1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
20 * Automatic notation::
28 This section explains how to include text (with various formatting) in
38 * Overview of text markup commands::
39 * Selecting font sizes::
42 * Other text markup issues::
47 @subsection Text scripts
50 @cindex text items, non-empty
51 @cindex non-empty texts
53 It is possible to place arbitrary strings of text or @ref{Text markup}
54 above or below notes by using a string @code{c^"text"}. By default,
55 these indications do not influence the note spacing, but by using the
56 command @code{\fatText}, the widths will be taken into account
58 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
59 c4^"longtext" \fatText c4_"longlongtext" c4
62 More complex formatting may also be added to a note by using the
64 @lilypond[fragment,raggedright,verbatim,quote]
65 c'4^\markup { bla \bold bla }
68 The @code{\markup} is described in more detail in
74 @cindex @code{\fatText}
76 @cindex @code{\emptyText}
82 In this manual: @ref{Text markup}.
84 Program reference: @internalsref{TextScript}.
88 @subsection Text spanners
92 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
93 are written as text and are extended over many measures with dotted
94 lines. Such texts are created using text spanners; attach
95 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
98 The string to be printed, as well as the style, is set through object
101 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
104 \override TextSpanner #'edge-text = #'("rall " . "")
105 c2\startTextSpan b c\stopTextSpan a
110 @cindex textSpannerUp
111 @code{textSpannerUp},
112 @cindex textSpannerDown
113 @code{textSpannerDown},
114 @cindex textSpannerNeutral
115 @code{textSpannerNeutral}.
120 Program reference: @internalsref{TextSpanner}.
122 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
126 @subsection Text marks
128 @cindex coda on bar line
129 @cindex segno on bar line
130 @cindex fermata on bar line
131 @cindex bar lines, symbols on
134 The @code{\mark} command is primarily used for
135 @internalsref{Rehearsal marks},
136 but it can also be used to put signs like coda,
137 segno, and fermata on a bar line. Use @code{\markup} to
138 access the appropriate symbol
140 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
141 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
146 @code{\mark} is only typeset above the top stave of the score. If
147 you specify the @code{\mark} command at a bar line, the resulting
148 mark is placed above the bar line. If you specify it in the middle
149 of a bar, the resulting mark is positioned between notes. If it is
150 specified before the beginning of a score line, it is placed
151 before the first note of the line. Finally, if the mark occurs at
152 a line break, the mark will be printed at the
153 beginning of the next line.
154 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
155 @c delete this sentence. -gp
156 If there is no next line, then the mark will not be printed at all.
161 To print the mark at the end of the current line, use
164 \override Score.RehearsalMark
165 #'break-visibility = #begin-of-line-invisible
168 @code{\mark} is often useful for adding text to the end of bar. In
169 such cases, changing the @code{#'self-alignment} is very useful
171 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
172 \override Score.RehearsalMark
173 #'break-visibility = #begin-of-line-invisible
175 \once \override Score.RehearsalMark #'self-alignment-X = #right
176 \mark "D.S. al Fine "
182 Program reference: @internalsref{RehearsalMark}.
186 @subsection Text markup
193 Use @code{\markup} to typeset text. Commands are entered with the
196 @lilypond[quote,verbatim,fragment,relative=1]
198 c1_\markup { hi there }
199 c1^\markup { hi \bold there, is \italic anyone home? }
203 See @ref{Overview of text markup commands} for a list of all
206 @code{\markup} is primarily used for @internalsref{TextScript}s,
207 but it can also be used anywhere text is called in lilypond
209 @lilypond[quote,verbatim]
210 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
213 \override Score.RehearsalMark
214 #'break-visibility = #begin-of-line-invisible
215 \override Score.RehearsalMark #'self-alignment-X = #right
217 \set Staff.instrument = \markup{ \column{ Alto solo } }
218 c2^\markup{ don't be \flat }
220 a2\mark \markup{ \large \bold Fine }
224 \addlyrics { bar, foo \markup{ \italic bar! } }
228 @cindex font switching
230 The markup in the example demonstrates font switching commands. The
231 command @code{\bold} and @code{\italic} apply to the first following
232 word only; to apply a command to more than one word, enclose the
236 \markup @{ \bold @{ hi there @} @}
240 For clarity, you can also do this for single arguments, e.g.,
243 \markup @{ is \italic @{ anyone @} home @}
246 In markup mode you can compose expressions, similar to mathematical
247 expressions, XML documents, and music expressions. You can stack
248 expressions grouped vertically with the command @code{\column}.
249 Similarly, @code{\center-align} aligns texts by their center lines:
251 @lilypond[quote,verbatim,fragment,relative=1]
252 c1^\markup { \column { a bbbb \line { c d } } }
253 c1^\markup { \center-align { a bbbb c } }
254 c1^\markup { \line { a b c } }
257 Lists with no previous command are not kept distinct. The expression
260 \center-align @{ @{ a b @} @{ c d @} @}
268 \center-align @{ a b c d @}
273 To keep lists of words distinct, please use quotes @code{"} or
274 the @code{\line} command
276 @lilypond[quote,verbatim,fragment,relative=1]
278 c4^\markup{ \center-align { on three lines } }
279 c4^\markup{ \center-align { "all one line" } }
280 c4^\markup{ \center-align { { on three lines } } }
281 c4^\markup{ \center-align { \line { on one line } } }
284 Markups can be stored in variables and these variables
285 may be attached to notes, like
287 allegro = \markup @{ \bold \large @{ Allegro @} @}
288 @{ a^\allegro b c d @}
291 Some objects have alignment procedures of their own, which cancel out
292 any effects of alignments applied to their markup arguments as a
293 whole. For example, the @internalsref{RehearsalMark} is horizontally
294 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
300 This manual: @ref{Overview of text markup commands}.
302 Program reference: @internalsref{TextScript}.
304 Init files: @file{scm/@/new@/-markup@/.scm}.
309 Kerning or generation of ligatures is only done when the @TeX{}
310 backend is used. In this case, LilyPond does not account for them so
311 texts will be spaced slightly too wide.
313 Syntax errors for markup mode are confusing.
317 @subsection Text encoding
319 LilyPond uses the Pango library to format multi-lingual texts, and
320 does not perform any input-encoding conversions. This means that any
321 text, be it title, lyric text, or musical instruction containing
322 non-ASCII characters, must be utf-8. Easiest to enter such texts is
323 by using a Unicode-aware editor, and save using utf-8 encoding. Most
324 popular modern editors have utf-8 support, for example, vim, Emacs,
327 Depending on the fonts installed, the following fragment shows Hebrew
334 @lilypondfile[fontload]{utf-8.ly}
336 The @TeX{} backend does not handle encoding specially at all. Strings
337 in the input are put in the output as-is. Extents of text items in the
338 @TeX{} backend, are determined by reading a file created via the
339 @file{texstr} backend,
342 lilypond -b texstr input/les-nereides.ly
343 latex les-nereides.texstr
346 The last command produces @file{les-nereides.textmetrics}, which is
347 read when you execute
350 lilypond -b tex input/les-nereides.ly
353 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
354 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
355 interpreting non-ASCII strings.
