1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
20 * Automatic notation::
28 This section explains how to include text (with various formatting) in
38 * Overview of text markup commands::
45 @subsection Text scripts
48 @cindex text items, non-empty
49 @cindex non-empty texts
51 It is possible to place arbitrary strings of text or @ref{Text markup}
52 above or below notes by using a string @code{c^"text"}. By default,
53 these indications do not influence the note spacing, but by using the
54 command @code{\fatText}, the widths will be taken into account
56 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
57 c4^"longtext" \fatText c4_"longlongtext" c4
60 More complex formatting may also be added to a note by using the
62 @lilypond[fragment,raggedright,verbatim,quote]
63 c'4^\markup { bla \bold bla }
66 The @code{\markup} is described in more detail in
72 @cindex @code{\fatText}
74 @cindex @code{\emptyText}
80 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 Text can also be placed on its own, away from any @code{\score}
232 block. This is primarily used in a @code{\book} (see
233 @ref{Multiple movements}).
235 @lilypond[quote,raggedright,verbatim]
236 \markup{ Here is some text. }
239 @cindex font switching
241 The markup in the example demonstrates font switching commands. The
242 command @code{\bold} and @code{\italic} apply to the first following
243 word only; to apply a command to more than one word, enclose the
247 \markup @{ \bold @{ hi there @} @}
251 For clarity, you can also do this for single arguments, e.g.,
254 \markup @{ is \italic @{ anyone @} home @}
257 In markup mode you can compose expressions, similar to mathematical
258 expressions, XML documents, and music expressions. You can stack
259 expressions grouped vertically with the command @code{\column}.
260 Similarly, @code{\center-align} aligns texts by their center lines:
262 @lilypond[quote,verbatim,fragment,relative=1]
263 c1^\markup { \column { a bbbb \line { c d } } }
264 c1^\markup { \center-align { a bbbb c } }
265 c1^\markup { \line { a b c } }
268 Lists with no previous command are not kept distinct. The expression
271 \center-align @{ @{ a b @} @{ c d @} @}
279 \center-align @{ a b c d @}
284 To keep lists of words distinct, please use quotes @code{"} or
285 the @code{\line} command
287 @lilypond[quote,verbatim,fragment,relative=1]
289 c4^\markup{ \center-align { on three lines } }
290 c4^\markup{ \center-align { "all one line" } }
291 c4^\markup{ \center-align { { on three lines } } }
292 c4^\markup{ \center-align { \line { on one line } } }
295 Markups can be stored in variables and these variables
296 may be attached to notes, like
298 allegro = \markup @{ \bold \large @{ Allegro @} @}
299 @{ a^\allegro b c d @}
302 Some objects have alignment procedures of their own, which cancel out
303 any effects of alignments applied to their markup arguments as a
304 whole. For example, the @internalsref{RehearsalMark} is horizontally
305 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
308 In addition, vertical placement is performed after creating the
309 text markup object. If you wish to move an entire piece of markup,
310 you need to use the #'padding property or create an "anchor" point
311 inside the markup (generally with @code{\hspace #0}).
313 @lilypond[quote,verbatim,fragment,relative=1]
315 c'4^\markup{ \raise #5 "not raised" }
316 \once \override TextScript #'padding = #3
317 c'4^\markup{ raised }
318 c'4^\markup{ \hspace #0 \raise #1.5 raised }
324 This manual: @ref{Overview of text markup commands}.
326 Program reference: @internalsref{TextScript}.
328 Init files: @file{scm/@/new@/-markup@/.scm}.
333 Kerning or generation of ligatures is only done when the @TeX{}
334 backend is used. In this case, LilyPond does not account for them so
335 texts will be spaced slightly too wide.
337 Syntax errors for markup mode are confusing.
341 @subsection Text encoding
343 LilyPond uses the Pango library to format multi-lingual texts, and
344 does not perform any input-encoding conversions. This means that any
345 text, be it title, lyric text, or musical instruction containing
346 non-ASCII characters, must be utf-8. Easiest to enter such texts is
347 by using a Unicode-aware editor, and save using utf-8 encoding. Most
348 popular modern editors have utf-8 support, for example, vim, Emacs,
351 Depending on the fonts installed, the following fragment shows Hebrew
358 @lilypondfile[fontload]{utf-8.ly}
360 The @TeX{} backend does not handle encoding specially at all. Strings
361 in the input are put in the output as-is. Extents of text items in the
362 @TeX{} backend, are determined by reading a file created via the
363 @file{texstr} backend,
366 lilypond -b texstr input/les-nereides.ly
367 latex les-nereides.texstr
370 The last command produces @file{les-nereides.textmetrics}, which is
371 read when you execute
374 lilypond -b tex input/les-nereides.ly
377 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
378 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
379 interpreting non-ASCII strings.
381 To use a Unicode escape sequence, use
384 #(ly:export (ly:wide-char->utf-8 #x2014))
390 @inputfileref{input/regression,utf-8.ly}
394 @subsection Nested scores
396 It is possible to nest music inside markups, by adding a @code{\score}
397 block to a markup expression. Such a score must contain a @code{\layout}
400 @lilypond[quote,verbatim,raggedright]
404 \relative { c4 d e f }
413 @node Overview of text markup commands
414 @subsection Overview of text markup commands
416 The following commands can all be used inside @code{\markup @{ @}}.
418 @include markup-commands.tely
422 @subsection Font selection
424 @cindex font selection
425 @cindex font magnification
426 @cindex @code{font-interface}
428 By setting the object properties described below, you can select a
429 font from the preconfigured font families. LilyPond has default
430 support for the feta music fonts. Text fonts are selected through
431 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
432 the sans and typewriter to whatever the Pango installation defaults
437 @item @code{font-encoding}
438 is a symbol that sets layout of the glyphs. This should only be set to
439 select different types of non-text fonts, eg.
441 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
442 standard music font, including ancient glyphs, @code{fetaDynamic} for
443 dynamic signs and @code{fetaNumber} for the number font.
445 @item @code{font-family}
446 is a symbol indicating the general class of the typeface. Supported are
447 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
449 @item @code{font-shape}
450 is a symbol indicating the shape of the font. There are typically
451 several font shapes available for each font family. Choices are
452 @code{italic}, @code{caps}, and @code{upright}.
