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 To print a solid line, use
138 \override TextSpanner #'dash-fraction = #'()
144 Program reference: @internalsref{TextSpanner}.
146 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
150 @subsection Text marks
152 @cindex coda on bar line
153 @cindex segno on bar line
154 @cindex fermata on bar line
155 @cindex bar lines, symbols on
158 The @code{\mark} command is primarily used for
159 @ref{Rehearsal marks},
160 but it can also be used to put signs like coda,
161 segno, and fermata on a bar line. Use @code{\markup} to
162 access the appropriate symbol
164 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
165 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
170 @code{\mark} is only typeset above the top stave of the score. If
171 you specify the @code{\mark} command at a bar line, the resulting
172 mark is placed above the bar line. If you specify it in the middle
173 of a bar, the resulting mark is positioned between notes. If it is
174 specified before the beginning of a score line, it is placed
175 before the first note of the line. Finally, if the mark occurs at
176 a line break, the mark will be printed at the
177 beginning of the next line.
178 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
179 @c delete this sentence. -gp
180 If there is no next line, then the mark will not be printed at all.
185 To print the mark at the end of the current line, use
188 \override Score.RehearsalMark
189 #'break-visibility = #begin-of-line-invisible
192 @code{\mark} is often useful for adding text to the end of bar. In
193 such cases, changing the @code{#'self-alignment} is very useful
195 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
196 \override Score.RehearsalMark
197 #'break-visibility = #begin-of-line-invisible
199 \once \override Score.RehearsalMark #'self-alignment-X = #right
200 \mark "D.S. al Fine "
203 Text marks may be aligned with notation objects other than
206 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
211 \override Score.RehearsalMark #'break-align-symbol = #'key-signature
215 \override Score.RehearsalMark #'break-align-symbol = #'clef
219 \override Score.RehearsalMark #'break-align-symbol = #'time-signature
228 Although text marks are normally only printed above the topmost
229 staff, you may alter this to print them on every staff,
231 @lilypond[quote,ragged-right,verbatim,relative=2]
234 \remove "Mark_engraver"
238 \consists "Mark_engraver"
240 { c''1 \mark "foo" c'' }
242 \consists "Mark_engraver"
244 { c'1 \mark "foo" c' }
252 Program reference: @internalsref{RehearsalMark}.
256 @subsection Text markup
263 Use @code{\markup} to typeset text. Commands are entered with the
264 backslash @code{\}. To enter @code{\} and @code{#}, use double
267 @lilypond[quote,verbatim,fragment,relative=1]
269 c1_\markup { hi there }
270 c1^\markup { hi \bold there, is \italic anyone home? }
271 c1_\markup { "\special #characters" }
275 See @ref{Overview of text markup commands} for a list of all
278 @code{\markup} is primarily used for @internalsref{TextScript}s,
279 but it can also be used anywhere text is called in lilypond
281 @lilypond[quote,verbatim]
282 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
285 \override Score.RehearsalMark
286 #'break-visibility = #begin-of-line-invisible
287 \override Score.RehearsalMark #'self-alignment-X = #right
289 \set Staff.instrument = \markup{ \column{ Alto solo } }
290 c2^\markup{ don't be \flat }
291 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
293 a2\mark \markup{ \large \bold Fine }
297 \addlyrics { bar, foo \markup{ \italic bar! } }
301 Text can also be placed on its own, away from any @code{\score}
302 block. This is primarily used in a @code{\book} (see
303 @ref{Multiple movements}).
305 @lilypond[quote,ragged-right,verbatim]
306 \markup{ Here is some text. }
309 @cindex font switching
311 The markup in the example demonstrates font switching commands. The
312 command @code{\bold} and @code{\italic} apply to the first following
313 word only; to apply a command to more than one word, enclose the
317 \markup @{ \bold @{ hi there @} @}
321 For clarity, you can also do this for single arguments, e.g.,
324 \markup @{ is \italic @{ anyone @} home @}
327 In markup mode you can compose expressions, similar to mathematical
328 expressions, XML documents, and music expressions. You can stack
329 expressions grouped vertically with the command @code{\column}.
330 Similarly, @code{\center-align} aligns texts by their center lines:
332 @lilypond[quote,verbatim,fragment,relative=1]
333 c1^\markup { \column { a bbbb \line { c d } } }
334 c1^\markup { \center-align { a bbbb c } }
335 c1^\markup { \line { a b c } }
338 Lists with no previous command are not kept distinct. The expression
341 \center-align @{ @{ a b @} @{ c d @} @}
349 \center-align @{ a b c d @}
354 To keep lists of words distinct, please use quotes @code{"} or
355 the @code{\line} command
357 @lilypond[quote,verbatim,fragment,relative=1]
359 c4^\markup{ \center-align { on three lines } }
360 c4^\markup{ \center-align { "all one line" } }
361 c4^\markup{ \center-align { { on three lines } } }
362 c4^\markup{ \center-align { \line { on one line } } }
365 Markups can be stored in variables and these variables
366 may be attached to notes, like
368 allegro = \markup @{ \bold \large @{ Allegro @} @}
369 @{ a^\allegro b c d @}
372 Some objects have alignment procedures of their own, which cancel out
373 any effects of alignments applied to their markup arguments as a
374 whole. For example, the @internalsref{RehearsalMark} is horizontally
375 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
378 In addition, vertical placement is performed after creating the
379 text markup object. If you wish to move an entire piece of markup,
380 you need to use the #'padding property or create an "anchor" point
381 inside the markup (generally with @code{\hspace #0}).
383 @lilypond[quote,verbatim,fragment,relative=1]
385 c'4^\markup{ \raise #5 "not raised" }
386 \once \override TextScript #'padding = #3
387 c'4^\markup{ raised }
388 c'4^\markup{ \hspace #0 \raise #1.5 raised }
391 Some situations (such as dynamic marks) have preset font-related
392 properties. If you are creating text in such situations, it
393 is advisable to cancel those properties with
394 @code{normal-text}. See @ref{Overview of text markup commands}
400 This manual: @ref{Overview of text markup commands}.
402 Program reference: @internalsref{TextScript}.
404 Init files: @file{scm/@/new@/-markup@/.scm}.
409 Kerning or generation of ligatures is only done when the @TeX{}
410 backend is used. In this case, LilyPond does not account for them so
411 texts will be spaced slightly too wide.
