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
109 @cindex textSpannerUp
110 @code{textSpannerUp},
111 @cindex textSpannerDown
112 @code{textSpannerDown},
113 @cindex textSpannerNeutral
114 @code{textSpannerNeutral}.
119 Program reference: @internalsref{TextSpanner}.
121 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
125 @subsection Text marks
127 @cindex coda on bar line
128 @cindex segno on bar line
129 @cindex fermata on bar line
130 @cindex bar lines, symbols on
133 The @code{\mark} command is primarily used for
134 @ref{Rehearsal marks},
135 but it can also be used to put signs like coda,
136 segno, and fermata on a bar line. Use @code{\markup} to
137 access the appropriate symbol
139 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
140 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
145 @code{\mark} is only typeset above the top stave of the score. If
146 you specify the @code{\mark} command at a bar line, the resulting
147 mark is placed above the bar line. If you specify it in the middle
148 of a bar, the resulting mark is positioned between notes. If it is
149 specified before the beginning of a score line, it is placed
150 before the first note of the line. Finally, if the mark occurs at
151 a line break, the mark will be printed at the
152 beginning of the next line.
153 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
154 @c delete this sentence. -gp
155 If there is no next line, then the mark will not be printed at all.
160 To print the mark at the end of the current line, use
163 \override Score.RehearsalMark
164 #'break-visibility = #begin-of-line-invisible
167 @code{\mark} is often useful for adding text to the end of bar. In
168 such cases, changing the @code{#'self-alignment} is very useful
170 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
171 \override Score.RehearsalMark
172 #'break-visibility = #begin-of-line-invisible
174 \once \override Score.RehearsalMark #'self-alignment-X = #right
175 \mark "D.S. al Fine "
181 Program reference: @internalsref{RehearsalMark}.
185 @subsection Text markup
192 Use @code{\markup} to typeset text. Commands are entered with the
195 @lilypond[quote,verbatim,fragment,relative=1]
197 c1_\markup { hi there }
198 c1^\markup { hi \bold there, is \italic anyone home? }
202 See @ref{Overview of text markup commands} for a list of all
205 @code{\markup} is primarily used for @internalsref{TextScript}s,
206 but it can also be used anywhere text is called in lilypond
208 @lilypond[quote,verbatim]
209 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
212 \override Score.RehearsalMark
213 #'break-visibility = #begin-of-line-invisible
214 \override Score.RehearsalMark #'self-alignment-X = #right
216 \set Staff.instrument = \markup{ \column{ Alto solo } }
217 c2^\markup{ don't be \flat }
219 a2\mark \markup{ \large \bold Fine }
223 \addlyrics { bar, foo \markup{ \italic bar! } }
227 @cindex font switching
229 The markup in the example demonstrates font switching commands. The
230 command @code{\bold} and @code{\italic} apply to the first following
231 word only; to apply a command to more than one word, enclose the
235 \markup @{ \bold @{ hi there @} @}
239 For clarity, you can also do this for single arguments, e.g.,
242 \markup @{ is \italic @{ anyone @} home @}
245 In markup mode you can compose expressions, similar to mathematical
246 expressions, XML documents, and music expressions. You can stack
247 expressions grouped vertically with the command @code{\column}.
248 Similarly, @code{\center-align} aligns texts by their center lines:
250 @lilypond[quote,verbatim,fragment,relative=1]
251 c1^\markup { \column { a bbbb \line { c d } } }
252 c1^\markup { \center-align { a bbbb c } }
253 c1^\markup { \line { a b c } }
256 Lists with no previous command are not kept distinct. The expression
259 \center-align @{ @{ a b @} @{ c d @} @}
267 \center-align @{ a b c d @}
272 To keep lists of words distinct, please use quotes @code{"} or
273 the @code{\line} command
275 @lilypond[quote,verbatim,fragment,relative=1]
277 c4^\markup{ \center-align { on three lines } }
278 c4^\markup{ \center-align { "all one line" } }
279 c4^\markup{ \center-align { { on three lines } } }
280 c4^\markup{ \center-align { \line { on one line } } }
283 Markups can be stored in variables and these variables
284 may be attached to notes, like
286 allegro = \markup @{ \bold \large @{ Allegro @} @}
287 @{ a^\allegro b c d @}
290 Some objects have alignment procedures of their own, which cancel out
291 any effects of alignments applied to their markup arguments as a
292 whole. For example, the @internalsref{RehearsalMark} is horizontally
293 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
299 This manual: @ref{Overview of text markup commands}.
301 Program reference: @internalsref{TextScript}.
303 Init files: @file{scm/@/new@/-markup@/.scm}.
308 Kerning or generation of ligatures is only done when the @TeX{}
309 backend is used. In this case, LilyPond does not account for them so
310 texts will be spaced slightly too wide.
312 Syntax errors for markup mode are confusing.
316 @subsection Text encoding
318 LilyPond uses the Pango library to format multi-lingual texts, and
319 does not perform any input-encoding conversions. This means that any
320 text, be it title, lyric text, or musical instruction containing
321 non-ASCII characters, must be utf-8. Easiest to enter such texts is
322 by using a Unicode-aware editor, and save using utf-8 encoding. Most
323 popular modern editors have utf-8 support, for example, vim, Emacs,
326 Depending on the fonts installed, the following fragment shows Hebrew
333 @lilypondfile[fontload]{utf-8.ly}
335 The @TeX{} backend does not handle encoding specially at all. Strings
336 in the input are put in the output as-is. Extents of text items in the
337 @TeX{} backend, are determined by reading a file created via the
338 @file{texstr} backend,
341 lilypond -b texstr input/les-nereides.ly
342 latex les-nereides.texstr
345 The last command produces @file{les-nereides.textmetrics}, which is
346 read when you execute
349 lilypond -b tex input/les-nereides.ly
352 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
353 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
354 interpreting non-ASCII strings.
359 @inputfileref{input/regression,utf-8.ly}
363 @subsection Nested scores
365 It is possible to nest music inside markups, by adding a @code{\score}
366 block to a markup expression. Such a score must contain a @code{\layout}
369 @lilypond[quote,verbatim,raggedright]
373 \relative { c4 d e f }
382 @node Overview of text markup commands
383 @subsection Overview of text markup commands
385 The following commands can all be used inside @code{\markup @{ @}}.
387 @include markup-commands.tely
391 @subsection Font selection
393 @cindex font selection
394 @cindex font magnification
395 @cindex @code{font-interface}
397 By setting the object properties described below, you can select a
398 font from the preconfigured font families. LilyPond has default
399 support for the feta music fonts. Text fonts are selected through
400 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
401 the sans and typewriter to whatever the Pango installation defaults
406 @item @code{font-encoding}
407 is a symbol that sets layout of the glyphs. This should only be set to
408 select different types of non-text fonts, eg.
