1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
20 * Automatic notation::
28 This section explains how to include text (with various formatting) in
31 @cindex Text, other languages
32 To write non-ascii text (such as characters from other languages), simply
33 insert the characters directly into the lilypond file. The file must be
34 saved as UTF-8. For more information, see @ref{Text encoding}.
42 * Overview of text markup commands::
49 @subsection Text scripts
52 @cindex text items, non-empty
53 @cindex non-empty texts
55 It is possible to place arbitrary strings of text or @ref{Text markup}
56 above or below notes by using a string @code{c^"text"}. By default,
57 these indications do not influence the note spacing, but by using the
58 command @code{\fatText}, the widths will be taken into account
60 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
61 c4^"longtext" \fatText c4_"longlongtext" c4
64 More complex formatting may also be added to a note by using the
66 @lilypond[fragment,ragged-right,verbatim,quote]
67 c'4^\markup { bla \bold bla }
70 The @code{\markup} is described in more detail in
76 @cindex @code{\fatText}
78 @cindex @code{\emptyText}
84 Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
87 \override Score.PaperColumn #'keep-inside-line = ##t
93 In this manual: @ref{Text markup}.
95 Program reference: @internalsref{TextScript}.
99 @subsection Text spanners
101 @cindex Text spanners
103 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
104 are written as text and are extended over many measures with dotted
105 lines. Such texts are created using text spanners; attach
106 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
107 notes of the spanner.
109 The string to be printed, as well as the style, is set through object
112 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
115 \override TextSpanner #'edge-text = #'("rall " . "")
116 c2\startTextSpan b c\stopTextSpan a
119 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
120 c2\startTextSpan b c\stopTextSpan a
125 @cindex textSpannerUp
126 @code{textSpannerUp},
127 @cindex textSpannerDown
128 @code{textSpannerDown},
129 @cindex textSpannerNeutral
130 @code{textSpannerNeutral}.
135 Program reference: @internalsref{TextSpanner}.
137 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
141 @subsection Text marks
143 @cindex coda on bar line
144 @cindex segno on bar line
145 @cindex fermata on bar line
146 @cindex bar lines, symbols on
149 The @code{\mark} command is primarily used for
150 @ref{Rehearsal marks},
151 but it can also be used to put signs like coda,
152 segno, and fermata on a bar line. Use @code{\markup} to
153 access the appropriate symbol
155 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
156 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
161 @code{\mark} is only typeset above the top stave of the score. If
162 you specify the @code{\mark} command at a bar line, the resulting
163 mark is placed above the bar line. If you specify it in the middle
164 of a bar, the resulting mark is positioned between notes. If it is
165 specified before the beginning of a score line, it is placed
166 before the first note of the line. Finally, if the mark occurs at
167 a line break, the mark will be printed at the
168 beginning of the next line.
169 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
170 @c delete this sentence. -gp
171 If there is no next line, then the mark will not be printed at all.
176 To print the mark at the end of the current line, use
179 \override Score.RehearsalMark
180 #'break-visibility = #begin-of-line-invisible
183 @code{\mark} is often useful for adding text to the end of bar. In
184 such cases, changing the @code{#'self-alignment} is very useful
186 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
187 \override Score.RehearsalMark
188 #'break-visibility = #begin-of-line-invisible
190 \once \override Score.RehearsalMark #'self-alignment-X = #right
191 \mark "D.S. al Fine "
194 Text marks may be aligned with notation objects other than
197 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
202 \set Score.rehearsalMarkAlignSymbol = #'key-signature
206 \set Score.rehearsalMarkAlignSymbol = #'clef
210 \set Score.rehearsalMarkAlignSymbol = #'time-signature
222 Program reference: @internalsref{RehearsalMark}.
226 @subsection Text markup
233 Use @code{\markup} to typeset text. Commands are entered with the
234 backslash @code{\}. To enter @code{\} and @code{#}, use double
237 @lilypond[quote,verbatim,fragment,relative=1]
239 c1_\markup { hi there }
240 c1^\markup { hi \bold there, is \italic anyone home? }
241 c1_\markup { "\special #characters" }
245 See @ref{Overview of text markup commands} for a list of all
248 @code{\markup} is primarily used for @internalsref{TextScript}s,
249 but it can also be used anywhere text is called in lilypond
251 @lilypond[quote,verbatim]
252 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
255 \override Score.RehearsalMark
256 #'break-visibility = #begin-of-line-invisible
257 \override Score.RehearsalMark #'self-alignment-X = #right
259 \set Staff.instrument = \markup{ \column{ Alto solo } }
260 c2^\markup{ don't be \flat }
261 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
263 a2\mark \markup{ \large \bold Fine }
267 \addlyrics { bar, foo \markup{ \italic bar! } }
271 Text can also be placed on its own, away from any @code{\score}
272 block. This is primarily used in a @code{\book} (see
273 @ref{Multiple movements}).
275 @lilypond[quote,ragged-right,verbatim]
276 \markup{ Here is some text. }
279 @cindex font switching
281 The markup in the example demonstrates font switching commands. The
282 command @code{\bold} and @code{\italic} apply to the first following
283 word only; to apply a command to more than one word, enclose the
287 \markup @{ \bold @{ hi there @} @}
291 For clarity, you can also do this for single arguments, e.g.,
294 \markup @{ is \italic @{ anyone @} home @}
297 In markup mode you can compose expressions, similar to mathematical
298 expressions, XML documents, and music expressions. You can stack
299 expressions grouped vertically with the command @code{\column}.
300 Similarly, @code{\center-align} aligns texts by their center lines:
302 @lilypond[quote,verbatim,fragment,relative=1]
303 c1^\markup { \column { a bbbb \line { c d } } }
304 c1^\markup { \center-align { a bbbb c } }
305 c1^\markup { \line { a b c } }
308 Lists with no previous command are not kept distinct. The expression
311 \center-align @{ @{ a b @} @{ c d @} @}
319 \center-align @{ a b c d @}
324 To keep lists of words distinct, please use quotes @code{"} or
325 the @code{\line} command
327 @lilypond[quote,verbatim,fragment,relative=1]
329 c4^\markup{ \center-align { on three lines } }
330 c4^\markup{ \center-align { "all one line" } }
331 c4^\markup{ \center-align { { on three lines } } }
332 c4^\markup{ \center-align { \line { on one line } } }
335 Markups can be stored in variables and these variables
336 may be attached to notes, like
338 allegro = \markup @{ \bold \large @{ Allegro @} @}
339 @{ a^\allegro b c d @}
342 Some objects have alignment procedures of their own, which cancel out
343 any effects of alignments applied to their markup arguments as a
344 whole. For example, the @internalsref{RehearsalMark} is horizontally
345 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
348 In addition, vertical placement is performed after creating the
349 text markup object. If you wish to move an entire piece of markup,
350 you need to use the #'padding property or create an "anchor" point
351 inside the markup (generally with @code{\hspace #0}).