413 Syntax errors for markup mode are confusing.
417 @subsection Nested scores
419 It is possible to nest music inside markups, by adding a @code{\score}
420 block to a markup expression. Such a score must contain a @code{\layout}
423 @lilypond[quote,verbatim,ragged-right]
427 \relative { c4 d e f }
436 @node Overview of text markup commands
437 @subsection Overview of text markup commands
439 The following commands can all be used inside @code{\markup @{ @}}.
441 @include markup-commands.tely
445 @subsection Font selection
447 @cindex font selection
448 @cindex font magnification
449 @cindex @code{font-interface}
451 By setting the object properties described below, you can select a
452 font from the preconfigured font families. LilyPond has default
453 support for the feta music fonts. Text fonts are selected through
454 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
455 the sans and typewriter to whatever the Pango installation defaults
460 @item @code{font-encoding}
461 is a symbol that sets layout of the glyphs. This should only be set to
462 select different types of non-text fonts, e.g.
464 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
465 standard music font, including ancient glyphs, @code{fetaDynamic} for
466 dynamic signs and @code{fetaNumber} for the number font.
468 @item @code{font-family}
469 is a symbol indicating the general class of the typeface. Supported are
470 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
472 @item @code{font-shape}
473 is a symbol indicating the shape of the font. There are typically
474 several font shapes available for each font family. Choices are
475 @code{italic}, @code{caps}, and @code{upright}.
477 @item @code{font-series}
478 is a symbol indicating the series of the font. There are typically
479 several font series for each font family and shape. Choices are
480 @code{medium} and @code{bold}.
484 Fonts selected in the way sketched above come from a predefined style
485 sheet. If you want to use a font from outside the style sheet,
487 @code{font-name} property,
489 @lilypond[fragment,verbatim]
491 \override Staff.TimeSignature #'font-name = #"Charter"
492 \override Staff.TimeSignature #'font-size = #2
495 \override #'(font-name . "Vera Bold")
496 { This text is in Vera Bold }
502 Any font can be used, as long as it is available to Pango/FontConfig.
504 The size of the font may be set with the @code{font-size}
505 property. The resulting size is taken relative to the
506 @code{text-font-size} as defined in the @code{\paper} block.
509 @cindex font magnification
512 It is also possible to change the default font family for the entire
513 document. This is done by calling the @code{make-pango-font-tree} from
514 within the @code{\paper} block. The function takes names for the font
515 families to use for roman, sans serif and monospaced text. For
518 @cindex font families, setting
527 (make-pango-font-tree "Times New Roman"
534 c'^\markup { roman: foo \sans bla \typewriter bar }
538 @c we don't do Helvetica / Courier, since GS incorrectly loads
545 Examples: @inputfileref{input/@/regression,font@/-family@/-override.ly}.
548 @node New dynamic marks
549 @subsection New dynamic marks
551 It is possible to print new dynamic marks or text that should be aligned
552 with dynamics. Use @code{make-dynamic-script} to create these
553 marks. Note that the dynamic font only contains the characters
554 @code{f,m,p,r,s} and @code{z}.
556 Some situations (such as dynamic marks) have preset font-related
557 properties. If you are creating text in such situations, it
558 is advisable to cancel those properties with
559 @code{normal-text}. See @ref{Overview of text markup commands}
562 @cindex make-dynamic-script
564 @lilypond[quote,verbatim,ragged-right]
565 sfzp = #(make-dynamic-script "sfzp")
571 @cindex Dynamics, editorial
572 @cindex Dynamics, parenthesis
574 It is also possible to print dynamics in round parenthesis or square
575 brackets. These are often used for adding editorial dynamics.
577 @lilypond[quote,verbatim,ragged-right]
578 rndf = \markup{ \center-align {\line { \bold{\italic (}
579 \dynamic f \bold{\italic )} }} }
580 boxf = \markup{ \bracket { \dynamic f } }
581 { c'1_\rndf c'1_\boxf }
586 @node Preparing parts
587 @section Preparing parts
589 This section describes various notation that are useful for preparing
593 * Multi measure rests::
598 * Instrument transpositions::
600 * Different editions from one source::
604 @node Multi measure rests
605 @subsection Multi measure rests
607 @cindex multi measure rests
608 @cindex full measure rests
609 @cindex Rests, multi measure
610 @cindex Rests, full measure
611 @cindex whole rests for a full measure
614 Rests for one full measure (or many bars) are entered using `@code{R}'. It
615 is specifically meant for full bar rests and for entering parts: the rest
616 can expand to fill a score with rests, or it can be printed as a single
617 multi-measure rest. This expansion is controlled by the property
618 @code{Score.skipBars}. If this is set to true, empty measures will not
619 be expanded, and the appropriate number is added automatically
621 @lilypond[quote,ragged-right,fragment,verbatim]
622 \time 4/4 r1 | R1 | R1*2
623 \set Score.skipBars = ##t R1*17 R1*4
626 The @code{1} in @code{R1} is similar to the duration notation used for
627 notes. Hence, for time signatures other than 4/4, you must enter other
628 durations. This can be done with augmentation dots or fractions
630 @lilypond[quote,ragged-right,fragment,verbatim]
631 \set Score.skipBars = ##t
640 An @code{R} spanning a single measure is printed as either a whole rest
641 or a breve, centered in the measure regardless of the time signature.
643 If there are only a few measures of rest, LilyPond prints ``church rests''
644 (a series of rectangles) in the staff. To replace that with a simple
645 rest, use @code{MultiMeasureRest.expand-limit}.
647 @lilypond[quote,ragged-right,fragment,verbatim]
648 \set Score.skipBars = ##t
650 \override MultiMeasureRest #'expand-limit = 1
654 @cindex text on multi-measure rest
655 @cindex script on multi-measure rest
656 @cindex fermata on multi-measure rest
658 Texts can be added to multi-measure rests by using the
659 @var{note}-@code{markup} syntax @ref{Text markup}.
660 A variable (@code{\fermataMarkup}) is provided for
663 @lilypond[quote,ragged-right,verbatim,fragment]
664 \set Score.skipBars = ##t
666 R2.*10^\markup { \italic "ad lib." }
670 Warning! This text is created by @code{MultiMeasureRestText}, not
673 @lilypond[quote,ragged-right,verbatim,fragment]
674 \override TextScript #'padding = #5
676 \override MultiMeasureRestText #'padding = #5
680 If you want to have text on the left end of a multi-measure rest,
681 attach the text to a zero-length skip note, i.e.,
691 Program reference: @internalsref{MultiMeasureRestMusicGroup},
692 @internalsref{MultiMeasureRest}.
694 The layout object @internalsref{MultiMeasureRestNumber} is for the
695 default number, and @internalsref{MultiMeasureRestText} for user
701 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
702 over multi-measure rests. And the pitch of multi-measure rests (or
703 staff-centered rests) can not be influenced.