454 @item @code{font-series}
455 is a symbol indicating the series of the font. There are typically
456 several font series for each font family and shape. Choices are
457 @code{medium} and @code{bold}.
461 Fonts selected in the way sketched above come from a predefined style
462 sheet. If you want to use a font from outside the style sheet,
464 @code{font-name} property,
466 @lilypond[fragment,verbatim]
468 \override Staff.TimeSignature #'font-name = #"Charter"
469 \override Staff.TimeSignature #'font-size = #2
472 \override #'(font-name . "Vera Bold")
473 { This text is in Vera Bold }
479 Any font can be used, as long as it is available to Pango/FontConfig.
481 The size of the font may be set with the @code{font-size}
482 property. The resulting size is taken relative to the
483 @code{text-font-size} as defined in the @code{\paper} block.
486 @cindex font magnification
489 It is also possible to change the default font family for the entire
490 document. This is done by calling the @code{make-pango-font-tree} from
491 within the @code{\paper} block. The function takes names for the font
492 families to use for roman, sans serif and monospaced text. For
495 @cindex font families, setting
504 (make-pango-font-tree "Times New Roman"
511 c'^\markup { roman: foo \sans bla \typewriter bar }
515 @c we don't do Helvetica / Courier, since GS incorrectly loads
522 Examples: @file{ly/@/font@/-family@/-override.ly}
525 @node New dynamic marks
526 @subsection New dynamic marks
528 It is possible to print new dynamic marks or text that should be aligned
529 with dynamics. Use @code{make-dynamic-script} to create these marks.
531 @cindex make-dynamic-script
533 @lilypond[quote,verbatim,raggedright]
534 sfzp = #(make-dynamic-script "sfzp")
540 @cindex Dynamics, editorial
541 @cindex Dynamics, parenthesis
543 It is also possible to print dynamics in round parenthesis or square
544 brackets. These are often used for adding editorial dynamics.
546 @lilypond[quote,verbatim,raggedright]
547 rndf = \markup{ \center-align {\line { \bold{\italic (}
548 \dynamic f \bold{\italic )} }} }
549 boxf = \markup{ \bracket { \dynamic f } }
550 { c'1_\rndf c'1_\boxf }
555 @node Preparing parts
556 @section Preparing parts
558 This section describes various notation that are useful for preparing
562 * Multi measure rests::
567 * Instrument transpositions::
569 * Different editions from one source::
573 @node Multi measure rests
574 @subsection Multi measure rests
576 @cindex multi measure rests
577 @cindex full measure rests
578 @cindex Rests, multi measure
579 @cindex Rests, full measure
580 @cindex whole rests for a full measure
583 Rests for one full measure (or many bars) are entered using `@code{R}'. It
584 is specifically meant for full bar rests and for entering parts: the rest
585 can expand to fill a score with rests, or it can be printed as a single
586 multi-measure rest. This expansion is controlled by the property
587 @code{Score.skipBars}. If this is set to true, empty measures will not
588 be expanded, and the appropriate number is added automatically
590 @lilypond[quote,raggedright,fragment,verbatim]
591 \time 4/4 r1 | R1 | R1*2
592 \set Score.skipBars = ##t R1*17 R1*4
595 The @code{1} in @code{R1} is similar to the duration notation used for
596 notes. Hence, for time signatures other than 4/4, you must enter other
597 durations. This can be done with augmentation dots or fractions
599 @lilypond[quote,raggedright,fragment,verbatim]
600 \set Score.skipBars = ##t
609 An @code{R} spanning a single measure is printed as either a whole rest
610 or a breve, centered in the measure regardless of the time signature.
612 If there are only a few measures of rest, LilyPond prints ``church rests''
613 (a series of rectangles) in the staff. To replace that with a simple
614 rest, use @code{MultiMeasureRest.expand-limit}.
616 @lilypond[quote,raggedright,fragment,verbatim]
617 \set Score.skipBars = ##t
619 \override MultiMeasureRest #'expand-limit = 1
623 @cindex text on multi-measure rest
624 @cindex script on multi-measure rest
625 @cindex fermata on multi-measure rest
627 Texts can be added to multi-measure rests by using the
628 @var{note}-@code{markup} syntax @ref{Text markup}.
629 A variable (@code{\fermataMarkup}) is provided for
632 @lilypond[quote,raggedright,verbatim,fragment]
633 \set Score.skipBars = ##t
635 R2.*10^\markup { \italic "ad lib." }
639 Warning! This text is created by @code{MultiMeasureRestText}, not
642 @lilypond[quote,raggedright,verbatim,fragment]
643 \override TextScript #'padding = #5
645 \override MultiMeasureRestText #'padding = #5
649 If you want to have text on the left end of a multi-measure rest,
650 attach the text to a zero-length skip note, i.e.,
660 Program reference: @internalsref{MultiMeasureRestMusicGroup},
661 @internalsref{MultiMeasureRest}.
663 The layout object @internalsref{MultiMeasureRestNumber} is for the
664 default number, and @internalsref{MultiMeasureRestText} for user
670 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
671 over multi-measure rests. And the pitch of multi-measure rests (or
672 staff-centered rests) can not be influenced.
674 @cindex condensing rests
676 There is no way to automatically condense multiple rests into a single
677 multi-measure rest. Multi-measure rests do not take part in rest
680 Be careful when entering multi-measure rests followed by whole
681 notes. The following will enter two notes lasting four measures each
685 When @code{skipBars} is set, the result will look OK, but the bar
686 numbering will be off.
689 @node Metronome marks
690 @subsection Metronome marks
693 @cindex beats per minute
694 @cindex metronome marking
696 Metronome settings can be entered as follows
698 \tempo @var{duration} = @var{per-minute}
701 In the MIDI output, they are interpreted as a tempo change. In the
702 layout output, a metronome marking is printed
703 @cindex @code{\tempo}
704 @lilypond[quote,raggedright,verbatim,fragment]
711 To change the tempo in the MIDI output without printing anything, make
712 the metronome marking invisible
714 \once \override Score.MetronomeMark #'transparent = ##t
717 To print other metronome markings, use these markup commands
718 @lilypond[quote,raggedright,verbatim,relative,fragment]
721 \smaller \general-align #Y #DOWN \note #"16." #1
723 \smaller \general-align #Y #DOWN \note #"8" #1
728 See @ref{Text markup} for more details.
733 Program reference: @internalsref{MetronomeMark}.
738 Collisions are not checked. If you have notes above the top line of
739 the staff (or notes with articulations, slurs, text, etc), then the
740 metronome marking may be printed on top of musical symbols. If this
741 occurs, increase the padding of the metronome mark to place it
742 further away from the staff.