360 @inputfileref{input/regression,utf-8.ly}
364 @subsection Nested scores
366 It is possible to nest music inside markups, by adding a @code{\score}
367 block to a markup expression. Such a score must contain a @code{\layout}
370 @lilypond[quote,verbatim,raggedright]
374 \relative { c4 d e f }
383 @node Overview of text markup commands
384 @subsection Overview of text markup commands
386 The following commands can all be used inside @code{\markup @{ @}}.
388 @include markup-commands.tely
391 @node Selecting font sizes
392 @subsection Selecting font sizes
394 The easiest method of setting the font size of any context, is by
395 setting the @code{fontSize} property.
397 @lilypond[quote,fragment,relative=1,verbatim]
406 It does not change the size of variable symbols, such as beams or
409 Internally, the @code{fontSize} context property will cause the
410 @code{font-size} property to be set in all layout objects. The value
411 of @code{font-size} is a number indicating the size relative to the
412 standard size for the current staff height. Each step up is an
413 increase of approximately 12% of the font size. Six steps is exactly a
414 factor two. The Scheme function @code{magstep} converts a
415 @code{font-size} number to a scaling factor.
417 @lilypond[quote,fragment,relative=1,verbatim]
419 \override NoteHead #'font-size = #-4
421 \override NoteHead #'font-size = #3
425 LilyPond has fonts in different design sizes. The music fonts for
426 smaller sizes are chubbier, while the text fonts are relatively wider.
427 Font size changes are achieved by scaling the design size that is
428 closest to the desired size. The standard font size (for
429 @code{font-size} equals 0), depends on the standard staff height. For
430 a 20pt staff, a 10pt font is selected.
432 The @code{font-size} property can only be set on layout objects that
433 use fonts. These are the ones supporting the
434 @internalsref{font-interface} layout interface.
438 The following commands set @code{fontSize} for the current voice:
442 @cindex @code{\small}
444 @cindex @code{\normalsize}
449 @subsection Font selection
451 @cindex font selection
452 @cindex font magnification
453 @cindex @code{font-interface}
455 By setting the object properties described below, you can select a
456 font from the preconfigured font families. LilyPond has default
457 support for the feta music fonts and @TeX{}'s Computer Modern text
461 @item @code{font-encoding}
462 is a symbol that sets layout of the glyphs. This should only be set to
463 select different types of non-text fonts, eg.
465 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
466 standard music font, including ancient glyphs, @code{fetaDynamic} for
467 dynamic signs and @code{fetaNumber} for the number font.
469 @item @code{font-family}
470 is a symbol indicating the general class of the typeface. Supported are
471 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
473 @item @code{font-shape}
474 is a symbol indicating the shape of the font. There are typically
475 several font shapes available for each font family. Choices are
476 @code{italic}, @code{caps}, and @code{upright}.
478 @item @code{font-series}
479 is a symbol indicating the series of the font. There are typically
480 several font series for each font family and shape. Choices are
481 @code{medium} and @code{bold}.
485 Fonts selected in the way sketched above come from a predefined style
486 sheet. If you want to use a font from outside the style sheet,
488 @code{font-name} property,
490 @lilypond[fragment,verbatim]
492 \override Staff.TimeSignature #'font-name = #"Times"
493 \override Staff.TimeSignature #'font-size = #2
496 \override #'(font-name . "Vera Bold")
497 { This text is in Vera Bold }
503 Any font can be used, as long as it is available to Pango/FontConfig.
505 The size of the font may be set with the @code{font-size}
506 property. The resulting size is taken relative to the
507 @code{text-font-size} as defined in the @code{\paper} block.
510 @cindex font magnification
514 Init files: @file{ly/@/declarations@/-init@/.ly} contains hints how new
515 fonts may be added to LilyPond.
518 @node New dynamic marks
519 @subsection New dynamic marks
521 It is possible to print new dynamic marks or text that should be aligned
522 with dynamics. Use @code{make-dynamic-script} to create these marks.
524 @cindex make-dynamic-script
526 @lilypond[quote,verbatim,raggedright]
527 sfzp = #(make-dynamic-script "sfzp")
533 @cindex Dynamics, editorial
534 @cindex Dynamics, parenthesis
536 It is also possible to print dynamics in round parenthesis or square
537 brackets. These are often used for adding editorial dynamics.
539 @lilypond[quote,verbatim,raggedright]
540 rndf = \markup{ \center-align {\line { \bold{\italic (}
541 \dynamic f \bold{\italic )} }} }
542 boxf = \markup{ \bracket { \dynamic f } }
543 { c'1_\rndf c'1_\boxf }
547 @node Other text markup issues
548 @subsection Other text markup issues
550 To use a normal font within a title, you must define it manually
553 #(def-markup-command (normal-font layout props arg) (markup?)
554 "Switch to normal text font"
555 (interpret-markup layout (cons '((font-series . 'medium) (font-shape . 'upright)) props) arg))
558 title = \markup@{ ABCD \normal-font ABCD @}
564 @node Preparing parts
565 @section Preparing parts
567 This section describes various notation that are useful for preparing
571 * Multi measure rests::
576 * Instrument transpositions::
578 * Different editions from one source::
582 @node Multi measure rests
583 @subsection Multi measure rests
585 @cindex multi measure rests
586 @cindex Rests, multi measure
587 @cindex whole rests for a full measure
590 Multi-measure rests are entered using `@code{R}'. It is specifically
591 meant for full bar rests and for entering parts: the rest can expand
592 to fill a score with rests, or it can be printed as a single
593 multi-measure rest. This expansion is controlled by the property
594 @code{Score.skipBars}. If this is set to true, empty measures will not
595 be expanded, and the appropriate number is added automatically
597 @lilypond[quote,raggedright,fragment,verbatim]
598 \time 4/4 r1 | R1 | R1*2
599 \set Score.skipBars = ##t R1*17 R1*4
602 The @code{1} in @code{R1} is similar to the duration notation used for
603 notes. Hence, for time signatures other than 4/4, you must enter other
604 durations. This can be done with augmentation dots or fractions
606 @lilypond[quote,raggedright,fragment,verbatim]
607 \set Score.skipBars = ##t
616 An @code{R} spanning a single measure is printed as either a whole rest
617 or a breve, centered in the measure regardless of the time signature.