705 @cindex condensing rests
707 There is no way to automatically condense multiple rests into a single
708 multi-measure rest. Multi-measure rests do not take part in rest
711 Be careful when entering multi-measure rests followed by whole
712 notes. The following will enter two notes lasting four measures each
716 When @code{skipBars} is set, the result will look OK, but the bar
717 numbering will be off.
720 @node Metronome marks
721 @subsection Metronome marks
724 @cindex beats per minute
725 @cindex metronome marking
727 Metronome settings can be entered as follows
729 \tempo @var{duration} = @var{per-minute}
732 In the MIDI output, they are interpreted as a tempo change. In the
733 layout output, a metronome marking is printed
734 @cindex @code{\tempo}
735 @lilypond[quote,ragged-right,verbatim,fragment]
742 To change the tempo in the MIDI output without printing anything, make
743 the metronome marking invisible
745 \once \override Score.MetronomeMark #'transparent = ##t
748 To print other metronome markings, use these markup commands
749 @lilypond[quote,ragged-right,verbatim,relative,fragment]
752 \smaller \general-align #Y #DOWN \note #"16." #1
754 \smaller \general-align #Y #DOWN \note #"8" #1
759 See @ref{Text markup} for more details.
764 Program reference: @internalsref{MetronomeMark}.
769 Collisions are not checked. If you have notes above the top line of
770 the staff (or notes with articulations, slurs, text, etc), then the
771 metronome marking may be printed on top of musical symbols. If this
772 occurs, increase the padding of the metronome mark to place it
773 further away from the staff.
776 \override Score.MetronomeMark #'padding = #2.5
780 @node Rehearsal marks
781 @subsection Rehearsal marks
783 @cindex Rehearsal marks
786 To print a rehearsal mark, use the @code{\mark} command
788 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
797 The letter@tie{}`I' is skipped in accordance with engraving traditions.
798 If you wish to include the letter `I', then use
801 \set Score.markFormatter = #format-mark-alphabet
804 The mark is incremented automatically if you use @code{\mark
805 \default}, but you can also use an integer argument to set the mark
806 manually. The value to use is stored in the property
807 @code{rehearsalMark}.
809 The style is defined by the property @code{markFormatter}. It is a
810 function taking the current mark (an integer) and the current context
811 as argument. It should return a markup object. In the following
812 example, @code{markFormatter} is set to a canned procedure. After a
813 few measures, it is set to function that produces a boxed number.
815 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
816 \set Score.markFormatter = #format-mark-numbers
819 \set Score.markFormatter = #format-mark-box-numbers
825 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
826 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
827 @code{format-mark-letters} and @code{format-mark-box-letters}.
828 These can be used as inspiration for other formatting functions.
830 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
831 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
832 incremented numbers or letters.
837 Program reference: @internalsref{RehearsalMark}.
839 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
840 definition of @code{format-mark-numbers} and
841 @code{format-mark-letters}. They can be used as inspiration for other
842 formatting functions.
844 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
846 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
850 @subsection Bar numbers
853 @cindex measure numbers
854 @cindex @code{currentBarNumber}
856 Bar numbers are printed by default at the start of the line. The
857 number itself is stored in the @code{currentBarNumber} property, which
858 is normally updated automatically for every measure.
860 Bar numbers can be typeset at regular intervals instead of at the
861 beginning of each line. This is illustrated in the following example,
862 whose source is available as
863 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
865 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
867 Bar numbers can be typeset manually by tweaking the
868 @code{markFormatter} property
870 @lilypond[verbatim,ragged-right,quote]
872 \set Score.markFormatter
873 = #(lambda (mark context)
876 (number->string (ly:context-property context
877 'currentBarNumber)))))
879 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
883 Bar numbers can be manually changed by setting the
884 @code{Staff.currentBarNumber} property
886 @lilypond[verbatim,ragged-right,quote]
888 \repeat unfold 4 {c4 c c c} \break
889 \set Score.currentBarNumber = #50
890 \repeat unfold 4 {c4 c c c}
894 Bar numbers can be removed entirely by removing the Bar number
895 engraver from the score.
897 @lilypond[verbatim,ragged-right,quote,relative=2]
901 \remove "Bar_number_engraver"
913 Program reference: @internalsref{BarNumber}.
916 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
917 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
922 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
923 there is one at the top. To solve this, the
924 @code{padding} property of @internalsref{BarNumber} can be
925 used to position the number correctly.
928 @node Instrument names
929 @subsection Instrument names
931 In an orchestral score, instrument names are printed at the left side
934 This can be achieved by setting @internalsref{Staff}.@code{instrument}
935 and @internalsref{Staff}.@code{instr}. This will print a string before
936 the start of the staff. For the first staff, @code{instrument} is
937 used, for the following ones, @code{instr} is used.
939 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
940 \set Staff.instrument = "Ploink "
941 \set Staff.instr = "Plk "
947 You can also use markup texts to construct more complicated instrument
950 @lilypond[quote,fragment,verbatim,ragged-right]
951 \set Staff.instrument = \markup {
952 \column { "Clarinetti"
953 \line { "in B" \smaller \flat } } }
957 If you wish to center the instrument names, you must center all of them
959 @lilypond[quote,verbatim,ragged-right]
962 \set Staff.instrument = \markup {
963 \center-align { "Clarinetti"
964 \line { "in B" \smaller \flat } } }
968 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
975 For longer instrument names, it may be useful to increase the
976 @code{indent} setting in the @code{\layout} block.
978 To center instrument names while leaving extra space to the right,
980 @lilypond[quote,verbatim,ragged-right]
981 \new StaffGroup \relative
984 \set Staff.instrument
985 = \markup { \hcenter-in #10 "blabla" }
989 \set Staff.instrument
990 = \markup { \hcenter-in #10 "blo" }
999 Program reference: @internalsref{InstrumentName}.
1003 When you put a name on a grand staff or piano staff, the width of the
1004 brace is not taken into account. The following property setting can be
1005 used to move the instrument names to the left, in such situations.
1008 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
1012 @node Instrument transpositions
1013 @subsection Instrument transpositions
1015 @cindex transposition, MIDI
1016 @cindex transposition, instrument
1018 The key of a transposing instrument can also be specified. This
1019 applies to many wind instruments, for example, clarinets (B-flat, A, and
1020 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
1022 The transposition is entered after the keyword @code{\transposition}
1025 \transposition bes %% B-flat clarinet
1029 This command sets the property @code{instrumentTransposition}. The value of
1030 this property is used for MIDI output and quotations. It does not
1031 affect how notes are printed in the current staff. To change the printed
1032 output, see @ref{Transpose}.
