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::
41 * Other text markup issues::
46 @subsection Text scripts
49 @cindex text items, non-empty
50 @cindex non-empty texts
52 It is possible to place arbitrary strings of text or @ref{Text markup}
53 above or below notes by using a string @code{c^"text"}. By default,
54 these indications do not influence the note spacing, but by using the
55 command @code{\fatText}, the widths will be taken into account
57 @lilypond[quote,fragment,raggedright,verbatim,relative=1]
58 c4^"longtext" \fatText c4_"longlongtext" c4
61 More complex formatting may also be added to a note by using the
63 @lilypond[fragment,raggedright,verbatim,quote]
64 c'4^\markup { bla \bold bla }
67 The @code{\markup} is described in more detail in
73 @cindex @code{\fatText}
75 @cindex @code{\emptyText}
81 In this manual: @ref{Text markup}.
83 Program reference: @internalsref{TextScript}.
87 @subsection Text spanners
91 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
92 are written as text and are extended over many measures with dotted
93 lines. Such texts are created using text spanners; attach
94 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
97 The string to be printed, as well as the style, is set through object
100 @lilypond[quote,raggedright,fragment,relative=1,verbatim]
103 \override TextSpanner #'edge-text = #'("rall " . "")
104 c2\startTextSpan b c\stopTextSpan a
107 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
108 c2\startTextSpan b c\stopTextSpan a
113 @cindex textSpannerUp
114 @code{textSpannerUp},
115 @cindex textSpannerDown
116 @code{textSpannerDown},
117 @cindex textSpannerNeutral
118 @code{textSpannerNeutral}.
123 Program reference: @internalsref{TextSpanner}.
125 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
129 @subsection Text marks
131 @cindex coda on bar line
132 @cindex segno on bar line
133 @cindex fermata on bar line
134 @cindex bar lines, symbols on
137 The @code{\mark} command is primarily used for
138 @ref{Rehearsal marks},
139 but it can also be used to put signs like coda,
140 segno, and fermata on a bar line. Use @code{\markup} to
141 access the appropriate symbol
143 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
144 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
149 @code{\mark} is only typeset above the top stave of the score. If
150 you specify the @code{\mark} command at a bar line, the resulting
151 mark is placed above the bar line. If you specify it in the middle
152 of a bar, the resulting mark is positioned between notes. If it is
153 specified before the beginning of a score line, it is placed
154 before the first note of the line. Finally, if the mark occurs at
155 a line break, the mark will be printed at the
156 beginning of the next line.
157 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
158 @c delete this sentence. -gp
159 If there is no next line, then the mark will not be printed at all.
164 To print the mark at the end of the current line, use
167 \override Score.RehearsalMark
168 #'break-visibility = #begin-of-line-invisible
171 @code{\mark} is often useful for adding text to the end of bar. In
172 such cases, changing the @code{#'self-alignment} is very useful
174 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
175 \override Score.RehearsalMark
176 #'break-visibility = #begin-of-line-invisible
178 \once \override Score.RehearsalMark #'self-alignment-X = #right
179 \mark "D.S. al Fine "
185 Program reference: @internalsref{RehearsalMark}.
189 @subsection Text markup
196 Use @code{\markup} to typeset text. Commands are entered with the
199 @lilypond[quote,verbatim,fragment,relative=1]
201 c1_\markup { hi there }
202 c1^\markup { hi \bold there, is \italic anyone home? }
206 See @ref{Overview of text markup commands} for a list of all
209 @code{\markup} is primarily used for @internalsref{TextScript}s,
210 but it can also be used anywhere text is called in lilypond
212 @lilypond[quote,verbatim]
213 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
216 \override Score.RehearsalMark
217 #'break-visibility = #begin-of-line-invisible
218 \override Score.RehearsalMark #'self-alignment-X = #right
220 \set Staff.instrument = \markup{ \column{ Alto solo } }
221 c2^\markup{ don't be \flat }
222 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
224 a2\mark \markup{ \large \bold Fine }
228 \addlyrics { bar, foo \markup{ \italic bar! } }
232 @cindex font switching
234 The markup in the example demonstrates font switching commands. The
235 command @code{\bold} and @code{\italic} apply to the first following
236 word only; to apply a command to more than one word, enclose the
240 \markup @{ \bold @{ hi there @} @}
244 For clarity, you can also do this for single arguments, e.g.,
247 \markup @{ is \italic @{ anyone @} home @}
250 In markup mode you can compose expressions, similar to mathematical
251 expressions, XML documents, and music expressions. You can stack
252 expressions grouped vertically with the command @code{\column}.
253 Similarly, @code{\center-align} aligns texts by their center lines:
255 @lilypond[quote,verbatim,fragment,relative=1]
256 c1^\markup { \column { a bbbb \line { c d } } }
257 c1^\markup { \center-align { a bbbb c } }
258 c1^\markup { \line { a b c } }
261 Lists with no previous command are not kept distinct. The expression
264 \center-align @{ @{ a b @} @{ c d @} @}
272 \center-align @{ a b c d @}
277 To keep lists of words distinct, please use quotes @code{"} or
278 the @code{\line} command
280 @lilypond[quote,verbatim,fragment,relative=1]
282 c4^\markup{ \center-align { on three lines } }
283 c4^\markup{ \center-align { "all one line" } }
284 c4^\markup{ \center-align { { on three lines } } }
285 c4^\markup{ \center-align { \line { on one line } } }
288 Markups can be stored in variables and these variables
289 may be attached to notes, like
291 allegro = \markup @{ \bold \large @{ Allegro @} @}
292 @{ a^\allegro b c d @}
295 Some objects have alignment procedures of their own, which cancel out
296 any effects of alignments applied to their markup arguments as a
297 whole. For example, the @internalsref{RehearsalMark} is horizontally
298 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
304 This manual: @ref{Overview of text markup commands}.
306 Program reference: @internalsref{TextScript}.
308 Init files: @file{scm/@/new@/-markup@/.scm}.
313 Kerning or generation of ligatures is only done when the @TeX{}
314 backend is used. In this case, LilyPond does not account for them so
315 texts will be spaced slightly too wide.
