scale. This notation was
1985 popular in the 19th century American song books.
1987 Shape note heads can be produced by setting @code{\aikenHeads} or
1988 @code{\sacredHarpHeads}, depending on the style desired.
1990 @lilypond[verbatim,relative=1,fragment]
1997 Shapes are determined on the step in the scale, where the base of the
1998 scale is determined by the @code{\key} command
2001 @findex shapeNoteStyles
2003 @findex \sacredHarpHeads
2005 Shape note heads are implemented through the @code{shapeNoteStyles}
2006 property. Its value is a vector of symbols. The k-th element indicates
2007 the style to use for the k-th step of the scale. Arbitrary
2008 combinations are possible, eg.,
2011 @lilypond[verbatim,relative=1,fragment]
2012 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2017 @node Easy Notation note heads
2018 @subsection Easy Notation note heads
2020 @cindex easy notation
2023 The `easy play' note head includes a note name inside the head. It is
2024 used in music for beginners
2026 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
2031 The command @code{\setEasyHeads} overrides settings for the
2032 @internalsref{NoteHead} object. To make the letters readable, it has
2033 to be printed in a large font size. To print with a larger font, see
2034 @ref{Setting global staff size}.
2038 @cindex @code{\setEasyHeads}
2039 @code{\setEasyHeads}
2042 @node Analysis brackets
2043 @subsection Analysis brackets
2045 @cindex phrasing brackets
2046 @cindex musicological analysis
2047 @cindex note grouping bracket
2049 Brackets are used in musical analysis to indicate structure in musical
2050 pieces. LilyPond supports a simple form of nested horizontal
2051 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2052 to @internalsref{Staff} context. A bracket is started with
2053 @code{\startGroup} and closed with @code{\stopGroup}
2055 @lilypond[quote,raggedright,verbatim]
2058 c4\startGroup\startGroup
2061 c4\stopGroup\stopGroup
2065 \Staff \consists "Horizontal_bracket_engraver"
2071 Program reference: @internalsref{HorizontalBracket}.
2073 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2079 I don't think we need this info.
2084 Whenever a note is found, a @internalsref{Stem} object is created
2085 automatically. For whole notes and rests, they are also created but
2090 @cindex @code{\stemUp}
2092 @cindex @code{\stemDown}
2094 @cindex @code{\stemNeutral}
2095 @code{\stemNeutral}.
2100 @node Coloring objects
2101 @subsection Coloring objects
2103 Individual objects may be assigned colors. You may use the
2104 color names listed in the @ref{List of colors}.
2106 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2107 \override NoteHead #'color = #red
2109 \override NoteHead #'color = #(x11-color 'LimeGreen)
2111 \override Stem #'color = #blue
2115 The full range of colors defined for X11 can be accessed by using the
2116 scheme function x11-color. The function takes one argument that can be a
2120 \override Beam #'color = #(x11-color 'MediumTurquoise)
2126 \override Beam #'color = #(x11-color "MediumTurquoise")
2129 The first form is quicker to write and is more efficient. However, using
2130 the second form it is possible to access X11 colors by the multi-word
2134 \override Beam #'color = #(x11-color "medium turquoise")
2137 If x11-color cannot make sense of the parameter then the color returned
2138 defaults to black. It should be obvious from the final score that
2141 This example, illustrates the use of x11-color. Notice that the stem
2142 color remains black after being set to (x11-color 'Boggle), which is
2143 deliberate nonsense.
2145 @lilypond[quote,raggedright,verbatim]
2147 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2148 \set Staff.instrument = \markup {
2149 \with-color #(x11-color 'navy) "Clarinet"
2153 \override Beam #'color = #(x11-color "medium turquoise")
2155 \override NoteHead #'color = #(x11-color "LimeGreen")
2157 \override Stem #'color = #(x11-color 'Boggle)
2165 Appendix: @ref{List of colors}.
2169 Not all x11 colors are distinguishable in a web browser. For web use
2170 normal colors are recommended.
2172 An x11 color is not necessarily exactly the same shade as a similarly
2176 @node Automatic notation
2177 @section Automatic notation
2179 This section describes how to change the way that accidentals and
2180 beams are automatically displayed.