1034 The pitch to use for @code{\transposition} should correspond to the
1035 real sound heard when a @code{c'} written on the staff is played by the
1036 transposing instrument. For example, when entering a score in
1037 concert pitch, typically all voices are entered in C, so
1038 they should be entered as
1051 The command @code{\transposition} should be used when the music is
1052 entered from a (transposed) orchestral part. For example, in
1053 classical horn parts, the tuning of the instrument is often changed
1054 during a piece. When copying the notes from the part, use
1055 @code{\transposition}, e.g.,
1067 @node Ottava brackets
1068 @subsection Ottava brackets
1070 `Ottava' brackets introduce an extra transposition of an octave for
1071 the staff. They are created by invoking the function
1072 @code{set-octavation}
1078 @lilypond[quote,ragged-right,verbatim,fragment]
1088 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1089 (for 15ma) as arguments. Internally the function sets the properties
1090 @code{ottavation} (e.g., to @code{"8va"}) and
1091 @code{centralCPosition}. For overriding the text of the bracket, set
1092 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1094 @lilypond[quote,ragged-right,verbatim]
1097 \set Staff.ottavation = #"8"
1105 Program reference: @internalsref{OttavaBracket}.
1107 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1108 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1113 @code{set-octavation} will get confused when clef changes happen
1114 during an octavation bracket.
1117 @node Different editions from one source
1118 @subsection Different editions from one source
1123 The @code{\tag} command marks music expressions with a name. These
1124 tagged expressions can be filtered out later. With this mechanism it
1125 is possible to make different versions of the same music source.
1127 In the following example, we see two versions of a piece of music, one
1128 for the full score, and one with cue notes for the instrumental part
1144 The same can be applied to articulations, texts, etc.: they are
1147 -\tag #@var{your-tag}
1149 to an articulation, for example,
1154 This defines a note with a conditional fingering indication.
1157 @cindex removeWithTag
1158 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1159 commands, tagged expressions can be filtered. For example,
1163 \keepWithTag #'score @var{the music}
1164 \keepWithTag #'part @var{the music}
1169 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1171 The arguments of the @code{\tag} command should be a symbol
1172 (such as @code{#'score} or @code{#'part}), followed by a
1173 music expression. It is possible to put multiple tags on
1174 a piece of music with multiple @code{\tag} entries,
1177 \tag #'original-part \tag #'transposed-part @dots{}
1183 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1188 Multiple rests are not merged if you create the score with both tagged
1193 @node Orchestral music
1194 @section Orchestral music
1196 Orchestral music involves some special notation, both in the full
1197 score and the individual parts. This section explains how to tackle
1198 some common problems in orchestral music.
1201 * Automatic part combining::
1203 * Quoting other voices::
1204 * Formatting cue notes::
1205 * Aligning to cadenzas::
1209 @node Automatic part combining
1210 @subsection Automatic part combining
1211 @cindex automatic part combining
1212 @cindex part combiner
1214 Automatic part combining is used to merge two parts of music onto a
1215 staff. It is aimed at typesetting orchestral scores. When the two
1216 parts are identical for a period of time, only one is shown. In
1217 places where the two parts differ, they are typeset as separate
1218 voices, and stem directions are set automatically. Also, solo and
1219 @emph{a due} parts are identified and can be marked.
1221 The syntax for part combining is
1224 \partcombine @var{musicexpr1} @var{musicexpr2}
1228 The following example demonstrates the basic functionality of the part
1229 combiner: putting parts on one staff, and setting stem directions and
1232 @lilypond[quote,verbatim,ragged-right,fragment]
1233 \new Staff \partcombine
1234 \relative g' { g g a( b) c c r r }
1235 \relative g' { g g r4 r e e g g }
1238 The first @code{g} appears only once, although it was
1239 specified twice (once in each part). Stem, slur, and tie directions are
1240 set automatically, depending whether there is a solo or unisono. The
1241 first part (with context called @code{one}) always gets up stems, and
1242 `Solo', while the second (called @code{two}) always gets down stems and
1245 If you just want the merging parts, and not the textual markings, you
1246 may set the property @code{printPartCombineTexts} to false
1248 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1250 \set Staff.printPartCombineTexts = ##f
1252 \relative g' { g a( b) r }
1253 \relative g' { g r4 r f }
1257 To change the text that is printed for solos or merging, you may
1258 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1261 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1263 \set Score.soloText = #"ichi"
1264 \set Score.soloIIText = #"ni"
1265 \set Score.aDueText = #"tachi"
1267 \relative g' { g4 g a( b) r }
1268 \relative g' { g4 g r r f }
1272 Both arguments to @code{\partcombine} will be interpreted as
1273 @internalsref{Voice} contexts. If using relative octaves,
1274 @code{\relative} should be specified for both music expressions, i.e.,
1278 \relative @dots{} @var{musicexpr1}
1279 \relative @dots{} @var{musicexpr2}
1283 A @code{\relative} section that is outside of @code{\partcombine} has
1284 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1288 Program reference: @internalsref{PartCombineMusic}.
1292 When @code{printPartCombineTexts} is set, when the two voices play the
1293 same notes on and off, the part combiner may typeset @code{a2} more
1294 than once in a measure.
1296 @code{\partcombine} cannot be inside @code{\times}.
1298 @code{\partcombine} cannot be inside @code{\relative}.
1300 Internally, the @code{\partcombine} interprets both arguments as
1301 @code{Voice}s named @code{one} and @code{two}, and then decides when
1302 the parts can be combined. Consequently, if the arguments switch to
1303 differently named @internalsref{Voice} contexts, the events in those
1308 @subsection Hiding staves
1310 @cindex Frenched scores
1311 @cindex Hiding staves
1313 In orchestral scores, staff lines that only have rests are usually
1314 removed; this saves some space. This style is called `French Score'.
1315 For @internalsref{Lyrics},
1316 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1317 switched on by default. When the lines of these contexts turn out
1318 empty after the line-breaking process, they are removed.
1320 For normal staves, a specialized @internalsref{Staff} context is
1321 available, which does the same: staves containing nothing (or only
1322 multi-measure rests) are removed. The context definition is stored in
1323 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1324 in this example disappears in the second line
1326 @lilypond[quote,ragged-right,verbatim]
1328 \context { \RemoveEmptyStaffContext }
1333 \new Staff { e4 f g a \break c1 }
1334 \new Staff { c4 d e f \break R1 }
1339 The first system shows all staves in full. If empty staves should be
1340 removed from the first system too, set @code{remove-first} to true in
1341 @internalsref{VerticalAxisGroup}.