317 Syntax errors for markup mode are confusing.
321 @subsection Text encoding
323 LilyPond uses the Pango library to format multi-lingual texts, and
324 does not perform any input-encoding conversions. This means that any
325 text, be it title, lyric text, or musical instruction containing
326 non-ASCII characters, must be utf-8. Easiest to enter such texts is
327 by using a Unicode-aware editor, and save using utf-8 encoding. Most
328 popular modern editors have utf-8 support, for example, vim, Emacs,
331 Depending on the fonts installed, the following fragment shows Hebrew
338 @lilypondfile[fontload]{utf-8.ly}
340 The @TeX{} backend does not handle encoding specially at all. Strings
341 in the input are put in the output as-is. Extents of text items in the
342 @TeX{} backend, are determined by reading a file created via the
343 @file{texstr} backend,
346 lilypond -b texstr input/les-nereides.ly
347 latex les-nereides.texstr
350 The last command produces @file{les-nereides.textmetrics}, which is
351 read when you execute
354 lilypond -b tex input/les-nereides.ly
357 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
358 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
359 interpreting non-ASCII strings.
364 @inputfileref{input/regression,utf-8.ly}
368 @subsection Nested scores
370 It is possible to nest music inside markups, by adding a @code{\score}
371 block to a markup expression. Such a score must contain a @code{\layout}
374 @lilypond[quote,verbatim,raggedright]
378 \relative { c4 d e f }
387 @node Overview of text markup commands
388 @subsection Overview of text markup commands
390 The following commands can all be used inside @code{\markup @{ @}}.
392 @include markup-commands.tely
396 @subsection Font selection
398 @cindex font selection
399 @cindex font magnification
400 @cindex @code{font-interface}
402 By setting the object properties described below, you can select a
403 font from the preconfigured font families. LilyPond has default
404 support for the feta music fonts. Text fonts are selected through
405 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
406 the sans and typewriter to whatever the Pango installation defaults
411 @item @code{font-encoding}
412 is a symbol that sets layout of the glyphs. This should only be set to
413 select different types of non-text fonts, eg.
415 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
416 standard music font, including ancient glyphs, @code{fetaDynamic} for
417 dynamic signs and @code{fetaNumber} for the number font.
419 @item @code{font-family}
420 is a symbol indicating the general class of the typeface. Supported are
421 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
423 @item @code{font-shape}
424 is a symbol indicating the shape of the font. There are typically
425 several font shapes available for each font family. Choices are
426 @code{italic}, @code{caps}, and @code{upright}.
428 @item @code{font-series}
429 is a symbol indicating the series of the font. There are typically
430 several font series for each font family and shape. Choices are
431 @code{medium} and @code{bold}.
435 Fonts selected in the way sketched above come from a predefined style
436 sheet. If you want to use a font from outside the style sheet,
438 @code{font-name} property,
440 @lilypond[fragment,verbatim]
442 \override Staff.TimeSignature #'font-name = #"Times"
443 \override Staff.TimeSignature #'font-size = #2
446 \override #'(font-name . "Vera Bold")
447 { This text is in Vera Bold }
453 Any font can be used, as long as it is available to Pango/FontConfig.
455 The size of the font may be set with the @code{font-size}
456 property. The resulting size is taken relative to the
457 @code{text-font-size} as defined in the @code{\paper} block.
460 @cindex font magnification
463 It is also possible to change the default font family for the entire
464 document. This is done by calling the @code{make-pango-font-tree} from
465 within the @code{\paper} block. The function takes names for the font
466 families to use for roman, sans serif and monospaced text. For
469 @cindex font families, setting
478 (make-pango-font-tree "Times New Roman"
485 c'^\markup { roman: foo \sans bla \typewriter bar }
492 Examples: @file{ly/@/font@/-family@/-override.ly}
495 @node New dynamic marks
496 @subsection New dynamic marks
498 It is possible to print new dynamic marks or text that should be aligned
499 with dynamics. Use @code{make-dynamic-script} to create these marks.
501 @cindex make-dynamic-script
503 @lilypond[quote,verbatim,raggedright]
504 sfzp = #(make-dynamic-script "sfzp")
510 @cindex Dynamics, editorial
511 @cindex Dynamics, parenthesis
513 It is also possible to print dynamics in round parenthesis or square
514 brackets. These are often used for adding editorial dynamics.
516 @lilypond[quote,verbatim,raggedright]
517 rndf = \markup{ \center-align {\line { \bold{\italic (}
518 \dynamic f \bold{\italic )} }} }
519 boxf = \markup{ \bracket { \dynamic f } }
520 { c'1_\rndf c'1_\boxf }
524 @node Other text markup issues
525 @subsection Other text markup issues
527 To use a normal font within a title, you must define it manually
530 #(def-markup-command (normal-font layout props arg) (markup?)
531 "Switch to normal text font"
532 (interpret-markup layout (cons '((font-series . 'medium) (font-shape . 'upright)) props) arg))
535 title = \markup@{ ABCD \normal-font ABCD @}
541 @node Preparing parts
542 @section Preparing parts
544 This section describes various notation that are useful for preparing
548 * Multi measure rests::
553 * Instrument transpositions::
555 * Different editions from one source::
559 @node Multi measure rests
560 @subsection Multi measure rests
562 @cindex multi measure rests
563 @cindex full measure rests
564 @cindex Rests, multi measure
565 @cindex Rests, full measure
566 @cindex whole rests for a full measure
569 Rests for one full measure (or many bars) are entered using `@code{R}'. It
570 is specifically meant for full bar rests and for entering parts: the rest
571 can expand to fill a score with rests, or it can be printed as a single
572 multi-measure rest. This expansion is controlled by the property
573 @code{Score.skipBars}. If this is set to true, empty measures will not
574 be expanded, and the appropriate number is added automatically
576 @lilypond[quote,raggedright,fragment,verbatim]
577 \time 4/4 r1 | R1 | R1*2
578 \set Score.skipBars = ##t R1*17 R1*4
581 The @code{1} in @code{R1} is similar to the duration notation used for
582 notes. Hence, for time signatures other than 4/4, you must enter other
583 durations. This can be done with augmentation dots or fractions
585 @lilypond[quote,raggedright,fragment,verbatim]
586 \set Score.skipBars = ##t
595 An @code{R} spanning a single measure is printed as either a whole rest
596 or a breve, centered in the measure regardless of the time signature.
598 If there are only a few measures of rest, LilyPond prints ``church rests''
599 (a series of rectangles) in the staff. To replace that with a simple
600 rest, use @code{MultiMeasureRest.expand-limit}.
602 @lilypond[quote,raggedright,fragment,verbatim]
603 \set Score.skipBars = ##t
605 \override MultiMeasureRest #'expand-limit = 1
609 @cindex text on multi-measure rest
610 @cindex script on multi-measure rest
611 @cindex fermata on multi-measure rest
613 Texts can be added to multi-measure rests by using the
614 @var{note}-@code{markup} syntax @ref{Text markup}.