619 If there are only a few measures of rest, LilyPond prints ``church rests''
620 (a series of rectangles) in the staff. To replace that with a simple
621 rest, use @code{MultiMeasureRest.expand-limit}.
623 @lilypond[quote,raggedright,fragment,verbatim]
624 \set Score.skipBars = ##t
626 \override MultiMeasureRest #'expand-limit = 1
630 @cindex text on multi-measure rest
631 @cindex script on multi-measure rest
632 @cindex fermata on multi-measure rest
634 Texts can be added to multi-measure rests by using the
635 @var{note}-@code{markup} syntax @ref{Text markup}.
636 A variable (@code{\fermataMarkup}) is provided for
639 @lilypond[quote,raggedright,verbatim,fragment]
640 \set Score.skipBars = ##t
642 R2.*10^\markup { \italic "ad lib." }
646 If you want to have text on the left end of a multi-measure rest,
647 attach the text to a zero-length skip note, i.e.,
657 Program reference: @internalsref{MultiMeasureRestMusicGroup},
658 @internalsref{MultiMeasureRest}.
660 The layout object @internalsref{MultiMeasureRestNumber} is for the
661 default number, and @internalsref{MultiMeasureRestText} for user
667 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
668 over multi-measure rests. And the pitch of multi-measure rests (or
669 staff-centered rests) can not be influenced.
671 @cindex condensing rests
673 There is no way to automatically condense multiple rests into a single
674 multi-measure rest. Multi-measure rests do not take part in rest
677 Be careful when entering multi-measure rests followed by whole
678 notes. The following will enter two notes lasting four measures each
682 When @code{skipBars} is set, the result will look OK, but the bar
683 numbering will be off.
686 @node Metronome marks
687 @subsection Metronome marks
690 @cindex beats per minute
691 @cindex metronome marking
693 Metronome settings can be entered as follows
695 \tempo @var{duration} = @var{per-minute}
698 In the MIDI output, they are interpreted as a tempo change. In the
699 layout output, a metronome marking is printed
700 @cindex @code{\tempo}
701 @lilypond[quote,raggedright,verbatim,fragment]
708 To change the tempo in the MIDI output without printing anything, make
709 the metronome marking invisible
711 \once \override Score.MetronomeMark #'transparent = ##t
714 To print other metronome markings, use these markup commands
715 @lilypond[quote,raggedright,verbatim,relative,fragment]
718 \smaller \general-align #Y #DOWN \note #"16." #1
720 \smaller \general-align #Y #DOWN \note #"8" #1"
725 See @ref{Text markup} for more details.
730 Program reference: @internalsref{MetronomeMark}.
735 Collisions are not checked. If you have notes above the top line of
736 the staff (or notes with articulations, slurs, text, etc), then the
737 metronome marking may be printed on top of musical symbols. If this
738 occurs, increase the padding of the metronome mark to place it
739 further away from the staff.
742 \override Score.MetronomeMark #'padding = #2.5
746 @node Rehearsal marks
747 @subsection Rehearsal marks
749 @cindex Rehearsal marks
752 To print a rehearsal mark, use the @code{\mark} command
754 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
763 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
765 The mark is incremented automatically if you use @code{\mark
766 \default}, but you can also use an integer argument to set the mark
767 manually. The value to use is stored in the property
768 @code{rehearsalMark}.
770 The style is defined by the property @code{markFormatter}. It is a
771 function taking the current mark (an integer) and the current context
772 as argument. It should return a markup object. In the following
773 example, @code{markFormatter} is set to a canned procedure. After a
774 few measures, it is set to function that produces a boxed number.
776 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
777 \set Score.markFormatter = #format-mark-numbers
780 \set Score.markFormatter = #format-mark-box-numbers
786 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
787 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
788 @code{format-mark-letters} and @code{format-mark-box-letters}.
789 These can be used as inspiration for other formatting functions.
794 Program reference: @internalsref{RehearsalMark}.
796 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
797 definition of @code{format-mark-numbers} and
798 @code{format-mark-letters}. They can be used as inspiration for other
799 formatting functions.
801 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
803 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
807 @subsection Bar numbers
810 @cindex measure numbers
811 @cindex @code{currentBarNumber}
813 Bar numbers are printed by default at the start of the line. The
814 number itself is stored in the @code{currentBarNumber} property, which
815 is normally updated automatically for every measure.
817 Bar numbers can be typeset at regular intervals instead of at the
818 beginning of each line. This is illustrated in the following example,
819 whose source is available as
820 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
822 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
824 Bar numbers can be typeset manually by tweaking the
825 @code{markFormatter} property
827 @lilypond[verbatim,raggedright,quote]
829 \set Score.markFormatter
830 = #(lambda (mark context)
833 (number->string (ly:context-property context
834 'currentBarNumber)))))
836 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
840 Bar numbers can be manually changed by setting the
841 @code{Staff.currentBarNumber} property
843 @lilypond[verbatim,raggedright,quote]
845 \repeat unfold 4 {c4 c c c} \break
846 \set Score.currentBarNumber = #50
847 \repeat unfold 4 {c4 c c c}
854 Program reference: @internalsref{BarNumber}.
857 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
858 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
863 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
864 there is one at the top. To solve this, the
865 @code{padding} property of @internalsref{BarNumber} can be
866 used to position the number correctly.
869 @node Instrument names
870 @subsection Instrument names
872 In an orchestral score, instrument names are printed at the left side
875 This can be achieved by setting @internalsref{Staff}.@code{instrument}
876 and @internalsref{Staff}.@code{instr}. This will print a string before
877 the start of the staff. For the first staff, @code{instrument} is
878 used, for the following ones, @code{instr} is used.
880 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
881 \set Staff.instrument = "Ploink "
882 \set Staff.instr = "Plk "
888 You can also use markup texts to construct more complicated instrument
891 @lilypond[quote,fragment,verbatim,raggedright]
892 \set Staff.instrument = \markup {
893 \column { "Clarinetti"
894 \line { "in B" \smaller \flat } } }
898 For longer instrument names, it may be useful to increase the
899 @code{indent} setting in the @code{\layout} block.
903 Program reference: @internalsref{InstrumentName}.
907 When you put a name on a grand staff or piano staff, the width of the
908 brace is not taken into account. You must add extra spaces to the end of
909 the name to avoid a collision.