353 @lilypond[quote,verbatim,fragment,relative=1]
355 c'4^\markup{ \raise #5 "not raised" }
356 \once \override TextScript #'padding = #3
357 c'4^\markup{ raised }
358 c'4^\markup{ \hspace #0 \raise #1.5 raised }
364 This manual: @ref{Overview of text markup commands}.
366 Program reference: @internalsref{TextScript}.
368 Init files: @file{scm/@/new@/-markup@/.scm}.
373 Kerning or generation of ligatures is only done when the @TeX{}
374 backend is used. In this case, LilyPond does not account for them so
375 texts will be spaced slightly too wide.
377 Syntax errors for markup mode are confusing.
381 @subsection Nested scores
383 It is possible to nest music inside markups, by adding a @code{\score}
384 block to a markup expression. Such a score must contain a @code{\layout}
387 @lilypond[quote,verbatim,ragged-right]
391 \relative { c4 d e f }
400 @node Overview of text markup commands
401 @subsection Overview of text markup commands
403 The following commands can all be used inside @code{\markup @{ @}}.
405 @include markup-commands.tely
409 @subsection Font selection
411 @cindex font selection
412 @cindex font magnification
413 @cindex @code{font-interface}
415 By setting the object properties described below, you can select a
416 font from the preconfigured font families. LilyPond has default
417 support for the feta music fonts. Text fonts are selected through
418 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
419 the sans and typewriter to whatever the Pango installation defaults
424 @item @code{font-encoding}
425 is a symbol that sets layout of the glyphs. This should only be set to
426 select different types of non-text fonts, eg.
428 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
429 standard music font, including ancient glyphs, @code{fetaDynamic} for
430 dynamic signs and @code{fetaNumber} for the number font.
432 @item @code{font-family}
433 is a symbol indicating the general class of the typeface. Supported are
434 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
436 @item @code{font-shape}
437 is a symbol indicating the shape of the font. There are typically
438 several font shapes available for each font family. Choices are
439 @code{italic}, @code{caps}, and @code{upright}.
441 @item @code{font-series}
442 is a symbol indicating the series of the font. There are typically
443 several font series for each font family and shape. Choices are
444 @code{medium} and @code{bold}.
448 Fonts selected in the way sketched above come from a predefined style
449 sheet. If you want to use a font from outside the style sheet,
451 @code{font-name} property,
453 @lilypond[fragment,verbatim]
455 \override Staff.TimeSignature #'font-name = #"Charter"
456 \override Staff.TimeSignature #'font-size = #2
459 \override #'(font-name . "Vera Bold")
460 { This text is in Vera Bold }
466 Any font can be used, as long as it is available to Pango/FontConfig.
468 The size of the font may be set with the @code{font-size}
469 property. The resulting size is taken relative to the
470 @code{text-font-size} as defined in the @code{\paper} block.
473 @cindex font magnification
476 It is also possible to change the default font family for the entire
477 document. This is done by calling the @code{make-pango-font-tree} from
478 within the @code{\paper} block. The function takes names for the font
479 families to use for roman, sans serif and monospaced text. For
482 @cindex font families, setting
491 (make-pango-font-tree "Times New Roman"
498 c'^\markup { roman: foo \sans bla \typewriter bar }
502 @c we don't do Helvetica / Courier, since GS incorrectly loads
509 Examples: @file{ly/@/font@/-family@/-override.ly}
512 @node New dynamic marks
513 @subsection New dynamic marks
515 It is possible to print new dynamic marks or text that should be aligned
516 with dynamics. Use @code{make-dynamic-script} to create these marks.
518 @cindex make-dynamic-script
520 @lilypond[quote,verbatim,ragged-right]
521 sfzp = #(make-dynamic-script "sfzp")
527 @cindex Dynamics, editorial
528 @cindex Dynamics, parenthesis
530 It is also possible to print dynamics in round parenthesis or square
531 brackets. These are often used for adding editorial dynamics.
533 @lilypond[quote,verbatim,ragged-right]
534 rndf = \markup{ \center-align {\line { \bold{\italic (}
535 \dynamic f \bold{\italic )} }} }
536 boxf = \markup{ \bracket { \dynamic f } }
537 { c'1_\rndf c'1_\boxf }
542 @node Preparing parts
543 @section Preparing parts
545 This section describes various notation that are useful for preparing
549 * Multi measure rests::
554 * Instrument transpositions::
556 * Different editions from one source::
560 @node Multi measure rests
561 @subsection Multi measure rests
563 @cindex multi measure rests
564 @cindex full measure rests
565 @cindex Rests, multi measure
566 @cindex Rests, full measure
567 @cindex whole rests for a full measure
570 Rests for one full measure (or many bars) are entered using `@code{R}'. It
571 is specifically meant for full bar rests and for entering parts: the rest
572 can expand to fill a score with rests, or it can be printed as a single
573 multi-measure rest. This expansion is controlled by the property
574 @code{Score.skipBars}. If this is set to true, empty measures will not
575 be expanded, and the appropriate number is added automatically
577 @lilypond[quote,ragged-right,fragment,verbatim]
578 \time 4/4 r1 | R1 | R1*2
579 \set Score.skipBars = ##t R1*17 R1*4
582 The @code{1} in @code{R1} is similar to the duration notation used for
583 notes. Hence, for time signatures other than 4/4, you must enter other
584 durations. This can be done with augmentation dots or fractions
586 @lilypond[quote,ragged-right,fragment,verbatim]
587 \set Score.skipBars = ##t
596 An @code{R} spanning a single measure is printed as either a whole rest
597 or a breve, centered in the measure regardless of the time signature.
599 If there are only a few measures of rest, LilyPond prints ``church rests''
600 (a series of rectangles) in the staff. To replace that with a simple
601 rest, use @code{MultiMeasureRest.expand-limit}.
603 @lilypond[quote,ragged-right,fragment,verbatim]
604 \set Score.skipBars = ##t
606 \override MultiMeasureRest #'expand-limit = 1
610 @cindex text on multi-measure rest
611 @cindex script on multi-measure rest
612 @cindex fermata on multi-measure rest
614 Texts can be added to multi-measure rests by using the
615 @var{note}-@code{markup} syntax @ref{Text markup}.