615 A variable (@code{\fermataMarkup}) is provided for
618 @lilypond[quote,raggedright,verbatim,fragment]
619 \set Score.skipBars = ##t
621 R2.*10^\markup { \italic "ad lib." }
625 If you want to have text on the left end of a multi-measure rest,
626 attach the text to a zero-length skip note, i.e.,
636 Program reference: @internalsref{MultiMeasureRestMusicGroup},
637 @internalsref{MultiMeasureRest}.
639 The layout object @internalsref{MultiMeasureRestNumber} is for the
640 default number, and @internalsref{MultiMeasureRestText} for user
646 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
647 over multi-measure rests. And the pitch of multi-measure rests (or
648 staff-centered rests) can not be influenced.
650 @cindex condensing rests
652 There is no way to automatically condense multiple rests into a single
653 multi-measure rest. Multi-measure rests do not take part in rest
656 Be careful when entering multi-measure rests followed by whole
657 notes. The following will enter two notes lasting four measures each
661 When @code{skipBars} is set, the result will look OK, but the bar
662 numbering will be off.
665 @node Metronome marks
666 @subsection Metronome marks
669 @cindex beats per minute
670 @cindex metronome marking
672 Metronome settings can be entered as follows
674 \tempo @var{duration} = @var{per-minute}
677 In the MIDI output, they are interpreted as a tempo change. In the
678 layout output, a metronome marking is printed
679 @cindex @code{\tempo}
680 @lilypond[quote,raggedright,verbatim,fragment]
687 To change the tempo in the MIDI output without printing anything, make
688 the metronome marking invisible
690 \once \override Score.MetronomeMark #'transparent = ##t
693 To print other metronome markings, use these markup commands
694 @lilypond[quote,raggedright,verbatim,relative,fragment]
697 \smaller \general-align #Y #DOWN \note #"16." #1
699 \smaller \general-align #Y #DOWN \note #"8" #1"
704 See @ref{Text markup} for more details.
709 Program reference: @internalsref{MetronomeMark}.
714 Collisions are not checked. If you have notes above the top line of
715 the staff (or notes with articulations, slurs, text, etc), then the
716 metronome marking may be printed on top of musical symbols. If this
717 occurs, increase the padding of the metronome mark to place it
718 further away from the staff.
721 \override Score.MetronomeMark #'padding = #2.5
725 @node Rehearsal marks
726 @subsection Rehearsal marks
728 @cindex Rehearsal marks
731 To print a rehearsal mark, use the @code{\mark} command
733 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
742 The letter@tie{}`I' is skipped in accordance with engraving traditions.
743 If you wish to include the letter `I', then use
746 \set Score.markFormatter = #format-mark-alphabet
749 The mark is incremented automatically if you use @code{\mark
750 \default}, but you can also use an integer argument to set the mark
751 manually. The value to use is stored in the property
752 @code{rehearsalMark}.
754 The style is defined by the property @code{markFormatter}. It is a
755 function taking the current mark (an integer) and the current context
756 as argument. It should return a markup object. In the following
757 example, @code{markFormatter} is set to a canned procedure. After a
758 few measures, it is set to function that produces a boxed number.
760 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
761 \set Score.markFormatter = #format-mark-numbers
764 \set Score.markFormatter = #format-mark-box-numbers
770 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
771 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
772 @code{format-mark-letters} and @code{format-mark-box-letters}.
773 These can be used as inspiration for other formatting functions.
778 Program reference: @internalsref{RehearsalMark}.
780 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
781 definition of @code{format-mark-numbers} and
782 @code{format-mark-letters}. They can be used as inspiration for other
783 formatting functions.
785 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
787 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
791 @subsection Bar numbers
794 @cindex measure numbers
795 @cindex @code{currentBarNumber}
797 Bar numbers are printed by default at the start of the line. The
798 number itself is stored in the @code{currentBarNumber} property, which
799 is normally updated automatically for every measure.
801 Bar numbers can be typeset at regular intervals instead of at the
802 beginning of each line. This is illustrated in the following example,
803 whose source is available as
804 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
806 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
808 Bar numbers can be typeset manually by tweaking the
809 @code{markFormatter} property
811 @lilypond[verbatim,raggedright,quote]
813 \set Score.markFormatter
814 = #(lambda (mark context)
817 (number->string (ly:context-property context
818 'currentBarNumber)))))
820 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
824 Bar numbers can be manually changed by setting the
825 @code{Staff.currentBarNumber} property
827 @lilypond[verbatim,raggedright,quote]
829 \repeat unfold 4 {c4 c c c} \break
830 \set Score.currentBarNumber = #50
831 \repeat unfold 4 {c4 c c c}
838 Program reference: @internalsref{BarNumber}.
841 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
842 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
847 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
848 there is one at the top. To solve this, the
849 @code{padding} property of @internalsref{BarNumber} can be
850 used to position the number correctly.
853 @node Instrument names
854 @subsection Instrument names
856 In an orchestral score, instrument names are printed at the left side
859 This can be achieved by setting @internalsref{Staff}.@code{instrument}
860 and @internalsref{Staff}.@code{instr}. This will print a string before
861 the start of the staff. For the first staff, @code{instrument} is
862 used, for the following ones, @code{instr} is used.
864 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
865 \set Staff.instrument = "Ploink "
866 \set Staff.instr = "Plk "
872 You can also use markup texts to construct more complicated instrument
875 @lilypond[quote,fragment,verbatim,raggedright]
876 \set Staff.instrument = \markup {
877 \column { "Clarinetti"
878 \line { "in B" \smaller \flat } } }
882 If you wish to center the instrument names, you must center all of them
884 @lilypond[quote,verbatim,raggedright]
887 \set Staff.instrument = \markup {
888 \center-align { "Clarinetti"
889 \line { "in B" \smaller \flat } } }
893 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
900 For longer instrument names, it may be useful to increase the
901 @code{indent} setting in the @code{\layout} block.
905 Program reference: @internalsref{InstrumentName}.
909 When you put a name on a grand staff or piano staff, the width of the
910 brace is not taken into account. The following property setting can be
911 used to move the instrument names to the left, in such situations.
914 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
918 @node Instrument transpositions
919 @subsection Instrument transpositions
921 @cindex transposition, MIDI
922 @cindex transposition, instrument
924 The key of a transposing instrument can also be specified. This
925 applies to many wind instruments, for example, clarinets (B-flat, A, and
926 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
928 The transposition is entered after the keyword @code{\transposition}
931 \transposition bes %% B-flat clarinet
935 This command sets the property @code{instrumentTransposition}. The value of
936 this property is used for MIDI output and quotations. It does not
937 affect how notes are printed in the current staff. To change the printed
938 output, see @ref{Transpose}.