410 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
411 standard music font, including ancient glyphs, @code{fetaDynamic} for
412 dynamic signs and @code{fetaNumber} for the number font.
414 @item @code{font-family}
415 is a symbol indicating the general class of the typeface. Supported are
416 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
418 @item @code{font-shape}
419 is a symbol indicating the shape of the font. There are typically
420 several font shapes available for each font family. Choices are
421 @code{italic}, @code{caps}, and @code{upright}.
423 @item @code{font-series}
424 is a symbol indicating the series of the font. There are typically
425 several font series for each font family and shape. Choices are
426 @code{medium} and @code{bold}.
430 Fonts selected in the way sketched above come from a predefined style
431 sheet. If you want to use a font from outside the style sheet,
433 @code{font-name} property,
435 @lilypond[fragment,verbatim]
437 \override Staff.TimeSignature #'font-name = #"Times"
438 \override Staff.TimeSignature #'font-size = #2
441 \override #'(font-name . "Vera Bold")
442 { This text is in Vera Bold }
448 Any font can be used, as long as it is available to Pango/FontConfig.
450 The size of the font may be set with the @code{font-size}
451 property. The resulting size is taken relative to the
452 @code{text-font-size} as defined in the @code{\paper} block.
455 @cindex font magnification
460 Init files: @file{ly/@/declarations@/-init@/.ly} contains hints how new
461 fonts may be added to LilyPond.
464 @node New dynamic marks
465 @subsection New dynamic marks
467 It is possible to print new dynamic marks or text that should be aligned
468 with dynamics. Use @code{make-dynamic-script} to create these marks.
470 @cindex make-dynamic-script
472 @lilypond[quote,verbatim,raggedright]
473 sfzp = #(make-dynamic-script "sfzp")
479 @cindex Dynamics, editorial
480 @cindex Dynamics, parenthesis
482 It is also possible to print dynamics in round parenthesis or square
483 brackets. These are often used for adding editorial dynamics.
485 @lilypond[quote,verbatim,raggedright]
486 rndf = \markup{ \center-align {\line { \bold{\italic (}
487 \dynamic f \bold{\italic )} }} }
488 boxf = \markup{ \bracket { \dynamic f } }
489 { c'1_\rndf c'1_\boxf }
493 @node Other text markup issues
494 @subsection Other text markup issues
496 To use a normal font within a title, you must define it manually
499 #(def-markup-command (normal-font layout props arg) (markup?)
500 "Switch to normal text font"
501 (interpret-markup layout (cons '((font-series . 'medium) (font-shape . 'upright)) props) arg))
504 title = \markup@{ ABCD \normal-font ABCD @}
510 @node Preparing parts
511 @section Preparing parts
513 This section describes various notation that are useful for preparing
517 * Multi measure rests::
522 * Instrument transpositions::
524 * Different editions from one source::
528 @node Multi measure rests
529 @subsection Multi measure rests
531 @cindex multi measure rests
532 @cindex Rests, multi measure
533 @cindex whole rests for a full measure
536 Multi-measure rests are entered using `@code{R}'. It is specifically
537 meant for full bar rests and for entering parts: the rest can expand
538 to fill a score with rests, or it can be printed as a single
539 multi-measure rest. This expansion is controlled by the property
540 @code{Score.skipBars}. If this is set to true, empty measures will not
541 be expanded, and the appropriate number is added automatically
543 @lilypond[quote,raggedright,fragment,verbatim]
544 \time 4/4 r1 | R1 | R1*2
545 \set Score.skipBars = ##t R1*17 R1*4
548 The @code{1} in @code{R1} is similar to the duration notation used for
549 notes. Hence, for time signatures other than 4/4, you must enter other
550 durations. This can be done with augmentation dots or fractions
552 @lilypond[quote,raggedright,fragment,verbatim]
553 \set Score.skipBars = ##t
562 An @code{R} spanning a single measure is printed as either a whole rest
563 or a breve, centered in the measure regardless of the time signature.
565 If there are only a few measures of rest, LilyPond prints ``church rests''
566 (a series of rectangles) in the staff. To replace that with a simple
567 rest, use @code{MultiMeasureRest.expand-limit}.
569 @lilypond[quote,raggedright,fragment,verbatim]
570 \set Score.skipBars = ##t
572 \override MultiMeasureRest #'expand-limit = 1
576 @cindex text on multi-measure rest
577 @cindex script on multi-measure rest
578 @cindex fermata on multi-measure rest
580 Texts can be added to multi-measure rests by using the
581 @var{note}-@code{markup} syntax @ref{Text markup}.
582 A variable (@code{\fermataMarkup}) is provided for
585 @lilypond[quote,raggedright,verbatim,fragment]
586 \set Score.skipBars = ##t
588 R2.*10^\markup { \italic "ad lib." }
592 If you want to have text on the left end of a multi-measure rest,
593 attach the text to a zero-length skip note, i.e.,
603 Program reference: @internalsref{MultiMeasureRestMusicGroup},
604 @internalsref{MultiMeasureRest}.
606 The layout object @internalsref{MultiMeasureRestNumber} is for the
607 default number, and @internalsref{MultiMeasureRestText} for user
613 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
614 over multi-measure rests. And the pitch of multi-measure rests (or
615 staff-centered rests) can not be influenced.
617 @cindex condensing rests
619 There is no way to automatically condense multiple rests into a single
620 multi-measure rest. Multi-measure rests do not take part in rest
623 Be careful when entering multi-measure rests followed by whole
624 notes. The following will enter two notes lasting four measures each
628 When @code{skipBars} is set, the result will look OK, but the bar
629 numbering will be off.