616 A variable (@code{\fermataMarkup}) is provided for
619 @lilypond[quote,ragged-right,verbatim,fragment]
620 \set Score.skipBars = ##t
622 R2.*10^\markup { \italic "ad lib." }
626 Warning! This text is created by @code{MultiMeasureRestText}, not
629 @lilypond[quote,ragged-right,verbatim,fragment]
630 \override TextScript #'padding = #5
632 \override MultiMeasureRestText #'padding = #5
636 If you want to have text on the left end of a multi-measure rest,
637 attach the text to a zero-length skip note, i.e.,
647 Program reference: @internalsref{MultiMeasureRestMusicGroup},
648 @internalsref{MultiMeasureRest}.
650 The layout object @internalsref{MultiMeasureRestNumber} is for the
651 default number, and @internalsref{MultiMeasureRestText} for user
657 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
658 over multi-measure rests. And the pitch of multi-measure rests (or
659 staff-centered rests) can not be influenced.
661 @cindex condensing rests
663 There is no way to automatically condense multiple rests into a single
664 multi-measure rest. Multi-measure rests do not take part in rest
667 Be careful when entering multi-measure rests followed by whole
668 notes. The following will enter two notes lasting four measures each
672 When @code{skipBars} is set, the result will look OK, but the bar
673 numbering will be off.
676 @node Metronome marks
677 @subsection Metronome marks
680 @cindex beats per minute
681 @cindex metronome marking
683 Metronome settings can be entered as follows
685 \tempo @var{duration} = @var{per-minute}
688 In the MIDI output, they are interpreted as a tempo change. In the
689 layout output, a metronome marking is printed
690 @cindex @code{\tempo}
691 @lilypond[quote,ragged-right,verbatim,fragment]
698 To change the tempo in the MIDI output without printing anything, make
699 the metronome marking invisible
701 \once \override Score.MetronomeMark #'transparent = ##t
704 To print other metronome markings, use these markup commands
705 @lilypond[quote,ragged-right,verbatim,relative,fragment]
708 \smaller \general-align #Y #DOWN \note #"16." #1
710 \smaller \general-align #Y #DOWN \note #"8" #1
715 See @ref{Text markup} for more details.
720 Program reference: @internalsref{MetronomeMark}.
725 Collisions are not checked. If you have notes above the top line of
726 the staff (or notes with articulations, slurs, text, etc), then the
727 metronome marking may be printed on top of musical symbols. If this
728 occurs, increase the padding of the metronome mark to place it
729 further away from the staff.
732 \override Score.MetronomeMark #'padding = #2.5
736 @node Rehearsal marks
737 @subsection Rehearsal marks
739 @cindex Rehearsal marks
742 To print a rehearsal mark, use the @code{\mark} command
744 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
753 The letter@tie{}`I' is skipped in accordance with engraving traditions.
754 If you wish to include the letter `I', then use
757 \set Score.markFormatter = #format-mark-alphabet
760 The mark is incremented automatically if you use @code{\mark
761 \default}, but you can also use an integer argument to set the mark
762 manually. The value to use is stored in the property
763 @code{rehearsalMark}.
765 The style is defined by the property @code{markFormatter}. It is a
766 function taking the current mark (an integer) and the current context
767 as argument. It should return a markup object. In the following
768 example, @code{markFormatter} is set to a canned procedure. After a
769 few measures, it is set to function that produces a boxed number.
771 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
772 \set Score.markFormatter = #format-mark-numbers
775 \set Score.markFormatter = #format-mark-box-numbers
781 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
782 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
783 @code{format-mark-letters} and @code{format-mark-box-letters}.
784 These can be used as inspiration for other formatting functions.
786 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
787 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
788 incremented numbers or letters.
793 Program reference: @internalsref{RehearsalMark}.
795 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
796 definition of @code{format-mark-numbers} and
797 @code{format-mark-letters}. They can be used as inspiration for other
798 formatting functions.
800 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
802 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
806 @subsection Bar numbers
809 @cindex measure numbers
810 @cindex @code{currentBarNumber}
812 Bar numbers are printed by default at the start of the line. The
813 number itself is stored in the @code{currentBarNumber} property, which
814 is normally updated automatically for every measure.
816 Bar numbers can be typeset at regular intervals instead of at the
817 beginning of each line. This is illustrated in the following example,
818 whose source is available as
819 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
821 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
823 Bar numbers can be typeset manually by tweaking the
824 @code{markFormatter} property
826 @lilypond[verbatim,ragged-right,quote]
828 \set Score.markFormatter
829 = #(lambda (mark context)
832 (number->string (ly:context-property context
833 'currentBarNumber)))))
835 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
839 Bar numbers can be manually changed by setting the
840 @code{Staff.currentBarNumber} property
842 @lilypond[verbatim,ragged-right,quote]
844 \repeat unfold 4 {c4 c c c} \break
845 \set Score.currentBarNumber = #50
846 \repeat unfold 4 {c4 c c c}
850 Bar numbers can be removed entirely by removing the Bar number
851 engraver from the score.
853 @lilypond[verbatim,ragged-right,quote,relative=2]
857 \remove "Bar_number_engraver"
869 Program reference: @internalsref{BarNumber}.
872 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
873 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
878 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
879 there is one at the top. To solve this, the
880 @code{padding} property of @internalsref{BarNumber} can be
881 used to position the number correctly.
884 @node Instrument names
885 @subsection Instrument names
887 In an orchestral score, instrument names are printed at the left side
890 This can be achieved by setting @internalsref{Staff}.@code{instrument}
891 and @internalsref{Staff}.@code{instr}. This will print a string before
892 the start of the staff. For the first staff, @code{instrument} is
893 used, for the following ones, @code{instr} is used.
895 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
896 \set Staff.instrument = "Ploink "
897 \set Staff.instr = "Plk "
903 You can also use markup texts to construct more complicated instrument
906 @lilypond[quote,fragment,verbatim,ragged-right]
907 \set Staff.instrument = \markup {
908 \column { "Clarinetti"
909 \line { "in B" \smaller \flat } } }
913 If you wish to center the instrument names, you must center all of them
915 @lilypond[quote,verbatim,ragged-right]
918 \set Staff.instrument = \markup {
919 \center-align { "Clarinetti"
920 \line { "in B" \smaller \flat } } }
924 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
931 For longer instrument names, it may be useful to increase the
932 @code{indent} setting in the @code{\layout} block.
936 Program reference: @internalsref{InstrumentName}.
940 When you put a name on a grand staff or piano staff, the width of the
941 brace is not taken into account. The following property setting can be
942 used to move the instrument names to the left, in such situations.