940 The pitch to use for @code{\transposition} should correspond to the
941 transposition of the notes. For example, when entering a score in
942 concert pitch, typically all voices are entered in C, so
943 they should be entered as
956 The command @code{\transposition} should be used when the music is
957 entered from a (transposed) orchestral part. For example, in
958 classical horn parts, the tuning of the instrument is often changed
959 during a piece. When copying the notes from the part, use
960 @code{\transposition}, e.g.,
972 @node Ottava brackets
973 @subsection Ottava brackets
975 `Ottava' brackets introduce an extra transposition of an octave for
976 the staff. They are created by invoking the function
977 @code{set-octavation}
983 @lilypond[quote,raggedright,verbatim,fragment]
993 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
994 (for 15ma) as arguments. Internally the function sets the properties
995 @code{ottavation} (e.g., to @code{"8va"}) and
996 @code{centralCPosition}. For overriding the text of the bracket, set
997 @code{ottavation} after invoking @code{set-octavation}, i.e.,
999 @lilypond[quote,raggedright,verbatim]
1002 \set Staff.ottavation = #"8"
1010 Program reference: @internalsref{OttavaBracket}.
1012 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1013 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1018 @code{set-octavation} will get confused when clef changes happen
1019 during an octavation bracket.
1022 @node Different editions from one source
1023 @subsection Different editions from one source
1028 The @code{\tag} command marks music expressions with a name. These
1029 tagged expressions can be filtered out later. With this mechanism it
1030 is possible to make different versions of the same music source.
1032 In the following example, we see two versions of a piece of music, one
1033 for the full score, and one with cue notes for the instrumental part
1049 The same can be applied to articulations, texts, etc.: they are
1052 -\tag #@var{your-tag}
1054 to an articulation, for example,
1059 This defines a note with a conditional fingering indication.
1062 @cindex removeWithTag
1063 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1064 commands, tagged expressions can be filtered. For example,
1068 \keepWithTag #'score @var{the music}
1069 \keepWithTag #'part @var{the music}
1074 @lilypondfile[raggedright,quote]{tag-filter.ly}
1076 The argument of the @code{\tag} command should be a symbol, or a list
1077 of symbols, for example,
1079 \tag #'(original-part transposed-part) @dots{}
1085 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1090 Multiple rests are not merged if you create the score with both tagged
1095 @node Orchestral music
1096 @section Orchestral music
1098 Orchestral music involves some special notation, both in the full
1099 score and the individual parts. This section explains how to tackle
1100 some common problems in orchestral music.
1103 * Automatic part combining::
1105 * Quoting other voices::
1106 * Formatting cue notes::
1107 * Aligning to cadenzas::
1111 @node Automatic part combining
1112 @subsection Automatic part combining
1113 @cindex automatic part combining
1114 @cindex part combiner
1116 Automatic part combining is used to merge two parts of music onto a
1117 staff. It is aimed at typesetting orchestral scores. When the two
1118 parts are identical for a period of time, only one is shown. In
1119 places where the two parts differ, they are typeset as separate
1120 voices, and stem directions are set automatically. Also, solo and
1121 @emph{a due} parts are identified and can be marked.
1123 The syntax for part combining is
1126 \partcombine @var{musicexpr1} @var{musicexpr2}
1130 The following example demonstrates the basic functionality of the part
1131 combiner: putting parts on one staff, and setting stem directions and
1134 @lilypond[quote,verbatim,raggedright,fragment]
1135 \new Staff \partcombine
1136 \relative g' { g g a( b) c c r r }
1137 \relative g' { g g r4 r e e g g }
1140 The first @code{g} appears only once, although it was
1141 specified twice (once in each part). Stem, slur, and tie directions are
1142 set automatically, depending whether there is a solo or unisono. The
1143 first part (with context called @code{one}) always gets up stems, and
1144 `Solo', while the second (called @code{two}) always gets down stems and
1147 If you just want the merging parts, and not the textual markings, you
1148 may set the property @code{printPartCombineTexts} to false
1150 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1152 \set Staff.printPartCombineTexts = ##f
1154 \relative g' { g a( b) r }
1155 \relative g' { g r4 r f }
1159 To change the text that is printed for solos or merging, you may
1160 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1163 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1165 \set Score.soloText = #"ichi"
1166 \set Score.soloIIText = #"ni"
1167 \set Score.aDueText = #"tachi"
1169 \relative g' { g4 g a( b) r }
1170 \relative g' { g4 g r r f }
1174 Both arguments to @code{\partcombine} will be interpreted as
1175 @internalsref{Voice} contexts. If using relative octaves,
1176 @code{\relative} should be specified for both music expressions, i.e.,
1180 \relative @dots{} @var{musicexpr1}
1181 \relative @dots{} @var{musicexpr2}
1185 A @code{\relative} section that is outside of @code{\partcombine} has
1186 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1190 Program reference: @internalsref{PartCombineMusic}.
1194 When @code{printPartCombineTexts} is set, when the two voices play the
1195 same notes on and off, the part combiner may typeset @code{a2} more
1196 than once in a measure.
1198 @code{\partcombine} cannot be inside @code{\times}.
1200 @code{\partcombine} cannot be inside @code{\relative}.
1202 Internally, the @code{\partcombine} interprets both arguments as
1203 @code{Voice}s named @code{one} and @code{two}, and then decides when
1204 the parts can be combined. Consequently, if the arguments switch to
1205 differently named @internalsref{Voice} contexts, the events in those
1210 @subsection Hiding staves
1212 @cindex Frenched scores
1213 @cindex Hiding staves
1215 In orchestral scores, staff lines that only have rests are usually
1216 removed; this saves some space. This style is called `French Score'.
1217 For @internalsref{Lyrics},
1218 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1219 switched on by default. When the lines of these contexts turn out
1220 empty after the line-breaking process, they are removed.
1222 For normal staves, a specialized @internalsref{Staff} context is
1223 available, which does the same: staves containing nothing (or only
1224 multi-measure rests) are removed. The context definition is stored in
1225 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1226 in this example disappears in the second line
1228 @lilypond[quote,raggedright,verbatim]
1230 \context { \RemoveEmptyStaffContext }
1235 \new Staff { e4 f g a \break c1 }
1236 \new Staff { c4 d e f \break R1 }
1241 The first system shows all staves in full. If empty staves should be
1242 removed from the first system too, set @code{remove-first} to true in
1243 @internalsref{RemoveEmptyVerticalGroup}.
1246 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1249 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1250 or @code{\RemoveEmptyRhythmicStaffContext}.
1252 Another application is making ossia sections, i.e., alternative
1253 melodies on a separate piece of staff, with help of a Frenched
1254 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1257 @node Quoting other voices
1258 @subsection Quoting other voices
1260 With quotations, fragments of other parts can be inserted into a part
1261 directly. Before a part can be quoted, it must be marked especially as
1262 quotable. This is done with the @code{\addquote} command.