2182 FIXME: this might get moved into Changing Defaults. Please send
2183 opinions to lilypond-devel. Thanks! :)
2186 * Automatic accidentals::
2187 * Setting automatic beam behavior::
2190 @node Automatic accidentals
2191 @subsection Automatic accidentals
2192 @cindex Automatic accidentals
2194 Common rules for typesetting accidentals have been placed in a
2195 function. This function is called as follows
2197 @cindex @code{set-accidental-style}
2199 #(set-accidental-style 'STYLE #('CONTEXT#))
2202 The function can take two arguments: the name of the accidental style,
2203 and an optional argument that denotes the context that should be
2204 changed. If no context name is supplied, @code{Staff} is the default,
2205 but you may wish to apply the accidental style to a single @code{Voice}
2208 The following accidental styles are supported
2211 This is the default typesetting behavior. It corresponds
2212 to 18th century common practice: Accidentals are
2213 remembered to the end of the measure in which they occur and
2214 only on their own octave.
2217 The normal behavior is to remember the accidentals on
2218 Staff-level. This variable, however, typesets accidentals
2219 individually for each voice. Apart from that, the rule is similar to
2222 As a result, accidentals from one voice do not get canceled in other
2223 voices, which is often an unwanted result
2225 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2227 #(set-accidental-style 'voice)
2234 The @code{voice} option should be used if the voices
2235 are to be read solely by individual musicians. If the staff is to be
2236 used by one musician (e.g., a conductor) then
2237 @code{modern} or @code{modern-cautionary}
2238 should be used instead.
2241 @cindex @code{modern} style accidentals
2242 This rule corresponds to the common practice in the 20th century. This rule
2243 prints the same accidentals as @code{default}, but temporary
2244 accidentals also are canceled in other octaves. Furthermore,
2245 in the same octave, they also get canceled in the following
2248 @lilypond[quote,raggedright,fragment,verbatim]
2249 #(set-accidental-style 'modern)
2250 cis' c'' cis'2 | c'' c'
2253 @item @code{modern-cautionary}
2254 @cindex @code{modern-cautionary}
2255 This rule is similar to @code{modern}, but the ``extra'' accidentals
2256 (the ones not typeset by @code{default}) are typeset as cautionary
2257 accidentals. They are printed in reduced size or with parentheses
2258 @lilypond[quote,raggedright,fragment,verbatim]
2259 #(set-accidental-style 'modern-cautionary)
2260 cis' c'' cis'2 | c'' c'
2263 @cindex @code{modern-voice}
2265 This rule is used for multivoice accidentals to be read both by musicians
2266 playing one voice and musicians playing all voices. Accidentals are
2267 typeset for each voice, but they @emph{are} canceled across voices in
2268 the same @internalsref{Staff}.
2270 @cindex @code{modern-voice-cautionary}
2271 @item modern-voice-cautionary
2272 This rule is the same as @code{modern-voice}, but with the extra
2273 accidentals (the ones not typeset by @code{voice}) typeset
2274 as cautionaries. Even though all accidentals typeset by
2275 @code{default} @emph{are} typeset by this variable,
2276 some of them are typeset as cautionaries.
2279 @cindex @code{piano} accidentals
2280 This rule reflects 20th century practice for piano notation. Very similar to
2281 @code{modern} but accidentals also get canceled
2282 across the staves in the same @internalsref{GrandStaff} or
2283 @internalsref{PianoStaff}.
2285 @item piano-cautionary
2286 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2287 Same as @code{#(set-accidental-style 'piano)} but with the extra
2288 accidentals typeset as cautionaries.
2291 @cindex @code{no-reset} accidental style
2292 This is the same as @code{default} but with accidentals lasting
2293 ``forever'' and not only until the next measure
2294 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2295 #(set-accidental-style 'no-reset)
2300 This is sort of the opposite of @code{no-reset}: Accidentals
2301 are not remembered at all---and hence all accidentals are
2302 typeset relative to the key signature, regardless of what was
2305 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2306 #(set-accidental-style 'forget)
2307 \key d\major c4 c cis cis d d dis dis
2314 Program reference: @internalsref{Accidental_engraver},
2315 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2320 Simultaneous notes are considered to be entered in sequential
2321 mode. This means that in a chord the accidentals are typeset as if the
2322 notes in the chord happened once at a time - in the order in which
2323 they appear in the input file.