632 @node Metronome marks
633 @subsection Metronome marks
636 @cindex beats per minute
637 @cindex metronome marking
639 Metronome settings can be entered as follows
641 \tempo @var{duration} = @var{per-minute}
644 In the MIDI output, they are interpreted as a tempo change. In the
645 layout output, a metronome marking is printed
646 @cindex @code{\tempo}
647 @lilypond[quote,raggedright,verbatim,fragment]
654 To change the tempo in the MIDI output without printing anything, make
655 the metronome marking invisible
657 \once \override Score.MetronomeMark #'transparent = ##t
660 To print other metronome markings, use these markup commands
661 @lilypond[quote,raggedright,verbatim,relative,fragment]
664 \smaller \general-align #Y #DOWN \note #"16." #1
666 \smaller \general-align #Y #DOWN \note #"8" #1"
671 See @ref{Text markup} for more details.
676 Program reference: @internalsref{MetronomeMark}.
681 Collisions are not checked. If you have notes above the top line of
682 the staff (or notes with articulations, slurs, text, etc), then the
683 metronome marking may be printed on top of musical symbols. If this
684 occurs, increase the padding of the metronome mark to place it
685 further away from the staff.
688 \override Score.MetronomeMark #'padding = #2.5
692 @node Rehearsal marks
693 @subsection Rehearsal marks
695 @cindex Rehearsal marks
698 To print a rehearsal mark, use the @code{\mark} command
700 @lilypond[quote,raggedright,fragment,verbatim,relative=2]
709 (The letter@tie{}`I' is skipped in accordance with engraving traditions.)
711 The mark is incremented automatically if you use @code{\mark
712 \default}, but you can also use an integer argument to set the mark
713 manually. The value to use is stored in the property
714 @code{rehearsalMark}.
716 The style is defined by the property @code{markFormatter}. It is a
717 function taking the current mark (an integer) and the current context
718 as argument. It should return a markup object. In the following
719 example, @code{markFormatter} is set to a canned procedure. After a
720 few measures, it is set to function that produces a boxed number.
722 @lilypond[fragment,quote,raggedright,verbatim,relative=2]
723 \set Score.markFormatter = #format-mark-numbers
726 \set Score.markFormatter = #format-mark-box-numbers
732 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
733 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
734 @code{format-mark-letters} and @code{format-mark-box-letters}.
735 These can be used as inspiration for other formatting functions.
740 Program reference: @internalsref{RehearsalMark}.
742 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
743 definition of @code{format-mark-numbers} and
744 @code{format-mark-letters}. They can be used as inspiration for other
745 formatting functions.
747 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
749 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
753 @subsection Bar numbers
756 @cindex measure numbers
757 @cindex @code{currentBarNumber}
759 Bar numbers are printed by default at the start of the line. The
760 number itself is stored in the @code{currentBarNumber} property, which
761 is normally updated automatically for every measure.
763 Bar numbers can be typeset at regular intervals instead of at the
764 beginning of each line. This is illustrated in the following example,
765 whose source is available as
766 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
768 @lilypondfile[raggedright,quote]{bar-number-regular-interval.ly}
770 Bar numbers can be typeset manually by tweaking the
771 @code{markFormatter} property
773 @lilypond[verbatim,raggedright,quote]
775 \set Score.markFormatter
776 = #(lambda (mark context)
779 (number->string (ly:context-property context
780 'currentBarNumber)))))
782 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
786 Bar numbers can be manually changed by setting the
787 @code{Staff.currentBarNumber} property
789 @lilypond[verbatim,raggedright,quote]
791 \repeat unfold 4 {c4 c c c} \break
792 \set Score.currentBarNumber = #50
793 \repeat unfold 4 {c4 c c c}
800 Program reference: @internalsref{BarNumber}.
803 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
804 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
809 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
810 there is one at the top. To solve this, the
811 @code{padding} property of @internalsref{BarNumber} can be
812 used to position the number correctly.
815 @node Instrument names
816 @subsection Instrument names
818 In an orchestral score, instrument names are printed at the left side
821 This can be achieved by setting @internalsref{Staff}.@code{instrument}
822 and @internalsref{Staff}.@code{instr}. This will print a string before
823 the start of the staff. For the first staff, @code{instrument} is
824 used, for the following ones, @code{instr} is used.
826 @lilypond[quote,verbatim,raggedright,relative=1,fragment]
827 \set Staff.instrument = "Ploink "
828 \set Staff.instr = "Plk "
834 You can also use markup texts to construct more complicated instrument
837 @lilypond[quote,fragment,verbatim,raggedright]
838 \set Staff.instrument = \markup {
839 \column { "Clarinetti"
840 \line { "in B" \smaller \flat } } }
844 For longer instrument names, it may be useful to increase the
845 @code{indent} setting in the @code{\layout} block.
849 Program reference: @internalsref{InstrumentName}.
853 When you put a name on a grand staff or piano staff, the width of the
854 brace is not taken into account. You must add extra spaces to the end of
855 the name to avoid a collision.
858 @node Instrument transpositions
859 @subsection Instrument transpositions
861 @cindex transposition, MIDI
862 @cindex transposition, instrument
864 The key of a transposing instrument can also be specified. This
865 applies to many wind instruments, for example, clarinets (B-flat, A, and
866 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
868 The transposition is entered after the keyword @code{\transposition}
871 \transposition bes %% B-flat clarinet
875 This command sets the property @code{instrumentTransposition}. The value of
876 this property is used for MIDI output and quotations. It does not
877 affect how notes are printed in the current staff. To change the printed
878 output, see @ref{Transpose}.
880 The pitch to use for @code{\transposition} should correspond to the
881 transposition of the notes. For example, when entering a score in
882 concert pitch, typically all voices are entered in C, so
883 they should be entered as
896 The command @code{\transposition} should be used when the music is
897 entered from a (transposed) orchestral part. For example, in
898 classical horn parts, the tuning of the instrument is often changed
899 during a piece. When copying the notes from the part, use
900 @code{\transposition}, e.g.,
912 @node Ottava brackets
913 @subsection Ottava brackets
915 `Ottava' brackets introduce an extra transposition of an octave for
916 the staff. They are created by invoking the function
917 @code{set-octavation}
923 @lilypond[quote,raggedright,verbatim,fragment]
933 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
934 (for 15ma) as arguments. Internally the function sets the properties
935 @code{ottavation} (e.g., to @code{"8va"}) and
936 @code{centralCPosition}. For overriding the text of the bracket, set
937 @code{ottavation} after invoking @code{set-octavation}, i.e.,
939 @lilypond[quote,raggedright,verbatim]
942 \set Staff.ottavation = #"8"
950 Program reference: @internalsref{OttavaBracket}.
952 Examples: @inputfileref{input/@/regression,ottava@/.ly},
953 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
958 @code{set-octavation} will get confused when clef changes happen
959 during an octavation bracket.
962 @node Different editions from one source
963 @subsection Different editions from one source
968 The @code{\tag} command marks music expressions with a name. These
969 tagged expressions can be filtered out later. With this mechanism it
970 is possible to make different versions of the same music source.