1344 \override Score.VerticalAxisGroup #'remove-first = ##t
1347 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1348 or @code{\RemoveEmptyRhythmicStaffContext}.
1350 Another application is making ossia sections, i.e., alternative
1351 melodies on a separate piece of staff, with help of a Frenched
1352 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1355 @node Quoting other voices
1356 @subsection Quoting other voices
1358 With quotations, fragments of other parts can be inserted into a part
1359 directly. Before a part can be quoted, it must be marked especially as
1360 quotable. This is done with the @code{\addquote} command.
1363 \addquote @var{name} @var{music}
1368 Here, @var{name} is an identifying string. The @var{music} is any kind
1369 of music. Here is an example of @code{\addquote}
1372 \addquote clarinet \relative c' @{
1377 This command must be entered at toplevel, i.e., outside any music
1380 After calling @code{\addquote}, the quotation may then be done with
1381 @code{\quoteDuring} or @code{\cueDuring},
1384 \quoteDuring #@var{name} @var{music}
1387 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1391 \quoteDuring #"clarinet" @{ s2. @}
1394 This would cite three quarter notes (the duration of @code{s2.}) of
1395 the previously added @code{clarinet} voice.
1398 More precisely, it takes the current time-step of the part being
1399 printed, and extracts the notes at the corresponding point of the
1400 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1401 should be the entire part of the voice to be quoted, including any
1402 rests at the beginning.
1404 Quotations take into account the transposition of both source and target
1405 instruments, if they are specified using the @code{\transposition} command.
1407 @lilypond[quote,ragged-right,verbatim]
1408 \addquote clarinet \relative c' {
1414 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1418 The type of events that are present in cue notes can be trimmed with
1419 the @code{quotedEventTypes} property. The default value is
1420 @code{(note-event rest-event)}, which means that only notes and
1421 rests of the cued voice end up in the @code{\quoteDuring}.
1425 \set Staff.quotedEventTypes =
1426 #'(note-event articulation-event dynamic-event)
1430 will quote notes (but no rests), together with scripts and dynamics.
1434 Only the contents of the first @internalsref{Voice} occurring in an
1435 @code{\addquote} command will be considered for quotation, so
1436 @var{music} can not contain @code{\new} and @code{\context Voice}
1437 statements that would switch to a different Voice.
1439 Quoting grace notes is broken and can even cause LilyPond to crash.
1443 In this manual: @ref{Instrument transpositions}.
1445 Examples: @inputfileref{input/@/regression,quote@/.ly}
1446 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1448 Program reference: @internalsref{QuoteMusic}.
1451 @node Formatting cue notes
1452 @subsection Formatting cue notes
1454 The previous section deals with inserting notes from another voice.
1455 There is a more advanced music function called @code{\cueDuring},
1456 which makes formatting cue notes easier.
1461 \cueDuring #@var{name} #@var{updown} @var{music}
1464 This will insert notes from the part @var{name} into a
1465 @internalsref{Voice} called @code{cue}. This happens simultaneously
1466 with @var{music}, which usually is a rest. When the cue notes start,
1467 the staff in effect becomes polyphonic for a moment. The argument
1468 @var{updown} determines whether the cue notes should be notated as a
1469 first or second voice.
1472 @lilypond[verbatim,ragged-right]
1475 \override Stem #'length-fraction = #0.8
1476 \override Beam #'thickness = #0.384
1477 \override Beam #'length-fraction = #0.8
1480 \addquote clarinet \relative {
1485 \new Staff \relative <<
1487 % setup a context for cue notes.
1488 \new Voice = "cue" { \smaller \skip 1*21 }
1490 \set Score.skipBars = ##t
1494 \cueDuring #"clarinet" #1 {
1503 Here are a couple of hints for successful cue notes
1507 Cue notes have smaller font sizes.
1509 the cued part is marked with the instrument playing the cue.
1511 when the original part takes over again, this should be marked with
1512 the name of the original instrument.
1514 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1516 @c Yes, this is good practice. Otherwise, the start of the original
1517 @c part can only be seen from the font size. This is not good enough
1518 @c for sight-reading. It is possilbe to use other
1519 @c markers (e.g. a big close-bracket over the staff) to indicate the cue notes are
1524 Any other changes introduced by the cued part should also be
1525 undone. For example, if the cued instrument plays in a different clef,
1526 the original clef should be stated once again.
1531 @node Aligning to cadenzas
1532 @subsection Aligning to cadenzas
1534 In an orchestral context, cadenzas present a special problem:
1535 when constructing a score that includes a cadenza, all other
1536 instruments should skip just as many notes as the length of the
1537 cadenza, otherwise they will start too soon or too late.
1539 A solution to this problem are the functions @code{mmrest-of-length}
1540 and @code{skip-of-length}. These Scheme functions take a piece of music
1541 as argument, and generate a @code{\skip} or multi-rest, exactly as
1542 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1543 in the following example.
1545 @lilypond[verbatim,ragged-right,quote]
1546 cadenza = \relative c' {
1547 c4 d8 << { e f g } \\ { d4. } >>
1552 \new Staff { \cadenza c'4 }
1554 #(ly:export (mmrest-of-length cadenza))
1563 @node Contemporary notation
1564 @section Contemporary notation
1566 In the 20th century, composers have greatly expanded the musical
1567 vocabulary. With this expansion, many innovations in musical notation
1568 have been tried. The book ``Music Notation in the 20th century'' by
1569 Kurt Stone gives a comprehensive overview (see @ref{Literature
1572 This section describes notation that does
1573 not fit into traditional notation categories, such as pitches,
1574 tuplet beams, and articulation. For contemporary notation
1575 that fits into traditional notation categories, such as
1576 microtones, nested tuplet beams, and unusual fermatas, please
1577 see those sections of the documentation.
1580 @c I don't think we should discourage modern composers who might
1581 @c want to sponsor new features. :)
1582 @c In general, the use of new, innovative notation makes a piece
1583 @c harder to understand and perform and its use should therefore be
1584 @c avoided. For this reason, support for contemporary notation in
1585 @c LilyPond is limited.
1589 * Polymetric notation::
1590 * Time administration::
1591 * Proportional notation::
1593 * Special noteheads::
1599 @node Polymetric notation
1600 @subsection Polymetric notation
1602 Double time signatures are not supported explicitly, but they can be
1603 faked. In the next example, the markup for the time signature is
1604 created with a markup text. This markup text is inserted in the
1605 @internalsref{TimeSignature} grob.