745 \override Score.MetronomeMark #'padding = #2.5
749 @node Rehearsal marks
750 @subsection Rehearsal marks
752 @cindex Rehearsal marks
755 To print a rehearsal mark, use the @code{\mark} command
757 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
766 The letter@tie{}`I' is skipped in accordance with engraving traditions.
767 If you wish to include the letter `I', then use
770 \set Score.markFormatter = #format-mark-alphabet
773 The mark is incremented automatically if you use @code{\mark
774 \default}, but you can also use an integer argument to set the mark
775 manually. The value to use is stored in the property
776 @code{rehearsalMark}.
778 The style is defined by the property @code{markFormatter}. It is a
779 function taking the current mark (an integer) and the current context
780 as argument. It should return a markup object. In the following
781 example, @code{markFormatter} is set to a canned procedure. After a
782 few measures, it is set to function that produces a boxed number.
784 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
785 \set Score.markFormatter = #format-mark-numbers
788 \set Score.markFormatter = #format-mark-box-numbers
794 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
795 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
796 @code{format-mark-letters} and @code{format-mark-box-letters}.
797 These can be used as inspiration for other formatting functions.
802 Program reference: @internalsref{RehearsalMark}.
804 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
805 definition of @code{format-mark-numbers} and
806 @code{format-mark-letters}. They can be used as inspiration for other
807 formatting functions.
809 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
811 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
815 @subsection Bar numbers
818 @cindex measure numbers
819 @cindex @code{currentBarNumber}
821 Bar numbers are printed by default at the start of the line. The
822 number itself is stored in the @code{currentBarNumber} property, which
823 is normally updated automatically for every measure.
825 Bar numbers can be typeset at regular intervals instead of at the
826 beginning of each line. This is illustrated in the following example,
827 whose source is available as
828 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
830 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
832 Bar numbers can be typeset manually by tweaking the
833 @code{markFormatter} property
835 @lilypond[verbatim,raggedright,quote]
837 \set Score.markFormatter
838 = #(lambda (mark context)
841 (number->string (ly:context-property context
842 'currentBarNumber)))))
844 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
848 Bar numbers can be manually changed by setting the
849 @code{Staff.currentBarNumber} property
851 @lilypond[verbatim,raggedright,quote]
853 \repeat unfold 4 {c4 c c c} \break
854 \set Score.currentBarNumber = #50
855 \repeat unfold 4 {c4 c c c}
862 Program reference: @internalsref{BarNumber}.
865 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
866 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
871 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
872 there is one at the top. To solve this, the
873 @code{padding} property of @internalsref{BarNumber} can be
874 used to position the number correctly.
877 @node Instrument names
878 @subsection Instrument names
880 In an orchestral score, instrument names are printed at the left side
883 This can be achieved by setting @internalsref{Staff}.@code{instrument}
884 and @internalsref{Staff}.@code{instr}. This will print a string before
885 the start of the staff. For the first staff, @code{instrument} is
886 used, for the following ones, @code{instr} is used.
888 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
889 \set Staff.instrument = "Ploink "
890 \set Staff.instr = "Plk "
896 You can also use markup texts to construct more complicated instrument
899 @lilypond[quote,fragment,verbatim,raggedright]
900 \set Staff.instrument = \markup {
901 \column { "Clarinetti"
902 \line { "in B" \smaller \flat } } }
906 If you wish to center the instrument names, you must center all of them
908 @lilypond[quote,verbatim,raggedright]
911 \set Staff.instrument = \markup {
912 \center-align { "Clarinetti"
913 \line { "in B" \smaller \flat } } }
917 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
924 For longer instrument names, it may be useful to increase the
925 @code{indent} setting in the @code{\layout} block.
929 Program reference: @internalsref{InstrumentName}.
933 When you put a name on a grand staff or piano staff, the width of the
934 brace is not taken into account. The following property setting can be
935 used to move the instrument names to the left, in such situations.
938 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
942 @node Instrument transpositions
943 @subsection Instrument transpositions
945 @cindex transposition, MIDI
946 @cindex transposition, instrument
948 The key of a transposing instrument can also be specified. This
949 applies to many wind instruments, for example, clarinets (B-flat, A, and
950 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
952 The transposition is entered after the keyword @code{\transposition}
955 \transposition bes %% B-flat clarinet
959 This command sets the property @code{instrumentTransposition}. The value of
960 this property is used for MIDI output and quotations. It does not
961 affect how notes are printed in the current staff. To change the printed
962 output, see @ref{Transpose}.
964 The pitch to use for @code{\transposition} should correspond to the
965 real sound heard when a @code{c'} written on the staff is played by the
966 transposing instrument. For example, when entering a score in
967 concert pitch, typically all voices are entered in C, so
968 they should be entered as
981 The command @code{\transposition} should be used when the music is
982 entered from a (transposed) orchestral part. For example, in
983 classical horn parts, the tuning of the instrument is often changed
984 during a piece. When copying the notes from the part, use
985 @code{\transposition}, e.g.,
997 @node Ottava brackets
998 @subsection Ottava brackets
1000 `Ottava' brackets introduce an extra transposition of an octave for
1001 the staff. They are created by invoking the function
1002 @code{set-octavation}
1008 @lilypond[quote,raggedright,verbatim,fragment]
1018 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1019 (for 15ma) as arguments. Internally the function sets the properties
1020 @code{ottavation} (e.g., to @code{"8va"}) and
1021 @code{centralCPosition}. For overriding the text of the bracket, set
1022 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1024 @lilypond[quote,raggedright,verbatim]
1027 \set Staff.ottavation = #"8"
1035 Program reference: @internalsref{OttavaBracket}.
1037 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1038 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1043 @code{set-octavation} will get confused when clef changes happen
1044 during an octavation bracket.
1047 @node Different editions from one source
1048 @subsection Different editions from one source
1053 The @code{\tag} command marks music expressions with a name. These
1054 tagged expressions can be filtered out later. With this mechanism it
1055 is possible to make different versions of the same music source.