972 In the following example, we see two versions of a piece of music, one
973 for the full score, and one with cue notes for the instrumental part
989 The same can be applied to articulations, texts, etc.: they are
992 -\tag #@var{your-tag}
994 to an articulation, for example,
999 This defines a note with a conditional fingering indication.
1002 @cindex removeWithTag
1003 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1004 commands, tagged expressions can be filtered. For example,
1008 \keepWithTag #'score @var{the music}
1009 \keepWithTag #'part @var{the music}
1014 @lilypondfile[raggedright,quote]{tag-filter.ly}
1016 The argument of the @code{\tag} command should be a symbol, or a list
1017 of symbols, for example,
1019 \tag #'(original-part transposed-part) @dots{}
1025 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1030 Multiple rests are not merged if you create the score with both tagged
1035 @node Orchestral music
1036 @section Orchestral music
1038 Orchestral music involves some special notation, both in the full
1039 score and the individual parts. This section explains how to tackle
1040 some common problems in orchestral music.
1043 * Automatic part combining::
1045 * Quoting other voices::
1046 * Formatting cue notes::
1047 * Aligning to cadenzas::
1051 @node Automatic part combining
1052 @subsection Automatic part combining
1053 @cindex automatic part combining
1054 @cindex part combiner
1056 Automatic part combining is used to merge two parts of music onto a
1057 staff. It is aimed at typesetting orchestral scores. When the two
1058 parts are identical for a period of time, only one is shown. In
1059 places where the two parts differ, they are typeset as separate
1060 voices, and stem directions are set automatically. Also, solo and
1061 @emph{a due} parts are identified and can be marked.
1063 The syntax for part combining is
1066 \partcombine @var{musicexpr1} @var{musicexpr2}
1070 The following example demonstrates the basic functionality of the part
1071 combiner: putting parts on one staff, and setting stem directions and
1074 @lilypond[quote,verbatim,raggedright,fragment]
1075 \new Staff \partcombine
1076 \relative g' { g g a( b) c c r r }
1077 \relative g' { g g r4 r e e g g }
1080 The first @code{g} appears only once, although it was
1081 specified twice (once in each part). Stem, slur, and tie directions are
1082 set automatically, depending whether there is a solo or unisono. The
1083 first part (with context called @code{one}) always gets up stems, and
1084 `Solo', while the second (called @code{two}) always gets down stems and
1087 If you just want the merging parts, and not the textual markings, you
1088 may set the property @code{printPartCombineTexts} to false
1090 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1092 \set Staff.printPartCombineTexts = ##f
1094 \relative g' { g a( b) r }
1095 \relative g' { g r4 r f }
1099 To change the text that is printed for solos or merging, you may
1100 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1103 @lilypond[quote,verbatim,raggedright,fragment,relative=2]
1105 \set Score.soloText = #"ichi"
1106 \set Score.soloIIText = #"ni"
1107 \set Score.aDueText = #"tachi"
1109 \relative g' { g4 g a( b) r }
1110 \relative g' { g4 g r r f }
1114 Both arguments to @code{\partcombine} will be interpreted as
1115 @internalsref{Voice} contexts. If using relative octaves,
1116 @code{\relative} should be specified for both music expressions, i.e.,
1120 \relative @dots{} @var{musicexpr1}
1121 \relative @dots{} @var{musicexpr2}
1125 A @code{\relative} section that is outside of @code{\partcombine} has
1126 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1130 Program reference: @internalsref{PartCombineMusic}.
1134 When @code{printPartCombineTexts} is set, when the two voices play the
1135 same notes on and off, the part combiner may typeset @code{a2} more
1136 than once in a measure.
1138 @code{\partcombine} cannot be inside @code{\times}.
1140 @code{\partcombine} cannot be inside @code{\relative}.
1142 Internally, the @code{\partcombine} interprets both arguments as
1143 @code{Voice}s named @code{one} and @code{two}, and then decides when
1144 the parts can be combined. Consequently, if the arguments switch to
1145 differently named @internalsref{Voice} contexts, the events in those
1150 @subsection Hiding staves
1152 @cindex Frenched scores
1153 @cindex Hiding staves
1155 In orchestral scores, staff lines that only have rests are usually
1156 removed; this saves some space. This style is called `French Score'.
1157 For @internalsref{Lyrics},
1158 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1159 switched on by default. When the lines of these contexts turn out
1160 empty after the line-breaking process, they are removed.
1162 For normal staves, a specialized @internalsref{Staff} context is
1163 available, which does the same: staves containing nothing (or only
1164 multi-measure rests) are removed. The context definition is stored in
1165 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1166 in this example disappears in the second line
1168 @lilypond[quote,raggedright,verbatim]
1170 \context { \RemoveEmptyStaffContext }
1175 \new Staff { e4 f g a \break c1 }
1176 \new Staff { c4 d e f \break R1 }
1181 The first system shows all staves in full. If empty staves should be
1182 removed from the first system too, set @code{remove-first} to true in
1183 @internalsref{RemoveEmptyVerticalGroup}.
1186 \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
1189 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1190 or @code{\RemoveEmptyRhythmicStaffContext}.
1192 Another application is making ossia sections, i.e., alternative
1193 melodies on a separate piece of staff, with help of a Frenched
1194 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1197 @node Quoting other voices
1198 @subsection Quoting other voices
1200 With quotations, fragments of other parts can be inserted into a part
1201 directly. Before a part can be quoted, it must be marked especially as
1202 quotable. This is done with the @code{\addquote} command.
1205 \addquote @var{name} @var{music}
1210 Here, @var{name} is an identifying string. The @var{music} is any kind
1211 of music. Here is an example of @code{\addquote}
1214 \addquote clarinet \relative c' @{
1219 This command must be entered at toplevel, i.e., outside any music
1222 After calling @code{\addquote}, the quotation may then be done with
1223 @code{\quoteDuring} or @code{\cueDuring},
1226 \quoteDuring #@var{name} @var{music}
1229 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1233 \quoteDuring #"clarinet" @{ s2. @}
1236 This would cite three quarter notes (the duration of @code{s2.}) of
1237 the previously added @code{clarinet} voice.
1240 More precisely, it takes the current time-step of the part being
1241 printed, and extracts the notes at the corresponding point of the
1242 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1243 should be the entire part of the voice to be quoted, including any
1244 rests at the beginning.
1246 Quotations take into account the transposition of both source and target
1247 instruments, if they are specified using the @code{\transposition} command.