912 @node Instrument transpositions
913 @subsection Instrument transpositions
915 @cindex transposition, MIDI
916 @cindex transposition, instrument
918 The key of a transposing instrument can also be specified. This
919 applies to many wind instruments, for example, clarinets (B-flat, A, and
920 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
922 The transposition is entered after the keyword @code{\transposition}
925 \transposition bes %% B-flat clarinet
929 This command sets the property @code{instrumentTransposition}. The value of
930 this property is used for MIDI output and quotations. It does not
931 affect how notes are printed in the current staff. To change the printed
932 output, see @ref{Transpose}.
934 The pitch to use for @code{\transposition} should correspond to the
935 transposition of the notes. For example, when entering a score in
936 concert pitch, typically all voices are entered in C, so
937 they should be entered as
950 The command @code{\transposition} should be used when the music is
951 entered from a (transposed) orchestral part. For example, in
952 classical horn parts, the tuning of the instrument is often changed
953 during a piece. When copying the notes from the part, use
954 @code{\transposition}, e.g.,
966 @node Ottava brackets
967 @subsection Ottava brackets
969 `Ottava' brackets introduce an extra transposition of an octave for
970 the staff. They are created by invoking the function
971 @code{set-octavation}
977 @lilypond[quote,raggedright,verbatim,fragment]
987 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
988 (for 15ma) as arguments. Internally the function sets the properties
989 @code{ottavation} (e.g., to @code{"8va"}) and
990 @code{centralCPosition}. For overriding the text of the bracket, set
991 @code{ottavation} after invoking @code{set-octavation}, i.e.,
993 @lilypond[quote,raggedright,verbatim]
996 \set Staff.ottavation = #"8"
1004 Program reference: @internalsref{OttavaBracket}.
1006 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1007 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1012 @code{set-octavation} will get confused when clef changes happen
1013 during an octavation bracket.
1016 @node Different editions from one source
1017 @subsection Different editions from one source
1022 The @code{\tag} command marks music expressions with a name. These
1023 tagged expressions can be filtered out later. With this mechanism it
1024 is possible to make different versions of the same music source.
1026 In the following example, we see two versions of a piece of music, one
1027 for the full score, and one with cue notes for the instrumental part
1043 The same can be applied to articulations, texts, etc.: they are
1046 -\tag #@var{your-tag}
1048 to an articulation, for example,
1053 This defines a note with a conditional fingering indication.
1056 @cindex removeWithTag
1057 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1058 commands, tagged expressions can be filtered. For example,
1062 \keepWithTag #'score @var{the music}
1063 \keepWithTag #'part @var{the music}
1068 @lilypondfile[raggedright,quote]{tag-filter.ly}
1070 The argument of the @code{\tag} command should be a symbol, or a list
1071 of symbols, for example,
1073 \tag #'(original-part transposed-part) @dots{}
1079 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1084 Multiple rests are not merged if you create the score with both tagged
1089 @node Orchestral music
1090 @section Orchestral music
1092 Orchestral music involves some special notation, both in the full
1093 score and the individual parts. This section explains how to tackle
1094 some common problems in orchestral music.
1097 * Automatic part combining::
1099 * Quoting other voices::
1100 * Formatting cue notes::
1101 * Aligning to cadenzas::
1105 @node Automatic part combining
1106 @subsection Automatic part combining
1107 @cindex automatic part combining
1108 @cindex part combiner
1110 Automatic part combining is used to merge two parts of music onto a
1111 staff. It is aimed at typesetting orchestral scores. When the two
1112 parts are identical for a period of time, only one is shown. In
1113 places where the two parts differ, they are typeset as separate
1114 voices, and stem directions are set automatically. Also, solo and
1115 @emph{a due} parts are identified and can be marked.
1117 The syntax for part combining is
1120 \partcombine @var{musicexpr1} @var{musicexpr2}
1124 The following example demonstrates the basic functionality of the part
1125 combiner: putting parts on one staff, and setting stem directions and
1128 @lilypond[quote,verbatim,raggedright,fragment]
1129 \new Staff \partcombine
1130 \relative g' { g g a( b) c c r r }
1131 \relative g' { g g r4 r e e g g }
1134 The first @code{g} appears only once, although it was
1135 specified twice (once in each part). Stem, slur, and tie directions are
1136 set automatically, depending whether there is a solo or unisono. The
1137 first part (with context called @code{one}) always gets up stems, and
1138 `Solo', while the second (called @code{two}) always gets down stems and
1141 If you just want the merging parts, and not the textual markings, you
1142 may set the property @code{printPartCombineTexts} to false
1144 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1146 \set Staff.printPartCombineTexts = ##f
1148 \relative g' { g a( b) r }
1149 \relative g' { g r4 r f }
1153 To change the text that is printed for solos or merging, you may
1154 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1157 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1159 \set Score.soloText = #"ichi"
1160 \set Score.soloIIText = #"ni"
1161 \set Score.aDueText = #"tachi"
1163 \relative g' { g4 g a( b) r }
1164 \relative g' { g4 g r r f }
1168 Both arguments to @code{\partcombine} will be interpreted as
1169 @internalsref{Voice} contexts. If using relative octaves,
1170 @code{\relative} should be specified for both music expressions, i.e.,
1174 \relative @dots{} @var{musicexpr1}
1175 \relative @dots{} @var{musicexpr2}
1179 A @code{\relative} section that is outside of @code{\partcombine} has
1180 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1184 Program reference: @internalsref{PartCombineMusic}.
1188 When @code{printPartCombineTexts} is set, when the two voices play the
1189 same notes on and off, the part combiner may typeset @code{a2} more
1190 than once in a measure.
1192 @code{\partcombine} cannot be inside @code{\times}.
1194 @code{\partcombine} cannot be inside @code{\relative}.
1196 Internally, the @code{\partcombine} interprets both arguments as
1197 @code{Voice}s named @code{one} and @code{two}, and then decides when
1198 the parts can be combined. Consequently, if the arguments switch to
1199 differently named @internalsref{Voice} contexts, the events in those
1204 @subsection Hiding staves
1206 @cindex Frenched scores
1207 @cindex Hiding staves
1209 In orchestral scores, staff lines that only have rests are usually
1210 removed; this saves some space. This style is called `French Score'.
1211 For @internalsref{Lyrics},
1212 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1213 switched on by default. When the lines of these contexts turn out
1214 empty after the line-breaking process, they are removed.