1057 In the following example, we see two versions of a piece of music, one
1058 for the full score, and one with cue notes for the instrumental part
1074 The same can be applied to articulations, texts, etc.: they are
1077 -\tag #@var{your-tag}
1079 to an articulation, for example,
1084 This defines a note with a conditional fingering indication.
1087 @cindex removeWithTag
1088 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1089 commands, tagged expressions can be filtered. For example,
1093 \keepWithTag #'score @var{the music}
1094 \keepWithTag #'part @var{the music}
1099 @lilypondfile[raggedright,quote]{tag-filter.ly}
1101 The argument of the @code{\tag} command should be a symbol. It's
1102 possible to put multiple tags on a piece of music, with multiple
1103 @code{\tag} entries,
1105 \tag #'original-part \tag #'transposed-part @dots{}
1111 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1116 Multiple rests are not merged if you create the score with both tagged
1121 @node Orchestral music
1122 @section Orchestral music
1124 Orchestral music involves some special notation, both in the full
1125 score and the individual parts. This section explains how to tackle
1126 some common problems in orchestral music.
1129 * Automatic part combining::
1131 * Quoting other voices::
1132 * Formatting cue notes::
1133 * Aligning to cadenzas::
1137 @node Automatic part combining
1138 @subsection Automatic part combining
1139 @cindex automatic part combining
1140 @cindex part combiner
1142 Automatic part combining is used to merge two parts of music onto a
1143 staff. It is aimed at typesetting orchestral scores. When the two
1144 parts are identical for a period of time, only one is shown. In
1145 places where the two parts differ, they are typeset as separate
1146 voices, and stem directions are set automatically. Also, solo and
1147 @emph{a due} parts are identified and can be marked.
1149 The syntax for part combining is
1152 \partcombine @var{musicexpr1} @var{musicexpr2}
1156 The following example demonstrates the basic functionality of the part
1157 combiner: putting parts on one staff, and setting stem directions and
1160 @lilypond[quote,verbatim,raggedright,fragment]
1161 \new Staff \partcombine
1162 \relative g' { g g a( b) c c r r }
1163 \relative g' { g g r4 r e e g g }
1166 The first @code{g} appears only once, although it was
1167 specified twice (once in each part). Stem, slur, and tie directions are
1168 set automatically, depending whether there is a solo or unisono. The
1169 first part (with context called @code{one}) always gets up stems, and
1170 `Solo', while the second (called @code{two}) always gets down stems and
1173 If you just want the merging parts, and not the textual markings, you
1174 may set the property @code{printPartCombineTexts} to false
1176 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1178 \set Staff.printPartCombineTexts = ##f
1180 \relative g' { g a( b) r }
1181 \relative g' { g r4 r f }
1185 To change the text that is printed for solos or merging, you may
1186 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1189 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1191 \set Score.soloText = #"ichi"
1192 \set Score.soloIIText = #"ni"
1193 \set Score.aDueText = #"tachi"
1195 \relative g' { g4 g a( b) r }
1196 \relative g' { g4 g r r f }
1200 Both arguments to @code{\partcombine} will be interpreted as
1201 @internalsref{Voice} contexts. If using relative octaves,
1202 @code{\relative} should be specified for both music expressions, i.e.,
1206 \relative @dots{} @var{musicexpr1}
1207 \relative @dots{} @var{musicexpr2}
1211 A @code{\relative} section that is outside of @code{\partcombine} has
1212 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1216 Program reference: @internalsref{PartCombineMusic}.
1220 When @code{printPartCombineTexts} is set, when the two voices play the
1221 same notes on and off, the part combiner may typeset @code{a2} more
1222 than once in a measure.
1224 @code{\partcombine} cannot be inside @code{\times}.
1226 @code{\partcombine} cannot be inside @code{\relative}.
1228 Internally, the @code{\partcombine} interprets both arguments as
1229 @code{Voice}s named @code{one} and @code{two}, and then decides when
1230 the parts can be combined. Consequently, if the arguments switch to
1231 differently named @internalsref{Voice} contexts, the events in those
1236 @subsection Hiding staves
1238 @cindex Frenched scores
1239 @cindex Hiding staves
1241 In orchestral scores, staff lines that only have rests are usually
1242 removed; this saves some space. This style is called `French Score'.
1243 For @internalsref{Lyrics},
1244 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1245 switched on by default. When the lines of these contexts turn out
1246 empty after the line-breaking process, they are removed.
1248 For normal staves, a specialized @internalsref{Staff} context is
1249 available, which does the same: staves containing nothing (or only
1250 multi-measure rests) are removed. The context definition is stored in
1251 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1252 in this example disappears in the second line
1254 @lilypond[quote,raggedright,verbatim]
1256 \context { \RemoveEmptyStaffContext }
1261 \new Staff { e4 f g a \break c1 }
1262 \new Staff { c4 d e f \break R1 }
1267 The first system shows all staves in full. If empty staves should be
1268 removed from the first system too, set @code{remove-first} to true in
1269 @internalsref{VerticalAxisGroup}.
1272 \override Score.VerticalAxisGroup #'remove-first = ##t
1275 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1276 or @code{\RemoveEmptyRhythmicStaffContext}.
1278 Another application is making ossia sections, i.e., alternative
1279 melodies on a separate piece of staff, with help of a Frenched
1280 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1283 @node Quoting other voices
1284 @subsection Quoting other voices
1286 With quotations, fragments of other parts can be inserted into a part
1287 directly. Before a part can be quoted, it must be marked especially as
1288 quotable. This is done with the @code{\addquote} command.
1291 \addquote @var{name} @var{music}
1296 Here, @var{name} is an identifying string. The @var{music} is any kind
1297 of music. Here is an example of @code{\addquote}
1300 \addquote clarinet \relative c' @{
1305 This command must be entered at toplevel, i.e., outside any music
1308 After calling @code{\addquote}, the quotation may then be done with
1309 @code{\quoteDuring} or @code{\cueDuring},
1312 \quoteDuring #@var{name} @var{music}
1315 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1319 \quoteDuring #"clarinet" @{ s2. @}
1322 This would cite three quarter notes (the duration of @code{s2.}) of
1323 the previously added @code{clarinet} voice.
1326 More precisely, it takes the current time-step of the part being
1327 printed, and extracts the notes at the corresponding point of the
1328 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1329 should be the entire part of the voice to be quoted, including any
1330 rests at the beginning.