1249 @lilypond[quote,raggedright,verbatim]
1250 \addquote clarinet \relative c' {
1256 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1260 The type of events that are present in cue notes can be trimmed with
1261 the @code{quotedEventTypes} property. The default value is
1262 @code{(note-event rest-event)}, which means that only notes and
1263 rests of the cued voice end up in the @code{\quoteDuring}.
1267 \set Staff.quotedEventTypes =
1268 #'(note-event articulation-event dynamic-event)
1272 will quote notes (but no rests), together with scripts and dynamics.
1276 Only the contents of the first @internalsref{Voice} occurring in an
1277 @code{\addquote} command will be considered for quotation, so
1278 @var{music} can not contain @code{\new} and @code{\context Voice}
1279 statements that would switch to a different Voice.
1281 Quoting grace notes is broken and can even cause LilyPond to crash.
1285 In this manual: @ref{Instrument transpositions}.
1287 Examples: @inputfileref{input/@/regression,quote@/.ly}
1288 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1290 Program reference: @internalsref{QuoteMusic}.
1293 @node Formatting cue notes
1294 @subsection Formatting cue notes
1296 The previous section deals with inserting notes from another voice.
1297 There is a more advanced music function called @code{\cueDuring},
1298 which makes formatting cue notes easier.
1303 \cueDuring #@var{name} #@var{updown} @var{music}
1306 This will insert notes from the part @var{name} into a
1307 @internalsref{Voice} called @code{cue}. This happens simultaneously
1308 with @var{music}, which usually is a rest. When the cue notes start,
1309 the staff in effect becomes polyphonic for a moment. The argument
1310 @var{updown} determines whether the cue notes should be notated as a
1311 first or second voice.
1314 @lilypond[verbatim,raggedright]
1317 \override Stem #'length = #5.5
1318 \override Beam #'thickness = #0.384
1319 \override Beam #'space-function =
1320 #(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
1323 \addquote clarinet \relative {
1328 \new Staff \relative <<
1330 % setup a context for cue notes.
1331 \context Voice = cue { \smaller \skip 1*21 }
1333 \set Score.skipBars = ##t
1337 \cueDuring #"clarinet" #1 {
1346 Here are a couple of hints for successful cue notes
1350 Cue notes have smaller font sizes.
1352 the cued part is marked with the instrument playing the cue.
1354 when the original part takes over again, this should be marked with
1355 the name of the original instrument.
1357 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1359 @c Yes, this is good practice. Otherwise, the start of the original
1360 @c part can only be seen from the font size. This is not good enough
1361 @c for sight-reading. It is possilbe to use other
1362 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1367 any other changes introduced by the cued part should also be
1368 undone. For example, if the cued instrument plays in a different clef,
1369 the original clef should be stated once again.
1374 @node Aligning to cadenzas
1375 @subsection Aligning to cadenzas
1377 In an orchestral context, cadenzas present a special problem:
1378 when constructing a score that includes a cadenza, all other
1379 instruments should skip just as many notes as the length of the
1380 cadenza, otherwise they will start too soon or too late.
1382 A solution to this problem are the functions @code{mmrest-of-length}
1383 and @code{skip-of-length}. These Scheme functions take a piece of music
1384 as argument, and generate a @code{\skip} or multi-rest, exactly as
1385 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1386 in the following example.
1388 @lilypond[verbatim,raggedright,quote]
1389 cadenza = \relative c' {
1390 c4 d8 << { e f g } \\ { d4. } >>
1395 \new Staff { \cadenza c'4 }
1397 #(ly:export (mmrest-of-length cadenza))
1406 @node Contemporary notation
1407 @section Contemporary notation
1409 In the 20th century, composers have greatly expanded the musical
1410 vocabulary. With this expansion, many innovations in musical notation
1411 have been tried. The book ``Music Notation in the 20th century'' by
1412 Kurt Stone gives a comprehensive overview (see @ref{Literature
1413 list}). In general, the use of new, innovative notation makes a piece
1414 harder to understand and perform and its use should therefore be
1415 avoided. For this reason, support for contemporary notation in
1416 LilyPond is limited.
1420 * Polymetric notation::
1421 * Time administration::
1423 * Special fermatas::
1424 * Special noteheads::
1430 @node Polymetric notation
1431 @subsection Polymetric notation
1433 Double time signatures are not supported explicitly, but they can be
1434 faked. In the next example, the markup for the time signature is
1435 created with a markup text. This markup text is inserted in the
1436 @internalsref{TimeSignature} grob.
1438 @lilypond[verbatim,raggedright]
1443 \musicglyph #"scripts.stopped"
1444 \bracket \column { "5" "8" }
1449 \override Staff.TimeSignature #'print-function = #Text_interface::print
1450 \override Staff.TimeSignature #'text = #tsMarkup
1452 c'2 \bar ":" c'4 c'4.
1456 Each staff can also have its own time signature. This is done by
1457 moving the @internalsref{Timing_engraver} to the @internalsref{Staff}
1462 \context @{ \Score \remove "Timing_engraver" @}
1463 \context @{ \Staff \consists "Timing_engraver" @}
1468 Now, each staff has its own time signature.
1481 c4. c8 c c c4. c8 c c
1486 @lilypond[quote,raggedright]
1488 \context{ \Score \remove "Timing_engraver" }
1489 \context{ \Staff \consists "Timing_engraver" }
1503 c4. c8 c c c4. c8 c c
1509 A different form of polymetric notation is where note lengths have
1510 different values across staves.
1512 This notation can be created by setting a common time signature for
1513 each staff but replacing it manually using
1514 @code{timeSignatureFraction} to the desired fraction. Then the printed
1515 durations in each staff are scaled to the common time signature.
1516 The latter is done with @code{\compressMusic}, which is similar to
1517 @code{\times}, but does not create a tuplet bracket.
1520 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1521 used in parallel. In the second staff, shown durations are multiplied by
1522 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1523 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1525 @lilypond[quote,raggedright,verbatim,fragment]
1533 \set Staff.timeSignatureFraction = #'(9 . 8)
1534 \compressMusic #'(2 . 3)
1535 \repeat unfold 6 { c8[ c c] }
1539 \set Staff.timeSignatureFraction = #'(10 . 8)
1540 \compressMusic #'(3 . 5) {
1541 \repeat unfold 2 { c8[ c c] }
1542 \repeat unfold 2 { c8[ c] }
1543 | c4. c4. \times 2/3 { c8 c c } c4
1554 When using different time signatures in parallel, the spacing is
1555 aligned vertically, but bar lines distort the regular spacing.