1607 @lilypond[verbatim,ragged-right]
1612 \musicglyph #"scripts.stopped"
1613 \bracket \column { "5" "8" }
1618 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1619 \override Staff.TimeSignature #'text = #tsMarkup
1621 c'2 \bar ":" c'4 c'4.
1625 Each staff can also have its own time signature. This is done by
1626 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1632 \remove "Timing_translator"
1633 \remove "Default_bar_line_engraver"
1637 \consists "Timing_translator"
1638 \consists "Default_bar_line_engraver"
1645 Now, each staff has its own time signature.
1658 c4. c8 c c c4. c8 c c
1663 @lilypond[quote,ragged-right]
1667 \remove "Timing_translator"
1668 \remove "Default_bar_line_engraver"
1671 \consists "Timing_translator"
1672 \consists "Default_bar_line_engraver"
1687 c4. c8 c c c4. c8 c c
1693 A different form of polymetric notation is where note lengths have
1694 different values across staves.
1696 This notation can be created by setting a common time signature for
1697 each staff but replacing it manually using
1698 @code{timeSignatureFraction} to the desired fraction. Then the printed
1699 durations in each staff are scaled to the common time signature.
1700 The latter is done with @code{\compressMusic}, which is used similar
1701 to @code{\times}, but does not create a tuplet bracket. The syntax is
1703 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1708 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1709 used in parallel. In the second staff, shown durations are multiplied by
1710 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1711 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1713 @lilypond[quote,ragged-right,verbatim,fragment]
1721 \set Staff.timeSignatureFraction = #'(9 . 8)
1722 \compressMusic #'(2 . 3)
1723 \repeat unfold 6 { c8[ c c] }
1727 \set Staff.timeSignatureFraction = #'(10 . 8)
1728 \compressMusic #'(3 . 5) {
1729 \repeat unfold 2 { c8[ c c] }
1730 \repeat unfold 2 { c8[ c] }
1731 | c4. c4. \times 2/3 { c8 c c } c4
1742 When using different time signatures in parallel, the spacing is
1743 aligned vertically, but bar lines distort the regular spacing.
1746 @node Time administration
1747 @subsection Time administration
1749 @cindex Time administration
1751 Time is administered by the @internalsref{Time_signature_engraver},
1752 which usually lives in the @internalsref{Score} context. The
1753 bookkeeping deals with the following variables
1756 @item currentBarNumber
1760 The length of the measures in the current time signature. For a 4/4
1761 time this is@tie{}1, and for 6/8 it is 3/4.
1763 @item measurePosition
1764 The point within the measure where we currently are. This quantity
1765 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1766 happens, @code{currentBarNumber} is incremented.
1769 If set to true, the above variables are updated for every time
1770 step. When set to false, the engraver stays in the current measure
1774 Timing can be changed by setting any of these variables explicitly.
1775 In the next example, the 4/4 time signature is printed, but
1776 @code{measureLength} is set to 5/4. After a while, the measure is
1777 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1778 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1779 3/8 arises because 5/4 normally has 10/8, but we have manually
1780 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1782 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1783 \set Score.measureLength = #(ly:make-moment 5 4)
1787 \set Score.measurePosition = #(ly:make-moment 7 8)
1793 As the example illustrates, @code{ly:make-moment n m} constructs a
1794 duration of n/m of a whole note. For example, @code{ly:make-moment 1 8} is an eighth
1795 note duration and @code{ly:make-moment 7 16} is the duration of
1796 seven sixteenths notes.
1799 @node Proportional notation
1800 @subsection Proportional notation
1801 @cindex Proportional notation
1803 Notes can be spaced proportional to their time-difference by
1804 assigning a duration to @code{proportionalNotationDuration}
1806 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1808 \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
1809 \new Staff { c8[ c c c c c] c4 c2 r2 }
1810 \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
1816 @subsection Clusters
1820 A cluster indicates a continuous range of pitches to be played. They
1821 can be denoted as the envelope of a set of notes. They are entered by
1822 applying the function @code{makeClusters} to a sequence of
1824 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1825 \makeClusters { <c e > <b f'> }
1828 The following example (from
1829 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1832 @lilypondfile[ragged-right,quote]{cluster.ly}
1834 Ordinary notes and clusters can be put together in the same staff,
1835 even simultaneously. In such a case no attempt is made to
1836 automatically avoid collisions between ordinary notes and clusters.
1840 Program reference: @internalsref{ClusterSpanner},
1841 @internalsref{ClusterSpannerBeacon},
1842 @internalsref{Cluster_spanner_engraver}.
1844 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1848 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1849 accurately. Use @code{<g a>8 <e a>8} instead.
1852 @node Special noteheads
1853 @subsection Special noteheads
1855 Different noteheads are used by various instruments for various
1856 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1857 notes on guitar; diamonds are used for harmonics on string instruments,
1858 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1859 other notehead styles are produced by tweaking the property
1861 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1863 \override NoteHead #'style = #'cross
1865 \revert NoteHead #'style
1866 e d <c f\harmonic> <d a'\harmonic>
1870 To see all notehead styles, please see
1871 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1876 Program reference: @internalsref{NoteHead}.
1879 @node Feathered beams
1880 @subsection Feathered beams
1882 Feathered beams are not supported natively, but they can be faked by
1883 forcing two beams to overlap. Here is an example,
1885 @c don't change relative setting witout changing positions!
1886 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1891 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1896 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1904 @subsection Improvisation
1906 Improvisation is sometimes denoted with slashed note heads. Such note
1907 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1908 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1912 \set squashedPosition = #0
1913 \override NoteHead #'style = #'slash
1917 switches on the slashes.
1919 There are shortcuts @code{\improvisationOn} (and an accompanying
1920 @code{\improvisationOff}) for this command sequence. They are used in
1921 the following example
1923 @lilypond[verbatim,ragged-right,quote]
1925 \consists Pitch_squash_engraver
1927 e8 e g a a16(bes)(a8) g \improvisationOn
1930 ~fis2 \improvisationOff a16(bes) a8 g e
1935 @node Educational use
1936 @section Educational use
1938 With the amount of control that LilyPond offers, one can make great
1939 teaching tools in addition to great musical scores.
1943 * Blank music sheet::
1945 * Shape note heads ::
1946 * Easy Notation note heads::
1947 * Analysis brackets::
1948 * Coloring objects::
1952 @subsection Balloon help
1954 Elements of notation can be marked and named with the help of a square
1955 balloon. The primary purpose of this feature is to explain notation.
1957 The following example demonstrates its use.
1959 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1962 #(add-balloon-text 'NoteHead "heads, or tails?"