1332 Quotations take into account the transposition of both source and target
1333 instruments, if they are specified using the @code{\transposition} command.
1335 @lilypond[quote,raggedright,verbatim]
1336 \addquote clarinet \relative c' {
1342 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1346 The type of events that are present in cue notes can be trimmed with
1347 the @code{quotedEventTypes} property. The default value is
1348 @code{(note-event rest-event)}, which means that only notes and
1349 rests of the cued voice end up in the @code{\quoteDuring}.
1353 \set Staff.quotedEventTypes =
1354 #'(note-event articulation-event dynamic-event)
1358 will quote notes (but no rests), together with scripts and dynamics.
1362 Only the contents of the first @internalsref{Voice} occurring in an
1363 @code{\addquote} command will be considered for quotation, so
1364 @var{music} can not contain @code{\new} and @code{\context Voice}
1365 statements that would switch to a different Voice.
1367 Quoting grace notes is broken and can even cause LilyPond to crash.
1371 In this manual: @ref{Instrument transpositions}.
1373 Examples: @inputfileref{input/@/regression,quote@/.ly}
1374 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1376 Program reference: @internalsref{QuoteMusic}.
1379 @node Formatting cue notes
1380 @subsection Formatting cue notes
1382 The previous section deals with inserting notes from another voice.
1383 There is a more advanced music function called @code{\cueDuring},
1384 which makes formatting cue notes easier.
1389 \cueDuring #@var{name} #@var{updown} @var{music}
1392 This will insert notes from the part @var{name} into a
1393 @internalsref{Voice} called @code{cue}. This happens simultaneously
1394 with @var{music}, which usually is a rest. When the cue notes start,
1395 the staff in effect becomes polyphonic for a moment. The argument
1396 @var{updown} determines whether the cue notes should be notated as a
1397 first or second voice.
1400 @lilypond[verbatim,raggedright]
1403 \override Stem #'length-fraction = #0.8
1404 \override Beam #'thickness = #0.384
1405 \override Beam #'length-fraction = #0.8
1408 \addquote clarinet \relative {
1413 \new Staff \relative <<
1415 % setup a context for cue notes.
1416 \context Voice = cue { \smaller \skip 1*21 }
1418 \set Score.skipBars = ##t
1422 \cueDuring #"clarinet" #1 {
1431 Here are a couple of hints for successful cue notes
1435 Cue notes have smaller font sizes.
1437 the cued part is marked with the instrument playing the cue.
1439 when the original part takes over again, this should be marked with
1440 the name of the original instrument.
1442 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1444 @c Yes, this is good practice. Otherwise, the start of the original
1445 @c part can only be seen from the font size. This is not good enough
1446 @c for sight-reading. It is possilbe to use other
1447 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1452 Any other changes introduced by the cued part should also be
1453 undone. For example, if the cued instrument plays in a different clef,
1454 the original clef should be stated once again.
1459 @node Aligning to cadenzas
1460 @subsection Aligning to cadenzas
1462 In an orchestral context, cadenzas present a special problem:
1463 when constructing a score that includes a cadenza, all other
1464 instruments should skip just as many notes as the length of the
1465 cadenza, otherwise they will start too soon or too late.
1467 A solution to this problem are the functions @code{mmrest-of-length}
1468 and @code{skip-of-length}. These Scheme functions take a piece of music
1469 as argument, and generate a @code{\skip} or multi-rest, exactly as
1470 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1471 in the following example.
1473 @lilypond[verbatim,raggedright,quote]
1474 cadenza = \relative c' {
1475 c4 d8 << { e f g } \\ { d4. } >>
1480 \new Staff { \cadenza c'4 }
1482 #(ly:export (mmrest-of-length cadenza))
1491 @node Contemporary notation
1492 @section Contemporary notation
1494 In the 20th century, composers have greatly expanded the musical
1495 vocabulary. With this expansion, many innovations in musical notation
1496 have been tried. The book ``Music Notation in the 20th century'' by
1497 Kurt Stone gives a comprehensive overview (see @ref{Literature
1498 list}). In general, the use of new, innovative notation makes a piece
1499 harder to understand and perform and its use should therefore be
1500 avoided. For this reason, support for contemporary notation in
1501 LilyPond is limited.
1505 * Polymetric notation::
1506 * Time administration::
1508 * Special fermatas::
1509 * Special noteheads::
1516 @node Polymetric notation
1517 @subsection Polymetric notation
1519 Double time signatures are not supported explicitly, but they can be
1520 faked. In the next example, the markup for the time signature is
1521 created with a markup text. This markup text is inserted in the
1522 @internalsref{TimeSignature} grob.
1524 @lilypond[verbatim,raggedright]
1529 \musicglyph #"scripts.stopped"
1530 \bracket \column { "5" "8" }
1535 \override Staff.TimeSignature #'stencil = #Text_interface::print
1536 \override Staff.TimeSignature #'text = #tsMarkup
1538 c'2 \bar ":" c'4 c'4.
1542 Each staff can also have its own time signature. This is done by
1543 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1549 \remove "Timing_translator"
1550 \remove "Default_bar_line_engraver"
1554 \consists "Timing_translator"
1555 \consists "Default_bar_line_engraver"
1562 Now, each staff has its own time signature.
1575 c4. c8 c c c4. c8 c c
1580 @lilypond[quote,raggedright]
1584 \remove "Timing_translator"
1585 \remove "Default_bar_line_engraver"
1588 \consists "Timing_translator"
1589 \consists "Default_bar_line_engraver"
1604 c4. c8 c c c4. c8 c c
1610 A different form of polymetric notation is where note lengths have
1611 different values across staves.
1613 This notation can be created by setting a common time signature for
1614 each staff but replacing it manually using
1615 @code{timeSignatureFraction} to the desired fraction. Then the printed
1616 durations in each staff are scaled to the common time signature.