945 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
949 @node Instrument transpositions
950 @subsection Instrument transpositions
952 @cindex transposition, MIDI
953 @cindex transposition, instrument
955 The key of a transposing instrument can also be specified. This
956 applies to many wind instruments, for example, clarinets (B-flat, A, and
957 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
959 The transposition is entered after the keyword @code{\transposition}
962 \transposition bes %% B-flat clarinet
966 This command sets the property @code{instrumentTransposition}. The value of
967 this property is used for MIDI output and quotations. It does not
968 affect how notes are printed in the current staff. To change the printed
969 output, see @ref{Transpose}.
971 The pitch to use for @code{\transposition} should correspond to the
972 real sound heard when a @code{c'} written on the staff is played by the
973 transposing instrument. For example, when entering a score in
974 concert pitch, typically all voices are entered in C, so
975 they should be entered as
988 The command @code{\transposition} should be used when the music is
989 entered from a (transposed) orchestral part. For example, in
990 classical horn parts, the tuning of the instrument is often changed
991 during a piece. When copying the notes from the part, use
992 @code{\transposition}, e.g.,
1004 @node Ottava brackets
1005 @subsection Ottava brackets
1007 `Ottava' brackets introduce an extra transposition of an octave for
1008 the staff. They are created by invoking the function
1009 @code{set-octavation}
1015 @lilypond[quote,ragged-right,verbatim,fragment]
1025 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1026 (for 15ma) as arguments. Internally the function sets the properties
1027 @code{ottavation} (e.g., to @code{"8va"}) and
1028 @code{centralCPosition}. For overriding the text of the bracket, set
1029 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1031 @lilypond[quote,ragged-right,verbatim]
1034 \set Staff.ottavation = #"8"
1042 Program reference: @internalsref{OttavaBracket}.
1044 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1045 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1050 @code{set-octavation} will get confused when clef changes happen
1051 during an octavation bracket.
1054 @node Different editions from one source
1055 @subsection Different editions from one source
1060 The @code{\tag} command marks music expressions with a name. These
1061 tagged expressions can be filtered out later. With this mechanism it
1062 is possible to make different versions of the same music source.
1064 In the following example, we see two versions of a piece of music, one
1065 for the full score, and one with cue notes for the instrumental part
1081 The same can be applied to articulations, texts, etc.: they are
1084 -\tag #@var{your-tag}
1086 to an articulation, for example,
1091 This defines a note with a conditional fingering indication.
1094 @cindex removeWithTag
1095 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1096 commands, tagged expressions can be filtered. For example,
1100 \keepWithTag #'score @var{the music}
1101 \keepWithTag #'part @var{the music}
1106 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1108 The argument of the @code{\tag} command should be a symbol. It's
1109 possible to put multiple tags on a piece of music, with multiple
1110 @code{\tag} entries,
1112 \tag #'original-part \tag #'transposed-part @dots{}
1118 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1123 Multiple rests are not merged if you create the score with both tagged
1128 @node Orchestral music
1129 @section Orchestral music
1131 Orchestral music involves some special notation, both in the full
1132 score and the individual parts. This section explains how to tackle
1133 some common problems in orchestral music.
1136 * Automatic part combining::
1138 * Quoting other voices::
1139 * Formatting cue notes::
1140 * Aligning to cadenzas::
1144 @node Automatic part combining
1145 @subsection Automatic part combining
1146 @cindex automatic part combining
1147 @cindex part combiner
1149 Automatic part combining is used to merge two parts of music onto a
1150 staff. It is aimed at typesetting orchestral scores. When the two
1151 parts are identical for a period of time, only one is shown. In
1152 places where the two parts differ, they are typeset as separate
1153 voices, and stem directions are set automatically. Also, solo and
1154 @emph{a due} parts are identified and can be marked.
1156 The syntax for part combining is
1159 \partcombine @var{musicexpr1} @var{musicexpr2}
1163 The following example demonstrates the basic functionality of the part
1164 combiner: putting parts on one staff, and setting stem directions and
1167 @lilypond[quote,verbatim,ragged-right,fragment]
1168 \new Staff \partcombine
1169 \relative g' { g g a( b) c c r r }
1170 \relative g' { g g r4 r e e g g }
1173 The first @code{g} appears only once, although it was
1174 specified twice (once in each part). Stem, slur, and tie directions are
1175 set automatically, depending whether there is a solo or unisono. The
1176 first part (with context called @code{one}) always gets up stems, and
1177 `Solo', while the second (called @code{two}) always gets down stems and
1180 If you just want the merging parts, and not the textual markings, you
1181 may set the property @code{printPartCombineTexts} to false
1183 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1185 \set Staff.printPartCombineTexts = ##f
1187 \relative g' { g a( b) r }
1188 \relative g' { g r4 r f }
1192 To change the text that is printed for solos or merging, you may
1193 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1196 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1198 \set Score.soloText = #"ichi"
1199 \set Score.soloIIText = #"ni"
1200 \set Score.aDueText = #"tachi"
1202 \relative g' { g4 g a( b) r }
1203 \relative g' { g4 g r r f }
1207 Both arguments to @code{\partcombine} will be interpreted as
1208 @internalsref{Voice} contexts. If using relative octaves,
1209 @code{\relative} should be specified for both music expressions, i.e.,
1213 \relative @dots{} @var{musicexpr1}
1214 \relative @dots{} @var{musicexpr2}
1218 A @code{\relative} section that is outside of @code{\partcombine} has
1219 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1223 Program reference: @internalsref{PartCombineMusic}.
1227 When @code{printPartCombineTexts} is set, when the two voices play the
1228 same notes on and off, the part combiner may typeset @code{a2} more
1229 than once in a measure.
1231 @code{\partcombine} cannot be inside @code{\times}.
1233 @code{\partcombine} cannot be inside @code{\relative}.
1235 Internally, the @code{\partcombine} interprets both arguments as
1236 @code{Voice}s named @code{one} and @code{two}, and then decides when
1237 the parts can be combined. Consequently, if the arguments switch to
1238 differently named @internalsref{Voice} contexts, the events in those
1243 @subsection Hiding staves
1245 @cindex Frenched scores
1246 @cindex Hiding staves
1248 In orchestral scores, staff lines that only have rests are usually
1249 removed; this saves some space. This style is called `French Score'.
1250 For @internalsref{Lyrics},
1251 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1252 switched on by default. When the lines of these contexts turn out
1253 empty after the line-breaking process, they are removed.
1255 For normal staves, a specialized @internalsref{Staff} context is
1256 available, which does the same: staves containing nothing (or only
1257 multi-measure rests) are removed. The context definition is stored in
1258 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1259 in this example disappears in the second line
1261 @lilypond[quote,ragged-right,verbatim]
1263 \context { \RemoveEmptyStaffContext }
1268 \new Staff { e4 f g a \break c1 }
1269 \new Staff { c4 d e f \break R1 }
1274 The first system shows all staves in full. If empty staves should be
1275 removed from the first system too, set @code{remove-first} to true in
1276 @internalsref{VerticalAxisGroup}.