1265 \addquote @var{name} @var{music}
1270 Here, @var{name} is an identifying string. The @var{music} is any kind
1271 of music. Here is an example of @code{\addquote}
1274 \addquote clarinet \relative c' @{
1279 This command must be entered at toplevel, i.e., outside any music
1282 After calling @code{\addquote}, the quotation may then be done with
1283 @code{\quoteDuring} or @code{\cueDuring},
1286 \quoteDuring #@var{name} @var{music}
1289 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1293 \quoteDuring #"clarinet" @{ s2. @}
1296 This would cite three quarter notes (the duration of @code{s2.}) of
1297 the previously added @code{clarinet} voice.
1300 More precisely, it takes the current time-step of the part being
1301 printed, and extracts the notes at the corresponding point of the
1302 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1303 should be the entire part of the voice to be quoted, including any
1304 rests at the beginning.
1306 Quotations take into account the transposition of both source and target
1307 instruments, if they are specified using the @code{\transposition} command.
1309 @lilypond[quote,raggedright,verbatim]
1310 \addquote clarinet \relative c' {
1316 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1320 The type of events that are present in cue notes can be trimmed with
1321 the @code{quotedEventTypes} property. The default value is
1322 @code{(note-event rest-event)}, which means that only notes and
1323 rests of the cued voice end up in the @code{\quoteDuring}.
1327 \set Staff.quotedEventTypes =
1328 #'(note-event articulation-event dynamic-event)
1332 will quote notes (but no rests), together with scripts and dynamics.
1336 Only the contents of the first @internalsref{Voice} occurring in an
1337 @code{\addquote} command will be considered for quotation, so
1338 @var{music} can not contain @code{\new} and @code{\context Voice}
1339 statements that would switch to a different Voice.
1341 Quoting grace notes is broken and can even cause LilyPond to crash.
1345 In this manual: @ref{Instrument transpositions}.
1347 Examples: @inputfileref{input/@/regression,quote@/.ly}
1348 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1350 Program reference: @internalsref{QuoteMusic}.
1353 @node Formatting cue notes
1354 @subsection Formatting cue notes
1356 The previous section deals with inserting notes from another voice.
1357 There is a more advanced music function called @code{\cueDuring},
1358 which makes formatting cue notes easier.
1363 \cueDuring #@var{name} #@var{updown} @var{music}
1366 This will insert notes from the part @var{name} into a
1367 @internalsref{Voice} called @code{cue}. This happens simultaneously
1368 with @var{music}, which usually is a rest. When the cue notes start,
1369 the staff in effect becomes polyphonic for a moment. The argument
1370 @var{updown} determines whether the cue notes should be notated as a
1371 first or second voice.
1374 @lilypond[verbatim,raggedright]
1377 \override Stem #'length = #5.5
1378 \override Beam #'thickness = #0.384
1379 \override Beam #'space-function =
1380 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1383 \addquote clarinet \relative {
1388 \new Staff \relative <<
1390 % setup a context for cue notes.
1391 \context Voice = cue { \smaller \skip 1*21 }
1393 \set Score.skipBars = ##t
1397 \cueDuring #"clarinet" #1 {
1406 Here are a couple of hints for successful cue notes
1410 Cue notes have smaller font sizes.
1412 the cued part is marked with the instrument playing the cue.
1414 when the original part takes over again, this should be marked with
1415 the name of the original instrument.
1417 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1419 @c Yes, this is good practice. Otherwise, the start of the original
1420 @c part can only be seen from the font size. This is not good enough
1421 @c for sight-reading. It is possilbe to use other
1422 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1427 Any other changes introduced by the cued part should also be
1428 undone. For example, if the cued instrument plays in a different clef,
1429 the original clef should be stated once again.
1434 @node Aligning to cadenzas
1435 @subsection Aligning to cadenzas
1437 In an orchestral context, cadenzas present a special problem:
1438 when constructing a score that includes a cadenza, all other
1439 instruments should skip just as many notes as the length of the
1440 cadenza, otherwise they will start too soon or too late.
1442 A solution to this problem are the functions @code{mmrest-of-length}
1443 and @code{skip-of-length}. These Scheme functions take a piece of music
1444 as argument, and generate a @code{\skip} or multi-rest, exactly as
1445 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1446 in the following example.
1448 @lilypond[verbatim,raggedright,quote]
1449 cadenza = \relative c' {
1450 c4 d8 << { e f g } \\ { d4. } >>
1455 \new Staff { \cadenza c'4 }
1457 #(ly:export (mmrest-of-length cadenza))
1466 @node Contemporary notation
1467 @section Contemporary notation
1469 In the 20th century, composers have greatly expanded the musical
1470 vocabulary. With this expansion, many innovations in musical notation
1471 have been tried. The book ``Music Notation in the 20th century'' by
1472 Kurt Stone gives a comprehensive overview (see @ref{Literature
1473 list}). In general, the use of new, innovative notation makes a piece
1474 harder to understand and perform and its use should therefore be
1475 avoided. For this reason, support for contemporary notation in
1476 LilyPond is limited.
1480 * Polymetric notation::
1481 * Time administration::
1483 * Special fermatas::
1484 * Special noteheads::
1491 @node Polymetric notation
1492 @subsection Polymetric notation
1494 Double time signatures are not supported explicitly, but they can be
1495 faked. In the next example, the markup for the time signature is
1496 created with a markup text. This markup text is inserted in the
1497 @internalsref{TimeSignature} grob.
1499 @lilypond[verbatim,raggedright]
1504 \musicglyph #"scripts.stopped"
1505 \bracket \column { "5" "8" }
1510 \override Staff.TimeSignature #'print-function = #Text_interface::print
1511 \override Staff.TimeSignature #'text = #tsMarkup
1513 c'2 \bar ":" c'4 c'4.
1517 Each staff can also have its own time signature. This is done by
1518 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1524 \remove "Timing_translator"
1525 \remove "Default_bar_line_engraver"
1529 \consists "Timing_translator"
1530 \consists "Default_bar_line_engraver"
1537 Now, each staff has its own time signature.
1550 c4. c8 c c c4. c8 c c
1555 @lilypond[quote,raggedright]
1559 \remove "Timing_translator"
1560 \remove "Default_bar_line_engraver"
1563 \consists "Timing_translator"
1564 \consists "Default_bar_line_engraver"
1579 c4. c8 c c c4. c8 c c
1585 A different form of polymetric notation is where note lengths have
1586 different values across staves.