1617 The latter is done with @code{\compressMusic}, which is used similar
1618 to @code{\times}, but does not create a tuplet bracket. The syntax is
1620 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1625 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1626 used in parallel. In the second staff, shown durations are multiplied by
1627 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1628 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1630 @lilypond[quote,raggedright,verbatim,fragment]
1638 \set Staff.timeSignatureFraction = #'(9 . 8)
1639 \compressMusic #'(2 . 3)
1640 \repeat unfold 6 { c8[ c c] }
1644 \set Staff.timeSignatureFraction = #'(10 . 8)
1645 \compressMusic #'(3 . 5) {
1646 \repeat unfold 2 { c8[ c c] }
1647 \repeat unfold 2 { c8[ c] }
1648 | c4. c4. \times 2/3 { c8 c c } c4
1659 When using different time signatures in parallel, the spacing is
1660 aligned vertically, but bar lines distort the regular spacing.
1663 @node Time administration
1664 @subsection Time administration
1666 @cindex Time administration
1668 Time is administered by the @internalsref{Time_signature_engraver},
1669 which usually lives in the @internalsref{Score} context. The
1670 bookkeeping deals with the following variables
1673 @item currentBarNumber
1677 The length of the measures in the current time signature. For a 4/4
1678 time this is@tie{}1, and for 6/8 it is 3/4.
1680 @item measurePosition
1681 The point within the measure where we currently are. This quantity
1682 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1683 happens, @code{currentBarNumber} is incremented.
1686 If set to true, the above variables are updated for every time
1687 step. When set to false, the engraver stays in the current measure
1691 Timing can be changed by setting any of these variables explicitly.
1692 In the next example, the 4/4 time signature is printed, but
1693 @code{measureLength} is set to 5/4. After a while, the measure is
1694 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1695 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1696 3/8 arises because 5/4 normally has 10/8, but we have manually
1697 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1699 @lilypond[quote,raggedright,verbatim,relative,fragment]
1700 \set Score.measureLength = #(ly:make-moment 5 4)
1704 \set Score.measurePosition = #(ly:make-moment 7 8)
1712 @subsection Clusters
1716 A cluster indicates a continuous range of pitches to be played. They
1717 can be denoted as the envelope of a set of notes. They are entered by
1718 applying the function @code{makeClusters} to a sequence of
1720 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1721 \makeClusters { <c e > <b f'> }
1724 The following example (from
1725 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1728 @lilypondfile[raggedright,quote]{cluster.ly}
1730 Ordinary notes and clusters can be put together in the same staff,
1731 even simultaneously. In such a case no attempt is made to
1732 automatically avoid collisions between ordinary notes and clusters.
1736 Program reference: @internalsref{ClusterSpanner},
1737 @internalsref{ClusterSpannerBeacon},
1738 @internalsref{Cluster_spanner_engraver}.
1740 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1744 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1745 accurately. Use @code{<g a>8 <e a>8} instead.
1749 @node Special fermatas
1750 @subsection Special fermatas
1752 @cindex fermatas, special
1754 In contemporary music notation, special fermata symbols denote breaks
1755 of differing lengths. The following fermatas are supported
1757 @lilypond[quote,raggedright]
1780 \context Lyrics \lyricmode {
1781 \override LyricText #'font-family = #'typewriter
1782 "shortfermata" "fermata" "longfermata" "verylongfermata"
1787 See @ref{Articulations} for general instructions how to apply scripts
1788 such as fermatas to notes.
1791 @node Special noteheads
1792 @subsection Special noteheads
1794 Different noteheads are used by various instruments for various
1795 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1796 notes on guitar; diamonds are used for harmonics on string instruments,
1797 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1798 other notehead styles are produced by tweaking the property
1800 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1802 \override NoteHead #'style = #'cross
1804 \revert NoteHead #'style
1805 e d <c f\harmonic> <d a'\harmonic>
1809 To see all notehead styles, please see
1810 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1815 Program reference: @internalsref{NoteHead}.
1817 @node Pitched trills
1818 @subsection Pitched trills
1820 Trills that should be executed on an explicitly specified pitch can be
1821 typeset with the command @code{pitchedTrill},
1823 @lilypond[raggedright,verbatim,fragment]
1824 \pitchedTrill c'4\startTrillSpan fis
1828 The first argument is the main note. The absolute pitch of the second
1829 is printed as a stemless note head in parentheses.
1831 @node Feathered beams
1832 @subsection Feathered beams
1834 Feathered beams are not supported natively, but they can be faked by
1835 forcing two beams to overlap. Here is an example,
1837 @c don't change relative setting witout changing positions!
1838 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1843 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1848 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1856 @subsection Improvisation
1858 Improvisation is sometimes denoted with slashed note heads. Such note
1859 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1860 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1864 \set squashedPosition = #0
1865 \override NoteHead #'style = #'slash
1869 switches on the slashes.
1871 There are shortcuts @code{\improvisationOn} (and an accompanying
1872 @code{\improvisationOff}) for this command sequence. They are used in
1873 the following example
1875 @lilypond[verbatim,raggedright,quote]
1877 \consists Pitch_squash_engraver
1879 e8 e g a a16(bes)(a8) g \improvisationOn
1882 ~fis2 \improvisationOff a16(bes) a8 g e
1887 @node Educational use
1888 @section Educational use
1890 With the amount of control that LilyPond offers, one can make great
1891 teaching tools in addition to great musical scores.
1895 * Blank music sheet::
1897 * Shape note heads ::
1898 * Easy Notation note heads::
1899 * Analysis brackets::
1900 * Coloring objects::
1904 @subsection Balloon help
1906 Elements of notation can be marked and named with the help of a square
1907 balloon. The primary purpose of this feature is to explain notation.
1909 The following example demonstrates its use.
1911 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1914 #(add-balloon-text 'NoteHead "heads, or tails?"
1921 The function @code{add-balloon-text} takes the name of a grob, the
1922 label to print, and the position where to put the label relative to
1923 the object. In the above example, the text ``heads or tails?'' ends
1924 3 spaces below and 1 space to the right of the marked head.
1927 @cindex notation, explaining
1931 Program reference: @internalsref{text-balloon-interface}.
1933 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1938 @node Blank music sheet
1939 @subsection Blank music sheet
1941 A blank music sheet can be produced also by using invisible notes, and
1942 removing @code{Bar_number_engraver}.
1945 @lilypond[quote,verbatim]
1947 \repeat unfold 2 % Change this for more lines.
1952 \override TimeSignature #'transparent = ##t
1953 defaultBarType = #""
1954 \remove Bar_number_engraver
1956 \context Staff \emptymusic
1957 \context TabStaff \emptymusic
1963 @subsection Hidden notes
1965 @cindex Hidden notes
1966 @cindex Invisible notes
1967 @cindex Transparent notes
1969 @cindex @code{\hideNotes}
1970 @cindex @code{\unHideNotes}
1971 Hidden (or invisible or transparent) notes can be useful in preparing theory
1972 or composition exercises.