1279 \override Score.VerticalAxisGroup #'remove-first = ##t
1282 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1283 or @code{\RemoveEmptyRhythmicStaffContext}.
1285 Another application is making ossia sections, i.e., alternative
1286 melodies on a separate piece of staff, with help of a Frenched
1287 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1290 @node Quoting other voices
1291 @subsection Quoting other voices
1293 With quotations, fragments of other parts can be inserted into a part
1294 directly. Before a part can be quoted, it must be marked especially as
1295 quotable. This is done with the @code{\addquote} command.
1298 \addquote @var{name} @var{music}
1303 Here, @var{name} is an identifying string. The @var{music} is any kind
1304 of music. Here is an example of @code{\addquote}
1307 \addquote clarinet \relative c' @{
1312 This command must be entered at toplevel, i.e., outside any music
1315 After calling @code{\addquote}, the quotation may then be done with
1316 @code{\quoteDuring} or @code{\cueDuring},
1319 \quoteDuring #@var{name} @var{music}
1322 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1326 \quoteDuring #"clarinet" @{ s2. @}
1329 This would cite three quarter notes (the duration of @code{s2.}) of
1330 the previously added @code{clarinet} voice.
1333 More precisely, it takes the current time-step of the part being
1334 printed, and extracts the notes at the corresponding point of the
1335 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1336 should be the entire part of the voice to be quoted, including any
1337 rests at the beginning.
1339 Quotations take into account the transposition of both source and target
1340 instruments, if they are specified using the @code{\transposition} command.
1342 @lilypond[quote,ragged-right,verbatim]
1343 \addquote clarinet \relative c' {
1349 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1353 The type of events that are present in cue notes can be trimmed with
1354 the @code{quotedEventTypes} property. The default value is
1355 @code{(note-event rest-event)}, which means that only notes and
1356 rests of the cued voice end up in the @code{\quoteDuring}.
1360 \set Staff.quotedEventTypes =
1361 #'(note-event articulation-event dynamic-event)
1365 will quote notes (but no rests), together with scripts and dynamics.
1369 Only the contents of the first @internalsref{Voice} occurring in an
1370 @code{\addquote} command will be considered for quotation, so
1371 @var{music} can not contain @code{\new} and @code{\context Voice}
1372 statements that would switch to a different Voice.
1374 Quoting grace notes is broken and can even cause LilyPond to crash.
1378 In this manual: @ref{Instrument transpositions}.
1380 Examples: @inputfileref{input/@/regression,quote@/.ly}
1381 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1383 Program reference: @internalsref{QuoteMusic}.
1386 @node Formatting cue notes
1387 @subsection Formatting cue notes
1389 The previous section deals with inserting notes from another voice.
1390 There is a more advanced music function called @code{\cueDuring},
1391 which makes formatting cue notes easier.
1396 \cueDuring #@var{name} #@var{updown} @var{music}
1399 This will insert notes from the part @var{name} into a
1400 @internalsref{Voice} called @code{cue}. This happens simultaneously
1401 with @var{music}, which usually is a rest. When the cue notes start,
1402 the staff in effect becomes polyphonic for a moment. The argument
1403 @var{updown} determines whether the cue notes should be notated as a
1404 first or second voice.
1407 @lilypond[verbatim,ragged-right]
1410 \override Stem #'length-fraction = #0.8
1411 \override Beam #'thickness = #0.384
1412 \override Beam #'length-fraction = #0.8
1415 \addquote clarinet \relative {
1420 \new Staff \relative <<
1422 % setup a context for cue notes.
1423 \new Voice = "cue" { \smaller \skip 1*21 }
1425 \set Score.skipBars = ##t
1429 \cueDuring #"clarinet" #1 {
1438 Here are a couple of hints for successful cue notes
1442 Cue notes have smaller font sizes.
1444 the cued part is marked with the instrument playing the cue.
1446 when the original part takes over again, this should be marked with
1447 the name of the original instrument.
1449 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1451 @c Yes, this is good practice. Otherwise, the start of the original
1452 @c part can only be seen from the font size. This is not good enough
1453 @c for sight-reading. It is possilbe to use other
1454 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1459 Any other changes introduced by the cued part should also be
1460 undone. For example, if the cued instrument plays in a different clef,
1461 the original clef should be stated once again.
1466 @node Aligning to cadenzas
1467 @subsection Aligning to cadenzas
1469 In an orchestral context, cadenzas present a special problem:
1470 when constructing a score that includes a cadenza, all other
1471 instruments should skip just as many notes as the length of the
1472 cadenza, otherwise they will start too soon or too late.
1474 A solution to this problem are the functions @code{mmrest-of-length}
1475 and @code{skip-of-length}. These Scheme functions take a piece of music
1476 as argument, and generate a @code{\skip} or multi-rest, exactly as
1477 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1478 in the following example.
1480 @lilypond[verbatim,ragged-right,quote]
1481 cadenza = \relative c' {
1482 c4 d8 << { e f g } \\ { d4. } >>
1487 \new Staff { \cadenza c'4 }
1489 #(ly:export (mmrest-of-length cadenza))
1498 @node Contemporary notation
1499 @section Contemporary notation
1501 In the 20th century, composers have greatly expanded the musical
1502 vocabulary. With this expansion, many innovations in musical notation
1503 have been tried. The book ``Music Notation in the 20th century'' by
1504 Kurt Stone gives a comprehensive overview (see @ref{Literature
1507 This section describes notation that does
1508 not fit into traditional notation categories, such as pitches,
1509 tuplet beams, and articulation. For contemporary notation
1510 that fits into traditional notation categories, such as
1511 microtones, nested tuplet beams, and unusual fermatas, please
1512 see those sections of the documentation.
1515 @c I don't think we should discourage modern composers who might
1516 @c want to sponsor new features. :)
1517 @c In general, the use of new, innovative notation makes a piece
1518 @c harder to understand and perform and its use should therefore be
1519 @c avoided. For this reason, support for contemporary notation in
1520 @c LilyPond is limited.
1524 * Polymetric notation::
1525 * Time administration::
1526 * Proportional notation::
1528 * Special noteheads::
1534 @node Polymetric notation
1535 @subsection Polymetric notation
1537 Double time signatures are not supported explicitly, but they can be
1538 faked. In the next example, the markup for the time signature is
1539 created with a markup text. This markup text is inserted in the
1540 @internalsref{TimeSignature} grob.
1542 @lilypond[verbatim,ragged-right]
1547 \musicglyph #"scripts.stopped"
1548 \bracket \column { "5" "8" }
1553 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1554 \override Staff.TimeSignature #'text = #tsMarkup
1556 c'2 \bar ":" c'4 c'4.