1558 @node Time administration
1559 @subsection Time administration
1561 @cindex Time administration
1563 Time is administered by the @internalsref{Time_signature_engraver},
1564 which usually lives in the @internalsref{Score} context. The
1565 bookkeeping deals with the following variables
1568 @item currentBarNumber
1572 The length of the measures in the current time signature. For a 4/4
1573 time this is@tie{}1, and for 6/8 it is 3/4.
1575 @item measurePosition
1576 The point within the measure where we currently are. This quantity
1577 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1578 happens, @code{currentBarNumber} is incremented.
1581 If set to true, the above variables are updated for every time
1582 step. When set to false, the engraver stays in the current measure
1586 Timing can be changed by setting any of these variables explicitly.
1587 In the next example, the 4/4 time signature is printed, but
1588 @code{measureLength} is set to 5/4. After a while, the measure is
1589 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1590 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1591 3/8 arises because 5/4 normally has 10/8, but we have manually
1592 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1594 @lilypond[quote,raggedright,verbatim,relative,fragment]
1595 \set Score.measureLength = #(ly:make-moment 5 4)
1599 \set Score.measurePosition = #(ly:make-moment 7 8)
1607 @subsection Clusters
1611 A cluster indicates a continuous range of pitches to be played. They
1612 can be denoted as the envelope of a set of notes. They are entered by
1613 applying the function @code{makeClusters} to a sequence of
1615 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
1616 \makeClusters { <c e > <b f'> }
1619 The following example (from
1620 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1623 @lilypondfile[raggedright,quote]{cluster.ly}
1625 Ordinary notes and clusters can be put together in the same staff,
1626 even simultaneously. In such a case no attempt is made to
1627 automatically avoid collisions between ordinary notes and clusters.
1631 Program reference: @internalsref{ClusterSpanner},
1632 @internalsref{ClusterSpannerBeacon},
1633 @internalsref{Cluster_spanner_engraver}.
1635 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1639 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1640 accurately. Use @code{<g a>8 <e a>8} instead.
1644 @node Special fermatas
1645 @subsection Special fermatas
1647 @cindex fermatas, special
1649 In contemporary music notation, special fermata symbols denote breaks
1650 of differing lengths. The following fermatas are supported
1652 @lilypond[quote,raggedright]
1675 \context Lyrics \lyricmode {
1676 \override LyricText #'font-family = #'typewriter
1677 "shortfermata" "fermata" "longfermata" "verylongfermata"
1682 See @ref{Articulations} for general instructions how to apply scripts
1683 such as fermatas to notes.
1686 @node Special noteheads
1687 @subsection Special noteheads
1689 Different noteheads are used by various instruments for various
1690 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1691 notes on guitar; diamonds are used for harmonics on string instruments,
1692 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1693 other notehead styles are produced by tweaking the property
1695 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1697 \override NoteHead #'style = #'cross
1699 \revert NoteHead #'style
1700 e d <c f\harmonic> <d a'\harmonic>
1704 To see all notehead styles, please see
1705 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1710 Program reference: @internalsref{NoteHead}.
1713 @node Feathered beams
1714 @subsection Feathered beams
1716 Feathered beams are not supported natively, but they can be faked by
1717 forcing two beams to overlap. Here is an example,
1719 @c don't change relative setting witout changing positions!
1720 @lilypond[raggedright,relative=1,fragment,verbatim,quote]
1725 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1730 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1738 @subsection Improvisation
1740 Improvisation is sometimes denoted with slashed note heads. Such note
1741 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1742 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1746 \set squashedPosition = #0
1747 \override NoteHead #'style = #'slash
1751 switches on the slashes.
1753 There are shortcuts @code{\improvisationOn} (and an accompanying
1754 @code{\improvisationOff}) for this command sequence. They are used in
1755 the following example
1757 @lilypond[verbatim,raggedright,quote]
1759 \consists Pitch_squash_engraver
1761 e8 e g a a16(bes)(a8) g \improvisationOn
1764 ~fis2 \improvisationOff a16(bes) a8 g e
1769 @node Educational use
1770 @section Educational use
1772 With the amount of control that LilyPond offers, one can make great
1773 teaching tools in addition to great musical scores.
1777 * Blank music sheet::
1779 * Shaped note heads ::
1780 * Easy Notation note heads::
1781 * Analysis brackets::
1782 * Coloring objects::
1786 @subsection Balloon help
1788 Elements of notation can be marked and named with the help of a square
1789 balloon. The primary purpose of this feature is to explain notation.
1791 The following example demonstrates its use.
1793 @lilypond[quote,verbatim,fragment,raggedright,relative=2]
1796 #(add-balloon-text 'NoteHead "heads, or tails?"
1803 The function @code{add-balloon-text} takes the name of a grob, the
1804 label to print, and the position where to put the label relative to
1805 the object. In the above example, the text ``heads or tails?'' ends
1806 3 spaces below and 1 space to the right of the marked head.
1809 @cindex notation, explaining
1813 Program reference: @internalsref{text-balloon-interface}.
1815 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1820 @node Blank music sheet
1821 @subsection Blank music sheet
1823 A blank music sheet can be produced also by using invisible notes, and
1824 removing @code{Bar_number_engraver}.
1827 @lilypond[quote,verbatim]
1829 \repeat unfold 2 % Change this for more lines.
1834 \override TimeSignature #'transparent = ##t
1835 defaultBarType = #""
1836 \remove Bar_number_engraver
1838 \context Staff \emptymusic
1839 \context TabStaff \emptymusic
1845 @subsection Hidden notes
1847 @cindex Hidden notes
1848 @cindex Invisible notes
1849 @cindex Transparent notes
1851 @cindex @code{\hideNotes}
1852 @cindex @code{\unHideNotes}
1853 Hidden (or invisible or transparent) notes can be useful in preparing theory
1854 or composition exercises.
1856 @lilypond[quote,raggedright,verbatim,relative=2,fragment]
1864 Hidden notes are also great for performing weird tricks. For example,
1865 slurs cannot be attached to rests or spacer rests, but you may wish
1866 to include that in your score -- string instruments use this notation
1867 when doing pizzicato to indicate that the note should ring for as long
1870 @lilypond[quote,raggedright,verbatim,relative=0,fragment]
1873 c4^"pizz"( \hideNotes c)
1874 \unHideNotes c( \hideNotes c)
1881 @node Shaped note heads
1882 @subsection Shaped note heads
1884 In shaped note head notation, the shape of the note head corresponds
1885 to the harmonic function of a note in the scale. This notation was
1886 popular in the 19th century American song books.