1216 For normal staves, a specialized @internalsref{Staff} context is
1217 available, which does the same: staves containing nothing (or only
1218 multi-measure rests) are removed. The context definition is stored in
1219 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1220 in this example disappears in the second line
1222 @lilypond[quote,raggedright,verbatim]
1224 \context { \RemoveEmptyStaffContext }
1229 \new Staff { e4 f g a \break c1 }
1230 \new Staff { c4 d e f \break R1 }
1235 The first system shows all staves in full. If empty staves should be
1236 removed from the first system too, set @code{remove-first} to true in
1237 @internalsref{RemoveEmptyVerticalGroup}.
1240 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1243 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1244 or @code{\RemoveEmptyRhythmicStaffContext}.
1246 Another application is making ossia sections, i.e., alternative
1247 melodies on a separate piece of staff, with help of a Frenched
1248 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1251 @node Quoting other voices
1252 @subsection Quoting other voices
1254 With quotations, fragments of other parts can be inserted into a part
1255 directly. Before a part can be quoted, it must be marked especially as
1256 quotable. This is done with the @code{\addquote} command.
1259 \addquote @var{name} @var{music}
1264 Here, @var{name} is an identifying string. The @var{music} is any kind
1265 of music. Here is an example of @code{\addquote}
1268 \addquote clarinet \relative c' @{
1273 This command must be entered at toplevel, i.e., outside any music
1276 After calling @code{\addquote}, the quotation may then be done with
1277 @code{\quoteDuring} or @code{\cueDuring},
1280 \quoteDuring #@var{name} @var{music}
1283 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1287 \quoteDuring #"clarinet" @{ s2. @}
1290 This would cite three quarter notes (the duration of @code{s2.}) of
1291 the previously added @code{clarinet} voice.
1294 More precisely, it takes the current time-step of the part being
1295 printed, and extracts the notes at the corresponding point of the
1296 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1297 should be the entire part of the voice to be quoted, including any
1298 rests at the beginning.
1300 Quotations take into account the transposition of both source and target
1301 instruments, if they are specified using the @code{\transposition} command.
1303 @lilypond[quote,raggedright,verbatim]
1304 \addquote clarinet \relative c' {
1310 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1314 The type of events that are present in cue notes can be trimmed with
1315 the @code{quotedEventTypes} property. The default value is
1316 @code{(note-event rest-event)}, which means that only notes and
1317 rests of the cued voice end up in the @code{\quoteDuring}.
1321 \set Staff.quotedEventTypes =
1322 #'(note-event articulation-event dynamic-event)
1326 will quote notes (but no rests), together with scripts and dynamics.
1330 Only the contents of the first @internalsref{Voice} occurring in an
1331 @code{\addquote} command will be considered for quotation, so
1332 @var{music} can not contain @code{\new} and @code{\context Voice}
1333 statements that would switch to a different Voice.
1335 Quoting grace notes is broken and can even cause LilyPond to crash.
1339 In this manual: @ref{Instrument transpositions}.
1341 Examples: @inputfileref{input/@/regression,quote@/.ly}
1342 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1344 Program reference: @internalsref{QuoteMusic}.
1347 @node Formatting cue notes
1348 @subsection Formatting cue notes
1350 The previous section deals with inserting notes from another voice.
1351 There is a more advanced music function called @code{\cueDuring},
1352 which makes formatting cue notes easier.
1357 \cueDuring #@var{name} #@var{updown} @var{music}
1360 This will insert notes from the part @var{name} into a
1361 @internalsref{Voice} called @code{cue}. This happens simultaneously
1362 with @var{music}, which usually is a rest. When the cue notes start,
1363 the staff in effect becomes polyphonic for a moment. The argument
1364 @var{updown} determines whether the cue notes should be notated as a
1365 first or second voice.
1368 @lilypond[verbatim,raggedright]
1371 \override Stem #'length = #5.5
1372 \override Beam #'thickness = #0.384
1373 \override Beam #'space-function =
1374 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1377 \addquote clarinet \relative {
1382 \new Staff \relative <<
1384 % setup a context for cue notes.
1385 \context Voice = cue { \smaller \skip 1*21 }
1387 \set Score.skipBars = ##t
1391 \cueDuring #"clarinet" #1 {
1400 Here are a couple of hints for successful cue notes
1404 Cue notes have smaller font sizes.
1406 the cued part is marked with the instrument playing the cue.
1408 when the original part takes over again, this should be marked with
1409 the name of the original instrument.
1411 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1413 @c Yes, this is good practice. Otherwise, the start of the original
1414 @c part can only be seen from the font size. This is not good enough
1415 @c for sight-reading. It is possilbe to use other
1416 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1421 any other changes introduced by the cued part should also be
1422 undone. For example, if the cued instrument plays in a different clef,
1423 the original clef should be stated once again.
1428 @node Aligning to cadenzas
1429 @subsection Aligning to cadenzas
1431 In an orchestral context, cadenzas present a special problem:
1432 when constructing a score that includes a cadenza, all other
1433 instruments should skip just as many notes as the length of the
1434 cadenza, otherwise they will start too soon or too late.
1436 A solution to this problem are the functions @code{mmrest-of-length}
1437 and @code{skip-of-length}. These Scheme functions take a piece of music
1438 as argument, and generate a @code{\skip} or multi-rest, exactly as
1439 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1440 in the following example.
1442 @lilypond[verbatim,raggedright,quote]
1443 cadenza = \relative c' {
1444 c4 d8 << { e f g } \\ { d4. } >>
1449 \new Staff { \cadenza c'4 }
1451 #(ly:export (mmrest-of-length cadenza))
1460 @node Contemporary notation
1461 @section Contemporary notation
1463 In the 20th century, composers have greatly expanded the musical
1464 vocabulary. With this expansion, many innovations in musical notation
1465 have been tried. The book ``Music Notation in the 20th century'' by
1466 Kurt Stone gives a comprehensive overview (see @ref{Literature
1467 list}). In general, the use of new, innovative notation makes a piece
1468 harder to understand and perform and its use should therefore be
1469 avoided. For this reason, support for contemporary notation in
1470 LilyPond is limited.
1474 * Polymetric notation::
1475 * Time administration::
1477 * Special fermatas::
1478 * Special noteheads::
1484 @node Polymetric notation
1485 @subsection Polymetric notation
1487 Double time signatures are not supported explicitly, but they can be
1488 faked. In the next example, the markup for the time signature is
1489 created with a markup text. This markup text is inserted in the
1490 @internalsref{TimeSignature} grob.
1492 @lilypond[verbatim,raggedright]
1497 \musicglyph #"scripts.stopped"
1498 \bracket \column { "5" "8" }
1503 \override Staff.TimeSignature #'print-function = #Text_interface::print
1504 \override Staff.TimeSignature #'text = #tsMarkup
1506 c'2 \bar ":" c'4 c'4.