1560 Each staff can also have its own time signature. This is done by
1561 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1567 \remove "Timing_translator"
1568 \remove "Default_bar_line_engraver"
1572 \consists "Timing_translator"
1573 \consists "Default_bar_line_engraver"
1580 Now, each staff has its own time signature.
1593 c4. c8 c c c4. c8 c c
1598 @lilypond[quote,ragged-right]
1602 \remove "Timing_translator"
1603 \remove "Default_bar_line_engraver"
1606 \consists "Timing_translator"
1607 \consists "Default_bar_line_engraver"
1622 c4. c8 c c c4. c8 c c
1628 A different form of polymetric notation is where note lengths have
1629 different values across staves.
1631 This notation can be created by setting a common time signature for
1632 each staff but replacing it manually using
1633 @code{timeSignatureFraction} to the desired fraction. Then the printed
1634 durations in each staff are scaled to the common time signature.
1635 The latter is done with @code{\compressMusic}, which is used similar
1636 to @code{\times}, but does not create a tuplet bracket. The syntax is
1638 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1643 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1644 used in parallel. In the second staff, shown durations are multiplied by
1645 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1646 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1648 @lilypond[quote,ragged-right,verbatim,fragment]
1656 \set Staff.timeSignatureFraction = #'(9 . 8)
1657 \compressMusic #'(2 . 3)
1658 \repeat unfold 6 { c8[ c c] }
1662 \set Staff.timeSignatureFraction = #'(10 . 8)
1663 \compressMusic #'(3 . 5) {
1664 \repeat unfold 2 { c8[ c c] }
1665 \repeat unfold 2 { c8[ c] }
1666 | c4. c4. \times 2/3 { c8 c c } c4
1677 When using different time signatures in parallel, the spacing is
1678 aligned vertically, but bar lines distort the regular spacing.
1681 @node Time administration
1682 @subsection Time administration
1684 @cindex Time administration
1686 Time is administered by the @internalsref{Time_signature_engraver},
1687 which usually lives in the @internalsref{Score} context. The
1688 bookkeeping deals with the following variables
1691 @item currentBarNumber
1695 The length of the measures in the current time signature. For a 4/4
1696 time this is@tie{}1, and for 6/8 it is 3/4.
1698 @item measurePosition
1699 The point within the measure where we currently are. This quantity
1700 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1701 happens, @code{currentBarNumber} is incremented.
1704 If set to true, the above variables are updated for every time
1705 step. When set to false, the engraver stays in the current measure
1709 Timing can be changed by setting any of these variables explicitly.
1710 In the next example, the 4/4 time signature is printed, but
1711 @code{measureLength} is set to 5/4. After a while, the measure is
1712 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1713 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1714 3/8 arises because 5/4 normally has 10/8, but we have manually
1715 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1717 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1718 \set Score.measureLength = #(ly:make-moment 5 4)
1722 \set Score.measurePosition = #(ly:make-moment 7 8)
1728 As the example illustrates, @code{ly:make-moment n m} constructs a
1729 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is an eighth
1730 note duration and @code{ly:make-moment 7 16} is the duration of
1731 seven sixteenths notes.
1734 @node Proportional notation
1735 @subsection Proportional notation
1736 @cindex Proportional notation
1738 Notes can be spaced proportional to their time-difference by
1739 assigning a duration to @code{proportionalNotationDuration}
1741 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1743 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1744 \new Staff { c8[ c c c c c] c4 c2 r2 }
1745 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1751 @subsection Clusters
1755 A cluster indicates a continuous range of pitches to be played. They
1756 can be denoted as the envelope of a set of notes. They are entered by
1757 applying the function @code{makeClusters} to a sequence of
1759 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1760 \makeClusters { <c e > <b f'> }
1763 The following example (from
1764 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1767 @lilypondfile[ragged-right,quote]{cluster.ly}
1769 Ordinary notes and clusters can be put together in the same staff,
1770 even simultaneously. In such a case no attempt is made to
1771 automatically avoid collisions between ordinary notes and clusters.
1775 Program reference: @internalsref{ClusterSpanner},
1776 @internalsref{ClusterSpannerBeacon},
1777 @internalsref{Cluster_spanner_engraver}.
1779 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1783 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1784 accurately. Use @code{<g a>8 <e a>8} instead.
1787 @node Special noteheads
1788 @subsection Special noteheads
1790 Different noteheads are used by various instruments for various
1791 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1792 notes on guitar; diamonds are used for harmonics on string instruments,
1793 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1794 other notehead styles are produced by tweaking the property
1796 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1798 \override NoteHead #'style = #'cross
1800 \revert NoteHead #'style
1801 e d <c f\harmonic> <d a'\harmonic>
1805 To see all notehead styles, please see
1806 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1811 Program reference: @internalsref{NoteHead}.
1814 @node Feathered beams
1815 @subsection Feathered beams
1817 Feathered beams are not supported natively, but they can be faked by
1818 forcing two beams to overlap. Here is an example,
1820 @c don't change relative setting witout changing positions!
1821 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1826 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1831 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1839 @subsection Improvisation
1841 Improvisation is sometimes denoted with slashed note heads. Such note
1842 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1843 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1847 \set squashedPosition = #0
1848 \override NoteHead #'style = #'slash
1852 switches on the slashes.
1854 There are shortcuts @code{\improvisationOn} (and an accompanying
1855 @code{\improvisationOff}) for this command sequence. They are used in
1856 the following example
1858 @lilypond[verbatim,ragged-right,quote]
1860 \consists Pitch_squash_engraver
1862 e8 e g a a16(bes)(a8) g \improvisationOn
1865 ~fis2 \improvisationOff a16(bes) a8 g e
1870 @node Educational use
1871 @section Educational use
1873 With the amount of control that LilyPond offers, one can make great
1874 teaching tools in addition to great musical scores.
1878 * Blank music sheet::
1880 * Shape note heads ::
1881 * Easy Notation note heads::
1882 * Analysis brackets::
1883 * Coloring objects::
1887 @subsection Balloon help
1889 Elements of notation can be marked and named with the help of a square
1890 balloon. The primary purpose of this feature is to explain notation.
1892 The following example demonstrates its use.
1894 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1897 #(add-balloon-text 'NoteHead "heads, or tails?"
1904 The function @code{add-balloon-text} takes the name of a grob, the
1905 label to print, and the position where to put the label relative to
1906 the object. In the above example, the text ``heads or tails?'' ends
1907 3 spaces below and 1 space to the right of the marked head.