1888 Shaped note heads can be produced by setting @code{\aikenHeads} or
1889 @code{\sacredHarpHeads}, depending on the style desired.
1891 @lilypond[verbatim,relative=1,fragment]
1898 Shapes are determined on the step in the scale, where the base of the
1899 scale is determined by the @code{\key} command
1902 @findex shapeNoteStyles
1904 @findex \sacredHarpHeads
1906 Shaped note heads are implemented through the @code{shapeNoteStyles}
1907 property. Its value is a vector of symbols. The k-th element indicates
1908 the style to use for the k-th step of the scale. Arbitrary
1909 combinations are possible, eg.,
1912 @lilypond[verbatim,relative=1,fragment]
1913 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
1918 @node Easy Notation note heads
1919 @subsection Easy Notation note heads
1921 @cindex easy notation
1924 The `easy play' note head includes a note name inside the head. It is
1925 used in music for beginners
1927 @lilypond[quote,raggedright,verbatim,fragment,staffsize=26]
1932 The command @code{\setEasyHeads} overrides settings for the
1933 @internalsref{NoteHead} object. To make the letters readable, it has
1934 to be printed in a large font size. To print with a larger font, see
1935 @ref{Setting global staff size}.
1939 @cindex @code{\setEasyHeads}
1940 @code{\setEasyHeads}
1943 @node Analysis brackets
1944 @subsection Analysis brackets
1946 @cindex phrasing brackets
1947 @cindex musicological analysis
1948 @cindex note grouping bracket
1950 Brackets are used in musical analysis to indicate structure in musical
1951 pieces. LilyPond supports a simple form of nested horizontal
1952 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
1953 to @internalsref{Staff} context. A bracket is started with
1954 @code{\startGroup} and closed with @code{\stopGroup}
1956 @lilypond[quote,raggedright,verbatim]
1959 c4\startGroup\startGroup
1962 c4\stopGroup\stopGroup
1966 \Staff \consists "Horizontal_bracket_engraver"
1972 Program reference: @internalsref{HorizontalBracket}.
1974 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
1980 I don't think we need this info.
1985 Whenever a note is found, a @internalsref{Stem} object is created
1986 automatically. For whole notes and rests, they are also created but
1991 @cindex @code{\stemUp}
1993 @cindex @code{\stemDown}
1995 @cindex @code{\stemNeutral}
1996 @code{\stemNeutral}.
2001 @node Coloring objects
2002 @subsection Coloring objects
2004 Individual objects may be assigned colors. You may use the
2005 color names listed in the @ref{List of colors}.
2007 @lilypond[quote,raggedright,verbatim,fragment,relative=1]
2008 \override NoteHead #'color = #red
2010 \override NoteHead #'color = #(x11-color 'LimeGreen)
2012 \override Stem #'color = #blue
2016 The full range of colors defined for X11 can be accessed by using the
2017 scheme function x11-color. The function takes one argument that can be a
2021 \override Beam #'color = #(x11-color 'MediumTurquoise)
2027 \override Beam #'color = #(x11-color "MediumTurquoise")
2030 The first form is quicker to write and is more efficient. However, using
2031 the second form it is possible to access X11 colors by the multi-word
2035 \override Beam #'color = #(x11-color "medium turquoise")
2038 If x11-color cannot make sense of the parameter then the color returned
2039 defaults to black. It should be obvious from the final score that
2042 This example, illustrates the use of x11-color. Notice that the stem
2043 color remains black after being set to (x11-color 'Boggle), which is
2044 deliberate nonsense.
2046 @lilypond[quote,raggedright,verbatim]
2048 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2049 \set Staff.instrument = \markup {
2050 \with-color #(x11-color 'navy) "Clarinet"
2054 \override Beam #'color = #(x11-color "medium turquoise")
2056 \override NoteHead #'color = #(x11-color "LimeGreen")
2058 \override Stem #'color = #(x11-color 'Boggle)
2066 Appendix: @ref{List of colors}.
2070 Not all x11 colors are distinguishable in a web browser. For web use
2071 normal colors are recommended.
2073 An x11 color is not necessarily exactly the same shade as a similarly
2077 @node Automatic notation
2078 @section Automatic notation
2080 This section describes how to change the way that accidentals and
2081 beams are automatically displayed.
2083 FIXME: this might get moved into Changing Defaults. Please send
2084 opinions to lilypond-devel. Thanks! :)
2087 * Automatic accidentals::
2088 * Setting automatic beam behavior::
2091 @node Automatic accidentals
2092 @subsection Automatic accidentals
2093 @cindex Automatic accidentals
2095 Common rules for typesetting accidentals have been placed in a
2096 function. This function is called as follows
2098 @cindex @code{set-accidental-style}
2100 #(set-accidental-style 'STYLE #('CONTEXT#))
2103 The function can take two arguments: the name of the accidental style,
2104 and an optional argument that denotes the context that should be
2105 changed. If no context name is supplied, @code{Staff} is the default,
2106 but you may wish to apply the accidental style to a single @code{Voice}
2109 The following accidental styles are supported
2112 This is the default typesetting behavior. It corresponds
2113 to 18th century common practice: Accidentals are
2114 remembered to the end of the measure in which they occur and
2115 only on their own octave.
2118 The normal behavior is to remember the accidentals on
2119 Staff-level. This variable, however, typesets accidentals
2120 individually for each voice. Apart from that, the rule is similar to
2123 As a result, accidentals from one voice do not get canceled in other
2124 voices, which is often an unwanted result
2126 @lilypond[quote,raggedright,relative=1,fragment,verbatim]
2128 #(set-accidental-style 'voice)
2135 The @code{voice} option should be used if the voices
2136 are to be read solely by individual musicians. If the staff is to be
2137 used by one musician (e.g., a conductor) then
2138 @code{modern} or @code{modern-cautionary}
2139 should be used instead.