1969 The function @code{add-balloon-text} takes the name of a grob, the
1970 label to print, and the position where to put the label relative to
1971 the object. In the above example, the text ``heads or tails?'' ends
1972 3 spaces below and 1 space to the right of the marked head.
1975 @cindex notation, explaining
1979 Program reference: @internalsref{text-balloon-interface}.
1981 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1986 @node Blank music sheet
1987 @subsection Blank music sheet
1989 A blank music sheet can be produced also by using invisible notes, and
1990 removing @code{Bar_number_engraver}.
1993 @lilypond[quote,verbatim]
1995 \repeat unfold 2 % Change this for more lines.
2000 \override TimeSignature #'transparent = ##t
2001 defaultBarType = #""
2002 \remove Bar_number_engraver
2004 \new Staff \emptymusic
2005 \new TabStaff \emptymusic
2011 @subsection Hidden notes
2013 @cindex Hidden notes
2014 @cindex Invisible notes
2015 @cindex Transparent notes
2017 @cindex @code{\hideNotes}
2018 @cindex @code{\unHideNotes}
2019 Hidden (or invisible or transparent) notes can be useful in preparing theory
2020 or composition exercises.
2022 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2031 @node Shape note heads
2032 @subsection Shape note heads
2034 In shape note head notation, the shape of the note head corresponds
2035 to the harmonic function of a note in the scale. This notation was
2036 popular in the 19th century American song books.
2038 Shape note heads can be produced by setting @code{\aikenHeads} or
2039 @code{\sacredHarpHeads}, depending on the style desired.
2041 @lilypond[verbatim,relative=1,fragment]
2048 Shapes are determined on the step in the scale, where the base of the
2049 scale is determined by the @code{\key} command
2052 @findex shapeNoteStyles
2054 @findex \sacredHarpHeads
2056 Shape note heads are implemented through the @code{shapeNoteStyles}
2057 property. Its value is a vector of symbols. The k-th element indicates
2058 the style to use for the k-th step of the scale. Arbitrary
2059 combinations are possible, e.g.
2061 @lilypond[verbatim,relative=1,fragment]
2062 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2067 @node Easy Notation note heads
2068 @subsection Easy Notation note heads
2070 @cindex easy notation
2073 The `easy play' note head includes a note name inside the head. It is
2074 used in music for beginners
2076 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2081 The command @code{\setEasyHeads} overrides settings for the
2082 @internalsref{NoteHead} object. To make the letters readable, it has
2083 to be printed in a large font size. To print with a larger font, see
2084 @ref{Setting global staff size}.
2088 @cindex @code{\setEasyHeads}
2089 @code{\setEasyHeads}
2092 @node Analysis brackets
2093 @subsection Analysis brackets
2095 @cindex phrasing brackets
2096 @cindex musicological analysis
2097 @cindex note grouping bracket
2099 Brackets are used in musical analysis to indicate structure in musical
2100 pieces. LilyPond supports a simple form of nested horizontal
2101 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2102 to @internalsref{Staff} context. A bracket is started with
2103 @code{\startGroup} and closed with @code{\stopGroup}
2105 @lilypond[quote,ragged-right,verbatim]
2108 c4\startGroup\startGroup
2111 c4\stopGroup\stopGroup
2115 \Staff \consists "Horizontal_bracket_engraver"
2121 Program reference: @internalsref{HorizontalBracket}.
2123 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2126 @node Coloring objects
2127 @subsection Coloring objects
2129 Individual objects may be assigned colors. You may use the
2130 color names listed in the @ref{List of colors}.
2132 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2133 \override NoteHead #'color = #red
2135 \override NoteHead #'color = #(x11-color 'LimeGreen)
2137 \override Stem #'color = #blue
2141 The full range of colors defined for X11 can be accessed by using the
2142 scheme function x11-color. The function takes one argument that can be a
2146 \override Beam #'color = #(x11-color 'MediumTurquoise)
2152 \override Beam #'color = #(x11-color "MediumTurquoise")
2155 The first form is quicker to write and is more efficient. However, using
2156 the second form it is possible to access X11 colors by the multi-word
2160 \override Beam #'color = #(x11-color "medium turquoise")
2163 If x11-color cannot make sense of the parameter then the color returned
2164 defaults to black. It should be obvious from the final score that
2167 This example, illustrates the use of x11-color. Notice that the stem
2168 color remains black after being set to (x11-color 'Boggle), which is
2169 deliberate nonsense.
2171 @lilypond[quote,ragged-right,verbatim]
2173 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2174 \set Staff.instrument = \markup {
2175 \with-color #(x11-color 'navy) "Clarinet"
2179 \override Beam #'color = #(x11-color "medium turquoise")
2181 \override NoteHead #'color = #(x11-color "LimeGreen")
2183 \override Stem #'color = #(x11-color 'Boggle)
2191 Appendix: @ref{List of colors}.
2195 Not all x11 colors are distinguishable in a web browser. For web use
2196 normal colors are recommended.
2198 An x11 color is not necessarily exactly the same shade as a similarly
2202 @node Automatic notation
2203 @section Automatic notation
2205 This section describes how to change the way that accidentals and
2206 beams are automatically displayed.
2208 FIXME: this might get moved into Changing Defaults. Please send
2209 opinions to lilypond-devel. Thanks! :)
2212 * Automatic accidentals::
2213 * Setting automatic beam behavior::
2216 @node Automatic accidentals
2217 @subsection Automatic accidentals
2218 @cindex Automatic accidentals
2220 Common rules for typesetting accidentals have been placed in a
2221 function. This function is called as follows
2223 @cindex @code{set-accidental-style}
2225 #(set-accidental-style 'STYLE #('CONTEXT#))
2228 The function can take two arguments: the name of the accidental style,
2229 and an optional argument that denotes the context that should be
2230 changed. If no context name is supplied, @code{Staff} is the default,
2231 but you may wish to apply the accidental style to a single @code{Voice}
2234 The following accidental styles are supported
2237 This is the default typesetting behavior. It corresponds
2238 to 18th century common practice: Accidentals are
2239 remembered to the end of the measure in which they occur and
2240 only on their own octave.
2243 The normal behavior is to remember the accidentals on
2244 Staff-level. This variable, however, typesets accidentals
2245 individually for each voice. Apart from that, the rule is similar to
2248 As a result, accidentals from one voice do not get canceled in other
2249 voices, which is often an unwanted result
2251 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
2253 #(set-accidental-style 'voice)
2260 The @code{voice} option should be used if the voices
2261 are to be read solely by individual musicians. If the staff is to be
2262 used by one musician (e.g., a conductor) then
2263 @code{modern} or @code{modern-cautionary}
2264 should be used instead.