1910 @cindex notation, explaining
1914 Program reference: @internalsref{text-balloon-interface}.
1916 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1921 @node Blank music sheet
1922 @subsection Blank music sheet
1924 A blank music sheet can be produced also by using invisible notes, and
1925 removing @code{Bar_number_engraver}.
1928 @lilypond[quote,verbatim]
1930 \repeat unfold 2 % Change this for more lines.
1935 \override TimeSignature #'transparent = ##t
1936 defaultBarType = #""
1937 \remove Bar_number_engraver
1939 \new Staff \emptymusic
1940 \new TabStaff \emptymusic
1946 @subsection Hidden notes
1948 @cindex Hidden notes
1949 @cindex Invisible notes
1950 @cindex Transparent notes
1952 @cindex @code{\hideNotes}
1953 @cindex @code{\unHideNotes}
1954 Hidden (or invisible or transparent) notes can be useful in preparing theory
1955 or composition exercises.
1957 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1965 Hidden notes are also great for performing weird tricks. For example,
1966 slurs cannot be attached to rests or spacer rests, but you may wish
1967 to include that in your score -- string instruments use this notation
1968 when doing pizzicato to indicate that the note should ring for as long
1971 @lilypond[quote,ragged-right,verbatim,relative=0,fragment]
1974 c4^"pizz"( \hideNotes c)
1975 \unHideNotes c( \hideNotes c)
1982 @node Shape note heads
1983 @subsection Shape note heads
1985 In shape note head notation, the shape of the note head corresponds
1986 to the harmonic function of a note in the scale. This notation was
1987 popular in the 19th century American song books.
1989 Shape note heads can be produced by setting @code{\aikenHeads} or
1990 @code{\sacredHarpHeads}, depending on the style desired.
1992 @lilypond[verbatim,relative=1,fragment]
1999 Shapes are determined on the step in the scale, where the base of the
2000 scale is determined by the @code{\key} command
2003 @findex shapeNoteStyles
2005 @findex \sacredHarpHeads
2007 Shape note heads are implemented through the @code{shapeNoteStyles}
2008 property. Its value is a vector of symbols. The k-th element indicates
2009 the style to use for the k-th step of the scale. Arbitrary
2010 combinations are possible, eg.,
2013 @lilypond[verbatim,relative=1,fragment]
2014 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2019 @node Easy Notation note heads
2020 @subsection Easy Notation note heads
2022 @cindex easy notation
2025 The `easy play' note head includes a note name inside the head. It is
2026 used in music for beginners
2028 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2033 The command @code{\setEasyHeads} overrides settings for the
2034 @internalsref{NoteHead} object. To make the letters readable, it has
2035 to be printed in a large font size. To print with a larger font, see
2036 @ref{Setting global staff size}.
2040 @cindex @code{\setEasyHeads}
2041 @code{\setEasyHeads}
2044 @node Analysis brackets
2045 @subsection Analysis brackets
2047 @cindex phrasing brackets
2048 @cindex musicological analysis
2049 @cindex note grouping bracket
2051 Brackets are used in musical analysis to indicate structure in musical
2052 pieces. LilyPond supports a simple form of nested horizontal
2053 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2054 to @internalsref{Staff} context. A bracket is started with
2055 @code{\startGroup} and closed with @code{\stopGroup}
2057 @lilypond[quote,ragged-right,verbatim]
2060 c4\startGroup\startGroup
2063 c4\stopGroup\stopGroup
2067 \Staff \consists "Horizontal_bracket_engraver"
2073 Program reference: @internalsref{HorizontalBracket}.
2075 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2078 @node Coloring objects
2079 @subsection Coloring objects
2081 Individual objects may be assigned colors. You may use the
2082 color names listed in the @ref{List of colors}.
2084 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2085 \override NoteHead #'color = #red
2087 \override NoteHead #'color = #(x11-color 'LimeGreen)
2089 \override Stem #'color = #blue
2093 The full range of colors defined for X11 can be accessed by using the
2094 scheme function x11-color. The function takes one argument that can be a
2098 \override Beam #'color = #(x11-color 'MediumTurquoise)
2104 \override Beam #'color = #(x11-color "MediumTurquoise")
2107 The first form is quicker to write and is more efficient. However, using
2108 the second form it is possible to access X11 colors by the multi-word
2112 \override Beam #'color = #(x11-color "medium turquoise")
2115 If x11-color cannot make sense of the parameter then the color returned
2116 defaults to black. It should be obvious from the final score that
2119 This example, illustrates the use of x11-color. Notice that the stem
2120 color remains black after being set to (x11-color 'Boggle), which is
2121 deliberate nonsense.
2123 @lilypond[quote,ragged-right,verbatim]
2125 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2126 \set Staff.instrument = \markup {
2127 \with-color #(x11-color 'navy) "Clarinet"
2131 \override Beam #'color = #(x11-color "medium turquoise")
2133 \override NoteHead #'color = #(x11-color "LimeGreen")
2135 \override Stem #'color = #(x11-color 'Boggle)
2143 Appendix: @ref{List of colors}.
2147 Not all x11 colors are distinguishable in a web browser. For web use
2148 normal colors are recommended.
2150 An x11 color is not necessarily exactly the same shade as a similarly
2154 @node Automatic notation
2155 @section Automatic notation
2157 This section describes how to change the way that accidentals and
2158 beams are automatically displayed.
2160 FIXME: this might get moved into Changing Defaults. Please send
2161 opinions to lilypond-devel. Thanks! :)
2164 * Automatic accidentals::
2165 * Setting automatic beam behavior::
2168 @node Automatic accidentals
2169 @subsection Automatic accidentals
2170 @cindex Automatic accidentals
2172 Common rules for typesetting accidentals have been placed in a
2173 function. This function is called as follows
2175 @cindex @code{set-accidental-style}
2177 #(set-accidental-style 'STYLE #('CONTEXT#))
2180 The function can take two arguments: the name of the accidental style,
2181 and an optional argument that denotes the context that should be
2182 changed. If no context name is supplied, @code{Staff} is the default,
2183 but you may wish to apply the accidental style to a single @code{Voice}
2186 The following accidental styles are supported
2189 This is the default typesetting behavior. It corresponds
2190 to 18th century common practice: Accidentals are
2191 remembered to the end of the measure in which they occur and
2192 only on their own octave.
2195 The normal behavior is to remember the accidentals on
2196 Staff-level. This variable, however, typesets accidentals
2197 individually for each voice. Apart from that, the rule is similar to
2200 As a result, accidentals from one voice do not get canceled in other
2201 voices, which is often an unwanted result
2203 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
2205 #(set-accidental-style 'voice)
2212 The @code{voice} option should be used if the voices
2213 are to be read solely by individual musicians. If the staff is to be
2214 used by one musician (e.g., a conductor) then
2215 @code{modern} or @code{modern-cautionary}
2216 should be used instead.