1588 This notation can be created by setting a common time signature for
1589 each staff but replacing it manually using
1590 @code{timeSignatureFraction} to the desired fraction. Then the printed
1591 durations in each staff are scaled to the common time signature.
1592 The latter is done with @code{\compressMusic}, which is similar to
1593 @code{\times}, but does not create a tuplet bracket.
1596 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1597 used in parallel. In the second staff, shown durations are multiplied by
1598 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1599 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1601 @lilypond[quote,raggedright,verbatim,fragment]
1609 \set Staff.timeSignatureFraction = #'(9 . 8)
1610 \compressMusic #'(2 . 3)
1611 \repeat unfold 6 { c8[ c c] }
1615 \set Staff.timeSignatureFraction = #'(10 . 8)
1616 \compressMusic #'(3 . 5) {
1617 \repeat unfold 2 { c8[ c c] }
1618 \repeat unfold 2 { c8[ c] }
1619 | c4. c4. \times 2/3 { c8 c c } c4
1630 When using different time signatures in parallel, the spacing is
1631 aligned vertically, but bar lines distort the regular spacing.
1634 @node Time administration
1635 @subsection Time administration
1637 @cindex Time administration
1639 Time is administered by the @internalsref{Time_signature_engraver},
1640 which usually lives in the @internalsref{Score} context. The
1641 bookkeeping deals with the following variables
1644 @item currentBarNumber
1648 The length of the measures in the current time signature. For a 4/4
1649 time this is@tie{}1, and for 6/8 it is 3/4.
1651 @item measurePosition
1652 The point within the measure where we currently are. This quantity
1653 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1654 happens, @code{currentBarNumber} is incremented.
1657 If set to true, the above variables are updated for every time
1658 step. When set to false, the engraver stays in the current measure
1662 Timing can be changed by setting any of these variables explicitly.
1663 In the next example, the 4/4 time signature is printed, but
1664 @code{measureLength} is set to 5/4. After a while, the measure is
1665 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1666 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1667 3/8 arises because 5/4 normally has 10/8, but we have manually
1668 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1670 @lilypond[quote,raggedright,verbatim,relative,fragment]
1671 \set Score.measureLength = #(ly:make-moment 5 4)
1675 \set Score.measurePosition = #(ly:make-moment 7 8)
1683 @subsection Clusters
1687 A cluster indicates a continuous range of pitches to be played. They
1688 can be denoted as the envelope of a set of notes. They are entered by
1689 applying the function @code{makeClusters} to a sequence of
1691 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1692 \makeClusters { <c e > <b f'> }
1695 The following example (from
1696 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1699 @lilypondfile[raggedright,quote]{cluster.ly}
1701 Ordinary notes and clusters can be put together in the same staff,
1702 even simultaneously. In such a case no attempt is made to
1703 automatically avoid collisions between ordinary notes and clusters.
1707 Program reference: @internalsref{ClusterSpanner},
1708 @internalsref{ClusterSpannerBeacon},
1709 @internalsref{Cluster_spanner_engraver}.
1711 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1715 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1716 accurately. Use @code{<g a>8 <e a>8} instead.
1720 @node Special fermatas
1721 @subsection Special fermatas
1723 @cindex fermatas, special
1725 In contemporary music notation, special fermata symbols denote breaks
1726 of differing lengths. The following fermatas are supported
1728 @lilypond[quote,raggedright]
1751 \context Lyrics \lyricmode {
1752 \override LyricText #'font-family = #'typewriter
1753 "shortfermata" "fermata" "longfermata" "verylongfermata"
1758 See @ref{Articulations} for general instructions how to apply scripts
1759 such as fermatas to notes.
1762 @node Special noteheads
1763 @subsection Special noteheads
1765 Different noteheads are used by various instruments for various
1766 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1767 notes on guitar; diamonds are used for harmonics on string instruments,
1768 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1769 other notehead styles are produced by tweaking the property
1771 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1773 \override NoteHead #'style = #'cross
1775 \revert NoteHead #'style
1776 e d <c f\harmonic> <d a'\harmonic>
1780 To see all notehead styles, please see
1781 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1786 Program reference: @internalsref{NoteHead}.
1788 @node Pitched trills
1789 @subsection Pitched trills
1791 Trills that should be executed on an explicitly specified pitch can be
1792 typeset with the command @code{pitchedTrill},
1794 @lilypond[raggedright,verbatim,fragment]
1795 \pitchedTrill c'4\startTrillSpan fis
1799 The first argument is the main note. The absolute pitch of the second
1800 is printed as a stemless note head in parentheses.
1804 Relative octave mode ignores the octave of the second argument of
1805 @code{\pitchedTrill}.
1807 @node Feathered beams
1808 @subsection Feathered beams
1810 Feathered beams are not supported natively, but they can be faked by
1811 forcing two beams to overlap. Here is an example,
1813 @c don't change relative setting witout changing positions!
1814 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1819 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1824 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1832 @subsection Improvisation
1834 Improvisation is sometimes denoted with slashed note heads. Such note
1835 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1836 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1840 \set squashedPosition = #0
1841 \override NoteHead #'style = #'slash
1845 switches on the slashes.
1847 There are shortcuts @code{\improvisationOn} (and an accompanying
1848 @code{\improvisationOff}) for this command sequence. They are used in
1849 the following example
1851 @lilypond[verbatim,raggedright,quote]
1853 \consists Pitch_squash_engraver
1855 e8 e g a a16(bes)(a8) g \improvisationOn
1858 ~fis2 \improvisationOff a16(bes) a8 g e
1863 @node Educational use
1864 @section Educational use
1866 With the amount of control that LilyPond offers, one can make great
1867 teaching tools in addition to great musical scores.
1871 * Blank music sheet::
1873 * Shape note heads ::
1874 * Easy Notation note heads::
1875 * Analysis brackets::
1876 * Coloring objects::
1880 @subsection Balloon help
1882 Elements of notation can be marked and named with the help of a square
1883 balloon. The primary purpose of this feature is to explain notation.
1885 The following example demonstrates its use.
1887 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1890 #(add-balloon-text 'NoteHead "heads, or tails?"
1897 The function @code{add-balloon-text} takes the name of a grob, the
1898 label to print, and the position where to put the label relative to
1899 the object. In the above example, the text ``heads or tails?'' ends
1900 3 spaces below and 1 space to the right of the marked head.
1903 @cindex notation, explaining
1907 Program reference: @internalsref{text-balloon-interface}.
1909 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1914 @node Blank music sheet
1915 @subsection Blank music sheet
1917 A blank music sheet can be produced also by using invisible notes, and
1918 removing @code{Bar_number_engraver}.
1921 @lilypond[quote,verbatim]
1923 \repeat unfold 2 % Change this for more lines.