1510 Each staff can also have its own time signature. This is done by
1511 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
1516 \context @{ \Score \remove "Timing_engraver" @}
1517 \context @{ \Staff \consists "Timing_engraver" @}
1522 Now, each staff has its own time signature.
1535 c4. c8 c c c4. c8 c c
1540 @lilypond[quote,raggedright]
1542 \context{ \Score \remove "Timing_engraver" }
1543 \context{ \Staff \consists "Timing_engraver" }
1557 c4. c8 c c c4. c8 c c
1563 A different form of polymetric notation is where note lengths have
1564 different values across staves.
1566 This notation can be created by setting a common time signature for
1567 each staff but replacing it manually using
1568 @code{timeSignatureFraction} to the desired fraction. Then the printed
1569 durations in each staff are scaled to the common time signature.
1570 The latter is done with @code{\compressMusic}, which is similar to
1571 @code{\times}, but does not create a tuplet bracket.
1574 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1575 used in parallel. In the second staff, shown durations are multiplied by
1576 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1577 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1579 @lilypond[quote,raggedright,verbatim,fragment]
1587 \set Staff.timeSignatureFraction = #'(9 . 8)
1588 \compressMusic #'(2 . 3)
1589 \repeat unfold 6 { c8[ c c] }
1593 \set Staff.timeSignatureFraction = #'(10 . 8)
1594 \compressMusic #'(3 . 5) {
1595 \repeat unfold 2 { c8[ c c] }
1596 \repeat unfold 2 { c8[ c] }
1597 | c4. c4. \times 2/3 { c8 c c } c4
1608 When using different time signatures in parallel, the spacing is
1609 aligned vertically, but bar lines distort the regular spacing.
1612 @node Time administration
1613 @subsection Time administration
1615 @cindex Time administration
1617 Time is administered by the @internalsref{Time_signature_engraver},
1618 which usually lives in the @internalsref{Score} context. The
1619 bookkeeping deals with the following variables
1622 @item currentBarNumber
1626 The length of the measures in the current time signature. For a 4/4
1627 time this is@tie{}1, and for 6/8 it is 3/4.
1629 @item measurePosition
1630 The point within the measure where we currently are. This quantity
1631 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1632 happens, @code{currentBarNumber} is incremented.
1635 If set to true, the above variables are updated for every time
1636 step. When set to false, the engraver stays in the current measure
1640 Timing can be changed by setting any of these variables explicitly.
1641 In the next example, the 4/4 time signature is printed, but
1642 @code{measureLength} is set to 5/4. After a while, the measure is
1643 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1644 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1645 3/8 arises because 5/4 normally has 10/8, but we have manually
1646 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1648 @lilypond[quote,raggedright,verbatim,relative,fragment]
1649 \set Score.measureLength = #(ly:make-moment 5 4)
1653 \set Score.measurePosition = #(ly:make-moment 7 8)
1661 @subsection Clusters
1665 A cluster indicates a continuous range of pitches to be played. They
1666 can be denoted as the envelope of a set of notes. They are entered by
1667 applying the function @code{makeClusters} to a sequence of
1669 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1670 \makeClusters { <c e > <b f'> }
1673 The following example (from
1674 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1677 @lilypondfile[raggedright,quote]{cluster.ly}
1679 Ordinary notes and clusters can be put together in the same staff,
1680 even simultaneously. In such a case no attempt is made to
1681 automatically avoid collisions between ordinary notes and clusters.
1685 Program reference: @internalsref{ClusterSpanner},
1686 @internalsref{ClusterSpannerBeacon},
1687 @internalsref{Cluster_spanner_engraver}.
1689 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1693 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1694 accurately. Use @code{<g a>8 <e a>8} instead.
1698 @node Special fermatas
1699 @subsection Special fermatas
1701 @cindex fermatas, special
1703 In contemporary music notation, special fermata symbols denote breaks
1704 of differing lengths. The following fermatas are supported
1706 @lilypond[quote,raggedright]
1729 \context Lyrics \lyricmode {
1730 \override LyricText #'font-family = #'typewriter
1731 "shortfermata" "fermata" "longfermata" "verylongfermata"
1736 See @ref{Articulations} for general instructions how to apply scripts
1737 such as fermatas to notes.
1740 @node Special noteheads
1741 @subsection Special noteheads
1743 Different noteheads are used by various instruments for various
1744 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1745 notes on guitar; diamonds are used for harmonics on string instruments,
1746 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1747 other notehead styles are produced by tweaking the property
1749 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1751 \override NoteHead #'style = #'cross
1753 \revert NoteHead #'style
1754 e d <c f\harmonic> <d a'\harmonic>
1758 To see all notehead styles, please see
1759 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1764 Program reference: @internalsref{NoteHead}.
1767 @node Feathered beams
1768 @subsection Feathered beams
1770 Feathered beams are not supported natively, but they can be faked by
1771 forcing two beams to overlap. Here is an example,
1773 @c don't change relative setting witout changing positions!
1774 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1779 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1784 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1792 @subsection Improvisation
1794 Improvisation is sometimes denoted with slashed note heads. Such note
1795 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1796 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1800 \set squashedPosition = #0
1801 \override NoteHead #'style = #'slash
1805 switches on the slashes.
1807 There are shortcuts @code{\improvisationOn} (and an accompanying
1808 @code{\improvisationOff}) for this command sequence. They are used in
1809 the following example
1811 @lilypond[verbatim,raggedright,quote]
1813 \consists Pitch_squash_engraver
1815 e8 e g a a16(bes)(a8) g \improvisationOn
1818 ~fis2 \improvisationOff a16(bes) a8 g e
1823 @node Educational use
1824 @section Educational use
1826 With the amount of control that LilyPond offers, one can make great
1827 teaching tools in addition to great musical scores.
1831 * Blank music sheet::
1833 * Shaped note heads ::
1834 * Easy Notation note heads::
1835 * Analysis brackets::
1836 * Coloring objects::
1840 @subsection Balloon help
1842 Elements of notation can be marked and named with the help of a square
1843 balloon. The primary purpose of this feature is to explain notation.
1845 The following example demonstrates its use.
1847 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1850 #(add-balloon-text 'NoteHead "heads, or tails?"
1857 The function @code{add-balloon-text} takes the name of a grob, the
1858 label to print, and the position where to put the label relative to
1859 the object. In the above example, the text ``heads or tails?'' ends
1860 3 spaces below and 1 space to the right of the marked head.
1863 @cindex notation, explaining
1867 Program reference: @internalsref{text-balloon-interface}.
1869 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1874 @node Blank music sheet
1875 @subsection Blank music sheet
1877 A blank music sheet can be produced also by using invisible notes, and
1878 removing @code{Bar_number_engraver}.