2219 @cindex @code{modern} style accidentals
2220 This rule corresponds to the common practice in the 20th century. This rule
2221 prints the same accidentals as @code{default}, but temporary
2222 accidentals also are canceled in other octaves. Furthermore,
2223 in the same octave, they also get canceled in the following
2226 @lilypond[quote,ragged-right,fragment,verbatim]
2227 #(set-accidental-style 'modern)
2228 cis' c'' cis'2 | c'' c'
2231 @item @code{modern-cautionary}
2232 @cindex @code{modern-cautionary}
2233 This rule is similar to @code{modern}, but the ``extra'' accidentals
2234 (the ones not typeset by @code{default}) are typeset as cautionary
2235 accidentals. They are printed in reduced size or with parentheses
2236 @lilypond[quote,ragged-right,fragment,verbatim]
2237 #(set-accidental-style 'modern-cautionary)
2238 cis' c'' cis'2 | c'' c'
2241 @cindex @code{modern-voice}
2243 This rule is used for multivoice accidentals to be read both by musicians
2244 playing one voice and musicians playing all voices. Accidentals are
2245 typeset for each voice, but they @emph{are} canceled across voices in
2246 the same @internalsref{Staff}.
2248 @cindex @code{modern-voice-cautionary}
2249 @item modern-voice-cautionary
2250 This rule is the same as @code{modern-voice}, but with the extra
2251 accidentals (the ones not typeset by @code{voice}) typeset
2252 as cautionaries. Even though all accidentals typeset by
2253 @code{default} @emph{are} typeset by this variable,
2254 some of them are typeset as cautionaries.
2257 @cindex @code{piano} accidentals
2258 This rule reflects 20th century practice for piano notation. Very similar to
2259 @code{modern} but accidentals also get canceled
2260 across the staves in the same @internalsref{GrandStaff} or
2261 @internalsref{PianoStaff}.
2263 @item piano-cautionary
2264 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2265 Same as @code{#(set-accidental-style 'piano)} but with the extra
2266 accidentals typeset as cautionaries.
2269 @cindex @code{no-reset} accidental style
2270 This is the same as @code{default} but with accidentals lasting
2271 ``forever'' and not only until the next measure
2272 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2273 #(set-accidental-style 'no-reset)
2278 This is sort of the opposite of @code{no-reset}: Accidentals
2279 are not remembered at all---and hence all accidentals are
2280 typeset relative to the key signature, regardless of what was
2283 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2284 #(set-accidental-style 'forget)
2285 \key d\major c4 c cis cis d d dis dis
2292 Program reference: @internalsref{Accidental_engraver},
2293 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2298 Simultaneous notes are considered to be entered in sequential
2299 mode. This means that in a chord the accidentals are typeset as if the
2300 notes in the chord happened once at a time - in the order in which
2301 they appear in the input file.
2303 This is a problem when accidentals in a chord depend on each other,
2304 which does not happen for the default accidental style. The problem
2305 can be solved by manually inserting @code{!} and @code{?} for the
2309 @node Setting automatic beam behavior
2310 @subsection Setting automatic beam behavior
2312 @cindex @code{autoBeamSettings}
2313 @cindex @code{(end * * * *)}
2314 @cindex @code{(begin * * * *)}
2315 @cindex automatic beams, tuning
2316 @cindex tuning automatic beaming
2318 @c [TODO: use \applyContext]
2320 In normal time signatures, automatic beams can start on any note but can
2321 only end in a few positions within the measure: beams can end on a beat,
2322 or at durations specified by the properties in
2323 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2324 consist of a list of rules for where beams can begin and end. The
2325 default @code{autoBeamSettings} rules are defined in
2326 @file{scm/@/auto@/-beam@/.scm}.
2328 In order to add a rule to the list, use
2330 #(override-auto-beam-setting '(be p q n m) a b [context])
2335 @item @code{be} is either "begin" or "end".
2337 @item @code{p/q} is the duration of the note for which you want
2338 to add a rule. A beam is considered to have the duration of its
2339 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2340 have this apply to any beam.
2342 @item @code{n/m} is the time signature to which
2343 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2344 to have this apply in any time signature.
2346 @item @code{a/b} is the position in the bar at which the beam should begin/end.
2348 @item @code{context} is optional, and it specifies the context at which
2349 the change should be made. The default is @code{'Voice}.
2350 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2351 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2355 For example, if automatic beams should always end on the first quarter
2359 #(override-auto-beam-setting '(end * * * *) 1 4)
2362 You can force the beam settings to only take effect on beams whose shortest
2363 note is a certain duration
2365 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2367 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2369 a32 a a a a16 a a a a a |
2370 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2371 a32 a a a a16 a a a a a |
2374 You can force the beam settings to only take effect in certain time
2377 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2379 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2387 You can also remove a previously set beam-ending rule by using
2390 #(revert-auto-beam-setting '(be p q n m) a b [context])
2394 be, p, q, n, m, a, b and context are the same as above. Note that the
2395 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2396 so you can revert rules that you did not explicitly create.
2398 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2400 a16 a a a a a a a a a a a a a a a
2401 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2402 a16 a a a a a a a a a a a a a a a
2405 The rule in a revert-auto-beam-setting statement must exactly match the
2406 original rule. That is, no wildcard expansion is taken into account.
2408 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2410 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2412 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2414 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2420 @c TODO: old material -- not covered by above stuff, I think.
2421 If automatic beams should end on every quarter in 5/4 time, specify
2424 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2425 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2426 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2427 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2431 The same syntax can be used to specify beam starting points. In this
2432 example, automatic beams can only end on a dotted quarter note
2434 #(override-auto-beam-setting '(end * * * *) 3 8)
2435 #(override-auto-beam-setting '(end * * * *) 1 2)
2436 #(override-auto-beam-setting '(end * * * *) 7 8)
2438 In 4/4 time signature, this means that automatic beams could end only on
2439 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2440 3/8, has passed within the measure).
2442 @cindex automatic beam generation
2444 @cindex @code{autoBeaming}
2447 If beams are used to indicate melismata in songs, then automatic
2448 beaming should be switched off with @code{\autoBeamOff}.
2453 @cindex @code{\autoBeamOff}
2454 @code{\autoBeamOff},
2455 @cindex @code{\autoBeamOn}
2461 If a score ends while an automatic beam has not been ended and is
2462 still accepting notes, this last beam will not be typeset at all. The
2463 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2464 >>}. If a polyphonic voice ends while an automatic beam is still
2465 accepting notes, it is not typeset.