2267 @cindex @code{modern} style accidentals
2268 This rule corresponds to the common practice in the 20th century. This rule
2269 prints the same accidentals as @code{default}, but temporary
2270 accidentals also are canceled in other octaves. Furthermore,
2271 in the same octave, they also get canceled in the following
2274 @lilypond[quote,ragged-right,fragment,verbatim]
2275 #(set-accidental-style 'modern)
2276 cis' c'' cis'2 | c'' c'
2279 @item @code{modern-cautionary}
2280 @cindex @code{modern-cautionary}
2281 This rule is similar to @code{modern}, but the ``extra'' accidentals
2282 (the ones not typeset by @code{default}) are typeset as cautionary
2283 accidentals. They are printed in reduced size or with parentheses
2284 @lilypond[quote,ragged-right,fragment,verbatim]
2285 #(set-accidental-style 'modern-cautionary)
2286 cis' c'' cis'2 | c'' c'
2289 @cindex @code{modern-voice}
2291 This rule is used for multivoice accidentals to be read both by musicians
2292 playing one voice and musicians playing all voices. Accidentals are
2293 typeset for each voice, but they @emph{are} canceled across voices in
2294 the same @internalsref{Staff}.
2296 @cindex @code{modern-voice-cautionary}
2297 @item modern-voice-cautionary
2298 This rule is the same as @code{modern-voice}, but with the extra
2299 accidentals (the ones not typeset by @code{voice}) typeset
2300 as cautionaries. Even though all accidentals typeset by
2301 @code{default} @emph{are} typeset by this variable,
2302 some of them are typeset as cautionaries.
2305 @cindex @code{piano} accidentals
2306 This rule reflects 20th century practice for piano notation. Very similar to
2307 @code{modern} but accidentals also get canceled
2308 across the staves in the same @internalsref{GrandStaff} or
2309 @internalsref{PianoStaff}.
2311 @item piano-cautionary
2312 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2313 Same as @code{#(set-accidental-style 'piano)} but with the extra
2314 accidentals typeset as cautionaries.
2317 @cindex @code{no-reset} accidental style
2318 This is the same as @code{default} but with accidentals lasting
2319 ``forever'' and not only until the next measure
2320 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2321 #(set-accidental-style 'no-reset)
2326 This is sort of the opposite of @code{no-reset}: Accidentals
2327 are not remembered at all---and hence all accidentals are
2328 typeset relative to the key signature, regardless of what was
2331 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2332 #(set-accidental-style 'forget)
2333 \key d\major c4 c cis cis d d dis dis
2340 Program reference: @internalsref{Accidental_engraver},
2341 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2346 Simultaneous notes are considered to be entered in sequential
2347 mode. This means that in a chord the accidentals are typeset as if the
2348 notes in the chord happened once at a time - in the order in which
2349 they appear in the input file.
2351 This is a problem when accidentals in a chord depend on each other,
2352 which does not happen for the default accidental style. The problem
2353 can be solved by manually inserting @code{!} and @code{?} for the
2357 @node Setting automatic beam behavior
2358 @subsection Setting automatic beam behavior
2360 @cindex @code{autoBeamSettings}
2361 @cindex @code{(end * * * *)}
2362 @cindex @code{(begin * * * *)}
2363 @cindex automatic beams, tuning
2364 @cindex tuning automatic beaming
2366 @c [TODO: use \applyContext]
2368 In normal time signatures, automatic beams can start on any note but can
2369 only end in a few positions within the measure: beams can end on a beat,
2370 or at durations specified by the properties in
2371 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2372 consist of a list of rules for where beams can begin and end. The
2373 default @code{autoBeamSettings} rules are defined in
2374 @file{scm/@/auto@/-beam@/.scm}.
2376 In order to add a rule to the list, use
2378 #(override-auto-beam-setting '(be p q n m) a b [context])
2383 @item @code{be} is either "begin" or "end".
2385 @item @code{p/q} is the duration of the note for which you want
2386 to add a rule. A beam is considered to have the duration of its
2387 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2388 have this apply to any beam.
2390 @item @code{n/m} is the time signature to which
2391 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2392 to have this apply in any time signature.
2394 @item @code{a/b} is the position in the bar at which the beam should begin/end.
2396 @item @code{context} is optional, and it specifies the context at which
2397 the change should be made. The default is @code{'Voice}.
2398 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2399 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2403 For example, if automatic beams should always end on the first quarter
2407 #(override-auto-beam-setting '(end * * * *) 1 4)
2410 You can force the beam settings to only take effect on beams whose shortest
2411 note is a certain duration
2413 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2415 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2417 a32 a a a a16 a a a a a |
2418 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2419 a32 a a a a16 a a a a a |
2422 You can force the beam settings to only take effect in certain time
2425 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2427 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2435 You can also remove a previously set beam-ending rule by using
2438 #(revert-auto-beam-setting '(be p q n m) a b [context])
2442 be, p, q, n, m, a, b and context are the same as above. Note that the
2443 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2444 so you can revert rules that you did not explicitly create.
2446 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2448 a16 a a a a a a a a a a a a a a a
2449 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2450 a16 a a a a a a a a a a a a a a a
2453 The rule in a revert-auto-beam-setting statement must exactly match the
2454 original rule. That is, no wildcard expansion is taken into account.
2456 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2458 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2460 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2462 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2468 @c TODO: old material -- not covered by above stuff, I think.
2469 If automatic beams should end on every quarter in 5/4 time, specify
2472 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2473 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2474 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2475 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2479 The same syntax can be used to specify beam starting points. In this
2480 example, automatic beams can only end on a dotted quarter note
2482 #(override-auto-beam-setting '(end * * * *) 3 8)
2483 #(override-auto-beam-setting '(end * * * *) 1 2)
2484 #(override-auto-beam-setting '(end * * * *) 7 8)
2486 In 4/4 time signature, this means that automatic beams could end only on
2487 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2488 3/8, has passed within the measure).
2490 @cindex automatic beam generation
2492 @cindex @code{autoBeaming}
2495 If beams are used to indicate melismata in songs, then automatic
2496 beaming should be switched off with @code{\autoBeamOff}.
2501 @cindex @code{\autoBeamOff}
2502 @code{\autoBeamOff},
2503 @cindex @code{\autoBeamOn}
2509 If a score ends while an automatic beam has not been ended and is
2510 still accepting notes, this last beam will not be typeset at all. The
2511 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2512 >>}. If a polyphonic voice ends while an automatic beam is still
2513 accepting notes, it is not typeset.