1881 @lilypond[quote,verbatim]
1883 \repeat unfold 2 % Change this for more lines.
1888 \override TimeSignature #'transparent = ##t
1889 defaultBarType = #""
1890 \remove Bar_number_engraver
1892 \context Staff \emptymusic
1893 \context TabStaff \emptymusic
1899 @subsection Hidden notes
1901 @cindex Hidden notes
1902 @cindex Invisible notes
1903 @cindex Transparent notes
1905 @cindex @code{\hideNotes}
1906 @cindex @code{\unHideNotes}
1907 Hidden (or invisible or transparent) notes can be useful in preparing theory
1908 or composition exercises.
1910 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1918 Hidden notes are also great for performing weird tricks. For example,
1919 slurs cannot be attached to rests or spacer rests, but you may wish
1920 to include that in your score -- string instruments use this notation
1921 when doing pizzicato to indicate that the note should ring for as long
1924 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1927 c4^"pizz"( \hideNotes c)
1928 \unHideNotes c( \hideNotes c)
1935 @node Shaped note heads
1936 @subsection Shaped note heads
1938 In shaped note head notation, the shape of the note head corresponds
1939 to the harmonic function of a note in the scale. This notation was
1940 popular in the 19th century American song books.
1942 Shaped note heads can be produced by setting @code{\aikenHeads} or
1943 @code{\sacredHarpHeads}, depending on the style desired.
1945 @lilypond[verbatim,relative=1,fragment]
1952 Shapes are determined on the step in the scale, where the base of the
1953 scale is determined by the @code{\key} command
1956 @findex shapeNoteStyles
1958 @findex \sacredHarpHeads
1960 Shaped note heads are implemented through the @code{shapeNoteStyles}
1961 property. Its value is a vector of symbols. The k-th element indicates
1962 the style to use for the k-th step of the scale. Arbitrary
1963 combinations are possible, eg.,
1966 @lilypond[verbatim,relative=1,fragment]
1967 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
1972 @node Easy Notation note heads
1973 @subsection Easy Notation note heads
1975 @cindex easy notation
1978 The `easy play' note head includes a note name inside the head. It is
1979 used in music for beginners
1981 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
1986 The command @code{\setEasyHeads} overrides settings for the
1987 @internalsref{NoteHead} object. To make the letters readable, it has
1988 to be printed in a large font size. To print with a larger font, see
1989 @ref{Setting global staff size}.
1993 @cindex @code{\setEasyHeads}
1994 @code{\setEasyHeads}
1997 @node Analysis brackets
1998 @subsection Analysis brackets
2000 @cindex phrasing brackets
2001 @cindex musicological analysis
2002 @cindex note grouping bracket
2004 Brackets are used in musical analysis to indicate structure in musical
2005 pieces. LilyPond supports a simple form of nested horizontal
2006 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2007 to @internalsref{Staff} context. A bracket is started with
2008 @code{\startGroup} and closed with @code{\stopGroup}
2010 @lilypond[quote,raggedright,verbatim]
2013 c4\startGroup\startGroup
2016 c4\stopGroup\stopGroup
2020 \Staff \consists "Horizontal_bracket_engraver"
2026 Program reference: @internalsref{HorizontalBracket}.
2028 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2034 I don't think we need this info.
2039 Whenever a note is found, a @internalsref{Stem} object is created
2040 automatically. For whole notes and rests, they are also created but
2045 @cindex @code{\stemUp}
2047 @cindex @code{\stemDown}
2049 @cindex @code{\stemNeutral}
2050 @code{\stemNeutral}.
2055 @node Coloring objects
2056 @subsection Coloring objects
2058 @c FIXME: need link to missing list of colors
2059 Individual objects may be assigned colors. You may use color names
2062 @lilypond[quote,raggedright,verbatim,fragment]
2063 \override NoteHead #'color = #red
2065 \override NoteHead #'color = #(x11-color 'LimeGreen)
2067 \override Stem #'color = #blue
2071 The full range of colors defined for X11 can be accessed by using the
2072 scheme function x11-color. The function takes one argument that can be a
2076 \override Beam #'color = #(x11-color 'MediumTurquoise)
2082 \override Beam #'color = #(x11-color "MediumTurquoise")
2085 The first form is quicker to write and is more efficient. However, using
2086 the second form it is possible to access X11 colors by the multi-word
2090 \override Beam #'color = #(x11-color "medium turquoise")
2093 If x11-color cannot make sense of the parameter then the color returned
2094 defaults to black. It should be obvious from the final score that
2097 This example, illustrates the use of x11-color. Notice that the stem
2098 color remains black after being set to (x11-color 'Boggle), which is
2099 deliberate nonsense.
2101 @lilypond[quote,raggedright,verbatim]
2103 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2104 \set Staff.instrument = \markup {
2105 \with-color #(x11-color 'navy) "Clarinet"
2109 \override Beam #'color = #(x11-color "medium turquoise")
2111 \override NoteHead #'color = #(x11-color "LimeGreen")
2113 \override Stem #'color = #(x11-color 'Boggle)
2120 Not all x11 colors are distinguishable in a web browser. For web use
2121 normal colors are recommended.
2123 An x11 color is not necessarily exactly the same shade as a similarly
2133 @node Automatic notation
2134 @section Automatic notation
2136 This section describes how to change the way that accidentals and
2137 beams are automatically displayed.
2139 FIXME: this might get moved into Changing Defaults. Please send
2140 opinions to lilypond-devel. Thanks! :)
2143 * Automatic accidentals::
2144 * Setting automatic beam behavior::
2147 @node Automatic accidentals
2148 @subsection Automatic accidentals
2149 @cindex Automatic accidentals
2151 Common rules for typesetting accidentals have been placed in a
2152 function. This function is called as follows
2154 @cindex @code{set-accidental-style}
2156 #(set-accidental-style 'STYLE #('CONTEXT#))
2159 The function can take two arguments: the name of the accidental style,
2160 and an optional argument that denotes the context that should be
2161 changed. If no context name is supplied, @code{Staff} is the default,
2162 but you may wish to apply the accidental style to a single @code{Voice}
2165 The following accidental styles are supported
2168 This is the default typesetting behavior. It corresponds
2169 to 18th century common practice: Accidentals are
2170 remembered to the end of the measure in which they occur and
2171 only on their own octave.