2325 This is a problem when accidentals in a chord depend on each other,
2326 which does not happen for the default accidental style. The problem
2327 can be solved by manually inserting @code{!} and @code{?} for the
2331 @node Setting automatic beam behavior
2332 @subsection Setting automatic beam behavior
2334 @cindex @code{autoBeamSettings}
2335 @cindex @code{(end * * * *)}
2336 @cindex @code{(begin * * * *)}
2337 @cindex automatic beams, tuning
2338 @cindex tuning automatic beaming
2340 @c [TODO: use \applycontext]
2342 In normal time signatures, automatic beams can start on any note but can
2343 only end in a few positions within the measure: beams can end on a beat,
2344 or at durations specified by the properties in
2345 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2346 consist of a list of rules for where beams can begin and end. The
2347 default @code{autoBeamSettings} rules are defined in
2348 @file{scm/@/auto@/-beam@/.scm}.
2350 In order to add a rule to the list, use
2352 #(override-auto-beam-setting '(be p q n m) a b [context])
2357 @item @code{be} is either "begin" or "end".
2359 @item @code{b/q} is the duration of the note for which you want
2360 to add a rule. A beam is considered to have the duration of its
2361 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2362 have this apply to any beam.
2364 @item @code{n/m} is the position in the time signature to which
2365 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2366 to have this apply in any time signature.
2368 @item @code{a/b} is the position in the bar at which the beam should end.
2370 @item @code{context} is optional, and it specifies the context at which
2371 the change should be made. The default is @code{'Voice}.
2372 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2373 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2377 For example, if automatic beams should always end on the first quarter
2381 #(override-auto-beam-setting '(end * * * *) 1 4)
2384 You can force the beam settings to only take effect on beams whose shortest
2385 note is a certain duration
2387 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2389 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2391 a32 a a a a16 a a a a a |
2392 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2393 a32 a a a a16 a a a a a |
2396 You can force the beam settings to only take effect in certain time
2399 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2401 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2409 You can also remove a previously set beam-ending rule by using
2412 #(revert-auto-beam-setting '(be p q n m) a b [context])
2416 be, p, q, n, m, a, b and context are the same as above. Note that the
2417 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2418 so you can revert rules that you did not explicitly create.
2420 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2422 a16 a a a a a a a a a a a a a a a
2423 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2424 a16 a a a a a a a a a a a a a a a
2427 The rule in a revert-auto-beam-setting statement must exactly match the
2428 original rule. That is, no wildcard expansion is taken into account.
2430 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2432 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2434 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2436 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2442 @c TODO: old material -- not covered by above stuff, I think.
2443 If automatic beams should end on every quarter in 5/4 time, specify
2446 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2447 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2448 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2449 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2453 The same syntax can be used to specify beam starting points. In this
2454 example, automatic beams can only end on a dotted quarter note
2456 #(override-auto-beam-setting '(end * * * *) 3 8)
2457 #(override-auto-beam-setting '(end * * * *) 1 2)
2458 #(override-auto-beam-setting '(end * * * *) 7 8)
2460 In 4/4 time signature, this means that automatic beams could end only on
2461 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2462 3/8, has passed within the measure).
2464 @cindex automatic beam generation
2466 @cindex @code{autoBeaming}
2469 If beams are used to indicate melismata in songs, then automatic
2470 beaming should be switched off with @code{\autoBeamOff}.
2475 @cindex @code{\autoBeamOff}
2476 @code{\autoBeamOff},
2477 @cindex @code{\autoBeamOn}
2483 If a score ends while an automatic beam has not been ended and is
2484 still accepting notes, this last beam will not be typeset at all. The
2485 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2486 >>}. If a polyphonic voice ends while an automatic beam is still
2487 accepting notes, it is not typeset.