2142 @cindex @code{modern} style accidentals
2143 This rule corresponds to the common practice in the 20th century. This rule
2144 prints the same accidentals as @code{default}, but temporary
2145 accidentals also are canceled in other octaves. Furthermore,
2146 in the same octave, they also get canceled in the following
2149 @lilypond[quote,raggedright,fragment,verbatim]
2150 #(set-accidental-style 'modern)
2151 cis' c'' cis'2 | c'' c'
2154 @item @code{modern-cautionary}
2155 @cindex @code{modern-cautionary}
2156 This rule is similar to @code{modern}, but the ``extra'' accidentals
2157 (the ones not typeset by @code{default}) are typeset as cautionary
2158 accidentals. They are printed in reduced size or with parentheses
2159 @lilypond[quote,raggedright,fragment,verbatim]
2160 #(set-accidental-style 'modern-cautionary)
2161 cis' c'' cis'2 | c'' c'
2164 @cindex @code{modern-voice}
2166 This rule is used for multivoice accidentals to be read both by musicians
2167 playing one voice and musicians playing all voices. Accidentals are
2168 typeset for each voice, but they @emph{are} canceled across voices in
2169 the same @internalsref{Staff}.
2171 @cindex @code{modern-voice-cautionary}
2172 @item modern-voice-cautionary
2173 This rule is the same as @code{modern-voice}, but with the extra
2174 accidentals (the ones not typeset by @code{voice}) typeset
2175 as cautionaries. Even though all accidentals typeset by
2176 @code{default} @emph{are} typeset by this variable,
2177 some of them are typeset as cautionaries.
2180 @cindex @code{piano} accidentals
2181 This rule reflects 20th century practice for piano notation. Very similar to
2182 @code{modern} but accidentals also get canceled
2183 across the staves in the same @internalsref{GrandStaff} or
2184 @internalsref{PianoStaff}.
2186 @item piano-cautionary
2187 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2188 Same as @code{#(set-accidental-style 'piano)} but with the extra
2189 accidentals typeset as cautionaries.
2192 @cindex @code{no-reset} accidental style
2193 This is the same as @code{default} but with accidentals lasting
2194 ``forever'' and not only until the next measure
2195 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2196 #(set-accidental-style 'no-reset)
2201 This is sort of the opposite of @code{no-reset}: Accidentals
2202 are not remembered at all---and hence all accidentals are
2203 typeset relative to the key signature, regardless of what was
2206 @lilypond[quote,raggedright,fragment,verbatim,relative=1]
2207 #(set-accidental-style 'forget)
2208 \key d\major c4 c cis cis d d dis dis
2215 Program reference: @internalsref{Accidental_engraver},
2216 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2221 Simultaneous notes are considered to be entered in sequential
2222 mode. This means that in a chord the accidentals are typeset as if the
2223 notes in the chord happened once at a time - in the order in which
2224 they appear in the input file.
2226 This is a problem when accidentals in a chord depend on each other,
2227 which does not happen for the default accidental style. The problem
2228 can be solved by manually inserting @code{!} and @code{?} for the
2232 @node Setting automatic beam behavior
2233 @subsection Setting automatic beam behavior
2235 @cindex @code{autoBeamSettings}
2236 @cindex @code{(end * * * *)}
2237 @cindex @code{(begin * * * *)}
2238 @cindex automatic beams, tuning
2239 @cindex tuning automatic beaming
2241 @c [TODO: use \applycontext]
2243 In normal time signatures, automatic beams can start on any note but can
2244 only end in a few positions within the measure: beams can end on a beat,
2245 or at durations specified by the properties in
2246 @code{autoBeamSettings}. The defaults for @code{autoBeamSettings}
2247 are defined in @file{scm/@/auto@/-beam@/.scm}.
2249 The value of @code{autoBeamSettings} is changed with three functions,
2251 #(override-auto-beam-setting
2252 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b}
2254 #(score-override-auto-beam-setting
2255 '(@var{be} @var{p} @var{q} @var{n} @var{m}) @var{a} @var{b})
2256 #(revert-auto-beam-setting '(@var{be} @var{p} @var{q} @var{n} @var{m})
2257 @var{a} @var{b} [@var{context}])
2259 Here, @var{be} is the symbol @code{begin} or @code{end}, and
2260 @var{context} is an optional context (default: @code{'Voice}). It
2261 determines whether the rule applies to begin or end-points. The
2262 quantity @var{p}/@var{q} refers to the length of the beamed notes (and
2263 `@code{* *}' designates notes of any length), @var{n}/@var{M} refers
2264 to a time signature (wildcards `@code{* *}' may be entered to
2265 designate all time signatures), @var{a}/@var{b} is a duration. By
2266 default, this command changes settings for the current voice. It is
2267 also possible to adjust settings at higher contexts, by adding a
2268 @var{context} argument. @code{score-override-auto-beam-setting} is
2269 equal to @code{override-auto-beam-setting} with the argument
2270 @var{context} set to @code{'Score}.
2272 For example, if automatic beams should end on the first quarter note, use
2275 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2277 Since the duration of a quarter note is 1/4 of a whole note, it is
2278 entered as @code{(ly:make-moment 1 4)}.
2280 If automatic beams should end on every quarter in 5/4 time, specify
2283 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2284 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2285 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2286 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2290 The same syntax can be used to specify beam starting points. In this
2291 example, automatic beams can only end on a dotted quarter note
2293 #(override-auto-beam-setting '(end * * * *) 3 8)
2294 #(override-auto-beam-setting '(end * * * *) 1 2)
2295 #(override-auto-beam-setting '(end * * * *) 7 8)
2297 In 4/4 time signature, this means that automatic beams could end only on
2298 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2299 3/8, has passed within the measure).
2301 Rules can also be restricted to specific time signatures. A rule that
2302 should only be applied in @var{N}/@var{M} time signature is formed by
2303 replacing the second asterisks by @var{N} and @var{M}. For example, a
2304 rule for 6/8 time exclusively looks like
2306 #(override-auto-beam-setting '(begin * * 6 8) @dots{})
2309 If a rule should be to applied only to certain types of beams, use the
2310 first pair of asterisks. Beams are classified according to the
2311 shortest note they contain. For a beam ending rule that only applies
2312 to beams with 32nd notes (and no shorter notes), use @code{(end 1 32 *
2317 @lilypond[quote,raggedright,relative=2,fragment,verbatim]
2319 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2327 @cindex automatic beam generation
2329 @cindex @code{autoBeaming}
2332 If beams are used to indicate melismata in songs, then automatic
2333 beaming should be switched off. This is done by setting
2334 @code{autoBeaming} to @code{#f}.
2338 @cindex @code{\autoBeamOff}
2339 @code{\autoBeamOff},
2340 @cindex @code{\autoBeamOn}
2346 If a score ends while an automatic beam has not been ended and is
2347 still accepting notes, this last beam will not be typeset at all. The
2348 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2349 >>}. If a polyphonic voice ends while an automatic beam is still
2350 accepting notes, it is not typeset.