1928 \override TimeSignature #'transparent = ##t
1929 defaultBarType = #""
1930 \remove Bar_number_engraver
1932 \context Staff \emptymusic
1933 \context TabStaff \emptymusic
1939 @subsection Hidden notes
1941 @cindex Hidden notes
1942 @cindex Invisible notes
1943 @cindex Transparent notes
1945 @cindex @code{\hideNotes}
1946 @cindex @code{\unHideNotes}
1947 Hidden (or invisible or transparent) notes can be useful in preparing theory
1948 or composition exercises.
1950 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1958 Hidden notes are also great for performing weird tricks. For example,
1959 slurs cannot be attached to rests or spacer rests, but you may wish
1960 to include that in your score -- string instruments use this notation
1961 when doing pizzicato to indicate that the note should ring for as long
1964 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1967 c4^"pizz"( \hideNotes c)
1968 \unHideNotes c( \hideNotes c)
1975 @node Shape note heads
1976 @subsection Shape note heads
1978 In shape note head notation, the shape of the note head corresponds
1979 to the harmonic function of a note in the scale. This notation was
1980 popular in the 19th century American song books.
1982 Shape note heads can be produced by setting @code{\aikenHeads} or
1983 @code{\sacredHarpHeads}, depending on the style desired.
1985 @lilypond[verbatim,relative=1,fragment]
1992 Shapes are determined on the step in the scale, where the base of the
1993 scale is determined by the @code{\key} command
1996 @findex shapeNoteStyles
1998 @findex \sacredHarpHeads
2000 Shape note heads are implemented through the @code{shapeNoteStyles}
2001 property. Its value is a vector of symbols. The k-th element indicates
2002 the style to use for the k-th step of the scale. Arbitrary
2003 combinations are possible, eg.,
2006 @lilypond[verbatim,relative=1,fragment]
2007 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2012 @node Easy Notation note heads
2013 @subsection Easy Notation note heads
2015 @cindex easy notation
2018 The `easy play' note head includes a note name inside the head. It is
2019 used in music for beginners
2021 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
2026 The command @code{\setEasyHeads} overrides settings for the
2027 @internalsref{NoteHead} object. To make the letters readable, it has
2028 to be printed in a large font size. To print with a larger font, see
2029 @ref{Setting global staff size}.
2033 @cindex @code{\setEasyHeads}
2034 @code{\setEasyHeads}
2037 @node Analysis brackets
2038 @subsection Analysis brackets
2040 @cindex phrasing brackets
2041 @cindex musicological analysis
2042 @cindex note grouping bracket
2044 Brackets are used in musical analysis to indicate structure in musical
2045 pieces. LilyPond supports a simple form of nested horizontal
2046 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2047 to @internalsref{Staff} context. A bracket is started with
2048 @code{\startGroup} and closed with @code{\stopGroup}
2050 @lilypond[quote,raggedright,verbatim]
2053 c4\startGroup\startGroup
2056 c4\stopGroup\stopGroup
2060 \Staff \consists "Horizontal_bracket_engraver"
2066 Program reference: @internalsref{HorizontalBracket}.
2068 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2074 I don't think we need this info.
2079 Whenever a note is found, a @internalsref{Stem} object is created
2080 automatically. For whole notes and rests, they are also created but
2085 @cindex @code{\stemUp}
2087 @cindex @code{\stemDown}
2089 @cindex @code{\stemNeutral}
2090 @code{\stemNeutral}.
2095 @node Coloring objects
2096 @subsection Coloring objects
2098 Individual objects may be assigned colors. You may use the
2099 color names listed in the @ref{List of colors}.
2101 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2102 \override NoteHead #'color = #red
2104 \override NoteHead #'color = #(x11-color 'LimeGreen)
2106 \override Stem #'color = #blue
2110 The full range of colors defined for X11 can be accessed by using the
2111 scheme function x11-color. The function takes one argument that can be a
2115 \override Beam #'color = #(x11-color 'MediumTurquoise)
2121 \override Beam #'color = #(x11-color "MediumTurquoise")
2124 The first form is quicker to write and is more efficient. However, using
2125 the second form it is possible to access X11 colors by the multi-word
2129 \override Beam #'color = #(x11-color "medium turquoise")
2132 If x11-color cannot make sense of the parameter then the color returned
2133 defaults to black. It should be obvious from the final score that
2136 This example, illustrates the use of x11-color. Notice that the stem
2137 color remains black after being set to (x11-color 'Boggle), which is
2138 deliberate nonsense.
2140 @lilypond[quote,raggedright,verbatim]
2142 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2143 \set Staff.instrument = \markup {
2144 \with-color #(x11-color 'navy) "Clarinet"
2148 \override Beam #'color = #(x11-color "medium turquoise")
2150 \override NoteHead #'color = #(x11-color "LimeGreen")
2152 \override Stem #'color = #(x11-color 'Boggle)
2160 Appendix: @ref{List of colors}.
2164 Not all x11 colors are distinguishable in a web browser. For web use
2165 normal colors are recommended.
2167 An x11 color is not necessarily exactly the same shade as a similarly
2171 @node Automatic notation
2172 @section Automatic notation
2174 This section describes how to change the way that accidentals and
2175 beams are automatically displayed.
2177 FIXME: this might get moved into Changing Defaults. Please send
2178 opinions to lilypond-devel. Thanks! :)
2181 * Automatic accidentals::
2182 * Setting automatic beam behavior::
2185 @node Automatic accidentals
2186 @subsection Automatic accidentals
2187 @cindex Automatic accidentals
2189 Common rules for typesetting accidentals have been placed in a
2190 function. This function is called as follows
2192 @cindex @code{set-accidental-style}
2194 #(set-accidental-style 'STYLE #('CONTEXT#))
2197 The function can take two arguments: the name of the accidental style,
2198 and an optional argument that denotes the context that should be
2199 changed. If no context name is supplied, @code{Staff} is the default,
2200 but you may wish to apply the accidental style to a single @code{Voice}
2203 The following accidental styles are supported
2206 This is the default typesetting behavior. It corresponds
2207 to 18th century common practice: Accidentals are
2208 remembered to the end of the measure in which they occur and
2209 only on their own octave.
2212 The normal behavior is to remember the accidentals on
2213 Staff-level. This variable, however, typesets accidentals
2214 individually for each voice. Apart from that, the rule is similar to
2217 As a result, accidentals from one voice do not get canceled in other
2218 voices, which is often an unwanted result
2220 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2222 #(set-accidental-style 'voice)
2229 The @code{voice} option should be used if the voices
2230 are to be read solely by individual musicians. If the staff is to be
2231 used by one musician (e.g., a conductor) then
2232 @code{modern} or @code{modern-cautionary}
2233 should be used instead.