1974 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1982 Hidden notes are also great for performing weird tricks. For example,
1983 slurs cannot be attached to rests or spacer rests, but you may wish
1984 to include that in your score -- string instruments use this notation
1985 when doing pizzicato to indicate that the note should ring for as long
1988 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1991 c4^"pizz"( \hideNotes c)
1992 \unHideNotes c( \hideNotes c)
1999 @node Shape note heads
2000 @subsection Shape note heads
2002 In shape note head notation, the shape of the note head corresponds
2003 to the harmonic function of a note in the scale. This notation was
2004 popular in the 19th century American song books.
2006 Shape note heads can be produced by setting @code{\aikenHeads} or
2007 @code{\sacredHarpHeads}, depending on the style desired.
2009 @lilypond[verbatim,relative=1,fragment]
2016 Shapes are determined on the step in the scale, where the base of the
2017 scale is determined by the @code{\key} command
2020 @findex shapeNoteStyles
2022 @findex \sacredHarpHeads
2024 Shape note heads are implemented through the @code{shapeNoteStyles}
2025 property. Its value is a vector of symbols. The k-th element indicates
2026 the style to use for the k-th step of the scale. Arbitrary
2027 combinations are possible, eg.,
2030 @lilypond[verbatim,relative=1,fragment]
2031 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2036 @node Easy Notation note heads
2037 @subsection Easy Notation note heads
2039 @cindex easy notation
2042 The `easy play' note head includes a note name inside the head. It is
2043 used in music for beginners
2045 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
2050 The command @code{\setEasyHeads} overrides settings for the
2051 @internalsref{NoteHead} object. To make the letters readable, it has
2052 to be printed in a large font size. To print with a larger font, see
2053 @ref{Setting global staff size}.
2057 @cindex @code{\setEasyHeads}
2058 @code{\setEasyHeads}
2061 @node Analysis brackets
2062 @subsection Analysis brackets
2064 @cindex phrasing brackets
2065 @cindex musicological analysis
2066 @cindex note grouping bracket
2068 Brackets are used in musical analysis to indicate structure in musical
2069 pieces. LilyPond supports a simple form of nested horizontal
2070 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2071 to @internalsref{Staff} context. A bracket is started with
2072 @code{\startGroup} and closed with @code{\stopGroup}
2074 @lilypond[quote,raggedright,verbatim]
2077 c4\startGroup\startGroup
2080 c4\stopGroup\stopGroup
2084 \Staff \consists "Horizontal_bracket_engraver"
2090 Program reference: @internalsref{HorizontalBracket}.
2092 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2095 @node Coloring objects
2096 @subsection Coloring objects
2098 Individual objects may be assigned colors. You may use the
2099 color names listed in the @ref{List of colors}.
2101 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2102 \override NoteHead #'color = #red
2104 \override NoteHead #'color = #(x11-color 'LimeGreen)
2106 \override Stem #'color = #blue
2110 The full range of colors defined for X11 can be accessed by using the
2111 scheme function x11-color. The function takes one argument that can be a
2115 \override Beam #'color = #(x11-color 'MediumTurquoise)
2121 \override Beam #'color = #(x11-color "MediumTurquoise")
2124 The first form is quicker to write and is more efficient. However, using
2125 the second form it is possible to access X11 colors by the multi-word
2129 \override Beam #'color = #(x11-color "medium turquoise")
2132 If x11-color cannot make sense of the parameter then the color returned
2133 defaults to black. It should be obvious from the final score that
2136 This example, illustrates the use of x11-color. Notice that the stem
2137 color remains black after being set to (x11-color 'Boggle), which is
2138 deliberate nonsense.
2140 @lilypond[quote,raggedright,verbatim]
2142 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2143 \set Staff.instrument = \markup {
2144 \with-color #(x11-color 'navy) "Clarinet"
2148 \override Beam #'color = #(x11-color "medium turquoise")
2150 \override NoteHead #'color = #(x11-color "LimeGreen")
2152 \override Stem #'color = #(x11-color 'Boggle)
2160 Appendix: @ref{List of colors}.
2164 Not all x11 colors are distinguishable in a web browser. For web use
2165 normal colors are recommended.
2167 An x11 color is not necessarily exactly the same shade as a similarly
2171 @node Automatic notation
2172 @section Automatic notation
2174 This section describes how to change the way that accidentals and
2175 beams are automatically displayed.
2177 FIXME: this might get moved into Changing Defaults. Please send
2178 opinions to lilypond-devel. Thanks! :)
2181 * Automatic accidentals::
2182 * Setting automatic beam behavior::
2185 @node Automatic accidentals
2186 @subsection Automatic accidentals
2187 @cindex Automatic accidentals
2189 Common rules for typesetting accidentals have been placed in a
2190 function. This function is called as follows
2192 @cindex @code{set-accidental-style}
2194 #(set-accidental-style 'STYLE #('CONTEXT#))
2197 The function can take two arguments: the name of the accidental style,
2198 and an optional argument that denotes the context that should be
2199 changed. If no context name is supplied, @code{Staff} is the default,
2200 but you may wish to apply the accidental style to a single @code{Voice}
2203 The following accidental styles are supported
2206 This is the default typesetting behavior. It corresponds
2207 to 18th century common practice: Accidentals are
2208 remembered to the end of the measure in which they occur and
2209 only on their own octave.
2212 The normal behavior is to remember the accidentals on
2213 Staff-level. This variable, however, typesets accidentals
2214 individually for each voice. Apart from that, the rule is similar to
2217 As a result, accidentals from one voice do not get canceled in other
2218 voices, which is often an unwanted result
2220 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2222 #(set-accidental-style 'voice)
2229 The @code{voice} option should be used if the voices
2230 are to be read solely by individual musicians. If the staff is to be
2231 used by one musician (e.g., a conductor) then
2232 @code{modern} or @code{modern-cautionary}
2233 should be used instead.