2174 The normal behavior is to remember the accidentals on
2175 Staff-level. This variable, however, typesets accidentals
2176 individually for each voice. Apart from that, the rule is similar to
2179 As a result, accidentals from one voice do not get canceled in other
2180 voices, which is often an unwanted result
2182 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2184 #(set-accidental-style 'voice)
2191 The @code{voice} option should be used if the voices
2192 are to be read solely by individual musicians. If the staff is to be
2193 used by one musician (e.g., a conductor) then
2194 @code{modern} or @code{modern-cautionary}
2195 should be used instead.
2198 @cindex @code{modern} style accidentals
2199 This rule corresponds to the common practice in the 20th century. This rule
2200 prints the same accidentals as @code{default}, but temporary
2201 accidentals also are canceled in other octaves. Furthermore,
2202 in the same octave, they also get canceled in the following
2205 @lilypond[quote,raggedright,fragment,verbatim]
2206 #(set-accidental-style 'modern)
2207 cis' c'' cis'2 | c'' c'
2210 @item @code{modern-cautionary}
2211 @cindex @code{modern-cautionary}
2212 This rule is similar to @code{modern}, but the ``extra'' accidentals
2213 (the ones not typeset by @code{default}) are typeset as cautionary
2214 accidentals. They are printed in reduced size or with parentheses
2215 @lilypond[quote,raggedright,fragment,verbatim]
2216 #(set-accidental-style 'modern-cautionary)
2217 cis' c'' cis'2 | c'' c'
2220 @cindex @code{modern-voice}
2222 This rule is used for multivoice accidentals to be read both by musicians
2223 playing one voice and musicians playing all voices. Accidentals are
2224 typeset for each voice, but they @emph{are} canceled across voices in
2225 the same @internalsref{Staff}.
2227 @cindex @code{modern-voice-cautionary}
2228 @item modern-voice-cautionary
2229 This rule is the same as @code{modern-voice}, but with the extra
2230 accidentals (the ones not typeset by @code{voice}) typeset
2231 as cautionaries. Even though all accidentals typeset by
2232 @code{default} @emph{are} typeset by this variable,
2233 some of them are typeset as cautionaries.
2236 @cindex @code{piano} accidentals
2237 This rule reflects 20th century practice for piano notation. Very similar to
2238 @code{modern} but accidentals also get canceled
2239 across the staves in the same @internalsref{GrandStaff} or
2240 @internalsref{PianoStaff}.
2242 @item piano-cautionary
2243 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2244 Same as @code{#(set-accidental-style 'piano)} but with the extra
2245 accidentals typeset as cautionaries.
2248 @cindex @code{no-reset} accidental style
2249 This is the same as @code{default} but with accidentals lasting
2250 ``forever'' and not only until the next measure
2251 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2252 #(set-accidental-style 'no-reset)
2257 This is sort of the opposite of @code{no-reset}: Accidentals
2258 are not remembered at all---and hence all accidentals are
2259 typeset relative to the key signature, regardless of what was
2262 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2263 #(set-accidental-style 'forget)
2264 \key d\major c4 c cis cis d d dis dis
2271 Program reference: @internalsref{Accidental_engraver},
2272 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2277 Simultaneous notes are considered to be entered in sequential
2278 mode. This means that in a chord the accidentals are typeset as if the
2279 notes in the chord happened once at a time - in the order in which
2280 they appear in the input file.
2282 This is a problem when accidentals in a chord depend on each other,
2283 which does not happen for the default accidental style. The problem
2284 can be solved by manually inserting @code{!} and @code{?} for the
2288 @node Setting automatic beam behavior
2289 @subsection Setting automatic beam behavior
2291 @cindex @code{autoBeamSettings}
2292 @cindex @code{(end * * * *)}
2293 @cindex @code{(begin * * * *)}
2294 @cindex automatic beams, tuning
2295 @cindex tuning automatic beaming
2297 @c [TODO: use \applycontext]
2299 In normal time signatures, automatic beams can start on any note but can
2300 only end in a few positions within the measure: beams can end on a beat,
2301 or at durations specified by the properties in
2302 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
2303 are defined in @file{scm/@/auto@/-beam@/.scm}.
2305 The value of @code{autoBeamSettings} is changed with three functions,
2307 #(override-auto-beam-setting
2308 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
2310 #(score-override-auto-beam-setting
2311 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
2312 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
2315 Here, @var{be} is the symbol @code{begin} or @code{end}, and
2316 @var{context} is an optional context (default: @code{'Voice}). It
2317 determines whether the rule applies to begin or end-points. The
2318 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
2319 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
2320 to a time signature (wildcards `@code{* *}' may be entered to
2321 designate all time signatures), @var{a}/@var{b} is a duration. By
2322 default, this command changes settings for the current voice. It is
2323 also possible to adjust settings at higher contexts, by adding a
2324 @var{context} argument. @code{score-override-auto-beam-setting} is
2325 equal to @code{override-auto-beam-setting} with the argument
2326 @var{context} set to @code{'Score}.
2328 For example, if automatic beams should end on the first quarter note, use
2331 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2333 Since the duration of a quarter note is 1/4 of a whole note, it is
2334 entered as @code{(ly:make-moment 1 4)}.
2336 If automatic beams should end on every quarter in 5/4 time, specify
2339 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2340 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2341 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2342 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2346 The same syntax can be used to specify beam starting points. In this
2347 example, automatic beams can only end on a dotted quarter note
2349 #(override-auto-beam-setting '(end * * * *) 3 8)
2350 #(override-auto-beam-setting '(end * * * *) 1 2)
2351 #(override-auto-beam-setting '(end * * * *) 7 8)
2353 In 4/4 time signature, this means that automatic beams could end only on
2354 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2355 3/8, has passed within the measure).
2357 Rules can also be restricted to specific time signatures. A rule that
2358 should only be applied in @var{N}/@var{M} time signature is formed by
2359 replacing the second asterisks by @var{N} and @var{M}. For example, a
2360 rule for 6/8 time exclusively looks like
2362 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
2365 If a rule should be to applied only to certain types of beams, use the
2366 first pair of asterisks. Beams are classified according to the
2367 shortest note they contain. For a beam ending rule that only applies
2368 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
2373 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2375 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2383 @cindex automatic beam generation
2385 @cindex @code{autoBeaming}
2388 If beams are used to indicate melismata in songs, then automatic
2389 beaming should be switched off. This is done by setting
2390 @code{autoBeaming} to @code{#f}.
2394 @cindex @code{\autoBeamOff}
2395 @code{\autoBeamOff},
2396 @cindex @code{\autoBeamOn}
2402 If a score ends while an automatic beam has not been ended and is
2403 still accepting notes, this last beam will not be typeset at all. The
2404 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2405 >>}. If a polyphonic voice ends while an automatic beam is still
2406 accepting notes, it is not typeset.