2236 @cindex @code{modern} style accidentals
2237 This rule corresponds to the common practice in the 20th century. This rule
2238 prints the same accidentals as @code{default}, but temporary
2239 accidentals also are canceled in other octaves. Furthermore,
2240 in the same octave, they also get canceled in the following
2243 @lilypond[quote,raggedright,fragment,verbatim]
2244 #(set-accidental-style 'modern)
2245 cis' c'' cis'2 | c'' c'
2248 @item @code{modern-cautionary}
2249 @cindex @code{modern-cautionary}
2250 This rule is similar to @code{modern}, but the ``extra'' accidentals
2251 (the ones not typeset by @code{default}) are typeset as cautionary
2252 accidentals. They are printed in reduced size or with parentheses
2253 @lilypond[quote,raggedright,fragment,verbatim]
2254 #(set-accidental-style 'modern-cautionary)
2255 cis' c'' cis'2 | c'' c'
2258 @cindex @code{modern-voice}
2260 This rule is used for multivoice accidentals to be read both by musicians
2261 playing one voice and musicians playing all voices. Accidentals are
2262 typeset for each voice, but they @emph{are} canceled across voices in
2263 the same @internalsref{Staff}.
2265 @cindex @code{modern-voice-cautionary}
2266 @item modern-voice-cautionary
2267 This rule is the same as @code{modern-voice}, but with the extra
2268 accidentals (the ones not typeset by @code{voice}) typeset
2269 as cautionaries. Even though all accidentals typeset by
2270 @code{default} @emph{are} typeset by this variable,
2271 some of them are typeset as cautionaries.
2274 @cindex @code{piano} accidentals
2275 This rule reflects 20th century practice for piano notation. Very similar to
2276 @code{modern} but accidentals also get canceled
2277 across the staves in the same @internalsref{GrandStaff} or
2278 @internalsref{PianoStaff}.
2280 @item piano-cautionary
2281 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2282 Same as @code{#(set-accidental-style 'piano)} but with the extra
2283 accidentals typeset as cautionaries.
2286 @cindex @code{no-reset} accidental style
2287 This is the same as @code{default} but with accidentals lasting
2288 ``forever'' and not only until the next measure
2289 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2290 #(set-accidental-style 'no-reset)
2295 This is sort of the opposite of @code{no-reset}: Accidentals
2296 are not remembered at all---and hence all accidentals are
2297 typeset relative to the key signature, regardless of what was
2300 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2301 #(set-accidental-style 'forget)
2302 \key d\major c4 c cis cis d d dis dis
2309 Program reference: @internalsref{Accidental_engraver},
2310 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2315 Simultaneous notes are considered to be entered in sequential
2316 mode. This means that in a chord the accidentals are typeset as if the
2317 notes in the chord happened once at a time - in the order in which
2318 they appear in the input file.
2320 This is a problem when accidentals in a chord depend on each other,
2321 which does not happen for the default accidental style. The problem
2322 can be solved by manually inserting @code{!} and @code{?} for the
2326 @node Setting automatic beam behavior
2327 @subsection Setting automatic beam behavior
2329 @cindex @code{autoBeamSettings}
2330 @cindex @code{(end * * * *)}
2331 @cindex @code{(begin * * * *)}
2332 @cindex automatic beams, tuning
2333 @cindex tuning automatic beaming
2335 @c [TODO: use \applycontext]
2337 In normal time signatures, automatic beams can start on any note but can
2338 only end in a few positions within the measure: beams can end on a beat,
2339 or at durations specified by the properties in
2340 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2341 consist of a list of rules for where beams can begin and end. The
2342 default @code{autoBeamSettings} rules are defined in
2343 @file{scm/@/auto@/-beam@/.scm}.
2345 In order to add a rule to the list, use
2347 #(override-auto-beam-setting '(be p q n m) a b [context])
2352 @item @code{be} is either "begin" or "end".
2354 @item @code{b/q} is the duration of the note for which you want
2355 to add a rule. A beam is considered to have the duration of its
2356 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2357 have this apply to any beam.
2359 @item @code{n/m} is the position in the time signature to which
2360 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2361 to have this apply in any time signature.
2363 @item @code{a/b} is the position in the bar at which the beam should end.
2365 @item @code{context} is optional, and it specifies the context at which
2366 the change should be made. The default is @code{'Voice}.
2367 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2368 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2372 For example, if automatic beams should always end on the first quarter
2376 #(override-auto-beam-setting '(end * * * *) 1 4)
2379 You can force the beam settings to only take effect on beams whose shortest
2380 note is a certain duration
2382 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2384 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2386 a32 a a a a16 a a a a a |
2387 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2388 a32 a a a a16 a a a a a |
2391 You can force the beam settings to only take effect in certain time
2394 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2396 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2404 You can also remove a previously set beam-ending rule by using
2407 #(revert-auto-beam-setting '(be p q n m) a b [context])
2411 be, p, q, n, m, a, b and context are the same as above. Note that the
2412 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2413 so you can revert rules that you did not explicitly create.
2415 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2417 a16 a a a a a a a a a a a a a a a
2418 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2419 a16 a a a a a a a a a a a a a a a
2422 The rule in a revert-auto-beam-setting statement must exactly match the
2423 original rule. That is, no wildcard expansion is taken into account.
2425 @lilypond[quote,fragment,raggedright,verbatim,relative=2]
2427 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2429 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2431 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2437 @c TODO: old material -- not covered by above stuff, I think.
2438 If automatic beams should end on every quarter in 5/4 time, specify
2441 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2442 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2443 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2444 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2448 The same syntax can be used to specify beam starting points. In this
2449 example, automatic beams can only end on a dotted quarter note
2451 #(override-auto-beam-setting '(end * * * *) 3 8)
2452 #(override-auto-beam-setting '(end * * * *) 1 2)
2453 #(override-auto-beam-setting '(end * * * *) 7 8)
2455 In 4/4 time signature, this means that automatic beams could end only on
2456 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2457 3/8, has passed within the measure).
2459 @cindex automatic beam generation
2461 @cindex @code{autoBeaming}
2464 If beams are used to indicate melismata in songs, then automatic
2465 beaming should be switched off with @code{\autoBeamOff}.
2470 @cindex @code{\autoBeamOff}
2471 @code{\autoBeamOff},
2472 @cindex @code{\autoBeamOn}
2478 If a score ends while an automatic beam has not been ended and is
2479 still accepting notes, this last beam will not be typeset at all. The
2480 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2481 >>}. If a polyphonic voice ends while an automatic beam is still
2482 accepting notes, it is not typeset.