2236 @cindex @code{modern} style accidentals
2237 This rule corresponds to the common practice in the 20th century. This rule
2238 prints the same accidentals as @code{default}, but temporary
2239 accidentals also are canceled in other octaves. Furthermore,
2240 in the same octave, they also get canceled in the following
2243 @lilypond[quote,raggedright,fragment,verbatim]
2244 #(set-accidental-style 'modern)
2245 cis' c'' cis'2 | c'' c'
2248 @item @code{modern-cautionary}
2249 @cindex @code{modern-cautionary}
2250 This rule is similar to @code{modern}, but the ``extra'' accidentals
2251 (the ones not typeset by @code{default}) are typeset as cautionary
2252 accidentals. They are printed in reduced size or with parentheses
2253 @lilypond[quote,raggedright,fragment,verbatim]
2254 #(set-accidental-style 'modern-cautionary)
2255 cis' c'' cis'2 | c'' c'
2258 @cindex @code{modern-voice}
2260 This rule is used for multivoice accidentals to be read both by musicians
2261 playing one voice and musicians playing all voices. Accidentals are
2262 typeset for each voice, but they @emph{are} canceled across voices in
2263 the same @internalsref{Staff}.
2265 @cindex @code{modern-voice-cautionary}
2266 @item modern-voice-cautionary
2267 This rule is the same as @code{modern-voice}, but with the extra
2268 accidentals (the ones not typeset by @code{voice}) typeset
2269 as cautionaries. Even though all accidentals typeset by
2270 @code{default} @emph{are} typeset by this variable,
2271 some of them are typeset as cautionaries.
2274 @cindex @code{piano} accidentals
2275 This rule reflects 20th century practice for piano notation. Very similar to
2276 @code{modern} but accidentals also get canceled
2277 across the staves in the same @internalsref{GrandStaff} or
2278 @internalsref{PianoStaff}.
2280 @item piano-cautionary
2281 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2282 Same as @code{#(set-accidental-style 'piano)} but with the extra
2283 accidentals typeset as cautionaries.
2286 @cindex @code{no-reset} accidental style
2287 This is the same as @code{default} but with accidentals lasting
2288 ``forever'' and not only until the next measure
2289 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2290 #(set-accidental-style 'no-reset)
2295 This is sort of the opposite of @code{no-reset}: Accidentals
2296 are not remembered at all---and hence all accidentals are
2297 typeset relative to the key signature, regardless of what was
2300 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2301 #(set-accidental-style 'forget)
2302 \key d\major c4 c cis cis d d dis dis
2309 Program reference: @internalsref{Accidental_engraver},
2310 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2315 Simultaneous notes are considered to be entered in sequential
2316 mode. This means that in a chord the accidentals are typeset as if the
2317 notes in the chord happened once at a time - in the order in which
2318 they appear in the input file.
2320 This is a problem when accidentals in a chord depend on each other,
2321 which does not happen for the default accidental style. The problem
2322 can be solved by manually inserting @code{!} and @code{?} for the
2326 @node Setting automatic beam behavior
2327 @subsection Setting automatic beam behavior
2329 @cindex @code{autoBeamSettings}
2330 @cindex @code{(end * * * *)}
2331 @cindex @code{(begin * * * *)}
2332 @cindex automatic beams, tuning
2333 @cindex tuning automatic beaming
2335 @c [TODO: use \applyContext]
2337 In normal time signatures, automatic beams can start on any note but can
2338 only end in a few positions within the measure: beams can end on a beat,
2339 or at durations specified by the properties in
2340 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2341 consist of a list of rules for where beams can begin and end. The
2342 default @code{autoBeamSettings} rules are defined in
2343 @file{scm/@/auto@/-beam@/.scm}.
2345 In order to add a rule to the list, use
2347 #(override-auto-beam-setting '(be p q n m) a b [context])
2352 @item @code{be} is either "begin" or "end".
2354 @item @code{p/q} is the duration of the note for which you want
2355 to add a rule. A beam is considered to have the duration of its
2356 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2357 have this apply to any beam.
2359 @item @code{n/m} is the time signature to which
2360 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2361 to have this apply in any time signature.
2363 @item @code{a/b} is the position in the bar at which the beam should begin/end.
2365 @item @code{context} is optional, and it specifies the context at which
2366 the change should be made. The default is @code{'Voice}.
2367 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2368 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2372 For example, if automatic beams should always end on the first quarter
2376 #(override-auto-beam-setting '(end * * * *) 1 4)
2379 You can force the beam settings to only take effect on beams whose shortest
2380 note is a certain duration
2382 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2384 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2386 a32 a a a a16 a a a a a |
2387 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2388 a32 a a a a16 a a a a a |
2391 You can force the beam settings to only take effect in certain time
2394 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2396 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2404 You can also remove a previously set beam-ending rule by using
2407 #(revert-auto-beam-setting '(be p q n m) a b [context])
2411 be, p, q, n, m, a, b and context are the same as above. Note that the
2412 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2413 so you can revert rules that you did not explicitly create.
2415 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2417 a16 a a a a a a a a a a a a a a a
2418 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2419 a16 a a a a a a a a a a a a a a a
2422 The rule in a revert-auto-beam-setting statement must exactly match the
2423 original rule. That is, no wildcard expansion is taken into account.
2425 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2427 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2429 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2431 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2437 @c TODO: old material -- not covered by above stuff, I think.
2438 If automatic beams should end on every quarter in 5/4 time, specify
2441 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2442 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2443 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2444 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2448 The same syntax can be used to specify beam starting points. In this
2449 example, automatic beams can only end on a dotted quarter note
2451 #(override-auto-beam-setting '(end * * * *) 3 8)
2452 #(override-auto-beam-setting '(end * * * *) 1 2)
2453 #(override-auto-beam-setting '(end * * * *) 7 8)
2455 In 4/4 time signature, this means that automatic beams could end only on
2456 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2457 3/8, has passed within the measure).
2459 @cindex automatic beam generation
2461 @cindex @code{autoBeaming}
2464 If beams are used to indicate melismata in songs, then automatic
2465 beaming should be switched off with @code{\autoBeamOff}.
2470 @cindex @code{\autoBeamOff}
2471 @code{\autoBeamOff},
2472 @cindex @code{\autoBeamOn}
2478 If a score ends while an automatic beam has not been ended and is
2479 still accepting notes, this last beam will not be typeset at all. The
2480 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2481 >>}. If a polyphonic voice ends while an automatic beam is still
2482 accepting notes, it is not typeset.